FRART Copwatching: the war of storytelling

FRART Copwatching: the war of storytelling1. introduction

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Copwatching: the war of storytelling. Contribution to direct and cooperative representation.
In the age of smartphones and internets, focus on copwatching: aesthetic, political and ethical issues in the storytelling war

In the age of smartphones and the Internets, anyone can produce and broadcast images: representation is no longer the prerogative of political, media or artistic elites. Among these images, we will focus on those of copwatching, videos monitoring police activity, filmed to prevent or denounce police brutality. These images have a clear impact; they recently drew the public's attention on police brutality issues, and are therefore at stake in the storytelling war. This project seeks to contribute to cooperative representation by analyzing the artistic, ethical and political stakes of this storytelling war. The research approach consists in crossing different collaborators’ points of views (academics, artists, activists) and to articulate periods of theoretical (readings, analyses and meetings) and practical research (writing and video experiments) with moments of exchange and public restitution (online publications, workshops, round table, video installations).

FRART Copwatching: the war of storytelling2. Maud Girault. History of an image of police violence. What impact can an image have on reality? on Radio Panik

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    History of an image of police violence. What impact can an image have on reality? Maud Girault

    Interview with Antoine Schirer and Emile Costard (directors, motion designers and freelance journalists), Joke Callewaert (lawyer in the PLN law firm) and Nordine Saïdi (member of the Justice for Lamine Bangoura support committee and founding member of Brussels Panthers).
    What impact can an image have on reality?

    To shed light on this question, each of the speakers looks back on their own experience. Together, they retrace the life of images of police violence, those filmed with smartphones, those from surveillance cameras and those from bodycams. From their shooting to their use in a judicial procedure, through their diffusion on social networks and in journalistic investigations, each stage has its stakes, sometimes concrete like the storage of videos, sometimes legal like the right to film, sometimes sociological, like our biases when we watch a video. At each stage these images are reinterpreted: it is a war of narratives that is played out through them.

    This meeting took place at the Cinema Nova on 12 June 2022 as part of the Screenshot cycle Images of revolt, revolting images: what good is cinema? It was organised and presented by Maud Girault as part of the FrArt research project "Copwatching: the war of storytelling" supported by the FNRS and the asbl Art et Recherche.

    https://nova-cinema.org/prog/2022/186-screenshot/images-revoltantes-images-de-revoltes/#article-25739

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  • Table ronde Cinema Nova Bruxelles
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