DOCUMENTARY

Unit Description

This unit provides learners with the contextual backdrop to the documentary format, looking at a variety of practitioners and styles. Learners will then put this understanding into practice by developing their own documentary production and will develop the full range of skills needed from researching and planning through to the production process. The unit builds on pre-production and proposal writing, production and production management skills and provides opportunities to develop advanced specialist skills such as interview and presentation techniques and the professionalism required when working with the public.

Assignment Tasks:

• 15-minute video presentation
• Proposal
• Short documentary film
• Post screening discussion

Texts:

• Rabiger, Michael (1998) Directing the Documentary. 4^th Edition. Boston: Focal Press
• Nichols, Bill. (2001). Introduction to Documentary. Bloomington, IN: Indiana University Press. (Excerpts from this text)
• Rosenthal, Alan (1996) Writing, Directing, and Producing Documentary Films and Videos. Carbondale, IL: Southern Illinois University Press.

Schedule:

SEPT 11:       Introduction to the unit.  Lecture: What is a documentary? A look at history of non-fiction storytelling. Screening short and feature length documentary films. READ: Nichols, Chapter 1

SEPT. 18: Visual Style in Documentary. Types of Documentaries I – expository and poetic modes. Screening of documentary films. READ: Nichols, Chapter 6.

SEPT 25:       Visual Style in Documentary. Types of documentary II – observational, participatory, reflexive and performative modes.  Screening of documentary films. READ: Nichols, Representing Reality.

OCT. 02:        Visual Style in Documentary. Other styles and approaches - re-enactment, animation.  Screening of documentary films.

OCT. 09:      Scriptwriting for documentary. Lecture: Character, structure and narrative. The development of ideas. The audience. Interviewing tips, tricks and techniques. READ: Rosenthal, pgs 30-60; “How to Write a Documentary Script"; Rabiger, Chapters 11 & 24.

OCT. 16:       Developing your documentary. Lecture: Proposals, Treatments, Scripts, etc. Pre-production: permits, scheduling, equipment lists. READ: abiger, Chapters 15-18; Rosenthal, Chapter 9.

OCT. 23:      Ethics & Engagement. Why are ethical issues a major aspect of documentary filmmaking. Challenges in documentary filmmaking.

OCT. 30:    Task 1: Shoot, edit and submit Task 1 during class no later than 5:30 pm. Task 2: Documentary proposal due no later than 11:59 pm later than 5:30 pm.

NOV. 06:       Using the camera to tell a story II. Lecture: Camera and narrative – visualising the documentary. Composition – framing, focus and movement. Ideas discussion and development. Equipment exercise and practice.

NOV. 13:       Using the camera to tell a story II. Lecture: Guerilla style documentary. Equipment exercise and practice. READ: Rosenthal, Chapter 13.

NOV. 20:       Sound is half the story. Interview recording on location and in-studio. Sound design for documentary films. Equipment exercise and practice.

NOV. 27:       Post Production 1. Editing session – Importing, logging, begin the rough edit.

DEC. 04:       Post Production 2. Editing session – Fine edit, Picture Lock.  ROUGH CUT SCREENING FOR LECTURER FEEDBACK

DEC. 11:       Post Production 3. Finishing, Titles and Audio dub, Exporting. Critical evaluation seminar

*DEC. 13:      Task 3 (Final Documentary film) and Task 4 (Panel Discussion) due no later than 9:15 am. Both tasks will be executed during class session.

*Please note that this is a Friday.

Policies

Professionalism

Please respect the classroom environment. You should pay attention to the lecture, take notes, and avoid distractions, such as web surfing and using your mobile phone. Studies have consistently shown that students using laptops and mobile phones perform about 11% worse than students who are not distracted by these devices. If I find you engaging in disruptive behavior, such as watching online videos, passing notes, instant messaging, chatting, or texting, I will remove you from the classroom and have you withdraw from the class.

Late Attendance

This class will feature many guest speakers from the industry, who will share their valuable knowledge and experience with you. Please do not come to class more than 15 minutes late. This is disrespectful to your peers and our guests. If you think you will be more than 15 minutes late then perhaps it is best you not attend.

Late Work and “Incomplete” Grades

Please submit your work on time. Late work will not be accepted. Exceptions will only be made in the case of a documented emergency or extenuating circumstance such as a major personal medical issue, a death in the family, serious illness of a family member, or other situations beyond your control.

If you have difficulty keeping up with coursework, consider giving yourself extra time to complete assignments, reducing your overall course load, and/or taking this class at a later semester.

Mobile Phones

Please silence your mobile phone (power down the phone or set to “Airplane” mode) and place in the box at the front of the class. Once again, if you are caught watching online videos, passing notes, instant messaging, chatting, or texting, I will remove you from the classroom.

Email

Please check your official email account (the one you have been using to submit assignments) on a daily basis, if not more frequently. I will broadcast announcements and send information an d updates using your official email address.

Plagiarism

Your written assignments must be submitted via TurnItIn where they will be checked for plagiarism. If I find any evidence of plagiarism (portions of text that have been lifted from another source without proper citation and referencing) in your submitted work, you will receive an immediate Referral.