Does the image of a Confederate flag framed and hung on the wall of a jury room provide “extraneous prejudicial information” on which to set aside a verdict? Yes!

A visual call to justice on a lamp post in West Philadelphia??

Steve James presents the story of the Sungs and their struggle to save their family-run Chinatown bank from a misguided prosecution based on cultural incompetence.

“The Return” reveals why a lawyer, deeply involved in the resentencing of Three Strikers as a way of reducing mass incarceration, placed reentry services near the top of his concerns.

The story of a serial killer who took advantage of crack culture to prey on black women can tell us much about what is wrong with the notion of “the good victim.”

Documentary television footage contradicts a police officer’s testimony about a stop-and-frisk, and leads a federal district court to find that the officer violated the defendant’s constitutional rights.

How does a brother cope with the shame, guilt, regret, and anger of being the relative of a mentally-ill ex-Marine who committed a murder, but should not have been executed for it?

Weighing the pros and cons of filmmakers asking federal agencies for records about themselves, under the Freedom of Information Act and the Privacy Act.

As the Docs Program undertakes visual work on behalf of lifers incarcerated for decades because they are ineligible for parole, we confront a ban on photographing and filming in prisons.  Prison Portraits may be useful in providing not only a way to deal with the ban, but also an argument why it is wrong.

After federal judge Mark Wolf moderated a panel discussion about The Life and Mind of Mark DeFriest, he was investigated by the FBI, the IRS, the U.S. Attorney’s Office and the Massachusetts State Police to determine if he had compromised his ability to preside over a death penalty case.

The law uses the term “gang” too loosely.  “Out in the Night” explores what happened when the term was applied to four young-adult black working-class lesbians from Newark.

After analyzing numerous documentaries about sex trafficking, Law Professor Emerita Kate Nace Day decided to make one that focuses on a vision of civil justice for survivors.

As “Let the Fire Burn” (2013) and “The Bombing of Osage Avenue” (1987) show in very different ways, May 13, 1985 was a traumatic day in the history of police/citizen relations in Philadelphia.  Its legacy is reflected in contemporary controversies over race relations in America.

The Reporters Committee for Freedom of the Press is launching a new campaign to reach out to documentary filmmakers.

Like “The Act of Killing,”  Joshua Oppenheimer’s “The Look of Silence” examines the 1965 Indonesian genocide; this time the focus is Adi Rukun, the brother of a victim, who pursues his own mission of truth and reconciliation.

A sentencing video should be more than a flattering portrait of a defendant; it should tell the story of what the defendant has done to deserve a lighter sentence and why he or she is unlikely to reoffend.

“Justice for Her” is a compelling, insightful documentary directed and produced by a black mother about her struggle to secure the acquittal of her daughter who was charged with capital murder during the “War on Drugs.”

“Evolution of a Criminal,” with its complex portrait of the filmmaker, offers an good starting point for an audience with lived experience to consider how the media should portray young black men with criminal records.

What can be done to increase college-level teachers’ and researchers’ access to documentaries in the non-theatrical, non-home video academic market while still supporting independent film production?

Chico Colvard–documentary filmmaker, film series curator, and lapsed lawyer–explains how he puts skills acquired during his legal training to work in the documentary world.

Visual legal advocacy and scholarship (PVAS) are being taught and produced in law schools around the country today and the PVAS Working Group intends to support their expansion.

The late Harry Reicher, Adjunct Professor at Penn Law, made extensive use of visual material in teaching Holocaust Studies in the Law.  His talk at the Shoah Foundation explains how and why.

The PA Department of Corrections’ nearly complete ban on recording in its facilities by lawyers and the media needs to be reexamined in light of advances in the use of digital audiovisual technology and visual legal advocacy.

Supreme Court precedent required that a juvenile offender serving four consecutive terms of LWOP be resentenced.  Learn about the role his defense lawyers played in representing him as the subject of the observational documentary “15 to Life.”

What guidance should law students be given about capturing candid images of the public, in public and without the subjects’ consent, for a “DIY Stock” gallery?

When social justice collaborations and storytellers are in short supply, visual legal advocates should pursue the promise of i-Docs (Interactive Documentaries) to encourage participation and activism for change.

Having a DIY gallery of stock images of your own making is a sine qua non to teaching and practicing visual legal advocacy.  Capturing stills and video footage with the characteristics of street photography in mind will really enrich the collection.

This is the first in a series of “how-to” posts on structuring a course that involves law students, supported by a host of collaborators, in producing and directing short social justice advocacy documentaries.

“The Memphis 13” is not only a powerful and thought-provoking short documentary; it also illustrates the potential contributions of visual legal scholarship.   

In making the case for resources and training in visual legal advocacy, a public defender describes how a video she shot in a client’s home with his mother was effective in reducing his sentence.