Tickets are now available for i-Docs 2012. Following 2011′s successful inaugural event i-Docs 2012 has been expanded to two full days and will take place here at Bristol’s Watershed Media Centre on March 22nd and 23rd. Convened by Judith Aston and Sandra Gaudenzi on behalf of the Digital Cultures Research Centre (the home of my research), the symposium brings together producers, scholars and students of interactive documentary to grapple with the diverse practices and theorisation of this fast developing field.
There’s a very strong lineup this year including keynotes speakers reflecting cutting-edge and award winning work – Jigar Mehta (i8 Days in Egypt), Brett Gaylor (rip! A Remix Manifesto, Popcorn Maker) , Submarine Channel (Collapsus), Katerina Cizek (Highrise), who’ll be presenting via Skype, as well as the esteemed documentary scholar Brian Winston, from whom we can expect a challenging intervention. Panels will look at themes including Layered Reality, Participation and Activism. An important feature of this year’s symposium will be sessions examining some of the key emerging tools for authoring and creating web documentary – Popcorn maker, 3WDoc and Klynt. It’s a rich programme with concurrent sessions running much of the time which has been carefully structured to provide the space for in-depth discussion of work and ideas.
The full programme is now online where you can also buy tickets. I hope to see you there.
Meanwhile do explore the i-Docs website whicb is fast becoming a rich resource (though I should declare an interest as a contributing editor.) ”You’ll find academic and blog references, an archive of existing i-docs , a forum open to discussions about all the possible forms of i-docs you can think of. A team of experts have joined forces to open the discussion on what is interesting and/or new in this emergent field, and on the ethical, aesthetic, political and financial consequences of the i-doc genre. We welcome your participation! Feel free to mail your papers and ideas to the co-editors of our discussion section, or simply comment on their posts.”
Following the success of i-Docs 2011, dates have now been set for i-Docs 2012. The Symposium is again taking place in Bristol, UK, hosted by the Digital Cultures Research Centre (where I’m based.) It’s a full two days this time – on the 22nd and 23rd of March.
As regular readers of this Blog will know (Posts – Jan’11, Nov’10 , Sept ’10), Brett Gaylor leads Mozilla’s Web Made Movies team where they have been pushing the development of “Semantic Documentary” by building open source authoring tools for their popcorn.js library that facilitate the integration of video and web content within HTML5. The latest version – the Popcorn Maker – should be unveiled at next month’s Mozilla Festival in London. Cizek and Mehta are both doing ground-breaking work with popcorn.js. (Find out more about Cizek’s The Millionth Tower and see the trailer here. Check out the 18Days popcorn prototype here.) So, among other things, i-Docs 2012 will be a great opportunity to get to grips with this game-changing phenomenon for documentary. (For more about what “Semantic Documentary” is all about take a look at this report in Wired about a popcorn.js workshop that took place last month in San Francisco.)
The Call for Participation at i-Docs is now live. You’ll find it here. Convenors Sandra Gaudenzi and Judith Aston are seeking “papers, presentations, workshops, panels or ANY alternative forms of debate!” As Sandra puts it on her Interactive Documentary blog, ”i-Docs is rapidly establishing itself as a unique community event, where i-doc producers, broadcasters, academic, artists and researchers can meet and exchange ideas that will influence the future of i-docs. Don’t miss out!”
Meanwhile, do take a longer look at the recently launched i-Docs site, which alongside Sandra’s own Interactive Documentary blog looks like becoming a key resource in this fast-developing field. I’m honoured to be among a formidable group of contributing editors who have expertise in pervasive media, gaming, digital storytelling, and more.
We’re looking for guest contributors to the i-Docs site. If you’d like to submit a post on the theme of collaboration/participation do please get in touch with Maria Yanez or me, or check out the other themes and editors here.
Good news this week from Cannes, where Katerina Cizek / Gerry Flahive‘s ‘Out my Window’ was the deserving winner of a Digital Emmy for non-fiction at MIP-TV. I’ve enthused about this National Film Board of Canada interactive documentary project here a number of times. (Nov ’10, Jan ’11). It’s the first output from Highrise, “a multi-year, multimedia project” exploring “vertical living in the global suburbs”, which brings the stories of people in highrise communities vividly to life in a web based interactive format.
We had hoped the project director Kat Cizek might be able to present her work at the recent DCRCiDocs Symposium. In the end she couldn’t be there, but Sandra Gaudenzi talked to her a few weeks ago on Skype for the iDocs blog. (Also see the substantial consideration of “Out my Window” that Sandra wrote on her Interactive Documentary blog.)
Watching Kat Cizek you get a feel for some of the factors that contribute to the success of ‘Out my Window’. The iterative process – where research leads the thinking about approach – is key to the great fit between form and content. It’s clear that Cizek is an impressive digital producer with a fluency across platforms and technologies, but interactive production is very much about team work and she’s evidently also part of a great creative team.
The commissioning context is really important here too, though. It’s pretty unusual for a commissioner to make a substantial investment in an experimental project with undefined outputs (though that was, it’s worth mentioning, just what happened on BBC 2′s Video Nation project, and was, without doubt, key to why it worked. But that’s another story…) In the case of Highrise, it demonstrates the National Film Board of Canada’s faith in Cizek, and their grasp of non-linear production. For Highrise is one project in an extraordinary body of interactive documentary work that the National Film Board has commissioned. (The NFB were marketing 14 interactive projects at this year’s MIP-TV.) Have a look on their portal. Explore Pine Point or Holy Mountain. These are intelligent works that take advantage of what the web can do to explore the complexities of life now.
More than that, the NFB have invested in the development of digital documentary as a social practice, and Katerina Cizek is crucial to this story. Back in 2002, Cizek, who has described herself as a “social-justice documentarian”, had explored the democratising potential of the camcorder in ”Seeing is Believing”, a film made with Peter Wintonick . So, when the the NFB had the idea to revisit their Challenge for Change project in the digital age by appointing a Filmmaker-in-Residence, it was Cizek they approached.
Challenge for Change was a pioneering NFB participatory media project that started in 1967, in which filmmakers worked in partnership with marginalised communities, not just to reflect their situations, but to change them. 145 films were made within the project which was the inspiration for Public Access TV projects including the BBC’s Community Programmes Unit.
In 2004 the NFB recruited Katerina Cizek, who embedded herself with the health care community at St Michaels, an inner-city hospital in Toronto, and set about reinventing the Challenge for Change model as a digital project – as what she called “Interventionist Media.” You can see what happened in “The Seven Interventions of Filmmaker-in-Residence“, a film charting the five year process. Watch it. It’s inspiring. There’s also a DVD box set that came out of the project, that I haven’t seen yet. In the words of Jacqueline Wallace, who interviewed Cizek in 2010 for CINER (the Concordia Interactive Narrative & Research Group), ”The resulting work is nothing short of a multimedia juggernaut and includes several films, a photo exhibit, a filmmaker’s blog, and a web documentary that exemplifies non-linear narrative and the possibilities it represents to tell the stories of real people and create real change.”
Out my Window is, then, very much a continuation of Cizek’s energetic engagement with the possibilities of non-linear, with documentary for social change and with participatory and collaborative processes. It’s also a triumph in terms of its realisation – with evocative soundscapes, rich 360 photography, and flashes of animation brought together through apt, engaging visual navigation. [Do we yet have a good term for that 'bringing together', that process of montage in interactive production?]
So, congratulations to Cizek and the team. Do check out the latest, Participate section of Out my Window, which artfully presents photo contributions gathered through a Flickr group. It includes a stunning sequence of images that witness the Egyptian Revolution as seen from a window in Alexandria in February.
I’m going to be really interested to see how the Highrise project will evolve from here. Right now, I’ll leave you with the Manifesto for Interventionist Media that Cizek wrote while working with the community at St Michael’s. (It comes from the Filmmaker in Residence blog - Cizek talks about it in the video above.) It’s a great document – a blueprint for a socially engaged documentary practice.
Filmmaker-in-Residence Manifesto
The original project idea and goals come from the community partner.
The filmmaker’s role is to experiment and adapt documentary forms to the original idea. Break stereotypes. Push the boundaries of what documentary means.
Use documentary and media to “participate” rather than just to observe and to record. Filmmaker-in-Residence is not an A/V or a PR department.
Work closely with the community partner, but respect each other’s expertise and independence.
Use whatever medium suits – video, photography, world wide web, cell phones, ipods or just pen and paper. It can all be documentary.
Work through the ethics, privacy and consent process with your partners before you begin, and adapt your project accordingly. Sometimes it means changing your whole approach – or even dropping it. That’s the cost of being ethical.
The social and political goals – and the process itself — are paramount. Ask yourself every day: why are you doing this project?
Always tell a good story.
Track the process, the results and spend time disseminating what you’ve learned with multiple communities: professionals, academics, filmmakers, media, general public, advocates, critics and students.
Support the community partner in distribution and outreach. Spend 10% of the time making it and 90% of the time getting it out into the world.
Happy New Year. I’m kicking off the year with some thoughts and questions prompted by looking back on 2010.
I’ve noted a flurry of global projects this past year as producers have taken advantage of participatory video and the online network to reflect daily life. The most interesting to me is the ongoing Global Lives project which attempts to counter a lack of global coverage in North America with a detailed reflection of 24 hours in some typical daily lives around the world (posts in July and November). I’ll be interviewing David Evan Harris, founder of Global Lives, for this blog later this week. Two other projects underway are attempting to synthesise crowd-sourced content shot around the world in a single day into linear documentaries. The blockbuster You Tube based feature documentary Life in a Day, being made by Oscar winners Kevin MacDonald and Ridley Scott, (posts in July and October ) chose July for filming, while the NGO sponsored One Day on Earth on Vimeo (post in October) opted for 10:10:10. The jury’s out on these as neither is yet complete though Life in a Day is nearly there and will be released in January.
In the most recent in a series of videos promoting Life in a Day, director Kevin Macdonald and editor Joe Walker talk about the process of making sense of the more than 5,000 hours of user generated video that their call to action generated. Despite the challenge presented by the sheer quantity of material MacDonald says that working with You Tube content has been great, giving them unusual artistic freedom to shape the work as they choose, a “purity of motivation” as he calls it, without a financier pushing for a product that will recoup his investment. It’s an enviable position for a documentary maker to be in. But as the participatory mode starts to get established in the industry we are going to have to think about the economics of these projects and ask at what point volunteer effort becomes unpaid labour, collaboration becomes exploitation. As Trebor Scholz puts it, in his trenchant criticism of what he calls “Playbour” (Play + Labour) in the digital economy, “free comes at a price”.
Scholz’s thought resonates for me in thinking about another of the year’s creative themes – the use of Data Mining to personalise the user experience in music videos. Arcade Fire’s video for “We Used to Wait”, The Wilderness Downtown (September post) made well-judged use of this affordance incorporating footage of the viewer’s own family home – courtesy of Google Maps and Street View – to create a moving exploration of growing up, memory and identity. In December, the Japanese band Sour followed up their 2009 hit Hibi No Nieiro, with its virtuoso use of crowd-sourced webcams, with Mirror, which features data-mined content. The interactive video was produced by Masashi Kawamura, who was also behind the 2009 video, in less than a month, with $5,000 raised on the mass funding platform for creative projects Kickstarter (the success of which is itself a noteworthy story of 2010).
Mirror combines band footage with content drawn in (with permission) from the users social networks, along with other material that’s freely available. Try it here. It’s a cleverly realised piece that’s been much admired (“absolutely wild“,”very cool“) but it backfired for me. Seeing my photos, content about me found through search, and even routes I’d walked when visiting friends and family on holiday (revealed by my phone location) woven into the video gave me a distinctly queasy feeling, as it graphically illustrated just how accessible all that personal information is. Here’s one person’s version:
There’s a gathering disquiet about the implications of all the data we’ve been giving away more and less unwittingly in our dealings online, data which is being monetised and potentially scrutinised. Data Mining and Dataveillance are emerging as major political issues for the next decade. Yet all this material is also a rich creative resource. I’m sure we’ll see an immediate explosion of projects imitating Mirror and The Wilderness Downtown, but I can imagine a backlash too, with personal content becoming a no-go area.
Both the Arcade Fire and Sour videos are made possible by HTML5, the latest version of the hypertext coding language, which integrates video into web pages rather than show it from a separate media player. These two experiments suggest how HTML5 is going to have a profound effect on video online – transforming it in the context of the emerging Semantic Web from a media which has been isolated from other web elements into an integrated part of the web – “semantic video” or ”hypervideo” as it’s been called.
Brett Gaylor and his associates in the open source Web Made Movies project at Mozilla have been busy experimenting with semantic video in 2010. (Posts in September and October ) They’ve created the popcorn.js library and a number of rapid fire demos exploring popcorn’s potential for web documentary. In early 2011 they’ll be adding Butter to Popcorn as Gaylor explains on Tumblr. Butter is a graphical interface that allows filmmakers to create popcorn pages linking their video to other web content. Meanwhile further work on popcorn.js is underway to make it more open and useable. You can keep track of developments at Web Made Movies.
Two of my favourite pieces of the year – The Johnny Cash Project (August and November) and Man with a Movie Camera: The Global Remake (October) – show us what a crowd-sourced aesthetic can be. In an interview when she was nominated for the You Tube Play awards, artist Perry Bard explains how she abandoned her original idea to remake Vertov’s seminal 1929 documentary herself shot by shot as “truly boring”. Man with a Movie Camera is such an inventive, energetic, ecstatic piece – a celebration of the city, modernity and the potential of cinema itself – that it is hard to imagine how one individual could dream up a remake that wouldn’t look dull in comparison. So Bard, an experienced producer of collaborative public art, threw that thought out in favour of the unpredictable strategy of crowd-sourcing. She didn’t know what would come of it, but she committed herself to an open approach, with rules never to upload anything herself, and never to get rid of anything. Her leap of faith was richly rewarded with the submission of hundreds of Vertov-inspired contributions, ”a collision course of one-night stands, people from all over the world, Bangkok next to Beirut” as she says, which turn out to be the perfect match for the heady rush of the original.
In a similar way, the aggregated frames of The Johnny Cash Project (August and November posts), each drawn by a devoted fan, collectively make a big enough statement to memorialise the epic talent of “The Man in Black”. Again, one person’s homage might have been nice, but there’s a pitch of energy that the crowd brings, when each participant has committed themselves creatively to their own contribution. These projects work artistically as a quilt does, where an accumulation of contrast becomes a pattern with an aesthetic coherence of its own.
Quilting’s been on my mind this year as a metaphor and precursor of digital collaborative work and the excellent Quilts exhibition at the Victoria and Albert Museum was one of my cultural highlights (July). Henry Jenkins drew my attention to another contemporary characteristic of quilting in November, when he memorably kicked off his opening remarks at the DIY Citizenship Conference in Toronto; “My grandmother was a Remix artist…”
Finally, I think online documentary came of age this year, with Katerina Cizek’s “Out My Window” (November) which brought us first person insights into the lives of suburban highrise dwellers – with form and content working together just right.
There’s no reason to think developments in 2011 will be any less interesting. I’m looking forward to it.
I’m going to be in Toronto this week presenting at a conference on DIY Citizenship – Critical Making & Social Media. It’s a very interesting programme and I’m looking forward to it. Before I go to Canada I must mention Out of My Window, which recently launched, and is the first output from the National Film Board of Canada‘s long-term HIGHRISE project. It was just on the bill in the 360 category at the Sheffield Doc/Fest but you can see it right now online.
In the last decade the National Film Board have been building on their long tradition as documentary commissioners with some terrific interactive content. Recent output has included Capturing Reality ; The Art of Documentary – which looks at the genre of non-fiction itself through interviews with over thirty filmmakers including Werner Herzog, Albert Maysles, Kim Longinotto and Errol Morris, and GDP, an “interactive account of the recession as it plays out in the lives of ordinary Canadians”. The NFB’s interactive work is nicely executed, with clean design giving primacy to storytelling. (You get the impression of a community of creatives experimenting and learning about multi-perspectival storytelling together across these projects. Possibly a starry eyed view and I’ll be curious to find out more about the scene there while I’m in Toronto.)
The elements really come together in the NFB’s most recent launch, Out of My Window, the first iteration of the HIGHRISE project – itself a remarkable undertaking – “a multi-year, multi-media, collaborative documentary project about the human experience in global vertical suburbs”, led by award winning filmmaker Katerina Cizek.
Out of My Window is a lovely work, based on 360 video and intimate first person audio, which you access through a simple effective interactive device – a block in which each apartment offers an insider perspective on life expressed through telling detail in “the suburban vertical city” in thirteen different countries. The images, pacing, use of sound and music (all by local musicians) work together to create vivid portraits of the diverse people and communities of these commonplace but often overlooked locations. Take a look. And don’t miss the Directors’ Statement for an insight into how Cizek evolved the idea and developed her technical approach.
