"This toolkit shows you step-by-step how to create impact projects using video. It is designed for documentary video-makers, journalists and organisations using video to engage and create change in their communities. EngageMedia has produced this toolkit in partnership with the Video4Change Network:
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a group of filmmakers, activists, journalists and human rights advocates who pool our knowledge to share tips, tools and resources on how to safely and effectively create powerful videos, engage audiences, and make change. The toolkit is modular, so you can use components individually, as you need them." (https://toolkit.video4change.org)
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"At Video Volunteers, we will always remember this year as the year that our network of correspondents came of age. They demonstrated their commitment not just to the work but to the organization; they proved to the world that Video Volunteers is a resilient organization, and thanks to them, we fini
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shed the year stronger than we began it. Though we did launch several new initiatives, this was a year where we consolidated our core work and reaffirmed our commitment to: Building the strongest network of activist journalists in rural India; Creating concrete, tangible impact in people's lives through local action campaigns; Broadening society's ideas of who is an expert, who deserves our attention and whose voice should be listened to." (Introduction)
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"This guide will offer a range of tools and methods that can be used to promote a more inclusive form of journalism and storytelling, with marginalised groups and individuals. It’s based on over half a decade of experience and making award-winning, high-impact content in collaboration with reporte
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rs from marginalised communities all over the world - from garment workers in Bangladesh and people living with dementia in the UK, to quarantined villages covering the Ebola crisis in Sierra Leone. This isn’t intended as a definitive guide. Every context will have its own unique challenges and every organisation will have its own workflows, outputs and audiences. This is an introduction to a framework to make journalism inclusive and empowering and borrows heavily from lessons learned from community organising, service design and the humanitarian sector." (Page 3)
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"In the early summer months of the global coronavirus (Covid-19) pandemic, three community-produced participatory videos were conducted on a remote basis. These projects were made in Uganda, Germany and Turkey with the use of mobile technology to understand the impact of the virus on lives of differ
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ent refugee communities in distant locations around the world. This study evaluates the potential of using the emerging practice of remote participatory video at times of crisis by presenting a case study on one of the participatory video works undertaken in Rhino Camp which is one of the largest refugee camps in Uganda. Drawing on the common production stages within the traditional participatory video practices this thesis presents a preliminary outline for facilitating a remote participatory video. By deploying an affordance approach, it is aimed to investigate how participatory video was translated into a remote practice. By drawing on the Freirean process of critical consciousness the study investigates the ways in which communicative affordances of remote PV could be utilised to promote advocacy during the pandemic. Another objective of the thesis is to explore what unique local experiences and insights could refugees from Rhino Camp bring to bear on the problems caused by the coronavirus pandemic. Focusing on the analysis of the video messages from the refugees of Rhino Camp, the study explores the following question: What significance and potential could the use of remote practice of civil society produced participatory video have during the COVID-19 outbreak?" (Abstract)
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"En América Latina y en Colombia existen colectivos, organizaciones sociales y comunidades que, en muchos casos de manera empírica, han hecho de los lenguajes audiovisuales un recurso clave de acción social, política y cultural. Son procesos expresivos y creativos de largo aliento en los que se
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aprovechan diferentes lenguajes artísticos (trova, teatro, música, danza, etc.) y estrategias comunicativas (cineclubes, festivales o muestras de cine y video, materiales impresos, espacios en internet, etc.) para afirmar las capacidades políticas de los sujetos, vincularlos a acciones colectivamente concertadas, crear o fortalecer la memoria común, visibilizar personas y experiencias significativas, documentar la inventiva cultural, la riqueza y diversidad ambiental, y comunicar públicamente sus problemas y desafíos. A esos procesos los hemos llamado Obras Expresivas Audiovisuales Comunitarias, OEAC. Su creación supone gestionar alianzas locales, nacionales e internacionales para obtener recursos formativos y económicos que permitan producir obras de buena factura técnica, alentar procesos de investigación participativa, proyectar y fortalecer a las comunidades (niños, jóvenes, adultos y adultos mayores). Las OEAC también generan estrategias de difusión y crean condiciones de sostenibilidad a mediano y largo plazo, forjando pautas particulares de administración y organización, haciendo escuela de creadores y propiciando que nuevas generaciones se vinculen a procesos comunitarios. Este libro presenta y analiza algunas experiencias de OEAC y propone algunos principios de realización que se podrían tener en cuenta cuando se trate de vincular los lenguajes audiovisuales a trabajos con comunidades u organizaciones sociales." (Sinopsis)
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"Uno de los aspectos a destacar de este libro, es la coautoría entre académicos, investigadores, profesionales de la comunicación, líderes comunitarios y estudiantes universitarios. Lo cual, concreta un movimiento epistemológico descolonizador en términos de participación, apostándole a la c
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onstrucción de conocimiento conjunta desde el diálogo de saberes, destrezas, experiencias y experticias. Adicionalmente, este libro está acompañado de la producción en comunicación, alojada en la página web de la cartografía digital que los socios comunitarios y académicos han realizado para hacer visibles sus trayectos, hallazgos y apuestas: dos piezas documentales audiovisuales que reconstruyen las experiencias de Multipropaz y de Comunal Estéreo, además de una pieza documental radial que reconstruye la experiencia de Cine pal barrio." (Cubierta del libro)
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"The aim of this paper is to analyse participatory video as a participatory action research method through the lenses of the capability approach. In order to do this, we used a participatory video experience that took place in the municipality of Quart de Poblet (Valencia, Spain) from February to Ma
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rch 2014. The participants were 11 young people between 16 and 24 years of age, severely affected by the economic crisis that has hit Spain in recent years. To develop our analysis, we introduced the participatory video as a technique and a process within the participatory action research methods. Then, we analysed the participatory process to verify the extent to which it had contributed to expanding the capabilities and agency of the participants. The evidence revealed a significant expansion of the awareness capability and, in some cases, of the capability for voice. In contrast, the capability to aspire and the agency of the participants were not expanded, due to contextual factors and the limitations of the process itself." (Abstract)
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"El texto es un análisis visual sobre varios videos de dos grupos de música del resguardo Emberá Chamí del municipio de Pueblo Rico Risaralda, Bidika y Ibanafarag, estos grupos cuentan con características especiales en su concepción que logran permear en sus canciones, en la construcción est
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tica del video y que reflejan una realidad social que ha impactado tanto a su comunidad como a otros grupos sociales que han sido partícipes y a la vez víctimas del conflicto armado en Colombia, estas reflexiones sobre la estética, la composición y la denuncia social de la situación de los pueblos indígenas en Colombia es posible gracias a la apropiación que los miembros de estos grupos han hecho de las cámaras de video y circulación de su producción en Internet." (Resumen)
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"Over ten years ago, two community media initiatives were founded by young people in their early twenties in Bogota, Colombia and Quito, Ecuador. While the Colombia-based collective, Ojo al Sancocho, has struggled to build bridges among urban and migratory communities uprooted by an entrenched, deca
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des-old armed conflict, the Ecuadorian group, El Churo Comunicación, has fostered audiovisual autonomy and resistance among indigenous, feminist and ecological social movements that have had to defend their rights even though they were supposedly guaranteed by a so-called progressive government. Despite formidable challenges, each has fulfilled a long-held dream - a community movie theater, and the expansion of a radio-based practice to a multiplicity of practices that include community filmmaking, cyberfeminism and capacity-building of communities across Ecuador and Latin America. Together with other collectives, Ojo al Sancocho and El Churo are building a network of community filmmakers across Latin America. Using each organization’s 2017 annual gathering as a point of departure, and subsequent meetings in 2018-2019, this article analyzes the characteristics that have led to innovation and sustainability in diverse contexts. It also indicates key challenges they face. This is an engaged, ethnographically-based, scholarly work." (Abstract)
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"This handbook provides guidelines on the practice and ethics of participatory visual methods (PVM) with emphasis on their use in low and middle income countries (LMIC) for community and public engagement in health and health science. The guidelines are drawn from the hands-on experience of the auth
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ors and the insights they have gained as PVM practitioners working with these methodologies in LMIC for 10 years or more. The handbook has been developed for use by engagement practitioners who are relatively new to the field of PVM and want to learn more about what they are and how to work with them. It also aims to support health science researchers who wish to include visual methods when engaging local communities and wider publics in their work. The handbook does not explore the theory behind PVM or provide an in-depth review of the literature. For each method that is described the pioneering work in the field is cited, along with other suggested reading, should you wish to learn more." (Foreword)
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"This guide provides advice, exercises and notes for local peacebuilders who wish to facilitate a participatory video (PV) process in order to enhance the resilience and peacebuilding capacities of their communities. [It] provides exercises for the facilitator to guide participants through experient
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ial learning on: how to use a camera; how to frame a shot; how to record sound; how to direct; how to conduct and record an interview; how to identify what makes a story, how to tell an audio-visual story; how to use a storyboard to plan a film; how to write a script for a fictional story; how to record and integrate feedback received from the community; how to use editing to tell a story in film; how to conduct a paper edit. Core peacebuilding objectives include: how to facilitate constructive group discussions on sensitive topics; how to view and present a story from different perspectives; how to select a topic and genre that meet the group's communication objectives; how to understand that any film they make can have both positive and negative impacts; how to identify dividers and connectors in a community; how to understand and integrate different perspectives on privilege and identity." (Framing & objectives, page 6)
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"The first chapter is devoted to the project development phase. It includes advice and guidance to anyone considering using participatory video (within the context of anti-corruption work) together with recommendations for key elements in the planning stage. Subsequent chapters explore critical tech
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niques for facilitating corruption-focussed projects; from the workshop stages through to fieldwork and audience engagement. A collection of detailed case studies conclude the guidebook. These describe the participatory video projects implemented by Transparency International and InsightShare, together with an extra case study from a project that addressed corruption in the school system implemented by the India-based organisation Video Volunteers. The basic techniques and approaches of participatory video are not included in this guide. The guide does not include exercises for participants to learn technical skills, develop story structures, undertake group-based filmmaking, or ice-breakers and other complimentary workshop activities [...] Instead, this guide presents specific considerations for those designing corruption-focussed projects and provides a range of exercises for the facilitators. While the focus is on addressing issues of corruption, many of the ideas and approaches will be useful to practitioners in general. The sections on Choosing Participatory Video, Participant Selection, Project Structure, and Free, Prior and Informed Consent are likely to be relevant to a wide-range of projects." (Page 9)
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"Children with disabilities often experience exclusion within their communities, and this exclusion can extend into research processes. The United Nations Convention on the Rights of the Child, however, emphasizes that children of all abilities need to be involved as decision makers in matters affec
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ting them. This article provides an in-depth description of the process of a participatory action research project carried out with children with disabilities from a rural village in India. It argues for the utility of participatory filmmaking as a research methodology that supports inclusion of children with disabilities as co-researchers in research and action processes. The different phases of the research project, namely the preparatory, participatory research, and the action phase, are made transparent along with the details of activities carried out within each phase. The technical and pragmatic challenges faced within this participatory filmmaking process are pointed out, and strategies used to negotiate challenges and adapt this methodology to fit context-specific needs are shared. This account of the complex, yet flexible and adaptable, participatory filmmaking process is presented as means to support critical and informed uptakes of participatory filmmaking for inclusive research practices with children with disabilities." (Abstract)
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"Young people are among the most affected and vulnerable groups in the HIV epidemic. Targeting young people in prevention strategies requires inclusive and participatory approaches. This paper discusses a film production project that involved youths in a remote rural community in the Highlands of Pa
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pua New Guinea. It explores some of the processes and impacts of integrating a visual methods community action project in a local community context while targeting young people in an effort to engage them in a reflective dialogue on HIV and AIDS." (Abstract)
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"Video Volunteers is trying to make use of mobile journalism as part of its community media operations. As part of this, VV is also trying to popularise the concept of mobile journalism among NGOS, mass movement organisations and students. The main aims of VV’s mobile journalism program are: 1. To
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share community media information with NGOs, mass movement organisations and students; 2. To introduce the foundational principles of journalism-why are community voices important?; 3. How to ensure institutional transparency and accountability via mobile journalism?; 4. How to unite the community and strategize towards change making through video screenings?" (Introduction)
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"Benefiting from more than 50 years of practice and innovation, participatory video (PV) is a firmly established approach in the field of communications for development. The term “participatory video” is used to refer to a very wide range of practices that involve nonprofessionals in making thei
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r own films as a means to engage communities, develop critical awareness, and amplify citizens’ voices to discuss social problems that they prioritize. The canonical texts on participatory video all make reference to PV’s grounding in the praxis of Brazilian popular educator Paulo Freire, and the influence of feminist practice is often also noted in the literature. The authors also draw on affordance theory as a way of clarifying the possibilities for social action enabled by participatory video. In recent years, a number of important critiques have been leveled at PV which have reopened a normative debate about what practices, values, and objectives should constitute participatory video. Rapid recent advances in digital filmmaking technologies coupled with falling costs of mobile devices are opening up exciting new future possibilities and challenges for PV. This chapter reviews a range of PV practices, examines key critiques, and assesses potential future directions for participatory video in communication for development." (Abstract)
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