Film 106: Introduction to Documentary Media
Screenings: Thursday 7pm to 10pm, Avery 110
Lectures: Friday 9:30am to 12:30pm, Avery 110

Professor Ed Halter
halter at bard dot edu
Office: Avery 220
Office hours: Thursday 5:00 to 7:00, by appointment


Description
An introductory historical survey of the documentary, from the silent era to the digital age. Topics addressed will include: how to define nonfiction cinema and documentary, the social issue documentary of the 1930s, cinema verite, propaganda, ethnographic media, the essay film, experimental documentary forms, media activism, re-enactment, transgression and taboo, and the role of changing technologies.

Requirements
Attendance at all lectures and screenings; a weekly report on a documentary seen outside of class; an in-class midterm exam, and an in-class final exam. Both midterm and final exams are essay format, and will be based on material found in the films, the lectures, and the weekly readings.

With permission of the instructor, you may replace your final exam with a final research paper on a topic of your choice, 15-18 pages. If you wish to do so, you must first set up an appointment to meet with me no later than April 8 to discuss, then turn in a one-page topic summary with preliminary bibliography of at least four sources no later than April 22. The final paper will be due in class on May 7.

Attendance
In order to be counted for attendance purposes, you will need to sign the attendance book at the beginning of each lecture and screening. Attendance is mandatory at all lectures and screenings, and attendance to both will count towards your grade. Three absences and your grade automatically drops a full letter. More than three and your grade drops two.

Please note that I don’t differentiate between “excused” or “non-excused” absences for this purpose. Should you foresee any problems meeting this attendance requirement at any point in the course, contact me immediately.

Readings
Many of the weekly readings will be taken from the following books, available at the Bard bookstore:

Erik Barnouw, Documentary: A History of the Non-Fiction Film, 2nd Edition, 1993
Bill Nichols, Introduction to Documentary, 2001

Other readings will be linked from this syllabus directly or found on Reserveweb. Please have your readings done by class and ready to discuss; it is recommended that you bring specific questions about anything you don’t fully understand or would like more information about.

Weekly Reports
Each week you will hand in a one-page report—no less than 250 words, no more than 500—about a documentary seen outside of class. This could be a documentary you have seen in the past and remember well, one belonging to the film department video library, one you rent or borrow, something you see at a screening outside this class, or something you watch online, but it cannot be a documentary that is listed on this syllabus at any point or that we've seen in class together.

Your job will be to relate the documentary you have seen to questions and ideas you have encountered in the readings and lectures. This last point is important: don't just summarize the film you've seen--you must bring in ideas from the rest of the course. Reports must be printed out and handed in at the beginning of class. Late or emailed reports will not be accepted. Your reports will be graded on grammar, style and content as follows:


Check plus: assignment completed with strong ideas and few or no composition or information errors.
Check: assignment completed with strong ideas and two to four composition or information errors.
Check minus: assignment completed with weak ideas and/or four or more composition or information errors
Zero: assignment not completed or not handed in.


Taking Notes
Since you will be able to use your notes during the midterm and final, it is highly recommended that you take notes when reading, at lecture, and during the screenings. Please note that some of the films are not available on video, and therefore can’t be reviewed before your exams, so you own notes may be crucial. (If you have difficulty taking notes while watching a film, jot them down quickly after the film is over.)

Grading Rubric:
Weekly reports:            34%
Midterm:                       33%
Final:                              33%

Schedule

Week 1
January 28 – Screening
Thom Andersen, Eadweard Muybridge, Zoopraxographer (US, 1975, 59 mins)
January 29 – Introduction

Week 2

February 4
Paul Strand and Charles Sheeler, Manhatta (US, 1921, 10 mins)
Ralph Steiner, H20 (US, 1929, 12 mins)
Robert Flaherty, Nanook of the North (US, 1922, 79 mins)
February 5
Barnouw, “Explorer” and “Painter,” 1-51 and 71-81
William Rothman, “Nanook of the North”
Nichols, "How Did Documentary Filmmaking Get Started?"


Week 3
February 11 – Screening
Walther Ruttman, Berlin: Symphony of a Great City (Germany, 1927, 62 mins)
Dziga Vertov, Man With the Movie Camera (USSR, 1929, 68 mins)
February 12
Barnouw, “Reporter,” 51-71
Dziga Vertov, “WE: Variant of a Manifesto”
Nichols, "What Types of Documentary Are There?"


Week 4
February 18 – Screening
Guest artist in person: Naomi Uman (info: 1 2 3)
February 19
Screening in class:
Pare Lorenz, The Plow that Broke the Plains (US, 1936, 25 mins)
Basil Wright & Harry Watt, Night Mail (UK, 1936, 25 mins)
Joris Ivens, Power and the Land (US, 1940, 38 mins)
Barnouw, “Advocate,” 85-139
Nichols, "What Gives Documentary Films a Voice of Their Own?"
John Grierson, “First Principles of Documentary”
Paul Rotha, “Some Principles of Documentary”

Week 5
February 25 – Screening
Humphrey Jennings, Listen to Britain (UK, 1942, 18 mins)
Leni Reifenstahl, Triumph of the Will, (Germany, 1935, 120 mins)
February 26
Screening in class:
Frank Capra, Why We Fight: Prelude to War (US, 1943, 53 mins)
Barnouw, “Bugler,” 139-172
Nichols, "What Are Documentaries About?"
John Grierson, “The Nature of Propaganda”
André Bazin, "On Why We Fight: History, Documentation, and the Newsreel."
Recommended: Susan Sontag, “Fascinating Fascism”

Week 6
March 4 – Screening
Georges Franju, Blood of the Beasts (France, 1949, 20 mins)
Alain Resnais, Night and Fog (France, 1955, 32 mins)
Albert & David Maysles, Salesman (US, 1968, 91 mins)
March 5
Barnouw, “Prosecutor” and “Observer,” 172-182 and 231-253
Interview with Albert Maysles and Charlotte Zwerin on Salesman
Peter Graham, “’Cinema-Verité in France”

Week 7
March 11 – Screening
Barbara Kopple, Harlan County, USA (US, 1976, 103 mins)
March 12
Screening in class:
Patricio Guzmán, The Battle of Chile: Parts One and Two (Venezuela/France/Cuba, 1976, 184 mins)
Barnouw, “Catalyst,” and “Movement,” 253-261, 295-349
Nichols, "How Have Documentaries Addressed Social and Political Issues?"
E. Ann Kaplan, "Harlan County, USA: The Documentary Form"
Peter Biskind, “Harlan County, USA: The Miners’ Struggle”

Week 8
March 18 – No screening
March 19 – Midterm exam

March 25 – Spring Break
March 26 – Spring Break

Week 9
April 1 – Screening
Robert Gardner, Forest of Bliss (US, 1986, 99 mins)
April 2
Screening in class: Trinh T. Minh-ha, Reassemblage (US, 1983, 40 mins)
Robert Gardner, “Anthropology and Film”
Interview with Trinh T. Minh-ha by Constance Penley and Andrew Ross


Week 10
April 8 – Screening
Chris Marker, Sans Soleil (France, 1983, 100 mins)
April 9
Screening in class: Luis Buñuel, Land Without Bread (Spain, 1933, 30 mins)
                                  
Harun Farocki, Inextinguishable Fire (West Germany, 1969, 25 mins)
Catherine Russell, “Autoethnography: Journeys of the Self”
Phillip Lopate, "In Search of the Centaur: The Essay Film"

Week 11
April 15 – Screening
Errol Morris, The Thin Blue Line (US, 1988, 103 mins)
April 16
Screening in class: Elisabeth Subrin, Shulie (US, 1997, 37 mins)
Elisabeth Subrin, "Trashing Shulie: Remnants From Some Abandoned Feminist History"
Linda Williams “Mirrors Without Memories: Truth, History and the New Documentary”

Week 12
April 22 – Screening
Hara Kazuo, The Emperor's Naked Army Marches On (Japan, 1987, 122 mins)
April 23
Jeffrey Ruoff, “Japan’s Outlaw Filmmaker: An Interview with Hara Kazuo”
Laura U. Marks, "I Am Very Frightened of the Things That I Film"


Week 13
April 29 – Screening
Paul Chan, Baghdad in No Particular Order (USA, 2003, 51 mins)
Judith Helfland, A Healthy Baby Girl (USA, 1997, 57 mins)
April 30
Read thoroughly:
the website for A Healthy Baby Girl
the website for Baghdad in No Particular Order
the WITNESS website
the News Games blog

Week 14
May 6 – no screening

May 7 – final exam

Week 15
May 13 – completion week, no screening
May 14 – completion week, no class

Online sources for viewing documentaries:

Google Video
Youtube
Hulu

BBC Documentaries
PBS Frontline
Internet Archive
National Film Board of Canada
UBUWEB: Film & Video
Freedocumentaries.org

Documentary exhibitors

Flaherty Film Seminar
Full Frame
Hot Docs
International Documentary Festival Amsterdam
Silverdocs
Stranger than Fiction
True/False

Other resources

Center for Social Media: Fair Use & Copyright
International Documentary Association
MediaRights.org
My delicious feed tagged “documentary”

 

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