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COM 321, Documentary Form in Film & Television

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COM 321, Documentary Form in Film & Television 1 COM 321, Documentary Form in Film & Television Spring 2011 Extra Credit Viewing Opportunities All due at the Final Exam or earlier You may receive up to 2% extra credit for each documentary viewed and analyzed (up to 4% for selected films showing at the Cleveland Cinematheque or the Cleveland Museum of Art, if a ticket stub is attached), to a maximum total of 10%. Documentaries must be from the attached list of approved documentaries. However, there may be additions made later in the term, including some additional Cinematheque or Cleveland Museum of Art viewings. You may propose films or other moving image presentations (e.g., TV, online) to add to the list; if you wish to do so, please write me a note. If approved, I need to extend the offer to the rest of the class. For each documentary viewed, you need to do a little research. Use the Katz Film Encyclopedia or similar source to learn about the main "players" involved in the documentary--the producer(s), director, writer(s), DP/cinematographer (IMDb is not sufficient for such biographical info). Also, try to check out Halliwell's Film Guide, Magill’s Survey of Cinema volumes, or other expanded source regarding the documentary itself. The Katz book is available in the MU 107 projection booth, and Magill’s is in the reference section of the CSU Library. Use your textbooks, too! Some online sources are good, others are bogus. Do not rely solely on online sources. After viewing the documentary, complete a 2-page typed, double-spaced report, addressing the following issues: 1. Analyze the contributions of the main creative personnel (again, producer, director, writer, DP) with regard to this doc. How does this doc fit into their full careers, and the typical documentary role(s) that they tend to play? 2. Explain how this doc illuminates some particular milieu or phenomenon—e.g., a particular field (e.g., architecture), a particular time and place, a social milieu, or a type of human endeavor (e.g., polka). Comment on the documentary’s effectiveness or lack thereof. How do the chosen techniques of production contribute to this? 2 COM 321—Documentary Form in Film & Television, Spring 2011 Extra Credit Viewing Approved Documentary List as of 1/26/11 * - Showing at the Cleveland Institute of Art Cinematheque; 4 extra credit points possible for each (with ticket stub): * Ne Change Rien (Change Nothing), 2009, Portugal/France, Pedro Costa (Sat. Feb. 5 @ 9:30 & Sun. Feb. 6 @ 6:30) * Waste Land, 2010, Brazil/Britain, Lucy Walker, Karen Harlen, & Joao Jardim (Fri. Feb. 4 @ 9:40 & Sat. Feb. 5 @ 7:30) * Enemies of the People, 2009, Britain/Cambodia, Rob Lemkin & Thet Sambath (Thur. Feb. 10 @ 8:20 & Fri. Feb. 11 @ 7:30) ** - Showing at the Cleveland Museum of Art; 4 extra credit points possible for each (with ticket stub) ** Neshoba, 2008, U.S., Micki Dickoff & Tony Pagano (Wed. Feb. 9 @ 7:00) ** The Kids Grow Up, 2009, U.S./Netherlands/Germany/Britain, Doug Block (Wed. Feb. 16 @ 7:00) ** Boxing Gym, 2010, U.S., Frederick Wiseman (Fri. Feb. 18 @ 7:00 & Sun. Feb. 20 @ 1:30) ** Marwencol, 2010, U.S., Jeff Malmberg (Fri. Feb. 25 @ 7:00 & Sun. Feb. 27 @ 1:30) ** “13 Most Beautiful. Songs for Andy Warhol’s Screen Tests”, various years, U.S., Andy Warhol (Live music accompanying selected Warhot short Screen Tests—showing costs extra! Wed. Mar. 23 @ 7:30) Viewing on your own: 4 Little Girls, 1997, U.S., Spike Lee 45365, 2010, U.S., Billard Turner Ross Art of the Steal, The, 2010, U.S., Don Argott Atomic Cafe, The, 1982, U.S., Jayne Loader, Kevin Rafferty, & Pierce Rafferty Baraka, 1992, U.S., Ron Fricke Best Worst Movie, 2010, U.S., Michael Paul Stevenson Born into Brothels: Calcutta’s Red Light Kids, 2004, USA, Zana Briski, Ross Kauffman Buster Keaton: A Hard Act to Follow, 1987, Britain, Kevin Brownlow & David Gill (any one episode in 3-part series) Capitalism: A Love Story, 2009, Michael Moore Capturing the Friedmans, 2003, U.S., Andrew Jarecki Civil War, The, 1990, U.S., Ken Burns (any one episode in 9-part series) Collapse, 2010, U.S. Chris Smith Cove, The, 2009, U.S. Louie Psihoyos 3 Crumb, 1994, U.S., Terry Zwigoff Daisy: The Diary of a Facelift, 1982, Canada, Michael Rubbo Dark Days, 2001, U.S., Marc Singer Devil and Daniel Johnston, The, 2006, U.S., Jess Feuerzeig Do You Believe in Miracles? The Story of the 1980 U.S. Hockey Team, 2002, U.S., Bernard Goldberg Double Life of Ernesto Gomez Gomez. The, 1999, U.S., Catherine Ryan & Gary Weimberg Eat the Document, 1972, U.S., Bob Dylan Encounters at the End of the World, 2007, U.S., Werner Herzog Enron: The Smartest Guys in the Room, 2005, U.S., Alex Gibney Exit Through the Gift Shop, 2010, U.K. F for Fake, 1974, France, Orson Welles Finding Christa, 1991, U.S., Camille Billops & James Hatch Flying Padre, The, 1951, U.S., Stanley Kubrick Fog of War, The, 2003, U.S., Errol Morris Food, Inc., 2008, U.S., Robert Kenner Fuzz, 2007, U.S., Clif Taylor Garlic is as Good as Ten Mothers, 1980, U.S., Les Blank Gates of Heaven, 1978, U.S., Errol Morris God Grew Tired of Us, 2007, U.S., Christopher Quinn Harlan County U.S.A., 1976, U.S., Barbara Kopple Hearts of Darkness: A Filmmaker’s Apocalypse, 1991, U.S., Fax Bahr, George Hickenlooper, & Eleanor Coppolla Hollywood, 1980, Britain, Kevin Brownlow & David Gill (any one episode in 13-part series) Hospital, 1970, U.S., Frederick Wiseman Hour of the Furnaces, The, 1968, Argentina, Octavio Getino & Fernando Solanas Inconvenient Truth, An, 2006, U.S., Davis Guggenheim Inside Job, 2010, U.S., Charles Ferguson Jesus Camp, 2006, U.S., Heidi Ewing & Rachel Grady Last Train Home, 2010, China, Lixin Fan Last Waltz, The, 1978, U.S., Martin Scorsese Letter from Siberia, 1957, France, Chris Marker Life and Times of Frido Kahlo, The, 2005, U.S., Amy Stechler Man of Aran, 1934, U.S., Robert Flaherty Man on Wire, 2008, Britain/US, James Marsh Mondo Cane, 1962, Italy, Paolo Cavara, Gualtiero Jacopetti, & Franco Prosperi More Than a Game, 2008, U.S., Kristopher Belman My Best Fiend—Klaus Kinski, 1999, Germany, Werner Herzog No End in Sight, 2007, U.S., Charles Ferguson Olympia, 1937, Germany, Leni Riefenstahl One Bad Cat: The Reverend Albert Wagner Story, 2008, US, Thomas G. Miller Pond Hockey, 2008, U.S., Tommy Haines Restrepo, 2010, U.S., Tim Hetterinder & Sebastian Junger Salesman, 1968, U.S., Albert & David Maysles 4 Scared Straight!, 1980, U.S., Arnold Shapiro Seafarers, The, 1953, U.S., Stanley Kubrick Seven Up!, 1964, Britain, Paul Almond (or any one of the other Up! installments) Sherman’s March, 1985, U.S., Ross McElwee Shine a Light, 2008, U.S., Martin Scorsese Sicko, 2007, U.S., Michael Moore Sorrow and the Pity, The, 1969, France, Marcel Ophuls Spellbound, 2002, U.S., Jeffrey Blitz Standard Operating Procedure, 2008, U.S., Errol Morris Super Size Me, 2004, U.S., Morgan Spurlock Tabu: A Story of the South Seas, 1931, U.S., F. W. Murnau (w/ R. Flaherty) This Film is Not Yet Rated, 2006, U.S., Kirby Dick Trumbo, 2007, U.S., Peter Askin Waiting for Superman, 2010, U.S., David Guggenheim Waltz with Bashir, 2008, Israel, Ari Folman White Diamond, The, 2004, Germany, Werner Herzog Woodstock, 1970, U.S., Michael Wadleigh Zelig, 1983, U.S., Woody Allen .
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