Multimedia post mortems

Behind the scenes of “Facing Deportation”

In this edition of “Behind the Scenes,” I had a Q&A session with Eileen Mignoni to discuss her thesis project, Facing Deportation. Topics covered include her process gaining trust with her subjects, her choice on using music, and her achievement in teaching herself graphic design to incorporate graphics in the package. Eileen can be reached at ekm@eileenmignoni.com. See more of her work at www.eileenmignoni.com.

1) Why did you choose to do a documentary project on immigration?

I chose to do a documentary project on immigration because I kept reading all of these awful stories in the newspaper about traffic stops that turned into deportations. I began focusing on this topic in my documentary photo class where I wanted to do a story on the life of an undocumented immigrant because I couldn’t imagine what it was like to live with the fear that at any moment one could be taken from this life and sent home.

The more I learned about the process, the more I realized that it was little understood by the general public, so I thought I needed to cover it. In particular, I was surprised to learn that deportation did not mean just a flight home, but, rather, it meant sitting for months in a detention facility (federal prison) until finally giving up on the process or getting an order to return home.

2) How did you find your subjects and how did the stories come together? (In particular, how did you create the trust to feature the undocumented workers without revealing their identity?)

I found my subjects by becoming involved with a community engaged in this process. I joined a group dedicated to investigating 287(g) and went to public events where the legal process was being discussed. I spoke to a number of criminal and immigration lawyers. I explained what I was doing, what a documentary piece involves (a great deal of time), and that I was looking for someone to cover.

Then, when talking with the subjects, I was very clear about what my project would entail, what it required from them, and why I thought it was necessary to show what was going on – that their story would help explain to the world what was happening to so many people.

I took any measures necessary for them to feel safe. With “A Father’s Sacrifice,” John had already been unmasked, so there was no danger to them. Likewise, with “Phone Calls from Papi,” Linzi and her children are U.S. citizens – her husband had already been unmasked.

And, certainly, there were possible subjects who did not want to participate. I respect that. It’s a lot to ask of someone. They have to be interested in telling their story for the greater good.

3) How did you choose your music for each story? Where did you look to find appropriate music?

Much of my music came from the Soundtrack Pro library. I was careful to avoid the songs that were familiar – those that have been used over and over again. I clipped out only the parts I liked, and with one, I even slowed it down. I found one song on jamendo.com, which is a great resource. Every song is available for license for a price based on the project type and budget and there is a creative commons section. Finally, one of my songs came from Moby Gratis, which is a pretty great free resource, with the caveat that license approval takes a very long time.

I am aware that there is a pretty significant debate about the use of music in journalism. In the beginning, I intended not to use it. But, it works. It is compelling and, with the experience I have gained in this, I believe that one chooses songs that match the piece. You are not imparting the feeling of the piece with music. Rather, you are adding another level of engagement. If you depended on music for emotion, the piece would be trivialized. The contrast between the music and a piece not suited for that music would make the whole thing comical.

4) What was your biggest obstacle in this project and how did you overcome it?

It’s a sad subject. I don’t like to make people cry. It hurts me. I want people to be happy. I want all the problems in the world to go away. I interviewed Ignacio and the parents of Domingo over one weekend. First, I made Ignacio cry. Then, from the moment we stepped into Domingo’s home, his mother openly wept. She sat beside her husband who did all of the speaking, and wept. It was terrible. I hated being there, doing that to her. I kept the interview as short as possible and just wanted to leave. And then, I left.

I had to remind myself that these tears are important – that this is the reason I am doing this project. Private tears won’t affect change. It’s in the sharing of these emotions, that others can be effected, and perhaps think differently about the subject. Too, tears are therapeutic. I think that sharing these tears allows people to understand that others care about their plight. I learned to accept the tears, if the tears were there.

5) What section are you most proud of and why?

My favorite story is “A Father’s Sacrifice.” I’ve seen it a hundred times, at least, and every time, it makes me want to tear up. I believe it’s the best story in there because it is such a moving tale.

That said, what I came the furthest in was graphics. There is always a level of satisfaction in learning a new skill, in achieving something one has never done before. I did not have any classes in graphics. (I had taken the basic Flash class). I was fortunate enough to be assigned to Alberto Cairo as his Research Assistant. I learned from the work I proofed for him, and I went to Beyond Bootcamp to get some basis. Then, I built, with him helping me along. To me, having built these graphics, is amazing.

Other posts that might interest you:

• Behind the scenes of “One Week in Iraq”
• Behind the scenes of Honduras and the Hidden Hunger
• UNC student reflects on importance of multimedia programming

© 5 May 2009 Innovative Interactivity (II).