Continuing Studies Overview

Frequently Asked Questions

Certificate in Documentary Studies

Courses Offered for the Upcoming Term

Current and Past Term Courses

Workshops and Institutes





Past Term Courses

Required Courses


Seminar in Documentary Studies
Dawn Dreyer
Class ID: 9403

This required class is designed for students in the Certificate in Documentary Studies program or those who plan to enroll this term.

Photography, video, oral history, writing, ethnography and community partnerships—documentary studies is interdisciplinary and multifaceted in nature, encompassing many genres and numerous means of interacting with the world and its peoples. Through short readings, close examination of several documentary projects, and guest speakers who will present their own projects and perspectives on the documentary experience, you will gain a broad introduction to the diverse fields that comprise documentary studies. We emphasize not only methodologies, but also philosophies and ethics of fieldwork in different settings. Throughout the term students will explore fieldwork examples, and at the final meeting, will present preliminary projects of their own. These projects may be the beginning of long-term documentary initiatives or simply a means of helping decide directions for future projects. (Limit 18)

Dawn Dreyer is the Learning Outreach Director at the Center for Documentary Studies (CDS). She directs CDS’s annual Documentary Film and Video Happening, and facilitates the Fresh Docs: Works in Progress screenings, a monthly venue for documentary artists to share their work and receive support and constructive feedback. In addition to her work at CDS, Dawn is the board president of the Southern Documentary Fund. She is a published writer and writing teacher and has recently been exploring documentary sound and photography.

8 Mondays, 7–9 PM (16 hours)
May 2–June 27
Center for Documentary Studies
Materials fee: $10 (exact amount due at first class)
Course fee: $195



Final Project Seminar in Documentary Studies
Charles Thompson
Class ID: 9404

Required for the Certificate in Documentary Studies

Certificate students who have completed at least five full courses (including the required Seminar in Documentary Studies) and who have done substantial work toward their final projects are encouraged to gain admission to this Final Project Seminar by sending a list of courses taken and of work completed toward their projects via email to dkdreyer@duke.edu (in the subject line please type "Project Seminar"). Once approved for this seminar, students may register as they would for any class. The seminar will consist of group discussions about each student’s project and progress toward completion, along with guided planning on taking projects to their intended audiences. Students who successfully complete their projects and the course will be awarded a Certificate in Documentary Studies. (Limit 8)

Charlie Thompson, Ph.D., is Curriculum and Education Director at the Center for Documentary Studies and adjunct professor of Cultural Anthropology at Duke University. His latest projects involve religion and agriculture in the Virginia Blue Ridge as well as farming and farmworkers in North Carolina.

8 Wednesdays, 7–9 PM (16 hours)
April 13–June 8 (no class April 27)
Center for Documentary Studies
Course fee: $195






Special Topics


Anchoring Documentary Projects in Transition
Joy Salyers
Class ID: 9405

All documentary projects have moments when they seem adrift. It may be in the beginning, as you struggle to define and frame your project; or after your fieldwork, as you decide how best to shape your raw material; or in your final editing, as you balance your voice with those in the documented community. This class will provide tools to anchor documentary projects during turbulent transitions. Topics may include successfully engaging community, the importance of subjectivity, and negotiating power relationships. But ultimately our discussions will center on your project needs—how to provide you with the support, engagement, and new ideas you need to move forward.

This course is suitable for anyone currently engaged in a documentary project or contemplating one, for certificate students and community documentarians. (It is ideal for those students who have recently finished the beginning certificate seminar or who are preparing for fieldwork before taking the final seminar.) (Limit 12)

NOTE: This class does not focus on technical audio/video/photo problems, but on the larger issues that ground your documentary work.

Joy M. Salyers has an M.A. in Folklore from UNC Chapel Hill. She works as a consultant—often with the organization In Our Hands—to help individuals and groups achieve their documentary goals. Her collaborators have included individual documentary workers, after-school programs, community groups such as Orange County 4-H, and corporations, as well as organizations such as the Ackland Art Museum.

6 Tuesdays, 6–8:30 PM (15 hours)
May 3–June 7
Center for Documentary Studies
Materials fee: $10 (exact amount due at first class)
Course fee: $195



Police Work, Bureaucracy, and the Documentary Tradition
Rachel Hall
Class ID: 9406

“Every proper portrait has its lurking, objectifying inverse in the files of the police.”—Alan Sekula

Do you see a relationship between the family portrait and the mug shot? We will consider the photographic practices of the police and other government officials as part of the documentary tradition. We will attempt to understand how these practices give rise to particular ways of seeing those who are labeled suspects or criminals and those who are merely documented. We will discuss the lack of control individuals have over official representations of their identity, especially in the case of those suspected of having broken the law. And we will study the work of artists—including Taryn Simon, Deborah Luster, and Andy Warhol—who generate alternative means of representing and, therefore, viewing those who are officially documented and/or incarcerated. In this course, you will have the opportunity to create ethnographic and photographic projects, exploring your responses to the issues. (Limit 18)

Rachel Hall, Ph.D. in Communication Studies, UNC-Chapel Hill, studies cultural narratives and artifacts of everyday life, especially as they relate to memory and identity. Her work explores the relationships between family and outlawry, home life and life on the lam, family portraits and mug shots, family romance and true crime. Currently Rachel is writing a history of the “wanted” poster.

8 Tuesdays, 7–9 PM (16 hours)
May 3–June 21
Center for Documentary Studies
Materials fee: $10 (exact amount due at first class)
Course fee: $195

Suggested text: Passport Photos by Amitava Kumar





Writing


A World of Words: Writing from a Documentary Perspective
Chris Massenburg
Class ID: 9409

Writing is more than you think—more than text on a page—and as creative and expressive as your imagination. When you think of documentary work, do you think of creative writing? Do you write, work with photos, video, audio, or are you new to documentary work? In this course, we will discuss the different ways writing can be used as a documentary tool. From oral histories and narratives to poetry, this course examines the possibilities of including creative writing and other forms of written expression to convey your ideas. We’ll discuss the development of stories from images and explore a non-linear approach to storytelling. We will examine how to convey your work to others, from visual presentation to performance. Regardless of your background, you will find new uses for writing in your documentary work. You will also complete work that may be presented individually or included in an ongoing documentary project. (Limit 18)

Chris Massenburg, better known as Dasan Ahanu, is a public speaker, organizer, workshop facilitator, poet, spoken word performer, and writer. He has been a featured performer for many poetry, jazz and cultural events; worked as an organizer on such issues as war, social injustice, workers rights, and sexism; taught with the Center for Documentary Studies after-school and summer programs; and developed and implemented a special documentary arts curriculum for at-risk/court-involved youth.

8 Mondays, 7–9 PM (16 hours)
April 18–June 13 (no class May 30)
Center for Documentary Studies
Materials fee: $10 (exact amount due at first class)
Course fee: $195



Literary Journalism: A Workshop & Seminar
Wells Tower
Class ID: 9408

Drawing on articles and excerpts from both luminaries and lesser-known practitioners of twentieth-century nonfiction writing, this course will explore the writerly tactics that distinguish the work of the literary journalist-voice, plot architecture, narrative persona, metaphor, lyric license, and other technologies borrowed from the novelist’s toolkit. The course will be both workshop and seminar. At each meeting, we’ll be discussing articles, or excerpts, from writers such as George Orwell, Joseph Mitchell, A.J. Liebling, Joan Didion, Tom Wolfe, Janet Malcolm, Ian Frazier, and many others. We’ll also devote a significant portion of class to discussing one another’s work. Each student is strongly encouraged to submit a single piece of writing of five to fifteen pages for constructive group criticism. We’ll look at an array of nonfictive forms—profiles, lyric essays, reportage, memoirs—in hopes of finding avenues toward our best, most vital work as writers. (Limit 18)

Wells Tower writes both fiction and nonfiction. The recipient of a Pushcart Prize, a Henfield Foundation award, and the Paris Review Discovery Prize, Tower’s work has appeared in Harper’s, the Paris Review, Fence, the Believer, McSweeney’s, the Oxford American, the Anchor Book of New American Short Stories, and the Washington Post Magazine, where he is a contributing writer.

6 Tuesdays, 7–9 PM (12 hours)
May 10–June 14
Center for Documentary Studies
Materials fee: $20 (exact amount due at first class)
Course fee: $155






Audio


Make that Audio Doc: Introduction to Sound Recording and Digital Mixing
Paul Overton
Class ID: 9407

You've got the recorder and the inspiration and now you're ready for some hands-on help. In this course you’ll produce a short audio documentary using your own recorded sound. We'll learn the basics of recording, interviewing, and editing using digital editing software, covering the process from beginning to end—from microphone placement to choosing the right interview setting, from loading your audio and organizing your tracks to creating the perfect cross-fade and incorporating sound and music into your piece. You’ll need to come to class with your own recorder (mini-disc, DAT, cassette), microphone, headphones, and tapes/discs. For great advice on equipment, go to transom.org and look under “tools.” You will have access to a digital editing studio in which to practice and complete class assignments. (Limit 12)

NOTE: A basic knowledge of computer use is needed for this class.
The instructor will announce an additional two-hour lab session at a time agreed on by the class participants.

Paul Overton is an independent producer living in Durham with his girlfriend, two dogs, and his tape recorder. Paul has an MFA in technical theater from the University of Delaware and was a sound designer for many years before entering the world of documentary audio. His work has aired on WZBC in Boston, KVNF in Colorado, WUNC in North Carolina, and KUOW in Seattle. Unfortunately, he also plays the ukulele.

8 Tuesdays, 7–9 PM (16 hours)
May 10–June 28 (no class June 21)
Center for Documentary Studies
Materials and lab fee: $75 (exact amount due at first class)
Course fee: $230


See also listings for the summer 2005 Audio Institutes (which carry continuing studies credit)





Photography


Fundamentals of Documentary Photography
Ava Johnson
Class ID: 9415

Beginners to more experienced photographers will benefit from this exploration of darkroom techniques. We will address camera basics for those who need an introduction, but we will spend the majority of class time in the darkroom printing our photographs. Learn about film developing, darkroom etiquette, how to mix chemicals, different paper types (fiber and resin-coated), and how to select a series of prints. Our goal is to begin a documentary project and complete five to ten finished prints by the end of the course. The spirit of the class is to take risks, explore, and have fun. (Limit 15)

Ava Johnson is a performer, artist and activist living in Durham. She received her B.F.A. in photography from the Savannah College of Art and Design, her M.F.A. in studio art from UNC-Chapel Hill, and graduated from the school of hard knocks while braving the cold winds of Chicago before returning to her home state. When not questioning mainstream thinking or making up funny songs, she is the proud co-parent of Barnaby, the wonder dog; weekend manager of CDS; and one of the founding performers of the Cuntry Kings drag/performance group.

6 Wednesdays, 6–9 PM (18 hours)
April 20–May 25
Center for Documentary Studies
Materials fee: $50 (exact amount due at first class)
Course fee: $215

Text: Black and White Photography: A Basic Manual by Henry Horenstein



More to Explore: Intermediate Darkroom Techniques
Luis-Rey Velasco
Class ID: 9416

Looking to spend more hours in the darkroom? This is a great opportunity to get lots of guided darkroom practice. In this hands-on course, you will spend most of your time printing photographs. You will also learn more about film developing, darkroom techniques (dodging, burning, experimental approaches), composition, and lighting. Both 35mm and/or medium-format cameras are welcome. We will be printing on fiber-based paper only. Students will complete a selection of ten images for their final projects.

This course is suitable for students who have completed Fundamentals of Documentary Photography or who have a basic knowledge of film development and printing. (Limit 12)

Luis-Rey Velasco is the Darkroom Manager at the Center for Documentary Studies. He has completed substantial documentary projects on farmworkers in California’s central San Joaquin Valley and in Stovall, North Carolina. He recently started work on a new project documenting quinceañera celebrations in Mexican American and farmworker families. Luis’s work has been exhibited at the North Carolina Museum of Art and the Levine Museum of the New South; he also curated Student Action with Farmworkers’ traveling exhibition, Recollections from Home.

6 Tuesdays, 6–9 PM
May 10–June 7
Center for Documentary Studies
Materials fee: $50 (exact amount due at first class)
Course fee: $215

Text: Black and White Photography: A Basic Manual by Henry Horenstein



Advanced Photography Project/ Portfolio
Tom Rankin
Class ID: 9422

This course is intended for students who have a specific documentary project in mind or who want to refine or deepen aspects of topics they’ve already explored. This course will be offered by different photographers each term to provide the opportunity for receiving multiple perspectives on students’ work; the course may be taken more than once for credit toward the Certificate in Documentary Studies program.

Photographers wanting to fully understand and incorporate one technique into their photographic repertoire will benefit from this class. It is intended to deepen students’ engagement with specific projects or specific techniques rather than act as an introduction to a variety of techniques. We will look initially at film and format choices and then move on to explore a variety of shooting techniques as suggested by the specific documentary projects at hand. If indicated, the course will include targeted weekly assignments for individual students. While those shooting digital formats are welcome, students should be well acquainted with their equipment, since techniques and troubleshooting specific to digital photography will not be covered. (Limit 6)

Tom Rankin is director of the Center for Documentary Studies and associate professor of the practice of art and documentary studies at Duke University. A photographer, filmmaker, and folklorist, Rankin has been documenting and interpreting American culture for more than twenty years. Formerly associate professor of art and southern studies at the University of Mississippi and chair of the Art Department at Delta State University, he was educated at Tufts University, UNC-Chapel Hill, and Georgia State University. A native of Kentucky, he has curated a number of exhibitions and published numerous articles and reviews on photography and southern culture. His photographs have been published widely in numerous magazines, journals, and books, and he has exhibited throughout the country. His books include Sacred Space: Photographs from the Mississippi Delta (1993), which received the Mississippi Institute of Arts and Letters Award for Photography; 'Deaf Maggie Lee Sayre': Photographs of a River Life (1995); Faulkner's World: The Photographs of Martin J. Dain (1997); and Local Heroes: Changing America: Indivisible (2000). Indivisible is on the web at http://www.indivisible.org/.

6 Tuesdays, 6–8 PM (12 hours)
April 19–May 24
Center for Documentary Studies
Course fee: $215



Documentary Photography as Fine Art
G. Douglas Vuncannon
Class ID: 9417

Where do documentary photography and fine art converge? When does the documentarian’s work verge upon the world of fine art, and how is it that a "fine artist" may produce works of documentary? And how does one come to terms with the statement “every photograph is a self-portrait”? Going beyond the realm of composition and craft, class discussions will strive to identify the elements of still photography that have the power to transcend the simple recording of image. We will explore such themes, and encourage each participant to develop a personal thesis on documentary photography’s relationship to "fine art." Through presentations and discussions, students will become familiar with the approaches of such photographers as Dorothea Lange, W. Eugene Smith, Walker Evans, André Kertész, and Mary Ellen Mark. Students will develop their own photographic vision through weekly assignments and have opportunities to share work during classroom critiques. (Limit 12)

NOTE: During the fifth week of class, students will meet with the instructor in individually scheduled meetings

G. Douglas Vuncannon is a visual artist and composer who has worked as a freelance photographer and writer since 1995. His short documentary films have screened at numerous film festivals in the United States and Canada. In 2000, the Durham Arts Council awarded him an Emerging Artist Grant. His photography and writings have appeared in the Independent Weekly, and he is currently working on a documentary project made possible by a grant from Duke University’s Freewater Productions.

6 Thursdays, 6:30–9:30 PM (18 hours)
May 5–June 9
Center for Documentary Studies
Materials fee: $10 (exact amount due at first class)
Course fee: $215



Large-Format Photography
Leah Sobsey
Class ID: 9420

This is an introductory class for photographers who want to use large-format photography in their personal and professional work. We will explore the role of the large-format camera in shaping the history of photography, and it’s deep roots in the documentary tradition. Large format is the camera of choice for both precision and whimsy we will explore both sides. You will learn to control perspective and depth of field through swings, tilts, and other camera movements. Discussion of what cameras, films, lenses, accessories, and tools to purchase, and their uses, will also be covered. Large-format cameras will be provided for students to use on a rotating basis. (Limit 12)

Leah Sobsey is an artist and educator. She received her M.F.A. from the San Francisco Art Institute in 2001 and completed the Resident Certificate Program at the Maine Photographic Workshops in 1997. Her work has been exhibited widely and is in private collections across the country. She has taught at the San Francisco Art Institute, Duke University, and the Maine Photographic Workshops, and she currently teaches at UNC-Greensboro.

7 Wednesdays, 6–8 PM (14 hours)
May 18–June 29
Center for Documentary Studies
Materials fee: $20 (exact amount due at first class)
Course fee: $175



Alternative Printing
Leah Sobsey
Class ID: 9421

This course will explore a variety of historical and contemporary photographic processes. Step outside of the traditional silver gelatin print and explore the endless possibilities of platinum palladium printing, Vandyke printing, albumen printing, and other methods. There will also be printing with your own negatives; hands-on printing techniques will include cyanotype printing (blueprint), Polaroid transfers and lifts, as well as liquid emulsion printing, which can be painted on to any surface, including paper, canvas, tile, and stone. You will need to bring your black-and-white negatives and color slides to the first class. (Limit 12)

Leah Sobsey is an artist and educator. She received her M.F.A. from the San Francisco Art Institute in 2001 and completed the Resident Certificate Program at the Maine Photographic Workshops in 1997. Her work has been exhibited widely and is in private collections across the country. She has taught at the San Francisco Art Institute, Duke University, and the Maine Photographic Workshops, and she currently teaches at UNC-Greensboro.

2 Saturdays, 12–4 PM (8 hours)
June 4 and 11
Center for Documentary Studies
Materials fee: $5 (exact amount due at first class)
Course fee: $125



See also listing for the summer 2005 Literacy Through Photography Institute (which carries continuing studies credit)





Film & Video

Directing Your Documentary Film: Making Choices
Randolph Benson
Class ID: 9427

Making documentary films is more than pointing your camera at a subject, recording an event, or conveying interesting information. Your film will be a historical document that not only tells the story of your subject but reflects you as an artist. Directing your film means making difficult choices—from initial story concept to your first screening. These choices, similar to those made by narrative fiction filmmakers, involve the range of available tools and techniques. Use this course to prepare for the choices you will make about how best to tell your story, design your production, develop your aesthetic, and capture your story on film. Through viewing selected film clips, reading, in-class production instruction, and weekly assignments, you will gain an understanding of the art of directing a documentary film, while developing the skills you'll need to fulfill your vision. By the end of the term, you will be expected to complete a "mini-documentary" of approximately two to three minutes in length, combining all of the methods and techniques learned in the course. You will need access to a video camera and a tripod. (Limit 18)

Randolph Benson is a graduate of Wake Forest University and of the North Carolina School of the Arts School of Filmmaking. His film Man and Dog has appeared in eighteen film festivals in seven countries, and has garnered numerous awards, most notably a Gold Medal in the Academy of Motion Picture Arts and Sciences’ Student Academy Awards. His work has been featured on the Bravo Network, the Independent Film Channel (Split Screen), WTTW-Chicago, UNC-TV (North Carolina Visions), and Telewizja Polska S.A.-Poland, and has received an Eastman Kodak Excellence in Filmmaking Award at the Cannes Film Festival.

8 Tuesdays, 7–9 PM (16 hours)
April 19–June 7
Center for Documentary Studies
Materials fee: $10 (exact amount due at first class)
Course fee: $195



Telling Your Story: Placing Yourself in the Documentary Film Tradition
Randolph Benson
Class ID: 9426

There are an infinite number of ways to tell your nonfiction story in film: cinema vérité, archival footage, photos, interviews, and recreations are only a few examples. Will your film be a personal doc? A portrait, experimental, or propaganda? We will study documentary filmmaking through the screening of films and clips, class discussion, readings, and presentations. Outside of class, each student will be encouraged to keep a film journal in response to the films screened, readings and/or other researched materials. Surveying the tradition, history, and conventions of nonfiction filmmaking, you will have a firm foundation for deciding how to fulfill your documentary vision. You will also be encouraged to share ideas about your projects. (Limit 18)

Randolph Benson is a graduate of Wake Forest University and of the North Carolina School of the Arts School of Filmmaking. His film Man and Dog has appeared in eighteen film festivals in seven countries, and has garnered numerous awards, most notably a Gold Medal in the Academy of Motion Picture Arts and Sciences’ Student Academy Awards. His work has been featured on the Bravo Network, the Independent Film Channel (Split Screen), WTTW-Chicago, UNC-TV (North Carolina Visions), and Telewizja Polska S.A.-Poland, and has received an Eastman Kodak Excellence in Filmmaking Award at the Cannes Film Festival.

8 Thursdays, 7–9:00 PM (16 hours)
April 21–June 9
Center for Documentary Studies
Materials fee: $10 (exact amount due at first class)
Course fee: $195



Visual Storytelling: Fieldwork and Editing in One Course
Nancy Kalow and Erika Simon
Class ID: 9423

Digital filmmaking for beginners, taught by experienced instructors whose top priority is to make the class fun. We’ll start with the whys and hows of documentary fieldwork and teach the basics of camera, sound, and editing. Your footage shot for biweekly video assignments will be your introduction to Final Cut Express (FCE) at the CDS Digital Editing Suite. Our user-friendly FCE curriculum demystifies a powerful editing tool to serve your documentary ideas. Besides hands-on learning of FCE, a portion of class time will be spent watching and discussing the edited shorts you produce during the course. We will also view relevant sequences by the Maysles Brothers, Wim Wenders, Jehane Noujaim, and Les Blank, among others. Expect a heavy workload. (Limit 12)

NOTE: Students must have the use of a camcorder, tripod, portable FireWire hard drive (7200 rpm, 8 mb cache, FireWire 400 required; 60gb is plenty), and two FireWire (IEEE 1394) cables (one 6-pin-to-6-pin for the hard drive and one 6-pin-to-4-pin for the camera). A lavaliere microphone is also suggested. Comfort with basic computer skills is required.

Nancy Kalow is a folklorist, filmmaker, and documentarian of communities and cultural expression. Some of her video work can be viewed for free at the Internet Archive: http://www.archive.org/search.php?query=Nancy%20Kalow.
Erika Simon is a video editor and tutor in Final Cut Express. She is a recipient of the Martha Nell Hardy Award for Outstanding Teaching at UNC-Chapel Hill, where she earned an M.A. in communication studies, and the Lucia Morgan Memorial Award for putting communication theories into practice in local communities.

8 Wednesdays, 7–9 PM (16 hours)
April 20–June 8
Center for Documentary Studies
Materials fee: $15 (exact amount due at first class)
Course fee: $320



Documentary Video Production: Planning the Project, Getting the Shots
Chris Potter
Class ID: 9425

Have the footage you need when you sit down to edit your video documentary. We will talk about planning and organizing your project, and learn some basic camera, lighting, and audio techniques that don't require expensive equipment. We will watch video clips that illustrate the techniques, try them out in class, and look at each other's homework. Please bring a camcorder and tripod to class. (Limit 12)

Chris Potter studied documentary film and video techniques at the Rice University Media Center. He has produced and directed commercial, industrial, and public service videos at Southern Media Design & Production for more than twenty-five years. His current projects include a series of videos on the historical ecology of southeastern Burgundy and a documentary video on a New Deal resettlement community in northeastern North Carolina.

6 Wednesdays, 6:30–9:30 PM (18 hours)
April 20–May 25
Center for Documentary Studies
Materials fee: $10 (exact amount due at first class)
Course fee: $215



Advanced Documentary Video Editing: Final Cut Pro
Simone Keith
Class ID: 9424

Learn and discuss video editing techniques using the advanced features in Final Cut Pro. Find out what makes a smooth cut, understand the proper use of effects and transitions, and explore sound mixing while editing your next documentary project. Film screenings and print materials will be used to fuel creativity. You will be encouraged to share your weekly editing assignments in class and provide constructive feedback to your peers. Basic Final Cut Pro skills required. (Limit 12)

NOTE: Students must have use of a portable FireWire hard drive.

Simone Keith’s short documentary, Heavier Than Air, has screened at numerous festivals and aired on UNC-TV. A native of Brazil, she has been making documentaries and video essays since arriving in North Carolina ten years ago. Keith has earned two Telly Awards and has collaborated on The Wonder of It All, a UNC-TV documentary about the life of George Beverly Shea, which was nominated for a regional Emmy. Keith currently works at NC State University where she is the videographer and editor for In the Garden with Bryce Lane.

8 Mondays, 7–9 PM (16 hours)
April 18–June 13 (no class May 30)
Center for Documentary Studies
Materials fee: $10 (exact amount due at first class)
Course fee: $320

Required text: In the Blink of an Eye by Walter Murch
Suggested text: Final Cut Pro 4 for Dummies



See also listing for the summer 2005 Video Institute (which carries continuing studies credit)

Winter 2005

Fall 2004

Spring/Summer 2004

Winter 2004

Fall 2003

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Untitled, from the series Raising Helana. Photograph by Lissa Gotwals, from her project for the continuing studies course Final Project Seminar in Documentary Studies. Gotwals's work from this series was published in issue 03 of Blueeyes Magazine.