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Graduate Programs giving students the benefit of their expertise. The department Documentary also works to foster a direct line to the production professionals who will be their best network after graduation. has changed SocDoc alumni have made an impressive impact. Alumni have received more than a million dollars in production dramatically funding from Sundance Institute, ITVS, JustFilms/Ford Foundation, Jerome Foundation, CAAM, IDFA Bertha Fund, over the years, evolving into a fully realized art form. Growing Chicken & Egg Pictures, Film Institute, Frameline audiences watch nonfiction in theaters, on TV and online and others. They have won an Emmy and the Student to see fresh global stories, and be inspired by the lives of Academy Award, and received multiple nominations. change-makers, artists and everyday people. These stories Alumni have been broadcast on TV, garnered industry delve into our history, inspire action and let us discover support via international film markets, received theatrical distant regions and our neighborhoods with a fresh eye. But, release in the U.S. and around the globe, received countless as evolutions in technology make it easier to create films, views online and played top-tier festivals including , more content competes for the opportunity to be seen. So it Sundance, IDFA, SXSW, Hot Docs, Busan and Tribeca. becomes vital to have the talent to produce a film that stands Now in our 12th year, MFA SocDoc is proud to inspire and out. Those with true fluency in the form—and a network of support the next generation of documentary filmmakers. A like-minded artists and mentors—have a crucial advantage. filmmaker’s work is essential, now more than ever. In a time SVA’s MFA Social program fosters of political upheaval and a global pandemic, our films tell filmmakers who are technologically and artistically assured. vital stories. No matter the topic or style—personal, Students make many films throughout the program; each political, comic or revolutionary—documentary increases allows them the freedom to experiment and hone their craft our awareness of the world, and ourselves. At SVA, we are with support, guidance and critique. They are introduced to committed to realizing that potential, and we welcome the the industry through an unparalleled faculty of active, award- opportunity to add you to our community of storytellers. winning filmmakers, as well as through internships, guest speakers, film festivals, screenings and other events. Located in the heart of City, “SocDoc” is —Maro Chermayeff, chair part of the most active documentary film community in the world. Students work directly with accomplished filmmakers—who are faculty, mentors and collaborators— About the Program

SVA’s MFA program in Social Documentary Film provides a solid foundation in the funda- mentals of nonfiction filmmaking, as well as an immersion into the critical and analytical tools and techniques needed to tell compel- process necessary to conceptualize and ling stories. Each student will complete five develop significant, socially relevant film. to seven documentary shorts, in addition to It represents the convergence of the art of other class assignments. filmmaking, journalistic research and social During the second year, students focus on activism. their thesis films, and courses are designed Our program is open to qualified students to support them in their production. Students from varying backgrounds—prior filmmaking will direct their own films, shot primarily in the experience is encouraged but not required. summer between first and second year, and Ultimately, we are looking for passionate, serve as a key production crew member on at insightful individuals who know how to tell least one other thesis project. These thesis a great story, and are eager to learn how best projects must be reviewed and approved by to share these stories through documentary. the thesis committee and the department Working with documentary filmmakers chair in order for the student to be eligible for as teachers and mentors in a collaborative degree conferral. environment will not only teach students how Degree candidates must successfully to tell a story, it will guide them toward complete 60 credits, including all required a lifelong career in filmmaking. courses, with a cumulative grade point The first year’s core curriculum is devoted average of at least 3.0. A residency of two to exploring the past, present and future of academic years is required. documentary film craft, while mastering the

OPPOSITE, TOP: From left, 2017 graduates Brian Inocencio, ; Notapoon Boonprakob, director; and Chesli Bullard, director. BOTTOM: Jessie Adler (MFA 2018) films with the Sioux community in South Dakota for her thesis, The Boxers of Brule (Tribeca ).

4 MFA SOCIAL DOCUMENTARY FILM Yang Yang (MFA 2019) filming in black lava fields of Bali for her thesis Made in Paradise. Photo by Wayan Martino.

6 MFA SOCIAL DOCUMENTARY FILM 7 CASE STUDY Bao Nguyen A Filmmaker Follows True Calling to Success

From the time he was a small child, Bao Nguyen worked in his family’s fabric store every weekend and all through summer vacations. His mother and father were refugees from Vietnam, who arrived in the United States in 1979. They opened their small business in a suburb near Washington, D.C., and worked hard to feed their young family. To keep Bao busy, they taught him to run the cash register. His parents wrote invoices for orders on small slips of paper, which they would hand to customers to bring to Bao, who would ring them . When the store was empty, he would flip the stack of invoices over and spend hours sketching on them. 

8 MFA SOCIAL DOCUMENTARY FILM “When I ran out of paper, I would draw on air,” he recalls. “I think that’s how I developed my sense of visual storytelling.” Like many first-generation Americans, Bao felt pressured by his family to excel in school—and to jettison any dreams of a career in the arts. He dutifully entered as a political science major with the intention of going on to law school. Unable to squelch his creative desire, he added film classes to his schedule as electives and kept taking them after gradua- tion, as his childhood practice of drawing on air evolved into a passion for cinema. “I even worked as a photographer after graduation,” he says. “It kept my creative instinct sharp.” The tipping point came in 2008, on the morning he was scheduled to take the LSAT. “I sat in my car, thinking ‘Is this what I want to do?’” The answer was no. He drove away without taking the exam. Instead, he took a job working on ’s first presi- dential campaign. When a subsequent position in the Obama White House didn’t materialize, he took a risk, and signed up for a new MFA program at the in Social Documentary Film. “It seemed like the perfect way to combine my love for politics and activism with my love of cinema,” he says. Two years later, his thesis film, Julian, the story of a young actor who joins the Marines and is killed in , premiered at the

Palm Springs Film Festival and tied for Best Sundance 2020, and then was broadcast on A still from Be Water, about Student Documentary Short. It also won ESPN’s award-winning series in martial arts and film star Bruce Lee Special Jury Prize at Doc NYC, the largest June 2020. The film resonates deeply with documentary film festival in the U.S. his own life’s trajectory. “When I was growing Since earning his MFA, Bao has directed up, I didn’t see many stories about people more than a dozen documentaries, often who looked like me,” he says. “I think it’s working with friends he made during his time important to start the mythology and to at SVA. In 2015, he directed Live From New champion those stories.” York!, a chronicle of , which premiered on the opening night of the . Most recently, his documentary Be Water, about martial arts master and movie star Bruce Lee, debuted at

10 MFA SOCIAL DOCUMENTARY FILM 11 Curriculum Second Year Graduates must complete 60 credits, including all required courses and the thesis project. A matriculation FALL CREDITS Process and Style III 0 of two academic years is required. Thesis: Directing 6 Thesis: Editing 3 Thesis: Producing 3 Visiting Artists: Documentary Masters 3

SPRING CREDITS Process and Style IV 0 First Year Thesis: Directing Lab 6 Thesis: Editing Lab 6 FALL CREDITS Thesis: Review and Presentation 3 Cinematography and Sound I 3 Directing I 3 Editing I 3 Editing Lab II 0 Camera and Sound Lab I 0 Process and Style I 0 Producing I 3 Visionary Journalism I 3

SPRING CREDITS Cinematography and Sound II 3 Directing II 3 Editing II 3 Editing Lab II 0 Camera and Sound Lab II 0 Process and Style II 0 Producing II 3 Thesis: The Pitch 0 Visionary Journalism II 3

OPPOSITE: Rohan Rao (MFA 2020) films in the White Desert in India for his thesis

12 MFA SOCIAL DOCUMENTARY FILM EDITING I & II If viewing a film is understood to be an interpretive process, then the orchestration of image and sound, and the rate at which information is disseminated, is critical to the endeavor. The editor transforms footage from observation to an engrossing experience. These courses exam- ine the critical role that editing plays in nonfiction programs, and look at how the editing room Course is often the arena where the structure and narrative arc are created. Classic and contempo- rary documentaries will be screened to provide students with a fundamental understanding of editing styles, aesthetics and techniques. Topics will cover a wide range of subjects—from continuity of motion to montage, jump cut, music usage and program EDITING, CAMERA AND SOUND LABS I & II Offerings structure. Finally, these courses will Students in the first year attend two lab sessions. One explore voice-over narration, sound covers camera and sound, and one covers editing, but All course descriptions can be found online at design, music and other postpro- both labs deal with the technical specifics of how to sva.edu/mfasocdoc/curriculum. duction techniques to further the use the equipment. The labs provide students with story and deepen the experience. a hands-on opportunity to get comfortable using cameras, microphones and editing software, especially Avid, as storytelling tools. PROCESS AND STYLE I, II, III & IV Independent voices from the field will share their professional expe- CINEMATOGRAPHY AND riences and offer diverse perspectives in documentary PRODUCING I & II SOUND I & II film. Primarily in this course, documentary filmmakers Multifunctional and multidimen- Success in the film industry requires fluency DIRECTING I & II will screen their new films and discuss their careers. sional in approach, the role of a doc- in the cinematic language and an immersion The potency of any documentary relies on Additional lecturers will discuss a range of specialized umentary film producer is to initiate, in the world of production techniques. Begin- the instincts of the director, whose acuity topics, including new technologies and new platforms; coordinate, supervise and control all ning with the use of image and sound as the of mind and eye must be able to translate film festivals and distribution; the relationship between matters in the realization of a film tools of storytelling, these courses focus on intellectual content into an aesthetic experi- subject and filmmaker; the pitch; job opportunities; and project, such as fundraising and hir- gaining a comprehensive grasp of the tech- ence. These courses will address topics that professional advancement. These courses are required ing key personnel. Beginning in the nical and creative demands of documentary include how to most effectively tell a story, in both years of the program. first semester, students will receive filmmaking. Through class and lab sessions, how to conduct meaningful and informative a full grounding in what they need a range of equipment—cameras, tripods, interviews and how to navigate the relation- to know to proceed with their first assigned projects. All lighting instruments, audio recorders and ship between subject and filmmaker. With key aspects of documentary production will be covered microphones—will be explored. Students will an emphasis on originality as it applies to in these courses, from pitch, grant writing, budget prepa- then focus on a broad spectrum of nonfiction the documentary, students will explore new ration, production setup, accounting, scheduling, crew techniques, including how to use camera media and a variety of directing styles, tones management and postproduction workflow. Students angles, sound and lighting to convey meaning and techniques. Included will be an extensive will learn how to analyze a project and apply this analysis and further their narrative. Finally, on-camera study of documentary film history and theory, in cost and project management, from preproduction interviewing skills—the essence of much of which will examine a wide range of texts and rights to editing and film distribution. In addition, they the documentary experience—will receive films and look at such genres as realism, will learn how to implement production arrangements a thorough examination. formalism, cinema verité, essay, feminism singular to the field of documentaries. How to read, and postmodernism. Class assignments will understand and negotiate contracts with vendors, crew emphasize the interview technique, with members and distributors will also be included. exercises involving interviews within the class itself as well as with family and friends, and those of the “man on the street” variety with anonymous pedestrians.

14 MFA SOCIAL DOCUMENTARY FILM 15 THESIS: THE PITCH VISIONARY JOURNALISM I & II THESIS: EDITING Getting an idea off the ground and The field of social documentary film is as much about On average, in documentary maintaining the momentum is often journalism as it is about filmmaking; therefore, it is films there is a ratio of 10 hours one of the most difficult facets of a paramount that the journalistic process be compre- of footage shot for every minute production, even for accomplished hensively examined. From finding and researching in the final film. This course will filmmakers. Yet without the prover- a story to writing a treatment and a shooting script, address the challenge of managing bial green light, even the best plans learning and adhering to established journalistic ethics the sheer bulk of media that will THESIS: REVIEW AND PRESENTATION atrophy by the wayside. Using their is of primary importance. This course will engender have been amassed for the thesis During their final semester, students will present their own project ideas, students will an understanding of the ethical standards inherent in film. While shooting may continue thesis projects to a team of faculty advisors for review, articulate their vision clearly and print and broadcast journalism and nonfiction writing throughout much of this period, advice and critique, and will introduce their documen- concisely and deliver this pitch to as they relate to social documentary. Working within students will be required to block taries to the film community at large. a panel of film industry these structures, we will out the basic sequence from what professionals and THESIS: DIRECTING approach how to successfully has already been filmed, and hew VISITING ARTISTS: faculty. Students will This course will guide students tell a story—from origin of the narrative together into a rough DOCUMENTARY MASTERS answer questions and through the process of bringing concept to finished project. cut. The goal is to bring projects To help forge relationships between experts in docu- address comments their thesis ideas and script to into readiness for fine-tuning and mentary film and MFA SocDoc students, these sem- posed by the panel. fruition. Of central focus will be THESIS: completing in the spring semester. inars offer in-depth study and discussion of the craft The course objectives the aesthetic and overall style DIRECTING LAB of documentary storytelling. Seminar topics include are to build confidence considerations for thesis films. Bolstered by critiques of THESIS: EDITING LAB creative producing and personal filmmaking, and vary in the presentation of Emphasis will also be placed on the professional film directors This course will encompass all of each year based on student interest and changes in concepts and master student-director’s communication and fellow classmates, the finishing touches for the thesis the field. a professional pitch, in with the producer, cinematographer, students will gain additional film projects, including opening addition to securing a sound recordist and other personnel insights and the technical titles, closing credits, sound editing THESIS: PRODUCING well-conceived topic who will assist on the project and resources to develop their and mixing, visual effects, color Half of producing is getting the film made; the second for their graduate help to make each student’s thesis thesis films. Directors’ correction and film scoring. A pro- half is getting the film seen. Filmmakers need to know thesis film. vision a reality. cuts of thesis films will be fessional editor, under whose guid- how to reach their —and how to maximize in screened and analyzed, ance students will strengthen their an ever-changing marketplace. In this course, stu- and students will have the editorial acumen while completing dents will build upon the previous Producing classes to opportunity to incorporate their thesis films, will supervise the strengthen their skills at conceiving and pitching ideas valuable suggestions into editing lab. and executing those projects on budget. Using their the final work. thesis films as a model, students will also discuss the division of distribution rights; strategies for funding, distribution and advertising; and finding the most advantageous position in the market.

16 MFA SOCIAL DOCUMENTARY FILM 17 Robert Richman Amy Schewel Karen K. H. Sim cinematographer, producer, archival researcher, editor, Nothing Left Unsaid: The September Issue; Soundbreaking; Stories from Gloria Vanderbilt & Anderson Paradise Lost the Cutting Edge of Recorded Cooper, Who Killed Garrett Music, Atlanta’s Missing and Phillips? Jerry Risius Murdered: The Lost Children Faculty cinematographer, The Devil Erik Spink Came on Horseback; Anthony E. Donna Shepherd producer, Tashi’s Turbine To learn more about the faculty members Bourdain: No Reservations editor, Marina Abramovic: The visit: sva.edu/mfasocdoc/faculty. Artist is Present J.T. Takagi sound recordist, Toby Shimin Strong Island Maro Chermayeff Deborah Dickson Tom Hurwitz, ASC editor, Ernie & Joe, Buck chair, MFA Social filmmaker, Lalee’s Kin: The cinematographer, Documentary Film Legacy of Cotton, Ruth & The Queen of Versailles, Notable Department; director, Connie: Every Room in the Nothing Left Unsaid: Gloria Atlanta’s Missing and House Vanderbilt & Anderson Murdered: The Lost Children, Cooper Half the Sky; producer, Bob Eisenhardt Marina Abramovic: The Artist editor, , Everything Amitabh Joshi is Present Is Copy director, Tashi’s Turbine Julie Anderson Michael Epstein Ross Kauffman DanielaAlumni Alatorre Ja’Tovia Gary Lindsay Lindenbaum senior producer, Vick, 30 for filmmaker, MAKERS: Once and filmmaker, , producer, Midnight Family director, The Giverny Docu- director, Tomboy (SXSW 30, ESPN for All, John & Yoko: Above Us E-Team, Tigerland (Sundance 2019) ment (Locarno Film Festival 2020) Only Sky Award 2019) Axel Baumann Sabine Krayenbühl Adam Banicki Bao Nguyen cinematographer, Penelope Falk editor, My Architect, Letters executive producer, Originals, Yuqi Kang director, Be Like Water Carrier, Pavarotti editor, Joan Rivers: A Piece of from Baghdad director, A Little Wisdom (Sundance 2020, ESPN Work, Step (Busan International Film Films) Alan Berliner Beth Levison Nottapon Boonprakob Festival) filmmaker, Nobody’s Business, Micah Fink producer, Made in Boise, 32 director, 2015 (Thailand David Osit Letter to the Editor filmmaker, The Abominable Pills: My Sister’s Suicide National Film Association Alexa Karolinski director, Thank You for Crime, Mann v. Ford Best Documentary Award director, Oma & Bella Playing (PBS’s POV, Mira Chang Mark Mandler 2019) (Berlin International Emmy Award Winner 2017) producer, A Path Appears Leslie Asako Gladsjo production sound, Film Festival), Unorthodox director, Black America Spielberg, Reconstruction: Sasha Friedlander () Enes Ozdil Lori Cheatle Since MLK: And Still I Rise; America After the Civil War director, Grit (Hot Docs, PBS’s senior producer, TRT World producer, Matangi/Maya/ producer, Why We Hate POV) (Turkey) M.I.A., Captivated: The Trials Kat Patterson of Pamela Smart Richard Hankin cinematographer, editor, 12th & Delaware Peter Chelkowski filmmaker, Carnival Roots Judith Helfand Samuel D. Pollard director, Cooked: Survival by filmmaker, , [SocDoc was] the only program Ann Collins Zip Code, Blue Vinyl editor, Joan Didion: The where alumni and faculty were really Center Will Not Hold, Swim Thom Powers Team, The Pharmacist programmer, Toronto International Film Festival; creating the stories I wanted to create.” artistic director, DOC NYC —Jessie Adler, director, The Boxers of Brule (Tribeca Film Festival)

18 MFA SOCIAL DOCUMENTARY FILM 19 Lecturers Below is just a sample of guest lecturers who have spoken with our Application students.

Robyn Hutt truTV Process Michael Kantor Julie Goldman APPLICATION REQUIREMENTS PBS's American Masters Life, Animated For a full list of application requirements and detailed instructions, visit: sva.edu/grad/howtoapply Simon Kilmurry Lauren Greenfield „ Online Application and $80 Application Fee: sva.edu/apply International Documentary The Queen of Versailles Association Zachary Heinzerling DEADLINES Christine Le Goff Cutie and the Boxer For information on application deadlines, visit: sva.edu/grad/timeline ZED (France) Kirsten Johnson IMPORTANT LINKS „ FAQ: sva.edu/grad/faq MTV Documentary Films „ International students: sva.edu/grad/intl „ José Rodriguez cinematographer Tuition and fees: sva.edu/tuition Tribeca Film Institute „ Visit SVA: sva.edu/grad/visit Susan Lacy Molly Thompson documentary filmmaker, HBO Apple Ross McElwee FILMMAKERS Sherman’s March

Natalia Almada Muffie Meyer El General Grey Gardens

Joe Berlinger Paradise Lost Kurt Cobain: Montage of Heck

FILM INDUSTRY Doug Block D. A. Pennebaker & 51 Birch Street Nancy Abraham & Dont Look Back Sara Rodriguez HBO Documentary Yoruba Richen The New Black Tamara Gould Marshall Curry ITVS If a Tree Falls Nanfu Wang One Child Nation Judith Helfand Abigail Disney Chicken & Egg Pictures Fork Films Frederick Wiseman Titicut Follies Beth Hoppe Yance Ford ABC News Strong Island

20 MFA SOCIAL DOCUMENTARY FILM 21 Contact Us Contact Us

We encourage applicants to visit our department. Contact us ACCREDITATION Pursuant to Section 52.21 of the Regulations of the directly to schedule a department tour or sign up to attend an The School of Visual Arts has been authorized by the Commissioner of Education, the educator preparation Information Session. For more information and to register, New York State Board of Regents (www.highered. program offered by the School of Visual Arts is con- go to: sva.edu/grad/visit. nysed.gov) to confer the degree of Bachelor of sidered to be continuously accredited for purposes If you have any questions about the application process, Fine Arts on graduates of programs in Advertising; of meeting the New York State requirement that all contact Graduate Admissions at 212.592.2107 or email: Animation; Cartooning; Computer Art, Computer such programs maintain continuous accreditation. [email protected]. Animation and Visual Effects; Design; Film; Fine Arts; The School of Visual Arts’ Master of Arts in Teaching Illustration; Interior Design; Photography and Video; in Art Education program was previously accredited Maro Chermayeff, chair Visual and Critical Studies; and to confer the degree by the Council for the Accreditation of Educator Rose Vincelli Gustine, director of operations of Master of Arts on graduates of programs in Art Preparation (CAEP). Timothy Doyle, assistant to the chair Education; Critical Theory and the Arts; Curatorial Kristian Gonzales, senior systems administrator Practice; Design Research, Writing and Criticism; and The Master of Professional Studies in Art Therapy Joseph Eisenstein, video production manager to confer the degree of Master of Arts in Teaching degree program is approved by the American Art on graduates of the program in Art Education; and to Therapy Association, Inc., and as such meets the edu- Tel: 212.592.2919 confer the degree of Master of Fine Arts on graduates cation standards of the art therapy profession. Email: [email protected] of programs in Art Practice; Art Writing; Computer Site: sva.edu/mfasocdoc Arts; Design; Design for Social Innovation; Fine Arts; Department site: mfasocdoc.sva.edu Illustration as Visual Essay; Interaction Design; CREDITS Photography, Video and Related Media; Products of © 2020, Visual Arts Press, Ltd. facebook.com/svamfasocdoc Design; Social Documentary Film; Visual Narrative; Executive creative director: twitter.com/svasocdoc and to confer the degree of Master of Professional Anthony P. Rhodes instagram.com/svasocdoc Studies on graduates of programs in Art Therapy; Creative director: Gail Anderson vimeo.com/svasocdoc Branding; Digital Photography; Directing; Fashion Design director: Brian E. Smith Photography. Design: Anthony Carhuayo Editorial: Sheilah Ledwidge, Abby Kreh The School of Visual Arts is accredited by the Middle Case study writer: Ann C. Collins States Commission on Higher Education (msche.org), 3624 Market Street, Suite 2 West, Philadelphia, PA 19104, 267.284.5000. The Commission on Higher The School of Visual Arts does not discrimi- To be in close Education is an institutional accrediting agency nate on the basis of gender, race, color, creed, recognized by the U.S. Secretary of Education and the disability, age, sexual orientation, marital sta- Council for Higher Education Accreditation. tus, national origin or other legally protected proximity to statuses. The School of Visual Arts is an accredited institu- tional member of the National Association of Schools The College reserves the right to make and receive feedback from so of Art and Design (nasad.arts-accredit.org). changes from time to time affecting policies, fees, curricula and other matters announced The Interior Design program leading to the Bachelor in this or any other publication. Statements in many accomplished faculty of Fine Arts in Interior Design is accredited by the this and other publications do not constitute Council for Interior Design Accreditation (accredit-id. a contract. org), 206 Grandville Avenue, Suite 350, Grand Rap-

members really helps you find your ids, MI 49503-4014. COVER: Zooey Zhang (MFA 2020) filming City Symphony as part of an assignment. Photo by Weixin Zhuang (MFA 2020). The School of Visual Arts’ Department of Art voice as a filmmaker.” Education is currently pursuing accreditation of its educator preparation programs by the Association for —Amitabh Joshi, MFA 2013 Advancing Quality in Educator Preparation (AAQEP).

22 MFA SOCIAL DOCUMENTARY FILM School of Visual Arts

209 East 23rd Street, NYC sva.edu/grad