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FUll Color DePreSSionFirst Kodachromes by Farm Security Administration Photographers

CDS/HoniCkMan FirSt Book

Prize in PHotograPHyNew Website Features the Prizewinners

FUll FraMe DoCUMentary

FilM FeStivalSadie Tillery on Programming the Films

DoCUMentary Writing

PrograMCDS Writer in Residence Duncan Murrell

UnDergraDUate,

graDUate, anD

ContinUing eDUCationSpring Highlights

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CENTER FOR DOCUMENTARY STUDIES AT DUKE UNIVERSITY

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WINTER 2012

Document® a Publication of the Center for Documentary Studies at Duke University

919-660-3663 | Fax: 919-681-7600 | E-mail: docstudies@duke.edu | documentarystudies.duke.edu

Director: Tom RankinAssociate Director for Programs & Communications: Lynn McKnightPublishing Director: Alexa DilworthArt Director: Bonnie CampbellCommunications Coordinator: Elizabeth PhillipsPublishing Intern: Joel Mora

The Center for Documentary Studies at Duke University teaches, engages in, and presents documentary work grounded in collaborative partnerships and extended fieldwork that uses photography, film/video, audio, and narrative writing to capture and convey contemporary memory, life, and culture. CDS values documentary work that balances community goals with individual artistic expression. CDS promotes documentary work that cultivates progressive change by amplifying voices, advancing human dignity, engendering respect among individuals, breaking down barriers to understanding, and illuminating social injustices. CDS conducts its work for local, regional, national, and international audiences.

All photographs appearing in Document® are copyright by the artist. | Document® is registered in the U.S. Patent and Trademark Office.

eXHiBitionS 3Full Color Depression: First Kodachromes

from America’s HeartlandCurated by Bruce Jackson

Looking Back: 9/11 Across AmericaAn Acoustic Exhibit of American Voices

O’ Say Can You SeeAn Installation by Laura Poitras

2011 Daylight/CDS Photo AwardsProject and Work-in-Process Prizewinners

Iraq | PerspectivesPhotographs by Benjamin Lowy

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CDS/Honickman First Book Prize in Photography

A New Website Features First Five Winners

BookS 8New and Recent Publications

PeoPle 10Sadie Tillery Director of Programming, Full Frame

Documentary Film Festival

Duncan MurrellWriter in Residence

Tom RankinTo Russia with Duke on the Volga Dream

CDS InternsWhitney Baker, Audrey Bell, and Joel Mora

eDUCation 13Undergraduate Education Highlights Visiting Professor Elaine Lawless

Featured Spring Courses

Master of Fine Arts in Experimental and Documentary Arts Highlights

MFAEDA Launch

Visiting Artist and Scholar Series

Continuing Education Highlights 2012 Summer Institutes

New Spring Courses

otHer neWS 14John Hope Franklin Student Documentary Awards

CDS Receives MacArthur Grant for Groundwork

Tom Rankin and Christopher Sims: Recent Exhibits

Teka Selman Guest Curates Philadelphia Show

Join FrienDS oF CDS 15Connect with the Center for Documentary Studies

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COVER, top to bottom: 1) Secondhand plumbing store, Brockton, Massachusetts, December 1940. Photograph by Jack Delano. 2) Moscow, 2011. Photograph by Tom Rankin. 3) Long-exposure shot of the film and viewing areas of Laura Poitras’s installation O’ Say Can You See in the Kreps Gallery. Photograph by Joel Mora. 4) Elsewhere Collaborative’s Cabinet of Wonder (mixed media sculpture, 2010), from the exhibition here. Photograph by Norah Hoover.

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t he photographs taken by the Library of Congress’s Farm Security Administration (FSA) team—composed of Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee, and others, under the leadership of Roy

Emerson Stryker—include some of the most recognizable images of rural and small-town America during the Great Depression. Beginning in 1935, the team captured at least 175,000 black-and-white images of cities, towns, and the countryside throughout America’s heartland. Some of the photographers also captured lesser-known color images using a film called Kodachrome. No one knows exactly how many frames they shot for the FSA in color, but only 1,615 survive. Until recently, most of these images had not been seen since they were initially processed by Kodak’s lab in Rochester well over half a century ago.

Kodachrome, the most stable fine-grain color film ever made, was introduced as 16mm movie film in 1935. Dur-ing the following three years, it became available in can-isters for 35mm cameras and in sheets for medium- and large-format cameras. By late 1939, the processing was as good as the film, and some of Stryker’s FSA photogra-phers began experimenting with it. They continued their work after the FSA project was absorbed by the Office of War Information (OWI) in 1942, through its dissolution in 1944. Unlike black-and-white film, which could easily be developed while on the road, Kodachrome required a more complex process and was sent to Kodak to be developed. As a result, the photographers often did not see their final images. They were rediscovered in 1978 in the Library of Congress Archives by Sally Stein, who was researching photography from the 1930s for her disser-tation. Today, all of the project’s surviving color images

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are available as high-resolution scans from the Library of Congress.

For this exhibition, Bruce Jackson, a photographer himself, has selected, printed, and, in some instances, restored a representative group of images; some of the prints required more than a thousand separate cor-rections. This selection of images ranges from the first tentative explorations of Marion Post Wolcott—who used the film in the same way she used black-and-white film—to the more complex color work of Russell Lee and Jack Delano—who were beginning to understand that color photography was different than monochrome—and the hyped advertising-style propaganda images of Arthur T. Palmer from the early years of World War II. Color photog-raphy would not find a firm base in the art world until an exhibition of works by William Eggleston was held at the Museum of Modern Art in 1976, but as the images in this exhibition demonstrate, the path was marked decades before by Stryker’s FSA team. Their assignment was to document what America looked like during and at the end of the Great Depression; in the process, they discovered new ways the camera lens could see and represent the world.

This exhibition is organized by Bruce Jackson, SUNY Distinguished Professor of English and James Agee Professor of American Culture at the State University of New York at Buffalo, and the Prints and Photographs Division of the Library of Congress.

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Full Color DepressionFirst kodachromes from america’s Heartland

Curated by Bruce Jackson January 23–July 23, 2012 Kreps GalleryArtist’s Talk and Book Signing: April 19, 6–9 p.m., talk at 7 p.m.

ABOVE: Barker at the grounds of the Vermont state fair, Rutland, Vermont, September 1941. Photograph by Jack Delano. OPPOSITE: Photograph by Kathy Colville.

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

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visualizing a DecadeIf you have images in mind of America during the Great Depression and dust storms of the 1930s, odds are that those images are based on one or both of two books, one film, and one federal project: John Steinbeck’s epic novel, The Grapes of Wrath (1939), John Ford’s film version (starring Henry Fonda in one of his most memorable roles) of the Steinbeck novel (1940), James Agee’s and Walker Evans’s ethnographic and autobiographical masterpiece Let Us Now Praise Famous Men (1941), and the black-and-white photographs by the RA/FSA/OWI photographic team (1935–43).

But Walker Evans, whose captionless photographs com-prise the first long section of Let Us Now Praise Famous Men, made some of the best and most memorable of the FSA pho-tographs, and he did the primary work for the book while under contract to the FSA (which is why most of the images in the book are in the public domain). John Steinbeck stud-ied Dorothea Lange’s FSA images, and so did John Ford and cinematographer Gregg Toland when they made the film. As did the people who made later films about that period, such as Sullivan’s Travels (Preston Sturges, 1941), Bonnie & Clyde (Arthur Penn, 1967), Boxcar Bertha (Martin Scorsese, 1972), Paper Moon (Peter Bogdanovich, 1973), Hard Times (Walter Hill, 1975), Bound for Glory (Hal Ashby, 1976), The Purple Rose of Cairo (Woody Allen, 1985), Ironweed (Héctor Babenco, 1987), Of Mice and Men (Gary Sinise, 1992), and O Brother, Where Art Thou? (Ethan Coen and Joel Coen, 2000).

Directly and indirectly, it is the FSA photographers whose vision influenced and conditioned much or even all the revisioning of Thirties America to come. The project was hardly perfect. It privileged the rural and agrarian over the urban and industrial. There would be only one black person on Stryker’s staff—Gordon Parks—and he would join it late in the project and would be paid by someone else. It wasn’t just who worked on the project, but what was done by other agencies and organizations with the project’s work: “Almost no government photography showed blacks and whites to-gether.” The project had only four women on staff, “most for a short time: Lange, Wolcott, Collins, and Bubbly. Rosskam, a first-class photographer, was never on the payroll.”

It was far from perfect, but it produced a major body of work anyway. Stryker’s photographic project . . . was more liberal than most of the operations in and around Washing-ton, D.C., but it was no more free of its times than we are. If we have a national memory of those bitter years, it is grounded in the FSA photographs, imperfect as it may be—and all the books, films, paintings, photographs, and every-thing else that has drawn from or been grounded in them.

—Bruce Jackson

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Print aUCtion“It seemed to me that the exhibit offered a choice between two ways of dealing with the high-resolution files posted by [the Library of Congress]. One was to print the images exactly as they are; the other was to print them as the photographers might have if they were doing an exhibit and had any influ-ence at all over what the lab guys did. The first documents the work of archivists who started with the work of photog-raphers, of time and chemistry, and of accident; the second documents the work of the photographers. I went with the photographers.”—Bruce Jackson

Bruce Jackson is donating the eight 24 x 30 and twenty-seven 30 x 24 digital pigment fiber prints from Full Color Depression to the Center for Documentary Studies. The files used to cre-ate the images were made from the original transparencies.

There will be a public auction of the photographs in June 2012.

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ABOVE: Worker at the carbon black plant, Sunray, Texas, 1942. Photograph by John Vachon. RIGHT, top to bottom: 1) Backstage at the girlie show at the Vermont state fair, Rutland, Vermont, September 1941. Photograph by Jack Delano. 2) Jim Norris and wife, homesteaders, Pie Town, New Mexico, October 1940. Photograph by Russell Lee. 3) M-4 tank crews of the United States, Ft. Knox, Kentucky, June 1942. Photograph by Alfred T. Palmer.

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o’ Say Can yoU SeeAn Installation by Laura PoitrasKreps Gallery | Through December 22, 2011On September 11, 2001, filmmaker Laura Poitras was in lower Manhattan, where she lives. In the hours and days after the bombing and collapse of the World Trade Center Towers she shot film footage of stunned and grief-strick-en citizens. The world has dramatically changed since that date, and Poitras has made two probing and power-ful documentary films that examine post-9/11 socio-polit-ical realities as they impact individuals, families, govern-ment policies, and belief systems.

O’ Say Can You See is Poitras’s first gallery exhibition. The installation features a projection of the imagery from Ground Zero in 2001, with audio recorded weeks later at the Yankees’ come-from-behind Game 4 World Series victory on October 20. Poitras says, “O’ Say Can You See is a meditation on loss and revenge.” Interviews with recently released detainees from Guantanamo Bay are presented on flat screen monitors, adding new layers of information and emotion about the War on Terror.

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looking BaCk9/11 across america

An Acoustic Exhibit of American VoicesLyndhurst Gallery | Through December 22, 2011In contrast to visual images from September 11, Look-ing Back relies upon the more immediate experience of sound to connect us directly with other people as we share the spontaneity and poignancy of their reactions.

On September 12, 2001, the day after devastating terrorist attacks shook the country, conversations at the American Folklife Center recalled Alan Lomax’s response to another historic breach of U.S. territory. On December 8, 1941, Lomax, then in charge of the Library of Con-gress Archive of American Folk Song, called on a team of historians and folklorists to collect American reactions to the surprise attack on Pearl Harbor.

Sixty years later, the American Folklife Center in Wash-ington, D.C., put out a similar call for people to document on audiotape “the immediate reactions of average Ameri-cans in your own communities to yesterday’s attacks [and] how their lives have been changed.” Folklorists, students, public librarians, and many others responded with about 500 hours of recordings.

From these tapes, the Center for Documentary Studies produced Looking Back, an acoustic installation reflect-ing Americans’ thoughts and emotions in the immediate aftermath of the events of September 11. These voices didn’t make the evening news; they express sentiments from quieter vantage points, showing the deep impact of the tragedy on everyday life across the country.

Looking Back: 9/11 Across America, a project of the Center for Documentary Studies, was produced by Sarah Chasnovitz and Elana Hadler Perl in 2002. Archival re-cordings are courtesy of the American Folklife Center of the Library of Congress. Additional support was provided by the Michael and Laura Brader-Araje Foundation.

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on vieW in tHe CDS gallerieS

ABOVE: Banners hang in the Lyndhurst Gallery as part of the acoustic installation Looking Back: 9/11 Across America. Photograph by Joel Mora.RIGHT: Long-exposure shot of the film and viewing areas of Laura Poitras’s installation O’ Say Can You See in the Kreps Gallery. Photograph by Joel Mora.

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OFF-SITE ExHIBIT

iraq | PerSPeCtiveSPhotographs by Benjamin LowyThrough December 11, 2011Rubenstein Library GalleryPerkins Library, Duke University

Selected by William Eggleston to win the 2010 CDS/Honick-man First Book Prize in Photography because the “images were practically asking to be in a book together—everything about them—the conception, the subject, the fact that we’re still at war, the way the pictures were taken. Benjamin’s work is an opportunity to see as an American soldier sees when in Iraq—nobody I know of has ever shown that, especially through night vision goggles.”

The arresting color photographs in Iraq | Perspectives, taken through Humvee windows and military-issue night vision goggles, capture the desolation of a war-ravaged Iraq as well as the tension and anxiety of both U.S. soldiers and Iraqi civil-ians. To photograph on the streets unprotected was impos-sible for Lowy, so he made images that illuminate this difficulty by shooting photographs through the windows and goggles meant to help him, and soldiers, to see.

To learn more about the prize and to see a gallery of Lowy’s images: y firstbookprizephoto.com

Here, anyWHerePhotographs by Tamas Dezso and the 2011 Daylight/CDS Photo Award WinnersPorch & University GalleriesThrough December 22, 2011

A solo show featuring Project Prize winner Tamas Dezso and a group exhibition featuring Work-in-Process Prize winner David Pace along with John Cyr, James Dodd, Baldomero Fernandez, Lydia Goldblatt, Shane Lavalette, Sebastian Liste, Lorenzo Martelli, Kris Vervaeke, Jurors’ Pick winners in both categories

In recognition of mutual interests in documentary and fine art photography, Daylight Magazine and the Center for Documentary Studies started an international competition in 2010, the Daylight/CDS Photo Awards, to honor and promote talented and committed photographers, both emerging and established.

The 2011 guest jurors were Anthony Bannon, director, George Eastman House; Darren Ching, owner, Klompching Gallery, and creative director, Photo District News; Stacey D. Clarkson, art director, Harper’s Magazine; Whitney Johnson, picture editor, The New Yorker; Joel Sternfeld, photographer; Sasha Wolf, owner, Sasha Wolf Gallery.

To learn more about the prize and to see the photographers’ portfolios: y cdsporch.org/archives/6952

“ I was covering Iraq for years. . . . At some point I realized all these pictures I’m making, they’re digital, ap-pear mostly on the Internet for an hour before they’re refreshed with something new. . . . It’s not like how it used to be, where a very few people had cameras. Now everyone has one, and you have to find a unique way of photographing something that’s different than what other people see, and expect to see. . . .”

—Benjamin Lowy

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The Center for Documentary Studies and the Honickman Foundation, based in Philadelphia, co-sponsor this presti-gious biennial prize for American photographers. The only prize of its kind, the CDS/Honickman First Book Prize in Photography competition is open to American photogra-phers of any age who have never published a book-length work and who use their cameras for creative exploration, whether it be of places, people, or communities; of the natural or social world; of beauty at large or the lack of it; of objective or subjective realities. The prize honors work that is visually compelling, that bears witness, and that has integrity of purpose. Winners of the CDS/Honickman First Book Prize in Photography receive a $3,000 grant, publication of a book of photography, and inclusion in a website devoted to presenting their work. We are proud to launch the site with the publication of fifth prizewinner Benjamin Lowy’s book, Iraq | Perspectives.

ABOVE: Photographs of and by winners and honorable mentions of the CDS/Honickman First Book Prize in Photography, 2002–2010. Top to bottom, left to right: Danny Wilcox Frazier (winner, 2006); from the series Children of St. Louis’s South Side by Anna Kuperberg (honorable mention, 2002); Jennette Williams (winner, 2008); from The Weather and a Place to Live: Photographs of the Suburban West by Steven B. Smith; from Driftless: Photographs from Iowa by Danny Wilcox Frazier; from the series Shadow Lives USA by Jon Lowenstein (honorable mention, 2008); from the series In Iraq by Lucian Read (honorable mention, 2008); from The Bathers: Photographs by Jennette Williams; William Eggleston judging the 2010 First Book Prize competiton, photograph by Tom Rankin; Danny Wilcox Frazier (winner, 2006); from On Fire: Photographs by Larry Schwarm; Larry Schwarm (winner, 2002); Steven B. Smith (winner, 2004); from the series Heart in the Wound by Lisa Kessler (honorable mention, 2004); from Iraq | Perspectives: Photographs by Benjamin Lowy; Benjamin Lowy (winner, 2010). OPPOSITE: Car wreck, Budapest, Hungary, 2009, from Here, Anywhere. Photograph by Tamas Dezso.

Visit the website to learn more about the prize and see the winners’ work: y firstbookprizephoto.com

2012 CDS/Honickman First Book Prize in Photography Deborah Willis is the judge of the sixth biennial competi-tion. A 2005 Guggenheim Fellow and Fletcher Fellow and a 2000 MacArthur Fellow, Willis has pursued a dual pro-fessional career as an art photographer and as one of the nation’s leading historians of African American photog-raphy and curator of African American culture. Willis was recently named among the “100 Most Important People in Photography” by American Photography magazine. She is chair of the Department of Photography & Imaging at the Tisch School of the Arts at New York University.

Submissions for the next competition will be accepted from June 15 to September 15, 2012. Full competition guidelines will be available on the site in January.

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“Most everyone in this book was executed. Most everyone said they were innocent. I did too . . . and I was. . . . Bruce and Diane have captured the face of America’s death penalty machine.”—Kerry Max Cook, former Death Row prisoner “Cook, Ex: #600,” exonerated through DNA testing after serving 22 years

“Most of us have formed whatever opinion we hold on the death penalty without any direct experience of what life is like inside of an institution specially designed by trial and error to utterly dehumanize its inhabitants (and by inevitable, toxic osmosis, its employees) in order that WE THE PEOPLE are able to take their lives at a given time on a given date. Pray that In This Timeless Time is as close as you ever get.” —Steve Earle, singer-songwriter and author of I’ll Never Get Out of This World Alive

Bruce Jackson is James Agee Professor of American Culture and SUNY Distinguished Professor of English at the State Uni-versity of New York at Buffalo. He is the author of numerous books and films. Diane Christian, a poet, scholar of religious literature, and documentarian, is SUNY Distinguished Teach-ing Professor of English at the State University of New York at Buffalo.

Includes a DVD of the documentary Death Row

In the series Documentary Arts and CulturePublished by the University of North Carolina Press andCDS Books of the Center for Documentary Studies

256 pages | 113 duotone photographs$35.00, hardcover | ISBN 978-0-8078-3539-5Available in April 2012 in bookstores or by ordering from UNC Press

To learn more about In This Timeless Time:

y cds.aas.duke.edu/books/death-row.html

in this timeless timeLiving and Dying on Death Row in AmericaBruce Jackson and Diane ChristianIn This Timeless Time features photographs by Bruce Jack-son and text by Bruce Jackson with Diane Christian, as well as a DVD of their film Death Row, and “is about life on Death Row in Texas, the special prison within a prison the state maintains for men it plans to put to death,” as Jackson and Christian write in their preface. “It is also about all the other Death Rows, which across time and in various places differ in marginal ways but which, at their core, are not significantly different from one another.”

The book is made up of three parts: photographs Jackson made in 1979; commentary written in 2010; and the story of how Jackson and Christian got access to a place from which outsiders are usually excluded, and some things that hap-pened during the course of their fieldwork.

They write, “In our 1979 film and 1980 book, we tried to give the residents of the Row voice about what it was like to live in that place and be in that condition. In this book, we try to let you see them as the individuals they in fact are, and to tell you what has happened to some of them in the interim.”

“With absolute fairness and profound honesty, Bruce Jackson and Diane Christian carry us into the tragic world of a group of prisoners living on a Texas Death Row. Through unforgettable stories and photos, we come to feel the suffering, guilt, and confusion of these men, as well as their inextinguishable human dignity.” —Sister Helen Prejean, author of Dead Man Walking

“In the over thirty years since Bruce Jackson and Diane Chris-tian’s work on a Texas death row began, we have made few advances in addressing the injustices in our justice system’s ultimate violent act. This is a significant work that speaks to our collective need to right the wrong that is capital punishment.” —John Lewis, U.S. congressman and civil rights leader

CDS BookS new and recent Publications

Lobo and his two Wolf spiders. He’d caught them in the recreation yard, near the fence. When he cleaned his cell in the morning, he’d look for bugs, which he’d drop in the hole in the card-board lid he’d made for his spider jar. Then he’d sit on his bunk and watch the spiders deal with the bugs. Photograph by Bruce Jackson.

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9literacy and Justice

through PhotographyA Classroom GuideWendy Ewald, Katherine Hyde, and Lisa LordThe authors share their perspectives as an artist, a sociolo-gist, and a teacher to show how four Literacy Through Pho-tography projects—American Alphabets, The Best Part of Me, Black Self/ White Self, and Memories from Past Centuries—invite students to create art that promotes critical thinking and self-expression and provides a framework for engaging students in essential social justice issues.Includes detailed lesson plans and comprehensive resources

Published by Teachers College Press and CDS Books ofthe Center for Documentary Studies

208 pages | 80 black and white photographs$31.95, paperback | ISBN 978-9-8077-5281-4$68.00, hardcover | ISBN 978-0-8077-5282-1

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iraq | PerspectivesPhotographs by Benjamin LowyLowy’s powerful color photographs, taken through Humvee windows and military-issue night vision goggles, capture the desolation of a war-ravaged Iraq as well as provide us with a new way of looking at the war—an entirely different frame-work for regarding and thinking about the everyday activities of Iraqis in a devastated landscape and the movements of soldiers on patrol.

Selected by William Eggleston to win the biennial CDS/Honickman First Book Prize in Photography

Published by Duke University Press and CDS Books of theCenter for Documentary Studies120 pages | 96 color photographs$39.95, hardcover | ISBN 978-0-8223-5166-5

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american StudiesPhotographs by Jim DowWith an introduction by Ian FrazierJim Dow’s photographs show an America always reinventing itself, discarding and preserving elements of its past, almost as though by accident. American Studies is a compendium of many of Dow’s best-known images, which were made over almost forty years of traveling the road with his large-format camera.

Now in a second printing!

Published by powerHouse Books andCDS Books of the Center for Documentary Studies136 pages | 115 color and black-and-white photographs$39.95, hardcover | ISBN 978-1-57687-565-0

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visual StorytellingThe Digital Video DocumentaryNancy KalowKalow, who chairs the selection committee of the Full Frame Documentary Film Festival, has written a step-by-step and comprehensive guide to making a low-budget video with a consumer camcorder, digital SLR camera, or cell phone and a one-person crew.Available for Free

Published by CDS Books of the Center for Documentary Studies

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Literacy & Justice Through Photography

Wendy Ewald • Katherine Hyde • Lisa Lord

A Classroom Guide

In this stark and powerful book, Bruce Jackson and Diane Christian explore life on Death Row, as well as the convoluted and arbitrary judicial processes that populate all Death Rows. They document the capriciousness of capital punishment and capture the day-to-day experiences of inmates in the official “nonperiod” between sentencing and execution. Included is a DVD of Jackson and Christian’s 1979 documentary film, Death Row.

“ With absolute fairness and profound honesty, Bruce Jackson and Diane Christian carry us into the tragic world of a group of prisoners living on a Texas Death Row. Through unforgettable stories and photos, we come to feel the suffering, guilt, and confusion of these men, as well as their inextinguishable human dignity.” —Sister Helen Prejean, author of Dead Man Walking

“ In the over thirty years since Bruce Jackson and Diane Christian’s work on a Texas death row began, we have made few advances in addressing the injustices in our justice system’s ultimate violent act. This is a significant work that speaks to our collective need to right the wrong that is capital punishment.” —John Lewis, U.S. congressman and civil rights leader

“ Most everyone in this book was executed. Most everyone said they were innocent. I did too . . . and I was. Bruce and Diane have captured the face of America’s death penalty machine.” —Kerry Max Cook, former Death Row prisoner “Cook, Ex: #600,” exonerated through DNA testing after serving 22 years

“ Most of us have formed whatever opinion we hold on the death penalty without any direct experience of what life is like inside of an institution specially designed by trial and error to utterly dehumanize its inhabitants (and by inevitable, toxic osmosis, its employees) in order that WE THE PEOPLE are able to take their lives at a given time on a given date. Pray that In This Timeless Time is as close as you ever get.” —Steve Earle, singer-songwriter and author of I’ll Never Get Out of This World Alive

“ Nothing like this book exists, or could ever exist again. I could not recommend it more strongly.” —Billy Sothern, death penalty lawyer and author of Down in New Orleans

“ In This Timeless Time is a cry of the heart . . . and should become the definitive book on the medieval cruelty of our death rows. Once read, none of us can turn our view away and say, ‘We did not know.’” —Michael Ratner, attorney and president emeritus of the Center for Constitutional Rights

“ Beauty? Where can beauty be in such a haunting, fatal place? And then one looks at these photos . . . men with visages of hopelessness, loss, and hope. Yes, hope. Jackson and Christian have pulled back the proverbial curtain so that all can see the American Way of Death.” —Mumia Abu-Jamal, co-author of The Classroom and the Cell

Bruce Jackson is James Agee Professor of American Culture and SUNY Distinguished Professor of English at the State University of New York at Buffalo. He is the author of numerous books and films. Diane Christian, a poet, scholar of religious literature, and documentarian, is SUNY Distinguished Teaching Professor of English at the State University of New York at Buffalo.

Documentary Arts and Culture Published in association with the Center for Documentary Studies at Duke UniversityThe University of North Carolina Press • www.uncpress.unc.edu

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Living & Dying on Death Row in America

Bruce Jackson & Diane Christian

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JM: Are you getting a lot more films from newcomers or from people who are established?

ST: We offer an Emerging Artist award every year, so that always calls attention to how many first-time filmmakers’ work we end up programming and that list grows every year. I think last year it was in the twenties. There are people at other events who feel that too many films are being made, and there are too many festivals, and that somehow that will water down the quality of work, but I don’t feel that way. A festival is a really unique experience because it’s a rare thing for a filmmaker to be present when his or her film is shown, to hear the audience react.

JM: You were a filmmaker and studied film.

ST: I did—I went to Hollins University in Virginia and studied film and photography. I was studying at Hollins when I started intern-ing at Full Frame. I did a fair amount of work in 16mm, experimen-tal stuff, some of it centering around my family.

JM: How do you think your background in film influences your thinking during the selection process?

ST: A few things come to mind. One is that having done some work with film gives you an appreciation of just how hard it is to make a good movie. I feel really grateful to have had some expe-rience because I think it makes me a more conscious watcher. You’re looking for the reason a film doesn’t belong—it’s a very dif-ferent screening process. I’m aware that to get to the really good work I will have to let go of other films.

JM: So you’re cutting out more than adding on?

ST: We have to. With 1,200 submissions and 60 spots, we have to be thinking about how to make cuts. The hardest part of my job is saying no, and it’s one of the biggest parts of my job and it’s heartbreaking. People spend years making their films, and there are many more wonderful films than we can show.

JM: I read that your system of choosing isn’t necessarily based on rank but is more discussion-based. . . .

ST: Yeah, it’s not based on written comments or on any type of score sheet but on conversations the selection committee and

SaDie tilleryDirector of Programming, Full Frame Documentary Film FestivalLast year Full Frame celebrated many accomplishments: three Full Frame award-winning films were shortlisted for Academy Awards, the festival was named one of the “Top 50 Film Festivals in the World” by indieWire, and director of pro-gramming Sadie Tillery was named one of the “Most Powerful People in Documentary” by Tom Roston’s POV blog.

In this excerpt from an interview with Joel Mora, the pub-lishing intern at CDS, Tillery talks about what it’s like to select and screen movies for Durham’s Full Frame Documentary Film Festival.

JM: When you’re between festivals what goes on at Full Frame?

ST: We have quarterly year-round programming. This summer we did a series of music films in Durham at the American Tobacco complex—screening them outside—and this fall we had a series of weekend showings, called the Full Frame Fix, at the Nasher Museum of Art at Duke that featured a few films that were sell outs at this past year’s festival and a few films that haven’t reached North Carolina yet. This winter we’ll do a series of screen-ings as well.

A lot of our work as a staff during the year is figuring out the best and most efficient way to organize the festival for the upcoming year—the best ticketing systems and line systems. And we fund-raise. An anonymous donor has agreed to match up to $25,000 in new gifts, so now we’re looking for new donors or for past donors to increase their donations to Full Frame.

JM: Are you ever trying to top yourselves, think of new things for the festival?

ST: Absolutely. We have this rare, intimate four-day experience, and we hear time and time again that what filmmakers really love is being able to come and speak with their colleagues and hear conversations that they wouldn’t be able to hear elsewhere. So programmatically, I think where we’re trying to grow and achieve the most, is how do we create more conversation around the art form? Last year we had this A&E speakeasy venue where we pro-grammed one-hour panel conversations in between the bands of programming, so it was really easy for patrons to get out of the film and then pop in and hear a little bit of this conversation and go back and get in line for their next movie.

JM: What films have you screened in past years that have really taken off?

ST: It’s really exciting to be a part of a film’s—what’s the word?—springboard, and sometimes those aren’t necessarily films that we premiere or show for the very first time. A film that comes to mind is Buck, which won our audience award in 2011 and has had a really successful theatrical run. I think it’s mutually benefi-cial because they were able to dip their toe in the water by show-ing here in Durham and received a lot of audience support, won the award, and now Full Frame’s laurels are at the top of its trailer.

PeoPle

The Full Frame Documentary Film Festival is an an-nual international event dedicated to the theatrical exhibition of nonfiction cinema. Each spring Full Frame welcomes filmmakers and film lovers from around the world to historic downtown Durham, North Carolina, for a four-day, morning to midnight array of over 100 films as well as discussions, panels, and southern hospital-ity. Set within a four-block radius, the intimate festival landscape fosters community and conversation between filmmakers, film professionals, and the public.

Passes go on sale January 5 through the Full Frame website. Pass holders enjoy special benefits at the jam-packed four-day event, including the opportunity to buy tickets to their preferred screenings before the general public. Schedules and film descriptions will be online and in print the third week of March.

The festival is a program of the Center for Documen-tary Studies and receives support from corporate spon-sors, private foundations, and individual donors whose generosity provides the foundation that makes the event possible. The Presenting Sponsor of the festival is Duke University.

y fullframefest.org

FUll FraMeDocumentary Film Festival

april 12–15, 2012

ABOVE: Duncan Murrell. Photograph by Joel Mora. OPPOSITE: Sadie Tillery. Photograph by Joel Mora.

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semester a year for the last three years, and they asked me if I could help develop a more robust writing program, by suggest-ing things for the curriculum but also by doing things to help to establish CDS as a place for writing in addition to a place for film and audio and photography. One thing led to another, and they hired me.

JM: Coming from a journalism background, I had never heard the term “documentary writing.” Is it “literary journalism”?

DM: Documentary writing is a term that has been coined here, and in some ways it’s a term of convenience—it makes sense to have “documentary” in the title. You’re right, it is con-gruent with literary journalism, narrative nonfiction, and cre-ative nonfiction in many ways, but I’ve come to the idea that documentary writing as a term is actually very descriptive of what we’re trying to do here. I think it’s essential as we move through the changes that are occurring in technology and the consumption of art, that we see the intersections between writing, photography, film, and audio. Documentary writing implies two things to me: a certain cross-media-rich approach as well as a departure from journalism. Documentary implies an expenditure of time. A documentarian is the person who is there after others have left. I think that is an ethic that we ought to encourage among writers.

JM: When people think about CDS, they often think of images. How do you see writing fitting in?

DM: There is a really unique opportunity here at CDS to think about writing outward-directed nonfiction writing in new ways. There is almost nothing hidebound about CDS, nothing writ-ten in stone—that you have to do things this way. That means there is a lot of opportunity to try something new in instruc-tion, in what we produce, to think from the ground up.

There is a growing concern—especially within journalism—that if you’re too tied to one way of doing things that the world moves past you. The best way of telling that story might ulti-mately be a written work or it could be a film or it could be an audio piece; we should have students leave here knowing how to tell a story in more than one medium. I would like writing to be a component of a well-rounded documentarian’s box of tricks. Technology is going to come and go and change, but if you are someone who is able to tell a story across media, you’ll always be able to follow it.

There are just different ways of observing—different ways of simply going about your business. You can’t miss it here,

staff has around each title. So much of what I’m trying to do is be a listener and a filter—carefully hear how films are affect-ing other people so that I can imagine how they might affect a whole room of people—a weekend of people. We’re looking for the whole package—for films that are affecting either because they’re visually striking or emotionally resonant or are explor-ing an important and timely subject or issue.

JM: I won’t ask you about a favorite Full Frame film, because I know you wouldn’t tell me, but what about certain moments? And as the program director, what kind of legacy are you hop-ing to build?

ST: There are so many moments, and they are all more about the people than they are about the films. When a filmmaker is walking into Fletcher Hall and sees a thousand people in the audience, it’s a wonderful moment.

As for a legacy . . . I guess there are two main things, and one is to be able to look back and say, those were incredible films, an incredible spectrum of work over all those years, that film-makers and audiences were able to appreciate. I hope to show films to the best of our ability, to be able to say that we grew an audience for documentary film by doing that. And more per-sonally, as an individual in an industry that can be painful and full of rejection, I want to look artists in the eye and let them know we appreciate what they are doing because we all need their films.

DUnCan MUrrellCDS Writer in ResidenceDuncan Murrell is an award-winning writer and journal-ist from North Carolina. He is a contributing editor at Harper’s Magazine and The Normal School and a consult-ing editor at Southern Cultures. Murrell has written about living in New Orleans for a year after Hurricane Katrina, as well as on such topics as immigration, politicians, termites, vultures, and hogs. Duncan’s essay “The Meat Horses of Serbia” was recently named a Notable Essay in Best American Essays 2011, edited by Edwidge Danticat.

Joel Mora, CDS publishing intern, talks with Murrell about teaching documentary writing and CDS’s interest in enhancing and refining its writing program.

JM: Congratulations on being featured in The Best American Essays 2011. There is an interesting line in that essay where you write, “I’m not a Dane. I’m an improviser.” I was wondering if you think about that in terms of your writing. When I read “In the Year of the Storm,” [about Katrina] none of what happens seems predictable, or at least the way you wrote it, it doesn’t.

DM: I do try to improvise. I mean, I go into reporting or docu-menting with some ideas of what I want a story to be but not a complete idea. There’s this discovery process that happens when I sit down to write—of course I’ve already discovered a lot of it—but I try to represent that discovery process in the piece itself and that’s where I hope surprise, as you put it, comes in.

JM: So you were in New Orleans a long time. If you were a journalist, you would get in and get out. Is this where the docu-mentary writing comes in?

DM: The kind of literature that I would like to make derives from that feeling of being a little bit unmoored and uncertain and that seems to me like life—we’re uncertain, we’re sort of poking forward in the dark. I’d like to get that feeling across, and it happens fairly often in my work, but the truth is that I begin like every other journalist/documentarian. I call a bunch of people, I do some phone interviews, I arrange to meet people, and early on I pay attention to all those pseudo-events like press conferences and rallies, but at some point I quit. Not consciously, but I find more interesting things to write about.

JM: Let’s fast-forward a bit. What brought you to CDS?

DM: After I published the story about New Orleans, I talked with some people here at CDS, and they wanted me to teach writing. So, I did. I’ve been teaching documentary writing one

LEFT AND CENTER: Whitney Baker and Audrey Bell. Photographs by Joel Mora. RIGHT: Joel Mora. Photograph by Audrey Bell.

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toM rankinTo Russia with Duke on the Volga DreamCDS Director Tom Rankin traveled to Russia in September as part of the Duke Alumni Association’s Learn and Travel program. While on board the M.S. Volga Dream from St. Petersburg to Moscow, he gave lectures, met with alums, toured historic sites, and took photographs. This photo-graph was taken in Red Square in Moscow. Rankin says, “To travel from St. Petersburg to Moscow on the Volga River, passing through countless river locks and by numer-ous villages and towns, is to witness both the historic and contemporary Russia.”

To see more photographs: y cdsporch.org/archives/8513

when you walk past students at banks of computers printing photographs, or hear John [Biewen] cutting some audio, or see Gary [Hawkins] across the hallway editing a film. You’re constantly reminded that you can team up. You can collaborate. Combining mediums opens up so many possibilities for a writer. That’s what’s different about this place.

JM: How do you structure your course?

DM: We’re doing two courses right now. One is an introductory seminar called Documentary Writing. The students write a lot, and that work includes one big, long final project; everything in the class builds to that. The other course, which I’ll be teaching with Kelly Alexander this spring, is organized like a creative writing workshop. There will be a tutorial aspect to the class, but there will be a lot of in-class writing assignments and then a final proj-ect that will take the whole semester to research and write.

We will be encouraging students to get out in the world, do research, interviews, and report, but we also want to acknowl-edge that while journalism has often been taught as a science, it’s an art to know who to talk to, what is important and telling, and what is just boring and should be cut out. That’s all art to me.

JM: Tell me about the Documentary Writing Speakers Series. Will that be an ongoing series of talks and readings?

DM: Yes, we’re going to try to do that every semester. We might even do an event or two in the summer. This fall we had Jeff Sharlet, Siddhartha Deb, John Jeremiah Sullivan, and Paul Hendrickson, who all come at this kind of writing in different ways, which helps us to continue to underline the fact that CDS is a des-tination for great writers and great instruction in writing.

Many of the conversations I have with my students revolve around how to make a living as a documentarian or how to build a writing life. Being able to meet and talk with these talented non-fiction writers is useful to them, and encouraging. We have some recent graduates who’ve done terrific and are having some real success. I’m hoping to bring some of them back also.

To learn more about the Documentary Writing Workshop:

y cds.aas.duke.edu/courses/undergradupcoming.html

CDS internS Whitney Baker, Audrey Bell, and Joel MoraThis is the second year we have offered the opportunity to intern at the Center for Documentary Studies to recent college graduates. CDS interns gain broad experience in the documentary field, with particular focus on exhibiting, publishing, and producing a range of materials related to the documentary arts.

Whitney Baker is a writer, programmer, and multimedia storyteller with an interest in local, community-driven stories. She received a bachelor’s in multimedia journalism and Spanish from the University of North Carolina at Chapel Hill in 2011. As the web design intern, she assists Chris Sims with the creation and project management of sites for new CDS endeavors and helps streamline the maintenance of existing web resources.

Audrey Bell received her B.A. in studio art and anthropology from Williams College in 2010, where she focused on painting, print-making, and video. While in college, she received two grants to research and document the lives of smallholder agriculturalists in Mongolia and Eastern Europe. As the exhibitions intern, she assists Courtney Reid-Eaton with the installation and storing of exhibits and the transfer of materials to the Archive of Documentary Arts in the Rubenstein Rare Book & Manuscript Library at Duke.

Joel Mora earned a B.S. in 2010 from the University of Florida, where he studied journalism and Latin American studies while work-ing as a multimedia intern at the Gainesville Sun. After graduation, he traveled the country with the rock band Morningbell and shot a documentary, which he is currently editing. As the digital arts and publishing intern he works with Alexa Dilworth in all stages of print editorial and production work and with Elizabeth Phillips on social media, web-based publicity, and marketing projects.

TOP: CDS director Tom Rankin welcomes the inaugural MFA class to Duke and their new facilities at the Carpentry Shop. Photograph by Joel Mora. BOTTOM: Laura Poitras gave a talk in September at the reception for her installation in CDS’s Kreps Gallery, O’ Say Can You See, and as part of the MFAEDA’s Visiting Artist and Scholar Series, which launched this fall and also featured speakers Tamiko Thiel, John Akomfrah, and Bill Morrison. Photograph by Joel Mora.DOCUM

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Master of Fine arts in experimental and Documentary arts

Duke University welcomed sixteen stu-dents into the inaugural class of its first MFA program this fall. The Master of Fine Arts in Experimental and Documentary

Arts (MFAEDA) is a terminal degree offered jointly by the Department of Art, Art History, and Visual Studies, the Center for Documentary Studies, and the Program in the Arts of the Moving Image.

The MFAEDA brings together two forms of artistic activity—the documentary approach and experimental production in analog, digital, and computational media—in a unique program that will foster collaborations across disciplines and media as it trains sophisticated, creative art practitioners.

To learn more about the MFAEDA, visit the program’s new blog: y mfaeda.org

Undergraduate education Visiting Professor Elaine LawlessIn the spring 2012 semester, Elaine Lawless, Curators’ Teaching Professor and Professor of English at the Universi-ty of Missouri, will be the Lehman Brady Visiting Joint Chair Professor in Documentary Studies and American Studies at Duke and the University of North Carolina at Chapel Hill.

This collaborative, cross-campus visiting professorship affords significant opportunities for study, research, and participation in educational activities associated with distinguished writers, photographers, filmmakers, and other practitioners and scholars of the documentary arts. The Lehman Brady Professor teaches courses on both campuses and engages in lectures, film screenings, and other events for students and the general public.

At the Center for Documentary Studies, Lawless will teach Ethnographic Writing: The Veterans Oral History Project in North Carolina, a course that will introduce stu-dents to the art of conducting oral history interviews, spe-cifically interviewing U.S. military veterans (both women and men) who have served during times of conflict, includ-ing WWII, Vietnam, Korea, Afghanistan, Iraq, and other recent conflicts. The class will connect to a larger effort to establish a Veterans Oral History Project in the state.

Lawless is the author of six books and many scholarly articles, and is the co-producer (with Elizabeth Peterson) of a documentary film on Pentecostalism, Joy Unspeak-able. She founded and is the producer of the Troubling Violence Performance Project. A past president of the American Folklore Society (2007–10), Lawless serves on the board of the American Folklife Center at the Library of Congress and is currently humanities coordinator for the national Veterans Oral History Project in Missouri.

eDUCation

Featured Spring Courses

Documentary Writing WorkshopDuncan Murrell and Kelly Alexander

Workshop in the art and practice of writing in the long-form traditions of narrative nonfiction and literary journalism

Freedom StoriesTim Tyson

Documentary writing course with a focus on twentieth-century racial politics and “storytelling” in the South across genres

Food Studies: Interdisciplinary Approaches to Why, What, and How We EatCharlie Thompson and Kathy Rudy

A critical examination of food from production to con-sumption and an exploration of discourses around “locavorism”; dinner on themes and subjects will be served at each class (in conjunction with Duke Meal plans)

To see the full listing of spring courses:

y cds.aas.duke.edu/courses/undergradupcoming.html

dukemfaeda

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John Hope Franklin Student Documentary awardsCDS makes these awards to undergraduates attending Triangle-area universities to help them conduct summer-long documentary fieldwork projects—oral history, photography, film and video, nonfiction or creative writing, audio, or active interest in community service. The winners’ final projects will be archived at Duke.

Deadline: March 1, 2012

y cds.aas.duke.edu/jhf

Continuing educationThe Center for Documentary Studies offers a wide range of short courses, institutes, and workshops for adults who are interested in learning to do their own documentary work. These documentary arts courses, available through flexible admission with reasonable fees, involve instruction in pho-tography, film and video, audio, and writing. Most courses are offered during the evening or on weekends, to accommodate the schedules of working adults.

2012 Summer InstitutesSummer intensive institutes and weekend courses offer both local students and those who live in other areas the opportuni-ty to participate in the CDS documentary arts program. Video, audio, photography, and Intensive Introduction to Documen-tary Studies courses are available during the summer months.

Documenting Medicine: A Day in the Life of a Patient

Dr. John Moses, Liisa Ogburn, Erica Rothman, Elena Rue | Beginning | May 3–6

Portraits & Dreams: Literacy Through Photography

Katie Hyde | All Levels | May 3–4

Advanced Documentary Photography: Vision and Craft

Alex Harris | Intermediate/Advanced | May 10–13

Documentary Video Institute

Randolph Benson, Jim Haverkamp, Simone Keith, Erika Simon, Carol Thomson, Nicole TricheAll Levels | June 9–16

Intensive Introduction to Documentary Studies

Michelle Lanier | All Levels | June 24–29

Digging In: An Audio Retreat with Big Shed

Shea Shackelford, Jesse Dukes, Jennifer DeerIntermediate/Advanced | July 9–August 4

Hearing Is Believing I: Audio Documentary Institute

John Biewen | All Levels | July 15–21

Hearing Is Believing II: Making It Sing

John Biewen | Intermediate/Advanced | August 6–11

Master Class: Nonfiction Writing

Duncan Murrell and Roger Hodge

Advanced | August 6–11

OTHER NEWS

The village of Kyegu before and after a 7.3 magnitude earthquake, Yushu prefecture, Tibet, 2010. Photographs by Dorje Dondrub, winner of a 2011 John Hope Franklin Student Documentary Award.

groundWorKDemocracy Close to HomeCDS receives Macarthur grant for groundworkThe John D. and Catherine T. MacArthur Foundation has awarded the Center for Documentary Studies a $140,000 media grant in support of Groundwork, a radio documentary series telling close-up, on-the-ground stories of American democracy in action at the local level, stories that reso-nate with larger, national issues of critical importance to all Americans but which Washington is failing to adequately ad-dress: energy, immigration, environment, citizen involvement in government spending, civil rights, and the future of U.S. democracy. John Biewen, audio director at CDS, will be the series producer. Along with the audio documentaries, which will air in late spring 2012 and again as a one-hour program in summer 2012, there will be a website with audio and video from the six locations featured in Groundwork.

y groundworkproject.org

new Spring Courses

Ethnographic Writing: The Veterans Oral History Project in North CarolinaElaine Lawless | All LevelsJanuary 12–May 1

The Documentary EssayRosencrans Baldwin | All LevelsFebruary 6–March 19

Can Documentaries for Social Change Make a Difference?: Learning from the History of Documenting Coal AppalachiaJoy Salyers and Roger May | All LevelsFebruary 13–March 19

Using Your Voice to Tell StoriesKatie Davis | All LevelsSunday, April 1

Register for spring courses and summer institutes:

y cdscourses.org

ABOVE: Elsewhere Collaborative’s Cabinet of Wonder (detail, mixed media sculpture, 2010), from the exhibition here. Photograph by Norah Hoover. RIGHT: Installation images from In Review: War. Photographs by Christina Katsolis / Southeast Museum of Photography.DOCUM

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tom rankin and Christopher Sims: recent exhibitsCDS director Tom Rankin and web content manager Christopher Sims both had photographs in the fall ex-hibit Nine Visions: Photography with Southern Vision at the Danville Museum of Fine Arts & History in Virginia. Rankin’s work was also shown in Outlands: Land Over Time at the Jennifer Schwartz Gallery as part of Atlanta Celebrates Photography 2011. Sims was one of four photographers featured in the exhibit In Review: War organized by the Southeast Museum of Photography this fall.

Nine Visions y cdsporch.org/archives/7367

Outlands y cdsporch.org/archives/7040

In Review: War y cdsporch.org/archives/7388

teka Selman guest Curates Philadelphia Showhere., a show co-curated by Teka Selman, assistant director of the MFA in Experimental and Documentary Arts, is on view at the Pennsylvania Academy of the Fine Arts through December 31. The exhibit explores how a sense of place exists in the work of artists from six particular regions—Philadelphia, Cincinnati, Phoenix, Raleigh-Durham, Detroit, and Kansas City.

y pafa.org/Museum/Exhibitions/Currently- On-View/here/1027/

JOIN FRIENDS OF CDSThe best way to get involved at the Center for Documentary Studies is to support the documen-tary arts. This is easy to do, by making a con-tribution through Friends of CDS. Through their contributions, Friends of CDS help to support the Center for Documentary Studies, a 501(c)3 nonprofit organization affiliated with Duke Uni-versity. Because the founders of the Center for Documentary Studies envisioned an organization that would bridge campus and community life, CDS was established as neither an academic de-partment nor a traditional university educational center. Rather, CDS functions as an independent not-for-profit organization, with its own budget and fundraising goals.

Two ways To Give: You may make a secure on-line donation at cds.aas.duke.edu/donate OR you may send a check payable to “Center for Documentary Studies” at Friends of CDS, 1317 W. Pettigrew Street, Durham, NC 27705

For More information: Contact Lynn McKnight, Associate Director for Programs and Communica-tions, Center for Documentary Studies at Duke University: docstudies@duke.edu

CONNECT WITH CDSDocument Also Available Online

y cds.aas.duke.edu/about/document.html

Twitter y Follow us @CDsdukeFacebook y facebook.com/CDs.Dukevimeo y vimeo.com/CDs

To receive CDs’s e-mails with the latest news and events, click the link under Get involved on our home page.

y documentarystudies.duke.edu

Social media icons by Ben Weaver

Join & ConneCt

winter 2012CalendarAll events are on the Duke University campus unless otherwise noted. Please check the CDS calendar on the web for updates to this events listing y cds.aas.duke.edu/events/index.html

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December 2, 6 p.m.Book Signing Iraq | Perspectives: Photographs by Benjamin LowyInternational Center of Photography, New York, NY

December 5, 11 a.m.–2:30 p.m.Documentary Engagement: Housing for New HopeUndergraduate class multimedia presentationsDurham County Public Library, Durham, NC

December 5, 3–4:30 p.m.Rural Mexico: The People, the Land, and the MusicPresentation by photographer Chris VailMary Duke Biddle Rare Book Room, Rubenstein Library, West Campus

December 5, 11 p.m.The Daily Show with Jon StewartFirst Book Prize winner Benjamin Lowy on his new book of photographs, Iraq | Perspectives, and his coverage of conflict zonesComedy Central

December 6, 10 a.m.MFAEDA Work in ProgressPresentation of projects by students in the MFA in Experimental and Documentary Arts ProgramCarpentry Shop, Campus Drive

December 9, 6 p.m.Certificate in Documentary ArtsGraduating students present final projectsNasher Museum of Art

December 12Online registration for Continuing Education Classescdscourses.org

December 13, 9 a.m.–4 p.m.MFAEDA Work in ProgressPresentation of projects by students in the MFA in Experimental and Documentary Arts ProgramCarpentry Shop, Campus Drive

December 14, 5 p.m.Documenting Medicine PresentationCDS audio program director John Biewen discusses an audio project, “The Hospice Experiment”Duke South, Room 0112

January 5Festival Passes on SaleStart of the Full Frame Documentary Film Festival season (festival, April 12–15)fullframefest.org

January 18Full Frame Winter SeriesA special screening by the Full Frame Documentary Film FestivalCarolina Theatre, Durham, NC

January 23Full Color Depression: First Kodachromes from America’s HeartlandAn exhibition of rarely seen color images from the Library of Congress’s Farm Security Administration photography collection, through July 23Center for Documentary Studies

January 25Full Frame Winter SeriesA special screening by the Full Frame Documentary Film FestivalCarolina Theatre, Durham, NC

January 30MFA in Experimental and Documentary ArtsApplication deadline for fall 2012 termmfaeda.duke.edu

January 30, 5 p.m.Information SessionFor current and prospective students who would like more information about CDS Continuing Education courses and equipmentCenter for Documentary Studies

February 1Full Frame Winter SeriesA special screening by the Full Frame Documentary Film FestivalCarolina Theatre, Durham, NC

February 1–March 1 John Hope Franklin Student Documentary AwardsApplication period for summer research awards for undergraduatesCenter for Documentary Studies

February 6Lewis Hine Documentary Fellows ProgramApplication deadline for fall 2012Center for Documentary Studies

February 28Shared TablesA Triangle-area symposium on local and global sustainable food systemsUNC–Chapel Hill

February 29Shared TablesA Triangle-area symposium on local and global sus-tainable food systemsDuke University