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JOHN CABOT UNIVERSITY

COURSE CODE: "DMA 331"
COURSE NAME: "Documentary Workshop"
SEMESTER & YEAR: Fall 2015
SYLLABUS

INSTRUCTOR: Erika Tasini
EMAIL: [email protected]
HOURS: T3:30 PM 6:15 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: Prerequisite: COM 230
OFFICE HOURS: by appointment

COURSE DESCRIPTION:
In this production workshop, students will investigate different approaches to documentary cinema as well as the various techniques available for telling a story in documentary form. Students will apply the acquired theoretical notions in three practical exercises: a location sketch, an interview and a personal essay film. At the end of the workshop, students will have three short films and a deeper understanding of the conceptual, aesthetic as well as ethical issues involved in documentary filmmaking.
SUMMARY OF COURSE CONTENT:
This course will provide the students with an overview of documentary techniques through screenings, discussion and shooting exercises.
LEARNING OUTCOMES:

 

Upon completion of this course, students should be able to:

 

 

Develop an understanding of documentary techniques and their relationship to the filmmaker’s intentionality when telling a story in documentary form. Recognize and analyze different types and modes of documentary filmmaking.

 

Master the process of making a documentary short, from initial conceptualization to the final postproduction completion.

 

Show three short projects that they have completed in this course.

 

Understand how to communicate with the subjects of their documentary.

 

Be aware of the ethical issues involved in documentary filmmaking.

 

Demonstrate the ability to work in teams.

 

Demonstrate the ability to relate the importance of research and planning, and critical

thought to the success of documentary motion pictures.

 

Demonstrate the ability to present material viewed in class and out orally to their peers,

critique their own and their colleagues’ work, produce oral presentations to go along with the

screening of their daily rushes and final cuts, and justify their creative choices every step of the

way material not covered in class and presenting it orally to the class.

TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
INTRODUCTION TO DOCUMENTARY, second editionBill Nichols,Indiana University PressISBN-13: 978-0253222602      
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Attendance and class participation 20%
written test on reading material 15%
Location Exercise 15%
Interview Exercise 20%
personal essay film  30%

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the cou
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.

-ATTENDANCE REQUIREMENTS:

This class is a WORKSHOP -- Attendance and participation constitute 20% of your final

grade. More than 3 unexcused absences will result in an F (Fail) grade for Attendance &

Participation. More than 5 unexcused absences will result in failing the course. If

unexcused, a tardy of more than 15 minutes will be counted as an absence. Leaving class

early will also affect your grade.

ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.

SCHEDULE

Course Schedule
NB: COURSE SCHEDULE SUBJECT  TO CHANGE!

 

WEEK 1

Intro to class, requirements, deadline, exercises.

What is a documentary? 

What types of documentary?
Where to look for ideas for a documentary?

Starting to work on a documentary: how much do you need to know?  

The filmmaker’s point of view: Having your thesis vs discovering your topics.

Writing: narrative vs documentary filmmaking. 

In documentary, the actual writing happens in the editing room.

The importance of research!

 

 

WEEK 2

The Observational documentary.

Screening: Grey Gardens, Maysles Brothers

                

Reading: Bill Nichols, Chapt 1“The Domain of Documentary”, Representing Reality

                                     Chapt 2 “Documentary modes of Representation”, Representing Reality

              

Students pitch their location sketch exercise ideas.

 

 

 

WEEK 3

Documentary approaches and techniques:

-Interviews

-B-rolls

-Voice Over narration

-Found/Archival/Public Domain footage

-Re-enactments

-Director’s presence through voice. 

-Director featured in documentary

 

Clips from Man with a movie camera, D. Vertov

                  Salesman, The Maysles Brothers

                  When we were kings, L. Gast

                  

Reading: Bill Nichols, Chapt 4 “Telling Stories With Evidence and Argument”, Representing Reality

 

SHOOTING WORKSHOP: Reviewing camera/lighting operations.

 

Week 4

LOCATION SKETCH (2/3 mins) DUE TODAY. The students create a visual/aural portrait of a setting, capturing the mood, the feeling, thus the identity of this location. No voice over can be featured!

Screening of Location Sketches 1/6. Feedback

 

WEEK 5

Screening of Location Sketches 7/12. Feedback

 

The paramount importance of sound in documentary: 

Guest lecture by sound recordist Marco Saveriano.

 

WEEK 6

Making a documentary with talking heads.

 

Screening: The Thin Blue Line, Errol Morris

 

Reading: Errol Morris, Interview, The MOMA with Ron Rosenbaum

http://errolmorris.com/content/interview/moma1999.html

 

WEEK 7

About Interviewing:

Choosing your subject.

It’s a matter of trust: how to earn the subject’s trust.

When to start the camera.

Pros and cons of documentaries which heavily rely on interviews.

 

Clips: Portrait of Jason, Shirley Clarke

          Control Room, Jehane Noujaim

          Dark Days, M. Singer

         Taxi to the Other Side, A. Gibney

 

Reading: Bill Nichols, “The Ethical Issues of Documentary” (hand out)

 

Students pitch their idea for the INTERVIEW ASSIGNMENT

INTERVIEW ASSIGNMENT: The students schedule, prepare and shoot an interview with a subject of their choice. They will edit and show a 3/5 minute segment of this interview – the segment must have a unity and feel like a completed piece!

 

WEEK 8

INTERVIEW ASSIGNMENT DUE TODAY

 

Screening of Interviews 1/6 and feedback

 

WEEK 9

Screening of Interviews 7/12 and feedback

 

 

WEEK 10

The Personal Essay Film.

 

Screening: The Gleaners and I, Agnes Varda

 

Reading: Laura Rascaroli The Essay Film: Problems, Definitions, Textual

Commitments; in Framework 49, No. 2, Fall 2008, pp. 24–47.

 

QUIZ 1: on the films and the reading we discussed between week 1 and week 9.

 

WEEK 11

The Personal Essay Film, continued.

Clips: Sans Soleil, Chris Marker

           Letter to Jane, Godard/Gorin

           This is Not a Film, Panahi

 

How to think of your PERSONAL ESSAY FILM IDEA, due on week 12.

Students choose a topic and personal approach (direct cinema? Voice over narration? Subjective pov/ on camera presence of the filmmaker? Commentary on found footage?)  The goal of this project is  to express the director’s sensibility and approach to the subject, hence the name ‘personal essay”.  The word “Personal” defines the approach, but it can be a socially/politically themed documentary (see Italy Love it or Leave it and This is Not a Film)

Required length 4/5 minutes. Better make a short but controlled film! Like the two previous exercises, it must feel like a finished and coherent piece, and not just an incomplete segment!

 

-Documentary mode: the filmmaker is the subject of the documentary.

 

Screening: Italy Love it or Leave it, by Luca Ragazzi & Gustav Hofer

Prepping for meeting with directors (week 13)

 

WEEK 12

Proposals for final PERSONAL ESSAY FILMS are due today!

All directors pitch and receive feedback on their ideas.

 

WEEK 13

GUEST SPEAKERS:

Conversation with Documentary directors Luca Ragazzi & Gustav Hofer.

 

WEEK 14

Screening of completed PERSONAL ESSAY FILMS and feedback

(Directors 1/6)

 

WEEK 15 (exam time)

Screening of completed PERSONAL ESSAY FILMS and feedback

(Directors 7/12)

QUIZ 2: on films/reading we explored between week 10 and 15.

 

 

No late assignments (pitches and exercises) will be accepted. Only students who pitch their ideas will be able to show their work in class.

Students enrolled in this class are required to have their own external hard drive where they can save and store their editing projects.

On the last session, every student is required to provide the instructor with his/her three short pieces on a DVD or USB key.