By Ray Pride Pride@moviecitynews.com

Academy Grants 2018 True/False Neither/Nor

TRUE/FALSE RECEIVES FUNDING FROM ACADEMY OF MOTION PICTURE ARTS AND SCIENCES FOR NEITHER/NOR 2018

Columbia, MO –  The Academy of Motion Pictures Arts and Sciences has awarded True/False $10,000 for the continuation of its Neither/Nor Series. Neither/Nor is repertory film series in which True/False turns over the programming reins to a visiting critic. Now entering its fifth year, Neither/Nor spotlights film movements that challenge traditional documentary form. In keeping with its name, Neither/Nor draws attention to film movements that have traditionally been neglected by the documentary world (for not being ‘documentary enough’) and the fiction world (for being ‘too-documentary’).

For each edition of Neither/Nor, True/False selects a film critic, who researches that year’s focus and selects a handful of works to present during True/False (March 1-4, 2018). During True/False, guests will participate in at least six free Fest screenings, alongside classroom visits and a public discussion. The series also creates a monograph, a collection of essays and interviews with the filmmakers, which helps contextualize the film selections. This monograph is available for free in various venues throughout downtown Columbia and is also posted as a free download on the True/False website.

Past subjects of Neither/Nor include a selection of Polish filmmakers who used documentary in subversive ways during the Communist era and ‘shockumentary’ filmmakers who relied on the exploitation home video market to fund provocative, political cinema about gun control and colonialism.

This series’ support from the Academy comes as a FilmWatch Grant, which also supports the Big Sky Film Institute, the Chicago International Film Festival, the San Francisco Jewish Film Festival, and many others. “This year, the grants will support non–profit organizations in 24 communities across the country, reach underserved high school students, support emerging and mid–career filmmakers of all ages, and will provide unique opportunities for enrichment and engagement with the cinematic community and its artists,” said Buffy Shutt, chair of the Academy’s grants committee.

Since its start in 2004, True/False has increasingly investigated the vast, vital slash between True and False by spotlighting documentaries that transcend mere reportage and incorporate the cinematic qualities of fiction filmmaking. True/False brings the Neither/Nor series back full-swing in 2018 with an announcement of the selected guest critic in late 2017.

For more information on Neither/Nor, and downloads of previous years’ monographs visit: truefalse.org/program/neither-nor

The True/False Film Fest will take place March 1-4, 2018 in downtown Columbia, Missouri. For more information, please visit truefalse.org.

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“I never accepted the term contrarian. I think that’s offensive, frankly. And my response to that is: if I’m a contrarian, what are other reviewers? What I strive to do is be a good critic, not somebody who simply accepts the product put in front of me. I guess it scares people to think that they don’t have any originality; that they don’t have the capacity to think for themselves.

“There’s a line a lot of reviewers use that I don’t like at all. They say ‘accept the film on its own terms.’ What that really means is, ‘accept the film as it is advertised.’ That’s got nothing to do with criticism. Nothing to do with having a response as a film watcher. A thinking person has to analyze what’s on screen, not simply rubber-stamp it or kowtow to marketing.”m

“To me, everything does have a political component and I think it’s an interesting way to look at art. It’s one way that makes film reviewing, I think, a politically relevant form of journalism. We do live in a political world, and we bring our political sense to the movies with us – unless you’re the kind of person who goes to the movies and shuts off the outside world. I’m not that kind of person.”
~ Armond White to Luke Buckmaster

“One of comedy’s defining pathologies, alongside literal pathologies like narcissism and self-loathing, is its swaggering certainty that it is part of the political vanguard, while upholding one of the most rigidly patriarchal hierarchies of any art form.”
~ Lindy West