{"id":{"repo_id":"cape-town","oai_identifier":"oai:open.uct.ac.za:11427/37656"},"canonical_url":"https://search.dev.ndltd.org/etd/cape-town/oai:open.uct.ac.za:11427/37656","repository":{"repo_id":"cape-town","name":"University of Cape Town","base_url":"https://open.uct.ac.za/oai/request"},"display":{"title":"Collaborative filmmaking: lessons learned from the Cissie Gool house film project","abstract":"From 2019 until 2021, I directed and produced a twenty-two-minute film about a housing occupation in Cape Town, South Africa. Setting out on this project, I had several concerns. One, the ethics of being an outsider filmmaker making a film about a community from which I'm neither from, nor to which I belong. Two, I did not want to contribute to a long-practiced, Western documentary tradition of making images of people in need of saving. Although I'm neither the first nor last to raise these dilemmas in documentary filmmaking, I was interested in making the film ethically by drawing on a set of practices and ideas from participatory and collaborative filmmaking. In the making of this film I was also influenced by my own values and political commitments. This paper will first examine what the ‘participatory' term means – both the origins and development of the term and its varied significance – and then situate the Cissie Gool House project within this mode of representation and reflect on the filmmaking process.","abstract_html":"From 2019 until 2021, I directed and produced a twenty-two-minute film about a housing occupation in Cape Town, South Africa. Setting out on this project, I had several concerns. One, the ethics of being an outsider filmmaker making a film about a community from which I'm neither from, nor to which I belong. Two, I did not want to contribute to a long-practiced, Western documentary tradition of making images of people in need of saving. Although I'm neither the first nor last to raise these dilemmas in documentary filmmaking, I was interested in making the film ethically by drawing on a set of practices and ideas from participatory and collaborative filmmaking. In the making of this film I was also influenced by my own values and political commitments. This paper will first examine what the ‘participatory' term means – both the origins and development of the term and its varied significance – and then situate the Cissie Gool House project within this mode of representation and reflect on the filmmaking process.","abstract_has_math":false,"creators":["Nisenson, Ann"],"institution":"Centre for Film and Media Studies","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":["Valley, Dylan-Wade","Maasdorp, Liani"],"committee_chairs":[],"committee_members":[],"year":2022,"date_issued":"2022","date_published":"2022","updated_at":"2026-07-22T22:23:21Z","subjects":["media studies"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/11427/37656","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Valley, Dylan-Wade","Maasdorp, Liani"]},{"key":"dc:creator","label":"Author","values":["Nisenson, Ann"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2023-04-04T07:46:34Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2023-04-04T07:46:34Z"]},{"key":"dc:date.issued","label":"Date","values":["2022"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["Centre for Film and Media Studies"]},{"key":"dc:type","label":"Dc Type","values":["Master Thesis"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["Masters","MA"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["media studies"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/11427/37656"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["From 2019 until 2021, I directed and produced a twenty-two-minute film about a housing occupation in Cape Town, South Africa. Setting out on this project, I had several concerns. One, the ethics of being an outsider filmmaker making a film about a community from which I'm neither from, nor to which I belong. Two, I did not want to contribute to a long-practiced, Western documentary tradition of making images of people in need of saving. Although I'm neither the first nor last to raise these dilemmas in documentary filmmaking, I was interested in making the film ethically by drawing on a set of practices and ideas from participatory and collaborative filmmaking. In the making of this film I was also influenced by my own values and political commitments. This paper will first examine what the ‘participatory' term means – both the origins and development of the term and its varied significance – and then situate the Cissie Gool House project within this mode of representation and reflect on the filmmaking process."]},{"key":"dc:title","label":"Title","values":["Collaborative filmmaking: lessons learned from the Cissie Gool house film project"]}]}],"canonical_facts":{"dc:contributor.advisor":["Valley, Dylan-Wade","Maasdorp, Liani"],"dc:creator":["Nisenson, Ann"],"dc:date.accessioned":["2023-04-04T07:46:34Z"],"dc:date.available":["2023-04-04T07:46:34Z"],"dc:date.issued":["2022"],"dc:description.abstract":["From 2019 until 2021, I directed and produced a twenty-two-minute film about a housing occupation in Cape Town, South Africa. Setting out on this project, I had several concerns. One, the ethics of being an outsider filmmaker making a film about a community from which I'm neither from, nor to which I belong. Two, I did not want to contribute to a long-practiced, Western documentary tradition of making images of people in need of saving. Although I'm neither the first nor last to raise these dilemmas in documentary filmmaking, I was interested in making the film ethically by drawing on a set of practices and ideas from participatory and collaborative filmmaking. In the making of this film I was also influenced by my own values and political commitments. This paper will first examine what the ‘participatory' term means – both the origins and development of the term and its varied significance – and then situate the Cissie Gool House project within this mode of representation and reflect on the filmmaking process."],"dc:identifier.uri":["http://hdl.handle.net/11427/37656"],"dc:publisher.department":["Centre for Film and Media Studies"],"dc:subject":["media studies"],"dc:title":["Collaborative filmmaking: lessons learned from the Cissie Gool house film project"],"dc:type":["Master Thesis"],"dc:type.qualificationlevel":["Masters","MA"]},"updated_at":"2026-07-22T22:23:21Z"}