What is Cinema Journalism and Why it Matters Most for New Generations

 

“The stories have really brought worldly conflicts to the table and have shown the disparities of diverse human views”, 22-year old Steffi from the Phillipines told the Guardian newspaper.

You’d be forgiven for thinking Steffi, like other interviewees, are debating Victor Orbán’s endgame with the EU or the global pandemic but, no. She’s referring to the world’s most profitable movie Marvel’s Avengers Endgame.

“Why is it young people will watch fictional cinema of an event but they won’t bother with the same one in news?”, asks 25-year-old Wenwen from China.

Fifteen years ago I led a team of international journalists through Nato’s simulated war program. It was a high profile project in which we travelled from Northolt’s military base to Sweden on her Majesty’s Royal jet. You can see the insignia above the headrest on my seat. Outside the plane a fighter jet accompanied us in British airspace.

 

 

The military wanted to know more about how the media might cover asymmetric wars. Watch these two short ( 1 min )videos. We’re in a ditch trying to report on a car full injured people. But surrounding us are snipers who’ve trained their laser scope on us. What do we do?

I told the military about an emerging phenomenon in journalism and how a generation related to news through a cinematic experience. “It wasn’t entirely new” I said, “you could go back to Star Wars which represented the conflict between super powers”. But something else was happening amongst the socially media literate.

At the World Editors Forum in Sweden to a gathering of hundreds of people I said the one man/ woman crew as video journalists were driving this, but it wasn’t focused on equipment per se. Video, Mobile, Drone, these are all styles of journalism in themselves but attached to modes of equipment.

 A cinema journalist approaches a story like a director on a movie set. What can I use to best tell this story. It’s a mindset. This was made in 2005 way before TikTok.

 

In the UK working with the Press Association over five years we’d transformed Britain’s regional journalist from writers to video journalists. It was a success in conversion, but new practitioners easily defaulted to styles they lifted from traditional journalism seen on television.

At a summit at CUNY in New York of I joined twenty of the world’s leading media. Vice.com had caught the media by storm and was about to go on Television. I wrote How Vice had become the Voice of a Generation which aligned with this new universe of styles in cinema.

To delegates from world leading tech their London flagship store would become an engaging platform to talk about new styles. It was no coincidence it also emerged during the boom of the iPhone. In 2012 as a judge for the Royal Television Society Awards we watched in awe a documentary, Syria: Songs of Defiance, made by Al Jazeera which was shot entirely on iPhone. For the filmmakers the practicalities of shooting clandestine footage outweighed any aesthetic.

Trust in news over the years has hit low points. It is compounded by news execs telling the same old stories in the same styles as competing media such as Netflix, TikTok, YouTube and Snapchat aggressively compete for attention.

Fictional cinema continues to borrow from an array of medium including news to forge its narratives whilst experimenting with different ways to tell a story. Meanwhile, newsmakers steadfastly refused to see what cinema could offer.

It sounds confusing, even alarming that any mention of journalism or factual storytelling should include cinema in the same breath. Yet some of the world’s leading figures don’t see confusion. Documentary maker Michael Moore says stop trying to make a documentary and make a movie. Martin Scorsese sees the fusion in this short clip. It’s a question of self control.

 

Sixty years ago the pioneer of the mobile news camera Robert Drew posed the question in the overlap of forms. In an interview with him in 2010 he would repeat that whilst TV News people took his equipment they largely ignored his techniques. Reporters, for instance, talk over strong pictures but a generation will uncover future forms that build on his work, he told me (below). Robert Drew was called the father of Cinema Verite or Direct Cinema. He was an out and out newsman.

 

Movements have a life of their own. In 1994 the birth of videojournalism in the UK really took off when five years later the BBC provided it with critical mass. Hence, last week represented a significant breakthrough in the relationship between journalism and cinema when one of the UK’s most respected and journalists Television News’ highest awards in journalism fromThe Royal Television Society (RTS).

The BBC’s Clive Myrie with his camera operator David McIlveen were independently awarded in their respected categories Best Television Journalist of the year and Best Camera Operator of the Year. Clive also won Best News Presenter of the Year.

 

Image by David McIlveen

Working on stories as diverse as COVID-19 and Trump’s America during the election, they produced television that was compelling viewing. It fired up twitter with resounding praise and left some journalists wondering how the team had done it

I saw the news films when they were broadcast last year. They looked nothing like you’d usually see on television news. Through friends I managed to get an interview with Clive whom I’d met at previous events and had been exchanging emails. Asking open questions, Clive provided answers that referenced cinema. That research remains to be produced at large but listen here to what he says as part of three-part question.

 

And here’s the denouement when I showed it to 80 young people I met for the first time studying to become journalists, they too saw connections. From open questions almost all agreed it was cinema or nearer to cinema.

I’ve only scratched the surface in this article in which there is no essence of cinema. There are trends throughout history of emerging forms and practitioners like Clive, David and many others like Raul Gallego Abellan are the ones shinning a light on it.

Ihave been fortunate to have ridden a career that has been rich in innovation, from being one of the first NUJ videojournalist in the UK in 1994 chosen from 3000 hopefuls to 2005 when I won one of the US’s most coveted awards.

The Knight Batten for Innovation in Journalism, which the Guardian newspaper would win in 2011, was for developing a platform before YouTube to show how embedded video, photos and text could work. US judges from the cream of journalism networks said in their words “it foreshadows the future”.

I then followed up my research with an exhaustive study that would lead to a Doctorate. I covered many continents and interviewed some of the most powerful people in news.

It’s not a matter of if, but when, and I wager that Clive’s work, coupled with others I’ve researched will give further impetus to this form, if it’s recognised for its nuanced approach and how it’s accepted by young and mature generations.

 

If you’d like to get in touch with me you can reach me at Gyimahd (at) Cardiff (dot) ac (dot) uk

Dr David Dunkley Gyimah is an international multi award winning journalist and innovator who’s reported from conflict zones in Apartheid South Africa and along the Syrian border. He’s worked for top brands in news and startups. He’s a former artist-in-residence at the UK Southbank Centre and specialises in Human Centred Design Thinking in storytelling running the Futures Story LAB at @Jomec.

 

 

 

 

 

 

Revolutionising Journalism Education in International News Reporting Via Zoom

 

Wefaced a crisis in cracking teaching online. Two-hour straight lectures were not going to work, particularly staring straight down the tube.

 But first a flashback. Two main problems need solving to capture this extraordinary event in the photo above. How do I convey what this experience is like and how do I preserve it?

I’m near the Syrian border teaching a group of young Syrian journalists Cinema Journalism. It’s a style of news making that makes use of cultural, social and literary forms in storytelling pulled from different cultures, which more often fictional cinema makers deploy.

I interview the storytellers after my training session and then organise them into a photo-shoot. Below is the completed product which drapes across video. When I begin this story, I have attendants attempt a mental image of the scene by describing a cinematic narrative.

 

Imagine this I say:

The US has ordered US nationals to vacate Syria and Southern Turkey as they consider bombing Syria to sanction Assad. A number of journalists are travelling to meet us. Many are on some wanted list. They carry no passports. The night is quiet, a slight warm breeze blows. It smells of sweet musk. It’s eerie and then one by one they arrive at our hotel exhausted and with stories to tell…

 

Fast forward to 2020. COVID-19 lockdown has pushed all lectures online. It can be difficult enough teaching how to be an international reporter in-person, because the methodology involves sitting in sanitised surroundings.

A former senior BBC executive refers to this as air condition journalism. Quite how you impart emotion on the necessity of a risk assessment, should a missile come your way, is challenging.

One day VR of the kind, such as “Carne y Arena,” by Alejandro González Iñárritu will be common place. The experience puts the viewer in the moment. In this case the desert as Latin American immigrants find themselves under assault. Imagine being a reporter in this situation?

But until then, what?

In 2006, a decade from now I tell Apple Inc, in a presentation that yielded a profile on their front page, we will be streaming from our homes into businesses. You have become the brand.

Television has already given us the tools for this feat ahead. We’ll gladly watch hours of TV. What if online lectures became a personalised TV programme. This is what the Open University attempted did in the 1970s and perfected in the 90s and to date I still watch Bob Ross’ Joy of Painting on BBC Four. I watched it yesterday!

In lockdown can you provide a comparable experience for the next generation of journalists? I see fault lines, particularly in the pipeline. Zoom has become the default, but I can see a number of new features to make this process a better experience. Three key words here are:

• Experience
• Memory
• Storytelling

 

This is what I did liasioning with our course director.

1. First build a pop up studio using a three camera set up
2. Break the lecture programme into a virtual travel-to- zones. Each week we’ll visit a different country where students would in advance have to find news and provide a briefing.
3. To simulate this as real, we set up a news agency with directions for cohorts: know where you’re going and get together with your colleagues to plan the news. This encouraged early group collaboration, sharing and debate. Sometimes I’d spring a surprise a couple of days before lectures, by changing the team or designated country we’re visiting.
4. Amongst the student cohort where there would be a producer from each group and super producer at our morning news room meeting who would have to devise a programme news agenda.
5. Through multiple pitching, using online videos, students refine their techniques.
6. Each week, on average, two guests (senior news reporters) from that region would speak to the class for on average 25 minutes explaining the news ecosystem, and how each reporter got into journalism. This has proved popular. I would add that’s also because the students are already mentally attuned to that country. Psychologists refer to this as a desirable difficulty.
7. The best bits have been the questions the journalists-in-waiting have asked the guests.
8. By using short burst lectures, less than 20 minutes, I’d provide theoretical knowledge around their practices and news offerings.
9. We’d finish with a debriefing of the guests and day.I would then stay on 30–45 mins on average after lectures for informal conversation, the longest duration was an hour and half.
10. We were guided by a Programme content wheel I devised. We’d start with a quiz. Two reasons. Firstly it loosened up the class. Secondly, it involved knowledge transfer. The key is repetition, memory, and each week referencing prior framing. (below Journalist Afua Hirsch on craft skill)

 
 
 

Latest stop over Russia

We’ve several countries to go: India, Romania etc. Our latest guests were Oksana Silanteva, one of Russia’s first multimedia journalists and Daria Dergacheva, a former agency journalist in Russia, now completing her PhD.

I’d spent the morning with a group of Russian journalists organised by Oksana presenting creative storytelling. One of the the attendants wrote this, which after translating I thought I better not show my other half. In the UK you might get a ‘He’s alright. Seen better!”, but this…?

 

Анастасия Пахорукова Я влюбилась! Он просто потрясающий!

Here’s what Oksana wrote about the project on her FB post. If you’d like to get involved, or believe you can help innovating on top of this please email me Gyimahd(at)Cardiff (dot)ac (dot)UK

 

 

Today I had a day of Russian-British friendship. In the morning,

David Dunkley Gyimah

gave a lecture at Silmedia Club about rethinking visual storytelling and templates of television journalist’s work.

And in the evening,

Daria Dergacheva

and I met with students of Cardiff University, whom David leads a course in international journalism, shared his feelings and thoughts about what is happening and where it all goes)))

David designed a completely amazing structure for his course. Every week students dive into some country. They study sources, look for stories, meet people, try to write about what is now relevant to the country. It could be India, South Africa, Brazil, China, Russia.

We train fast switching and diving skills into material. I think it’s a crazy scheme.

Considering that we have different regions sometimes more different than some countries to, it would be fun to do something like this inside the country, between different regions.

Although of course, David and I dream of joint projects of Russian and British students. While ′′ looking in the direction of dreams “, it’s getting old.

Forethought

Forethought — Looks to the future and reflects through past…

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How Digital Storytelling revives journalism of the 21st century

 

You know you see what they want you to see. The terrorism in New Zealand; 50 dead, and the manner in which some newspapers and broadcasters reported the event reached a deeply depressing low.

Britain’s Daily Mail’s heavily condemned headline posing its angelic tag of the terrorist demonstrated a leaning to hybrid interference, virtuous signalling and morally questionable standards.

Hybrid interference, or wedging is a strategy writes Mikeal Wiegell adopted by external agents in a society to drive distorting concepts of truth and hence heighten divisions. It’s now no stranger to journalism in liberal societies.

Yet, so far it matters not a jot — at least to the proprietors. Newspapers are privately owned and any public standards to which they might be upheld were strafed by a UK government concealing itself behind press freedom, democracy and self-regulation. You need laws? Levenson 2 (UK press enquiry) was about cleaning up the boil after it had been lanced. The sore has been left open.

The crisis a populace faces in seeing journalism as truth telling has some comparisons with a cultures pre-renaissance when truth and falsehood could mesh. Stories were embellished and accepted.

Gilgamesh, a Sumerian King is characterised by documenters as slaying lions with his bare hands. The ubiquitous heroe’s journey told by Joseph Campbell demonstrates a predilection to myths. Daniel Defoe (1659–1731) is said to be one of the first to practise evidence-based journalism, but it didn’t catch on universally. Today, too in spite of his horrendous actions, terrorism in New Zealand can still, it appears, be re-spun.

The difference now as a generally more enlightened society than our ancestors is we’ve been led to believe newspapers are organs of factual realism truth, when some have grown into ideological frankenstein machines — working against tolerance and liberalism.

Papers with News
The history of populists papers requires context. The Daily Mail (1896), Daily Mirror (1903), and Daily Express (1900) were set up by gentry ideologically aligned with the Conservative Party with the alt view of squashing working class pesky newspapers like the Northern star, whilst filling the void with their own brand of stories, which could be sensationalist.

If you had deep pockets and friends in high places, you effectively stood to control millions of British people, by shaping what they read, and feeding their views, however extreme, to others. By the 1930s, Freud’s psychoanalysis had popularised that people were governed by an irrationality that far outdid rational thought. Gustav Le Bon ‘s The Crowd had shown similar findings in the 19th Century. People would behave en mass and were thus prone to group-think and be susceptible to fear talk that hosted a lie , rather than question it.

As a newspaper baron you could tell your version of reality and hand general elections back to governments-in-waiting, whilst earning free airtime publicity from broadcasters e.g. BBC and What The Papers Say.

Clear impunity.

And for all the twitter storms, flagging dog whistles, outright race batting or stirring divisions, it’s no stretch to believe there’s no such thing as bad criticism. Not being talked about is far worse says Roger Stone. The rest? Who cares. Hence they’ll be another storm of opprobrium soon, and another and another.

How do you manage accountability? Does hitting the papers in the pockets mean anything? According to academic and author Chris Horrie who’s written one of the defining books about tabloids e.g. Stick It Up Your Punter! the Sun newspaper’s owners News International have lost £15m a month (in 1989 prices) since their damning Hillsborough coverage and liverpudlians boycotted the paper. Yet the Sun survives.

Such mass boycott action is rarely successful and the Internet today gives newspapers a wider reach from ad spend to boost profits. The Mail in particular, has shown itself to be innovative. Today, it’s the leading UK online paper — a feat it managed devising unusually lengthy front page scrolls which gamed SEO algorithms and slating click-bait titles with articles psychologically shaped to fuel interest.

Sleight of hand
There’s a game you may have played with a toddler in which you present both hands. One supposedly conceals a ball. The toddler makes a choice. You then open your hand without the red ball, feigning surprise. The toddler puzzled looks disbelieving at the hand again and then behind you, by which time you’ve disposed of the ball. This curiosity, falling for the same trick all the time is a bit like the illusionary presence of Father Christmas. But at some point the illusion cracks.

Somehow in today’s journalism, generally the audience can still be viewed as a toddler, not necessarily in the telling of stories, though this happens, but in the illusion of presenting the “entirety” of an event. What’s not happening in the frame, behind your back hides much needed information.

There was a moment in a BBC political interview programme called On the Record, circa 1990s presented by John Humphrys, when the camera moves away from the a face shot to below the table where you can see the politician desperately wringing his hands. His veil had dropped.

Should we continue to call them newspapers, the free press, or impartial broadcasters at all? A wider debate, but as we head towards 5G and the consequences of ultra low latency, deeper relay remote control, A.I. and what Professor Mischa Dohler from Kings College describes as the coming of the Internet of Skills how might journalism and societies tackle wedging?

Perhaps, as this draft moving image of me presenting news superimposed with data arrays illustrates, we need greater co-creating between multi-disciplines e.g. engineering, neuroscientists to reveal the underlying, which I’ll refer to as the fourth wall. Stats at your fingerprints to debunk human perception, and if you haven’t watched Akala’s surgical delineation of knife crimes in London here, in which the media perceive as a black on black problem, do.

Journalism’s so called higher level of proof is under assault and its response has been exposed as woefully inadequate. Because thus far, so long as you can cite others who support your POV, or persuasively frame a point to massage people’s irrational behaviour (War is good at all costs and repatriating Black brits (Windrush) will bring back a semblances of Great Britain), it’s OK. So long too that you have circulation you can pretty much say whatever you want. And so long also that you meet the minimum threshold of what a news story might look and sound like, you’re quids in.

But perhaps like the toddler seeing through the hand trick, audiences should have the opportunity to see into the fourth wall to gauge the iniquities of hybrid interference. How so?

@ledbyDonkeys describe themselves as four friends minded by the level of hypocrisy in British politician’s rolling back, even denying comments they made. So, they took to first plastering billboards with politicians’ quotes about what they previously said, and now crowd source funds to paste their ripostes. They’ve been successful.

This is activism journalism. It should be obvious journalism. @ledbyDonkeys attempt at exposing duplicitous narratives can only travel so far. And this form too, billboards, good as it is in exposing duplicity, is limiting.

What journalism, the public, and journalism studies requires is a visibility of event’s fourth wall. This is not a semiotic exercise in alternative meanings, but a way of revealing, bringing into the foreground, the outer often discarded rims of events.

This is craft work. Take Luigi Pirandello, a Nobel Prize author and dramatist. In Pirandello’s innovative theatre, the audience is given access to the thinking in the conceiving of the play. They become active participants.

It’s the equivalent of showing the guts of television and its operations at work, the type of transparency demanded in academia. How did you get there? Jeff Jarvis sees greater transparency and accountability within various solutions and social journalism. In 2014, as one of twenty global experts invited to CUNY by Jeff to share a vision of television of the future, I explained a new model of journalism through digital storytelling and cinema journalism. “I like your idea”, Jeff said afterwards, “it’s unusual”.

It’s not uncommon for many a journalists to go out to an event, only to observe it’s not the story the editor wants. All background material, dissent, self critique, out-of-the- ordinary is junked for the spectacle of the performance in mind.

On the rare occasion the fourth wall becomes the obvious story, as when a Trump supporter attacked a camera crew at a Trump raleigh. But watch how quickly the camera adopts the conventionalised reality of journalism again in the clip.

Below, an independent camera catches out-of-the-conventional-frame- material, but the larger spectacle of the 4th wall is also ignored, which includes glimpses of the absurdity of the press operators tightly penned in together — Trump’s target for his charade.

In effect it would be difficult, though not impossible for organisations to reveal their own fourth walls — as all this would be is a continuum of their own agendas.

But what if just like @ledbyDonkeys, a crowd sourced network deconstructed what main hybrid interferers were doing? In Latvia, a prime time show Melu Teorija is dedicated to revealing spins and untruths made up by Russian active measure operators. In the Ukraine their show is Stop Fa̶k̶e̶ News

And this is Lithuania’s attempt to fight Russian Active Measures operators by launching a collaboration between Lithuania’s Military Strategic Communications (STRATCOM) and Elves — the equivalent of trolls.

But what if the distortion is inside, and how much more could you deconstruct a fourth wall to expose what’s going on? In effect, in UK institutions, 4th wall journalism hasn’t much started, and the public and a new generation of journalists are walking into ever complex wedgings.

Furthermore how can you guarantee people will watch/read what you’ve made? Not unusually too that logical argument you’ve constructed may fail to convince those acting irrationally. Perhaps, a friend said, a new form of A.I for irrational arguments needs building. Emotional Intelligence and engagement also is key.

In the meantime, a combination of innovation in identifying new (digital/ investigative) tools, and also in the production of the stories is merited. Story constructs that takes elide within and out of the ecosystem that guardians frame so tightly as “journalism”, taking us into wider realms of Factual Storytelling or Occured Events Digital Storytelling (OEDS), a term coined to delineate from the multi-verse of digital storytelling.

I’ll explain further in the next post. Other observed trends can be gauged from this short video. 

Dr David Dunkley Gyimah is an international award winning innovator.