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ARTD 4582: Co l labora t ive V ideo and Communi ty Engagement Fa l l 2015 CRN 17629 4 credit/lecture hours Tuesdays 1:35 pm - 5:05 pm Location: International Village 013

Instructor: Dr. Alessandra Renzi a.renzi@neu.edu Office: Holmes 656 - Ph. 617.373.8800 Office Hours: Mon./Wed. 4:40-5:40pm Teaching Assistant: Harsha Menon menon.ha@neu.edu This course explores the process of collaborative video making with a focus on civic engagement and community media. A series of interactive hands-on labs that build analytical and technical skills will guide the development of micro-documentaries and short documentaries. Students will have the chance to work with local artists and community to

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produce videos that matter. The partnerships are coordinated through the award-winning center for Service-Learning at Northeastern University.

The course examines different forms of authorship, video genres and tools for collaborating ranging from crowdsourcing to remix platforms. While discussing pressing issues like poverty, racism and the environment, we will experiment with a variety of methods for effective collaboration and ethical participatory projects, and learn to pitch and promote video art projects in collaboration with organizations. The final projects will be presented during a public event for the wider Northeastern community and beyond.

Course Ob jec t ives By the end of this class students are expected to have gained: • A grasp of the wide range of genres and aesthetic options to produce collaborative video for social engagement • Familiarity with documentary and video production and distribution methods • Experience with service learning through community partnerships • An understanding of notions and processes of ethical collaboration in video production • A multidisciplinary theoretical approach to contextualizing forms of collaboration and collaborative video Course Expecta t ions Students are expected to: • Consult the course schedule regularly and manage their time and deadlines. Plan ahead so as to avoid

scheduling conflicts with other courses, activities, team members, equipment availability, etc. • Attend and arrive on time to all classes. More than two absences will impact your evaluation and so will

repeatedly coming late to class. • Be responsible, flexible and punctual during the collaborations with our community partners • Come to class prepared to discuss assigned readings, writings, or videos. Readings should be completed in advance of the class day for which they are scheduled. If you have difficulties speaking in class or with any of the activities of the course, please come visit me. • Utilize the NEU email account for communication with the instructor and with each other • Contribute ideas to class discussions and video critiques • Collaborate on video projects outside of class time. Please be aware that editing video takes time! The c lassroom is a sa fe space for d iscuss ion o f po l i t i ca l , soc ia l , and cu l tura l d i f fe rences . P lease be respect fu l o f a l l d i f fe rences and come w i th an open m ind . S tudents w i th D isab i l i t ies and Spec ia l Cha l lenges This class is open to everyone and I am happy to make changes to accommodate everyone’s abilities. I would like to hear from anyone who has special requirements so that we can make appropriate arrangements (in conjunction with the Disability Resource Center). Please refrain from wearing strong scents and perfumes to protect people with chemical sensitivities. Ce l lu la r Phones , Beepers , Pagers , and A larms Before entering the classroom, please turn off all cell phones, beepers, pagers, alarms, and any other bits of technology that could disrupt the class. Contac t ing the Ins t ruc tor I am available by appointment, during my office hours or via email to discuss course ideas, materials, and projects as well as anything else you’d like to chat about. Please note that I may take up to 24 hours to reply to an email and may not reply during weekends.

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Eva luat ion and Grades The following factors will contribute to your success in this class:

• Attendance, punctuality and the capacity to engage in class activities, group discussions, and project development work

• Evidence of doing assigned readings and other scheduled coursework • Ability to meet the requirements of the assignment • Capacity to engage thoughtfully with course material (readings, videos) and discussions • Use of clear, well-organized prose, proper grammar, and citations • Ability to turn in work on time

Ass ignments Undergraduate students: 1. Two Journal Entries 20% (10% each) 2. Participation 10% 3. Micro-documentary 30% 4. Project Pitch 10% 5. Final Video project 30% Note : the Serv ice Learn ing o f f i ce may requ i re some add i t iona l wr i t ten re f lec t ions . A Teach ing ass is tant w i l l be ava i lab le to he lp and gu ide you in the process . Graduate Students: 1. Two Journal Entries 20% (10% each) 2. Micro-documentary 30% 3. PechaKucha Presentation 10% 4. Project Pitch 10% 5. Final Video project 30% Note : the Serv ice Learn ing o f f i ce may requ i re some add i t iona l wr i t ten re f lec t ions . A Teach ing ass is tant w i l l be ava i lab le to he lp and gu ide you in the process . Writing assignments should be typed, double-spaced, and use at least 12 point, Times New Roman font and 1 inch margins. Please proofread for proper spelling, grammar, and citations. Video assignments should be well-edited and structured, with complete titles and appropriate captions. Students are responsible for making sure that I have received the assignments on time, whether they were sent by email or uploaded on blackboard. 1 . C lass Journa l Ent r ies To deepen critical understanding of notions of power, participation and collaboration across time and media, each student is required to hand in two 2-4-page-long journal entries (3-5 for graduate students). The first journal entry will be based on the course materials, activities and film screenings, the second will be a reflection on the student’s experience with the process of collaboration. They will consist of answering up to 5 questions, which will be posted on Blackboard 3 weeks in advance. 2 . Par t i c ipa t ion ( for undergraduate s tudents) A lab is an extended session of collaborative production activities to conceptualize and work on a project. The activities are interactive, combining conversations, theoretical discussions, and relational exercises. It aims to open up a space to creatively think and produce together. Work done during a lab ranges from creating teamwork guidelines to generating project worksheets, from doing research to showing works-in-progress. Participation in the

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various labs will make up 20% of the total grade. Students will also be reviewed by our community partners and the review will affect their final grade. 2 . PechaKucha Presenta t ion ( fo r graduate s tudents)

PechaKucha or Pecha Kucha (Japanese: ペチャク, IPA: [petɕa ku ͍̥tɕa], chit-chat) is a presentation style in which 20 slides are shown for 20 seconds each (6 minutes and 40 seconds in total). Students will use this format for concise and fast-paced presentations that foreground some critical issues and themes discussed during the course. A list of topics and readings will be made available at the start of the term. 3 . M ic ro-documentary This is a short video project that will be produced collaboratively over 5 weeks and is worth 30% of your final grade. We have communi ty par tners to work w i th . Ins t ruc t ions and dead l ine to s tar t the co l labora t ion w i th the par tner organ iza t ions w i l l be g iven on the f i rs t day o f c lass . 4 . Pro jec t P i tch This is an important steppingstone towards the final project. It consists of a video trailer and a short “pitch” to the class to promote the final project. Pitches are the industry standard to find producers for a documentary. The pitch gives everyone the chance to receive feedback before concluding the project. A template and further instructions for the pitch will be provided in class. The pitch is worth 10% of your final grade. 4 . F ina l V ideo pro jec t The final video project will demonstrate the knowledge of what has been studied, discussed, and explored in class. It will develop a topic that has been explored through the various assignments and labs, and has been proposed in the video pitch. If previously discussed with the instructor, students can work with an outside community to produce the final project. The video can take various formats discussed during the term, ranging from a video essay, documentary to a viral video. The final projects will encompass videos and a curatorial structure that will be presented first during the last class and then during a public event for the wider Northeaster community. This project is worth 30% of the final grade. We have communi ty par tners to work w i th . Ins t ruc t ions and dead l ine to s tar t the co l labora t ion w i th the par tner organ iza t ions w i l l be g iven on the f i rs t day o f c lass . Grad ing Cr i te r ia fo r Wr i t ten Work “F” ass ignments are incoherent or late/never turned in. “D” ass ignments are off-topic, poorly written, disorganized, and instead of the course materials rely on “personal experience” alone or materials from other classes. In other words, the assignment shows no evidence that the student was paying attention in class, it does not follow the instructions and does not incorporate materials used in the readings or in class discussion and screenings. Often the written assignments seem more like summaries or reviews rather than analyses. The video does not have a thought-out structure and is hastily thrown together. These assignments may also fall short or far exceed the page and time limits or time constraints for the assignment. They do not use appropriate grammar and often are not proofread. “C” ass ignments address the questions somewhat but don’t explicitly cite specific texts and discussion. These assignments tend to recycle examples from discussion without discussing how they fit with the analysis and repeat information given in class. There are usually typos, spelling errors and poorly structured sentences that make the argument vague or awkward. The video work is derivative and does not engage the issues discussed. “B” ass ignments are smart and solid analyses that I would expect any diligent student to be able to produce. These assignments take on the questions directly, citing specific materials from the texts and lectures or footage to illustrate the points being made. These assignments often offer previously discussed examples illustrating points covered in class and engage with the materials, reflecting on the connections between the course materials. There are usually few typos or spelling errors (if any), sentences are relatively clear, and thoughts are organized into a concise argument. Video sequences are well organized and connected

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“A” ass ignments knock my socks off. These assignments take on the questions directly, citing specific materials from the texts and lectures to illustrate the points being made. The video work is creative and to the point. These assignments offer fresh, creatively critical examples illustrating points covered in class and also take the ideas in new places (reflections on current political situations, larger disciplinary issues, etc.). Connections are made between the course materials, social issues and possible aesthetic choices. Interesting readings of these connections—not brought up in class, per se—are presented in clear, provocative ways. “A” assignments consider the following questions: How can your argument be considered different from others’? What are you adding to our body of knowledge? What are the larger implications/contexts of that argument? What does your analysis say about how communication, gender, identity, sexuality, race, etc. can be addressed to produce change? How can your analysis be used to understand and/or critique our society more generally? There are no typos or spelling errors, video or audio glitches, and the work is clear, concise, well organized. Grad ing Cr i te r ia fo r V ideo Work An A film addresses the following aspects: Message: Establishes a clear persuasive message early on and clearly articulates it throughout. Uses strong visual and/or verbal arguments and evidence to display credibility. Audience: Strong awareness of audience in the design. Vocabulary, audio, and graphics and interactivity criteria fit the target audience. Film uses strong strategies to effectively appeal to the audience’s values and beliefs. Research (research refers to researched footage as well as information in the film): Research makes a significant contribution to the purpose of the film. Argument: Is the piece well organized and logical? The film’s organizational structure strongly supports the message. Logic is excellent. Style: Innovative and creative. Fair and effective use of existing film, images, and sound. Timing: Documentary has exactly the right amount of detail throughout. It does not drag or speed by. Credits and text: Documentary includes fair use statement and complete citation of all contributors and sources. No spelling mistakes in the text and titles.

A B film addresses the following aspects: Message: Establishes a clear persuasive message early on and clearly articulates it throughout most of the film. Uses good visual and/or verbal arguments and good evidence to display credibility. Audience: Good awareness of audience in the design. Vocabulary, audio, interactivity criteria and graphics mostly fit the target audience. Film uses good strategies that are appeal to the audience’s values and beliefs. Research (research refers to researched footage as well as information in the film): Research makes a good contribution to the persuasive purpose. Argument: Is the piece well organized and logical? The film’s organizational structure and logic are good and support the message. Style: Fairly innovative and creative. Generally effective use of existing film, images, and sound. Timing: Documentary mostly has the right amount of detail throughout. It hardly drags or speeds by. Credits and text: Documentary includes fair use statement and most citations of all contributors and sources. No spelling mistakes in the text and titles.

An C film addresses the following aspects: Message: Has a weak message and merely includes information. Has little visual and/or verbal arguments and evidence to display credibility. Audience: Adequate awareness of audience in the design. Not always clear how vocabulary, audio, interactivity criteria and graphics fit the target audience. Film uses adequate strategies to appeal to the audience values and beliefs. Research (research refers to researched footage as well as information in the film) Research makes an adequate contribution to the message. Argument: (Is the piece well organized and logical?) The film’s organizational structure adequately supports the message. Logic is a little uneven. Style: Adequate innovation and creative use of images. Adequate use of existing film, images, and sound. Timing: Documentary needs more editing to balance amount of detail and fix pace. Credits and text: Documentary includes fair use statement and some citations of contributors and sources. Few spelling mistakes in the text and titles.

A D film addresses the following aspects: Message: Has an unclear message and only includes information. Has weak visual and/or verbal arguments and evidence. Audience: Limited awareness of audience in the design. Unclear how vocabulary, audio, interactivity criteria and graphics fit the target audience. Film uses weak strategies to appeal to the audience values and beliefs. Research (research refers to researched footage as well as information in the film) Research is present but does not make an adequate contribution to the message. Argument: (Is the piece well

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organized and logical?) The film’s organizational structure inadequately supports the message. Logic is very uneven. Style: Limited innovation and creative use of images. Inadequate use of existing film, images, and sound. Timing: Documentary needs extensive editing to balance amount of detail and fix pace. It’s way too long or short. Credits and text: Documentary is missing the fair use statement and citations of contributors and sources. Few spelling mistakes in the text and title.

An F film addresses the following aspects: Message: Purpose of film is unclear. Audience: No awareness of audience in the design. Film uses no strategies to appeal to the audience values and beliefs. Research (research refers to researched footage as well as information in the film) Research is not present. Argument: (Is the piece well organized and logical?) The film’s organizational structure does not support the message. Argument is unclear. Style: Little or no innovation and creative use of images. Ineffective use of existing film, images, and sound. Timing: Documentary needs extensive editing to balance amount of detail and fix pace. No attention to timing and editing. Credits and text: No fair use statement and citations of contributors and sources. Many spelling mistakes in the text and titles.

**A Note on Group Work** Co l lec t i ve ac t ion can be a product ive and gra t i f y ing exper ience , however , in many cases , some ind iv idua ls end up do ing most o f the work , wh i le o thers reap the bene f i ts . I encourage everyone to d iscuss ro les , tasks and cond i t ions o f work in advance , and to come ta lk to me on t ime i f there are prob lems. Group work w i l l a lso be eva lua ted accord ing to i ts e f f i c iency , and s loppy par ts o f the pro jec t w i l l de t rac t f rom i ts s t ronger aspects . Make sure you negot ia te in advance the cond i t ions o f the pro jec t and tha t members respons ib ly suppor t the co l lec t i ve ’s s takes and tasks . La te Work All assignments are due on the day listed on the syllabus (unless otherwise discussed in class and announced on Blackboard). Late work will not be accepted unless an extension has been arranged in advance. If you are unable to attend class on the day that an assignment is due, please be certain to either contact me before class to make alternate arrangements, bring your assignment to class, or have someone turn in your assignment for you. If an assignment is turned in late without discussing it with the Instructor at least 24 hours in advance, the following penalties may apply: turned in by 6 p.m. on due date (-5 points; ½ letter grade); turned in next day after due date (-10 points; full letter grade); -5 points will be deducted for each additional day assignment is not turned in. Also, please remember that an assignment is considered late immediately following the period in which it was due. P lag iar ism Plagiarism is borrowing others’ words or thoughts without their permission and without giving them due credit through a recognized citation system such as APA or MLA. The penalty for plagiarism can be failure on a project and/or in the course, a permanent mark on your record, and/or expulsion from the University. Plagiarism is often a result of ignorance, laziness, or fear of not getting a high grade. If you are tempted to plagiarize, please consider that it is generally better to fail an assignment than it is to fail an entire course, or to be expelled from the University. If you are considering plagiarism because you are having trouble doing the assignment due to not understanding it or because you feel you will do poorly, then please come talk to me (before the assignment is due). Grade D ispute Po l i cy If you don’t understand the reason you received a specific grade on any assignment, I definitely want to hear from you. Often, even a brief conversation can clear things up. If you believe a grade should be reconsidered, take time to review my comments and follow these instructions:

1. Wait at least 24 hours after receiving the grade but no more than one week to talk to me. 2. Your reasons for another grade (which you must specify) must be written in a memo to me (1 page max). 3. The original evaluation and all assignment materials must be included with your memo. 4. There is no guarantee that a reconsideration of your work will yield a higher grade.

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Tex ts All the readings are available electronically on Blackboard. Look under Course Documents. Schedu le* *The instructor reserves the right to make changes to the schedule. Once the changes are announced in class it is the student’s responsibility to keep track of these changes.

1. September 15 th In t roduct ions : Building blocks and concepts for collaborative video and social engagement Par tnersh ip in t roduct ion : S t . S tephen's Youth Programs Re f resher camera and sound w i th Dav id Tames 2 . September 22 th Foundat ions Re f resher camera and l ights + ed i t ing w i th Dav id Tames Par tnersh ip in t roduct ion : Ac t ion fo r Boston Communi ty Deve lopment Read: • Nancy Kalow, Visual Storytelling: The Digital Video Documentary, pp. 1-44. 3 . September 29 th Soc ia l Jus t ice Cr i t i ca l Too lbox Lab 1 Guest Speaker Cedr ic Doug las Read:

• David Harvey, A Brief History of Neoliberalism, pp. 64-81 Graduate students also read: pp. 1-30

4 . Oc tober 6 th Pr iv i lege & Equa l i t y C r i t i ca l Too lbox Lab 2 Guest Speaker Shaya Poku , NEU Soc ia l Jus t ice Resource Center (S JRC) Read:

• Peggy McIntosh, “White Privilege: Unpacking the Invisible Knapsack” (http://ted.coe.wayne.edu/ele3600/mcintosh.html)

Graduate students also read: Andrea Smith, “The Problem with Privilege” (https://andrea366.wordpress.com/2013/08/14/the-problem-with-privilege-by-andrea-smith/) 5 . Oc tober 13 th Pro jec t Deve lopment Guest Speaker Jesse Freeston Lab : Des ign ing a group pro jec t Screening: Resistencia: the fight for the Aguan Valley, 2015, Canada, Dir. Jesse Freeston Read: Paulo Freire, “Chapter 1,” Pedagogy Of The Oppressed, pp. 43-69

6 . Oc tober 20 th The m icro-documentary** Co l labora t ive m ic ro-documentary s tud io w i th Dav id Tames 1 **F i rs t journa l en t ry due a t beg inn ing o f c lass

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Read and watch: • Micro-documentaries (http://micro-documentaries.com/) • F. Negron-Muntaner,"The Ethics of Community Media" The Independent

Graduate students also read: Clemencia Rodríguez, Benjamin Ferron and Kristin Shamas. “Four Challenges in the Field of Alternative, Radical and Citizens' Media Research,” Media Culture Society, Feb. 2014, pp. 1-17

7 . Oc tober 27 th The m icro-documentary Co l labora t ive m ic ro-documentary s tud io w i th Dav id Tames 2 Graduate students also read: Livia Hinegardner, “We Made That Film; There Is No Filmmaker” Taiwan Journal of Democracy, 7: 2, December 2011, pp. 95-117. 8 . November 3 rd Work in progress Rough cut screen ing o f m ic ro-documentary pro jec ts 9 . November 10 th P i tch ing F ina l g roup pro jec t p i tches In -c lass work Read:

• TBA on Pitching

10 . November 17 th M ic ro-documentar ies Fest iva l F ina l Screen ing o f m ic ro-documentar ies Grad s tudents PechaKucha presenta t ions 11 . November 24 th D is t r ibu t ing a doc Lab on organ iz ing a pub l i c screen ing and promot ing a pro jec t In -c lass work 12 . December 1 st F ina l p ro jec ts work in progress** Presenta t ions o f rough cuts **Second journa l en t ry due a t beg inn ing o f c lass 13 . December 8 th F ina l pro jec ts f ine cu ts F ina l pro jec ts screen ing in c lass 14 . December 15 th Pub l i c screen ing Pub l i c screen ing o f s tudents pro jec ts in co l labora t ion w i th the Centre fo r the Ar ts T ime TBA Resources Read ings ava i lab le a t Sne l l : Topic: Collaboration

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Elizabeth Coffman, “Spinning a Collaborative Web - Documentary Projects in the Digital Arena,” New Documentary Ecologies J. Drew “The Collective Camrecoder in Art and Activism,” in: Collectivism after Modernism, pp. 95-113. Sandra Gaudenzi, “Strategies of Participation: The Who, What and When of Collaborative Documentaries,” New Documentary Ecologies, pp. 129-144. Topic: Power Martin Geoghegan and Fred Powell, “Community development and the contested politics of the late modern agora: of, alongside or against neoliberalism?,” Community Development Journal, 44: 4, October 2009, pp. 430–447. Jon Dovey, “Documentary Ecosystems: Collaboration and Exploitation,” New Documentary Ecologies, pp. 11-32 Shannon Walsh, “Speak for Yourself: The Cultural Politics of Participatory Video,” Screening Truth to Power: A Reader on Documentary Activism, pp. 46-52. A.W. Moore “Artists Collectives: Focus on New York, 1975-2000” in: Collectivism after Modernism, 193-221 Torres, C.A. “Transformative Social Justice Learning: the Legacy of Paulo Freire,” in: Utopian Pedagogy Topic: Community Liz Miller and Thomas Waugh, “The Process of Place: Grassroots Documentary Screenings,” in Screening Truth to Power: A Reader on Documentary Activism, pp. 35-44 Stefan Christoff , “A Democratic Screening Space,” in Screening Truth to Power: A Reader on Documentary Activism, pp. 139-43. DeeDee Halleck, Handheld Visions. The impossible Possibilities of Community Media. C lass ic Documentar ies : Adam Curtis, It Felt Like a Kiss, UK, 2009, https://vimeo.com/22589118 Adam Curtis, The Power of Nightmares, UK, 2004, https://www.youtube.com/watch?v=LlA8KutU2to Alain Resnais and Chris Marker Les Statues Meurent Aussi (Statues Also Die), France, 1953, https://www.youtube.com/watch?v=hzFeuiZKHcg Chris Marker, Sans Soleil, France, 1983, on reserve at Snell Library Chris Marker, The Sixth Side of the Pentagon , France, 1967, on reserve at Snell Library Dziga Vertov Group, Un Film comme les autres / A Film Like the Others, France, 1968 Dziga Vertov, Man With a Movie Camera, Russia, 1929, https://www.youtube.com/watch?v=z97Pa0ICpn8 Groupes Medvedkine - Classe De Lutte - Class of Struggle, France, 1969 Hito Steyerl, #Voiceover, Germany, 2004 https://vimeo.com/88484604 Jean-Luc Godard and Anne-Marie Miéville, Here and Elsewhere, France, 1976 Patricio Guzmán, Nostalgia for the Light, Chile, 2010, on reserve at Snell Library Patricio Guzmán, The Battle of Chile, Chile, 1975-9, on reserve at Snell Library Werner Herzog, Little Dieter Needs to Fly, Germany, 1997, https://www.youtube.com/watch?v=MBRJn69L9ao

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William Greaves, Symbiopsychotaxiplasm, USA,1968, on Kanopy (log in through Snell) Crowdsourced: 99%: The Occupy Wall Street Collaborative Film, 2013 Life in a Day, 2010, https://www.youtube.com/watch?v=JaFVr_cJJIY Man With a Movie Camera: The Global Remake, 2011, http://dziga.perrybard.net/ Preempting Dissent: Policing the Crisis, 2014, http://preemptingdissent.com/ Social Issues Anders Østergaard, Burma VJ: Reporting from a Closed Country, 2008, https://www.youtube.com/watch?v=1AArwpJaf3M Arturo Perez Torres, Wetback: The Undocumented Documentary, 2005, on reserve at Snell Library Barbara Kopple, Harlan County, 1976, on reserve at Snell Library Errol Morris, The Fog of War, 2003, on reserve at Snell Library Jennifer Baichwal, Manufactured Landscapes, 2006, on reserve a t Sne l l L ib rary Jorger Furtado, Isle of Flowers, 1989, https://www.youtube.com/watch?v=EpKWK2dxgb4 Josh Fox, Gasland, 2010, at Snell Library (TN881.A1 G373 2010) Livingston, Jennie, Gibson, Paul, Oppenheim, Jonathan, Paris is burning, 2012, at Snell Library (PN1995.9.D6 P37 2012) Lucy Walker, Karen Harley, João Jardim, Waste Land, 2010, at Snell Library (PN1995.9.D6 W38 2011) Mark Achbar and Jennifer Abbott, The Corporation, 2003, at Snell Library (HD2731 .C67 2005) Michael Moore, Bowling for Columbine, 2002, at Snell Library (PN1995.D6 B69 2003) Michele Stephenson, and Joe Brewster, American Promise, 2014, on Netflix Rob Epstein and Jeffrey Friedman, The Celluloid Closet, 1995, at Snell Library (PN1995.9.H55 R8 2001) Shola Lynch, Free Angela and All Political Prisoners, 2014 William C. Jersey, A Time for Burning, 1966 Yoruba Richen, The New Black, 2014 Interactive Katerina Cizek, Highrise, 2010, http://universewithin.nfb.ca/desktop.html#index Liz Miller, Queer is in the Eye of the Newcomer, 2010, http://storytelling.concordia.ca/refugeeyouth/queereyekorsokow Elaine Mcmillion, Hollow, 2014, http://hollowdocumentary.com/ Brenda Longfellow, Offshore, 2015, http://offshore-interactive.com/ Collaborative Liz Miller, Mapping Memories, Experiences of Refugee Youth, 2006-2012, http://www.mappingmemories.ca/ Jehane Noujaim, The Square, 2013, on Netflix Joshua Oppenheimer and Christine Cynn, The Act of Killing, 2012, at Snell Library (HV6322.3 . I5 A283 2014) Alanis Obomsawin, The People Of The Kattawapiskak River, 2012, on Kanopy (log in through Snell) Arch ives : National Film Board of Canada Archive https://www.nfb.ca/explore-all-films/