Moving toward a Minimalist’s Approach to Social Media

Minimalism suggests that owning fewer things frees your mind and improves your life. Minimalism gurus have similar stories about previously owning a huge house, an 80-inch television, 250 bags, and 75 pairs of shoes before discovering minimalism and offloading it all. Some gurus now own 220, 156, 73, 42, or some other randomly small number of things. Their lives fit in their backpacks, and they are happier than they have ever been.

Despite all the shows, blogs, books, podcasts, and other media about decluttering and minimizing your life, the point of minimalism is quite simple. It is not about the quantity of items or the race to remove them. It is about a mindfulness, or an awareness, surrounding the items you own and why you own them.

Social media represent the opposite of minimalism and the mindfulness that accompanies it. They encourage mindlessness with their checking, sharing, liking, reacting, posting, retweeting, and reblogging activities. They encourage you to add, friend, or follow people — both the famous-for-being-famous and the less-than-famous like your high school sophomore crush. Studies claim people check their phones more than 150 times per day, which averages to about six times per hour. Apps encourage this checking behavior through notifications.

Why? These sites depend on engagement to grow and thrive as marketplaces. In 2016 Facebook faced (ha!) a conundrum when people stopped sharing much less original content — a significant enough drop that caused revenue declines. The site responded by encouraging people to share more anniversaries and “on this day” posts, though this manufactured nostalgia reminded people of some pretty painful memories and drew some backlash.

Admittedly, at one time or another I have or have had accounts on Twitter, Facebook, Google+, LinkedIn, Academia.edu, Flickr, Instagram, 500px, Pinterest, ello, Medium, Tumblr, Vimeo, Vine, WhatsApp, and (*gasp*) MySpace. I left most of these sites, but each for different reasons. Facebook’s changing newsfeed, interface, and policies, for example, reminded me of going to a pharmacy for headache medicine and the pharmacist insists on athlete’s foot powder. ello offered almost no features when it started. LinkedIn displayed no content of use to me. Academia.edu pestered me to upload copyrighted content I didn’t own. Ultimately, I left most of these sites because their investment overshadowed their minimal return value.

Blogging requires some degree of a social media presence, but I seek a minimalist approach, not a maximalist one. One extreme says eliminate social media altogether, like Cal Newport describes in his book Deep Work, yet Newport still maintains a blog with comments. One minimalism guru lists six social media accounts across five sites as part of his promotion strategy. Reading that post felt overwhelming to me, but then again I am not a multi-million-selling book author who makes a living on my expertise.

These extremes, though, show why mindfulness about social media when blogging is more important than minimalism about social media when blogging. The quantity matters little. The intention matters most.

While I am still developing the social media strategies to accompany this blog, the following steps have helped me start to hone them in a more mindful way.

1. Set goals and stick to them.

The best blogs have a mission or a goal to them. That goal becomes the foundation for decisions about everything from post content to FAQs. It also informs which social networking sites that might best boost your blog.

2. Clear your phone.

Remove all social networking apps from your smart phone. I used an app called Realizd to track my checking habits, and I found that having the apps so readily available encouraged their too-frequent checking. Removing the apps frustrates the compulsion to check for a while, and then it eventually becomes more normal not to check.

Try turning off all notifications as an interim step to deleting the apps altogether.

3. Develop a social media schedule.

Schedule a time — each day, each week — to sit down and check social media. Be intentional in the sites you want to check and why you want to check them. If short on time, for example, check Twitter. If you have a longer time period, check a site that offers more reading than scrolling.

Avoid checking social media or email first thing in the morning, though. Take offline time for you, get in a workout, or schedule a writing or reading task instead.

4. Plan and schedule social media posts.

While social media largely encourage spontaneous activity, planning social media posts helps tame them and your time. This planning includes what messages, of course, but it also includes what networks, times, and frequency. Developing a calendar can simplify this process even further.

That said, do allow for some spontaneity, such as sharing a popular post as it makes the rounds.

5. Choose social networks carefully.

Choose social networks because they contribute something to your blog and its development, not because it feels like everyone has an account on them. For a long time, Facebook and Twitter used to be the assumed starting points that everyone needed. Now with more than 200 sites to choose from, careful curation is key.

6. Use social listening tools to hone your online presences.

Social listening means paying attention to what others say about your blog topic online. It offers several advantages in blog development, and multiple tools make social listening quite convenient.

11 Sites about Documentary You Should be Reading

The landscape for documentaries and writing about them has changed immensely during the last 20 years. Back then, only occasional news stories or infrequent emerging blogs wrote about them. A respected resource, DocumentaryFilms.net took off when it became a collective blog. The writers behind The Documentary Blog drew a following. Christopher Campbell ran an independent documentary blog before moving to the now-defunct Documentary Channel.

Of course, times change. News sites now regularly cover cinematic documentaries and some festival favorites. Sites about documentary fade or stop as their writers pursue other projects. The Documentary Blog’s last update appeared in January 2014. Documentaryfilms.net last saw participation in 2011.

But great writing dedicated to documentary is out there. In no particular order, here are 11 sites and blogs that cover documentary on a regular basis.

1. What (not) to Doc

What Not to Doc is from Basil Tsiokos, a festival programmer, festival director, and documentary producer. This frequently updated blog offers information about new releases and overviews of documentaries in major festivals around the world. Releases covered include multiple media and venues, such as cinemas, festivals, streaming, and broadcast.

2. Nonfics

Nonfics is dedicated to documentary reviews, interviews, and in-depth commentary. It regularly features lists of the best documentaries to check out on Netflix and Amazon Prime. Nonfics is part of the Film School Rejects group. Christopher Campbell is editor and one of the key writers.

3. The NFB

The National Film Board of Canada provides a national voice in Canadian media and social issues. The NFB is particularly strong with documentaries (one semi-joke suggested documentary as Canada’s national genre), and its blog offers a section dedicated to the form. Posts often suggest documentaries about topics, such as fishing, adolescence, and Canadian rock music.

4. All These Wonderful Things

Written by A.J. Schnack, All These Wonderful Things reveals an insider’s look at documentary production, distribution, and the overall scene. Though not updated since 2011, it still contains a wealth of material and insights to explore. (And maybe citing it here will inspire some new posts…)

5. Center for Media and Social Impact

The Center for Media and Social Impact is an important group founded by Pat Aufderheide at American University. While the center supports film series and a conference, it also delves into policy and issues facing public media. The blog often addresses fair use issues, but it also gets into social change and other topics.

6. International Documentary Association

The International Documentary Association is a U.S.-based professional documentary organization that provides education, awareness, and funding. It hosts influential awards and screening series. The organization’s blog consists a weekly roundup, screening suggestions, and more. Also check out the magazine for more in-depth materials.

7. Realscreen

Realscreen is an industry news site dedicated to nonfiction media and its media institutions. In addition to talking about productions, Realscreen follows changes in media ownership (such as Discovery buying Scripps properties) and prominent people taking on new positions. Its focus on television, including reality television, distinguishes it from other documentary sites.

8. Stranger than Fiction

Though a weekly New York screening series, Stranger Than Fiction also offers a Monday Memo. The Monday Memo deftly brings together documentary news and information into a readable weekly roundup. Occasional guest posts highlight New York City events, such as question-and-answer session following an Abacus: Small Enough to Jail screening.

9. Desktop Documentaries

Desktop Documentaries boasts a wealth of information about documentary production. The multi-author blog in particular offers information about storytelling, crowdfunding, and equipment. Some posts feature writing, while others feature short videos. Post writers even engage readers in the comments.

10. Point of View Magazine

Point of View Magazine is a quarterly magazine that focuses on Canadian documentary culture. Articles and blog posts include reviews, interviews, overviews, commentary, and technology. One piece delves into Canadian documentary history, with Canadian documentary makers winning Oscars, while others highlight documentary films in the NFB’s archive.

11. POV’s Documentary Blog

POV is a 30-year-old PBS series that airs documentaries with unique, personal perspectives. Its documentary blog covers its broadcasts, but the blog also covers almost everything related to documentary, including production issues, interviews, festival overviews, and so much more. Tom Roston is the most regular writer, while multiple guests bring in other voices.

Full disclosure: I must admit some bias with this last one as my better, if infrequent, writings have appeared on POV’s blog since 2011.

Hoop Dreams News Coverage Suggests a Different Kind of Impact

Arthur Agee from the 1994 classic documentary Hoop Dreams.

Popular film titles sometimes work their way into everyday language: Bucket List, Gaslight, Groundhog Day. “Hoop Dreams” is one of those film titles.

As part of my background research into Hoop Dreams, I pulled 996 articles mentioning the phrase from all the years available in the Lexis Nexis news database. About half of those stories referred to the film, but just as many did not. Among the latter, some patterns — both expected and unexpected — emerged.

Perhaps not surprisingly, the most dominant recurring pattern involves individuals and their aspirations. Most individuals — almost equally boys and girls — are athletes who seek success in sports, such as landing a scholarship, attending college, starting a new sport, or joining a team. Some individuals even abandon their sports dreams, such as one who gave up basketball to become a doctor.

These dreams know no geographical boundaries. While Chicago is the setting for the Hoop Dreams film, other dreamers live in Iowa, Nebraska, and Oklahoma. People chase their dreams across the globe to Germany, Canada, Croatia, Luxemborg, Israel, and India.

“Hoop Dreams” is a popular name for teams, camps, academies, and programs. Teams with the name play in West Virginia, Hawaii, Idaho, Mississippi, and Pennsylvania. Camps and academies appear in Connecticut, West Virginia, North Carolina, and Australia. Programs include Hoop Dreams in Lexington, KY; ABCD Hoop Dreams in Boston; and YMCA Hoop Dreams in Hamilton, Ontario. Programs also appear in England and Australia. Do an Internet search and you’ll probably find even more than the ones listed here.

Tournaments run in Georgia and California. The Pescadero High School Hoop Dreams Tournament schedules both boys’ and girls’ teams. One tournament involved wheelchairs.

A cool program was founded by Susie Kay in Washington, D.C., to help area students attend college. Kay claimed that Arthur Agee, one of the two boys appearing in the film, reminded her of her own students. Named for the film, the Hoop Dreams Scholarship Fund started as a single-day basketball fundraiser in 1996. That first round raised $3,000. Within a few years, that tournament and other fundraising efforts expanded to $125,000. The program ended in 2009 following the economic downturn.

Very few stories mentioned the NBA at all. A couple stories connected “hoop dreams” with buying NBA teams or stadiums, and one referred to Mesho Marrow’s dream of founding a women’s basketball team in St. Louis. That dream became reality with the Missouri Arch Angels, named for the city’s iconic structure on the Mississippi River. The team plays in the Women’s Blue Chip Basketball League.

The phrase applies mostly to youth, but one 90-year-old also harbored her own hoop dream. Josephine Brager sought induction into the Texas Sports Hall of Fame. She played basketball pre-World War II for the All-American Redheads and later the Dallas Hornets. The Redheads toured the country playing against men’s teams using the men’s rules — and often won. Sadly, Brager wasn’t chosen for induction.

“Hoop dreams” also means sports other than basketball. It refers to netball, which is an international cousin to U.S. basketball. Rhythm gymnasts and hoop dancers also are hoop dreamers.

One sports reference took me a little bit to puzzle out. According to one story, the Shamrock Rovers Football Club had “hoop dreams.” But why would an Irish football club have “hoop dreams?” Because one of the team’s nicknames is “Hoops.”

In Morgantown, West Virginia, a home offered a “hoop dream” of its own. In addition to the five bedrooms, five bathrooms, and home theater, the house had an indoor basketball court. The asking price was more than $1 million.

Some of the more creative mentions of “hoop dreams” have nothing to do with basketball or even sports. One gig announcement cited “Hoop Dreams,” a band, playing in Hobart, Tasmania. After a little digging, I found the band was based in Virginia and had a Cure-like sound, particularly on the track “Knife Fights.” Before signing the band, a record company contacted Kartemquin Films about the band using the name, which filmmakers Steve James and Peter Gilbert were fine with.

“Hoop dreams” also occur in fashion, in one case for earrings. The story read, “Orbs in all styles and sizes are earmarks of high style.” Hopefully, the look is better than the pun.

My favorite reference connected the film, identity, sport, and art all in one installation. Inspired by the film, Esmaa Mohamoud created an art installation called “Heavy, Heavy (Hoop Dreams).” The installation consists of 60 concrete basketballs, each weighing about 31 pounds. The “heavy” refers to the relationship between basketball and black male culture, according to Mohamoud.

Before the news started covering the film in 1994, the only mention of “hoop dreams” appeared in a 1987 story about “hoops and dreams.” Every other non-film-related story I pulled from the database appeared after the film’s release, from about 1997 forward.

A search for the phrase through an Ngram viewer offers similar findings, particularly in the phrase’s first appearances. In a search for the phrase from 1950 to 2017, the phrase first appears in 1993, grows in 1994, and peaks in 1999.

All of these findings suggest a documentary impact of a different kind: that of a name on sports, music, fashion, art, and culture.

Special thanks to Tim Horsburgh, distribution and communications director at Kartemquin Films, for suggesting the Ngram search and the other film names mentioned in this post.

Answering the Call from Herman in The Deeper They Bury Me

An opening screen sets the background for Herman’s story and sets up the unifying narrative for users.

Sometimes a story is so tragic that it needs multiple media versions to encompass its depths and traumas more fully. Herman Wallace’s more than 40 years of solitary confinement offers just that kind of story.

Solitary confinement isolates a prisoner within a 6-by-9-foot cell for 22-24 hours a day. Prison guards provide the only human contact. Length of confinement ranges from days to weeks, but can extend to years or even decades, as in Herman’s case. The psychological effects of this punishment are devastating.

Herman’s story has inspired an art installation, a documentary, and an interactive documentary. In 2003 artist Jackie Surnell asked Herman, “What kind of house does a man who has lived in a six-foot-by-nine-foot-cell for over thirty years dream of?” Based on his answers, Surnell created an installation titled “The House that Herman Built.” That installation later inspired the documentary film, Herman’s House, directed by Angad Bhalla.

From the National Film Board of Canada, The Deeper They Bury Me: A Call from Herman is an interactive documentary that extends Herman’s story with solitary confinement. The Deeper They Bury Me, created by Anghad Bhalla and Ted Biggs, places users at the other end of a phone call from Herman. They listen to Herman’s own words, and they also can explore scenes from his past and present, including a room in his dream house.

This web-based interactive documentary begins after clicking “A Call from Herman” on the opening screen, and Herman previews his experiences, talking about his cell, its size, and his lack of freedom for even in that one hour outside his cell, he is in chains. He says, “I can only dream — that’s what the house is all about.”

After his introduction, a phone rings, and a green prompt tells users to answer. The automated voice of the prison phone system tells the name of who is calling, how to accept the call, and how long remains on the call. A 20-minute timer counts down in the lower right of the screen. At various times the automated phone voice interrupts to remind users of the time remaining.

Three of the modules users can click to learn more about Herman’s story.
The visual component consists of a gray space with sketches in the foreground and background within a 360-degree circumference. The background sketches set the prison scene with guard towers and fences. The foreground images offer thematic modules about Herman’s background, though some only become active after completing the available modules first, possibly in attempt to control the timeline. Some images include a wagon, shackles, justice scales, prison guard tower, a house with a rose, and a bird cage with an open door.

Some modules, like the wagon, offer an audiovisual sequence, including archival footage and music, with Herman’s voice explaining his upbringing. Other modules encourage more exploration with highlights around objects that grow brighter and emit a sound effect to encourage clicking on them. These objects then offer another angle to Herman’s experiences as connected to the item.

In the rose house, for example, appears a mock-up of Herman’s ideal bedroom, with an open layout, a nearby greenhouse, and a generous bathroom. Objects include a book, bearskin rug, greenhouse, and a bathtub. For the most part, clicking objects results in more commentary from Herman. With the bearskin rug, for example, he admits that he would get rid of it because he sees it as inhumane. With the bathroom he seeks something much larger than his cell. On clicking the book, however, a series of interviews with prison architects and similar experts plays, and they discuss both Herman’s house, the psychology behind it, and their own prison designs. One expresses some regret in designing solitary confinement cells.

The sketch of Herman’s ideal bedroom offers users the opportunity to explore Herman’s home and to learn more about the effects of extended solitary confinement.

The solitary isolation cell offers another space to explore. The clickable items include a light, the door, a potato jar, toilet, and a Malcolm X poster. With the potato jar, for example, Herman explains how he would keep a potato and how it compares to a fish in a small aquarium. Both confinements limit potential growth. He then compares them both to his own existence: “It’s the same thing with human life.” As Herman speaks, animations illustrate his comments. Herman discusses prisoners committing suicide, and an animated noose swings by. As he discusses the constant surveillance, even while on the toilet, large, animated eyes appear.

If users fail to click on anything in a timely manner, excerpts from Herman’s phone calls play, or Herman will ask about them still being there. Within each section a progress bar oddly counts the time elapsing, not remaining. Users can toggle this timer to listen to different parts of the audio, or they can click an arrow to return to previous screens.

Navigating the space created within The Deeper They Bury Me requires some care, especially with touchpads. I attempted to interact this piece on a laptop, and when trying to “look around” the space using two fingers as I usually do for scrolling, the interface would often send me back to the previous screens. Switching to a mouse eliminated this problem.

A timer reminds users how long they have before the call ends.
The timer from the prison telephone system as a unifying device offers mixed results. On a narrative level, it integrates users into the experience, giving them a dedicated role and thus a more immersive experience. On an interactive level, though, the timer continues counting throughout the “call,” and the automated voice interrupts whatever plays in the module. But 20 minutes is not enough time to complete exploring all the sections and listening to all the comments. As the timer winds down, the interactive documentary sends users to the epilogue no matter their location in the modules. Perhaps that is the point, though it remains unclear.

This interactive documentary operates largely without instructions on how to engage with its materials. The few titles and text blocks that do appear connect with the story, but they do need more balance between exposition and instruction. The “Hear more from Herman” button, for example, offers no clear indication of what that button might do. That “more” might refer to essays, external links, or even a restart. It actually sends users back into the experience without the timer.

Herman Wallace spent 40-plus years in solitary confinement. After appeals and declining health, Wallace was granted release October 1, 2013. He died just three days later, on October 4, 2013. All three of these multimedia materials tell his story and raise awareness about the horrors of solitary confinement.

Superglue-ing Dead Flies to Create Reality: Two Wildlife Filmmakers’ Memoirs

Nature documentaries can be amazing: The majestic scenery, the wild bird’s melodic call, the killer snake’s dramatic close-up, the lion’s gruesome assault on the savanna. But these documentaries’ awesome spectacles hide the obstacles that go into capturing them. While human participants generally offer some degree of decorum, animals don’t sign consent agreements or take direction.

Memoirs by wildlife filmmakers show just how challenging it is to navigate the line between the real and the visual while working with wild animals. For this post, I read two memoirs, Snarl for the Camera: Tales of a Wildlife Cameraman by James Gray and Shark Tracker: Confessions of an Underwater Cameraman by Richard Fitzpatrick.

The memoirs share themes. Both writers fell in love with animals and nature as children, and both studied everything they could about them, either through university studies in Fitzpatrick’s case or more independently in Gray’s case. Both books recount experiences with different species. Gray and Fitzpatrick face perils when the animals get shy or aggressive before the camera, and they also face equipment issues in getting just the right shots and hauling expensive equipment around the globe.

Richard Fitzpatrick’s memoir had “shark” in the title so of course I had to read it. A specialist in filming marine life, particularly around Australia, Fitzpatrick recounts meeting undersea creatures both exotic and mundane: great white sharks, grey nurse sharks, eels, squids, jellyfish, clownfish (like Dory), and pearlfish, which take shelter in a sea cucumber’s anus. While majestic sharks and other venomous creatures comprise some of his filming obstacles, what was the most troublesome? Spawning coral. He writes

Of all the events I have to film, coral spawning stresses me out the most. Getting the location, the timing and the light right is one thing — then you have to hope that the sea conditions will be favourable.

With four years lapsing before successfully getting that footage, no wonder it is so stressful.

Filming underwater with sea creatures poses multiple threats: oxygen depletion, decompression sickness, equipment failure, and animal attacks. Despite them, Fitzpatrick maintains an energy and excitement about interacting with and filming these creatures. He also recounts a couple of occasions when he plays jokes on other scientists and divers, not to mention his own injuries and hospital runs.

Not all of the challenges in filming wildlife come from the animals. One incident in particular caught my attention because it resonates with Blackfish, the 2013 documentary about Tilikum the killer whale, his horrible living conditions, and his killing of his handlers. In 2003 Sea World in Australia planned a shark exhibit, and Fitzpatrick was asked to examine the condition of a captured tiger shark. He concluded that the shark, which was held in too small of a space for it to move freely and thus was damaging its body (and probably its mind), should be let go. The backlash he experienced was swift, isolating, and defamatory. Even Steve Irwin, the crocodile hunter, accused him.

While Fitzpatrick’s recollections focus mostly on filming under the sea, Gray’s memories stay mostly on dry land. Gray offers experiences in filming a wide variety of animals from around the globe: polar bears, panda bears, caimans, fiu-fius, stick nest rats, gibbons, and vultures. What I appreciate about Gray’s memoir is the level of detail he provides in his writing. He delves more into the process of getting just that right shot, which often results from a series of near and far misses and a handful of successes.

Some of these processes might raise an eyebrow. In one assignment, Gray needed a shot of a cricket with a fly on its back. Crickets jump, and flies, well, fly, so how … ? Gray explains their staging:

We put a dead fly on the back of a live cricket. At first the cricket’s movements unseated its jockey, but with the application of a drop of superglue, we had that shot.

In another assignment, Gray needed to film human lice laying eggs. He jokes about his previous experience with lice as a parent: “Poisoning them, squashing them and eliminating them with eye-stinging shampoo were more in my line.” But then he learns that in order for the lice to breed, they need a steady diet of human blood. To feed them, Gray volunteers his own arm as a food source, and he donates his own hair stuck in plasticine for their egg-laying site. The jokes continue: “Lice that refuse to breed sounds like a dream come true for people working in public health, but for me it was a problem.” This kind of humor weaves throughout the book.

Gray in particular focuses on equipment and its uses in getting just the right shot. He mentions using a wind-up Bolex for his first film. Weather hazards affect camera performance, and some shoots require getting down into the mud or freezing in arctic winds. Getting aerial shots from a helicopter require rigging the camera with bungees. Gray also explains something he calls “camera courage,” which arrests the dangerous reality of the animal on the other side of the lens, rendering it a “harmless” image instead. This courage appeared while he tried to film a panda and an elephant, but someone pulled him away just in time.

The biggest surprise of wildlife filmmaking to those used to seeing the drama and glamour of nature documentaries? Waiting. According to both Fitzpatrick and Gray, waiting is the hardest part. Fitzpatrick notes the “hours of utter boredom that come hand in hand with shark research. Discovery Channel never show that side of things on their ‘Shark Week’ documentaries, but in reality waiting makes up larger proportion of the job.” Gray recalls days of strategic waiting for hearing mating calls or capturing polar bears emerging from their winter dens.

Both authors share concluding thoughts in their memoirs. Fitzpatrick ends with “Richard’s Rules,” which include treating airlines with respect when checking in camera cases, wearing “rubber gloves when handling electric animals,” and staying “away from the pointy end of a shark.” James ends with a rumination about his intentions toward becoming a cameraman in the first place: “In light of my experience though, I’m not quite sure how much I have been helping to save the world, and I’m even starting to wonder whether being a cameraman puts me on the side of the good guys at all.” He also wonders about these wildlife films just being free adverts for the tourism industry.

Four Tools for Getting Started in Social Listening

Social listening refers to the practice of tracking what is said about a subject in the news, in blogs, and in other areas online. Usually, social listening connects with brand management, wherein companies monitor discussions around their products and reputations. But social listening is also a good strategy for building content knowledge and mastery toward an effective blog.

Many — perhaps too many — online tools exist for social listening. Some tools are web-based, others are app-based, and still others are desktop-based. Some feature syncing across platforms and devices, while others stand alone. Some even come right to your inbox.

This abundance creates the potential to customize these options to your preferences. Many tools offer similar functions, but though they might try, no single tool offers everything you need in one place. The best approach for starting involves choosing a few options, trying them for a while, and then evaluating their effectiveness.

What options you choose depends on where you “listen” most online. Listening can occur on news sites, social media sites, blogs and blog networks, hashtags and trending topics, dedicated content apps, and even general web searches, just for a few examples.

Below are four tools I use for social listening about documentary.

1. Google Alerts

A Google Alert delivers email notifications of web search results. Enter your keywords in the search box, and then tweak the frequency, sources, language, location, and quantity below. Add your email address and that’s it!

Setting up a Google Alert
Setting up a Google Alert is a simple process.

I created a daily alert for the word “documentary” in order to discover as wide of possibilities possible. The daily email arrives with 100+ links from both quality sources and some more questionable ones (read: ads). The expected news sources appear — Variety, The New York Times, indieWire — but some unexpected links include festival announcements, local newspapers, and crowdfunding campaign listings. One local news story announced the new director of the Hot Springs Film Festival, while another webpage announced a new program at the Big Sky Documentary Festival.

2. RSS Reader

RSS” stands for “really simple syndication.” Syndication is the process of distributing content to multiple outlets, such as newspapers or television channels. An RSS reader gathers content from multiple outlets into one place, such as an app or a website.

I use an RSS reader called Reeder 3 for MacOS. Reeder makes it simple to add a new feed:

Reeder 3 greatly simplifies the adding of RSS feeds.

The reader then will update with new content as it becomes available. Note that some RSS feeds show only a preview of the content and thus require you to visit the site, and some RSS feeds include ads. Reeder also allows grouping feeds, tagging links, and opening them in Firefox.

Sites such as Nonfics and the Center for Media and Social Impact offer the option to add their content to a reader. Social networking sites such as Facebook and Twitter used to allow RSS, but in closing their platforms they eliminated the option.

3. Hootsuite

While an online presence manager first and foremost, Hootsuite also functions as a tool for social listening. It aggregates multiple social networking accounts from sites such Twitter, Facebook, Instagram, and YouTube into one place.

Hootsuite allows the management of multiple social networking sites.

Within a specific social network, Hootsuite features the monitoring of multiple feeds. With Twitter, for example, feed options include mentions, retweets, followers, lists, and likes. I use some private lists on Twitter to follow some key accounts, and Hootsuite offers more direct access to them than using Twitter itself, which buries them under a menu.

For each social network, Hootsuite offers options for customizing your views.

Hootsuite comes in both web-based and tablet app-based access. Admittedly, I use Hootsuite the least among these options since it requires logging in to a website when using a desktop.

4. Email Newsletters

Multiple organizations and websites release free newsletters. (Some sites are a bit obnoxious about requesting you sign up with those pop-up screens.) When done well, these newsletters bring new information conveniently to your inbox.

The range of materials I have received so far has been interesting. New Day Films sent a brief one announcing new films. The International Documentary Association sent event notices, new releases announcements, and information overviews. The National Film Board of Canada has been excited about the nation’s 150th anniversary, and it has been sending links to all kinds of neat shorts and features such as “Canadian History in 10 NFB Films” and William Shatner singing “O Canada.”

Docs in Progress even invited me to me to submit an update about my documentary. (Maybe someday!)

The tools mentioned above are only a start with practicing social listening. The ones you use depend on your site goals, and the ones you begin with are just that: the beginning. The tools and their applications will change as your blog develops and grows.

Book Goes Behind the Scenes of Oscar-Connected Documentary Productions

Documentary Case Studies book cover.
Documentary Case Studies book cover.
Documentary production processes differ greatly from the more streamlined (factory?) approaches of mainstream fiction media. Without the written script, paid actors, and deep budgets, documentary makers face many variables that might advance, pause, or change a film’s progress. Some of those variables might even halt the film’s production altogether.

Learning about what happens on other films can help documentary filmmakers handle the challenges that might appear in their own productions. Documentary Case Studies: Behind the Scenes of the Greatest (True) Stories Ever Told, by Jeffrey Swimmer, provides just those kinds of insights and more.

For this accessible volume, Swimmer interviews directors and producers who worked on Oscar-nominated and Oscar-winning documentaries. The chapters cover films such as 20 Feet from Stardom, The Act of Killing, Food, Inc., Gasland, Into The Arms of Strangers: Stories of the Kindertransport, Man on Wire, Maya Lin: A Strong Clear Vision, Restrepo, Sergio, Sound and Fury, Spellbound, Super Size Me, and Undefeated.

To write these chapters, Swimmer conducted interviews with Josh Aronson, Greg Barker, Jeffrey Blitz, Simon Chinn, Josh Fox, Mark Harris, Sebastian Junger, Robert Kenner, Daniel Linsday, James Marsh, T.J. Martin, Frieda Lee Mock, Morgan Neville, Deborah Oppenheimer, Joshua Oppenheimer, Elise Pearlstein, Morgan Spurlock, and Roger Weisberg.

Though structured by title, the book develops several themes across these interviews. One of the largest overarching themes is working with participants. Though often quite watchable and engaging, charismatic subjects can still prove challenging. For Man on Wire, high-wire walker Philippe Petit is just that charismatic subject, but Petit also proved reluctant to consent to the production and demanded involvement other aspects, such as interview choices, interview filming, and dramatizations. Sergio offered a different kind of challenge with the charismatic subject. Though Sérgio Vieira de Mello had died in 2003, interview participants remained reluctant to say anything negative about him on camera.

While a few filmmakers start with their own stake in an issue, such as with Josh Fox and Gasland, most are outsiders to the cultures and communities appearing in their films. In creating Sound and Fury, which offers an inside look at the Deaf community and the divisive issue of cochlear implants, Josh Aronson needed to find access, to gain the community’s trust, and to show the community’s views fairly. He learned some sign language to help with communicating, but the filmed signed interviews still required careful translation to prevent alienating the community.

Of course, finding and choosing the right interview participants remains the fundamental challenge for any documentary production. Spellbound follows the National Spelling Bee, which draws finalists from regional competitions. How do you choose engaging candidates who might make it to the finals from such a large pool? is one question that Jeffrey Blitz faced. Mark Harris and Deborah Oppenheimer also faced a similar challenge with Into The Arms of Strangers: Stories of the Kindertransport. Morgan Spurlock solved the “casting” problem for his fast-food experiment by “casting” himself in Super Size Me.

Offering a range of interview voices is important, but some participants remain reluctant to talk at all. This situation arises in particular with documentaries that address political issues, including Food, Inc., Super Size Me, and Gasland.

These participants become part of the documentary’s story, which creates more issues. Many materials about the Holocaust exist, so Harris and Oppenheimer needed to find a new angle. Food, Inc., needed to balance gruesome scenes within its story. Morgan Neville encountered the largely overlooked stories of backup singers in 20 Feet from Stardom, but he struggled to bring those stories into one narrative until postproduction. Every chapter in Swimmer’s book offers points about these storytelling struggles.

Money — mostly the absence thereof — was also a prominent refrain in these chapters. Some started with funding but still needed completion funds. Some maxed out credits cards and juggled them to make expenses meet. Some started with nest eggs and soon ran out, accruing more debt. Of course, the money woes impacted travel, equipment, and other expenses, which in turned impacted interviews and storytelling.

The chapter I highlighted most was about The Act of Killing, which flips the script on genocide documentaries to focus on the perpetrators and not the victims. Director Joshua Oppenheimer worked with one of those perpetrators, Anwar Congo, to recreate the multiple murder scenes. Inspired by the Hollywood dream factory, Congo had some extravagant ideas about faked chase scenes and on-location scenes, but Oppenheimer turned him down. The chapter’s strength lies in the discussions of the trauma that Oppenheimer himself experienced both during the production and the nightmares afterward.

Swimmer writes in a conversational style that makes for a quick and engaging read. The quoted remarks and the background information mesh well together, and Swimmer avoids unrelated tangents and academic theorizing. His choice of Oscar-connected titles is a savvy one, and the production issues these case studies reveal are relevant for filmmakers and documentary enthusiasts alike.

New Documentary Offers Advice for Thriving with Age

Carl Reiner, George Shapiro, Mel Brooks, and Norman Lear in If You're Not in the Obit, Eat Breakfast
Carl Reiner, George Shapiro, Mel Brooks, and Norman Lear in If You’re Not in the Obit, Eat Breakfast, from HBO.

Popular media and culture celebrate youth. Soft news stories show us how to feel young and look young in 73 easy steps. Rates of cosmetic surgery increase each year. If 60 is the new 40 and 50 is the new 30, then 41 must be the new minimum drinking age. Time to get your new fake IDs, folks.

Of course, none of these ideas focus on actually staying young because reality and science fiction haven’t caught up to each other or the naked mole rat — yet.

But, a fascination exists when octogenarians, nonagenarians, and centenarians do, well, anything: dancing, running, writing, sky diving… Betty White continues acting in her 90s, starring most recently in Hot in Cleveland. Supreme Court Justice Ruth Bader Ginsburg has developed a reputation for being a “badass” in her 80s as she continues to write strongly worded dissents and inspire jabot-ed Halloween costumes. And as Norman Lear complains in HBO’s new documentary If You’re Not in the Obit, Eat Breakfast, people shouldn’t be surprised he can still touch his toes at age 93.

Directed by Danny Gold, If You’re Not in the Obit, Eat Breakfast is a life-affirming and witty documentary that provides an elegant and positive way to think about aging with vitality. With the help of his nephew George Shapiro, Carl Reiner, 95, is our host in examining how people in their 90s not only live, but also thrive.

Ida Keeling took up running at age 67 to cope with her sons’ murders. Now 100, Keeling continues running and breaking records.
The documentary offers a series of portraits and interviews with nonagenarians and a couple centenarians. We meet 100-year-old Ida Keeling, who took up running after her sons’ murders to cope with depression. She was 67 at the time, and now she continues to break records with running at her age. Yoga expert Tao Porchon-Lynch, 97, learned to tango. Ray Olivere continues painting portraits, and Jim “Pee Wee” Martin continues sky diving and living in the house he built with his own hands.

The portraits and interviews also offer a who’s who in entertainment: Mel Brooks, Dick Van Dyke, Tony Bennett, Kirk Douglas, Stan Lee, Irving Fields, Betty White, Patricia Morison, and Harriett Thompson. All of them continue to engage life. Carl Reiner and Betty White write books. Tony Bennett still sings, and Irving Fields still writes songs and plays piano at a hotel. Harriett Thompson runs marathons.

Dan Buettner serves as the longevity expert in this documentary. He cites five keys to vitality:

  1. Physical fitness
  2. Cognitive awareness
  3. Life informed by passion and values
  4. Contribution
  5. Ongoing achievement

Reiner adds a sixth item to that list: A sense of humor. Along with all the stories, so many of them have jokes. So many jokes. Fyvush Finkel, 92, cracks, “Half of my life is gone already.” In a conversation with Betty White, Reiner says, “You don’t lose your interest in sex but you lose your power.” Even the title comes from a joke by Reiner, though it is thrown on its ear when Reiner sees an older picture of himself in the obit for Polly Bergen.

Rounding out this gentle documentary are a bouncy jazz soundtrack and animated bits from “The 2000 Year Old Man” sketch done by Reiner and Brooks in the 1960s.

Aging terrifies many of us, but it shouldn’t. While this documentary won’t undo the deeply held ideas about growing old, its light-hearted approach does offer a better way to think it.

Five Benefits of Social Listening for Bloggers

One of the strongest tools for blog writing is social listening. Social listening refers to tracking what companies, news media, influencers, bloggers, and others are saying about your blog’s topic or focus, your blog, and even you. Though generally used by corporations for brand management, social listening adapts easily to other content and website goals. Social listening offers many benefits for bloggers. Here are five to consider:

1. Keeping Current

A regular social listening habit keeps you updated on what’s happening in your content area, such as key events, hot topics, big debates, and deep changes. Keeping current helps you maintain fresh blog content and fresh perspectives even on old ideas. It also offers you an edge in that you avoid including outdated materials and ideas in your posts.

We live in an exciting time for documentary, with so many new technologies, releases, festivals, fundraisers, distributors, makers, and many others. I use social listening to learn about the new titles coming out, their critical reactions, the emerging debates, and the new technologies. Virtual reality has been a particularly enthusiastic and divisive subject, for example. I also hope to discover projects outside mainstream documentary cinema and the festival circuit.

2. Seeing Trends

Within all the information out there, patterns do emerge. Learning to spot what’s new, what’s just starting, and what’s fading will set your content apart. Seeing those patterns — and writing about them — gives you an edge over other bloggers who cover the information but not the bigger, changing picture.

Part of seeing trends is also learning to identify when an idea is really not a trend at all. One example that regularly comes up in documentary promotion is when a production claims to be the “first” at something — topic, approach, interview source, or something similar. While an unoriginal marketing point to begin with, a closer look often reveals others who have tried that very same thing.

3. Developing Expertise

Expertise is a process, not a product, and developing expertise is ongoing, not a destination. Social listening allows you to deepen your knowledge in your topic — whether you are just starting or have been engaging it for a long time. That continuing process helps in keeping new topics flowing and in developing new content directions, while at the same time allowing you to revisit ideas with new perspectives from time to time.

I have been studying and following documentary for more than 20 years, and I still learn something new or different every day about the field and its changes. For example, many new documentary organizations have started and flourished during these last 15 years. Looking at the Washington, D.C, area, Docs in Progress started in 2004 and became a not-for-profit in 2008, while Meridian Hill Pictures started in a basement in 2010. And I wouldn’t be able to finish this post if I started mentioning all of the new documentary festivals out there.

4. Identifying Connections

Blog writing can be a soapbox, or it can be part of a conversation. I approach blogging as a conversation, and a key part of that approach is identifying and developing connections. These connections might be other bloggers, experts, influencers, or organizations.

Learning about these connections gives you directions for people to follow on social media. You might learn about a new blog that you need to add to your social listening lineup. While these connections provide sources of knowledge, they also provide potential blog topics, such as with interviews, or even become potential blog contributors.

5. Honing Content

The best blogs have content unavailable elsewhere. Repeating the same listicle with the same angle adds a post, sure, but the post is largely forgettable. Honing content means finding holes in current discussions or gaps in the trends. It means addressing misconceptions or responding to changes.

A few years ago Kartemquin Films tweeted about losing its sales tax exemption because someone perceived their documentaries as “propaganda:”

A Tweet from Kartemquin Films
A Tweet from Kartemquin Films

The term “propaganda” has a long history within the documentary form. Today, unfortunately, the idea of “propaganda” has come to mean any documentary with a point of view someone disagrees with. Having taught persuasion and studied documentary, I saw an opportunity for a blog post commenting on the situation, which I wrote about here.

The five benefits of social listening listed here are far from the only ones, but regular social listening is still one of the strongest tools for building better blog content.

Navigating Violence and Alma’s Story in an Interactive Documemtary

The opening screen of Alma: A Tale of Violence
The opening screen of Alma: A Tale of Violence

In order to make interactive documentary reviews more focused and systematic, I will use the following outline: platform(s) used, story and structure, user role, navigation directions, navigation execution, and overall comments. Released first in 2011, Alma: A Tale of Violence represents my first application of this approach.

Alma: A Tale of Violence is an interactive documentary available online, on the iPad, and on Android. One of the earlier of the next generation of interactive documentaries, it tells the story of Alma, who joined a Guatemalan gang as a teen and managed to leave with her life as an adult. This review focuses on the web and iPad versions.

The primary story in Alma: A Tale of Violence belongs to Alma herself. In an almost 40-minute video interview, Alma recounts her childhood, gang initiation, gang life, and life thereafter. The interview frames Alma in medium and close-up shots, ensuring our identification with her, though it also offers cutaways to her tattoos and fidgeting hands. Interestingly enough, that framing hides the fact that Alma is now confined to wheelchair.

Alma’s story is harrowing. Alma explains how the gang offered acceptance, belonging, support, and purpose — things unavailable at home.

One price for that belonging, though, is a life of violence. As part of her initiation, Alma helped members kill a woman whom they had just raped. Another part of her initiation involved the choice between her own rape and being beaten. Alma chose the beating because she didn’t want to appear weak.

Another price for that belonging is a lack of freedom. The gang dictated its lower-ranked members’ activities, which often involved collecting protection fees and killing those who refused or couldn’t pay. Alma killed one person for this reason.

Though not explicitly articulated, a third price for that belonging is fear, particularly of the violence turning back on Alma herself. Alma left without permission for two years, and when she returned, she feared the gang’s retribution. This time, none came — they invited her back in. After becoming pregnant and suffering abusive relationships, Alma requested to leave the gang altogether. They beat her briefly, and she left the meeting thinking the situation fine among them. As she walked away, bullets flew. One struck her and left her paralyzed. The bounty still remains on her head.

While this interview plays, a secondary storyline appears above her. The upper “track,” for lack of a better word, offers a combination of still images, B-roll, archival images, sketches, and animations. Sometimes, the upper track offers a thematic connection to Alma’s recollections, such as the pictures of poor neighborhoods. Other times, the upper track depicts Alma’s recollections, such as the animated illustrations of her gang initiation or of a gang rape. Though nonetheless disturbing, the animations offer ways to show the violence without spectacle.

The Maras module from Alma: A Tale of Violence
The Maras module from Alma: A Tale of Violence
In addition to the video sequence, Alma features four information modules that offer background about Guatemala, maras, violence, and prevention. Each module appears like a slideshow, with images, statistics, and quotes. Some of the images also appear in upper track of Alma’s interview, but overall this part remains separate from it.

The integration of user, navigation, and narrative ensures a cohesive interactive documentary experience. Casting the user in a role helps with this integration. Alma, though, offers no particular role for its users. The directions only tell users how to access the content, which amounts mostly to swiping on the tablet or moving up and down with a mouse and to tapping or clicking on these respective devices.

The navigation in Alma is straightforward and largely similar between the web and iPad versions. The interview with Alma herself allows the expected starting and stopping of the video, as well as scrolling up to see the upper track and scrolling down to see Alma again. Users can choose not to switch between tracks as well. But, other than the up and down, start and pause, no other interactive features appear in the video.

The modules offer even fewer interactive features. An internal table of contents allows skipping through the modules’ information, or users can progress through each one sequentially, slide by slide, with a click or a tap.

While the navigation’s simplicity allows for easy access to all parts of this interactive documentary, its simplicity undermines the interactive documentary’s cohesiveness. The narrative disconnection between the video interview and the information modules also fails to help create a sense of unity. Overall, the interactive options here remain quite limited.

One of the sketches appearing in Alma: A Tale of Violence
One of the sketches appearing in Alma: A Tale of Violence
That said, Alma still tells a powerful story. One thing I greatly appreciated about this interactive documentary was the extended interview. Too often in contemporary documentary participants speak briefly, providing on-point information and focused emotion while revealing little about their character or personality. Alma’s screen time allows her to explain her backstory, her motivations, her fears, and her outcomes. The story proves difficult to tell (and hear, for that matter), and Alma breaks down at certain points. The camera continues rolling, but no voice or editing transition interrupts her thoughts.

Another thing I appreciated was the background information’s separation from Alma’s narrative. Balancing oral storytelling and factual details provides a difficult line to walk, with the facts often interrupting the flow of more personal details. The separation ensures a smoothness to Alma’s extended interview that might not be there otherwise.