VIVISECTfest catalogue 2004 - 2013 by dragana.medic

Vivisect, vivisection 1. The action of cutting living organism, performing operation on living organism for the purpose of examining the functions of organism. 2. (fig.) Direct facing reality without any mitigation or embellishing.

Contents

Introduction

FESTIVALS VSF 01 VSF 02 VSF 03 VSF 04 VSF 05 VSF 06 VSF 07

10 13 16 19 22 25 27

EXHIBITIONS War in the Former Yugoslavia - View from Inside and Outside At the Beginning of the New Century Graffiti Anno Domini 2002 War: USA, Afghanistan, Iraq Fallen Angels of Communist Ideology Cuba Now People on the Margins The Universal Declaration of Human Rights 2

30 48 61 68 72 84 97 104 114

FILMS VSF 01 VSF 02 VSF 03 VSF 04 VSF 05 VSF 06 VSF 07

125 141 156 170 181 194 210

POSTERS Farewell to Arms, Farewell to Wars My Enemies: Nationalism and Xenophobia Terrorism, No, Thank You VSF in Turin

219 228 233 242

Chronology

249

Donors

257

VIVISECTfest team

260 3

Introduction On 10 December 1948, the United Nations General Assembly adopted and declared THE UNIVERSAL DECLARATION OF HUMAN RIGHTS as a common ideal to be strived to by all peoples and all nations. "All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood". The human rights are universal and indivisible: they apply in the whole world and to anyone regardless of his environment. The human rights observation and application are necessary to enable anyone to have a dignified life, anywhere in the world, regardless of gender, national origin, religion, political or other affiliation. There are no compromises in the approaches based on the observation of the human rights: a situation is either compatible with the human rights or it violates them. Nowadays, the Universal Declaration of Human Rights is the basic international document in the field of the human rights. Though the Declaration of Human Rights is widely accepted, there are still many of those who are not capable of requiring the observation of the fundamental human rights, because they either lack awareness thereof or there are still insufficiently developed mechanisms to implement them. Therefore, the activity of improving, developing, and protecting the human rights culture is a continuing process which should be fostered and adjusted to specific social and historical, cultural, economic, and other circumstances. The commitment by women and men as holders of the human rights â&#x20AC;&#x201C; individual or collective â&#x20AC;&#x201C; is equally important as well as the efforts made by government institutions and civil sector in the field of their exercising, improvement, and protection. 5

Festival on Human Rights â&#x20AC;&#x201C; VIVISECTfest is our modest contribution to building peace and the human rights observation. The first VIVISECTfest was organised in 2004 in Novi Sad, with the intention of developing annual educational and art forum for the presentations and discussions on the topics of the human rights through the medium of documentary and photography. The view from inside and outside is a basic approach of the festival programme, ensuring to present the achievements by authors of various generations from the whole world at one location. The programme of any new VIVISECTfest is designed so that it promotes critical thinking and asking questions by people rather than accepting already prepared answers. The catalogue includes the data on the festivals implemented from 2004 to 2013. The catalogue is a unique archive of screened films and photograph exhibitions dedicated to the following topics:

WAR IN THE FORMER YUGOSLAVIA: VIEW FROM INSIDE AND OUTSIDE MY ENEMIES: NATIONALISM AND XENOPHOBIA TERRORISM, NO THANK YOU TOTALITARIAN REGIMES: VIEW FROM INSIDE AND OUTSIDE WELCOME TO THE REAL WORLD WINNING FREEDOM QUEST FOR DEMOCRACY. Welcome to the VIVISECTfest World

VSF 01 Topic: WAR IN THE FORMER YUGOSLAVIA - VIEW FROM INSIDE AND OUTSIDE Following the horrible conflicts in the territory of the former Yugoslavia in the last decade of the 20th century, many of those tragic events were forgotten or denied. The ongoing process of dealing with the recent past has neither provided an objective insight into the nationalist idealism that had polluted the region of the former Yugoslavia nor created an opportunity for revising individual attitudes toward the events in the recent past, yet. The Festival on Human Rights - VIVISECTfest dedicated to the topic "War in the Former Yugoslavia - View from Inside and Outside", allows for scrutinising, at one place and from different perspectives (the view from the inside and from the outside), the causes and consequences of the conflicts in the former Yugoslavia during the period 1991-2001. The programme of the first edition of VIVISECTfest comprises the works of the authors from the territory of the former Yugoslavia and abroad.

THE PHOTO EXHIBITION

titled War in the Former Yugoslavia – View from Inside and Outside comprises 90 photographs taken by 15 photographers – Darko Bandić, Martin Candir, David I. Gross, Diego A. Gomez, Boris Grdanoski, Ron Haviv, Visar Kryeziu, Danilo Krstanović, Gary Knight, Borut Krajnc, Paul Lowe, Massimo Sciacca, Tone Stojko, Andrew Testa, and Barbara Čeferin. The exhibition represents a unique collection of war photographs of the conflicts in the former Yugoslavia in the period 1991-2001. The exhibition includes the photographs documenting the conflicts in every part of the former Yugoslavia: Slovenia, Croatia, Bosnia and Herzegovina, Kosovo, NATO intervention on Yugoslavia, and Macedonia. Each of the invited photographers selected several photographs of theirs that in his/her opinion best represent the essence of the conflicts that happened in the last decade of the 20th 8

century in the territory of the former Yugoslavia. The photo exhibition is a separate installation in the festival premises: the photographs are exhibited on the cardboard panels hanging from the ceiling on the strings all around the space to create maze through which the visitors advance.

MULTIMEDIA EXHIBITION The Voices of the Missing is a part of the activities by the International Commission on Missing Persons (ICMP) aimed at raising awareness about the missing persons issue and in particular at presenting the public the experience of the family members who have lost their beloved ones in the conflicts in November and December 2001. The exhibition was organised in co-operation with the photographer Haris Memija. In November and December 2001, he visited the members of the associations of the families of the missing persons in Bosnia and Herzegovina that ICMP co-operates with. Haris Memija portrayed them and their individual stories.

Novi Sad was the first and the only Serbian town to host the exhibition titled "The Voices of the Missing".

INTERACTIVE EXHIBITION Lay down Your Arms, Farewell to Arms, Farewell to Wars is a special installation also including a poster with the lyrics of the poem "A Man Sings after War" by Dušan Vasiljev, written in 1920. Within the exhibition a space is organised for the visitors to leave all those items that remind them of war, which they want to get rid of forever.

THE EXHIBITION OF THE APPLIED POSTERS

Farewell to Arms, Farewell to Wars authored by the students of the Arts Academy in Novi Sad: Atila Kuruc, Bojan Miljanović, Valentina Broštean, Željko Katanić, Sara Kujundžić, Tijana Jovanović, Nina Karlavaris, Timotije Odadžić, Svetlana Ninković, and Snežana Nikšić. 9

FILM PROGRAMME: Maja Weiss – Balkan Gunfighters Franci Slak – The Birth of a Nation Helena Koder – Refugee Centre Šahin Šišić – The Planet Sarajevo Nenad Puhovski – Pavilion 22 Koča Pavlović – War for Peace Dan Reed – The Valley Janko Baljak – Anatomy of Pain Maja Weiss – The Road of Fraternity and Unity Igor Zupe – It's Alive - Laibach Occupied Europe NATO Tour Sead and Nihad Kreševljaković, Nedim Alikadić – Do You Remember Sarajevo? Hrvoje Mabić, Nebojša Slijepčević, Nikola Ivanda, Ljubo J. Lasić – Growing up of the "V" Generation Biljana Čakić Veselič – The Boy Who Rushed Dubravko Badalić – There Where We Departed Vlado Dencov – The Long Straight Furrow Aleksandar Davić – Travelling of the Dead Aldin Arnautović, Refik Hodžić – Justice Unseen Ivan Andrijanić, Ivan Stefanović – When you Burn, Burn it Better Boris Mitić – UNMIK Titanic Yll Citaku, Kaltrina Krasniqi – Should I Stay or Should I Go? Jody Barrett, Maria Mok, Maasja Ooms – Kosovo/a Marija Gajicki – Vivisect Velimir Čurguz Kazimir – Bitter Medicine Michael Perlman – The Eyes of the World Davor Konjikušić – The Erased Goran Dević – Imported Crows Boris Mitić – Pretty Dyane

VSF 02 Topic: MY ENEMIES: NATIONALISM AND XENOPHOBIA

Although they have been manifested on a daily basis and in many different ways, nationalism, xenophobia and the speech of hatred are not easy to spot. In the territory of the former Yugoslavia, prior to and during the conflicts, nationalism and xenophobia had been strongly present on the political scene primarily owing to, the centrally co-ordinated speech of hatred. The electronic media – television in particular – played a key role in spreading nationalism, xenophobia and the speech of hatred. They also contributed to the people's having "grown accustomed to evil". Day in, day out, during the ten years of the war in the territory of the former Yugoslavia, the tragic and horrible events followed one another. An ordinary TV viewer was forced to constantly erase the past events from his memory and make space for the new ones, usually even more tragic. The memory of the people, used to evil around them in those years, became shorter and shorter. The wars waged in the territory of the former Yugoslavia are certainly some of the key reasons for the rise of nationalism, xenophobia and the speech of hatred. However, isolation, war-like environment and unstable political situation in a society cannot be an excuse for the absence of an adequate reaction of the wider public to the emergence of nationalism, xenophobia and the speech of hatred. These phenomena are tightly interconnected, and the tighter the relationship between them, the stronger each of them becomes – and, thus, more dangerous. Today, we face the fact that the majority of people has grown accustomed to the various types of the speech of hatred, nationalistic provocations, and open verbal, even physical conflicts. The behaviour of the people today is increasingly resembles the picture showing three wise monkeys: the first is covering his eyes; the second his ears; and the third his mouth. They do not wish to see the reality around them, to hear the voices reaching them, and to speak of what they have seen or heard. 11

The second issue of VIVISECTfest dedicated to the topic "My Enemies: Nationalism and Xenophobia" offers a programme whose aim is to rise awareness of the threats from the speech of hatred, nationalism and xenophobia at the regional and international level. The programme of the second edition of VIVISECTfest comprises the works of the authors from the territory of the former Yugoslavia and abroad.

THE PHOTO EXHIBITION At the Beginning of the New Century includes 59 photographs by 11 photojournalists from the dailies "Dnevnik" and "Magyar Szò" - Filip Bakić, Čila David, Aleksandra Erski, Jozef Gergely, Radivoje Hadžić, Aleksandar Jovanović, Djordje Komlenski, Silard Kovač, Branislav Lučić, Andraš Otoš, and Nikola Stojanović.

The exhibition includes the photographs taken in the period 2000-2006, which show the incidents of demolishing tombstones, graffiti of hatred and hooligan behaviour of sports fans. The expansion of nationalistic incidents and graffiti of hatred was particularly present in ethnically mixed communities in Vojvodina. The exhibition was conceived in order to draw attention to the attacks on human dignity, and to warn the public what might happen in a society if such incidents are ignored.

THE PHOTO EXHIBITION Graffiti by Tarik Samarah comprises eight photographs. The photographs were taken in December 2002 in Potočari. The photographs show graffiti written by the Dutch troops on the walls of a plant during their mandate in Srebrenica. The soldiers of the Royal Netherlands Army were, as a part of UNPROFOR - UN peace keeping forces, deployed in Bosnia and Herzegovina between 1993 and 1995, responsible for the safety of the protected zone of Srebrenica.

THE PHOTO EXHIBITION Anno Domini 2002 is a reconstruction of the exhibition of photographs by Ron Haviv "Blood and Honey", set up in Novi Sad in September 2002. The exhibition presents the pages of the book VIVISECT, comprising 64 photographs taken by Ron Haviv together with the related visitors' comments written on blank papers provided beside each photograph.

THE EXHIBITION OF APPLIED POSTERS

titled My Enemies: Nationalism and Xenophobia authored by the students of the Arts Academy in Novi Sad: Snežana Nikšić, Aleksandra Jakovljević, Daša Ćorković, Dragan 12

Bibin, Filip Z. Nemet, Laslo Antal, Nevena Katanić, Nikola Berbakov, and Tanja Mirković.

FILM PROGRAMME: Pawel Pawlikowski – Serbian Epics Janko Baljak – Vukovar – Final Cut Goran Dević – I Have Nothing Nice to Say to You Elmir Jukić – A Frame for the Picture of My Homeland Helge Cramer – The Amateurs and the General Lode Desmet – Kosovo: Does Anyone Have a Plan? Iris Elezi – Disposable Heroes Jeanine Butler – Building Bridges Bertram Verhaag – Blue Eyed Rakesh Sharma – Final Solution Ashvin Kumar – Little Terrorist Želimir Žilnik – The Second Generation Želimir Žilnik – Kenedi Returns Home Želimir Žilnik – Kenedi, Lost and Found Želimir Žilnik – Europe Next Door Željko Mirković – Muharem, Music the Eyes of Life Oliver Sertić – Croatia E(n)d-en on Earth Hrvoje Mabić / Fade in – Zagreb is Calling You Ylber Mehmedaliu, Edon Rizvanolli – Shuffle: Politics, Bullshit and Rock'n'Roll Sašo Podgoršek – Divided States of America

VSF 03 Topic: TERRORISM, NO, THANK YOU

Terrorism is the one of the burning issues of contemporary society. It has become a phenomenon, a concept, an idea and a term integrated in everyday life of a contemporary man. Along with the technical, material, and cultural development of human society, terrorism has also been flourishing, yet at a faster pace. Multiple are the causes and the reasons for the formation of terrorist organisations and their brutal actions. Many authors have tried to explore the causes, the forms, and the essence of terrorism as well as the "profile" of a contemporary terrorist. The third edition of VIVISECTfest dedicated to the topic "Terrorism, No, Thank You" offers a programme that explores the issue of identity as being the one of the main causes of terrorism. A search for identity and defending it generate various problems and difficulties both to the individuals and the groups. It is a unilateral, deformed, "destined" and "saving" identity for whose defence one sacrifices everything, even life itself, most often somebody else's, but frequently one's own too. Therefore, terrorism is seen as the only means to defend such identity. Although its roots go back in the ancient past, terrorism is a product of the new age, in particular of the second half of the 20th century. Its causes and motifs are varied. The goal of terrorism is to call public attention to a situation, position and problems of a certain social group or to place them in the foreground in relation to all other problems of a country, region, or even the world; to send a message, most often a political one, about the aspirations and intentions of the group in question. If one takes a more insightful look at it, one can see that in the core of every terrorist motif there is a wish to obtain, maintain and defend individual and/or collective identity. Terrorism threatens all vital elements of the modern society - economy, democracy, freedom, and human rights. The first year of the new century and the new millennium were marked with such threats. That what happened on 14

September 11th, 2001, in the terrorist attack on New York and Washington, according to the number of victims and the degree of the attack, warned us about almost the unimaginable power and different forms of terrorism. When the fact is added that today, according to some FBI's analysis, there are over 3,000 terrorist groups and organisations worldwide which recruit in over 200,000 terrorists, the picture of the modern world becomes even gloomier. Within the third edition of VIVISECTfest, the views of various authors on the issue of global terrorism are presented through the following programmes:

THE PHOTO EXHIBITION War: USA, Afghanistan, Iraq includes 53 photographs by the many times awarded photojournalists and founders of the VII Photo Agency: Alexandra Boulat, Ron Haviv, Gary Knight, Antonin Kratochvil, Christopher Morris, James Nachtwey, John Stanmeyer, Lauren Greenfield, Christoper Anderson.

Starting from September 11th, 2001, the majority of the Americans followed the war against terrorism on TV - yet media coverage of the war was quite different from the reality the American troops were facing in Iraq and Afghanistan. The Photo Exhibition "War: USA, Afghanistan, Iraq" offers an insightful look into everything the USA were facing since the attack on the Twin Towers and the Pentagon, focusing on three serious crises of the 21st century from the social, political and military perspective. The photographs show the scenes ranging from the destruction of the World Trade Centre early in the morning of 9/11, through the search for Osama bin Laden in Afghanistan, to air strikes and the American occupation of Iraq. They are powerful images of the turmoil in the hearts of many people, on three different locations. Novi Sad was the first and the only city in Serbia where the Photo Exhibition "War: USA, Afghanistan, Iraq" was held. The exhibition was organised with the support by the VII Photo Agency LLC, to whom we are grateful for the trust bestowed in us. 15

THE EXHIBITION OF APPLIED POSTERS Terrorism, No, Thank You authored by the students of the Arts Academy in Novi Sad: Stojan Mančić, Nenad Jelovac, Aleksandra Tarbuk, Marko Denković, Velimir Andrejević, Jelena Potkonjak, Žužana Šoti, Marko Brkić, Ana Šimon, Bernard Kosednar, Maja Musulin, Natalija Ninkov, Dušan Zaklan, Vladimir Jovanović, Jelena Ristić, Vanja Jovanović, Milan Čerevicki, and Petar Plavšić.

FILM PROGRAMME: Yulie Cohen Gerstel – My Terrorist Liam Dalzell – Punjabi Cab Pirjo Honkasalo – The 3 Rooms of Melancholia John Sullivan – Home of the Brave – Land of the Free Marianna Yarovskaya, Olesya Bondareva – Holy Warriors Beate Arnestad – My Daughter the Terrorist Eric Foss, Greg Kelly – Beyond Words: Photographers of War Danny Schechter – Weapons for Mass Deception Christian Frei – The Giant Buddhas Christian Frei – War Photographer Line Halvorsen – USA vs. Al-Arian Martin Mareček – The Source

VSF 04 Topic: TOTALITARIAN REGIMES - VIEW FROM INSIDE AND OUTSIDE The twentieth century was marked by two world wars, and many local wars and revolutions in between, the raise of the totalitarian movements and the undermining of parliamentary governments, followed by all kinds of new tyrannies, one-party and military dictatorships and seemingly firmly established totalitarian governments relying on the support of the masses. In contrast to the previous decades, after the year of 1989, in many countries political situation changed radically and fast. What at the beginning of the 20th century - when the Berlin Wall fell, the USSR disintegrated, and the Cold War ended, seemed so simple, later turned to be more complex, complicated, and precarious. Totalitarian ideas may long outlive the fall of totalitarianism. The challenges it carries will reappear whenever it seems impossible that political, social or economic disasters may be mitigated in a way man deserves. Mass support to totalitarianism does not arise from ignorance or 'brainwashing'. It arises from ideology that pretends to provide the 'total explanation' of the world and promises to provide the total knowledge of the past and present and reliable prognosis of future. Thus, an ideological way of thinking destroys all ties with reality. The preparation for all that is successful when people lose contact with other people but also with the reality they live in, because when they lose these ties they also lose their ability not only to be open to new experience, but also to think. Ideal subject of a totalitarian state is not a Nazi to the core or a Communist to the core - he is somewhere between the fact and fiction, between truth and lie, and he does not see the difference between the two anymore. The fourth edition of VIVISECTfest, dedicated to the topic "Totalitarian Regimes â&#x20AC;&#x201C; View from Inside and Outside", is aimed at pointing to the totalitarian regimes which during the 20th century led to the most horrible crimes in the name of ideology. 17

Within the fourth edition of VIVISECTfest, the views of various authors, and their political and artistic ideas, that contributed to the fall of totalitarian regimes, with a special review of the situation in the former Communist countries, were presented.

THE PHOTO EXHIBITION titled The Fallen Angels of the Communist Ideology includes 40 photographs by Jaroslav Pap. The exhibition documents the Romanian Revolution of 1989 at its source – in Timisoara. It features the images of top professional quality, which are at the same time not only worthy documents of the recent history of the Romanian people, but also a chronicle of the collapse of the Communism in Europe. Owing to the negatives that photographer Jaroslav Pap has preserved, we set up an exhibition on the occasion of the 20th anniversary of the fall of the Communism in Eastern Europe, by which we wanted to draw public attention to the past events in Romania, too, which are as significant as the fall of the Berlin Wall or the revolutions in Czechoslovakia, Hungary and Poland.

THE PHOTO EXHIBITION titled Cuba Now features 70 photographs by Olja Stefanović Triaška. The photographs were shot in 2005 in Havana, in the city quarters not accessible to the foreigners. The exhibition offers quite a different view on Havana and Cuba by showing the scenes from everyday life of the Cuban people the public is less familiar with.

PRESENTATION

of the Black Book of Communism: Crimes, Terror, Repression which gives an overview of less known facts about torture, repression and crimes by the 20th century Communist regimes. The book was written by French historians - Stéphane Courtois, Nicolas Werth, JeanLouis Panné, Jean-Louis Margolin, Polish historian Andrzej Paczkowski, and Czech historian Karel Bartosek. The largest space in the book is given to the Soviet Union, and it also gives details of the events in Spain, Poland, Central and South-Eastern Europe, China, North Korea, Laos, Cambodia, Latin America, Africa and Afghanistan. The book also contains the information that became available after the opening of the archives in the former Communist countries - The Gulag archives, Czech archives, and Stasi archives in former East Germany.

FILM PROGRAMME: Želimir Žilnik – Early Works Želimir Žilnik – June Turmoil Sigrid Faltin – La Paloma Bernard Cuau – Words and Death: Prague in Stalin's Era Alexander Gutman – The Sunny Side of the Road Daya Cahen – The Stalin That Was Played By Me Raffaele Bruneti, Stefano Missio – Che Guevara: The Body and the Legend Carles Bosch, Josep M. Domenech – Balseros - The Cuban Rafters Rafael Lewandowski – Children of Solidarnošć Miroslav Dembinski – A Lesson of Belarusian Linda Jablonska – Left, Right, Forward Dariusz Jablonski – Photographer Tony Wilson – Confessions of a German Soldier Marcus J. Carney – The End of the Neubacher Project Dinko Tucaković, Milan Nikodijević – Censored without Censorship

VSF 05 Topic: WELCOME TO THE REAL WORLD

Human rights are universal and indivisible: they are intended for the whole world and are endowed to everyone, without distinction as to gender, national origin, or religious, political or any other affiliation. Respect and observance of human rights are necessary to enable everybody to live in dignity, all over the world. All human beings are born free and equal in dignity and rights, and should act towards one another in the spirit of brotherhood. What we are greatly depends upon our gender, ethnic and social origin, our political and religious affiliations and our mother tongue. Everyone has the right to be recognised as a legal entity. No one should be subjected to arbitrary interference with his privacy, or to attacks to his honour and reputation. Everybody has the right to the protection of the law against such interference or attacks. Human beings have the right of thought and religion. This freedom to maintain a deep personal belief and religious affiliation is an absolute right and no boundaries are accepted. To live in dignity implies the right to adequate housing, where people can live in security, peace, and dignity. Education is the key for economic activity and professional lives, while the lack of education is often a synonym for poverty. The work is important because it can beat poverty and ensure a decent life for a human being. Everybody has the right to own property alone as well as in association with others, and no one shall be arbitrarily deprived of his property. Everybody has the right to freedom of movement and residence within the borders of each state. Everyone has the right to leave any country, including his own, and to return to his country. To have one's own opinion, to express one's attitude, or exchange ideas and information is what enables social exchanges and political debates in a country. 20

Although the Declaration on Human Rights has been universally accepted, there are still a huge number of those who are not able to demand that their fundamental human rights be observed, either because they do not know what these rights are or because the mechanisms for their protection have yet not been well developed. The fifth edition of the Festival on Human Rights - VIVISECTfest presents the work of the authors who pinpoint the challenges many people in the world today are faced with in exercising their fundamental human rights. The documentary films and photographs by the authors from various age groups worldwide bring stories about the people living on the social, economic, and cultural margins in different parts of the world - from Thailand, through Venezuela, Salvador, the United States of America, Iran, Great Britain, Denmark, Germany, Afghanistan, Russia, Australia, Nepal, to Croatia, Montenegro, Serbia, and Kosovo. There is a huge gap between the world we have and the world we want. However, it is important to know that despair never means complete loss of hope, hope always exists. A different world is not only possible but necessary. Therefore, the work on the development and promotion of the culture of human rights and their protection is a continual process that should be maintained and adapted to the specific social, historical, cultural and economic conditions. The programme of the fifth edition of VIVISECTfest comprises the works of the authors from various age groups from the whole world.

THE PHOTO EXHIBITION

by Manca Juvan titled People on the Margins presents the images of the lives of people living on the margins of the society in Afghanistan, Venezuela, Slovenia, Iran and Thailand. In Slovenia, the discrimination against the Roma people is still present. In Afghanistan, many women end up in prison on the grounds of the so called 'moral crimes', such as adultery, second marriage or running away from home. Thirty per cent of the population of Afghanistan suffering from the post-traumatic stress disorder are committed to inadequate psychiatric institutions where "no one helps them but God". The number of heroin addicts in Kabul is growing on a daily basis, and drug is still easily available and extremely cheap. In Venezuela, a country with the "socialism of the 21st century" not everyone can live safely, and the crime is still worsening, in particular in its capital - Caracas... 'Kathoey' or male-female transvestites have for a long time been a part of the Thai entertainment scene. However, they still cannot legally change their sex... The life of the young people in Iran is determined by strict religious rules established by the authorities...

FILM PROGRAMME: Fredrik Gertten – Bananas!* Lučian and Nataša Muntean – Punam Lučian and Nataša Muntean – Journey of a Red Fridge Leslie Neale – Juvies Ditte Haarlov – One Day Gideon Levy – Lockerbie Revisited Mark Daniels – Comic Books Go to War Bettina Braun – What You Want Joel Marsden – World Vote Now Nikola Vukčević – Henna Bahareh Hosseini – Afghan Girls Can Kick Marc Isaacs – All White in Barking Christopher Bobyn, Andrew Lampard – Two Summers in Kosovo Branko Vilus – Presidential Train Nenad Puhovski – Together Alexander Goutman – Three Days and Never Again Igor Bezinović – Irreversible

VSF 06 Topic: WINNING FREEDOM The efforts to win freedom have been as old as human civilization. Although the term 'freedom' has changed its scope and content throughout history, freedom has always been determined by the goals set by individuals or social groups and by the ability to win freedom in a society. To be free means to get rid of slavery, coercion, compulsion, or repression. Historically, the road to freedom has led from the freedom of one in despotism, to the freedom of few in aristocratism, to the freedom of all in democracy. Poets and artists have always glorified freedom. Under the banner of freedom, the rulers would go into military campaigns, and they would deprive citizens of their freedom under the slogan of freedom. The suppressed and the weak are not the only ones who talk about the freedom, but also different powerful people who promise freedom to the enslaved. It is not about who deprives us of our freedom. We do not have more freedom if we are deprived of it by our family members or compatriots. Absolute power, which is omnipotent, all-knowing and unlimited, always generates non-freedom. Persuasion that there exists a 'cause' is used to justify all the means applied on the road to absolute power. Contrary to those who deprive others of freedom and who always need an excuse, free people do not need any excuse. All the efforts to standardise or limit freedom are in vain. The reason for that is simple: freedom is a universal value. Therefore, everybody may enjoy freedom, but it should also be shared with others. People may enjoy their freedom as long as they do not threaten other people's freedom. An individual should be ready to bear consequences of his deeds and decisions, because freedom is both a 'privilege' and 'a burden'. One of the crucial elements of the fight for freedom is the request to replace the equality in fear with the equality before the law. General and equal laws for all provide protection of individual freedom if they equally apply for all. The state and its representatives cannot be excluded from this rule, nor may some individuals be granted special privileges. Some people's privilege is always other people's discrimination. Freedom is not limited to the privileged classes, it is rather a general condition of all people. 23

The sixth edition of the Festival on Human Rights - VIVISECTfest brings stories about people from various parts of the world who strive to achieve various types of freedom: political, economic, spiritual, creative, freedom to choose friends, lovers or marriage partners, educational and professional freedom, freedom to choose a job, place of residence, way of property disposal and spare time.

THE DOCUMENTARY FILMS made by the authors of different generations from the whole world present the stories about the people from Hungary, Germany, Northern Ireland, France, India, the Republic of Ingushetia, the United Kingdom, Israel, Liberia, Spain, Russia, Sierra Leone, the United States of America, and the European Union. They demonstrate that freedom is not an illusion but reality in which people in all parts of the world may and should live.

FILM PROGRAMME: Tamas Novak, Fruzsina Skrabski – Crime Unpunished Stefan Weinert – Face the Wall Eric Bergkraut – Letter to Anna Kristina Konrad – Greater Freedom, Lesser Freedom Tristan Chytroschek – Songs of War Bennett Singer, Nancy Kates – Brother Outsider - The Life of Bayard Rustin Marko Mamuzić – Heated Blood Bori Kriza – Rocking the Nation Alessandro Negrini – Paradiso Patric Jean – Wall to Wall Ann Van De Vyvere – Home and Away Laurent Hasse – Happiness... Promised Land Nisan Katz, Eyal Zusman – The Locker Room Carlo Ghioni – Penalty Kick Wendy Champagne – BAS! Beyond the Red Light Shirly Berkovitz – The Way Up Antoine Cattin, Pavel Kostomarov – The Mother Meshakai Wolf – Flames of God Agatha Maciaszek, Albero Garcia Ortiz – The Ulysses Fatima Mutsolgova, Elena Michajlowska – Legends of Ingushetia Brindusa Ioana Nastasa – Dinner with Pinochet Gini Reticker – Pray the Devil Back to Hell Silvia Venegas Venegas, Huan Antonio Moreno Amador – The Children of Mama Wata 24

VSF 07 Topic: QUEST FOR DEMOCRACY

Democracy is a universal value, based on the free will of the peoples to determine their political, economic, cultural, and social system and fully participate in all aspects in community. During 20th century, the democracy became the most frequent formula of political rule legitimising. Though an impression may be gained that we "live in the world surrounded by democracy like air", the democracy issue is today almost equally topical as at the time of its first steps, more than two millennia ago. The democratic option as a political idea, as a type of political regime, as a form of rule organisation, has been relied upon by various political philosophies and various political movements â&#x20AC;&#x201C; liberal, conservative, capitalistic, socialist, cosmopolitan, globalist â&#x20AC;&#x201C; which are, indeed, very opposite to their original orientations and strategic objectives. With the occurrence of globalisation, the democracy has gradually gained a new, it seems, even more complex and controversial dimension. At the beginning of 21st century, it was established that there were around 120 countries formally declared as democratic. However, there are large differences in their qualitative characteristics, tradition, ranges, spread, and depth of the accomplishment of democratic values, approaches, principles, and procedures. Democracy is not only a form of political organisation of a society, it is also the way of life. Therefore, the democracy notion may not be restricted only to economic, legal and political, technical, and institutional spheres, rather it must be related to the quality of life of any citizen. If a transformation of an individual into a citizen is a basic democracy assumption, which results in his social status and way of life, then, it is realistic to expect democratic states where equal life quality is ensured to all of citizens. At the moment when democratic ideal, on the one hand, gains a new momentum thanks to revolutionary events in the Arab world, and, on the other hand, "fades away" in the battle with the economic crisis gone wild in the so-called "old democracies", the very idea of democracy must be 25

reviewed. If the main task of the democracy is to ensure equality among people, to make them equal in their freedoms, rights, and chances, then, the main challenge of democracy nowadays is how to make it more usable, effective, reliable, rightful, and equitable for any citizen. The seventh edition of the Festival on Human Rights - VIVISECTfest offers the programme aimed at promoting critical thinking of people not only about the fundamental democracy postulations, but also about the routes of further democratic development. Disappointment in politics and in political elite results in an increasing apathy and proneness to abstinence. To take the route of actual democratic society transformation from the current situation where citizens feel frustrated, citizens must realise that the democracy is not a luxury, rather the right to be won by themselves to preserve the existing and acquire new rights and freedoms.

THE DOCUMENTARIES

by the authors of various generations throughout the world critically review numerous challenges of modern democracy, looking for the answers to some of the key questions of the contemporary world: - Is there only one, universal model of democracy applicable to all societies? - What are the restrictions and possible alternatives to further democratic development? - How to maintain the fundamental democracy postulations and win new freedoms and rights? - What is the role of citizens in society democratic reconstruction?

FILM PROGRAMME: Javeria Rizvi-Kabani, Jonny von Wallström, Alexandra Sandels – Zero Silence Ekaterina Kibalchich – Belarusian Dream Hans Hermans, Martin Mat – Justice for Sergei Eline Flips – Our Newspaper Logan Mucha – East Bloc Love Jacques Sarasin – Ecuador Maria Goinda – Cartonera Irena Fabri – Here I am! Mina Djukić – YUGO, a short autobiography Vanja Sviličić – Am I Happy what? 26

Photo Exhibition:

WAR IN THE FORMER YUGOSLAVIA VIEW FROM INSIDE AND OUTSIDE The exhibition of the photographs "War in the Former Yugoslavia: View from Inside and Outside" is a unique collection of war photographs taken by photojournalists from the territory of the former Yugoslavia and foreign press photographers who were shooting conflicts in the former Yugoslavia in the period 1991-2001. The exhibition includes the photographs showing conflicts in every part of the former Yugoslavia: Slovenia, Croatia, Bosnia and Herzegovina, Kosovo, NATO intervention on Yugoslavia, and Macedonia. This joint exhibition of war photographs by photojournalists from the territory of the former Yugoslavia and from abroad represents a new practice in the processes of dealing with the past. In this process, photography is one of the important elements whose aim is to enable the wider public to see, at one place, all the horrors and consequences of destruction in war. The exhibited photographs were taken by 15 photojournalists, nine among them coming from the countries where the conflicts took place (Slovenia, Croatia, Bosnia and Herzegovina, Kosovo, Serbia, Macedonia) and six foreign photojournalists: Darko Bandić, Martin Candir, David I. Gross, Diego Andres Gomez Devetak, Boris Grdanoski, Ron Haviv, Visar Kryeziu, Danilo Krstanović, Gary Knight, Borut Krajnc, Paul Lowe, Massimo Sciacca, Tone Stojko, Andrew Testa, and Barbara Čeferin. The photojournalists who were invited to take part in the implementation of the joint exhibition are professional photojournalists who covered the conflicts in the territory of the former Yugoslavia. Each of the invited photographers selected several photographs that, in his/her opinion best represent the essence of the conflicts that happened in the last decade of the 20th century in the former Yugoslavia. 28

The selectors of the joint exhibition of photographs (Veton Nurkollari, Marija Gajicki and Smiljka Vukelić) selected 90 photographs that constitute the exhibition. PHOTOGRAPHERS Darko Bandić Martin Candir David I. Gross Diego Andres Gomez Devetak Boris Grdanoski Ron Haviv Visar Kryeziu Danilo Krstanović Gary Knight Borut Krajnc Paul Lowe Massimo Sciacca Tone Stojko Andrew Testa Barbara Čeferin

Photographer: Tone Stojko

Slovenia, Brnik, June 27, 1991 The soldier of Yugoslav National Army.

Tone Stojko He was born in 1947 in Strezina near Ormož. He studied journalism and worked as a photographer and photography editor in the MLADINA weekly. He is one of the MLADINA's photographers who documented the first conflict in the former Yugoslavia, in Slovenia, 1991. His photographs were published in MLADINA's book "Ten Days of War for Slovenia" (1991). He is engaged in theatre photography and has taken over 150,000 theatre photographs. In 1992, together with Simon Stojko Falko he founded the theatre documentation centre in Ljubljana - Prodok and Prodok Teatar TV. He exhibited at 50 solo exhibitions, published six books of photographs and a book of short stories. He is recipient of the following awards: STUDIA, Press Photo YU (1972), Golden Fish (1973), Prešeren Fund Award for photography (1984), EFIAP, Grand Prix and Golden Plaquette for his collection of photographs at the Triennial Exhibition "Theatre in Photographic Art" (1989), and the Župančič Award (1993). 29

Photographer: Borut Krajnc

Slovenia, June 27, 1991 Burning Tank of Yugoslav National Army was stopped.

Photographer: Barbara Ä&#x152;eferin

Slovenia, Ljubljana, June 1991 Parents from other republics of Yugoslavia came a few days after the war in Slovenia visited their children who were serving the army in Slovenia.

Borut Krajnc He was born in 1964 in Ljubljana. He studied at the Faculty of Economy, and since 1990, he has been a professional photographer. As a photojournalist he worked for the students' magazine "Tribina" (19881989) and the "Demokratija" (1990); since 1991 he has been a photojournalist of MLADINA. He covered the political and social changes in Slovenia, and following the 1991 war, the accession of Slovenia to the European Union. He is one of MLADINA's photographs who recorded the first conflict in the former Yugoslavia, in Slovenia in 1991. His photographs were published in MLADINA's book "Ten Days of War for Slovenia" (1991).

Barbara Ä&#x152;eferin She was born in 1968. She was a photographer of the MLADINA weekly (1989-1994), editor of photography in the "Jana" magazine (1996-2003). She is one of the MLADINA's photographers who documented the first conflict in the former Yugoslavia, in Slovenia, 1991. Her photographs were published in MLADINA's book "Ten Days of War for Slovenia" (1991). In 2003, she opened the first privately owned photo gallery in Ljubljana (www.galerijafotografija.si) which organises the exhibitions of the Slovenian and foreign photographers.

Photographer: Diego Andres Gomez Devetak

Slovenia, Kog, July 4, 1991 A Boy.

Photographer: Ron 32 Haviv

Croatia, Vukovar, Fall 1991. Croats being expelled after the fall of Vukovar.

Diego Andres Gomez Devetak He was born in 1961 in Buenos Aires. He came to Slovenia in 1984 and enrolled in the Academy of Theatre, Radio, Film, and Television (AGRFT). Since 1989, he had been working for the weekly magazine MLADINA. He is one of the MLADINA's photographers who documented the first conflict in the former Yugoslavia, in Slovenia. His photographs were published in the MLADINA's book titled "Ten Days of War for Slovenia" (1991). He is a co-founder of the "Manjana" photo studio. He passed away in Ljubljana in 2005.

Ron Haviv He was born in 1965. As a photojournalist, he covered the fall of the Berlin War, the release of Nelson Mandela, cocaine wars in Columbia, the Gulf War, the fights of the Kurds in Iraq, conflict in Russia, refugees in Rwanda, and political upheaval in Haiti. He was one of the first photojournalists who reported about the war in the former Yugoslavia. His book "Blood and Honey: A Balkan War Journal" is a testimony to the conflicts from their beginnings in 1991, when Yugoslavia disintegrated, until 2001 when the atrocities in Macedonia started. He is a recipient of a number of awards for photography, the awards World Press, Picture of the Year, Overseas Press Club, and Laika Medal of Excellence included. Ron Haviv is a co-founder of VII Photo Agency (www.viiphoto.com). 33

Photographer: Paul Lowe

Bosnia and Herzegovina, Sarajevo Egyptian UN soldiers help wounded Bosnian civilians to safety after a mortar attack on the city centre.

Paul Lowe He was born in 1963. He studied modern history at the Cambridge University (1983-1986), and documentary photography under David Hurn at the "Gwent" college (1986-1988). Since 1988, he has been working as a freelance photographer - for The Sunday Telegraph (1989-1990), and The European Newspaper (1990-1992). In the period 1993-2001, he was a member of the "Magnum" photo agency, and since 2002, he has been a member of the "Grazia Neri" photo agency and his work is represented by "Panos Pictures" in Great Britain. Through the "Magnum" agency his photographs had been published till 2001 in Time, Newsweek, Life, Stern, Der Spiegel, El Mundo, The Telegraph, The Observer, and The Independent. He documented the conflicts in Northern Ireland, the end of the Cold War, the fall of the Berlin Wall, the Romanian Revolution, the German reunification, the release of Nelson Mandela, everyday life in Beirut, the war in the former Yugoslavia, the Soviet 34

Union's nuclear programme testing, the famine and the civil war in Somalia, the diamond mines in Angola, the siege of Sarajevo, the war in Grozny, the massacre in Rwanda, the famine in Sudan, and the ORBIS programme for the blind in Cuba. He is the winner of Nikon News Photographer and Photo Essay of the Year (1989), Nikon Features Photographer (1990), World Press Photo (1992, 2000), and Vic Odden prize for an outstanding achievement by a British photographer under 35 by the Royal Photographic Society, among other rewards. He is a Course Director for the Masters in Photojournalism and Documentary Photography at the London College of Communication. He is also one of the 'masters' on the WPP master class 2002 for photojournalists on the Balkans, and in conjunction with World Press Photo Foundation he is developing a programme for photographers in the developing countries. 35

Photographer: Massimo Sciacca

Bosnia and Herzegovina, Mostar, April 1995. Peace.

Photographer: Visar Kryeziu

Kosovo, near the village of Bukoš, February 1999. KLA soldier returning from a battle with Serb police forces.

Massimo Sciacca He was born in 1965 in Bologna. After finishing his studies he moved to London where he got involved in photography. Since 1990, as a photojournalist he covered the war in the former Yugoslavia and the first elections in Albania. He documented the life of the young in Sarajevo under siege in 1993, the conflicts in Kurdistan, the Albanian Revolution of 1997, the Kosovo conflict, and the East Timor unrest. He is the winner of the World Press Photograph (1997) and Premio Linea D' Ombra (1998). Since 1998, he has been working for the "Contrast" photo agency.

Visar Kryeziu He started to work as a photojournalist for "Koha Ditore" in 1997, and since 1998, he has been working as a freelance photojournalist for the SIPA Press photo agency and AP (Associated Press).

Photographer: Andrew Testa

Kosovo, Velika Hoča, March 1999. Funeral of Dobrivoje Savalić, a 42 year old Serb civilian killed by the KLA after being kidnapped from the village of Velika Hoča.

Andrew Testa He was born in 1965 in London. He started to work as a photographer in the 1990s for The Guardian and since 1994 for The Observer. He is the winner of the World Press Photo award in Great Britain, Photojournalist of the Year in Kosovo, and Nikon Photo Essay Award for his essay about the protesters in Great Britain. His photographs have been published in the leading world magazines and newspapers, such as Newsweek, Time, The New York Times, Stern, Mare, Der Spiegel, and Geo.

Photographer: Gary Knight

Kosovo, 1999. House 19, Kapasnica in the Albanian quarter of Peja. Neighbours claim that Serb para-militaries from a unit known as "Frankies Boys" murdered several ethnic Albanians in this house.

Gary Knight He was born in 1964 in England. He began working as a photographer in mid 1980s in South East Asia. His first assignment as a photojournalist led him to Indo-China, where he covered the bloody war that was supposed to end the Cold War. He moved to the former Yugoslavia in 1993, where he started documenting war crimes and crimes against humanity, the issues that have become his main topic to date. Gary Knight is primarily interested in the issues such as human rights, crime and responsibility. A large number of his photographs have been published by media all over the world. He has been a contract photographer for Newsweek Magazine and former trustee of the Indo-China Media Memorial Foundation. With the writer Anthony Lloyd he published the book "Evidence - War Crimes in Kosovo" which investigates breaching of the Geneva Conventions. He is a co-founder of VII Photo Agency (www.viiphoto.com). 39

Photographer: Martin Candir

Vojvodina, Novi Sad, April 22, 1999 Around 03.15 p.m. NATO forces hit the Ĺ˝eĹželj bridge on the Danube with four missiles, it was the only remaining bridge in Novi Sad.

Martin Candir He was born in 1958 in Novi Sad. For ten years he had been working for the "Dnevnik" daily newspaper as a photojournalist, and since 1992, he has been a freelance photographer. In the former Yugoslavia he won numerous awards for his photographs, the 1977 "Golden Eye" Award being among them. He has exhibited at over 100 joint and 60 solo exhibitions in the country and abroad. He is engaged as a photo editor in a number of magazines, and has published over 10 monographs and other publications. 40

Photographer: Boris Grdanoski

Macedonia, Bitola, June 7, 2001 Macedonia crisis - Relatives of a Macedonian soldier mourn during a funeral at Bitola cemetery.

Boris Grdanoski He was born in 1964 in Skopje. Since 1992, he has been a freelancer, and since 1997 he has been working for AP (Associated Press). He is a recipient of many awards for the press photography in Macedonia. He participated at a number of joint exhibitions.

Photographer: Darko BandiÄ&#x2021;

Kosovo, 2001. Kosovo children playing in the place where depleted uranium was used during American bombardment of Serbian positions in 1999.

Photographer: David I. Gross

Kosovo, Suva Reka, April 19, 2002 Investigators for the International Tribunal of the former Yugoslavia (ICTY) reburied many of the bodies they examined in "graveyards of the unidentified". A single grave might have 40 sets of remains, in decaying bags and boxes.

Darko BandiÄ&#x2021; He was born in Zagreb in 1967. He studied world history and geography at the Zagreb University. Since 1991, he has been working as a freelance photographer for AP (Associated Press) and other media organizations. As a photojournalist, he covered the wars in Croatia, Bosnia, Kosovo, and Macedonia. By Associated Press he has been sent on numerous assignments in Asia and the Middle East including Iran, Iraq, Egypt, Israel, Palestine, and Afghanistan.

David I. Gross He was born in Malaysia but grew up in the Northern California. He graduated philosophy from the U.C. Berkeley. We worked as an art director in Prague and the Silicon Valley. He left the business world in 1999 and fled to Kosovo, behind the German NATO tanks. He joined the project involving the search for the people that went missing in the conflict. As a photojournalist he reported from Iraq, where he photographed mass graves, and the Kurdish army in the North. He won the World Press Photo award for the year 2003.

Photographer: Danilo KrstanoviÄ&#x2021;

Bosnia and Herzegovina, Bratunac, 2004. A Srebrenica Woman at Mass Grave.

Danilo KrstanoviÄ&#x2021; He was born in 1951 in Sarajevo. He has been involved in photography since his early age. His professional work started in 1972 in "Oslobodjenje", and since 1995, he has been doing assignments for the Reuters news agency. As a photojournalist he covered the war in the former Yugoslavia. During the conflict in Bosnia and Herzegovina, he had two exhibitions about Sarajevo the first one in 1993, titled "War Images of Sarajevo", and the exhibition titled 44

"Sarajevo". The latter has toured Europe and in 1996, it was bestowed to the Art Gallery of Bosnia and Herzegovina. In the former Yugoslavia, he won many awards for his photographs. He also won several international rewards. He published three books of photographs: "Sarajevo - a Wounded City", "Sarajevo" and "Sarajevo Self-Portrait". He passed away in Sarajevo in 2012. 45

Photo Exhibition:

AT THE BEGINNING OF THE NEW CENTURY The exhibition of photographs "At the Beginning of the New Century" includes 59 photographs shot between 2000 and 2006 in several towns of Vojvodina. Vojvodina is characterised by its ethnically diverse population and it represents an ethnical phenomenon - 29 ethnic groups live there. In the period 2000-2006, a rise in radical national feelings has been recorded, not only by the members of the majority ethnic community, but minority groups as well. Insulting graffiti, predominantly in urban environments, are a testimony to the fact that over the years there is a growing list of the others, toward whom intolerance is, demonstrated (Hungarians, Serbs, Albanians, Croats, Roma, Jews, Bosniaks, political parties, homosexuals, etc.). The expansion of nationalistic incidents and graffiti of hatred was particularly observed in the ethnically mixed communities. Graffiti written at the beginning of the new century and millennium do not only indicate what is happening in a society, but also insinuate what is going to happen in near future. The exhibition includes 59 photographs by 11 photojournalists from the dailies like 'Dnevnik' and 'Magyar Szò' - Filip Bakić, Čila David, Aleksandra Erski, Jozef Gergely, Radivoje Hadžić, Aleksandar Jovanović, Djordje Komlenski, Silard Kovač, Branislav Lučić, Andraš Otoš, and Nikola Stojanović. 46

PHOTOGRAPHERS Filip Bakić Čila David Aleksandra Erski Jozef Gergelj Radivoje Hadžić Aleksandar Jovanović Djordje Komlenski Silard Kovač Branislav Lučić Andraš Otoš Nikola Stojanović

Photographer: Čila David

Novi Sad, September 12, 2001 Graffiti wording: For the Sake of Race and Nation. White Generation. Long live the Victory.

Čila David She started taking photographs as early as in primary school, owing to Andraš Otoš Senior. She is a member of the "Branko Bajić" Photo Cine Club. In 1986, she graduated from the Yugoslav Institute for Journalism, Belgrade, mentored by Tomislav Peternek, a legend of the Yugoslav reportage photography. Since 1987, she has been working in Magyar Szò as a disciple of Bora Vojnović. In 1994-1995, she initiated and edited Sunday's photo-pages supplement to the Magyar Szò daily. She is the author and co-author of many exhibitions and recipient of many awards. In her photographs floods, earthquakes and rallies have been recorded. During the war in the former Yugoslavia, she was arrested on a number of occasions. For her photography taken on October 5th, 2000, she won the Silver Peacock Feather award, and for one of her photographs showing the floods in Vojvodina she received the Golden Peacock Feather award. Her photographs of the Čenej Farmsteads, 2004, won the first prize. The photographs by Čila David have been published in a number of magazines and newspapers in Serbia and abroad. Her photographs have also been used to illustrate books, posters, catalogue, and advertisements. 47

Photographer: Radivoje Hadžić

Novi Sad, September 4, 2002 Graffiti wording: Serbia to the Serbs, Axe to the Romas.

Photographer: 48 Stojanović Nikola

Sremska Kamenica, May 8, 2002 Graffiti wording: We're gonna kill Djindjić.

Radivoje Hadžić He graduated from the Faculty of Law in Novi Sad. In 1980, he started his co-operation with the Voice of the Young magazine, and since 1989, he has been working as a journalist in the Dnevnik daily. His photographs have been published in many magazines and newspapers throughout the former Yugoslavia.

Nikola Stojanović He has been engaged in photography since 1977, when he started working in the "Branko Bajić" Photo Cine Club, first as Secretary, and then as Chief of the photo department. In 1986, he established the 'Imago' Photo Studio, and since 2001 he has been working as Chief of the photo department in Dnevnik-Vojvodina Press. He is a member of UPIDIV. He exhibited at more than 100 collective exhibitions and several solo ones.

Photographer: Silard Kovač

Photographer: 50 Aleksandar Jovanović

Doroslovo, January 9, 2003 On the road sing board in Serbian, Cyrillic and Latin, the name of the village in Hungarian is crossed off and 4-S symbol is drawn. Doroslovo (Hungarian Doroszló) is predominantly Hungarian village with a population of 1,830 inhabitants. It is located in the municipality of Sombor.

Novi Sad, Catholic Graveyard, September 29, 2003 Vandals destroyed 77 gravestones in Catholic cemetery.

Silard Kovač He graduated from the Faculty of Sciences in Novi Sad, Department for Ecology. He is a professional photographer, an artist, a biologist and a nature lover.

Aleksandar Jovanović He was initially involved with the photography in the Gradjanski list, and then in 2002 he started to work as a photojournalist for the Magyar Szò daily. Since 2004, he has been working with the Politika daily. At the competition organised by the Beta News agency in 2004, his photograph was declared the best photograph of the year. That same year, 2004, his photograph on the topic of ethno-tourism won the Bronze Peacock Feather.

Photographer: Branislav LuÄ?iÄ&#x2021;

Novi Sad, Catholic Graveyard, September 29, 2003 Family members next to the destroyed gravestones in Catholic cemetery.

Photographer: Djordje Komlenski

Novi Sad, June 15, 2003 Fans rampage in the city centre after the national water polo team of Serbia and Montenegro won at the European Championships in Kranj (Slovenia). The celebration of fans grew into hooligan rampage. They demolished the town square, nearby McDonald's, as well as City Hall and broke a number of shop windows. Like many riots, these had a political connotation too, since the most aggressive ones were chanting Mladic and Karadzic. The police intervened violently, using water cannon and firing into the air in order to disperse the hooligans. There were several dozen casualties on both sides, and one young man was shot in the stomach.

Branislav LuÄ?iÄ&#x2021; He is a photojournalist in Dnevnik-Vojvodina Press. He is a member of the Association of Applied Arts Artists and Designers of Vojvodina (UPIDIV). He co-operates with a number of cultural institutions of Novi Sad: The Matica Srpska, Serbian National Theatre, Sterijino Pozorje festival, Brankovo Kolo, and Prometej publishing company. He is the author of over ten solo exhibitions and took part in many collective exhibitions. His photographs have been published in many national and international monographs, magazines, and publications.

Djordje Komlenski He has been engaged in photography since 1996. He worked as a cameraman for "Sveti Sava" Television, and since 2000, he has been associate photojournalist for Dnevnik-Vojvodina Pres.

Photographer: Aleksandra Erski

Novi Sad, May 7, 2004 Graffiti wording: Kill, Slaughter, so that there is not any Shiptar (Albanian) left!

Photographer: 54 BakiÄ&#x2021; Filip

Novi Sad, November 23, 2004 Graffiti wording: We're gonna kill TadiÄ&#x2021;!

Aleksandra Erski She has been engaged in photography since 1996. She worked as a photojournalist in the Danas daily. She works on a full-time basis with Dnevnik-Vojvodina Pres. She took part in five joint exhibitions and two solo ones.

Filip BakiÄ&#x2021; He got involved in photography as early as a pupil. He works as a professional photojournalist with the Dnevnik-Vojvodina Pres.

Photographer: Andraš Otoš

Novi Sad, October 25, 2005 Graffiti wording: (Do not) wait for uprising, come to your senses, Serbian children, we slaughter Hungarians.

Photographer: Jozef Gergely

Ostojićevo, September 20, 2006 On the road sing board in Serbian, Cyrillic and Latin, the name of the village in Hungarian is crossed off. Ostojićevo (Hungarian Tiszaszentmiklós) is a village of in the municipality of Čoka with a population of around 3,000 inhabitants. Serbs, Hungarians, Slovaks and Poles live in this village. Ostojićevo is the only village in Vojvodina where Poles live.

Andraš Otoš He got involved with photography in early childhood. He was introduced to the secrets of taking photographs and shooting films by his father, Andraš Otoš, Sr. In the former Yugoslavia, being still a pupil and a secondary school student, he won twelve first prizes at the national competition of little technicians in the film category. He is a recipient of many awards for his work as a photographer and cameraman. Since 1984, he has been a photojournalist of the Magyar Szò daily. As the photojournalist, he has covered all important political and sports events. During the war in the former Yugoslavia, he covered the events in Serbia, Croatia, and Kosovo. Together with Laslo Dorman, in Hungary and France, he organised an exhibition of war photographs, which won the Forum Award. In 1989, he won the Tanjug Special Award for Sports Photography. Since the establishment of the Donau Television, in cooperation with his colleagues he reports as a video journalist for the diaspora desks, as well as for the Second Channel of the Hungarian Television.

Jozef Gergely He graduated in biology from the Faculty of Sciences, University of Novi Sad in 1982. Since 1984, he has been working in the Senta office of the Magyar Szò daily. In addition to journalism, he is engaged in ecological and ornithological research. He is the author of a number of solo exhibitions in Senta, Ada, Subotica, Novi Sad, Budapest, and Hódmezővásárhely.

Photo Exhibition:

GRAFFITI

The "Graffiti" exhibition of photographs includes 8 photographs by photographer Tarik Samarah. The photographs were shot in December 2002 in Potočari. The photographs show graffiti written by the Dutch soldiers on the wall of the local plant during their mandate in Srebrenica. The units of the Royal Netherlands Army were, within UNPROFOR - UN peace keeping forces, deployed in Bosnia and Herzegovina between 1993 and 1995, and were responsible for the safety of the Srebrenica protected zone.

Tarik Samarah was born in 1965 in Zagreb. He lives and works

in Sarajevo. He is engaged in artistic and documentary photography. He is a member of the Association of artists of Applied Arts of Bosnia and Herzegovina (ULUPUBiH). He was awarded the ULUPUBiH Grand Prix award in 2005. Professionally, he is represented by the Grazia Neri from Milan. The "Srebrenica - Genocide at the Heart of Europe" project was first presented to the public in March 2003 by displaying the large-format photographs (5 x 7 m) from his scope of work titled "Knife, Wire, Srebrenica" above the "Eternal Fire" in Sarajevo, the symbol of the fight against fascism in the Second World War. During 2003, his photographs were displayed as jumbo posters, billboards and city lights (over 450 copies) in other towns of Bosnia and Herzegovina as well, both across the Bosnian Federation and the Republic of Srpska. In 2003, he donated the "Srebrenica" photographs to OHR and the Srebrenica Foundation, and campaigned for collecting the funds to build the "Srebrenica - Potočari" Memorial Centre and Cemetery. His first individual exhibition "July 11th" was set up at the memorial Centre in Potočari in March 2003, and the whole exhibition was donated to the Memorial Centre, which opened the question of establishing the museum at Potočari. This exhibition has been censored by the international community in Bosnia and Herzegovina. 59

"Bosnian Girl", his collective work with conceptual artist Šejla Kamerić, has been presented throughout Bosnia and Herzegovina, Germany, Czech Republic, Austria, the Netherlands, Japan and elsewhere. In the form of the poster, this artwork was displayed in Sarajevo during 2003. His "Srebrenica" photo exhibition was on June 22nd, 2005, presented at the Dutch parliament in the Hague. In June 2005, in co-operation with the Human Rights Initiative of the Young from Serbia and Montenegro, he put up the posters with the photographs from Srebrenica titled "To See, to Know, to Remember" in several cities of Serbia and Montenegro. Simultaneously, the posters were also displayed in Zagreb and Sarajevo. At the tenth anniversary of the fall of Srebrenica, on July 11th, 2005, the photo exhibition titled "Abandoned at Srebrenica: Ten Years Later" was displayed at the Washington Holocaust Memorial Museum. Some of these photographs were also displayed at the collective photo exhibition in the UN Building and the Turkish Centre in New York. In co-operation with the Sarajevo Centre for Contemporary Art and La Benevolencija, in July 2005, he displayed the photograph titled "1945-1995-2005" to mark the tenth anniversary of the fall of Srebrenica and 60 years after the Holocaust. The same photography was displayed between October 2005 and March 2006 in Zagreb, in Praška Street, at the place of the former synagogue, totally destroyed in the Second World War. In July 2005, he published his monograph "Srebrenica". He also exhibited his photographs in the "Mimara" Museum in Zagreb (2006), at the collective exhibition titled 8372 DID NOT COME. 61

Graffiti wording: Good night dear worries.

Photo Exhibition:

ANNO DOMINI 2002

The "Anno Domini 2002" photo exhibition includes 64 photographs by Ron Haviv which were displayed at the "Blood and Honey" exhibition of photographs in Novi Sad in September 2002, together with the comments written beside the photographs by the visitors. The pages of the book VIVISECT, in which Ron Haviv’s photographs and related comments written on blank papers beside the photographs were published, were exhibited. The "Blood and Honey" exhibition of photographs by Ron Haviv is a testimony to the period of conflicts, from their beginnings in 1991, when Yugoslavia disintegrated, until 2001, when the atrocities in Macedonia started. The goal of the exhibition was to start a public discussion on the events and the responsibility for the crimes committed in the territory of the former Yugoslavia. The exhibition was first displayed in Belgrade, and then in Vršac, whereas in Užice, Kragujevac and Čačak its presentation was not made possible. Novi Sad was the last town in Serbia to host the exhibition. The incidents that were recorded during the exhibition displayed in other towns of Serbia influenced the way the Novi Sad exhibition was organised. The groups that provoked the incidents through these towns were using identical mode of behaviour: they were dressed in black T-shirts with the image of the accused in The Hague - Radovan Karadžić or Ratko Mladić and the message "Serbian hero" and "With faith in God and for Fatherland". They requested the exhibition to be closed because it "attacks the dignity of the citizens and the country" and it was "anti-Serb". In order to avoid incidents that happened in other towns, the visitors were given the opportunity to write down their comments on the blank papers beside the photographs. In ten days, the exhibition was visited by some 5,000 people, some of them came only once, others came a number of times, and some others came on a daily basis. A total of 1,200 messages were left beside the photographs. 66

Sometimes, there was only one message beside a photo (for two photos no messages were left); two photos provoked numerous messages, over 44 messages - the portraits of the leaders, both deceased: Tito and Arkan. On the average, one photo provoked 20 messages during the 10 days of the exhibition. Out of the total number of the messages written beside 64 photographs (verbal and non-verbal) the majority of them contain explicit hatred against the others (30%). They are followed by the messages in which by introducing another person's point of view the authors tried to maintain a distance from responsibility and guilt; they hid behind humorous remarks, or gave associations loosely related to the photography; they used commonly adopted idioms, which they transported from another genre or ordinary speech: folk songs, movie quotes, comics, slogans, and TV adds. These messages account for 15% of the messages. Only 8% of the messages reveal that their authors were ready to take collective responsibility, their conscience includes the whole community; and several messages relate to the individual responsibility (2%) and are a testimony to their intimate stories. 10% of the messages involve a dialogue, i.e. one visitor comments the remark of the previous visitor. The messages left beside the photographs by Ron Haviv represent a valuable material based on which one can see how complex is what we call responsibility - which is a precondition to be ready to the dialogue with the others. Between the explicit hatred and annulling the value of the other and the first traces of co-operation there are several stages, but the latter may be reached. The "Anno Domini 2002" exhibition represents our modest contribution to the processes of dealing with truth about the wars and war crimes that marked the last decade of the 20th century in the former Yugoslavia. 67

Ron Haviv One of the first photojournalists who reported about the war in the former Yugoslavia. His book "Blood and Honey: A Balkan War Journal" is a testimony to the conflicts from their beginnings in 1991, when Yugoslavia disintegrated, until 2001 when the atrocities in Macedonia started. He is a recipient of a number of awards for photography, the awards World Press, Picture of the Year, Overseas Press Club, and Laika Medal of Excellence included. Ron Haviv is a co-founder of VII Photo Agency (www.viiphoto.com).

Photo Exhibition:

WAR: USA, AFGHANISTAN, IRAQ

The Photo Exhibition titled "War: USA, Afghanistan, Iraq" offers an insightful look into everything the USA were facing since the attack on the Twin Towers and the Pentagon, focusing on three serious crises of the 21st century from the social, political, and military perspective. The photographs show the scenes ranging from the destruction of the World Trade Centre early in the morning of 9/11, through the search for Osama bin Laden in Afghanistan, to air strikes and the American occupation of Iraq. They are powerful images of the turmoil in the hearts of many people, on three different locations. The authors of the photographs are award-winning photojournalists and founders of the VII Photo Agency: Alexandra Boulat, Ron Haviv, Gary Knight, Antonin Kratochvil, Christopher Morris, James Nachtwey, John Stanmeyer, Lauren Greenfield, and Christopher Anderson.

PHOTOGRAPHERS Alexandra Boulat Ron Haviv Gary Knight Antonin Kratochvil Christopher Morris James Nachtwey John Stanmeyer Lauren Greenfield Christopher Anderson

VII PHOTO AGENCY

The name of VII Photo Agency (www.viiphoto.com) was derived from the number of the photojournalists who founded it in September 2001. Alexandra Boulat, Ron Haviv, Gary Knight, Antonin Kratochvil, Christopher Morris, James Nachtwey, and John Stanmeyer are the original founding members of VII Photo Agency. With their photographs they document social and political conflicts, and reveal injustice people experienced or did to each other. Along with the shocking reality of war in the battlefields, VII Photo Agency covers and documents the subtle changes in societies and cultures throughout the world with equal intensity. The work of Lauren Greenfield, in particular focused on the culture and the identity of the young opens yet another perspective of the Agency's operation. Envisaged from the start as an efficient and technologically equipped centre for the distribution of some of the best world reportages, VII Photo Agency is to be given a lot of credit for the public distribution of many images which defined the turbulent beginning of the 21st century. Their photographs are not only an artistically preserved perspective or academic discussion on society and politics. Each photographer was inspired by a whole range of very different motifs, and this very difference generates the originality and power of the Agency. What unifies the VII Photo Agency photographers is an idea that everything is not yet lost, at least in terms of communications. 71

Photographer: James Nachtwey

USA, New York, September 11, 2001 A fireman probes for survivors in the wreckage at Ground Zero.

James Nachtwey He grew up in the American state of Massachusetts. He graduated from Dartmouth College, where he studied art history and political science. The images of the Vietnam war and the American Human Rights movement were instrumental in his decision to become a photographer. While teaching himself photography, he worked as a truck driver and a port worker. In 1976, he started working as a newspaper photographer in New Mexico, and in 1980, he moved to New York to begin a career as a photographer. His first foreign assignment was to cover civil strife in Northern Ireland in 1981. As a photographer he has covered wars, conflicts, and critical social issues in El Salvador, Nicaragua, Guatemala, Palestine, Indonesia, Thailand, Sri Lanka, Afghanistan, the Philippines, South Korea, Somalia, Sudan, Ruanda, South 72

Africa, Russia, Bosnia, Chechnya, Kosovo, Brazil, Iraq, and the USA. Since 1984, he has been working as a photographer with Time Magazine. He was associated with Black Star from 1980-1985, and a member of Magnum from 1986-2001. His photographs have been exhibited in many galleries and museums throughout the world, including the International Centre of Photography u New York; Bibliotheque Nationale de France, Paris; Palazzo Esposizione in Rome; the Museum of Photographic Arts, San Diego; Culturgest in Lisbon; El Circulo de Bellas Artes in Madrid; Fahey/Klein Gallery in Los Angeles; the Massachusetts College of Art in Boston; the Canon Gallery and the Nieuwe Kerk in Amsterdam; the Carolinum in Prague, and the Hasselblad Center in Sweden. 73

Photographer: John Stanmeyer

Pakistan, Islamabad, September 2001 Head of the Office of the Taliban and other Taliban Officials at the Afghan Embassy, Islamabad.

Photographer: Gary Knight

Iraq, Bagdad, April 2003 Several U.S. Marines of 3rd Battalion were badly wounded by Iraqi artillery at Diyala Bridge, suburbs of Baghdad.

John Stanmeyer He has been a photographer contributor for the Time Magazine and National Geographic since 1998. For over a decade he spent focusing on the social issues in Asia. He had been working on a book that documented the spread of AIDS through Asia, and at the same time covering the radical changes in Indonesia since 1997. He is the recipient of numerous honours and awards, including the Robert Capa, Magazine Photographer of the Year, World Press, and Picture of the Year awards.

Gary Knight He began working as a photojournalist in Thailand. He had lived and worked in the Far East until 1992, when he moved to Europe, to the south of France. His latest images focus on poverty, inequality, injustice, and prejudice. As with any other photographer whose biography you have read, Knight's work has also appeared in numerous publications throughout the world, and in many books, has been exhibited in many museums, and won multiple awards. However, he does not see that all this is helping the people he photographs. Yet, he is optimistic and hopes that situation in the world is going to change.

Christopher Anderson He spent much of his early years in Texas, where his father was a Protestant preacher, before moving to New York, and later on to Paris. His life as a photographer started in the photo lab of the Dallas Morning News, where he learned to develop film and print photographs. In 1993, he started working as a photographer for a newspaper in Colorado. Initially working in colour, he started photographing a wide range of subjects for magazines, from the Russian economic crisis to the Afghan refugees in Pakistan, to the election of Evo Morales as president of Bolivia, to the Haitian immigrants. For his photographs he won the Robert Capa Gold Medal Award (2000), and in 2001, he was named Kodak's Young Photographer of the Year, for his photo showing the stone throwers of Gaza. In 2003, he published his first monograph Nonfiction. 75

Photographer: Ron Haviv

Afghanistan, Kabul, November 2001 Northern Alliance soldiers show off Taliban prisoners of war on the Old Road to Kabul.

Photographer: Alexandra Boulat 76

Afghanistan, Kandahar, December 2001 An Afghan at Mullah Omar's former residence destroyed by US bombing Kandahar.

Ron Haviv He has shot some of the most significant photos which have been published on the covers of world magazines since the end of the Cold War. His photographs have appeared in The NY Times Magazine, Time, Vanity Fair, Paris Match, Fortune, and Stern. He collected and published a number of critically acclaimed books and two of them attracted special attention - Blood and Honey: A Balkan War Journal, and Afghanistan: On the Road to Kabul. His images have been published in many books. He photographed the conflicts and crises in Latin America, Africa, Middle East, Russia, the Balkans, and the war conflicts in Darfur and Congo. He is the winner of the highest accolades in photography including the awards from World Press Photo, Picture of Year, Overseas Press Club, and Leica Medal of Excellence. Numerous galleries and museums throughout the world have featured his photographs, including the United Nations and the Louvre. About Ron Haviv and his work three documentaries have been shot - Freelance in a World of Risks, VIVISECT, and Eyes of the World.

Alexandra Boulat (1962â&#x20AC;&#x201C;2007) She studied graphic art and art history at Ă&#x2030;cole des BeauxArts in Paris. As a photographer she had been working for ten years for Sipa Press, until 2000. Her photographs and photoreportages have been published in many magazines, including Time, Newsweek, National Geographic Magazine, and ParisMatch. She has received many international awards, including Best Woman Photographer (Benvento Oscars, Italy, 2006) and Overseas Press Club - Afghanistan (2003), among others. As a photojournalist Alexandra Boulat also covered the wars in the territory of the former Yugoslavia, the Israeli-Palestinian conflict, the war in Afghanistan and the fall of the Taliban, and the role of women in Islamic nations. Her reportages about Indonesia, Albania, and Morocco were published in the National Geographic magazine. 77

Photographer: Lauren Greenfield

USA, South Carolina, Parris Island, October 2002 Female Marine recruits engage in "combat swim". Although some recruits arrive at basic training without even knowing how to swim, they must take to the water in full battle gear with a 40-pound pack, and an M-16 rifle.

Photographer: Christopher Morris 78

Iraq, Baghdad, April 2003 Charlie Company passes a secondary explosion en route to Baghdad.

Lauren Greenfield She was a photographer whose work deals with the youth culture issues. Her most popular projects on this issue are titled Girl Culture and Fast Forward. In her first feature-length documentary Thin she explores eating disorders, which affect one in seven American women. The film was broadcast on HBO channel (2006), and screened at Sundance Film Festival, the Boston Independent Film Festival, Newport International Film Festival, Jackson Hole Festival, and the Times BFI London Film Festival, where it won the Grierson Award. American Photo named Lauren Greenfield as one of the 25 most influential contemporary photographers. Her photographs have been rewarded numerous awards and published in the magazines including the New York Times Magazine, TIME, The New Yorker, Harper’s, ELLE, Harper’s Bazaar, Stern, American Photo, French Photo, and London Sunday Times Magazine. Her photos have been exhibited and are in many museum collections including the Los Angeles County Museum of Art, the Art Institute of Chicago, the San Francisco Museum of Modern Art, the International Centre of Photography, and the Centre for Creative Photography, the Museum of Fine Arts in Huston, the Harvard University Archive, and the Clinton Library.

Christopher Morris He is a war photographer. For the past twenty years, he has been covering war conflicts, from the American invasion to Panama and Iraq, to the Persian Gulf War, to the drug war in Columbia, to the wars in Afghanistan, Chechnya, Somalia, and the former Yugoslavia. He has received a multitude of awards for his work, including Robert Capa Gold medal award; the Olivier Rebbot award from the Overseas Press Club; the Magazine Photographer of the Year from the University of Missouri; Two Infinity Photojournalist awards from the International Centre of Photography, New York; the Visa d’Or award, and many World Press Photo Awards. 79

Photographer: Antonin Kratochvil

Iraq, Basra, April 2003 Children play with a discarded chemical mask, near Basra.

Antonin Kratochvil He has, like many other photographers, captured in his photos a huge number of human catastrophes and conflicts, thus documenting the time in which he lives. His own refugee life has been much the same as what he has rendered on film. Antonin Kratochvil's unique style of photography, by which he is famed, is the product of personal experience, education, and not privileged voyeurism. His unconventional work was sought by numerous publications. From shooting Mongolia's street children for the Museum of Natural History, to a portrait session of David Bowie for Detour, from the reportages about the war in Iraq for the Fortune Magazine, to shooting Deborah Harry for a national 80

advertising campaign for the American Civil Liberties Union, Kratochvil sees through his subjects and presents the immutable truth. His photographs are not only facsimiles, but uncensored visions of what is going on in the world. Since 1975, he has won many awards, like World Press Photo Awards in the category of general news and nature. In 2005, he released a collection of his photographs titled â&#x20AC;&#x153;Vanishingâ&#x20AC;? about the phenomena in nature and people who are on the brink of extinction. It took Antonin Kratochvil twenty years to prepare this book. 81

Photo Exhibition:

THE FALLEN ANGELS OF THE COMMUNIST IDEOLOGY The photo exhibition documents the Romanian Revolution of 1989 at its source â&#x20AC;&#x201C; in Timisoara. It features the images of top professional quality, which are at the same time not only worthy documents of the recent history of the Romanian people but also a chronicle of the collapse of Communism in Europe. The photographs have been shot by a master photojournalist Jaroslav Pap. The collapse of the totalitarian Communist regimes on the Old Continent started in Poland and Hungary, and then the wave of the democratic coups like a fire spread on other 'block' countries. That this was going to happen many predicted a long time ago, but no one foresaw it was going to end so quickly, spontaneously, and easily. In autumn 1989, in only forty days, like a house of cards, collapsed the very foundation of the system which was imposed in Eastern Europe with the help of the Russian tanks during and after World War II, and maintained for more than forty years with that same force. In the dismantling of the system and tearing down the Berlin Wall, a symbol of the divided Europe and the world, the Soviet Union again played a significant if not a key role. This time, under the leadership of a great reformer Mikhail Gorbachev. Namely, had there not been the democratic changes in the Soviet Union, personified in Perestroika, "openness" and new thought, and the abandonment of the Brezhnev Doctrine about "the limited sovereignty" of the countries of "real socialism" that had been hanging over them like the Sword of Damocles suppressing any thought of departing from the Moscow "Gospel", the democratic changes in Poland, Hungary, Democratic Republic of Germany, Bulgaria, Czechoslovakia and Romania would not have been likely. With the removal of this sword, the communist leaders in those countries remained disarmed when facing the accumulated rage of their subjects. And then happened what had to happen sooner or later. The people took to the streets and said, "Enough is enough!" The revolt, however, was not aimed at the idea of brotherhood among the people and social justice, nor was it sparked by anti-Sovietism and chauvinism; these people rose up to free themselves from the inhuman political system 82

imposed from outside, and from barren economy that led them to the brink of starvation, and in particular to get rid of the power and privileges of their own "red bourgeoisie". They have realised that behind the promised "Communist Eden" there is a fraud by the professional preachers of this "Marxist religion". That was enough to seal the fate of â&#x20AC;&#x153;real socialism" in their respective countries. The Communism ended relatively fast and easily in all socialist countries of that time, except for Romania. "The Ceausescu Era" ended in bloodshed. The Romanian Revolution of the Year 1989 started, by sheer chance, in Timisoara. Its first victims also fell there, and then the uprising spread across the whole country. It was so fierce that the West, at one moment, openly beseeched the Soviet Union to military intervene and stop the bloodshed. The Soviet military aid to the rebels would have been, without any doubt, precious for a faster and less painful overthrow of Ceausescu's regime. However, the fact that the Romanian people won their freedom without outside help was extremely important for the pride of the nation, strengthening of their self-consciousness and enthusiasm for the spiritual, political, and economic renewal. And they managed to do that. Today, Romania is a member country of the European Union, together with other East European and countries of the former "real socialism" countries which following the collapse of the Berlin Wall freed themselves from the Moscow's "brotherly hug". In Europe there are no more totalitarian Communist regimes. Regrettably, it does not mean that all former socialist countries of the Old Continent are equally successful in mastering transition and that they all enjoy, to an equal degree, the advantages of the political freedoms of parliamentary democracy and market economy. In some of them the political elite has tried to maintain their position by replacing the integrating classes principle with the national principle thus transforming the totalitarian Communist regime into an inhuman, repressive creation in the form of extreme nationalism. A pitiful example in that respect is a tragic, bloody disintegration of the former Yugoslavia. Jan Briza 83

Young man of Timisoara with sling â&#x20AC;&#x201C; like David who rose up against Goliath. 84

Demonstrators in Timisoara.

Jaroslav Pap He was born in 1957 in LaliÄ&#x2021;. He lives and works in Novi Sad. He documented in his photos various events in the country and abroad, from political to sports ones â&#x20AC;&#x201C; always trying to be in the right place at the right time. He was a photo editor in the Novi Sad daily 'Dnevnik'. He works as a photojournalist for Tanjug, and won the Golden Nika award at the 17th International Reportage and Media Festival (INTERFER 2012). His nature photos (Vojvodina's plains, wild animals, hunters, etc.) have won three best photo awards by the Yugoslav National News Agency Tanjug.

Street fights.

Young 86 Timisoara rebels carry wounded comrade to hospital.

CHRONOLOGY OF EVENTS: THE ROMANIAN REVOLUTION OF 1989 December 16th First mass protests against the regime of Nicolae Ceausescu in Timisoara, the second largest city in Romania, which at that time had some 350,000 inhabitants. Police together with the military tried to disperse the crowd of some 5,000 citizens. First victims of the clashes fell, a huge number of demonstrators were injured, and many were arrested. The cause for such massive and violent protests was the attempt by the authorities to evict the Reformed church pastor Laszlo Tokes. Before the clashes with the police he was for days guarded by his fellow-citizens â&#x20AC;&#x201C; both Hungarians and Romanians â&#x20AC;&#x201C; who created a live chain around his house.

December 17th In the centre of Timisoara there are some 10,000 protesters. Even more violent and bloodier clashes take place between unarmed civilians, on the one side, and police and army on the other. Enraged protesters attacked the party and government institutions, burned portraits of Nicolae Ceausescu and requested for his tyranny to end. The Hungarian News Agency MTI, and the Szeged Radio and Television broadcasted to the world the first news on the demonstrations and bloodshed in Timisoara. 87

People and army in Timisoara during December revolution.

Capturing Sekuritatea agent. 88

December 20th Romanian President Nicolae Ceausescu signs a decree declaring a state of emergency in the Timis County, with Timisoara as its capital. It was his attempt to end the protests that were getting more and more violent both in the city and its surroundings.

December 21st Mass demonstrations and bloodshed in Bucharest. The protest in the state's capital city was sparked during Nicolae Ceausescu's speech delivered at the public meeting engineered in the main city square to demonstrate how he and his regime had mass support. However, when the gathered crowd started to jeer and whistle, Ceausescu left the meeting and sent police and the military on the protesters.

December 22nd President Nicolae Ceausescu declares the state of emergency in the whole country and tries to suppress the riot with police and army. The military in Bucharest refuse to shoot the civilians and together with the protesters start toward the Ceausescu's residence. Around noon, he and his wife Elena try to escape in a helicopter from the roof of the presidential residence. The people, with the help of the military break into the building of Radio and Television in Bucharest, while the Council of the National Salvation Front proclaims that Romania is freed from Nicolae Ceausescu's regime. That same evening, however, a counter-attack is attempted by the elite forces led by Niku Ceausescu, a son of the overthrown dictator. 89

Arrested lieutenant colonel of Ceausescuâ&#x20AC;&#x2122;s Sekuritate.

Sekuritatea agent waves white cloth as a sign of surrender. 90

Three brothers in arms defending the citizens of Timisoara.

Candles for those who did not live to see the freedom.

December 23rd Street fights in Timisoara after the raid by the elite forces the previous night failed. People and the military are 'canvassing' the city in search for the members of the secret police Securitate who refused to surrender.

December 25th Nicolae and Elena Ceausescu are caught in the town of TĂ˘rgoviĹ&#x;te from where they are preparing to leave the country. They were brought before the military court and shot dead the same day.

The view from the car window to a quarter of Havana not accessible to the foreigners.

Scene 94 of everyday life of young Cubans.

Photo Exhibition:

CUBA NOW

The Photo Exhibition "Cuba Now" features 70 photographs by Olja Stefanović Triaška. The photos were shot in 2005 in Havana, in the city quarters not accessible to the foreigners. The exhibition offers quite a different view on Havana and Cuba by showing the scenes from everyday life of the ordinary Cuban people the wider public is less familiar with. A poor yet happy country - many will say for Cuba and view the Cuban Communism through the pink glasses. Cigars and cocktails, high palm trees and warm blue sea, Che and Fidel, vivid colours, salsa rhymes and exciting nightlife are the things most people associate with Cuba. Life in Cuba is not only that. Even today, in the streets of Havana you can see horse-drawn carts, old-timer cars manufactured in Detroit or Ladas originating from the Soviet era. You can count on the fingers of one hand the citizens who own a computer and have access to the strictly censored Internet. The average salary in Cuba hit by long-term isolation imposed by America, which also includes a trade embargo, is twenty US dollars per month. The government distributes vouchers to its citizens for eggs, flour and meat, so that people do not starve to death, but an average family should learn how to survive on a dozen of eggs, some meat and flour from their monthly rations. The citizens receive their monthly rations; have free education, medical care and public transportation. Electricity, water, public utilities and taxes are free of charge in Cuba... The photographs by Olja Stefanović Triaška "tell a story" about a Cuba that seems to have come from the pages of Kafka's novels, or illustrated with the drawings by Salvador Dali - totally absurd. 95

Scene of everyday life in Havana.

On96the ocean shore.

Ice cream made of colored water and sugar.

The seller of agricultural products at the local market.

Shopping for vouchers. Monthly ration for one family is a dozen of eggs. 98

Meat seller at the local market.

A shop where it is possible to buy a maximum of two or three types of goods.99

On the shore of the ocean, the maritime border with Florida. Every year, thousands of Cubans try to arrive to the USA with rafts which they made with their family and friends. Many of them drowned on their way to USA. Some of them, who were lucky

Olja StefanoviÄ&#x2021; TriaĹĄka (1978) Born in Novi Sad (Serbia), and lives and works in Bratislava (Slovakia). She gradu-ated in 2007 from the Photography and New Media Dpt., Academy of Fine Arts and Design in Bratislava. In her artistic work she is focused on the relationship between photography and space, historical and sociological

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enough to survive, were kept for months in the U.S. Guantanamo Bay. Thanks to the intervention of humanitarian organizations, few of them have managed to find a home and work in the United States.

memory space, the disappearance of space and changing of space in time. She has presented her work at many group and solo exhibitions in Slovakia, Czech Republic, Serbia, Spain, and Germany.

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Photo Exhibition:

PEOPLE ON THE MARGINS

The Photo Exhibition by Manca Juvan titled "People on the Margins" features images from the life of the people living on the margins of the societies in Afghanistan, Venezuela, Slovenia, Iran, and Thailand. The exhibition comprises 26 photos shot in the period 2003-2009 and divided into seven separate groups presenting the lives and destinies of people. In Slovenia, the discrimination against the Roma people is still present. In Afghanistan, many women end up in prison on the grounds of the so called 'moral crimes', such as adultery, second marriage, or running away from home. Thirty per cent of the population of Afghanistan suffering from the post-traumatic stress disorder are committed to inadequate psychiatric institutions where "no one helps them but God". The number of heroin addicts in Kabul is growing on a daily basis, and drug is still easily available and extremely cheap. In Venezuela, a country with the "socialism of the 21st century" not everyone can live safely, and the crime is still worsening, in particular in its capital - Caracas... 'Kathoey' or male-female transvestites have for a long time been a part of the Thai entertainment scene. However, they still cannot legally change their sex... The life of the young people in Iran is determined by strict religious rules established by the authorities... 102

Manca Juvan Worked as a freelance photographer since 2000, and as a photographer of Corbis Agency since 2007. Her photographs and stories on Venezuela, Afghanistan, Iran, Pakistan, Thailand, India, the United States, Serbia, and the EU countries, are published among others in The Times, The Sunday Times, The Guardian, Chicago Tribune, National Geographic (Slovenia), Time.com, Marie Claire, The European Voice. Recently, she is cooperating with the biggest daily newspaper in Slovenia - â&#x20AC;&#x153;Deloâ&#x20AC;&#x153;. Selected Photographer of the Year in Slovenia for her reportage work in 2006, 2007 and 2008. Twice commended in 2005 and 2006 - for her work on Afghanistan by the Slovenian Association of Journalists. She has presented her work at many group and solo exhibitions in Teheran, Ljubljana, Perpignan, Hanover, Paris, Belgrade, Warsaw, and Novi Sad. www.mancajuvan.com

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Slovenia, 2006 Antonija Urbanc, Miss Roma Slovenia 2005

Afghanistan, Kabul, Women's Prison, 2003 Sharifa, 20, with her baby, sentenced to eight years in prison. She ran off with a boy from her neighbourhood, and got married for the second time. She is afraid to leave the prison because her 104 family threatened to kill her.

The Romany of Slovenia The polemics about the Roma people of Slovenia have recently become a key issue in Slovenia politics. There are two groups of Romany in Slovenia. In Dolenjska and Kocevje region live the Roma people who moved to Slovenia from Croatia and Serbia some two hundred years ago, while the Roma Prekmurje came from Hungary. The two groups have little in common, except that they left India together and headed for Europe in around the 10th century. They speak different languages and follow different habits as they lived separately for several centuries. The Romany in Dolenjska acknowledge that their Prekmurje fellows are "better civilised." According to the Government Office for Nationalities and the Romany Association of Slovenia the number of Romany in Slovenia is between seven and ten thousand. The photos were shot in 2006 in Slovenia.

Prisoners of Time Afghan women are often imprisoned for so called "moral crimes", such as adultery, second marriage, rape, and running away from home. With these deeds they have dishonoured the family traditions, which is why, ironically, outside of the bleak prison walls, they are often victims of "honour killings". Here they are stuck in jail with their children without any possibility to change their destiny The photos were shot in the Kabul Women's Prison in May 2003.

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Afghanistan, Kabul, 2009 Rajab, 44, homeless addict. His wife died and his two sons had left the country.

Afghanistan, Lunatic Asylum, Herat, 2004 106 Jan, 18, orphan. His parents died during the civil war. Amar

Drugs (business) in Afghanistan The biggest threat to stability and peace in Afghanistan is the production of and trade in narcotics. Profits from drugs fund the Taliban, along with corrupt officials. More than half the state budget is raised from illegal business, which is why Afghanistan is turning into a narco-state. According to the United Nations, Afghan opium and heroin feed more than 90 percent of the world market. Though forbidden in Islam, drug addiction is fast rising in this worn-torn country. The reasons for this are twofold: drugs are easily available, with a "hit" of heroin now costing about 15 Afghanis ($1). Many Afghan addicted are returnees or deportees from Pakistan and Iran, where they have become addicted while working in heavy manual labour jobs. War traumas and problems finding employment made a large number of Afghan drug addicts. While the international community is beginning to focus more on the drug issue in Afghanistan, organisations dealing with addiction problems point out that international donors are merely interested in halting drug export to the West, and not in dealing with the people who - due to decades of war and destruction - suffer the most. The photographs were shot in April 2009 in the deserted Russian House of Science and Culture, which has become a gathering place of the Kabul heroin addicts.

Forgotten Mental Health Issues The Invisible War Wounds As a consequence of more than 30 years of wars and conflicts, some 30 percent of the Afghani population suffer from mental disorders, while 25 percent of them suffer from psychosocial disorders such as depression, acute anxiety, lack of concentration and other post-traumatic stress symptoms. In the Herat institution for the mentally ill persons there are 185 hospitalised patients. Not only that the institution does not provide adequate conditions for treating these patients, but "no one helps them but God". The photos were shot in Herat, in the Hospital for the Mentally Challenged in December 2004.

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Iran, Tehran, 2009 A boy and a girl holding hands while walking on the streets of Tehran, despite the strict rules of the Islamic regime that prohibits it.

Venezuela, Caracas, 2006 108transvestites performing in one of Caracas' gay clubs. The

Iranian Youth Young, open-minded people of Tehran live their lives in parallel worlds based on pragmatism of ruling elites, who turn a blind eye to the daily transgressions that give a feeling of constant rebellion and artificial freedom. Modern clothes, eye-catching make-up, nose jobs, and coolest hair styles hide a body still very much fuelled by and controlled with traditional codes of conduct. Yet in this society, where two-thirds of the population are under the age of thirty, the community of the young and modern coexists with the community of the young and conservative. Iran's pragmatism creates two distinct realities that may exist for a long time, if one does not force itself on the other. Youth are more and more critical towards the government, especially after the presidential elections in June 2009 when thousands of people were on the streets of Tehran, protesting against the government and demanding the respect of human rights, reforms, and bigger citizen's freedom. The photos were shot in Tehran in 2009.

Venezuela â&#x20AC;&#x201C; Socialism of the 21st Century? Venezuela under the rule of Hugo Chavez was a synonym for socialism of the 21st century. During his 12-year-long rule (1999-2013), many citizens of Venezuela managed to get rid of poverty. However, half of the population are still regarded poor. Despite the agrarian reforms, 70 percent of food is imported, and economy has still been based on oil and dependant on its current price on the global market. During his rule, Chavez did not manage to put corruption and organised crime under control. From 1999, when he was elected president, to 2013, when he passed away, the number of murders in the country tripled. In the country with the largest oil reserves in the world, poverty is not being reduced, and crime and corruption keep flourishing, in particular in the capital city, Caracas. The photos were taken in December 2006 in the Karakas slums and the Los Teques Prison. 109

Thailand, Bangkok, 2009 Her nick name is Up. She is a kathoey - male-to-female transgender person. Twenty seven years ago she was born as a boy with the name Artit, but since she remembers she felt being more a girl. She says she wasn't fully accepted by her family until appearing at the Thai transgender beauty pageant, Miss Tiffany. After winning two awards - first runner up to Miss Tiffany and the most "beautiful man", as she jokes, by public's choice, she became a pride to her whole neighbourhood. Up lives in Bangkok, but comes from North of Thailand. She worked as a make-up artist after she finished her Communication studies and she is now looking for new work challenges in the entertainment industry abroad. She has done genital reassignment surgery two years ago. Today she feels like woman, physically looks a woman, behaves as a woman, though legally she's still a Mr. She is proud to be a kathoey and says that the only real 110 problems she's been facing now are part of her love life - "men don't like kathoey".

Thailand, the Third Sex: One, But Not the Same Thailand's Third sex, the kathoey or male-to female transgender persons that are known to Western's ear as "ladyboys", have long been part of the Thai cultural landscape, mainly on the entertainment scenes. Pre-modern Thai system knows more than two concepts of gender (male and female), the Buddhist teachings identify four genders and explain that everyone can be born a kathoey in the many cycles of life, as it is a direct consequence of having violated social mores through committing promiscuous deeds in one's previous life - as such they have to be treated with compassion, or even pity. Kathoeys are more visible and more accepted in Thai culture than transgender persons in Western countries, though they still face many social and legal impediments (family rejection, discrimination in employment, army issues, etc...). Legal recognition of kathoey is non-existent, therefore even after their genital reassignment surgery, they are not allowed to change their legal sex. Some argue that Thailand's superficially observed "tolerance" for kathoey is in fact the non-confrontational culture, rather than other cultural, religious, and historical aspects of an ancient community. The photos were shot in Bangkok, Thailand in 2009.

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Photo Exhibition:

UNIVERSAL DECLARATION OF HUMAN RIGHTS On 10 December 1948, the United Nations General Assembly adopted and declared GENERAL DECLARATION OF THE RIGHTS OF MAN as a common goal to be achieved by all of the peoples and nations. “All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood”. Any person may rely on all of the human rights presented in the Declaration, regardless of gender, national origin, political or other affiliation. The human rights are the legal instruments aimed at effective protection of dignity and fundamental needs of any person. Nowadays, the Universal Declaration of Human Rights is the basic international document in the field of human rights. Though the Declaration of Human Rights is widely accepted, there are still many of those who are not capable of requiring the observation of the fundamental human rights, because they either lack awareness about them or there are still insufficiently developed mechanisms to implement them. The commitment by women and men as holders of the human rights – individual or collective – is equally important as well as the efforts made by government institutions and civil sector in the field of their exercising, improvement, and protection. The comprehension and construal of the human rights, as defined by the Universal Declaration of 112

PHOTOGRAPHERS Čila David Aleksandra Erski Gabor Ifju Aleksandar Jovanović Otoš Andraš Jaroslav Pap Andrea Palašti Miroslav Ružić Dragutin Savić Nemanja Savić Željko Škrbić

Human Rights have changed with the development of the human society and, as a rule, in the direction of expanding their scope, content, and mechanisms for their protection. Therefore, the activity of improving, developing, and protecting the human rights culture is a continuing process which should be fostered and adjusted to specific social and historical, cultural, economic, and other circumstances. This exhibition, in a unique manner, gives a new visual identity to this document with the photographs next to each of the articles of the Universal Declaration of Human Rights. The basic idea of the exhibition is to, in a completely different manner, present the wording of the Declaration of Human Rights, which has never been read by many people. The photographs “illustrating” each of 30 Declaration articles are, indeed, those which attract viewers’ attention and induce them reading the wording of the Declaration of Human Rights. The photograph authors include: Čila David, Andraš Otoš, Aleksandra Erski, Gabor Ifju, Aleksandar Jovanović, Dragutin Savić, Nemanja Savić, Željko Škrbić, Miroslav Ružić, Jaroslav Pap, Andrea Palašti. In 2009 and 2011, three permanent displays of the photograph exhibitions “The Declaration of Human Rights” were implemented: - in Novi Sad, in the premises of Provincial Ombudsman, the permanent display of the photograph exhibition of the Declaration of Human Rights was set up on 10 December 2009; - in Belgrade, the permanent display of the exhibition was set up in the premises of the Commissioner for the Protection of Equality on 14 June 2011; - on 11 July 2011, in Kikinda, in cooperation with Youth Office, the permanent display of the exhibition was set up at the Culture Centre, where it may be seen by all of the citizens of this town. 113

th Novi 114Sad, 10 - 25 December 2008

Čila David was born in 1962 in Novi Sad. She

graduated at Yugoslav Journalism Institute in Belgrade (photojournalist department), with Tomislav Peternek as her mentor. Since 1987, she has been employed at the daily Magyar Szo in Novi Sad. As a member of Vojvodina Photography, Cinema, and Video Association, she participated in many group exhibitions, and she also had two solo photograph exhibitions. For her photographs, she was awarded with Golden and Silver Peacock Feather and with the first award of the Vojvodina Photography, Cinema, and Video Association. Her photographs were published in several national and international newspapers and magazines, and they were also used as an illustration for books, posters, catalogues, and advertisements.

Gabor Ifju was born in 1947 in Novi Sad. Since

1970, he has been employed at the daily Magyar Szo in Novi Sad as a journalist and photojournalist. As a member of former Photo and Cinema Club, "Branko Bajić", he participated in numerous common exhibitions in Serbia and abroad, and had several distinguished solo exhibitions. He received many awards, among all – Golden Eye (1972), Award of Manhood, Golden Peacock Feather, journalism awards Mihajlo Pupin and Svetozar Marković, which he received for four times, journalism awards of the daily Magyar Szo (2001), Lifetime Achievement Award (2003). He provided a significant contribution to photography popularisation at his lectures, through the series of programmes at radio Novi Sad and professional articles in newspapers. For more than two decades, he has prepared pupils and students for examinations in the field of photography. He is an honourable member of the Vojvodina Photography, Cinema, and Video Association. He also deals with digital photography, and he has successfully presented his photographic skill at exhibitions, in press, and as an author of audio and visual presentations. 115

Leskovac, 20 - 24th August 2009

Novi Sad, 10th December 2009 The permanent exhibition Universal Declaration on Human Rights was set up in the office 116 of Provincial Ombudsman.

Aleksandra Erski was born in 1972 in Novi

Sad. She has professionally dealt with photography since 1996. She was a part-time associate of many weeklies, and she had the first individual engagement as a photojournalist of the daily Danas. Since 2003, she has been employed at Dnevnik Vojvodina press. She participated at seven group exhibitions, and she also had two solo exhibitions.

Aleksandar Jovanović was born in

1979 in Novi Sad. He got his first part-time job at the daily - Gradjanski list, and in 2002, he moved to the editorial office of the daily Magyar Szo. Since 2004, he has also been an associate of the daily Politika. In 2004, he received Bronze Peacock Feather award. Since 2008, he has worked as a journalist and photojurnalist of the daily Frankfurter Zeitung.

Andraš Otoš was born in 1963 in Novi Sad. He

very early began to deal with the photography thanks to his father Otoš Andraš Sr., who introduced him in the world of photography and film. At the competitions of Junior Technicians held in the former Yugoslavia, he was the national winner in the film category for twelve times. Since 1984, he has been employed at the daily Magyar Szo as a photojournalist. Being the photojournalist, he has covered numerous political and sport events in Serbia. He is the winner of numerous awards and recognitions in the field of the photography and film. He is the winner of the Tanjug special award for photography in the field of sport in 1989. As the photojournalist, he covered the conflicts of 90s of 20th century in Serbia, Croatia, and Kosovo. He displayed his war photographs in Serbia, France, and Hungary. For his long-lasting work, he received the Magyar Szo journalism award. He is an associate of TV Danube, Hungary since its foundation, and, as a cameraman, he also works for Swiss TV station DRS and Hungarian public TV. 117

Niš, 20 - 26th April 2009

th Novi 118Sad, 9 - 14 May 2011

Jaroslav Pap was born in 1957 in Lalić. He lives and works in Novi Sad. He took photographs of various events in Serbia and abroad, from political to sport ones – always striving to be in the right place at the right time. He was a photography editor at the Novi Sad daily Dnevnik. Jaroslav Pap has got a recognisable photographic style dedicated to the world of nature and its animal species. For his nature photographs (Vojvodinian plain, wild animals, hunters...), he received the award of Tanjug news agency three times, and in 2012, he won the first prize for photo-report at 17th INTERFER.

Andrea Palašti was born in 1984 in Novi

Sad. She graduated at the Art Academy of Novi Sad, Department of Fine Arts – Photography Group. She displayed at two individual exhibitions and participated in several common exhibitions. She was awarded with several awards. She deals with the researches in which she tries to get to know topics and people through the photography. In addition to the photography, she also deals with other types of art such as video art, installation, and design.

Miroslav Ružić was born in 1980 in Novi Sad. In 2004, he graduated at the Art Academy of Novi Sad, Department of Fine Arts – Photography Group. He graduated at the Faculty for Service Business (FABUS) in 2008. From 2000 to 2006, he worked at the operations of organisation and marketing in the field of culture and art. In 2005 and 2006, he had the solo photograph exhibition at "Lighthouse Centre", Vienna, recorded in Sunčano naselje in Novi Sad.

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Kikinda, 11th July 2011 The permanent exhibition Universal Declaration on Human Rights was set up at the Cultural center

Zrenjanin, 13 - 26th January 2012 120

DragutinSavić was born in 1949 in Zrenjanin.

He has professionally dealt with the photography since 1976. As a photojournalist he worked for many national and international agencies and newspapers, among all, for Vjesnik, Arena, Studio, Start, Sportske novosti, Večernji list, Dnevnik. His photographs are on the covers on numerous records and book cover pages. He published three books of photographs: Little City Stories, The Faces of One Hundred Faces, and The Novi Sad Herbarium, together with Nemanja Savić.

Nemanja Savić was born in 1980 in Zrenja-

nin. He has dealt with the photography since 1995, he had two solo exhibitions, and worked at Večernje novosti as a photojournalist. Currently, he lives in San Diego, the United States of America. Together with Dragutin Savić he published the book of photographs The Novi Sad Herbarium.

Željko Škrbić

was born in 1951 in Novi Sad. He finished Faculty of Mathematics and Science – Physics Group. He defended his PhD thesis at the same faculty. In parallel with the physics studies, he intensively dealt with photography. His field of interest is classic black and white photography. Up to now, he has had five solo exhibitions and several collective ones. In 2002, he moved to the Art Academy of Novi Sad, photography group, where he works as a lecturer at the position of Associate Professor. He teaches acoustics, optics, introduction to black and white photography including sensiometry, and introduction to digital photography. In the field of the photography, he received several first, second, and third awards at national and international competitions. Though digital photography has virtually become customary, he has not stopped working at photo laboratory. He still predominantly shoots black and white photographs and processes negative and positive using classic laboratory procedure. 121

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FILM PROGRAMME VSF 01 Balkan Gunfighters The Birth of a Nation Refugee Centre Planet Sarajevo Pavilion 22 The War for Peace The Valley The Anatomy of Pain The Road to Fraternity and Unity It's Alive, Laibach Occupied Europe NATO Tour Do you Remember Sarajevo? Growing up of the "V" Generation The Boy Who Rushed There Where We Departed The Long Straight Furrow Travelling of the Dead Justice Unseen When You Burn It, Burn It Better UNMIK Titanic Should I Stay or Should I Go? Kosovo/a Vivisect Bitter Medicine The Eyes of the World The Erased Imported Crows Pretty Dyane 123

BALKAN GUNFIGHTERS Director and Screenwriter: Maja Weiss Country of Production: Slovenia Year of Production: 1991 Duration: 13 min Camera: Rado Likon

Costume Designer: Jana Coh Scenography: Duško Milavec Cast: Gregor Bakovič, Grega Cušin, Severdan Amiti, Dušan Sandak, Clint Eastwood Production: AGRFT and TV Slovenia

SYNOPSIS The film was made before the disintegration of the SFRY, yet it tells the story about the end of Yugoslavia. Gunfights of cowboys, symbolic representatives of nations and nationalities of Yugoslavia, are situated on a railway station. This rewarded film by Maja Weiss is “featuring” Clint Eastwood. Maja Weiss won international film awards as early as during her studies at the Ljubljana Film Academy. Among other rewards, she received the “Manfred Salzgeber” award for her first documentary film Guardian of the Frontier for the most innovative European film at the 2002 Berlinare. She is a member of the European Film Academy.

THE BIRTH OF A NATION Director: Franci Slak Country of Production: Slovenia Year of Production: 1992 Duration: 13 min Sound: Hanna Preuss, Igor Laloš, Peter Potočnik

Camera: Rajko Bizjak Editing: Ana Zupančič, Zlatjan Čučkov Music: Iztok Turk Production and Distribution: RTV Slovenia Co-Production: Bindweed Soundvision

SYNOPSIS A retrospective look at the country’s past through the film images, from the day when Slovenia has declared its independence on June 26th, 1991, back to 1900. Franci Slak studied film directing at AGRFT, Ljubljana and Lodz, Poland. He was a screenwriter, film director, and a producer of experimental, feature, documentary and TV films, videos, and multimedia. He founded the Bindweed Soundvision production company (1992). His films have been screened at numerous international film festivals. In 1988, for his TV film The Smiling he received the Prešern Fund Award. His film When I Close My Eyes, 1994, won the Best Film Award at the Film Marathon in Portorož, and was the first Slovenian Oscar Candidate. In 2000, he completed the series 124

on Prešern, which also has its version for movie theatres. His scope of work includes various genres, from experimental films to those with a classical form, from thrillers to comedies, from documentaries to animated films. He was a lecturer at AGRFT in Ljubljana and Film Schools of Philadelphia and Chicago. He passed away in 2007.

REFUGEE CENTRE Director: Helena Koder Country of Production: Slovenia Year of Production: 1991/1992 Duration: 54 min Camera: Pavle Šribar

Sound: Marjan Ciperman Editing: Zvone Judež Music: Urban Koder Production and Distribution: RTV Slovenia

SYNOPSIS The film was made at the beginning of the conflict in Croatia - before the Christmas of 1991. It deals with individual destinies of the people in the Centre for Refugees in Slovenia... Helena Koder is a graduate of the Faculty of Philosophy in Ljubljana. She has written scripts and directed many documentary films for RTV Slovenia. At the First Slovenian Film Festival in Portorož she received the Best Documentary Film award and the Jože Babić Award for her documentary film Les Petites Madeleines of Mrs. Radojka Vrančič.

PLANET SARAJEVO Director and Scriptwriter: Šahin Šišić Country of Production: Bosnia and Herzegovina Year of Production: 1995 Duration: 35 min

Sound: Mirsad Tukić Camera: Šahin Šišić Editing: Seadeta Mideić Production: Ton-Light Film, Art Family Sarajevo

SYNOPSIS Sarajevo at war, the life in the city is under continual sniper fire... In thirty minutes of this documentary, its author, only by using the images, without a word spoken, documents the first two years of the Sarajevo siege. This film, described by “The Herald Tribune” as a true “masterpiece”, which won numerous international rewards, reminds us that killing of the people, their city, spirit, and culture... should never again be allowed to anyone anywhere in the world. 125

PAVILION 22 Director and Screenwriter: Nenad Puhovski Country of Production: Croatia Year of Production: 2002 Duration: 52 min Producer: Nenad Puhovski Camera: Maja Zrnić Sound Recording: Igor Bauer Sound Editing: Mladen Škalec

Editing: Uja Irgolič Research Journalist: Siniša Malus Music: Zbignjew Preisner Graphic Design: Gambadesign Assistant Director: Andrej Korovljev Assistant Producer: Dana Budisavljević Production and Distribution: FACTUM

SYNOPSIS Pavilion 22 documents the dark episode in recent Croatian history - the happenings in the notorious pavilion within the Zagreb Fair compounds in 1991. The film reveals the publicly unknown dark side of the events that happened within the compounds of the Zagreb Fair in autumn 1991, when the war broke out. Initially envisaged as a mobilisation centre of police reserve forces, the said pavilion soon became a transit camp and persecution centre for the civilians, mainly of Serbian nationality, from where they were taken by the so-called Merčep unit to be executed in Pakračka Poljana. Nenad Puhovski started as an amateur dramaturge in 1965, to become a professional director in 1973 directing for theatre, film, and television. He directed more than 250 productions. He is the recipient of a number of national and international awards. He worked as a dramaturge of the &TD Theatre, and since 1980, he has been engaged as a lecturer of Film and TV Directing at the Academy of Dramatic Arts; now he is a full professor of Documentary Directing. He is the founder of the MA Programme in Documentary Directing. In 1997, he founded Factum, the most influential independent documentary film production. He produced over 50 documentary films which were screened at more than 70 documentary film festivals. In addition to many international awards, he also won Grand Prix twice and four Best Production awards at the Day of The Croatian Film (DHF). In 2005, he founded and became the director of ZagrebDox, the largest regional international documentary film festival. For his outstanding work in the field of documentary filmmaking, in 2009, he received the European Documentary Network (EDN) award. He is a member of the European Film Academy. 126

THE WAR FOR PEACE Director: Koča Pavlović Country of Production: Montenegro Year of Production: 2004 Duration: 93 min Editing: Djuro Mihaljević

Camera: Nikola Brajović, Vlado Vučinić, Boris Kavić, Dragan Banović Music: A. Tabas Production and Distribution: The OBALA Independent Production Group

SYNOPSIS The film tells a story about the events that brought about the siege of Dubrovnik in 1991, and explores the internal dynamics of the whole process. The film presents the military involvement as a segment of a larger story about the expansionist nationalism in the war for the territories and ideologies of the former SFRY. It is based on archive material and interviews with the individuals who took part in these events. By investigating the changes in opinion and assessment of the so called “Battle for Dubrovnik” in the last decade of the 20th century, this documentary film gives an insightful analysis of the whole battle and a more realistic approach to these past events. The film also deals with the so called “ordinary stories”. These are the stories told by the soldiers, prisoners of war (from Lora and Morinj prisons), the victims of plundering, whose houses were destroyed, and the members of military units that destroyed and plundered the villages in that area. Koča Pavlović is a journalist and filmmaker with the OBALA Independent Production Group, and a founding member of the non-governmental organisation “The Group for Changes”.

THE VALLEY Director: Dan Reed Country of Production: Great Britain Year of Production: 2000 Duration: 70 min

Sound: Pat Boland Camera: Jacek Petrycki Editing: Stefan Ronowicz Music: Hughes Mureny

SYNOPSIS The film tells the stories of ordinary villagers and fighting men, trapped in the blazing cauldron of the Drenica Valley, during the military onslaught in 1998. Also, the film shows how a terrible logic of war, hatred and killings are made, fuelled by reviving ancient myths. The film captured the complexity of the conflict, the parallel and irreconcilable half-truths which divide the Serbs and the Albanians of Kosovo and make them blind to each other’s plight and the brutality of the war between neighbours. 127

THE ANATOMY OF PAIN Director: Janko Baljak Country of Production: Serbia Year of Production: 2000 Duration: 30 min

Sound: Igor Perović Camera: Sandra Stojanović Editing: Barbara Bogavac Production and Distribution: B92

SYNOPSIS During the last decade of the 20th century, the tragic and horrible events in Serbia followed one another. An ordinary viewer of either film or TV programme was forced to continually erase the already seen evils from his memory and make space for the new ones, usually even more tragic. The memory of the people, used to evil around them, became shorter and shorter. Touching, yet already stale encounters with a huge number of refugees will be forgotten and replaced with even “better” stories after each new adventure by Milošević’s regime. And then, in March 1999, the war came to Serbia. The NATO bombs started hitting its towns... One of the missiles hit the building of RTS (Radio Television of Serbia). For over a decade, the informative programme of this television had been a weapon of monstrous propaganda used to create and spread hatred supported by the regime. But not one journalist was there among the 16 people killed that April night. The irresponsible and arrogant regime in Serbia left in the building the technical crew as a human shield. Their tragic death has been used by the regime in media war against the enemy. The news about this tragedy did not stop the war nor did it change the attitude of the international community. Six months after the tragedy, only the victims’ families and few colleagues, who were threatened to get sacked from RTS, remembered them. The film The Anatomy of Pain won Grand prix and FIPRESCI award at the 47th Yugoslav Documentary and Short Film Festival, PRIX CIRCOM, and Postdam 2000. Janko Baljak graduated in film and TV directing from the Faculty of Dramatic Arts in Belgrade in 1990. He had been a lecturer at the Department for Film and Television Directing since 1995, to become a part-time professor in 2008. He is a founding member of the Film and TV Production section of the independent Belgrade radio “B 92” in whose production he has made many documentary films that have been successfully screened in the country and abroad and were rewarded multiple times. He is Art Director of the Belgrade Documentary and Short Film Festival, one of the oldest film festivals in Europe. 128

THE ROAD OF FRATERNITY AND UNITY Director: Maja Weiss Country of Production: Slovenia Year of Production: 1999 Duration: 104 min Sound: Damijan Kunej Camera: Maja Weiss

Editing: Roman Sedmak Music: Various Production: BELA Film - Ida Weiss Distribution: RTV Slovenia Co-Production: RTV Slovenia, Soros Documentary Fund, New York

SYNOPSIS The Road of Fraternity and Unity is a personal road movie, a diary, shot by digital video camera in the former Yugoslavia, in today’s newly founded countries - Slovenia, Croatia, Bosnia and Herzegovina, Macedonia, Serbia, Kosovo and Montenegro. The film is about the road leading from the Vardar River to the Triglav Mountain, from the Djerdap Gauge to the Adriatic Sea, and it is alluding to the title of the one of the most popular songs in the former Yugoslavia. The interviews with the people were shot along the road spreading from Ljubljana to Zagreb, and from Belgrade to Skopje; the road of fraternity and unity, once also known as the B51, turned into the road of death and destruction. The film reveals various interpretations of fraternity and unity in the former Yugoslavia, and what became of them in 1999, when many communication lines in this part of Europe were cut-off or limited. Maja Weiss has as early as a student of the Film Academy in Ljubljana received international awards for her films. Among other awards, for the documentary film The Road of Fraternity and Unity she received the Best Documentary Film award at the Slovenian Film Festival in 1999; “Darko Bratina” Award, and the Slovenian Viktor Award for media achievements, while at the International Documentary Film Festival in Amsterdam (IDFA) her film was officially nominated for the “Silver Wolf” award.

IT’S ALIVE, LAIBACH OCCUPIED EUROPE NATO TOUR Director: Igor Zupe Country of Production: Slovenia Year of Production: 1996 Duration: 60 min Music: Laibach, Various Camera: Various

Editing: Igor Zupe, Boris Gregorić Production: Mute Records Distribution: Limited Edition Box Set Co-Production: Nordcross Production, TV Slovenia 129

SYNOPSIS The film documents the tour of the Slovenian music group Laibach titled “The Occupied Europe NATO Tour” in 1994/1995. The documentary features a selection of live recordings mixed with different video footages that have the similar effects like the film they show on the screen during their performance. In addition to the recordings from the tour the documentary contains the footages of the activities of NSK in Sarajevo (Bosnia and Herzegovina). The film also features the interview with the Slovenian Minister of the Foreign Affairs who presented a copy of Laibach’s “NATO Tour” to Willy Claes, Secretary General of NATO, at their meeting soon after the album release. Igor Zupe graduated from the Academy for Theatre, Radio, Film and Television (AGRFT) in Ljubljana. He has directed TV commercials, music videos, digital animations, TV shows, artistic projects, etc.

DO YOU REMEMBER SARAJEVO? Directors: Sead and Nihad Kreševljaković, Nedim Alikadić Country of Production: Bosnia and Herzegovina

Year of Production: 2002 Duration: 52 min Editing: Miralem Zubčević

SYNOPSIS In the period 1992-1995, in Sarajevo – a city that endured the longest siege in the contemporary history of civilisation – there were several hundred video cameras, whose owners recorded everyday events. For the first time in the European war history, the civilians recorded their lives at home, in the shelters, in various parts of the city. The film Do You Remember Sarajevo? – that was made using authentic video footages – is a story about the people living in a European city in the end of the 20th century and about genocide in the epoch of advanced technology.

GROWING UP OF THE “V” GENERATION Directors: Hrvoje Mabić, Nebojša Slijepčević, Nikola Ivanda, Ljubo J. Lasić Country of Production: Croatia Year of Production: 2003 Duration: 30 min 130

Camera: Almir Fakić, Hrvoje Mabić Editing: Nikola Bišćan, Hrvoje Mabić, Nebojša Slijepčević Production: FADE IN Co-Production: Croatian Television

SYNOPSIS This is a story about the young people of Vukovar and their integration into the Zagreb community. In the film, young people talk about their everyday life, how they live, what they do, and how they have adopted themselves to the new environment. Should they stay in Zagreb, return to Vukovar or stay on the borderline between the two worlds? Nebojša Slijepčević graduated in film directing from ADA, Zagreb. Since 2002, he has been permanently collaborating with Fade In. Hrvoje Mabić graduated in philosophy from the Faculty of Philosophy of the Society of Jesus. In 1999, he founded the Fade In video production company where he works as a producer and director. Nikola Ivanda graduated in film and TV directing from the Academy of Dramatic Arts, and the Academy of Music in Zagreb. Ljubo J. Lasić graduated in film and TV directing from the Academy of Dramatic Arts in Zagreb. He works as a director with HRT, and makes documentary films.

THE BOY WHO RUSHED Director and Screenwriter: Biljana Čakić-Veselič Country of Production: Croatia Year of Production: 2001 Duration: 53 min Camera: Predrag Vekić, Boris Krstinić Editing: Ulja Irgolič Music: Stampedo Sound Editing: Mladen Škalec

Sound Recording: Bojan Gabrić, Bojana Krstinić Assistant Director: Ana Šetka Producer: Nenad Puhovski Assistant Producer: Dana Budisavljević Production: FACTUM (www. factum.com.hr) Co-Production: The Ministry of Culture of Croatia, and Jan Vrijman Fund

SYNOPSIS This is an intimate story by director Biljana Čakić-Veselič that documents her search for her brother who went missing in action in Croatia in 1991. In a way, the film is a continuation of the story of the director’s grandmother whose husband was killed in the Second World War, yet all her life she had been waiting for him to return home. The Boy Who Rushed won a number of national and international awards, including the annual award for film art “Vladimir Nazor” and was screened at more than twenty documentary film festivals. The film was a Croatian candidate for Oscar for Best Documentary Film in 2001. 131

Biljana Čakić-Veselič has been preoccupied with the issues of the Croatian war from the beginning of her professional career. Her documentary film The Boy Who Rushed is one of the best Croatian documentary films made at the beginning of the 21st century.

THERE WHERE WE DEPARTED Director: Dubravko Badalić Country of Production: Yugoslavia Year of Production: 1997 Duration: 47 min Editing: Dubravko Badalić

Camera: Vlada Rašić, Saša Medovarski, Željko Sarić, Darko Drinovac, Vlado Klasnić Production: Internews Europe Co-Production: UNHCR, Council of Europe

SYNOPSIS The two young people were separated by the war. Seven years later they got the opportunity to talk to each other via a video link. The film won a Grand Prix at the Belgrade Documentary and Short Film Festival in 1998.

THE LONG STRAIGHT FURROW Director: Vlado Dencov Country of Production: Macedonia Year of Production: 2004 Duration: 25 min

Camera: Vladislav Misajlovski, Gose Simanovski Editing: Vesna Danilova Production: RTV Macedonia

SYNOPSIS “Am I dreaming or is it real? If it’s a dream, it’ll pass, I’ll wake up, I’ll escape...” Where? Little Martina was born during the conflict in Macedonia in 2001. She is now three years older... and that’s about the only thing that has changed in her life and in her family room at the collective refugee centre. Vlado Dencov graduated from the Academy for Theatre and Film in Skopje in 1980. He directed over 60 documentary films and over 20 plays. At the “Bar 2001” Film Festival, and at the Polish Film Festival in 2002 his documentary film Miško was awarded. He works at the Macedonian state television as film director.

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TRAVELLING OF THE DEAD Director: Aleksandar Davić Country of Production: Serbia Year of Production: 2002 Duration: 27 min Research Journalist: Vladimir Ješić Sound: Dobrivoje Dejanović

Camera: Aleksandar Milanović Editing: Aleksandar Komnenović Music: Branislav Babić Kebra Production: urbaNS TV and Film Production Distribution: ANEM

SYNOPSIS A sunken truck was coming to the surface of the Danube River near Kladovo. The corpses transported from Kosovo to Serbia. Reconstruction of the event takes place. The film won Special DOKUFEST award in Prizren (2003).

JUSTICE UNSEEN Directors: Aldin Arnautović, Refik Hodžić Country of Production: Bosnia and Herzegovina Year of Production: 2004 Duration: 57 min

Camera: Ćazim Dervišević Editing: Ćazim Dervišević Sound: Sladjan Vujić, Admir Djulandžić Music: Edin Bosnić Production and Distribution: XY Film

SYNOPSIS During 1992, as the news were coming in about the crimes committed in Bosnia and Herzegovina, including mass murders, organised and systematic imprisoning and raping of women, and prolongation of the “ethnic cleansing” practice, the international community has requested their leaders to do something to prevent and stop these crimes. On May 25th, 1993, the UN Security Council established the International Criminal Tribunal for the Former Yugoslavia (ICTY) as an attempt to stop the atrocities. According to its founding documents, the international tribunal was established with the purpose to bring justice to the victims of the conflict, to deter future leaders from committing similar crimes, and to contribute to the restoration of permanent peace by promoting reconciliation on the territory of the former Yugoslavia. It has been decided that its seat will be in The Hague, the Netherlands - that is why ICTY is also known as The Hague Tribunal or just Tribunal. Eleven years and more than 830 million dollars later, the documentary film Justice Unseen looks at the situation in two Bosnian communities – Prijedor and Konjic. 133

How do the victims of the war crimes see the results of the Tribunal’s work? Has the Tribunal, in their opinion, achieved what it was set up to do or was it just an expensive legal experiment? The film was shot during 2004 on locations in Prijedor, Konjic, The Hague, Sarajevo, Bratunac, Goražde, and Višegrad. Several dozens of people were interviewed, including the victims of war crimes, former and current officials of the tribunal, as well as experts who deal with the war crime issues and the Tribunal from the scientific or journalistic perspective. Aldin Arnautović worked as a TV and radio journalist for several Bosnian radio and TV stations. His professional experience includes positions of editor-inchief and news editor. He is one of certified BBC trainers for TV and radio production in Bosnia and Herzegovina. He is one of the founders of XY Films, an independent production company from Sarajevo. Refik Hodžić worked as a radio, television, and print journalist, and was editor-in-chief of a local radio station and the regional independent magazine “The New Mirror”. He worked for the United Nations as a spokesperson in East Timor. For four years, he had been working within the Tribunal Outreach Programme, including two years on the position of Coordinator for Bosnia and Herzegovina. He is one of the founders of XY Films, an independent production company from Sarajevo.

WHEN YOU BURN, BURN IT BETTER Director: Ivan Andrijanić, Ivan Stefanović Country of Production: Serbia Year of Production: 2004 Duration: 33 min Editing: Vladimir Komnenić

Camera: Saša Brajović, Aleksandar Malinović, Vladimir Mijić Sound: Robert Klajn Music: Nevena Glušica Production: B92

SYNOPSIS It is an antiwar documentary, a touching testimony of the soldiers who committed war crime in the Village of Kušnin in Kosovo, in 1999, upon the orders of their superiors. This is a story of the soldier Danilo Tešić from Belgrade who reported to the security officers in Prizren that together with soldier Mišel Seregi from Subotica, he murdered two Albanian civilians in the Village of Kušnin and then burned their bodies. 134

UNMIK TITANIC Director, Cameraman, Editor and Producer: Boris Mitić Country of Production: Serbia Year of Production: 2004 Duration: 56 min

Sound: Dragutin Ćirković Music: Boris Kovač, Boban and Marko Marković Distribution: Dribbling Pictures

SYNOPSIS Priština, Kosovo, December 31st, 2003. Only 100 Serbs out of 40,000 who had lived in Priština before the 1999 war, live there. Being expelled from their homes, they did not have where to go except to the “Program YU” ghettobuilding, a housing block in downtown Priština where state officials once lived. Only for a couple of days, they thought, yet five years have passed and they have never left the one-building ghetto... The adults kill time by visiting each other and having cold drinks in the cellar of the grocery shop; children hunt pigeons in the attic and play football in the corridors, and nobody wants to give up the New Year’s celebration... Boris Mitić is a self-taught filmmaker, who bought a camera, left highlyrespected journalism and started making documentaries.

SHOULD I STAY OR SHOULD I GO? Director: Yll Citaku, Kaltrina Krasniqi Country of Production: Kosovo Year of Production: 2001 Duration: 30 min

Camera: Yll Citaku Editing: Yll Citaku Sound: Armend Xhafer Production: Kooperativa

SYNOPSIS The film deals with the freedom to move. It is an intimate story of two young people from Kosovo who for the first time leave for Brussels where they are faced with the dilemma whether to stay in Kosovo or leave... Yll Citaku and Kaltrina Krasniqi graduated in film directing from the Academy of Arts, Priština, Department of Film Directing.

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KOSOVO/A Director: Jody Barrett, Maria Mok, Maasja Ooms Country of Production: The Netherlands Year of Production: 2002

Duration: 60 min Sound: Maria Mok Camera: Maasja Ooms Music: Various Production: Springbok Film

SYNOPSIS Saška, Linda, Adnan, and Pop have their own stories from the time of the Kosovo conflicts, but they also share some common characteristics. We see what their worlds have been made of, how and with whom they spend their days, what emotional burden they carry, what they do in free time, what they think about life on the other side, what obstacles they come across, and what they hope for in future. The battle with which these young live every day is clearly presented on the screen, but what permeates all their stories is a belief that better future is possible, yet it requires much hard work and good will.

VIVISECT Director and Screenwriter: Marija Gajicki Country of Production: Serbia Year of Production: 2003 Duration: 15 min Editing: Aleksandar Komnenović

Journalist Associate: Aleksandar Reljić Camera: Dobrivoje Dejanović, Predrag Radosavljević Production and Distribution: Vojvodjanka - Regional Initiative

SYNOPSIS Reactions of the visitors of the exhibition of war photographs “Blood and Honey” by Ron Haviv set up in Novi Sad on September 2002. The documentary is a testimony to the social and political situation in Serbia after the collapse of Milošević’s regime, and explores the reasons that make the process of dealing with the past, the wars, and war crimes committed in the last decade of the 20th century in the former Yugoslavia so difficult. The documentary film Vivisect won the Best Short Documentary Film award at the Human Rights Film Festival in Barcelona (2003). The documentary has been screened on twenty international festivals, including its world premiere at the Human Rights Film Festival in New York (2003), and the screening at the Geneva Film Festival (2004). 136

Marija Gajicki has been a professional journalist since 1992. Since 1994, she has been active in the civil sector in the territory of the former Yugoslavia and she has initiated numerous regional and cross-border projects in South-Eastern Europe. In 2004, in Novi Sad, she launched the Human Rights Festival - VIVISECTfest.

BITTER MEDICINE Director: Velimir Čurguz Kazimir Country of Production: Serbia Year of Production: 2002

Duration: 30 min Editing: Petar Sarić Production: REX Cultural Centre

SYNOPSIS The film provides an overview of the events during the photo exhibition “Blood and Honey” in Belgrade, Čačak, Užice and Novi Sad. Bitter Medicine is a collection of footages dedicated to the exhibition of photographs by Ron Haviv and the related discussions in 2002. In this film, the reactions and the dialogues of the people on these forums, and the overall atmosphere are very interesting. This is the story of how in one society the feelings of being threatened and isolated, as well as the collective feeling of fear, start to dominate. For six months, as long as the photographs were in Serbia, they provoked strong reactions by the public, and polarisation of public opinion.

EYES OF THE WORLD Director: Michael Perlman Country of Production: USA Year of Production: 2002 Duration: 60 min

Editing: Jim Brophy Production: Michael Perlman, Jim Brophy

SYNOPSIS Following the photojournalists through the Balkan wars, the film investigates how to balance objective reporting with self preservation. From the battlefields to the pubs, through an insider’s perspective, we “look” at what is going to become breaking news and how it creates reality. This is a document about what might happen anywhere in the world when fear and political manipulation slip into horror while people strive to preserve their humanity. 137

THE ERASED Director: Davor Konjikušić Country of Production: Serbia, Croatia Year of Production: 2004 Duration: 32 min Sound: Davor Konjikušić, Morana Komljenović

Camera: Davor Konjikušić Editing: Davor Konjikušić, Morana Komljenović Music: Godspeed Zou Black Emperor Production and Distribution: Freelance

SYNOPSIS The Erased is a touching story about the destiny of the people who overnight lost all their citizens rights: ID cards, driving licenses, and passports. Overnight their marriages, children, companies, jobs, and lives were erased from the paper. They no longer existed for the state. It is their “southern background” that caused the loss of citizen’s rights. In 1992, Slovenia removed from the registry of Permanent Residence 25,671 people who had citizenship of other republics of the former Yugoslavia who following the declaration of independence by Slovenia did not accept the new Slovenian citizenship. They were permanently erased by the action that was purely of administrative nature and thus lost any legal status, meaning that they lost all social, civil, and political rights. Although in 1999, the Constitutional Court declared the act of “erasing” unconstitutional; the problem of the erased people has still not been solved. The film follows the stories of the “erased”, their struggle to recover their fundamental human rights which the most developed country of the former Yugoslavia - Slovenia did not grant them even after joining the EU. Davor Konjikušić made several short-metre films and the documentary film Foreign Permanent Resident which won the Audience Award at the Liburnia Film Festival (2004). The Erased was his second documentary.

IMPORTED CROWS Director and Screenwriter: Goran Dević Country of Production: Croatia Year of Production: 2004

Duration: 30 min Camera: Mak Vejzović, Mario Oljača Editing: Vanja Siruček Production: ADU, Zagreb

SYNOPSIS The case of a pair of crows reproduced into a huge colony of crows in the 138

vicinity of the Sisak Steel Mill, in the former Yugoslavia, with the task to exterminate another type of pests, turns into the litmus paper of the mentality of a society. While using the poll method to imitate the form of the public discussion, the film director skilfully selects the frames, positions and contexts into which he places the opposing opinions of the interviewed people and the liquidation of the nests of these hated birds and their chicks. The scene of forceful “knocking out” of the young birds from their nests and the sound of their bodies falling on the ground grows into a satirical and powerful metaphor of a society burdened with prejudice, xenophobia, intolerance, and hypocrisy. Goran Dević was born in Sisak in 1971. He studied archaeology and law. In 2008, he graduated in film and TV directing from the Academy of Dramatic Arts in Zagreb, where he works as assistant professor and teaches documentary film directing. He is the author of documentary and feature films awarded at festivals in Pula, Cottbus, Prizren, Prague, Sarajevo, Oberhausen, Neubrandenburg, Maribor, Motovun and Zagreb.

PRETTY DYANE Director: Boris Mitić Country of Production: Serbia Year of Production: 2003 Duration: 45 min Camera: Boris Mitić

Editing: Boris Mitić Sound: Dragutin Girović, Slobodan Krička Production: Boris Mitić

SYNOPSIS A look on Belgrade where the Roma make ends meets by turning the “Citroen” classic model into a futuristic vehicle a la “Mad Max”. In addition to their value in use, the transformed cars symbolise freedom, hope, and, finally, the style of the people who invest all their energy into saving something that other people have dumped. Another thing to be recycled is old car batteries that are now used as power generators to get electricity for home lighting and watching TV. Regrettably, the police do not find such vehicles funny... The film won numerous awards, such as special Human Rights Award at the 10th Sarajevo Film Festival (2004), Audience Award at RomaDocFest (2004), and Best Documentary Film award at Dokufest in Prizren (2004), among other awards. Boris Mitić is a self-taught filmmaker, who bought a camera, left highly-respected journalism and started making documentaries. 139

FILM PROGRAMME VSF 02

Serbian Epics Vukovar â&#x20AC;&#x201C; The Final Cut I Have Nothing Nice to Say to You A Frame for the Picture of My Homeland The Amateurs and the General Kosovo: Does Anyone Have a Plan Disposable Heroes Building Bridges Blue Eyed Final Solution Little Terrorist The Second Generation Kenedi Returns Home Kenedi, Lost and Found Europe Next Door Muharem, Music the Eyes of Life Croatia E(n)d-en on Earth Zagreb is Calling You Shuffle: Politics, Bullshit and Rock'n'Roll Divided States of America - Laibach 2004 Tour

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SERBIAN EPICS Director: Pawel Pawlikowski Country of Production: Great Britain Year of Production: 1992 Duration: 50 min

Camera: Jacek Petrycki, Bodgan Dziworski Editing: Stefan Ronowicz Production: Pawel Pawlikowski, BBC www.pawelpawlikowski.co.uk

SYNOPSIS This film is much more than a story about Radovan Karadžić - a psychiatrist, poet, politician, and leader of the Bosniak Serbs. The film shows medieval rituals through which the Serbian nationalism, following the collapse of communism, was reborn. His warring side is well known. However, it is less known how the myths and symbols from the past were used to justify a new ethnic conflict. This documentary deals with the topic of war from the anthropological perspective rather than from a journalistic one. The film has become famous for its unbelievable footages of Radovan Karadžić showing the Russian poet Eduard Limonov how he shoots with the machine gun at Sarajevo. Pawel Pawlikowski, was born in Warsaw, but left Poland as a teenager to live in Germany and Italy. He studied literature and philosophy in London and Oxford. Since 1987, he has been making documentary and feature films. He won awards for his documentaries Vaclav Havel (1989), From Moscow to Pietushki (1990), Dostoevsky’s Travels (1991), Serbian Epics (1992), and Tripping with Zhirinovsky (1995). His first feature film IDA (1997) he made in Russian, and for the films Last Resort (2000) and My Summer of Love (2004) he received many awards, including BAFTA Best Newcomer 2000 and BAFTA Best British Film 2005, and four nominations for the European Film Awards, and Best Film awards at many festivals in Europe.

VUKOVAR – FINAL CUT Director: Janko Baljak Screenplay: Drago Hedl Country of Production: Serbia Year of Production: 2006 Duration: 103 min

Sound: Igor Perović Camera: Jovan Milinov Editing: Aleksandra Milovanović Music: Jana Production and Distribution: TV B92

SYNOPSIS This documentary film is an attempt at making a valid and honest story about everything that happened in Vukovar in spring of 1991. And some 141

time before that. And some after that tragic event year of 1991. And about historical, social and emotional consequences after years of pain, suffering and destruction. The author used previously unreleased archive material from Zastava Film, the Serbian Military Archive, and TV Novi Sad, unaired Vukovar war footages from the Croatian state television’s archive, and amateur videos from an anonymous Vukovar defender. Some 80 people are interviewed, both from the Serbian and the Croatian side. They speak about the events that preceded the war: from multiparty elections, to ethnic regroupings in this formerly idyllic multiethnic town, to first barricades and fire exchange. The film Vukovar - The Final Cut won the Human Rights Award at the Sarajevo Film Festival (2006) as the best documentary film. Janko Baljak graduated in film and TV directing from the Faculty of Dramatic Arts in Belgrade in 1990. He had been a lecturer at the Department for Film and Television Directing since 1995, to become a part-time professor in 2008. He is a founding member of the Film and TV Production section of the independent Belgrade radio “B92” in whose production he has made many documentary films that have been successfully screened in the country and abroad and were rewarded multiple times. He is Art Director of the Belgrade Documentary and Short Film Festival, one of the oldest film festivals in Europe.

I HAVE NOTHING NICE TO SAY TO YOU Director and Scriptwriter: Sound Recording: Hrvoje Grill Goran Dević Editing: Vanja Siruček Country of Production: Croatia Music: Jeff Tweedy Year of Production: 2006 Production Assistant: Duration: 30 min Marina Andrijašević Producer: Nenad Puhovski Camera Assistant: Bojana Burnać Camera: Jure Černec Production and Distribution: FACTUM SYNOPSIS The unsolved murder of Ljubica Solar from 1991 inspired the director to write this story about the young generation he himself belongs to. The lives of these people were to great extent affected by wars, and they are facing a small-town dilemma: to stay or to leave? By telling a story about a murdered girl and her mother, who has an idea who the murderers of her daughter might be, but no one can or wants to help her, Dević also tells a story about Sisak’s dark side. I Have Nothing Nice to Say to You is a documentary film noir about a town that 142

the war has made even darker than it would normally have been. Owing to the unusual blend of a socially relevant subject and a highly aestheticised auteur style, one critic called this film “Croatian documentary (anti) Twin Peaks”. The film won many awards, including DokMa Maribor, 2006 – Grand prix; the Oberhausen International Short Film Festival, 2007 - Special Mention by the Ecumenical Jury; dokumentART Neubrandenburg Film Festival, 2007 – Special Documentary Film Award; ZagrebDox, 2006; DOKAVIV – Tel Aviv, 2007; Images Festival, Toronto, 2007; Crossing Europe Film Festival Linz, 2010. Goran Dević was born in Sisak in 1971. He studied archaeology and law. In 2008, he graduated in film and TV directing from the Academy of Dramatic Arts in Zagreb, where he works as assistant professor at the Documentary Film Directing Department. He is the author of documentary and feature films awarded at festivals in Pula, Cottbus, Prizren, Prague, Sarajevo, Oberhausen, Neubrandenburg, Maribor, Motovun, and Zagreb.

FRAME FOR THE PICTURE OF MY HOMELAND Director: Elmir Jukić Country of Production: Bosnia and Herzegovina Year of Production: 2005 Duration: 15 min Sound: Saša Lošić

Cinematography: Mirsad Herović Cast: Emir Hadžihafizbegović, Nermin Tulić, Saša Petrović, Enis Beslagić Production: Pjer Žalica, Srdjan Vuletić, Ademir Kenović (Refresh Production)

SYNOPSIS This is a story about the people who lived together and were friends, to become war criminals in the spring of 1992. Elmir Jukić graduated from the Academy of Performing Arts in Sarajevo. The short feature film A Frame for the Picture of my Homeland is his second movie. At the Locarno Film Festival in Switzerland, the film won the Leopards of Tomorrow award (2006).

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AMATEURS AND THE GENERAL Director: Helge Cramer Country of Production: Germany Year of Production: 2005 Duration: 99 min Director of Photography: Stefan Urlass Sound: Stefan Urlass

Camera: Mladen Pehar, Eldin Palata, Jurgen Staiger, Zanin ZuljeviÄ&#x2021; Editing: Helge Cramer Music: Anouar Brahem, Mostar Sevdah Reunion Production: Helge Cramer

SYNOPSIS Prior to the war, the Catholic Croats and the Muslim Bosnians lived in peace in Mostar. Ten years later, the famous Old Bridge in Mostar - the most prominent victim of the Christian-Muslim war in Herzegovina - was reconstructed. This film represents an exciting dialogue between the eldest Muslim merchant on the bridge, a coach of Mostar bridge divers, and their former school friend and close friend, who returned at the beginning of the war as the Croatian general. His tank destroyed the Old Bridge. Helge Cramer is a journalist, and since 1975, he has been working as an independent TV writer and director. He is the author of numerous reportages, documentaries and short films for ARD, Arte and Deutsche Welle. Directorâ&#x20AC;&#x2122;s Statement The film The Amateurs and the General was made by the people who are engaged in TV reportages, without any budget or support by any television company, who only wanted to make a documentary about the story that could never have found its way to TV programming. The film was shot between November 2000 and September 2004 in Bosnia, while the reconstruction of the famous Old Bridge in Mostar was in progress. The bridge was under the UNESCO protection as it is listed as the World Cultural Heritage, but was destroyed during the Christian-Muslim war in Herzegovina. The film focuses on the question whether the ambitious joint project by UNESCO and World Bank is ever going to be implemented, i.e. will they manage to rebuild the old bridge connecting the Muslims in the eastern part of the town with the Catholics in the western part of the town, who became enemies at the beginning of the first Muslim-Christian war in modern Europe. The authors of the film did not pose that question to the officials. They posed it to the people who were friends before the war; fighters and victims during the war; and enemies after the war. 144

By intermingling the war and post-war destinies of the people with the reconstruction of the Old Bridge, the documentary film project was warmly received by many people living around the bridge and the workers hired to reconstruct it, but it also faced resistance by city authorities, and local UNESCO and World Bank representatives. It seemed that they did not want any independent documentary film about their work. However, the film presents the most exciting footages of this unique reconstruction of a part of the World Cultural Heritage – and what is more important, the stories of both those who defended and destroyed their Old Bridge.

BUILDING BRIDGES Director: Jeanine Butler Country of Production: USA Year of Production: 2006

Duration: 13 min Editing: Bill Gaff

SYNOPSIS Amira, Snježana, and Ifeta are the women behind the Mostar Women’s Citizen Initiative in Bosnia. This is a remarkable group of political activists and ordinary female citizens who have invested great efforts to overcome ethnic and religious differences in the country destroyed by war – Bosnia and Herzegovina. Narrated by former US Secretary of State, Madeline Albright, the film recounts the story of these brave women and we see that with joint efforts is it possible to overcome the differences and the divisions, and to produce a law that protects women and families.

KOSOVO: DOES ANYONE HAVE A PLAN? Director: Lode Desmet Country of Production: Kosovo, Serbia and Montenegro, Macedonia, Bosnia and Herzegovina, Belgium Year of Production: 2006 Duration: 86 min

Sound: Lode Desmet Camera: Lode Desmet Editing: Aleksandar Stojanov Production and Distribution: BIRN – Balkan Investigative Reporting Network

SYNOPSIS The documentary film Kosovo: Does anyone Have a Plan? presents a unique way the worries and the hopes of 17 ordinary people from Kosovo and neighbouring countries in the run-up to final Kosovo status negotiations. They put their questions to the local and international political figures, 145

hoping that they will find a solution for the conflict between Serbia and the Kosovo Albanians in order to stabilise the situation in the region. Kosovo is the last unsettled issue of the Balkans, with the Kosovo Albanians who want independence, and Serbia which is not ready to offer them anything more than greater level of autonomy. Lode Desmet graduated in literature at the University in Leuven. His journalistic career began in 1987 in the Belgian newspaper DeMorgen and the weekly magazines Humo and Knack. Three years later he became a radio reporter for the Belgian public broadcaster VRT. In 1993, he started working for television, where he made his first 52’ documentary film in 1997. His documentaries have won many awards.

DISPOSABLE HEROES Director: Iris Elezi Country of Production: Kosovo Year of Production: 2005 Duration: 26 min Sound: Toton, Ljuan Ćoraj Camera: Srdjan Slavković,

Casey Cooper Johnson Editing: Iris Elezi, Casey Cooper Johnson Music: Project 038 Production: Crossing Bridges Productions

SYNOPSIS Those who fought in the recent Balkan wars were at first adored heroes. As time was passing by, they were being pushed to the margins of the society and treated as a burden by their respective governments. Although the reasons for their going to the war were different, the final result is the same for them all. Usually jobless, with insufficient social benefits, the majority of them feel as if the society they were fighting for has rejected them. Iris Elezi is a director and a producer. She studied film theory and criticism, anthropology and women’s studies before completing her film production studies at the New York University in 2001. In the past years she directed the films in America and Albania: The Last Leaf, Suicide Inc; Renaissance; Memory and Scars; Transference; If It Could Be. She lives in Tirana where she teaches film analysis at the academy of Film and Multimedia Marubi.

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SHUFFLE: POLITICS, BULLSHIT AND ROCK’N’ROLL Director: Ylber Mehmedaliu, Edon Rizvanolli Country of Production: Kosovo Year of Production: 2005 Duration: 43 min Camera: Ylber Mehmedaliu, Edon Rizvanolli

Sound: Ylber Mehmedaliu Editing: Edon Rizvanolli Music: Jericho, Por_no, KEK, Humus, Cute Babulja, Retrovizorja Production and Distribution: Deebeeduss, 1244 Productions

SYNOPSIS Five years after the NATO led campaign and the retreat of the Yugoslav Army Troops, many Albanian refugees’ returns to Kosovo. Jobless, living in extreme poverty and political instability, with inconsistent electricity and water supply, they are trying to live a normal life. Six alternative music bands strongly react to the Kosovo reality through their music. Ylber Mehmedaliu graduated from the Art Academy of the University of Priština and also studied art history at the University of Oslo, Norway. He is a director; scriptwriter and cameraman of the fiction film Grace, shot in Amsterdam, Budapest and Paris. He has directed many music videos and was a cameraman for a documentary about Julian Schnabel, in New York. He has travelled across Europe and in America, China, Mongolia, and Russia collecting film material. As an artist, he participated in a 1997 exhibition of new talents, Perspective 97. His Be Safe, Stop Corruption video art work was screened at the provocative “Sexhibition” in Priština in 2005. Edon Rizvanolli had worked until 1993 as a theatre actor in Austria. He graduated in acting and film directing from the Lee Strasberg Theatre Institute in New York in 1999. He worked as radio director with ORF. He has written two scripts, one for a documentary film and the other for a feature film, both financed by the Austrian Film Institute and Austrian Ministry of Education and Culture. In 2001, he was a local producer for Kosovo Transit, 3SAT, ORF and co-producer for Humer Film. He works as a cameraman, editor and postproduction designer.

ZAGREB IS CALLING YOU Director: Hrvoje Mabić Country of Production: Croatia Year of Production: 2003 Duration: 27 min

Camera: Almir Fakić Editing: Marin Juranić, Hrvoje Mabić Production: Fade in for HRT Distribution: Fade in 147

SYNOPSIS The current issue of growing street violence has been told through four protagonists of the film: a film director obsessed with violence; a former delinquent who channelled his aggression through the ultimate fights; a young and energetic Dinamo soccer team fan; and a veteran sports fan who has become permanently disabled after an incident. The film speaks about their motifs, codes of behaviour, and the consequences of violence. Hrvoje Mabić is a co-founder of the Fade In production studio. He is a member of the Croatian Film Director Guide. In the period 2002-2006, he was a director of 25 episodes of the Croatian documentary series on young people - Direct, for the Croatian state television (HRT).

BLUE EYED Director: Bertram Verhaag Country of Production: Germany Year of Production: 1996 Duration: 92 min Sound: Zoltan Ravasz Editing: Uwe Klimmeck

Camera: Waldemar Hauschild, Hans-Albrecht Lusznat Music: Wolfgang Neumann, Frank Loef Production and Distribution: Denkmal-Films Inc.

SYNOPSIS How can you fight against racism and discrimination? Jane Elliott, a former teacher from America, has been organising workshops for different social groups, in order to explain them how the mechanism of stereotype and prejudice works and how to stop it. The methods by Jane Elliott are controversial; she divides the workshop participants into two groups on the basis of the colour of their eyes. Those with brown eyes are a “superior” and privileged group, while the blue-eyed have to accept the role of the “lowerqualified” group and are treated as less intelligent, less educated, and without any rights and privileges. This way, the blue-eyed, that is the “white race” , for the first time feel how it feels to be discriminated on the basis of physical attributes, skin colour, disability, or gender. In only 15 minutes, Jane Elliott succeeds in creating a realistic microcosm of modern society, with all its unspoken rules and assumptions. What begins as a game turns into a cruel reality, driving some participants to erupt in intense outbursts of emotion. Bertram Verhaag studied sociology and political economy. In the period 19721975, he worked at the Munich College of Film and TV. In 1976, together with 148

Claus Strigel he founded Denkmal Film Production. As a director, screenwriter, and producer of the Denkmal team, he worked on 90 films for cinema and television.

DIVIDED STATES OF AMERICA Director: Sašo Podgoršek Country of Production: Slovenia Year of Production: 2005 Duration: 65 min Sound: Sašo Podgoršek, Julij Zornik

Camera: Sašo Podgoršek Editing: Sašo Podgoršek Music: Laibach Production: Divided Artists Distribution: Nord Cross Production

SYNOPSIS Laibach went on their firs tour to the United States of America in 1989, two years before the disintegration of Yugoslavia. The tour was titled ‘Sympathy for the Devil’. The following two great tours were organised in 1992 and 1997. This was followed by the attack on the World Trade Centre, revenge war in Afghanistan and Iraq, and a world-wide offense against terrorism. These were the events that radically changed the new millennium, but also decreased the possibility for many foreigners to enter the United States. Despite all that, amongst the tensions between the supporters of President Bush and the Democratic candidate Kerry, Laibach managed to enter the country to hold fifteen concerts in the United States. They kick off their tour in Washington, D.C., in the vicinity of the White House, and only a day after the election results were announced. This film in a unique way documents the Laibach’s tour after the dramatic elections held in the USA, in the country which is deeply divided into two confronting political and cultural parts. That is the reason for titling the tour “The Divided States of America Tour”. Sašo Podgoršek graduated from the Ljubljana Academy for Theatre, Film, Radio, and Television. He received many national and international awards for his films: Place with a View (1989); But the Goat Survived (1991); Vertigo Bird (1996); Dark Angels (1999); Dom Svobode (2000); Sweet Dreams (2001); Divided States of America/ Laibach 2004 Tour (2005); What Are You Going To Do When You Get Out of Here? (2005).

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FINAL SOLUTION Director: Rakesh Sharma Country of Production: India Year of Production: 2005 Duration: 149 min Camera: Rakesh Sharma, Tanmay Agarwal

Sound: Rakesh Sharma Editing: Rakesh Sharma Music: Bhadraben Savai, Ahmad Khan Production and Distribution: Rakesh Sharma

SYNOPSIS The film title purposely invokes the rhetoric of Nazism. The film presents brutal massacre of the Muslims in Gujarat. Step by step, Rakesh Sharma shows the development of the extremist right-wing politics in India calling it “Indian Fascism”. The film examines the nationalistic parliamentary campaign in which the language of hatred reached its maximum. Several months after the screening, the distribution of this most famous Hindu documentary film was banned. Rakesh Sharma began his film and television career in 1986 on Shyam Benegal’s Discovery of India. His broadcast industry experience also includes the work on three broadcast channels in India: Channel V, Star Plus, and Vijay TV, and several production consultancy assignments. Today he is a producer of independent documentary films. His documentary films have won numerous awards and screened at many film festivals in Europe and America. Director’s Statement Following 9/11, we live in a world where the politics of hate and intolerance have gained mainstream acceptance. The war on terror dominated the presidential elections in the United States of America, when each candidate promised he was going to “hunt and kill them” more efficiently than the other. The political Right is tightening its stronghold in Europe, and nationalism is fuelled on anti-immigrant and anti-Muslim rhetoric. In a world where the bombing of the innocent people has become legitimate - and justified by the information created by secret services; where it has become acceptable to launch rockets and bombs on the journalists; where shameless politicians divide up oil wells and sign contracts on reconstructing their $36 million bonuses; where it has been accepted that as “collateral damage” the babies be mutilated and killed, we face a challenge greater than ever before. We have gone through dark periods in history before, justifying our barbarism with similar rhetoric. Hate, despair, destruction, and tragedy cannot possibly be a foundation for a harmonious society and a democratic world. 150

I notice shocking parallels between 2002-2004 India and 1930s Germany genocidal violence supported by the state against Muslims in Gujarat has a continuing impact: segregation in schools, ghettoisation in cities and villages, formal calls for an economic boycott of Muslims and attacks on intelligentsia by right wing Hindutva cadres. Unchecked and unchallenged, the rapid rise of politics of hate and intolerance could very well be the forerunner of a 21st century Endlosung - the Final Solution.

LITTLE TERRORIST Director: Ashvin Kumar Country of Production: India, Great Britain Year of Production: 2004 Duration: 15 min Sound: Roland Heap

Camera: Markus Huersch Editing: Ashvin Kumar Music: Nainita Desai Cast: Salim Ali Khan, Sushil Sharma, Meghnaa Mehtta Production: Alipu Films

SYNOPSIS The film is based on a true story. In early 2003, a 12-year old Pakistani boy crossed the Indian-Pakistani border by mistake. Indian Prime Minister Atal Bhihari Vajpayee restored the boy to his family in Pakistan, tightening tensions between these two nuclear countries that came so close to the war less than a year earlier.

THE SECOND GENERATION Director: Želimir Žilnik Country of Production: Yugoslavia Year of Production: 1983 Duration: 90 min Sound: Karolj Štanjo, Martin Jankov

Camera: Ljubomir Bečejski Editing: Slobodan Jandrić Cast: Vladimir Sinko, Petar Bosančić, Sanja Zlatković Production: Art Film, TV Novi Sad

SYNOPSIS After 11 years of living in Germany, fifteen-year old Pavle Hromiš returns to his homeland, to his grandmother’s house in the village of Kucura, to continue his education in Yugoslavia. During the first week of his stay, the boy is confused with the new environment, different curriculum, and people he does not know. After a quarrel with his grandmother and a conflict with his classmates, Pavle goes back to Germany. However, his parents do not let him go to a German school again, because they are going to return to Yugoslavia 151

in a year or two. The old friends are now estranged and they start teasing him because of the poverty and primitivism in his country. Pavle starts seeing his previous experience from a new perspective. He returns to Yugoslavia, to a boarding school in Novi Sad where he meets other children who share a similar past (returnees from Australia, Canada, Austria, etc.). Although it seems that his troubles are over, he soon has problems with his new girlfriend and the boarding school master. His family is worried about his behaviour. Pavle decides to change his life - he breaks up with his girlfriend and goes to the police academy, not telling anybody. He becomes an exemplary student. Želimir Žilnik, author of numerous feature and documentary films, and the initiator of the “docudrama” genre, won many awards at domestic and international film festivals. From the very beginning, his films have focussed on contemporary issues, featuring social, political, and economic assessments of everyday life (A Newsreel on Village Youth in winter, 1967; Little Pioneers, 1968; The Unemployed, 1968; June Turmoil, 1969; Black Film, 1971, and Uprising in Jazak, 1973). The student demonstrations of 1968 and the turmoil that followed the occupation of Czechoslovakia are at the centre of Žilnik’s first feature film Early Works, 1969, which won the Golden Bear award at the Berlin Film Festival and four prizes in Pula that same year. After facing the problems with censorship in Yugoslavia, Žilnik spent the mid-seventies in Germany, where he independently produced and made seven documentaries and one feature film. When he returned to Yugoslavia in late seventies, he directed a series of television films and docudramas for TV Belgrade and TV Novi Sad which were well received by the public (The Illness and Recovery of Buda Brakus, 1980; Vera and Eržika, 1981; Dragoljub and Bogdan, 1982; The First Trimester of Pavle Hromis, 1983; Stanimir Descending, 1984; Good Morning, Belgrade, 1985; Hot Paychecks, a series, 1987; Brooklyn - Gusinje, 1988; Old-Timer, 1989; and Black and White, 1990). In mid-eighties, through a cooperative structure of television and cinema production, he directs several feature films: The Second Generation, 1994; Pretty Women Walking through the City, 1986; and The Way Steel were Tempered, 1988. These films focused on the growing tensions and looming political and social changes in the country. During 1990s, turning to the independent film and media production, he made a series of feature and documentary films centring around the cataclysmic events befalling the Balkans (Tito Among the Serbs for the Second Time, 1994; Marble Ass, 1995; Throwing off the Yolks of Bondage, 1996; Wanderlust, 1998). The breakdown of the system of values in post-transitional Central and Eastern European countries and the problems facing refugees and immigrants 152

in the new circumstances of the enlarged Europe became the focus of his most recent films - Fortress Europe; Kenedi Returns Home; Kenedi Lost and Found; Europe Next Door; Soap in Danube Opera; and Kenedi is Getting Married...

KENEDI RETURNS HOME Director: Želimir Žilnik Country of Production: Serbia Year of Production: 2003 Duration: 74 min Sound: Vladimir Stanojević Camera: Miodrag Milošević

Editing: Marko Cvejić Cast: Kenedi Hasani, Denis Ajeti, Džemsit Buzoli, Sabaheta Alijević, Mevian Alijević Production and Distribution: Terra Film

SYNOPSIS This is a film about a specific situation the Roma families find themselves in after the war in the former Yugoslavia. The Roma and their families had been allowed, within the humanitarian aid, to immigrate to Germany when the war in the former Yugoslavia broke out. They lived in Germany, first as refugees, and later they got the opportunity to work there, their children were born there, and they had the feeling that they live a normal life. The Roma children spoke German perfectly; they were fine pupils and students at German schools and faculties. In 2002 and 2003, hundreds of Roma with their families were over night deported back to Serbia. The German police and special governmental officials would come at night to their homes and required from the families to only take their most needed possessions, and were hurriedly taken to the airport and sent back to Serbia. In Serbia, these families faced a huge tragedy, everything they owned they had to leave in Germany, and younger family members did not speak any other language but German...

KENEDI, LOST AND FOUND Director: Želimir Žilnik Country of Production: Serbia Year of Production: 2005

Duration: 26 min Editing: Marko Cvejić Production: Terra Film

SYNOPSIS Two years later, Želimir Žilnik meets Kenedi Hasani, the protagonist of the film Kenedi Returns Home in Vienna and the team witness his return from the Western Europe to Serbia. 153

EUROPE NEXT DOOR Director: Želimir Žilnik Country of Production: Serbia Year of Production: 2005 Duration: 61 min Sound: Marko Cvejić Editing: Marin Milošević

Camera: Miša Milošević, Jovan Milinov Cast: Roko Babičkov, Suzana Vuković, Ana Vilov, Slavica Vračarić, Ištvan Levai, Tereza Cetina Production and Distribution: Terra Film

SYNOPSIS The films investigates the consequences of the Schengen Agreement on the Hungarian-Serbian border crossing in the period summer 2004-spring 2005. In the form of a docudrama, Žilnik gives the opportunity to the local people to speak about their experience and shows how they live and work in the changed conditions.

MUHAREM, MUSIC THE EYES OF LIFE Director: Željko Mirković Country of Production: Serbia Year of Production: 2005 Duration: 27 min Camera: Ivan Hadži Zdravković

Sound: Aleksandar Perović, Milna Čekić Editing: Darko Ković Music: Muharem Redžepi Production and Distribution: Krug Film And Video production

SYNOPSIS This is a story about Muharem, a blind Roma musician and a Kosovo refugee. Through the storms of life, as he writes out his destiny by playing on the Balkan trains, this gifted artist is unerringly led by his banjo, an instrument Muharem uses to communicate with the world. This is a film about a constant fight for survival. A film about hope. The film Muharem: Music - The Eyes of Life won Best National Film award at the International Ethnographic Film Festival in Belgrade (2005); Best Directing in treatment national minorities at the ‘Golden Jug’ Documentary Film Festival in Velika Plana (2006); National TV Romania Award at the International ECO-ETNO Film Festival, Slatioara, Romania; Grand Prix “Golden Beggar” at the International Festival for Local Broadcasters in Košice, Slovakia (2005) and Original Film award at the International Tour Film Festival in Plock, Poland (2006). 154

Željko Mirković studied at the Braća Karić Arts Academy in Belgrade, Department of TV Directing. He is a member of the European Documentary Network. He took part at the documentary film workshops in Thessaloniki and Zagreb, and completed the Emir Kusturica Summer School at Mokra Gora as one of the most successful attendants. For his documentary and feature films he received a dozen of international awards. His film The Second Encounter is Oscar Candidate in 2013.

CROATIA E(N)D-EN ON EARTH Director: Oliver Sertić Country of Production: Croatia Year of Production: 2006 Duration: 36 min Sound: Tonči Tafra, Zvonimir Ervačić Editing: Žarko Korać

Camera: Tatjana Božić, Josip Ivančić, Robert Raos, Ana Hušman, Srdjan Kovačević Music: Filip Sertić, Bilk Production and Distribution: Fade in

SYNOPSIS In 2004, the Law on Asylum was passed in Croatia. During the following two years, 300 people applied for obtaining the asylum status in Croatia. Nobody has been granted it so far. The film covers the activities of the Centre for Peace Studies in their campaign which reveals why the state institutions have not yet been ready to start the integration process of potential asylum holders into the society. Oliver Sertić is a media activist, producer and journalist from Zagreb. He has published and created for the press, web and radio television. The founder of the RESTART media centre which deals with production, education, exhibition, and distribution of socially engaged creative documentaries. From 2009 he is programming director of the only documentary cinema in the region - Dokukino. He directed and produced several short and feature documentaries. He has cooperated and continues to cooperative with many film festivals such as Zagreb Film festival, Zagrebdox, Vukovar Film Festival, Dokufest, and DORF...as a PR, producer and advisor. He is the director and selector of Liburnia Film Festival, programmer of the Supetar Super Film Festival, also, the associate programmer of the documentary program for the Zagreb Film Festival and Human Rights Film festival. He is the co-founder of the Amateur Film Review - RAF, the Autonomous cultural centre - Attack! and the Cross-radio project. 155

FILM PROGRAMME VSF 03

My Terrorist My Daughter the Terrorist Home of the Brave â&#x20AC;&#x201C; Land of the Free Punjabi Cab Weapons of Mass Deception USA vs. Al - Arian The 3 Rooms of Melancholia Holy Warriors Beyond Words: Photographers of War The Giant Buddhas War Photographer The Source

156

MY TERRORIST Director: Yulie Cohen Gerstel Country of Production: Israel Year of Production: 2002 Duration: 58 min Cinematography: Oded Kirma

Editing: Boaz Lion Music: Tal Segev Production: Cohen Gerstel Productions Distribution: First Hand Films

SYNOPSIS In August 1978, the Palestinian terrorists attacked the bus with the crewmembers of the Israeli airline El Al in London. Fahad Mihyi, one of the terrorists, was arrested and convicted following this terrorist attack. Yulie Cohen Gerstel survived the attack. Twenty three years later, Gerstel decides to help release Mihyi, who is still in prison. Other Israelis accuse her of supporting terrorism, but she believes that the cycle of hostility should be broken. Telephone conversations, letters that Mihyi writes her from prison, and those that she writes to him, as well as her discussions with her opponents and those advocating a peaceful solution of the conflict, reveal Yulie Cohen Gerstelâ&#x20AC;&#x2122;s motivation to help in releasing Mihyi. Yulie Cohen Gerstel was an officer in the Israeli Army until 1982, but she quit when under Israeli occupation of Lebanon Muslims were killed. She left the army and with an international group of photographers reported about the Palestinian terrorists. However, Yulie Cohen Gerstel still doubts whether she should help a former terrorist, especially when she watches the video of the collapsing Twin Towers in New York. On the one hand, this film offers an insight into violence-ridden history of Israel, from the Six-Day War to the Israeli-Palestinian conflict; on the other hand, it demonstrates how drastic a terrorist attack, committed on political grounds, is for those who commit it. Yulie Cohen Gerstel was born in Israel. She graduated in sociology and anthropology from Tel Aviv University. After completing M.A. with distinction in Communication Arts at NYIT (1984), she began working on films in New York and Los Angeles. Starting as production assistant, through assistant camera to script supervisor and line producer, she became a producer and later a director. Since 1996, Gerstel has been a producer and director of 15 documentary films. In 2005, Yulie Cohen Gerstel received the Art of Film Award at the Jerusalem Film Festival. The film My Terrorist won the Special Jury Prize at the Jerusalem Film Festival and was nominated for the Silver Wolf Award at IDFA. My Terrorist has been translated into 16 languages, broadcasted in over 20 countries and screened at over 100 film festivals worldwide. After completing My Terrorist 157

(2002), Yulie Cohen Gerstel directed two more documentary films - My Land Zion (2004) and My Brother (2007), which make a trilogy supported by the Danish Film Institute, BBC and TV 2 Denmark.

MY DAUGHTER THE TERRORIST Director: Beate Arnestad Country of Production: Norway Year of Production: 2007 Duration: 60 min

Director of Photography: Frank Alvegg Producer: Morten Daae Production: Snitt Film Production

SYNOPSIS Dharsika and Puhalchudar belong to the Black Tigers and are preparing for their last mission: strapping to their bodies an American-made Claymore mine, able to blow themselves and everything within 100 feet to pieces. The girls are serving as ordinary soldiers. For seven years they have been eating, sleeping, training, and fighting side by side. They can survive for weeks in the jungle without supplies. They don’t know exactly how many enemies they have killed in ordinary battle. Their only source of information is what the Black Tigers allow them to know, and sincerely believe that their great leader would never order them to kill civilians. The gruesome images of the World Trade Centre is a sombre counterpoint to all this. Dharsika’s family is typical: the father died in the war. Her mother has been struggling to bring up her family in a war-torn society. She says that Dharsika stayed with the family just long enough to bury her father, and then joined the guerrilla. She is proud of her daughter’s fight for their homeland. This film ends with an interview with the mother who is hoping to meet Dharsika and Puhalchudar on National Heroes’ Day, the yearly grand celebration of every single tiger martyr who fought with the Black Tigers. Regrettably, the mother never meets her daughter. The peace talks failed and the Black Tigers decided to put themselves into active service again. Together with other mothers who visit the graves of their loved ones, Dharsika’s mother places her flowers on the grave of the Unknown Soldier and walks away. The film received the “Message to Man” award at the International Film Festival, St. Petersburg: Best Foreign Feature-Length Documentary (2007). Beate Arnestad has been working at the Norwegian Broadcasting Company for a long time, mostly for the entertainment and cultural programmes. She made her debut as a documentary filmmaker with Where the Waves Sing (2002), tracing the life of a former painter and governor in the forgotten Danish-Norwegian colony Tranqubar in India. While living in Sri Lanka from 158

2003 to 2006, she started exploring the concept of women in war, and the result was her film My Daughter the Terrorist.

HOME OF THE BRAVE – LAND OF THE FREE Director: John Sullivan Country of production: Norway Year of Production: 2003 Duration: 52 min Directors of Photography: John Sullivan, Gard A. Andreassen

Editing: Jacob Otnes, Ole Thudesen Sound: John Sullivan, The Chimney Pot Producer: Gard A. Andreassen Production: Panzerfilm AS, Basic TV AS Norway, Jarowskij, AB Sweden, TV2 AS Norway

SYNOPSIS Filmed in 2003, this documentary takes a unique look at the actions of the American Special Forces in Afghanistan. The film crew was allowed to follow a small unit operating in the vicinity of the city of Jalalabad. The power of this documentary lies in its following the actions of Special Forces so closely. Directness, truthfulness, and freedom given to the camera to closely follow the American Special Forces in their search for terrorists, their brutal treatment of the suspects, and their effort to subdue the locals are shocking. The American soldiers are also given the opportunity to be interviewed before the camera. The film won the National Film Award for Best Documentary “Amanda” for the best documentary film in Norway (2004). John Sullivan studied film at San Francisco Art Institute, the School of Visual Arts in New York and Rockport, Maine. As a director and screenwriter he has made several documentary films, short films and commercials, music videos, and drama series for TV. He made his feature film debut with Play in July 2003.

PUNJABI CAB Director/Producer: Liam Dalzell Country of Production: USA Year of Production: 2004 Duration: 20 min Sound: Sally Rubin

Cinematography: Liam Dalzell Editing: Liam Dalzell Music: Matt Knoth Distribution: Centre for Asian American Media

SYNOPSIS The Sikhs originating from Punjab, a northwest state of India, form a relatively large immigrant group in San Francisco. One of the symbols of their faith is longgrown beards and turbans in vivid colours. They remind some people of the 159

Muslims, and for that reason, since 9/11, they have become a target of many verbal and physical attacks. “I am glad that I live in America and I love my work as a taxi driver. Now, however, I am afraid”, says one of the characters in this short film that reveals one of the darker sides of the omnipresent war on terror. Liam Dalzell was born in India. As a teenager he emigrated to Ireland, and in 1995, he went to the United States. He studied philosophy at Trinity College in Dublin, and at New York University. He earned his M.A. in Documentary Film and Video programme at Stanford University in 2004. Liam believes that the roll of a documentary film is to establish a live contact with direct experience. How to overcome cultural differences in the modern world is one of the issues he deals with in his documentary films. He was awarded Enersen Foundation Recognition for his films; Carole Fielding Award, University Film and Video Association; NextFrame Finalist.

WEAPONS OF MASS DECEPTION Director/Screenwriter/Producer: Danny Schechter Country of Production: USA Year of Production: 2004 Duration: 100 min Production: Danny Schechter, Anna Pizarro Postproduction Supervisor: Kristine Sorenson Cardoso

Editing: Kozo Okumara, David Chai Music: Doors, Polarity/1, Nenad Bach, Vortex Outreach Co-ordinator: David Degraw Executive Producers: Anant Singh, Videovision Entertainment, Barbara Kopple, Cabin Creek Films, Rory O’Connor, Globalvision, Inc.

SYNOPSIS There were two wars in Iraq - one was fought with armies of soldiers, bombs and a powerful military force. The other was fought alongside it with cameras, satellites, armies of journalists and propaganda techniques. One war was rationalised as an effort to find and disarm WMDs - Weapons of Mass Destruction; the other was carried out by even more powerful WMDs, Weapons of Mass Deception. The TV networks in America considered their non-stop coverage their finest hour, pointing to the use of embedded journalists and new technologies that permitted viewers to see a war up close for the first time. But different countries saw different wars. Why? For those of us watching the coverage, war was more of a spectacle, an around the clock global media marathon, pitting media outlets against each other in ways that distorted truth and raised as many questions about the methods of TV news, as it did the 160

armed intervention it was covering - and in some cases -promoting. Danny Schechter, radio news director, producer at CNN and ABC, where he received Emmy Award, is now an independent award-winning investigative journalist and filmmaker. He is executive editor for MediaChannel.org, the largest online media issues network, and the winner of the Society of Professional Journalists’ 2001 Award for Excellence in Documentary Journalism.

USA VS. AL-ARIAN Director: Line Halvorsen Country of Production: Norway Year of Production: 2007 Duration: 99 min Script: Line Halvorsen Director of Photography: Tone Andersen

Editing: Trond Winterkjor, Line Halvorsen Composer: Stain Berge Svendsen Sound: Erling Rein Producer: Jan Dalchow Production: Dalchows Verden www.dalchowsverden.no

SYNOPSIS Nahla Al-Arian and her children have been waging war to prove innocence of the husband and father, a Palestinian refugee, university professor and civil rights activist, who has been living in the USA over thirty years. In 2003, Sami Al-Arian was charged with providing material support to a terrorist organisation, and was held in solitary compartment for over three years. His 6-month-long trial ended without a single piece of evidence against him. Although the jury did not pronounce him guilty, Al-Arian remained imprisoned, because the prosecutor requested another trial. In May 2006, he agreed to make a deal with the US Government in order to put the trial to an end and reunite with his family. A federal judge sentenced him to 57 months in prison and then deportation. His family is looking for a country that will accept him, a Palestinian without a country, following his release from prison. The case of Sami Al-Arian is one of the first cases that challenge the US Patriot Act, a controversial act passed in the wake of the September 11th, 2001. Line Halvorsen was educated at the University of Trondheim and at the Documentary Film Department at the Volda University College. The film USA vs. Al-Arian won the audience award at the International Film Festival in Troms (2007), at the Festival on Human Rights in New Orleans it was declared the best film (2007), and at Norway Festival of Documentary “Volda”, it won the main award (2007). 161

THE 3 ROOMS OF MELANCHOLIA Director: Pirjo Honkasalo Country of Production: Finland Year of Production: 2004 Duration: 85 min Screenplay: Pirjo Honkasalo Cinematography: Pirjo Honkasalo Sound: Mari Turunen, Mart Otsa

Music: Sana Salmenkalio Editing: Nils Pag Andersen, Pirjo Honkasalo Production: Kristina Pervila / Millenium Film Co-Production: Pirjo Honkasalo / Baabeli

SYNOPSIS The Chechen conflict is the setting for this film. The adults cannot resolve the war, and younger generations are full of hatred. The children have taken on the burden of hatred, and throughout their lives they are accompanied by inexplicable melancholia and outbursts of rage. The Russian children in Krinstadt, an island situated near St. Petersburg, are trained in the cadet academy as child soldiers. The imagined enemy is the Chechen. He is an opponent whose final defeat turns a soldier into a hero of the fatherland. The Chechen children live in Ingushetia, in the family of Xhadizhat Gataeva, which consists of 75 orphans, for whom Xhadizhat has vowed to act as mother. All their parents were killed by the Russian soldiers. The film The 3 Rooms of Melancholia was awarded at many festivals throughout the world, as follows: Venice (Mostra Intrenazionale d’Arte Cinematografica, 2004); Copenhagen (2004); Amsterdam (2004); Zagreb (2005); Thessaloniki (2005); North Carolina (2005); Tel Aviv (2005); Chicago (2005); Prague (2005); Estonia (2005); Yerevan (2005); Romania (2005); Argentina (2005); and Milan (2005). Pirjo Honkasalo was born in Helsinki in 1947. At the age of 17 she entered Helsinki Film School and completed her cinematographic thesis at the age of 21. That same year she made her first feature-length movie. She continued to study and worked as assistant at Temple University in Philadelphia. The first film that she directed, a historical drama Tulipää (Flame Top), was screened in the 1980 Cannes Official Selection. She has also received numerous awards for her documentary films, in particular for the final part of her Trilogy of the Sacred and Satanic - Atman that won the Joris Ivens award in Amsterdam (1996). Director’s Statement The personal point of departure: Having completed my Trilogy of the Sacred and Satanic (the full-length documentary films Mysterion, Tanjuska and the 7 Devils, and Atman); I felt I had purged myself of what I had sought from 162

the documentary film: its purifying and implacable concreteness. I had given whatever I had to give; to that concretion, an intimation of human silence. I felt an attraction and attachment to the logic of the dream, to which the fictional film provides the most natural path. The world of the dream is half in the past, half in the future. Its gods swing back and forth between life and death. There is no sense of longing in dreams. Time in dreams is not time in time. I directed the feature film Fire-Eater. I have always been stimulated not only by the Sacred and Satanic, but also by the Poetic and Political. It was this that drew me back to the documentary. I donâ&#x20AC;&#x2122;t care for truths, for I see all thought as roiling foam that adheres to nothing nor holds fast; but in the time when I am not asleep or dreaming, I wish to know how the human tribe leads its life, shapes its history and expresses its will, which always seeks to improve the human condition and yet wallows, bewildered, in its blood like some elk gone astray in the city and impaled on the spikes of a cemetery fence. It should not happen this way. Europe is filled with people who need grace of some kind to cope with their righteous rage. The righteous rage turns, a reflection, against them. And life is no court of justice; justice does not prevail, life does. It rises out of chaos in an ascending spiral, briefly appears to have structure, and descends in the curve of a downward spiral toward fresh chaos. Stripping away icons of the enemy calls for the acceptance of grace along with righteousness. Grace is illogical and irrational - in other words, a profoundly gratuitous liberation from the compulsion to hate.

HOLY WARRIORS Director: Marianna Yarovskaya, Olesya Bondareva Country of Production: USA, Russia Year of Production: 2006 Duration: 33 min Producer: Marianna Yarovskaya, Olesya Bondareva

Executive Producer: Marianna Yarovskaya Editing: Erik King Smith, Tchavdar Georgiev Director of Photography: Sarah Levy Sound: Lorna Kirk, Marianna Yarovskaya

SYNOPSIS The film chronicles the spiritual upheaval brought about by war on those involved. It offers a profound insight into the resilience of the human spirit in an effort to do something. Through the traumatic experience of the enlisted 163

soldiers, the film raises vital questions of the link between war and religion, and how fear and hate, and love and religion are manifested in a modern society. Holy Warriors Characters Father Nicholas, aka Lt.-Col. Kravchenko, is a former sniper who fought in four wars, from Afghanistan to Tajikistan, in two Chechen wars, and in numerous “war conflicts”. After experiencing clinical death, he realised that “there are no atheists in a foxhole.” He says, “Atheism ends where questions of life and death begin.” Sergei “The Muslim” Birk had a religious experience while fighting in Karabakh. In a destroyed village he met a mullah, and after having spoken with him for many hours he realized that the answers to all crucial life questions can be found in the Koran. Sergei fought in many wars, including going to Afghanistan in 2001 as a volunteer, “after the Russians got out and before the Americans got there.” He insists he is not a mercenary, and that he did not fight for money. Being a sniper for him is his nature. He calls himself a beast, a predator. Alexander Tarabanovsky, nicknamed “The Shaman” by his military comrades, was the commander of a platoon in which no one died. “I don’t think it was because of my skill,” he says. “I think it was because of the amulets that I had. Nobody died who had amulets.” Tarabanovsky is now a bouncer in a local bowling alley in the city of Krasnodar. In 2001, he was nominated for the Hero of Russia title by President Putin. Zhanna Ismailova is an orphan from Tajikistan, a former Soviet republic. She grew up in a Russian orphanage to be sent to the military academy when she was a teenager. Later on, she spent years in Afghanistan as a spy. “I had to kill,” she says. “It was only scary the first time. But you have to shoot first if you don’t want to be killed.” She now lives in the south of Russia with her grandchildren. Pvt. Sergei Rodionov was captured by the Chechen fighters in the 1990s and killed for allegedly refusing to renounce his Christian religion. He was canonised by the Russian church shortly afterwards. His mother, a member of the communist party for twenty years, is trying to reconcile with the fact that her son is now a martyr and a saint. Marianna Yarovskaya directed and produced in 1998 the documentary film Undesirables about the young people who ran away from their homes in various parts of Russia. The film won the Student Academy Award and the Academy of Television Arts and Sciences Internship (College Emmy). Undesirables were screened at the 53rd Cannes International Film Festival as a part of Kodak Emerging Filmmakers Showcase. Holy Warriors is her 164

second documentary film, and was screened at many international festivals. Marianna Yarovskaya worked for the Russian State Television, at the NASA Ames Research Centre, and for the History and Discovery channels in the United States of America. Marianna Yarovskaya got her Masters of Journalism degree at Moscow State University, Russia, and Masters of Fine Arts degree in film production at the University of Southern California in Los Angeles.

BEYOND WORDS: WAR PHOTOGRAPHERS Director: Eric Foss, Greg Kelly Country of Production: Canada Year of Production: 2005 Duration: 68 min Sound: Eric Foss

Camera: Eric Foss Editing: Tania White, Doug Earl Music: Laurence Stevenson Production: CBC News Distribution: CBC International Sales

SYNOPSIS The documentary features interviews with 24 worldâ&#x20AC;&#x2122;s leading photojournalists since World War the Second to date. Many have been wounded. Some have seen colleagues die. All have been scarred by what they do: some became disillusioned, even ashamed, leaving the profession altogether because they feel itâ&#x20AC;&#x2122;s pornographic. Much of their thinking is focused on the significant fact that the pitfalls of journalism are nowhere more concentrated and accelerated than in the lives and work of those photojournalists. The photojournalists have a passionate, dedicated, complex, problematic, and often deeply conflicted relation with their work. This documentary focuses on why they do what they do: Do they want to be witnesses and preserve something for history? The film gives an insightful analysis of the influence their photographs make on us and on them, and how they view the world. These interviews may be compared with the pieces of a mosaic which, when put together, create a complete image of life of a photojournalist: beginnings, first taste of war, etc. Greg Kelly is an award-winning radio and television producer at the Canadian Broadcasting Corporation - CBC. His radio productions include The Ring: Boxing and Imagination; The Idea of a Noble Savage; and Dante: Poet of the Impossible. His TV work includes the following: Deadline Iraq: Uncensored Stories of the War; and Beyond Words: War Photographers. Eric Foss is an award-winning TV producer and author of documentary films for the Canadian Broadcasting Corporation - CBC. His earlier productions include Larry Towell: Profile; Guantanamo; Aids through a New Lens: Zambia; Deadline Iraq: Uncensored Stories of the War; and Beyond Words: War Photographers. 165

THE GIANT BUDDHAS Screenplay, Director and Editor: Christian Frei With: Nelofer Pazira, writer and journalist; Xuanzang, master 602 - 664 A.D.; Sayyed Mirza Hussain, cave dweller in Bamiyan; Taysir Alony, TV journalist “Al Jazeera”; Zémaryalaï Tarzi, archaeologist Country of Production: Switzerland Year of Production: 2005 Duration: 95 min Cinematography: Peter Indergand scs Sound Design and Mix: Florian Eidenbenz

Assistant Editor: Denise Zabalaga Visual Effects: Patrick Lindenmaier, Paul Avondet Narrators: Stefan Kurt (German), Peter Mettler (English) Initiated by: Bernard Weber Upon an Idea by: Peter Spoerri Advisors: Paul Bucherer, Swiss-Afghan Institute, Armin Grun, ETH Zurich, Christian Manhart, UNESCO Paris Music: Philip Glass, Jan Garbarek, Steve Kuhn, Arvo Part Music Advisor: Manfred Eicher

SYNOPSIS In 2001, two huge Buddha statues were blown up in the remote area of Bamiyantal in Afghanistan. This dramatic event surrounding the ancient stone colossi - unique proof of a high culture that bloomed until the 13th century along the Silk Road - is the starting point for a cinematic essay on fanaticism and faith, terror and tolerance, ignorance and identity. How did it look and sound here fifteen hundred years ago? How did it smell? We are in Bamiyan, the great valley in Afghanistan, site of what were once - not long ago - two giant Buddha statues. At fifty-three metres high, one of them was the talleststanding representation of Buddha in the world. But that was another world. In February of 2001, the Taliban issued an edict that all non-Islamic statues be destroyed. By March 2001, the Buddhas were blown to bits by the special forces of the terrorist organisation Al-Qaeda. Christian Frei was born in 1959, in Schönenwerd, Switzerland. He studied Visual Media at the Department of Journalism and Communication at Fribourg University. He made his first documentary in 1981, and has been working as an independent filmmaker and producer since 1984. His first feature-long film Ricardo, Miriam and Fidel, about a Cuban family torn between loyalty to the revolutionary ideals and the desire to immigrate to the United States, he shot in 1997. In 2001, he made the documentary War Photographer about photojournalist James Nachtwey which won twelve international film festivals, and received an Academy Award Nomination for “Best Documentary Feature“. 166

WAR PHOTOGRAPHER Producer, Director and Editor: Christian Frei Country of Production: Switzerland Year of Production: 2001 Duration: 96 min Photographs: James Nachtwey Digital Betacam Cinematography: Peter Indergand scs Cinematography (Palestine): Hanna Abu Saada

Micro-cam Cinematography: James Nachtwey Micro-cams built by Swiss Effects Assistant Director/Assistant Editor: Barbara Muller Sound Editing / Sound Mix: Florian Eidenbenz Music by: Eleni Karaindrou, Arvo Part, David Darling Music Producer: Manfred Eicher

SYNOPSIS In one of the world’s countless crisis areas surrounded by suffering, death, violence and chaos, photographer James Nachtwey searches for the picture he thinks he can publish. The film is also dedicated to a modest man who is considered one of the bravest and most significant war photographers of our time - but hardly fits into the cliché of the hard-boiled war veteran. Christian Frei used special micro-cameras attached to James Nachtwey’s photocamera, and they were shooting everything that proceeded the moment the photograph was shot. For the first time in the film history this technique allowed an authentic insight into the work of a photojournalist. Swiss director and producer Christian Frei had followed James Nachtwey through the wars in Indonesia (1999), Kosovo (1999), Palestine (2000), at an Indonesian sulphur mine (1999), New York, Hamburg, etc. Nachtwey’s Credo In 1985, shortly before becoming a member of the world famous photo agency Magnum, the then 36-year-old James Nachtwey wrote the following text, a credo about the relevance of his work as a war photographer. Why photograph war? There has always been war. War is raging throughout the world at the present moment. And there is little reason to believe that war will cease to exist in the future. As man has become increasingly civilized, his means of destroying his fellow man have become ever more efficient, cruel and devastating. Is it possible to put an end to a form of human behaviour which has existed throughout history by means of photography? The proportions of that notion seem ridiculously out of balance. Yet, that very idea has motivated me. 167

For me, the strength of photography lies in its ability to evoke a sense of humanity. If war is an attempt to negate humanity, then photography can be perceived as the opposite of war and if it is used well it can be a powerful ingredient in the antidote to war. In a way, if an individual assumes the risk of placing himself in the middle of a war in order to communicate to the rest of the world what is happening, he is trying to negotiate for peace. Perhaps that is the reason why those in charge of perpetuating a war do not like to have photographers around. It has occurred to me that if everyone could be there just once to see for themselves what white phosphorous does to the face of a child or what unspeakable pain is caused by the impact of a single bullet or how a jagged piece of shrapnel can rip someone’s leg off - if everyone could be there to see for themselves the fear and the grief, just one time, then they would understand that nothing is worth letting things get to the point where that happens to even one person, let alone thousands. But everyone cannot be there, and that is why photographers go there - to show them, to reach out and grab them and make them stop what they are doing and pay attention to what is going on - to create pictures powerful enough to overcome the diluting effects of the mass media and shake people out of their indifference - to protest and by the strength of that protest to make others protest. The worst thing is to feel that as a photographer I am benefiting from someone else’s tragedy. This idea haunts me. It is something I have to reckon with every day because I know that if I ever allow genuine compassion to be overtaken by personal ambition I will have sold my soul. The stakes are simply too high for me to believe otherwise. I attempt to become as totally responsible to the subject as I possibly can. The act of being an outsider aiming a camera can be a violation of humanity. The only way I can justify my role is to have respect for the other person’s predicament. The extent to which I do that is the extent to which I become accepted by the other, and to that extent I can accept myself.

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THE SOURCE Director: Martin Mareček Country of Production: Czech Republic Year of Production: 2005 Duration: 75 min Screenplay: Martin Mareček, Martin Skalský

Sound: Ondrej Ježek Cinematography: Jiri Malek Editing: Martin Mareček Producer: Vratislav Šlajer Production and Distribution: Bionaut Films

SYNOPSIS In Baku, the capital city of Azerbaijan, the first oil well in the world was opened many years ago. The city surroundings are full of drilling holes and an interwoven network of rusty pipes. The pumps oscillate monotonously like strange steel beasts, sucking up without a break the oil from its source. What secrets do these century-old oil fields, which were loved by both Stalin and Hitler, hide? Is “black gold” suitable at a spa? Why do the Russian nesting dolls presenting president Aliyev cost more that those presenting Osama bin Laden? Will Azerbaijan be saved by the Contract of the Century and the magnificent oil pipeline? What can Police Commissioner Catani do in one of the most corrupt countries in the world? Everything relates to everything and the costs are sometimes higher than they seem according to the bill. The film won numerous awards including One World - Plzeňský Prazdroj Audience Award and Special Jury Award; IFF Ekofilm – Grand Prix 2005 and Ministry of the Environment Award; IFF DokFest Leipzig - MDR Award for Best Eastern European Documentary; Jihlava IDFF – Audience Award and Best Czech Documentary Film; TSTTT - Josef Velek Award; Trilobit Beroun 2005 – Award by the Czech Film and Television Association (FITES); Trento Film Festival – Special Jury Award; IFF Chronograph – Main Award and Trophy, Public Award for Understanding; International TV Ecological Festival “Save and Preserve” (Siberia) – Award by Television; Cineambiente, Italy Audience Award. Martin Mareček studied cultural studies at Prague’s Charles University and graduated from the Department of Documentary Film at the Academy of Performing Arts (FAMU) in Prague, where he teaches the first-year students. He works as cameraman, director and musician.

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FILM PROGRAMME VSF 04

Early Works June Turmoil Censored without Censorship La Paloma Words and Death: Prague in Stalin's Era The Sunny Side of the Road The Stalin That Was Played By Me Che Guevara: The Body and the Legend Balseros - The Cuban Rafters Children of Solidarnosc A Lesson of Belarusian Left, Right, Forward Photographer Confessions of a German Soldier The End of the Neubacher Project

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EARLY WORKS Director: Želimir Žilnik Screenwriter: Želimir Žilnik, Branko Vučićević Country of Production: Yugoslavia Year of Production: 1969

Duration: 87 min Cast: Milja Vujanović, Bogdan Tirnanić, Čedomir Radović, Marko Nikolić Production: Avala film, Neoplanta film

SYNOPSIS The film allegorically presents the story of young participants of the student de-monstrations in Belgrade, in June 1968. Three young men and girl Jugoslava, decided to oppose the mediocre routine of everyday life. In their desire to “change the world”, inspired by the texts of Karl Marx and Friedrich Engels, they went to villages and factories to “raise awareness” of people, to encourage them in their struggle for emancipation and dignified life. During their “field work”, they faced primitivism and misery, as well as their own restrictions, weaknesses, powerless, and jealousy. They were arrested. Frustrated with the failure of the planned revolution, three young men decided to eliminate Jugoslava, the witness of their incapability. They shot at her, covered her with party flag, burnt her body, and only black smoke rising up in the sky was what remains of their action. This film was prohibited in 1969 in Yugoslavia, and Želimir Žilnik was forced to leave Yugoslavia. Želimir Žilnik, author of numerous feature and documentary films, and the initiator of the “docudrama” genre, won many awards at domestic and international film festivals. From the very beginning, his films have focussed on contemporary issues, featuring social, political, and economic assessments of everyday life (A Newsreel on Village Youth, in Winter (1967); The Unemployed, 1968; June Turmoil (1968); Uprising in Jazak, 1973). The student demonstrations of 1968 are at the centre of Žilnik's first feature film Early Works, 1969, which won the Golden Bear award at the Berlin Film Festival. After facing the problems with censorship in Yugoslavia, Žilnik spent the mid-seventies in Germany, working for independent film industry. When he returned to Yugoslavia in 80s, he directed a series of well-received docudramas (Brooklyn – Gusinje, Oldtimer) focused to the hint of forthcoming nationalistic tensions and the breakdown of Yugoslavia. During 1990s, turning to the independent film and media production, he made a series of feature and documentary films centring around the cataclysmic events befalling the Balkans (Tito Among the Serbs for the Second Time, Marble Ass, Throwing off the Yolks of Bondage, Wanderlust). The breakdown of the system of values in 171

post-transitional Central and Eastern European countries and the problems facing refugees and immigrants in the new circumstances of the “enlarged Europe” are the framework of the thematic cycle comprised of films: Fortress Europe (2000); Kenedi Returns Home (2003); Where has Kenedi Been for Two Years? (2005), Europe Next Door (2005), Soap in Danube Opera (2006) and Kenedi is Getting Married (2007), The Old School of Capitalism (2009), One Woman – One Century (2011), and Pirika in the film (2013).

JUNE TURMOIL Screenplay and Director: Želimir Žilnik Country of Production: Yugoslavia Year of Production: 1969 Duration: 10 min

Cinematography: Dušan Ninkov Editing: Miodrag Petrović Šarlo Sound: Bogdan Tirnanić, Branko Vučićević Production: Neoplanta film

SYNOPSIS The film describes the student demonstrations of 1969 in Belgrade. It was the most powerful mass critic of the ‘red bourgeoisie’ - members of the communist apparatus, who suppressed creativity and affirmation of the new generations in the whole Eastern Block.

CENSORED WITHOUT CENSORSHIP Director: Dinko Tucaković, Milan Nikodijević Screenplay: Dinko Tucaković, Milan Nikodijević Country of Production: Serbia Year of Production: 2007

Duration: 58 min Sound: Aleksandar Jačić, Petar Antonović Editing: Marko Glušac, Marjan Rubeša Music: Borislav Stanojević Production: ART & POPCORN

SYNOPSIS Through the interviews with the Yugoslav film authors, this documentary explores the phenomenon of film and censorship, focusing on the painful epoch of the Yugoslav cinematography called the “Black Wave”. The “Black Wave” is the most significant and artistically most intensive period for the seventh art in the former Yugoslavia, produced in the 1960s and banned in the early 1970s due to political and ideological decisions. Dinko Tucaković (1960-2013) graduated in film and TV directing at the Faculty of Dramatic Arts in Belgrade. As a film theorist and critic he wrote for all 172

leading national magazines and many international ones (Sight and Sound, Positiff). He was the author of several books, including The Secret Life of Film (1993), and Strangers in Paradise (1998). He worked as a selector for several national film festivals and was a member of the international film juries. His films were screened at international film festivals in Madrid, Selb, Leipzig, and Venice. He won many national and international awards. He was a director of the Yugoslav Film Archives. Milan Nikodijević graduated in film and TV production at the Faculty of Dramatic Arts in Belgrade. He was a journalist and film critic since 1978. He published his texts in almost all dailies, weeklies and literary periodicals in the SFRY, FRY, Serbia and Montenegro, and Serbia. At radio and TV stations he created a series of programmes dedicated to film and art. He has been a director and editor-in-chief of Radio Vrnjačka Banja for many years. He is a winner of many awards for his radio work. He is a member of the International Association of Film Critics, Director of the Film Screenplay Festival in Vrnjačka Banja, and Associate Professor at the Arts Academy in Novi Sad. He wrote the following books: Censored without Censorship (1995), Screenplays Written by Left or Right Hand (2000), and Soul Images (2001).

LA PALOMA Director: Sigrid Faltin Country of Production: Germany Year of Production: 2008 Duration: 86 min

Cinematography: Holger Schuppel Editing: Mike Schlomer Music: Enrico Leube Distribution: First Hand Films

SYNOPSIS The film is a journey on the wings of La Paloma, the most played song in the world. So far, 2,000 reinterpretations of the song have been recorded. It is believed that there are many more versions of it. In Zanzibar they play it at the end of weddings, in Romania at the end of funerals. In Mexico it was a favourite song of tragic Emperor Maximilian. A legend has it that his last wish was that they played La Paloma before he was shot by a fire squad. At Auschwitz, Coco Schuman, the German master of swing, was forced to perform the song next to the ramp to the gas chambers. All these and many other touching stories are told in the film shot on three continents. La Paloma is a song for every race and religion, a hymn of the globalised world we would like to live in. What is the secret of La Paloma? Why has it become a symbol of longing across the world? 173

Sigrid Faltin studied English, German and History in Bonn and Freiburg. Since 1989, she had worked as a moderator and author for radio and TV stations. She wrote for magazines and daily newspapers, and since 1995 she has been working as a producer.

WORDS AND DEATH: PRAGUE IN STALIN’S ERA Director: Bernard Cuau Country of Production: France Year of Production: 1995 Duration: 56 min

Sound: Jan Storek Editing: Eva Houdova, Olivier Doat Production: INA

SYNOPSIS When the Communist Party came to power in 1948, in Czechoslovakia started a period of strong autocratic government symbolised by show trials to the alleged traitors. Using a rich selection of archive photos and texts from that time, and based on the memories of the film director himself, this film successfully evokes the atmosphere of the country where political manipulation unavoidably interfered with human lives. The film deals with the show trials to Zaviš Kalandra, Milada Horakova, and Rudolf Slansky – a part of the history never to be forgotten. The film offers a fascinating combination of historical documentary film and personal contemplation. It also represents an interesting and useful side view on Czech history. A versatile intellectual, journalist, filmmaker, and Prague admirer, Cuau died soon after he had completed his film. His colleague and close friend Claude Lanzmann helped in making the final version of the film. Bernard Cuau (1935-1995) was a lawyer, journalist, film critic, and director. He was a photo editor with the Nouvel Observateur and a member of the editorial board of Les Temps Modernes magazine. He wrote essays, short stories and plays. He directed several documentaries and was a lecturer in cinematographic studies at the University of Paris VII.

THE SUNNY SIDE OF THE ROAD Director: Alexander Gutman Country of Production: Russia Year of Production: 2006 Duration: 13 min Sound: Leonid Lerner 174

Cinematography: Nikolay Volkov, Alexander Gutman Editing: Alexander Gutman Production and Distribution: Atelier-Film-Alexander

SYNOPSIS Ivan Gudkov, the central character of the film, is a man without a biography, without a past and future. He is a martyr who has never been nor will ever become a hero. Life in the last Gulag. Alexander Gutman is a Russian film director, writer, producer and cinematographer. He graduated from the Institute of Cinematography in Moscow. He worked in Helsinki (YLEISRADIO), St. Petersburg (Atelier-Film-Alexander and Studio of Documentaries), and Moscow (Studio “Nerve”. From 1978-2004, he worked as a lecturer at the St. Petersburg University of Film and Television. He is a member of the Russian National NIKA Film Academy and European Film Academy.

THE STALIN THAT WAS PLAYED BY ME Director: Daya Cahen Country of Production: The Netherlands Year of Production: 2006 Duration: 15 min Sound: Daya Cahen

Cinematography: Daya Cahen Editing: Daya Cahen Music: Daya Cahen Production: Daya Cahen Distribution: Filmbank

SYNOPSIS This is a story told by Yevgeny Dzhugashvili, grandson of Joseph Visarionovic Stalin, about the history of his family. He resembles Stalin and admires his grandfather whom he saw only once in his life. Daya Cahen studied photography at the Gerrit Rietveld Academy in Amsterdam. The Stalin That Was Played By Me is her directing debut. In 2008, she directed the documentary film “Nashi”.

CHE GUEVARA: THE BODY AND THE LEGEND Director: Stefano Missio Screenplay: Raffaele Brunetti, Stefano Missio Country of Production: Italy Year of Production: 2007 Duration: 52 min

Sound: Gaspar Scheuer, Francisco Aguilar, Massimo Casseriani Cinematography: Gianni Maitan Editing: Ilaria de Laurentiis Music: Carlo Crivelli Distribution: First Hand Films

SYNOPSIS The Cold War ended and the Soviet Union disintegrated. Only then was it possible to view the reality beyond the Che Guevara myth and go in search for his 175

‘spiritual’ remains that disappeared 30 years ago. From 1967 (the year of Che’s execution) to 1997 (the year when his body was recovered), due to the events in the international politics, Che Guevara’s remains were kept hidden from the world, thus making the rehabilitation of the most popular revolutionary in history impossible. Owing to the memory of the people who have come in direct contact with Che Guevara’s body, the documentary reveals the last hours in the life of Ernesto Che Guevara, the reasons that caused the disappearance and recovery of his remains, and the role the vanished body with amputated palms played in the creation of the Che legend. Grandiose funeral procession in Cuba, that after 30 years could finally celebrate the recovery of the body of this national hero, did nothing for this legend to rest in peace. His legend is as alive as it was when he became one of the most powerful icons of the 20th century. Stefano Missio is an Italian film-maker, born in 1972. He made several documentaries, including When Italy Was Not A Poor Country about Italy in the 1960s and Dov’è il Nord Est? In 2005, he directed Il Ponte, a fiction short movie. His film Che Guevara: The Body and the Legend was screened in 12 countries, and won first prize at the Lago Film Festival in Italy.

BALSEROS - THE CUBAN RAFTERS Director: Carles Bosch, Josep M. Domenech Screenplay: Carles Bosch, David Trueba Country of Production: Spain Year of Production: 2002 Duration: 120 min Sound: Juan Sanchez

Cinematography: Carles Bosch, Josep M. Domenech Editing: Ernest Blasi Music: Lucrecia Production: Bausan Films S.L., Televisio de Catalunya Distribution: Bausan Films S.L.

SYNOPSIS In the summer of 1994, following the disintegration of the Soviet Union, nearly 50,000 Cubans left their homes and, filled with yearning for a better and freer life, boarded their makeshift rafts they had assembled with family and friends, and headed for Florida. Many died at sea. Some who were lucky enough to survive were detained for months at the US military base Guantanamo Bay. Owing to the intervention of humanitarian organisations, a few managed to find homes and jobs in the USA. Others relied upon relatives already established in the USA as they sought to adapt to a new life. Oscar Nomination for Best Feature-Long Documentary film (2004). The film was awarded at festivals in Paris (2002), Mexico (2002), Havana (2002), Miami (2002), Tel Aviv (2003), Turin (2003), Belgium (2004), and USA (2005). 176

Carles Bosch worked as a journalist for the Spanish National Television. As a reporter he reported on the Golf War; war in Bosnia and Herzegovina, and Kosovo; Zapatista Revolution; and the developments in Afghanistan, Iran, Chad, the Philippines, Cuba, etc. Jose M. Domenech is an actor. He starred in the following films: Shiver, The Colour of Clouds, and Camara Oscura. Balseros is the first film where he was a director and cinematographer.

CHILDREN OF SOLIDARISC Director: Rafael Lewandowski Country of Production: Poland Year of Production: 2006 Duration: 74 min Production: Studio Filmowe Kalejdoskop

Cinematography: Radek Ladczuk Sound: Jarek Wojcik Editing: Jacek Tarasiuk Music: Andrzej Smolik Distribution: KUIV Productions

SYNOPSIS In 1980, the workers from the Gdansk Shipyard began a strike against the totalitarian Polish regime. Many intellectuals joined in and the Solidarity movement came into being with the mass support of the Poles. The Gdansk Shipyard workers wanted their children to grow up in a free society with better living conditions and hopes of a better future. After 25 years, this generation of children has grown up. By comparing the different perspectives of two generations, the film illustrates what happened to the ideals of the Solidarity movement and demonstrates how these ideals have been fulfilled, but also betrayed. Rafael Lewandowski was born in 1969. As early as a teenager he shot several amateur films and then decided to study film. He graduated in directing, and during the studies worked as an assistant in numerous productions. After having written and directed a number of short films, he turned to the documentary and feature film genre. His films were screened at many international festivals and broadcasted on TV.

A LESSON OF BELARUSIAN Director: Miroslav Dembinski Screenplay: Miroslav Dembinski Country of Production: Poland Year of Production: 2006 Duration: 51 min

Cinematography: Maciej Szafnicki, Michal Slusarczyk Production and Distribution: Film Studio EVEREST 177

SYNOPSIS In 1990, Belorussia announced, and a year later declared its independence following the disintegration of the USSR. Soon, an elite national lyceum was founded in Minsk. When in 1995 Aleksandar Lukashenka came to power, democracy and freedom in Belorussia ended and the lyceum was banned in 2003. This film is a stirring testimony of the situation in Belorussia told by the youngest generation of the lyceum students who work as underground activists. The film won numerous awards including awards at the festival in: Leipzig (2006), Lodz (2006), Polish (2006), Amsterdam (2006), Prague (2006), Wroclaw (2007), Cracow (2007), Ukraine (2007), Mexico (2007), Berlin (2007), and Brussels (2007). Miroslav Dembinski was born in 1959 in Poland. He graduated from the Toruń University in maths, and then studied film directing at the Polish National Film, TV and Theatre School. Since 1990, he has been working as an academic teacher leading classes in documentary film directing. He directed over 30 films, TV series and documentaries. He has received almost 80 awards at international film festivals.

LEFT, RIGHT, FORWARD Director: Linda Jablonská Country of Production: Czech Republic Year of Production: 2006

Duration: 72 min Cinematography: David Cysar Editing: Jakub Voves Production and Distribution: Negativ

SYNOPSIS They spend their free time at the Young Communists Party meetings or at the meetings of Young Conservatives. They admire Vaclav Klaus, George Bush, Che Guevara, Lenin and Stalin. In future, they might become powerful politicians and make decisions vital for the state. In 2005-2006, Linda Jablonská documented pre-election activities of the young communists and conservatives. She focused on the leaders of these two parties, their life and views on the world. Linda Jablonská was born in 1979 in Prague. She graduated from the Film and TV School of the Academy of Performing Arts. She works for Czech Television as a director of documentary programmes and TV series. She is the author of several documentary films including Earthlings, Who Are You Voting For about the work of the NGO Inventura. 178

PHOTOGRAPHER Director: Dariusz Jablonski Country of Production: Poland Year of Production: 1998 Duration: 78 min Cinematography: Tomasz Michalowski

Sound: Piotr Domaradzki, Jens Hasler Editing: Milenia Fiedler Music: Michal Lorenc Production: Apple Film Production Distribution: First Hand Films International

SYNOPSIS In 1987, a few hundred colour slides were discovered in a second-hand bookstore in Vienna that documented the World War II. As it later turned out, they were shot by a principal accountant in the Lodz Ghetto - Walter Genewein. The scenes from the life in the ghetto, shown in one of the first colour slides ever shot, have been used for the film about holocaust seen by the German accountant. The world in colour slides has been juxtaposed with the recollections of Arnold Mostowicz, who witnessed the holocaust as a Jewish medical doctor in the Lodz Ghetto. The film won numerous awards including Grand Prix Fipa D'Or and Prix Planete (Biarritz, 1999), Grand Prix V Pro Joris Ivens Award (IDFA Amsterdam, 1998), Prix Europa - Best TV program of the 1998, Non-fiction Don Kichot - FICC Prize (Krakow, 1998), President of Lodz Prize (1998), Special Mention - IFF Pessac (1998), Top ten - Mediaforum Conference (Koln, 1998), Best documentary BANFF Television Festival (1999), Best documentary- Double Take (USA, 1999). Dariusz JablonskiÂ is a Polish filmmaker and a producer in Apple Film Productions, one of the leading independent production companies in Poland. He graduated in film directing from the Film Academy in Lodz. He has won numerous awards at national and international film festivals. His production house Apple Film Productions produced more than 20 documentary films, 15 feature films and many tele-plays. Dariusz Jablonski is the founder of Polish Film Awards and Polish Film Academy, and also of the Independent Film Foundation. He is a member of the European Film Academy.

CONFESSIONS OF A GERMAN SOLDIER Director: Tony Wilson Country of Production: Great Britain Year of Production: 2007 Duration: 78 min Cinematography: Tony Wilson

Editing: Tony Wilson Music: Guy Meredith Production: Flotsam Films Distribution: First Hand Films 179

SYNOPSIS This is a moving account of the life of Dietrich Karsten. This is a story about resistance and complicity in Nazi Germany and about powerful forces of history that confronted ordinary Germans who objected to the regime. The story was told through Dietrich’s warm and honest letters to his wife, and through his granddaughter’s quest to find his grave. Lena Karsten is joined by British historian Gabriel Fawcett as she travels across Europe and through Russian villages in search of her grandfather’s lives as pastor, resistor, victor and defeated man. She is looking for his grave and the answers to the question: Why did the rebel priest become a model soldier who fought and died for Hitler? Tony Wilson started making films when he was a student of Russian and French at Oxford University. He directed commercials and advertising spots for Pepsi, Motorola, and Coca-Cola, among others. Later he worked in London in the post production facility of Post Republic as projects editor for BBC, EMI, Sony BMG, MTV Networks Europe, Mentorn, and Trinifold Management. He took part in the foundation of the production house Flotsam Films in 2005. Confessions of a German Soldier is his first feature-length documentary.

THE END OF THE NEUBACHER PROJECT Director: Marcus J. Carney Country of Production: Austria, the Netherlands Year of Production: 2006

Duration: 74 min Sound: Maya Vinson Editing: Marcus J. Carney Production: Extrafilm

SYNOPSIS During the eight years of making this film, its director set off to a disturbing cinematographic journey into the Nazi past of his family. The Neubachers were key players in Austrian National Socialism. The End of the Neubacher Project is a film about the disease known as “morbus Austriacus” - Austrian Disease. Main symptoms of the disease are obedient thinking, inability to accept historical facts, refusal to take responsibility, and covering the shame with silence. This disease the director has examined in his own family as well as their attitude toward their own history. Marcus J. Carney was born in 1971 in the USA, and grew up in Austria. He studied directing and dramaturgy at the Vienna Film Academy. He has directed many short-metre films. The End of the Neubacher Project is a film he directed as a part of his master thesis. 180

FILM PROGRAMME VSF 05

World Vote Now Lockerbie Revisited Bananas!* Comic Books Go to War Juvies Afghan Girls Can Kick All White in Barking Punam Journey of a Red Fridge Two Summers in Kosovo Together One Day What You Want Three Days and Never Again Presidential Train Irreversible Henna

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WORLD VOTE NOW Director: Joel Marsden Country of Production: Spain Year of Production: 2009

Duration: 78 min Production: Bus Production Distribution: CINTV

SYNOPSIS Is it possible to organise a referendum around the world upon the principle “one man - one vote” in order to create global democracy? Filmmaker Joel Marsden set out on a journey to 26 countries to answer this question. Marsden started his eight-year-long research in the Republic of Congo, to continue to the Indian Kashmir Province, China, Japan, South Korea, Iran, Egypt, Brazil, Serbia, and Venezuela... and end up in the United Nations where his notion about global voting is enthusiastically welcomed by all his collocutors. He decides to organise a global voting via the home-made satellite to prove that it is possible. Joel Marsden is a writer, producer and director. He has worked on television and film projects in the US, South America, Europe, Asia, Africa, and the Middle East. He is the author of one feature film Ill-Gotten Gains, about an uprising aboard an illegal American slave ship in 1869, and the documentary film World Vote Now, which deals with the construction of the first global democratic system.

LOCKERBIE REVISITED Director: Gideon Levy Country of Production: The Netherlands Year of Production: 2009

Duration: 55 min Cinematography: Gideon Levy Production: Blazzhofski Filmproduction

SYNOPSIS Gideon Levi reinvestigates the terrorist attack on the American Pan Am plane over Lockerbie, Scotland, more than twenty years ago. All 259 passengers, mostly Americans, and eleven Lockerbie citizens were killed. The Libyan secret service was held responsible for the attack; the culprits were found and tried in Scotland. First defendant Al Megrahi was released on compassionate grounds. The reason for his release was his health condition, but UK Justice Secretary Jack Straw later admitted that it was a part of the agreement according to which in exchange for his release Libya offered a big oil contract to British Petroleum (BP). Twenty years later, Levy talks to high officials of CIA and FBI who were directly involved in the case and reveals a complex and tangled game guided by political interests. 182

Gideon Levy was born in 1953 in Tel Aviv. He went into journalism in 1974 when he was drafted and served as a writer and editor for Israel Army Radio. In 1982, he started working for the Israeli daily Haaretz. In the period 1982-1987, he was editor-in-chief of this daily. Since 1988, he has been a columnist for Twilight Zone. With Haim Yavin he directed the documentary film Whispering Embers.

BANANAS!* Director: Fredrik Gertten Country of Production: Sweden Year of Production: 2009 Duration: 88 min Editing: Jesper Osmund

Cinematography: Joseph Aguirre, Frank Pineda Music: Nathan Larson Production and Distribution: WGM

SYNOPSIS A small law firm files a lawsuit against the largest fruit company on the grounds of poisoning their workers. For the first time in history an American law firm represents workers on the plantations in Nicaragua, who have become infertile due to the application of poisonous pesticides on the banana plantations. Does this small law firm have any chance against a powerful corporation worth millions of US dollars? And are you ever going to consume BANANAS again after you see this interesting film full of uncertainties? Fredrik Gertten is a Swedish filmmaker and journalist. During the 1980s and 1990s, he worked as a journalist in daily newspapers, on radio and television in Africa, Latin America, Asia, and Europe. In 1995, he published his book Young Man Looking for the World. He has been a producer of documentaries and entertainment shows broadcast on the Swedish television channels SVT, TV4, and TV3. In 2009, after the US screening of his documentary Bananas!*, the Dole Food Company sued Gertten’s production house for defamation. The court decided in favour of Gertten’s production house, and Gertten used this lawsuit to make his new film Big Boys Gone Bananas!* in 2011.

COMIC BOOKS GO TO WAR Director: Mark Daniels Country of Production: Italy Year of Production: 2009 Duration: 65 min Sound: Cecile Chagnaud

Cinematography: Mark Daniels Editing: Enrica Gattolini Production and Distribution: GA&A Group 183

SYNOPSIS For almost hundred years comic books have provided fantasy, escape, and compensation for the young who often feel powerless and misunderstood in their daily lives. Fantasies of power are inevitably violent, but the violence in comic books has no consequences. After all, it is just a stroke of pen. But what happens when the comic book meets real world? The film Comic Books Go to War explores the journalistic, aesthetic, and political implications of reporting the most violent and terrible human experiences through comics. Mark Daniels has been in filmmaking since 1978. He made over 80 films, television programmes, and TV commercials. He is the author of the following films: A World Without Bees (2009), Great Walks (2007), Generation Yamakasi: The Art of Movement (2005), Enemy Image (2005), Grimper Aux Murs (Climb the Walls) (2005).

JUVIES Director: Leslie Neale Country of Production: USA Year of Production: 2003 Duration: 66 min

Cinematography: Chris Komives Editing: Paul Westmacott Music: Jason Moss Production: Chance Films

SYNOPSIS They are in juvenile detention and are going to be tried as adults. Each year, over 200,000 children are prosecuted as adults in the USA. In order to see who these kids are, Leslie Neale went to the Eastlake Central Juvenile Hall in Los Angeles, where most dangerous and toughest criminals are detained. She chose eleven young people to participate in a video-production workshop that lasted two years and was led by Neale. Their offences are ranged from robberies through physical assaults, to murder. If these juveniles are tried, they are going to stay in prison for life. Leslie Neale is an award-winning filmmaker focused in her work on the crime, criminal justice reform, and the documentary films that deal with social issues. Her documentary Juvies was one of the best films at the 2005 Human Rights Watch Festival. The film also won: Cine Golden Eagle Award for excellence, Special Jury Award (San Luis Obispo International Film Festival, 2004), State Award for best documentary (California Independent Film Festival), Special Jury Award (Urbanworld Film Festival, 2004), Jury Award for best documentary (Beverly Hills Film Festival, 2004), US International Film and Video Festival Certificate for Creative Excellence. 184

AFGHAN GIRLS CAN KICK Director: Bahareh Hosseini Country of Production: Afghanistan Year of Production: 2007 Duration: 50 min Sound: Bahareh Hosseini Cinematography: Bahareh Hosseini Editing: Marta Velasquez

Music: The Afghan Music Project, Aschiana’s music class, Marta Velasquez Production: Bahareh Hosseini Distribution: Carlos Alperin, Ron Alexander

SYNOPSIS They are teenagers playing in the women’s soccer national selection of Afghanistan and are preparing for their first international match. As a child, Roya had to collect waste off the streets of the Kabul’s slums in order to buy fuel for her family. Owing to an Afghan charity organisation which helps children living in the streets, she received an education and found she had a talent for soccer. Today, she plays centre-forward for the national women’s team and works as a teacher in a school intended for children who are forced to work in the streets. Soccer changed the lives of other team members as well. This is a film about teenage girls who break the stereotypes set for them by the conservative Afghan society, who gain self-esteem and confidence as players in Afghan’s first ever women’s national soccer team. The film was awarded at Asbury Park (USA, 2009) for the Best International Short Documentary Film (Garden State Film Festival). Bahareh Hosseini is an award-winning documentary filmmaker. She was born in Teheran, and has shot and directed the projects in Afghanistan, Pakistan, Africa and the UK. She shot for BBC 3 Women, Weddings, War and Me, a documentary that in 2010 won Best News and Current Affairs Content at Broadcast Digital Awards and was nominated for Best Current Affairs Documentary – television.

ALL WHITE IN BARKING Director: Marc Isaacs Country of Production: UK Year of Production: 2007 Duration: 73 min

Cinematography: Marc Isaacs Production: Nick Fraser, Bungalow Town Productions, Marc Isaacs Films

SYNOPSIS Susan and Jeff are Barking residents, who have never greeted their Nigerian neighbours because “they are not our people”. Due to a growing number 185

of non-white people in the town, David gets so furious that he becomes an activist of the right-wing British National Party – BNP, although his daughters have relationships with the blacks. In the meantime, African Betty and a Holocaust survivor Monty form an unusual relationship based on laughter and affection, despite disapproving stares. The film won Audience Award (ZagrebDox 2008) and Amnesty International Human Rights Film Award Marc Isaacs began working on documentary films as assistant producer in 1995. He assisted Pavel Pawlikowski on Twockers and Last Resort. After completing his short documentary Lift (2001), he directed two more documentaries for the BBC. For Channel 4 he shot the documentary film Travellers, Calais: the Last Border, and Philip and His Seven Wives.

PUNAM Director: Lučian and Nataša Muntean Country of Production: Serbia Year of Production: 2009 Duration: 27 min Camera: Lučian Muntean Editing: Nataša Muntean Music: Vladimir Moritz

Producers: Nataša and Lučian Muntean Production: Lunam Docs Co-Production: The Global Fund for Children Distribution: Seventh Art Releasing Illumina Films

SYNOPSIS The voice of a nine-year-old girl Punam Tamang takes us to the Nepal city of Bhaktapur, where she lives with her father, brother and sister. Punam was five years old when her mother died. Her father works from sunrise to sundown in a rice factory, in order to earn enough money for his children’s school fees. Punam assumed the role of the head of the family; she takes care of the home and her siblings. She wants to complete her education and one day becomes a teacher. Four years later, the life of Punam, who is thirteen now, changed. What she and her younger brother wanted to avoid has become inevitable. In 2009, her story takes us to the local brick factory where Punam and her brother work. Lučian and Nataša Muntean founded an independent production company Lunam Docs, dedicated to documentary filmmaking on human rights and social justice, with special attention paid to children rights and child labour. Their first film, Punam, was screened at more than 50 international festivals and received 8 awards, including UNICEF Award for Children’s Rights. 186

JOURNEY OF A RED FRIDGE Director: Lučian and Nataša Muntean Country of Production: Serbia Year of Production: 2007 Duration: 52 min Camera: Lučian Muntean

Sound: Vladimir Moritz Editing: Nataša Muntean Production: Lunam Docs Co-Production: Final Cut Productions, YLE T2 Documentaries

SYNOPSIS This is a story about a 17-year-old boy named Harry Rai, who lives in a small village in the Himalayan Mountains in Nepal, and his extraordinary journey. He is a student who also works as a porter so that he could pay for his school fees. Harry has already been carrying luggage for the tourists up and down the mountain. This time he gets a job to carry a huge red refrigerator from the top of the mountain to the nearest town. The film follows Harry on his journey through fascinating Himalayan landscape, and reveals his thoughts, hopes and dreams. Out of 60,000 child porters in Nepal, Harry is among the few lucky ones who have a chance of going to school. The film won Audience Award at the festival IDFA in Amsterdam and Honourable recognition at the Documentary Film Festival in Norway.

TWO SUMMERS IN KOSOVO Director: Christopher Bobyn, Andrew Lampard Country of Production: Canada Year of Production: 2009 Duration: 114 min Cinematography: Christopher Bobyn, Andrew Lampard

Sound: Tattersall Sound & Picture Editing: Christopher Bobyn, Andrew Lampard Music: Douglas Brown Production: Venture Reflex Films Distribution: Christopher Bobyn

SYNOPSIS Ten years later, Kosovo is still impoverished, ethnically divided, and dependent on the international community. The film presents the images of the lives of the Kosovo Serbs and Albanians six months before and six months after the unilateral declaration of independence by Kosovo. Through the lives of eleven people, the film explores the segregated educational system in Kosovo, the political situation, refugee centres and ethnic enclaves, and inability of the international community to rebuild the country. 187

Christopher Bobyn is a Canadian filmmaker and photojournalist. He completed his film studies at Queen's University in Canada in 2005. He worked on TV production projects for CBC, YTV, and MTV. He directed the award-winning Canadian short horror film Johnny Juno Versus the Zombie Reich. He also worked for the Frontline Magazine. Two Summers in Kosovo is his feature-length documentary film debut. Andrew Lampard is a producer and journalist born in British Columbia, and raised in Hawaii. He graduated in film and history from Queen's University in Canada. After completing his studies, he began to work as TV producer for ABC and YTV. In 2010, he received M.Sc. degree in journalism in New York. Two Summers in Kosovo is his feature-length documentary film debut.

TOGETHER Director: Nenad Puhovski Screenplay: Nenad Puhovski Country of Production: Croatia Year of Production: 2009

Duration: 87 min Editing: Vesna Biljan-Pušić Music: Dalibor Grubačević Production: Factum

SYNOPSIS Five different stories about people who were, are, or want to be in a relationship. Milka and Ratka are a lesbian couple, Maria is a widow, Krešo and Marija are badly off, Hrvoje is a physically disabled person, and Vlado and Marija are mentally challenged persons. However, they all seek love and understanding and want to be together with somebody. Nenad Puhovski was born in Zagreb where he graduated in sociology, philosophy, and film directing. He made his first amateur film when he was 15. As a professional filmmaker, he directed more than 250 theatre, film, and television productions. His documentary films, many of which have won international awards, deal with the social issues and fine art. In 1997, he founded FACTUM that soon grew into the largest and most influential independent production in Croatia. He produced over 60 documentary films which were screened and awarded internationally. He also won four Best Production awards at the Days of the Croatian Film. In 2004, he founded ZagrebDox - the largest regional documentary film festival, where he is also a director. In addition to the Zagrebbased school, where he launched new M.A. Programme in Documentary Directing, Nenad also taught documentary filmmaking in many schools in Europe, Asia, North and South America, the Middle East, and Africa. In 2009, he 188

received the European Documentary Network (EDN) award for “extraordinary contribution to the development of the European documentary culture”. He is a member of the European Film Academy.

ONE DAY Director: Ditte Haarlov Johnsen Country of Production: Denmark Year of Production: 2007 Duration: 30 min Sound: Ditte Haarlov Johnsen

Cinematography: Minka Jakerson Editing: Jeppe Bodskov Music: Mark Solborg Production and Distribution: The National Film School of Denmark

SYNOPSIS She is an attractive 36-year-old woman from West Africa. She lives in the suburb of Copenhagen and believes in God. Each month, she regularly sends money to her family and several times a week talks over the phone with her teenage daughter. She works as a prostitute and is ready to fulfil the most bizarre request of her clients. She hopes that one day she is going to live an ordinary life with her daughter. This is a film about the life of one among many African women who are trying to support their families by working in the EU countries as prostitutes. Ditte Haarlov Johnsen was born in 1977 in Copenhagen. When she was five years old, she moved with her family to Maputo, Mozambique. She completed her film studies in 2007 at the National Film School of Denmark. She is the author of: Homeless (2010), One Day (2007), Painting My Secret (2006), Sisters (2003).

WHAT YOU WANT Director: Bettina Braun Country of Production: Germany Year of Production: 2008 Duration: 41 min

Sound: Bettina Braun Cinematography: Bettina Braun Editing: Bettina Braun, Gesa Marten Production: Bettina Braun

SYNOPSIS Ali, Alban, Kais, Ertan and Moussa are Muslims of different nationality and “foreigners” in Germany. They spent their childhood together in the Youth Centre. To be responsible and to live an independent life is not as easy as it seems. With completed primary school and without significant work 189

experience, their future does not hold many opportunities for them, but despite all this they do not give up. Bettina Braun studied graphic design at Central St. Martins College of Art & Design in London, and then continued her studies at Academy of Media Arts (KHM) in Cologne. Since 1993, she has been working as a filmmaker and designer for numerous media houses in England and Germany. Since 2004, she has been teaching audio-visual media design. She is the author of: Bodies & Borders (1996), Sprech ens aanstaendich (1997), Women’s Nature is Different (1999), Behind the Cinematography is in Front of the Cinematography (2000), What You Want (2004).

THREE DAYS AND NEVER AGAIN Director: Alexander Goutman Country of Production: Russia Year of Production: 1998 Duration: 52 min Cinematography: S. Lando, S. Skvortsov, A. Goutman, I. Naumov

Sound: N. Vinogradskaja Editing: A. Goutman Music: Andrey Frolov Production and Distribution: Atelier-Film-Alexander

SYNOPSIS North-east of Sankt Petersburg, on Ognenji Island, there is a prison for the criminals sentenced to death. Alexander Birgyukov is one of them. He killed his commanding officer because of sexual harassment. Three years later, the sentence was changed. President of Russia commuted the death sentence to a life imprisonment. After three years, his mother was allowed to visit her son in prison. She took all her savings and went on a journey to the place where her son was detained. She will see her son for the last time... Alexander Goutman is a Russian filmmaker, writer, producer, and cinematographer. He graduated from the State University of Cinematography in Moscow. He worked in Helsinki (YLEISRADIO), Sankt Petersburg (Atelier-FilmAlexander and Studio of Documentaries), and Moscow (Studio “Nerve”). Since 1978 up to 2004 he worked as a professor at the Faculty of Cinema and Television in Sankt Petersburg. He is a member of the Russian National Film Academy - “NIKA” and European Film Academy.

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PRESIDENTIAL TRAIN Director: Branko Vilus Screenplay: Branko Vilus Country of Production: Croatia Year of Production: 2009 Duration: 14 min

Cinematography: Branko Vilus Editing: Branko Vilus Music: Tena Novak Production: Restart laboratorij

SYNOPSIS Have you ever asked yourself what would you do if you were a president of a country? Board the Presidential Train and learn what its passengers would do. The Presidential Train goes from Zagreb to Ploče. Even though this railway route connects two cities in Croatia, it passes through almost entire Bosnia and Herzegovina. The train passes through the towns of Banja Luka, Sarajevo, and Mostar, connecting anew the people who were separated by war. Branko Vilus (1973) is a cinematographer, film director, and editor interested in activism and working in the field of cinematographic education. After 2000, he directed a number of short activist documentaries – in Zelena Akcija’s production or his own, like Teletubbies on the Road, No Oil – No War, and Anti GMO in Brussels. In 2003, he produced and directed the experimental film Metamorphosis. He has been more active in film directing since 2007.

IRREVERSIBLE Director: Igor Bezinović Country of Production: Croatia Year of Production: 2009 Duration: 17 min Cinematography: Djuro Gavran, Jadranko Marjanović

Sound: Ivan Mihoci Editing: Martin Semenčić Music: Hrvoje Nikšić, Hrvoje Radnić, Damir Kvesić - Kramasonik studio Production: Oliver Sertić

SYNOPSIS Three persons with different life stories collect plastic bottles off the streets of the city of Zagreb. They collect them from different reasons and view the job from different perspectives. While working, they speak about their everyday life, but also about their hopes and dreams. 191

Igor Bezinović graduated in philosophy and sociology from the Faculty of Humanities and Social Sciences, and in film and TV directing from the Academy of Dramatic Art in Zagreb. In addition to his feature-length documentary The Blockade, Bezinović directed other documentaries as well, including Above Average, which he directed during his studies at the Academy of Dramatic Art. Above Average was the best film at ZagrebDox, according to the audience votes, and it took part at the festivals MedFilm, Rome, and Skena Up, Priština, to name only few.

HENNA Director: Nikola Vukčević Country of Production: Montenegro Year of Production: 2007 Duration: 44 min Cinematography: Nikola Sekerić, Ranko Sekulić

Sound: Jovo Kljajić, Djuro Mihaljević Editing: Dušan Paunović Music: Aleksandar- Saša Tamindžić Production and Distribution: IPG OBALA

SYNOPSIS The heroines of this film are Roma women who live in a refugee camp in the suburb of Podgorica, next to the dump - two mothers who yearn for a different life for their daughters, Diulia and Samantha. Diulia did not want to endure domestic abuse and now, since she lacks any education, she is forced to collect garbage at the dump site and thus feed her children. Samantha is a teenage girl who is trying to finish her school and take another path in her life, yet she has many obstacles to cross: poverty, resistance of her small community, and indifferent society. The film follows the small changes in their lives. All it takes is a few months for things to get from bad to worse: for the dumpsite to close and Diulia to go begging, for the weak trace of hope of Samantha’s education to become even weaker… Nikola Vukčević is a creative director of Podgorica City Theatre and professor of film directing at the Faculty of Drama, Cetinje. He is the youngest member ever to join the Film Board of the National Academy of Arts and Science. He received B.A. in Film and Theatre Directing from the Academy of Arts in Novi Sad, studying under supervision of Prof. Vlatko Gilić. He also received a master degree from the Faculty of Dramatic Arts in Belgrade. He directed ten theatre plays, eight short documentary films and one feature film, and a number of TV documentaries. 192

FILM PROGRAMME VSF 06

Crime Unpunished Face the Wall Letter to Anna Greater Freedom, Lesser Freedom Songs of War Brother Outsider - The Life of Bayard Rustin Heated Blood Rocking the Nation Paradiso Wall to Wall Home and Away Happiness... Promised Land The Locker Room Penalty Kick BAS! Beyond the Red Light The Way Up The Mother Flames of God The Ulysses Legends of Ingushetia Dinner with Pinochet Pray the Devil Back to Hell The Children of Mama Wata 193

CRIME UNPUNISHED Director: Tamas Novak, Fruzsina Skrabski Screenwriter: Tamas Novak, Fruzsina Skrabski Country of Production: Hungary Year of Production: 2010 Duration: 72 min Sound: Márton Kristof

Cinematography: Albert Czomba, Tibor Péter Banai, Ádám Durko, Sándor Kiss Editing: Márton Gothár Music: László Földes (Hobo), Viktor Hárs, Péter Kunert, Áron Ádám Kovács Production and Distribution: Absolve Consulting BT

SYNOPSIS Béla Biszku is a former Communist and ex-minister of the Interior, who was one of the masterminds of the events that followed the Hungarian Revolution in 1956. He was Minister of the Interior between 1957 and 1961, when he demanded more severe sentences and physical elimination of the revolutionaries who rose up against the Hungarian Communist Party regime. Their retaliation was even more ruthless than after the WWII. Bela Biszku retired from the politics in 1989 and has not given an interview to anybody ever since. The film directors managed to make him speak in a rather unusual way. They recorded his interview and asked him about his responsibility during the Communist regime in Hungary. Tamas Novak is a film director, producer, and journalist. He has made over 20 documentary films and commercials for the Hungarian Television. Fruzsina Skrabski is a film director and journalist. She graduated in communicology from the Budapest University. She has worked for Calypso, Hungarian Television, daily newspaper Magyar Nemzet, and Channel 4 (London).

FACE THE WALL Director: Stefan Weinert Screenwriter: Stefan Weinert Country of Production: Germany, Luxembourg Year of Production: 2009 Duration: 85 min Sound: Roland Stahle, Eric J. Francois, Peter Veismann 194

Cinematography: Lars Lenski Editing: Ruben S. Bürgam Production: The core films, Stefan Weinert Co-Production: Equinox Productions, Luxembourg Distribution: Insomnia World Sales

SYNOPSIS This film portrays five people, former East German citizens, who have been arrested because they had tried to flee to the West Germany (BRD). They represent a group of some 72,000 formerly incarcerated people who in this film speak openly of their struggle with the regime, horrific prison conditions and interrogation methods. The film was awarded the label “Of Special Merit & Documentary of the Month 10 / 2009” awarded by the German Film Rating Agency (FBW). Stefan Weinert was born in 1964 in Cologne. He studied acting and film and theatre set design, and worked as a theatre director (1989). He completed his studies in 1991 in Vienna, and since 1996, he has been focused on film, both as an actor and director.

LETTER TO ANNA Director, Screenwriter: Eric Bergkraut Country of Production: Switzerland Year of Production: 2008 Duration: 83 min

Cinematography: Laurent Stoop Editing: Vendula Roudnicka Music: Marie-Jeanne Serero Production: p.s. 72 productions GmbH

SYNOPSIS Ana Politkovskaya, a sharp critic of the Kremlin, was shot on October 7th, 2006 in the elevator of her Moscow apartment building, which drew international condemnation. Politkovskaya was one of few Russian journalists who condemned what was happening during and after the war in Chechnya. The brutal murder of the journalist drew public attention to the violence against journalists in Russia and from the beginning caused suspicions of government involvement. Politkovskaya provoked rage of government officials when she reported on the abuse of human rights in Chechnya during the war. A former journalist of Novaya Gazeta also wrote a book titled “Putin’s Russia”, where she accused the Russian President of serious stifling human liberties in Chechnya. Putin publicly called for the killers to be punished, following a long period of keeping silence about the crime, and described her influence on the political life in Russia as “extremely insignificant”. The murder of the journalist who criticised the war in Chechnya and Russian President Vladimir Putin was characterised as a political one. The documentary film Letter to Anna tries to answer the following question: Why was the woman, who had 195

always been on the side of the weak and whose rights were threatened, killed so cold-bloodedly? Erik Bergkraut, a Swiss actor and film director, was born in 1957 in Paris, and since 1961 he has been living in Switzerland. He graduated from the Theatre Academy of Zurich. He worked for the daily New Zurich Times and the Swiss Television. In 1992, he entered the world of the documentary films, and in 2007 he established his own production house p.s. 72 productions GmbH. For his films he has won many awards, including Vaclav Havel Award (2008), Merit Award Taiwan (2008), International Human Rights Film Award (2007), Marl Award (2007), Rudolf-Vrba-Award (2006) and SV-Foundation Award (2006).

GREATER FREEDOM, LESSER FREEDOM Director: Kristina Konrad Country of Production: Germany Year of Production: 2000 Duration: 83 min Sound: Kristina Konrad Cinematography: Andreas Bolm

Editing: Christian Frosch, Annabelle Wick and Kristina Konrad Music: Gato Leiras Production and Distribution: Weltfilm GmbH

SYNOPSIS Inge Viett and Maria Barhoum are two women who fought as revolutionaries in the late 1960s in Germany and Uruguay. Inge is from Germany, from â&#x20AC;&#x153;the Westâ&#x20AC;?, and Maria is from Uruguay, a third world country. After many years of imprisonment, exile and their recognition that they had also made mistakes in the past, they are still loyal to their revolutionary ideals. Their stories are testimony to the spontaneous revolts, adventures, hope and loneliness, and the lives of the revolutionaries in the second half of the 20th century. Kristina Konrad is a director and producer. She graduated in history from the University of Paris VII (1977). In 1978-1983 she worked for the Swiss television and made documentary films. She lived in New York where she worked as a director on eight films. During her two-year-long stay in Nicaragua, she shot several documentaries. She is a co-founder of Girasolas and Producciones Del Sur production companies. In 2002, she co-founded the production company Weltfilm GmbH with Christian Frosch.

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SONGS OF WAR Director: Tristan Chytroschek Country of Production: Germany Year of Production: 2011 Duration: 52 min Sound: Max Kielhauser, Alexander Joksimovic, Ole Fรถrster, George Parashakis Cinematography: Bernhard Wagner, Christian Eichenauer, Knut Sodemann, Igor Martinovic Graphics: Michael Bamber

Editing: Norik Stepanjan, Karl-Heinz Satzger Editor-in-Chief in ARTE: Susanne Mertens Production and Distribution: A&O Buro for ZDF Co-Producer: ZDF / ARTE The film has been made with the support of Filmfรถrderung Hamburg Schleswig-Holstein GmbH

SYNOPSIS Music is magic that could easily turn into an insidious weapon for torturing prisoners. Main character in the film is Christopher Cerf, composer of the songs for the Sesame Street TV series, who learns that his music had been used to torture prisoners in Guantanamo and Abu Ghraib. Stunned by this abuse of his work, Cerf decides to find out how music can become a means of torture. He speaks to soldiers, psychologists, and former Guantanamo prisoners to learn that music has been used as a potent weapon in the military for over a thousand years. Tristan Chytroschek is a producer and director. He has worked for the BBC and Channel Four in Great Britain and for Discovery/TLC in the USA. He had lived and worked in London, Los Angeles, Mexico City, and Cordoba, before he returned to Germany. Since 2004, he is co-owner of the A&O Buro production company.

BROTHER OUTSIDER - THE LIFE OF BAYARD RUSTIN Director: Bennett Singer, Nancy Kates Country of Production: USA Year of Production: 2003 Duration: 84 min Sound: Wellington Bowler, Sekou Shepard

Cinematography: Robert Shepard Editing: Veronica Selver, Rhonda Collins Music: B. Quincy Griffin Production and Distribution: Question Why Films 197

SYNOPSIS This is a reflection on the life and work of Bayard Rustin, an activist, visionary and strategist who has been called “the unknown hero” and “the invisible man” of the civil rights movement in America. Rustin was a disciple of Ghandi and a mentor to Martin Luther King Jr., and LGBT right fighter. Bayard has devoted sixty years of his life to activism, and was a participant in almost every significant event between the 1940s and 1970s in the USA. An unrivalled intellectual and organiser of civil rallies of his time, Rustin was one of key figures on the modern civil rights movement in America. This film, among other things, provides an answer to the question why he stayed in the background as an advisor never to step forward and present his gift in full light. The film won numerous awards including Glaad Media Award for Outstanding Documentary (2004), Silver Hugo Award (2004), Rhode Island International Film Festival (2003), American Library Association Notable Videos for Adults Award (2004), and CINE Golden Eagle (2003). Bennett Singer is a director and producer of many famous documentary series. For eight years he has been an executive editor for the TIME magazine. Nancy Kates is a filmmaker and writer. She is a graduate of Stanford University’s documentary film and television programme. During her studies she created a number of short films, and her film Their Own Vietnam received the 1995 Student Academy Award in Documentary. She worked as producer, writer, and consultant on various documentary projects.

HEATED BLOOD Director: Marko Mamuzić Authors: Miloš Teodorović, Ivana Lalić Majdak Country of Production: Serbia Year of Production: 2008

Duration: 51 min Cinematography: Nikola Majdak, Jr. Editing: Dejan Luković Music: Vojislav Besić Producer: Lazar Lalić Production: ARHITEL

SYNOPSIS Seven years after the fall of Milosevic’s regime and the revolution of October 5th, Serbia is still a country largely isolated from the rest of the world where extreme right-wing parties are getting stronger every day. What is most worrying is the fact that the incidents caused by the ultra-rightist groups, 198

made up mostly of very young people, have become public and more frequent following the year 2000. It is this very extremism that is the key topic of this film, and we tried to point out and warn against the expansion of dangerous phenomena such as fascism and Neo-Nazism. Marko Mamuzić was born in 1966 in Lion, France. He studied fine arts in Paris (Sorbonne, 1988), multimedia directing in Sarajevo (ASU, 1989-92), and film and TV directing in Belgrade (FDU, 1992-95).

ROCKING THE NATION Director: Bori Kriza Country of Production: Hungary Year of Production: 2007 Duration: 70 min Editing: Balázs F. Imre Music: Romantikus Erőszak

Cinematography: Edit Blaumann, Sándor Cs. Nagy, Attila Csoboth, Zsolt Ezer, Gábor Horkai, Gábor Kasza, Zoltán Lovasi, Dániel Szandtner Production: Metaforumfilm

SYNOPSIS Romantic Violence is the name of a popular Hungarian band who play socalled “national rock”, a style combining rock and folk with far-right ideology. The group’s front man describes himself as a patriot and his idols are the insurgents of 1956. He spreads nationalism on a tour playing to members of the Hungarian minorities in Romania and Serbia and happily takes part in “constructivist” ceremonies recalling the medieval glory of the Hungarian kingdom. Romantic Violence’s hard-core fans are made up of skinheads, folk enthusiasts, football fans, and students, all united by a hatred of Jews and a wish to see the glory days of the Hungarian nation revived. A performance at a massive outdoor festival shows how popular the band are, with the chilling testimonies of intelligent fans demonstrating how nationalism, also found in the media and the education system, easily spreads to all layers of society. Bori Kriza was born in 1974 in Budapest. She graduated in sociology at Eötvös Loránd University, Budapest where she works currently as lecturer and researcher. She also studied at the Nationalism Studies Programme of the Central European University as well as at Sciences Po, Paris. Since 1999, she took part as a screenwriter and director in several award-winning Hungarian documentary films dealing with social and political issues. Her documentary film Rocking the Nation has been screened at numerous European film festivals. 199

PARADISO Director: Alessandro Negrini Country of Production: Northern Ireland Year of Production: 2009 Duration: 60 min Cinematography: Odd Geir Saether Editing: Luca Benetti, Claire O’Neill

Sound: Kevin McCarthy, Eamonn McKenna Music: John Trotter Producer: Margo Harkin Production and Distribution: Besom Productions

SYNOPSIS Derry, Northern Ireland: there are plenty of ghettos around the world, all of them with their own injustice, each of them living on its knees. There is one ghetto condemned to something even worse: it has forgotten its music. It’s The Fountain, in the heart of the city: once a vibrant community, where people used to dance together despite religious differences, now a disappearing Protestant neighborhood killed by fear and politics and turned into an open air prison, now living behind a fence. Roy Arbuckle, a musical troubadour, decides it’s time to challenge one of the monstrosities left by the war in Northern Ireland: fear. He wants to reunite his former showband, The Signetts and his formers musicians, nowadays in their seventies that lived the heady glamour of the Show band era, in a high-risk attempt to try to do something that would be normal anywhere else but not yet in Northern Ireland: having a major dance night, inviting their old enemies and get Protestants and Catholics dancing together. If it wasn’t enough, for this event Roy wants to open up the stronghold of Protestant heritage and culture in Derry: the Memorial Hall, once the most popular dance hall in the heart of the city. A colorful, melancholic and ironic musical journey through a ghetto that, even if it find itself in its last dance, it doesn’t want to miss a single step of it. Let’s save pessimism for better times. Alessandro Negrini is an award-winning Italian film director and poet. He was born in Turin. He spent much of the 1990s travelling Europe and writing, and in 2001, he moved to Northern Ireland. He authored numerous documentary and short films that won numerous awards throughout the world. His most acclaimed work has dealt with marginalized groups and resistance - Mad Portraits (1998), The House of Phrases (2002), Lies and Waves (2003), and Memories of Ice and Fire (2008). The documentary film Paradiso has been screened at many international festivals where it won 15 awards, from Hungary, through India, Germany, Italy, Great Britain, and Austria to Kenya. 200

WALL TO WALL Director: Patric Jean Country of Production: Belgium Year of Production: 2008 Duration: 90 min Sound: Jean - Jacques Quinet Cinematography: Patric Jean Editing: Francoise Arnaud Music: Tom McClung Production: INA, Black Moon

Co-Production: l’Espace international du FOREM (Office wallon de la Formation et de l’Emploi), Wallonie Image Production, CGRI, FACEM Repères, le Fond Social Européen, Wallonie-Bruxelles International, Agence wallone à l’Exportation et aux Investissements Etrangers (AWEX), Plateforme migrants & citoyenneté européenne, France 2, PROCIREP, ANGOA, ACSE, Centre National de la Cinématographie

SYNOPSIS This is a road movie, a journey through Europe, from the destructed Berlin Wall to the new Ceuta wall, from multiculturalism to prejudice. The film explores the new multicultural Europe and how the foreigners contribute that the EU motto “united in diversity” really is applied. On this unusual journey, from the North to the South of Europe, we meet people who have come from all parts of the world in search for better life. Through their personal stories, that are both merry and sad, we learn that they are not always well accepted by their new host society although they do their best to adapt to the new surrounding. Wall to Wall presents quite a different image of the immigrants of all generations that is both optimistic and ironic. Patric Jean was born in 1968 in Belgium. He studied theatre, literature and cinema at Brussels University (INSAS). He first directed short fiction films. His first documentary film was about social problems in the South of Belgium, and his second film was about a painter, Didier Mahieau. Might is Right, is his third documentary film and it was broadcasted in 15 countries and screened at 40 movie theatres in France.

HOME AND AWAY Director: Ann Van de Vyvere Screenwriter: Ann Van de Vyvere Country of Production: Belgium Year of Production: 2010 Duration: 75 min Cinematography: Jason Boenne

Editing: Nico Leunen Music: Roland van Campenhout Production: Globe Aroma, Off World & Kaaitheater Distribution: Off World 201

SYNOPSIS The film follows modern nomads and deals with the relation between the people and their items. Which of these possessions can you take with you if you are permanently on the move and do not have a permanent address? The film zooms in on 10 modern nomads and the most precious items they possess they can never leave behind. Their life stories are funny, touching, and sad. Ann Van de Vyvere graduated in fine arts in 1998. In 2004, she founded a Brussels-based artistic organisation Irma Firma (www.irmafirma.be). She authored the films Home and Away, How to Survive in a City, dance performance Room of Lost Steps and play Truth, Lies, and Special Effects.

HAPPINESS... PROMISED LAND Director: Laurent Hasse Country of Production: France Year of Production: 2011 Duration: 93 min Sound: Laurent Hasse, Xavier Thibault, Jean Marc Schick

Cinematography: Laurent Hasse Editing: Matthieu Augustin Music: Nicolas Repac Production and Distribution: La Bascule Co-Production: Zadig Productions

SYNOPSIS One November morning, he started hiking from the southern to the northern France. His only goal was - happiness. Laurent Hasse was born in France. Since 1996, he has been directing documentary films for television. Happiness... Promised Land is his first featurelength documentary film.

THE LOCKER ROOM Director: Nisan Katz, Eyal Zusman Country of Production: Israel Year of Production: 2009 Duration: 52 min Editing: Idit Alony

Cinematography: Mira Arad, Slavik Greens Music: Amir Jackoby, Tom Sharfshtein Production and Distribution: Topia Communications ltd

SYNOPSIS These are three stories about the soccer players that are simultaneously taking place in Kathmandu, Nazareth, and Zanzibar. Soccer is more than a competition between the individuals and countries. It surpasses the borders 202

and social differences, unites humanity, and gathers nations around one ball on one soccer field. Still, one place remains hidden: a locker room. The film focuses on three stories from the locker rooms that simultaneously take place in Kathmandu, Nazareth, and Zanzibar during the soccer matches. The members of the Tibetan monk team are willing to do anything in order to play. The Nazareth team comprises Muslims, Christians, Druze, and Jews. They are fighting together to remain in the Israeli Soccer League. For the Zanzibar team players soccer is one of potential ways to escape poverty in which they live. Nisan Katz, film director and producer, graduated from the Tel hay film and TV school in Israel. He worked as a film director for the Matav TV channel. He directed and produced the short film Bad Trip, documentary films Thank God for India and Choco Banana in North Carolina. He is the founder of Nisansun Productions, an independent documentary film production company. Eyal Zusman is a writer, director, and producer. He got his bachelor degree in theatre studies at the Tel Aviv University, and graduated in communication from ACC and AFIC. He won the first place in play writing category for Jona the Profit. He is a creative director of the Zarmon Goldman Company. He is also an initiator of the World Jewish Caricature Competition.

PENALTY KICK Director: Carlo Ghioni Screenwriter: Carlo Ghioni Country of Production: Canada Year of Production: 2010 Duration: 14 min

Sound: Roger Guerin Editing: Carlo Ghioni Music: Francois Jolin Distribution: Ouat Media

SYNOPSIS If soccer is similar to war, could a penalty kick decide a battle? The attackers accept a novel way to settle things: the disputed territory will go to the winners of a soccer game, and the game comes down to a penalty kick... This film was screened at the film festivals in Edmonton, Montreal, Calgary, Los Angeles, and won the Alberta Film and Television Award - Rosie Awards in Vancouver. Carlo Ghioni is a film director, screenwriter, film producer, and an actor. He directed one full-length feature film, six documentaries and a large number of short films, as well as one interactive documentary film. He was born in Italy, he studied film history at the University of Turin, and in 1999 he went to Canada to study in Montreal (Vancouver Film School, Institut National de lâ&#x20AC;&#x2122;Image et du Son). 203

BAS! BEYOND THE RED LIGHT Director, Screenwriter: Wendy Champagne Country of Production: India, Nepal Year of Production: 2010 Duration: 77 min Editing: Hubert Hayaud

Cinematography: Katerine Giguere, Guy Mossman Music: Tarun Nayar Producers: Denis McCready, Silvie Van Brabant Production: Rapide Blanc

SYNOPSIS This is a film about 13 girls that have been rescued from the infamous brothels in Mumbai, India. These girls, victims of child trafficking, try to deal with the traumas experienced as prostitutes in brothels. Their families do not know what happened to them, many have become pregnant, and a large number of them got AIDS. The film explores lesser known side of child trafficking and how its victims may be rehabilitated and reintegrated in the society. This unique documentary presents the intimate stories of these girls and their effort to heal their trauma with dance and music. Wendy Champagne is a director and journalist. After completing her studies at the University of Sydney, she moved to Hollywood where she worked as costume designer, film consultant, and researcher. BAS! Beyond the Red Light is her first documentary film. In the past 20 years she lived in eight different countries and wrote stories published in The Sydney Morning Herald, The Australian Financial Review, Mindfood, The Guardian, Premiere Magazine, and Canada’s National Post. In her work she focuses on human rights, women’s rights, health issues, and different cultures.

THE WAY UP Director, Screenwriter: Shirly Berkovitz Country of Production: Israel Year of Production: 2009 Duration: 52 min

Cinematography: Shirly Berkovitz Editing: Sharoon Brook Music: Eli Soorani Production: Claudius Films Distribution: Pnina Halfon Lang

SYNOPSIS During the Ceausescu’s regime in Romania, abortions were illegal, and orphanages were full. First four years of her life Lian spent in one of those orphanages before an Israeli couple adopted her. But soon it became clear that 204

she came into a home where her troubles continued so at the age of 14 she ran away. Lian now lived in the street and hoped that she would find her biological mother. The film reveals the harsh reality of life in the streets of Tel Aviv. The film won the Honourable Mention award at the TLVFest (2009) and Best Documentary “Women in Cinema” at the International Film Festival in Romania (2010). Shirly Berkovitz is a director and writer born in 1977 in Israel. Her first short film, Blocked, she directed in 2004, when she graduated from the Beit Berl Art College. Presently she works as editor and producer of independent projects, but also as a tutor and facilitator of media and film youth groups and seminars.

THE MOTHER Director: Antoine Cattin, Pavel Kostomarov Screenwriter: Antoine Cattin, Pavel Kostomarov Country of Production: Switzerland Year of Production: 2007 Duration: 80 min

Sound: Antoine Cattin, Adrien Kessler, Pavel Kostomarov Editing: Antoine Cattin, Pavel Kostomarov Music: Thierry van Osselt, Alexander J.S. Cracker Production: Les Films Hors-Champ

SYNOPSIS Her name is Ljuba. In Russian it means “love”. In a hostile surrounding, exposed to brutality, this “Mother Courage” sacrifices a lot and ruins her health living in a kolkhoz near Novgorod with her nine children. After leaving her violent husband, she is taking care of her eldest son who is in prison. From a maternity hospital to school, from the hospital into the field... Where can she end up living like that? The film won numerous awards at the festivals in Buenos Aires (2009), St. Petersburg (2008), Seville (2008), Valdivia (2008), Agadir (2008), and Leipzig (2007). Antoine Cattin graduated in Russian, history, and film from the Lausanne University in 2001. He is the founder and editor of the Hors-Champ newspapers. In Russia he worked as an assistant to the director Sergey Loznitsa. Since 2004, he has been living and working in Russia and Switzerland. Pavel Kostomarov graduated from the State Film Institute as a cinematographer in 2003. As a cinematographer and director of photography he has worked on many films with Sergey Loznitsa, Victor Asliuk, Alexey Uchitel, and Alexey 205

Popogrebsky. At Berlinale he won “Silver Bear for Cinematography” in the film How I Ended This Summer (2010). He lives in Moscow and St. Petersburg.

FLAMES OF GOD Director: Meshakai Wolf Screenwriter: Meshakai Wolf, Pierre Chopinaud Country of Production: USA, France, Macedonia Year of Production: 2010 Duration: 63 min

Sound: Meshakai Wolf Cinematography: Kosta Asmanis Music: Muzafer Bislim Editing: Meshakai Wolf Production: Meshakai Wolf, Gregory Scarbourg

SYNOPSIS Muzafer Bislim, a poet and a songwriter from the Macedonian town of Shutka, the largest Romani community in Europe, travels to Paris to the International Biennial of Poets. He takes with himself his masterpiece, a handwritten dictionary containing 25,000 Romani words hoping to find a publisher for the dictionary. On his trip Bislim meets his old friends who had left Shutka and now live in Paris. Meshakai Wolf is an artist, photographer, and documentary filmmaker who lives and works in New York. He studied philosophy and anthropology at Emory University and at the New York Film Academy. His first film, Gussie, an intimate portrait of his 105-year-old great-mother was screened at film festivals across the USA, and won the Best Documentary Feature at the Magnolia Film Festival. He has also made a documentary about the traditional music and oral traditions of the Kurds in southeast Turkey. He is also a director of film and video projects for Cultural Cornerstones, a non-profit organisation that supports creative projects in crisis affected communities.

THE ULYSSES Director: Alberto García Ortiz, Agata Maciaszek Country of Production: Spain Year of Production: 2011 Duration: 83 min Sound: Agata Maciaszek 206

Cinematography: Alberto García Ortiz, Cristina Santoro Editing: Cristobal Fernandez Music: Alfonso Arias Production and Distribution: ARTIKA FILMS

SYNOPSIS In order to reach Ceuta, a Spanish city only 14 km away from the Iberian Peninsula, hundreds of immigrants pay large sums of money each year. The film follows the destinies of 57 Indians who are stuck for two years in Ceuta. Alberto Garcia Ortiz was born in 1972 in Spain. He graduated from the University of Edinburgh in 1995. He directed several short documentary films that have been awarded at the film festivals worldwide. Agata Maciaszek was born in 1980 in Poland, and at the age of 12 she moved to Spain. She graduated audiovisual communication from the University of Madrid. She works as film director and producer for the Spanish National Filmhouse.

LEGENDS OF INGUSHETIA Director: Fatima Mutsolgova, Elena Michajlowska Screenwriter: Fatima Mutsolgova, Elena Michajlowska Country of Production: UK Year of Production: 2010

Duration: 56 min Sound: Husein Malsagov, Davorin Tomsic Editing: George Akers, Elena Izosimova Music: Loam, Ingushetia Production: Confer filmz

SYNOPSIS Fatima Mutsolgova undertakes a journey into her homeland’s past. She leads us through Ingushetia’s breath-taking landscape, myths, history, and personal stories, until we arrive to her nation’s darkest hour in February 1944, when the entire population became a phantom nation. Fatima Mutsolgova, a film director and producer, was born in Ingushetia. At the age of 17 she went to study in Great Britain. She started co-operation with Elena Michajlowska on the film Baltic Breeze (2006). Since then they have jointly worked on many audio-visual projects in London. Legends of Ingushetia is her directorial debut and inspired her to enter the world of film. Elena Michajlowska, a director and producer, was born in Kazakhstan. Baltic Breeze is her directorial debut documentary. Legends of Ingushetia is her first feature length film co-directed with Fatima Mutsolgova.

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DINNER WITH PINOCHET Director: Brindusa Ioana Nastasa Country of Production: UK Year of Production: 2011 Duration: 65 min

Sound, Cinematography, Editing: Brindusa Ioana Nastasa Production: Grapefruit Productions

SYNOPSIS This is a documentary about a Chilean family whose members came to the UK 30 years ago as political refugees in order to escape the Pinochet’s dictatorship. It is a very emotional story that reveals how historical events still have a significant impact on younger generations. The film analyses the relationships in the family which are the consequence of past traumas. Brindusa Ioana Natasa is a director and photographer with Romanian origins, and in 2000 she founded her production company Grapefruit Productions.

PRAY THE DEVIL BACK TO HELL Director: Gini Reticker Country of Production: USA Year of Production: 2008 Duration: 72 min Editing: Kate Taverna, Meg Reticker

Music: Blake Leyh Producer: Abigail Disney Distribution: Balcony Releasing, Ro*co films

SYNOPSIS This is an unusual story about the Muslim and Christian women from Liberia who decided to come together and help in establishing peace in a country destructed by war. Thousands of women came together to stage a silent protest in front of the Presidential Palace, and prayed together for peace. Dressed in white T-shirts and feeling firm convictions, they demanded the resolution to their country’s civil war. The film was screened at numerous film festivals where it won many awards, including the award at the Tribeca Film Festival (2008), Jackson Hole Film Festival (2008), Silverdocs AFI/Discovery Channel Film Festival (2008), Traverse City Film Festival (2008), Heartland Film Festival (2008), St. Louis International Film Festival (2008), MY HERO Film Festival (2008), Palm Springs International Film Festival (2009), Santa Barbara International Film Festival (2009), Cinema for Peace (2009), One World International Human Rights Festival, Prague (2009), Women’s Film Festival, Vermont (2009), Movies That 208

Matter Festival (2009), I Will Tell Festival (2009), and Vancouver Amnesty International Film Festival (2010). Gini Reticker is one of the leading documentary film directors. In her work she primarily focuses on women engaged in struggles for social justice and human rights. Her films cover subjects that are less present in media, such as women in war zones. She made her films in conflict zones around the globe, including Liberia, Ruanda, and Afghanistan.

CHILDREN OF MAMA WATA Director: Silvia Venegas Venegas, Juan Antonio Moreno Amador Screenwriter: Silvia Venegas Venegas, Juan Antonio Moreno Amador, Guillem Ruisanchez de Isasi Country of Production: Spain Year of Production: 2010 Duration: 55 min

Cinematography: Alberto Gonzalez Casal Sound: Diego Cardoso Yudicello Editing: Alberto Gonzales Casal, David Mi単ana Montero, Silvia Venegas, Juan Antonio Moreno Music: Haru Mori Production: Making DOC Producciones

SYNOPSIS One of the major valuables of Sierra Leone are natural diamond finding sites for which ten-year civil war was led (1992-2002), in which 50,000 people were killed, and thousands of inhabitants became the disabled. Torn with the civil war and poverty, on the one hand, and huge potentials, on the other hand, this Western African state is today among the poorest and underdeveloped countries of the world. The death rate is among the highest in the world, and the average population life span is among the shortest. Silvia Venegas Venegas is a documentary filmmaker and producer. She studied history and journalism at the Department of Audio-Visual Media. As a journalist she worked for Punto Radio and Circulo de Bellas Artes press centre. With Juan Antonio Moreno Amador she founded the association Noestamosdepaso Proyectos Audiovisuales in 2006, and in 2010 a production company Making DOC Producciones S.L. Juan Antonio Moreno Amador is a documentary filmmaker and producer. He graduated in journalism and international relations. As a journalist he worked for the Spanish National Television (TVE), and since 2006, he has been focused on making documentary films. He shot documentary films in Spain, Afghanistan, Sierra Leone, and Kosovo. 209

FILM PROGRAMME VSF 07

Zero Silence Belarusian Dream Justice for Sergei Our Newspaper East Bloc Love Ecuador Cartonera Here I am! YUGO, a short autobiography Am I Happy what?

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ZERO SILENCE Director/Producer: Javeria Rizvi-Kabani, Jonny von Wallström, Alexandra Sandels Country of Production: Sweden Year of Production: 2011 Duration: 57 min Executive Producer: Hussain Kabani

Co-Production: Hjalmar Palmgren SVT, Emelie Persson SVT Editing: Johan Serrander Sound: Andreas Franck Music: Rebekka Karijord Camera: Jonny von Wallstrom

SYNOPSIS We are in the midst of revolution “on the net”. Anyone who has got access to the Internet has also got the access to potential political power, thus, it is easy to initiate revolution, or at least make it possible. We saw this in the Arabic world in 2011. Will such shift be able to create a new world order, or the power and access to the information will still be controlled by several people? What kind of the future rule do revolutionaries want? What are the chances that those who initiated the revolution will eventually rule such states? How will the revolution impact the women’s and minority rights? These are some of the questions raised and researched by documentary Zero Silence. In recent years, young people in the Middle East, irrespective of whether they are activists, artists, musicians, cyber dissidents, or ordinary citizens, increasingly use the Internet to share or collect information, cooperate among themselves, and mobilise themselves in great numbers. Such creative and brave people have started their initiatives throughout the region, using social networks such as Tweeter, Youtube, and Facebook to confront to injustice and tyrannical regimes. With the help of local, regional, and global networks, they have bypassed the censorships imposed by their states, and thus they have made a step ahead of their censors. Zero Silence is not the film about the social media technologies, but about the revolt of young generation for whom the silence is not an option anymore.

BELARUSIAN DREAM Director: Ekaterina Kibalchich Country of Production: Russia Year of Production: 2011 Duration: 55 min. Camera: Aleksandr Borozenko, Tatyana Gavrilchik, Yury Sholmov Editing: Andrei Stvolinski Assistant Editor: Evgeny Shapchits Narrator: Aleksandr Lyapkin

Actor: Denis Tarasenko Music: Vinsent, Imagem Production Music Producer: Aleksandr Lyapkin Production: Creative Association Last TV Distribution: Solidarity with Belarus Information Office Support: German Marshall Fund of the United States 211

SYNOPSIS Belarusian Dream is a story about a young man from Minsk who has, in the past eighteen years, lived in the state ruled by a dictator. While the background of this story is written by forged votes at elections, brutal repression, and difficult economic crisis, Belarusian Dream is a testimony about an increasing number of the people in “the most stable state of the former Soviet Union” insisting on changes. Ekaterina Kibalchich, born in 1982, Minsk. Based in Moscow, she works as a journalist for Channel One, Russia, reporting on major news events for the weekly analytical program "Vremia". Director of the award-winning documentary film Belarusian Dream (2011), which received the World Organization against Torture Award at the International Film Festival and Forum on Human Rights in Geneva (2012), and the Audience Award at Watch Docs International Human Rights Festival, Warsaw (2011). Directed a series of documentaries on socio-political issues, including: Osoboje poruchenie, (Extraordinary Rendition) (2010), Katynski Syndron (Katyn Syndrome) (2010) broadcast on Channel One Russia and TVP (Poland). Laureate of the Zolotoe Pero (Golden Pen) award from the Russian Journalism Union (2011).

JUSTICE FOR SERGEI Director: Hans Hermans, Martin Mat Country of Production: The Netherlands Year of Production: 2011 Duration: 62 min Sound: Ton Spruit

Camera: Tijn van Neerven Music: Tony Overwater, Maarten Ornstein Editing: ICU Documentaries Production: ICU Documentaries Distribution: Journeymen Pictures

SYNOPSIS Justice for Sergei is the shocking story of Sergei Magnitsky, a Russian lawyer who died in November 2009 at the age of 37 under excruciating circumstances in a Moscow detention centre, still awaiting trial. His death fuelled international outrage, but inside Russia the corrupt government officials responsible were never brought to justice. Bowing to public pressure, Russian president Dmitry Medvedev ordered an investigation but over two years after it began, still not a single person has been held responsible. The only trial for the death of Magnitsky ended in such manner that the plaintiff, unexpectedly, before the very end of the trial, in December 2012, asked for the acquittal for charged Head of the prison Medical Unit. Following this verdict, the USA passed the socalled Magnitsky Bill introducing sanctions for the Russian citizens, employed 212

at police, tax administration, and courts related with the death of Magnitsky. Russia responded by passing the so-called Dima Yakovlev law prohibiting the USA citizens to adopt Russian children. Magnitsky died at the hospital of Matrosskaya Tishina in November 2009 before the beginning of the trial. The legal action against him was suspended then, and subsequently, in 2011, the investigation was renewed, which resulted in the verdict passed on 11 July 2013 at posthumous trial, never seen before in Russia, where Magnitsky was declared guilty for avoiding tax payment. At the Festival in Berlin, the film was awarded with Cinema for Peace Award for Justice (2012), and the first prize within the competition of the films on human rights at the festival Docudays in Kiev (2011). Hans Hermans and Martin Maat are the founders of ICU Documentaries. They have been working for Dutch Public Television since 1995. As independent filmmakers they regularly contribute to the leading Dutch investigative journalism program KRO Report. Hans Hermans and Martin Maat focus on international relations and have produced acclaimed documentary films such as Pyongyang Crescendo and Sarajevo Revisited for an international audience.

OUR NEWSPAPER Director: Eline Flips Country of Production: The Netherlands Year of Production: 2011 Duration: 58 min Sound: Alex Tugushin Camera: Erik van Empel Editing: Puck Goossen

Music: Maurice Horsthuis Sound Desing: Paul Gies Assistans: Dasha Birkova, Dina Djidjova, Ilya Polianskov Production: Elifli Film Co-Production: IKON television Support: Dutch Mediafund Distribution: Taskovski film

SYNOPSIS Andrei Shkolny is a journalist in a remote countryside of Russia. People are poor and disgusted by politics and newspapers. Just surviving the everyday life is hard enough. Shkolny left his job at the regional paper “The Leninist”, because he couldn’t go on writing articles about nothing. A journalist through and through, he created his own newspaper – Nasha Gazeta, which now has about 7000 readers every week. People can read their own news. There are no articles about Moscow, about golden harvests, about impressive yet unrealised and unrealisable projects, but stories about the village that has had no water for three months, about the farmer who found his dog by barking 213

himself, about the doctor who travels many kilometres by bicycle every day despite temperatures of –36. The authorities are not amused. Shkolny is convinced he is doing nothing wrong. Who will win in the end? Juxtaposing small, personal stories with the impressive background of contemporary Russian history, Nasha Gazeta reveals a beautiful and subtle portrait of a brave man who, despite opposition, follows his heart. Eline Flipse (Broken Silence - Grand Prix Visions du Reel, Nyon 1996; Biography – Albanian Stories, Prix Europa, Berlin 2000; Our Newspaper - Best mid-length Documentary at Hot Docs, Toronto, 2010) in 2005 established the production company Elifli Film, from which she produces her own documentaries. She repeatedly paints beautifully subtle portraits of powerful personalities, with warmth and humour. In a strong visual language she evokes a mood that you will feel for a long time afterwards.

EAST BLOC LOVE Director: Logan Mucha Country of Production: Australia, Belorussia Year of Production: 2011 Duration: 70 min Camera: Logan Mucha Editing: Logan Mucha

Assistant Super 8mm Camera: Sarah Nicolazzo Graphic Desing: Bridie Travers Music: David Carney, Atmoravi Producer: Logan Mucha Co-Producer: Nikolai Aleksev Assistant Producer: Jack Giles

SYNOPSIS Though more than 40 years passed since holding the first Pride Parade in the USA, the attempt to organise such events in many countries still results in fierce public debates leading to the prohibition of holding thereof. The film is about LGBT activists and their attempts to organise the Pride Parade in five countries of the former Eastern Block – Belarus, Estonia, Lithuania, Romania, and Poland. Also, this film presents various attitudes, including the attitudes of those who think that their countries should not allow holding of such events.

ECUADOR Director: Jacques Sarasin Country of Production: France Year of Production: 2011 Duration: 72 min Camera: Fromont Remon 214

Editing: Cuenot Marie-France Sound: Lecocq Philippe Production and Distribution: Les productions Faire Bleu

SYNOPSIS Raphael Korea who was elected Ecuador President in 2006, initiated the reforms the aim of which was to create a political, ecological, and economic alternative to globalisation from this poor country. Korea intended to persuade the world potentates to make an injection to his economy and thus “cover” the funds, which Ecuador would have anyway had to ask for through licenses to oil companies for exploiting lands in Amazon national park Yasuni. Yasuni is the national park with the area of 9,820 square kilometres. It is considered by experts to be the place with the largest biodiversity on the Earth. It is a part of UNESCO’s programme “Man and Biosphere” within which the network of protected areas called “biosphere reserve” has been created. In the first hour of stay in Yasuni, a man sees more animal and plant species than during his whole life. One hectare in Yasuni contains more tree species than the whole North America, and there is a record number of 150 species of amphibians and 121 species of reptiles. More than 100,000 insect species, 596 bird species, 382 fish species, 43 endemic vertebrate species, and several hundreds of endemic plant species live in the park. Yasuni is also the home of several indigenous tribes. The call to those having funds to create the fund with which richer states would support poorer ones and thus virtually decrease the price of environment protection did not result in big response. Though he expected USD 3.6 billion for oil moratorium compensation, Korea managed to get only USD 13 million in donations and around announced 116 million in pledges. In 2013, Ecuador President Raphael Korea announced that he gave in his plan, and that he would have to permit drilling within a percentage of Yasuni national park territory.

CARTONERA Director: Maria Goinda Country of Production: Germany Year of Production: 2010 Duration: 35 min

Producer: Rudiger Raguse Camera: Maria Goinda, Marlen Aguirre, Tamara Aguirre Editing: Anna Pischi, Maria Goinda

SYNOPSIS Marlen is eight years old. Every day, escorted by her brother Robert, sister Tamara, and her boyfriend Polaka, she travels from a poor block at the rim of Buenos Aires. They collect waste which may be recycled, and thus helps their family. Though such life is unimaginably difficult, Marlen has got a dream – she wants to live in Children’s City, where different rules are at force, and where “all of the children have got mother and father, all of the parents feed their children, all of the children have got home, and none of the children must work in the street”. Chronologically, the film presents one day in the life of those children, from their perspective. 215

Maria Goinda was born in Dortmund in 1977. After her studies of the German language, at the University of Ruhr in Bochum, she attended the course of pictures and sound within media design. In the period between 2002 and 2009, she studied applied science and art at the University of Dortmund, Department for Television and Film Design. In 2004, she continued her studies at Cinematography Institute in Buenos Aires. Film Cartonerosi is her diploma work. In her fork, she is focused to the social issues of the people on the margin. This film is designed as a part of film series to promote children’s rights.

HERE I AM! Director: Irena Fabri Country of Production: Serbia Year of Production: 2012 Duration: 24 min Sound: Ivan Kadelburg

Camera: Jelena Prekajski Editing: Irena Fabri Music: Aleksandra Vučelić Production: Dokukino

SYNOPSIS Film Here I am! reviews the existential problems of the inhabitants of informal Roma settlements and introduces the viewers into a very lively, parallel world of the marginalised who survive in line with the principle of faith and hope. In the spirit of a marginal character, the main character, from subjective view, introduces his friends whose destinies, most often, depend on only one paper or someone’s good will. “Many have tried to catch me… several times… Sometimes, I myself wanted this to happen, but now, it is difficult to catch me… I am invisible. The only problem is that I see it all…” Irena Fabri, after finishing Secondary School of Art, enrolled film school “Dunav film”, department of FTV editing where she graduated in 2008. She started her professional development working as an editor at TV production companies, and in parallel, she began to work as director assistant on feature film. She is the author of the film Awakening (2011) and experimental film Normam (2011), screened in many festivals in Serbia and abroad.

YUGO, A SHORT AUTOBIOGRAPHY Director: Mina Djukić Country of Production: Serbia Year of Production: 2011 Duration: 30 min Sound: Ognjan Milošević 216

Camera: Aleksandar Pavlović Editing: Srdjan Topalo Music: Ognjan Milošević Producers: Mina Djukić, Petar Daković Production: Film house Kiselo dete

SYNOPSIS Yugo, a short autobiography is a feature-documentary film, which, through the destinies of different people tries to explain the phenomenon of YUGO car, a nice marginal car of low capacities, but high ambitions in the period from 1980 to 2009, during which its production lasted. The film combines the statements of authentic workers who produced YUGO, archive, as well as the reconstructions of different fragments from YUGO history presenting it as a family, as well as urchin car, as a part of big American dream, or as a symbol of failed expectations. This film is a short “commemorative” overview of the history of the car which, for a long time, in a comical but true manner, and sometimes even by chance, symbolised the time during which it was produced. The film was awarded at the 58th Festival of documentary and short film in Belgrade in 2011. It was screened at many film festivals including HotDocs (Canada), Reykjavik Film Festival, and ZagrebDox. Mina Djukić was born in Sombor in 1982. In early 2008, she founded production company “Kiselo dete” with her two colleagues (Nikola Ležajić and Uroš Tomić).

AM I HAPPY WHAT? Director: Vanja Sviličić Country of Production: Croatia Year of Production: 2011 Duration: 58 min

Camera: Vanja Sviličić Editing: Vanja Sviličić Production: MaXima Film

SYNOPSIS The story about the maids working at a Zagreb hotel. The camera takes us to the premises of the hotel which we otherwise do not see or we are not allowed to see. We follow their everyday work, while economic and political crisis affects their positions. The film discovers the world hiding behind the façade of a luxurious hotel. Battle for positions, for existence is made there on a daily basis. Vanja Sviličić (Juranić) was born in Zagreb. She finished secondary school in the United States of America, where she began her career as art photographer. She graduated textile and clothes design in Zagreb. Her first short documentary On the Square was made in production of STEPS International and ZDF Arte, and it was screened at Berlinale (2008) within project “Why Democracy?” followed by the screening at European public televisions. After a series of short television documentaries, the premiere of her fist long documentary Am I Happy what? was at ZagrebDox (2011), where it received a special recognition, and was invited to several international festivals. 217

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Applied Posters One of the major characteristics of applied poster is a recognisable illustration style which, without any words or with very few words, gives a powerful message. Simple in expressing ideas and attitudes of groups and individuals, applied poster, directly and non-ambiguously, draws attention to particular political or ethical attitude. The Festival on Human Rights - VIVISECTfest, in cooperation with the Art Academy of Novi Sad, Graphic Communication Department, implemented three applied poster exhibitions, from 2005 to 2008. At the initiative of Darko Vuković, Professor at the subject of Poster at the Graphic Communication Department of the Art Academy of Novi Sad, students were involved in designing the applied posters on the following topics – "Farewell to Arms, Farewell to Wars", "My Enemies: Nationalism and Xenophobia", and "Terrorism, No Thank You". The exhibitions of the applied posters, whose authors are the students of the Art Academy of Novi Sad, are unique press releases of large format, in which the authors presented their attitudes about war conflicts, nationalism, xenophobia, and terrorism. In 2005, the applied poster exhibition was organised on the topic of "Farewell to Arms, Farewell to Wars", by the authors: Atila Kuruc, Bojan Miljanović, Valentina Broštean, Željko Katanić, Sara Kujundžić, Tijana Jovanović, Nina Karlavaris, Timotije Odadžić, Svetlana Ninković, and Snežana Nikšić. In 2006, the applied poster exhibition was organised on the topic of "My Enemies: Nationalism and Xenophobia", by the authors: Snežana Nikšić, Aleksandra Jakovljević, Daša Ćorković, Dragan Bibin, Filip Z. Nemet, Laslo Antal, Nevena Katanić, Nikola Berbakov, and Tanja Mirković. In 2008, "Terrorism, No Thank You" exhibition was organised, by the authors: Aleksandra Tarbuk, Nenad Jelovac, Stojan Mančić, Marko Denković, Velimir Andrejević, Jelena Potkonjak, Žužana Šoti, Marko Brkić, Ana Šimon, Bernard Kosednar, Maja Musulin, Natalija Ninkov, Dušan Zaklan, Vladimir Jovanović, Jelena Ristić, Vanja Jovanović, Milan Čerevicki, and Petar Plavšić. 219

Design: Timotije Odadžić 220

Design: Atila Kuruc

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Design: Nina Karlovaris 222

Design: Tijana JovanoviÄ&#x2021;

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Design: Valentina Broštean

224Design: Snežana Nikšić

Design: Bojan MiljanoviÄ&#x2021;

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Design: Svetlana Ninković

Design: Željko Katanić 226

Design: Sara Kujundžić

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Design: Laslo Antal

Design: Dragan Bibin 228

Design: Laslo Antal

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Design: Filip Z. Nemet

Design: Tanja MirkoviÄ&#x2021; 230

Design: Aleksandra JakovljeviÄ&#x2021;

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Design: Nikola Berbakov 232

Design: Filip Z. Nemet

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234 Design: Stojan Mančić

Design: Bernard Kosednar

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Design: Aleksandra Tarbuk 236

Design: Velimir AndrejiÄ&#x2021;

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Design: Jelena Potkonjak

238 Design: Marko DenkoviÄ&#x2021;

Design: Marko BrkiÄ&#x2021;

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Design: Nenad Jelovac

240 Design: Aleksandra Tarbuk

Design: Dušan Zaklan

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242 Greta Bottero Design:

VIVISECTfest in Torino

In 2012, the Festival on Human Rights â&#x20AC;&#x201C; VIVISECTfest, in cooperation with Comala Cultural Association, within the visit to Torino (Italy), organised the exhibition of the posters whose authors are the students of "Albert Steiner Institute". The students of this Institute were engaged in designing posters for the visit of the VIVISECTfest in Torino, and the best poster by Greta Boterro was also printed as the official event poster.

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244 Design: De Gaetano Giada

Design: Giada Grillo

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Design: Nicola Todesco

Design: Maicol Alesci 246

Design: Papa Paola

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the

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Chronology

The Festival on Human Rights – VIVISECTfest originated from the need to point out increasingly present attacks to human dignity. The project activities are implemented through the annual programme which includes the preparation and organisation of new Festival edition in Novi Sad to current topics and the organisation of travelling festival in Serbia and abroad. The travelling festivals are organised according to the following principle: every year, new towns are included, and the towns in which the travelling VIVISECTfest has already been organised become a part of the network of permanent partners. Since 2005, VIVISECTfest has set up the network of the travelling festivals in 32 towns (in Serbia: Belgrade, Kikinda, Indjija, Novi Pazar, Novi Bečej, Bačka Palanka, Sombor, Ruma, Stara Pazova, Kula, Niš, Leskovac, Subotica, Sečanj, Sremski Karlovci, Vrbas, Zaječar, Vranje, Preševo, Prijepolje, Kragujevac, Pančevo, Požarevac, Zrenjanin; in Bosnia and Herzegovina: Mostar, Sarajevo, Tuzla, Banja Luka; in Macedonia – Skopje; in Montenegro – Podgorica; Germany – Berlin; Italy – Torino), and the cooperation with numerous human rights festivals in Serbia and abroad. 249

2004 Novi Sad, 13 – 19 December The first edition of VSF - War in the Former Yugoslavia - View from Inside and Outside

2005 Novi Sad, 6 – 9 May Exhibition of applied posters "Farewell to Arms, Farewell to Wars" by the students of Art Academy Indjija, 17 – 23 May Travelling VSF 01 - War in the Former Yugoslavia - View from Inside and Outside Beograd, 13 – 18 June Travelling VSF 01 - War in the Former Yugoslavia - View from Inside and Outside Kikinda, 22 – 27 June Travelling VSF 01 - War in the Former Yugoslavia - View from Inside and Outside Tuzla, 10 – 14 October Travelling VSF 01 - War in the Former Yugoslavia - View from Inside and Outside Sombor, 6 – 9 November Travelling VSF 01 - War in the Former Yugoslavia - View from Inside and Outside 250

Berlin, 15 – 20 November Travelling VSF 01 - War in the Former Yugoslavia - View from Inside and Outside Bačka Palanka, 1 – 4 December Travelling VSF 01 - War in the Former Yugoslavia - View from Inside and Outside Novi Bečej, 15 – 18 December Travelling VSF 01 - War in the Former Yugoslavia - View from Inside and Outside Novi Pazar, 21 – 24 December Travelling VSF 01 - War in the Former Yugoslavia - View from Inside and Outside

2006 Ruma, 16 – 19 March Travelling VSF 01 - War in the Former Yugoslavia - View from Inside and Outside Sarajevo, 4 – 7 May Travelling VSF 01 - War in the Former Yugoslavia - View from Inside and Outside Novi Sad, 9 – 13 May Exhibition of applied posters "My Enemies: Nationalism and Xenophobia" by the students of Art Academy Mostar, 18 – 21 May Travelling VSF 01 - War in the Former Yugoslavia - View from Inside and Outside

Stara Pazova, 25 – 28 May Travelling VSF 01 - War in the Former Yugoslavia - View from Inside and Outside

2007

Novi Sad, 21 – 27 September The second edition of VSF My Enemies: Nationalism and Xenophobia

Ruma, 27 – 31 March Travelling VSF 02 - My Enemies: Nationalism and Xenophobia

Skoplje, 5 – 8 October Travelling VSF 01 - War in the Former Yugoslavia - View from Inside and Outside Beograd, 16 – 19 October Travelling VSF 02 - My Enemies: Nationalism and Xenophobia Mostar, 2 – 5 November Travelling VSF 02 - My Enemies: Nationalism and Xenophobia Kikinda, 9 – 12 November Travelling VSF 02 - My Enemies: Nationalism and Xenophobia Berlin, 18 – 24 November Travelling VSF 02 - My Enemies: Nationalism and Xenophobia Tuzla, 6 – 8 December Travelling VSF 02 - My Enemies: Nationalism and Xenophobia Novi Pazar, 21 – 24 December Travelling VSF 02 - My Enemies: Nationalism and Xenophobia

Novi Sad, 23 February – 3 March Exhibition "8,5 Days of Applied Poster"

Novi Sad, 17 April Promotion of book "Language of Hatred and Nationalism: Causes and Effects" Niš, 10 May Promotion of book "Language of Hatred and Nationalism: Causes and Effects" Novi Sad, 8 – 17 May Poster exhibition "Terrorism, No Thank You" by the students of Art Academy Kula, 31 May – 2 June Travelling VSF 02 - My Enemies: Nationalism and Xenophobia Novi Bečej, 1 – 4 June Travelling VSF 02 - My Enemies: Nationalism and Xenophobia Kragujevac, 20 – 26 October Within the first edition of KRAFT Festival, 9 films from the programme of VSF 01 and VSF 02 were screened. Novi Sad, 6 December Towards the new edition of VSF selection from the film programme of the VSF 03

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2008 Novi Sad, 24 – 29 March The third edition of VSF - Terrorism, No Thank You Novi Sad, 30 – 31 March Film Marathon of the VSF 03 Terrorism, No Thank You Zvornik, Goražde, Višegrad, 15 – 31 April Travelling Peace Film festival within which 14 films from the programme of VSF 01 and VSF 02 were screened. Novi Bečej, 21 – 24 April Travelling VSF 03 - Terrorism, No Thank You Novi Sad, 8 – 17 July Photograph Exhibition "Cuba Now" Kikinda, 28 – 31 August Travelling VSF 03 - Terrorism, No Thank You Ruma, Pećinci, 28 August – 4 September Photograph Exhibition "Cuba Now" Kikinda, 15 – 30 September Photograph Exhibition "Cuba Now" Novi Sad, 25 September Promotion of book "Black Book of Communism" Podgorica, 3 – 6 October Exhibition "Anno Domini 2002" and screening of VIVISECT film 252

Niš, 15 – 20 October Photograph Exhibition "Cuba Now" Leskovac, 21 – 31 October Photograph Exhibition "Cuba Now" Novi Sad, 6 – 14 December The fourth edition of VSF Totalitarian Regimes – View from Inside and Outside Novi Sad, 10 – 25 December Photograph Exhibition Universal Declaration on Human Rights

2009 Mostar, 23 – 27 February Travelling VSF 04 - Totalitarian Regimes - View from Inside and Outside Banja Luka, 2 – 6 March Travelling VSF 04 - Totalitarian Regimes – View from Inside and Outside Sarajevo, 9 – 13 March Travelling VSF 04 - Totalitarian Regimes – View from Inside and Outside Subotica, 21 – 25 March Travelling VSF 04 - Totalitarian Regimes – View from Inside and Outside Ruma, 26 – 29 March Travelling VSF 04 - Totalitarian Regimes – View from Inside and Outside

Vrbas, 13 – 16 April Photograph Exhibition Universal Declaration on Human Rights

Sombor, 6 – 8 October Photograph Exhibition Universal Declaration on Human Rights

Niš, 22 – 26 April Travelling VSF 04 - Totalitarian Regimes – View from Inside and Outside

Bačka Palanka, 21 – 23 October Photograph Exhibition Universal Declaration on Human Rights

Kikinda, 11 – 16 May Photograph Exhibition Universal Declaration on Human Rights Sremski Karlovci, 26 – 30 May Photograph Exhibition Universal Declaration on Human Rights Sečanj, 11 – 16 June Photograph Exhibition Universal Declaration on Human Rights Novi Sad, 30 June – 2 July Photoghraph Exhibition "Fallen Angels of Communist Ideology" Leskovac, 20 – 24 August Travelling VSF 04 - Totalitarian Regimes – View from Inside and Outside Zrenjanin, 8 – 11 September Photograph Exhibition Universal Declaration on Human Rights Pančevo, 15 – 19 September Photograph Exhibition Universal Declaration on Human Rights Preševo, 29 September – 2 October Travelling VSF 02 - My Enemies: Nationalism and Xenophobia

Novi Sad, 23 – 30 November Photograph Exhibition "Face of Human Rights" Novi Sad, 10 December The permanent exhibition Universal Declaration on Human Rights was set up in the office of Provincial Ombudsman.

2010 Novi Sad, 9 – 13 May The fifth edition of VSF - Welcome to the real World Mostar, 7 – 11 September Travelling VSF 05 - Welcome to the real World Niš, 14 – 18 September Travelling VSF 05 - Welcome to the real World Subotica, 20 – 25 September Travelling VSF 05 - Welcome to the real World Leskovac, 27 September – 2 October Travelling VSF 05 - Welcome to the real World 253

Zaječar, 4 – 8 October Travelling VSF 05 - Welcome to the real World Vranje, 12 – 14 October Travelling VSF 05 - Welcome to the real World Vrbas, 18 – 21 October Travelling VSF 05 - Welcome to the real World Sečanj, 18 – 21 October Travelling VSF 05 - Welcome to the real World Beograd, 22 – 28 October Travelling VSF 05 - Welcome to the real World

Zaječar, 20 – 24 June Travelling VSF 06 - Winning Freedom Kikinda, 11 July The permanent exhibition Universal Declaration on Human Rights was set up at the Cultural center. Kikinda, 11 – 15 July Travelling VSF 06 - Winning Freedom Sombor and Stanišić, 15 – 19 August Travelling VSF 06 - Winning Freedom Ruma, 24 – 27 August Travelling VSF 06 - Winning Freedom Vranje, 5 – 9 September Travelling VSF 06 - Winning Freedom

2011

Kragujevac, 26 – 30 September Travelling VSF 06 - Winning Freedom

Novi Sad, 9 – 14 May The sixth edition of VSF - Winning Freedom

Niš, 10 – 14 October Travelling VSF 06 - Winning Freedom

Prijepolje, 18 – 21 May Travelling VSF 05 - Welcome to the real World Prijepolje, 14 May – 3 June Travelling VSF 06 - Winning Freedom Beograd, 14 June The permanent exhibition Universal Declaration on Human Rights was set up in the premises of the Commissioner for Protection of Equality. 254

Beograd, 27 October – 2 November Travelling VSF 05 - Winning Freedom Subotica, 24 – 27 November Travelling VSF 06 - Winning Freedom Vrbas, 26 November – 16 December Travelling VSF 06 - Winning Freedom Prijepolje, Sjenica, Nova Varoš, 10 December 2011 – 29 February 2012 Welcome to the VIVISECTfest World

2012 Zrenjanin, 13 – 26 January Travelling VSF 05 - Winning Freedom Pančevo, 26 March – 16 April Travelling VSF 05 - Winning Freedom Kikinda, 27 – 31 August Welcome to the VIVISECTfest World Kikinda, 28 – 30 September Workshop "VIVISECTfest for Beginners" Zaječar, 2 – 4 November Workshop "VIVISECTfest for Beginners"

Niš, 10 - 31 May Travelling VSF 07 - Quest for Democracy Kikinda, 10 - 14 May Travelling VSF 07 - Quest for Democracy Prijepolje, 18 - 24 May Travelling VSF 07 - Quest for Democracy Beograd, 26 - 30 May Travelling VSF 07 - Quest for Democracy Zrenjanin, 31 May - 4 June Travelling VSF 07 - Quest for Democracy

Novi Sad, 27 – 30 November The seventh edition of VSF - Quest for Democracy

Vranje, 7 - 11 June Travelling VSF 07 - Quest for Democracy

Turin, 11 – 15 December Travelling VIVISECTfest within which a selection of films from the programme of festivals organised in the period between 2004 and 2011 were screened.

Preševo, 13 - 16 June Travelling VSF 07 - Quest for Democracy

2013

Stanišić, 22 June Travelling VSF 07 - Quest for Democracy

Subotica, 15 - 19 April Travelling VSF 07 - Quest for Democracy Zaječar, 15 - 19 April Travelling VSF 07 - Quest for Democracy

Sombor, 18 - 21 June Travelling VSF 07 - Quest for Democracy

Novi Sad, 9 - 11 December Welcome to the world of documentary films Subotica, 10 December Photograph Exhibition Universal Declaration on Human Rights 255

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Donors of VIVISECTfest 2004

2006

Freedom House – project "Truth and Reconciliation" sponsored by Freedom House, and the funds were provided by C. S. Mott Foundation

C. S. Mott Foundation

Citizens' Pact for South East Europe Quaker Peace & Social Witness Embassy of the United States of America in Belgrade Assembly of the AP Vojvodina CRDA – Society Revitalisation through Democratic Activity financed by the people of America

2005 Freedom House – project "Truth and Reconciliation" sponsored by Freedom House, and the funds were provided by C. S. Mott Foundation Stability Pact for South East Europe with funds of German Government German Embassy in Belgrade Quaker Peace & Social Witness Indjija Municipality Factory "Banini"

Embassy of the United States of America in Belgrade NED - National Endowment for Democracy German Embassy in Belgrade Swiss Embassy in Skopje Quaker Peace & Social Witness

2007 C. S. Mott Foundation NED - National Endowment for Democracy

2008 C. S. Mott Foundation NED - National Endowment for Democracy Provincial Secretariat for Culture and education of the AP Vojvodina, the Republic of Serbia Ministry for Human and Minority Rights of the Republic of Serbia UNDP – United Nations Development Programme - Serbia 257

2009

2012

C. S. Mott Foundation

NED - National Endowment for Democracy

NED - National Endowment for Democracy Provincial Secreatariat for Culture of the AP Vojvodina, the Republic of Serbia Administration for Culture of the City of Novi Sad Swiss Embassy in Belgrade

2010 NED - National Endowment for Democracy Provincial Secretariat for Culture of the AP Vojvodina, the Republic of Serbia Administration for Culture of the City of Novi Sad

2011 NED - National Endowment for Democracy Provincial Secretariat for Culture of the AP Vojvodina, the Republic of Serbia Embassy of Israel in Belgrade French Embassy in Belgrade French Institute in Serbia - Branch in Novi Sad 258

2013 NED - National Endowment for Democracy Provincial Secretariat for Culture and Public Information of the AP Vojvodina, the Republic of Serbia

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VIVISECTfest team

Marija Gajicki Smiljka Vukelić Ivana Vukelić Dunja Ibročić Jelena Ognjanović Nikola Stepić Dragana Medić Aleksandar Komnenović Nataša Vuksanović Jelena Milojković www.vivisectfest.org Contact gajickim@eunet.rs 260

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Impresum

VIVISECTfest publication is a special edition which contains data on festivals realised from 2004 to 2013 with a unique archive of screened films and exhibited documentary photographs and applied posters. Publication Editor: Marija Gajicki Associates: Smiljka Vukelić, Ivana Vukelić, Nikola Stepić, Dunja Ibročić, Jelena Ognjanović Translation: Jelena Milojković, Nataša Vuksanović Published: Vojvodjanka – Regional Initiative For publisher: Marija Gajicki Design: Dragana Medić Printing: Ferenc&Ferenc, Novi Sad Number of copies: 350 Novi Sad, 2013 The reproduction of this publication as a whole or any of its parts is not permitted without the consent in writing by the publisher and the author. The publication printing was supported by NED - National Endowment for Democracy and Provincial Secretariat for Culture of the AP Vojvodina. Provincial Secretariat for Culture of the AP Vojvodina

The opinions, findings, conclusions, or recommendations presented herein are those of the authors and need not necessarily reflect the attitudes of the donors. 262

CIP – Каталогизација у публикацији Библиотека Матице српске, Нови Сад 06.078 : 342.7"2004/2013" (085) VIVISECT fest : festival of human rights / [editor Marija Gajicki]. – Novi Sad : Vojvođanka, Regional Initiative, 2014 (Novi Sad : Ferenc & Ferenc). - 265 str. : ilustr. ; 21 cm Tiraž 350. ISBN 978-86-86823-04-5 а) Вивисект фестивали - 2004-2013 – Каталози COBISS.SR-ID 285189127 263

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