By David Dunkley Gyimah. Connect with him on Google
The future of Television, where multimedia has been pensioned off. Medium specificity is no more. And instead media shift - fragmentary media mimics our psychological understanding of narrative, in a diffused medium on one platform. Confused already?
It works. I have seen it and by the time you finish reading this you will too.
Simply put, what if you could bring the Net, Cinema, motion graphics, the photo play all together?
On the one hand we're recycling the famous Plato's Cave illustration of simulating Cinema before it became the cinema, you and I know.
For film scholar Robert Stam it is Bakhtin's carnival, "an anti classical aesthetic that rejects formal harmony and unity in favour of the asymmetrical, the heterogeneous, the oxymoronic, the miscegenated".
We are in a super post modernism era. The future has folded back onto the past. It's the 1920s again, everything is possible before theory, process and the battery hen farm approach usurped our dialogical thinking.
I blame the institutions, which have spawned institutional ideological thinking. There was a time when something meant something without an authority having to validate or remediate it.
So what is about to happen next should make you gasp because it is the institution that is helping to change our thinking. Focault called it Discursive Formation "[ institutional discourses with the nominative power to produce that which they speak of"] Read Scannell's Media and Communication.
So if you're a disruptive individual there's room for you to score big.
Inside the BBC's think tank
It is a non-descript building removed from its new state-of-the-art fanciful buildings in central London. Tucked away on the fifth floor is the BBC's version of the Earthscope project.
It is here where a select group of people have been tasked with seeing the future of television; the BBC's own RnD.
But what is about to happen will turn our concept of television viewing upside down. It's a fairly bold statement and not a day goes by without someone proclaiming this or that is the future of television.
I have been an avid prospector myself, winning a Knight Batten award for Innovation in Journalism and being one of the jurors for innovative media on the UK's highest television journalism awards.
Occaasionally, I get the opportunity to sneak at something e.g.
So I hope I come with a bit of knowledge of this area.
London Live
Across London, an equally exciting project is gripping media land - the launch next year of London's 2nd 24- hour television news station.
Truth! Someone from #Londonlive should send a spy into the BBC. The idea of linear television will continue to work with narrative, but how we access the narrative and its own 'cause and effect' causality is about to be disrupted.
In fact it already has, we just haven't been paying too much attention.
The BBC yesterday did two things to signal its intent; the rnot-so-new Director General Tony Hall provided an internal key speech for the BBC's vision and where next?. The BBC also showcased internally to staff, this new television, and the oohs and aahs flowed.
There own pilots which I have seen, I won't divulge, but I can talk about my work, which resulted in Charley, one of the futurologists from Touchcast spearheading the BBC project.
Spatial filmmaking
In 2001 A friend introduced me to the writings of Lev Manovich and his ground breaking book, The Language of New Media.
We had an idea. What if media really became spatial as opposed to linear? That idea dovetailed with one of the mega projects at that time. I was asked to be a videojoutnalist for the Lennox Lewis camp as he was fighting Tyson for the undisputed heavyweight crown.
Myself and a colleague took a different approach to looking at the sport of boxing, from a grass root level and the result was this circular film called The Family. It had a beginning, but no middle and and end.
For Manovich, this approach was no big revelation. One of the UK's most exciting cinema scholars, Mark Cousins calls its schema plus variation.
What Manovich revealed was the template for filmmaking before it was Hollywoodised. Spatial cinema already existed in the the Zoetrope and Napoleon's triptych, so this new thing we stumbled upon was a variation on that spatial theme.
That idea went further to conceptiualise the Internet, outside called the Outernet, which was first featured on Apple's website in 2006.
.. at viewmagazine.tv, a website that is experimenting with hypervideo, the term “drilling” is used to describe the ability to click on a talking head during a sound bite to summon an entire interview.
What the BBC has achieved, which is only the tip of the futuretv-berg is video hyperlinking of varying sorts. This is a visual manifest that you control, one that provides endless possibilities. It's like television in its nascent stage so it would appear we're still thinking linear. But I have it on good faith that we'll soon be experimenting with the Touchcast on viewmagazine.tv. IT can't come soon enough.
Now here's the big reveal. Imagine everything you read here, you had control of on a platforms which collapsed video around my tweets, blogs, external links, links within links and that you could influence the direction, even add to the narrative. That's touchcast.
"Details have been revealed of London’s first dedicated 24-hour television channel, London Live, which will go on air in the Spring of next year". This opening paragraph from the Independent newspaper proclaims the arrival of London's own television station, and one that has been long overdue. £15 million is to be spent on this digital frontier, bolstered by the Evening Standard providing huge resources to furnish the stations news, and a daring programme schedule which includes short films according to Broadcast. At this point, you should be hearing the record scratch to a halt. No fault of London Live. We've been here before. Cue, 1997 at the UK's gathering for the TV industry, a former BBC director turned managing director told the television industry audience how new television Channels must be different to succeed. Aston managed a TV station called Channel One TV. It was London's first 24-hour television station launched in 1994. The station spent £12 million a year - not far off from London Live. And like London Live, it sought to rely on a newspaper for help. Have you guessed who? Yes The Evening Standard. Except back then in 1994, the Evening standard was owned by Associated. Like London live, Channel One too had bold dreams. London Live will use video journalists (apply here), Channel One Television pioneered videojournalism. It was the first 24-hour television station to use videojournalists in the UK.
Author working at Channel One TV
Channel One folded in 1998. It lasted four years. Its demise is attributable to several reasons, including the lack of cable's penetration, which the managers were relying on. But there were other pressing issues, which my six years PhD research interviewing management and staff has revealed. The money ball of Channel One was how videojournalism reduced the spend per storytelling to a fraction of the cost the BBC and ITV would pay. This you might presume would show in the difference between the quality of programming. You'd be partly right, but from Aston's speech to the Financial Times New
Media and Broadcasting Conference there was a twist to this assumption. Aston stated:
In November 1995 the
cable industry commissioned RSMB Television Research to undertake the first
major survey of broadband cable television households and it found that Channel
One is The Most Popular Cable TV Channel in London.
Channel One is Number
One in the ratings according to TV watchdogs, the ITC. In results announced in
September 1996, researchers for the Independent Television Commission found
that 97% of people surveyed liked it, with many expressing "surprise"
about "the high quality values and quality of presentation."
There was something the station was doing, a risk in the way not only programmes were made, but in the styles they adopted. In today's digital disneyland of TV stations and the web, launching a station in London is going to require a strategy which will have to predicated on what next, rather than what now. Formal television being launched now is in danger of sinking those millions, which is why the BBC is adopting touchcast ( see my insider report here), but more importantly that a prescient attitude to 21st generation programming is considered. It's a heady mix. It's not YouTube and it'll be hard pressed to beat a BBC rejuvenating itself with #BBCwherenext. So what's in store for London live? They are presently hiring, according to the Guardian newspaper. Next week. More on launching a station...
David Dunkley Gyimah is completing his PhD which looks at Channel One TV and the future of television. He is a senior lecturer at Westminster University and a practising videojournalist who is completing his most recent story travelling to Southern Turkey 3 hours from the Syrian Border. David is an RTS juror, artist-in-residence at the Southbank centre and a former Newsnight, Channel 4 News and ABC News journalist. He has won various awards including the prestigious Knight Batten in the US and trained the FT, Chicago SunTimes and Press Assocation. You can find out more about ho here at Viewmagazine.tv
The wine is flowing, the foie grass was perfect. The convenor clinks her champagne flute. Time for the presentation... and this video here on shared values is ...
No one's watching. What do you mean, that video was made by a professional company.
Yes, I said and they charged you a whack, and probably eat a full breakfast each morning while looking at the share price rise. { conversation with a friend staging a conference on shared values in London).
Ir's a terminal disease for Business. In the 80s and 90s when CEOs were finally being dragged to appear on business articles, the grammar was so impenetrable you needed a style guide to interpret what the CEO was trying to say.
With the, video-is-easy to make syndrome around us, even the best of the best are showing how little they understand the medium. The knowledge in this video is worthy. Teams will be pressed to watch it and no sagely.
Hey Diana, so what do you think?
Well put Dan!
Diana ( fictional person I have made up ) that wasn't the point. Tell me, if between spending your last 15 bucks on a meal because you're hungry and paying to watch this, you'd opt for the latter, then your point sticks.
Compelling video can do that to you, but it's not just about the content. Everything we negotiate is about style and some form of affective state, film can put us into.
The video is well lit. The topic important, the interviewees sanguine and the production values lifted from how-to-do-a-documentary book. The alchemy here is the equivalent of being at a function and being asked to watch this.
I choose obviously not to watch it, if I don't like it, But I happen to be a big HBR fan and this is painful. Sell the best of business, surely that should mean understanding the business of communications
Redefining the value chain, positive social impact, .... I blame the producer
David Dunkley Gyimah, winner of the prestigious (US) Knight Batten global award for Innovation in Journalism(www.viewmagazine.tv), and the International Videojournalism Award, has completed a six year study into Videojournalism. The study constitutes his PhD thesis he submits in January 2013 and is one of the most thorough examinations of the form pointing to its future. David, a technologist and one of the UK's first official videojournalists uncovers a number of widely held current beliefs that are are shown to be flawed. He unearths the rationale behind the misapprehension of the form now adopted by newspaper and broadcasters and maps out its future based on rigorous research. A news and current affairs journalist for more than twenty five years working for leading outlets such as BBC Newsnight, Channel 4 News and ABC News, David co-launched the UK's Press Association programme and has trained journalists from the FT, Chicago SunTimes and Annahar newspaper in Lebanon about videojournalism. According to David, traces of the original form and style are only now only re-emerging as the movement he calls the "100 videojournalists"and it's not significantly because of the Internet. The name '100 videojournalists' derives from the first 100 to become disciplined in the forms original philosophy.
Beyond the 100 Videojournalists
100 videojournalists
The thesis is an historical and analytical study and involves methods collating data and research about videojournalism. These include ethnographic work across several countries and Mass Communication. The latter is a critical evaluation of videojournalism, based on David's background. He was one of the UK's first official videojournalists in1994 and has been on the web since 1996 forecasting the likes of embedded video, video-hyperlinking and the Outernet. He's contributed to many conferences, such as Restoring the Trust in San Antonio and the ONA, where he spoke about the theory behind videojournalism.
Says David, this PhD has been a torturous labour of love and it's not finished yet. It still needs to be vivaed, but if the rhetoric works then it undoes the conventions of what generally is known about videojournalism and offers a new discourse for anyone entering the field.
David with Video storyteller Scott Rensberger
He adds: I interviewed five different groups amounting to 100 leading media experts and Videojournalists around the world, such as Deborah Turness, now NBC's new president of news; Robert Drew founder of Cinema Verite in the 1960s and talent such as Scott Rensberger, whom with similar talent confirm my assumptions.
There are aspects of videojournalism that did not interest me, such as the conflict of videojournalism adopted into newsrooms ( every new technology has a conflict) and the perceived forms that mark a difference between what some experts call newspaper videojournalism and television videojournalism. These are red herrings. I wasn't interested in that, but something more pragmatic and hermeneutic.
If you were to be learn about its findings, how could you make a difference? So the thesis addresses pedagogy, but also practical schemas.
Practice-based Research
The research has taken David six years and to countries like China, Southern Turkey near the Syrian border, and South Africa. David started his career as a videojournalist at Channel One Television in London before taking the form to a number of outlets. In 1997 African state broadcasters Ghana Television and South Africa's state broadcaster used videojournalism to produce a series of programmes about each other. David is currently a senior lecturer at the University of Westminster, a judge for the UK's RTS Awards (UK EMMYS), artist-in-residence at the London Southbank Centre and advisor for a number of academic and commercial-led companies. For more details email David at David (at) viewmagazine ( dot) TV.
They go by the name of the 100 Videojournalists. They existed as a unconnected collective, like Zavattini's filmmakers, Robert Drew's Cinema Veriteist of the French's Dziga Vertov group.
Each generation throws up its radicalists, who strive to show they have seen a greater horizon, and that previous formalists or cinephiles were flawed in some way.
The Internet claims to be THE harbinger for change, but it is really only the latest-to-arrive medium to provide the radicalists with a chance to do what they do best. Before that it was cable, letters, telephone, community boards etc.
Our intelligence is only equipped for the norms and then shocks of its time, which is why some of the best brains still proclaim the 1960s as far more radical than the 2000s. It's a matter of relativity and conscious load bearing. That is how much we can take.
What separated the 100 videojournalists, however were some fundamentals, which would upturn some of the most venerable paradigms in film and the art of learning.
McLuhan said the medium is the message. He was right then, but the 100 videojournalists could prove rhetorically that this was now flawed and this would be before the Net. Many of us state content is king, but when everyone has the content is that still the case?
Imagine this. You travel for the first time to Russia, then Spain, China, Burma then South Africa. You're with a friend. All you know is English, and you're very proficient. But each time you get of the airport you encounter a problem.
Someone speaks to you in their native tongue. You can only guess what they's saying, but your friend each times rises to the occasion conversing with locals solving problems.
In communications and the landscape of video journalism, the art is the equivalent to knowing all those different international languages. The one traditional media is proficient at is English. And their proficiency is such that they've exported this form to others and maintain a tight grip. It's the one they understand.
The philosophy of the 100 videojournalists was to comprehend all the other international languages and reverse engineer its theory. Film is cited as language like, and learning film requires not only a flexible mind, but a radical one.
The 100 videojournalists lasted less than a decade. It took that long for traditionalists to understand and rebuild a narrative to discard it. Today it's become a practice-based theory, meaning it can be taught.
Some of my Masters students will recognise traces of it in lectures, that our reception to problem solving, whether that's making an film, writing a letter, solving a maths problem, is tangible, if we're equipped with the diversity of knowledge-approaches.
Some months ago, I interviewed one of the figures the world owes a debt to, the great Robert Drew who pioneered Cinema Verite. It was one of the most enlightening interviews I have ever had, but I left also understanding how the 100 videojournalists could pick flaws in some of his very eloquent arguments.
In the coming weeks I'll divulge more of the 100 videojournalist philosophy and how you can truly comprehend its potential
David in Southern Turley, couple of hours drive from Syrian border
David Dunkley Gyimah is an award winning videojournalist who is completing a Six year doctorate study into video making, videojournalism and our cognitive behaviour to the form. He has taught groups around the world, and most recemtly was training activists in Southern Turkey, a couple of hours from the Syrian border. find out more from Viewmagazine.tv
Two videos merge into one this morning illustrating the point over and over again.
South Africa, 1994 - THE story, that needed telling. The end of Apartheid
By David Dunkley Gyimah. Connect with him on Google What is one of THE stories in the world, now! Put another way, one of THE worst events in the world that is not being told, but should be told.
I know there are many, but I'm talking about one with a currency that, that is univerally so gripping that if it came to you, you'd give it the time of day.
But then at some point you'd switch off. It's also the type of story, that you may not necessarily share because it's not funny (haha) story.
So I make videos, in fact I make lots of things and have done for a while and the drill was to always focus on who we needed to appeal to.
In broadcasting it was the guy in the pub. ITN News had a saying, it's got to be simple enough to be understood by the people in Wigan, which is as un PC as you can say to Wigan folks.
But back to the point, which is. I like the striking visuals, I like the stories, but in order for them not to be transient, the core skill, which has several terms e.g. 360 ( BBC) in early 2000s, to the marketer - All platforms, is the cinema experience.
Backstory
In the early 90s I came across one of those stories. I got pretty incensed why no one was paying attention. So cutting a long story short, I left London to go and live in South Africa, during the tail end of Apartheid and with the little knowledge I had got to understand the story close-up and why we weren't listening. But the story did travel on radio, print and TV.
I'm on one of those stories now. I'm absolutely riveted by it, but I KNOW that to get anyone to see what I am seeing I have got to get you more. It really is not just the story, though I think I can do a pretty good job on this one. It's the whole cinema experience.
It's about the familiarity of experience. It's what was refined by the Star Wars franchise and pushed to the Nth by Apple.
Code everything to that lasting experience. The film, the people behind the film, the magazine piece, the facebook page for feedback, the pictures you can use, the transaction that identifies YOU (user) as integral to making the whole story work.
Because now, you, are that part of the story not in a cliched, figurative way, but in the eyes of content creators, asking ourselves, how we allow you in and you want more.
I'm involved in one of the world's worst stories. I need to find that way, for you to see what I see. P.S there's a Chatham House rule on the story at the moment, that's why I can't be explicit.
Fab story this one ( No this is not the story I'm involed with) and it works for the reasons of semantic fields. Take one field as diadactically different from one and drop it into another
By David Dunkley Gyimah. Connect with him on Google Google "video journalism" and there's a slim chance viewmagazine.tv or Mrdot.co.uk, two sites I created may appear on the front page.
Its SEO rankings is not the result of link baiting, or a successful optimisation campaign, but that the sites reflect the discipline of videojournalism at a time when there was little knowledge on the Internet about videojournalism.
There are two main periods, 2005, 2006 when Viewmagazine.tv and Mtdot.co.uk were built, and then an earlier period in 1994 in the UK, when I learned the craft and there were around 100 people in the world who could count themselves as videojournalists. This clip below comes from 1994. The full documentary will be published online at some point.
In 2005 viewmagazine.tv won the Knight Batten Awards in the US for merging videojournalism with a new approach then to online publishing in layout, css, and Flash. It used magazine layout and embedded video. That is you clicked the video or picture on the web page.
It might be difficult to understand this as a revolutionary concept when it's so commonplace today, but in 2005-2007 it didn't exist. This is a meeting I attended at the BBC in 2007 when they were trying the idea of embedded video. You'll notice the video does not have any play buttons because at the time, Flash's play button was not as common, and for aesthetic reasons I wanted the videos to be free of the buttons.
This is a feature on an Online News Association gathering at Reuters who were pioneering the use of mobile camera filming.
There were two main concepts that guided viewmagazine.tv.
the articles needed to reflect new ideas in journalism, and written according to the rules of Jakob Nielsen. By new ideas that meant expanding the repertoire of journalism stories and secondly writing them in a hip way- something like a Wired Magazine piece
and the imagery and video used a standard idea today of embedded video, where in some case the videos had hyperlinks.
The Batten Awards described viewmagazine.tv as follows:
It might be difficult to understand what this meant at the time, because YouTube had yet to launch. In fact the idea of shared video was frowned upon. When you visited a website the idea was to keep the reader in your site at all costs.
Here's an example of viewmagazine's pages in 2005:
menu page - where all the pictures are moving
The menu page include Jay-Z meeting Prince Charles and an exclusive photo show with Bob Marley
David in the US
In 2005 filming with your camera was still rare. This shot comes from Times Square, where I sat one evening to watch what people were doing
Can you Trust the Media
One of the results from winning a couple of awards that year was the number of conferences I was invited to speak at, which also gave me the opportunity to meet and interview some of the leading theorists at the time e.g. Dan Gillmor and Craig NewMark (video report here).
You can find this report on the Restoring the Trust website. What was unique about this gathering, was that the overall documentation by the conference providers gives a clear indication about what was happening in 2005.
Digital Cinema
Computers, broadband and affordable cameras had as much an impact on videojournalism as digital cinema and the first edition was able to document this. The result of this was an invitation to speak to the BFI, the British Film Industry and to share ideas on videojournalism
Nato war Games
Probably one of the more extraordinary reports, because the effects of 2005/2006 affected the reporting of an industry, which appeared immune from digital, War. In a two week period, working with an international team we looked at how reportage was being affected in the digital age.
In this report above we explored how mobile phones in 2005 would change reporting
Videojournalism revisited.
International Videoournalism Awards Berlin from david dunkley gyimah on Vimeo.
8 Days (2005) on the site MrDot.co.uk reflected the birth of videojournalism amongst regional newspapers in the UK. It won the International videojournalism Awards in Berlin. The story is about the first regional newpapers in the UK attempting to understand videojournalism. Yet the sub plot is about the theoretical work of their training - which was how I trained them. Below is a trailer of 8 days.
2005 and 2006 therefore are crucial periods in videojournalism and digital history. Firstly, there was hardly any theory in any textbook in English about videojournalism. Facebook was something that existed only in university colleges, as this extract from speaking to an American academic referring to 2006 illustrates, and average broadband speeds in the UK were 2mbs.
So what informed the theory of those that would write about videojournalism? Appropriately, a wealth of material is derived from interviewing other videojournalists, but there's a catch, which I share in a detail in my research.
In 2009 in an hour presentation at SXSW in Austin, Texas, I talked about how the framing of videojournalism could produce skewed results if not executed properly. In this clip from presenting at SXSW I'm talking about how videojournalism is being used in a multimedia capacity, however this was not its primary aim.
This theory is further supported by research of videojournalists. To understand videojournalism is to seek out the practice of videojournalists, but the question is where did those videojournalists learn videojournalism, and how do they define it?
That narrative we know today begins to creak, when you come to realise that what you might have thought of the source of videojournalism may be incorrect. Today, videojournalism resides, or so we're made to think in the institutions and corridors of the web.
There are two issues to contend with, firstly broadcasters, publishers, imported the form from elsewhere, but where, is the question. Whilst the web has proved enormously fertile, the form that comes across through research is often too diffusive and sometimes lacks the appropriate provenance to create credibility around the form.
That does not mean there are not some brilliantly original videojournalists around, but you have to dig deep to find them out.
In my research I have come across three organisations who started from a blank canvas and wrote the guidelines. That is from the ground upwards they devised a set of theories and practice and my research shows how these were fundamentally different to what is known today.
French philosopher Michel Foucalt had a name for this phenomenon. He called it discursive formation (search discursive formation inside the book) and scholar Paddy Scannell provides an easily digestible description that essentially says how institutions perform a discursive formation by changing something to suit their own systems.
Amongst the nearly 100 interviewees for this publication include senior managers who were responsible for bringing videojournalism to the major broadcasters, and those on the ground with first hand experience of trying to forge something new, such as Brian Storm of the brilliant Mediastorm and Michael Rosenblum, who remains a legend.
Can we look to operate a different form of journalism in the 21st century? Not only do we have to, but if we don't the industry will atrophy. The reason is simple. Videojournalism is a language, and like any language if it fails to add to its lexicon it become irrelevant.
Cultures and society are also dynamic and as they change we need systems that change to meet their needs. Imagine having a mobile phone from 1990 as your operational phone now. Yep I know what you're thinking.
So devising a way to communicate with dynamic societies as twitter and Facebook have shown are not just coincidences, but a form of natural selection.
Can videojournalism entertain values akin to emotional journalism, whatever that may mean? I have been visiting Cairo since 2006 and on one session after presenting a delegate said something that I'd like you to listen to. Is she right?
What is a videojournalist has become a tested and vexed questions and the reply is predicated on who you ask. To define it as someone who films and reports is correct, as I do too, but it is inadequate. To believe it is about a person who can film and report their own becomes flawed at some point. It's like saying The judges at the International awards defined videojournalism, or at least my entry by different criteria.
Why is videojournalism described by a person filming their own report insufficient, because the practice of filming and reporting your own reports has already been done. What videojournalism is becomes an academic exercise of little importance, if the theory that underpins it is not unique.
That word "uniqiue" is not to be used lightly, but there are fundamental characteristics that distinguishes videojournalism from any other form. The evidence stems not from 2005 alone, but in the UK 1994 and over those years there has been two opposing stories that have emerged.
The first I have already mentioned i.e. holding a camera. The second, chances are you know very little about but from my research emerges a universal narrative that has been lost, subsumed into this generic, or television narrative.
That's a shame, because it is by far the most exciting and far-reaching development yet and is in danger of being written out of history. For instance in 1997 we (myself working with CNN International took the traditional form of videojournalism to Ghana and South Africa for this ground breaking series on the continent.
But then whilst I'm not comparing those videojournalists to the likes of Vertov, Vertov's Man with a Movie (1929) camera was dismissed by his contemporaries as mischief making.
I don't believe we can wait for a revisionist history to set the story right. My involvement in videojournalism stems from the three periods: 1994 with Channel One TV, the first videojournalism station in the UK; Being invited to share ideas with the BBC's videojournalism scheme in 2001 and working with the UK Press Association in 2005 to help launch their programme.
There as also various articles in the late 90s and early 2000s that I write for specialist magazines, such as:
David with Albert Maysles at the Sheffield Documentary Festival
The methodology I submit to make such a claim stems from what social scientists call an autoethnographic approach. I have worked in videojournalism, television news as a reporter, and producer, for the BBC, Channel 4 News, ABC News and ITV, so I have a perspective of videojournalism from working in the field. In this package below, is the classic television news reportage for London Tonight in 1997.
A strong autoethnographic statement is also predicated on how trustworthy the writer is. That is do I have any credibility when talking about news and videojournalism. Jon Snow is perhaps one of the best known news presenters in the UK who provides this in support the statement of credibility
Yet videojournaism's representation to use that horrible word, "postmodernism" is a postmodernist variation of television. This is a clip, a music break as part of a bigger videojournalism story in China. Notice how one of the young women in offering me food addresses me (David) behind the camera.
The thesis examines the practice with a historical eye and a look to it future and I should make it available within a couple of months.
David Dunkley Gyimah is going through the final edits of his 100,000 word thesis which examines the future of news in videojournalism. He currently works for the University of Westminster and s a consulatant for several companies including Soho Theatre as their knowledge transfer associate. You can find more about his work from Viewmagazine.tv
