In this class, we will study the art of documentary making, examining the work of professionals and producing our own documentaries—in prose, photographic slideshow with narration, audio or video.
Important note: This class requires all students to travel off campus throughout the semester to do interviews with experts on aging and / or to spend time with older individuals, documenting their stories and day-to-day lives. Generally, off-campus sites are accessible on foot or by bus.
Goals of the class:
• To study photographic, narrative (prose) and filmic documentary works—how documentarians go about doing their projects.
• To work in the field to develop a documentary project that focuses on the stories and lives of older persons living in Newport News and Hampton, using narrative writing, photographic essay and soundslides, video or audio.
What differentiates documentary work from journalism? What is documentary work?
Documentary work, according to our guides, Robert Coles and Shelia Curran Bernard:
• has no news value
• "provide[s] the American public with a basis for conversation" about a subject, issue
• is a "record of the people and emotions who are most caught up in the issues of the times" (John Else in Bernard)
• records "a kind of life largely safely out of sight—beyond imagining" (Coles)
• "show[s] the audience things not seen or not paid attention to" Barry Hampe
• requires work in the field in an often "alien culture"
• "do[es] justice to the complexity of observable life"
• challenges stereotypes, and does not "impose [preconceived] ideas on people"
• "show[s] nobility in a miner or exploited child"... in its subjects
• "is a humane and literate kind of social inquiry"
• provides solid evidence—visual, narrative or textual
• may be personal (one's family in the film "Living with Herbie"), the filmmaker as host ("Born into Brothels," "Supersize Me"), three-act dramatic structure, cinéma vérité
• combines interviews with compelling evidence—facts, anecdotes, visuals
• records the present, visits the past (Hampe)
Documentary work is not:
• tied to the news
• art, according to Walker Evans—"art is useless; documentary has use"
Texts
• Documentary Storytelling, 3rd ed., Sheila Curran Bernard
• Doing Documentary Work, Robert Coles
• Old & On Their Own, Robert Coles
• Telling True Stories, eds., Mark Kramer & Wendy Call
Requirements & Resources
Course Policies
Requirements:
• In-class writing, short assignments &
Fieldwork Log—25%
Includes quizzes, assignments to build documentary reporting and writing skills, and fieldwork log.
—Documentary fieldwork & log—8 hours, minimum
— Write a 250-500 descriptive and reflective entry for each fieldwork visit
—Create the log on a single Word doc.
You will find an elder, or a working person who is within a few years of retirement, and spend the semester visiting her. I will help you find a subject, or you can find one yourself, someone on campus or in the community.
Keep an accurate log of your fieldwork with your elder subject. Include your subject's name, address, phone and email (if applicable). In addition to time interviewing your subject, you will ideally spend time participating in activities with her—attending a church service, lunch or dinner, at the hairdresser's, at work, leaf raking, a family visit, at a concert and so on. Turn this in as a Word doc via email, with "Fieldwork Log" in the subject line, when your final project is due.
• Documentary project 1—Due 3/22—25%
Start this project early.
A brief project using narrative nonfiction, documentary photography, documentary video and/or audio, focusing on life stories and/or how your elderly subject gets by.
Interview your elder(s) at least twice and produce a short documentary project.
1) Interview for basic background information.
Interview for age, address, occupation (former), family, birthplace. This may or may not become part of your documentary, but you need to have the information.
2) Interview for an interesting topic, listening for story.
A story might arise, for instance, as your subject reminisces while showing you photographs. Or a question about the U.S. Congress might lead your subject to remember years as a town councilwoman when she won a tough fight. In either case, let her talk, noting telling details and emotions that will make your documentary interesting.
Be aware of her tone (as Coles might be), her surroundings, your response to her (as Coles might).
Be aware of, and probe when found, emotional responses. (Can you tell me more about that time / memory?)
Be alert for sensory detail, asking, do you remember what it smelled / felt / sounded / tasted / looked like? Details bring a story to life.
3) Produce a project:
Write a 500-word narrative (in the style of Coles's Old and on Their Own.
or
Post a 10-15 image slideshow with narration by you and/or your subject (3-5 minutes) on the class YouTube channel. Photos can include old photos belonging to your subject, as well as photos that you take. Narration can be in either your voice or your subject's voice, or both.
or
Post a thoughtfully edited 3-5 minute video or audio doc on the class YouTube channel. (See slideshow description immediately above.)
YouTube login: —corrected 3/1/2017
docstudies394@gmail.com
password: wisdom462
Tell your subjects that you are student journalists and their responses may be published on the class project website. Have them each sign a Subject Release form and turn that in with your documentary.
• Documentary project 2—Due 4/28—50%
An extended version of Project 1, organized around a theme. Must be approved by the instructor.
The nature, size, length and scope of your project will depend on your interests and the nature of your subject.
Due:
• Your "Field Work Log," a Word doc turned in via email.
• Your project files contained in a single electronic folder on an external hard-drive or flash drive.
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Tools
• Digital audio recorder, video camcorder, still photography equipment—recommended, depending on your documentary project focus. I have a few camcorders, tripods, wireless microphones and a few digital audio recorders to loan. You can also use your smart phone or tablet to shoot and edit your documentary project, using, for instance, iMovie or Windows Moviemaker or any of the many Apps for video, audio and photo slideshows. Use a program or App that allows you to export to YouTube.
• Class YouTube channel:
YouTube login: docstudies394@gmail.com
password: wisdom462
• Subject release .pdf
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Recommended reading / viewing:
• "Eyes on the Prize," DVD, 7 volumes. ( E185.615 .E941 2006 )
• Oral History: An Introduction for Students, James Hoopes (D16.14.H788 O6)
• Coming of Age: The Story of Our Century by Those Who Lived It, Studs Terkel (HQ1064.U5 T44 1995)
• Let Us Now Praise Famous Men, James Agee ( PS3501.G35 A6 2005 )
Multimedia Storytelling Resources
• MediaStorm: A Multimedia Production Studio
• 1 in 8 Million, New York Times' weekly multimedia soundslides
• "A Day with Francisco," AARP Bulletin
• "Aging in America," sound-slide shows, Winokur
• FSA—the Farm Security Administration, a documentary photography powerhouse.
The Farm Security Administration (FSA) was created in the Department of Agriculture in 1937. The FSA and its predecessor, the Resettlement Administration (RA), were New Deal programs designed to assist poor farmers during the Dust Bowl and the Great Depression. Roy Emerson Stryker was the head of a special photographic section in the RA and FSA from 1935-1942. During its eight-year existence, the section created the 77,000 black-and-white documentary still photographs (also at the Library of Congress) for which it is world-famous. Beginning in 1939, it also created 644 color documentary still photographs. The section's documentary project continued for one year after the unit moved to the Office of War Information in 1942.
Audacity, free audio editing tool
• Audacity tutorial on editing an existing audio file
• Audacity manual and tutorials
Resources on Aging
• Riverside Hospital's P.A.C.E. Adult Day Care Center, 4107 West Mercury Blvd, Hampton 251-7997
• Mennowood Retirement Community 13030 Warwick Blvd, 249-0355; Enrichment Coordinator, 269-4204
General Course Policies
Coming Late to Class & Waltzing In and Out
Walking in late is disruptive and counts as absence, as does walking in and out during class. If you have a special, documented need, let me know.
Office Hours
My door is always open, and I am happy to see you during my office hours, as well as other times that I'm in my office—drop by or call or e-mail to see if I'm in. You are welcome anytime to come by and talk about your class work in general, or about a specific reading or essay draft on which you are working.
Learning Disabilities
CNU Disability Policy: Students with documented disabilities are required to notify the instructor on the first day of class and in private if accommodation is needed. The instructor will provide students with disabilities with all reasonable accommodations, but they are not exempted from fulfilling the normal requirements of the course. Work completed before the student notifies the instructor of his/her disability may be counted toward the final grade at the sole discretion of the instructor.
If you believe that you have a disability, you should make an appointment to see me to discuss your needs. In order to receive an accommodation, your disability must be on record in the Dean of Students’ office, 3rd Floor David Student Union/DSU (Telephone: 594-7160).
CNU Success Policy
We want you to succeed at CNU; therefore I may notify the Academic Advising Center if you seem to be having problems with this course. Someone may contact you to help you determine what help you need to succeed. You will be sent a copy of the referral form. I invite you to see me at any time that I can be of assistance in helping your with the course material.
Attendance
Not Attending Class Can Result in Failure of Course
You may miss one week of class without any penalty or consequence. You are responsible for the material covered, of course, and I draw my exam questions from material covered in class, class discussion and lecture, as well as from our texts.
Additional absences will result in reduction of your final course grade.
That means that a "B" in all of your coursework can become a "C," if you have excessive absences. It also means that a passing grade for the course can become a failing grade for the course.
In the case of an emergency, contact me as soon as possible. Emergency absences can be excused, and I may ask for documentation.
Complete All Work
You must complete all work by the last day of class to receive a passing grade.
Incompletes
Given only in extraordinary circumstances. Plan to complete work by last day of class. Not completing the work results in an "F," not an "I."
Week 1: The Documentary Enterprise
• W 1/11
— Introduction
—"Where's Jesse?" Andy Casson
—"Sondra Berman: A Life in Transitions," Zenith Haas
—"Never Too Late," Heather Bridges
—"A Rational Life," Adam Garrett & Johnathan Nixon
—"Mountain Dew & Cigarettes," Jo Emanuelson
—"Moments with Margaret," Taryn Buckley
—"Living With Herbie, Part 2," films by Jill Winokur & Ed Kashi
• Documentary work
—"Introduction" & Chapter 1, Bernard
—New York Times: Alzheimer's story ; The Vanishing Mind ; Joseph Cotton: The Grandfather ; Ed Grajales: The Dictaphone Doctor ; Georgiana DePalma Tedone: The Mozzarella Maker
—"Passing Time," Julie Hagy, memoir / vignette / character sketch
—"Friends for Life," Julie Winokur and Ed Kashi
Week 2: Theory & Field Work
• W 1/18
—" Introduction," Coles, Documentary Work
—"Locations in Theory," (Chapter 1) Coles, Documentary Work
Stories & Private Lives
— "Story Basics," (Chapter 2) Bernard
—"Delving Into Private Lives," in Telling True Stories Talese (6)
—"Interviewing: Accelerated Intimacy," in Telling True Stories Wilkerson (30)
—Workshop: Interviewing Skills
Week 3: Finding the Story / Finding the Picture
• W 1/25
—"Finding the Story," (Chapter 3) Bernard
—"Structure," (Chapter 4) Bernard
— "J School for People Who Never Went," LeBlanc, in Telling True Stories (59)
—Robert Frank, The Americans: NPR Interview (8:02)
—Documentary Work , Coles "Robert Frank's America" (pp. 224-229)
—Film clip, in class: "Born Into Brothels" (2005), film by Zana Briski 8 min. (36:48-43:53)
—Workshop: Documentary Photography skills—(Lab).
—Ethical & legal consideration for photos of identifiable people, Wikimedia Commons
Week 4: Being There... and Listening
• W 2/1
— "Being There," Hull, in Telling True Stories (39)
—"Voices of Our Neighbors," Allison, in Telling True Stories (92)
—Studs Terkel, "Brothers," Studs Terkel
—"Oscar Heleen" (17:27) audio documentary from the "Hard Times" series, Studs Terkel
—Old and on Their Own, Robert Coles (1-42)
—Due by class-time today: Environmental Portrait & Story
Photograph a subject in his or her environment, using the environment to help tell a story and reveal character. Place the best photograph in a Word doc and write a 200-word nonfiction story that reveals character to accompany the photograph. Email the document to tlee@cnu.edu.
Week 5: Breathing Life Into Story: Details & Psychology
• W 2/8
—Old and on Their Own, Robert Coles (42-92)
—"Details Matter," Harrington, in Telling True Stories (128)
—"The Psychological Interview," Franklin, in Telling True Stories (34)
Week 6: Anatomy of a Documentary
• W 2/15
— "Supersize Me" film by Morgan Spurlock (2003) 96 min.—view out of class (alternate size)
— "Case Study: Super Size Me," Bernard, 107-115 in 3rd ed.; 103-119 in 4th ed.)
—"Difficult Journalism That's Slap-Up Fun," (thinking) Katherine Boo, in Telling True Stories (14)
—"How to Come Up Short," (feeling) Hallman, in Telling True Stories (212)
—Documentary Work, Coles "Fact & Fiction" (Chapter Three)
—"Mr. Blues" (9:19)
Theme: family...profile, secondary characters, location helps tell the story, protagonist's actions support theme
—"The Way We Get By" (2:07)
Theme: Giving back, Making meaning in life...three protagonists in a complex feature doc
—"Behind the Lens: The Way We Get By" (8:28)
—WWII public domain footage, iHistory
—"The Fog of War," Errol Morris
Week 7—Reporting & Producing a Brief Documentary
• W / 22—"Reporting Across Cultures," Medina in Telling True Stories (46)
—Farm Security Administration photography
—American Exodus, documentary photography and narrative by Lange and Taylor (reserve)
—"Documenting the Face of America," film by Jeanine Butler (60 min.)
—Project 1 workshop
Week 8:
• W 3/1
—Video production & editing
Week 9: Spring Break
• W 3/8
spring break
Week 10:
• W 3/15
— Project 1 Workshop:
Bring material to share. For video and sound slideshows, post to the class YouTube channel. For photography, post online (a Google Docs page could serve the purpose.) For prose, bring copies for the class (18 copies).
Week 11
Writing, Shooting & Ethical Considerations
• W 3/22
—Due today at class time today: Documentary Project 1
—You Have Seen Their Faces, Bourke-White & Caldwell
—"The Person As Documentarian: Moral & Psychological Tensions" (Chapter 2), Coles, Documentary Work
—"Two Maxims at Odds. Tell a Story, Tell the Truth," Jonathan Mailer, NY Times
—"The Bull Rider," NY Times Op-Doc
Week 12
• W 3/29: Workshop
— Reconstructed scenes
—"Field Notes to Full Draft," in Telling True Stories, Kidder (51)
—"Reconstructing Scenes," in Telling True Stories Hochschild (132)
—More on Character
—"Character," Jon Franklin in Telling True Stories (126)
—Old & On Their Own, Coles (92-119)
—"Flo: Portrait of a Street Photographer," NY Times Op-Doc
—"Spider Drove A Taxi," NY Times Op-Doc
—"Another Tea," NY Times Op-Doc
—"Teresa Zakow: The Art Restorer," NY Times
—"Joy Seligsohn: The Mature Actress," NY Times
—"Henry Reininger: The All-Night Accountant," NY Times
Week 13: A Master at Work: Wiseman
• W 4/5
—"High School,"film by Frederick Wiseman (1968) (75 min.)
—Project updates, conference sign-up
Week 14
• W 4/12
—conferences
Week 15
• W 4/19
—Project presentations
Final Exam period
• F 4/28, 5 p.m.
—Documentary Project 2 due
"Migrant Mother.," Florence Thompson.
Dorothea Lange, 1936.