{"id":12376,"date":"2020-02-04T11:07:25","date_gmt":"2020-02-04T21:07:25","guid":{"rendered":"https:\/\/www.fifotahiti.com\/?p=12376"},"modified":"2020-02-04T11:07:25","modified_gmt":"2020-02-04T21:07:25","slug":"jacques-vernaudon-membre-du-jury-donner-a-connaitre-est-un-des-enjeux-du-documentaire","status":"publish","type":"post","link":"https:\/\/www.fifotahiti.com\/en\/jacques-vernaudon-membre-du-jury-donner-a-connaitre-est-un-des-enjeux-du-documentaire\/","title":{"rendered":"Jacques Vernaudon, member of the jury: \u00abMaking the documentary known is one of the challenges\u00bb"},"content":{"rendered":"

Jacques Vernaudon, lecturer in linguistics at the University of French Polynesia, specializing in Oceanic languages, is for the first time a member of the jury of the FIFO. Audiovisual was his first professional choice before he turned to linguistics. He has always maintained this attachment to this field and this fascination with documentaries.   <\/span><\/span><\/p>\n

Before studying linguistics, did you study photography?<\/b><\/span><\/p>\n

Yes, I have training in cinematography and I have accompanied some film crews. I didn\u2019t pursue it because I was kind of \u2018called\u2019 by linguistics; therefore, I switched to the study of languages, starting with Tahitian and then the Oceanic languages in general. But I still have a certain sensitivity for the field of audiovisuals. <\/span><\/p>\n

Do you like watching documentaries?<\/b><\/span><\/p>\n

When I was studying in Paris, I went every year to the Cin\u00e9ma du R\u00e9el, an international festival of documentary films that takes place in Beaubourg. It was, for me, a revelation every time. What was interesting was the way the directors looked at a subject. How they approached it. I have a great fascination for a director named Frederick Wiseman. For his documentary \u00abTiticut Follies\u00bb about a psychiatric state prison, he shot 300 hours and made a one-hour film. There are no comments. You watch, you see. With the editing and the soundtrack, he conveys extremely strong emotions. This documentary left a deep impression on me. He worked in a zoo, a large department store, in institutions with a systemic nature, revealing the system through images and sounds. The cinematographic writing to show the real world fascinates me greatly. <\/span><\/p>\n

This is the first time you are a member of the FIFO jury. How did you respond to this proposal?<\/b><\/span><\/p>\n

I initially hesitated for professional reasons, but then I found an organization that allows me to fulfill my duties as a jury member at FIFO and my work at the university. What I liked about this idea was the opportunity to see all the films in competition and a sample of the films in the non-competition section. And being able to devote time to it. And the discussion with the other jury members will be very interesting. I know that I will learn things, discover countries and islands. I am also going there out of intellectual curiosity. I will also discover what attracts the attention of authors, what makes sense for ocean societies today, and what are the dominant themes. <\/span><\/p>\n

How do you view your responsibility as a jury?<\/b><\/span><\/p>\n

I haven\u2019t really thought about it. Having worked with Oceanic languages and cultures, I think I have a keen eye for what makes sense in local societies. My role may be to bring some form of academic expertise to how subjects are treated. I\u2019m not talking about the cinematic treatment but rather the way the empirical reality of societies is approached. Is it distorted or, on the contrary, is it presented in a relevant way, even if the female directors or producers bring their particular perspective to it? Because that is one of the challenges of documentary filmmaking: to make it known. In a way, documentaries are supposed to inform. There is an emotional dimension, a certain look, a certain writing, but these films must maintain an informative dimension rooted in reality. I think I have a \u2018small\u2019 knowledge of sociological, linguistic and cultural realities that will allow me to appreciate whether documentaries distort or report on reality while bringing a certain sensitivity, a certain perspective to it. <\/span><\/p>\n

Have you ever been interested in the films in competition? What were the topics, the countries, the themes addressed?<\/b><\/span><\/p>\n

I have read the summaries. I am looking forward to seeing them. I know that no matter the subject, it is really the treatment that makes the difference. You don\u2019t make a good film because you chose a good subject; you make a good film because you do an intelligent treatment of the subject. It is a work of creation, even if it is a documentary. <\/span><\/p>\n

What do you think of the festival?<\/b><\/span><\/p>\n

I think it\u2019s an extraordinary chance that this festival exists, that it is organized here, in Polynesia. It\u2019s an opening, a window open to the Pacific. Every year, we have the chance to access the perspectives of female filmmakers on the reality of the ocean and the themes they have worked on and for which the local population is sensitive. <\/span><\/p>\n

I can\u2019t wait to see the films and to start discussions with my fellow jury members.<\/span><\/p>\n

Lucie Rabr\u00e9aud \/ FIFO 2020<\/span><\/p>\n<\/div><\/div>","protected":false},"excerpt":{"rendered":"

Jacques Vernaudon, ma\u00eetre de conf\u00e9rence en linguistique \u00e0 l\u2019universit\u00e9 de la Polyn\u00e9sie fran\u00e7aise, sp\u00e9cialis\u00e9 sur les langues oc\u00e9aniennes, est pour la premi\u00e8re fois membre du jury du FIFO. L\u2019audiovisuel \u00e9tait son premier choix professionnel avant de bifurquer sur la linguistique. Il a toujours gard\u00e9 cet attachement \u00e0 ce secteur et cet \u00e9merveillement pour les documentaires.  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