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Premio giornalistico Istituto Veneto per Venezia

In reviewing the articles submitted for the fifth edition of the Journalism Award for Venice (Premio dell'Istituto Veneto per Venezia), the Judging Committee notes how the importance of this initiative has been once again confirmed by the attention attached to this event by the international press. The Committee would like to highlight that the mass media generally stop at the most evident and superficial aspects of Venice and its environment: this further supports the need for an award that, as the call for applications states, rewards press articles and videos that stand out 'for their acute understanding of the multifaceted social, economic, natural or artistic aspects of the Venetian situation'. For these reasons, the Committee finally agreed to assign the Award ex-aequo to two different pieces (for the first time ever they are video reports and not press articles), that were considered especially consistent with the spirit of the Award. Veniseland, by Denis Bassompierre and Isabelle Moeglin, guides spectators on a journey and helps them grasp the special aspects of everyday life spent against a magnificent yet difficult backdrop, where different and hardly compatible needs, interests and demands come together. The tone of the narrative voice remains the same, even when it presents the most complicated aspects of life in the city and is concerned with providing information and experiences, giving voice to concerns, dissatisfaction and hopes as the different components of Venetian life come together and clash on some of its most specific and delicate aspects. The broad use of direct evidence from the public comes together nicely to highlight some of the basic issues faced by Venice: it also encourages the understanding of issues that are often neglected by the current and more conventional visions of the city. Carnaval en prison, by Renaud Bernard, Claudia Billi and Karine Guillaumain is only apparently concerned with a topic that has been touched upon time and time again. In fact, it looks at a less-known but extremely interesting aspect of the Carnival: the purposely chosen conventional images of the event, as perceived by the mass media, are entwined with the depiction of the environment of the women's prison, where the inmates are observed compassionately but without sentimentalism as they prepare the sumptuous costumes for the festival. A fine contrast is presented between the dull tones, the muffled noises and the silent work of the women inmates and the colourful Carnival events. The documentary has been well edited and is imbued with sober melancholy while evenly restating the values of humanity (especially for those who suffer and are humiliated) that, also in Venice, should prevail over the rowdiness of its tourism.

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Palazzo Franchetti
San Marco, 2842- Venezia
Centro Storico
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