READINGS AND PRACTICUM IN HISTORICAL
FILM AND VIDEO DOCUMENTARY PRODUCTION
https://www.albany.edu/faculty/gz580/histdocfilms
Course Syllabus and On-Line Resource Links
Spring 2006
HISTORY 390 [6144] & 530
[6148]
Prof. Gerald Zahavi
Dept. of History, University at Albany-SUNY
Classroom: LE G-24 (History Digital Classroom 4 - Science
Library)
Course Schedule: Tu 4:40-7:30
Office: Ten Broeck 202
Phone: 518-442-4780
Office Hrs: M, Tu 2:00-4:00
and by appointment
E-mail: [email protected]
NAVIGATION
GUIDE TO SYLLABUS AND RESOURCE LINKS
COURSE ASSISTANTS:
John Warren (Office: TB 302-2, T-Th. 2-4 pm)
Susan McCormick (Office: TB 202-1, T 2-4 and by appt.)
COURSE INTRODUCTION:
This is
not a course for the lazy or timid. This is not a course for
those who value passive learning, and want knowledge delivered
to them in neatly bundled lectures. This is a course taught
on the fundamental principles first laid out by education philosopher
John Dewey, that there is no real learning without
doing. If you believe that analysis and practice go
hand-in-hand, then you will get much out of -- and do well in
-- this course. It will introduce you to the theory and practice
of historical documentary film/videomaking.
John Grierson,
widely acknowledged as the "father" of the documentary film,
defined documentaries as "the creative treatment of actuality."
Documentaries are essentially non-fiction works focusing on
political, social, economic, cultural, or historical topics,
built on primary sources of all sorts and informed by a particular
point of view. Documentaries and documentary projects have become
significant vehicles for communicating historical issues to
millions of listeners and viewers. The growing interest of audiences
in the documentary form, combined with advances in technology
that make documentary production affordable and accessible,
offer an opportunity for historians and history students to
apply the tools of documentary filmmaking to the telling of
historical stories of all kinds, intended for both academic
and non-academic audiences.
Beginning
with a review and analysis of the general history of the documentary
film genre and the varieties of approaches adopted by non-fiction
filmmakers, we will start to systematically unravel the various
elements that contribute to the creation of informative, moving,
and powerful historically-focused documentary films. We'll look
at the various modes or styles that have evolved in the course
of the genre's development: expository, observational, interactive,
reflective, and assorted hybrid modes. We'll view and discuss
a broad spectrum of documentaries, but our main attention during
the bulk of the semester will will be on historical
documentaries focusing on a variety of subjects and themes,
and on techniques for effective visual communication of historical
ideas. We'll cover aesthetics and research, legal and ethical
issues, and -- of course -- production. A central aim of the
course is to introduce students to the basic techniques of historical
documentary production--from pre-production planning, research,
and writing, to production (filming/videotaping interviews,
recording voiceover narration, lighting, filming reenactments),
and finally, post-production (editing and mixing actualities,
music, narration, interviews, and still photographs). The course,
in short, is designed to teach students both critical and practical,
technical skills.
ACADEMIC INTEGRITY:
The following statement of
policy is required by the University at Albany: It is assumed
that your intellectual labor is your own. If there is any evidence
of academic dishonesty, including plagiarism, the minimum penalty
will be an automatic failing grade for that piece of work. Plagiarism
is taking (which includes purchasing) the words and ideas of
another and passing them off as one�s own work. If another person�s
work is quoted directly in a formal paper, this must be indicated
with quotation marks and a citation. Paraphrased or borrowed
ideas are to be identified by proper citations.
GRADING:
Grades will be based on:
* class attendance, preparation, and participation -- including
discussion of assigned readings (20%)
* assignments and documentary reviews (50%): in addition to
the specified assignments, all students are responsible for
viewing at least two (2) documentaries -- not including
The Fog of War assigned to all class members for
our Feb. 14th class -- and a preparing a short 1-2
pp. review/reaction essay and oral presentation on the two
films. The films should be drawn from the list of films that
appear in the weekly schedules below and should be selected
from two separate lists. More details on this in class.
Your short essays are due on the day we cover the film in
class. You should email the review to me before class;
you do not have to hand in a paper copy.
* participation in a semester-long film production project
(30%) (there will be three production teams organized, each
focusing on a different film project of approximately 15-25
minutes length).
PRODUCTION AND PRODUCTION
TEAMS:
As noted above, the
class will be divided into three production teams (filmmaking
is, after all, inherently a collaborative endeavor)
and we will produce three historical documentary films over
the course of the semester. Doctoral students John Warren
and Susan McCormick will be assisting me in coordinating the
production aspects of the course, and will offer support in
all other aspects of the course as well. John has real-world
experience in professional documentary filmmaking, having
worked on several historical documentary productions for Henninger
Media in Arlington, Virginia. He has also taught television
production at Ithaca College. Susan has extensive experience
in oral history and audio/documentary/feature production (she's
a co-producer of Talking History, our weekly history
radio show, and has taught workshops in oral history and radio
documentary production at Columbia University and at various
national professional conferences). Among other things, they
will help you deal with your technophobias--as will I.
READINGS, RECOMMENDED TEXTS, SOFTWARE/HARDWARE,
:
- Required Readings (these are our core texts;
they will be supplemented by readings and resources outlined
below):
- Erik Barnouw, Documentary: A History of the Non-fiction
Film, 2nd revised edition (Oxford University Press,
1993).
- Bill Nichols, Representing Reality: Issues and Concepts
in Documentary (Indiana University Press, 1991).
- Michael Rabiger, Directing the Documentary,
4th edition (Focal Press, 2004). [For those of you who
have obtained the 3rd edition, I have tried to specify
the relevant sections in the latter that match the assignment
in the 4th edition.]
- Additional readings are available on the World Wide
Web through links on this syllabus and on electronic
reserve. Some items, due to copyright/fair
use restrictions are ONLY available to enrolled class
members on electronic reserve.
- Recommended Texts (we may use short selections
from some of these--and from several other texts; they will
be accessible on electronic
reserve; you will receive the access password in class):
- Richard Meran Barsam, Nonfiction Film: A Critical
History (Indiana University Press, 1992).
- Sheila Curran Bernard, Documentary Storytelling
for Video and Filmmakers (Focal Press, 2004).
- Jack C. Ellis and Betsy A. McLane, A New History
of Documentary Film. New York: Continuum, 2005).
- Ralph Engelman, Public Radio and Television in America
(Sage Publications, 1996).
- Barry Hampe, Making Documentary Films and Reality
Videos (Henry Holt and Co., 1997).
- Bill Nichols, Introduction to Documentary (Indiana
University Press, 2001).
- Alan Rosenthal, Writing, Directing, and Producing
Documentary Films and Videos, 3rd edition (Southern
Illinois University Press, 2002).
- Liz Stubbs, Documentary Filmmakers Speak (Allworth
Press, 2002).
- Brian Winston, Claiming The Real: The Documentary
Film Revisited (British Film Institute, 1995).
- Software: There are a variety of digital
editing software packages available for post-production work.
Two excellent introductory programs are Sony's Vegas Movie
Studio 6.0 for PC users (available free for an initial
30 day trial period and for around $60 with an educational
discount at Journeyed.com (go
to http://www.sonymediasoftware.com/Default.asp
for the 30-day trial edition) and -- for Mac users --
Final Cut Express 2 (available for as low as $100). Both
support editing and mixing of multiple audio and video tracks--and
have extensive features. Both are also the base versions of
far more powerful (and expensive) programs, and both will
be available on computers in the History Department's Digital
Media Lab, as well as in IMC in the main library. Special
educational pricing is available for students and faculty,
so wait before you buy. More details will be announced in
class. Manuals for the software are available on electronic
reserve and also on the publishers' Web sites [for SONY Vegas
go to: http://www.sonymediasoftware.com/download/step1.asp?catid=12.
- Hardware:
- A small computer lab with 4 workstations will be available
for your use (1 Mac and 3 PCs). Three very basic SONY
cameras, one higher-end Canon LX-1 camera, and several
audio recording kits will also be available for short-term
loan. We also have a couple of tripods and a lighting
kit than can be borrowed. BE VERY RESPONSIBLE with this
equipment; we do not have a replacement budget, so what
gets broken can't be replaced. A formal short-term loan
sign-out sysem will be explained in class.
- Students interested in doing at-home editing and production
work should have:
- computers with adequately fast processors (a bare
minimum for small projects: 800+ MHz G4 processors
on a Mac; 800+ MHz processor on a PC), and plenty
of RAM (Random Access Memory), ideally 512 MB or more.
More details in class.
- a DVD-R/+R/RW recording drive
- plenty of hard drive storage (at least 100-200
Gigabytes free for media storage and manipulation,
either in an internal hard-drive or a portable external
hard drive -- at least 7200 rpm; avoid 5400 rpm drives.
Internal and external 200 GB drives now cost less
than $100 during a typical sale.
- a firewire port (for importing and exporting media).
- Decent and inexpensive digital video camcorders
are now available for high quality recording. Whatever
you use, you should make sure it has the capability
of accepting an external microphone, and
ideally, one whose levels you can control. Most inexpensive
videocameras do not accept external microphones and
do not allow you to override the automatic level control
(ALC) that controls sound recording levels. As noted
above, some equipment will be available for you to
use in preparing projects, but since this is the first
time this course is being offered and we do have a
shortage of funds, this equipment is limited and can
only be checked out for short periods of time.
- If you are interested in purchasing your own equipment,
you might want to check out the specially priced Apple
video- and audio-editing computing packages the Departments
of Art, Music, and History have negotiated for their
students (see: https://www.albany.edu/finearts/laptop_program.html).
For cameras, sound recorders, microphones, lighting
kits, and other peripheral equipment and supplies,
see B&H
Photo-Video-Pro Audio Corp [www.bhphotovideo.com]
and Full
Compass [http://www.fullcompass.com]).
E-Bay
is a good source of used equipment, though you should
pay close attention to the ratings of the sellers!
There are also many other used equipment and auction
sites now on the Internet.
RESOURCES:
- On-Line and Text Journals and Newspapers:
- The
Independent. This is the film and video
monthly from the Association of Independent Video and
Filmmakers (AIVF) and contains interviews and articles
about public television, documentaries, and much more.
The Web site provides access to selected articles only.
- International Documentary. Published by the
International Documentary Association (IDA). http://www.documentary.org.
- On-Line Documentary Film Resources:
- Glossaries, Encyclopedias, and Other Reference Works
- Documentaryfilms.net: http://www.documentaryfilms.net/resources.html
- Television Production ~ A Free, Interactive Course in
Studio and Field Production http://www.documentaryfilms.net/resources.html.
- British Film and Televison History: http://www.screenonline.org.uk/
- Center for Independent
Documentary
- National Film Board of Canada: www.nfb.ca/documentary
- Center for Documentary
Studies at Duke University (Durham, NC)
- The
Documentary Center at the George Washington University
(Washington DC)
- Appalshop
- Center for
DocumentaryArts (Salt Lake City, UT)
- Canadian
Center for Documentary Photography
- American
Memory Collection at the Library of Congress
- Documentary
Photography Online
- Northeast Historic
Film
- Moving
Image Archive: Internet Archive
- Chicago
Film Archives
- Witness
- The Documentary
Channel
- Association of Moving
Image Archivists
- Home Movie Day
- Internet
Archive/Movie Archive
- Motion Picture
& Television Reading Room at the Library of Congress
- National
Archives / Motion Picture Films and Sound and Video Recordings
- EXPOSURE
- DocuSeek Film and Video Finder: allows users to find
videos from seven U.S. distributors: http://www.docuseek.com/wc.dll?docprocess~startsearch
- PBS: [http://www.pbs.org/].
Public Broadcasting System.
- Independent
Lens: Independent Lens is a PBS series that presents
independent film, mostly documentariesy, but also dramas
and shorts. This companion Web site contains links to
filmmaker Q&As and other content complementing the
films.
- Independent Television
Service (ITVS) -- the presenter of Independent
Lens, "provides information for hundreds of
independent films and documentaries, offering show summaries,
filmmaker information, outreach resources, public television
broadcast listings and more. Links to film companion sites
and distributors are also featured."
- MediaRights.org
-- features "a database of social issue films
that allows viewers, educators, facilitators, activists
and others to find relevant films."
- Political Film Society [http://www.geocities.com/~polfilms/]
-- provides "politically contextualized reviews for
past and present films."
- P.O.V. / Point of
View [http://www.pbs.org/pov/]
-- "P.O.V. is an award-winning PBS series featuring
12-14 independently produced nonfiction films each year.
Its site provides extensive resources for films featured
in the series, including lesson plans, discussion guides,
background info, filmmaker interviews, production journals
and more."
- Footage.net: Stock,
Archival, and News Footage Network -- lionks to major
sources of stock footage.
- Upstate Independents:
http://upstateindependents.com
- Film Festivals
- Information About Editing and Scripting Software:
VIDEO ON THE WWW:
Please note that some of the
video files that will periodically be made available on this
syllabus are encoded as "streaming" compressed files -- either
as RealMedia, QuickTime, or Windows Media files. That means
that you will not have to wait for minutes or hours to download
the whole file before starting to view it. Files begin playing
as soon as usable digital packets have streamed down from the
server to the client (your computer). However, you'll need appropriate
video streaming browser plug-in programs to view these files.
Course Outline
Each class will be roughly divided into three segments: history
and theory, film analysis, and production skills. In many cases,
the segments will heavily overlap and quite often,
films we'll examine during one class and lesson will overlap
categories and be appropriate in another class (I will refer
to them where and when they are relevant). Classes will build
on each other, developing and extending ideas and skills introduced
in previous lessons. History and theory segments will concentrate
on the history and development of the various modes of documentary
and historical documentary cinema, as well as the underlying
theory that guides them. Our film viewings and analyses will
examine the full range of historical documentary work: biographies,
political history, cultural studies, the history of war and
revolution, racial and ethnic history, science and technology,
and much more -- and will help develop your theoretical, structural,
stylistic, aesthetic, and technical evaluative sensibilities.
Production skill lessons will cover pre-production planning
and development, production (both studio and field work), and
post-production procedures.
Please try not to miss classes as they will be very tightly
packed with a great deal of information and will be difficult
to make up.
The Syllabus will be periodically updated with supplementary
resource links, additional recommended readings (including some
available on electronic reserve), and viewable film/technical
clips, so check back often.
~ ~ ~
Class 1 (Tuesday,
Jan. 24): "The Creative Treatment of Actuality":
An Introduction to Documentaries and Documentary Filmmaking
History and Theory: What is a documentary?; What
is a history documentary? Aural and visual documentaries.
Film Analysis: "To Provide a True, Authentic, Factual
Record": Early non-fiction cinema.
Production Skills: The elements of documentary production;
developing story and production ideas; introduction to audio
and video hardware; introduction to basic video editing; software;
introduction to group projects.
FILMS: The short films of the Lumière
brothers: http://www.institut-lumiere.org/francais/films/1seance/accueil.html;
Thomas Edison's Annie Oakley [1894]; On-line selections
from early cinema: http://chnm.gmu.edu/courses/magic/movies/movindex.html;
Edison Motion Pictures (Library of Congress): http://memory.loc.gov/ammem/edhtml/edmvhm.html;
McKinley and the Pan-American Exposition, 1901 (Library
of Congress): http://memory.loc.gov/ammem/papr/mckhome.html;
G. W. (Billy) Bitzer and the Westinghouse films: http://memory.loc.gov/ammem/papr/west/westhome.html;
Before and After the Great Earthquake and Fire: Early Films
of San Francisco, 1897-1916 (Library of Congress): http://memory.loc.gov/ammem/papr/sfhome.html;
Spanish-American War Films, 1898-1901: http://memory.loc.gov/ammem/sawhtml/sawhome.html;
America at Work, America at Leisure, 1894-1915 (Library
of Congress): http://memory.loc.gov/ammem/awlhtml/workleistitlindex1.html
[includes a wonderful 1901 film of the Albany, NY fire department
on parade].
WWW Sources:
Class 2 (Tuesday,
Jan. 31): The Range of Early Documentary Work,
I: 1900-1930
History and Theory: Historical overview, pre-1930
-- movements, manifestos, ideologies, and documentary work.
Film Analysis: Examples of work from the 1920s --
Flaherty, Vertov, Eisenstein, Grierson
Production Skills: Production crews, production roles,
and the production process.
Group Projects: Production teams
in place and group projects developed and assigned.
FILMS: In the Land of the Head-Hunters
~ also called In the Land of the War Canoes (Edward
S. Curtis, 1914) [for more information about Curtis and his
work, see http://rs6.loc.gov/ammem/award98/ienhtml/curthome.html];
Nanook of the North (Robert Flaherty, 1922); Moana
(Robert Flaherty, 1926); Grass: A Nation's Battle
for Life (Merian C. Cooper and Ernest B. Schoedsack,
1925); Kino-Eye (Dziga Vertov, 1924); The Man
with a Movie Camera (Dziga Vertov, 1929); Strike
(Sergei M. Eisenstein, 1925); Battleship Potemkin
(Sergei M. Eisenstein, 1925); October (Ten Days
That Shook the World) (Sergei M. Eisenstein, 1927); H2O
(Ralph Steiner, 1929); Drifters (John Grierson, 1929);
Grierson (Roger Blaise, 1973) [a film about Grierson,
the British documentary movement, and Canada's National Film
Board].
Required Readings:
Michael Rabiger, Directing the Documentary, 4th
ed., pp. 3-46 ("The Director's Role," and "A
Brief and Functional History of the Documentary"); 128-139
("Developing Your Story Ideas"), 256-281 ("Developing
a Crew" and "Preproduction Meeting/Developing a Checklist")
[3rd ed., pp. 3-51; 113-152].
Erik Barnouw, Documentary: A History of the Non-fiction
Film, pp. 1-81.
Bill Nichols, Representing the Real, pp. 3-31.
Assignments:
1) This is a brainstorming exercise: the group projects
will evolve from your ideas! In preparation for the selection
of topics by the three production teams, please think about
potential historical documentaries about any aspect of the
history of the Capital Region, and come up with a 2-3 sentence
"pitch" for your idea. Topics may focus on communities
(Schenectady, Troy, Cohoes, Albany, etc.), local institutions,
racial and ethnic relations and history, political history,
NYS government, local culture, education, religion etc.
. . .Think about all of the following factors in considering
your topics (though you don't actually have to research
them now; that will follow): Might visual or aural sources
be available? Are there interesting locations that could
be used for filming? Are there ample research materials
available to develop the story? Might there be experts,
informants/eyewitnesses available to interview? Bring in
your suggested topics and speculations on the previous questions
(no more than 1 paragraph).
2) Find any academic history article that you believe would
be amenable to translation into a film/videdo documentary.
Develop --in a short essay (3-5 pp)--a plan for how you
would go about adapting the article into cinematic
form. You might look at The Journal of American History,
The American Historical Review, or more specialized
journals such as the Journal of Social History, Labor
History, and so on for articles wto work with. Identify
visual and audio elements you would need to produce your
piece--and bring one to class.
Recommended Readings:
- Web sites on Dziga Vertov [Denis Arkadievitch Kaufman]:
(1) Jonathan Dawson on Vertov (from
Sense of Cinema, an online journal devoted to the serious
and eclectic discussion of cinema): http://www.sensesofcinema.com/contents/directors/03/vertov.html
(2) Mark Daniel, "The man with the movie camera. Speed
of vision, speed of truth?":
http://www.25hrs.org/vertov.htm .
- Web site on Robert Joseph Flaherty: (1) Dennis Doros,
"Robert Joseph Flaherty- An Appreciation," The
Silent Film Bookshelf, August, 1998: http://www.cinemaweb.com/silentfilm/bookshelf/23_dd_1.htm
(2) Deane Williams on Flaherty (from
Sense of Cinema, an online journal devoted to the serious
and eclectic discussion of cinema): http://www.sensesofcinema.com/contents/directors/02/flaherty.html
- Web resources on Robert Flaherty: http://astro.temple.edu/~ruby/wava/Flaherty/
- Web sites on Eisenstein: (1) Dan Shaw
on Eisenstein (from Sense of Cinema, an online
journal devoted to the serious and eclectic discussion of
cinema): http://www.sensesofcinema.com/contents/directors/04/eisenstein.html
(2) Greg Severson on Eisenstein: http://www.carleton.edu/curricular/MEDA/classes/media110/Severson/eisenste.htm.
- Filmmaking overview (from Annenberg Media Learner.org):
http://www.learner.org/exhibits/cinema/index.html
- Paul Rotha, Robert J. Flherty: A Biography (Philadelphia:
University of Pennsylvania Press, 1983). Web version: http://astro.temple.edu/~ruby/wava/Flaherty/title.html.
Production Teams:
Below is a rough breakdown of how work responsibilities will
be distributed in the production teams. John Warren will give
you a more detailed breakdown in class:
All members of the production team will be responsible
for: 1) Research and acquiring archival images 2) Logging,
transcribing, dubbing, etc. 3) Being present for string
out and rough cut reviews.
Producer: Sets-up interview (arranges for
all necessary equipment, props, and personnel), scouts locations,
creates call-sheet, manages logistics on location, works
with writer and director to organize the acquisition of
materials and production schedule.
Director / Camera Operator: Scouts locations
with producer, primary responsibility regarding shooting
and acquiring necessary images on location and working with
editor during editing.
Writer / Lighting Director: Primary responsibility
for story research and writing (working with Director and
Producer), serves as Lighting Director on location.
Editor / Key Grip: Loads (working with
assistant editor), edits (working with director), and outputs.
Serves as a key grip on location assisting in setting up
and tearing down, and managing the proper breakdown and
packing of gear (in conjunction with producer).
Audio / Assistant Editor / Writers Assistant:
Responsible for location audio, audio design and mix in
post, acquiring music and nat sound, and working with editor
on the acquisition and placement of audio elements. Assists
in loading and string out editing. Assist writer as required
for additional research, script proof reading. Serves as
scratch voice over if required.
Some of the above may be divided-up, depending on enrollment.
For a detailed breakdown of typical crew positions in a
professional shoot, see: http://en.wikipedia.org/wiki/Film_crew
Class 3 (Tuesday,
Feb. 7) : The Range of Documentary Work, II: Documentary
Film During the Great Depression
History and Theory: 1) An introduction to documentary
modes 2) The state and documentary
Film Analysis: Introduction to shifting documentary
modes in the 1930s
Production Skills: Archival and secondary source
research in textual and visual records; Releases, permissions,
and rights research.
Group Projects: Production teams
working on research.
FILMS: Hunger (1932); Contact
(Paul Rotha, 1933); Hands (Ralph Steiner
and Willard Van Dyke, 1934); Shipyard (Paul Rotha,
1934); Granton Trawler (John Grierson, 1934); Man
of Aran (Robert Flaherty, 1934); How the Myth Was
Made (Jim Brown and George Stoney, 1978) [this is a film
about the making and legacy of Man of Aran];
Song of Ceylon (Basil Wright, with John Taylor,
1935); Housing Problems (Edgar Anstey and
Arthur Elton, 1935); Night Mail (Harry Watt and Basil
Wright, 1936); The Plow That Broke the Plains
(Pare Lorentz, 1936); Coal Face (Alberto
Cavalcanti, 1935); Workers and Jobs (Arthur Elton,
1935); Triumph of the Will (Leni Riefenstahl, 1936);The
River (Pare Lorentz, 1937);The Spanish Earth (Joris
Ivens, 1937); China Strikes Back (Harry Dunham, 1937);
Heart of Spain (Paul Strand and Leo Hurwitz, 1937);
The City (Herbert Kline and Geza Karpathi, 1937);
People of the Cumberland (Elia Kazan
and Ralph Steiner, 1938); Power and the Land (Joris
Ivens, 1940); And So They Live (John Ferno and Julian
Roffman, 1940); Valley Town (Willard Van Dyke, 1940);
The Land (Robert Flaherty, 1941); Native Land
(Leo Hurwitz and Paul Strand, 1942).
Additional film resources: Attica New
York State Police film footage (available from the instructor
or at the New York State Archives); selected films from
the Ford Film collection at the National Archives (available
from the instructor and at the National Archives, College
Park, Maryland); selected films from various newsreels:
Universal Newsreels (available from the instructor,
at the Internet Archive,
and at the National Archives (College Park). Also,
selections from the Fox Movietone collection (Univ.
of South Carolina) and the Hearst-MGM News of the Day
collection (UCLA).
Required Readings:
Michael Rabiger, Directing the Documentary, 4th
ed., pp. 51-57 ("Elements of the Documentary";
207-255 ("Initial Research and Draft Proposal;"
"Research Leading Up to the Shoot;" "Missions
and Permissions") [3rd ed., pp. 113-142].
Erik Barnouw, Documentary: A History of the Non-fiction
Film, pp. 86-139.
Review last week's reading, Bill Nichols, Representing
the Real, pp. 3-31 and read quickly pp. 32-75 (we will
cover this in more detail on February 28th).
Assignment:
Identify ten (10) distinct cinematic, still images, and audio
elements -- with a minimum of two of each -- to use in your
group documentary project. Search through the various databases
at your disposal -- on-line (Library of Congress, National
Archives, etc.), in our library, at the Albany Institute of
History and Art, at the New York State library or archives,
or any other public or private archive. Discuss your source,
recording media, copyright/access restrictions, quality of
the film/video and audio (if you have access to the
recordings or if such information is available from
the archive)--and speculate on how you would use the segments.
Hand in or email (if small enough) a sample/copy/scan of any
ONE visual element (film clip, photograph, graphic image)
on a CD or DVD along with a short discussion of your selections
(1-2pp).
Recommended Readings:
Archival Resources:
AUDIO:
NPR's
Sound Library Directory. A guide to audio archives
around the country.
Rodgers
and Hammerstein Archives of Recorded Sound.
"The Rodgers and Hammerstein Archives of Recorded Sound
of the New York Public Library is one of the richest resources
of recorded sound in the world. The aural landscape that helps
define a community, a country, or a cultural era can be studied
through the Archives extraordinary holdings, which cover virtually
every aspect of recorded sound--from Mozart to Maria Callas
to Motown, from symphonic works to presidential speeches, from
radio dramas to television specials." The Archives contains
approximately 500,000 recordings and more than 10,000 printed
items. See: http://www.nypl.org/research/lpa/rha/rha.html
Library
of Congress Sound Collections ~ SONIC Search Engine.
The Library of Congress Recorded Sound Collection contains over
2.5 million audio recordings in a variety of physical formats.
The collection includes radio broadcasts, spoken word recordings,
as well as vocal and instrumental music. Through SONIC you can
access a sizable portion--though not all--of the library's holdings.
Association
for Recorded Sound Collections. "Founded in 1966,
the Association for Recorded Sound Collections (ARSC) is a non-profit
organization dedicated to research, study, publication, and
information exchange surrounding all aspects of recordings and
recorded sound." It "provides a forum for the development and
dissemination of discographic information in all fields and
periods of recording and in all sound media. In addition, ARSC
works to encourage the preservation of historical recordings,
to promote the exchange and dissemination of research and information
about them, and to foster an increased awareness of the importance
of recorded sound as part of any cultural heritage."
History
and Politics Out Loud. A searchable archive of
historical audio resources.
The National
Gallary of the Spoken Word. When completed, this
site will offer researchers a fully searchable online database
of spoken word collections spanning the 20th century. The project
is just beginning.
British Library National Sound Archive [http://www.bl.uk/collections/sound-archive/cat.html].
This link will take you to the catalogue of the British Library
National Sound Archive, which includes entries for almost 2
1/2 million sound recordings. The Catalog "is one of the largest
catalogues of its kind anywhere in the world, covering both
published and unpublished recordings in all genres from pop,
jazz, classical and world music, to oral history, drama and
literature, dialect, language and wildlife sounds."
Indiana
University Archives of Traditional Music [http://www.indiana.edu/~libarchm/].
This "is the largest university-based ethnographic sound archives
in the United States. Its holdings cover a wide range of cultural
and geographical areas, and include commercial and field recordings
of vocal and instrumental music, folktales, interviews, and
oral history, as well as videotapes, photographs, and manuscripts.
As a research and teaching facility, the Archives serves a wide
community of scholars, students, musicians and teachers---on
campus and throughout the world."
Radio
Archive of the University of Memphis. A catalog
of thousands of radio programs broadcast since the 1920s. The
collection is housed in the Microforms Department of the McWherter
Library at the University of Memphis. Copies of audio tapes
can be obtained at very low cost. An incredible resource for
documentarians.
The
G. Robert Vincent Voice Library. An excellent
source of both on-line and original audio. From the Web site:
"The Vincent Voice Library contains over 1100 collections of
spoken word audio recordings. Each collection is described by
an online finding aid that contains information about the collection
in general, and provides a description of and access information
for each recording. In total, there are close to 10,000 individual
recordings described. All the recordings are available for listening
in the Vincent Voice Library. . . . We are currently in the
process of digitizing all the recordings. As material becomes
digitized and copyright restrictions permitting, recordings
will become available on the Web through the links found in
the finding aids."
Conservation
OnLine document library - Preservation of Audio Materials.
The Photographic and Recording Media Committee of the Preservation
and Reformatting Section of ALA has collected a number of links
to online resources, including this one on preservation of audio
resources.
James R. Smart, compiler, Radio Broadcasts in the Library
of Congress, 1924-1941: A Catalog of Recordings (Washington
DD: Library of Congress, 1982).
Michael R. Pitts, Radio Soundtracks: A Reference Guide
(Metuchen, NJ: Scarecrow Press, 1976).
The
Care and Handling of Recorded Sound Materials.
Gilles St. Laurent of the Music Division of the National Library
of Canada focuses on the reservation of audio recordings.
VIDEO ACHIVAL RESOURCES:
Class 4 (Tuesday,
Feb. 14): Interviewing
/ Scripting
History and Theory: The theory and practice of good
cinematic interviews.
Film Analysis: 1) Generational, biographical, family,
and autobiographical documentaries 2) Interviews on camera
- variations
Production Skills: The interviewing process;
introduction to scripting and scripts; the script as a working
document, an organizing and reference guide.
Group Projects: Production teams
continue working on research.
FILMS: Gertrude Stein: When This
You See, Remember Me (Perry Miller Adato, 1971); Georgia
O'Keefe (Perry Miller Adato, 1977); The Unknown Chaplin
(Thom Anderson, 1982); Paul Robeson: Tribute to an
Artist (Saul Turell, 1980); Portrait of Maya Angelous
(David Gruber, 1982); Ida B. Wells (William
Greaves, 1989); The Times of Harvey Milk (Robert
Epstein, 1989); Days of Waiting (Stephen Okasaki,
1989); Shoa (Claude Lanzmann, 1985); Hellfire:
A Journey from Hiroshima (John Junkerman and John W.
Dower, 1986); 7 Up (Paul Almond, 1963); 14 Up
/ 21 Up / 28 UP / 35 UP (Michael Apted, 1970-1991);
Tennessee Williams South (Harry Rasky, 1985); Which
Way EJ? (Brian Mauriello, 1996); The Fog of War (Errol
Morris, 2003); Arguing the World (Joseph Dorman,
1997) [see the following article from Humanities
for background on this film: http://www.neh.gov/news/humanities/1998-01/arguing.html];
Timothy Leary's Dead (Paul Davids, 1997); Nobody's
Business (Alan Berliner); The Rockefellers [Web
site: http://www.pbs.org/wgbh/amex/rockefellers/index.html]
(Elizabeth Deane, 1994); Eleanor Roosevelt [Web site:
http://www.pbs.org/wgbh/amex/eleanor/]
(Sue Williams, 2000); A Midwife's Tale (Laurie Kahn-Leavitt,
1996); Howard Zinn: You Can't Be Neutral on a Moving Train
(Deb Ellis & Denis Mueller, 2004); Once Removed (Julie
Mallozzi, 2005).
Required Readings:
Michael Rabiger, 4th ed., Directing the Documentary,
329-374 ("Interviewing;" "Directing Participants;"
"Directing the Crew;" "Authorship") [3rd
ed., pp. 173-211].
Script example from Barry Hampe's Web site. [Hampe is the
author of Making Documentary Films and Reality Videos]:
http://www.barryhampe.com/work4.htm.
Another example from Hampe's Web site, a shooting script
for his film "Beyond Division: Reunifying the Republic of
Cyprus.": Beyond
Division: Reunifying the Republic of Cyprus.
Documentary Film Templates: Documentary
Writing: Sript Templates.
Script for The Gate of Heavenly Peace: http://www.tsquare.tv/film/transcript.html.
See also https://www.albany.edu/writers-inst/gateofhp.html.
Look at some of the scripts for any of the PBS films aired
on The American Experience. Available on-line at:
http://www.pbs.org/wgbh/amex/archives.html.
Working script (2-column) for Brian D. Mauriello's documentary,
Which Way EJ?: https://www.albany.edu/faculty/gz580/histdocfilms/which_way_ej_script_1.pdf.
We'll use this in class, and compare it to the finished film.
By the way, I was interviewed for this film.
"Crash Landing" - John Warren. Script sample.
On electronic
reserve.
"Transcription sample": On electronic
reserve.
Tips for good creative writing. On electronic
reserve.
Review Assignment:
Write a 3-5 pp. analytical review of Errol Morris' Fog
of War. Make sure your review includes an analysis of:
point of view; composition, style, and form; quality of evidence
and argument; sound and visual production aspects of the film
(camera work, lighting, sound quality, etc.)--and especially
focus on the interview aspects of the production.
Be specific in your discussion, highlighting examples from
the production to make your major points.. Select a segment
of the film that represents either the best or worst aspects
of the film and bring to class the time reference for that
segment.
No Class (Tuesday, Feb. 21):
Vacation
Class 5 (Tuesday,
Feb. 28): The Range of Documentary Work, III (World War
II)
History and Theory: War, propaganda, and documentaries
Film Analysis: Discussion of WWII films, and post-War
productions on the WWII era.
Production Skills: Camera work: mounting, operation,
and shot composition
Group Projects: Continue research
and begin developing rough script..
FILMS: See Film & History guide
to war documentaries at: http://www.h-net.org/~filmhis/documentary_films/war_hot_cold_and_intelligence.htm;
Baptism of Fire [Feuertaufe] (Hans
Bertram, 1940); Campaign in Poland [Feldzug in
Polen] (Frtiz Hippler, 1940); The Eternal Jew [Der
Ewige Jude] (Fritz Hippler, 1940); London Can Take
It (Humphrey Jennings and Harry Watt, 1940); Listen
to Britain (Humphrey Jennings, 1942); Fires Were
Started (Humphrey Jennings, 1943); Berlin (Yuli
Raizman, 1945); Day of Way [Den Voiny] (Mikhail
Slutsky, 1942); Why We Fight series (Frank Capra,
1942-1945); The Negro Soldier (1944); Night and
Fog [Nuit et brouillard] (Alan Resnais, 1955);
Memory of the Camps (Frontline, 1989); Partisans
of Vilna (Nancy D. Kates, Bennett Singer, 1985); Shoa
(Claude Lanzmann, 1985); The Eye of the Third Reich
(Jurgen Stumphaus, 1992); Paragraph 175 (Rob Epstein
and Jeffrey Friedman, 2000).
Required Readings:
Michael Rabiger, Directing the Documentary, 4th
ed., pp. 58-78 ("Evidence and Point of View in Documentary"
and "Time, Development, and Structure"); 143-159
("Screen Grammar"); 287-301 ("Camera Equipment
and Shooting Procedure") [3rd ed., pp. 143-163;
188-206].
Bill Nichols, Representing the Real, pp. 32-75.
Erik Barnouw, Documentary: A History of the Non-fiction
Film, pp. 139-228.
Release forms: 1) Interview (on electronic
reserve.) 2) Location (on electronic
reserve.)
Recommended Readings:
Michael Rabiger, Directing the Documentary, 4th
ed., pp. 160-186 ("Projects: Screencraft Analysis").
Canon XL1 videocamera manual (on electronic
reserve.)
SONY DCR-TRV7 videocamera manual (on electronic
reserve.)
"Acting with a Pencil: Storyboarding your Movie,"
(from exposure.co.uk): http://www.exposure.co.uk/eejit/storybd/
Storyboard template: http://www.exposure.co.uk/eejit/storybd/stor169.gif
Guide to film script terminology: http://www.internetcampus.com/frtv/frtv013.htm
Visions of Light: The Art of Cinematography (Arnold
Glassman, Todd McCarthy,
1993). Excellent film on the history and craft of cinematography.
Assignments:
(1) Take a 2-3
minute segment of any historical
documentary and "deconstruct" it into a two-column
script, with visual elements described in detail on one
column ("in detail" means describing camera angles
and movements, as in "pan from left to right on a group
black-and-white photograph of . . . ") and the parallel
audio descibed -- also in detail -- in the other column.
You may use any of the historical documentaries
in the film lists on this syllabus (note that NOT ALL OF
THEM are historical documentaries. Some are there to illustrate
modes and techniques).
(2) Each member of the production
team will conduct a pre-interview -- an informal interview
which provides you with basic background information about
your informant/expert/subject and allows you to explore
what he/she might have to offer to your project. A pre-interview
helps you finely hone your questions for the formal on-camera
session. The pre-interview need not be taped, although we
do have audio recording kits you can check out, some light-weight
digital SONY camcorders, and an excellent phone-taping station
in the History MultiMedia Lab in Ten Broeck. You should
type up your pre-interview notes and submit them. Please
also share them with your fellow production team members.
Class 6 (Tuesday,
Mar. 7): The Range of (Recent)
Documentary Work, IV: 1950s-present
History and Theory: 1) Documentaries, mockumentaries,
docudramas, and ideology ~ objectivity, subjectivity, and
irony in recent documentary work 2) developing compelling
documentary narrative and story structures
Film Analysis: The boundaries of documentary work;
examples from various productions.
Production Skills: Field audio recording, introduction
to sound design and voice overs.
Group Projects: Rough script/script
outline should be completed by this date.
FILMS: See It Now documentary
series (Edward R. Murrow and Fred Friendly, 1953); Harvest
of Shame (David Lowe; narrated by Edward R. Murrow, 1960);
The Titicut Follies (Frederick Wiseman, 1967); High
School (Frederick Wiseman, 1968); Law and Order (Frederick
Wiseman, 1969); Hospital (Frederick Wiseman, 1970);
Basic Training (Frederick Wiseman, 1971); America
[series] (Michael Gill, 1972); The Atomic
Cafe (The Archives Project/Kevin Rafferty, Jayne Loader,
Pierce Rafferty, 1982); Zelig (Woody Allen, 1983);
Niagara Falls (Larry Hott and Diane Garey, 1985); The
Thin Blue Line (Errol Morris, 1988); Baseball
(Ken Burns, 1993); Mao: The Real Man [mockumentary]
(Szilveszter Siklosi, 1995); The Civil War (Ken Burns);
A Midwife's Tale [A docudrama adaptation of Laurel
Ulrich's prize-winning book, A Midwife's Tale] (Laurie
Kahn-Leavitt, 1996); Raoul Wallenberg: Buried Alive
(David Harel, 1984); The Killing Floor [a docudrama
about labor, interracial strife, and union organizing in the
Chicago stockyards during and after WWI] (Bill Duke, 1985);
Salt of the Earth (Herbert J. Bieberman, 1954); Roger
and Me (Michael Moore, 1989); Thirteen Days [Cuban
Missle Crisis docudrama] (Roger Donaldson, 2000); History
Lessons (Barbara Hammer, 2000); La Commune (Peter
Watkins, 2000); Bowling for Columbine (Michael
Moore, 2002); Fahrenheit 9/11 (Michael
Moore, 2003); Farenhype 9/11 (Alan Peterson, 2004);
This Is Spinal Tap (Rob Reiner, 1984); A Mighty
Wind (Christopher Guest, 2003); George Orwell: A
Life in Pictures (Chris Durlacher, 2003); The Yes
Men ( Dan Ollman, Sarah Price, Chris Smith; 2003); Born
into Brothels (Zana Briski, 2004); Grizzly
Man (Werner Herzog, 2004);
Required Readings:
Michael Rabiger, Directing the Documentary, 4th ed.,
pp. 79-105 ("Time, Development, and Structure";
"Authorship Challenges and Opportunities"; "Re-enactment,
Reconstruction, and Docudrama"); 187-201 ("Projects: Basic
Production"); 313-323 ("Location Sound);" 443-454
("Narration"); also look over pp. 421-427 ("The Paper
Edit: Designing a Structure"), we'll come back to this later
in more detail.
[3rd ed., pp. 207-234 ("Projects: Basic Production");
249-254 ("The Paper Edit: Designing a Structure"),
we'll come back to this later in more detail.; 276-287 ("Narration");
315-366]
Bill Nichols, Representing the Real, pp. 107-198.
Michael Moore, "Factual Back-Up For Fahrenheit 9/11":
http://www.michaelmoore.com/books-films/f911reader/index.php?id=16
Erik Barnouw, Documentary: A History of the Non-fiction
Film, pp. 231-349.
Recommended Readings:
Class 7 (Tuesday,
Mar. 14): Light
Magic / Legal and Ethical Issues
History and Theory: Legal, ethical, and ideological
issues in documentary production
Film Analysis: Documenting the history of mainstream
and radical politics, and foreign affairs
Production Skills: Lighting - indoor and outdoor;
basic 3-point lighting.
Group Projects: Identifying and collecting
B-roll material.
FILMS: Letters from Vietnam
(Drew Associates, 1965); The Anderson Platoon
(Pierre Schoendorffer, 1969); Hearts and Minds
(Peter Davis, 1974); Vietnam: A Television History
(1983) [http://www.museum.tv/archives/etv/V/htmlV/vietnamate/vietnamate.htm];
Seeing Red: Stories of American Communists (Jim Klein,
Julia Reichert, 1983); Nicaragua: Report from the Front
(Deborah Shaffer, Ana Maria Garcia, Glen Silber, 1984); Berkeley
in the '60s (Mark Kitchell, 1990); Coverup: Behind
the Iran Contra Affair (Barbara Trent, 1988); Destination
Nicaragua (Barbara Trent, 1986); Radio Bikini (Robert
Stone, 1987); The Panama Deception (Barbara Trent,
1992);The War Room (Chris Hegedus and D. A. Pennebaker,
1993); The Gate of Heavenly Peace (1995); Father
Roy: Inside the School of the Assassins (Robert Richter,
1997); Beyond Barbed Wire (Steve Rosen, 2001); Haifawi
(Sahera Dirbas and Darwish Abu Rish, 1999); Rebels
with a Cause (Helen Garvey, 2000); The Weather Underground
(Sam Green and Bill Siegel, 2003); Heir to An Execution
(Ivy Meeropol, 2005); When the Mountains Tremble:
The Story of Rigoberta Menchu (Pamela Yates, Newton Thomas
Sigel, 1983; 2004).
Required Readings & Viewings:
- Michael Rabiger, Directing the Documentary,
4th ed., pp.302-312 ("Lighting"); [3rd
ed., pp. 113-152; 164-168].
- Bill Nichols, Representing the Real, pp. 76-103.
- Watch either: 1)
Hearts and Minds or 2) any segment of Vietnam:
A Television History.
Recommended Readings:
Class 8 (Tuesday,
Mar. 21): Post-Production ~ Non-Linear Editing I
/ "Making Stills Come Alive:" Working
with Still Images.
History and Theory: Editing styles and visual grammar;
voice and authorship; theory and practice of visual editing.
Film Analysis: Documenting Cultural History ("high"
culture and "pop" culture)
Production Skills: Introduction to Non-linear editing.
Group Projects: Workin on B-Roll.
FILMS: Don't Look Back (D.A.
Pennebaker, 1967); Civilisation: A Personal View
(hosted by Kenneth Clark, 1969); The Life of Leonardo
Da Vinci (Renato Castalani, 1972); Edgar Degas: The
Unquiet Spirit (1980); The Weavers: Wasn't That a
Time (Jim Brown, Lee Hays, George Stoney1982); A
Crime to Fit the Punishment [on the making of the blacklisted
film, Salt of the Earth] (Barbara Moss & Stephen
Mack, 1982); Norman Rockwell: An American Portrait
(Mary Rawson, 1987; 1993); Thomas Hart Benton (Ken
Burns, 1988);Art of the Western World: From Ancient Greece
to Post-Modernism (hosted by Michael Wood, 1989);
Monet: Legacy of Light (1989);American Visions: The
History of American Art and Architecture (Robert Hughes,
1996); The Impressionists: The Other French Revolution
(Bruce Alfred, 2000); Rockwell Kent: An American Life
(Frederick Lewis, 2005); Jazz (Ken Burns, 2001).
Required Readings:
Selections from the Vegas 6.0 Manual (pp. 47-74
and 97-121). PDF available at http://www.sonymediasoftware.com/download/step1.asp?catid=12.
NOTE: There is only one Vegas 6.0 manual; it specifies which
commands are and are not available in the more basic version
of the program, Vegas Movie Studio 6.0. All assignment
pagination refer to the on-line PDF manual.
Michael Rabiger, Directing the Documentary,
4th ed., 407-442 ("Postproduction Begins;" "The
Paper Edit: Designing a Structure;" Editing: The First
Assembly;" "Editing: The Process of Refinement").
[3rd edition: pp. 241-275].
Tape Logging (see "Tape Logging" on electronic
reserve.)
Recommended Readings:
Film editing glossary: http://www.learner.org/exhibits/cinema/editing2.html
Film and Editing terms: http://www.zerocut.com/tech/film_terms.html
The Art of Film Edition (from p.o.v. Aarhus
University, Denmark): http://imv.au.dk/publikationer/pov/Issue_06/POV_6cnt.html
The Cutting Edge: The Magic of Movie Editing (Wendy
Apple, 2004). Superb film about the history and craft of film
editing. A must see!!
If you want to use Adobe Premiere to edit, check out: http://www.rice.edu/fondren/erc/howto/ap.html
Assignment:
All class members responsible for signing out one of
the cameras -- or using their own -- and collecting B-roll
footage relevant to your production team's project. Bring
your footage in to share with the class and with your production
group.
Class 9 (Tuesday,
Mar. 28): Editing II
History and Theory: Developing the visual edit.
Film Analysis: Documenting: 1) Environmental History
2) Public Policy History 3) Local and Regional History
Production Skills: Non-linear editing, continued;
Still movement; assembly editing (or "string-out");
sample reels.
Group/Individual Projects: B-roll
due. Interviews should be set up by now and you should be
starting to collect them. Log all tapes!!
FILMS: No Place to Hide
(Tom Johnson and Lance Bird, 1982); Half Life (Dennis
O'Rourke, 1986); Radio Bikini (Robert Stone, 1988);
The Wilderness Idea (Lawrence Hott and Diane Garey,
1991); Wild by Law (Lawrence Hott and Diane Garey,
1991); Mike Camoin, Inside the Blue Line: Leadley's
Legacy (1997); From Danger to Dignity: The Fight
for Safe Abortion (Dorothy Fadiman, Beth Seltzer, Danier
Meyers, 1995); Chernobyl Heart (Maryann DeLeo, 2003);
Meltdown at Three Mile Island (Margaret Drain, Chana
Gazit, David Steward, 1999);
Required Readings:
Class
10 (Tuesday, Apr. 4): Guest Speaker: Larry Hott (Florentine
Films)
Group Projects: String out/first
assembly due around this time. Primary interview should be
completed. Secondary interviews should be set up and taking place.
FILMS: Blue Vinyl (Daniel
B. Gold, Judith Helfand; 2002); History Through Deaf Eyes
(Larry Hott and Diane Garey, in production); Audubon:
Drawn from Nature (Larry Hott and Diane Garey, in production).
Both films will be the subject of Hott's presentation. More
information on the two films may be found at the Hott Productions
Web site: http://www.florentinefilms.org/inproduction/index2.htm.
Required Readings:
Michael Rabiger, 4th ed., Directing the Documentary,
462-469 ("Using Music and Working with a Composer");
additional readings to be announced.
Read Louis Menand, "Nanook and Me" [on electronic
reserve].
Looking for sound tracks? Check out the Open Sound Exchange
at http://www.opsound.org/.
(Tuesday, April 11): NO CLASS
Class 11 (Tuesday,
Apr. 18): Documentary Shorts: Structure and Function
in Cinematic Composition
History and Theory: Experimenting with temporal
and structural elements in visual storytelling.
Film Analysis: Documenting the history of science,
technology, and medicine.
Production Skills: From rough cut to fine cut.
Group Projects: Rough cut due.
FILMS: The Day After Trinity
(John Else, 1980); Edison's Miracle of Light (Matthew
Collins and John Walter, 1995); Hoover Dam (Stephen
Stept, 1999); The Iron Road (Neil Goodwin, 1990);
The Pill (Chana Gazit, 2003); The Wizard of Photography
(James A. DeVinney, 2000); Tuberculosis in America (Diane
Garey and Larry Hott, 1995); Sentimental Women Need Not
Apply: A History of the American Nurse (Lawrence Hott
and Diane Garey, 1988); Secret People: The Naked Face
of Leprosy in America (John Anderson & Laura Harrison,
1999); Dear Dr. Spencer (Danielle Renfrew and Beth
Seltzer, 1998); The Harriman Alaska Expedition Retraced
(Lawrence Hott and Diane Garey, 2002);
Required Readings:
Michael Rabiger, Directing the Documentary,
455-461 ("Editing: The End Game"); 470-486 ("Editing:
From Fine Cut to Sound Mix" and "Titles and Acknowledgments").
[3rd edition: 288-302].
Selections from Vegas 6.0 (pp. 223-229; 267-286).
Assignment (Optional/Extra Credit):
There are two mini-DV tapes with some short archival clips
that came from the National Archives II, College Park, Maryland.
Your assignment is to compose a short, highly focused documentary
(3-5 minutes) utilizing one or more of these clips. You will obviously
need to add other elements to make these archival clips into documentaries:
additional visual elements, sounds, narration, music, etc.
We will discuss your compositions in class. Be prepared to talk
about why you chose to construct the documentary in the way you
did--which visual and sound elements you were drawn to, what essential
points you were trying to communicate, what sort of compromises
between aesthetics and authenticity you were forced to make, and
so on.
Class 12 (Tuesday,
April 25): Advanced Postproduction Work
History and Theory: The History of labor documentaries
Film Analysis: Documenting Labor, Business, and Economic
History
Production Skills: Troubleshooting technical problems
of production teams;
Group Projects: Groups should be
working on fine cut.
FILMS: The Uprising of '34 (Judith
Helfand and George Stoney, 1995); Union Maids (Jim
Klein, Miles Mogulescu, Julia Reichert, 1976); The Life
and Times of Rosie the Riveter (Connie Field, 1980);
Daughters of Free Men (American Social History Project,
); Tea Party Etiquette (American Social History Project);
Heaven Will Protect the Working Girl (American Social
History Project); Company Town [Schenectady] (WMHT),
The Great Sit Down, The Homefront, The
Wobblies, Brass Valley, 1877: The Grand
Army of Starvation (American Social History Project);
The River Ran Red, , The Global Assembly Line,
Controlling Interest, With Babies and Banners,
, Harlan County, USA, Clockwork, Bullet
Bargaining at Ludlow, The Great Sitdown, Miles
of Smiles, Years of Struggle, The Women of Summer,
Business of America, Minimum Wages: The New Economy,
The Great Depression, Out of the Depths: The
Miners' Story, Our Land Too!: The STFU, Roger
and Me, Cesar Chaves and the Farmworkers' Movement;
Clara Lemlich: A Strike Leader's Diary (Alex Szalat,
2004).
Required Readings:
Selections fromVegas 6.0 and/or Final Cut manual (to be announced
in class).
Recommended Readings and WWW Resources:
Labor documentaries: http://www.lib.berkeley.edu/MRC/LaborVid.html
Tom Zaniello. Working Stiffs, Union Maids, Reds, and Riffraff:
An Expanded Guide to Films About Labor. By Ithaca, NY,
ILR Press, 2003.
"George Stoney, Documentary Filmmaking, and the Uprising
of '34." Interview with George Stoney, by Gerald Zahavi,
September 23, 2004. Part 1: Real
Media. MP3.
Time: 30:04; Part 2: Real
Media. MP3.
Time: 18:40. Originally aired on Talking
History. The interview focuses on Stoney's various
projects, including field work under Howard University's Ralph
Bunch for Gunnar Myrdal's An American Dilemma: The Negro
Problem and Modern Democracy, and collaborations on over
50 films, including the historical documentary, "The Uprising
of '34." Stoney has taught filmmaking at NYU for more than three
decades.
Class 13 (Tuesday,
May 2): The Economics of Documentary Production
/ Distributing and Showing Your Documentaries
History and Theory: Women's history and gender history
on film; introduction to feminist documentary theory and practice
Film Analysis: Documenting racial, ethnic, and gender
history
Production Skills: Troubleshooting technical problems
of production teams; DVD authoring.
Group Projects: Fine cut due.
FILMS: When Abortion Was Illegal
(Dorothy Fadiman and Daniel Meyers, 1992); The Times
of Harvey Milk (Robert Epstein and Richard Schmeichen,
1984); Ethnic Notions (Marlon Riggs, 1986); Before
Stonewall (John Scagliotti, Greta Schiller, Robert Rosenberg,
1984); Eyes on the Prize series (Henry Hampton, 1990);
Slavery and the Making of America (Chana Gazit,
2005); Five Points (American Social History Project);
Up South (American Social History Project); The
Rise and Fall of Jim Crow (Richard Wormser, 2002); The
Long Way Home (Mark Jonathan, 1997); Not for Ourselves
Alone: The Story of Elizabeth Cady Stanton and Susan B. Anthony
(Ken Burns, 1999); After Stonewall (John Scagliotti,
1999); Chicano!: The History of the Mexican-American Civil
Rights Movement (NLCC Educational Media, 1996); In
the White Man�s Image (Christine Lesiak , 1991); Who
Killed Vincent Chin? (Christine Choy Renee Tajima-Pena,
1987); Of Civil Wrongs and Rights: The Fred Korematsu
Story (Eric Paul Fournier, 2000; Ida B. Wells: A
Passion for Justice (American Experience, PBS Video);
Out of Obscurity: The Story of the 1939 Alexandria Library
Sit-In (2000); Two Towns of Jasper (Whitney
Dow, Marco Williams, 2002 / POV Series, PBS); The Murder
of Emmett Till (Stanley Nelson, 2003 / American Experience,
PBS); Brother Outsider: The Life of Bayard Rustin
(Nancy D. Kates and Bennett Singer, 2003 / POV Series, PBS);
Four Little Girls (Spike Lee, 1997); The Life
and Times of Sara Baartman "The Hottentot Venus" (Zola
Maseko, 1998); Changing Our Minds: The Story of Dr. Evelyn
Hooker (Richard Schmiechen, 1991).
Readings:
Michael Rabiger, 4th ed., Directing the Documentary,
528-535 [3rd ed., 381-387]
WWW Links:
Women Make
Movies
The
History Channel
IFC
(Independent Film Channel).
Film Festivals:
Recommended Readings:
Gay, Lesbian, Bisexual, and Transgender Studies Documentaries:
see http://www.lib.berkeley.edu/MRC/GayVid.html#gaydocu
Janet Walker and Diane Waldeman. Feminism and Documentary.
University of Minnesota Press, 1999.
Class 14 (Tuesday,
May 9): Picture lock due. Project Screeenings
MAY 17: FINAL
SCRIPT AND DOCUMENTARY TAPE/DVD DUE.
I'll be in my office all day to receive
your final projects.
~ End ~
Readings and Practicum in Historical Film and Video Documentary
Production ~ Course Syllabus
Copyright © 2006 by Prof. Gerald Zahavi
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