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Editing & Thesis Mtg Schedule

Tues, May 11: 4 – 6 CLC
Wed, May 12: 4 – 6 TE
Thurs, May 13: 4 – 6 CLC

Mon, May 17: 4 – 6 editing
Wed, May 19: CLC showing, discuss digital storytelling
Mon, May 24: 4 – 4:40 Jason, 4:40 – 5:20 Pete, 5:20 – 6 Thad
Wed, May 26: 4-4:40 Johnny, 4:40 – 5:20 Will 5:20-6 Nicole
Temple edit

Mon May 31: no class
Wed, June 2: final class & showings, Clark house: 431 Somerset Dr, Golden (303) 278-4171 4 – 6:30ish
(7 PM showing at MFJS)

DiG! Movie Review

For this review assignment, I decided to watch DiG!—a documentary I’ve seen before, but not in years. It was definitely interesting revisiting this movie, especially in the context of the film education I’ve gotten over the past couple of years, and the fact that I am faced with my own documentary thesis film for grad school that will be dealing with music culture. I found myself constantly thinking about my project as I watched this movie.

DiG! was filmed by Odni Timoner over the course of seven years and released in 2004. Throughout the seven years of filming, Timoner was able to document two rock bands—The Dandy Warhols and The Brian Jonestown Massacre. DiG! tells the story of the relationship between these two bands over the course of seven years, and it also highlights the vastly different career paths of The Dandy Warhols and The Brian Jonestown Massacre. The film tends to focus mostly on the lead singers of these bands—Courtney Taylor and Anton Newcombe, respectively.  Newcombe is depicted as a hotheaded megalomaniac with a messianic complex, constantly sabotaging his own chances at receiving major record label contracts. Taylor and his band—The Dandy Warhols—are shown to be much more levelheaded than Newcombe and his bandmates in the Brian Jonestown Massacre. At first, they struggle as major label artists to sell records and effectively find an audience, but they eventually find success in European sales and tours. The relationship between the two bands is one of the most interesting aspects of the film… Over the seven years of filming, the relationship becomes soured as resentments and divisions come between the bands as The Dandys find mainstream success while BJM is constantly taking two steps back after moving one step forward.  Timoner comically juxtaposes the success (and luck) of The Dandys with the seemingly insufferable onslaught of “downs” of the BJM. In one scene, Anton Newcombe of BJM is arrested in Georgia—while on tour—for possession of marijuana and has to be bailed out of jail. The band breaks up that night (which happens frequently with this band), and Newcombe is forced to finish the tour by himself. In another scene, The Dandys are touring in Europe when they are pulled over by French police officers. They are busted for possession for marijuana in a strikingly similar scenario, but they are only given a fine worth 4 Dandy Warhol t-shirts, and the marijuana isn’t even confiscated from them.

The film relies on a vérité documentary style, incorporating a voice-over narration from Courtney Taylor of The Dandy Warhols. The film also utilizes interview sequences to provide expository context for certain situations. After all, the movie was filmed over the course of seven years and details so many complexities over that time period that the interview sequences tend to be helpful in clarifying and illuminating specific moments on that timeline. The film also has a sleek visual style that incorporates artistic music video elements into the mise-en-scène.

There is an interesting distinction to make between the types of interview footage that is used in this film though. There are interviews that are conducted very formally, in a studio, with nice lighting and such. But, then there are other interview segments that occur much more informally with a handheld camera while Timoner “hangs out” with the band. These sequences tend to be the most revealing about the exact relationships between Timoner and the two bands, as both the groups seem to accept her as apart of their ensembles. That she spent so much time with the BJM and The Dandys (with a video camera in hand), it seems understandable that they would eventually come to ignore being videotaped. Whenever Newcombe or Taylor is asked a question by Timoner on-camera, they seem to completely disregard the camera and deal with Timoner directly. In fact, the discussions and questions being asked are extremely conversational and casual that the viewer feels immersed within the discussion. In one scene, Taylor gripes about the downsides of being signed to a major record label, and it feels like a relaxed, authentic discussion between two people, as opposed to a forced interview in a studio. The nature of this relationship between filmmaker and subject seems to imply that Timoner was extremely successful in embedding herself within the people and places she was interacting with.

This film is a good guide for me and my thesis film. It is not necessarily the style of documentary that I want to emulate with my project, but I feel that it offers some good lessons in what it takes to document music scenes and bands. While I want to take a Direct Cinema approach with my documentary (DiG! follows a vérité style), Timoner’s experience with this film illustrates how time can be an extremely important thing in a documentary. Because she was able to film the bands for such a long period of time, she was able to shape a distinct narrative out of the various events that she had documented. Because I don’t have the same freedoms with time, I have to accept that my project will have certain limitations in the types of stories I can tell. But, on the other side of the same coin, Timoner’s ambition and willingness to stick with these bands is an encouraging type of thing as a filmmaker. Knowing that she stuck with her project (through all the undoubted ups and downs) and produced a magnificent documentary is admirable. This type of film motivates me to create something that is creative, interesting, and fresh. The movie also shows how dynamics within band relationships can be really interesting, even on the subtler levels. I think this is an important concept for me to embrace, especially since I am taking a Direct Cinema approach to my film. Even the (seemingly) subtle, mundane aspects of real life can play out very interestingly on film.

Thesis Proposal 1 Pager

Thesis Proposal

Will Gardner

Night Lights- 1 pager

My initial idea for my thesis was to tell a story about something that occurred right in front of people. I wanted to tell a story that was very close to people but they were not aware that it actually exists. After driving home from dinner and seeing the lights on the ski mountain it dawned on me. I was really interested in what all goes into grooming the ski mountain. After all I have grown up five minutes from one of the best mountains in North America but did not know the first thing about the grooming process. I figured there would be some pretty unique individuals, let alone some spectacular visuals. I figured the subculture of snow-cat drivers would be a very interesting aspect of the ski industry, one that up until now no one has really developed or explored. At this point I wasn’t sure whether I wanted the film to be about one personality or more of a showcase of the job itself and what goes into the process. This is something I am still trying to iron out, but definitely like the idea of showcasing different contrasting perspectives. For example showcase the contrast between the commercialism during the day and the quiet nature aspect during the nighttime. Also the contrast between people playing and indulging in their potential fantasies during the day and the individuals up there working during the night to learn a living. This is a theme I really like and am hoping to develop more as the time goes on.

Once I had my initial idea I expanded on it and decided that I wanted distribution to be a part of my project. I wanted to go toward more of an entrepreneurial project rather than simply a documentary. From past experience the distribution aspect of the filmmaking process is one that I am extremely passionate about. After all what good does a film do if no one ever sees it? After developing this idea further and talking to a few of my professors I came up with this idea of integrating a documentary into the new platform of transmedia. Transmedia is the idea of entering a story from more different entry points. This is a relatively new concept, one that I believe will be extremely popular in the future due to the expanded revenue streams that are possible with it.

Continuing forward I would like to incorporate this idea of transmedia into my project and potentially come up with a format that I can approach various ski resorts, beach resorts etc. Historically transmedia has involved various entry points, such as; film, comic strips, physical experiences and video games for example. I would without a doubt look at these aspects but also try to think of new entry points that have not yet been created and are available due to new technologies such as Apple’s Ipad.  It is the hope that I will create a new format to get consumers interested and excited about traveling to different destinations or simply helping them make a better connection with the area while they are there.

As with any idea this is always project is always developing but, I believe this is a very current idea where I will learn a great deal from. If it does not turn into a business opportunity for myself I think it will be a great conversation piece in an interview or simply interesting to show friends and family.

Ink Bars, as a thesis, will be a multifaceted project that will involve a number phases revolving around the start up of the non-profit organization Ink Bars. Ink Bars is an organization designed and created for the purpose of teaching the art of safe tattooing procedures within prison walls. The organization will setup an apprenticeship(s) between an established tattoo parlor operating in the public sphere and an inmate(s) that is familiar with prison tattooing procedures. The program is not only designed to educate prisoners about the transmission of blood borne pathogens such as HIV and Hepatitis C (HVC), and how to prevent the spread of disease while tattooing, but is also created to rehabilitate inmates and provide vocational training upon an inmate’s release. This can be accomplished in a cost effective manner that may be able to save taxpayers money. The organization will provide a platform upon which to study if a nationwide program may be implemented.

Ink Bars (working title), the documentary, will follow the course of the start-up phase and initial implementation of the non-profit organization Ink Bars. A program such as this has never been tried in the U.S., and will most certainly be met with resistance, and this is one of the main reasons that I would like to document the start-up phase. We have noted the problematic situation, and stigma, related to prison tattoos, and understand why state funding will be very hard to come by. This in-of-itself presents an opportunity to tell a story, and we believe we can not only tell this story, but we can also continue this story as we find people in authoritative positions that will understand why we believe Ink Bars in a viable solution to problematic situations within prisons. The first stage of the documentary will, in essence, be the co-founders (me being one of them) learning everything we can about the nature of jail-house tattooing, the nature of tattoo apprenticeships, and what it takes to start a non-profit organization in a business minded entrepreneurial fashion. This segment will include interviews with the co-founders, tattoo artists (one of whom will be our mentor), state legislators that deal with prison regulation, authorities within a prison, and inmates (barring that we are allowed to film in a prison before the organization begins its mission). The second stage of the documentary will follow the process of the implementation of Ink Bars into one of the Colorado state prisons, filming the process of an inmate beginning the apprenticeship and learning how to safely tattoo, along with the artistry involved in tattooing. This stage will involve selecting the appropriate candidate for the apprenticeship, whom will hopefully be an inmate whose story we can incorporate into the documentary. With high hopes, this part of the documentary will involve filming tattoos as they are etched into the skin, and how we have provided a safe environment in which to do so.

The documentary will also provide a means to qualitatively study the impact of the non-profit within one prison. We understand that if this program is to move beyond an initial stage, we will need to have well documented and recorded findings. These findings will study, quantitatively, if levels of HIV and HVC have gone down over a period of time. The qualitative part of the study will try to discover if prisoners are willing to go through new methods of tattooing aside from traditional jailhouse means, because we accept that for many prisoners tattooing is a means of rebellion and to sanctify tattooing may turn them away from our organization. The documentary will hopefully be a basis upon which we can disseminate information on how other prisons can implement similar programs, or how may help us expand as business (it’s a marketing tool!), and will hopefully tell a great story about how a beneficial program was implemented in a hostile and unforgiving environment in the face of opposition and bureaucratic barriers. It is our main goal to not only provide safety for inmates but benefit the outside community as well.

reFocus Project for Sensible Colorado

Recently, medicinal marijuana constitutional state amendments across the country, particularly in Colorado, are flourishing in favor of patients who use this plant to treat many of their illnesses. The bitter debate that has ensued focuses on several different arguments based on legal precedence, medical fact, and public perception of this Schedule I drug.

Much of Colorado’s current legislation and voter initiative projects for the legalization of medical marijuana have been organized and successfully implemented by just a few non-profit organizations based in Denver, CO (and funded through the nationally known Marijuana Policy Project). The most prominent out of these organizations is Sensible Colorado headed by Brian Vicente, Esquire. His non-profit provides invaluable resources for medical marijuana patients, keeping them up to date on current laws and how to remain within the legal threshold of those laws. Brian himself defends patients in court if charges are brought upon them for using medical marijuana. His voter initiative drives have proven the will of the voters in Colorado to allow medical marijuana legally and safely for use to patients who are prescribed. He has also formed an official committee to help sculpt the eventual regulation of medical marijuana growers and caregiver dispensaries.

In October 2009 the Obama Administration and Department of Justice issued a memorandum declaring that medical marijuana growers, caregivers, and patients will not be subject to Federal prosecution. Since then Colorado has seen an enormous rise in caregiver dispensaries, as well as medical marijuana patients. Colorado currently now has more medical marijuana dispensaries than Starbucks. Many of the lawmakers, local police officials, district attorneys, and federal DEA agents disregard the DOJ’s memorandum and continue to charge patients and growers. With more and more dispensaries, grow shops, and patients being added on a daily basis, the conservative right are using this as ammo to justify the necessity to regulate the industry before it gets out of hand.

Many patients pursue medical marijuana prescription cards for different reasons. At first, these prescriptions were mostly given to patients who had life threatening & debilitating illnesses such as cancer or AIDS. It is used to treat many symptoms of these illnesses ranging from pain management, loss of appetite, nausea, seizures, and glaucoma. Increasingly, there are more patients that claim ‘severe pain’ as one of their symptoms – a general symptom that is part of the definition for prescriptive medical marijuana qualification. Because this clause is general, it can be applied to many different types of illnesses, such as menstrual cramps or debilitating back pain. These two little words have allowed the industry to blossom into a very large and profitable system.

Which leads us to the public perception of these current state laws. There is a furious debate on how to regulate the growers, caregivers, and patients. Now that dispensaries are popping up on almost every corner, public perception is starting to shift from concern for the patients and their right to pursue safe alternative medicine for their debilitating disease, to criticism of the crop of young pot smoking adults who claim sever pain to get a medical marijuana card. The media has also shifted their storytelling and framing – no longer are HIV patients being shown in the news when discussing medical marijuana. Now they focus on potheads smoking joints and getting high and abusing the system to get marijuana.

My thesis will focus on changing this public perception back to the roots and refocusing with arguments on the validity of medical marijuana laws that benefit patients with HIV, Cancer, and other forms of life threatening illnesses. My thesis will take the form of a short documentary project for Sensible Colorado that will highlight stories of patients suffering from HIV, cancer and other terminal illnesses where using medical marijuana, and having those legal rights to do so, help alleviate the pain and suffering in their daily lives. The purpose of this project is to refocus on these patients so as to try to change public perception to a more positive opinion on the current industry as a whole. The documentary will be distributed through Sensible Colorado’s website.

Research Question(s)
• What is the impact of the global spread of the English language on the motivation and success of foreign language learning for U.S. undergrads who study abroad?
o Are students’ attitudes about the importance or unimportance of learning a foreign language challenged or reinforced while abroad?
o How has the rise of technology affected the study abroad experience, especially with regards to language?

Theoretical Framework
• Cultural dynamics of globalization
o Americanization – though some products and ideals can be identified as undeniably American, a country with 300 million people and the world’s third largest Hispanic population can be difficult to pigeonhole. Is Americanization equivalent to capitalism? Consumerism?
o Cultural Imperialism – does the standardization of goods imply the standardization of culture?
o Glocalization – a dialogue between the product and the context in which it finds itself; does the context always color the product? Is the dialogue equal on both sides?
o Agency and appropriation – products that are manufactured in one country and distributed to another can be redefined within the country of import; there isn’t necessarily a “steamrolling” of values

Participants
• 4 undergraduates at the University of Denver who are studying abroad in either France or Italy
• Different levels of language ability; one in each country who is a beginner and one in each country who is at an intermediate to advanced level
• All females to control for any differences in cross-cultural relationships that could be attributed to gender

Methodology
• Interviews: I will conduct interviews with students before, potentially during, and after their semester abroad. Among other things, I will ask them what their expectations are for language improvement. I will also ask a lot of background questions to get an in-depth understanding of where they are coming from.
• Journals: Students will keep a regular journal (twice weekly?) documenting their experience with the local language. This will be an opportunity for them to be reflexive about language learning and think about the relationships that they form, the day-to-day interactions they have (and what language those interactions are in), and any other issues that seem relevant.
• Technology logs: Students will log the number of hours they spend using different types of technology and what language those activities are in. Specifically, I will ask them to track the amount of time they spend on the phone (either cell phone or Skype); the number of text messages they send and receive; the amount of time they spend on Facebook, MySpace, or any other social networking site; the amount of time they spend emailing; and the amount of time they spend online on English language websites.

Ok… this is not exactly what was asked for… but it is what I have at the moment!

-Thad

The Neopagan religion of Heathenry (a movement to reconstruct / revive the practices, beliefs, and worldviews of pre-Christian northern Europe) has largely been approached by scholars either in the context of studies of explicit white supremacy by bizarre and marginal groups (Kaplan 1996, 1997; Gardell 2003; Goodrick-Clark 2003) or as primarily descriptive accounts (usually in passing) within contemporary pagan studies (Harvey 1997; Berger, Leach, and Shaffer 2003; Berger 2005; Clifton 2006; Davy 2007). This bipolar differentiation in approach disregards the significance of race in Heathenry as a whole (as well as in the broader Pagan movement) as well as disassociating radical and explicit white supremacy from the spectrum of white racial identifications of which it is a part.
Rather than tending toward a focus on what Mattias Gardell (2003) has labeled the radical racist segment of Heathenry, as most in-depth studies have thus far, it will be important for studies to look at the way other Heathens (Gardell’s antiracist and ethnic categories) discursively negotiate and construct relationships with whiteness as a category of racial identification.

Thesis and Scope
Howard Winant (1994) has noted that since the cultural upheavals of the Civil Rights era there has been a distinct crisis of identity for white Americans.

The prospect that whites may not constitute a clear majority nor exercise unquestioned racial domination in various institutional settings has led to a crisis of white identity. As previous assumptions erode, white identity loses its transparency, the easy elision with ‘racelessnes’ that has accompanied racial dominance since the end of the Reconstruction period in 1877. Today the very meaning of ‘whiteness’ has become a matter of anxiety and concern. In this respect, whites have been racialized in the post-civil rights era (Winant, 1994, 64).

Many have sought to emphasize “ethnicity” over “race” as a result of this crisis and the alterations to racial and ethnic relations it has entailed. Emphasizing identities such as English, German, Irish, Italian, and the like was conceived of as a way to diminish the significance of a monolithic white racial identity. However, the further and further away the majority of white Americans get from “old country” origins, the less and less those traditional ethnicities mean. Most identify more fully with a white, “Euro-American” racial identity than with any more specific European ethnicity. [Even those who do think this way are still treated, and socially constructed/located as white.]
Not all Heathens are white, but the overwhelming majority are, if for no other reason than that the link to “Germanic” heritage provides much greater social capital and opportunities for identification for whites than non-whites. Heathen positions on issues of race and ethnicity range the gamut from explicit white-supremacist neo-Nazis, for whom white racial purity is a primary concern, to adamantly multiculturalist, political liberals who insist that their religious choice has nothing to do with either race or ethnicity. Most Heathens find themselves somewhere between these two poles, and the divisiveness of the constant squabbling over race leads to a widespread frustration with the debate, which has been actively waged for approximately four decades now. Most Heathens can tell you with a great deal of accuracy where they stand within this complex and shifting field of contested identities, however, and it remains one of the primary issue over which they differentiate themselves from one another.
My working hypothesis is that Heathenry serves its participants as (among many other functions) a field for the negotiation, contestation, and definition of racial and ethnic identifications for white Americans after the Civil Rights movement. Civil Rights undermined the casual and easy superiority of white identity. Race, ethnicity, and religion (among a number of other related terms) are all discursive categories of identification which are actively contested by means of projects of identification which articulate not only the meaningful content of, but also the structural relationship of these categories. It is hardly the only location for such negotiation. Other religious and political movements (such as Christian Identity and the Tea Party phenomenon) serve as similar arenas for the negotiation and contestation of whiteness. Heathenry, however, is the point of overlap between the rapidly growing Neopagan religious phenomena and radical racists, with substantial numbers having left Christian Identity churches (for example) to participate in Heathenry (Gardell 2003, Kaplan 1997).
This work will depend centrally on the racial formation theory of Michael Omi and Howard Winant. Omi and Winant (1994) theorize “race” not as an objectively real thing, but rather as a socially constructed and contested category. The “content” of the category of race is not set an unquestionable, but it rather the subject of racial projects, efforts to articulate and determine what both race as a category in general and particular racial identities more particularly mean. These projects influence and struggle over the significance and meaning to be attributed to racial identifications and the relative status / hierarchy to be observed between them. Rogers Brubaker (2004) demonstrates that ethnicity, race, and nation are “perspectives on the world rather than entities in the world” (Brubaker, 4). Similarly to Omi and Winant, Brubaker demonstrates the unstable and contested nature of racial (as well as ethnic and national) identification. These thinkers are foundational to my understandings of the overlap, conflict, and negotiation of race, ethnicity, and religion. The theorizing of Pierre Bourdieu (1998) regarding the constitution of fields, and the role of habitus, capital, active position takings, and trajectories within those fields will contribute substantially to my analysis of overlapping fields such as Heathenry, whiteness, race, religion, ethnicity, and the like. His understanding of the dynamics within and between fields will play a substantial role in framing my analysis of Heathen negotiations of religiously and racially defined social locations and group boundaries. I will also be attempting to keep actively in mind the call by Brubaker to disaggregate both data and theory. In particular I will seek to follow his advice to avoid discussion of “identity” in favor of more specific terminology (self-identification, identification-by-others, categories, organizations, projects, etc…)

Methodology
Published materials by Heathens themselves about Heathenry have expanded exponentially over just the last few years and academic research focusing on the movement has thus far been almost exclusively ethnographic in focus ((Kaplan 1996, 1997; Blain 2002, 2004; Gardell 2003, Snook 2008). An analysis of racial and ethnic identification projects must take into account the public face which the voices of Heathenry are presenting to their allies and enemies, as well as to potential converts. Therefore, it seems advisable to investigate this movement literature more closely than has been done thus far.
This project is not intended to serve as a full or exhaustive analysis of published Heathen literature. Such a project becomes increasingly unrealistic by the day. What I do wish to accomplish, is to give a number of particularly located snapshots of current identity projects within contemporary Heathenry. I wish to explore the dynamics of their interactions with surrounding groups and ideologies and their construction and maintenance of categories, groups, and other sorts of identifications so as to shed light on and promote the understanding of the processes involved. I will be particularly focusing on ethnic, racial, and religious identification; though national, gendered, and sexual identifications of various sorts are sure to be involved in the analysis as well. In intend to focus on cases within Gardell’s ethnic and antiracist categories.
Through discourse analysis of these documents, I plan to look at the ways race, ethnicity, nationality, heritage, culture, religion, spirituality, and other related categories of identification are constructed and presented as cultural products in relation to other similar categories within the broader context of U.S. society. My goal is to reach a greater understanding of they ways these categories are used by Heathens to negotiate relative positions within the various fields of U.S. political, religious, and racial/ethnic identification.

Significance

Virtually all previous substantial work done on Heathenry has looked specifically at the overlaps of Heathenry and explicit white supremacy/separatism. This is certainly an important topic of study, but it runs the risk of sensationalizing the topic rather than investigating how and why it occurs. One substantial strain of Heathenry (called Odinism by Jeffrey Kaplan (1997)) derives directly from early 20th century ethnonationalist movements (of which the Nazis are a prominent example). The other major strain of Heathenry (which Kaplan calls Ásatrú) arose during the early 1970s (the period of the Civil Rights movement), and has been the site of serious contestation over race and ethnicity for the intervening four decades. Focusing only on the explicit and open racism (which overlaps with neo-Nazi organizations, Christian Identity churches, and the like) is to ignore the significance of the negotiating the dangerous waters of whiteness that occur through the rest of the movement. Kaplan’s Ásatrú spectrum of Heathenry, in fact, has much more to contribute to our understandings of the negotiation of racial identifications among the average white American than do those openly and proudly racist folks he calls Odinists.
Heathenry is the location of ongoing debate, contestation, and negotiation of the relationship between race, ethnicity, and religion and the content and structural significance of each of these categories. Understanding this negotiation is of serious significance to understanding the construction, presentation, and marketing of white supremacist and separatist ideologies. Also, as pointed out by Gardell (2003), Heathenry is the point of contact and overlap between the radical racist right and Neopaganism, which according to the American Religious Identification Survey has been the (exponentially) fastest growing variety of religion in the United States for most of the last decade. The role of racial and ethnic identification in this spectrum of religions will be of increasing significance to studies of race and religion in the United States whether or not these growth trends continue.

Chapter Outline:
1) Heathenry
This chapter will give an overview of Heathenry as a movement. I will discuss Heathen practices, beliefs, worldviews, and social structures, as well as the history of the movement. Substantial space will need to be committed to the divisions within Heathenry over issues of race and ethnicity. I will also discuss in this chapter the fit, or lack thereof, of the term “religion,” particularly as this relates to issues of racial and ethnic identification.
2) The Problems of Previous Scholarship
Here I will discuss the previous scholarship on Heathenry. I will pay particular attention to work which discusses the issues of race and ethnicity. I will discuss the ways that the theoretical approaches used in these works serve to exoticize white supremacist Heathens and discursively distance them in problematic ways from more mainstream or “normal” struggles with the contemporary meaning of whiteness.
3) My Relationship to Heathenry
My own social location in regard to Heathenry is complex and highly relevant to my approach to this topic. My fifteen years of participation and continued adherence to the movement clearly influence how and why I deal with this material. I intend to (briefly) lay out my history with the movement and then discuss my perspectives, concerns, and agendas as a white, male, Heathen scholar studying problematic issues within my own community. This will need to include a discussion of objectivity /subjectivity. Without this chapter I do not see that I can responsibly and ethically do this work.
4) Racial Formation, Rogers Brubaker, and Ethnopolitical Projects
I will discuss in depth here the theoretical framework I am using for understanding “race,” “ethnicity,” and “religion” (among others) as categories of Identification. I will especially deal with the theoretical writings of Michael Omi, Howard Winant, and Rogers Brubaker. This chapter will allow me to formulate the conceptions of these categories as negotiated projects which will be central to the rest of the work.
5) Whiteness
The connections between whiteness and Heathenry require a thorough discussion of the history and genealogy of the term, as well as theoretical understandings of the category in its contemporary contexts. This chapter will, among other topics, discuss the relationship of white racial identification to imperial Christendom and U.S. (ethno)nationalism.
6) Subcultural Identity Theory and Othering
Working from Christian Smith’s subcultural identity theory and postcolonial discussions of “othering,” I will discuss the ways Heathens negotiate their social locations and self-understandings via the drawing of symbolic boundaries with relevant outgroups (a.k.a. “othering”). I will particularly look at they way Heathens identify themselves in relation to Christianity and Wicca. This chapter will set the stage for later discussions of the symbolic negotiation of the boundaries of whiteness and the othering of those identified as non-white.
7) Nationalism: Race and Nation in the U.S.
In this chapter I will discuss the continuing relationships between white racial and U.S. national identifications. Drastically altered and highly problematized by the cultural transformations of the Civil Rights movement, I will argue that this relationship continues to inform and shape a great deal of contemporary understandings of whiteness, and not only for Heathens.
8) Heathen Projects of Racial and Ethnic Identification
This chapter will focus on demonstrating a number of divergent racial and ethnic projects of identification produced in published Heathen literature. I will use at least one case study form each of the three subsets of Heathenry identified by Gardell (2003). I intend to demonstrate the ways that projects across the spectrum of Heathen divisions relate to and negotiate the problems of whiteness. This will include the ways these projects deal with the relationships between whiteness and both U.S. nationalism and the lingering heritage of Christian imperialism.
9) Heathenry as a Field of Negotiation: Whiteness after Civil Rights
This final chapter will serve to bring the preceding discussions together into a solid conclusion. I will show how Heathenry serves it’s adherents as an arena for making sense of a racial identification which has lost much of it’s meaning after Civil Rights (or at least had that meaning seriously challenged and problematized). This chapter will include theoretical conclusions that will hopefully be applicable and usefully for studies outside of the specific context of Heathenry, as well as suggestions and ideas directed to practicing Heathens.

?
Tentative Bibliography

Adler, Margot. Drawing Down the Moon: Witches, Druids, Goddess-Worshippers, and Other Pagans in America Today. Revised and Expanded Edition. New York: Penguin, 1986.

Ammerman, Nancy. T., editor. 2007. Everyday Religion: Observing Modern Religious Lives. Oxford: Oxford University Press.

Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. Revised Edition. New York: Verso, 2006 (1983).

Anzaldúa, Gloria. Borderlands / La Frontera: The New Mestiza. 3rd Edition. San Francisco: Aunt Lute Books, 2007 (1987).

Bainbridge, William Sims, and Rodney Stark. 1979. “Cult Formation: Three Comparable Modles.” Sociological Analysis 40 (4):283-95.

Berger, Helen A., Evan A. Leach, and Leigh S. Shaffer. Voices from the Pagan Census: A National Survey of Witches and Neo-Pagans in the United States. Columbia, SC: University of South Carolina Press, 2003.

Berger, Helen A. Witchcraft and Magic: Contemporary North America. Philadelphia: University of Pennsylvania Press, 2005.

_____________. A Community of Witches: Contemporary Neo-Paganism and Witchcraft in the United States. Columbia, SC: University of South Carolina, 1999.

Berger, Peter L. The Sacred Canopy: Elements of a Sociological Theory of Religion. New York: Anchor Books, 1967.

Blain, Jenny, Douglass, Ezzy, and Graham Harvey eds. Researching Paganisms. New York: AltaMira, 2004.

Blain, Jenny. “Tracing the In/Authentic Seeress: From Seid-Magic to Stone Circles.” Researching Paganisms eds. Jenny Blain, Douglass, Ezzy, and Graham Harvey. New York: AltaMira, 2004.

__________. Nine Worlds of Seid-Magic: Ecstasy and Neo-Shamanism in North European Paganism. New York: Routledge, 2002.

Bonilla-Silva, Eduardo. Racism Without Racists: Color-Blind Racism and the Persistence of Racial Inequality in the United States. Lanham, Maryland: Rowman and Littlefield Publishers, 2003.

Bourdieu, Pierre and Loïc J.D. Wacquant. An Invitation to Reflexive Sociology. Chicago: University of Chicago Press, 1992.

Bourdieu, Pierre. Practical Reason. Stanford: Stanford University Press, 1998.

Brodkin, Karen. How Jews Became White Folks: And What That Says About Race in America. Piscataway, NJ: Rutgers University Press, 1998.

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In order to gain a better perspective about prisons, in general, and begin conceiving a format for what Ink Bars the documentary will look like, I have reviewed a few episodes of National Geographic’s series Lockdown. The series focuses on a number of different prison related issues, and on specific prisons. The episodes I reviewed were Surviving Stateville and The Aryan Brotherhood. The series is setup in a very formal documentary fashion using inmate and guard testimonials with narration throughout in a kind of omniscient style. The Surviving Stateville episode was much more what I would like Ink Bars to look like, because it showed a wide range of different prisoners and how the cope with being incarcerated and how they survive, and what keeps them going. The Aryan Brotherhood episode followed the story of the rise of the prison gang, and how the operate, and for what means, as told from two inmates who defected from the gang.

First I will discuss at length the Stateville episode, and as I mentioned is the one that more reflected what I would like Ink Bars to look like. Stateville is a maximum security prison in Illinois which houses hardened criminals such as rapists (20% of the inmate population) and murders (nearly 60% of the population). The episode tells the story of four different inmates and two prison guards. One prisoner who was jailed for killing two men, discusses how still being linked to the outside world helps him keep his sanity. He gets a transfer which allows him to be visited more frequently by his mother and his girl friend. I found this story to be most intriguing because his girlfriend actually met him while he was in prison and still managed to fall in love with him, and in her interview I was astounded by how much she professed her love for him, and that “he is such an awesome guy.” I found that kind of hard to believe but he was one of two of the inmates who was really striving to rehabilitate himself, and better himself so that he could make the right decisions. This prisoner also shows the tattoo he had done while incarcerated, it stood for three boys died, three mothers cried. One of the boys he refers to is himself, stating that in way he died that day too. This exemplifies that not all tattoos prisoners receive in jail are gang tattoos, which shows that there is a market for tattoos for prisoners that are not gang related and would thus be okay for us to tattoo (gang tattoos are strictly prohibited but are very commonly done).

The other prisoner who also is trying hard to better himself during his incarceration also uses his link to the outside world to keep him going. His wife, daughter and father visit him regularly, two to three times a month. He has to deal with the fact that he’s raising his 17 year old daughter from behind bars, and she lets him know that she is pregnant, which lays heavily on his conscience. His father discusses how the decisions he made which sent him to prison, a number of times, most certainly affected his son’s decisions that landed him in prison.

The two other prisoners they feature in the episode are homosexuals and they discuss that in relation to their incarceration. One of them is not sexually active while the other is. The sexually active inmate discusses how since the prison does not allow sex, there are no condoms supplied to inmates, and thus HIV is a very real risk, but he uses plastic bags and latex gloves to protect himself. I found this to be one of the real faults in the prison system, they disallow something like sex (or tattoos) and thus provide no protection for at risk behavior, but that behavior still goes on at higher risk than if they simply recognize that inmates will have sex (or get tattoos). Upon recognizing the behavior then you can begin to at least make that behavior less risky. Some people will say, “So what? They’re prisoners and it doesn’t matter because they are separate from society, and have their freedom taken away. So why allow them liberties such as condoms or safe tattoos?” The issue is that 90% of them will one day be released back into society and the community where there at risk behavior can come to affect that community. The other homosexual prisoner discusses the difficult with having a new cell mate, who may be threat to his safety simply because he’s gay. One of such inmates moves in and violence almost immediately escalates, so they remove him. He explains how being gay in prison adds a very hard element to prison life, while the other inmate actually fell in love with a man who had since been released. To each his own I guess.

I will only discuss The Aryan Brotherhood episode briefly because it’s much less of the style I would like Ink Bars to look like, because it’s very narrative oriented, focusing on the rise to power of this prison gang, but there is very relevant material as well. One of the prisoners named Michael who defected from the gang discusses the gangs tattoos, which are most commonly the swastika, “Aryan” in old english, D.O.C., and the green three leaf clover. The green clover is so important to them that if a new prisoner, who is not initiated into the gang (which is very exclusive), has a clover tattoo, they are forced to cover it up. That’s where Ink Bars could come in, to cover up tattoos that could be perceived as gang related, especially to cover up gang related tattoos for prisoners who are being reintroduced into society and no longer want the gang affiliation.

I have also reviewed a number of separate clips from other shows such as Prison Life, and MSNBC’s Lock Up which both revolve around individual stories of inmates, inmate rituals from cooking to working out to tattooingt, and the politics of the yard. All of the review has been insightful but only very limited material has been on the nature of prison tattooing which makes me believe there is room for yet another prison documentary, but with the focus on prison tattoos and starting up an apprenticeship.

I enjoyed both the readings for today because they seemed to be very frank and honest discussions about the nature of qualitative research and what some of the pitfalls can be.  Cope talks about her struggles with being a voice for a marginalized group (in this case, children), because it’s difficult to know if one’s own position and privileges interfere with the way in which something is perceived and therefore presented.  How can you ever be sure that you are accurately reflecting the unique perspectives and desires of the people group you are studying?  Just a desire to be an advocate doesn’t mean that you will always be 100% accurate; in fact, the desire to present a “good” story can interfere with the reality that the group is trying to express.  Clark talks about the same issues in her example of Kayla, the teenage girl who was interviewed for her study.  In talking to her colleagues, students, and friends, Clark encountered different interpretations of Kayla’s behavior.  Which is the “correct” one, and how does one’s own position and degree of being an insider versus an outsider affect one’s interpretations?

I was thinking about these issues last night when I attended a youth group meeting at Christ Lutheran Church.  Watching the teens interact with one another and watching Gary struggle to communicate, I consciously thought about the ways in which my identity and personal background and experiences influenced my impressions.  On the one hand, it is what it is, right?  I mean, here is a gathering of 17 teenagers in a suburban Lutheran church and the topic was about change.  There was role-playing and discussion and the evening ended with prayer.  On the other hand, my perception of the evening was heavily influenced by my own experience growing up in church and youth group settings.  Years of frustration with kids who would never listen and would interrupt each other and create chaos in general started creeping up on me.  I was really bothered last night by behavior that to me conveys a lack of respect, but because I was analyzing my perspective, I could see how it’s a reaction to previous situations that I’ve been in.  When I was in youth group, the person “in charge” could never get everyone’s attention, and the same two or three people would keep up a constant stream of commentary, always trying to draw attention back to themselves, and a lot of times it was a mess.

I’m sure that Gary would agree that things are messy – on more than one occasion he put his head in his hands and said “We are dysfunctional!  So very dysfunctional!”  But it’s a mess that seems to work for everyone.  This group prides itself on being open and welcoming to new people and not judging others based on how they look.  That’s a great thing, and I can still appreciate that, despite my background of frustration with interruptions, texting, and chaos in general.

I have to admit, though.  When Gary finally reached his breaking point 45 minutes into the session and yelled loud enough to quiet them down for a couple of minutes, I was cheering on the inside.

Thesis Description

For my thesis I would like produce a documentary about the local Denver music scene. As an avid concertgoer, I know that the Denver music scene is actually quite diverse in terms of the musical styles that are performed.  I want to document a variety of bands and artists that represent this diversity of the Denver music scene. Ideally, I would follow at least 3 or 4 bands around and document their experiences, interactions with each other, their concerts, and their fans. I think my research question is somewhat multifaceted at this point, and I’m hoping to parse things down. But, there are a few different questions that seem interesting to me: what are the musical subcultures that exist in the Denver area, and who are the musical acts that represent them? How are these subcultures formed/maintained?  How are individual identities formed within this subculture (within the band and the fan base)?

As far as theoretical framework goes, I see this as being very ethnographical type of project (as most documentaries about subcultures tends to be). Denver music culture is somewhat ripe with diverse musical culture, so there is a lot of interesting material out there to be studied and filmed in an ethnographical sense. I would like to be able to produce a film that allows for the subject matter to speak for itself—a film that doesn’t have an overwhelming sense of “someone behind the camera.” I don’t want to present material in an overwhelmingly authoritative way, but in a way that is subtle and authentic. This idea is related to the cinematic theory of “Direct Cinema.” Direct Cinema is a documentary form that tries to capture events as they unfold, but in a way that minimizes the interference of the filmmakers with their subject. Instead of having interviews and a “voice-of-god” narrator, Direct Cinema opts for an approach where the filmmaker never confronts (on-screen) the subject being filmed in any way. Direct Cinema has always been referred to as the “fly on the wall” technique of documentary filmmaking because of this. I think this cinematic style would lend well to the subject matter I would be dealing with, but there are some shortcomings—which is why I would want to incorporate some “Cinéma Vérité” elements that would serve an expository function within my project. I think the use of interviews would be a good way to provide context about the subject matter, but I don’t want to overly rely on interview sequences to tell a story. I would rather tell the story through long-takes that show the bands as they really are, as events are really unfolding. I’m also not going to include voiced narration of any sort in order to stay more faithful to a Direct Cinema approach. However, I may include some brief intertitles in order to provide context and exposition about certain matters.

When dealing with film, theory tends to converge with practice, as most film practices are based on theory. To explain my methods is to somewhat re-iterate the theoretical frameworks I am working within. But, there are certain specifics that haven’t been mentioned. I’ll definitely need to find a second person who can help me film and do sound. I may even need a third person to help for certain occasions. But, overall, I think I can do most of the work as a one-man team.  I also need to figure out exactly what bands I want to document and how I want to approach them about being in my project.

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