Title

Behind "Olive and Dingo": Telling the Story of Portland's Favorite Clowns

Abstract

Portland, Oregon is in the midst of an affordable housing crisis. Many residents are being pushed out of the city by rent hikes and a booming population. While real estate data abounds in the media, coverage often ignores the cultural effects of such change. “Olive and Dingo,” a short documentary I produced with Lindsey Smith (Macalester College ‘16) through the Media Institute for Social Change, tells the story of Portland’s favorite clowns as they struggle to stay true to their punk roots while still earning enough money to afford staying in a fast-gentrifying Portland. In addition to showing the film, I discuss the tension between our subjects’ interpretation of their story and our own, and how we attempted to deal with that tension through the film’s narrative. I also address the representational and journalistic concerns we encountered during the production process.

Faculty Sponsor

Chas McKhann

Tracks

Development and Economics

Terms of Use

ARMINDA Terms of Use

Location

Maxey 104

Presentation Type

Oral Presentation

Research Funding Source or OCS Program

Media Institute for Social Change

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Apr 11th, 3:45 PM Apr 11th, 4:00 PM

Behind "Olive and Dingo": Telling the Story of Portland's Favorite Clowns

Maxey 104

Portland, Oregon is in the midst of an affordable housing crisis. Many residents are being pushed out of the city by rent hikes and a booming population. While real estate data abounds in the media, coverage often ignores the cultural effects of such change. “Olive and Dingo,” a short documentary I produced with Lindsey Smith (Macalester College ‘16) through the Media Institute for Social Change, tells the story of Portland’s favorite clowns as they struggle to stay true to their punk roots while still earning enough money to afford staying in a fast-gentrifying Portland. In addition to showing the film, I discuss the tension between our subjects’ interpretation of their story and our own, and how we attempted to deal with that tension through the film’s narrative. I also address the representational and journalistic concerns we encountered during the production process.

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