Through breakthroughs in Web 2.0 technology a new form of digital democracy has emerged where the divide between media producers and consumers dissolved and citizen media rules. While before citizens had to rally for mainstream media attention to catch the ears of politicians, now it is easier ever than before for citizens to launch awareness campaigns and get their message heard by the masses. Even more importantly, new advances in digital publishing mean that we now have advance systems of filtering and prioritizing data collectively. A new passion economy has emerged, that has put news production and distribution back in the hands of the people. Sites like Wikipedia put citizens in charge of fact checking and knowledge production. Online users can choose what news they want to receive through RSS feeds, and can easily forward newsworthy items onto their friends and share them over social networks like Facebook. While media conglomerates have long monopolized media production into an industry, online culture has reclaimed the news media in such a way that everyone’s voice counts, and the potential for wide scale participation and collaboration is greater than ever. The old feminist adage, “the personal is political” rings true, as online communication means that even what you’re having for breakfast can be newsworthy. Yet has this proliferation of online media been accompanied an influx of garbage and spam? How do we sort through all the voices, let alone know that they are credible sources? What does the increase in citizen produced media mean to the profession of journalism, and what are the possible limitations of de-professionalizing news? Does more voices necessarily mean more democracy? This eBook will answer these questions and more, specifically exploring how online culture has changed the face of the news and democracy.

In the past American and Canadian elections we have seen clear differences to the types of online campaigning parties are engaged in. A weak Canadian 2008 election was shadowed by a media savvy American election where celebrity candidate Barrack Obama became the first American Black President. Using a combination of social media strategies, President Obama engaged citizens through social networks, online video, micro-blogging, emails, mobile applications, and text messaging, encouraging citizens to join the movement. In contrast, the Canadian elections had much less hype, and the amount of online cultural production was much lower with very little corresponding participation in the polls. What has clearly emerged from the two campaigns is that a strong social media strategy plays an important role helping reach great results, that openness to engage and discuss in public is a better than being closed. This has transformed both the world of politics, media, and the way we organize our organizations. Tools like social networks, blogs, micro-blogging, and other tools for mass participation have now been embraced by mainstream media organizations, making social media mainstream. While sometimes traditional media can feel threatened by new media, large media corporate conglomerates such as Gobal Media, CBC, CNN, MNBC, and the Fox News Corporation have started to integrate new media into their broadcasts, transforming the way that the mainstream receive, create and exchange news.

User generated content, which is often created and shared through social networks, has begun to dominate the field of entertainment and news exchange. Although not replacing mainstream media entirely, new forms of learning, sharing and communicating where people actually act and search for what they are interested in has become a critical way of life for many in this generation. Whereas in previous generations the newspapers, radio and TV was mainly the biggest source of information and “link” to the world, the Internet and computers have become a different and way more advanced form of information intake, creation and sharing.

Now instead of turning on Fox News or leafing through the newspaper citizens can go on YouTube to see videos of uncensored content from around the world from the Taj Mahal burning to videos of American troops taken from Iraqi youth’s mobile phones. No longer do we need the media to mediate the way we receive news, as everyday citizens can now bypass the publishers and broadcast themselves, or in some cases, citizens have created such value in the content they’ve produced that publishers can actually support and bring more attention to the single voice of a citizen. More now ever than before citizens are able to self publish and get their voices heard through low technological solutions. This overflow of data coming from autonomous devices can be mashed up and networked to create a whole new experience of news, and a larger impact on the effects of democracy. The public has a voice and it can’t be ignored.

More to come soon!

But a startling part of the process of Community Video has integrated practices such as remixing footage from other productions and mainstream music without paying for the copyrights.  This practice of remixing footage without permission is an essential part of folk culture, as popular culture is not seen as something with is private, but something that is public.  Often Community Video projects have artists in the collective who have other talents like music, or the ability to rack up some good b-roll footage.  Yet so many times clips from the news, or music from downloaded MP3s become integrated into Community Video Productions.  Personally, I think that this is perfectly fine and I don’t think that any music label or entertainment corporate conglomerate has the right to sue a grassroots group or NGO for a community not for profit production.  Unfortunately our current laws in North America make this practice illegal.

What is a Community Video production to do to avoid such liability?  There are two streams to respond to this conundrum; either take the risk of being fined and adapt a political stand on copyright issues on grounds of fair use, or embrace the world of online creative commons media and source your media from artists who are pro-sharing.  In the world of NGOs and community service organizations, “creative commons” is a term which is cloaked in mystery.  Many believe it is for radical media activists, yet it has finally become well accepted by mainstream academia.  Laurence Lessig, founder of CreativeCommons.org has just been reappointed at Harvard, after a hiatus at Standford.

Creative Commons transforms the way that we conceptualize media and sharing; allowing media makers to choose how they would like to share their media as opposed to protect it.  This allows artists to share their media for free with not-for-profit efforts, as well as allow their media to be altered and integrated into other projects as long is credit is given.  What results is an amazing media commons that can be used for a variety of Community Media projects, including Community Video production.  Really Creative Commons responds directly to this need for Community Video projects to have access to other media sources.  If Creative Commons is widely embraced by the public sector this puts pressure on the private sector to bend their media copyrights to be more open to this collective practice of video remixing.

A private media industry with Creative Commons policies means that Community Video projects could in the future borrow clips from the news, music from popular artists, and images around their issue to create more context and stronger quality to their collective videos.  Currently I am about to take on a project working with refugee youth facilitating a series of community video workshops.  I know that we will most likely be using Creative Commons licenses for the work we produce, and I will be encouraging the youth to search the internet for Creative Commons licensed media like music and stock video and photography to add depth to their videos.

Through this workshop youth would learn about media literacy, racism, as well as gain solid video editing skills. With new Flash-based video editing software like Jumpcut emerging, it is becoming increasingly easier to sample and edit video online without the aid of software or other fancy equipment.

I feel like this workshop has the potential to go around the world, having youth from different countries upload their media, creating multiple reinterpretations. Right now it is just in the dreaming stages, but it is about to come to fruition very rapidly. I am excited for the emails of support I’ve received, and it looks like it will be going ahead next month, with the potential to be repeated across the globe!