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The radical center is a space of convergence among overlapping circles, a space in which various ecosystems come into contact. In this chapter, we discuss curricular approaches that take their home in this radical center, leveraging documentary mediamaking practices to connect students, disciplinary approaches, community members, and organizing efforts in relationships of transparency, accountability, and mutuality. In such contexts, students can be equipped to create responsible documentaries through engaged pedagogies that focus on critical documentary theory and understanding of individual location (Coles, 1997). This chapter presents two case studies that facilitated documentary-as-praxis in different communities in the Lehigh Valley, in Pennsylvania.

Can the crisis of women’s victimization in prison be represented in ways that challenge this harm without its self-perpetuation? As a documentary scholar and maker, this was my overriding concern for an activist video project about women and prison. Certainly, documentary and prison tell us much about each other in their shared capacity to weaken some and strengthen others, by way of technologies of vision and distance, while buttressing hegemonic power. Our project was to minimize the possibility of documentary as prison by taking responsibility for the victim documentary itself as a system of power and pain, objectification and punishment.

Christine Bruce (2008, Preface) has written extensively about informed learning. Informed learning is “using information, creatively and reflectively, in order to learn.” Bruce writes about informed learning as it relates to information literacy. Librarians, working collaboratively with professors, often develop research guides to teach information literacy skills, and to organize and present program, course, assignment, or topic-specific resources. Research is essential to documentary filmmaking. This chapter is a case study that describes how the History of Non-fiction Film Research Guide that we created aligns with the three principles and seven faces of informed learning.

Purpose – The purpose of this chapter is to examine televised images of jail by looking at televised documentaries and reality-based programs. Since jails are closed institutions, the way the media depicts them can have a significant impact on people's perceptions of these institutions.

Methodology – Content analysis, a common media research technique, was employed to analyze how jails are portrayed on television. More specifically, a sample of seven televised documentaries and 24 episodes of the reality-based programs Jail and Inside American Jail were examined to determine the accuracy of these images, as well as the underlying themes presented in these programs.

Findings – There were both similarities and differences in the way these programs depicted county jails in the United States. Overall both programs offered a selective look into the jail system. Whether depicting the largest jails in the country or focusing exclusively on the areas of the jail where inmate outbursts are most likely to take place, these programs offer a sensationalized view of jail that supports current crime control policies.

Research limitations – The sample used in this study is a purposive sample and only focuses on reality-based images (excluding news broadcasts). Examining additional televised images of jail would add to the strength of this study.

Originality of paper – Although research on prisons in the media is becoming more popular, that on jails is nonexistent; therefore, this chapter adds to our knowledge of how these institutions are portrayed in the media.

The authors analyze how conflicting institutional demands become deployed in organizational storytelling in the context of wildlife documentaries. Documentary producers increasingly feel the pressure to entertain the audience, while simultaneously addressing serious environmental issues. Using a mixed-method analysis of BBC wildlife documentaries produced between 2009 and 2017, the authors identify two narrative strategies, alternation and amplification, to balance demands for entertainment and environmental conservation. Alternation switches entertaining and serious content to offset conservation concerns, while amplification uses entertainment to accentuate conservation. Emotions play a significant role in both ways of storytelling. The findings of this chapter contribute to the literatures on institutional microfoundations, storytelling, and emotions.

This chapter analyses a range of media outputs produced to raise awareness of the campaign of forced sterilisation conducted in Peru during the period 1993–1998. Focusing in detail on the Quipu Project the authors investigate the ways in which different media configure differently witness subjects, audiences and listeners. The chapter also analyses the effectiveness of these media outputs within the contexts of human rights discourses.

The chapter is framed by narrative theories of documentary video production, new media technology and intermediality. The authors also draw on theories of witnessing that have emerged in critical studies of witness testimony in video and new media. It uses secondary data, that is, the testimonies of women already collected, selected and, in most cases, edited by documentary makers and campaigners.

The case studies compare the ways in which conventional video documentary and techniques of digital storytelling transform the content of women’s testimony.

Funding limitations have meant that progress on the site was, at the time of writing, temporarily suspended. We therefore analysed the pilot, or prototype, of the Quipu Project, which should be viewed as a work in progress. However, a more developed site for the Quipu Project went live after the chapter was completed.

This chapter represents the first attempt to analyse the effectiveness of an experimental project such as the Quipu Project. The authors were given access by the curators of the project to the site at various stages of its construction. The chapter provides insights into the potential of digital technology to create opportunities for media outputs to internationalise interventions into campaigns for justice and reparation.

Purpose: This chapter explores the current hybridization between true crime and nonfiction investigative documentaries on Video on Demand (VOD) platforms. It would seem necessary to distinguish true crime productions from long-form journalistic documentaries in order to avoid confusion between different products that do not pursue the same ends, such as audiovisual products with highly emotive and engaging components versus a journalistic approach to the truth about what happened. Methodology/approach: The analysis is based on the specific theory of true crime developed by Punnett, who provides genuine narrative codes (Justice, Subversive, Geographic, Forensic, Vocative, and Folkloric) for true crime to distinguish it from the formal conventions and social objectives of journalistic documentaries. The case study (El crimen de Alcàsser) was selected because of its potential to drive a detailed and in-depth study on one of the most traumatic crimes in the country’s recent history: the kidnapping, rape, torture, and killing of three teenagers in 1992. Findings: Several scholars have identified journalistic elements in true crime productions in the digital context, adopted in an attempt to distance them from the true crime tradition of appealing to primitive instincts. Although it has been perceived also as a renewed formula for journalism to reach a wide audience and mainstream success, it banishes journalism from its origin and goals: to guarantee the citizenship’s right to be truly informed about crime. In this way, journalistic documentaries inspired by real crimes may play a crucial role in a democratic society, while true crime only exploits the empathy of viewers and places them in the active participation of determining the suspect-protagonist’s guilt as a mode of “clickable” entertainment in the digital culture. Research limitations: This is the first in a series of studies within a broader research project on true crime documentaries released on the VOD platforms in Spain. The findings are, in this case, preliminary. The analysis needs additional testing before its utility can be reasonably determined and a theory about true crime made in Spain could be developed. Originality: First, there is no specific research in the field of true crime in Spain, although crime stories already enjoyed a prominent place in Spain’s conventional TV programming. Second, the Punnett analysis model introduces an interesting way to complement existing theoretical references about the connections between true crime and journalism.

To discuss our experiences producing a short documentary film focused on a sport-related environmental issue – and reflect on our attempts throughout production to “do” what we are calling “Environmental Sports Journalism” (ESJ).

Following ESJ principles, and in collaboration with Vancouver-based filmmakers, we produced a short documentary entitled, Mount Gariwang: An Olympic Casualty, about the destruction of an ancient forest for a sport mega-event (i.e., the PyeongChang Olympics). We discuss and reflect on our approach and methods for producing the documentary, and identify key issues faced throughout the process – as we attempted to negotiate the intricacies of documentary work and collaboration between academics and media producers, while attending to a set of principles for producing “Environmental Sports Journalism.”

We reflect on strategies used and challenges faced when attempting to produce a short film on a sport-related environmental issue. We note our attempt to: (1) include interview segments with definitions of key concepts and how they are relevant to power relations around sport mega-events; (2) value the lives and voices of local and marginalized people – while noting problems we faced providing adequate context; (3) focus on problems of nonhumans as well as humans – and the challenges we faced including nonhuman issues and perspectives, challenges that reflected the limits of our chosen data collection and reporting techniques; (4) offer some form of hope and identify alternatives around an event that we were critical of; and (5) highlight the complexities of prioritizing social and environmental justice (i.e., taking a side) while attempting to offer what we might think of as “balanced” coverage.

This chapter illuminated barriers we faced in our attempts to produce “excellent” coverage, and in going from media critics to critical media producers. Our hope is to inspire reflection on what is possible around the production of “excellent” sport-related environmental journalism, and to contribute to thinking about the pursuit of public sociology through media.

Although involvement in documentary-making as academics is not new, our attempt to apply principles associated with environmental journalism to the study of sport-related environmental and social problems is in some ways novel, and therefore our reflections on our experiences are also in some ways novel.