Author Archives: Despina Durand

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About Despina Durand

part-time goth, full-time critic

Raising Hope; remembering that children need us, and we need them.

Last semester I raised my hand and class and said, “The thing about journalism is that even when you put it down, it’s still real. With fiction, if it becomes unpleasant or difficult, you can shut the book, put it down, and put it out of your mind. You can’t do that with journalism, it’s real. Even if you put it down, you still now that it’s happening out there, somewhere.”

Or something similar.

I just finished Gene Weingarten’s Fatal Distraction. He won the Pulitzer Prize for it. He made me go the bathroom of the Starbucks that I’m sitting in, and sit on the floor and cry.

The piece is about what happens when parents forget their kids in the car. Is it a mistake? Or is it a crime?

This past weekend I went to the 39th 24 Hour Boston Science Fiction Film Marathon. The second to last movie they played was Alfonso Cuarón’s The Children of Men. In an apocalyptic world, the movie imagines what happens when, 20 years after the human race has been rendered infertile, a woman becomes pregnant. I missed the beginning. But I walked into a world tinged with an acrid desperation, a world that has forgotten what innocence tastes like. In the climactic scene of the film, the cries of the infant create a ceasefire in a refugee camp that has descended into militarized chaos. The two protagonists carry the crying infant past awed refugees, who stop and stare, and get shot for a chance to see the child. People reach out, as if this miracle can bless them simply by witnessing it, soldiers put down their guns, fall to their knees, invoke the Lord, and cross themselves. The second they are past them, the fighting begins anew.

When I was in high school, I suffered from undiagnosed anxiety, that manifested depressive episodes. I remember moving through one long stretch that felt like a haze of meaninglessness. I went to bed, dreamt and woke up terrified of the inevitable apocalypse; the coming plague, the hurricanes and tidal waves that would raze all signs of civilization and crush me. Meanwhile, family friends had a child.

One morning we congregated at the local coffee shop and another family friend passed around her cellphone with pictures of the infant, who had moved with his parents to England. I remember looking at pictures of this tiny human and thinking that any world that would allow us to bring new life into the world like that could not be the nightmare that I saw every day. For the first time in months, I felt some measure of peace.

Though my memory has erased the timing and sequence, the memory recalls immediately another of the same child. I was pressed into staying with the child for an evening, to look after him while his parents went out. I had previously avoided being made responsible of any child that was not of an age at which they would be able to express their desires, fears, and frustrations to me, verbally.

The majority of the night is lost to my feeble recollection. But I remember how heavy and warm the child was in my arms as I sat in the rocking chair in the front room of the apartment. This tiny bundled up person weighed more than seemed reasonable for one so small. And he radiated such heat. Even now, I remember that feeling and wonder how parents ever put their children down. The feeling of him in my arms eclipses even my recollection of his features.

Lately the subject of children has been everywhere. In class we have read interviews with child molesters, in the news discussions of Woody Allen’s possible child abuse have flamed anew following An Open Letter from Dylan Farrow in the New York Times, I have grappled with my feelings regarding the identification of minors accused of crimes or undergoing trial (pick any school shooting or assault), in the media. And on all of these subjects my usual willingness to listen to the other side has made its absent noticeably apparent.

The willingness of the world to expose children to things that will hurt them, harm them, disturb and destroy them, often in the name of our own, adult, satisfaction has become an inexcusable crime. The wounds of childhood never fully heal.

It seems simplistic to express the desire for a world where every single child is protected and loved. We all want such things for whomever comprises the concept of “the children”.

Meanwhile, we are willfully blind to the ways in which we will not take action the manifestation of such a reality. We will not put in caveats for child safety into bills in Congress for fear of auto manufacture lobbyists. We can’t find ways to sell a device that will work to prevent children from being forgotten in cars by parents who wish them no harm.

The adult world is one of ego. When we exit the trappings of childhood (at whatever age that may strike) we learn that no one else can be fully trusted. The protective layers we carry with us to make it bearable to wake up every day in that world are what make up our pride, our will, and our sense of self-respect. That is what makes the world of Cuarón’s Children of Men so hostile.

And that is what we need to put aside, in the name of protecting those tiny beings who give us the hope, the drive, and the ability to be better than adulthood makes us.

The Cardinal Sin (Photography)

There is one rule of photography: don’t photograph your friends for their professional plans or endeavors as a favor.

There are reasons for this: if you’re doing professional work, you are a professional, and should be treated like one (paid). Work is really only professional if it is couched in professionalism, otherwise, it’s probably a hobby. If you don’t ask to be paid now, you won’t be asked how much it costs in the future.

There’s another reason why you shouldn’t do professional work for people in a non-professional capacity: your real life will come back like a howling demon, and your friend will be left hanging while you deal with stuff that actually pays the bills, or keeps you in coffee, or ensures you can buy peanut-butter cups at Trader Joe’s.

I visited a friend earlier this year who is starting up an online business, and was trying to figure out a way to get photos. I volunteered when I visited her, mostly because I was interested in trying my hand at some portraiture, a more creative endeavor than the grind of photojournalism. This was two days before I went back to school.
Now, she’s taken to hounding me via text message about her photos, while I’ve been trying to juggle my reading, organizing the anchoring schedule for the radio station (which has been a nightmare and a half on it’s own), building a routine, and running from meeting to meeting, before, after, and between my classes.

Last night, I went to bed early because I had my first migraine in two weeks, and it laid me out like a blow to the skull. This was after it smacked me across the face during a recruitment meeting, and scrambled my words until I was making a fool out of myself for every person who came over to talk to us.

The problem with unpaid work, on the consumer end, is that you aren’t getting a professional job. Because the “professional” part of the job, isn’t the act, it’s carrying it through. The professional part of any work is the deadline. And really, when someone offers to take your picture, it’s because it’s something they’re interested in doing and it’s much more likely that you’re doing them a favor. Not the other way around.

But I’ve got to get those pictures up on the internet, where she can get to them, now. There’s no point in proving that one is capable of being completely unprofessional. It might give people the wrong idea.

Reflections on Video Editing

Video is one of those things that always seems like a good idea… Until you actually have to edit it down and make it all presentable by the deadline. It becomes doubly so as I find that my best video editing happens between the hours of about 2 AM and 6 AM.

Sometimes it has been about preference. During my senior project1 in high school, the editing portion of the project, roughly the last third to last half, was done on a schedule that involved waking up at about noon or 1 PM, going in to school to meet with my adviser and talk to people, and then coming home, eating dinner, and then working at my desk til 6 AM, when the sun came up.

On the other hand, during the process of editing the UMass Model UN conference videos2, I burned the midnight oil out of necessity. I was taking pictures during the day at the conference, and at the social events, and then editing furiously when I got back to my hotel room.

I just finished a project for my Intro to Multimedia Journalism class. I did two short video interviews which I cut down to size to add a little flavor to my feature. The whole thing can be seen here, but in many ways, it is the video work I am most proud of.

Dan Miller is a graduate fellow at the NCSC. He talked about how he became involved with the center, the research he’s doing for weather projections, and the things he likes best about the NCSC.

Some of that pride is due to practice. I have more experience asking people questions and getting them to settle in front of the camera and then working to smooth out the stutters in the story telling, rearrange clips for effect, and build a narrative that pushes toward some overall effect.

I am still learning how to do that with print.

I also can’t ignore the part of film that is more rewarding. There’s a power to the moving image that gets to people. Trying to convince someone to sit down and read your article is an exercise in futility, much of the time. It usually ends in a dispiriting amount of criticism, which one has to accept gracefully and remember to apply in the future.

Cinema makes children of us all. The magic of watching another human being talk and emote, even from a hundred miles away, to hear their voice and know, in that moment, that they’re talking to you… It’s enchanting in a way that is wholly removed from the critical analysis that print inspires.

Incidentally, that very success, the enchantment, the romance of film is what makes me hate TV news. It lends itself so easily to partisanship, making it so easy to pull people along without them even realizing.
I want to find a way to escape the thrall of film. There has to be a way to marry the analysis of print with the emotion and passion of film and image.

I guess that magic is HTML5.

1 Back to Post Memories of the War: I made a short documentary (with the available resources, so please realize that these people are kids who went to private school) about what it’s been like growing up in the shadow of 9/11 and the wars in Iraq and Afghanistan. It was 10 years after the fact, and Osama Bin Laden had just been killed right as I was settling into the project.
2 Back to Post I don’t have the video for this hosted anywhere, as the conference is for high schoolers, and all the video photo work was contained within the conference, and then distributed to the chaperones. It was one of the most hectic, stressful things I’ve ever done, and I’m hoping they invite me back again this year.

Graffiti, Photography, & Writing about Art.

Second in a series.

I still haven’t solved the problem of how to present graffiti. But I’m trying my hand at the first step: collecting all my data in one place.

At the moment, my formal organizational system is in the form of “sets” on Flickr. I made a collection that contains all the sets I’ve made of my ever-expanding collection of photos of graffiti. I still need to get some of the pictures I’ve taken on my phone around both Providence and Amherst/Boston, and marshal them into order. But for now, you have a curated collection of street art from Athens (Summer and Winter of ’09, then Summer ’12 and ’13), London, and a small one from Montreal.

But the predominant struggle here is one of How to Write About Art. Continue reading

Photography: Fiber Festival

The Fiber Festival takes place every year in Bristol, RI, in May. The farm has horses and a donkey. Coggeshall Farm, that hosts the Festival, is also a museum. It stands as a reconstruction of a farm from the turn of the 18th century.

Continue reading