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Elisa Iannacone, Great Britain / Mexico
Elisa Iannacone studied in Toronto and London, worked as a photo reporter in Jordan and Iraq, in Egypt and other African countries. She has travelled in 75 countries, created large exhibitions and participated in festivals.They suffer from severe chronic kidney problems or are waiting for a heart transplant: little patients in the Nelson Mandela Children’s Hospital, South Africa. Much, maybe everything, that defines childhood – growing up carefree and with fun – is beyond their reach. But surely they have wishes, desires, dreams. Only, how to express them?
Photographer and multimedia artist Elisa L. Iannacone had an enchanting answer. She specializes in visualizing people’s visions in comprehensive collages. She is a woman of whom you can say she can heal broken wings. With magic stage sets that help the insured to gather new strength. And make dreams come true – even if just for minutes. To be able to eat all the cake in the world? To become a Formula One pilot. A diva, a dancing queen. To experience the intoxication of carnival. To float up into the air. No problem! The boys and girls in Mandela Hospital, as well as the hospital team itself, got kidnapped by Elisa L. Iannacone. Liberated through imagination and play. The beds: suddenly props in a wonderland. The pain: overcome with laughter. The sadness: reversed into cheerfulness. The fight: turned into peace.
Elisa L. Iannacone, born in Mexico to a Mexican mother and a Canadian father, saw herself as a “translator” from an early age. At first for her parents, who could barely speak the language of the other, then in her international career as a photographer as the voice of those who had lost theirs to grief. The victims of war and sexual violence. She has witnessed death, rape and destruction directly and from close quarters.Ever since she has worked on overcoming trauma. Against apathy. Against empathy fatigue. And against the feeling of tortured people that they are an island. Alone. She wants to build bridges for them. To others. And to a new feeling of self-worth. She hopes that her films, her photographs may heal people.
Iannacone studied in Toronto and London, worked as a photo reporter in Jordan and Iraq, in Egypt and other African countries. She has travelled in 75 countries, created large exhibitions and participated in festivals. And when you watch her videos, like when she hangs cheerfully off a cliff and talks in a relaxed manner that the likes of us could only achieve on a sofa, you think: This dynamic, unwavering woman can be trusted to make many more people happier. And help them to find peace despite hard misfortunes.
(Laudation by Peter-Matthias Gaede)
FULL ARTICLE HERE
Winners of the Global Peace Photo Awards 2024
- Elisa Iannacone from Great Britain / Mexico for “Dreams of Childhood“.
- Danila Tkachenko from Russia / Italy for “Inversion“.
- Maryam Saeedpoor from Iran for “Women, Life, Freedom“.
- In the single images category Antonio Aragón Renuncio from Spain for “The Dancer“.
- In the children’s category Daria Heß from Germany for “Happiness“.
In his welcoming address, Wolfgang Sobotka, President of the Austrian National Council, emphasised the extraordinary cooperation with the Global Peace Photo Award and how important it is to provide a forum for peace in these times. As far as conflicts in general are concerned, it will only be possible to overcome them through dialogue, said the President of the National Council. The framework for this can only be a liberal democracy that knows how to respond clearly to different points of view without marginalising them. From Sobotka’s point of view, the Global Peace Photo Awards allowed the topic of peace to flow into everyday life by honouring photographers who have “put their finger in the wound” with their lens.
This commitment is clearly visible in the Austrian Parliament. The pictures of the award winners are displayed in the auditorium for one year at a time. This is the room where the press conferences mainly take place.
FULL ARTICLE HERE
The main prize “Peace Image of the Year 2024”, endowed with 7,000 euros, went to the Mexican-British artist Elisa L. Iannacone.
They suffer from severe chronic kidney problems or are waiting for a heart transplant: little patients in the Nelson Mandela Children’s Hospital, South Africa. Much, maybe everything, that defines childhood – growing up carefree and with fun – is beyond their reach. But surely they have wishes, desires, dreams. Only, how to express them? Photographer and multimedia artist Elisa L. Iannacone had an enchanting answer. She specializes in visualizing people’s visions in comprehensive collages. She is a woman of whom you can say she can heal broken wings. With magic stage sets that help the insured to gather new strength.
The boys and girls in Mandela Hospital, as well as the hospital team itself, got kidnapped by Elisa L. Iannacone. Liberated through imagination and play. The beds: suddenly props in a wonderland. The pain: overcome with laughter. The sadness: reversed into cheerfulness. The fight: turned into peace.Elisa L. Iannacone, born in Mexico to a Mexican mother and a Canadian father, saw herself as a “translator” from an early age. At first for her parents, who could barely speak the language of the other, then in her international career as a photographer as the voice of those who had lost theirs to grief. The victims of war and sexual violence. She has witnessed death, rape and destruction directly and from close quarters.
Iannacone studied in Toronto and London, worked as a photo reporter in Jordan and Iraq, in Egypt and other African countries. She has travelled in 75 countries, created large exhibitions and participated in festivals.
This is how jury member Peter-Matthias Gaede summarised the merits of Elisa L. Iannacone’s work in his laudatory speech.
About the Global Peace Photo Award 2024
21,220 images from 112 countries were submitted for the Global Peace Photo Award 2024. Most of the submissions came from India, Germany, Russia, Iran and the USA. The submissions were judged by a high-calibre international jury. See: https://globalpeacephotoaward.org/jury
UNICEF is a partner of the Global Peace Photo Award for the first time
The Global Peace Photo Award is organised in cooperation with Edition Lammerhuber, Photographische Gesellschaft (PHG), UNESCO, the Austrian Parliament, the Association of Parliamentary Editors, the International Press Institute (IPI), World Press Photo Foundation, POY LATAM, LensCulture, APA – Austria Press Agency, the German Society for Photography (DGPh), Unicef Austria and Vienna Insurance Group.
My series The Spiral of Containment was about translating how people are made to feel after being raped. It tried to express trauma through the realm of the imagination, using the language of magical realism. I met with and talked to survivors to attempt to understand how they thought about their trauma. Then I would sketch potential images that could express their story.
It felt obvious that if I was going to ask somebody to trust me, I had to have skin in the game. I couldn’t just say: “I’m going to translate how that makes you feel. I’ll make a drawing, we’re going to shoot it, and it’s going to work.” I had to be clear: this has happened to me, too. This is why I’m doing it. I’m in it with you.Naively, I assumed everyone I interviewed would have a similar image they associated with their rape. Mine, for example, was an image of broken wings. But some people talked about being in a cage surrounded by lions. One described a red convertible classic car. The woman in this photo had a strikingly different image, one whose power I felt immediately. “I feel like I’m always going to be standing at the edge of the abyss with a broken dress,” she said. The dress represented her career, her relationships, everything she felt was going well – and everything she felt had been ripped away from her.
I started thinking about how to build the shot. First, I needed an abyss. I hunted through Google Maps and eventually found a giant tower called Ponte City in the Hillbrow neighbourhood of Johannesburg, South Africa. It’s a very unusual building, and not just because of the architecture. It was built for the elite: wealthy individuals who wanted incredible views of the city. But in this deeply fractured country, the area surrounding the tower became impoverished and crime levels soared. Drug-dealers moved in. Several storeys of rubbish accumulated in the belly of the building.
She said to me: 'Do you mind if we call the image The Kingdom?'
New owners are today trying to restore it. They gave me permission to shoot there but it was a huge task. From the inside, we had to cut through padlocks to gain access via a small window to the inner balcony. I took bolts of fabric – 200 metres of Indian cotton and rope – up to the roof, some 18 storeys higher up. Each had to be dropped down on to the balcony then rigged to different sections of the building’s inner ring.
All the windows in the central tower were fused shut and none were clean enough to shoot through. The building managers had to saw one open to give me my frame. I had very little room for manoeuvre. It was just me, my camera and my tripod. I remember thinking: “I just hope this works.”
As soon as I framed the shot, all the pieces fell into place. The woman looked incredible and I knew I had the image I needed. But the reason I love this photo has little to do with the fact that it was a feat to put together. What mattered most was how it affected this woman. As we walked out of the shoot, she said to me: “Do you mind if we call the image The Kingdom?” I didn’t understand: why would she want to call it that? She explained that, standing there, moving all of these broken pieces of her past represented by the dress, she felt like she was commanding them back into life. “I felt like the queen of my own kingdom,” she said.
It was healing – for them and for me
That crystallised why I love working in this way. So much of photojournalism feels like taking someone’s story. Witnessing and recording history are important, but this series let me use my camera to forge a symbiotic relationship with the people I was shooting and allow them to take power back. So much of trauma is about power being taken away. These people got to express their story in a way that made them feel more empowered. It was healing – for them and for me.
In making this series, I had heard many different stories from many cultures, religions and genders but I was struck by how little it mattered what culture each survivor came from. The impact was so often the same: there is something universal about the contours of trauma.
But the series also built a community. I’m still in touch with many, including the woman in this image. Late last year, we caught up, five years since the shoot. She told me that creating this image was the moment she felt like she went from victim to survivor.
reer, her relationships, everything she felt was going well – and everything she felt had been ripped away from her.
Elisa Iannacone’s CV
Born: Mexico City, Mexico, 1988.
Trained: York University in Toronto, Canada; City University, London.
Influences: “Ellen Kuras, Tim Walker, Like Water for Chocolate by Laura Esquivel.”
High point: “Every time I get that ‘Yes!’”
Low point: “Trying to get funding for personal projects and finding endless closed doors.”
Top tip: “Everyone wants to put you in a box: if you shoot narrative, you don’t shoot doc; if you shoot conflict, you don’t shoot creative art. I reject that. Everything I’ve ever shot informs the next thing. When I shot weddings as a student, I learned skills I could apply to shooting in conflict areas. And when I shot conflict, I learned about human psychology, which works for narrative work. Also: listen to your gut! You might get hundreds of ‘No’s’, but if you believe in something strongly enough, don’t quit. You’ll find your way to that ‘Yes’ and it will propel you forward.”
Elisa Iannacone is a Canon Ambassador
Information and support for anyone affected by rape or sexual abuse issues is available from the following organisations. Rape Crisis offers support on 0808 500 2222 in England and Wales, 0808 801 0302 in Scotland, or 0800 0246 991 in Northern Ireland. In the US, Rainn offers support on 800-656-4673. In Australia, support is available at 1800Respect (1800 737 732). Other international helplines can be found hereFULL ARTICLE HERE
Elisa Iannacone, a renowned cinematographer, photographer, author, and advocate for equality and human rights, presented the first of many engaging seminars at this year’s Xposure International Photography Festival running at Expo Centre Sharjah for a week until February 15. During her talk titled “Conflict Reporting to Magical Realism”, she revealed how she imbued magical realism into her career of conflict reporting to turn her works into a vehicle of healing.
Iannacone has traversed over 50 countries across six continents, and during her extensive career, she has shifted from traditional photojournalism to take a more creative approach to the art form. She noted: “I have been a witness to great pain and suffering and these pictures are my testimony. The events I have recorded should not be forgotten and must not be repeated”.
During her coverage of the 2013 conflict in Cairo, she had to constantly ensure her safety in the midst of intense protests. Through her experiences, she gained an understanding of the raw emotion and pain that people experience when they undergo deep trauma.
Iannacone asked herself why these experiences were not more widely represented in mass media, and was inspired by Susan Sontag's quote regarding the pain of others. She didn't want to re-victimise the victims and instead used her camera to give back power to those who had it taken away from them. Her photographs "Spiral of Containment" and "The Kingdom" (depicting a yellow torn dress) are examples of how she used art as a means for healing.
In her later work, Iannacone explored the theme of trauma and healing through various projects, including "Humans of the Forgotten War" about prisoners of war in Cameroon, and "Dreams of Childhood" about children in the Nelson Mandela Children's Hospital. She also discussed her background in cinematography and how she returned to Ukraine after living there in 2019 to work on a collaboration between her NPO called Reframe House and Knit Up, a Hong-Kong based sustainable knitwear company, which aimed to raise funds for psychotherapy through a sweater they produced.
Iannacone's discussion of her belief in finding new ways of telling stories and incorporating magic in her work, along with her numerous projects that explore the themes of trauma and healing, were particularly thought-provoking. Iannacone reaffirmed her belief in finding new ways of telling stories and incorporating elements of magic. She noted that in telling a "big lie" through “the use of her imagination and creativity”, she can tell a "big truth".
FULL ARTICLE HERE
FULL DIGITAL MAGAZINE HERE
Managing Editor: Rob Emmanuel
Contents of ZERB issue 92
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Guest editor Elisa L Iannacone shares experiences from shooting on the frontline, with advice on staying safe
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Ellen Kuras ASC interviewed – and her current project: a global collaborative documentary record of life under lockdown
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Filming drama remotely: how to coordinate and control a drama shoot from the comfort of your own home sofa – with the help of the actors' families
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Seeing in the dark: capturing never-before-seen night-time hunting behaviour of big cats for Night on Earth
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GTC member Al Livingstone's latest film shows the devastating effect of deforestation through the plight of a baby harpy eagle
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Cinematography in Flux: DoP Sarah Smither discusses industry changes, storytelling and the importance of supporting crew
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Spiral of Containment: how a brave and honest multimedia project has helped rape victims to heal
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Do you love or loath a LUT? Two colourists explain how LUTs work and how to get the best out of them.
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Multi-drone shooting – a team of drone operators faced the challenges of weather and terrain to film a sheep gather
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Is electric now a viable option for your crew and kit transport?
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Reflectric – a new energy-efficient lighting technique that achieves lovely natural-looking images with few lamps but multiple reflectors
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GTC member Simon de Glanville uses home-schooling to teach film to his sons while shooting wildlife -- the heroes were snails!
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The Helicopter Girls, known for their aerial photography and cutting-edge drones, have another challenge: juggling childcare
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Challenging the media industry’s status quo
Cinematographer Elisa Iannacone discusses diversity in the media industry, and why it's important to celebrate the female gaze
By Jenny Priestley
To coincide with International Women’s Day, cinematographer, photographer and storyteller Elisa Iannacone talks to TVBEurope about her work telling the stories of female survivors of trauma, what IWD means to her and what more needs to be done in the film industry to stamp out gender inequality.
Why do you think International Women’s Day (IWD) is important?
International Women’s Day for me means a huge amount. Firstly, I see it as a moment in the year for both men and women – not just a day for women – to shift their gaze towards the struggles, challenges and work that women are doing throughout the world to fight for equality. Now more than ever, it’s so important for men and women to work cohesively, because we are stronger together than apart. Secondly, I see the day as an important catalyst to get everyone thinking about issues throughout the rest of the year and until the next IWD, when we regroup and see the progress from the last year. We should never see it as a stand-alone day. [...]FULL ARTICLE HERE
FULL ARTICLE HERE
By Chantal Da Silva, Chief Correspondent
In the wake of the #MeToo movement, the issue of sexual harassment and assault has led people around the world to demand change.
It is estimated that at some point in their lives, one in five women and one in 71 men in the U.S. will be raped, according to the National Sexual Violence Resource Center. Globally, one in three women have survived sexual or physical violence, according to the World Health Organization.
Having survived sexual assault, photographer Elisa Iannacone wanted to find a way to show the psychological impacts of the trauma suffered by survivors [...]
One in three women globally has experienced physical or sexual violence, mostly by someone they know.
By Lin Taylor
LONDON, March 8 (Thomson Reuters Foundation) - While visiting her homeland of Mexico to film a documentary, Elisa Iannacone took a break to visit family when someone she trusted, her cousin, raped her.
"It was one of the things that happened and completely derailed my career and my life," Iannacone told the Thomson Reuters Foundation.Her assault at age 23 highlights data from UN Women, the United Nations' gender equality body, that show one in three women globally has experienced physical or sexual violence, mostly by someone they know.Working as a photojournalist in conflict zones across Africa and the Middle East, Iannacone would cover trauma by seeking out confronting images in the hope that people would pay attention. But after her own abuse, Iannacone, now 30, said she wanted to tell the stories of rape survivors in an "accessible" way through colourful and whimsical photos. "The objective is to address rape in a way that is accessible to people that's not harrowing, that's not going to make people not want to look at images," said Iannacone ahead of her exhibition launch on Thursday in London where she is based.
From a woman standing next to a plane draped in pink fabric, to a caged woman surrounded by lions, and a grown man sitting inside a baby's cot, Iannacone's dream-like photos are images that each survivor had in their head after their abuse.
"(It's) not just taking pictures, but helping people translate the images that spiralled in their mind after the assault into something artistic. So it was a complete collaboration," she said. "Some people saw cages, some people the sensation of drowning, some people saw chains on their hands," she said, adding that her own image was of broken wings.
FULL ARTICLE HERE
The photographer found her subjects by approaching therapists and support centres, and even through chance meetings, but only included people who were emotionally ready to share their experience publicly.
Iannacone's exhibition, where each photo has a specific colour scheme, comes in the wake of #MeToo, a global social media movement sparked by allegations of sexual abuse against Hollywood producer Harvey Weinstein."It was one of the things that happened and completely derailed my career and my life," Iannacone told the Thomson Reuters Foundation.
Her assault at age 23 highlights data from UN Women, the United Nations' gender equality body, that show one in three women globally has experienced physical or sexual violence, mostly by someone they know. Working as a photojournalist in conflict zones across Africa and the Middle East, Iannacone would cover trauma by seeking out confronting images in the hope that people would pay attention. But after her own abuse, Iannacone, now 30, said she wanted to tell the stories of rape survivors in an "accessible" way through colorful and whimsical photos.
"The objective is to address rape in a way that is accessible to people that's not harrowing, that's not going to make people not want to look at images," said Iannacone ahead of her exhibition launch on Thursday in London where she is based. From a woman standing next to a plane draped in pink fabric, to a caged woman surrounded by lions, and a grown man sitting inside a baby's cot, Iannacone's dream-like photos are images that each survivor had in their head after their abuse.
"(It's) not just taking pictures, but helping people translate the images that spiraled in their mind after the assault into something artistic. So it was a complete collaboration," she said. "Some people saw cages, some people the sensation of drowning, some people saw chains on their hands," she said, adding that her own image was of broken wings.
The photographer found her subjects by approaching therapists and support centers, and even through chance meetings, but only included people who were emotionally ready to share their experience publicly. Iannacone's exhibition, where each photo has a specific color scheme, comes in the wake of #MeToo, a global social media movement sparked by allegations of sexual abuse against Hollywood producer Harvey Weinstein.
"People are more open to the possibility of actually going to an exhibition about rape," she said about the timing of the movement and her project to highlight sexual abuse. "I just hope that it continues. That we just try to keep carrying it forward and that people will become more comfortable speaking out," she added.
FULL ARTICLE HERE
[...]The awards have been established to encourage and promote the creative talent of emerging filmmakers – aged from 18 to 25 years old – to recognise the best short films produced by the most exciting new young talent who have a passion for telling stories and making films.
The competition received a phenomenal number of entries from around the UK and Ireland. The selection committee included Canon Ambassador, Cinematographer and Photographer, Elisa Iannacone, who commented “We were excited to see award entries with a clear artistic voice and style, highlighting those with a human story element”. Another judge and Canon Ambassador, Cinematographer and Filmmaker, Tania Freimuth, added; “The quality of the submissions overall, in particular in the documentary & music videos categories, bodes well for the art and craft of cinematography.” [...}
FULL ARTICLE HERE
Journalist and cinematographer Elisa Iannacone travels the world covering war and natural disasters so she needs kit that she can rely on, and that can withstand tough conditions. To test the autofocus and image stabilisation capabilities of the Canon EOS C70 and the Canon XA55 camcorder, she took both cameras on an overnight camping trip, which would involve her filming from a tiny, portable ledge suspended from the edge of a cliff.
"When you tell a story in a way that's unexpected, you start to reframe people's views on it, and suddenly an audience that was once quite passive – because they feel like they've seen that image many times – becomes curious," says journalist and documentary cinematographer Elisa Iannacone. It's a belief that has driven her to create a diverse portfolio of work, shooting videos and documentaries in more than 30 countries and across six continents.
A trained cinematographer, Elisa's work has featured in National Geographic, Newsweek and VICE magazine and on BBC World News. Drawn to human rights stories and underreported issues, she has covered war zones and natural disasters, from domestic violence in Iraqi refugee camps to the devastation of Cyclone Idai in Mozambique in 2019.FULL ARTICLE HERE
Where can the human condition be examined more closely than on the front line of conflict or in the aftermath of a traumatic experience? Covering the Rabaa massacre in Cairo, Egypt, and domestic violence in refugee camps in Iraq, cinematographer and Canon Ambassador Elisa Iannacone developed a deeper understanding of trauma; not only what it means for the victims, but also how to present it to the world.
Elisa has now moved away from conflict reporting, but continues to use her skills as a visual artist to explore trauma and social consciousness. As a cinematographer and photographer, she has produced work for National Geographic, Newsweek, Vice and the BBC, and her films have been shown at film festivals across the world. Through her media agency Reframe House, she delivers multimedia projects for companies and individuals that want to make a genuine difference. Elisa is also now a published author, TEDx speaker and guest lecturer, and her approach for connecting with victims of trauma is being developed by two major universities.
Elisa was born in Mexico to a Mexican mother who spoke little English, and a Canadian father who spoke almost no Spanish. [...]"I think having taken that role of interpreter at an early age has informed a lot of my later career, which has a lot to do with interpreting how people feel through visuals," she says.
After pleading for a camera as a child, Elisa became dedicated to capturing the world around her. "My parents bought me a bunch of rolls of film with the camera, expecting them to last me throughout the year. I ended up shooting them all in a few days," she remembers. "It was like opening a window. A window that nobody else could see, and that I could share with people if I only snapped that shot."
FULL ARTICLE HERE
By the age of 12, Elisa had decided that she wanted to be a film director. Recurring illnesses in her teens meant she spent a lot of time at home watching movies. "Films were the world where I could be someone who wasn't ill. That magical space meant that films were always a kind of hope for my own life."
At 18, she enrolled on the film production course at York University in Toronto, Canada, and specialised in cinematography. A master's degree in international journalism from City, University of London, UK, a few years later gave her the skills she needed to tell stories from the frontline. [...]By Kathy Berman
Mexican-born cinematographer, Elisa Iannacone, whose career traversing over 40 countries in service of breaking news and war photo-journalism, is a rare mix of documentary and fictional cinematographer, of war correspondent and fantastical realist, of artist and journalist.
Iannacone first came to public prominence with a photographic and multi-media installation at the Oxo Tower Bargehouse Gallery in London in March 2018. The Spiral of Containment: Rape’s Aftermath is a monumental exhibition on rape and its aftermath.The 24 photographs in the series each stretch over 1.5m and were constructed into an experiential journey through five floors of the Oxo Towers. They included photographs, soundscapes, oral testimony and holographic images of two dozen men and women — their brutal stories depicted in striking, glossy images that cover vast fantasy-scapes.Now, Iannacone’s work has been specially curated to fit the confines of the stark Isolation Cells in a walled-off, discrete section at the bottom of Number 4 Prison, Constitution Hill, until 30 June 2022. The exhibition provides the spectator with a chilling, depressing, and uplifting insight into the scourge that afflicts at least 30% of women — and men — in our country, and across the world, in varying percentages.Each work is a composite real/unreal mise-en-scène depicting one person’s private journey beyond their sexual violation to a place of creative reconstruction and re-creation.
Evocative and gut-wrenching, each piece took months to complete as the subject/co-author and Iannacone traversed each personal journey, emerging with one encapsulating image depicting their triumphant transition from pain and devastation in a single dominant colour drawn from the 24-colour wheel.
Iannacone drew her inspiration – and Spiral project – from her own rape and the long and painful journey of self-healing, which included a combination of art therapy, narrative discourse and visual representation. It concluded the endless months of darkness, inarticulate silence and incomprehension.
For years, Iannacone envisaged her violation in an image of herself, naked and vulnerable with broken wings. When she began speaking to others, she realised that each person experienced their own assault in very different terms; each evoking a unique image which she then set about capturing evocatively, artfully and whimsically, leveraging her considerable skills as a cinematographer.
She brings into the ‘documentary’ moment a tale of transcendence and light, almost mystical. Totally encompassed in the best of artistic filmic manipulation – crossing the boundaries between hard realism and almost magical realism in the Latin American narrative tradition, Iannacone’s own portrait is the 25th image – a monochromatic hologram. Each of her subjects are defined by the totemic colour that emerged during the process and they come from across the globe, including South Africa. One image (‘Yellow’), shot at Ponte Towers in Johannesburg, is of a woman wearing a yellow dress strung across the centre of the concrete structure.
Under Iannacone’s expert cinematographic hand, images of brutality and horror are rendered as baroque floral studies, or set in fairytale castles or funfairs, in rich magentas, cyans and violets. For her, it is all about reframing convention and changing the dialogue or imagery from disempowered and violated, rape or war victim or victim of systemic injustice, to empowered and self-actualised, narrator and activist. Hence the title of her new venture, Reframe House, which “emerged as the collision between art and social justice” and continues to take on assignments that fall between these polarities.
“Where so often war and rape take away agency, here, the ‘victims’ not only tell their own story and gain agency through co-creating the image (versus being objects of depiction and pity), but the subjects/authors/actors regain/renew/reinforce/recreate their identities as they narratively and visually compose their biographies, mastering the image and even exorcising their pain. They take control of the image that is depicted of them.” This hybrid style, Iannacone acknowledges, is convention-breaking. When it comes to depicting reality, brutal grainy realism is and has often been the dominant medium. Black and white imagery for so many decades was seen as “real” and the medium to master as documentary, news and war photographers, largely because the technology had dictated this convention, while fashion and fiction filmmaking dominated the colour palette.
“When I started using the techniques of fashion or dramatic filmmaking for sexual violence, it hadn’t been seen before. My cinematography professor in school told us that ‘when you shoot drama or fiction, you learn about technique. When you shoot documentaries, you learn about life!’
“I take my inspiration from Ellen Kuras, ASC (acclaimed cinematographer whose work crosses over the conceptual silos).”
For this contradictory crossover, she takes her inspiration in both her Mexican roots and South Africa’s current reality: vibrant, colourful, lively, passionate, warm, generous, friendly – and yet there is the underbelly of deep social schisms: violent crime, human distress, poverty. It is from Mexico that she borrows the spectacular tradition of magical realism.
“Literature-based, it paints pictures in your mind. In ‘Water for Chocolate’, she cried so much that the living room flooded and everything floated away…”
Iannacone was born in Mexico to Mexican-Canadian parents and studied filmmaking at York University in Toronto. It was on her first assignment, on a 16mm film project, that she was designated cinematographer. She had found her metier.
On graduation, she and a fellow graduate built a business producing corporate films which financed their social justice work. It was on a trip back to Mexico on an assignment that she was raped by an extended family member.
The rape derailed her career and Iannacone withdrew from the light, working in telesales for a theatre group in Canada, her wings broken, struggling in the dark.
In 2012 she tackled a Masters in International Journalism through City University, London, specialising in conflict, and set about forging a career as a foreign correspondent and documentary cinematographer. She spent the next years covering some of the most explosive stories on the planet for global behemoths like BBC World News, Newsweek, National Geographic, including the devastating 14 August 2013 Rabaa massacre in Cairo, Egypt, which was recorded by Human Rights Watch as “one of the world’s largest killings of demonstrators in a single day in recent history”.
In Jordan, she documented the story of Syrian refugees, followed by assignments in Iraq, the Sahara and Mozambique, while also working on the Spiral project; evolving the process of therapy and visual reconstruction over that time. That process took five years and was funded from Iannacone’s war journalism and cinematography.
Now, Spiral of Containment is at Constitution Hill — the exhibition is made visceral by the presence of the photographer and survivors, such as Martin Pelders, (‘Verdigris’), a male survivor, who today, through his NGO MatrixMen is an outspoken advocate of sexual justice for all children, of all genders. In his image, ‘Normal’, an adult man crouches in a cot, hiding from his maternal aggressor. It took Pelders four decades to speak out. Deborah Ho-Chung (‘Crimson’) whose ‘comical’ image as a bank robber with a toy gun (just one of the icons that make up her dramatic biography), Big Bonnie, Bicycle Thief, also spoke up on the day of the exhibition’s opening, providing insights into the pain, and perversion, of the trauma, recovery and reclamation.
UK-based Iannacone was in South Africa to launch the exhibition and complete a residency at Nirox Foundation, where a large-scale, site-specific version of Staying Afloat marks her visit. After completing nine works in a new series on children and trauma, including a suite of five portraits for the Nelson Mandela Children’s Hospital’s fifth anniversary, the Mexican-Canadian social justice documentarist, returns to London to assume the mantle of 2022 Canon EMEA (Europe, the Middle East and Africa) ambassador for a global photographic organisation.
The exhibition will continue to tour globally to select heritage and museum spaces, and commercially, on the art fair circuit, following the exhibition of four key works at the recent Investec Cape Town Art Fair. DM/ ML
Elisa Iannacone’s work can be viewed in South Africa at Constitution Hill until 30 June 2022 and Nirox Sculpture Park exterior installation. The full exhibition, including soundscapes and images can be viewed here. To read more about the photographer, click here.
FULL ARTICLE HERE
The portraits were photographed in a range of locations and countries, including seven in South Africa. The Spiral project, and method, evolved from Iannacone’s own experience of rape, and therapeutic recovery.
The 24 images are “colour-coded” into the 24 primary, secondary and tertiary colours in the colour wheel - with her own image, a 25th, monochromatic hologram. Iannacone funded the project, which took five years to complete, from her work in war zones.
The Constitution Hill exhibition opened on 14 May 2022 and has been specially curated for accommodation in the chilling isolation cells at the bottom of Number 4 prison.
The Constitution Hill exhibition, which marked the resumption of the global tour, following lock-down, included text and digital links to the oral testimonies. The exhibition, which ran throughout Youth Month to 30 June 2022, is not only the first public viewing of the exhibition since its UK debut – but a first for the local survivors. [...]FULL ARTICLE HERE
Artists have a complex set of ethical and aesthetic considerations to keep in mind when they represent sexual violence and its aftermath. In the performing arts, depictions of rape on stage or screen are likely to elicit audience objections for graphic and/or triggering subject matter. Yet if the violence is stylised, portrayed through symbolism or narrated rather than shown — all common choices — there is a chance that the horror experienced by victims of sexual violence, and the courage shown by survivors, are not fully conveyed.
Visual artists face similar challenges, with the additional complication that they might seek to condense profound trauma (and even recovery) into a single image or set of images. Photographs, in particular, capture an instant in time; how, then, to communicate the unfolding journey of a rape survivor or a community of survivors? [...]
FULL ARTICLE HERE
A photojournalist who has published a book featuring the stories of rape and sexual assault victims said today that she plans to exhibit the work around the UK.
Elisa Iannacone travelled to more than 30 countries documenting “some of the worst things imaginable” after she was raped in Mexico.She then crowdfunded almost £19,000 to support the making of her book The Spiral Of Containment: Rape’s Aftermath.
It was published by Pen Works Media this month alongside her first art show, a week-long exhibition at the Oxo Tower featuring images of male and female survivors and a soundscape of their overlapping voices.
Iannacone, 30, said: “We have these voices in the world every day, all the time, and nobody listens. I am doing this because I was raped in 2011 and discovered that art therapy was the best way for me to heal.
“Most of the survivors who are here in London came to the exhibition… I think there is a need for it to be seen more widely, especially as it has been so hard to collect all these survivor stories and most of them are from England.”
FULL ARTICLE HERE
Ianncone will also feature in the series, although her photo will be the final of the 25 to be shot.
“My image will be the very last one as it will be the hardest story for me to tell,” she told HuffPost UK.
Despite it being the last image to be revealed, Ianncone said it was “first of all images [of the series] that was constructed in my mind”.
“When this [the rape] happened I felt my life completely and utterly stop,” she told HuffPost UK. “I had just launched a film company in Toronto and was shooting our first fully funded documentary feature, starting in Mexico. We were at that point were we were ready to take on the world. I felt we were flying places and quickly. Suddenly this happened and made it all stop...”
“My life froze in time for a good year, where I couldn’t even pick up a camera. My image will convey this feeling, as well as the one I have now - which is that I’ve taken charge of it again.” [...]
FULL ARTICLE HERE
"During our discussion, she mentioned how she had imagined herself as Sleeping Beauty so many times, locked up in that tower, and how she could have stayed in it forever," Iannacone said. Iannacone's own experience of surviving sexual assault and the psychological impact of it inspired her to start the project.
"I was raped several years ago and felt like my life had completely lost its course," said Iannacone.
Iannacone tried different kinds of therapy including Eye Movement Desensitisation and Reprocessing and group therapy. But she says she found art therapy to be the most effective in allowing her to "take charge" of her life once more. Years later she decided to use her background in cinematography and photography to create a project that aims to break the taboo around talking about sexual assault.
FULL ARTICLE HERE
'It's time to present rape in a way that allows society to speak openly about it. 'I was assaulted many years ago and realised I'd never felt more horrible until I did art therapy and I discovered that healing trauma through art really worked for me.' Ms Iannacone decided this was something she would like to explore with other people and decided to meet with different rape survivors to hear what kinds of images stuck in their heads after an assault.
Rachel Kaden, a film maker, said she received an email through a charity about the project and when she heard it was about raising awareness for sexual assault, emailed back without a second thought. 'When you see a picture that's been set up and it's really personal to someone, you're getting a glimpse into how they felt,' she said. 'It's actually empowered my story. It's stopped me feeling like it's something I should hide and keep quiet. It's made me come to terms with it.'
Another of the survivors, Alex Feis-Bryce, said giving people a voice to tell their story in a positive way that is also producing beautiful art is 'very important.' 'It has changed the way that I remembered what happened in a way,' he said. [...}
FULL ARTICLE HERE
By LAUREN XANDRA
International Women’s Day presents a chance to recognize and respond to the diversity of those affected by sexual violence.
Elisa Iannacone has curated an ambitious museum-scale exhibition that will take over London’s iconic OXO Tower Wharf - Bargehouse, a five-story raw warehouse space. Visitors can encounter twenty-five individuals’ personal narratives in coping with sexual assault. The resultant images are not what one would expect -- they resist categorization.
Iannacone, who herself makes an appearance in the series, was inspired to create the exhibit through her own experience of coping with trauma through art therapy. The highly imaginative images are staged with prop-heavy sets that evoke narrative elements, conjuring childlike dreamscapes and dark fantasy worlds. Each image is anchored in a distinctive colour hue, and the exhibit is curated in accordance with a 24-colour wheel. This creates a spiralling effect: a symbol for the personal process of coping with assault.
Head to the Southbank to discover this bold exhibition championing the power of art to incite change. WM [...]
FULL ARTICLE HERE
The Spiral of Containment: Rape’s Aftermath is the kaleidoscopic photographic exhibition at the fringes of Constitution Hill’s Number 4 section, where the isolation cells were located.
Elisa Iannacone, who worked as a cinematographer and photojournalist in conflict and humanitarian crises zones, sought to recover from her trauma as a rape survivor by venturing into a collaborative project with other rape survivors.
“My career as a cinematographer and photojournalist came to a sudden halt after I was sexually assaulted in 2011,” says Iannacone. “After the assault, I felt like a shadow of a person, without much direction, and barely any capacity to navigate Earth. Through art therapy, I started to process my assault creatively … I reached out to other people who had been raped to explore the images that spiralled in their minds. The result became a project that aims to impact people around the world.”
Most trauma representations in photojournalism capture subjects in graphic situations of horror, dejection or pain. Consider the photograph The Struggling Girl, of a vulture and child, which appeared in The New York Times on 26 March 1993. It was taken by Kevin Carter in famine-stricken Sudan while the child was trying to reach a United Nations feeding centre. It incited discussions about ethics in journalism. Devastatingly it was the partial cause of Carter’s death by suicide. The picture severs the subject, its maker and viewers from any sense of hope. [...]
FULL ARTICLE HERE
Elisa said: “Some people have asked ‘Why shoot beautiful images of such a horrible topic?’ But I’ve worked as a photographer in the Middle East and I know people don’t want to see harrowing pictures of dead bodies and pain. We’re completely desensitised to these journalistic images.
“Instead I want the audience to be curious and to get actively involved, asking ‘How does this relate to rape?’ “It focuses the audience on taking in the survivor’s voice – whether in print in the book or in audio at the exhibition. “These images make you ask questions, and a lot of them have many layers that you won’t realise on first glance.”
FULL ARTICLE HERE
March 8 marks International Women’s Day – an annual event with more pertinence than ever.
In the wake of the ongoing media storm surrounding #MeToo, one young artist has created a unique platform for a number of rape survivors from around the world, launching this Thursday, March 8, at London’s OXO Tower Wharf –Bargehouse, Southbank.
The artist, Elisa L. Iannacone, has pulled together an ambitious museum-scale photo exhibition accompanied by a series of live events and a limited-edition book publication. The Spiral of Containment: Rape’s Aftermath, is set across five floors of a raw warehouse space and features photography shot across three continents, illuminating twenty-five individuals’ personal narratives in coping with sexual assault.
Iannacone, who herself makes an appearance in the series, was inspired to create the exhibit through her own experience of coping with trauma through art therapy. She recognises that distressing photojournalistic images of sexual violence often have the adverse effect of turning people away.
FULL ARTICLE HERE
FULL ARTICLE HERE
By Samara Husbands
Industry leaders come together again to host the prestigious competition created to celebrate young creatives.
The hunt is on to discover the most promising new talent in filmmaking for the 2024 Stories in Motion competition. CVP, one of Europe’s leading resellers and providers of professional video and broadcast solutions, is partnering with Canon UK & Ireland for the 2024 Canon Stories in Motion Young Filmmakers Awards, which strives to foster and reward creativity among individuals aged 18 to 25.[...] There are three categories: music video, documentary and scripted short film. And anyone who has a passion for storytelling and cinematography is welcome.
Participants can submit a maximum of three films, one in each category, and will have entries judged by a panel of experienced filmmakers. These include Canon Ambassadors Elisa Iannacone and Tania Freimuth, acclaimed filmmaker Ollie Kenchington and CVP’s technical marketing manager, Jake Ratcliffe. [...]
FULL ARTICLE HERE
The competition attracted an impressive array of submissions from across the UK and Ireland. The judging panel, featuring Canon Ambassador Elisa Iannacone and Canon Ambassador Tania Freimuth, expressed enthusiasm for entries that showcased distinct artistic voices and storytelling prowess, particularly those with a human-centric narrative. The competition’s selection committee also included CVP’s Technical Marketing Manager, Jake Ratcliffe, and Award-winning Filmmaker, Editor, and Colourist, Ollie Kenchington. [...]
FULL ARTICLE HERE
READ MORE HERE
When I was considering whether or not I should write this article, I went back and forth between not feeling qualified to write it and knowing that it is an important topic. It’s an article involving sexual assault, and I haven’t been sexually assaulted. But, I know many people who have been, and I know that if there’s any way to help survivors of any type of sexual violence overcome the trauma that comes packaged with that terrible ordeal, it should be made available to them, and it should be talked about. I didn’t ever expect photography to step in to help, yet here we are.[...]
I recently saw a collection of images from Elisa Iannacone, a UK-based photographer, who took a more elaborate approach to explore her healing. Her series, "The Spiral of Containment: Rape’s Aftermath," was a self-healing process that, again, focused on empowering the survivors depicted in the images, exploring the idea that many survivors fixate on single ideas or feelings as they overcome the trauma. As she tells takepart, this is something we need to talk more openly about in order to help address the problem. “Survivors are becoming empowered and feeling more able to share their stories. It is our responsibility as a society to listen.” [...]FULL ARTICLE HERE
FULL ARTICLE HERE
Around 85,000 women and 12,000 men are raped every year in England and Wales - meaning around 11 adults are assaulted every hour. But despite sexual assault being extremely commonplace worldwide, rape is still a taboo. One survivor is striving to change this through the medium of art.
Elisa Iannacone, a photographer and rape survivor, is creating a series of images which explores the psychological impact of sexual assault. Each photograph features the survivor in a carefully-composed scene which they associate with their attack. They are not what you would expect to see when you hear the word rape - but they show how an assault can take place in any circumstance and to anybody. [...]
Redacción OEM en Línea
Elisa Iannacone Velasco, fotógrafa mexicana, realizó una serie de imágenes que representan los pensamientos de víctimas de violación después de haber sido atacadas.
Ella lanzará una campaña en Kickstarter en el Día Naranja (un día creado por la ONU para generar conciencia y poner fin a la violencia contra las mujeres y las niñas, 25 de Octubre) para extender su obra "Espiral de la Contención: Secuelas de una Violación" y exponerla en galerías de Londres y posteriormente de la Ciudad de México.
FULL ARTICLE HERE
Det er fem år siden 28 år gamle Elisa Iannacone ble voldtatt av et familiemedlem på besøk hjemme i Mexico. Da hun kom tilbake til Toronto hvor hun bodde på den tiden, dro hun rett til et voldtektssenter. Hun regnet med å bli tatt imot med åpne armer. At noen skulle fortelle henne at alt kom til å bli bra. Så skulle hun få hjelp. Men da hun kom fram til adressen hun hadde funnet på internett, var det bare en vanlig boligblokk.
– Senteret fantes ikke lenger. De som bodde der sa bare “jada, dette skjer hele tiden”, sier Iannacone.
Hun forsøkte å be om hjelp andre steder, men ble møtt med ventelister på seks til åtte uker overalt. Hun satte seg opp på alle, og etter hvert som hun fikk tilbud om ulike behandlinger, takket hun ja.
FULL ARTICLE HERE
Masterclasses, Talks & Interviews
Join internationally renowned, award-winning cinematographer and journalist Elisa Iannacone for a three-part deep-dive into camera operation in a conflict zone, in Lviv, Ukraine. This course is supported by Canon B2B. Elisa has worked as cinematographer, camera op and photojournalist for leading newspapers. She will be walking through how to plan, prepare and shoot for reporting purposes. You do not need prior video knowledge to participate in this online course. We'll be using the Canon R5C to talk through settings and options.
Deep dive into gear: Camera selection - what camera to choose and why; what settings Elisa goes for when working in unpredictable environments; how to set up your camera. We will be using the Canon R5 C to run through the best shooting options. Lens selection - what you need to get the best shots on the move, keeping weight and speed in mind; think about your environment. Audio - what you need and how to set up your audio correctly, discretely. Accessories and extras - we'll talk through the bare minimum of kit you need, with some options to enhance your footage - think about your safety and brief.
Practical shooting tutorial in Lviv, Ukraine at a children's hospital. Follw Elisa Iannacone while she uses magical realism to tell human rights stories with empathy and sensitivity.
Filmmaker Elisa Iannacone's experience ranges from documentary and news to storytelling through music videos and in this masterclass, she shares insight from across the industry and real-life examples of how she brings that all together to create music videos that not only bring the artists' visions to life, but does so in a way that brings motion, emotion and magical realism together, all through her Canon EOS C70 cinema camera.
How does one go from conflict reporting to shooting commercials? And what cameras would Elisa Iannacone recommend for the scope of work she creates?
Los días 30 de septiembre y 1 de octubre de 2024 tendrán lugar la Jornada “Del celuloide a la IA: desinformación a través de la imagen en tiempos de guerra” en el Hall principal de la Facultad de Ciencias de la Información de la Universidad Complutense de Madrid, organizadas por los grupos de investigación INDESO (Regulación Jurídica y participación del Ciudadano Digital) y COMEIN (Comunicación, Metodologías e Innovación, UCM), además del POLYTECHNIC OF PORTO, PORTO ACCOUNTING AND BUSINESS SCHOOL (Portugal).
Join cinematographer and artist Elisa L. Iannacone for a conversation around her work on activism and human rights issues. This talk will cover issues that some may find challenging to listen to. If you are in need of support or help, please reach out to someone today here: https://www.nhs.uk/live-well/sexual-h...
Elisa was assaulted by a family member in Mexico. She responded by travelling the world to meet 24 survivors who had also suffered from sexual violence. She doesn’t refer to them by name, but by their own dedicated colour in the spectrum. Their stories, combined with Elisa’s empowering conceptual photographs, share trauma’s darkest shadows and the truth of their experience across the world.
This talk is supported by Canon. Whether used for stills photography or filmmaking, a camera offers the user a unique opportunity to tell a story. Here at Wex, we recognise the value of those stories and believe they all deserve to be heard, as they provide an insight into the spectrum of human experiences lived across a nation of creative people. Our #ChangeTheImage campaign showcases a selection of talented individuals from a variety of backgrounds, exploring the benefits of photography as a tool to provide therapy, raise awareness and drive social change.
Drawing on her extensive experience reporting around the globe, journalist and DoP Elisa Iannacone shares how Canon’s video cameras – the XA55 and EOS C70 – have brought her journalism to life. In this interview, Elisa discusses the key highlights of both cameras from her varied assignments.
Join cinematographer and journalist Elisa Iannacone and Canon for this free online talk discussing her work-to-date. During this talk, she will discuss how to create documentary pieces; her career path into journalism; and working with topics of a sensitive nature. Elisa has created work internationally for the likes of the BBC, National Geographic and Newsweek.
[TRIGGER WARNING: SEXUAL VIOLENCE] Based on her experience covering war zones and humanitarian conflicts, along with growing up in Mexico, camerawoman Elisa Iannacone exposes the different types of fear in her life in a harrowing talk, and which ones she had to confront and overcome as a survivor of sexual assault by a close family member.
[TRIGGER WARNING: SEXUAL VIOLENCE] After becoming a victim of rape, Elisa experienced the justice system in several countries. But what happens when law proceedings fall short of Justice for the victims? Elisa finds that there is often more healing to be found in artistic expression than in a system that seems set to fail victims of sexual violence.
ZEISS Cinema attended the 2023 Energa CAMERIMAGE in Torun Poland and got the opportunity to sit down with many cinematographers from all over the world. Cinematographer Elisa Iannacone is a documentarian focused on conflict journalism. She uses her talents to work with survivors of conflict, helping them to tell their story through visual arts.
Interviewer: Tony Wisniewski, Senior Marketing Manager, Americas Special Thanks to: Editor: Tawny Tran, / taun_tawn
Lighting provided by: Sumolight, https://sumolight.com/
Documentary, fine-art, video photo: we dare you to pigeonhole Canon Ambassador Elisa Iannacone. Hear about this visionary filmmaker's past, current and future presents from the Canon stand at IBC 2022.
Laying it Bare - From Private Realities to Global Acclaim: Two Remarkable Journeys to Resilience.
Moving and Uplifting: Two extraordinary young women share their personal journeys from pain to Forgiveness and Resilience.
Elisa L. Iannacone, an acclaimed photojournalist, and foreign correspondent is also a rape survivor. In dealing with her healing, she evolved an extraordinarily effective process resulting in the most beautiful exhibition of photographs - co-developed with the subject (also rape survivors) and art-directed and filmed with sublime skill by Elisa. 'Spirals of Containment' was mounted at the OXO in London in 2018 and is due to travel to South Africa. We see excerpts and moments from the exhibition here.
Online broadcaster, speaker, author, change activist and Forgiveness Advocate, Candice Mama is the author of 'Forgiveness Redefined'. This book evolved in response to requests to her to document her journey of forgiveness. Her father was murdered by Apartheid assassin Eugene de Kock. Candice met with him in jail, and told him that she forgave him. A remarkable act, it led to a career in Forgiveness. Both stories lead us to ask how do we, in this unprecedented time in our history, deal with the largest pandemic ever - and greatest "connected trauma".
Interview for Latinamerican Academy of Culture (LAK) in Vienna, Austria, following the Global Peace Photo Awards. (Spanish)
LAK-Teilnahme: Global Peace Photo Award 2024 - Elisa L. Iannacone (Mexiko) LAK bedankt sich bei Global Peace Photo Award für die Einladung zu Global Peace Photo Award 2024. Gewinnerin des Global Peace Photo Award 2024: Elisa Iannacone (Großbritanien/Mexiko) Global Peace Photo Award: https://globalpeacephotoaward.org/
Radio & Podcasts
Mikail Atiyeh with Elisa Iannacone, a photographer and cinematographer known for her work on social justice issues. She is the creator of the travelling art exhibition, The Spiral of Containment. Elisa is also a speaker and advocate for equality and human rights. Her work combines art and cinematography to shed light on important social issues and support those in front of the lens.
Listen to #Pulse95Radio in the UAE by tuning in on your radio (95.00 FM) or online on our website: www.pulse95radio.com
Listen on Soundcloud HERE
Listen to Podcast HERE
Listen to Podcast on Apple HERE
In this interview, photographer, director, and speaker Elisa Iannacone joins the podcast to discuss her project, The Spiral of Containment: Rape's Aftermath. Elisa and I have a raw and vulnerable conversation about how and why she tackled this topic. And what she hopes to achieve from the work.
Gunther Swart sits down to dive into the inspiration behind the incredible imagery from Elisa Iannacone, the published author and Canon cinematic ambassador.
Outdoor Photo is a high-end photographic retailer in the mighty metropolis of Pretoria, South Africa. We provide a natural habitat to those who live and breathe photography.
Using a trifecta of media, law and politics, Elisa Iannacone leverages her cinematography and multi-media creative skills to deliver messages and tell stories. Focused on reaching the masses, as a visual thinker, Elisa conveys stories of restoration, empathy and healing through the medium of art where words may have previously failed. As a cinematographer and an advocate for equality and human rights, Elisa has worked in six continents for outlets such as BBC, Newsweek and National Geographic covering conflict zones and humanitarian crises. Navigating a kinder world to create a more cohesive society, Elisa’s work is all about humanising, human connection and reframing perspectives.
KEY TAKEAWAY “I realised that every time I travel to a new country, I have preconceived notions that are broken down and changed. I've worked in 50 countries now and still I'm learning. I find that reframing and being open to reframing our views is a huge path towards understanding each other and having a more cohesive society.”
The Conversations on Consent (CoC) Podcast explores with experts, survivors, academics and activists how consent-seeking behaviour that is based on mutual respect can become common practice on the personal, interpersonal and societal level. As consent seeking begins at the most intimate level, and from there extends to all human interactions the CoC campaign gets everyone to speak about consent to foster a new norm based on empathy for one another.
Listen on Apple HERE
Elisa is one of the hardest working and most resilient people I know, with an extensive career. She has worked in over 30 countries, across 5 continents. Covering challenging environments, from the Rabaa massacre in Cairo to domestic violence within Iraqi refugee camps, which fueled her work with social consciousness. Her latest project is the Spiral of Containment: Rape's Aftermath.
In this episode we discuss:
-The importance of defining yourself
-How to cultivate resilience
-How to strengthen boundaries
Drawing on her extensive experience reporting around the globe, journalist and DoP Elisa Iannacone shares how Canon’s video cameras – the XA55 and EOS C70 – have brought her journalism to life. In this interview, Elisa discusses the key highlights of both cameras from her varied assignments.
Decisive, full of humour, resilient, charismatic and inspiring. That is how I describe Elisa L. Iannacone after meeting her (digitally) this week. We talked about her childhood, coping with the traumatic experience of being sexually abused, and her life now as a successful career woman who is filled with energy and lives life to the fullest. Elisa endured a horrible traumatic experience. Not a decade later she wrote the book: The Spiral of Containment: Rape’s Aftermath.
Elisa wrote The Spiral of Containment: Rape's Aftermath, sharing her experience as a rape survivor healing trauma alongside 24 fellow survivors. In this video we will speak about healing trauma, the process of moving on, dealing with your environment and finding back your self-confidence.
