Thursday 1st December ICE 12 Oclock

Can we all meet in the ICE base room at 12 o clock. I am putting the website together and don’t seem to have pictures of the families ready. Can we all make sure that we have pictures of the families/victims that are ready to give to me so that I can add them to the pages of the website.
You can name them …….familyname.jpg.

We will be checking on blogs again so make sure that you are beginning to get into the habit of responding to what we show you, making reference to things that have influenced you, talking about your own work that you are beginning to make.

In the session we will be going over the content from the RSA for their competition and also looking at some more examples of experimental pieces.


Vimeo Accounts Flickr Account

When you have output your videos for vimeo; use H264 Codec, High Quality, size 400 by 225 pixels using export to quicktime conversion in Final Cut PRO

We have two vimeo accounts one to use for uploading the family videos and one account for uploading supporters videos.
I am sending via e-mail the logon details of these accounts together with the Flickr account that Soraya has set up.

Ready for next week we need to have all of the family videos compressed and sent to the vimeo family or supporters accounts.

As you are editing take still frames from your footage that give a good flavour of the day and the demonstration. Upload these images to the flickr account that we have set up details above.

Personal Blogs & Being at Sessions

It is really important that each of you attends the sessions on Thursdays and also keep your blog up to date each week. You need to document and talk about the work that you are doing. What has worked well, what hasn’t worked so well, what things you have learned. What you would like to learn.

Your blog is also a place where you can share your work: the process of editing, how your editing decisions change and why you have made those decisions.

You can see what some of last years students have done on their blogs.
The MA blog for last year is: MA Media Production 2010/11

Some examples of student blogs are:

Shukun Li

Mingjie Sun

Elena Tarasz

John Denayoh

Get Blogging! And Get to the Sessions

Jean Rouch & Direct Cinema

Please read the extract from Cine Ethnography by Steven Feld that I gave out at today’s session.

From Collab Documentary Site:

“At the screening on Wednesday, Edgar Morin described how “Chronicle of a Summer” came about after a conversation in which he proposed that Rouch turn his anthropological eye on the people of Paris. (Morin’s account brought to mind the genesis of the British Mass Observation project which similarly arose out of a dialogue about ‘bringing anthropology home’ – in that case between anthropologist Tom Harrisson, filmmaker Humphrey Jennings and journalist Charles Madge. This parallel was explored in a conference presentation by Elena von Kassel Siambani the morning after the screening.)

The film that emerged from Rouch and Morin’s discussion involved one of the first uses of 16mm handheld camera and sync sound. This technology was by no means off-the-shelf. The filming was very experimental technically and it took a development process across the shooting period to achieve reliable sync, as Vincent Bouchard and Severine Graff explained in their conference papers. Rouch’s ’50s films were shot silent with narration added afterwards. What he was striving for was a handheld set-up flexible enough to film spontaneous speech in real-life settings. As subject matter Rouch and Morin settled on the everyday life of “the tribe of people living in Paris”, their brief; “What is your life? Are you happy?” Their film unfolds as a disparate group of people consider those questions from different perspectives during the course of the summer of 1960. The film reveals French society in a process of change – divided over the repression of the independence movement in Algeria, living with the legacy of the Occupation, with class, race and identity in debate. At the same time the film is an investigation into this new spontaneous filming method, a reflection on the ethics and aesthetics of documentary still relevant today.

I didn’t understand much of the Q & A at the Paris screening as my French is rudimentary, and there wasn’t any translation, but I did make out Edgar Morin relating that a young man who’d recently seen “Chronicle of a Summer” had summarised it as;“…a reality show, with a critical dimension.” It was an apt observation. The unfolding of events and feelings on camera, the “pro-filmic event” as Rouch called it, that was key to his film-making, is these days a crucial ingredient in reality TV, with Big Brother acting as the catalyst to ensure that something does happen. You can see Rouch as the provocateur in this clip from “Chronicle of a Summer”. It’s not my favourite sequence – Rouch’s interventions seem heavy-handed out of context and without the “critical dimension” that is crucial to the film. But the sequence does give a flavour of “Chronicle of a Summer”, and it’s the only clip available on You Tube. So here it is.”

In 2010, on the fiftieth anniversary of ”Chronicle of a Summer”, I’m planning to revisit the questions that Rouch and Morin posed in their film, to try and start a conversation about contemporary life and values. I’ll use the web as the platform, and want to involve diverse participants from around the world, bringing together distributed responses – in video and stills, combined perhaps with some form of data visualisation. While Rouch and Morin’s 1960 film investigated the potential of the new handheld sync sound filming, “The Happiness Project” (working title) will investigate the potential for participatory online documentary. There are lots of challenges, and issues to work through regarding how to go about. At the heart of my investigation is the question of how to combine peoples’ recordings to tell a larger story – in a form that works on the web, and is editorially satisfying.

I’m not the first person to be experimenting with collaborative documentary by any means – there have been some really interesting creative responses already in this space – including work by Kutiman and MadV on You Tube, and Brett Gaylor’s “RiP! A Remix Manifesto” – an important, entertaining feature documentary that’s currently winning lots of prizes at Film Festivals (and will be the subject of my next post). In producing “The Happiness Project” as practice-based research, I get to build on what others have done, experiment, and share my findings. I’ll be posting here about the project as it develops, inviting people to get involved, and and reflecting on what works and what doesn’t.

Rouch didn’t see the explosion of non-professional video content that has happened on You Tube – he died just a few months before the service launched. But he did anticipate the age of participatory media. Back in 1973 he wrote; “Tomorrow will be the time of completely portable colour video, video editing, and instant replay… and of a camera that can so totally participate that it will automatically pass into the hands of those who, until now, have always been in front of the lens.” I hope that “The Happiness Project” might contribute a new dimension to shared anthropology, by developing ways for those who have “always been in front of the lens” to tell their collective stories.

Postscript ~ Rouch is a contested, at times contradictory figure and if you’re curious about him I’d urge you to read beyond this brief introduction. As a brief overview Michael Eaton’s terrific obituary piece is a must. The diverse perspectives of “Building Bridges” open up the complexity of Rouch’s work. Rouch’s relationship to Africa has been subject to critique by, among others, Manthia Diawara in “Rouch in Reverse” . Steven Feld’s “Cine-Ethnography” which I’ve drawn on here, is a rich resource of Rouch’s own writing. A new book – “The Adventure of the Real; Jean Rouch and the Craft of Ethnographic Cinema” by Paul Henley sounds promising.