A musician messes around with his guitar in a bus while the rest of the band sleeps. A singer shows the camera a wrinkled piece of paper with her last written lyrics while she smokes. A Muscovite ragwoman enters a bar in a nondescript Siberian town. A 19-year-old boy fiddles with dozens of wires in a box and makes music with modular synths. An orchestra starts to produce sounds we’ve never heard before.
We never tire of scenes like this. Because they’re scenes that create sequences and stories that enlighten us, that make us smile, that move us. We never tire of our commitment to an increasingly more prolific genre with the increasing ability to tell us more things. Because if there’s anything about music documentaries it’s the amalgam of creators we can find in them, whether in front of or behind the camera. Above all, we never tire of going to watch a film and living and listening to the music inside it.
Yet another year we hope to see you in the cinemas, at the concerts, at the parties, at the Dock dialogues. We’ll be waiting for you in Perfect Day, with the year’s most interesting and prizewinning documentaries, in Paint it Black, in New Publics, in the Festival Dialogues and in Dock Live, a section we’re repeating with films and live music resulting in the creation of fleeting, one-off pieces you’ll never hear again.
2020 will be our thirteenth edition. A new edition seeking yet another year to bring the city new ways of telling music and new music to change the way stories are told. An edition which will yet another year draw a smile from you, move you, surprise you. As if an orchestra were to suddenly start playing by your side, producing sounds you’d never heard before.
Welcome to Dock of the Bay.
Each one of us, probably, shares a piece of this experience. Of the pleasure you feel when, after watching a film, or listening to an album, you meet somebody you can reconstruct the text with.
It’s easier to confess, to say nothing or to understand yourself on the edges of an aesthetic experience. And perhaps that’s why we recommend songs or films. Simply because our intention is to make others’ lives a little more bearable, because we believe that telling music and cinema is an excellent way to gift truly valuable things, fringes, bends. Although perhaps the reason why we ultimately like talking so much about cinema and music lies in our narcissism. What we really like doing is talking a little about ourselves.
This year Dock of the Bay wants to share the things we love most. This year we propose a seminar around discussions on films and songs that have built, and continue to build, the story of our lives.
If last year we explored the difficulty of telling (us) in the music documentary, this year we want to ask ourselves about the fact of sharing audiovisual stories, about how we transmute without realising it from the singular to the collective. That’s why we have once again decided to choose the seminar format. A format based on meeting, on (quasi) improvised dialogue, on the conversation between creators and their audiences. We are interested in the music documentary as a mechanism of memory – the recollection of more or less forgotten music – as the builder of plural identities – collectives, positions, resumed resistances between one song or another. We also want to look at the intimate documentaries that used music to share the most extreme aspect of others’ experiences – the music of suicide, of mental illness, of mourning, but also those who carried frivolity as their flag and led us, unashamedly, into that territory between the kitsch and nostalgia which is also part of our history.
We are therefore looking for a new space for creators, critics, thinkers and artists, but above all, for our public. On the Wednesday and Thursday afternoons, Dock of the Bay invites you to do what, at the end of the day, we like doing most: talking about films and music. Or, in other words: talking a little about ourselves.
Doctor of Audiovisual Communication from the European University of Madrid, graduate in Philosophy from the UNED and with master’s degrees in History and Aesthetics of Film from the University of Valladolid and New Trends and Innovation Processes from the Jaume I University, Castellón. He has taught at different Spanish universities since 2006, giving courses including Film Narrative, Image Analysis and Literature and Film. Member of the Spanish Association of Film Historians, of the Trama & Fondo Association of Textual Analysis and of adComunica. He currently researches and teaches at the Jaume I University.
If you’d like to attend, send us an email to info@dockofthebay with your data.
This year we want the festival to project a more cinematic image while focussing on the musicians as the real stars of the stories told at Dock of the Bay. Taking fragments from photographs of our much-loved iconic musicians, we’ve composed a series of portraits, more or less abstract, to create mysterious and made up characters of enormous power.
For example: Ian Curtis + Blondie + Freddie Mercury. Can you imagine the person we’d get on combining these characters? And best of all: What kind of music do you think would come out of it?
Author: Estudio Primo
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— Dock Of The Bay 2020 Press