[UPDATE: CFP has been extended until November 5 11:59 PM CET].
I’m delighted to announce the call for papers for the Making the Most of Film and Video in Archaeology session, to be held at the Computing Applications and Quantitative Methods in Archaeology (CAA) international conference, March 19th and 23rd 2018 at the University of Tübigen, Germany. In this session we seek to bring archaeologists and computing specialists together to explore, problematize, and suggest creative but critically informed solutions to the challenges of integrating film and video into archaeological research designs.
MAKING THE MOST OF FILM AND VIDEO IN ARCHAEOLOGY
Keywords: Film, video, actuality, recording, filmmaking, digital archiving, databases, social media, online platforms, research design.
Despite the fact that archaeologists have experimented with various forms of filmmaking for a century we are still yet to develop a pragmatic approach to how best to integrate actuality film and video recording, editing, and archiving into our research project designs. As mediums merge and digital platforms multiply, as coders begin to replace film editors, as media technologies, standards, laws, and conventions shift – now is a timely moment to take stock and consider how we can make better use of actuality film and video in archaeological contexts. Key challenges include how to address the disconnected digital archives of historical archaeological film footage increasingly available online; how to better integrate drone, underwater, and site videography into archaeological research design and dissemination strategies; and how to better foster media literacy and skills among archaeologists tasked with researching, designing, recording, editing, managing, distributing, and digitally archiving film and video material.
This session seeks to cross industry and disciplinary boundaries by inviting archaeological scholars and computing specialists to problematise and bring fresh perspectives to the above issues by suggesting future directions for how we can make the most of digital actuality film and video in archaeology.
Suggested themes and topics include but are not restricted to:
Film and video as archaeological data.
Digital archiving, database management, and accessibility for archaeological films and videos.
Working with video files – what archaeologists need to know.
Using film and video in academic publishing.
The pros and cons of vlogging, social media, and online video platforms for archaeology.
Merging the mediums: approaches to combining actuality footage with animation, VR, AR and more.
Coding: the future of film editing? How we can futureproof digital archaeological storytelling.
Please note: the term ‘actuality’ is borrowed from the documentary industry and used here to describe non-fiction films and videos of actual people, places, and events – as distinct from animated or fiction films and videos.
The call for papers has just opened and will run until Sunday 29nd October 2017 Sunday 5th November 23:59 CET. Applicants will need to register with the CAA conference to submit your paper to our session. Abstracts for papers should be no more 250 words excluding session title, author names, affiliations, and email addresses and 3 – 5 keywords. Please note, the official language of the conference is English and all submissions should be in English. If English is not your first language, it is strongly suggested that you have a fluent English speaker review your abstract before submission.
Archaeology borrows and adapts visualisation mediums and techniques from a range of artistic and creative practices including drawing, photography, film, gaming, digital animation and virtual reality. But do we take these visualisation practices as seriously as we do our scientific ones – or do we merely skim the surface of them, depriving ourselves of a deeper and more critical understanding of how the past is interpreted and understood? A key element of any art form, but arguably often side-lined in archaeology, is the visual author’s presence and ‘voice’. Following auteur theory, this house argues that the author’s voice in visual representations of archaeology deserves equal regard to that of the author’s voice in written archaeological works. Such a shift in values would necessitate archaeologists becoming more visually and technically literate in visual art-forms and industries in order to not only appreciate but meaningfully be able to critique and translate archaeological visualisations on a deeper level. Not only would this enhance the rights to the creators of archaeological visualisations (such as recognition, ownership and copyright), but it would also demand greater responsibility, transparency and accountability for the archaeological visualisations created.
This session invites practitioners of visual archaeologies and those who research visual representations of archaeology to critique and debate the above argument, interrogating the value and role of the author’s voice in visualising archaeology. We seek to include a range of visual forms and mediums, inclusive of but not limited to drawing, photography, video, film, gaming, digital animation, AR, VR and mixed-mediums. Archaeologists, artists, heritage professional, industry practitioners and those who straddle multiple roles are warmly welcome to submit. This session partners with TAG 2016’s art/digital/film exhibition ‘Sightations’, running on site throughout the TAG conference, and session speakers are warmly encouraged to display an example of their work in the exhibit. For more information on the exhibit please see ‘Sightations’ call for contributors.
If you’d like to be part of our session please send you name(s), affiliations, title of paper, and abstract of 250 words, to firstname.lastname@example.org or email@example.com. We’re accepting submissions until November 15th. If you have any question please don’t hesitate to get in touch, and please share this page with anyone you think might be interested!
Kon’nichiwa! Watashi wa Kokogaku-sha des. Sake wa doko des ka?
[Hello! I am an archaeologist. Where is the beer?]
Greetings from the 8th World Archaeology Congress, currently underway in beautiful Kyoto, Japan. I’m going to give a short presentation introducing the Off The Record research project this coming Friday – perhaps if you’re at WAC you might care to come listen? Or if you have friends or colleagues at WAC who might be interested, you could be so kind as to point them in my direction? Sadly 15 minutes is barely enough to scratch the surface of the topic, but hopefully this will help wet folks appetites for more discourse about archaeology in the media!
“Shooting Archaeologists. Off the Record: Archaeology and Documentary Filmmaking”
Who calls the shots in archaeology documentaries – and why? This paper investigates archaeology’s relationship with UK documentary filmmaking. Uniquely however, this relationship is considered from the angle of film production as seen from an archaeological perspective. The first stage of results from the ‘Off the Record: Archaeology and Documentary Filmmaking’ PhD research project will be presented, including up-to-date findings from a survey of UK archaeologists working in the documentary sector, reflecting on their experiences, values, concerns and hopes for the genre. This new evidence allows us to better determine archaeology’s place within the media, and documentary’s place within archaeology.
It’s #DayOfArch and my social media feeds have exploded with blog entries, twitter updates and lots of archaeology-porn (my term for photos of sexy artefacts posted without context – a topic for another day). So today seems like a nice opportunity to update this blog with an entry of what my typical ‘archaeology day’ looks like on the road towards achieving a PhD in archaeology.
My typical archaeology day begins with my alarm going off around 7:30am and as much as I’d like to ignore it I can’t – this alarm serve’s not only to wake me up but to remind me to take insulin. Before I can eat I have to test my blood to check my sugar level, count the carbohydrates in my meal, calculate the insulin dosage based on this, and then inject myself into my tummy with insulin.
To get to the archaeology department at university I have to do the same: test my blood, and depending on the results and eat a biscuit or sip an OJ before/during/after cycling, then test my blood again when I arrive. Then up to my desk to get the days work underway – usually starting with a twitter foray and email clearance (there’s lots of GP and administrative appointments to sort out given my recently time absence due to illness and as a Tier 4 student my options for sick leave are limited).
2 hours after my first insulin injection, about 10 – 10:30, I test my blood again, and then finally comes coffee (which I’ve read can impair insulin so I wait until the insulin has peaked to have it). This is my productive time: for writing and data analysis. I’m also blessed to have an awesome group of PhD archaeology students at Southampton – we have coffee mornings for banter, and Cake Fridays during term time. There’s always someone in the office to chat with or drag off for a caffeine refill.
Lunch is the same protocol: alarm goes off, test, count, calculate and inject. I’ve taken to requesting lunch meetings in order to save time – but this means injecting in public, which means having to expose my tummy – which means no more dresses. Or shopping for cut out dresses – I think they call that turning a problem into an opportunity?
Blood testing again 2 hours later. My sugar seems to drop in the afternoon, and knowing I have only 2-3 hours until I have to leave for work is annoying, so this is ‘mundane tasks’ time: logging film footage, admin, emails, etc.
Blood testing again before cycling to my usual evening shift at the university library, then testing again when I arrive. And snack time! – so long as it’s under 20g of carbs.
I eat dinner (alarm, test, count, calculate, inject) at my desk during work. The library team has been extremely supportive and sourced sharps buckets for me, and luckily food and drink is allowed in the library. On quiet nights I also work on my PhD research here: readings, writing, admin.
Back home by 10pm, test, snack, housework or maybe some more study depending on deadlines.
And then a final alarm and a final injection of a insulin for the night.
And that’s it really. Rinse and repeat every day. My typical #dayofarch. No sexy artefacts (not every day anyway). No exotic travel (although that does happen too). No amazing and sudden break through in theory. Instead: routine, persistence and endurance. But is that enough?
You’ve probably gathered that I have insulin-dependent diabetes – AKA Type 1. As I write this blog I’m actually recovering from a hypoglycemic attack (aka ‘hypo’), which is when your blood sugar levels drop suddenly causing symptoms such as rapid heartbeat, blurred vision, dizziness, shakiness, and changes in behavior. At its worst it can lead to loss of consciousness and even coma. That’s the textbook description anyway. In reality it’s not as dramatic as it sounds: I’m currently just sitting at my desk in the post-graduate study room, surrounded by my fellow archaeologists who are typing away. I’ve just snacked on an OJ and some digestives, checked my blood glucose levels are rising again, and I’m looking forward to a coffee and cracking on with some data analysis. I’m nursing a head cold as well, which has given me a sexy, gritty voice to rival ScarJo. But I can’t be bothered waiting for the trembling hands and slightly-off vision to fade – I have things I want to do: film footage to log, ethnographic journal entries to write, software to learn, data to analyse, a conference session to plan, papers to write – a PhD thesis to draft. And my deadlines get closer every day.
But I do have to slow down. I can’t afford to push my body like I used to as a typical PhD student. The reason I’m experiencing a hypo is because I’ve only recently been diagnosed with type-1 diabetes (T1D) and am yet to get my blood sugar levels stable and safe – a process that might take months I’m told. T1D is uncommon at my age. Only 10% of diabetes sufferers have T1D, and of those, less that 15% are diagnosed after adulthood. At 30 years old my GP tells me I’m quite the anomaly – but while it’s always nice to be told your ‘special’ this is one type of special I would have been happy to bypass. It’s possible that the disease has been bubbling away below the surface for a year or two, with no diagnostic clues it was happening – scientifically we still don’t know what causes T1D after all. Nor how to cure it.
My T1D annoyingly hit me while I was filming on an archaeology excavation as one of my PhD case studies in late June/early July, a couple of weeks ago now. I became unusually weak and fatigued, had extreme thirst and an annoying ‘dry mouth’, and over the 2 weeks of excavation I lost 7kgs weight (I usually weigh roughly 55kgs so this took me unhealthily underweight). At the time I mostly managed to work through it, filming everyday and making my research notes about the filming process – which is also one of my PhD case studies. I put my feeling unwell down to the usual wear and tear of being on an archaeology excavation and assumed I had some minor illness. A couple of days after returning home and finding that rest did not lead me to recovery, I visited the GP, which quickly led to an overnight stay in hospital, IV bags and blood tests galore, and immediate training to start using an insulin pen and test my blood glucose levels ever couple of hours – now routine. In a matter of weeks I’ve bounced from being a healthy ordinary young woman, to a borderline comatose zombie with acid for blood, to now: a fairly healthy T1D woman, considering I’m less than a month into what is ironically called my ‘diabetic career’.
AN OVER SHARE?
But why make the personal a public matter by blogging about it? Is that appropriate? Or Professional? Especially in the rough and tumble of academic archaeology – a discipline where professional reputations are so fiercely protected and criticism often cutting? I have always felt that the personal aspects of research are not only worthy of, but actually demand thoughtful reflection and close critique. Perhaps this is because of my documentary training (you can’t tell a story without fully formed human beings in it). Or maybe it’s because of my background working in Aboriginal archaeology in Australia, where personal connections to country, such as the recording of oral histories, are just as crucial to fulfilling the needs of the job as the scientific aspects of archaeology and administration of heritage management. Perhaps I’m being vain. Or lazy. Procrastinating from the actual PhD.
But I have my reasons for wanting to share my daily experience as a diabetic archaeologist and PhD student:
Because since my diagnosis other T1D staff and students have quietly emerged from the woodwork to share their support – turns out there’s quite a few of us. And that’s just T1D! What about all the other illnesses and different abilities experienced by students and academics? Is there really a culture of silence about illness and disability in Higher Ed? If so, what is the impact? Of course it’s up to individuals if they want to make their illness public, but it seems a pity to me that illness and disabilities not be up for discussion or familiarization until after the fact (admittedly my knowledge of T1D previously only came from watching Steel Magnolias, so I include myself in this criticism). I have recently told some staff members and my fellow archaeology students about my condition – if something does go wrong on a late night in the office or on a dig I need them to know what to do. I simply can’t afford to be silent about this.
Because my campus has no sharps disposal bins, not only for my use, but for fellow staff, students, and visitors who may need them. We’re changing that though – the administrative staff and my own academic supervisory team have been very supportive and quick to act now that I’ve requested this. I might even score a min desk-fridge for spare insulin. (And for snacks. And Pimms).
Because I have every intention of writing about this as part of my filming-diary in my thesis – so this is a bit of a rehearsal. Looks like the question of whether to take the risk of using auto-ethnography to describe my case-study has been answered. Stay tuned for this one fellow researchers.
Because this is another tick in my Quest For Adequate and Private Sanitation on archaeology excavation sites. That also deserves its own blog post. More soon.
So I am pleased to announce that from now on this blog will have a duel purpose: I will not only be exploring the relationship of archaeology and documentary film on here – I’ll be occasionally extending my blog to consider to the human being behind the camera and behind the pen. I’ll be considering how health and illness affect ones progress in filmmaking, in the pursuit of the PhD and in academia more broadly. My current working idea is that filming archaeology is documentary praxis as much as any other documentary sub-genre. It’s about people. Past and present. On screen and off.
I’m currently sitting in the cafe beneath The Ashmolean in Oxford. It’s bustling with tourists, seniors and families taking a break from the collections above and the rain outside. I’ve taken refuge from the museum above because my mind has just been completely overloaded – and I haven’t even visited a single exhibition space yet. I’ve just come straight from seeing Elizabeth Price’s ‘A Restoration’: a video-art installation based on the archives of Sir Arthur Evans, the English archaeologist who excavated Crete’s Knossos in 1900. It’s a stunning artwork. Literally. Set in a dedicated dark space, surrounded by speakers and flashing phrenetically across two screens, the viewer is bombarded with successive layers of poetic narration (of a synthetic disembodied collective voice of imaginary administartors), percussive electronic music (think Yann Tiersen’s ‘Amelie’ soundtrack crossed with Jamie XX), and cleverly edited archival images (historical and modern photographs of artefacts, drawings, maps, graphics and clever animations bring to life both Minoan iconography as well as computer archival icons). In this way, like Alice through the rabbit hole, or Theseus in the labyrinth, ‘A Restoration’ takes you ever deeper into the world of the mysterious administrators.
‘A Restoration’ is not a politically or culturally critical artwork – especially compared to some of the recent video-art installation works disentangling (post)-colonialism, museology and repatriation which I saw attached to the joint British Museum – National Museum of Australia exhibit (how I wish that exhibit had toured to the UK! I may have to write about that exhibit and its use of art and video too actually…). Instead, ‘A Restoration’ is a playful, gentle, exploratory, and softly satirical work, commenting more on the limitations of our ways of knowing and envisioning the past, and our possibly naïve attempts to reconstruct the past in some ideal form. It has a very European sensibility to it: testing but also ultimately propagating the notion of Knossos as the fount of European civilization, constructed seed by seed, brick by brick, person by person – as illustrated in the fragments composed together like a giant jigsaw puzzle of the past. It concludes somewhat ambiguously – which to me is a reminding that in the end our attempts to preserve the remains of the past can only be at best, temporary.
It’s just been brought to my attention that the BFI has finally made their footage of Stonehenge from 1900 publicly available online (until now you needed to visit their mediatheque in person or log in via an institution to see it). I’ve been trying to chase details on the background and life of this footage for a while now, so I’m glad it’s now officially in the public domain so I can share the love.
My question is: could this be the oldest surviving footage of an archaeological site on film?
The cool thing about such material is it raises interesting possibilities about using old footage as an alternative form of evidence for interpreting archaeological sites – and if you’re interested in that then you might be interested in Amara Thornton’s research and UCL’s Filming Antiquity project. There is so material much on shelves, in private homes and in public institutions, trapped on celluloid and slowly rotting away, so it’s great to see action being taken in this field. Very cool stuff.
Check it out and let us know what you think! Happy Monday!
Well, I’ve just arrived back from a month’s field work and filming in Greece and while the field directors gets on with the data processing and report writing, I’m chasing a couple of final permits and getting ready to crack into the edit. I haven’t even sat through most of the footage yet so I don’t want to discuss the production too closely and prematurely (that is, afterall, what the thesis is for). But I was very pleased to get some feedback on my blog from readers the other day – apparently there are a few of you who regularly visit this blog for tips and discussion on archaeology documentary filmmaking! Thus validating my procrastination – I mean, public outreach – so bless you (and supervisors please take note). So whilst this last project is fresh on my mind, here are a 6 quick technical tips that I’ve picked up along the way and plan to apply to my filming practice next time, which might also be useful to others. A lot of this is basic stuff you’ll find in any documentary textbook or masterclass on youtube, but here I’ve tailored it to shooting on terrestrial archaeological excavations:
1. White balance! Do not trust automatic white balancing – everything will be blue. Archaeology sites change colour completely over the course of a day as the sun hits the soil and the weather turns, and depending on where and how hard the shade is. So if you want to capture things like soil contexts you have to be constantly checking that your white balance matches as close as possible to what your eye is actually seeing, especially if you plan to shoot the same context over different days.
2. Check your lens. Every 5 minutes. Not kidding. There is so much dirt and grass flying around. Aim at the sky and see if there’s specks showing up. Keep your lens cap, tissues and fluid on you. When not filming, but needing the camera available and ready to go, I also took to sitting my camera on a nifty stool and throwing a towel over it to try and minimise the dirt and dust getting on/into it.
3. Check your switches and settings regularly. Handheld shooting means cameras get knocked about a lot, and I know there was at least one morning where I must have accidentally knocked my sound input channel switch so I had the weaker mic running to both channels and didn’t notice in time, despite wearing cans religiously. You can use camera tape to fix switches make sure this doesn’t happen.
4. Shoot entire takes with a beginning, middle and end – nicely paced – don’t shoot to cut. This was a really hard lesson for me as I shoot to cut by instinct (based on my training), and had to keep pulling myself up on it. You see, there’s so much intrusive noise at archaeology sites (multiple conversations, music, farming machinery, road traffic, air traffic, animals, wind) that takes of full “scenes” might be the only way to actually capture narrative-friendly footage – I dread to think how I’m going to go about cutting some of the material I have. You can ask people nearby to lower their voices when shooting, and turn off music, you can use radio-mics – but that’s approaching “set dressing” in some ways, it’s a step away from “actualité”, so that’s something you’ll have to decide for yourself, depending on your mode, how strict you are about it, and where you want to take the final film. Ideally of course, have a skilled sound recordist on the boom.
5. Pick your moments. Deciding when it was appropriate to ask questions or to initiate discussions was very difficult, sometimes it worked nicely, sometimes it was forced for both myself and the participants and that left a bad taste in people’s mouths (although my participants were extraordinarily good humored and patient with me). Obviously the archaeological work must have priority, but there’s no point being there at all and putting people through the demands of a shoot if you don’t do your job properly as well. You cannot go back for pick ups – you literally have one shot. At the same time, you can’t film everything, especially if you have limited battery or storage space. So you have to be strategic and get a feel for and play to the dynamics on site, and strike the right balance between going with the flow and pushing enough to get beyond superficial observation. You can arrange for a formal time to discuss what’s happening on site, eg. 5 minutes at the beginning and end of each day – which I didn’t do (I did this in a more ad-hoc fashion), and I regret not doing it as a back up, but again, that can force a performance or even worse, send people into lecture mode and waste everyone’s time and energy. So it depends on your style and your participants. It’s something to be negotiated and trialed.
6. I didn’t use a tripod or body rig at all – a deliberate decision, following verité conventions after filmmakers like Dineen and Churchill – and I’m still not sure if it was worth it. My wrist was quite damaged by the end of the dig, affecting my ability to maneuver the camera, and even a week later typing this blog entry hurts. Also, it’s hard to pull focus and remain steady on distance shots and close ups on artefacts when filming hand held. On the other hand (heh), I could follow the action much more easily than if I was locked into a tripod or rig, I could move across sensitive areas of the site quickly, and I’d rather all the shots match in terms of feel and movement. So… I’m still considering what’s best here.
These notes are just scratching the surface of course, and what I haven’t discussed here is the relationship between filmmakers and participants which is the real key to a successful shoot. Now, I’m prepping to enter the logging, transcribing and edit of the film, along with more thesis writing and consultations with my participants which I hope will continue through the rest of post-production and the larger research project. So, stay tuned for more details as the edit progresses, as well as more film reviews, news and debate about archaeology documentary filmmaking.