纪录片自媒体解说素材-新闻动态参考-当拍摄有关创伤情况的纪录片时，同意问题是关键/Question of Consent Is Key When Shooting Documentaries About Traumatic Situations
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0501/2254eeodz513fum.jpg当拍摄有关创伤情况的纪录片时，同意问题是关键
Question of Consent Is Key When Shooting Documentaries About Traumatic Situations
与遭受创伤或经历创伤情况的撰稿人合作的纪录片制片人需要考虑什么？在拍摄时，在俄罗斯入侵乌克兰的背景下，这个关键问题变得更加及时，这是对俄罗斯的入侵的背景。 CPH：会议，哥本哈根INTL。纪录片电影节的行业活动与节日一起进行。对话的杂项围绕电影制作中的权力和同意问题，符合专家专门治疗PTSD和其他与创伤有关的疾病的顾问临床心理学家Katy Robjant。 ，贩运的难民和受害者：“创伤的全部性质是权力和无能为力的动态，尤其是在谈论人际暴力时。他们的所有控制和自主都已经从中夺走了，因此要考虑的第一件事是您与TR之间的固有动力被宣告的人。Robjant说，这导致了如何确保脆弱的人可以完全同意的人的同意问题。小组主持人加文·里斯（Gavin Rees）说，如果这意味着改变您的角度或故事情节。。REES说，它会对在紧迫的期限内工作的记者，编辑和制片人颁发指南，并根据责任感和对贡献者的尊重提倡所谓的非提取电影制作。这种适应性对于在战区工作的记者尤其相关。“作为一名记者，您需要您的音调，图片，统计数据 - 在时间压力下的经典风险是BE的危险在自动行李箱上。但是，如果您无法获得想要的材料，则只需要找到另一种讲故事的方式即可。与您的贡献者保持前瞻性，告诉他们情况并重新构架您的故事。她说：“如果您不熟悉一个国家，您应该始终拥有本地知识，这对于保证贡献者的安全至关重要。”她说。 “与当地制片人合作时，我总是有第二个人，我可以就如何进行面试进行咨询，而无需危害该人，以检查我是否已同意。”她说，这在中东尤为重要：”如今，同意必须是普遍的，不仅是针对特定的电视频道。当地电视台或社交媒体上。“一些电影制片人没有意识到，在中东，受害者遭受的暴力通常来自他们自己的政府，因此需要使他们意识到这一点。”但是，对话不仅在电影制片人和撰稿人之间小组成员说：“而且在调试编辑中，也应该与专员进行非常坦率的对话。他们可能想让您承担时间或预算压力。” Al-Bayaa说，他还警告说，这种电影制作对制造这些电影的人的心理影响。“当您去冲突区时，尽管经验丰富，但这并不意味着您免疫，您可能会有一些糟糕的日子，因此您应该始终在专员和电影制片人之间建立信任，尤其是对于自由职业者，他们可能不想不想她说：“让专员感到不安。由创伤证词触发的iings。在整个小组讨论中，信任的概念经常出现。会议的第三名小组成员是电影制片人Ilse Van Velzen，他的《战争武器》（《战争武器》（Warter of War of War of War of War）关于在饱受战争torn的刚果中强奸，赢得了2010年的金牛，这是荷兰国家电影奖。一句话：“当您接近您想采访的人时，最重要的事情是以您想接近的方式接近他们。” Van Velzen和她的双胞胎姐姐在刚果拍摄了几部电影，他们已经放映了这些电影当地社区。对于她来说，同意的概念也是电影制作的关键。“确保您拥有一个良好的当地人和组织网络，可以指导您，当您采访女性并进行公开对话。电影中的所有人都同意在国外分享他们的故事，但是那时我们还没有谈论将其带回他们的社区，以及在组织放映之前，Van Velzens与贡献者和当地的非政府组织一起决定是否应该全部放映这部电影。”然后，我们问：我们应该做什么？ ，” Van Velzen解释说。 “他们来自他们应该在自己的后院讲述自己的故事。但是，每当我们将其带到他们的村庄时，我们都会确保周围有一个安全网，以确保他们被视为榜样，而不会被危害。 “世界正在发生变化：我们与15年前的地方完全不同，谈论与经验丰富的人的故事的所有权。在10年前的电影节上，当然是在新闻领域，它是：“好吧，有人将其放在公开记录上，因此可以使用它！”因此，整个问题（关于所有权和同意）已经构成光盘USSIOS来自一个更好的地方。”“超越勇气：创伤信息的讲故事”由会议策展人A.C. Coppens主持，这是柏林活动机构The Catalysts的创始人。
What do documentary filmmakers working with contributors suffering from trauma or experiencing traumatic situations need to take into account when filming?
This key question, which has become all the more timely for filmmakers against the backdrop of Russia's invasion of Ukraine, was among the themes addressed at CPH:Conference, the Copenhagen Intl. Documentary Film Festival's industry event that runs alongside the fest.
Much of the conversation revolved around questions of power and consent in filmmaking.
According to panelist Katy Robjant, a consultant clinical psychologist specializing in the treatment of PTSD and other trauma-related disorders in asylum seekers, refugees and victims of trafficking, “the whole nature of trauma is the dynamic of power and powerlessness, especially when talking about interpersonal violence. All of their control and self-autonomy has been taken away from them, so one of the first things to consider is the inherent power dynamic between you and the traumatized person. This leads to consent issues in terms of how to make sure that people who are vulnerable can give their full consent.”
Key to this, said Robjant, is allowing the contributor the time and space to decide what part of their experience they wish to talk about.
If this means changing your angle or storyline, so be it, said panel moderator Gavin Rees, who is senior trauma advisor at the DART Center, a resource center and global network of journalists dedicated to improving media coverage of trauma, conflict and tragedy. It issues guidelines for reporters, editors and producers working on tight deadlines, and advocates what's known as non-extractive filmmaking, based on accountability and respect for the contributor.
This kind of adaptability is particularly pertinent for journalists working in war zones, said Rees. “As a journalist you need your soundbites, your pictures, your stats – the classic risk when you are under time pressure is the danger of being on auto-pilot. But if you can't get the material you want, you just have to find another way of telling the story. Be upfront with your contributor, tell them the situation and reframe your story.”
For Mais Al-Bayaa, an Emmy and Robert F. Kennedy Award-winning British-Iraqi filmmaker who has worked in hostile environments in the Middle East since 2003, it is crucial to guarantee the contributor's safety not only during the filming but also once the film is broadcast.
“If you are not familiar with a country you should always have local knowledge,” she said. “When working with local producers I always have a second person whom I can consult on how to conduct the interview without endangering that person later on, to check that I have their consent.”
She said this was especially important in the Middle East: “Nowadays, consent has to be universal, not just for a particular TV channel,” she said, adding that even if it was conducted for a foreign channel, the interview could end up on a local television station or on social media. “Some filmmakers don't realize that in the Middle East, most often the violence suffered by the victims comes from their own government, so they need to be made aware of this.”
The conversation, however, is not just between filmmakers and contributors but also with commissioning editors, said the panelists.
“You should always have a very candid conversation with your commissioners. They might want to put you under time or budget pressure,” said Al-Bayaa, who also warned about the psychological impact of such filmmaking on those making them. “When you go to a conflict zone, despite being very experienced, it doesn't mean you are immune, you can have some bad days, so you should always build trust between commissioners and filmmakers, especially for freelancers, who may not want to upset the commissioner,” she said, adding that it was also important to keep the conversation going within the team on site to talk about the feelings triggered by traumatic testimonies.
The notion of trust was recurrent throughout the panel discussion. The conference's third panelist was filmmaker Ilse van Velzen, whose “Weapon of War,” about rape in war-torn Congo, won the 2010 Golden Calf, the Dutch national film award.
She is an advocate of “slow journalism,” which she summed up in one sentence: “The most important thing when you approach someone you want to interview is to approach them in the way you would want to be approached.”
Van Velzen and her twin sister have shot several films in Congo which they have screened in the local community. For her, too, the notion of consent was key to filmmaking.
“It's really important to make sure you have a good network of local people and organizations that can guide you, when you are interviewing women, and to have this open conversation. All the people in the film agreed to share their story abroad, but at that point we hadn't yet talked about taking it back to their community, and there is a huge taboo regarding sexual violence there.”
Before organizing the screenings, the van Velzens worked with the contributors and local NGOs to decide whether the film should be shown in its entirety or not.
“Then we asked: what should we do?,” explained Van Velzen. “And it came from them that they should tell their story in their own backyard. But every time we brought it to their village, we made sure there was a safety net around them to ensure they would be seen as role models and not be victimized afterwards.”
Bringing the conversation to a close on a positive note, Rees noted: “The world is changing: we're in a totally different place to where we were 15 years ago, talking about the ownership of the stories being with the person who's experienced it. At film festivals 10 years ago, certainly in the field of journalism, it was: 'Well, somebody has put it on the public record, so it can be used!' So that whole question that has framed the discussion comes from a better place.”
“Beyond Courage: Trauma-Informed storytelling” was hosted by conference curator A.C. Coppens, founder of Berlin-based events agency The Catalysts.
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谢谢更新，天天学习，天天向上！ 太好了，终于找到宝藏论坛了！ 太好了，终于找到宝藏论坛了！ 感谢分享，下载收藏了。最喜欢高清纪录片了。
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