CID Video Competition 2019 Judges

Job adsThe CID Video Competition deadline ended a few days ago, and the judges have begun reviewing the videos. My thanks to all of them for taking the time to watch and critique all the student submissions. It’s clear the greatest reward for all those who entered the competition is getting their videos seen by these accomplished professionals!

Lillian Benson - photo by William StetzLillian E. Benson’s professional body of work as a television, video and feature film editor spans almost forty years. In 1990 the native New Yorker was nominated for an Emmy for her work on the acclaimed civil rights series Eyes On the Prize II. She contributed to films that have garnered five Emmy nominations, four Peabody Awards, and numerous other honors. This fall she is returning to NBC’s medical drama Chicago Med for her fourth season. In 2004 Benson made her directorial debut with All Our Sons-Fallen Heroes of 9/11, a half-hour documentary about the firefighters of color who died at the World Trade Center, broadcast nationally on PBS. She just completed AMEN- The Life and Music of Jester Hairston, an educational film about the internationally-known choral arrangerBenson is a member of American Cinema Editors, an honorary editing society, and serves on their board of directors. She is also a member of the the Academy of Motion Picture Arts and Sciences and the Television Academy.

Jim D'Adderio

Jim D’Addario has been an award winning producer for the Walt Disney Company since 1995.  He started his career with Disney Interactive as a Production Supervisor on multiple edutainment projects, including the best sellers Lion King Activity Center and Toy Story Activity Center.  Jim was then recruited by Walt Disney Imagineering to produce sound tracks and interactive projects for Walt Disney World, Tokyo DisneySea and Walt Disney Studios Park in Paris.  Jim was instrumental in the design of The Buzz Lightyear ride at Disneyland park and The Winnie the Pooh Ride at Walt Disney World. His most memorable moment came when he worked with the iconic Sherman Brothers (of Mary Poppins fame) to produce the new soundtrack for the ride.  Jim has recorded with some of the most recognizable talent in the industry including Mickey Mouse, Donald Duck, Rafiki, and Tigger! Jim then jumped ship to work in the online space with Disney Cruise Line, Disneyworld.com, and Disneyland.com creating the first immersive sites for those properties.  Jim’s current position is with Walt Disney Parks and Resorts, Global Broadcast, as a Senior Producer of television and radio commercials, trailers, First-Look programming, in-room videos, online videos, and airport interactive displays.

Zsuzsanna Gellér-Varga

Zsuzsanna Gellér-Varga is a documentary filmmaker and video storyteller living in Budapest, Hungary. Her Screw Your Courage documentary won awards at several US film festivals and was broadcast on public TV. She worked for the New York Times Television as a video-journalist and later directed documentaries, including Once They Were Neighbours, Synagogue for SaleMr. Mom, and Angel Business, which were screened internationally and broadcast on public TV. She works as cinematographer, story editor and media consultant, and taught documentary ethics at the international Masters program, DocNomads. She has master degrees from ELTE University Budapest, Graduate School of Journalism UC Berkeley (as a Fulbright scholar), and a DLA from the University of Theater and Film Arts Budapest.

Astrid Kuhn

Astrid Kuhn is an award winning Canadian Filipino broadcaster, producer, director, anchor, reporter and host. For almost 20 years she has told stories for CBC, Global TV, City TV, Shaw Media, Corus Entertainment and Telus Optik. With a passion for visual storytelling she has also served as Vice President of Women In Film and Television – Alberta (WIFTA). Right now, Astrid grows empathetic and creative minds to help solve human problems at Mount Royal University (MRU) with the Bissett School of Business and Broadcast Media Studies. Astrid is in the midst of producing a documentary for her doctorate at Royal Roads University on Filipino Canadian entrepreneurs and leadership.

Micheline Maynard

Micheline Maynard is an author, journalist and professor. She has been a correspondent and bureau chief for the New York Times, where she is a contributor, and senior editor at the NPR news magazine Here & Now. She writes for Forbes.com, Medium, Skift, ABC Australia, and teaches at the University of Michigan. Her six books include The End of Detroit, which predicted the bankruptcies at the Detroit companies and the rise of Japanese auto companies, and she is at work on her next books.

Ruben Daniel Mazzei

Ruben Daniel Mazzei is a university EFL and literature teacher and a sworn translator (Universidad Nacional de La Plata). He teaches at primary, secondary, tertiary and university levels, and is a researcher for University of Buenos Aires. He has delivered and produced CPD courses and materials since 2005 for Dirección de Formación Continua -Province of Buenos Aires – and has coordinated the team of CPD teachers for the Ministry of Education for nine years. He has participated in several of the British Council activities such as developing material, facilitating reading groups and coordinating the Connecting Classrooms programme for Argentina. He has facilitated workshops for the British Council on Global Citizenship and Global Education accredited by the University of London and workshops for the British Council Core Skills Programme both in Argentina and abroad.

Mandi Muñoz is a Script Supervisor at Lucasfilm Animation, currently working on The Clone Wars and Star Wars Resistance. She previously worked at Dreamworks Animation on features including Kung Fu Panda 3 and Trolls. In her spare time, Mandi enjoys reading in the company of her feline accomplice, and creating and developing her own universes in which to tell her stories.

 

Nancy Robinson

Nancy Robinson is Director, Education Programs for the Television Academy Foundation. In this capacity, she oversees the Foundation’s highly rated summer Student Internship Program, the annual Faculty Seminar, the Mister Rogers Memorial Scholarship Program, the Visiting Professionals speaker program, and Alumni engagement. Nancy is also responsible for educational outreach and creating alliances with colleges/universities nationwide. Prior to joining the Foundation’s Education department in 1999, Nancy was Convention Services Manager for a large trade association, planning and executing their annual convention and numerous small meetings across the country. She was also an Awards Consultant with a firm specializing in managing submissions for such companies as the Disney Channel, HBO, and FOX. She began her career as the Primetime and Daytime Emmy Awards assistant for the Television Academy. Nancy is a graduate of the University of California, San Diego with a Bachelor’s degree in Visual Arts/Media Production and a minor in Sociology.

Mary Schaffer

Mary C. Schaffer is a digital media consultant.  She was an Associate Professor of New Media at California State University, Northridge (CSUN) for 14 years.  Prior to CSUN, she spent 12 years as a New Media Executive (Disney, Viacom, Geocities) and 18 years as a journalist (NPR, CBS and NBC).  She is a member of the Producers Guild of America, the Academy of Television Arts & Sciences, the International Documentary Association and Broadcast Education Association.

Lakshmi N. TirumalaLakshmi N. Tirumala is an Assistant Professor in the Department of Communication Studies at SUNY Plattsburgh.  He predominantly teaches courses that focus on aspects of Digital Video/Film Production, and graphic and web designing. Lakshmi frequently works on creative production projects and does media research. He focuses mainly in the areas of media effects, media accessibility, and learning. He has been actively involved in producing numerous video projects that are either educational and/or fictional. A number of short films he executive produced were well-received and won awards at various film festivals. Additionally, Lakshmi has presented at various national and regional conferences and conventions on the aspects of digital media accessibility

Richard Trank

Richard Trank is an Academy Award-winning documentary filmmaker (producer, writer, and director), known for The Long Way Home (1997), Beautiful Music (2005), I Have Never Forgotten You: The Life & Legacy of Simon Wiesenthal (2007), Against the Tide (2009), Winston Churchill: Walking with Destiny (2010), It is no Dream: The life of Theodore Herzl (2012); The Prime Ministers: The Pioneers (2013); and The Prime Ministers: Soldiers and Peacemakers (2015). His latest film was Never Stop Dreaming: The Life and Legacy of Shimon Peres, released in late 2018.

CID Video Competition: Last 5 days!

CID Video CompetitionThe CID video competition remains open, but just 5 days remain to the final deadline of May 31, 2019

CID Video Competition 2019

To enter, students must submit a video no longer than 2 minutes demonstrating their understanding of intercultural dialogue. Specifically, videos must answer the question: “How do social media influence intercultural dialogue?”

In preparing an entry, remember to think about the 2 major topics and their relationship. Winning videos must take both of these into account, not merely describe one or the other.

1) Intercultural dialogue is the term for what happens when people from different cultural backgrounds attempt to understand one other’s assumptions. Culture is a general term that includes all sorts of learned behavioral patterns. Intercultural communication can be international, interracial, interethnic, or interfaith. Intercultural dialogue is deliberate, active rather than passive. It is NOT the same as cultural analysis (understanding one culture), or cross-cultural analysis (comparing two different cultures).

2) Social media refers to any tool using the internet to help people communicate, nearly always when they are not in the same place at the same time. It includes such applications as Facebook, Twitter, Instagram, WeChat, WhatsApp, and Tumblr, among others. You can limit your consideration to any one of these, or consider several. But don’t just describe social media and how they work! The question you must answer is how the social media you choose to address influence intercultural dialogue. That means, what changes when people of different cultural backgrounds try to understand one another when they are not even face-to-face? What gets harder? What becomes easier?

If you have questions, see previously published competition rules, FAQ, and resources. See last year’s winning videos. See the reflection by one winning team on creating their video. Or send an email with a question. When you’re ready to submit an entry, click here.

Wendy Leeds-Hurwitz, Director
Center for Intercultural Dialogue

CID Video Competition: 1 1/2 Weeks Left to Submit!

CID Video CompetitionThe CID video competition is open. The first few dozen entries have already been submitted and the first judges have agreed to serve. Just 1 1/2 weeks remain to the final deadline of May 31, 2019

CID Video Competition 2019

To enter, students must submit a video no longer than 2 minutes demonstrating their understanding of intercultural dialogue. Specifically, videos must answer the question: “How do social media influence intercultural dialogue?”

As you prepare your entry, remember to think about the 2 major topics and their relationship. Winning videos must take both of these into account, not merely describe one or the other.

1) Intercultural dialogue is the term for what happens when people from different cultural backgrounds attempt to understand one other’s assumptions. Culture is a general term that includes all sorts of learned behavioral patterns. Intercultural communication can be international, interracial, interethnic, or interfaith. Intercultural dialogue is deliberate, active rather than passive. It is NOT the same as cultural analysis (understanding one culture), or cross-cultural analysis (comparing two different cultures).

2) Social media refers to any tool using the internet to help people communicate, nearly always when they are not in the same place at the same time. It includes such applications as Facebook, Twitter, Instagram, WeChat, WhatsApp, and Tumblr, among others. You can limit your consideration to any one of these, or consider several. But don’t just describe social media and how they work! The question you must answer is how the social media you choose to address influence intercultural dialogue. That means, what changes when people of different cultural backgrounds try to understand one another when they are not even face-to-face? What gets harder? What becomes easier?

If you have questions, see previously published competition rules, FAQ, and resources. See last year’s winning videos. See the reflection by one winning team on creating their video. Or send an email with a question. When you’re ready to submit an entry, click here.

Wendy Leeds-Hurwitz, Director
Center for Intercultural Dialogue

CID Video Competition: 2 1/2 Weeks to Submit!

CID Video CompetitionThe CID video competition is open. The first few dozen entries have already been submitted and the first judges have agreed to serve. Just 2 1/2 weeks remain to the final deadline of May 31, 2019

CID Video Competition 2019

To enter, students must submit a video no longer than 2 minutes demonstrating their understanding of intercultural dialogue. Specifically, videos must answer the question: “How do social media influence intercultural dialogue?”

As you prepare your entry, remember to think about the 2 major topics and their relationship. Winning videos must take both of these into account, not merely describe one or the other.

1) Intercultural dialogue is the term for what happens when people from different cultural backgrounds attempt to understand one other’s assumptions. Culture is a general term that includes all sorts of learned behavioral patterns. Intercultural communication can be international, interracial, interethnic, or interfaith. Intercultural dialogue is deliberate, active rather than passive. It is NOT the same as cultural analysis (understanding one culture), or cross-cultural analysis (comparing two different cultures).

2) Social media refers to any tool using the internet to help people communicate, nearly always when they are not in the same place at the same time. It includes such applications as Facebook, Twitter, Instagram, WeChat, WhatsApp, and Tumblr, among others. You can limit your consideration to any one of these, or consider several. But don’t just describe social media and how they work! The question you must answer is how the social media you choose to address influence intercultural dialogue. That means, what changes when people of different cultural backgrounds try to understand one another when they are not even face-to-face? What gets harder? What becomes easier?

If you have questions, see previously published competition rules, FAQ, and resources. See last year’s winning videos. See the reflection by one winning team on creating their video. Or send an email with a question. When you’re ready to submit an entry, click here.

Wendy Leeds-Hurwitz, Director
Center for Intercultural Dialogue

Do You Speak Social?

Job adsWhat does it mean to “speak social”? And how is it different from face-to-face interaction? This year’s CID Video Competition asks How do social media influence intercultural dialogue? so, presumably, knowing how to “speak social” would be one good beginning point.

“I grew up in a physical world, and I speak English. The next generation is growing up in a digital world, and they speak social.” -Angela Ahrendts, Senior Vice President of Apple Retail (quoted in Manor, p. 29).

Manor, I. (2019). Public diplomacy and the digital society, in I. Manor (Ed.),  The digitalization of public diplomacy (pp. 29-63). New York: Palgrave Macmillan.

 

No, I’m not going to answer the question – that’s for those who are putting together videotapes to submit to the competition! I just thought it might be useful as a prompt while you’re working.

Hint: be sure to address both what intercultural dialogue is, and what happens when you use social media to connect to someone of a different cultural group; do not just explain social media! This video competition asks you to combine the two elements.

The CID video competition for 2019 is open for submissions until May 31, 2019. If you have questions, see previously published competition rules, FAQ, and resources. See last year’s winning videos. See the reflection by one winning team on creating their video. Or send an email with a question.

Wendy Leeds-Hurwitz, Director
Center for Intercultural Dialogue

CID Video Competition Now Open!

Job ads
The CID video competition for 2019 is now is open for submissions. To submit an entry, click here. Final deadline:
May 31, 2019.

CID Video Competition 2019

CID’s second video competition is now open for submissions by students enrolled in any college or university during the 2018-2019 academic year, anywhere in the world. And this year, high school students can enter as well, if they want. The question posed this year is “How do social media influence intercultural dialogue?” Answer the question in a 90-120 second video for a top prize of $200. Three top prizes and several awards of excellence will be announced in July, and all winning videotapes will be posted to this website, as well as to all the social media where CID maintains a presence.

See previously published competition rules, FAQ, and resources. See last year’s winning videos. See the reflection by one winning team on creating their video. Or send an email with a question.

Reflection on Making a Video for CID’s Competition

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“The Making of…”: A Path between Cultures by Bruno Alicata and Giorgia Culotta.


In the following contribution we wish to present ‘The Making of’ the video of Class 5B which won the Second Prize in the 2018 CID international video competition “What Does Intercultural Dialogue Look Like?” We believe it is important to share such experience because making the video became the occasion for a meta-reflection on what ‘intercultural dialogue’ means to us and, at the same time, the occasion to actually practice several forms of intercultural dialogue. Therefore, besides the final result – which came unexpectedly, and made us greatly rejoice! – we wish to show how a collective and co-constructed endeavor can be the occasion to realize intercultural practices in their widest and most profound sense. – Paola Giorgis, Teacher, the School of Arts “Aldo Passoni,” Turin, Italy

[If you want to participate this year, check out 2019 CID Video Competition details]

Bruno Alicata: “The meeting of two personalities is like the contact of two chemical substances: if there is any reaction, both are transformed.” (Carl Gustav Jung, 2005 [1933], p. 49) Taking my cue from Jung, I must say that this experience was transformative, I believe for each person who took part in our work. As one of the most important reasons why we chose to take part in this competition was to experience an inner transformation by meeting other personalities from other cultures, I can say that, at the end of all this, this objective was fulfilled.

I will start by illustrating the basic structure of our project. The two main structural metaphors that best define our work are a tree and a Russian doll: the first could be applied to the theoretical and organizational part of the project, while the second applies to the practical part. The former began with our personal reflection, which later expanded to the rest of the participants; while the practical elements of the project started with a task completed by all the group involved, and ended with specific tasks completed by a single person.

The work involved during this journey proceeded step by step, starting with our personal reflections and ideas regarding intercultural dialogue; from this, we presented the project to our schoolmates, explaining the guidelines of the project and how we intended to realize it, and a substantial group of students agreed to join us along this journey. The communication worked well because we truly believed in what we were going to do: this was clear to the people we talked to, who then decided to take part in the project.

As Jacque Fresco said: “The shape and solutions of the future rely totally on the collective effort of people working together. We are all an integral part of the web of life” (2007, p. 11) In this “web of life,” we chose to follow the thread of the web which led everyone to the most efficient and satisfying performance. This was made possible both through group tasks/actions (such as writing the script, deciding how and what to film, deciding what to say and do during the shooting, etc.) and personal tasks (such as recording, editing, painting, organizing the set, etc.). From my perspective, the most rewarding task was the group writing, because we talked a lot, we talked in depth, and most importantly, we talked with our hearts, which resulted in a clear and real expression of ourselves via the script.

The entire project started with this idea: would it be possible to each express ourselves and our culture using only a single word or phrase? We chose to accept this challenge and dive deeply into it. The most challenging part was bringing this idea into the scene, but with the right expression, the right tone of voice, and the right gestures, we managed to pull out something that satisfied us.

I would like to conclude with a final quote by Oscar Wilde: “The aim of life is self-development. To realize one’s nature perfectly – that is what each of us is here for” (1908, p. 28). This experience left me with a deep and profound admiration for other cultures and a new point of view of my own. Because, as already expressed better by Jung, the most beautiful and important part of meeting the others is, as in a chemical reaction, the transformation of both substances in the process. Through this experience, I developed myself, and for this reason I will always be grateful to this project. Regarding all that I learned from it, I wish to encourage everyone to meet new people, and try to learn something from these encounters, because this is what makes life and society so special and wonderful.

Giorgia Culotta: Our project started with a few students, then spread to a crowd, involving many people, from those who worked backstage to the ones who spoke in the video. It was group work in which everyone was welcomed and essential. Both of these aspects are linked to the idea of ‘intercultural dialogue’ which was the focus of our reflection: to us, ‘intercultural dialogue’ implied an exchange, an intertwining of several points of view, often different from each other.

Thus, everyone was welcomed because the concept of intercultural dialogue could be embodied thanks to all the opinions of the participants, so that the more they participated, the better; and everyone was essential, because the concept itself necessarily presupposes the interaction of more than one person. That, in my opinion, was the most important and interesting part of the work: I think that this kind of experience, from the opening discussion to the realization of the video, is very precious, since it has the power of opening people’s minds. In fact it allowed us to meet new people and to listen to their points of view about the theme developed. In such a way, we could learn to understand and to accept others’ ideas and relate to them. This is something we often forget to do, as Newton said: “Men build too many walls and not enough bridges” (attributed to Newton by Georges Pire, 1958).

During this project, my role was basically related to casting. I organized the entrance of the participants, and I wrote down their names, what they wanted to say, and what it meant. Therefore, thanks to my role, I had the chance to talk to all the schoolmates who participated in this project, to meet them, and to get acquainted with their mother tongues or with the language they chose to use. I also had the occasion to bump into all the all the different ideas everyone had, which is definitely far more fascinating than to know about just theoretically.

On balance, I’m quite satisfied with our work and how this path ended; I think it enriched all of us. The only thing I think would have been nice to add was to visually show, through the use of colors, how all of those words, those thoughts, those languages, those cultures have connections among them. That is, to visually show the “intercultural web.”

These were the voices of two former students who contributed to creating the video. To conclude, I wish to add a brief note about its final scene. After the end credits, we can see a student, Elia, who, in Russian (his mother tongue) asks “How are you?” We believe that in this final question lies the answer to the question of the Call, “What does intercultural dialogue look like?” as ‘intercultural dialogue’ is first and foremost an interaction showing mutual interest, curiosity, and care. – Paola Giorgis

References
Fresco, J. (2007). Designing the future. Venus, FL: Venus Project.
Jung, C. G. (2005 [1933]). Modern man in search of a soul. London: Routledge.
Pire, G. (December 11, 1958). Brotherly love: Foundation of peace. Nobel lecture.
Wilde, O. (1908). The picture of Dorian Gray. Leipzig: Bernhard Tauchnitz.

CID Video Competition Resources

Job adsThe following resources discussing intercultural dialogue as a concept may be of help to those preparing entries for the Center for Intercultural Dialogue 2019 Video Competition.

Reminder: the question to answer in 2019 is: How do social media influence intercultural dialogue?

Short, basic definitions for the two concepts that must be addressed by any video:

1) Intercultural dialogue is the term for what happens when people from different cultural backgrounds attempt to understand one other’s assumptions. Culture is a general term that includes all sorts of learned behavioral patterns. Intercultural communication is generally accepted as including international, interracial, interethnic, and interfaith. Intercultural dialogue is deliberate, active rather than passive. It is NOT the same as cultural analysis (understanding how one culture does things), or cross-cultural analysis (comparing how two different cultures do things).

2) Social media refers to any tool using the internet to help people communicate, especially when they are not in the same place at the same time. It includes such applications as Facebook, Twitter, Instagram, WeChat, WhatsApp, and Tumblr, among others. You can limit your consideration to any one of these, or consider several. But don’t just describe the social media by themselves! The question you must answer is how the social media you choose to address influence intercultural dialogue. That means, what changes when people of different cultural backgrounds try to understand one another when they are not even face-to-face? What gets harder? What becomes easier?

Any of the winning videos from the 2018 CID Video Competition should be helpful in providing models of what last year’s judges deemed the most worthy entries. Remember that those participants were answering a different question (What does intercultural dialogue look like?).

CID issues a number of publications that are designed to expand understanding of intercultural dialogue at greater length than the sort explanations above, but still only in 1 or 2 pages. A few that may be of particular help to newcomers to the topic are these:

Key Concepts in Intercultural Dialogue
#1:    Intercultural dialogue
#8:   Public dialogue
#10: Cross-cultural dialogue
#14: Dialogue
#81: Dialogue as a Space of Relationship
#84: Double Intercultural Dialogue

CID Posters
#3: Intercultural dialogue
#6: Dialogue defined
#8: Intercultural competence/intercultural dialogue

If you have further questions, see previously published competition rules, and FAQ. See the reflection by one winning team on creating their video. Or send an email with a question. When you’re ready to submit an entry, click here.

CID Video Competition FAQ 2019

Job adsAs people are learning of the CID Video Competition, they have been asking questions. In hopes this will help others, the questions will be posted, along with answers. As further questions are asked, they will be answered here.

Please read the entry rules carefully! If submissions do not meet the requirements, they cannot be considered for a prize until and unless they are revised. When ready, submit your video.

What exactly is intercultural dialogue, anyway?
Here’s the short answer: Intercultural dialogue requires at least two people, and they have to come from different cultural groups (international, interracial, interethnic, interfaith). It is active (people actually communicating in some way, having dialogue) rather than passive (knowledge in people’s heads). Here’s a longer answer: Key Concepts in Intercultural Dialogue #1: Intercultural Dialogue. For more details, see this list of additional resources.

What about intergenerational dialogue, is that intercultural as well?
NO, intergenerational dialogue within a single culture is not usually considered a form of intercultural dialogue. An argument could presumably be made, but that may be difficult given the short time limit for the video.

Do all forms of social media have to be addressed?
NO, at least one, but as many as you like. Remember that the point is to show how social media influence intercultural dialogue – the goal is NOT to give a history or critique of social media.

Since Google Translate helps people communicate across language barriers when using social media such as Facebook, could that be considered as a form of social media for the video competition? What about Line, a freeware app for instant communication?
YES, both would be appropriate to consider as social media in this context.

Can a group of students submit a video instead of one person?
Yes, absolutely. In fact, that is encouraged, as a way to ensure different points of view.

Can faculty members participate?
NO, this is a competition for students only. Faculty members can serve as informal advisers or critics, and are certainly asked to encourage participation, or even require participation as a course requirement if that suits their needs. But faculty members should NOT be part of the group that actually works on the video, and should NOT be the one submitting a video.

Can audiotapes be submitted in lieu of videotapes?
NO, sorry, audiotapes are NOT videotapes.

Where should videos be uploaded?

Videos should be uploaded here. You have to create an account when you get to the site, with your email, name, and a password. Videos should NOT be uploaded directly to YouTube or any other server.

Help, I don’t understand the directions when I get to the upload site!

When you click on the link, you will be asked to “Login or create an account.” The first time there, you need to create an account. That means you provide your email address, first name, last name, and make up a password which you provide twice to confirm. Then you click on “Register.” At that point you need to answer all the questions on the application. If you don’t finish the first, time, when you go back to the site you will need to choose login. Your email is your “Login ID” and the password is the same one you provided.

My students are having difficulty submitting their videos. Can a faculty member help with this step?
YES, absolutely. The goal is to have student-created videos. There’s no problem with a faculty member helping to get those videos uploaded so they can be entered in the competition. However, please do NOT do it for them – that means, the account should not be in the faculty member’s name. Let the student create an account, and then help as needed with any technical or translations issues.

My students created videos as a course assignment, so there are several to be uploaded. Does each video need to be submitted separately?
YES, absolutely. Each video, whether created by one student or by a group of students, should be uploaded separately so it can be evaluated by the judges.

Four of us worked on a video together. Do we submit it once or 4 times?
ONLY ONCE! A group video should be submitted once, with all students who worked on the video being listed as authors. Choose a student who checks their email fairly often as the one to upload the video, so if there are any questions, they will see the email and be able to respond.

Can 30-minute videos be considered?
What part of “no less than 30 seconds, no more than 2 minutes long” is unclear?

Is there a language requirement for the videos?
YES, the videos must be in English or subtitled in English. Permitting other languages would imply having judges who know all the several dozen languages currently represented on the site, which would be impossible. However, choosing to have most of the video silent, with minimal talking, or using subtitles, are appropriate ways to finesse the language requirement for those who primarily use other languages.

Do the videos have to be live action?
NO, animation was successfully incorporated into several of last year’s submissions. However, a PowerPoint slideshow is unlikely to result in an award.

CID Video Competition: How do Social Media Influence Intercultural Dialogue?

Job adsThe Center for Intercultural Dialogue announces its second annual video competition, open to students enrolled in any college or university during spring 2019. Final deadline is May 31, 2019, at midnight (east coast US time).

CID Video Competition 2019

What is intercultural dialogue (ICD)? It is “the art and science of understanding the Other.” ICD can include international, interracial, interethnic, and interfaith interactions, but it is always active (“a matter of what someone does”) rather than passive (“a matter of what someone knows”). Typically, people assume that ICD requires face-to-face interaction. This competition asks: “How do social media influence intercultural dialogue?”

**Entries must be between 30 seconds to 2 minutes in length, and may be submitted here until May 1-31, 2019.  Longer videos will be disqualified.

Faculty members are invited to discuss intercultural dialogue in a class, perhaps showing winning entries from 2018, and to suggest students produce videos as their responses. Students are encouraged to be creative, show off their knowledge and skills, and have fun with this topic

The top award winner will receive a $200 prize. All award-winning entries will be posted to the CID YouTube channel, and highlighted on the CID website, LinkedIn group, Facebook group, and Twitter feed, through posts describing the creators and highlighting each of their videos. Perhaps most important to student learning, all entries will be sent comments from the judges. Winning entries last year came from not only the USA, but also Italy, the UK, and Peru.

See our FAQ. resources, reflections by winning students last year, or contact Wendy Leeds-Hurwitz, CID Director, with any questions.

Competition Rules:

  1. Submissions will be evaluated based on originality, clarity, understanding of intercultural dialogue, effective use of technology, and overall impact.

  2. All part-time or full time undergraduate or graduate students (post-graduates for those outside the USA) currently enrolled at any university or college or community/ technical college/school, anywhere in the world are eligible. If high school students wish to join in, they are welcome as well. Students can work independently or in groups. Given the topic, incorporating more than one viewpoint may be particularly appropriate. Similarly, ensuring that at least someone in the group knows something about the idea of intercultural dialogue, and at least someone has created a video before, should be useful.

  3. Videos should be created by students, not edited and corrected ahead of time by their instructors. Students must submit videos themselves.

  4. In addition to a video, each entry must be accompanied by a completed brief information form about the creator(s). This will be used as a resource in contacting winners, and then in sharing information about them on the CID website and other social media at the end of the competition.

  5. By submitting your entry, you are attesting that you have the necessary authorization to use the images, audio, text, music, and any other content contained in your video. Please do not enter if you are in violation of, or uncertain of your rights to, any copyrights, patents, trademarks, video, music or other intellectual property. Consult your faculty advisor if you have any questions or doubts about the content of your entry. Applicants will be held fully liable under the law for any copyright or other intellectual property violations.

  6. Submissions found incomprehensible, inappropriate, or in violation of intellectual property rights for any reason in the sole judgment of CID will not be accepted into the competition.

  7. Entries will be accepted from May 1-31, 2019. CID is not responsible for any entry that is misdirected, corrupted, or not received by such date. Judging will occur in June, and winners will be announced in July.

  8. Funding for the first prize cash award is provided by the Broadcast Education Association (BEA), one of the members of CID’s parent organization, the Council of Communication Associations.