CCA presentation at Congress '08 - see you there!

Here's the abstract for my upcoming presentation at Canadian Communications Association conference @ Congress '08 in Vancouver. I'll be presenting on Friday morning, bright and early at 9am! Hitch a ride if you need to, but be sure to swing by!

Kris Erickson, Independent Scholar, Coordinator, Arts TA Development Program, Ryerson University
Between Two Worlds: Envisioning "Born into Brothels"

Born into Brothels (2004), a documentary film by photographer Zana Briski and filmmaker Ross Kauffman, occupies a unique place as a cultural object. Ostensibly the chronicle of a collaborative, intercultural, participatory photography or “photovoice” project with the children of sex-trade workers in Calcutta, Born into Brothels documents Briski’s encounters with her young students in and beyond the camera workshops she organizes for them. Yet more than simply a collaborative project, the film is also a journalistic account, a narrative authored at least as much by Briski and Kauffman as by the children whose images constitute the filmic space, and whose photographs punctuate the storyline. Since its release, the film’s supposedly neutral portrayal of these children and the products of their photographic education have been both celebrated and criticized, earning at once an Academy Award (as best documentary feature in 2005) and sharp criticism from social advocacy groups in Calcutta and in North America. This paper will analyze several images from the film in order to better understand how the products of contemporary visual communication like this documentary might successfully blur the boundaries between aesthetic representation and political agency. Because this film presents a rare glimpse into what teaching and learning looks like, it is an important text which highlights what I see as a pedagogical impulse underlying key discourses of contemporary media makers and media systems. In this paper I explore what the film attempts to teach us—about photography as well as about cultural practice—and consider what we might actually be learning from it in the end. As questions about the nature of truth and subjectivity, knowledge and information continue to be raised with respect to emerging communicational technologies and new media practices, a critical understanding of the increasing complexities of our visual worlds becomes crucially important.