Speculations on Openings, Closings, and Thresholds in International Public Media
Sunday, December 5, 2010
Meet Helen De Michiel
Helen De Michiel is a documentary filmmaker and producer, public policy media arts advocate and analysis, and explorer of the possibilites of new media for engagement with communities. She's had a long and vibrant career in all of these fields, with award-winning feature films and documentaries. Most recently (1996-2010), she served as codirector of the National Alliance for Media Arts and Culture (NAMAC). Her new multimedia documentary engagement project, Lunch Love Community, launched last week. Lunch Love Community explores healthy food for schools, and how documentary practice can be rewired away from preaching to communities, towards convening community involvement as a key part of the documentary project. More on Helen in my previous blog HERE.
The Interview Continues
Patricia: What are new developments in the media landscape that completely change our concepts, operations, and practices of public media?
Helen: Now, we are in a period when every citizen has a stake in defining the role of a public media sphere. Corporate media pounds us with diversionary fluff. Those narratives invade everyone’s consciousness and infect our public forms of discourse and reflection.
Public media is no longer only NPR or PBS. How can digital natives—that generation that has grown up permeated by all forms of emerging media and platforms-- build up a new concept of public media that designs meaningful spaces among all the new nodes of entry?
This movement of public media practices within new platforms is happening at the cellular level of our emerging new communications system. Hybrid forms of journalism, filmmaking, and writing are being tested. With new interfaces and applications, broadband media makers are making mistakes and test piloting their way into the future.
In fact, social media may be the most salient public media form of this current period. It is driven by engaged individuals speaking and sharing virally. The challenge, however, resides in how to create the “story” of this new public media sphere. How do we connect the nodes and protect them from being crushed or marginalized?
For example, filmmakers can now gather and organize groups of interested fans and users online before a work is completed. They can invite their feedback, enter into meaningful dialogues, and make an interactive exchange of ideas and questions part of the work’s development. This kind of open inquiry approach will completely transform our legacy ideas of public media.
Patricia: What are some projects emerging in this new public media landscape that you think open up new ways of thinking about our digital futures?
Helen: I am deeply intrigued by the multiple public media/public art projects being organized by Jon Ippolito and Joline Blais < http://www.three.org/>, who teach new media practice at the University of Maine. They work with social networks, kinship systems, indigenous peoples, and environmental issues. I don’t always understand exactly what they are doing, but when I do, I am jolted by the new connections they are making. And that’s a good thing.
Perhaps readers of this blog can share projects they know about that open up new ways of thinking about our digital futures? I welcome more interaction on this topic. Let’s discuss!
Patricia: What is unresolved in this new landscape? What are some debates we need to consider and engage in?
Helen: The idea of resolution may be a pipe dream in this landscape with new nodes for public media futures. Perhaps the game will just go on and on, changing abuptly just when resolution seems at hand.
Here are some of the questions I continue to ruminate over:
1. How can artists get interested in and more actively engaged in the huge telecommunications and cultural policy debates of our time?
2. How can we encourage gamers to change the terms of what is public media and learn new ways to play our way into common spaces for dialogue?
3. How can I connect 20th century cinema and art practice to the new media forms I see emerging?
4. How is the burgeoning “maker’s culture” changing both technology and arts communities?
5. Where will the new public media reside in the coming decades? Will it still be defined primarily by television or radio – or the next medium after Facebook and Twitter?
6. How can we bring into focus the urgent need for digital literacy? How can we recognize digital media not only as a conduit for ‘content,’ but as a creative medium itself in the process of being defined?
And finally, for me, one of the most important pieces missing in these larger debates is seeing the variety of voices of creators articulating and writing about their own experiences in the digital environment, as artists and participants.What is working? What is not working? What are some of the values or ethics we need to articulate as creators in this space? What new connections are you making in your work?
There is no excuse anymore for creators and producers to not become engaged in the rebuilding of a public media space. As designer Bruce Mau wrote in “An Incomplete Manifesto for Growth" :
"Organization=Liberty: Real innovation in design, or any other field, happens in context.”
Saturday, December 4, 2010
Blog written by Patricia Zimmerman, professor of cinema, photography and media arts at Ithaca College and codirector of the Finger Lakes Environmental Film Festival
Meet Helen DeMichiel
Helen De Michiel has just left her position as codirector of the National Alliance for Media Arts and Culture (NAMAC), a position she has held since 1996, to pursue her innovative work in digital media, public media, arts public policy and administration, and engagement. She's also developing a groundbreaking documentary social media project called Lunch Love Community (more on that in a future posting). Helen's experience, knowledge and insights about the massive changes in the public media landscape and its new nodes spurred me to want to interview her to learn more about the challenges of this new topography. I'll post in three parts: a two part interview, and then an analysis of the significance of the Lunch Love Community documentary project. Stay tuned and join the conversation!
Helen De Michiel is a director,writer and producer whose work includes film, television and video installations. She is principal of Thirty Leaves, a media production company. Her 1995 feature film Tarantella, starring Mira Sorvino, has been shown, among others at the Seattle Film Festival and the Mill Valley Film Festival, and won the Audience Award at the 1996 Torino International Woman’s Film Festival. After the theatrical release it was broadcast on public TV nationwide in 1997-98 through The Independent Television Service, and is currently available in home video and DVD. Her documentary, Turn Here Sweet Corn(1990) was seen nationally on the PBS series POV, and is in distribution to environmental organizations as an educational and organizing tool. It has received awards from Corporation for Public Broadcasting, the Earthpeace International Film Festival and the American Film & Video Festival. An earlier work, Consider Anything, Only Don’t Cry (1988) received the “Best New Vision” Golden Gate Award at the 1989 San Francisco International Film Festival. Her documentary The Gender Chip Project, is one of the most innovative works exploring college age women and science careers, with enormous outreach and usage within STEM communities.
Her films are included in the media art collection/archive of New York’s Museum of Modern Art. Her video installation The Listening Project (1994), is part of Minneapolis’ Walker Art Center Permanent Collection and won the 1995 “Muse” Award in New Media & Technology from the American Museum Association. She has been the recipient of several NEA Awards and a Rockefeller Foundation Intercultural Film/Video Fellowship, among others. She has served as the National Director for NAMAC (The National Alliance for Media Arts and Culture), the national arts service organization for the media arts field, form 1996-2010. In 2001 she was appointed to the board of The George F. Peabody Award for Electronic Media. She has an MFA in film and visual arts from the University of California, San Diego. She lives in Berkeley, California.
The Interview on New Nodes for Digital Futures
Patricia: How does the US public media landscape look different now than 20 years ago?
Helen: Let’s time travel a bit, since we both can still remember 1990. In 1990, indie filmmaking was new, fresh, and in ascendancy.
The Independent Television Service (ITVS) had just been funded by Congress. The Learning Channel was commissioning and running a 13-part series called The Independents, a curated thematic series showcasing independent films on cable. HBO was young, hungry, and willing to try out new projects. The MacArthur Foundation was pioneering the funding of media arts and public media organizations. Community media and public access were robustly funded by local franchise fees, and teaching citizens how to make and broadcast locally-based media.
In 1990, it really looked like emerging filmmakers could make work and bypass the clutches of the industry. It took twenty years. Now this idea of work outside the industrial system is more possible than ever thanks to the internet and broadband capabilities.
What I find so interesting is how this wave of cultural activity in public media in the 1980s and 90s set the stage for the digital revolution we are now immersed in. What artists and filmmakers were dreaming of and talking about then -- to be able to engage directly with audiences as users and participants in the media making enterprise – is now a reality.
Patricia: What significant changes have you observed in the public media landscape?
Helen: We are coming to terms with the fact that the “nodes of entry” to a media experience, or cultural experience, are wildly proliferating (that is, as long as we fight for net neutrality and protect a free internet).
We can listen to radio, or internet radio, or Pandora, etc. We can watch TV or record it for later. We can watch everything online, or download it. We can go to movie theaters and see movies…or simulcast operas. We can get news from anywhere online for free. We can comment, add images, videos, and sounds of our own to the collective mix.
All of this content can be delivered through devices we put in our pockets and can share globally in seconds. This is another way to think of “public media”—the nodes of entry are open to anyone: the whole idea of powerful gatekeepers is collapsing.
Since we are now curators of our own media experiences, it can be daunting and exhausting to stay on top of these choices and options. Here is a powerful emerging paradox: the “public” nature of a communal media literacy is weakening.
Do I watch an appointment television show, stream it on Hulu, get it VOD, or wait for aYouTube version? How do I watch and understand the work out there? As entertainment or education? When there is so much blurring and overlap, how do we discern between propaganda and advocacy?
As a media maker, I also have hard questions to think through. Do I toil for five years to make a long form documentary that public television may broadcast, but may not offer sufficient compensation or licensing fees. Or, do I test other ways to connect to different audience, who, although much, much smaller, are perhaps much more devoted to the concepts and issues in the work and who will support that work through small contributions?
We are also coming to terms with the hard reality that financial sustainability will not come from selling a media product. The new models emerging suggest that economic sustainability for producers will be peripheral to the media object itself.
New business models for rethinking independent and public media production are still to be shaped, ones that offer a real and authentic experience. I do believe that in this over-stimulated and noisy media environment, our future will focus on building a public media space that perseveres to create real world dialogue and inquiry.
Saturday, November 13, 2010
Blog written by Patricia Zimmermann, professor of cinema, photography and media arts and codirector, Finger Lakes Environmental Film Festival
The New Hollywood of global corporations wield unchecked power to command changes in labor policy beyond the US.
At least, that’s the story in New Zealand, homeland of film director Peter Jackson and his Lord of the Rings franchise.
In the multiplexes, the New Hollywood of dazzling special effects movies with limited dialogue and lots of buff young males pumps out spectacles and pumps us up with CGI displays and loud, heartbeat pulsing soundtracks.
But beyond the screen and the popcorn, the story is not so dazzling.
New Zealand native Jackson—propped up by his global media backers at Warner Brothers, MGM, and New Line--threatened to pull the next two productions of Hobbit movies out of New Zealand. Film production and actors unions had complaints about wages.
In response, what I call the Hobbitistas—young New Zealanders who support the tentpole franchise and think labor doesn't matter in the film biz—mounted small demonstrations with signs that said “We Love Hobbits” and “New Zealand is Middle Earth.”
The unions launched protests across New Zealand. They threatened boycotts of Hobbit moviemaking. So Jackson played dirty. He called in the goons.
Jackson and his megacorporation SWAT team wanted labor organized their way—without rights. They wanted workers on their productions to be considered independent contractors—NOT employees who could unionize, have rights, and secure better wages.
New Zealand legislators got scared. Jackson and his hobbits bring in $1.5 billion—1% of New Zealand’s GNP.
Imagine this scenario in Wellywood (the term for the film industry there from the city of Wellington in New Zealand): Warners Brothers, MGM, and New Line hopped across the Pacific for a two day negotiating confab with the government. They won. 66 legislators voted to change the laws in order to stoke their relationship with the Hollywood transnationals. 50 Labor and Green Party legislators voted no.
If Jackson moved production of the Hobbit franchise out of New Zealand, PM John Key worried about the impact on---get this-- tourism. The deal provides more tax rebates for media transnationals, and more partnerships to promote New Zealand for tourism. If you think a blockbuster film is just a film, you're living in the 1960s. In the 21st century, a mega production blockbuster is a franchise, a commodity chain, an economic development engine, and... a travel agency disquised as a story.
It’s a new, gnarly, complicated—and disturbing-- form of neocolonialism from the TMCs (transnational media corporations). International filmmaking is tied to GNPs. And films are more than narratives—they sell mise en scene to tourists, another source of income in the global economy.
The recent Jackson/Hobbit/Warner Brother/NZ government juggernaut also cuts open how the New Hollywood, in its quest for better and better exchange rates through runaway production, non-union labor, and cheap locations, is reorganizing below-the-line production work, global flows, and now public policy. Those clueless hobbitistas are protesting to protect global capital not labor.
Jackson might carry a New Zealand passport, but his true identity is red, white and blue global Hollywood. Follow the money on this one, and you realize the New Hollywood has a lot in common with the US military: occupations of other countries.
More links on this game-changing Jackson/New Zealand/Hobbit nexus here:
Friday, November 5, 2010
Blog written by Patricia R. Zimmermann, professor of cinema, photography and media arts, and codirector of the Finger Lakes Environmental Film Festival
Ever want to roll right out of your dorm room and into a professional career in film, television, new media, and the festival world?
Well, now you can. You can apply to be a FLEFF intern or FLEFF team leader for the 2011 festival and work with high-end and highly respected professional media producers with a thirty year track record. They'll show you the ropes, show you the way, and whip you into shape for that stunning future that awaits you.
Professional documentary and multimedia producers Ann Michel and Phil Wilde have been named Internship Coordinators for the 2011 Finger Lakes Environmental Film Festival.
As a key part of the festival team, Ann Michel and Phil Wilde will run the FLEFF internship program, which includes the FLEFF Practica courses for interns and the FLEFF Practica for team leaders for the 2011 festival.
Ann Michel and Phil Wilde bring deep, expansive professional media experience to FLEFF that spans the commercial and nonprofit media worlds. They have wide-ranging management and producing background in arts, music and film festivals.
Michel and Wilde have produced award-winning film, video, interactive, and digital media for three decades. They are the principals of Insights International, a media production firm that specializes in science and educational nonfiction media for international clients, with offices in Ithaca and in New York City.
Insights International's groundbreaking use of media has been widely recognized for bringing the real world into the classroom and the classroom into the real world.
They have produced media for major museums such as the American Museum of Natural History and the National Gallery of Art and for educational institutions across the United States. They have produced and directed media for a variety of organizations as well as professional and scientific associations such as the National Science Foundation and the United States Departments of Agriculture and the US Department of Energy, and corporations such as FinnAir. In the commercial sector, they have also worked with the BBC, NBC and the Discovery Channel.
Most recently they were awarded the blue ribbon for educational aids competition from the American Society of Agricultural Engineers. They serve as technical consultants for the Light in Winter Festival, an annual festival in Ithaca that links science and the arts. They have been involved with the prestigous Robert Flaherty Film Seminars, the longest running nonprofit international forum for documentary film, for three decades.
Since 2006, Michel and Wilde, through their company, Insights International, have served as festival producers for the Finger Lakes Environmental Film Festival’s special commissions of live music for silent film, frequently in collaboration with the Human Studies Film Archives of the Smithsonian Institution. They have also produced and directed the FLEFF trailers. See their work for FLEFF 2010 here.
Currently, Ann Michel serves as president of the Robert Flaherty Film Seminars and International Film Seminars Board of Trustees. Phil Wilde has wide-ranging experience in the nonprofit media arts center. He has served on the New York State Council on the Arts grants review panels, on the board of the Robert Flaherty Film Seminars, the board of Light in Winter, and provided hospitality for the Margaret Mead Film Festival in New York City.
Michel and Wilde write a popular blog for the Finger Lakes Environmental Film Festival on film/media/new media production called Creating Spaces.
For applications for 2011 FLEFF Internships or FLEFF Team Leaders positions, download here.
For more information on the 2011 FLEFF Internship and Team Leader positions, contact Tom Shevory, codirector, Finger Lakes Environmental Film Festival, at firstname.lastname@example.org
Thursday, November 4, 2010
Blog written by Patricia R. Zimmermann, professor of cinema, photography and media arts at Ithaca College and codirector of the Finger Lakes Environmental Film Festival
Prologue: Meet Billy Hall
Billy Hall’s deep insights, generous passions and scalding honesty filled the corner collaborative room in the Park School of Communications on October 11, 2010. It was a special honor and pleasure for me to interview Hall for this session. Why? Because he was my student in cinema studies classes in the early 1980s.
I might add, on a more personal note, he was also a hard student to forget. First, he was one of the most academically engaged students, open to everything. He never shut his mind to any idea or film. He was intellectually voracious. He found theory FUN. Imagine that!
Second, he was the only African American student in the Cinema Department (and maybe the school of communications) at the time.
Hall is now the VP of programming for TNT and TBS. He schedules for the networks, places all original programming, and manages the programming department budget. About 50 faculty and students participated in his an informal, audience driven, no-holds-barred interactive seminar called “Candid Talk about Navigating an Entertainment Industry Career after IC.”
Hall has enjoyed a wide-ranging career since graduating from the cinema department at IC in 1984. He’s worked for the Fox Movie Channel, Health and Sciences Network, Lifetime Television, Walt Disney Studios, Disney Channel and the Academy of Motion Picture Arts and Sciences prior to his VP stint at TNT.
As I interviewed him about his career, I took a lot of notes (old habits die hard—I was a journalist before I went to graduate school for my PhD in communications theory). He deconstructed the glamour of the media industries. He shared the sobering and often difficult realities that minorities and women sometimes encounter but are often never discussed in any public way.
I realized that as the interviewer, I’d need to sum up and bring some resolution to this 90 minutes of non stop, tell-it-like-it-is, wisdom. So here it is:
Billy Hall’s Entertainment Industry Survival Kit
1.Learn another language. The entertainment industry is GLOBAL.
2.Study liberal arts. You will need it more than you think. Enroll in film/media/new media history, criticism and theory courses.
3.Do an internship. Do another internship.
4.Stay in touch with everyone you meet. Be a grown up about this.
5.Study overseas. Most entertainment companies are global, most nonprofits deal with international issues. Having some experience overseas will help you in more ways than you can know when you are first applying for that visa.
6.Know about different cultures, both in the United States, but most importantly, overseas. Repeat: study overseas.
7.Americans are marketable overseas. You know things. You know your culture. Don’t be afraid to take a job beyond the comfort zones of the USA
8.Youth is a brand. Mobilize your brand. People will want to know what you know. Did I hear Lady Gaga?
9.Sometime in your career, you will be forced to make a big decision in a very hard situation that may be about your race, your ethnicity, your gender, your class, your accent, things you never thought of before. Don’t be afraid to make a mistake. No mistake sticks.
10.Join organizations in your field. Network. Network. Network. Learn about what is happening in media.
11.A career in media (as opposed to a JOB) has its ups and downs: it spikes high and sinks low, and is not a steady line of ascent. Assume that you will have periods when you are unemployed. That’s the business, whether profit or nonprofit.
12.Maintain a large network of friends and colleagues. They will get you through the lows.
13.A career is not a straight trajectory to better and better jobs and more and more fame. It’s an adventure that continually changes direction. Be ready to change!
14.Know that right now, with the global economic recession, it is a very very bad time economically to be trying to get into these industries, whether at the corporate level or at the entrepreneurial level. Remember, you have 40 years to work. Things will happen.
15. When you retire after your great career with its highs, its lows, its unemployment and its successes, be sure to leave the industry with your soul intact. Integrity is probably the MOST important hands-on skill of all.