Development Cooperation Handbook/The Vrinda project Documentary
The video resources linked to this handbook are also being waved together to produce a documentary that can be broadcast independently on the television channels.
The work is in progress and we have been uploading on Youtube the first cuts and the draft episodes. ⇒ episodes. Thanks to the feedback from the network of contributors, we are receiving new ideas for improving the episodes and we are customizing the documentary for specific target audiences.
In the editorial process of the documentary, we have been proceeding along three different editorial structures:
- The main editorial line has been moving along the 8 MDGs In the 8 episodes we we included the "stories" pertaining to the specific Millennium Goal. ⇒ The stories related to the specific MDGs
- Along with the 8 MDGs subdivision we included for each episode one of the development issues into which we organized the arguments brought forward by the testimonials ⇒ The development Cooperation Issues. This in order to create a dynamic interaction between the specific projects, that are implemented "at the grass-roots level", and the general debate, taking place among international institutions and the global media.
- The third editorial line instead proceeds along ⇒ the story of our project as it unfolds and as team encounters project challenges.
Along these three patterns we are weaving the story as we jump (with flash-forwards and flash-backs) from what we call the "front-stage scenes" that narrate the projects stories and the "backstage scenes", i.e. the recording of the TVP team at work and the dialogues among team members. The "front-stage scenes" narrate what the team has seen. The backstage scenes reveal the "interpretations" and the work done for integrating the diverse viewpoints collected on the ground. Besides giving a plot to the various independent stories and opinions of experts, putting "us" in the story removes the typical journalist pretentiousness of being "objective"; and since the team members belong to different cultural contexts, their dialogue enables the articulation of different cultural viewpoints. So, the viewers from different parts of the world will find that they are not only the "observed ones" but also "the observers". And enables us to broadcast, without major editorial changes, the same product in the different countries which have been partners of the global effort to achieve the MDGs.
The MDGs are a political step towards the Global Agenda for Development; an Agenda with a much wider scope; an Agenda that is the "vocation" of our times; a non-hierarchical action network where different peoples and institutions integrate their efforts in the service of knowledge, in the reduction of conflicts and in care for this World in which we live together.
The purpose of the Documentary is:
1 - MDG 1 - Eradicate extreme poverty and hunger
2 - MDG 2: Achieve universal primary education
3 - MDG 3: Promote gender equality and empower women
4 - MDG 4 Reduce child mortality
5 - MDG 5: Improve maternal health
6 - MDG 6: Combat HIV/AIDS, malaria and other diseases
7 - MDG 7 - Ensure environmental sustainability
8 - MDG 8: Develop a Global Partnership for Development
Where we've been
Why the television? Wasn't Internet the best distributor of the project media?
The interactivity of Internet enables a personalized way of moving through the video resources and the viewer can chose her/his own itinerary through the video playlists and decide what to see first. On the other side the interactivity of Internet, left to itself without a unifying thread, let the viewer to be as alone as a client in a supermarket, who has to choose between the different items, but is not in a process of "dialogue" with the producers, nor in a process of community with the other "clients". Rather then a "clearing house" we wanted a "village feast", where there are shelves with goods, but one can also find a unity of purpose and a shared identity. So before and after the interactivity we felt the need to create a unitary "story" of the whole event. That story has been threaded in a narration and had been articulated in the "episodes of the documentary". But it could also take the form of a "book" or a "film". In any case something that has a thread that leads the story and gives unity to the various experiences. Including the experience of exploiting the interactivity and the ubiquity of the Internet.
The other reason why television was conceived as a strategic media in spite of its being already, in many senses, an "old medium", is that bringing the product on to the TV screens was the challenge of exposing to the general public what our group of author wanted to communicate. It is like bringing to the public theater of an innovative cultural and political message, that was initially framed in alternative circles, but that would have made not much an impact if confined only within a closed group of alternative thinkers unable - or unwilling - to give testimony of themselves to the wider community.
After we assembled a draft version ⇒ Episodes edited for a television distribution we created on a Google+ community specifically dedicated to distribution, and we started building the partnerships for distribution and broadcast of the edited episodes. Which we continued to edit as the story of the documentary moved on in overcoming the distribution challenges . And because the feedback from distributors gave us, along with the feedback of the users of this Wikibook, new ideas for improving the editions or for customize them for specific target audiences.