Pamplona (Spain), 22-27 February 


Makoto Satô


Born in Hiorosaki, Aomori, Japan in 1957, and raised in Tokyo. Encountered documentary film when he visited Minamata as a student, and worded on Katori Naotaka's "The Innocent Sea". While touring Japan with the film, met people who lived by the Agano River in Niigata and decided to make a film about them.

Lived with seven crew members for the three years and in 1992 completed "Living on the River Agano", which won a number of awards including the Prize for Excellence at Yamagata International Documentary Film Festival 93.

Head instructor at the Film School of Tokyo since 1999, and professor at Kyoto University of Art and Design from 2001. Resided in London for one year from August 2002 with support from the Agency for Cultural Affairs. Recent publications include Mirror Called Everyday: The World of Documentary Film (97), The Horizons of Documentary Film - To Understand the World Critically (01), Where Film Begins (02), and Dozing London (04); all works published by Gaifusha.

Abe Mark Nornes


Abé Mark Nornes is associate professor in the Program of Film and Video Studies and the Department of Asian Languages and Cultures, University of Michigan, Ann Arbor. He is the author of Japanese Documentary Film: From the Meiji Era to Hiroshima (Minnesota UP) and Forest of Pressure: Ogawa Productions and the Postwar Japanese Documentary.

He has many articles in edited volumes and journals such as Cinema Journal and Film Quarterly. He co-edited Japan-America Film Wars (Routledge), In Praise of Film Studies (Kinema Club) and many film festival retrospective catalogs.

He is on the editorial boards of Documentary Box (Japan) and Mechademia (US) and has been co-owner of the internet newsgroup KineJapan since its inception. He is currently a book on the role of translation in film history. Nornes has also been a coordinator for the Yamagata International Documentary Film Festival since 1990.

Mercedes Álvarez


After graduating in Psychology from the University of the Basque Country, Mercedes Álvarez worked as an editor for Spanish television and directed a short film El viento africano / African wind (1997) before moving to Barcelona to focus her attention on documentaries.

She was first student, then teacher of the Master’s in Creative Documentary programme at Barcelona’s Pompeu Fabra University, a breeding ground for a good number of the filmmakers and documentaries which have come to light over recent years, such as José Luis Guerín’s acclaimed En Construcción / Work in Progress, edited by Álvarez herself.

The master’s course led to the idea of filming El cielo gira / The sky turns (2005), her first full-length film, which has won numerous international awards, including the Tiger Award at the Rotterdam Festival, the Grand Prizes at Paris’ Cinema du Reel and Alba’s Infinity Festival (Italy), and the International Critics’ Prize, Jury’s Prize, Public’s Prize and Prize for the Best Film at the Buenos Aires Festival.

Francisco Calvo Serraller


Francisco Calvo Serraller is Professor of the History of Art at Madrid's Complutense University. A full member of the San Fernando Royal Academy of the Arts since 1999, he has directed Museo del Prado and organised numerous exhibitions. He is in charge of “Three dimensions of Don Quixote”, an exhibition which, after a time at Madrid’s Museo Reina Sofía, is set to tour Spain for the next three years.

He combines his teaching and research work with art criticism for different branches of the media. He has published notable essays, such as España, medio siglo de arte de vanguardia (1985), El arte visto por los artistas (1987), Vanguardia y tradición en el arte español contemporáneo (1989), La novela del artista (1991), Enciclopedia del arte español contemporáneo (1992), La imagen romántica de España. Arte y arquitectura del siglo XIX (1995), Las Meninas de Velázquez (1996), Columnario. Reflexiones de un crítico de arte (1998), Libertad de exposición. Una historia del arte diferente (2000), El arte contemporáneo (2001) and Los géneros de la pintura (2005), among a great many other publications.

His weekly column in the Babelia supplement of the El País newspaper often provides Calvo Serraller with a vehicle for his novel view of film and the audiovisual arts, relating these to other manifestations of creativity, philosophy, literature and aesthetics.

Carlos Cánovas


Cánovas started to become interested in photography in 1973. In 1981, he published the book Fotografías, alongside three others, followed by Apuntes para una historia de la fotografía en Navarra, (Institución Príncipe de Viana, Pamplona, 1989), Miguel Goicoechea, un pictorialista marginal (Ikeder S.L., Bilbao, 1994), Deriva de la ría: Paisaje sin retorno (Bilbao Bizkaia Kutxa, Bilbao, 1994), Paisajes Fugaces (I.V.A.M., Valencia, 1997), Nicolás Ardanaz-Fotografías (Museo de Navarra, Pamplona, 2000), Retornos-Itzulerak, (Fundación BBK, Bilbao) and Paisaje Anónimo (Ayuntamiento de Pamplona, 2002).

He has given courses and conferences on the theory, technique and history of photography and has published both pictures and texts in books, specialist magazines and the press. His work is on show at the Bibliothèque Nationale (Paris), Museo de Navarra (Pamplona), Centro de Arte Reina Sofía (Madrid), Ifema-Arte Contemporáneo (Madrid), Telefónica de España, S.A. (Madrid), IVAM – Instituto Valenciano de Arte Moderno (Valencia) and Museo de Bellas Artes (Bilbao), among others.