June Owens is an award-winning director, producer, and writer developing an interactive documentary about Displaced Persons camps in Germany from 1945-1952. She is a Ph.D. candidate researching interactive digital storytelling. Owens is collecting oral histories, photographs, and videos from Germany to create an interactive project allowing users to learn about and contribute to the history of the camps. Previously, Owens' documentaries have focused on social issues and won numerous awards.
The Consortium in Latin American and Caribbean Studies at the University of North Carolina at Chapel Hill and Duke University was created in 1990, formally recognizing fifty years of informal cooperation between the two universities. The geographic proximity of the campuses—just nine miles apart—greatly encourages and facilitates regular collaboration among faculty and students. The UNC and Duke Consortium has received major funding from the Andrew W. Mellon, Ford, and Tinker Foundations. Since 1991 it has been designated a Title VI National Resource Center (NRC) by the U.S. Department of Education.
· Extreme Nonverbals!Extreme Nonverbals!Using the communicat.docxLynellBull52
· Extreme Nonverbals!
Extreme Nonverbals!
Using the communication process as an organizing framework for our class, we have discussed “self” as communicator and listening. This week we will be emphasizing the message —both verbal and nonverbal. Nonverbal messages include all elements that are not linguistic/language based. The field of communication refers to different types of nonverbal messages as “codes,” for example: facial expression, haptics, proxemics, chronemics, kinesics, etc. These codes are controlled by social norms, or social rules and expectations about appropriateness.
Today, you are going to experience the interplay of nonverbals and social norms.
Requirements:
· Choose a specific nonverbal code from the types listed in our text (don’t use the proxemic example below, choose another code.)
· Determine what rules/norms exist regarding this code (remember these are often unwritten).
· Choose several locations—on campus, at home, at work etc.
· Break the social norm/rule in these locations/contexts.
· Observe/reflect on the reactions to this behavior—your own and that of others.
· Post a thorough response to this assignment detailing your experiences and reflections.
· Have fun….and be safe!
***********************************************
An example: I decide to experiment with the nonverbal code of proxemics or messages that we send based on our use of space and distance. There is a relationship between how well we know a person and how close we sit, stand, if we touch, etc. So, I will break this expectation in several locations/situations. I will enter an elevator and stand super close to someone; I will choose a desk right beside a classmate even when there are other desk choices, etc.
·
Applying the Communication Process
This assignment serves as a bridge between the early chapters of our course (what communication is,
why we should study it, how it influences who we are and how we interact in arious contexts etc.) and the latter
chapters which focus on formal presentations.
This past Spring, President Obama delivered the State of the Union address; this assignment will analyze this
presentation in detail using the criteria below.
1. Watch the 2014 State of the Union address-- a link to the both the video and the text/transcript appear as a link to this assignment (as always--right click and open in another window/tab) If this does not work, then just google "2014 State of the Union Address".
http://www.nytimes.com/2014/01/29/us/politics/state-of-the-union-address-text.html?_r=0
2. Reread Chapter 1 of our text; this section highlights the transactional Communication Model.
3. Analyze Obama's speech using/identifying each part of the Communication Model. For example, one of the
elements of the communication process/model is context/occasion. So, when analyzing this you might write/comment that this
is an annual event delivered in a formal location--face-to-face with both houses of.
The Consortium in Latin American and Caribbean Studies at the University of North Carolina at Chapel Hill and Duke University was created in 1990, formally recognizing fifty years of informal cooperation between the two universities. The geographic proximity of the campuses—just nine miles apart—greatly encourages and facilitates regular collaboration among faculty and students. The UNC and Duke Consortium has received major funding from the Andrew W. Mellon, Ford, and Tinker Foundations. Since 1991 it has been designated a Title VI National Resource Center (NRC) by the U.S. Department of Education.
· Extreme Nonverbals!Extreme Nonverbals!Using the communicat.docxLynellBull52
· Extreme Nonverbals!
Extreme Nonverbals!
Using the communication process as an organizing framework for our class, we have discussed “self” as communicator and listening. This week we will be emphasizing the message —both verbal and nonverbal. Nonverbal messages include all elements that are not linguistic/language based. The field of communication refers to different types of nonverbal messages as “codes,” for example: facial expression, haptics, proxemics, chronemics, kinesics, etc. These codes are controlled by social norms, or social rules and expectations about appropriateness.
Today, you are going to experience the interplay of nonverbals and social norms.
Requirements:
· Choose a specific nonverbal code from the types listed in our text (don’t use the proxemic example below, choose another code.)
· Determine what rules/norms exist regarding this code (remember these are often unwritten).
· Choose several locations—on campus, at home, at work etc.
· Break the social norm/rule in these locations/contexts.
· Observe/reflect on the reactions to this behavior—your own and that of others.
· Post a thorough response to this assignment detailing your experiences and reflections.
· Have fun….and be safe!
***********************************************
An example: I decide to experiment with the nonverbal code of proxemics or messages that we send based on our use of space and distance. There is a relationship between how well we know a person and how close we sit, stand, if we touch, etc. So, I will break this expectation in several locations/situations. I will enter an elevator and stand super close to someone; I will choose a desk right beside a classmate even when there are other desk choices, etc.
·
Applying the Communication Process
This assignment serves as a bridge between the early chapters of our course (what communication is,
why we should study it, how it influences who we are and how we interact in arious contexts etc.) and the latter
chapters which focus on formal presentations.
This past Spring, President Obama delivered the State of the Union address; this assignment will analyze this
presentation in detail using the criteria below.
1. Watch the 2014 State of the Union address-- a link to the both the video and the text/transcript appear as a link to this assignment (as always--right click and open in another window/tab) If this does not work, then just google "2014 State of the Union Address".
http://www.nytimes.com/2014/01/29/us/politics/state-of-the-union-address-text.html?_r=0
2. Reread Chapter 1 of our text; this section highlights the transactional Communication Model.
3. Analyze Obama's speech using/identifying each part of the Communication Model. For example, one of the
elements of the communication process/model is context/occasion. So, when analyzing this you might write/comment that this
is an annual event delivered in a formal location--face-to-face with both houses of.
1. June Owens is an award-winning director/producer/writer. She is developing a new way to tell
her stories. Owens current interest is in interactive documentary production. She is a Ph.D.
candidate at University of Texas at Dallas in the School of Arts and Humanities majoring in
Aesthetic Studies.
Owens is creating an original interactive digital content across many platforms (tablet, mobile
and the Web). Owens is in the production phase of her Interactive Documentary about Displaced
Persons camps in West Germany from 1945-1952 to what life looks now in 2016. She is
representing and creating reality in digital environments that will open up new ways to allow
people to co-create and collaborate. She is exploring memory, identity, and documenting
everyday life. Owens is specifically interested in Jewish cultures, memories and eye-witness
accounts and identities in the 40’s to what it is now in 2016 in Germany. Testimony thus far has
indicates that the Displaced Persons camps today are unknown and forgotten. It is important to
know what happened to the survivors, or those who came in the survivors place, after the war.
Owens will create a new historical record by making photographic images, text and video/oral
interviews in Germany where Displaced Persons camps were once located. History of the past,
along with publication of rare documents that have never been published and/or are difficult to
access, will be shared through the creation of an Interactive Documentary. The form of digital
storytelling gives others opportunities to co-create, learn, discover, explore, archive and
collaborate.
Owens previous work has involved women in film and television, cultural studies, video and film
production, and memory, identity, and archival preservation. Owens has created 120
videos/films in her 20 years of working in television and film production as a
director/producer/writer she has created, observed, and experienced much. She has won 8 film
festivals and directed documentaries that have had impact and created awareness and two films
are permanent collections of two museums. Owens work has surrounded women’s films and the
access and archive. She is an educator and has been inspiring and teaching college-level students
since she was 22 years old. Most of all, Owens believes in giving back to the community and
making something unbelievably powerful.
Curriculum Vitae
June Owens
juneowenscreative@gmail.com
4697208894
Education
University of Texas at Dallas, Dallas, TX Present
Doctor of Philosophy Candidate in Humanities Major in Aesthetic Studies
Central Missouri State University, Warrensburg, Missouri 1997
Master of Arts degree in Mass Communication: Radio, Television & Film
Thesis: “Memories…Union Station of Kansas City”, Feature Documentary
University of Central Arkansas, Conway, Arkansas 1995
B.A. in Mass Communication/Minor: Management
2. Teaching Experience
North Lake College 1999 – present
Adjunct Instructor – New Media Theory, Intro to Video Production, Studio Production, Field
Production, Scriptwriting, Workshop I and II, and Management & Operation, Business Aspects
of Film and Television and the New Digital Platform.
Central Missouri State University 1995- 1997
Adjunct Instructor – “TV Production I”
Teaching assistant as well taught independently TV Production I.
University of Central Arkansas 1993- 1995
Adjunct Instruct – “TV Production”
Taught “practical” operation of production equipment to the lower-level Mass Communication
students.
Affiliations
Movie Institute, President, 2016.
Oral History Association, Member.
Film Fatales Doc NYC, 2016, Member.
National Association of Professional Women, 2015- Present
International Center of Photography, Member, 2015-Present
Society of Photographers in Education, SPE, member, 2014-Present
Invited Master Classes & Workshops:
PROOF: Media for Social Justice workshop, Witnessing: Working with Testimonies for
Refugee Advocacy workshop, Jan. 2016, Selected Participant, NYC.
Women Moving Millions, 2015, Invited Guest.
Geena Davis Institute for Gender in Media, 2014, Invited Guest.
International Documentary Association, “Let’s Get Real”, Invited Guest, 2014.
Juror, Dallas Video Festival, 2004-2015.
Juror, National and Regional Competitions, 1999-2015.
3. Maine International Film and Television Workshop, Screenwriting Course, 2001
Mary Ellen Mark Photographic Workshop, Oaxaca, Mexico, Summer 2003.
Dallas Summer Film/Video Institute, Instructor, (Taught) 5-day Production Course, 2004
Robert McKee’s Story Seminar, Screenwriting Course, 2002
Community Service:
Gracie Allen Award, “Gilda’s Club: A Special Place,” Producer and Founder of WIF.Dallas
PSA initiative, National and International PSA available in multiple languages, 2004.
(Women-only crew. Shot 35mm motion picture film for Gilda’s Club that featured Meryl Streep.)
Women in Film, Board of Directors, Vice-President, 2002-2004.
Habitat for Humanity, Women Build, Honorary Committee, 2003.
YMCA Mom’s Adventure Guide Group, Founder - First in USA, Member and Officer, 2015-
present.
“Domestic Violence is Everybody’s Business”, Dallas Museum of Art - Screening for
Community, 2003.
Irving Hispanic Chamber of Commerce, “Outstanding Contribution to the Hispanic Community”
for TV show “Vida Hispana”, 2006.
International Award, MCA-I 2003 Gold AiME Award, an international award for “Emergency
Preparedness”, 2004.
“Answering the Call to Serve: September 11, 2001 Tribute Video”
International Association of Emergency Managers, Best One-Time Program
International Award, MCA-I 2002 Silver AiME Award
NATOA, Award of Excellence, 2002; 3CMA 2002 Savvy Award, Silver Circle Award, 2002
TATOA, 2nd place, 2002; FINALIST, TAMI, One-Time Special Programming, 2002
James F. Chambers, United Way Award for Visual Communication, 1999.
James F. Chambers, United Way Award for Visual Communication, 2000.
June Owens 1999-2016
“Selected Work”
4. Documentaries
Domestic Violence is Everybody’s Business (Director, Producer, Writer)
Owens directed, produced, and wrote a documentary, “Domestic Violence is Everybody’s
Business,” calling attention to domestic violence. Two victims shared their compelling, personal
experience of living in abusive homes. The video is available in English and Spanish. The
documentary premiered at the Dallas Museum of Art and was accepted into the 2003 Dallas
Video Festival.
Exhibited at the Dallas Museum of Art.
Dallas Video Festival, Finalist.
NATOA, Honorable Mention, Community Awareness, 2003.
International Award, MCA-I 2003 Silver AiME Award, 2003.
03 Savvy Award, Silver Circle Award, 2003
Short Films
Paint Thinner
Owens produced a short film titled “Paint Thinner” for the 24-Hour race, which was shot on
35mm motion film and had to be written, taped, and edited within 24-hours. The project
was sponsored by Women in Film.Dallas and premiered at the Dallas Video Festival.
Dallas International Film Festival, “Best Cinema Short” Winner, 2002
Worldfest, Houston, Platinum Award Winner, 2003.
Santa Monica Film Festival and the USA Film Festival, Finalist, 2003.
Curb Service (a.k.a. Feet First)
Owens produced a short film for the 24-Hour Race, which was the first short film for the
competition shot on 24-p High Definition video, and won the competition. The film premiered
at the Dallas Video Festival.
24-Hour Video Race, Winner, Pro Division.
Dallas International Film Festival, Finalist, 2003.
Miami International Film Festival, Finalist, 2003.
D Magazine, “6th
Best Video fo the Decade”, 2012.
Museums
Mustangs of Las Colinas, 2005
(Director/Producer)
The Mustangs of Las Colinas Museum, Located Irving, Texas, Museum, Permanent Collection
5. The Mustangs of Las Colinas is a sculpture and museum featuring the largest equestrian
sculpture in the world. Owens’ feature documentary film is introduced by LeAnn Rimes and is
shown in the museum which brings to life for the visitor the time and effort that went into
designing, molding and mounting the distractive piece of public art.
NATOA, 1st
place, National Association of Telecommunications Officers and Advisors, “The
Mustangs of Las Colinas”, 2005.
International Award, MCA-I, 2005 Gold AiME Award, 2005.
Photo-based video/film art (additions of Sound and Interaction)
Owens recently exhibited at the Visual Arts Main Gallery titled “Reframing Documentary:
Creative PhD in Progress”. She has also participated as moderator of panels, Presented at film
festivals and conferences; as well as juries for many local film festivals such as Dallas
Videofest.
Owens has participated in the 2012 & 2014 International Meeting Place Portfolio Review of the
FotoFest International Biennial of Photography and Photo-based Art.
Local Address/Global Access, 2007
(Long-format video incorporated into a new-concept “Interactive Wall”), Irving Chamber
of Commerce, Irving, Texas.
The Irving Economic Development Partnership and Owens developed a video for the Irving
Chamber of Commerce. The long format HD video was also incorporated into a new-concept,
an Interactive Wall.
The Mustangs of Las Colinas Museum, permanent exhibit.
Director/Producer: June Owens
The Mustangs of Las Colinas is a sculpture and museum featuring the largest equestrian
sculpture in the world. The visitors learn the story of the eight years of work African wildlife
artist Robert Glen invested in creating the Mustangs. Owens’ feature documentary film is
introduced by LeAnn Rimes and is shown in the museum which brings to life for the visitor the
time and effort that went into designing, molding and mounting the distractive piece of public
art.
Tooth Fairy Goes on Vacation, 2004 (Director, Producer, Writer)
Museum: Fair Park Science Museum, Dallas, Texas (Permanent Collection)
“The Tooth Fairy Goes on Vacation” is in the permanent exhibit at Fair Park Science Museum
and was sponsored by Baylor. The video was made by using puppets. The video was produced
in English, Spanish, and Vietnamese.
6. Firehouse Cooks Series (6 Episodes)
Created and produced/directed a reality series/Showrunner (7 episodes)
In 2006, Owens created, produced, and directed a reality television show which was highly
successful and featured working firefighters in every fire station house in Irving and received
recognition from the Food Network.
Spot/PSA Awards:
An active reader and advocate supporting literacy tutoring and supporter of the Summer Reading
Club, Owens produced/directed the PSA for the Summer Reading Club for 8 years for the state
of Texas. The program encourages children to continue reading during the summer months.
FINALIST, TAMI, PSA, "Read Across Texas", 2002
3CMA, Outstanding Performance, “Best PSA”, “To the Library and Beyond,” 2001
30-minute series & Magazine-format shows (Produced/Directed for 7 years while
doing my other videos/films)
Author Talk
Open Line, a call-in LIVE show.
Invision Irving
Kid’s Playhouse, children’s series