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1/10/2019 History of Documentary Syllabus Spring 2019 - Google Docs

Journalism 286 History Of Documentary Spring 2019 3 units, Wed 2:00pm ­ 5:00pm, Production Lab, Room 101 Carrie Lozano, Lecturer office hours: By appointment. Please send an email, and we’ll set a time. (email) [email protected] (phone) 323­673­1508

Course Description The course covers the evolution of American documentary from 1920 to the present. We will focus on both commissioned and independent produced for a variety of distribution outlets including theatrical, broadcast, and digital. Where possible, we will also discuss international documentaries. Please note that this course is prerequisite for graduate students who are considering specializing in documentary.

In addition to a historical overview, we will concentrate on the practicalities of producing non­fiction documentaries for broad audiences, and on documentary materials, structure, genre, points­of­view and ethics. 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 This syllabus is a living document and will change from time to time. I will give fair warning when it does. But please check bcourses regularly. All assignments must be posted to bcourses, and I will make any changes to the syllabus there.

I will start class at 2pm sharp on Wednesdays in the TV Lab, adjourning at 5:00pm.

Grades are determined by class attendance, class preparedness, class participation, and written assignments. All students are expected to engage in discussion each week. Arrive prepared, with questions, and with 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.

We will attempt to make assigned films available through streaming 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, or Amazon.

When not available online, we will direct you to the appropriate resource. Many 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 1 https://docs.google.com/document/d/1OBYudphmyBHSD3OY97aTtJBGLt5JyralFfD7qILFmhc/edit 1/14 1/10/2019 History of Documentary Syllabus Spring 2019 - Google Docs

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, D ocumentary, A History Of Non­ Fiction Film, third edition, by Erik Barnouw still the classic after all these decades. Additional readings will be posted on bcourse. The readings are not taxing. Note that some of the readings in the syllabus are optional.

Optional Reading Bill Nichols’ excellent I ntroduction 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, D ocumentary Film, a Very Short Introduction available via Amazon.

Required writing: W ritten work 3 00 words (no more, no less) each week on various topics relating to the assigned films. These weekly papers are due by 10:00 am every Wednesday, uploaded to bcourses. Papers should be dense, original, and well written. It is the director’s job to engross you in the story, such that you hardly notice the elements, materials and devices that create the story. The purpose of these essays is to dissect the films: How are they assembled? What’s missing? Why does it work or not work? Is it true? How do you know? Sometimes I’ll give extensive feedback, sometimes I’ll just acknowledge the work. This writing is a class requirement, but it’s also essential practice. Writing about film is a critical skill in documentary filmmaking. If you cannot clearly, convincingly and engagingly write about documentary, you will have a hard time successfully pitching your own films.

Students planning to apply for the documentary production track in their second year are required to write a 2­page concept paper for a proposed documentary in the final week of the course. An outline will be provided.

Please note that documentary is a dynamic and ever­changing 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 23 – W hat is ?

• 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, B arnouw 1­33

Screen in class ­ possible selects from: 2 https://docs.google.com/document/d/1OBYudphmyBHSD3OY97aTtJBGLt5JyralFfD7qILFmhc/edit 2/14 1/10/2019 History of Documentary Syllabus Spring 2019 - Google Docs

Lumiere Studios Films, Eyes On The Prize, , Complaints of a Dutiful Daughter, Growing Female, Brother’s Keeper, Why We Fight, Crumb, , Chasing Corral, Whose Streets, The Thin Blue Line, I’m not your Negro, The 13th, Tongues Untied, Ethnic Notions, , LA 92, O.J. Made In America, Frontline, Fault Lines, Vice, Op­Docs ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­

January 30 – T he 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 , 1920, Robert Flaherty

Read before class Barnouw 33­1 00 Anonymous Nanook review (via bcourses) Ethnographic Film, Karl G. Heider 2 0­24 (via bcourses)

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 N anook? From the film, what can you glean about the filmmaker’s relationship to the subject?

Screen in class ­ possible selects from: Nanook Revisited, 1994, Claude Massot, National Film Board Of Canada Taking Pictures, 1996, Les McClaren and Annie Stiven Unzipped, 1988, Douglas Keeve Cadillac Desert, 1997, Jon Else Crumb, 1994, , Joshua Oppenheimer The Devil Never Sleeps, 1995, Lourdes Portillo The Last Day of Freedom, 2015, Dee Hibbert­Jones and Nomi Talisman Wonders Are Many, 2007, Jon Else

Additional films of interest Forest Of Bliss, Robert Gardner In And Out Of Africa, I lisa Barbach Sweetgrass, Ilisa Barbash and Lusien Taylor , R obert Flaherty , R obert Flaherty 1934 The Ax Fight, Timothy Asch, Napoleon Chagnon Les Maitres Fous, Surname Viet, Given Name Nam, Trinh T. Minh ha 3 https://docs.google.com/document/d/1OBYudphmyBHSD3OY97aTtJBGLt5JyralFfD7qILFmhc/edit 3/14 1/10/2019 History of Documentary Syllabus Spring 2019 - Google Docs

Imagining Indians, Victor Masayesva Stranger With A Camera, Elizabeth Barrett 2000 Coming To Light, Edward S. Curtis, 2001, Anne Makepeace Waka, 2012 John Haptas and Kristine Samuelson Virunga, 2015, Orlando Von Einsiedel ­­­­­­­­­­­­­­­­­­­­­­­­­­

February 6 – P artisanship, Propaganda, Point­of­View, 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 100­182 “Ethics of Imagemaking,” Jay Ruby

Screen before class Triumph Of The Will, Leni Rieffenstahl (first 60 minutes only) Harvest Of Shame, 1960, CBS, Edward R. Murrow (52 minutes)

Writing Assignment Is there a clear distinction between advocacy films and propaganda films? Explain. In this week's screening, what elements of cinematic language are used to further the filmmaker's point­of­view?

Screen in class ­ possible selects from: Reassemblage, 1983, Trinh T. Minh­ha Fahrenheit 911, 2002, 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, L ouie Psihoyos The Invisible , 2012, Occupy Unmasked, 2012, Steve Bannon Vaxxed, 2016, Andrew Wakefield

Additional Films Of Interest Das Blaue Licht, Leni Riefenstahl The Plow That Broke The Plains, Pare Lorentz The River, Pare Lorentz Listen To Britain, Humphery Jennings Outfoxed , Robert GreenwaldOlympiad , 1937, Leni Riefenstahl 4 https://docs.google.com/document/d/1OBYudphmyBHSD3OY97aTtJBGLt5JyralFfD7qILFmhc/edit 4/14 1/10/2019 History of Documentary Syllabus Spring 2019 - Google Docs

The Cove, 2008, Waiting For Superman, 2009, Davis Guggenheim Food Inc., 2008, Robbie Kenner , 2011, Kirby Dick , 2015 Kirby Dick Rape in the Fields, 2013, Andres Cediel Rape on the Night Shift, 2015, Andres Cediel and Daffodil Altan ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­

Feb. 13 – H istorical & Historical Chronicle

• Film as evidence • Re­contextualizing and treating history • Scripted films

Screening The Day After Trinity, 1981, Jon Else https://www.kanopystreaming.com/product/i­am­not­your­negro

Reading And to continue our discussion of ethics and filmmaker­subject relationships, please read Honest Truths a report from the Center for Media & Social Impact: http://cmsimpact.org/resource/honest­truths­documentary­filmmakers­on­ethical­challenges­in­th eir­work/ ( the PDF doesn't work, but you can scroll through the report).

Barnouw 172–182, 198­ 228

Writing Compare the storytelling approach and evidence in these films. What materials are used to underpin the claims that the films are making?

Possible Clips: The Day After Trinity, 1981, Jon Else , 2003, 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 The Black Panthers: Vanguard of the Revolution, 2015, Stanley Nelson Dolores, 2017, Peter Bratt The Weather Underground, 2003, Sam Green

Additional films of interest Jonestown, 2005, Stanley Nelson, 5 https://docs.google.com/document/d/1OBYudphmyBHSD3OY97aTtJBGLt5JyralFfD7qILFmhc/edit 5/14 1/10/2019 History of Documentary Syllabus Spring 2019 - Google Docs

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 DeAntonioSatya, 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 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 , and Buddy Squires, Freedom Summer, 2010 Stanley Nelson, Seeing Red, 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 10, 2007, Brett Morgan Young Indy Documentaries, Lucasfilm 2003 – 2007 The Rape of Europa, 2007, Bonni Cohen, Jon Shenk, Richard Berge , 2007, Charles Ferguson The Power Of Nightmares, 2005, Adam Curtis White Light, Black Rain, 2007, Steven Okasaki ­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­

February 20 – C inema Verité

Screen before class , Edgar Morin and Jean Rouch, 1961 https://www.kanopystreaming.com/product/chronicle­summer

READING Barnouw 230 – 293

WRITING

Screen in Class: Rabbit Hunt

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6 https://docs.google.com/document/d/1OBYudphmyBHSD3OY97aTtJBGLt5JyralFfD7qILFmhc/edit 6/14 1/10/2019 History of Documentary Syllabus Spring 2019 - Google Docs

February 27 ­­ D irect Cinema vs. Verité

Screen: Salesman (1969) ,

Reading: Barnouw 240­244 AND "Directing the Truth" http://bordercrossingsmag.com/article/directing­the­truth­an­interview­with­albert­maysles

Writing: B y 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?

Screen in class ­ possible selects from: 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 , 1966 Albert and David Maysles, Listen To Me, Marlon, 2015, Stevan Riley Jackson Heights, Frederick Wiseman, 2015 4.1 Miles, 2017, Daphne Matziaraki

Additional films of interest The Dark End Of The Street: Black Tar Heroin, Steven Okazaki , 1988 Joan Churchill and (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, and Joyce ChopraGrey Gardens , Ellen Hovde, David, Albert Maysles, Charlotte Schwerin Sound And Fury, 2000 Josh Aronson La Danse, 2010, Fred Wiseman Primary, 1960 , Richard Leacock Dark Days, 2000, Mark Singer Cinema Verite: Defining The Moment, 2002 Peter Wintonick, NFB The Lost Boys Of , 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, 2006 The Oath, 2010, Laura Poitras, God Loves Uganda, 2012 Roger Ross Williams

7 https://docs.google.com/document/d/1OBYudphmyBHSD3OY97aTtJBGLt5JyralFfD7qILFmhc/edit 7/14 1/10/2019 History of Documentary Syllabus Spring 2019 - Google Docs

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March 6 ­­ H istorical Biography

• Archives, rights, research and ethics

SCREENING: The Times Of , 1988, Rob Epstein and Richard Schmiechen Reporter Zero, 2005, Carrie Lozano (thesis film)

READING: "Historical Documentary" from Pat Aufderheide's D ocumentary Film: A Very Short Introduction 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?

Screen in class ­ possible selects from: 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: , 1989, Karen Thorsen The Most Dangerous Man in America, 2009, Rick Goldsmith & Judith Ehrlich What Happened Miss Simone, 2015, Liz Garbus The Trials of , 2013, Bill Siegel O.J.: Made In America, 2016,

Additional films of interest 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 : Make It Plain, 2000 ­ Orlando Bagwell, Prisoner of Paradise, 2003, Malcolm Clark, Stuart Sender, Days of Waiting, 1982 Steven Okasaki,Huey Long, 1990, Ken BurnsThe Bridge, 1987, Ken Burns, Day After Trinity, 1980, Jon Else A Job At Ford's, 1993, Jon Else Robert Capa, 2002 Anne Makepeace,

8 https://docs.google.com/document/d/1OBYudphmyBHSD3OY97aTtJBGLt5JyralFfD7qILFmhc/edit 8/14 1/10/2019 History of Documentary Syllabus Spring 2019 - Google Docs

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, and Brett Morgan Volcano: The Life And Death Of Malcolm Lowery, 1981 Donald Britain, Biggie & Tupac, N ick Broomfield 2002 Bukowski: Born Into This, John Dullaghan 2003 Reporter Zero, 2003, Carrie Lozano Warhol, R ic Burns 2006 Lou Reed, Rock and Roll Heart, Timothy Greenfield 1999 Daisy Bates, 2013, Sharon LaCruise, Noland Walker

­­­­­­­­­­­­­­­­­­­­­­­­­­­­­ March 13 – F eminism, Autobiography, Personal Films

The Devil Never Sleeps: (BOX) h ttps://app.box.com/file/124581450230 Growing Up Female (Kanopy)

Reading Attached: "Devils and Ghosts, Mothers and Immigrants" AND https://www.documentary.org/online­feature/ida­career­achievement­award­lourdes­portillo­filmmaking­d esire

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? (300­500 words)

Screen in class ­ possible selects from: , Dziga Vertov Tongues Untied, Marlon Riggs , S arah Polley 2012 Sherman's March, Ross McElwee My Brother’s Bomber

Additional films of interest: Complaints Of A Dutiful Daughter, 1992, Deborah Hoffmann (optional) Time Indefinite, Ross McElwee, Secret Daughter, June Cross, Greetings From Out Here, Ellen Spiro, 9 https://docs.google.com/document/d/1OBYudphmyBHSD3OY97aTtJBGLt5JyralFfD7qILFmhc/edit 9/14 1/10/2019 History of Documentary Syllabus Spring 2019 - Google Docs

Corpus, 2000, Lourdes Portillo, Ross McElwee First Person Plural, 2000, Deanne Borshay Liem , 2004 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, Tarnation, 2003 Jonathan Caouette

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March 20 ­­ D ocumentary Portraits

Screen before class Crumb, 1994, Terry Zwigoff https://app.box.com/file/126411240241

Minding the Gap (HULU)

Reading: https://www.nytimes.com/1994/09/27/movies/anger­and­obsession­the­life­of­robert­crumb.html

When Comics Aren't Funny" https://www.newyorker.com/magazine/1994/11/14/when­comics­aren­t­funny

“Head For The Hills” A. & R. Crumb, The New Yorker http://observer.com/2015/01/legendary­cartoonist­robert­crumb­on­the­massacre­in­paris/

Writing: Describe the journey that Crumb takes the viewer on: What is the film's narrative thrust? What is its story? What are the plot points? (300­500 words)

Screen in class Whose Streets White Helmets The Square, Five Broken Cameras, Let The Fire Burn, J ason Osder, 2013 Cartel Land, M atthew Heineman 2015 Kingdom of Shadows, Bernardo Ruiz 2015 Devil’s Freedom, E verardo Gonzalez, 2017 Hell and Back Again, D aufung Dennis 2011

10 https://docs.google.com/document/d/1OBYudphmyBHSD3OY97aTtJBGLt5JyralFfD7qILFmhc/edit 10/14 1/10/2019 History of Documentary Syllabus Spring 2019 - Google Docs

Additional films of interest Long Night's Journey Into Day, Deborah Hoffmann, Francis Reid 2000 Gate Of Heavenly Peace, G ordon, Hinton, Schell, Yasui, 1999 American Dream, B arbara Kopple, Trouble The Water, 2007 and Peasants of the Second Fortress, S hinsuke Ogawa, 1 9 71 Hearts & Minds, 1970, Peter Davis Battle of Chile ; 1979, Patricio Guzman 10 , 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

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March 27 – SPRING BREAK

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April 3 ­­ Race and Class

Eyes on the Prize ­ https://www.kanopy.com/product/aint­scared­your­jails Episode 1 OJ Made in America ­ https://www.amazon.com/J­America­Season­Documentary­Event/dp/B01HIYRNAU

https://www.npr.org/2017/03/12/519925253/eyes­on­the­prize­producer­on­making­a­civil­rights­do cumentary­before­its­time

Read: Chapter from True South (bcourses)

In class: ● Children’s March Case Study ● Ethnic Notions

11 https://docs.google.com/document/d/1OBYudphmyBHSD3OY97aTtJBGLt5JyralFfD7qILFmhc/edit 11/14 1/10/2019 History of Documentary Syllabus Spring 2019 - Google Docs

April 10 – Truth to Power (Accountability) and Ethics

SCREENING

Roger and Me: h ttps://app.box.com/file/127419302454 Crime and Punishment: HULU

READING Jon Else's Standards and Practices for The Great Depression Film of Interrogation ­ American Dream and Roger and Me

Screen In Class: Abacus Last Men of Aleppo Icarus Nobody Speak , 2006 Davis Guggenheim and Al Gore An Inconvenient Sequel, 2017, Bonni Shenk Tapes, Deborah Scranton 2006 , , 2004 Darwin’s Nightmare, 2004, Hubert Saiper Citizen Four, Laura Poitras Look of Silence, Josh Oppenheimer

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April 17 ­­ Chronicles of Social Upheaval

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 hard­copy 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.

Screen before class Harlan County, USA , , 1976 https://app.box.com/file/124564891363

12 https://docs.google.com/document/d/1OBYudphmyBHSD3OY97aTtJBGLt5JyralFfD7qILFmhc/edit 12/14 1/10/2019 History of Documentary Syllabus Spring 2019 - Google Docs

and The Weather Underground, S am Green, Bill Siegel, Carrie Lozano, 2003 https://berkeley.kanopy.com/video/weather­underground­0

Read "Harlan County USA" interview with Barbara Kopple and Hart Perry "Documentary Film and the Power of Interrogation" Miles Orvell in Film Quarterly (optional)

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April 24 ­­ TBD (guest speaker)

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May 1 ­ Making Music and Making a Living

Screen Before Class https://app.box.com/file/126499270840

The Ballad of Fred Hersch (vimeo)

Reading: h ttps://www.filmcomment.com/article/albert­maysles/

CONCEPT PAPERS DUE (HARD­COPY AND EMAIL)

Screen In Class The Ballad of Fred Hersch, 2016, Charlotte Lagarde & Carrie Lozano Lonely Boy, Wolf Koenig, 1961, National Film Board of Canada, Hymn For Alvin Ailey­ 2001, Orlando Bagwell What Happened Miss Simone – Liz Garbus Searching For Sugarman, 2012, History Of Rock and Roll , 2000, Altamont sequence WGBH/BBC Ain’t No Mouse Music , 2014, Maureen Gosling, Chris Simon

Additional Films Of Interest 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 , 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 13 https://docs.google.com/document/d/1OBYudphmyBHSD3OY97aTtJBGLt5JyralFfD7qILFmhc/edit 13/14 1/10/2019 History of Documentary Syllabus Spring 2019 - Google Docs

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.d­word.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 www.documentaryfilms.net, excellent volunteer­run documentary site www..org is a good site for overview of producing as an independent in a network setting; PBS­specific. www.cinesourcemagazine.com Bay Area film & video www.nofilmschool.com, good professional site for independents, with posts on both narrative and documentary.

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