Document Spring 2011

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SPRING 2011 CDS/HONICKMAN FIRST BOOK PRIZE IN PHOTOGRAPHY :LOOLDP (JJOHVWRQ 6HOHFWV %HQMDPLQ /RZ\ THE PARCHMAN HOUR 2Q 7RXU LQ 0LVVLVVLSSL CDS FILMMAKER AWARD How to Die in Oregon TRAVELS WITH MIKE ,Q 6HDUFK RI $PHULFD )LIW\ <HDUV $IWHU 6WHLQEHFN CERTIFICATE IN DOCUMENTARY STUDIES 6SULQJ *UDGXDWHV DQG 3URMHFWV CONTINUING EDUCATION 6XPPHU ,QVWLWXWHV

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_ )D[ _ ( PDLO GRFVWXGLHV#GXNH HGX _ GRFXPHQWDU\VWXGLHV GXNH HGX &'6 'LUHFWRU 7RP 5DQNLQ &'6 $VVRFLDWH 'LUHFWRU IRU 3URJUDPV &RPPXQLFDWLRQV /\QQ 0F.QLJKW (GLWRUV /DXUHQ +DUW DQG $OH[D 'LOZRUWK 'HVLJQHU %RQQLH &DPSEHOO 3XEOLVKLQJ ,QWHUQ 0DJJLH 6PLWK The Center for Documentary Studies at Duke University teaches, engages in, and presents documentary work grounded in collaborative partnerships and extended ÀHOGZRUN WKDW XVHV SKRWRJUDSK\ ÀOP/video, audio, and narrative writing to capture and convey contemporary memory, life, and culture. CDS values documentary work that balances community goals with individual artistic expression. CDS promotes documentary work that cultivates progressive change by amplifying voices, advancing human dignity, engendering respect among individuals, breaking down barriers to understanding, and illuminating social injustices. CDS conducts its work for local, regional, national, and international audiences. $OO SKRWRJUDSKV DSSHDULQJ LQ DocumentŽ DUH FRS\ULJKW E\ WKH DUWLVW _ DocumentŽ LV UHJLVWHUHG LQ WKH 8 6 3DWHQW DQG 7UDGHPDUN 2IILFH

&29(5 WRS WR ERWWRP 7KH 3DUFKPDQ +RXU in Jackson, Mississippi, March 2011: Doug Bynum portrays Freedom Rider John Lewis while standing in front of Lewis’s 1961 mug shot. Lariah Ijames is seated next to Bynum. 3KRWRJUDSK E\ &KDUOHV ' 7KRPSVRQ -U Students participate in Show + Tell: Multimedia Cross Training from Big Shed, a CDS Continuing Education workshop, March 2011. 3KRWRJUDSK E\ 0DJJLH 6PLWK 7KH -D]] /RIW 3URMHFW exhibition opens at the Nasher Museum of Art, February 2011. 3KRWRJUDSK E\ - &DOGZHOO Iraqi civilians stare at a passing U.S. Army Humvee as the unit patrols a commercial district of Abu Ghraib, July 9, 2007. 3KRWRJUDSK E\ %HQMDPLQ /RZ\ Opening night, Full Frame Documentary Film Festival, April 8, 2010. 3KRWRJUDSK E\ /HRQ *RGZLQ 7KH 3DUFKPDQ +RXU in Jackson, Mississippi, March 2011: Adrian Gilliam portrays a Freedom Rider who was beaten for his desegregation work in Mississippi in 1961 3KRWRJUDSK E\ &KDUOHV ' 7KRPSVRQ -U

CONTENTS

SPRING 2011

CDS/HONICKMAN FIRST BOOK PRIZE IN PHOTOGRAPHY 3 William Eggleston Selects Benjamin Lowy

RADIO 10 Travels with Mike: In Search of America Fifty Years After Steinbeck

THE PARCHMAN HOUR 5 The Songs and Stories of the ‘61 Freedom Riders On Tour in Mississippi

EDUCATION 11 Undergraduate Education 2011 Certificate in Documentary Studies Graduates

EXHIBITIONS 7 Gallery Talk by Hilda Stuart and Marty Stuart Choctaw Gardens and Beyond and Sparkle & Twang Jazz in New York: A Community of Visions Photographs by Lourdes Delgado The Jazz Loft Project At the Nasher Museum of Art at Duke University After the Storm Post-Katrina Photographs by Alex Harris Sodom Laurel Album Photographs by Rob Amberg 2011 Capstone Projects Work by Certificate in Documentary Studies Graduates

Julia Harper Day Award Winner Continuing Education Summer Institutes Master of Fine Arts in Experimental and Documentary Arts OTHER NEWS 15 Visual Storytelling: The Digital Video Documentary 2011 Daylight/CDS Photo Awards FRIENDS OF CDS 15 CALENDAR 16

CENTER OFF

FILM 6 2011 Full Frame Documentary Film Festival Award Winners

PEOPLE 9 Charlie Thompson Spirits of Just Men: Mountaineers, Liquor Bosses, and Lawmen in the Moonshine Capital of the World

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FIRST BOOK PRIZE

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William Eggleston Selects Benjamin Lowy to Win First Book Prize in Photography

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TOP: A war-ravaged Iraqi landscape as seen from the window of a passing U.S. Army Humvee, July 28, 2007. 3KRWRJUDSK E\ %HQMDPLQ /RZ\ $%29( An Iraqi man surrenders to a joint late-night raid by U.S. soldiers and Iraqi Sunni “Concerned Citizens” in an area south of Baghdad, August 1, 2007. 3KRWRJUDSK E\ %HQMDPLQ /RZ\

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IRUHZRUG WR WKH ERRN Iraq | Perspectives, ZKLFK ZLOO EH SXEOLVKHG LQ IDOO E\ 'XNH 8QLYHUVLW\ 3UHVV LQ DVVRFLDWLRQ ZLWK &'6 %RRNV RI WKH &HQWHU IRU 'RFXPHQWDU\ 6WXGLHV 7KLV FROOHFWLRQ RI SKRWRJUDSKV PDGH LQ ,UDT RYHU D VL[ \HDU SHULRG ZLOO EH /RZ\¡V Ă€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$%29( An Iraqi man is taken prisoner during a late-night raid by U.S. soldiers and Iraqi Sunni “Concerned Citizens� in an area south of Baghdad, August 1, 2007. 3KRWRJUDSK E\ %HQMDPLQ /RZ\ 723 ULJKW U.S. soldiers with the 509th Infantry Division and the 3rd Infantry’s Combat Aviation Brigade launch a joint air assault, raiding over thirty targeted areas in a large rural area near Iskandariyah, July 15, 2007. 3KRWRJUDSK E\ %HQMDPLQ /RZ\ %(/2: Young Iraqi schoolgirls wait outside their rural school as seen from the window of a passing U.S. Army Humvee, March 12, 2008. 3KRWRJUDSK E\ %HQMDPLQ /RZ\

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CLOSE-UP In July 2005 I was being driven from an assignment— an endeavor that took two cars and four heavily armed Iraqi guards. Iraq was a land of blast walls and barbed wire fences. I made my first image of a concrete blast wall through the window of my armored car that day. . . . My only view of Iraq was through inches-thick bulletproof glass. The images are not intimate. Metaphorically speaking, the windows represent a barrier that impedes dialogue. The pictures show a fragment of Iraqi daily life taken by a transient passenger in a Humvee; yet they are a window to a world where work, play, tension, grief, survival, and everything in between is as familiar as the events of our own lives. I also made a series of images by attaching militaryissue night vision goggles to my camera by means of duct tape, dental floss, and occasionally, chewing gum to reveal a menacing nocturnal version of Iraq’s abandoned streets, cowering civilians, and anxious soldiers. As with the window photographs, the “Nightvision� images were made through a barrier . . . unlike “Windows,� however, the perspective is more intimate. As soldiers weave through the houses and bedrooms of civilians during nighttime military raids, they encounter the faces of their suspects as well as bystanders, many of whom are parents protecting their children. The urgency and anxiety among the soldiers were as palpable as the terror in the faces of the Iraqi civilians. More often than not, the rest of Iraq, like the rest of us, are left in the dark, but I hope that these images provide the viewer with momentary illumination of the fear and desperation that is war. —Benjamin Lowy

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THE PARCHMAN HOUR

The Songs and Stories of the ‘61 Freedom Riders On Tour in Mississippi

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723 7KH 3DUFKPDQ +RXU in Starkville, Mississippi, March 2011: RaTasha Tillery-Smith (center) portrays Freedom Rider Catherine Burks-Brooks as actors Doug Bynum (left) and Adrian Gilliam (right) look on. 3KRWRJUDSK E\ 7RP 5DQNLQ $%29( $ ERXTXHW RI ZLOG ÁRZHUV left at Bryant’s Grocery in Money, Mississippi, a legendary site associated with Emmett Till’s murder in 1955. 3KRWRJUDSK E\ 7RP 5DQNLQ

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FILM

2011 Full Frame Documentary Film Festival Award Winners +DQH\ 7KH ÀOP FDSWXUHV WKH ÀJKW IRU &RDO 5LYHU 0RXQWDLQ DV UHVLGHQWV IDFH RII ZLWK 0DVVH\ (QHUJ\ RYHU WKH FRQWURYHUVLDO HIIHFWV RI PRXQWDLQWRS UHPRYDO PLQLQJ 7KH &HQWHU IRU 'RFXPHQWDU\ 6WXGLHV DOVR SUHVHQWHG D 6SHFLDO -XU\ $ZDUG WR The Interrupters GLUHFWHG E\ 6WHYH -DPHV DQG FR SURGXFHG E\ $OH[ .RWORZLW] 7KH ÀOP DQ XQXVXDOO\ FORVH XS MRXUQH\ LQWR WKH VWXEERUQ SHUVLVWHQFH RI YLROHQFH LQ RXU FLWLHV WHOOV WKH VWRULHV RI WKUHH EUDYH ´LQWHUUXSWHUVµ IURP &KLFDJR·V &HDVH)LUH RUJDQL]DWLRQ $PHHQD 0DWWKHZV &REH :LOOLDPV DQG (GGLH %RFDQHJUD ZKR KDYH FUHGLELOLW\ RQ WKH VWUHHW EHFDXVH RI WKHLU RZQ SHUVRQDO KLVWRULHV ZLWK YLROHQFH &HDVH)LUH HPSOR\V D QRYHO SKLORVRSK\ ZKLFK VD\V WKDW WKH VSUHDG RI YLROHQFH PLPLFV WKH VSUHDG RI LQIHFWLRXV GLVHDVHV VR WKH WUHDWPHQW VKRXOG EH VLPLODU JR DIWHU WKH PRVW LQIHFWHG DQG VWRS WKH LQIHFWLRQ DW LWV VRXUFH 6KRW RYHU WKH FRXUVH RI D \HDU The Interrupters FDSWXUHV D SHULRG LQ &KLFDJR ZKHQ WKH FLW\ ZDV EHVLHJHG E\ KLJK SURÀOH LQFLGHQWV PRVW QRWDEO\ WKH EUXWDO EHDWLQJ RI 'HUULRQ $OEHUW D KLJK VFKRRO VWXGHQW ZKRVH GHDWK ZDV FDXJKW RQ YLGHRWDSH

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2011 Certificate in Documentary Studies Capstone Projects

Porch and University Galleries May 2–September 3, 2011

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Visit on the CDS Porch, our news blog, cdsporch.org

Digging In: An Audio Retreat with Big Shed Intermediate/Advanced | Shea Shackleford, Jesse Dukes, and Jennifer Deer | July 24 –29

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Master of Fine Arts in Experimental and Documentary Arts

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Closeness suggests to the viewer that you have the consent and collaboration of the person you are recording. An audience may QRW EH WKLQNLQJ DERXW FRQVHQW ZKLOH ZDWFKLQJ WKH ĆŠOP EXW WKH\ will respond to and get a better feel for the characters if you shoot in close proximity to them. Also, the sound and image quality are better when the camera is positioned near the subject; the camera picks up detail better, the footage is less shaky, and the microphone records sound more clearly.

The camera picks up better detail when positioned near the subject. (Alonzo Felder)

Framing LEFT TO RIGHT: The frame for

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Showing rather than telling means to make the documentary primarily visual. You can establish location, relationships, story transitions, and other elements visually, and reduce explanatory text or narration. Learn to shoot and use plenty of footage that shows people doing things rather than talking about doing things. $V )UDQÂŚRLV 7UXƨDXW VDLG Ĺ?$ ĆŠOPPDNHU LVQĹ›W VXSSRVHG WR say things; his job is to show them.â€? Shooting to edit means using your time on location carefully to record all the material you will need in editing, because the situaWLRQ LQ WKH ĆŠHOG FDQĹ›W EH UHFUHDWHG ODWHU WR ĆŠOO LQ WKH JDSV 6KRRWLQJ to edit comes naturally with experience, and you can get good results from diligent advance planning combined with improvising LQ WKH ĆŠHOG With your ideas for a documentary video and the guidance in Visual Storytelling, you’ll be able to shoot and edit a well-made and audience-pleasing piece.

CHAPTER 1

ering what works and what doesn’t work, and part of that process is training the senses to compensate for the camera’s limitations. The following pages cover technical advice on composition, framLQJ FDPHUD PRYHPHQWV DQG VKRRWLQJ LQ WKH ƊHOG

6

Use the “rule of thirds� to frame subjects. (Angie Lee)

SHOOTING Using a camcorder, DSLR, or cell phone leads to intimacy and immediacy, which helps to draw an audience into your story and FKDUDFWHUV $ GRFXPHQWDU\ ĆŠOP PD\ DSSHDU WR EH D IDLWKIXO UHFRUG of events and people, but no documentary is completely objective. 7KH ĆŠOPPDNHU PDNHV WKH GHFLVLRQV VXFK DV KRZ WR IUDPH D VKRW which subjects to use to develop a story, and what to leave in the edited video. The result is a uniquely personal document that is subjective and imaginative. Videographers learn from experience that a camera has its own sight and hearing (see Chapter 2: Listening). A person can see much more in a scene than the camera is able to record, so the ĆŠOPPDNHU ZLOO QHHG WR PDNH GHFLVLRQV WR FUHDWH ZKDW KLV RU KHU audience should see. Filmmakers go through a process of discov-

VISUAL STORYTELLING

VISUAL STORYTELLING The Digital Video Documentary

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To receive CDS’s e-mails with the latest news and events, click the link under Get Involved on our home page. GRFXPHQWDU\VWXGLHV GXNH HGX

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7KH ĆŠUVW WKLQJ WR NHHS LQ PLQG LV WKH Ĺ?UXOH RI WKLUGVĹž RI PRWLRQ SLFture composition. Think of the frame as divided into thirds, both horizontally and vertically. :KHQ \RX ORRN WKURXJK \RXU YLHZĆŠQGHU WR IUDPH D VFHQH WU\ to visualize the grid and put the most important features on the intersections of the lines. In other words, the middle of the frame is not the most visually interesting. Newscasters, for instance, are always framed in the center of the television screen for a stable but dull visual image. A more dynamic framing sets objects or people on the intersections of the grid lines, as the two people are in the asymmetrical frame by Angie Lee. Two basic concepts in good videography are headroom and noseroom. Headroom refers to the amount of space above a subject’s head. The shot is visually distracting if the subject is either crammed against the top of the frame or placed too low in it, with too much space above his or her head. Try to position the subject’s eyes on the top line of the rule of thirds grid.

DOCUMENT

OTHER NEWS

15

7

LEFT TO RIGHT: Too much headroom;Íž better framing. (Nancy Kalow)

Noseroom is also called “look space,� and it refers to composing a shot so that there is some space in front of the subject’s nose

VISUAL STORYTELLING

2011 DAYLIGHT/ CDS PHOTO AWARDS 7KH 'D\OLJKW &'6 3KRWR $ZDUGV KRQRU DQG SURPRWH WDOHQWHG DQG FRPPLWWHG SKRWRJUDSKHUV ERWK HPHUJLQJ DQG HVWDEOLVKHG LQ WZR SUL]H FDWHJRULHV WKH 3URMHFW 3UL]H DQG WKH :RUN LQ 3URFHVV 3UL]H 7KH ZLQQHUV RI WKH FRPSHWLWLRQ FKRVHQ E\ JXHVW MXURUV $QWKRQ\ %DQQRQ 'DUUHQ &KLQJ 6WDFH\ ' &ODUNVRQ :KLWQH\ -RKQVRQ -RHO 6WHUQĂ€HOG DQG 6DVKD :ROI ZLOO EH DQQRXQFHG LQ -XO\ DQG WKHLU ZRUN ZLOO EH RQ H[KLELW LQ WKH &HQWHU IRU 'RFXPHQWDU\ 6WXGLHV¡ JDOOHULHV WKLV IDOO 7R YLHZ 'D\OLJKW &'6 3KRWR $ZDUGV ZLQQHUV¡ SKRWR JDOOHULHV DQG LQWHUYLHZV

FGVSRUFK RUJ FDWHJRU\ DZDUGV GD\OLJKWFGV SKRWR DZDUGV JOIN FRIENDS OF CDS The best way to get involved at the Center for Documentary Studies is to support the documentary arts. This is easy to do, by making a contribution through Friends of CDS. Through their contributions, Friends of CDS help to support the Center for Documentary Studies, a 501(c)3 nonprofit organization affiliated with Duke University. Because the founders of the Center for Documentary Studies envisioned an organization that would bridge campus and community life, CDS was established as neither an academic department nor a traditional university educational center. Rather, CDS functions as an independent not-for-profit organization, with its own budget and fundraising goals. TWO WAYS TO GIVE: You may make a secure on-line donation at http://cds.aas.duke.edu/ donate OR you may send a check payable to “Center for Documentary Studies� at Friends of CDS, 1317 W. Pettigrew Street, Durham, NC 27705 For More Information: Contact Lynn McKnight, Associate Director for Programs and Communications, Center for Documentary Studies at Duke University: 919-660-3663 or docstudies@duke.edu

Find out more about CDS at documentary studies.duke.edu

April 14–17 Full Frame Documentary Film Festival 6FUHHQLQJV RI ÀOPV ZLWK GLUHFWRUV GLVFXVVLRQV SDQHOV DQG SDUWLHV Carolina Theatre and other venues, downtown Durham, NC

April 28, 7 p.m. Gallery Talk by Lourdes Delgado ,Q FRQMXQFWLRQ ZLWK D &'6 H[KLELWLRQ RI KHU SKRWRJUDSKV Jazz in New York: A Community of Visions Center for Documentary Studies

May 1, 3–7 p.m. Undergraduate Certificate Presentations 6WXGHQWV FRPSOHWLQJ WKH &HUWLÀFDWH LQ 'RFXPHQWDU\ 6WXGLHV VKRZ WKHLU ÀQDO SURMHFWV Center for Documentary Studies

May 5–8 Advanced Documentary Photography: Vision and Craft $Q LQWHQVLYH ZRUNVKRS ZLWK $OH[ +DUULV Center for Documentary Studies

May 13 Full Frame Movies on the Lawn Series $ VXPPHU VHULHV RI RXWGRRU VFUHHQLQJV SUHVHQWHG E\ WKH )XOO )UDPH 'RFXPHQWDU\ )LOP )HVWLYDO American Tobacco Campus, downtown Durham, NC

May 18, 7 p.m. Eyes on Cuba: Reflections of a Photographer and an Anthropologist $ WDON E\ $OH[ +DUULV DQG 5XWK %HKDU LQ FRQMXQFWLRQ ZLWK WKH H[KLELWLRQ A Revolutionary Project: Cuba from Walker Evans to Now J. Paul Getty Museum, Los Angeles, CA

May 20, 7 p.m. Continuing Education Certificate Presentations &'6 &RQWLQXLQJ (GXFDWLRQ VWXGHQWV FRPSOHWLQJ WKH &HUWLÀFDWH LQ 'RFXPHQWDU\ $UWV SUHVHQW ÀQDO SURMHFWV Nasher Museum of Art Auditorium

June 2, 6 p.m. First Thursday at the Nasher *DOOHU\ WDON E\ &RXUWQH\ 5HLG (DWRQ RQ The Jazz Loft Project: W. Eugene Smith in New York City, 1957-1965 Nasher Museum of Art at Duke University

June 4, 5–8 p.m. Book Party with Music Spirits of Just Men: Mountaineers, Liquor Bosses, and Lawmen in the Moonshine Capital of the World E\ &KDUOHV ' 7KRPSVRQ -U Fullsteam Brewery, Durham, NC

June 4–11 Documentary Video Institute $Q LPPHUVLRQ LQ WKH SURFHVV RI GRFXPHQWDU\ ÀOPPDNLQJ Center for Documentary Studies

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All events are on the Duke University campus unless otherwise noted. Please check the CDS calendar on the web for updates to this events listing

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LATE SPRING/SUMMER 2011

http://cds.aas.duke.edu/events/index.html

June 16–17 Literacy Through Photography Workshop

July 24–29 Digging In: An Audio Retreat with Big Shed

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Center for Documentary Studies

Center for Documentary Studies

June 19–24 Intensive Introduction to Documentary Studies

August 12 Full Frame Movies on the Lawn Series

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June 24 Full Frame Movies on the Lawn Series $ VXPPHU VHULHV RI RXWGRRU VFUHHQLQJV SUHVHQWHG E\ WKH )XOO )UDPH 'RFXPHQWDU\ )LOP )HVWLYDO American Tobacco Campus, downtown Durham, NC

July 15 Full Frame Movies on the Lawn Series $ VXPPHU VHULHV RI RXWGRRU VFUHHQLQJV SUHVHQWHG E\ WKH )XOO )UDPH 'RFXPHQWDU\ )LOP )HVWLYDO American Tobacco Campus, downtown Durham, NC

July 17–23 Hearing Is Believing I :RUN ZLWK D IHOORZ VWXGHQW WR SURGXFH DQG HGLW D VKRUW DXGLR GRFXPHQWDU\ Center for Documentary Studies

American Tobacco Campus, downtown Durham, NC

August 8–13 Hearing Is Believing II )RU VWXGHQWV ZKR KDYH JDWKHUHG VRXQG DQG DUH UHDG\ WR SURGXFH D IRXU WR WHQ PLQXWH DXGLR GRFXPHQWDU\ Center for Documentary Studies

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