Drawing for the most part on cinematic examples from the tradition of documentary filmmaking, Prof. Hjort attempts to begin to answer questions such as the following in her talk: What are the different available models for thinking about risk? Which of these models is most appropriate in the context of filmmaking? What are the different types of risk that arise in connection with film? Are there systematic connections to be drawn between agential and institutional roles on the one hand, and types of risk on the other? What role do concepts of risk play in cultural policy? What are the ethical implications of risk-taking in film? What are the environmental risks associated with film? What are the implications of relative degrees of risk discernability in films? Are the pleasures of spectatorship linked at some level to a form of risk management? Can cinematic activism involving flamboyant risk-taking be understood in terms of what Ulrich Beck calls ? Risk positions?