Thoughts On Documentary Film
Love for cinema is not something that simply happen(ed) to some of us. Falling in love with film is something that everyone should welcome as an opportunity to broaden one’s (intellectual, cultural, intuitive, intimate) horizons. Traveling in this time machine one can go on a magical journey to places and spaces never dreamed possible. A myriad of appearances, languages, aspirations, hopes and desires one can find in a single film scene attests to the fact that considering cinema as cheap and commercial, the underdog really when compared to canonized cultural establishments like opera and theatre, is silly and only a proof of one’s intellectual laziness.
Unfortunately, unappreciative and uneducated attitude towards different, new, unusual, experimental, daring, provocative and other (uncomfortable) artistic expressions still holds the upper hand in our society. And it is one of the main reasons why the art of (documentary) filmmaking, its significance and range remain without proper recognition and are being pushed to the very margins of artistic and cultural conscience.
DokMa as a film festival, entirely devoted to documentary films is a protest against the devastating attack of consumer mentality on all forms of art, including film. And a manifestation of the need to appreciate art in general, and documentaries in particular as much more than a (sub)genre of journalism. Documentary films have matured and deserve an autonomous place in the artistic landscape. They have outgrown their role of merely mirroring or capturing what life is all about, and the place assigned to them by Grierson, whose no less noble goal was to educate the viewer by explaining the outside reality. Documentary film now has its own tradition and enormous potential, it has a past, a present and a future thanks to be(com)ing as rich and complex as any other cinematic genre or form, be it feature, short, experimental, animated, silent or any other. Moreover, documentary films remain the most grateful visual form to express the critical potential which lies in trespassing the border between reality and imagination. They allow one to play with expressions and impressions, mixing one’s inner world with outside reality, and using (artistic) intuition filmmakers offer the viewer a hint of what “the world out there” – could (have) be(en).
Last but not least, in order to uphold and maintain its mission and its vision, DokMa wishes to be a voice of dissent in prevailing trends of the existing film festival “circu(it)s”. Film festivals, which should be places for quality mingling and creative associating, are giving in to commercial pressures to become distribution channels and tourist destinations for the so-called film lovers, - experts, –makers and -dealers and -shakers. Profit-making demands are forcing film festivals to deny any artistic tendencies or educational purposes they might want to have, and as such become nothing more than a tragical farce of their true raison d’être.
DokMa festival is therefore dedicated to those who love cinema unconditionally, who consider the art of film as one of the most powerful forces available to human kind, for those who seek free zones for original lifestyles, unique philosophies and views.
We are devoting this festival to all who understand that it is not only possible but more so necessary to counteract the demoralizing capitalist state of mind which is destroying the uniqueness of a human individual in the programmed society.
