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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 2014 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). The Katz book is available in the MU 107 projection booth. Use your textbooks, too! Wikipedia should be fairly reliable for these tasks as well. 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 2014 Extra Credit Viewing Approved Documentary List as of 1/11/14 ** - Showing at the Cleveland Institute of Art Cinematheque; 4% extra credit possible for each (with ticket stub): ** King: A Filmed Record…Montgomery to Memphis, 1970, U.S., Sidney Lumet, Joseph Mankiewicz (Sun. Jan 19 @ 7:15) **SPECIAL FREE SCREENING! Vivian Maier: Who Took Nanny’s Pictures?, 2013, U.K., Jill Nicholls (Thur. Jan. 23 @ 6:45) ** Design is One: Lella & Massimo Vignelli, 2012, U.S., Kathy Brew & Roberto Guerra (Thur. Jan. 23 @ 8:00) ** Le Joli Mai (The Lovely Month of May), 1963, France, Chris Marker & Pierre Lhomme (Fri. Jan. 24 @ 7.30) ** GMO OMG, 2013, U.S./Haiti/Norway, Jeremy Seifert (Thur. Feb. 6 @ 8:25 & Fri. Feb. 7 @ 7:15) ** Notes for an African Orestes, 1970, Italy, Pier Paolo Pasolini (Sat. Feb. 8 @ 5:15) ** These Birds Walk, 2013, Pakistan/U.S., Omar Mullick & Bassam Tariq (Sat. Feb. 8 @ 9:30 & Sun. Feb. 9 @ 6:30) ** The Rape of Europa, 2006, U.S., Richard Berge, Bonni Cohen, & Nicole Newnham (Sat. Feb. 15 @ 6:45) ** Cousin Jules, 1972, France, Dominique Benicheti (Sat. Feb. 22 @ 5:15 & Sun. Feb. 23 @ 6:30) *** - Showing at the Cleveland Museum of Art; 4% extra credit possible for each (with ticket stub) *** Muscle Shoals, 2012, U.S., Greg “Freddy” Camalier (Fri. Jan. 17 @ 7:00 & Sun. Jan. 19 @ 1:30) *** Mademoiselle C, 2013, France, Fabien Constant (Fri. Jan. 24 @ 7:00 & Sun. Jan. 26 @ 1:30) *** Speak the Music: Robert Mann and the Mysteries of Chamber Music, 2013, U.S., Allan Miller (Sun. Feb. 9 @ 1:30) *** When I Walk, 2013, U.S./Canada, Jason DaSilva (Wed. Feb. 12 @ 7:00 & Fri. Feb. 14 @ 7:00) *** The Pervert’s Guide to Ideology, 2012, U.K./Ireland, Sophie Fiennes (Wed. Feb. 19 @ 6:30 & Fri. Feb. 21 @ 6:30) *** God’s Fiddler: Jascha Heifetz, 2011, U.S./Russia, Peter Rosen (Sun. Feb. 23 @ 1:30) *** Enzo Avitabile Music Life, 2012, Italy, Jonathan Demme (Wed. Feb. 26 @ 7:00 & Fri. Feb. 28 @ 7:00) 3 Viewing on your own: 4 Little Girls, 1997, U.S., Spike Lee 45365, 2010, U.S., Billard Turner Ross 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 Burden of Dreams, 1982, U.S., Les Blank with Maureen Gosling 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, U.S., 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) Cove, The, 2009, U.S., Louie Psihoyos 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 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., Banksy Finding Christa, 1991, U.S., Camille Billops & James Hatch Flying Padre, The, 1951, U.S., Stanley Kubrick Fog City Mavericks, 2007, U.S., Gary Leva Fog of War, The, 2003, U.S., Errol Morris Food, Inc., 2008, U.S., Robert Kenner 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 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 Waltz, The, 1978, U.S., Martin Scorsese Letter from Siberia, 1957, France, Chris Marker Life and Times of Frida Kahlo, The, 2005, U.S., Amy Stechler Man of Aran, 1934, U.S., Robert Flaherty 4 Man on Wire, 2008, Britain/U.S., James Marsh Marwencol, 2010, U.S., Jeff Malmberg 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, U.S., Thomas G. Miller Restrepo, 2010, U.S., Tim Hetterinder & Sebastian Junger Salesman, 1968, U.S., Albert & David Maysles Scared Straight!, 1980, U.S., Arnold Shapiro Seafarers, The, 1953, U.S., Stanley Kubrick 7 Up!, 1964, Britain, Paul Almond (or any one of the other Up! installments (e.g., 14 Up, 21 Up, etc., directed by Michael Apted) 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) 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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