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After my initial posting on Second Life, I have re-entered SL twice – yes, not too often, as I haven’t been bitten by the SL bug, should there be one – but I have been contemplating somewhat on the qualities of this virtual world.
In class, Alex reinforced the use of SL as a research environment -where artists, academics, professionals come together to explore, connect, and advance virtually their respective practices. This is more intriguing to me than flying around and tele-porting from one island to the next, buying clothes or an art piece for my home, trying to figure out what’s going on and trying to avoid chatting with people because you’re still uncomfortable with some of the social protocols (ok, this is me).
It is when I read articles such as this one, “Paralyzed Man ‘Walks’ In Second Life” the potential of SL and virtual realities become tangible and its purpose more clear. It would be interested to learn more about advancements in this vein.
Outside of filmmaking, I spend the majority of my professional time in the NGO sector working for a variety of national and local human rights / equality seeking organizations. It would be interesting to see if a SL project could simulate experiences of discrimination, oppression and much as Heather’s project revolves around – violence against women. These spaces becoming available for people to enter, participate and from which to increase public awareness of social issues. A question that may arise is – would people participate in such activities – or more importantly I suppose – how could you construct an environment that would invite engagement.
Perhaps there is more learning to be had (than originally thought) in these virtual experiences when motivations of social change meets the virtual world.
Whether it is for me as a documentary media artist to pursue this form of media making is debatable, but it is wise for me to follow the developments as they inevitably occur.
10:40 PM. With a bit of uncertainty, I am about to create my very first avatar. Okay. What is my name – oh, pre-determined lasts. Real or not first name? An internet blip – did I chose my avatar’s physical appearance or ’skip this step’? We’ll find out.
10:45 PM. Downloaded Second Life application package. I didn’t even know there was an associated application – I thought it was all through the SL website. Shows how much I know.
10:56 PM. About to log-in. Will see how this alternate life’s first experience pans out. Oh, have to read the “Terms of Agreement” – usually I skip straight to the “I agree” but let’s read to what I am agreeing in this world. A new language – “Servers”, “APIs”, “The Viewers”, “Linden Lab” (yes some words evident, but used to refer to specific items). Linden Lab does not pre-screen content. LindeX currency exchange of currency Linden Dollars. No ‘misleading, offensive, infringing’ names please. Usual account boundaries. Notes on copyright. Now I’m skimming. I think I’m stalling. Ok. I’ll agree to the above.
11:06. I’m in! Oh wait. Community Standards. Reading on …. “treat each other with respect and without harassment, adhere to local standards as indicated by simulator ratings, and refrain from any hate activity which slurs a real-world individual or real-world community.” Alright. Can do that. “The Big 6″ Behavioural Guidelines re: intolerance, harassment, assault, disclosure, indecency, disturbing the peace, and a group of other bewares from policies and policing to reporting abuse. Seems a bit unsafe. Elaine, if you are reading this, I wonder if your recent encounter (I’m sorry you experienced that!!) falls into any of the assault/indecency boundaries?
11:12 PM. I’m in! Important – F1 key for help and information on SL. On Orientation Island. I’m communicating with statues and jumping.
11:24 PM. Completed the Communication Tutorial. Streaming the SL info video. About .. um … how to live … virtually.
11:26 PM. I’m about to Exit to Second Life with fire burning all around me, volcanos erupting, lava spilling. All very dramatic.
11:30 PM. Spoke too soon. Must beautify and change outfit first. Must also perfect not bumping into things. I did manage to hold a torch. Naked people around me – I guess they should come along with me to the Appearance tutorial .. I could chat them over .. No, too bold at this stage of my existence.
11:50 PM. Updated the hair etc. Application crash. Have to reopen. Where will I be?
11:52 PM. 48, 236 online at this moment. I’m in the exact same spot. Onwards we go. A guy named Magic is speaking to me. My chat screen’s not up .. what’s he saying? In impatience, he’s gone. Chat screen now up – “Hello you”. Oops, that was me being rude by not replying – ah well. This talking to random people is odd. I’m thinking that I may need some time to adjust to the social behaviours of this Life, as I uncover them.
12:01 AM. Wasn’t paying attention and apparently my finger was on the arrow up key. Went over a wall. Fell onto landing below. Yikes.
12:14 AM. I’m flying. Into the Search Pavilion. Hey there’s a Lindsay here too – is it you, Lindsay? Too funny, out of 50, 000 people in this right now, that’s most likely a very silly question.
12: 27 AM. Tele-porting to Help Island.
12:37 AM. Grabbed some freebies from the store. Wandered around a bit. Before I enter into more SL action, I think I’ll sign off. Leave some excitement for the next visit.
So, I entered this world I have viewed (and still do I must admit) with uncertainty. As I continue to walk through new and varying spaces, I imagine more insight to the popularity of SL will become clear, as will my writings become more illuminating than this initial introductory post. I haven’t been wooed as of yet to take time out of the life I have 30+ years inhabited. But hey, with an open mind I shall move forward into my second life and see where it takes my avatar.
Allan King. Innis Town Hall. Master class presented by DOC, the Documentary Organization of Canada. A worthwhile Saturday spent reviewing King’s films, and discussing the art of documentary filmmaking from choosing your subject / developing your story / documentary as performance / “actuality dramas” and the ethical considerations when approaching sensitive subject matter. As a filmmaker, I appreciate the breadth of King’s career and the exercise of reviewing his work from his first – Skidrow (1956) to his latest Empz 4 Life (2006), for in doing so, inevitably also involves reviewing the evolution of documentary film.
Known to push boundaries, CBC commissioned Warrendale (1967) – a doc which chronicles seven weeks in the lives of twelve emotionally disturbed children in a treatment centre of the same name – was banned from broadcast due to the uncensored language used by the children, A Married Couple (1969) provided a stark look at the degradation of a marriage, and Who’s In Charge (1983), a two-hour documentary on unemployment, was deep in controversy, earning King the title ‘media monster of the 1980s’*. Much of the anger felt by viewers derived in their shock and disproval of seeing a person cry on camera – this was the first time tears were shed on Canadian television – A fact I found fascinating … we’ve come a long way from this point.
I agree with Mark’s comments that select audience members grilled King on aspects of his practice from a standpoint very much reflective of contemporary debate, and at times, lost sight of the key fact that many of these films were created twenty, thirty, fifty years prior and must be recognized within the context of their creation. And for us to make media today is very much shaped by indie doc pioneers like Allan King.
For me, it’s always important to revisit why it is we create media (Hah. a point from my manifesto) – To revisit the passion for the art, in this case documentary storytelling – in all its forms/mediums/spaces. Listening to a pioneer of film is an activity which fuels this principle.
King stated, “ I used to have a fantasy everyone would see my films and be changed for the better. That’s why you want to make films.”* It struck me that numerous times on Saturday, he repeated and verbally contemplated how and if he had made this world change for the better. At times his contemplation seemed almost disheartening as it remained unanswered, or more so because he appeared to think not much has in fact changed – on the other hand I found his continued contemplation equally inspiring for it demonstrated a continued and genuine motivation behind his craft fifty years strong.
*Allan King tidbits taken from his website, www.allankingfilms.com
The Master Class series is a new annual program focusing on the craft of documentary filmmaking, presented by DOC Toronto, the Documentary Organization of Canada, Toronto Chapter (where I currently work) to unfold over the summer. Upcoming invited directors include: Shelley Saywell, Kevin McMahon, Jennifer Baichwall, and others tba.
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Filed under: Uncategorized
What is interesting to me is the difference in approaching story when working within film/video and new media mediums. I am familiar and comfortable with the first approach – selecting characters, research, developing a story, and creating a solid narrative structure. The latter approach to documentary media making is new – the non-linear approach. I am looking forward to reformulating ideas to fit under this approach – where as creators, for example, we set parameters and the meaning/stories can be created in nontraditional ways -whether it be by the way narratives are presented (i.e. randomized), level of participation of spectators, and/or when meaning is created at time of interaction with the public, etc.
Our initial experiment with MaxMSP software provided a glimpse into this shift. When select media clips were dropped into a patch – linear playback is standard, as to be expected. When dropped into the same patch – randomized – the interplay and relationships formed between these same media clips, created alternative meanings. From this small exercise, I begun my understanding of potentially viewing media in a new way – almost ‘letting go’ of the material to start a process of loosening my authorship hold over the media – to see what other options existed.
The second exercise in which we were asked to film clips with random order in mind further emphasized this shift of thinking/creating.
A short post to comment on a potential significant new direction for my documentary practice.
On a related aside, this course seems to also provide a useful foundation from where I can attempt to do my own research and collecting of information on new media platforms, and subsequent storytelling options, including the mini lectures found on PopTech!, in their pop!casts section, to include Pop!Tech and Jonathan Harris’ talk on storytelling platforms.
A few interesting tidbits from his talk: the creation of the Whale Hunt documentary project and the ‘photographic heartbeat’: photographing the hunt every 5 minutes and up to 37 photos per 5 minutes at times of intensity; his contemplations on the essence of a story – and how the construction of it fits within documentary media making; the We Feel Fine project. He puts forth that one of the strengths of a project like We Feel Fine is that it provides ’snapshots’, incomplete stories, flash moments to spectators from which spectators ‘fill in the blanks’ with their own personal stories, memories, commentaries etc., thus creating multi-narratives. This is essentially what he then demonstrates live at the Conference when he asks audience to become participants in a storytelling exercise in relation to We Feel Fine. You can also find this video posted in vodpod.
In the professional realm, I have been working on a project (recently green-lit, and granted funding through the OMDC’s Entertainment and Creative Cluster Partnerships Fund), which has as its sole purpose to advance new media production in the Canadian documentary film/video industry. The initiative DOC Agora Ontario, is described as
“an innovative initiative that is both vital and unique that will address current challenges facing the documentary industry in Canada. It aims to build capacity for producers interested in working in the multi-platform arena, while at the same time increasing the general awareness that the impact of multi-platform producing will have on the documentary industry. The final piece is to bring the international and the local documentary communities into a venue that will bring together filmmakers and new media professionals in a way that encourages collaboration and fosters potential partnerships.”
It is approaching the cross-platform production from an industry standpoint – basically, Ok, so this is happening, how can we support media makers forging forward?
A few of the key objectives include:
- Funding. So we want to create this work – how do we get it financed? This project aims to create a marketplace for new media projects (much like the documentary pitching forums found festival-round), among other funding/financing plan options
- Training. To do this, we need skills. This project will create a series of professional development workshops to cover the producing end – (production work flows, budgeting/financing etc.) as well as intensive hands-on multi-media labs to help shape specific projects in the development and production phases
- Research and Partnerships. Who is out there? What’s going on? This project will gather the latest information, create an online contact database for professionals, organizations, companies, funding agencies world-wide from which to disseminate the data and support the independent media sector.
DOC is the primary partner. Secondary and additional partners in this 2-year pilot project include Ryerson, OCAD, Bell Broadcast and New Media Fund, Canadian Film Centre, Hot Docs, Interactive Ontario, Bravo!FACT, the NFB, The Centre for Social Media at American University, and the DOC Agora Association
All this to say is that as of late, I have been immersed in approaching new media documentary production from very much an industry standpoint – which though very relevant, I now look forward to jumping into the theoretical and conceptual mind-first to further my own documentary practice.
Filed under: documentary film, documentary general | Tags: DM 8106, documentary general, Manifesto
I preface that this documentary manifesto is a product of my perspective as a documentary film and video artist.
challenge the canon. refresh the storytelling experience
Bill Nichols states, “Documentary suggests fullness and completion, knowledge and fact, recently though, documentary has come to suggest incompleteness, recollection and impression, images of personal worlds and their subjective construction” (Nichols, 1993). It is within this conceptional framework in which documentary practice should work – within a space where challenging the documentary canon is a requirement. It is necessary to be open to new technologies, new methods of storytelling, new modes of documentary production – and ultimately, new definitions of documentary. In this light, documentarians should be open to pushing the boundaries of traditional non-fiction storytelling – incorporate variety of forms (i.e. performative, animation, drama, theatre, musical etc.) and mediums to create the most powerful rendition of the story.
language is powerful. documentary is political
Linda Alcoff states:
“We are collectively caught in an intricate, delicate web in which each action I take, discursive, or otherwise, pulls on, breaks off, or maintains the tension in many strands of a web which others find themselves moving also. When I speak for myself, I am constructing a possible self, a way to be in the world and am offering that to others, whether I intend to or not, as one possible way to be” (Alcoff, 1991)
The role of the documentarian is to interpret, present and comment on the world we live in – is a powerful one. This position permits an individual the privileged space to speak to a mass audience and share his or her perspective on any given subject matter. A film can influence. A film can shift an opinion. A film can shed light on a subject matter previously unknown to a viewer. A film can be archived to resurface years later to contribute to a social dialogue. It is in this sense that I put forth that the utterance of speaking on a subject matter through the vehicle of film and video (as all documentary mediums) holds immense power – as well as consequence. As a result, a documentarian must situate him/herself in his/her respective work to bring to the forefront his/her positioning. To address this, Alcoff argues, “speaking should also carry with it an accountability and responsibility for what one says” as well as the fact that “we must interrogate the bearing of our location and context on what it is we are saying, and that this should be an explicit part of every serious discursive practice we engage in.” (Alcoff, 1991)
documentary practice at its heart – a medium to effect social change
Documentary can serve the purpose to create and effect social change – and should be used in such a manner. However, this role brings with questions of representation. Hal Foster addresses the problematic reductive overidentification and disidentification of subject:
“cultural politics of left and right seem stuck at this impasse. To a great extent the left overidentifies with other as victim, which locks it into a hierarchy of suffering whereby the wretched can do little wrong. To a much greater extent the right disidentifies from the other, which it blames as victim, and exploits this disidentification to build political solidarity through fantasmatic fear and loathing.” (Foster, 1995)
To address this issue, I put forth that documentary media production must become more of a collaborative process across sectors. I believe ddocumentarians should work alongside community members, advocacy leaders, professionals in other social sectors, and non-governmental organizations, etc. to create media for change. It is when this occurs that effective change can manifest, and in relation to Hall, issues of identification can be addressed and negotiated. Collaborative media responds in one way to the crisis of representation regarding the ‘other’, and also directly advocating for social change.
documentaries present multiple stories and should derive from diversified voices
According to a study by Professor John Miller at Ryerson University in Toronto, the number of people from diverse backgrounds that are employed by media outlets in Canada has only gone up from 2.56% to just 3.4% in the last ten years (Miller, 2007) . In my opinion, considering the Canadian multicultural make-up, this is deplorable. In regards to Canada and its media. If a multiplicity of stories is being documented – a multiplicity of storytellers should be its origin.
one truth is debatable, ethics is not
as previously stated, the methods to storytell are numerous, alongside the multiplicity of truths. What I believe is not debatable, though, is the methods employed to arrive at such truths. Standing behind false projections of your goals and aspirations to get ‘the best interview’, to create a reaction, is not acceptable. Alternatively, the documentarian must be transparent in his actions to all individuals involved, In this light, the documentarian must situate him/herself in his/her work. If any ethical considerations are being compromised to advance the project, the project should be dropped.
documentary is performance
Stella Bruzzi states, “documentaries are a negotiation between filmmaker and reality, and at heart, a performance.” (Bruzzi, 2003) Bruzzi is challenging the traditional concept of documentary as striving to attempt ‘reality’, an empirical truth. I agree with Bruzzi. The moment director meets subject, the moment is altered – and what ensues is a direct performance in result – and subject to – the director/subject interaction. There is always a distance between image and reality(s) and it is from within this space that representation of a subject occurs.
documentary is an art of inspiration – love the craft
Documentary making is very much an art. A documentarian must never lose sight of this. Always be aware of current developments in the field, watch new documentaries and re-watch old. It is important at times to revisit this raw passion for the craft for it is usually this passion that has instigated the pursuit of such a career. It is important not to lose sight of the initial inspiration and desire to create art – fir if one does, the act of creation becomes pointless.
make a living – support the documentary biz
Creative processes aside, a career in documentary making is just that – a career – and should be valued as such. It is currently difficult to ear a sustainable income in Canada due to limited funding within the independent arts industry, especially in documentary production. With takeovers increasing the monopoly of broadcast conglomerates, independent television channels being consumed, it is essential for all independent documentary artist to act for change and/or support those advocating on behalf of the independent sector. I believe in the continuation of long-form documentary and in increase of theatrical distribution, amongst other issues. Indie documentary artists should support each other to advocate for an improved system, leading to an improved quality of career.
documentary is visual – much ado about aesthetics
Documentary practice is a visual medium (again, my concentration derives from film/video). A documentarian must never compromise his/her vision in terms of visual aesthetic. It is essential that a documentarian work within the budgetary allowances to create the most effective and aesthetically powerful film. Documentary practice is a constant negotiation between image and text – between the visual elements of syle and the meaning created and behind them – where all imagery must be put to screen (exhibition) out of a specific motivation. In Camera Lucida, Roland Barthes deliberates on the co-presence of studium and punctum within each photograph. Though he studies this concept in relation to photography, his statement of the punctum being “this element which rises from the scene, shoots out of it like an arrow and pierces” (Barthes, 1982) is relevant to other documentary practice as well. Visually – it is key for the documentarian to deliberate on these two concepts as well – to locate and/or create in each scene/visual image what will make the viewer pause and reflect and be “pricked, stung and poignantly affected” when looking at the image.
documentary is storytelling so tell a good story
Finally, I believe that the success of documentary practice resides in the story. Simply stated, documentary making is an act of storytelling – and a documentary artist should constantly be creating from this essential principle. Without a well-articulated story, the rest falls without merit. The term “narrative’ is not regulated to dramatic production, nor are terms such as: story arc, acts, character development, backstory . I do not believe documentary making is limited to filming the action as it unfolds and creating a story in the editing room. Alternatively, thorough research and story development in pre-production are essential. Yes, as documentary records events as they unfold, the unpredictable will occur – yet as a documentarian, one must use a well-developed structure as the foundation, for, ultimately, it is always about the story.
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bibliography
Alcoff, Linda. “The Problem of Speaking for Others” Cultural Critque, Winter. NC: Oxford University Press
Barthes, Roland. Camera Lucida: reflections on photography. New York: Hill and Wang. 1982
Bruzzi, Stella. “The Performative Documentary” in The New Documentary: A Critical Introduction. New York: Routledge, 2003
Curran Bernard, Sheila. “Documentary Storytelling” and “Structure” in Documentary Storytelling For Video and Filmmakers. Oxford: Linacre House. 2004. Pages 27-40 and 41-62.
Documentary Organization of Canada (DOC). Getting Real Volume 3. Toronto: DOC. 2007
Documentary Organization of Canada (DOC) website http://docorg.ca. Toronto: DOC. Accessed March 15, 2008
Foster, Hal. “The Artist as Ethnographer” in The Return of the Real: The Avant-Garde at the End of the Century – An October Book.” Cambridge: The MIT Press
