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Publications (10 of 11) Show all publications
Grigor, A. & Hegedus, P. (2024). Making Impact Count: Documenting the Long-Term effects of Cross-cultural Collaboration on Emerging Documentary Practitioners. In: Ashe, M., Smaill, B., Vassileva, J., Williams, D. (Ed.), Visible Evidence XXX, Melbourne, 17-20 December, 2024: Decentering Documentary–New Visions and Perspectives. Paper presented at Visible Evidence XXX: Decentering Documentary - New Visions and Perspectives, Melbourne, 17-20 December, 2024. Melbourne
Open this publication in new window or tab >>Making Impact Count: Documenting the Long-Term effects of Cross-cultural Collaboration on Emerging Documentary Practitioners
2024 (English)In: Visible Evidence XXX, Melbourne, 17-20 December, 2024: Decentering Documentary–New Visions and Perspectives / [ed] Ashe, M., Smaill, B., Vassileva, J., Williams, D., Melbourne, 2024Conference paper, Oral presentation with published abstract (Refereed)
Abstract [en]

Universities have long been engaged in facilitating opportunities for undergraduate as well as postgraduate students to participate in cross cultural fieldwork that allow students to fully immerse themselves in working environments (Delamont 2016) exposing them to volatility and unpredictability of the documentary filmmaking process (Rabiger 2020).

Whilst it is generally seen as a successful and exciting initiative (DocNomads 2024), often the quality of the particular program is challenged by a variety of factors such as the teaching methodology which in turn is highly dependent on modes of intervention and focused mentorship underpinned by a variety of resources and collaborative strategies (Hjort 2013).

As two academic filmmakers from diverse cultural backgrounds and varying skillsets, we propose disrupting the conventional modes of film production in light of political, economic and cultural pressures that exist in the tertiary and industry environment (Macken, Hare & Souter 2021). A radical shift from the conventional and traditional framework of teaching documentary and a move to a decentralised approach.

We argue to do this, based on our own experiences as educators and collaborators engaging in cross-cultural study tours, to develop and create new immersive and long-term international opportunities for current and recent graduates.

We aim to formulate a new distinct approach to this teaching methodology by investigating the impact of former study tours on our filmmaking students. By evaluating and supporting their continued development - long after their participation in the documentary fieldwork - we find valuable ways schools and established practitioners can support their career development as well as enhance our future study tours in cross cultural environments.

Place, publisher, year, edition, pages
Melbourne: , 2024
Keywords
documentary production, pedagogy, fieldwork, industry mentorship, collaborative learning
National Category
Visual Arts
Research subject
Forskargrupp/Seminariegrupp, Audiovisuella seminariet
Identifiers
urn:nbn:se:du-49890 (URN)
Conference
Visible Evidence XXX: Decentering Documentary - New Visions and Perspectives, Melbourne, 17-20 December, 2024
Note

Bibliography:

Delamont, Sara (2016), Fieldwork in Educational Settings: Methods, pitfalls and perspectives. London: Routledge

DocNomads, https://www.docnomads.eu/, accessed 2024-04-25

Hjort, Mette (2013), The Education of the Filmmaker in Europe, Australia, and Asia. New York: Palgrave Macmillan.

Macken, Claire; Hare, Julie & Souter, Kay (2021), Seven Radical Ideas for the Future of Higher Education: An Australian Perspective. Singapore: Springer 

Rabiger, Michael (2020), Directing the documentary. London: Routledge

Biographies

Dr Axel Grigor

A screen academic and practitioner, Grigor has written, edited, directed and produced non-fiction and fiction films for over twenty years. His work has been screened at prestigious film festivals around the world. His research explores the role of established film practitioners and screen educators in mentoring emerging screen storytellers worldwide.

Associate Prof Peter Hegedus, DVA

Associate Professor Peter Hegedus is a filmmaker Academic whose research focuses on innovating storytelling to advance key social justice issues. His feature documentaries and drama work have been broadcast globallly receiving critical acclaim including a shortlist for the Academy Awards and a film in competition at the Venice Film Festival.

Available from: 2024-12-26 Created: 2024-12-26 Last updated: 2024-12-30Bibliographically approved
Grigor, A. & Allard, T. (2023). Deodar - prelude to a documentary film. Falun: Dalarna Audiovisual Academy
Open this publication in new window or tab >>Deodar - prelude to a documentary film
2023 (English)Artistic output (Unrefereed)
Abstract [en]

In this short video – a prospective opening sequence to the theatrical documentary film "Deodar" – the researcher explores how the public screening of conceptual scenes from a work-in-progress film can help inform a film editor's still-evolving process of crafting a film's emotional tone, character introductions and themes. 

BACKGROUND

In the documentary film "Deodar", filmmaker Axel Grigor delves into the captivating story of Thomas Hellström, a Swedish boatbuilder who has spent over five decades restoring the historic sailing trawler, Deodar.

Constructed in 1911 in Brixham, England, Deodar has been meticulously revived by Hellström, transforming it into a familiar and beloved sight in the Stockholm archipelago.

Hellström's commitment to manifest the enduring beauty and sailing prowess of traditional English sailling trawlers through his efforts with Deodar, has seen him become one of Sweden's foremost wooden boatbuilders. However, his dogged dedication has come at a cost, straining personal relationships and causing financial hardship. At the age of 73 and faced with diminishing strength, Hellström grapples with the inevitable decision to part ways with the vessel that has defined his life.

Drawing inspiration from maritime documentary films, such as "The Last Sailors: The Final Days of Working Sail" (1984) and "The Sailor" (2021), this documentary uses observational filmmaking techniques and archive-based storytelling to skillfully explore the confluence of Swedish and English maritime history in the early 20th century through the lens of one man's extraordinary devotion to a vessel that has become both his masterpiece and his burden.

This conceptual opening sequence screened publically at the 2023 Dalarna Film Festival, Sweden, as part of a masterclass in film editing. The creative practice research project has received development funding from the regional film fund Film i Dalarna and Dalarna University.

Place, publisher, year, pages
Falun: Dalarna Audiovisual Academy, 2023
Keywords
Deodar, documentary film, maritime films, maritime heritage, maritime history, cultural heritage, Sweden, England, Brixham, Stockholm
National Category
Visual Arts
Research subject
Forskargrupp/Seminariegrupp, Audiovisuella seminariet
Identifiers
urn:nbn:se:du-47332 (URN)
Available from: 2023-11-30 Created: 2023-11-30 Last updated: 2024-12-03Bibliographically approved
Grigor, A. (2022). Jill Bilcock: Revealing the Invisible Artist. Recognising the creative contributions of film editors to filmmaking through biographical documentary film. (Doctoral dissertation). Brisbane: Griffith University
Open this publication in new window or tab >>Jill Bilcock: Revealing the Invisible Artist. Recognising the creative contributions of film editors to filmmaking through biographical documentary film
2022 (English)Doctoral thesis, monograph (Other academic) [Artistic work]
Abstract [en]

Film editing is recognised as the conceptual innovation that, at the dawn of the twentieth century, helped transform the novelty of moving images into cinema. Despite this acknowledgment, misconceptions about the art form linger. Surprisingly, there is still limited public discussion of the contribution made by editors to creative authorship during the filmmaking process. Arguably, this absence has impeded deeper investigations of the craft and contributions of significant editors, their artistic achievements and the nature of their professional lives. 

This artistic research project proposes that the essential contribution of film editors to filmmaking can begin to be better appreciated and understood by careful exploration of a prominent practitioner’s art and creative influence. Accordingly, the researcher has undertaken the production of a companion pair of long-form biographical documentary films portraying the life, career and practice of the acclaimed Australian film editor, Jill Bilcock. It is contended that use of the film medium in Jill Bilcock: Dancing the Invisible and Jill Bilcock: The Art of Film Editing proves to be a highly effective mode of analysing a leading film editor’s finely tuned practices. Moreover, this portrait of the working life of a celebrated editor promotes greater awareness of the craft of editors and challenges more traditional, auteur-focused perceptions of filmmaking. 

It also demonstrates that this independently funded two-part study benefits from the negotiated inclusion of substantial footage as visible evidence of an editor’s work. The project outcomes are designed for wide public dissemination and to circumvent normally prohibitive licensing demands, two of Bilcock’s high-profile collaborators (Baz Luhrmann and Shekhar Kapur) were recruited as intermediaries in archival negotiations. This achieved more favourable licensing terms and the development and use of this novel licensing arrangement is analysed in the study.

Place, publisher, year, edition, pages
Brisbane: Griffith University, 2022. p. 205
Keywords
Film Editing, Film Editor, Film Production, Filmmaking, Motion Pictures, Motion Picture Editing, Documentary, Film Art, Film History, Biography, Jill Bilcock, Australia, Hollywood, Filmklippning, Filmklippare, Filmproduktion, Film, Filmkonst, Dokumentärfilm, Biografi, Jill Bilcock, Australien, Hollywood
National Category
Visual Arts
Identifiers
urn:nbn:se:du-44741 (URN)
Opponent
Supervisors
Note

Degree of Doctor of Visual Arts (DVA)

Available from: 2022-12-29 Created: 2022-12-29 Last updated: 2023-03-17Bibliographically approved
Grigor, A. & Hegedus, P. (2022). Sorella's Story. Brisbane
Open this publication in new window or tab >>Sorella's Story
2022 (English)Artistic output (Refereed)
Abstract [en]

Sorella's Story brings to life a smuggled atrocity photograph from December 1941 and places it into 360° immersive space. The photograph depicts the humiliation and murder of close to 4000 women and children on a Latvian beach allowing the viewer to accompany some of the women and an 11-year-old girl, Sorella, as they embark on their last journey.

The memory of the Holocaust is fading, with studies revealing that two-thirds of millennials born after 1981 don’t know what Auschwitz is (Zauzmer 2018), and a higher percentage are ignorant of basic facts about Nazism and the Holocaust. And with anti-Semitism and extreme right-wing ideologies on the rise, Sorella’s Story is a visceral reminder and warning of how prejudice can escalate to devastating tragedy.

Sorella’s Story is a Soul Vision Films production, with principal production funding from Screen Australia in association with Screen Queensland, Griffith University’s Disrupting Violence Beacon and Dalarna University in Sweden

Place, publisher, year, pages
Brisbane: , 2022
Keywords
Immersive, virtual reality, vr, holocaust, immersiv, virtuell verklighet, förintelsen
National Category
Visual Arts
Identifiers
urn:nbn:se:du-44774 (URN)
Note

Official Competition Venice Film Festival (Venice Immersive), 2022

Official Selection DAVAMOT, 2022

Official Selection Ji.hlava International Documentary Film Festival, 2022

Official Selection Brisbane International Film Festival, 2022

Available from: 2022-12-30 Created: 2022-12-30 Last updated: 2023-03-17Bibliographically approved
Grigor, A. & Hegedus, P. (2022). To Never Forget. Brisbane
Open this publication in new window or tab >>To Never Forget
2022 (English)Artistic output (Refereed)
Abstract [en]

Background

TO NEVER FORGET is an 82-minute documentary, made in the tradition of Holocaust testimony in screen culture with documentaries such as Resnais’ Night and Fog (1956), Lanzmann's Shoah (1985) and The Last Days (1998).

In the midst of extreme right-wing movements, this documentary uncovers an atrocity photograph from 1941 depicting a group of women and a 10-year-old girl before their execution. They are among 3640 Latvian Jewish women and children massacred by Nazi troops and collaborators. Peter Hegedus created an immersive experience out of the photograph through a dramatised VR360 film. Peter uncovers the story of his own Jewish grandmother who survived the Nazi Bergen-Belsen concentration camp. To Never Forget investigates the extent to which the Holocaust continues to affect lives, families and geopolitics.

Contribution

The documentary adopts an investigative approach with a personal narrative to offer perspectives on the Holocaust for younger audiences. An innovation that helps target young people is embedding black and white drawings to show the complex documentary narrative.

As a child, the filmmaker’s grandmother shared stories about her time in the Nazi Concentration Camp, so the filmmaker’s imagining of the Holocaust had been rooted in this visual world. The drawings in the film reveal the horrors of the Holocaust in a way building on a tradition of artists who after World War II, took to comics to express views of the Holocaust best evidenced in the MAUS (1987) by Art Spiegelman.

Significance

The film had its premiere at the Brisbane International Film Festival with two screenings at the Powerhouse and at Dendy Cinemas. It was received positively by audiences with the Q&A hosted by journalist Peter Greste. The film has been one of the highlights of the International Jewish Film Festival (JIFF) that attracts 1000s of people, with the film shown in every major Australian city over three weeks. The film received a nomination for the Best Feature Documentary Award at the 2024 Australian Academy of Cinema and Television Arts Awards (AACTA Awards).

Place, publisher, year, pages
Brisbane: , 2022
Keywords
documentary film, holocaust, Latvia, Australia, immersive filmmaking, virtual reality, VR, 360 video
National Category
Visual Arts
Research subject
Forskargrupp/Seminariegrupp, Audiovisuella seminariet
Identifiers
urn:nbn:se:du-47317 (URN)
Available from: 2023-11-28 Created: 2023-11-28 Last updated: 2023-11-28Bibliographically approved
Grigor, A. & Ingemarsdotter, S. (2021). Editing in the Deep End. In: : . Paper presented at A Perfect Film Editor, GEECT Conference, Lodz Film School, Poland, 18-19 November 2021. Lodz
Open this publication in new window or tab >>Editing in the Deep End
2021 (English)Conference paper, Oral presentation with published abstract (Other (popular science, discussion, etc.))
Abstract [en]

Prof. Sylvia Ingemarsdotter and Senior Lecturer Axel Grigor—editing teachers at DAVA, Sweden—discuss the advantages and limitations of enhancing film students’ appreciation of film editing craft by facilitating courses offering practical, real-world editing experience.

By providing access to professional feature film rushes and associated production documents, DAVA aims to expose students to the creative and organisational processes faced by working film editors and editing assistants.

At the heart of this intense period of editing immersion is a journey of creative self-discovery, in which students are encouraged to evaluate their emotional response to actors’ performances and explore various storytelling possibilities.

Guided by regular tutorials, where editing choices and processes are discussed and analysed, students gain new and tangible insights into the film editor’s responsibilities and central role in the filmmaking process.

This session invites schools to discuss how the use of professional film footage affects practice-based editing pedagogy and how this helps students prepare for a career in the field of post-production.

Examples from DAVA students’ editing work will be shown during the presentation.

Place, publisher, year, edition, pages
Lodz: , 2021
Keywords
Film Editing, Film Editor, Film Production, Filmmaking, Pedagogy, Filmklippning, Filmklippare, Filmproduktion, Film, Filmkonst, Dokumentärfilm, Biografi
National Category
Studies on Film
Identifiers
urn:nbn:se:du-44772 (URN)
Conference
A Perfect Film Editor, GEECT Conference, Lodz Film School, Poland, 18-19 November 2021
Available from: 2022-12-30 Created: 2022-12-30 Last updated: 2023-03-17Bibliographically approved
Grigor, A. & Cederstam, E. (2020). Sarri ja Sanna. Stockholm: Swedish Film Institite, Sveriges Television
Open this publication in new window or tab >>Sarri ja Sanna
2020 (Finnish)Artistic output (Refereed)
Alternative title[en]
Sarri and Sanna
Abstract [en]

"Sarri ja Sanna" is a short observational documentary that intimately explores the enduring friendship of Sarri and Sanna, two women of Finnish descent living in rural Sweden. Bound by childhood camaraderie and shared Finnish traditions, the film captures their lively interaction as they celebrate Finland's national day on December 6th.

Through a delightful mix of Swedish and Finnish, the documentary unfolds in the kitchen, where the women reminisce about their lives, sharing anecdotes that transform them into spirited teenagers once again.

The film opens a new and highly personal window into the contemporary lives of Sweden Finns, Sweden's largest minority language group. Its focus on the cultural nuances of the Finland-Swedish experience enriches the understanding of this community, showcasing the strength of bonds that extend beyond blood relations.

"Sarri ja Sanna" was produced in collaboration with the Swedish Film Institute, SVT (Swedish public broadcaster) and film distributor Folkets Bio. The film received a national free-to-air broadcast through Swedish Television and has been shown to thousands of upper secondary school students as part of national educational efforts focussing on Sweden's minority languages.

Place, publisher, year, pages
Stockholm: Swedish Film Institite, Sveriges Television, 2020
Keywords
Sweden Finns, minority language, Sweden, Finland, 1970s, 1980s, second-generation immigrant, childhood memory, identity, national identity, Swedish national minorities
National Category
Visual Arts
Research subject
Forskargrupp/Seminariegrupp, Audiovisuella seminariet
Identifiers
urn:nbn:se:du-47324 (URN)
Available from: 2023-11-28 Created: 2023-11-28 Last updated: 2023-11-30Bibliographically approved
Grigor, A., Mattsson, H. T. & Carlsson, H. (2019). Bingsjö360 – Experience Sweden's Bingsjö Folk Music Festival in 360 degrees. Falun: Dalarna University
Open this publication in new window or tab >>Bingsjö360 – Experience Sweden's Bingsjö Folk Music Festival in 360 degrees
2019 (English)Artistic output (Unrefereed)
Alternative title[sv]
Bingjsö360 –  Upplev Bingsjöstämman i 360 grader
Abstract [en]

Every first Wednesday in July since 1969, Bingsjöstämman (Bingsjö Folk Music Festival) beckons leading folk musicians and folk music enthusiasts from all over Scandinavia to the picturesque village of Bingsjö in Sweden. Over the course of 24 hours, thousands of people gather in fields, barns, campgrounds and historic houses to enjoy scheduled concerts, impromptu musical performances and to participate in traditional dances.

Captured at Bingsjöstämman in 2018, Bingsjö360 presents 18 separate video clips which combine 8K resolution VR360 video and ambisonic music recordings to represent the broad range of musical performances on display at the festival. Through this immersive music documentary experience, viewers around the world can experience the sounds, rhythms and unique visual beauty of the festival for themselves.

Bingsjö360 presents new creative pathways for representing and sharing folk music tradition through cutting-edge artistic research, immersive audiovisual technology and new modes of audience interaction. By making Bingsjö360 easily accessible through an online video sharing platform, this project also aims to elevate knowledge and perception about immersive audiovisual experiences in wider society.

This international artistic research project was instigated at Dalarna Audiovisual Academy at Dalarna University (Falun, Sweden) and produced in collaboration with Folkmusikens Hus, Faraway Productions (Australia), Honeypot Film Productions, Cutting Edge (Australia), Dalarnas Museum, Film i Dalarna and Benny Andersson’s record label Mono Music.

Place, publisher, year, pages
Falun: Dalarna University, 2019
Keywords
immersive, virtual reality, VR, 360 video, documentary film, Bingsjö, folk music, Sweden, Dalarna, Virtuell verklighet, Immersiv, dokumentärfilm, folkmusik, Bingsjöstämman
National Category
Visual Arts Music
Research subject
Research Profiles 2009-2020, Intercultural Studies
Identifiers
urn:nbn:se:du-44743 (URN)
Available from: 2022-12-30 Created: 2022-12-30 Last updated: 2023-01-02Bibliographically approved
Grigor, A., Mattsson, H. T. & Scott, A. (2018). Waltz after Werkmästers Hans Olsson with dancer Dlsher Jabo and Bullermyren Band. Falun: Dalarna University
Open this publication in new window or tab >>Waltz after Werkmästers Hans Olsson with dancer Dlsher Jabo and Bullermyren Band
2018 (English)Artistic output (Unrefereed)
Alternative title[sv]
Werkmästervalsen från Östbjörka med Bullermyren tillsammans med Dlsher Jabo
Abstract [en]

This multimodal and interdisciplinary artistic research project fuses Kurdish-Swedish dancer Dlsher Jabo’s embodied interpretation of a traditional Swedish folk tune with experimental documentary and music video filmmaking practices.

Filmed in the historic village of Bingsjö in Dalarna Province, Sweden, the project re-imagines the contemporary refugee experience by engaging in several layers of audiovisual and intercultural collaboration.

Prior to production, the traditional song Waltz after Werkmästers Hans Olsson was recorded and re-arranged by Swedish-Kurdish folk band Bullermyren. Audio interviews were conducted with dancer Dlsher Jabo, in which he shared stories of his life as krump/street dancer in Syria and his subsequent displacement as a refugee. 

During principal photography, a Swedish folk dance troupe, led by choreographer Jenny Franke, was invited to perform alongside Mr Jabo and Bullermyren, resulting in a unique juxtaposition of traditional and contemporary dance styles.

Due to the extreme physical nature of Mr Jabo’s performance and the limited availability of the filming location, the shoot was conducted in a highly improvised manner in a barn dance hall. Consequently, the film’s narrative structure and visual rhythm needed to be composed through judicious and precise film editing practice.

This film project was presented at the 2018 MIRAC Conference at Sweden’s Royal College of Music and disseminated at a 2018 audiovisual research seminar at Dalarna University before being made widely available on YouTube.

The research was conducted as part of Dalarna University’s research initiative DAVA intercultural sessions and produced in collaboration with Faraway Productions Pty Ltd (Australia), Bingsjöstämman and Folkmusikens Hus.

Place, publisher, year, pages
Falun: Dalarna University, 2018
Keywords
music video, documentary film, dance, folk music, krump dance, krumping, folk dance, cross-cultural, cultural heritage, Kurdish, refugee, Dalarna Province, Sweden, musikvideo, dokumentärfilm, dans, folkdans, folkmusik, kurdisk, flykting, kulturarv, Bingsjö, Dalarna, Sverige
National Category
Visual Arts Music Performing Arts
Research subject
Research Profiles 2009-2020, Intercultural Studies
Identifiers
urn:nbn:se:du-44912 (URN)
Available from: 2022-12-31 Created: 2022-12-31 Last updated: 2023-04-21Bibliographically approved
Grigor, A. (2017). Jill Bilcock: Dancing the Invisible. Melbourne, Australia: Faraway Productions Pty Ltd
Open this publication in new window or tab >>Jill Bilcock: Dancing the Invisible
2017 (English)Artistic output (Refereed)
Abstract [en]

Jill Bilcock: Dancing the Invisible is a feature documentary film about the life and work of one of the world’s leading film artists, Academy Award–nominated film editor Jill Bilcock ACE, ASE. It is the first-ever biographical documentary film about a film editor. 

Iconic Australian films Strictly Ballroom, Muriel’s Wedding, Moulin Rouge!, Red Dog and The Dressmaker bear the unmistakeable look and sensibility of Bilcock’s visual inventiveness, but it was her brave editing choices in Baz Luhrmann’s Romeo + Juliet that changed the look of cinema the world over, inspiring one Hollywood critic to dub her editing style as that of a “Russian serial killer on crack”.

With a back-story as colourful and surprising as her films, and featuring commentary from Cate Blanchett, Baz Luhrmann, Jocelyn Moorhouse, Shekhar Kapur, Phillip Noyce and Fred Schepisi, this documentary is a wonderful insight into the art of editing and the profound impact it has on storytelling.

Place, publisher, year, pages
Melbourne, Australia: Faraway Productions Pty Ltd, 2017
Keywords
Film Editing, Film Editor, Film Production, Filmmaking, Documentary Film, Biography, Jill Bilcock, Australien, Hollywood, Cinema
National Category
Visual Arts
Research subject
Research Profiles 2009-2020, Intercultural Studies
Identifiers
urn:nbn:se:du-44888 (URN)
Note

Winner Australia Prize for Distinctive Work, Council for the Humanities, Arts and Social Sciences (CHASS) Awards, 2019

Winner Audience Award, Adelaide Film Festival, 2017

Winner Raven Award (Digital Film Award), Docutah Southern Utah International Documentary Film Festival, 2019

Nominated Best Feature Documentary, Film Critics Circle Australia (FCCA) Awards, 2017

Nominated Best Feature Documentary, Australian Academy of Cinema and Television Arts (AACTA) Awards, 2018

Nominated Best Feature Documentary, Sydney International Film Festival, 2018

Nominated Best Editing in Documentary, Swedish Film Editors’ (SFK) Awards, 2019

Available from: 2022-12-30 Created: 2022-12-30 Last updated: 2023-01-02Bibliographically approved
Organisations
Identifiers
ORCID iD: ORCID iD iconorcid.org/0000-0003-0460-8761

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