THE DOCUMENTARY HAPPENING HAS BEEN RENAMED THE DOCUARTS INSTITUTE. CLICK HERE FOR MORE INFORMATION ABOUT THE FEBRUARY 7–10, 2008 DOCUARTS INSTITUTE.
2007
Documentary Happening Institute
Wednesday, January 31, 5:30 p.m.–Sunday,
February 4, 4 p.m.
For those who don’t know CDS history, the Happening has been
around for more than ten years (we’re on Happening #11); it’s
a Friday-night-to-Sunday-afternoon extravaganza of documentary teaching,
learning, watching/listening, and perhaps most importantly, connecting
with other documentary artists. The Happening brings together emerging
documentarians with more experienced artists, including invited
documentary practitioners who present their work and teach what
they love and know best.
This year we’ve created something new, a two-day extension
to the typical Happening events: the Documentary Happening Institute.
It’s the Happening super-sized and targeted to individuals
with more experience. The additional full-day segments on Thursday
and Friday will give Institute participants the chance to learn
from top-notch documentary artists, receive feedback on their projects,
and take another leap forward in their thinking about doing and
presenting documentary work.
The Happening Institute has three tracks to choose from: photo,
audio, and video. Sessions in each track will run simultaneously,
with all tracks converging at times to learn about topics relevant
to all three mediums, such as multimedia theory and practice and
archival research. On Saturday and Sunday, Institute participants
will join the rest of the Happening crowd.
In other words, the Institute experience includes all evening and
Saturday and Sunday daytime events connected with the Eleventh Annual
Documentary Happening. It’s
all included in the price of the Institute.
REGISTRATION
INFO
Happening Institute begins Wednesday, January 31, 5:30 p.m. and
ends Sunday, February 4, 4 p.m. (includes Wednesday night reception
and lunch Thursday and Friday)
Course Fee:
$325
Course IDs:
Audio: 10861
Photo: 10850
Video: 10860
To register on-line:
www.learnmore.duke.edu/register
To register by phone:
919-684-6259
HAPPENING
INSTITUTE COURSES
Thursday,
February 1
9 a.m.
Morning Meet-up
9:30–11 a.m.
AUDIO
WRITING FOR RADIO with John Biewen
An exploration of good (and bad) radio writing. What’s distinctive
about writing for the ear as opposed to the eyes? What does it mean
to “write” a radio piece even when you’re not
using narration?
PHOTO
THE PHOTOBOOK with Alexa Dilworth, Alex Harris, and Iris Tillman
Hill
Photography books have unique visual power and present interesting
challenges that can be relevant to filmmakers. Using still images,
a photographer often is attempting to tell a story. Can the photos
stand on their own, without descriptive text? Is there meaning in
the juxtaposition of images and in their sequencing? What is the
relationship between an aesthetic vision and the substantive material,
the content of the book? The participants on this panel will approach
questions about how to create a photography book from three perspectives:
the photographer (Alex Harris), the developmental editor (Iris Tillman
Hill), and the publisher (Alexa Dilworth). We’ll go from the
very beginning, the formation of an idea for a book, to its creation
and publication and explore the many-layered process of how a pile
of photographs, often along with the pages of a manuscript, turn
into printed, bound books—covering editing, design, print
production, and publicity, marketing, and distribution.
VIDEO
EDITING FOR STORY with Brett Ingram
How do you find a story—your story—amid hours and hours
of tape? How do you know what to keep and what to let go? How do
you choose your cast of characters? Or face the challenge of balancing
the story you went out to find and the story that you capture on
tape? What do you do when you don’t have the tape to tell
the story you know is there—if your character refuses to say
what you need him/her to say?
11–11:30 a.m.
BREAK
11:30 a.m.–1 p.m.
ALL MEDIA
MULTIMEDIA STORYTELLING with John Biewen, Tom Rankin, and Chris
Sims
Audio producer John Biewen and photographers Tom Rankin and Chris
Sims will discuss and share work from two national public radio
specials produced by American RadioWorks and the Center for Documentary
Studies that also feature an extensive use of photography on accompanying
Web sites. The panelists will talk about their strategies in realizing
the fieldwork and collaborative elements of these two documentary
productions.
In The Hospice Experiment,
Biewen charts the history of the hospice movement and its founders
while also recording the final months in the life of a North Carolina
hospice patient, Kitty Shenay. Rankin joined Biewen on visits to
Kitty Shenay’s home, where he photographed over the last six
weeks of her life.
In Married to the Military,
Biewen uses audio diaries and extensive interviews with soldiers
and their families in the military town of Fayetteville, North Carolina,
to explore the lives of families during wartime, as well as the
experiences of a military town. Sims made photographs of one of
the families featured in the radio documentary and also made a series
of images of landscapes from Fayetteville and nearby Fort Bragg.
1–2 p.m.
LUNCH
2–3:30 p.m.
GURU WORKSHOPS
AUDIO
with Karen Michel
PHOTO
with Pamela Pecchio
VIDEO
with Judith Helfand
3:30–4 p.m.
BREAK
4–5:30 p.m.
ALL MEDIA
GONE DIGITAL: MULTIMEDIA POSSIBILITIES with Carol Thomson and Chris
Sims
What’s the easiest and best way to create an audio/photo slide
show? What do you need to know to get your documentary projects
on the Web? Explore the possibilities of Web-based multimedia presentations
with Chris Sims, CDS Web content manager, and Carol Thomson, CDS
instructor and producer of the multimedia project Bridging
Rails to Trails: Stories of the American Tobacco Trail.
Thomson and Sims will provide a solid introduction to the tools
that allow documentary artists to present their work on the Web
and to combine mediums to maximum effect.
5:30–7:30 p.m.
DINNER BREAK
7:30 p.m.
THE UPRISING OF ’34
(1995, 90 min)
Followed by a conversation with
Judith Helfand and George Stoney
Richard White Lecture Hall, East Campus, Duke University
The General Textile Strike of 1934, barely publicized and rarely
acknowledged in history books, remains a stirring yet amazingly
forgotten chapter in Southern history. The
Uprising of ’34, a film by George
Stoney, Judith Helfand, and Susanne Rostock, examines this hidden
legacy of the labor movement in the South and its impact today.
In 1934, Southern textile workers took the lead in a nationwide
strike in which half a million people walked off their jobs—the
largest single-industry strike in the history of the United States.
For a time these new union members, in response to New Deal legislation,
stood up for their rights and became a force to be reckoned with
in the South. Then management moved in and crushed the strike. Some
mill workers were murdered, thousands more were blacklisted, and
many were so intimidated that “union” became a dirty
word in Southern communities for decades to come.
The Uprising of ’34
is “meant to challenge the myths that Southern workers can’t
be organized, that they will work for nothing, and that they hate
unions,” says Stoney. More than a social document, the film
is intended to spark discussion on class, race, economics, and power—issues
as vital today as they were seventy years ago. “This is more
than a story about a strike; it’s a story about community.
We went out of our way to make sure that we didn’t make a
‘which side are you on’ film,” says Helfand. “The
thrust of this film is to give the workers their chance to speak.”
Friday, February 2
9 a.m.
Morning Meet-up
9:30–11 a.m.
AUDIO
PROTOOLS MEDIA MANIPULATIONS with
Barrett Golding
The edit is the molecular unit of a story, the element used to build
excerpted phrases and sentences from an interview into a cohesive
structure. We’ll launch ProTools and dynamically display both
basic and complex edits. And for those stubborn edits that just
won't bind, even though you really, really want them too, we'll
delve into some advanced edit-omic fusion techniques.
PHOTO
DIGITAL DOCUMENTARY PHOTO: CAPTURING
TRANSIENCE with Pamela Pecchio
How do we think about the implications of the immediacy digital
photography provides documentary artists, and what are the implications
for the medium of documentary photography? How does the impermanence
of the digital photograph connect to the subjects of our documentary
work, as we work to capture transient physical and social landscapes.
We’ll also touch on digital darkroom techniques, including
digital capture, film scanning, Photoshop, and ink-jet printing
as well as other methods of dissemination offered in the digital
age.
VIDEO
THE UPRISING OF ’34:
FINDING HISTORY (THE INTERVIEW) with Judith Helfand and George Stoney
How does one conduct an interview focusing on a historical subject
while still retaining the immediacy and presence of movement that’s
essential to narrative storytelling? In other words, how does remembering
(a look back) propel a story forward? And what does it mean for
a filmmaker to ask individuals and a community to look back at deeply
painful memories of a time many would rather forget?
Using The Uprising of ’34
as a compelling case study, Helfand and Stoney will present specific
interview techniques and engage in discussion about the individual
and community relationships that are the essence of this compelling
documentary. “For Stoney, each step of the process provides
an opportunity to engage community interest, shape the story, change
one’s perspective, and act for social betterment” (Barbara
Abrash and David Whiteman, The
Uprising of ’34: Filmmaking as Community Engagement).
11–11:30 a.m.
BREAK
11:30 a.m.–1 p.m.
ALL MEDIA
MINING THE MATERIAL with Natalie
Bullock Brown and Dante James
Don’t know where to start when you consider the vast topic
of archival research? In this seminar, you’ll learn where
to begin: identifying specific resources available to documentary
filmmakers, how to navigate vast sources of information, how to
gain access to the footage, images, and sound you need to tell your
story, and how to use historical documents in a compelling way in
your projects.
1–2 p.m.
LUNCH
2–3:30 p.m.
WORKSHOP SESSION (FOCUSED ON YOUR WORK)
AUDIO
with Barrett Golding
PHOTO
with Tom Rankin
VIDEO
with George Stoney
4–5:30 p.m.
AUDIO
THE VOICE: DELIVERING THE ESSENCE
with Karen Michel
A practical and conceptual approach to doing (and being) the narration.
Vocal warm-up exercises, styles of narration, marking a script,
what and how to emphasize, being (and changing) your delivery, and
microphone technique. A hands-on a.k.a. voice-out experience.
PHOTO
WHAT A DIFFERENCE A FLASH MAKES
with MJ Sharp
Portable flash is like many powerful things—wonderful when
used well and dreadful when used badly. These days it’s much
easier to get well-exposed pictures with automatic cameras and their
compatible flash units, but a generic, well-exposed picture is often
a world away from the picture you actually want to take to tell
the story. This class will introduce students to the evocative possibilities
of flash illumination. We will look at samples of flash photography
techniques as well as the nuts and bolts of how flash units operate.
By the end of class, students will be well-equipped to seek out
the flash unit of their dreams and to regard that flash unit as
their unfailing friend in the quest for unforgettable images.
VIDEO
REDISCOVERING AND REINVESTIGATING
HISTORY with Judith Helfand and George Stoney
Beginning with an examination of original documents, Stoney and
Helfand will discuss the ways that The
Uprising of ’34 revitalized
a story that exists in the present as a cautionary tale for union
organizing in the American South; the powerful mythology of the
Textile Strike of 1934 has little connection to the particular details
of this heroic and tragic moment in our nation’s history.
The Uprising of ’34
was made as a challenge to class and culture represented by this
labor struggle. “The film was the culmination of a significant
process of historical reclamation in which eyewitnesses, historians,
community activists, newspaper reporters, and others had been intrinsically
involved. At the same time, the broadcast of the documentary was
part of a carefully strategized program of community screenings,
designed to spark discussion and stimulate action” (Barbara
Abrash and David Whiteman, The
Uprising of ’34: Filmmaking as Community Engagement).
5:30–7:30 p.m.
DINNER
7:30 p.m.
DO YOU HEAR VOICES?
An Audio Road Trip with Barrett
Golding
Richard White Lecture Hall, East Campus, Duke University
Experience some short sonic conjurings from HearingVoices.com
and other radio projections exploring the Black Audio Arts of Juxtaposition,
Voxpop, Manipulation, Montage, Storytelling, and Found-Sound. A
little talk and a lot of radio stories that’ll change your
life, or at least make your night.
DOCUMENTARY HAPPENING INSTITUTE
INSTRUCTORS & FEATURED PRESENTERS
John Biewen
John Biewen, Audio Programs Director at CDS, has produced documentaries
and news reports for public radio audiences since the 1980s. His
documentaries on social, cultural, and economic issues have taken
him to Europe, Japan, and India, and to every region of the United
States. He was a correspondent/producer with American RadioWorks,
the documentary unit of American Public Media, from 1998 to 2006.
In 1997-98, he covered the Rocky Mountain West as a staff reporter
for NPR News. Biewen has lived in Durham, North Carolina, since
2001. He has produced respected and award-winning documentaries
on aspects of Southern life, past and present, among them: Oh
Freedom Over Me (1994, reissued in
2001), a look inside the 1964 Mississippi Summer Project; Hard
Time: Life After Prison (2002), on
the challenges and successes of ex-inmates in North Carolina; and
Married to the Military
(2005), an intimate look at the wartime lives of military families,
and of a military town—Fayetteville, North Carolina. Biewen’s
work has received numerous awards, including two Robert F. Kennedy
Memorial Awards for Outstanding Coverage of the Disadvantaged, the
Scripps Howard National Journalism Award, the Third Coast International
Audio Festival’s Public Service Award, and the Silver Gavel
Award from the American Bar Association. He graduated in 1983 from
Gustavus Adolphus College in St. Peter, Minnesota, with a degree
in philosophy.
Natalie Bullock Brown
Natalie Bullock Brown is an award-winning and Emmy-nominated producer.
She served as associate producer for Ken Burns’ ten-part PBS
series Jazz
and as production coordinator for Burns’ and Lynn Novick’s
Frank Lloyd Wright.
A former producer and correspondent for UNC-TV, North Carolina’s
statewide public television network, Brown counts among her credits
a Sheryl Crow music video; the feature film The
Net, directed by Irwin Winkler; an
investigative news story for NHK, the Japanese broadcast network;
and an NBC documentary on the Internet. Brown began her film career
as apprentice editor at National Geographic Television. Also an
educator, Brown has conducted workshops on archival film and photo
research for the Center for Documentary Studies and has instructed
college students in documentary filmmaking. Today, she teaches production
classes at North Carolina Central University and is a freelance
producer. Brown has an M.F.A. in film production from Howard University
and a B.A. in English from Northwestern University.
Alexa Dilworth
Alexa Dilworth has a B.A. and an M.A., both in English, from the
University of Florida, and an M.F.A. in creative writing from the
Iowa Writers' Workshop at the University of Iowa. She moved to North
Carolina in 1990 and worked for a small book-packaging firm before
setting up her own freelance business. In 1995 she was hired to
work for DoubleTake
magazine, where she held the position of proofreader, managing editor,
and then executive editor. She was also hired as managing editor
of the CDS books program at that
time and has coordinated the editorial, design, and production work
for every CDS book since 1996. She is Publishing Director at CDS,
and also runs the Awards Program,
which includes the Lange-Taylor Prize,
the CDS/Honickman First Book Prize in
Photography, and 25
Under 25: Up-and-Coming American Photographers, among others.
Barrett Golding
Barrett Golding has been an independent audio producer since 1983.
His work has been broadcast by NPR, PRI, BBC, CBC, VOA, and CBS,
including on Lost & Found
Sound, All Things Considered, CBS
Radio's The Osgood Files,
and NPR’s The DNA Files
w/ John Hockenberry, Morning Edition, Marketplace, Weekend America,
Day to Day SoundPrint, and This
American Life. He has won numerous
awards, including ones from the Scripps Howard Foundation, the American
Bar Association, the National Federation of Community Broadcasters,
and the Montana Broadcasters Association. Golding is executive producer
of the HearingVoices.com
radio project. From 1987 to 1992, he was a member of the radio comedy
troupe No One You Know, heard on the Olympia Comedy Network, a network
of five hundred commercial stations. He is also a Web site designer
and creative director of the Dreamwaves project.
Alex Harris
Alex Harris, one of the founders of the Center for Documentary Studies,
has taught documentary photography and writing at Duke since 1975.
Among his books are River of
Traps, a finalist for the Pulitzer
Prize in general nonfiction in 1991, and A
New Life: Stories and Photographs from the Suburban South.
His current work is about contemporary Cuba, aging in America, and
the autobiographical impulse in photography. Harris helped to launch
the Humanitarian Challenges Focus program at Duke and is currently
teaching photographic fieldwork courses related to humanitarian
and policy issues. In some courses, such as Advanced Documentary
Photography, Harris emphasizes the new digital technology to produce
photographs. Harris is Creative Director of the Lewis
Hine Documentary Fellows Program at CDS. Through the Hine Program
recent Duke graduates work with international and domestic humanitarian
organizations focused on marginalized children. All Hine Fellows
complete an in-depth documentary project to benefit the nongovernmental
organizations and communities with which they work.
Iris Tillman Hill
Iris Tillman Hill’s career in book publishing spans thirty-five
years. After receiving her B.A. (magna cum laude) from Smith College,
she found a job as a writer/editor for movie magazines in New York
City. She went to Brown University for her M.A. in English literature
and then pursued a career in scholarly publishing. She was the editor-in-chief
at university presses in Texas, Georgia, and North Carolina, where
she developed major academic series in women’s studies and
American and Southern history and also edited selected trade books.
At the University of North Carolina Press she worked with Alex Harris,
founder of Duke’s Center for Documentary Photography, on several
photography books, and in 1989 she left UNC Press to help start
the Center for Documentary Studies as its founding executive director.
Currently, as editor of CDS Books,
she is working on the next book in the series 25
Under 25: Up-and-Coming American Photographers (forthcoming
in spring 2008, copublished by powerHouse Books and CDS Books) and
the CDS/Honickman First Prize Book in
Photography (forthcoming in fall 2007, Duke University Press
and CDS Books). Among the titles she has edited while at CDS are
Beyond the Barricades: Photographs
by Twenty South African Photographers
(Aperture), On the Plains
(Norton), I Wanna Take Me a
Picture (Beacon), and Sodom
Laurel Album (UNC Press).
Judith Helfand
Judith Helfand, who defines herself as a filmmaker/organizer, has
worked as a documentary producer and educator for the past ten years.
Her film A Healthy Baby Girl,
which had its broadcast premiere on P.O.V., was in competition at
the 1997 Sundance Film Festival and received a Peabody Award for
Excellence in Journalism and Public Education. Blue
Vinyl, the 2002 “toxic comedy”
directed and produced with Daniel Gold, was broadcast nationally
on the HBO series America Undercover.
Accolades include the 2002 Excellence in Cinematography Award, an
IDA nomination for Best Documentary, a Nice Modernist award from
Dwell
magazine, the 2002 Environmental Messenger of the Year award from
the Environmental Grantmakers Association, a 2002 EPIC Award from
the White House Project, and recent Emmy nominations. She and her
filmmaking partner Daniel Gold will be premiering their most recent
documentary, on human nature and global warming titled Everything’s
Cool, at the 2007 Sundance Film Festival.
Helfand also co-founded Working Films, a nationally recognized organization
dedicated to leveraging the power and prestige of documentary to
promote economic, social, and environmental justice. She is a full-time
professor at New York University’s Tisch School of the Arts
in the Department of Undergraduate Film and Television.
Brett Ingram
Formerly an electrical engineer on the Space Shuttle Main Engine
Program, Brett Ingram exchanged his pocket protector for a movie
camera in 1990. His short documentaries and animated films have
won thirty awards and screened at more than 150 festivals and cinema
venues internationally. Ingram’s first documentary feature,
Monster Road,
won sixteen awards (including “Best Documentary” at
the 2004 Slamdance Film Festival) and screened at more than eighty
festivals and cinema venues internationally before premiering on
the Sundance Channel in 2005. Ingram has twice been awarded a Film
and Video Artist Fellowship from the North Carolina Arts Council.
He teaches filmmaking in the Department of Broadcasting and Cinema
at the University of North Carolina at Greensboro. He is currently
working on Rocaterrania,
a new documentary feature about the secret world of visionary artist
Renaldo Kuhler.
Dante James
Dante James is an award-winning independent filmmaker and artist-in-residence
at Duke University. In the fall of 2006, he taught an undergraduate
course in documentary filmmaking at the Center for Documentary Studies,
and in the spring 2007 semester he is teaching in the Program in
Film/Video/Digital at Duke. Most recently, James won an Emmy for
his work as series producer and producer/director/writer of the
first program in the critically acclaimed PBS series Slavery
and the Making of America. In 2003,
he was executive producer for the PBS series This
Far by Faith. Earlier in his career,
James worked with and produced several films for his friend and
mentor and renowned filmmaker Henry Hampton, founder of Blackside
Films. James’s next film will be a performance documentary
for the PBS series Great Performances,
to be shot in Paris beginning in January 2007. The film will explore
the history and evolution of jazz music in Paris from 1918 to the
1950s. James is a graduate and distinguished alumnus of Grand Valley
State University in Grand Rapids, Michigan. He is currently a graduate
student in Duke University’s Masters of Arts in Liberal Studies
program and will graduate in May 2007.
Karen Michel
Based in upstate New York, Karen Michel is an independent radio
producer who got her start in media as a guest on Art
Linkletter's Kids Say the Darndest Things.
She has lived and worked in Alaska, Mexico, Japan, Greenland, India,
Canada, Kenya, Nepal, Madagascar, and other geographies real and
imagined. Her academic training is in visual arts and cross-cultural
education; she’s been an exhibiting artist (jewelry, photography,
drawing, and holography) and a teacher. Since falling into a job
in public radio in Fairbanks, Alaska, long ago, she has been committed
to sound, as an audio artist and as a journalist. She’s received
many awards and fellowships—Peabody, Robert Wood Johnson,
National Endowment for the Arts, Corporation for Public Broadcasting,
National Federation of Community Broadcasters, the Japan Foundation,
and the Fulbright/Indo-U.S. Subcommission, among them. Michel is
the Lehman Brady Visiting Joint Chair Professor in Documentary Studies
and American Studies at Duke University and the University of North
Carolina at Chapel Hill for the 2006-07 academic year.
Pamela Pecchio
Pamela Pecchio grew up near Atlanta, then lived in Athens while
she earned a B.F.A. in photography from the University of Georgia.
In 2001 she received her M.F.A. in photography from Yale University,
where she was awarded the Richard Dixon Welling Prize for Excellence
and the Yale Norfolk Summer Program Teaching Assistantship. She
then did editorial magazine work in New York City, while working
as Production Manager for artist Gregory Crewdson. Pecchio has exhibited
in several cities in the United States, as well as internationally
in China and Spain. Her work is included in selected collections,
including the Ogden Museum of Southern Art in New Orleans, the Beinecke
Rare Book and Manuscript Library at Yale University, Davenport College
of Yale University, and the Sloane Art Library at the University
of North Carolina at Chapel Hill. In collaboration with Nexus Press,
she published an artist’s book titled eight in 1999. She has
taught photography and book arts at the University of North Carolina
at Chapel Hill, Louisiana State University, and the Center for Documentary
Studies at Duke University. Her work can be seen on the Web at www.pamelapecchio.com.
Tom Rankin
Tom Rankin is director of the Center for Documentary Studies and
associate professor of the practice of art and documentary studies
at Duke University. A photographer, filmmaker, and folklorist, Rankin
has been documenting and interpreting American culture for more
than twenty years. Formerly associate professor of art and Southern
studies at the University of Mississippi and chair of the Art Department
at Delta State University, he was educated at Tufts University,
the University of North Carolina at Chapel Hill, and Georgia State
University. A native of Kentucky, he has curated a number of exhibitions
and published numerous articles and reviews on photography and Southern
culture. His photographs have been published widely in numerous
magazines, journals, and books, and he has exhibited throughout
the country. His books include Sacred
Space: Photographs from the Mississippi Delta
(1993), which received the Mississippi Institute of Arts and Letters
Award for Photography; 'Deaf
Maggie Lee Sayre': Photographs of a River Life
(1995); Faulkner's World: The
Photographs of Martin J. Dain (1997);
and Local Heroes Changing America:
Indivisible (2000).
MJ Sharp
MJ Sharp was the staff photographer at the Independent
for nine years and has freelanced both nationally and locally. National
clients have included the New
York Times Magazine, The Ford Foundation,
the Columbia Journalism Review,
and PBS’s Frontline.
Local clients have included The Ciompi Quartet at Duke University,
Weaver Street Market in Carrboro, and the Short Courses Program
at Duke University. She is currently completing work on an M.F.A.
degree at the University of North Carolina at Chapel Hill. Samples
of her work are online at www.mjsharp.com.
Christopher Sims
Christopher Sims, who currently designs the CDS Web site, has coordinated
the exhibitions and awards programs at CDS as well as worked as
a photo archivist at the U.S. Holocaust Memorial Museum in Washington,
D.C. He has an undergraduate degree from Duke, a master’s
degree in visual communication from UNC–Chapel Hill, and is
currently a candidate for an M.F.A. in Studio Art at the Maryland
Institute College of Art. He has received a national fellowship
from the Houston Center for Photography, was selected for PDN’s
Photography Annual "Best Photography of the Year" in 2003,
and was featured in the book American
Photography 20, a collection edited
by Kathy Ryan of the New York
Times Magazine.
George C. Stoney
George Stoney is a native of Winston-Salem, North Carolina, with
a passionate interest in the history and culture of the South. He
has written, directed, and produced more than fifty documentary
films, videos, and television series, including the Emmy Award–winning
We Shall Overcome
and The Weavers: Wasn’t
That a Time (both co-produced by Jim
Brown), How the Myth Was Made,
and the classic All My Babies,
about African American midwives in Georgia. Stoney has been a professor
of film and television at New York University’s Tisch School
of the Arts since 1970. An innovator in the art of community-based
film and video, he is an internationally respected media educator.
Carol Thomson
Carol Thomson has been creating Web sites and multimedia works since
2000, when she began her documentary studies in Australia. She completed
her Certificate in Documentary Studies at the Center for Documentary
Studies in 2005. She is working on a multimedia documentary, Bridging
Rails to Trails: Stories of the American Tobacco Trail,
which will be published on the Web and as a CD-ROM. A work-in-progress
version can be seen at http://bridgingrailstotrails.com.
Thomson’s Web and multimedia company, FireStream Media, LLC,
is located in downtown Durham.
banner image:
Illustration by Keith Norval
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