The type writer's last rights - a device of the analogue age. A laptop which did not use electricity and had no luminance screen. A device that required 15lb/in of power to work. Thud!
And with it, the curt swipe of the paper, with the unfinished sentence.
The waste-bin in the corner strewn with scrumpled papers that didn't make it in.
The illusion of being Kareem Abdul-Jabbar and the plastic B-ball mount - Lakers rule!
The stuck "w" which you always had to pull up.
The "A" whose label had all but disappeared. Which key again?
The ribbon that annoyingly became a twister in the spool.
An aesthetic impulse where an idea lingered that much longer before it was pounded on paper.
Films that were defined by it as prop and part actor: All the President's Men, The Shining and a host of Noir.
The thunderous sfx of its keys guaranteed to have the neighbours banging on your wall at 3 a.m in the morning as you fought writers' block.
And the literally "medium cool' effect it had on friends of the aspiring screen writer.
Happy retirement
Wednesday, April 27, 2011
Tuesday, April 26, 2011
48 hours in Cairo - Art, Journalism & Reflections Tahrir Square
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| Click to Enlarge - a POV of Tahrir and some landmarks |
48 hours later in Cairo and I'm back in London marking masters papers and prepping my own phenomenology of personal cinema. More on that later.
On occasions things can get a little bit hectic this end. Last week was one such time. A client had asked if I could present in Cairo some new ideas surrounding communications and video.Three days earlier I had presented something to executives at the BBC. The response was very warm. Thank you to all for your feedback and email ( below)
In Cairo, we flew out Monday at 5pm to present at 11 the next morning and then catch the 5pm plane back to London, except the client very kindly put my flight back by a day.
Thanks to the assistance of former vjs and trainees, now firm friends, we set out to make a reflective piece about around legacy art reflecting Jan 25th and Tahrir Square. I have put a 1 minute trailer on viewmagazine.tv
Friends Salma and Ahmed helped me speak to some extraordinary people that include:
- A medical doctor who was exhibiting his extraordinary Dream- realism pieces
- Sarrah, (@sarrahsworld) a remarkable social networker and activist followed by among others Bianca Jagger
- And a group of artists marking a government building with Jan 25th slogans, just by Tahrir square.
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| In conversation with Salma as art snakes on in the background |
And yes, the police looked on. I was shooting film and unlike the last time in December where I had a plain clothes policeman all over me, now nothing.
Reflections
My plan for the piece, shot on a 5D is to project it onto a whitewalls wall after I super 8mm it and run it off a reel, hopefully to house somewhere at the Southbank Centre. It's called "Reflections" and I just was so deeply fascinated with what I heard.
They ranged from one reflector ( I won't give names till I have finished the piece) who says her parents now consult her for her opinion.
An artist who had no idea her strongest calling would be to exhibit and share in Tahrir and one who watching things unfold in the US packed his bags to come over to ensure what he was witnessing was real.
Some gigs coming up though nothing confirmed. I'm back in Dublin in July. I might be at the Sheffield Docs and then looking at something in Ghana.
Thursday, April 21, 2011
Photography mourns
Where to start!
I had in mind to share events over the last two days shooting a reflective piece in Tahrir Square with friend Salma, a local TV Journalist and Ahmed, a videojournalist. Last time I was in Cairo, we got stopped by plain clothes police. Not this time.
Or even explaining some more thoughts about discombobulating videojournalism.
But that's all irrelevant in light of the news of two photojos killed Brit Tim Hetherington, and American Chris Hondros, in Misrata. Two other photojos, Guy Martin and Michael Christopher Brown, escaped serious injury.
I knew none of the aforementioned, but Tim is someone who's work I and thousand others deeply admired. Having worked in hotspots myself e.g. South Africa, Ghana and known personally other photojos such as Yannis Kontos, you build a healthy respect people like Tim.
He spent many years working in West Africa documenting conflict. I mean, that's a huge feat. Having experienced a couple of coups myself in Ghana I had revere respect for him.
It's a reminder, as if we ever forget that there are some people who seek out the truth; they're not reckless and value life. They keep us in touch with this conflicted world from the comforts of our suburban homes.
In 2008 Hetherington wrote a piece that I tore out from the British Journal of Photography in which he mounted a robust defence of the image in visual journalism.
I'm reading it again By any means necessary
Photography et al mourns.
Sunday, April 10, 2011
A Philosophy of Videojournalism
If somethings not done yet it’s waiting to be done.
If the idea you have isn’t recognised, because it’s not been done before, you might be onto something.
If you seek professional mischief making over popularity, you represent something.
If the task at hand represents an embodied experience, in which you wrestle with subjectivity and objectivity, aesthetics (kantian) versus aesthetic (corporeal), you represent something.
If your representation, is questioned and you’re prepared to listen, you represent something.
If you move with your camera as a haptic device and your words envelop poeticism, you’re saying something.
But often the question is who’s listening?
Something’s happening. We seek doors to enter in believing adventure is on the other side. And you are helping to shape that key for others.
Your audience is committed, ambivalent or not interested. You cannot bask in the glory of finalities. Because there are none.
Each task begets another and another. The only thing fulfilling is to be unfulfilled. But that’s what you love — the chase!
If your glass is never empty, but you know how, and choose whether you want it filled, you’re onto something.
If the road less travelled, is the road you’ve taken, then often you’ll find the solo traveller awaiting you. Here you’ll share ideas that pass by the mass consensual dogma.
To you there are no masses. There is no mass media. The media delimits the message. Your message is unbridled. Meta. But your path is your own.
If you believe it so much, and the air is dark, and the naysayers make their point. Listen, but excuse yourself, because you’re onto something.
Shhh (quietly) I believe you represent something. BIG!
Developing a heurestic for videojournalismDavid Dunkley Gyimah
PhD SMARTlab, University College Dublin
Artist in Residence at London's SouthBank Centre
Senior Lecturer, University of Westminster
Royal Television Society Juror, 2011-12 Innovation in Media
www.viewmagazine.tv
10th - April - 2011
Friday, April 08, 2011
Danfung Dennis' Media Revolution for Film makers and Videojournalists
My Freedom Or Death - Condition ONE Beta from Danfung Dennis on Vimeo.
Award winning Photojournalist Patrick Chauvel in Libya road test's Award winning filmmaker/photojo Danfung's Condition ONE app out mid 2011
He's done it!
The IPad, a portable screen on the cusp of being a haptic device and a 3D viewing technology which yields a panoramic remmersion vision - touch the screen and you roll the field of view around.
The result is something that fuses game culture in news' paradigm. Danfung Dennis, a photojournalist and now celebrated documentary making with his apocalyptic "Hell and Back Again", has turned the axis of film making quite literally through a revolutionary phase shift.
John T Caldwell, an eminent media scholar coined the phrase "second shift aesthetic" to define an interconnected relationship between offline and online media. If he would allow me to, this constitutes a "phase-shift aesthetic"; 3rd, 4th...
Similarly my thoughts go to "Yellow Bird" a filming revolution, which provides 360 vision.
Revolution in film making
In the early last century French film maker Abel Gance, did something revolutionary in the use of camera mobility. He wanted to make "actors out of the audience", so he found a revolutionary way then to use a boxed camera that you needed to crank to work.
It was the Debrie Parvo, an unwieldy beast that in scenes of his seminal film Napolean, explained by Film Historian Kevin Brownlow, inflects a "being there"perception.
Depending on which generation you are we've come to marvel at immersion/remmersion and the POV. It's what binds the Gaming Industry. It is the revisioning of that gold- at-the-end-of-the-rainbow "reality".
We see it in Avante Garde films, Westerns, Hollywood flicks like, The Lady in the Lake(1947) and more recently in video Dan Chung's Mongolian Racer (2010). One of my favourites is Point of View a short film by Doug Smith
Being there is part of the quality that the great French philosopher Roland Barthes explained so comprehensively in his Rhetoric of the Image.
Newer Media (Video Journalism) Break throughs
A hundred years on, the scope of media technological advances are to numerous to note, but breakthroughs in miniaturisation, Canon's filmic mode, 3D viewing and the zeitgeist of the tablet in the Ipad are key to what Danfung has now achieved.
Pulling it all together, one prefigures though was no easy task. Often it's a big itch that comes from working in a field long enough to see its flaws and weaknesses. Just ask Garret Brown, a cinematographer who invented the Brown-Cam, that would be renamed the Steadicam.
The article A New Way to Photograph War on Time Magazine we can be assured will be one of a plethora of pieces. There we learn that celebrated Photojournalist Patrick Chauvel in Libya is road testing Danfung's Condition One, claiming:
"It's not easy to use, you have to watch not to get your shoes in the frame of your shadow or your face... But the result is worth it".
The film maker himself quote here from Film maker magazine sums up everything:
"This disconnect between the realities on the ground and the perception at home shaped the course of the film ( To Hell and Back). By using advanced technology, I hoped to create a powerful experience that would shake people from their indifference to war"
Last year I had the pleasure of interviewing Dangfung in a detailed conversation for research I'm conducting as part of a study and for the SouthBank Centre and for a revisit to Apple Store presentation below ( Youtube Link here)
He mooted the idea, but what's emerged is truly deserving. Having reworked war-doc making, he's now fashioned an app which will have ramifications far beyond Wars film making.
This June I'll be appearing at the Sheffield Doc festival in a panel as follows, where I'll be contributing to a discussion on cinema journalism. I'll also be previewing my latest IMVJ project Tahrir Memento
Moderator: Charlotte Cook
Participants: Tom Happold, Danfung Dennis, David Dunkley Gyimah, Inigo Gilmore
IEnd++
Former BBC and Channel 4 News journalist David Dunkley Gyimah is the recipient of a number of awards in innovative journalism. His worked in the journalism since 1987 and is presently a senior lecturer at the University of Westminster, PhD Candidate at SMARTlab, University College Dublin and Artist in Residence at London's cultural hub, The Southbank Centre.
Monday, April 04, 2011
New Wave War Movie docu-cinemmaker
The Hurt Locker
One is a film, which was lauded at the Oscars winning its director the highest fictional film accolade. The others are documentaries by film makers, two of whom are photojournalists.
Reality is, or has been a key feature of documentary film making. How do you capture unmediated that which would have happened without unintentional influence.
Yet our literacy towards reality plays out in a strong theme we've grown up on: Cinema. Ever seince DW Griffith fashioned an understanding of how to capture re-enacted scenes of war on camera.
No more. Yet watching these new doc-uramas I'm struck not just by the visceral hacceity of the films, but the thought of the mortality of the film makers. Given a canon 5d who, how many would dare to enter a conflict zone knowing this could be it?
It's an unspoken issue. But it's a real one. THese film makers do something admirable because they risk their own lives.
And there have been countless examples when things did not emerge as they would wish.
Many years ago, living in Ghana, a coup enveloped the country. Rawlings took power in a bloody over throw of the regime. I was there, remember it well as friends and I got caught up in the cross fire as cadets.
Years later it fuelled a desire to record conflict. In 1993 in South Africa I took a night drive - just one day only - into what was then the murder capital of the world. Many things happened, but the signing of a document absolving the Peace Corps of any responsibiliy, brought it home.
These film makers live through that thought for lengthy periods. Sobering thoughts.
Armadillo
The latest award winning film which shows the viscerality of war
Restrepo
Photojournnalist Tim Hetherington's award winning documentary
Hell and Back Again
Photojournalist Danfung Dennis' award winning documentary
In
Sunday, April 03, 2011
Lost and found in translation
Sunday morning. 930.
My task this morning is to review pages from my thesis. Chapter 1.
Blimey it's 30,000 words and only needs 10, 000 at most. So I'm taking a large blade to the passages.
In so doing, I'm having to bridge sentences to link rather harsh edits. This makes me reflect some more and sometimes contradict what I already have.
In effect, the writing process is taking me through a series of "Inceptions"- the film. Reflection, through reflection, through reflection. Sometimes I don't know what state I'm in. As one door opens, that path leads to ever more fascinating and problematic areas which require new connections.
Sometimes these exist, sometimes they require new engineering; cue the library. In this case the first chapter has all it wants, the journey has become a metaphysical one. How do you know what you know?
And how can you teach that in a manner which instills critical thinking on the party receiving it.
In effect then this, what could be described as a rather tedious practice is all about self evaluation through enquiry in a chosen field. There's no eureka moment here. Just because it's being stated the first time and in print doesn't mean it's not he first time one has thought or recited it.
But something did make me sit bolt upright. Our penchant for the image, the moving image e.g image versus text, moving against print has been recycled over many centuries. We, myself too, might revel in the exactitude of the moving image, but for how long before the beautiful word makes a come back?
But more importantly, that is, that grand narratives are perilous. They reveal truths and mask flaws - often through a deficiency in knowledge. Enlightenment- industrial - electronic - Internet.
Our birth place in any one of these supplies us with want we want before some brilliant sage reveal patterns, flows that can be ascertained and corrected by arthroscopic surgery. Here comes Everyone, We Media, etc.
And on that note I'll return to my text. Now where am I again?
My task this morning is to review pages from my thesis. Chapter 1.
Blimey it's 30,000 words and only needs 10, 000 at most. So I'm taking a large blade to the passages.
In so doing, I'm having to bridge sentences to link rather harsh edits. This makes me reflect some more and sometimes contradict what I already have.
In effect, the writing process is taking me through a series of "Inceptions"- the film. Reflection, through reflection, through reflection. Sometimes I don't know what state I'm in. As one door opens, that path leads to ever more fascinating and problematic areas which require new connections.
Sometimes these exist, sometimes they require new engineering; cue the library. In this case the first chapter has all it wants, the journey has become a metaphysical one. How do you know what you know?
And how can you teach that in a manner which instills critical thinking on the party receiving it.
In effect then this, what could be described as a rather tedious practice is all about self evaluation through enquiry in a chosen field. There's no eureka moment here. Just because it's being stated the first time and in print doesn't mean it's not he first time one has thought or recited it.
But something did make me sit bolt upright. Our penchant for the image, the moving image e.g image versus text, moving against print has been recycled over many centuries. We, myself too, might revel in the exactitude of the moving image, but for how long before the beautiful word makes a come back?
But more importantly, that is, that grand narratives are perilous. They reveal truths and mask flaws - often through a deficiency in knowledge. Enlightenment- industrial - electronic - Internet.
Our birth place in any one of these supplies us with want we want before some brilliant sage reveal patterns, flows that can be ascertained and corrected by arthroscopic surgery. Here comes Everyone, We Media, etc.
And on that note I'll return to my text. Now where am I again?
Friday, April 01, 2011
The credo of Cinematic space and silence for video
Two very different videos; one a true event, the other fiction. but the cinematicness overlap.
Kubrick was the director par excellence and this sculpted this scene in camera (spatiality), sound, scene ( luminosity) subject combine to reach into that place where demons lurk - the sub conscious.
David Couzins, the train passenger who took this video from London Undergrounds 7/7 terrorist attack, couldn't have known, or perhaps he did, but what emerges from his camera is Kubriesque.
I apologise of I have offended any Kubrik fans and I in no way seek to diminish the events of 911 by comparing it to a film.
But the point, whether by default or design is how the mesmeric effect of Couzin's video, the context, solemnity, are housed in the world of cinema ( spatial immersion).
Without denigrating the professional, if you were to emerge from a scene marked by tragedy, how forceful would be the need to speak over and to the camera. I figure I might be sorely driven to enunciate and capture the ambience. The two indeed might have worked, but......
Perhaps a mark of respect or the sheer ocassion in itself yielded what you see, but if anything this video and its psychosis points to something we could all pay attention to; the power of silence.
It is journalism, that can't be taught because it negates what we need to learn about providing information. Couzin's non-professional training, or not has produced something we return to in capturing the moment and not just physically. And silence has a currency in other more recognisable areas.
A nod to videojournalismweb for sparking this post
Labels:
"video journalism",
cinema,
David Couzins,
kubrick,
videojournalism web
Meta data video and videojournalism cult of talent
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| Yannis Kontos - World Press Photographer and Greece Icon |
One of the precursors was reliving some work from 1991-94 to illustrate to a group terminology thought to be from a web 2.0 age which was just as in vogue in 1992 e.g. Metadata and camera movement c.f DSLR shooting
Image stream one below from the BBC's flagship programme: REPORTAGE shows how metadata was used pre-internet sans the reporters voice. That is it was used on the music arc. More importantly too this was the era of MTV current affairs, a video journalism (directors often shot on hi8 or drop in shots) that would appeal to Netizens.
This was one of the programmes I cut my teeth on after 4 years before focusing on that theatre of the mind - radio.
Image stream one - the BBC's 1992 national flagship programme which pioneered its own form of videojournalism in so far as directors shot drop-in shots for this network programme
Danfung like World Press Photographer Yannis Kontos remind us of the image and non-conformity towards artistic practice. I have been using a technique I call reflexive-flaneurism- mapping, and what's obvious is in spite of all the codes, loosening of semiotics, genius or at least talent, something ( I don't know, call it what you will e.g. Dasein) something is difficult to grasp.
Besides the physicalness of being in that place and time, the essence of good visual making; there is the continuing invested self-resources, and then the Dasein.
This isn't new, but in the leveling of creativity, where the lack of books, knowledge, opportunities was once the norm, we can comfort ourselves that there is this other thing - a bit transcendental.
Where one group sees a formula for method and exhibit that modernist formalist bent; it's all in the form, others see each new task as an artistic odyssey replete with the torpid, sleepless, brain-thumping thoughts it induces, or not.
That's not to suggest training and pedagogy have no value, otherwise what's the point.
A student today hit the wall. He looked fairly relieved when I said the internal fight he was having with himself was part of the route to discovery. History is littered with tortured souls. We've come to realise though that there is genuine talent, that finds its way irrespective.
Kazuo Ishiguro was talking about his time at University of East Anglia's creative writing course. For a whole year there was no module, but the ocassional meet in the pub and talks with his lecturer Malcolm Bradbury about writing. Bradbury would later say, those who wanted to write, wrote.
I'm hoping to convene our next meeting at the BFI with the David Hayward from the BBC and Paul Egglestone from UCLAN, where we can exchange more data
Saturday, March 26, 2011
The photojournalists' Photojournalist-The Bang Bang Club
BangBang Club - a must see film
South Africa 1994. Elizabeth Ohene, the South African correspondent for the BBC World Service's Africa division is recounting a story to me in the BBC's bureau. She's just come back from covering Tokoza, a township in South Africa.
A BBC Producer had a gun pointed at his head and the assailant looked ready to pull the trigger. "What would she have told his mother?", she tells me of her friend and much loved journalist.
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| I presented a programme for BBC Radio in London called "Black Londoner" hence the play on the title from a harrowing but life-defining assignment in South Africa in 1993 |
Below, after 15 years, last year I returned to South Africa to train African Journalists at Rhodes University, working with Miami University and had a couple of hours to visit where I used to live and produced this videojournalism - meta report.
I knew of the aforementioned demo; it could make my next report and earn me some money, but I decided not to go instead. But I also remember that day for another reason. Ken Oosterbroek, one of the members of the famed Bang Bang Club was shot and killed.
I didn't know Ken personally, but I had friends who I would visit at the Star newspaper where he worked. My landlady, Lyndsey who also edited Living Magazines, would take phone calls late in the night for two hours at a time from one of her commissioned photojournalists.
His name was Kevin Carter. Kevin had just returned from a haunting assignment in Sudan. The picture is now legendary, but it was Lindsaye's retelling of Kevin's story and how he came to take the shot which kept both of us talking to the small hours of the night.
Some months later Kevin committed suicide. His picture had won him the greatest honour in photojournalism, but Lindsaye told me he found it difficult to square that with the plight of the young child in this picture.
When I became a videojournalist a couple of months later in 1994, this picture adorned my cubby hole. It was one of the few pictures that inspired me to apply to the UK to become a dedicated videojournalist.
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| Kevin Carter's award winning photo/Corbis Sygma.. The film Bang Bang Club retelling the true story of Kevin et al will soon be on general release |
There are countless aphorisms about photojournalism. Soon The Bang Bang Club, long revered amongst photojournalism aficionados may well turn out to acquire wide common use.
The story of a band of brothers who attained rock star like status from covering South Africa's trenchant apartheid-induced killings, is as inspiring as it is tragic. Joao Silva, one of the four, incurred severe injuries in 2010 from a landmine in Kandahar. Greg Marinovich blog can be found here He co-authored with Greg the book, The Bang Bang Club
Alongside them another name a synonym for exceptional photojournalism can be found, James Natchway
In itself this film will bring much reflection and awe at a professional set who often dare to go, where those considered fearless would. Look at Danfung Dennis today, whom I had the pleasure of inviting to share his life for a PhD study and then there's Yannis Kontos who I have worked with on a number of projects.
Bang Bang needed to be told. For me as a freelance journalist reporting the townships the film will bring back personal memories of reportage and my next phase into videojournalism.
More on viewmagazine.tv
Three other incredible films that inspired me into journalism
The Year of Living Dangerously
Salvador
Frankie's House
Click here for insight into major new findings on
What is videojournalism on the web, in multimedia and offline - a major study and film - and why it matters
Wednesday, March 23, 2011
Top ten tips for video making and videojournalism
Our penchant for lists, for formulaes often reduces the extent to which we might seek to uncover fresh approaches.
Arguably you could question whether there is anything in the world of video/ film to unravel anew. We simulate the work of others and adopt their signatures.
Name a visual narrator who built a career in isolation of the industry. Everyone borrows from someone. We crib books, comb blogs, analyse video.
We listen to presentations. Sometimes we marvel at the work that confronts us. Then we stop and think. How did they do it?
I'm reminded by a presentation I gave a while back in Berlin on videojournalism.
Good film makers know how to copy others without you noticing the tracing paper, really good visualists know when to break free of their idols, without the need for tracing paper
The list works to an extent, but then fails because it's no longer enough. It's too prescriptive.
Sometimes we'll just give a nod to a style which transfixed us: Turner Prize Winner Steve McQueen was influenced by Buster Keaton films and then Renaissance paintings to achieve the look in his critically acclaimed film on Bobby Sands.
I chose McQueen because he proves another point about cross-creativity: when in doubt go to the Masters of the genre and deconstruct.
For those learning the art of film making this can often be testing. The magic pill is extraordinarily alluring. But I would caution. Look, learn and leave it.
Better still there is no pill. The swan syndrome disguises the hard graft many of the people we admire put in.
Interrogate the form, ask questions: lots of questions and then leave the top ten tips to those who want to proficiency over originality.
Good stories have a habit once they've been stumbled upon of finding good story tellers who do it justice - eventually. Though I accept you're now counting the many that got away.
But each story has its own internal dynamic; a metronome, a dream-like quality where those top tips may help and also constrain.
Oh my top ten tips:
Arguably you could question whether there is anything in the world of video/ film to unravel anew. We simulate the work of others and adopt their signatures.
Name a visual narrator who built a career in isolation of the industry. Everyone borrows from someone. We crib books, comb blogs, analyse video.
We listen to presentations. Sometimes we marvel at the work that confronts us. Then we stop and think. How did they do it?
I'm reminded by a presentation I gave a while back in Berlin on videojournalism.
Good film makers know how to copy others without you noticing the tracing paper, really good visualists know when to break free of their idols, without the need for tracing paper
The list works to an extent, but then fails because it's no longer enough. It's too prescriptive.
Sometimes we'll just give a nod to a style which transfixed us: Turner Prize Winner Steve McQueen was influenced by Buster Keaton films and then Renaissance paintings to achieve the look in his critically acclaimed film on Bobby Sands.
I chose McQueen because he proves another point about cross-creativity: when in doubt go to the Masters of the genre and deconstruct.
For those learning the art of film making this can often be testing. The magic pill is extraordinarily alluring. But I would caution. Look, learn and leave it.
Better still there is no pill. The swan syndrome disguises the hard graft many of the people we admire put in.
Interrogate the form, ask questions: lots of questions and then leave the top ten tips to those who want to proficiency over originality.
Good stories have a habit once they've been stumbled upon of finding good story tellers who do it justice - eventually. Though I accept you're now counting the many that got away.
But each story has its own internal dynamic; a metronome, a dream-like quality where those top tips may help and also constrain.
Oh my top ten tips:
- Be passionate
- Seek knowledge - far and wide
- Feel involved with the work
- Find good characters
- uncover a story line that is strong; it wows you
- Find the narrative- remember stories untold are messy
- Use strong pictures
- Be reflexive - review, review, review
- Fail quickly, so you fail less often
Sunday, March 20, 2011
WebVideojournalists defining a future trail
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| Capturing the zeitgeist |
It lasted about 6 issues before it folded. I was so taken I rang and spoke to its editor who lamented the economics of it were unsustainable.
There are other specialists mags around today e.g. VideoMaker, but online is where you can get really excited. For videojournalism there are several blogs and mags offering a wealth of info; I started to mark them up and realised I'd be here all day.
The latest and an emerging behemoth from within the UK capturing the zeitgeist is the videojournalismweb blog: Online Videojournalism blog put together by eight Masters students from City University.
Its range of profiles and studied material across the breadth of video is a welcome addition to the genre. I hope they managed t sustain it after their degree.
Last week I was interviewed by one of their contributors Will Teddy - for what turned out to be a two hour chat, though admittedly a good percentage of that was me on subject. Mention video and I'm off.
Will I learnt has a good knowledge of French film's - part of his grad degree -which affords him the added heuristics to deconstruct film language from a nation that redefined European film in the 60s.
And since film language imbricates videojournalism of sorts, that's good knowledge.
Will's question's covered how much the web has changed videojournalism, what it is and where it's going. My response broadly took up the philosophy of videojournalism and a constructivist/ intepretism approach to story telling.
That means, given the term videojournalism cannot be approached as a metanarrative, that is a grand theory which covers everything (Really!) its difficult to be understood via orthodoxies.
It is part of the reason your notion of videojournalism might be fundamentally different from others.
Videojournalism
On Mrdot.co.uk I wrote some time back:
"Videojournalism is an advance on television news production - a shift away from the predictable approach television has stuck to doggedly since its inception".
This definition is fairly easy to comprehend and as videojournalism matures, it'll require deeper definitions
Take storytelling, simple to some, but a messy practice to truly master. I mean to the point that it taps into the psyche. But when we do tell stories, they're invariably linear and uniperspectival. The news you watch about Libya comes from a correspondent. And why not. The correspondent may consider all sides, if they can access those, and give a considered view. Two things are at issue here.
First you get a a view reduced to simplify the story; it's a craft, but the pre-editing of data could leave you seriously questioning the reporter if you know what they knew. Second, the idea of realism of the story takes a hit.
Realism today is sculptured with respect to dominant parties - at least on television. It's as if Coubert, the founding father of modern realism has been erased from history, though yes we are influenced by the filming of ordinary folk.
But take the story of the Libyan crisis, we see UN governments, Libya's political apparatus, Gaddafi, but little of how people e.g. Libya's are living, or the views of the French whose government has taken the lead
We accept these limitations because that's the way we do things; they are problematised indeed. Tradition and convention are powerful shapers of how we are fixed to systems that mean we blithely unknowingly refuse to question any other way of doing what it is we do.
The only time we tend to see other methods it's because technology e.g. Twitter, and or new social values smack against the old order or that sometimes methods adopted for one system are transfered to another. Ford Motor Car's system of divisional work which Hollywood adopted with the formation of specialists, adopted by broadcast networks. A system transferred to another.
The 3min or whatever report adopted from television is so (linear et al), because, why that's the way it is - at least by western influences. When I was in Chongqing I had a great discussion with a Chinese scholar who spoke to me about multi perspective Eastern art. Many stories in one plane staring right at you.
In other words, in Chinese art it's not uncommon to have multiple perspectives, rather than one - which is the Cartesian model here - which fits with the idea of single perspectives in photography, art and video.
A prevailing question at the moment suggests videojournalism is actually bankrupt of ideas. That's not to say all the noticeable films you see online aren't by universal standards great, but that the notion that videojournalism, as a mode of news film teleology would end up reworking news practices hasn't really happened.
There are many questions still to be asked, and those answers lie in a multiplicity of disciplines e.g.
experiential learning from our own individual journeys, and of course the work of new researchers and writers.
Friday, March 18, 2011
Future of Journalism ~ when does journalism intervene ?
A little boy lies cowered in the snow, destitute, cold without visible means that might help him survive the day.
Along comes a man wearing a coat; tucked in his pocket a number of energy bars. He talks to the boy, even takes some pictures before moving on. We don’t know what happened to the boy.
This may seem improbable that anyone could be so callous to abandon a child in need, but on TV screens, this is an exigent default act.
On BBC's radio Media Show which analyses media events, Television News officials were questioned over the number of reporters and presenters sent to Japan to cover what one TV reporter described apocalyptically as a visit from three of the four horsemen.
Executives defended their positions. Yet there's something else lurking as the big question.
It's a philosophical statement whose time requires a rethink. To what extent should the man described above be morally responsible to help the child?
Contemporary philosophy
On a macro level, today scores of reporters tread the scared streets of Japan doing what they’ve been trained to do; find and communicate a story.
There are more than enough. The mood is itself all the more difficult to comprehend - a show of the Japanese temperament to a Western society of how orderliness, respect can still be exercised at a time of deep crisis.
But do the media have a moral obligation to do what they can to help a desperate people? No, if an aged and mummified tenant of journalism is anything to go by.
Back in the 1960s, ITN reporter Alan Hart reporting from Nigeria’s Biafra war filed a piece, which for his bosses exemplified ITN’s prowess, however hart was angry.
Their feedback while laden with praise exalted Hart not to show any emotion next time, that is not to cry. Hart says he’s eyes welled up during his piece to camera.
The 60s and the shaping of media would have made such distinctions between reportage ( its role) and media participation in extenuating affairs. The lines were divisible and stark.
Impartiality, objectivity, truth, realism, fairness – these were held to be unequivocal in framing the profession against the scourge of propaganda.
You could argue rightly so for a media finding its feet then this was not to be breached. The media like a wild-life camera person observed life, abject of any participation.
But what about now in an era of the world village, inter connected societies, shared experiences - the prevalence causality of the butterfly theory?
Can we be so sure that common sense overrides at all costs tradition? ITN's Tom Brady (he clinched the William and Kate royal interview) speaking to students recently shared his concerns over journalists and photographers determined to get a picture of an injured Prince Diana, rather than attend to her wounds.
Questions of Journalism
The question needs to be revisited. To what point in human suffering should the media seek to do more than its intended role of reportage.
This is not to say those who provide a special window on events in the world down their tools-of-the-trade to become rescuers, but to consider that the power they possess in exposing events brings collective consciousness together- at particular times, specific instances.
Again, the obvious response to this Luddite and ill-conceived thought of mine is: "That's what we do, we are journalists. We remain impartial in executing our work".
But could we fault any of the world media broadcasting with visible on air links to donate funds, or provide an accommodation so journalists reports are re-packaged to assist acts of charity. Does there lie a mechanism that facilitates a call to action?
Again the natural response is that's not the job of journalism. However look hard and there are signs editors and journalists are already complicit - albeit in limits.
From Libya yesterday, BBC Correspondent Ian Pannel gave a platform to an interviewee on a mobile phone awaiting the fearful arrival of Gaddafi's forces in Benghazi :"If you could speak to the international community what would you say?"
In the changing dynamics of journalism within social networks is there a new responsibility that renders traditional journalism's position arcane?
A former Masters student of mine from Ghana was adamant this was so: the media should not just report on issues, he said, but seek a way to instigate change.
It was, I remember thinking, a naive thought at the time. But coming from Ghana, his experience were different, that is different to me - and I have lived and worked for the media in Ghana.
Fifteen years ago, in a ground breaking videojournalism co-production, Ghana TV sent reporters to South Africa to share, report on issues, common for each state.
Fresh look at journalism
Consider this within traditional journalism philosophy; how the act of ITN's Michael Nicholson a veteran journalist touched by a young girl in Sarajevo's war resulting in him adopting her.
Such deeds are to be eschewed. Why? Simply because journalism provides a voice but not a face that may in the minds of those that hold its divinity undermine what it stands for.
In a new age, a new era, I suggest we look further, that to start the news extolling independence followed by an announcement that if viewers want to help in anyway they can a link - which hold in perpetuity on screen is one that can be done.
In the long term, the profession requires Baroness Warnock figures, a fresh look at journalism, in a completely, radically different age from whence it came.
NB This author is not a broadcast journalist. He spent a fair few years in the profession and is now an academic. Yah! what does he know!
Along comes a man wearing a coat; tucked in his pocket a number of energy bars. He talks to the boy, even takes some pictures before moving on. We don’t know what happened to the boy.
This may seem improbable that anyone could be so callous to abandon a child in need, but on TV screens, this is an exigent default act.
On BBC's radio Media Show which analyses media events, Television News officials were questioned over the number of reporters and presenters sent to Japan to cover what one TV reporter described apocalyptically as a visit from three of the four horsemen.
Executives defended their positions. Yet there's something else lurking as the big question.
It's a philosophical statement whose time requires a rethink. To what extent should the man described above be morally responsible to help the child?
Contemporary philosophy
On a macro level, today scores of reporters tread the scared streets of Japan doing what they’ve been trained to do; find and communicate a story.
There are more than enough. The mood is itself all the more difficult to comprehend - a show of the Japanese temperament to a Western society of how orderliness, respect can still be exercised at a time of deep crisis.
But do the media have a moral obligation to do what they can to help a desperate people? No, if an aged and mummified tenant of journalism is anything to go by.
Back in the 1960s, ITN reporter Alan Hart reporting from Nigeria’s Biafra war filed a piece, which for his bosses exemplified ITN’s prowess, however hart was angry.
Their feedback while laden with praise exalted Hart not to show any emotion next time, that is not to cry. Hart says he’s eyes welled up during his piece to camera.
The 60s and the shaping of media would have made such distinctions between reportage ( its role) and media participation in extenuating affairs. The lines were divisible and stark.
Impartiality, objectivity, truth, realism, fairness – these were held to be unequivocal in framing the profession against the scourge of propaganda.
You could argue rightly so for a media finding its feet then this was not to be breached. The media like a wild-life camera person observed life, abject of any participation.
But what about now in an era of the world village, inter connected societies, shared experiences - the prevalence causality of the butterfly theory?
Can we be so sure that common sense overrides at all costs tradition? ITN's Tom Brady (he clinched the William and Kate royal interview) speaking to students recently shared his concerns over journalists and photographers determined to get a picture of an injured Prince Diana, rather than attend to her wounds.
Questions of Journalism
The question needs to be revisited. To what point in human suffering should the media seek to do more than its intended role of reportage.
This is not to say those who provide a special window on events in the world down their tools-of-the-trade to become rescuers, but to consider that the power they possess in exposing events brings collective consciousness together- at particular times, specific instances.
Again, the obvious response to this Luddite and ill-conceived thought of mine is: "That's what we do, we are journalists. We remain impartial in executing our work".
But could we fault any of the world media broadcasting with visible on air links to donate funds, or provide an accommodation so journalists reports are re-packaged to assist acts of charity. Does there lie a mechanism that facilitates a call to action?
Again the natural response is that's not the job of journalism. However look hard and there are signs editors and journalists are already complicit - albeit in limits.
From Libya yesterday, BBC Correspondent Ian Pannel gave a platform to an interviewee on a mobile phone awaiting the fearful arrival of Gaddafi's forces in Benghazi :"If you could speak to the international community what would you say?"
In the changing dynamics of journalism within social networks is there a new responsibility that renders traditional journalism's position arcane?
A former Masters student of mine from Ghana was adamant this was so: the media should not just report on issues, he said, but seek a way to instigate change.
It was, I remember thinking, a naive thought at the time. But coming from Ghana, his experience were different, that is different to me - and I have lived and worked for the media in Ghana.
Fifteen years ago, in a ground breaking videojournalism co-production, Ghana TV sent reporters to South Africa to share, report on issues, common for each state.
Fresh look at journalism
Consider this within traditional journalism philosophy; how the act of ITN's Michael Nicholson a veteran journalist touched by a young girl in Sarajevo's war resulting in him adopting her.
Such deeds are to be eschewed. Why? Simply because journalism provides a voice but not a face that may in the minds of those that hold its divinity undermine what it stands for.
In a new age, a new era, I suggest we look further, that to start the news extolling independence followed by an announcement that if viewers want to help in anyway they can a link - which hold in perpetuity on screen is one that can be done.
In the long term, the profession requires Baroness Warnock figures, a fresh look at journalism, in a completely, radically different age from whence it came.
NB This author is not a broadcast journalist. He spent a fair few years in the profession and is now an academic. Yah! what does he know!
Labels:
future of journalism,
ITN,
Japan Crisis,
Media show
Tuesday, March 08, 2011
Future Journalism - trainee journalists go beyond the blog
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| Designed Journalism- Image Valeria Testagrossa |
It's the holy grail of the future of journalism.
The pub talk is it's less about another app, but a generation with different needs and social wants from their previous lot. What's more they're working to an evermore info-literate populace.
At a recent Westminster University PR event: "Have PR and spin undermined trust in politics?" former No. 10 communications man Lance Price made that point.
Today, the audience knows what's duff, spin and good media, he more or less said.
The pen might be mightier than a sharp nudge to the kidneys, but today if you're looking to a career in the factual-story telling business you'd do well to consider options that scale the blog.
Pathways which strictly defined whether you were print or broadcast have overlapped. Words morph into images - graphically. Does Sassurean's signifier and signified mean anything today?
It's no longer a contentious point; the future is screen based, but the disappearance of classical media such as Time Magazine points out might be exaggerated.
New Journalists
Yet on the one hand it's still a listing trade; BBC et al cutting back on jobs. Then on the other side as shown with a new phenomenological group of journalists e.g. Alex Wood and Adam Westbrook playing online makes for a longer, even richer play.
To that evolving troupe, new cohorts, new journalists armed with their CSS, xhtmls, SEO continue to emerge.
It seems an eternity now since Anthony Moor, board of directors of the influential Online News Association, spoke for a generation on the OJR: "Go to the Web, young journalist.
Now its go beyond the web, enveloping jobs online once reserved for the techie heads.
Here then is the the work of Masters students 2011. Share your thoughts.
http://www.StreetsLondon.co.uk
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| StreetsLondon.co.uk |
![]() |
| London-performers.co.uk |
http://www.whereislondon.co.uk
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| Whereislondon.co.uk |
Saturday, March 05, 2011
Media Storm, Ilicco Elia, Death Marches - taming online for future journalism
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| Reuters Ilicco Elia drops by lectures to critique work and present |
One day in the Masters in Journalism Online module and student teams are now counting the seconds to go live.
Three teams of eight have been "death marching" to hit the publishing deadline after 6 weeks studying how to build and comprehend online communications. It's not over yet too.
The term "death march" has its contemporary roots in software development but came to prominence in the late 1990s whilst working for a number of dotcoms. The verge of web 2.0 and funding to launch meant no one slept.
It's a death march because you go with little sleep or food over a fixed period to get the job done. Edward Youdon's Death March is worth a read.
So far the present crop of Masters cohorts have taken in CSS, XHTML, Flash, Pshop and of their own volition Jquery and Java Script and more. That's the software bits, but there are development formalities that arise evaluated within a real-time workflow.
The module is given the alternative name, "the rabbit hole" for a number of reasons related to Alice In Wonderland: night and day blur with an array of madhatter problems and solutions thrown the students' way.
The default is to test cohorts to unconsciously make mistakes and deconstruct afterwards thus making less mistakes thereon. The value of making mistakes is a symptom of creativity, and thus should be welcomed, particularly in the hypemedia landscape - where no semiotic is fixed.
From design, brief, team management, workflow, creativity, and server technical support - if its part of the real-world it goes under the microscope.
To say online is not for the meek is putting it mildly as the course is designed to not only test new skills, but behaviour and group dynamics - often employing the wisdom of crowds.
The new journalist
This coupled with the documentary module, which uses one aspect of my videojournalism praxis provides a thorough grounding in creating a new modality of journalist.
If docs is about affectivity, then hypermedia, where we are now, is about delineating the nature and notions of how to deploy affectivity. That is how and what do you do to alter the state of something to become more tangible.
Similarly, the move forward in online is about interrogating classical and contemporary spaces and their role in a post-post structural society.
Post structural here refers to dissociative position given to deconstructing language. The world we now inhabit can no longer be interpreted by an exclusive fixation on semiotics or psychoanalysis but more fluid visual methodologies.
For instances in News you're told you can't do a jump cut ( classical); but you can in post structural because the language now is meshed - a disruption accelerated by Youtube et al
Industry giants
So what better way to rattle the cage of journalism and communications further than to bring in two industry giants thus far and a third and fourth looming.
Firstly one of the Guardian newspaper's top 100 influential media people Ilicco Elia, who came in on a lecture and roughed up ( in a very nice way) the students and their work.
The way Ilicco works is so naturally unnatural. Within a minute he had the students at ease critiquing their work with comments such as: "I really like that", and "your information architecture is the pointing the wrong away from your work".
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| Ilicco's cameras |
His lecture on a Reuter's mobile capabilities and how audiences benefit from real-time transmission of pics (during the World Cup, the system he helped develop meant he received a photo of an England goal within 15 seconds) underlines his philosophy of
distribution.
Incidentally if anyone from Canon, Sony et al are reading this, I agree with Ilicco's thinking that it's high time pro cameras were fitted with wireless relaying devices to push pictures to consumers.
MediaStorm
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| Student listening to Brian |
Later in the afternoon the founder of one of the world's leading multimedia agency's MediaStorm's Brian Storm, skyped into lectures giving students around an hour of Q and A. Questions ranged from his unique methodology, his background, how he started and how interns could join his outfit.
Brian was equally superb: what does it take to be the best? Passion, passion, passion, he answered. You don't do journalism to get rich was his payoff.
I want to pull out one story he told that illustrates a candidness and doggedness exemplifying a schema everyone should adopt. Conversely this story also highlights what goes on beneath his highly finished products - a rare insight behind the scenes.
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| Brian Storm, Mediastorm founder talked about the making of this story |
The production then wove Walter Astrada's (photographer) narrative and that of the story itself into a seamless production. It was in the post where things got interesting. Brian said they had to rework the female-voiced narratives a couple of times, with user experience feedback before it truly gelled.
Brian mentioned they have a number of projects in the works, not least their publication, and various workshops where the MediaStorm brand has fast become a working methodology.
You can find an interview with Brian which I conducted in Miami, where we first met and a feature on Ilicco hosting a mobile phone gathering of experts at Reuter's London HQ here.
Meanwhile here are some some shots from the lecture and online newsroom caught by Masters student Valeria - an accomplished photographer in her own right.
To find out more about the sites being launched go here:
Read this: Masters web sites front pages- Go beyond the blog
To find out more about Masters in Journalism programmes at the University of Westminster go here.
To find out more about this author's work in new journalism go here to viewmagazine.tv
The views here are my own and do not reflect policy of the University of Westminster.
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