IDA Documentary Awards

At the International Documentary (IDA) Film Festival, there was a wonderful array of documentaries that provided a new insight into the human psyche. As the stars strolled down the red carpet, they took time to express their creative processes.

In an interview with Jacob LaMendola, director of “Long Shot,” he revealed that the documentary took five years to create. He explained that he wants viewers to “know what it’s like to be with the people in the film,” and assures that as viewers watch the film they will “feel” the message.

An interview with Violeta Ayala displayed a fierce passion for social justice that could be felt through her film “The Fight”. When asked what kind of emotional toll the video took on her, Ayala was quick to express her pride saying, “I feel proud that I represent the people of my country,” going further to specify, “I feel proud as an indigenous woman from the Andes that I can tell my own story.” The emotional and mental health of the people in the film was also brought to light which she answered “That is why I am very proud too. The film is not about their disability – it’s about the power of people to change their own history.” She hopes to have a psychological effect on viewers as she declares that “It is a film about courage – about the moment you say ‘Enough is enough’ and ‘we the people, we can change our concepts, our own history, our future.”

The best feature DINA is a PSYCHITECTURE favorite as this film elicits the viewer’s empathetic understanding of those who are near diverse as humans like all of us, falling in love, experiencing abuse and dysfunctional family relationships.  In a PSYCHITECTURE lens, DINA presents its subjects as transcending their disability so we can experience the couple as anyone we can relate to in the challenges of intimacy in love and healing from abuse and trauma.  In a scene when Dina and her mother go for the proverbial pre-wedding manicure, Dina’s mother cannot tolerate Dina’s anxiety, thus, shuns Dina leaving Dina to apologize for fear of her mother’s abandonment.  In this pivotal scene you can understand how Dina is vulnerable to fall for an abusive man. The way the story reveals Dina’s abuse history as a lead up of her current challenges to finding out about the gruesome event in the end is a mirror to how we learn about psychological histories as usually not until later- until trust is built- in this case with its audience.  DINA is a compelling evocation of real life in healing from relationships that transcends disability in a story telling fashion that is both light and comedic.  The cinematography’s tone is a sensory experience that draws the viewer into a surreal world that is so still so grounded and relatable.

Source: https://www.documentary.org/awards2017

PSYCHITECTURE MAG KICK OFF

THE PERSONAL IS POLITICAL AND PSYCHOLOGICAL

December 20, 2016–April 30, 2017, GETTY CENTER

The Communications Department of the J. Paul Getty Trust invites you a Press Preview:

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Breaking News: Turning the Lens on Mass Media

Curated by Arpad Kovacs

With the inception of the Psychitecture blog,  it was an honor to be part of the press for the opening of the exhibit Breaking News: Turning the Lens on Mass Media.   What distinguishes the journalistic pursuit of Psychitecture as compared to other media outlets, is the turning the psychological lens on the sensory experience of the arts.   The photographers represented in this exhibition are themed to turn the lens on how fine art photography responds and interprets the media ranging on topics from local news to military conflict.  As the gap between the personal and political diminishes in today's political climate, the photographers chosen in this exhibition have carefully and technically revealed this fusion all through political time. Further, the political is personal  and can't be separated from  the psychological.   To highlight this theory, I turn my lens on the  photographer Martha Rosler's exhibited series of work House Beautiful: Bringing the War Home (1967-1972) featuring satirical social and political commentaries on the masked perfection of white upper class home life during the devastation of the Vietnam War.    The juxtaposition of Pat Nixon in front of a what seams like a mutilated small girl crunched in the frame behind her.   Liken to Degas who crunched woman into his frames,  not fitting in, this little girl is in a ball in terror.  Terror is below and beyond fear.  This white gowned woman exhibits the psychological repression and oppression from the pain of humanity.    If we are not psychologically online with our feelings we are disconnected in empathy to humanity.  

Image:  First Lady (Pat Nixon), from the series House Beautiful: Bringing the War Home, c. 1967-1972, Martha Rosler inkjet print.