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Some strategies to film
a non-recognized war
Alicia Calderón
The context
The context
• We don’t know who is “the enemy”
• Corrupted officers. Non-reliable
sources.
• High levels of impunity. Non-reliable
investigations.
• Difficulty to detect “the battle field”.
In urban and rural contexts.
• 47 journalists murdered between
2010 and 2016. Only 3 convictions.
Strategies to speak-up
Strategies to
speak-up
• To portrait the victims (the
mothers), not the perpetrators
• The disappeared is portrayed
through the mother’s search;
it’s not about their innocence
or culpability.
• Tell the story from the
present; not just a
reconstruction of past events
• A victim: every person without
effective access to justice
Strategies
to speak-up
• The story is not about the
criminals or the Army’s “bad
boys”; its about the pain,
exclusion, love, struggle and
personal conversion.
• We don’t try to uncover who
are the criminals; it’s not a
film about innocents vs
criminals
• In the film, “the enemy” is
structural. It doesn’t have a
name or a face; it’s a system.
• We distance ourselves from
journalism to portrait
personal stories; no need to
“balance” information.
Practical actions to
reduce risks
Reducing risks
• Filming outside of Mexico
(Washington)
• Use interior locations; few
exteriors
• Avoiding small towns;
interviewing in hotels
• Extremely careful edition. No
names!
• Not publishing information given
by the mothers that may put them
in danger (or the team)
Reducing risks
• Using very discrete recording
equipment
• Never traveling at night
• Working with civil
organizations
• Not using cellphones to talk
about sensitive information

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Estrategias para filmar en una guerra no reconocida

  • 1. Some strategies to film a non-recognized war Alicia Calderón
  • 3. The context • We don’t know who is “the enemy” • Corrupted officers. Non-reliable sources. • High levels of impunity. Non-reliable investigations. • Difficulty to detect “the battle field”. In urban and rural contexts. • 47 journalists murdered between 2010 and 2016. Only 3 convictions.
  • 5. Strategies to speak-up • To portrait the victims (the mothers), not the perpetrators • The disappeared is portrayed through the mother’s search; it’s not about their innocence or culpability. • Tell the story from the present; not just a reconstruction of past events • A victim: every person without effective access to justice
  • 6. Strategies to speak-up • The story is not about the criminals or the Army’s “bad boys”; its about the pain, exclusion, love, struggle and personal conversion. • We don’t try to uncover who are the criminals; it’s not a film about innocents vs criminals • In the film, “the enemy” is structural. It doesn’t have a name or a face; it’s a system. • We distance ourselves from journalism to portrait personal stories; no need to “balance” information.
  • 8. Reducing risks • Filming outside of Mexico (Washington) • Use interior locations; few exteriors • Avoiding small towns; interviewing in hotels • Extremely careful edition. No names! • Not publishing information given by the mothers that may put them in danger (or the team)
  • 9. Reducing risks • Using very discrete recording equipment • Never traveling at night • Working with civil organizations • Not using cellphones to talk about sensitive information