Introducing DXA: A Primary Account of Double Exposure from a Former Student

[vc_row][vc_column][vc_column_text]This year, Double Exposure (DX) launched a new program for students passionate about storytelling in the public interest – Double Exposure Academy (DXA). This initiative can have a broad and generous impact on students; I know, as a college senior in 2015, I attended the first edition of DX. Our hope is that more students have the opportunity to immerse themselves in an environment that is both socially-driven and intellectually-challenging by learning from passionate individuals dedicated to elevating stories that matter. Below, I outline the need for DXA and my thoughts after attending DX the past two years.

Today, younger generations consume media across many mediums, including print, audio, and video. As a result of independent funding and democratizing tools like the internet, newer, younger voices have entered the social discourse; however, media is far from achieving a diverse representation of expression.

DX encourages collaboration between filmmakers and journalists. In this spirit, we seek to build a supportive community of both seasoned and emerging voices to strengthen the rights of all to pursue the truth. DXA is designed to offer unparalleled insights into the journalism, film and broader media industries for dedicated students. We hope DXA will encourage young people to pursue artistic endeavors in the public interest and reach a greater parity in storyteller representation.

Not surprisingly, DX is steeped in the investigative instinct. As the nation’s first investigative film festival, speakers remark with regularity that DX is an important space to encourage collaboration between visual storytelling and investigative journalism. In fact, when DX had its first opening night screening of Spotlight, director Tom McCarthy said, “Every city in America should have an investigative film festival.”

DX is a vital node in the media industry, particularly at the intersection of social issue and investigative film and journalism. The symposium develops knowledge and practices by bringing together filmmakers and journalists with producers, funders, academics, and consultants who can advance their work. For example, this year, individuals representing The Atlantic, Frontline, Tribeca Film Institute, The Alliance for Media Arts + Culture, Fledgling Fund, The New Yorker, POV, BritDoc Foundation, MIT Open Documentary Lab, and the New York Times will offer their unscripted points of view.

Ultimately, DX influences the media discourse. Attendees leave the symposium and festival with a more nuanced articulation of how storytelling can be a force for social change and accountability. DX does this by celebrating a new genre of filmmaking, supporting the rights of filmmakers and journalists, and casting this body of work as a coherent artistic vision tied to practical consequences.

DX has been an important space for me to engage with journalists and filmmakers who not only seek a better world, but work towards it. I have discussed James Baldwin with a Sundance award-winning director as well as the relationship between memory and trauma with a celebrated cameraperson. I am thankful for having DX at this particular point of my life, and now, especially in today’s political landscape, I sincerely wish other students have the same opportunity.

Written by Conway Reinders[/vc_column_text][/vc_column][/vc_row]

DX Artists Shortlisted for the 94th Oscars

Congratulations to all DX artists and filmmakers who are shortlisted for this year’s Academy Awards. Nominated feature documentaries include Attica, Flee, The First Wave, In the Same Breath, The Rescue, and Writing with Fire. Short docs include Águilas, Day of Rage, and The Facility. Announcement of the official nominees arrives tomorrow.

In anticipation, we interviewed co-director Malachy Browne to learn more about the behind-the-scenes making of Day of Rage, and the surprising recognition from the Academy of a short film that sprang from a newsroom investigation.  The 40-minute film is a meticulous reconstruction of the January 6, 2021 mob attack on the US Capitol, using cellphone pictures and videos, police radio recordings, court records, and other documents, by the Visual Investigations team at The New York Times. Check out the interview in this video.

 

Interview by Diana Jean Schemo, founder and co-director of Double Exposure, with Day of Rage co-director Malachy Browne.

DAY OF RAGE

Director: Malachy Browne, David Botti

Producer: Haley Willis, Evan Hill, Cora Engelbrecht, Christiaan Triebert, Stella Cooper

Editor: Dmitriy Khavin, Natalie Reneau

DX Artists Shortlisted for the 94th Oscars

Congratulations to all DX artists and filmmakers who are shortlisted for this year’s Academy Awards. Nominated feature documentaries include Attica, Flee, The First Wave, In the Same Breath, The Rescue, and Writing with Fire. Short docs include Águilas, Day of Rage, and The Facility. Announcement of the official nominees arrives tomorrow.

In anticipation, we interviewed co-director Malachy Browne to learn more about the behind-the-scenes making of Day of Rage, and the surprising recognition from the Academy of a short film that sprang from a newsroom investigation.  The 40-minute film is a meticulous reconstruction of the January 6, 2021 mob attack on the US Capitol, using cellphone pictures and videos, police radio recordings, court records, and other documents, by the Visual Investigations team at The New York Times. Check out the interview in this video.

 

Interview by Diana Jean Schemo, founder and co-director of Double Exposure, with Day of Rage co-director Malachy Browne.

DAY OF RAGE

Director: Malachy Browne, David Botti

Producer: Haley Willis, Evan Hill, Cora Engelbrecht, Christiaan Triebert, Stella Cooper

Editor: Dmitriy Khavin, Natalie Reneau

DOUBLE EXPOSURE INVESTIGATIVE FILM FESTIVAL & SYMPOSIUM ANNOUNCES OPENING, CLOSING, & CENTERPIECE FILMS

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OPENING WITH RACHEL GRADY AND HEIDI EWING’S ONE OF US, CLOSING WITH MYLES KANE AND JOSH KOURY’S VOYEUR, AND FEATURING ALEX GIBNEY’S NO STONE UNTURNED AS CENTERPIECE, FESTIVAL SLATE REFLECTS DISTINCTIVE FACETS OF INVESTIGATIVE STORYTELLING

FESTIVAL TO BE HELD IN WASHINGTON, DC OCTOBER 19-22

WASHINGTON, DC (Tuesday, September 19) – Double Exposure Investigative Film Festival & Symposium launches its third edition with DC premieres of new films that go beyond the headlines to capture riveting stories and confront matters that have been hidden from the public, until now.

Double Exposure’s film program will kick-off on Thursday, October 19 with its opening night film ONE OF US, the highly anticipated new documentary from Academy nominated directors Heidi Ewing and Rachel Grady (Jesus Camp, 12th and Delaware, Detropia, Norman Lear: Just Another Version of You). In One of Us, three Hasidic Jews leave their ultra-Orthodox community to join the secular world. Unprepared for life outside the tightly-knit community, they experience ostracism, lost relationships and even danger. A Netflix original documentary. Oct. 19, 7:00 pm, National Portrait Gallery.

A film still from NO STONE UNTURNED. Photo credit: Stan Harlow.

NO STONE UNTURNED, the latest work from Academy Award and Emmy-winning director Alex Gibney (Taxi to the Dark Side, Enron: The Smartest Guys in the Room) is the festival’s centerpiece film and will screen on Friday, October 20. Gibney’s documentary re-opens a 1994 investigation into the massacre of six men as they watched a World Cup soccer match in their local Northern Ireland pub. Gibney exposes a complex web of lies and corruption, and reveals something that a criminal investigation spanning over twenty years did not: the identities of the suspected killers. Friday, October 20, 8:30 pm, Naval Heritage Center.

And VOYEUR, from directors Myles Kane and Josh Koury, is the festival’s closing night film on Saturday, October 21. Voyeur follows journalist Gay Talese as he reports on one of the most controversial stories of his career: a portrait of a Colorado motel owner, Gerald Foos, who spent decades spying on his guests and recording their private moments. A Netflix original documentary. Saturday, October 21, 8:30 pm, Naval Heritage Center.

“We are very proud to screen these wonderful, new investigative documentaries,” said Diana Jean Schemo, founder and co-director of Double Exposure. “Each film illustrates a different aspect of investigative storytelling: the first takes audiences deep inside a community usually closed to outsiders; the second investigates a mystery that has gone unsolved for decades; and the third interrogates the investigative process itself.”

“These three extraordinary films from some of today’s most visionary filmmakers embody the very essence of what we aim to achieve at Double Exposure,” said Sky Sitney, festival co-director. “They are works that seek to uncover something otherwise hidden from view, expressed through a distinctive cinematic language.”

Full lineup to be announced by the end of September.

The Symposium program was announced earlier this month.

The festival is now accepting requests for press passes. Space is limited.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_btn title=”BUY A PASS” style=”custom” custom_background=”#deae26″ custom_text=”#000000″ shape=”square” size=”lg” link=”url:https%3A%2F%2Fwww.eventbrite.com%2Fe%2Fdouble-exposure-investigative-film-festival-symposium-passes-tickets-35010315797|||” el_class=”btn”][vc_empty_space height=”20px”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]

About Double Exposure

In recent years, the creative landscape of films inspired by investigative reporting has flowered in unexpected and exciting ways, from Spotlight, which took audiences inside The Boston Globe investigative team, to Blackfish, which exposed mistreatment of orca whales at SeaWorld, to Citizenfour, which gave us a front-row seat on Edward Snowden’s massive release of files on government surveillance.

Yet this flourishing of creativity comes just as the rights of journalists and visual storytellers face unprecedented challenges on nearly every level: politically, socially, legally and financially.

Double Exposure, a project of the nonprofit investigative news organization 100Reporters, showcases the best new films inspired by the investigative instinct, in a bid to raise public recognition of this vital form of reporting that doesn’t just ask tough questions, but delivers answers. It pairs film screenings with a concurrent symposium for journalists and filmmakers to connect with each other, and with the producers, editors, funders, and experts who can advance their work.

Major supporters of Double Exposure include the Reva and David Logan Foundation, the John D. and Catherine T. MacArthur Foundation, and the John S. and James L. Knight Foundations.

Press Contact:
Adam J. Segal • The 2050 Group – Publicity
212.642.4317 (Office) • 202.422.4673 (Cell)
[email protected] • www.the2050group.com[/vc_column_text][/vc_column][/vc_row]

Introducing DXA: A Primary Account of Double Exposure from a Former Student

[vc_row][vc_column][vc_column_text]This year, Double Exposure (DX) launched a new program for students passionate about storytelling in the public interest – Double Exposure Academy (DXA). This initiative can have a broad and generous impact on students; I know, as a college senior in 2015, I attended the first edition of DX. Our hope is that more students have the opportunity to immerse themselves in an environment that is both socially-driven and intellectually-challenging by learning from passionate individuals dedicated to elevating stories that matter. Below, I outline the need for DXA and my thoughts after attending DX the past two years.

Today, younger generations consume media across many mediums, including print, audio, and video. As a result of independent funding and democratizing tools like the internet, newer, younger voices have entered the social discourse; however, media is far from achieving a diverse representation of expression.

DX encourages collaboration between filmmakers and journalists. In this spirit, we seek to build a supportive community of both seasoned and emerging voices to strengthen the rights of all to pursue the truth. DXA is designed to offer unparalleled insights into the journalism, film and broader media industries for dedicated students. We hope DXA will encourage young people to pursue artistic endeavors in the public interest and reach a greater parity in storyteller representation.

Not surprisingly, DX is steeped in the investigative instinct. As the nation’s first investigative film festival, speakers remark with regularity that DX is an important space to encourage collaboration between visual storytelling and investigative journalism. In fact, when DX had its first opening night screening of Spotlight, director Tom McCarthy said, “Every city in America should have an investigative film festival.”

DX is a vital node in the media industry, particularly at the intersection of social issue and investigative film and journalism. The symposium develops knowledge and practices by bringing together filmmakers and journalists with producers, funders, academics, and consultants who can advance their work. For example, this year, individuals representing The Atlantic, Frontline, Tribeca Film Institute, The Alliance for Media Arts + Culture, Fledgling Fund, The New Yorker, POV, BritDoc Foundation, MIT Open Documentary Lab, and the New York Times will offer their unscripted points of view.

Ultimately, DX influences the media discourse. Attendees leave the symposium and festival with a more nuanced articulation of how storytelling can be a force for social change and accountability. DX does this by celebrating a new genre of filmmaking, supporting the rights of filmmakers and journalists, and casting this body of work as a coherent artistic vision tied to practical consequences.

DX has been an important space for me to engage with journalists and filmmakers who not only seek a better world, but work towards it. I have discussed James Baldwin with a Sundance award-winning director as well as the relationship between memory and trauma with a celebrated cameraperson. I am thankful for having DX at this particular point of my life, and now, especially in today’s political landscape, I sincerely wish other students have the same opportunity.

Written by Conway Reinders[/vc_column_text][/vc_column][/vc_row]