Question 1

PUBLICATIONS BY EVC

Accepted Answer

Goodman, S. (2023). The Long Haul (https://b19920e6-8fea-45f2-b0a7-805eb5e9a374.usrfiles.com/ugd/b19920_304b2f40d55a4d06b3907db594f0aa9f.pdf)Three Decades of Teaching Student Documentary Action Research for Environmental and Climate Justice. In R. Beach & B. E. Smith (Eds.), Youth Created Media on the Climate Crisis: Hear Our Voices (pp. 213–233). essay, Taylor & Francis Group.

Douglas, D., Garcia, E., Grueser, M., “Connecting Youth, Eco-Media and Resilience in Appalachia.” (https://www.journalofmedialiteracy.org/copy-of-ecological-modernism-2)The Journal of Media Literacy. Ecomedia Literacy Digital Issue. 2020.
 
Goodman, S. “Teaching for Environmental Justice at the Educational Video Center.” The Journal of Media Literacy. Ecomedia Literacy Digital Issue. 2020.
 
Goodman, S. “It’s Not About Grit: Trauma, Inequity, and the Power of Transformative Teaching.” New York: Teachers College Press. 2018.
 
Goodman, S., Cocca, C. “Spaces of Action: Teaching Critical Literacy for Community Empowerment in the Age of Neoliberalism.”  English Teaching: Practice and Critique. Volume 13, Number 3. December 2014. pp. 210-226.(http://education.waikato.ac.nz/research/files/etpc/files/2014v13n3dial1.pdf)
 
Goodman, S., Mendoza, C., Navarro, T. “The Educational Video Center.”  Conversations Across Cultures: Youth Media Visions. Exploring the pedagogic potentialities of learning with and from media produced by young people. Curated by Laia Sole and Jordi Torrent. Teachers College, Columbia University and United Nationals Alliance of Civilizations. 2014. pp. 54-63.

Goodman, S., Cocca, C. “Youth Voices for Change: Building Political Efficacy and Civic Engagement through Digital Media Literacy.” Journal of Digital and Media Literacy. Inaugural edition of the Knight Foundation. February 1, 2013.(http://www.jodml.org/2013/02/01/youth-voices-for-change/)
 
Goodman, S. “’Mad Hard Fun’: Building a Microculture of Youth Media in New York City Transfer Schools” in International Perspectives on Youth Media: Cultures of Production and Education. JoEllen Fisherkeller, ed. New York: Peter Lang. 2011. pp. 338-354.
 
Goodman, S. “21st-Century Literacy and Civic Engagement: Facilitating Student Documentary Projects.” Bank Street College of Education Occasional Paper Series 25, High Needs Schools: Preparing Teachers for Today’s World. October, 2010. pp 44-54.(http://www.bankstreet.edu/occasionalpapers/stevegoodman.html)
 
Goodman, S., Renard, R., Mendoza, C. “Sex, Literacy and Videotape: Learning, Identity and Language Development Through Documentary Production with “Overage” Students.” English Teaching: Practice and Critique. Volume 9, Number 1. May, 2010.(http://education.waikato.ac.nz/research/files/etpc/files/2010v9n1art1.pdf)
Goodman, S., Renard, R., Mendoza, C., “Drop It to the Youth: Community-Based Youth Video as a Tool for Building Democratic Dialogue in South Africa” in African Media, African Children.  The International Clearinghouse on Children, Youth & Media.  Norma Pecora, Enyonam Osei-Hwere, Ulla Carlsson (eds.) Nordicom, 2008.
 
“Amplifying Young People’s Voices” in Keeping America Open, in OSI U.S. Programs Tenth Anniversary Report  Open Society Institute, 2006.
 
“The Practice and Principles of Teaching Critical Literacy” in Media Literacy:  Transforming Curriculum and Teaching. Gretchen Schwarz and Pamela Brown (eds.) Yearbook National Society for the Study of Education, 2005.
 
“A Lens on Learning: Teaching Youth Documentary Production at EVC” in Evaluation Exchange, Heather Weiss (ed.) Boston: Harvard Family Research Project, November, 2004.
 
Teaching Youth Media: A Critical Guide to Literacy, Video Production, and Social Change. New York: Teachers College Press, 2003.
 
“The Power of Listening” in Education Week, December 1, 1999.
 
“Media Education: Culture and Community in the Classroom” in Contemporary Art and Multicultural Education. Susan Cahan and Zoya Kocur (eds.)  New York and London: Routledge, 1996.
 
“Talking Back: The Portrait of a Student Documentary on School Inequity” in Experiencing Diversity: Toward Educational Equity. California: Corwin Press, Inc., 1994.
 
“Media Education Programs” in Encyclopedia of English Studies and Language Arts, A project of the National Council of Teachers of English.  Scholastic, Inc., 1994.
 
(with Bill Tally) “The Tape’s Great, But What Did They Learn?” The Independent Film & Video Monthly, August/September, 1993.

Question 2

ACADEMIC PUBLICATIONS

Accepted Answer

Vasudevan, L., Riina-Ferrie, J.
“Collaborative Filmmaking and Affective Traces of Belonging.” British Journal of Educational Technology. Volume 50, Number 4, 1 July 2019, pp. 1560-1572.
 
Blum-Ross, Alicia.
“Filmmakers/Educators/Facilitators Understanding the Role of Adult Intermediaries in Youth Media Production in the UK and the USA.” Journal of Children and Media. Vol. 9, No. 3, 308-324. July 30, 2015. Print.
“…some more well-established organizations, for instance the Educational Video Center in New York City (Goodman 2011) ….offer some training, evaluation and reflection opportunities for staff members…” (pg 311).
Rosler, Martha.
“Artists in the Cities” in Not Yet. On the Reinvention of Documentary and the Critique of Modernism Essays and Documents [1972-1991]. Edited by Departamento de Actividades Editoriales del MNCARS, Museo Nacional Centro de Arte Reina Sofia, 2015. Print. (pg 316-321).
 
Share, Jeff.
Media Literacy is Elementary: Teaching Youth to Critically Read and Create Media. New York: Peter Lang Publishing, Inc., 2015. Print.
“Many community-based youth media programs, like Educational Video Center (EVC) in New York City… offer powerful examples of how media production can be taught as an essential component of critical media literacy.” (pg. 52-54).
Silverblatt, A.
The Praeger Handbook of Media Literacy. Santa Barbara: ABC-CLIO, 2014. Print.
“Most of the vibrant efforts, however, were not directed at schools. For example, …the Educational Video Center [is] doing important work — largely outside of classroom walls.” (pg. 582, 627).
Hanley, M. S., Gilda L. Sheppard, George W. Noblit, and Thomas Barone.
Culturally Relevant Arts Education for Social Justice: A Way Out of No Way. New York: Routledge, 2013. Print.
EVC is referenced as an example of an arts-based program that “complements and expands on traditional forms of education.”
 
Wilson, C. M. and Sonya Douglass Horsford.
Advancing Equity and Achievement in America’s Diverse Schools: Inclusive Theories, Policies, and Practices. New York: Routledge, 2013. Print.
Steve Goodman’s book Teaching Critical Media Literacy at the Educational Video Center was used as a reference on pg. 92
 
Deetz, S. A.
Communication Yearbook 17. New York: Routledge, 2012. Print.
EVC is referenced as an example of a nonprofit arts and educational organization that has “developed teacher education programs and direct intervention with at-risk youth that involve video production activities and strengthen students’ communication, reasoning, and problem-solving skills.”
 
Delamont, S.
Handbook of Qualitative Research in Education. Northampton: Edward Elgar Publishing, Inc. 2012. Print.
Section titled “The Research Context” “draws on the ethnographic educational research that took place at Educational Video Center (EVC), a non-profit media education centre in New York City (NYC)” (pg 326-335).
 
Hoechsmann, M. and Stuart R. Poyntz.
Media Literacies A Critical Introduction. Oxford: Blackwell Publishing. 2012. Print.
“Of those many initiatives that have developed, the Educational Video Center (EVC) in New York is widely regarded for its work developing programs that involve young people in public life….thus, from our perspective, EVC highlights how creative youth work can nurture youth in multiple ways, including helping teenagers to become more fully engaged in their communities” (pg 128-129).
Charbonneau, S. M.
“Claims to Be Heard: Young Self Expressivity Social Change, and the Educational Video Center.” Jump Cut: A Review of Contemporary Media. No 53. 2011. Print.
The author gives an “historical and critical overview of New York-based Educational Video Center, a leading youth media organization, and its auto-ethnographic work with disadvantaged communities.” He explains: “In this paper, I will review the founding and principles of the youth media organization behind Journeys, a New York-based, nonprofit youth media organization called the Educational Video Center (EVC). In addition to discussing the various cultural and historical formations in which EVC is situated, I will look closely at two examples of its work: the above mentioned Journeys (2008) and one of EVC’s earliest documentaries, 2371 Second Avenue: An East Harlem Story (1986). This organization is one that has been promoting first-person documentary production for young people of color since 1984. In this time EVC has produced hundreds of documentary videos, many of which have made it into the programs of international film festivals and garnered awards as well as recognition from major media outlets and public institutions (http://www.evc.org)…With its presentation of young, racialized selves in autobiographical media forms, EVC’s work should be seen as both a product of and contributor to broader autobiographical currents in U.S. culture.” Read the full article here.(http://www.ejumpcut.org/archive/jc53.2011/charbnYouthMedia/index.html)
Downing, John D. H.
Encyclopedia of Social Movement Media. Thousand Oaks: Sage Publications, Inc. 2011. Print.
A section devoted to Steve Goodman notes his observation that media education works best in the “context of community organizations where real media outcomes are possible” (pg 554). The section goes on to describe EVC.
 
Kysilka, M. L.
Critical Times in Curriculum Thought. Charlotte: Information Age Publishing. 2011. Print.
“Educators are developing curriculum that teaches technology skills as well as media literacy, both inside schools and outside in such community projects as the Educational Video Center in New York, directed by Steven Goodman (www.evc.org)” (pg 326-327).
 
Klinger, Kristin.
Web-Based Education: Concepts, Methodologies, Tools and Applications. Hershey: Information Science Reference. 2010. Print.
A hands-on EVC workshop was referenced on page 1382.
 
Bradley, M.
A Journey Against the Tides: Documentary Film Production as Critical Pedagogical Practice and Counterstory. Ann Arbor: ProQuest LLC. 2009. Print.
“In fact, many after-school programs such as Global Action Project (GAP) and Educational Video Center (EVC) in New York City, Reel Girls in Seattle, and Video Machete in Chicago have the explicit goal of enacting change through the use of media production” (pg 147).
 
Cheung, C.
Media Education in Asia. New York: Springer. 2009. Print.
“In many American and European schools, after-school programs and community-based organizations (the prominent example being Steve Goodman’s Educational Video Center), courses in media production are typically offered to low-ability or at-risk students who are not deemed well enough for traditional, print-based education” (pg 225).
 
Halsall, J., R. William Edminster, and C. Allen Nichols.
Visual Media for Teens: Creating and Using a Teen-Centered Film Collection. Santa Barbara: Libraries Unlimited. 2009. Print.
EVC is listed as a resource for teen filmmakers on page 137.
 
Andersen, R. and Jonathan Alan Gray.
Battleground: The Media, Vol 1.Westport: Greenwood Press. 2008. Print.
“Advocates of critical pedagogy.. have suggested the importance of students’ knowledge and expertise in the realm of mass media culture in order for education to be authentically engaging with their lived experience. Steven Goodman, founding director for the Educational Video Center in New York City, is one of a number of pioneers of approaches that aim to facilitate critical viewing practices while engaging students in video or television production. The work of these in-school and after-school programs is rooted in the belief that students can learn a great deal about the biases and gaps in mass media representations by engaging with representational practices within their own local communities” (pg 507).
 
Dimitriadis, G.
Studying Urban Youth Culture Primer. New York: Peter Lang Publishing, Inc. 2008. Print.
The author references EVC as “an important critical literacy project…in which young people took video cameras into their communities to document their own experiences and the experiences of those around them. The entire process – from filming to final editing to public presentation – allowed young people to work with, manipulate, and calibrate popular, symbolic resources in new and different ways” (pg 96).
 
‪Halpern, R.
The Means to Grow Up: Reinventing Apprenticeship as a Developmental Support in Adolescence. New York: Routledge. 2008. Print.
The author writes a case study on EVC. “Goodman and his staff have a multifaceted vision for the program. This includes helping youth master the documentary form; strengthening young people’s sense that social inequities are not fixed but can be addressed, through media as well as through other means, and the sense that they personally can contribute to social change; and, relatedly, strengthening young people’s belief that they have a right to ask questions of others and question the world around them” (pg 108-114).
Kellner, D. and Jeff Share.
“Critical Media Education and Radical Democracy.” The Routledge International Handbook Of Critical Education. Eds. Apple, M. and Wayne Au, Luís Armando Gandin. New York: Routledge. 2008. Print.
EVC is referenced as an “excellent example for how media production can be taught as an essential component of critical media literacy” on page 291.
 
Lovett, M. K.
(2008) Creative Intervention Through Video Action Research and Pedagogy. Diss. University of Illinois, 2008. Ann Abror: UMI,Print.
Steven Goodman quoted from his book Teaching Youth Media on pages 53 and 65.
Rivoltella, P. C.
Digital Literacy: Tools and Methodologies for Information Society. Hershey: IGI Publishing, 2008. Print.
EVC is listed as an example of a program that “positions multi-literacies for teaching and learning at the center of their curriculum” (pg 254).
 
Sealey, K. S.
Film, Politics, & Education: Cinematic Pedagogy Across The Disciplines. New York: Peter Lang Publishing, 2008. Print.
The author documents the Brooklyn video production class of an EVC-trained Social Studies teacher. “In the EVC classes in the Brooklyn high school, students were actualizing Freire’s notion of ‘praxis,’ which is action and reflection on the world in order to change it. Freirean pedagogy complements both the making and the studying of film because it is participatory, situated in a realist documentary mode, critical in the sense that the analysis encourages self-reflection, democratic because everyone can construct knowledge, research-oriented, allowing students to pose inquiries about violence, and activist where students envision change and map concrete strategies to move towards transformation” (pg 122).
Norton, M.
365 Ways to Change the World: How to Make a Difference One Day at a Time. New York: Free Press, 2007. Print.
EVC is provided as a resource, listed under the heading: “Are you looking for ideas to make a difference?” (pg 226).
Duncan-Andrade, J.
“Urban Youth, Media Literacy, And Increased Critical Civic Participation.” Beyond Resistance! Youth Activism And Community Change: New Democratic Possibilities for Practice and Policy for America’s Youth. Eds. Cammarota. J., S. Ginwright, and P. Noguera. New York: Routledge, 2006. Print.
“Educators like New York’s Steven Goodman have embraced this pedagogical route for their work with urban youth and have borne witness to the genius that urban schools are failing to capture. Goodman (2003) describes urban youth as capable rather than deficient. He depicts urban youth as possessors of analytical skills that map onto poignant analyses of the conditions in their communities, schools, and the larger society. Educators like Goodman experience what too many urban educators can only lay claim to with rhetoric: the capacity of every student to learn and to show products that reflect that learning” (pg 152).
Jhally, S.
The Spectacle of Accumulation: Essays in Culture, Media, & Politics. New York: Peter Lang Publishing, 2006. Print.
The author cautions that offering classes in media production are not enough, they need media literacy as well. “The Educational Video Center is a good example of such an initiative: students/participants are encouraged to use video technology to tell stories that are rarely heard on commercial television. This both enhances and develops their sense of critical reflection–they are not so much copying the medium as exploring its potential. This is possible because at EVC, production has been integrated into an overall theoretical approach that highlights the question of power” (pg 232).
Schneidewind, N. and Ellen Davidson.
Open Minds to Equality: A Sourcebook of Learning Activities to Affirm Diversity and Promote Equity. Milwaukee: Rethinking Schools, Ltd., 2006.
EVC is listed as a resource for curricula and media on page 366.
Sherrod, L. R., ed.
Youth Activism: an International Encyclopedia, Vol 1. Westport: Greenwood Press, 2006.
Several EVC documentary projects are described as examples of youth activism. “Educational Video Center…offers youth the opportunity to use film as a means of activism. This center serves groups of teens from poverty-stricken areas in New York City by offering a semester-long, credit-bearing program. EVC encourages students to examine their surroundings and address the issues that are present in their environment. One young girl created a film which confronted the poor living conditions of her tenement complex” (pg 252).
 
Wahl, Ellen.
“Educational Video Center: A Mission and a Methodology.” The National Alliance for Media Arts and Culture. Vol. 4, No 7. 2006. Web.
“The quest for depth and rigor is a constant, and every step in the EVC process presses participants to question, rethink, and reframe on the basis of newly acquired information and insight…Throughout the program, a dual focus is maintained on the process of the students’ skill development, learning, and work habits, and on the quality of the product they create. While its purpose is to give these emerging youth producers a head start in their careers, the program is more an intellectual and artistic apprenticeship than a technical one…EVC has a deeply considered pedagogy. Allusions to and connections with the thinkers and artists whose work inspires EVC efforts are frequent and explicit. Paulo Freire, Maxine Greene, and John Dewey express the intertwined components of EVC’s approach: commitment to social transformation through a literacy of awareness and action, nurturing of creativity and imagination, and an approach to inquiry in which knowledge is constructed through experience and meaning made clear through reflection…[EVC] is the story of a mission realized by dint of passion and dedication, of a method made only in its unending quest for rigor and high quality, and of the magic that occurs when people join together to create art, community, and hope for the future.” Read the full article here.(http://66.160.206.223/node/1220)
Butler, A. and Emilie Zaslow.
Voice, Self, & Community Through Video Production: An Evaluation Of The Long-Term Impact Of The Educational Video Center’s Youth Documentary Programs. New York: EVC, 2004. Web.
This evaluation study set out to examine the long-term impact of the Educational Video Center’s (EVC) youth programs on its participants, particularly Documentary Workshop and YO-TV. The main goal was to better understand what new skills, habits, knowledge, and attitudes young people develop and retain from their experience at EVC. The following questions were asked: (1) What impact does the EVC program have on participants? (2) What are the intended and unintended consequences of the program? And (3) how do the goals and objectives of EVC programs match the programs’ long-term impact? To answer these questions, surveys, focus group and individual interviews were conducted with a diverse range of graduates in order to hear their stories about their experiences while at EVC. Researchers found that participation in EVC fosters media-awareness, including critical-thinking skills of video production and media messages. EVC students also reported learning leadership, interpersonal communication, and group work skills and using them in their current jobs, school work and projects. Overwhelmingly, participants spoke highly of the EVC staff, especially their ability to foster community, family, and trust.
Buckingham, D.
Media Education: Literacy, Learning and Contemporary Culture. London: Polity Press, 2003. Print.
“The work of McLaughlin and Heath (1993), among others, in the USA has drawn attention to the role of community-based organizations in building self-esteem among groups of young people who have effectively abandoned- or been abandoned by – the formal educational system. While this latter research has tended to focus on more traditional art forms, there are several community-based organizations that have sought to give young people access to opportunities for media production…The Educational Video Center in New York is one of the longest established community-based organizations working with young people using video, particularly in documentary formats” (pg 192).
Goldfarb, B.
Visual Pedagogy: Media Cultures In And Beyond The Classroom. Durham: Duke University Press, 2002. Print.
The author interviews EVC staff and teachers to give a detailed account of EVC’s media education in both school and after-school settings. He describes EVC’s pedagogy as an intellectually rigorous and democratic practice that takes “us well beyond the consumption-based spectatorial experiences of resistance and expression…that open up alternative positions from which students can think, debate, and act” (pg. 73-74). Other mentions of EVC may be found on pages 14, 59, 72-79, and 105-106.
 
‪Halleck, D.
Hand-Held Visions: The Impossible Possibilities Of Community Media. New York: Fordham University Press, 2002. Print.
EVC is referenced among other youth media organizations as, “an example of active and imaginative in-school television” (pg 56, 234). They go on to say that EVC has trained hundreds of teachers and helped to staff many alternative high schools and junior high schools with video teachers and has set up many workshops around the country.
 
“Making Youth Known: Behind The Video Camera. Student Filmmakers Learn New Role As Agents Of Social Change.” What Kids Can Do News Series. Vol. 1, No. 4., 2001. Web.
Excerpts from “Making Youth Known” can be read below, or the full version can be found here:(http://whatkidscando.org/archives/shorttakes/EVC.pdf)
“A model of synergy between school and community, EVC also has its students interacting with neighborhood adults in various roles—police officers, judges, shopkeepers, social workers.”
“By working together in groups, students also learn new habits of collaboration, problem solving, decision making, and revision. Just as important, EVC’s young videographers practice a particularly personal brand of accountability. The may go out in the field with professional mentors, but the mistakes they make—and what they learn from them—are entirely their own.”
“. . . EVC maintains a steady emphasis on teaching students to craft well-supported arguments through the narrative of their films. Working together in teams, students gather regularly to decide the “line of inquiry” they will follow, keeping a firm sight on the impact they want their films to create. They brainstorm questions that will both guide their next interviews and determine the location and purpose of their shooting sessions.”
“When a student with a camera asks intelligent questions about important issues, adults in the community take notice. The passion and idealism of youth can help dissolve the cynicism and indifference—about the motivations of younger generations and the possibilities for meaning change—that grip too many more experienced citizens.”
Delgado, M.
New Arenas For Community Social Work Practice With Urban Youth: Use Of The Arts Humanities And Sports. New York: Columbia University Press, 2000. Print.
“One of the major challenges facing urban-based communities that are low- income and primarily of color is the negative image that is often projected by print and visual media. Any opportunity that can be exercised to counter these deficit images will go a long way towards allowing these communities to share their stories and perspectives.
The use of video to capture and tell stories is the primary medium of the Educational Video Center (EVC)…..EVC students learn valuable research, reporting, editing, and critical media viewing skills. The results are high quality educational materials produced by young people that speak directly to their peers… Their tapes are powerful expressions of the problems young people face every day at home, in school, and on the streets of their communities” (pg 138-139).
 
Skoller, Jeffrey.
“Home Sweet Home” Afterimage. Vol. 25, No. 3. November-December 1998. Print.
“There were also many videoartists and community activist groups who made radically innovative videotapes. Such worksinclude Clayton Patterson’s documentation of the Tompkins square Park riot, Paul Garrin’s ByAny Means Necessary (1990) and Arlyn Gajilan’s Not Just a Number (1986) as well as numerousvideos made at New York City’s Educational Video Center.(2)”
‪Hobbs, R.
“Building Citizenship Skills Through Media Literacy Education.” The Public Voice in a Democracy at Risk. Eds. Salvador, Michael and Patricia M. Sias. Westport: Praeger Publishers, 1998. Print.
“At Educational Video Center (EVC) in New York City, young people gain the skills to make their own media messages and are able to gain extensive training working with media professionals…[The created] documentaries present rich possibilities for learning because they involve research, reporting, writing, using a camera and editing” (pg 70).
Tyner, K.
Literacy in a Digital World: Teaching and Learning in the Age of Information. New Jersey: Lawrence Erlbaum Publishers, 1998. Print.
In Literacy in a Digital World, it is explained that media educators in the United States consider EVC to be a national “flagship for successful media teaching” (pg 243). The author includes the transcript from an in-depth interview she conducted with Steven Goodman on EVC’s practices and principles in the section “Literacy in an Urban Landscape” (pg. 243-254).
Silverblatt, A. and Ellen M. Enright Eliceiri.
Dictionary of Media Literacy. Westport: Greenwood Press, 1997. Print.
EVC is mentioned on pages 61 and 85.
 
Television and Video Preservation: A Report on the Current State of American Television and Video Preservation. Washington, D.C.: Library of Congress, 1997. Print.
In a report on the state of American television and video preservation by the Librarian of Congress, EVC was mentioned on page 93.
 
Cahan, S. and Zoya Kocur.
Contemporary Art and Multicultural Education. New York: Psychology Press, 1996. Print.
EVC is discussed on pages 391-392.
 
Trend, D.
Cultural Pedagogy: Art, Education, Politics. Santa Barbara: Greenwood Publishing Group, 1992. Print.
“The nonprofit Educational Video Center, a group of media producers and schoolteachers in New York City, works with high school students to produce projects about themselves and their communities. Often these projects demonstrate not only the relationship of ideas to actions, but also the way school culture can reach into the community…In its unselfconscious and straightforward delivery, 2371 Second Avenue makes an important statement about the use of media in the classroom…’that the power to represent is tied to other forms of power, in this case giving the student and her neighbors both a means to speak and act’” (pg 94,95). EVC is also mentioned on page 114.

Question 3

DISSERTATION AND GRADUATE PUBLICATIONS

Accepted Answer

White, ML. (2009) Filming Ourselves: An Ethnographic Study Investigating The Pedagogical Process And Practice Of Digital Video Production At Educational Video Center (NYC). PhD diss., Middlesex University.
In her research, ML White poses a number of questions about the process and practices of the Educational Video Center’s Documentary Workshop. She describes the young people who attend EVC and through their words, images and digital video, recorded as part of the research process and the EVC curriculum, explores how young people represent themselves and their experiences of Documentary Workshop. White documents and analyzes key learning moments in EVC’s process including: (i) choosing the documentary topic, (ii) conducting an expert interview, (iii) editing the final documentary, (iv) the public screening and (v) portfolio roundtable presentations when young people assess and reflect on their work and learning. This research sets out a framework that brings together three parts of a story:
1. Understanding how meaning is made through a complex series of pedagogical processes between youth producer and adult teacher (EVC staff), text (the documentaries produced as part of the EVC curriculum and the methodological digital video production process), and the technology used and the audience who view the work.
2. Investigating the impact and value of an educational experience for the young people involved and exploring the processes and pleasures of digital video production in a “third space” located between formal and informal education.
3. Exploring the methodology of being a digital video ethnographer in a community of enquiry.
Poyntz, S. R. (2008) Producing Publics: An Ethnographic Study Of Democratic Practice And Youth Media Production And Mentorship. Ph.D. diss. University of British Columbia, Vancouver. pp. 38-41
Studying creative youth media production and democracy, the author describes EVC’s student-centered model of teaching documentary. “EVC is focused on using video production technologies to provide disenfranchised young people with access to experiences that provide for more equitable opportunity. I note this, but also add that EVC facilitates civic engagement by showing student videomakers how ‘to use media as a tool to educate, inform, and make change in the community.’ This involves the politicization of youth through documentary projects that allow young people to become more fully engaged in their communities.” P. 40
Anderson, S. (May 14-17, 2008) Editing Lives: Developmental Consequences Of Youth Engagement In The Educational Video Center. Paper presented at the Qualitative Inquiry conference, University of Illinois at Urbana-Champaign.
Through individual and focus group interviews, Anderson sought to understand:
1. How does seeing the world critically through documentary film inform how youth read and understand their lives?
2. How do the skills gained in documentary film production and the educational space created by the organization enable or constrain this development?
Anderson notes the ways in which organizations that honor youth knowledge and production can enable critique, nurture self-reflection, and help facilitate a sense of responsibility among youth to engage in the larger civic politic. As one such organization, In presenting their documentaries on the public stage, students receive affirmation about their role in raising awareness and advocating for social change. EVC’s hands-on engagement in documentary film production process helped cultivate a societal critique and broadened their understanding of the world to include multiple perspectives.

Question 4

PHILANTHROPIC PUBLICATIONS

Accepted Answer

2012 Grant & Philanthropy News. (February 28, 2012) “Report Finds That Rethinking High School Education Could Lead to More Effective Learning Experiences.”http://grantnews.grantpros.org/?p=yopleagk&paged=106(http://grantnews.grantpros.org/?p=yopleagk&paged=106)
“In an effort to reshape public education in New England so that it is more effective, equitable and better organized to prepare all learners for success, the Nellie Mae Education Foundation (NMEF) promotes student-centered approaches to learning at the high school level. As part of this work, NMEF has released a report, It Takes a Whole Society: Opening Up the Learning Landscape in the High School Years. The report…. says that rethinking the high school experience to engage outside-of-school partners can provide more effective and personalized learning experiences….[and] that learning experiences during the teen years should: Link personal experience to something larger. Offer the opportunity for young people to be immersed in social, moral and ethical issues at play in the larger culture. For example, young documentary filmmakers at New York City’s Education Video Center have focused on such topics as the challenges facing undocumented youth, the corrupting influence of credit cards, racial stereotyping in popular culture, police violence and the (lack of) connection between school and work.”
 
Open Society Institute and Grantmakers in Film and Electronic Media. (2006) “Educational Video Center and the Ford Foundation. Youth Media for Education Reform.” In Investing in Youth Media: A Guide for Grantmakers. Case study on EVC pp. 17-19
“EVC marked the fiftieth anniversary of Brown vs. the Board of Education by inviting its young documentary makers to explore the legacy of the historic Supreme Court decision. EVC students investigated the issue and decided to focus on school reform, which they considered to be a critical civil rights issue for their generation….EVC’s plan attracted the interest of Cyrus Driver, deputy director for education programs at the Ford Foundation. “We were looking for projects that would be illuminating and could bring Brown vs. the Board of Education into the public discourse. This was the only student-driven project that we supported,” says Driver….Cyrus Driver saw additional benefits in the video. “While reading and math—the focus of education in many urban schools these days— remain essential, students need a more well- rounded education that will enable them to effectively participate and lead their communities. EVC’s projects help students develop skills and find the voice needed to participate,” says Driver.
 
Aufderheide, P. and David Haas. (2002) “Philanthropy’s Moving Vision Looking at the past, present and future” Council on Foundations and Grantmakers in Film and Electronic Media.http://www.fundfilm.org/resources/philmovvis.htm(http://www.fundfilm.org/resources/philmovvis.htm)
“Making media can be an act of empowerment, both because it is a form of self-expression and because it makes an immediate connection with other people. Funders have backed people and organizations that promote empowerment through media expression and communication. Educational Video Center in New York helps at-risk teens to make work such as Unequal Education: Failing Our Children (COF 1993).”
National Arts and Humanities Youth Program Awards. (1996) “Coming Up Taller Report.”http://www.nahyp.org/wp-content/uploads/2010/09/Coming-Up-Taller-Report.pdf(http://www.nahyp.org/wp-content/uploads/2010/09/Coming-Up-Taller-Report.pdf)
“In September 1994, President Clinton announced his appointments to the President’s Committee on the Arts and the Humanities. He and Hillary Rodham Clinton, who serves as Honorary Chair of the President’s Committee, charged the Committee to increase the availability of the arts and the humanities to children, especially to those at risk… This report documents arts and humanities programs in communities across America that offer opportunities for children and youth to learn new skills, expand their horizons and develop a sense of self, well-being and belonging…
The Educational Video Center recognizes that learning to communicate through a video camera is part of the attraction of their program. Their apprenticeship program in videography capitalizes on young people’s interest in media. … Working on a ‘real world’ projects in a ‘real world’ environment makes the task more compelling. It also addresses a central concern many young people have about their futures: their employability.”
Kirkman, L. (May/Jun 1993) “Videos: Democratic Media.” Foundation News and Commentary. 34. 3. p. 43.
“Videos are the modern day equivalent of pamphlets. Asking for only a donation, the Farmworkers Union has distributed on street corners over the past few years thousands of copies of a video calling for a grape boycott. By marshalling an argument, modeling a conversation and illustrating data, videos have helped viewers gain the understanding to address complex issues. …..Video’s role in self-representation, in articulating cultural identity, has been as important as its use in issue advocacy. In Educational Video Center’s “2371 Second Avenue,” 17-year-old Millie Reyes introduces us to her neighbors and takes us on a tour of their East Harlem apartment building–and then confronts the building supervisor and the owner about its poor conditions. Fifteen thousand high school students have seen the video.”

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