Professional Documents
Culture Documents
Documentary Film Festivals Changes Challenges Professional Perspectives 1St Ed Edition Aida Vallejo Full Chapter
Documentary Film Festivals Changes Challenges Professional Perspectives 1St Ed Edition Aida Vallejo Full Chapter
Documentary Film Festivals Changes Challenges Professional Perspectives 1St Ed Edition Aida Vallejo Full Chapter
Documentary
Film Festivals Vol. 2
Changes, Challenges,
Professional Perspectives
Edited by
Aida Vallejo · Ezra Winton
Framing Film Festivals
Series Editors
Marijke de Valck
Department of Media and Culture Studies
Utrecht University
Utrecht, The Netherlands
Tamara L. Falicov
University of Kansas
Kansas City, MO, USA
Every day, somewhere in the world a film festival takes place. Most people
know about the festival in Cannes, the worlds’ leading film festival, and
many will also be familiar with other high profile events, like Venice, the
oldest festival; Sundance, America’s vibrant independent scene; and
Toronto, a premier market place. In the past decade the study of film
festivals has blossomed. A growing number of scholars recognize the
significance of film festivals for understanding cinema’s production,
distribution, reception and aesthetics, and their work has amounted to a
prolific new field in the study of film culture. The Framing Film Festivals
series presents the best of contemporary film festival research. Books in the
series are academically rigorous, socially relevant, contain critical discourse
on festivals, and are intellectually original. Framing Film Festivals offers a
dedicated space for academic knowledge dissemination.
Documentary Film
Festivals Vol. 2
Changes, Challenges, Professional Perspectives
Editors
Aida Vallejo Ezra Winton
University of the Basque Country ReImagining Value Action Lab
(UPV/EHU) Lakehead University
Leioa, Spain Thunder Bay, ON, Canada
© The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer
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Preface: Vol. 2—By Aida Vallejo
and Ezra Winton
This book (indeed books, as there are two volumes that make up this col-
lection) has been elaborated through a long process of hard work and
mutual collaboration. As such, it has evolved significantly through the
progression of bringing new collaborators on board, expanding to a more
accurate, elaborate and thorough engagement with our much-loved topic
of research: documentary film festivals. To those who have met us at con-
ferences and festivals where we made flushed proclamations concerning
the prospective publication, we can at long last say it is in the world, and
do so with a satisfied smile on each of our faces and a feeling of release in
our souls.
The project’s wide scope has made it worthy of two volumes,
Documentary Film Festivals Vol. 1. Methods, History, Politics and
Documentary Film Festivals Vol. 2. Changes, Challenges, Professional
Perspectives, which form a tandem set that tackles key issues at stake in
both Documentary Studies and Film Festival Studies. Both books can be
read separately or together as a single collection, but they do not require
readers to follow a given order. Nevertheless, the first volume includes
some contributions that help to frame the study of documentary film fes-
tivals in a wider context, namely a review of the literature that brings
together Film Festival Studies and Documentary Studies, an interview
with Bill Nichols about this subject of inquiry and a historical chapter
about documentary at film festivals. While we might say the first volume is
more oriented to the past, the second looks toward the future of docu-
mentary film festivals. Across both volumes, historical and political con-
cerns are complemented by the study of recent changes that have occurred
v
vi PREFACE: VOL. 2—BY AIDA VALLEJO AND EZRA WINTON
Two decades ago I had an epiphany at a small film event, the World
Community Film Festival, in my hometown of Courtenay on Vancouver
Island (British Columbia, Canada), that would irrevocably change the
course of my life. I had read a review of a film that was playing at the fes-
tival, and with a friend headed to the Sid Williams Theatre to whet my
curiosity. At the time, I had little interest in documentary and knew noth-
ing about East Timor, nor media ownership concentration and the trou-
bling collusion between corporate power and media institutions, so it is
fair to say that Manufacturing Consent: Noam Chomsky and the Media
(Mark Achbar and Peter Wintonick 1992) blew my mind. After the epic
PREFACE: VOL. 2—BY AIDA VALLEJO AND EZRA WINTON ix
Notes
1. An initiative of the investor George Soros, who also founded the Central
European University to which the archive is associated.
2. It is estimated, according to Acland (2003), that commercial exhibition
screens in Canada show less than 3% of Canadian cinema outside the prov-
ince of Quebec (where numbers are notably higher).
References
Acland, Charles. 2003. Screen Traffic: Movies, Multiplexes, and Global Culture.
Durham, NC: Duke University Press.
Nichols, Bill. 1991. Representing Reality: Issues and Concepts in Documentary.
Bloomington and Indianapolis: Indiana University Press.
Acknowledgments: Vol. 2
xiii
xiv ACKNOWLEDGMENTS: VOL. 2
de Valck, Skadi Loist, María Paz Peirano, Thomas Waugh, Lucas Freeman
and Liz Czach, all of whom shared their experience and knowledge and
helped us with their generous advice. A number of festival organizers,
filmmakers, archivists, television and other institutional representatives
(and other scholars and practitioners) also helped us track, record and
analyze the current state of documentary film festivals worldwide. Over
the years of conducting this research and bringing these two volumes to
light, we frequented several festivals, all of which are mentioned in our
Preface and/or introductions. But needless to say, we are grateful for the
opportunities they have afforded the intrepid and weary researcher balanc-
ing cinephilia with critical inquiry.
Finally, thanks to our families, friends and partners for their support,
patience and help. The time we have stolen from them to bring this proj-
ect to light is not insignificant. In this long process we have seen new
people coming into our life while others left in the process. It is to them
that we owe our deepest gratitude.
Notes
1. Research project on Film and Audiovisual Festivals in the Basque Country,
University of the Basque Country (UPV/EHU). Grant number:
EHUA16/31 http://www.ehu.eus/ehusfera/ikerfests/.
2. “Visual Anthropology: a model for creativity and knowledge transference.”
University of the Basque Country (UPV/EHU). Grant number:
EHU11/26. http://www.ehu.eus/ehusfera/hautaldea/.
3. “Transnational relations in Hispanic digital cinemas: the axes of Spain,
Mexico, and Argentina.” Grant number: CSO2014-52750-P. The project is
led by Miguel Fernández Labayen and Josetxo Cerdán Los Arcos at
Universidad Carlos III de Madrid (UC3M). https://uc3m.libguides.
com/c.php?g=499893&p=3422753.
Contents
xv
xvi Contents
Index of Festivals211
Index of Subjects217
Index of Films229
Index of Names233
Notes on Contributors
xix
xx NOTES ON CONTRIBUTORS
Indigenous film and media. He is finishing a book that looks at the com-
mercialization of documentary at film festivals, with Hot Docs as the case
study, called Buying In to Doing Good: Documentary Politics and Curatorial
Ethics at the Hot Docs Film Festival (McGill-Queen’s University Press),
and is co-editing a collection with Lakota artist Dana Claxton entitled
Insiders/Outsiders: The Cultural Politics and Ethics of Indigenous
Representation and Participation in Canada’s Media Arts (Wilfrid-Laurier
University Press). He is co-editor of Challenge for Change: Activist
Documentary at the National Film Board of Canada (MQUP, 2010),
Screening Truth to Power: A Reader on Documentary Activism (Cinema
Politica, 2014) and is a contributing editor at POV Magazine. He is also
co-founder and Director of Programming of Cinema Politica, the world’s
largest documentary screening network. Ezra is a settler scholar of Dutch
and English ancestry who was born and raised in K’ómoks territory on
Vancouver Island, British Columbia, Canada. https://twitter.com/
ezrawinton.
List of Images and Figures
xxv
xxvi List of Images and Figures
xxvii
Introduction—Volume 2: Documentary Film
Festivals: Changes, Challenges, Professional
Perspectives
A. Vallejo (*)
University of the Basque Country (UPV/EHU), Leioa, Spain
e-mail: aida.vallejo@ehu.eus
E. Winton
ReImagining Value Action Lab, Lakehead University, Thunder Bay, ON, Canada
ongoing project of defining the genre not only through their program-
ming and awards, but also through their official discourse.
A comparative analysis of contemporary festival programs shows a
growing tendency of many events to select the same films. This trend has
developed parallel to a multiplication of the number of films showcased.
Big “festival hits” such as Waltz with Bashir (Ari Folman, 2008) or The Act
of Killing (Joshua Oppenheimer, 2012) travel from festival to festival,
while successful sub-genres—from experimental non-fiction to music
documentaries—find accommodation through different program sections
catering to themes. Hence, festivals’ differentiated identity is more related
to the contextualization of films within their programs, rather than to
their selection as a whole. For example, while CPH:DOX in Copenhagen
has built a reputation as a showcase of experimental works that navigate
the boundaries of fiction and documentary, IDFA’s (Amsterdam) identity
is built around curating works that creatively address socio-political issues.
Nevertheless, we can see films that participate in both festivals, yet they do
so in different sections. Festivals’ contribution to defining documentary is
therefore played out on one hand through the festivals’ curatorial
practices—which involves deciding in which section films will be presented
(and therefore potentially awarded)—, and on the other hand through the
contextualization of the films within the festival’s own discourse—whereby
some films that fit into the festival’s definitional framework are privileged
over others.
It is in this context that genre crossovers and new forms that chal-
lenge documentary conventions are being articulated. In many cases,
festivals have created a space for these cinematic forms through festival-
generated or supported concepts such as “the creative documentary,”
which is differentiated from the closed format of the journalistic televi-
sion documentary featuring talking heads and an omniscient voice-over
with illustrative images—a mixture of what Nichols has labeled as the
“expository” and “participatory” modes (1991). Although there is no
consensus about what exactly constitutes “the creative documentary”—
neither in the academic, nor in the professional world (other concepts
include “auteur documentary” “or feature-length documentary”)—, the
main features commonly associated to the creative documentary gravitate
between an exploration of the cinematic language both in its aesthetic
and narrative dimensions, as well as a cinematographic vocation (a com-
mon denominator is that these films are conceived for the big screen).
Moreover, the word non-fiction—associated with the documentary
6 A. VALLEJO AND E. WINTON
genre since the 1970s in the academic realm (see Barsam 1973; Barnow
1983; Plantinga 1997)—,6 has been widely used in the festival context to
highlight this distinction and reflect on the blurring boundaries of fic-
tion and documentary. While “documentary” still remains as the most
common identity label in festival titles, some events have shifted names,
erasing the “documentary” word from them. This is the case of today’s
FIDMarseille or Marseille International Film Festival, which started as
Biennale Européenne du Documentaire in 1990 and shifted its name to
Vue sur le Docs in its second edition, to become FIDMarseille (Festival
International du Documentaire de Marseille) in 1999. A diachronic look
at the festival catalogues shows that since the 2000s, the word documen-
tary has steadily taken less visibility in the festival’s title, to completely
disappear from it, with only the “D” of FIDMarseille remaining. This is a
strategy directly related to the curatorial practices of the festival to widen
their scope beyond the classic documentary, including new experimental
and alternative fictional forms within its program.
We argue that the film festival circuit has created a space for the devel-
opment of this type of documentary (as an alternative exhibition space to
television and, to some extent, as a preliminary step for later distribution
in movie theaters). For this reason, we focus on contextual analysis and
put specialized film festivals in the focus of our study, as they are key events
for the creation of cultural networks around creative documentary, and
therefore contribute greatly to its definition.
remaining interviews draw attention to institutions that are not film festi-
vals, but closely collaborate with them in different aspects. Interviewees
include Sandra Ruch (Emeritus Director of IDA—International
Documentary Association), Rada Šešić (independent programmer and
advisor, working for the Rotterdam Film Festival, Sarajevo Film Festival
and IDFA Bertha Fund), Stefano Tealdi (former Secretary of Documentary
Campus Workshop), Thierry Garrel (former director of the French
Department at TV Arte) and Diana Tabakov (Acquisitions Manager of the
online VOD platform specialised on documentary Doc Alliance Films).
The fact that some of the interviewees are no longer staff members at the
institutions that they speak of adds credence to the “independent” charac-
ter of their declarations, while also responding to the historical interests
this collection addresses as long-term processes.
Conclusions
Film festivals are of key importance to the understanding of contemporary
film cultures. In the case of documentary this affirmation is even stronger
because of the lack of a real commercial distribution network beyond tele-
vision environments. The aim of this book is to illuminate the role and
impact of documentary film festivals in the processes of international cir-
culation and appreciation of documentary film.
This volume offers readers interested in researching documentary and/
or festivals new insights to understand the dynamics of documentary film
festivals as events that operate on multiple levels, including those of pro-
duction, curation, distribution and exhibition. On the other hand, readers
who herald from industry will find this volume to be a useful reference
guide to identify those events that are relevant to their own efforts, and
will undoubtedly help to design distribution strategies for documentary.
Institutional, organizational and industrial concerns are key for festival
operation and are addressed in depth through the case studies presented
in this volume. From the impact of film festivals in documentary distribu-
tion and production, to funding problems faced by the festivals them-
selves, the economic aspect of documentary film festivals is a relevant one
both for academics and professionals alike. With a shift in curatorial prac-
tices that expand festival programs to a wide range of activities—including
screenings, exhibitions, conferences, pitching presentations, co-production
fora or even parties—festivals have long ago become much more than a
space for watching films. The integration of these practices within the
INTRODUCTION—VOLUME 2: DOCUMENTARY FILM FESTIVALS: CHANGES… 9
Notes
1. A moment not without its share of critics and detractors, who felt the film
won solely for political, not quality, reasons. Regardless, it was a heightened
moment of visibility for documentary at arguably the world’s most presti-
gious festival.
2. In Canada where one of this publication’s editors is based, it is next to
impossible to encounter documentaries in commercial theatres. The coun-
try’s cinemas continue to focus on Hollywood fiction (95% of content out-
side of Quebec). Yet, more documentaries than ever are being produced in
Canada. In Europe, the situation differs from country to country but,
although the presence of documentary in commercial theatres is scarce, sev-
eral initiatives have been created to screen documentaries at independent
movie theatres and cultural centres. In many cases, they have been started by
or in collaboration with documentary festivals. Examples include “El docu-
mental del mes” (The Documentary of the Month) taking place in some
cities of Spain and Latin America (see López-Gómez et al. 2020, 256, in our
first volume), or the BDDN (Balkan Documentary Distribution Network)
initiatives in the Balkans (see Vallejo 2014, 75–76).
3. For a thorough revision of scholarly works on film festivals and documen-
tary see the introduction of our first volume (Vallejo and Winton 2020).
4. See Peirano’s chapter on Chilean filmmakers on the European festival circuit
and Vallejo’s chapter on IDFA in this volume.
5. In Di Chiara and Re’s reflection on film festivals and historiography (2011)
the authors identify some of these practices as key to the formation (and
renegotiation) of the film canon.
6. Interestingly, the doctoral thesis by Carl Plantinga that led to the publica-
tion of Rhetoric and Representation in Nonfiction Film was entitled A theory
of representation in the documentary film (1991).
References
Austin, Thomas. 2007. Watching the World: Screen Documentary and Audiences.
Manchester: Manchester University Press.
Barnow, Erik. 1983. Documentary: A History of the Non-fiction Film. Oxford:
Oxford University Press.
Barsam, Richard. 1973. Nonfiction Film: A Critical History. New York:
E. P. Dutton.
10 A. VALLEJO AND E. WINTON
Aida Vallejo
Recent changes in the festival realm have profoundly affected the aim and
scope of both documentary film and documentary film festivals. A look at
contemporary trends in the documentary festival ecosystem gives us some
clues to better understand its functioning patterns, key agents and future
challenges. Chapters in this section analyze these aspects, focusing on
diverse agents, namely festivals as institutions, professionals and films.
The international documentary festival circuit has been subject to
structural organizational changes since the 1990s. As noted by Marijke de
Valck, these are characterized by “a shift from festival programmers in the
1970s, driven by cinephile passions and an ideology of political participa-
tion, to the festival director of the 1990s, who has become a professional
cultural entrepreneur who manages the various constituencies of the festi-
val network” (2007, 43). According to Skadi Loist, “larger-scale economic
shifts, such as the spread of neoliberal market logic after the end of the
A. Vallejo (*)
University of the Basque Country (UPV/EHU), Leioa, Spain
e-mail: aida.vallejo@ehu.eus
Cold War and the rise of the global city paradigm have encouraged an
eventization and further proliferation of the circuit” (2016, 60). For doc-
umentary festivals, this implies the spread of funding and organizational
models based on private non-profit associations (Rhyne 2009), and the
incorporation of industry activity (markets, funds, pitching fora, etc.)
within the festival program (see De Valck 2007, 108–118; Wong 2011,
129–158; Vallejo 2014a). Other major changes include the digitization
process and a global proliferation of events. This has brought us to the
current state characterized by a “saturation of the circuit” and the articula-
tion of global peripheries (Vallejo 2014b).
This section looks at recent changes in the festival ecosystem, identify-
ing contemporary trends in the documentary realm. Focusing on the chal-
lenges faced by documentary (and generalist) film festivals, the following
five chapters reflect on three main aspects: industrial concerns, technologi-
cal issues and curatorial practices. These include studies on the role of film
festivals as producers and distributors; the irruption of interactive forms
within festival programs; and new documentary trends embraced by A-list
film festivals.
diverse venues and cultural institutions, which didn’t need to grapple with
equipment capable of projecting celluloid.
New media formats have also been rapidly adopted by the documen-
tary, which has proven to be a fertile breeding ground for interactive forms
and Virtual Reality (see Aston et al. 2017). Stefano Odorico’s chapter in
this section reflects on how those documentary film festivals that rushed
to incorporate these works into their programs adapted their venues and
exhibition contexts to new expanded formats that privileged the individual
viewing experience, as opposed to the collective audience that defines the
essence of a festival.
Secondly, although the documentary genre has served as a learning tool
for filmmakers since the early years of specialized festivals, in recent decades
its role as aesthetic testing ground has grown, blurring its boundaries with
the fiction genre and finding a place in the programs of major non-
specialized events. Eulàlia Iglesias’ chapter in this section looks at the pro-
grams of A-list film festivals to interrogate how events such as Cannes have
adapted to new trends in documentary film. As she argues, a thorough
analysis of the films selected by Cannes shows a very conservative attitude
towards documentary, while festivals such as Locarno have been more
open to new hybrid forms that have allowed documentaries to compete in
equal terms with fiction.
A last major trend in programming conditioned by new technologies
involves the onset of online submission platforms, such as Withoutabox or
Festhome or private viewing platforms, like Vimeo, that have increased
the speed of submission of films for competition and eliminated techno-
logical problems that other formats such as DVD involved. This has cer-
tainly contributed to the ever-increasing number of films that film festivals
have to review for selection, which is starting to become a real challenge
in terms of time and staff management. In response, many festivals have
incorporated submission fees, increasing the costs of documentary pro-
ductions. In addition, the number of films that are not part of the blind
selection (cold submissions) but requested based on their success at other
events or their participation in industry sections is increasing, as noted by
professionals such as Sean Farnell (in Fischer 2012) or Sky Sitney (in Gann
2012). This can be considered as a result of both a growing interconnec-
tion between events, and an increasing influence of the production role of
film festivals, which create “festival films” that feed their own programs
while meeting their aesthetic demands (see Wong 2011; Falicov 2016).
INTRODUCTION TO PART I, VOL. 2: CHANGES AND CHALLENGES… 19
Notes
1. Fédération Internationale des Associations de Producteurs de Films.
2. Initial positions defending the connectivity of the festival circuit and its role
as a distribution network alternative to Hollywood (Elsaesser 2005; De
Valck 2007) have been contested by those who put in question its actual
connection and distribution role (Iordanova 2009); although in recent years
both parts have recognized the limitations of border positions. Nevertheless
recent works insist on the importance of the networked nature of the circuit
and its evolution through time (Loist 2016).
20 A. VALLEJO
References
Aston, Judith, Sandra Gaudenzi, and Mandy Rose, eds. 2017. I-Docs: The Evolving
Practices of Interactive Documentary. London: Wallflower Press and Columbia
University Press.
Battaglia, Giulia. 2020. The Development of Documentary Film Festivals in India:
A Small-media Phenomenon. In Documentary Film Festivals Vol. 1. Methods,
History, Politics, ed. Aida Vallejo and Ezra Winton, 221–239. Cham,
Switzerland: Palgrave Macmillan.
De Valck, Marijke. 2007. Film Festivals: From European Geopolitics to Global
Cinephilia. Amsterdam: Amsterdam University Press.
Elsaesser, Thomas. 2005. Film Festival Networks: The New Topographies of
Cinema in Europe. In European Cinema: Face to Face with Hollywood, 82–107.
Amsterdam: Amsterdam University Press. Reprinted in Dina Iordanova, ed.
2013. The Film Festival Reader. St Andrews: St Andrews Film Studies, 69–96.
Falicov, Tamara L. 2016. The ‘Festival Film’: Film Festival Funds as Cultural
Intermediaries. In Film Festivals: History, Theory, Method, Practice, ed. Marijke
de Valck, Brendan Kredell, and Skadi Loist, 209–229. New York: Routledge.
Fischer, Alex. 2012. Hot Docs: A Prescription for Reality: An Interview with Sean
Farnell, Former Director of Programming at Hot Docs Canadian International
Documentary Festival. In Film Festival Yearbook 4: Film Festivals and Activism,
ed. Dina Iordanova and Leshu Torchin, 225–234. St. Andrews: St. Andrews
Film Studies.
Gann, Jon. 2012. ‘Mediate. Curate. Facilitate.’: Sky Sitney, SILVERDOCS. In
Behind the Screens: Programmers Reveal How Film Festivals Really Work,
149–165. Washington, DC: Reel Plan Press.
Iordanova, Dina. 2009. The Film Festival Circuit. In Film Festival Yearbook 1: The
Festival Circuit, ed. Dina Iordanova and Ragan Rhyne, 23–39. St. Andrews: St.
Andrews Film Studies.
Loist, Skadi. 2016. The Film Festival Circuit: Networks, Hierarchies, and
Circulation. In Film Festivals: History, Theory, Method, Practice, ed. Marijke de
Vack, Brendan Kredell, and Skadi Loist, 49–64. New York: Routledge.
Rhyne, Ragan. 2009. Film Festival Circuits and Stakeholders. In Film Festival
Yearbook 1: The Festival Circuit, ed. Dina Iordanova and Ragan Rhyne, 9–39.
St. Andrews: St. Andrews Film Studies.
Seguí, Isabel. 2018. Auteurism, Machismo-Leninismo, and Other Issues. Women’s
Labor in Andean Oppositional Film Production. Feminist Media Histories
4 (1): 11–36.
Tascón, Sonia M. 2015. Human Rights Film Festivals: Activism in Context.
London and New York: Palgrave Macmillan.
Another random document with
no related content on Scribd:
At the age of a year the bird propagates, so that individuals in the
white, mottled, or blue plumage, may be seen breeding together.
When only a few weeks old, the serrature of the claw of the middle
toe is scarcely perceptible, exhibiting merely faint indications of
points upon a very slight margin. This margin enlarges, and when
the bird is completely fledged the serratures are perfectly formed.
In this bird, as in most other Herons, the crura of the lower mandible
are thin, flexible, and elastic, the angle filled by an elastic membrane
covered by the skin. The tongue is 1 inch long, sagittate at the base,
tapering to a point. The roof of the mouth has a median prominent
ridge, and two lateral lines; the palate is convex; the posterior
aperture of the nares 10 lines in length. The pharynx may be dilated
to 1 1/2 inch; the œsophagus, which is 12 inches long, is when
dilated 10 lines in diameter at its upper part, and gradually contracts
to 7 lines; at the curvature of the neck it lies directly behind, having
passed down on the left side, along with the trachea. Its walls are
extremely thin, contrasting in this respect with the œsophagus of the
Great Northern Diver and other swimming piscivorous birds. The
proventriculus is 1 inch long, its glandules cylindrical, and extremely
slender. The stomach seems as if it merely formed a basal sac to the
œsophagus, its muscles being extremely thin, its tendons circular
and half an inch in diameter; cuticular lining soft. The intestine is long
and very narrow, 5 feet 10 inches in length, 2 lines in diameter at the
upper part, 1 1/2 near the rectum, which is 2 3/4 inches long, with a
diameter of 4 1/2 lines, and terminates in a nipple-like cœcum,
projecting 3 lines beyond the entrance of the small intestine, but
having no appearance of the two lateral appendages usually called
cœca. In this respect, the Blue Heron agrees with others of the same
family. The cloaca is about an inch in length and breadth.
The trachea, when extended, is 8 3/4 inches long. The rings 170 in
number, are osseous and circular, so that the organ preserves its
cylindrical form under all circumstances. They are, like those of all
Herons, of equal breadth on both sides, not broad on one side and
narrow on the other, as has been represented. The contractor
muscles are very slender, as are the sterno-tracheal; the former
send down a slip on each side to the first bronchial ring. The
diameter of the trachea is 2 lines at the upper part, 1 1/2 at the lower.
The bronchi are short, wide, conical, of about 13 half rings.
The right lobe of the liver is 2 1/4 inches long, the left lobe 1 1/2; the
heart 1 1/4 in length, 8 lines broad, of an oblong conical form. The
stomach contained remains of insects and crustaceous animals,
together with a few seeds.
TELL-TALE GODWIT.
Although the Prince of Musignano has thought that the bird named
the Common Tern in America, differs from that bearing the same
name in Europe, and has in consequence changed its appellation to
that of Wilson’s Tern, I am of opinion that no difference exists
between the Common Terns of the two Continents. The cry of both is
besides precisely similar, so that with me there is no doubt whatever
as to their identity. Experience has shewn me that the markings or
white spots on the primary quills of Gulls, at one time assumed as a
criterion by which species might be distinguished, cannot in the least
be depended on, varying, as they always do, in individuals of the
same species, at almost each successive moult. Then why, Reader,
should not Terns exhibit analogous changes? The fact is, they do so;
and it is almost impossible, on closely inspecting a dozen or more
specimens procured at the same period, in either country, to find two
individuals exactly corresponding in every particular. Some have the
bill almost entirely black, while others have it more or less red and
black, and tipped with yellow. The length of the tail-feathers, that of
the tarsus, and the size of the inter-digital membranes, are all found
to differ in some degree, if minutely compared. If species are to be
founded on such slight differences, an ample field is open to those
who are ambitious of being discoverers. At all events, I cannot help
remarking here, that it seems to me improper to impose new names
on objects, until it is proved by undeniable facts that they present
permanent differences.
I have observed this species along the Atlantic coast of North
America, from Galveston Island in Texas to the Straits of Belle Isle
on the coast of Labrador, both in spring and in early autumn. But
when on the islands in Galveston Bay, in the month of April, I saw
only a few arriving there from the west; whereas, in the beginning of
May great numbers arrived there from the east, settled at once, and
commenced breeding. I felt convinced that the numbers which came
from the direction of the Floridas were much greater than those
which arrived from the westward, and judged it probable that vast
numbers had at the same time left the Peninsula on their way
northward. Should other travellers observe the same or similar
phenomena at the season mentioned, it will be proved that this
species does not extend its autumnal migration so far as several
others, which I observed arriving at Galveston Island from the south-
west, for example, the Least Tern, Sterna minuta, the Cayenne Tern,
St. cayana, and the Black Tern, St. nigra.
The Common Tern commences breeding on the coast of our Middle
Districts about the 5th of May. On my voyage to Labrador, I found its
eggs on the islands in the Gulf of St Lawrence, and especially on the
Magdalene Islands, which I visited on the 11th of that month. On the
18th I saw them in great abundance in the neighbourhood of
American Harbour, on the coast of Labrador, where thousands of
Terns were plunging headlong after shrimps all round us. In that
country, their eggs were deposited among the short grass, and the
places which they occupied were but slightly scratched; whereas on
the Magdalene Islands, where they breed on sandy ridges, slight
hollows were scooped out, as is generally the case along the eastern
coast of the United States. Their sojourn in Labrador is of short
duration; and when we were at Newfoundland, on the 14th of
August, multitudes were already passing southward. At the same
period considerable numbers pass by an inland route from the
Canadas, and all our great lakes, travelling along the Ohio and
Mississippi. While residing at Henderson, and afterwards at
Cincinnati, I had ample opportunities of watching their movements in
the month of September. And yet, you will think it strange, that,
during their vernal migration, I never saw one ascend any of these
rivers or the streams connected with them. Perhaps the inferior
temperature of the waters, compared with those of the ocean, in the
early spring months, may induce them to abandon their route at that
season. In autumn, on the contrary, when these rivers are heated
and reduced in size, the Terns may find in them an abundant supply
of the fry of various fishes. It would thus appear, being corroborated
by other observations which I have made relative to migration, that
species whose range is extensive, are determined in their
movements by a genial temperature and an abundant supply of food.
With an easy and buoyant flight, the Tern visits the whole of our
indented coasts, with the intention of procuring food, or of rearing its
young, amidst all the comforts and enjoyments which kind Nature
has provided for it. Full of agreeable sensations, the mated pair glide
along side by side, as gaily as ever glided bridegroom and bride. The
air is warm, the sky of the purest azure, and in every nook the
glittering fry tempts them to satiate their appetite. Here, dancing in
the sunshine, with noisy mirth, the vast congregation spreads over
the sandy shores, where, from immemorial time, the species has
taken up its temporary abode. They all alight, and with minced steps,
and tails carefully raised so as not to be injured by the sand, the
different pairs move about, renew their caresses, and scoop out a
little cavity in the soil. If you come again in a few days, you will find
the place covered with eggs. There they lie, three in each hollow,
beautifully spotted and pointed; and as they receive heat enough
from the sun, the birds have left them until evening. But not absent
are they from the cherished spot, for they have seen you, and now
they all fly up screaming. Although unable to drive you away, they
seem most anxiously to urge your departure by every entreaty they
can devise; just as you would do, were your family endangered by
some creature as much stronger than yourself as you are superior to
them. Humanity fills your heart, you feel for them as a parent feels,
and you willingly abandon the place. The eggs are soon hatched; the
young in due time follow their parents, who, not considering their
pleasant labour ended when they are able to fly, feed them on wing
in the manner of swallows, until they are quite capable of procuring
their subsistence themselves. So soon as this is the case, the young
birds fly off in bands, to seek on distant shores, and in sunny climes,
the plentiful food which the ocean yields.
The nest of the Common Tern is, as I have said, a mere hollow made
in the loose sand of some island or mainland beach, scantily tufted
with wiry grass, or strewed with sea-weeds. Their eggs never exceed
three in number; their average length is 1 inch 5 1/2 eighths, their
breadth 1 1/4 inch. They vary greatly in their markings, as is the case
with those of all the smaller species of this family; but their ground
colour is generally pale yellowish-green, blotched and spotted with
brownish-black and purplish-grey or neutral tint.
The young, which are fed with small fishes, shrimps, and insects,
separate from the old birds when fully fledged, and do not again
associate with them until the following spring, when both are found
breeding in the same places. It seems quite curious to see these
young birds in winter, during boisterous weather, throwing
themselves into the remotest parts of estuaries, and even visiting
salt-water ponds at some distance from the sea, as I have often
seen them do at Charleston, in South Carolina, when accompanied
by my friend the Rev. Dr Bachman. Their plumage is then so very
different from that of the old birds, that one might readily believe
them to be of another species, did he not observe that their mode of
flying and their notes are the same. Not less strange is it, that on
such occasions none of the old birds are to be seen in the place,
they having remained, braving the fury of the tempest, on the outer
harbours. In the beginning of winter, young birds also sometimes
ascend the Mississippi as far as Natchez; and in the same manner
betake themselves to all the large lakes bordering the Gulf of
Mexico. There, as well as elsewhere, you see them plunge into the
water, and instantaneously secure their prey, rise as quickly, and
dash into another spot hard by, whenever food happens to be
abundant.
I have many times seen the Common Tern suddenly fly up and come
close over a man or a dog, without the least apparent provocation,
indeed when far distant from its nest, and then pass and repass
repeatedly within a few yards, emitting a plaintive cry, as if its eggs
or young were in the immediate vicinity. At other times, when the
birds were yet distant from their young, and carrying fish in their bills,
they would, on seeing a man, round to, drop their food, and perform
the same evolutions. I, however, know nothing more remarkable of
this species of Tern, than that it should breed, as I know from
personal observation to be the case, along the whole of our Atlantic
coast, in suitable places, from Texas to Labrador.
When travelling in stormy weather, they skim over the surface of the
water, moving rapidly and close together; whereas in fine weather,
they rise high, and proceed in a straggling manner. Now and then I
have seen them alight among Tringas of different species, as well as
among Razor-billed Shearwaters, on outward sand beaches.
Sterna Hirundo, Linn. Syst. Nat., vol. i. p. 227.—Lath. Ind. Ornith., vol. ii. p.
807.—Ch. Bonaparte, Synopsis of Birds of the United States, 354.—
Richards. and Swains. Fauna Bor. Amer. vol. ii. p. 412.
Great Tern, Sterna Hirundo, Wils. Amer. Ornith., vol. viii. p. 76, pl. 60, fig.
1.
Great or Common Tern, Nuttall, Manual, vol. ii. p. 271.
The young in their first plumage, have the bill dull greenish-black,
with the tip yellowish; the feet greenish-yellow.
In winter, the bill is black, with the base pale orange, and the tip
yellowish; the feet orange-yellow. The colours are as in the adult, the
forehead white, the rest of the head dusky, the upper parts having
the feathers slightly margined with lighter.
Length to end of tail 12 3/4, to the fork 11; to end of wings 14, to end
of claws 10 1/2; extent of wings 29 1/4; wing from flexure 8 1/4.
The tongue is 1 4/12 inch long, sagittate and papillate at the base,
very slender, tapering, the point slit, the upper surface a little
concave, the lower horny towards the end. Aperture of posterior
nares linear, 9 twelfths long. Palate with a middle and two lateral
ridges. Œsophagus 6 inches long, extremely wide, its average
diameter on the neck 7 twelfths, within the thorax 11 twelfths. The
stomach is muscular, 1 inch long, the lateral muscles not
distinguishable, the fasciculi of fibres being disposed as in the
rapacious birds; the central tendinous spaces 3 twelfths in diameter;
the cuticular lining strong, with broad longitudinal rugæ. The contents
of the stomach, fishes. The proventriculus 1 inch long. Intestine 1
foot 7 inches long, of moderate diameter, convoluted, varying from
2 3/4 twelfths to 2 1/2 twelfths. Rectum 1 inch long. Cœca 5 twelfths
long, with a diameter of 3/4 of a twelfth.
The trachea is 3 1/4 inches long, 2 1/2 twelfths in breadth above, 1 1/2
twelfth below; its rings 103, feeble and unossified; the lateral
muscles extremely slender; there are sterno-tracheal muscles, but
none besides. Bronchial half-rings about 18.
SPOTTED SANDPIPER.