Voices from the Robert Flaherty Film Seminar
Tagged as “Dagmar Kamlah”
Thursday, March 8, 2018
In Germany, the Flaherty isn't well-known.
But I had lived in Boston from 2006-2012, and spent my weekends at the Harvard Film Archive (HFA). Through the Boston filmmaking grapevine, I heard about the Robert Flaherty Film Seminar.
Another regular HFA patron mentioned the seminar to me with great respect. She said that everybody who returned from the Flaherty raved about it. Since I was a foreign filmmaker seeking contacts and insights, the seminar seemed to be the place to go.
So, in 2009, I went to the Flaherty. I’d imagined a seminar of maybe fifty participants. When I got there, I was shocked to realize that I was one of 180!
I had trouble following the large group discussions, partly because I speak German and partly because I could not hear everything that was said. For me, these huge discussions neither added much to the films nor opened up the programming concept.
However, I enjoyed the programming itself. I discovered filmmakers I’d never heard of, including Chick Strand, Omar Amiralay, and Pavel Medvedev. I also liked that year’s program curator, Irina Leimbacher.
I was lucky to take part in some lively late-night talks at Bill's Bar. I made a few friends. And I became more familiar with the Boston filmmaking community. Ilisa Barbash and Lucien Castaing-Taylor’s Sweetgrass  was screened with many Bostonians present.
I would have loved to return to the seminar the following year, because the theme was “work.” In 2007, I had curated a little film series in Germany, as part of a big project supported with national cultural funding, entitled “Work in Progress.” I applied for a LEF fellowship to attend the seminar, but wasn't lucky enough to receive one. Since my financial situation was less than stable, I could not afford to pay my own way.
In 2014, the ethnic German filmmaker named Caspar Stracke co-curated the seminar together with his Mexican partner Gabriela Monroy. Although I had returned to Germany, I could not resist going to this Flaherty.
Also, I had a mission.
I had joined the programming team of a small ethnographic film festival, the Freiburger Film Forum. Since 1985, it has run biannually in an old university town in the south of Germany.
I hoped to start a collaboration between the Freiburger Film Forum and The Flaherty. Our forum and the seminar share a similar structure of continuous screenings with only one film shown at a time, and a focus on dialogue and discussion between the filmmakers and participants.
I recruited a filmmaker friend from Germany who was planning a US trip. We both enjoyed the seminar. We loved some of the programming, and especially the chance to listen to the great experimental documentarian Jill Godmilow.
I’d contacted the seminar director and some board members concerning my idea of a collaboration. They were friendly and interested. I departed from that seminar with a clear intention to develop a Flaherty homage for the Freiburger Film Forum.
In 2016, I returned to the seminar to arrange a mutual project. I studied the history of the seminar in order to develop a programming proposal, which evolved from a retrospective of ethnographic work to a focus on contemporary political documentary with some historical works: Eloge du Chiac , Los Sures , An Injury to One , Free Land .
Our collaborative program eventually happened in May 2017.
We invited former Flaherty curator and board member John Gianvito to serve as a special guest. He discussed the films in a most delightful way. This well-received program made a strong statement about the committed cinema of resistance in the U.S.
I wanted to introduce the long-standing institution of the Flaherty Film Seminar to the German film community. Because our Freiburg venue belongs to the nationwide association of community theatres, the programmers who belong to this organization are stimulated by our careful curation. They learn about our programming through articles published in the association’s magazine.
My hope is that the collaboration between the Freiburger Film Forum and the Flaherty Seminar will inspire others to provide access to the immense archive of films that have been shown at the seminar over the decades. For me, these programs signal love for the documentary genre and the treasures of reality one can discover in these films.
My Flaherty story underscores that one important aspect of the seminar is to facilitate networking among those who care deeply about accomplished filmmaking. I am happy to be a small part of this community. Though I would not call myself a seminar devotee, the virus of the Flaherty has touched me.
Nevertheless, I would suggest that downsizing might be something for the seminar to consider.
It is also true that the Flaherty is not exempt from the self-aggrandizement that often characterizes public cultural environments. Instead of a true dialogue between different kinds of participants, the large group discussions tend to become a chain of overly elaborate scholarly statements. I would like some of the scholars in attendance to behave in a less “scholarly” way.
Nevertheless, compared to other film gatherings I have attended, the Flaherty is the best at providing a democratic and open platform.