I've also been wondering about a doc community or doc festivals that highlight less traditional fare, is it really the case the True/False is as good as it gets? I should add that I just returned from my third visit to T/F and I absolutely love(d) it. Unfortunately, my visit this year had to be cut short and I missed out on three Sunday screenings I was most looking forward to: LA BOCCA DEL LUPO, YOU ARE ALL CAPTAINS, and LIFE IN A DAY (and I'll confess to not thinking much of PRUITT-IGOE). I feared the “hybrid” panel would be not good, but each filmmaker had interesting things to say (and I was motivated to push CALABRIA up to a must-see) - unfortunately, the panel was far too short to get anything going. I'd also love to get a recap from you of the “Realness” panel, which I also missed.
Aside meatspace festivals, is there even an online community where discussion of these “progressive nonfiction films” occurs?
Lastly, is it really the case that the “dominant national view” of these other countries understands documentary differently? Further, are you suggesting that you would like a different “dominant American view” of documentary? It would seem that this is what your piece suggests, but I cannot imagine the dominant American view budging too far afield from where it is now. In fact, I am often surprised how narrow imaginations are within the documentary community or film community, in general.
Guess who's true and guess who's false? GOOD IDEAS.
The return to painting, and the possibilities held therein, is a central tenet of the neue junge wilde scene mushrooming in a naturally spontaneous response to the multimedia art trend that has dominated German art and art schools over the past two decades. Drawing its name from Germany’s Junge Wilde (“young wild”) movement—a neo-expressionist painting style that centered in Berlin, Hamburg and Cologne in the 1980s—the neue junge wilde shares with its predecessor an emphasis on subjectivity and private coded language, as well as gesture and strong coloring. As a former master student of Karl Horst Hödicke (often considered the “Father of the Junge Wilde”), Kampmann is a natural de facto spearhead of the painterly revolution currently taking place in Berlin.