August 13, 2009—August 17, 2009

Visible Evidence XVI

Los Angeles, California, USA

The Visible Evidence community is a collection of scholars and practitioners engaged in research and debates on historical and contemporary contemporary documentary practice and nonfiction media culture.

Work presented at conferences focuses on the role of film, video and other media as record, witness, and voice of social reality, exploring a wide range of cultural, political, social, historical, ethnographic, aesthetic, and pedagogical questions and perspectives from fields such as film studies, communication studies, anthropology, architecture, art history, ethnic studies, queer studies, history, journalism, law, medicine, political science, geography, sociology, urban studies and gender studies.

Click here to download the conference schedule for Visible Evidence XVI.


Thursday, August 13


108 Emerging Modes of Documentary: Mobile, Distributed, Computational

Chair: Steve Anderson (USC)

  • Sharon Daniel (UC Santa Cruz), “Database Aesthetics: New Media Art as Activism”
  • Susana Ruiz (USC), “Documentary Games”
  • Joshua McVeigh-Schultz (UC Santa Cruz), “Synaptic Crowd: Vox Pop Experiments”
  • Sasha Costanza-Chock (USC), “Mobile Voices: Methods and Praxis of Mobile Documentary”

110 Religion in Documentary

Chair: Harvey O’Brien (University College, Dublin)

  • Benjamin Bennett-Carpenter (Oakland University), “Theorizing Documentary Film: Contemporary Memento Mori”
  • Zoë Druick (Simon Fraser University), “Religion in the films of Frederick Wiseman”
  • Harvey O’Brien (University College, Dublin), “Documentary and Religion: Belief and Mission”


108 Listening In/To Documentary I: Audible Pasts

Co-Chairs: Jonathan Kahana (NYU) and Irina Leimbacher (UC Berkeley)

  • Tore Helseth (Lillehammer University College), “The Sound of Music in Early Sound Documentary”
  • Nora M. Alter (University of Florida), “Listening as Method”
  • Jeffrey Skoller (UC Berkeley), “The Sounds of Silence: Notes on Sound, Music and the Aestheticization of the Archive”
  • Hadi Gharabaghi (New York University), “Voice of Interruption: Dialectical Listening in The House is Black”

110 Documentary/The Body/The Self

Chair: Ellen Spiro (University of Texas)

  • Allison de Fren (Connecticut College), “Bringing out the Dead: the Autopic Encounter in ‘Anatomy for Beginners’”
  • Feng-Mei Heberer (USC), “Otobiography as the Birth of an Unthinkable Self”
  • Anjali Nath (USC), “Transcending Suffering: Corporeality, Movement, Affect and the Mystic Terrorist”


Book Reception: Sponsored by Amsterdam University Press and the Krupp Foundation.

SCA Motion Picture Arts & Sciences Courtyard

7:30-9:30 (108)

“Genocide Survivor Testimony in Documentary Film: Its Afterlife and Its Legacy”

Sponsored by the USC Shoah Foundation Institute for Visual History and Education

Panel Participants:

  • Anne Aghion, filmmaker (New York)
  • Theodore Braun, writer/director (Los Angeles)
  • Andi Gitow, producer (New York)
  • James Moll, filmmaker (Los Angeles)
  • Socheata Poeuv, filmmaker (New York)

Friday, August 14


108 The Documentary Interview I

Chair: Bill Nichols (San Francisco State University)

  • Aparna John (NYU), “Defense de Rupture: The speaking subject and off-screen truth in Barbet Schroeder’s ‘Terror’s Advocate’ (2007)”
  • Lizzie Thynne (University of Sussex), “Speaking through Another – Documentary Interactions”
  • Jonathan Cohn (UCLA), “Re-figuring the Blank Face: Misplaced Affect and the Interviewee”
  • Jonathan Kahana (NYU), “From Source to Symptom: Let There Be Light

110 Representing the Community

Chair: Bishnu Ghosh (UC Santa Barbara)

  • Bo Zheng (University of Rochester), “A Way out of the Impasse: China Village Documentary Project produced by Wu Wenguang”
  • Jacqueline Levitin (Simon Fraser University), “Li Hong and Ning Ying: Making Space for Marginalized Women’s Stories – Like the Western Tradition of Feminist Filmmaking”
  • Stephen Charbonneau (Florida Atlantic University), “‘Work to be found’: American Mythologies, Injured Identities, and the Farmersville Project”

112 Jewish Homegrown History: Home Movies and Social Networking

Chair: Marsha Kinder (USC, Director of The Labyrinth Project)

  • Rosemary Comella (USC), “Designing a Dialogue between Personal Memories and Published History”
  • Francesco Spagnolo (Judah L. Magnes Museum), “The Place of Homegrown History in Archives & Museums”
  • Isaac Artenstein (UCSD), “Documenting Homegrown History”
  • Rhonda Vigeant (Pro8mm Lab), “Latest Practices in Transferring Home Movies”


108 Science and Documentary I

Chair: Joshua Malitsky (Indiana University)

  • Joshua Malitsky, “Science and Documentary: Objects, Experiments, Histories”
  • Hannah Landecker (UCLA), “Cellular Cinema 1909/2009”
  • Orit Halpern (The New School for Social Research), “The Eye of Time: Cybernetics, Temporality, and Perception in the Post-War Image”
  • Kirsten Ostherr (Rice University), “Indexicality and Animation in the Medical Film”

110 Indigenous Media Arts

Chair: Jesse Lerner (Claremont Colleges)

  • Fiamma Montezemolo (UCLA), “Xavantes Mediations: Between Collaborative Ethnography & Self-Representation”
  • Tarek Elhaik (Rice University), “Borderline Collaborations: Indigenous Media & Contemporary Art”
  • Jesse Lerner, “Dante Cerano’s Dia Dos: Sex, Kinship, and Videotape”
  • Respondent: Yolanda Cruz, independent documentary director/producer

112 Found Footage and the Reconstruction of History

Chair: Janet Walker (UC Santa Barbara)

  • Selmin Kara (Wayne State University), “A Delay in Advance: Anticipation and Virtuality in Videograms of a Revolution
  • Jaimie Baron (UCLA), “Translating the Document across Time and Space: William E. Jones’ Tearoom
  • Ben Stork (University of Minnesota), “Found Footage and Historical Discourse: the Poetics of Documentary Enunciation”
  • Paul Kerr (London Metropolitan University), “Listening to Marilyn: Voice over, Found Sound and Shared Textual Authority”


108 Listening in/to Documentary II: Vocal Presents

Co-Chairs: Jonathan Kahana (NYU) and Irina Leimbacher (UC Berkeley)

  • Elizabeth Cowie (University of Kent), “Listening and the Temporality of Documentary Ventriloquism”
  • Irina Leimbacher, “The Sight and Sites of Listening in Films of Testimony”
  • D. Oscar Harvey (University of Iowa), “‘Start Listening At Us’: Audio-Visualizing People with HIV/AIDS”
  • Jin Liu (Georgia Institute of Technology), “The Rhetoric of Chinese Local Language as the Marginal in Jia Zhangke’s films”

110 Documentary Aesthetics

Chair: Brian Winston (University of Lincoln)

  • Kenneth White (Stanford), “Visions of Excess: Peggy Ahwesh and the Transparency of Super 8″
  • James Cahill (USC), “For a Documentary Gay Science: Lessons From Jean Painlevé”
  • Johannes Sjoberg (University of Manchester), “Ethnofiction: Virtual and Aesthetic Performance in Experimental Documentary Film”
  • Greg Youmans (UC Santa Cruz), “Realizing Gay Liberalism: Word is Out: Stories of Some of Our Lives (1977)”

112 Other People’s Struggles: History, Text and Politics in/around the Solidarity Doc

Co-Chairs: Thomas Waugh (Concordia University) and Elizabeth Miller (Concordia University)

  • Thomas Waugh, “Inventing Solidarity: Ivens in China”
  • Pratap Rughani (University of the Arts, London), “Solidarity: with whom and to what?
  • Frédéric Moffet (Media Artist), “I will always love you: Paul Chan in Baghdad”
  • Elizabeth Miller, “Distribution as Solidarity: Independent Media in Cuba”


108 Experimental Documentary: Present and Future

Chair: Chuck Kleinhans (Northwestern) and Michael Renov (USC)

  • Seth Feldman (York University), “Neo-kinoki: the Remakings of Man With the Movie Camera
  • Maria Pramaggiore (North Carolina State University), “The Global Repositioning of the City Symphony: Sound, Space and Trauma in 11’09’01
  • James Hansen and Maria Fosheim Lund (Columbia University), “ Martin Creed’s Body Docs: Spatio-Temporality in the Contemporary Art Documentary”
  • Luis Recoder (Independent Scholar and Film Artist), “Reciprocal Mimesis”
  • Janet Marles (Griffith University), “The Shoebox: Memory and Narrative: a Case Study”

110 Documentary Discourses and Marketing Practices in Conglomerate Hollywood

Chair: Daniel Herbert (University of Michigan)

  • Laurel Westrup (UCLA), “Livening Things Up: MTV News, MTV Unplugged, and the Maturation of a Brand
  • Bailey Rosser (University of Michigan), “Documenting Convergence: ‘Making-ofs’ and the Contemporary Media Industry”
  • Daniel Herbert, “Some Non-Fictions of the Video Store”

112 Documentary and the Transnational

Chair: Anikó Imre (USC)

  • Jennifer Boles (Indiana University), “’Our Country’ in the City: Superhero Cinema, Youth Culture, and ‘Reality’ in Mexico City after 1968”
  • Tim Schwab (Concordia University), “Mohammad Bakri, ‘The Secret Life of Saeed’ and the case of Jenin, Jenin
  • Sachiko Mizuno (UCLA), “Breaking Silence and Science: The Minamata Film Series and its Transnational Counterpublics”
    d. Dan Leopard (St. Mary’s College), “The Ascent of Man: BBC Documentary and the Rise of Global Telepresence”


Introductory Reception

SCA Courtyard

Introductory welcome by Elizabeth Daley, Dean of USC School of Cinematic Arts


Chick Strand tribute screening

Soft Fiction (1979)

Introduced by Marsha Kinder

Saturday, August 15


108 Science and Documentary II

Chair: Oliver Gaycken (Temple University)

  • Vinzenz Hediger (Ruhr University), “Laboratories of Behavior: A few thoughts toward an epistemology of long-term observation from Gombe to Golzow (and back again)”
  • Hanna Rose Shell (MIT), “Creeping into the Frame of Scientific Cinematography: Visual Evidence, Filmmaking, and Historical Recovery”
  • Scott MacDonald (Hamilton College), “A New Avant-Garde Cinema”
  • Oliver Gaycken, Respondent

110 Music Documentary

Chair: Jacqueline Kain (Independent Producer)

  • Chris Hanson (USC), “Cracks in the Foundation: Gimme Shelter
  • Mariana Johnson (UNC, Wilmington), “Marketing Insularity: the Political Economy of the Cuban Music Documentary”
  • James Paasche (Indiana University), “Is it Live? And Why Does That Matter: Live Performance in Music Documentaries”

112 The Politics of Space in Contemporary Documentary

Chair: Julia Lesage (University of Oregon)

  • Kris Fallon (UC Berkeley), “‘States of Exception’: Gone Gitmo and the Paradox of Documentary Representation in Virtual Immersive Environments”
  • Ogawa Sho (University of Kansas), “Representations of Space and Sexual Identity in the Japanese Media and Films by Hiroyuki Oki”
  • Julia Lesage, “Torture Documentaries Now”


108 Documentary in Online Spaces

Chair: Henry Jenkins (USC)

  • Catherine Summerhayes (Australian National University), “Google Earth as Documentary Space: Crisis in Darfur
  • Vinicius Navarro (Georgia Institute of Technology), “Eventful Sites: Watching Nonfiction Online”
  • Craig Hight (University of Waikato), “Cultural Software, User Performance and Documentary Practice: Examining Online Documentary Culture”

110 The Documentary Interview II

Chair: Chuck Wolfe (UC Santa Barbara)

  • Sonika Jain (Amity University), “‘Crossing Thresholds’: Issues of Reflexivity in a Documentary Interview”
  • Paige Sarlin (Brown University), “Form and Context: the Documentary Interview in an Expanded Field”
  • Arild Fetveit (University of Copenhagen), “The Refigured Interview as Creative Strategy for Documentary Representation”
  • Mariana Baltar (Fluminense Federal University), “You’re Talking to Me!: Legitimating the Discourse Through an Intimacy Pact Between Director, Character and Audience”

112 Animation as Negotiating Desire, Trauma, and Embodied Knowledge

Chair: Tess Takahashi (York University)

  • Karen Beckman (University of Pennsylvania), “Animating Documentary Desire”
  • Bella Honess Roe (Arts University College Bournemouth), “Animated Interviews”
  • Ohad Landesman (NYU), “Paint as Much as You Like, as Long as you don’t Shoot”: Waltz with Bashir, Trauma, and the Value of Animated Recollection”


110 Documentary Subjectivities

Chair: Charlotte Govaert (University of Aberdeen)

  • Ilona Hongisto (University of Turku), “Control/Creation: Voice and Subjectivity in Tanyusha and the 7 Devils
  • Janis Edwards (University of Alabama), “Documenting the Internment Story: Subjectivity, Visibility, and Photographic Authenticity
  • Anthony Adah (Minnesota State University), “The Ubiquity of the Trickster: Notes on Articulatory Aesthetics in Indigenous Cinemas”
  • Marit Kathryn Corneil (Norwegian University of Science and Technology), “Depicting the People”

112 Intellectual Property Law for Documentary Scholars and Filmmakers

Chair: Ellen Seiter (USC)

  • William Seiter (Seiter & Co.), “The Metaphysics of the Law—the Past, Present and Future of ‘Fair Use’ in Documentary Film”
  • Eric Hoyt (USC), “The Documentary Filmmaker as Copyright Owner: Privileges, Limitations, and the Lawsuit over We Are Marshall
  • Brett Service (USC), “Ephemeral Copyright: Case-by-Case Liability in Documentary Clearances and Fair Use Defenses”


108 Animation via Writing, Traces, and Inscription

Chair: Tess Takahashi (York University)

  • Tess Takahashi, “Animating the Archive”
  • Laura Marks (Simon Fraser University), “Calligraphic animation: a critical revival of Islamic aesthetics”
  • Pooja Rangan (Brown), “Impossible Traces of Life: Gatten, Easterson, and the Limits of Animation”

110 The Personal and the Political in Indian Documentary

Chair: Pratap Rughani (University of the Arts, London)

  • Nicole Wolf (Goldsmiths, University of London), “Past and Future Testimonies in the Indian Documentary”
  • Ashish Chadha (Yale), “Intimate Politics: Personal Documentaries in Contemporary India”
  • Veena Harriharan (USC), “The ‘I’ in Colonial Indian Documentary: 1895-1947”
  • Hye Jean Chung (UC Santa Barbara), “Imagined Spaces and Global Identity: Negotiations of Mobility in City of Photos and Born into Brothels

112 Documentary and the Representation of Politics

Chair: John Caldwell (UCLA)

  • Brenda Hollweg and Vanalyne Green (University of Leeds), “Visible/Invisible: Thinking the Space of the Political”
  • Alice Maurice (University of Toronto), “Death of an Aesthetic?: Reenactment, Repetition, and the ‘Errol Morris’ Documentary”
  • Esther Hamburger (University of São Paulo), “Defining a Documentary Agenda for Contemporary Brazilian Film: News from a Private War


James Benning, “Milwaukee to Lincoln, MT”

Mulitmedia Presentation

Sunday, August 16


108 Re-examining the Archive

Chair: Brian Winston (University of Lincoln)

  • Noah Shenker (McMaster University), “Restoring the Labor of Holocaust Testimony: Issues of Access and Media Specificity in the Fortunoff Video Archive
  • Travis Vogan (Indiana University), “Indexing Affect: the NFL Films Archive”
  • Alexandra Juhasz (Pitzer College), “Woman’s Building Video: Experiment, Document, Archive”
  • Brian Winston, “‘Bhí Fhios Againn Gur Sórt ‘bullshit’ A Bhí Ann’ – ‘We knew it was bullshit’: Flaherty reconsidered”

110 The Other, the Same: Narratives of the Self in Latin American Documentary

Chair: Andrés Di Tella (filmmaker)

  • Andrés Di Tella, “The Other, the Same”
  • María Dora Mourao (University of Sao Paulo), “Images of Subjectivity, the Self reflected in the Other: comparing Jogo de Cena (Eduardo Coutinho) and Santiago (João Moreira Salles)”
  • Federico Windhausen (California College of the Arts), “Levels of Engagement: Intervention and Responsibility in Nicolás Prividera’s M

112 Politics and Aesthetics in the European Documentary

Chair: Ib Bondebjerg (University of Copenhagen)

  • Anikó Imre (USC), “Roma Reality Entertainment”
  • Silke Panse (University of the Creative Arts, UK), “On the Dominance of Experience”
  • Esther Wellejus (University of Copenhagen), “Subject, participation and intimacy – Danish documentary in the digital age”
  • Bjørn Sørenssen (Norwegian University of Science and Technology), “Regionalism and the Transnational: The Arctic Voice of Knut Erik Jensen”


108 New Modes of Access and Distribution

Chair: Tara McPherson (USC)

  • Heidi Rae Cooley (University of South Carolina), “The Case of a Virtual Fountain: Visualizing Data Streams, Acknowledging Biopower, Changing Conduct”
  • Hart Cohen (University of Western Sydney), “Linking Data-Documentary to Design: Conceptualising Knowledge Resources for Remote Indigenous Communities”
  • Andrea Hirsch (Docfera), “Documentary, History and Memory: Docfera, A Revolutionary Platform for Documentaries”

110 The Melting Plot: Americanization in Frame

Chair: Jan Olsson (Stockholm University)

  • Jennifer Peterson (University of Colorado, Boulder), “Industrial Films and ‘Americanization’ in the Progressive Era”
  • Marina Dahlquist (Stockholm University), “Cinematic Activism in the Progressive Era: The Russell Sage Foundation’s Social Work”
  • Jennifer Horne (The Catholic University of America), “The Charitable Image: The Films of the American Red Cross, 1917-1921”

112 The Colonial Documentary

Chair: Aboubakar Sanogo (Carleton University)

  • James Crawford (USC), “Ethnography in Reverse: Performing the Colonial in the films of Kidlat Tahimik and Tracey Moffat”
  • Mona Damluji (UC Berkeley), “Picturing Iraq: Constructing Narratives of National Identity in British Petroleum Company Documentaries, 1952-1958”
  • Emma Sandon (University of London), “Colonial Documentary Film: A Project on Moving Images of the British Empire”
  • Aboubakar Sanogo, “The Lumiere Brothers and Africa”


108 Documentary Interventions in State Violence and Torture

Chair: Susana Foxley

  • Macarena Gomez-Barris (USC), “Scenes of Interrogation: Knowledge, Power, and the Torture Documentary in Terror Wars”
  • Jacqueline Maingard (University of Bristol), “Documenting Apartheid Atrocities in Between Joyce and Remembrance
  • Alisa Lebow (Brunel University), “‘If Looks Could Kill’—Shooting with Intent in Recent Documentary and Activist Media”

110 The Korsakow System: A Database Documentary Workshop

Workshop to be led by Matt Soar and Steve Anderson.

This hands-on workshop is designed to introduce interested VE participants to Version 5 of the Korsakow System, a user-friendly software application for creating nonlinear, database documentaries. This open source, free software will be demonstrated, and attendees will then be encouraged to start designing and assembling their own K-Films.

No prior experience with documentary filmmaking or interactive media design is required, but participants are encouraged to visit and view some K-Films from the ‘Showcase’ section prior to the workshop. Ideally, you should download the application from and try it out. To get the most out of the workshop, please also bring 6-12 edited scenes (20-90 secs each) from a current or past documentary project (found footage is fine too). Video files may be full resolution (e.g., 720×480) but should already be compressed and exported as individual Quicktime files (.mov) up to 50MB each.

Laptops (PC or Mac) are desirable, but not necessary

112 Documentary and Broadcast Television: Some Comparative International Perspectives

Chair: Ib Bondebjerg (University of Copenhagen)

  • Anna Zoellner (University of Leeds), “‘That’s just how it is, television is an industry…’Documentary development in Great Britain and Germany.”
  • Inge Sorensen (University of Copenhagen), “Framed – a case study of Video Ambushing in Investigative Documentary’
  • Swati Bandi (University of Buffalo), “‘From Alternative to Mainstream’: The Television Documentary in the Indian Context.


108 Activism and Social Advocacy in Documentary Film

Chair: Lisa Parks (UC Santa Barbara)

  • Suzanne Bouclin (McGill University), “Filmmaking as Practice-Based Legal Research”
  • Kristen Fuhs (USC), “Wrongful Conviction, Documentary Television, and “The Court of Last Resort”
  • Angela Aguayo (Southern Illinois University Carbondale), “Activist Documentary as a Tool of Social Change: A Critique of Definition and Methodology”
  • Lawrence Daressa (California Newsreel), “The Politics of Space, A Space for Politics: Newsreel at the Site of Reception, 1968-2009”

110 Cross-Cultural Pedagogy Workshop

Chair: James Hindman (Chief Academic Officer, Red Sea Institute of Cinematic Art)

  • Lisa Leeman (Documentary filmmaker)
  • Johanna Demetrakis (USC Independent Producer)
  • James Hindman
  • Ellen Seiter (USC Professor of Critical Studies)
  • Michael Renov (USC Professor of Critical Studies)

112 Circulating Non-Fiction Film: the 1930s-1940s

Chair: Gregory A. Waller (Indiana University)

  • Joseph Clark (Brown University), “’Come along. We’re going to the Trans-Lux to hiss Roosevelt’: Contesting Modernity at the Newsreel Cinema, 1929-1944”
  • Amy Beste (School of the Art Institute of Chicago), “’Bringing the World to the Classroom’: Distribution and Exhibition of Encyclopaedia Britannica Films, 1943-1950”
  • Gregory A. Waller, “Beyond the Classroom: 16mm and the Circulation of Non-Fiction Film”


Closing Night Banquet



Monday, August 17


108 The Virtual and the Viral Witness

Co-Chairs: Sam Gregory (WITNESS), Roger Hallas (Syracuse University)

  • Sam Gregory and Patricia Zimmermann, “Speculations and Unresolved Questions: The Virtual and the Viral Witness to Human Rights Crises”
  • Roger Hallas, “Testimonial Navigation and Digital Cartography in Human Rights Media”
  • Ryan Watson (University of Iowa), “Spectacular Testimony/Moving Witness: Video Advocacy, Documentary and Transnational Human Rights”

110 Re-Conceptualizing Documentary

Chair: Michael Renov (USC)

  • Brian Harmon (University of South Carolina), “Aesthetics of a Philanthropic Documentary: the Case of To See a World
  • Christie Milliken (Brock University), “Street Cred: Scenarios USA and the Reinvention of Sex Education”
  • James Boyda (USC), “The Master Takes ‘Wing’: Confronting Death in Henry James and the Non-fiction Films of Werner Herzog” d. Scott MacKenzie (University of Toronto), “Animating Darwin in the Public Sphere: Max Fleischer’s Evolution

112 Emotion and Documentary Pathos

Chair: Jane Gaines (Columbia University)

  • Jane Gaines, “All the Realism that Melodrama Allows”
  • Jessica Rivers (Indiana University), “Laughing When You’re (not) Supposed to: the Guffaw and Documentary Audience Alignments”
  • Leah Aldridge (USC), “I Get no Respect: the Stand Up Comedy Concert’s Claim to Documentary Legitimacy”
  • Brenda Longfellow (York University), “Documentary Performance and Performativity in Family Motel, The Battle of Orgreave, and Fig Trees, a Documentary Opera About Aids, Pills and Gertrude Stein.”


108 (Re)Figuring Independent Chinese Documentaries

Chair: Qi Wang (Georgia Institute of Technology) and Luke Robinson (University of Nottingham)

  • Seio Nakajima (University of Hawai’i at Manoa), “Independent Chinese Documentaries as Social Practice: The Enablement of Critical Public Discourses Through Production, Distribution, and Exhibition”
  • Luke Robinson, “Aurality, Liveness and Location Shooting in New Chinese Documentary”
  • Ying Qian (Harvard University), “Cinema of Social Visions: Chinese Documentary Cinema and Social Activism”
  • Qi Wang, “Wu Wenguang and the Performative Path in Contemporary Independent Chinese Documentary”

110 Pennebaker and Hegedus

Chair: Charles Musser (Yale)

  • Charles Musser, “Pennebaker’s Early Life”
  • Raisa Sidenova (Yale), “Chris Hegedus and the New Partnership”
  • Josh Glick (Yale), “Documenting a Cultural Phenomenon”

112 Documentary Historiography

Chair: Vanessa Schwartz (USC)

  • Sara Sullivan (University of Iowa), “Projecting Steel in Enthusiasm, Komosol and Industrial Britain
  • Celia James (University of South Carolina), “A Study of Educational Inequalities in South Carolina: African American Documentary Expression in the 1930s”
  • Meredith Bak (UC Santa Barbara), “Proof of the Invisible: Early Televisual Evidence in Radio and Spiritualism”
  • Barbara Evans (York University), “Jenny Gilbertson, Illuminator of Life and Movement”