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Universities have long been engaged in facilitating opportunities for undergraduate as well as postgraduate students to participate in cross cultural fieldwork that allow students to fully immerse themselves in working environments (Delamont 2016) exposing them to volatility and unpredictability of the documentary filmmaking process (Rabiger 2020).

Whilst it is generally seen as a successful and exciting initiative (DocNomads 2024), often the quality of the particular program is challenged by a variety of factors such as the teaching methodology which in turn is highly dependent on modes of intervention and focused mentorship underpinned by a variety of resources and collaborative strategies (Hjort 2013).

As two academic filmmakers from diverse cultural backgrounds and varying skillsets, we propose disrupting the conventional modes of film production in light of political, economic and cultural pressures that exist in the tertiary and industry environment (Macken, Hare & Souter 2021). A radical shift from the conventional and traditional framework of teaching documentary and a move to a decentralised approach.

We argue to do this, based on our own experiences as educators and collaborators engaging in cross-cultural study tours, to develop and create new immersive and long-term international opportunities for current and recent graduates.

We aim to formulate a new distinct approach to this teaching methodology by investigating the impact of former study tours on our filmmaking students. By evaluating and supporting their continued development - long after their participation in the documentary fieldwork - we find valuable ways schools and established practitioners can support their career development as well as enhance our future study tours in cross cultural environments.