Participatory film-making for social change: Dilemmas in balancing participatory and artistic qualities

Abstract

This study contributes to the field of films for social change by exploring the production process of participatory film-making for social change, whereby explicit claims of community empowerment, participation and social change are the very justification of the production. To do so, it investigates the definitions and production processes of community art, participatory video and mediated participation. Using ‘practice as research’ as a key method of enquiry, we examine three film practices to explore aspects of professionalism. The objective of this examination is to elucidate the process of community member participation in collaboration with film-makers, facilitators and action researchers. People participate in film production processes by contributing to the script, acting, location scouting or any other activity at any stage of the film production. In examining this collaborative process, we focus on dilemmas encountered in relation to integrating participatory qualities and artistic qualities in a work of overall interdisciplinary and professional quality. The material used for the enquiry consists of participatory observations, scripts, films, course materials, audience observations, evaluation forms and in-depth interviews collected over the years in different projects. The analysis of the material indicates that the film-makers deal with dilemmas regarding the balance of the film’s participatory and artistic qualities and the production process. The expectations of the film-making community regarding the process, the resulting film and the related audience influence the balance between the participatory quality of the process and the artistic quality of the film. Finding a balance between participatory quality and artistic quality is a challenge, and in practice the stakeholders involved experience tensions in a continuous process of negotiation. This article demonstrates the tensions and illustrates the continuous process of negotiation between the (roles of) film-makers, facilitators, action researchers and community members.

Respublika! Experiments in the performance of participation and democracy, Carpentier, Nico (Editor) (2019)

“…Similar to reports of earlier work (Goris et al 2015) we came across dilemmas of participatory versus artistic qualities in the finalisation of the art works. The course is implemented by 'lecturers' and 'artists' which is introduced in the course manual to students as follows: "The course is as interactive as demanding and will be facilitated by professionals who combine activities in research, education and community art in international settings."…”

Design and Development of Mediated Participation for Environmental Governance Transformation: Experiences with Community Art and Visual Problem Appraisal

“…2-3) elaborates on the limited conceptualization of creative practice as linked to improvisation; combining the unexpected and the unrecognizable as qualities of craftmanship differs from a modernist perspective on creativity as pure innovation. Goris et al (2015) describe how valuing participatory and artistic qualities in community art projects for social change requires a difficult balancing act, as certain practices defined as participatory may fall short of attaining immediate political impact, nor instigate more long-term oriented changes. For example, activities qualified as "participatory video" may focus more on presumed qualities of amateur filmmakers as an act of participation versus more abstract and complex aspects of a political participation process.…”

Imagining the future with citizens: participatory foresight and democratic policy design in Marcoussis, France

“…Even though Strategic Design Scenarios remained the "warrant" of the esthetic quality of the process, the film was made in a participatory way. Indeed, people participated in "the production process by contributing to the script [the Mayor himself and his team], acting [citizens], location scouting [civil servants and citizens] and all other activity [editing, stage logistics, gathering of accessories with civil servants and citizens] of the film production" (Goris, Witteveen, and Lie 2015). Once the film was edited, the last challenge was to spread it for citizens to see (Figures 7 and 8).…”