Journalism 286 History of Documentary Spring 2020 3 units, Wed 2:00pm - 5:00pm, Production Lab, Room 101 Carrie Lozano, Lecturer office hours: I will provide a link for office hours appointments in bcourses. (email) [email protected]
Julia Sizek, Reader [email protected]
Course Description History of Documentary covers the evolution of primarily American documentary film from the first moving images to the present. We will focus on both commissioned and independent films, produced for a variety of distribution models including theatrical, broadcast and digital. Where possible, we will also discuss international documentaries, the current documentary landscape, and big-picture field and career insights.
Please note that this course is prerequisite for graduate students who intend to enroll in the documentary thesis seminar in their second year.
In addition to a historical and genre overview, we will concentrate on the practicalities of producing non-fiction documentaries for broad audiences, and on documentary materials, structure, genre, points-of-view and ethics. Considering issues of representation, race, class, gender, identity and power, we will debate and deconstruct the ways in which documentary film has both upheld and challenged some of the U.S.’s most entrenched and problematic narratives. The class’ success demands that students keep up with screening, reading and writing. I hope the class will be fun, interesting, inspiring, and occasionally paradigm shifting as we delve into deep philosophical, creative and journalism questions.
House Rules Class starts at 2pm sharp on Wednesdays in the TV Lab, adjourning at 5:00pm.
This syllabus is a living document and will change from time to time. I will do my best to give fair warning when it does. But please check bcourses regularly. All 1
assignments must be posted to bcourses, and I will make any changes to the syllabus there, so please check each week.
Grades are determined by class attendance, class preparedness, class participation and timely submission of written assignments. All students are expected to engage in discussion each week. Arrive prepared, with questions, critiques and ideas that you want to discuss. Documentary filmmakers are characterized by their incessant curiosity and outsized creativity, come to class wearing your documentary hat.
Required Screening: Approximately two to three hours per week (sometimes more, sometimes less), with additional screening in each class session. The film list includes major films from the documentary canon, as well as documentaries in current popular culture. Note the lengthy listing of additional films which are of interest, either “because they are excellent examples of a genre, a betrayal to the audience, or a complication of documentary’s promise.” (Jon Else)
We will attempt to make assigned films available through streaming platforms as much as possible. Chris O’Dea will invite you to BOX, where many assigned films are available. We will also use Kanopy, available via your Calnet account. From time to time, we will access films via Netflix, Hulu or Amazon.
When not available online, we will direct you to the appropriate resource. Many DVDs are available at the Media Resources Center of Moffitt Library, where they may be viewed on the big screen, and at the Berkeley Public Library. We will provide hard to find films on DVD. However you watch the films, do it uninterrupted on as big a screen as possible with good sound. Google Chromecast ($35.00) is an excellent way to watch digital films on a bigger screen. Always screen the week's films before you do the week's reading, since it is important to first experience the documentary as a naive viewer would, unencumbered by the meta and the production backstory. Keep concise and coherent notes as you go. If you’ve seen the film before, even recently, watch it again. Group screenings are highly recommended. Organizing screenings in the library, TV lab or at someone’s house make class even more fun and lively.
Required Reading: 10•-100 pages per week will be assigned from the text, Documentary, A History Of Non-•Fiction Film, second edition, by Erik Barnouw••• 2
still the classic after all these decades. (available on Amazon) Additional readings will be posted on bcourses. The readings are not taxing. Note that some of the readings in the syllabus are optional.
Optional Reading: Bill Nichols’ excellent Introduction To Documentary, available at your local bookseller or online, offers a good overview of documentary, organized not around chronology, but around questions of documentary practice. Also useful is Pat Aufderheide’s excellent small survey, Documentary Film, a Very Short Introduction available via Amazon.
Required writing: Written work 300 words (really 300) each week on various topics relating to the assigned films. Weekly papers are due by 10:00 am every Wednesday, uploaded to bcourses. Papers should indicate that you’ve done the assignment. This writing is essential practice for your career. Writing about film is a critical skill in documentary filmmaking and long-form storytelling. If you cannot clearly, convincingly and engagingly write about visual stories, you will have a hard time successfully pitching your own work. This is a way to build that muscle.
Students planning to enroll in the documentary production track in their second year are required to write a 2-page concept paper for a proposed documentary in the final weeks of the course. An outline will be provided.
Please note that documentary is a dynamic and ever-changing field. Things of interest happen weekly, especially in the spring as the new festival season launches. At times, content in class will diverge from the syllabus, but you must stay on track with required screening and reading.
January 22 – What is Documentary Film?
• Introduction to the course • Documentary filmmaker skill set • Chronology of Visual Media • Overview of documentary genres and documentaries in popular culture
Read before class Documentary, Barnouw 1-33
3
------
January 29 – The Other: ethnographic film and the language/materials of documentary filmmaking
• The materials and constructions of documentary - Useful Documentary Terms • Ethnographic film • Representation and who gets to tell the story?
Screen before class Nanook Of The North, 1920, Robert Flaherty (BOX) (https://berkeley.app.box.com/file/123701616355)
Ethnic Notions (Berkeley Kanopy- login with library proxy and CalNet ID) (https://berkeley.kanopy.com/video/ethnic-notions-0)
Read before class Barnouw 33-1•00
Anonymous Nanook review https://drive.google.com/file/d/0B30Ms1w6TK58NHZxTkQyOC1NMVN5M1ljQmNz VktHWVo5N1pB/view?usp=sharing
Ethnographic Film, Karl G. Heider 20-24: https://drive.google.com/file/d/0B30Ms1w6TK58SDQxMEJ2dlAxMy05UWVzRXZN MTRoZE0tS1BB/view?usp=sharing
Writing What is Flaherty’s contract with the audience? Separate yourselves from the reading: What do you believe to be true or not true in Nanook? From the film, what can you glean about the filmmaker’s relationship to the subject?
Additional films of interest Forest Of Bliss, Robert Gardner
4
In And Out Of Africa, Ilisa Barbach Sweetgrass, Ilisa Barbash and Lusien Taylor Louisiana Story, Robert Flaherty Man Of Aran, Robert Flaherty 1934 The Ax Fight, Timothy Asch, Napoleon Chagnon Les Maitres Fous, Jean Rouch Surname Viet, Given Name Nam, Trinh T. Minh•ha Imagining Indians, Victor Masayesva Stranger With A Camera, Elizabeth Barrett 2000 Coming To Light, Edward S. Curtis, 2001, Anne Makepeace Tokyo Waka, 2012 John Haptas and Kristine Samuelson Virunga, 2015, Orlando Von Einsiedel Nanook Revisited, 1994, Claude Massot, National Film Board Of Canada Taking Pictures, 1996, Les McClaren and Annie Stiven
------
February 5 – Partisanship, Propaganda, Point-of-View, Advocacy and Journalism
• How do these genres differ, what devices are used, and how do we know if a film can be trusted? • Contract with the audience.
Read before class Barnouw 100-182
“Ethics of Imagemaking,” Jay Ruby https://drive.google.com/file/d/0B30Ms1w6TK58S0lGM0hMVTZaTFdFTE4zYnk4d TJPNXNpR2p3/view?usp=sharing
Screen before class Triumph Of The Will, Leni Rieffenstahl (first 60 minutes only) (BOX) (https://berkeley.app.box.com/file/127395654666)
5
Harvest Of Shame, 1960, CBS, Edward R. Murrow (52 minutes) (https://www.cbsnews.com/video/1960-harvest-of-shame/)
Writing Assignment Is there a clear distinction between advocacy films and propaganda films? What are the similarities? In this week's screening, what elements of cinematic language are used to further the filmmaker's point-of-view?
Additional Films Of Interest Reassemblage, 1983, Trinh T. Minh-ha Fahrenheit 911, 2002, Michael Moore Trapped, 2016, Dawn Porter Know Your Enemy, Japan, 1944, Frank Capra The Mercy Of Nature, 1997, Else Primus Video, 2000, Else Football America, 1988, Phil Tuckett, NFL Films The Wonderful, Horrible Life Of Leni Rieffenstahl , 1991, Ray Mueller The Cove, 2009, Louie Psihoyos The Invisible War, 2012, Kirby Dick Occupy Unmasked, 2012, Steve Bannon Vaxxed, 2016, Andrew Wakefield Das Blaue Licht, Leni Riefenstahl The Plow That Broke The Plains, Pare Lorentz The River, Pare Lorentz Listen To Britain, Humphery Jennings Outfoxed , Robert Greenwald Olympiad , 1937, Leni Riefenstahl The Cove, 2008, Louie Psihoyos Waiting For Superman, 2009, Davis Guggenheim Food Inc., 2008, Robbie Kenner The Invisible War, 2011, Kirby Dick The Hunting Ground, 2015 Kirby Dick Rape in the Fields, 2013, Andres Cediel Rape on the Night Shift, 2015, Andres Cediel and Daffodil Altan ------
6
Feb 12 – Cinema Verité
Screen before class Chronicle of a Summer, Edgar Morin and Jean Rouch, 1961 (Berkeley Kanopy) (https://berkeley.kanopy.com/video/chronicle-summer)
READING Barnouw 230 – 293
WRITING Reflect on why Chronicle of a Summer is a major turning point for documentary. What is different from everything else we’ve seen? How does it inform contemporary documentary?
----
February 19 -- Direct Cinema vs. Verité
Screen: Salesman (1969) Albert and David Maysles, Charlotte Zwerin (BOX) (https://berkeley.app.box.com/file/127830651940)
Feb. 24, watch “Always in Season” on Independent Lens (Jackie Olive, 2019) (http://www.pbs.org/independentlens/films/always-in-season/ )
Reading: Barnouw 240-244 AND "Directing the Truth" http://bordercrossingsmag.com/article/directing-the-truth-an-interview-with- albert-maysles
Writing: By 1969, there had been nearly 80 years of documentary evolution. Using the films we’ve screened, class discussions, and the readings as reference points. What do you think the major leaps and bounds were in documentary storytelling? By 1969, were we any closer to a definition of documentary film? Do the early years of documentary history change your perspective about documentary images today? Why or why not?
7
Additional films of interest Chronique d'un Ete, (The Chronicle Of A Summer), 1961, Jean Rouch and Edgar Morin Motherland, 2017, Ramona Diaz The Waiting Room, 2012, Peter Nicks, Titicut Follies, Frederick Wiseman At Berkeley, 2014, Fredrick Wiseman Nightline piece on Titicut Follies Meet Marlon Brando, 1966 Albert and David Maysles, Listen To Me, Marlon, 2015, Stevan Riley Jackson Heights, Frederick Wiseman, 2015 4.1 Miles, 2017, Daphne Matziaraki The Dark End Of The Street: Black Tar Heroin, Steven Okazaki Soldier Girls, 1988 Joan Churchill and Nick Broomfield (optional) Don't Look Back, D. A. Pennebaker 1967 An American Family, series by Craig Gilbert, 1976 High School, Fred Wiseman 1969 Happy Mother's Day , 19673, Richard Leacock and Joyce Chopra Grey Gardens , Ellen Hovde, David, Albert Maysles, Charlotte Schwerin Sound And Fury, 2000 Josh Aronson La Danse, 2010, Fred Wiseman Primary, 1960 Robert Drew, Richard Leacock Dark Days, 2000, Mark Singer Cinema Verite: Defining The Moment, 2002 Peter Wintonick, NFB The Lost Boys Of Sudan, 2003 Jon Shenk and Megan Mylan Well Founded Fear , 2000, Michael Camerini and Shari Robertson, The Farmer's Wife, 1999, David Sutherland / Frontline Please Vote For Me, 2007, Weijun Chen My Country, My Country, Laura Poitras 2006 The Oath, 2010, Laura Poitras, God Loves Uganda, 2012 Roger Ross Williams
------2/26 – Historical Essay & Historical Chronicle
8
• Film as evidence • Re-contextualizing and treating history • Scripted films
Screening The Day After Trinity, 1981, Jon Else (BOX) (https://berkeley.app.box.com/file/399349804041)
I Am Not Your Negro (Kanopy) (https://berkeley.kanopy.com/video/i-am-not-your-negro)
Feb. 24, watch “Always in Season” on Independent Lens (Jackie Olive, 2019) (http://www.pbs.org/independentlens/films/always-in-season/ ) [this will not be available this week; we will watch it later!]
Reading And to continue our discussion of ethics and filmmaker-subject relationships, please read Honest Truths a report from the Center for Media & Social Impact: http://cmsimpact.org/resource/honest-truths-documentary-filmmakers-on- ethical-challenges-in-their-work/
Barnouw 172–182, 198-•228
Writing What is the “evidence” in these films. What materials are used to underpin the claims that the films are making? How do you know if they are accurate?
Additional films of interest The Day After Trinity, 1981, Jon Else The Fog of War, 2003, Errol Morris Rebels with a Cause, Kenji Yamamoto and Nancy Kelly Eyes On The Prize, Orlando Bagwell, Henry Hampton Mississippi Burning, Alan Parker Freedom On My Mind, Connie Field Ethnic Notions, 1987, Marlon Riggs
9
The Black Panthers: Vanguard of the Revolution, 2015, Stanley Nelson Dolores, 2017, Peter Bratt The Weather Underground, 2003, Sam Green Jonestown, 2005, Stanley Nelson, The Fall of the Romanov Dynasty, 1927, Esfir Shub Hearts And Minds, 1974, Peter Davis City Of Gold, 1957, Tom Daley, National Film Board Of Canada Viet Nam: In The Year Of The Pig 1968 Emile DeAntonio Satya, 1990, Ellen Bruno Riding The Tiger, 1999, Kristine Samuelson and John Haptas Cadillac Desert: An American Nile, Else World At War Episode 26, 1978, Jeremy Issacs, Jerome Kuehl Mr. Death: The Rise and Fall Of Fred A. Leuchter 2000, Errol Morris Paragraph 175, 2000 Rob Epstein and Jeffery Friedman, Berkeley In the 60s, Mark Kitchell, With Babies And Banners, Lynn Goldfarb, American Lost And Found, Lance Bird and Tom Johnson, Statue Of Liberty, 1985 , Ken Burns and Buddy Squires, Freedom Summer, 2010 Stanley Nelson, Seeing Red, Julia Reichert and Jim Klein Hiroshima •Nagasaki, August 1945, Eric Barnouw The Sorrow And The Pity, 1971, Marcel Ophuls Shoah, 1986, Claude Lanzman Rabbit In The Moon , 2000, Emiko Omori Same River Twice, Robb Moss 2003, The Two Towns Of Jasper, 2001 Marco Williams and Whitney Downs, Nanking, 2007 Bill Guttentag, Dan Sturman Chicago 10, 2007, Brett Morgan Young Indy Documentaries, Lucasfilm 2003 – 2007 The Rape of Europa, 2007, Bonni Cohen, Jon Shenk, Richard Berge No End In Sight, 2007, Charles Ferguson The Power Of Nightmares, 2005, Adam Curtis White Light, Black Rain, 2007, Steven Okasaki ------
10
March 4 -- Historical Biography
• Archives, rights, research and ethics
SCREENING: The Times Of Harvey Milk, 1988, Rob Epstein and Richard Schmiechen (BOX) (https://berkeley.app.box.com/file/123702064227)
Reporter Zero, 2005, Carrie Lozano (thesis film) (BOX) (https://berkeley.app.box.com/file/281157671074)
READING: "Historical Documentary" from Pat Aufderheide's Documentary Film: A Very Short Introduction (on BCourses, under “Files” https://bcourses.berkeley.edu/courses/1489503/files )
Reporter Zero “Concept Paper” and "Treatment"
WRITING: Describe the storytelling structure of one of this week’s films. How does the information unfold? What devices does the filmmaker use to move the structure forward and tie it all together?
Additional films of interest Anita, 2013, Freida Lee Mock Regarding Susan Sontag, 2014, Nancy Kates Citizen King, 2004, Orlando Bagwell and Noland Walker Malcom X Make it Plain, 1994, Orlando Bagwell The Life Of Kevin Carter, 2004, Dan Krauss, Dolores, 2017, Peter Bratt The Price Of A Ticket: James Baldwin, 1989, Karen Thorsen The Most Dangerous Man in America, 2009, Rick Goldsmith & Judith Ehrlich
11
What Happened Miss Simone, 2015, Liz Garbus The Trials of Muhammad Ali, 2013, Bill Siegel O.J.: Made In America, 2016, Ezra Edelman Let The Fire Burn, 2014, Jason Osdor George Wallace: Setting The Woods On Fire, 2000, Paul Stekler and Dan McCabe, My McQueen, 2003, Lourdes Portillo Malcolm X: Make It Plain, 2000 - Orlando Bagwell, Prisoner of Paradise, 2003, Malcolm Clark, Stuart Sender, Days of Waiting, 1982 Steven Okasaki, Huey Long, 1990, Ken Burns The Brooklyn Bridge, 1987, Ken Burns, Day After Trinity, 1980, Jon Else A Job At Ford's, 1993, Jon Else Robert Capa, 2002 Anne Makepeace, Common Threads: Stories From The Quilt, 2000, Epstein Friedman Millhouse, 1978 Emile De Antonio, Fight In The Fields, 1998, Rick Tejada Flores and Ray Tellas "The Endurance", Shackelton's Expedition 2001, George Butler Ralph Ellison, 2002, Avon Kirkland The Cockettes, 2002, Bill Weber and David Weisman The Kid Stays In the Picture, 2004, Nanette Burstein and Brett Morgan Volcano: The Life And Death Of Malcolm Lowery, 1981 Donald Britain, Biggie & Tupac, Nick Broomfield 2002 Bukowski: Born Into This, John Dullaghan 2003 Reporter Zero, 2003, Carrie Lozano Warhol, Ric Burns 2006 Lou Reed, Rock and Roll Heart, Timothy Greenfield• 1999 Daisy Bates, 2013, Sharon LaCruise, Noland Walker
------March 11 --– Feminism, Autobiography, Personal Films
The Devil Never Sleeps: (BOX) https://app.box.com/file/124581450230
Growing Up Female (Kanopy- is not available via Berkeley Kanopy, but is available via public library) (https://oaklandlibrary.kanopy.com/video/growing- 12
female) or Media Resources Center (DVD X7052) (The library is also working on a licensing agreement for this film, so there may also be streaming access)
Reading "Devils and Ghosts, Mothers and Immigrants" AND https://www.documentary.org/online-feature/ida-career-achievement-award- lourdes-portillo-filmmaking-desire
Writing Select one of the films and describe in detail the film's structure. How does the film unfold? What devices does the filmmaker use to hold the structure together? And what are the raw materials used in the film? Is the approach successful?
Additional films of interest: Cameraperson Minding the Gap Man With a Movie Camera, Dziga Vertov Tongues Untied, Marlon Riggs Stories We Tell, Sarah Polley 2012 Sherman's March, Ross McElwee My Brother’s Bomber Complaints Of A Dutiful Daughter, 1992, Deborah Hoffmann (optional) Time Indefinite, Ross McElwee, Secret Daughter, June Cross, Greetings From Out Here, Ellen Spiro, Corpus, 2000, Lourdes Portillo, Ross McElwee First Person Plural, 2000, Deanne Borshay Liem My Architect, 2004 Nathaniel Kahn Tell Them Who You Are, 2005 Mark Wexler, The Wolf, 2002, Peter Nicks, Seniorita Extraviada, 2003, Lourdes Portillo Columbus On Trial , 1999, Lourdes Portillo, Beyond Beats and Rhymes, 2006 Byron Hurt, My America, or Honk If You Love Buddha, Rene Tajima•Pena, 2000,
13
Tarnation, 2003 Jonathan Caouette
------
March 18 -- Documentary Portraits
Screen before class Crumb, 1994, Terry Zwigoff https://app.box.com/file/126411240241
RBG, 2018, Betsy West and Julie Cohen
No Subtitles: https://lumiere.berkeley.edu/students/items/31100 ; English Subtitles: https://lumiere.berkeley.edu/students/items/31101 ; also available via media resources center in Moffitt (DVD Z3504)
Reading: https://www.nytimes.com/1994/09/27/movies/anger-and-obsession-the-life-of- robert-crumb.html
When Comics Aren't Funny" The New Yorker https://www.newyorker.com/magazine/1994/11/14/when-comics-aren-t-funny
“Head For The Hills” A. & R. Crumb, The New Yorker http://observer.com/2015/01/legendary-cartoonist-robert-crumb-on-the-massacre- in-paris/
Writing: Briefly describe the journey that Crumb/RBG take the viewer on. What are the films’ narrative thrusts? Boil down each story in 1-2 sentences? List some plot points for each.
Additional films of interest Whose Streets White Helmets The Square,
14
Five Broken Cameras, Let The Fire Burn, Jason Osder, 2013 Cartel Land, Matthew Heineman 2015 Kingdom of Shadows, Bernardo Ruiz 2015 Devil’s Freedom, Everardo Gonzalez, 2017 Hell and Back Again, Daufung Dennis 2011 Long Night's Journey Into Day, Deborah Hoffmann, Francis Reid 2000 Gate Of Heavenly Peace, Gordon, Hinton, Schell, Yasui, 1999 American Dream, Barbara Kopple, Trouble The Water, 2007 Tia Lessin and Carl Deal Peasants of the Second Fortress, Shinsuke Ogawa , 1971 Hearts & Minds, 1970, Peter Davis Battle of Chile ; 1979, Patricio Guzman 10 El Salvador, Another Vietnam , 1980, Glen Silber Take Over, 1999, Pam Yates When The Storm Came, 2003, Shilpi Gupta The Revolution Will Not Be Televised, 2004, Kim Bartley, Donacha O’Brian La Hora De Los Hornos, 1969 Solanas and Getino The Price of Sugar 2007, Sean Fine, Andrea Nix Fine Hell And Back Again, Danfung Dennis, Control Room , 2004, Jehane Noujjaim 18 Days In Egypt, beta.18daysinegypt.com; check it out Hollow www. hollowdocumentary.com , Elaine MacMillan; check it out
------
March 25 – SPRING BREAK
(Screen before class “One Child Nation” Nanfu Wang, Lynn Zhang / 2019. Broadcasts on Independent Lens March 30th, watch there if you can! Link: http://www.pbs.org/independentlens/films/one-child-nation/ Also available on Amazon)
------15
April 1 -- Race and Class
Eyes on the Prize (Berkeley, Calnet Access)- https://berkeley.kanopy.com/video/aint-scared-your-jails
Episode 1 OJ Made in America -
Part 1 URL: https://lumiere.berkeley.edu/students/items/31105 , or https://www.amazon.com/J-America-Season-Documentary- Event/dp/B01HIYRNAU ; https://www.npr.org/2017/03/12/519925253/eyes-on-the-prize-producer-on- making-a-civil-rights-documentary-before-its-time
Read: Chapter from True South (bcourses)
------April 8 – Truth to Power
● Accountability and Ethics
SCREENING
Roger and Me: https://app.box.com/file/127419302454 Crime and Punishment: HULU
READING Jon Else's Standards and Practices for The Great Depression https://drive.google.com/file/d/0B30Ms1w6TK58bTlLQ2l3S3VDa2FNX1Nmem dKQmZEd1FoZzN3/view?usp=sharing
Film of Interrogation - American Dream and Roger and Me (on BCourses in Files: https://bcourses.berkeley.edu/courses/1489503/files)
16
Films of Interest: The Great Hack Abacus Last Men of Aleppo Icarus Nobody Speak An Inconvenient Truth, 2006 Davis Guggenheim and Al Gore An Inconvenient Sequel, 2017, Bonni Shenk The War Tapes, Deborah Scranton 2006 Super Size Me, Morgan Spurlock, 2004 Darwin’s Nightmare, 2004, Hubert Saiper Citizen Four, Laura Poitras Look of Silence, Josh Oppenheimer
------
April 13 -- GUEST/Assignment TBD
------
April 22 -- Chronicles of Social Upheaval
Screen before class Harlan County, USA , Barbara Kopple, 1976 https://app.box.com/file/124564891363 and The Weather Underground, Sam Green, Bill Siegel, Carrie Lozano, 2003 Link: https://lumiere.berkeley.edu/students/items/31102 Or, Oakland Public Library Kanopy (https://oaklandlibrary.kanopy.com/video/weather-underground-0) and Media Resources Center (DVD 3066)
Read
17
"Harlan County USA" interview with Barbara Kopple and Hart Perry
"Documentary Film and the Power of Interrogation" Miles Orvell in Film Quarterly (optional)
Concept Paper Read the concept papers on bcourses, and begin thinking about a story that will sustain you for a year, and audiences for 25 minutes.
You will be required to submit a hard-copy and digital version of your concept paper at the beginning of class on 5/1. (2 pages maximum)
The concept should include: a synopsis of a story you could envision telling, including key details of the story and the elements required to tell it. Also include how you would approach it visually, explaining what we might see, and how you will gain access.
Provide a ballpark of how much this story might cost: where would you have to go? Are there additional costs like archival? Remember, shooting will be limited to approximately 10 days.
------
April 29 -- TBD
------
May 6 – Creative Documentary
Screen before class:
Cameraperson
18
No subtitles: https://lumiere.berkeley.edu/students/items/31103; English Subtitles: https://lumiere.berkeley.edu/students/items/31104, Or UCB Media Center: DVD Z3487)
Strong Island (Netflix)
------Additional Films Of Interest (MUSIC FILMS) Don't Look Back , 1967, D. A. Pennebaker Cocksucker Blues , 1972, Robert Frank Genghis Blues , 1999, Adrian and Roko Belic Shut Up and Sing, 2006 Barbara Kopple Always For Pleasure, Les Blank Chulas Fronteras Les Blank Jazz, 2000, Ken Burns & Lynn Novick Let's Get Lost, 1988, Bruce Weber Ella Fitzgerald: Something to Live For , Karen Bernstein, Charlotte Zwerin The Buena Vista Social Club, 1999, Wim Wenders Thelonious Monk, Straight No Chaser, Bruce Riker, Charlotte Zwerin Wattstax, 1973 (restored 2003) Mel Stuart My Generation, 2001, Barbara Kopple War Dance, 2007, Sean Fine, Andrea Nix Fine Arrested Development , 2000, Joan Churchill Mussel Shoals, 2013, Greg Camalier Pussy Riot: A Punk Prayer, 2013, Mike Lerner, Maxim Pozdorovkin Twenty Feet From Stardom, 2013, Morgan Neville, Gil Friesen What Happened Miss Simone? 2015, Liz Garbus
Web Sites of interest www.documentary.org - magazine published by International Documentary Association https://www.d-word.com/ - listserv for filmmakers, must register www.dv.com. DV – excellent technical magazine about digital video – read it. www.doculink.org, Subscribe to Doculink, good list/chat www.indiewire.org, daily overview of independent film production 19
d-word www.itvs.org is a good site for overview of producing as an independent in a network setting; PBS-specific. www.nofilmschool.com, good professional site for independents, with posts on both narrative and documentary. https://www.pbs.org/wgbh/frontline/about-us/journalistic-guidelines/ . Helpful guidelines about guidelines for making film.
20