Media Arts 370: Introduction to Documentary Production Spring 2004
UMAR 370-01:
Tuesday
Matthew J. Martinez Phone: 896-8589 (w)
Michael Mizell-
Required texts:
Alan
Rosenthal Writing, Directing, & Producing Documentary Films & Videos,
3rd. Ed. (2002)
Additional
assigned readings distributed via web, library reserve, and class handouts.
From shorts to features, this lecture course analyzes techniques and procedures in documentary production and direction, and considers past and contemporary innovative works in documentary film and video.
The course examines the documentary as a form of
communication. The class explores the
documentary within an interdisciplinary approach, including historical,
technical, and aesthetic perspectives, as well as practical planning for a
documentary project.
Topics include finding and telling a story, doing
research, writing a proposal, defining the production approach, and managing
postproduction. Media ethics and legal
issues are also considered.
Activities center on written treatments focusing on
local and regional topics. Other work
includes program analysis to define the concepts, styles, and language of
motion pictures, specifically within the documentary. The class views programs that illustrate
change and continuity in the documentary tradition, from silent-era origins to
web-based applications.
Students
focus conceptually on the production process to understand the organizational
and technical skills involved in making a documentary. Each class member develops a professional
written proposal that describes a documentary project, with emphases on
detailed project planning, budgetary considerations, and production support.
Goals and
Objectives
Through
lectures, readings, screenings, research, in-class discussion, and written
assignments, participants will gain fuller understanding of documentary
fundamentals. In addition, each
participant will prepare a documentary proposal that describes in detail a
planned program, including aesthetic, technical, and financial
perspectives. Proposals will be
evaluated according to standard professional practices. Class members review projects-in-development
as group exercises. Students also create
visualizations for the proposals.
The following schedule describes particular topics
to be addressed in the course and provides a week-to-week overview of class
activities. Many activities (i.e.
readings, discussions, and proposal development) will occur throughout the
entire course schedule. Supplemental
class materials will be presented weekly.
Jan. 20 The Mass Communication Mode
Analyze mass communication
concepts; discuss motion picture traditions and reality-based television.
Jan. 27 Defining
the Documentary
Gain an understanding of
cinema language and styles, through in-class screenings and shot analyses. Readings:
Rosenthal, chapters 3 & 4
Feb. 3 Challenges in Defining the Documentary
Recognize and describe the
documentary broadly in form and content.
For next week, prepare a one-page draft of an abstract.
Feb. 10 One-page proposal abstract draft due
The Documentary Production Process
Present
the actual documentary production process, through
in-class screenings, program
breakdowns, and camera exercises.
Readings: Rosenthal, chapters 7 & 8
Feb. 17 Planning
a Potential Documentary Project
An introduction to the concepts involved in developing a documentary proposal,
including the details of materials and medium.
Mar. 2 First Exam
First draft of project narrative due at the
beginning of class
Mar. 9 Researching
and Developing a Potential Documentary
Class will meet in an
archive TBA.
After introduction to the
archive, research will begin. Archive
staff will suggest topics and assist in identifying archival resources. You may
choose to use other local archives and other topics.
Guest Lecture: Archivist
Readings: Rosenthal, chapter 14
Mar. 16 Final
draft of proposal abstract due
Producing a Documentary
Develop an understanding of how to manage all the elements exercised in producing a documentary, bringing it to final form, and distributing it to audiences.
Mar. 23 The
Documentary Historically
Examine the form’s evolution in the twentieth century and
beyond.
Mar. 30 Rough draft of visualizations due
Documentary Production in the New Media Age
Guest
Lecture: TBA
and sections from http://www.dohistory.org
Apr. 6 Completing
a Professional Project Proposal
Examine completed
documentary projects in relation to their original project proposals.
Apr. 13 Students present their individual project
descriptions.
Presenting and Evaluating Proposed Documentary
Projects
Class is actively engaged in the process of submitting and critiquing documentary project proposals.
Apr. 20 Visualization and Storyboard Development
Groups continue work on projects.
Apr. 27 Final
class of semester
Students present visualizations.
Reconsidering What We’ve Learned
Course review for final exam.
(Date) Graded assignment & its
Value (percent)
(3/2) First Exam 20%
(3/16) Proposal
abstract 15%
(4/13) Project
description 20%
(4/27) Visualization 10%
(5/4) Final
Exam 20%
Written assignments 15%
For
this last component, the class will conduct brief in-class assignments weekly;
including both announced and “pop” quizzes, and written exercises. These may be made up only if the student
experiences an excused absence.
The
instructors reserve the right to modify the schedule and activities described
in the syllabus; and observe the policies regarding attendance, assignments,
plagiarism, disciplinary action, etc., as stated in the applicable