ABSTRACT A ‘migrant festive chronotope?’ is established in the zone of crisis for the audiences, the programmers and importantly also for those whose lives are represented on screen, in this case, the refugees who came to Europe in the summer of 2015. The decision to programme films about refugees as the crisis is ongoing, as it was the case with the Czech One World International Human Rights Documentary Film Festival in 2016, postulates the space of the festival as a safe heaven, a kind of a home, for the audiences and those migrants whose lives are shown in the films. A dialogue can be established as a result, an opening created between the two. The transformation of the humanitarian gaze into the migrant one is about a process of identification of the audiences with the migrants plight. This new identification, a migrant gaze (and voice) can be an indication of some modest political or social change a film festival may be able to achieve. The possibility of some social change is a key characteristic of the ‘migrant festive chronotope’

中文翻译：

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“移民的目光”和“移民的节日纪念日”-在欧洲人权和纪录片电影节上对难民危机进行编程。一届世界国际人权纪录片节（2016）。

摘要“移民的节日计时表？” 是在危机地区为观众，程序员和重要的观众（在本例中为2015年夏天来到欧洲的难民）建立的。危机仍在持续，就像2016年捷克世界人权纪录片节一样，它为观众和那些展示了生命的移民假定节日的空间是一个安全的天堂，是一个家在电影中。结果可以建立对话，在两者之间建立一个开放。将人道主义的目光转变为移民的目光，是关于根据移民的困境确定听众的过程。这个新的标识 移民的目光（和声音）可能表明电影节可能实现一些适度的政治或社会变革。某些社会变革的可能性是“移民喜庆年代记”的关键特征