Documentary in Barcelona: Researching and Filming.

Documentary in Barcelona: Researching and Filming

Description

This documentary class is an interdisciplinary course (Culture, Film, Sociology, Media and Arts) in which the student will make a short documentary about a social or cultural aspect of the city of Barcelona.

We will start with a brief introduction to the history of documentary followed by the analysis of several North American, European, Spanish documentaries which exemplify different modes of documentaries (participative doc, essay doc, social doc, poetic doc, “cinema direct”, ethnography doc, fake doc, mockumentary, found footage doc, etc.). Students will have the chance to discuss with a documentary director from Barcelona about his or her production.

Students will research the topic of their choice in the context of Barcelona, through written material, the web and in field-activities.

Docs will be shown publicly in a forum where viewers will give their input and opinions.

Course Objectives

-Research a foreign society and be conscious of the limitations of “showing the other”. -Develop consciousness about stereotypes, assumptions, prejudices, and misconceptions, when creating a discourse about subjects from a different culture.

-Distinguish documentary modes, styles and purposes.  -Learn to use basic technical tools for film making. -Learn the steps involved in making a documentary (pre-production, production and post-production)

-Acquire the ability to express their perspectives and sensitivity through art.  Be responsible for one´s opinions and learn to explain them rationally.  -Develop organizational skills to work independently or in groups.  -Gain a humanistic knowledge and direct experience of Barcelona, through the process of filming-immersion.

Course Requirements

-Attendance. Same requirements as for the other content classes.

-Participation is very important since students have an “in process” work to accomplish.

-Students have a Readers Course prepared by the professor. They have to read material, before class, as specified in the syllabus.

-Students will discuss in class.

Bar-cel-doc. Students have to complete 10 entries of a journal-dossier, following guidelines by the professor. These are based in outside activities related to Barcelona and documentary, which students have to do on their own.

-In field visits. There are 3 obligatory in field visits. (i.e. Watching documentaries, free, at Excentric film archive, in the Contemporary Culture Center of Barcelona (CCCB). Visit to the free Film Archive Online of la Mediateca at the La Caixa Cultural Center.

Grading System

Participation: 10%

Midterm Exam: 25%

Bar-cel-doc: 30%

Final Project Documentary: 35%

Course Outline

Week 1

Introduction to documentary: fiction versus non-fiction. The origins of documentary and Classical documentary.

Documentary analysis:

Nanook of the North (Robert Flaherty, 1922)

Berlin, Symphony of a City (Walter Ruttman, 1927)

Required Readings: dossier

Week 2

Documentary modes: Participative Documentary. Reflexive Documentary.

Documentary analysis

Chronique d’un été (Jean Rouch, Edgar Morin,1961)

Man with a Movie Camera (Dziga Vertov, 1929)

Required Readings: dossier

Week 3 and 4

Documentary modes: Poetic Documentary. Experimental Etnography. Cinema direct. Social and political documentary

Documentary analysis:

Rain (Joris Ivens, 1929)

Land without Bread (Las Hurdes, Tierra sin Pan) (Luis Buñuel, 1932)

The War Game (Peter Watkins, 1965)

Titicut Follies (Frederick Wiseman, 1967)

Balseros (Carles Bosch & Josep Maria Doménech, 2002)

Required Readings: dossier

Week 5

Introduction to Filming: Shots. Sequences. Composition. Camera Movements. Continuity. Introduction to the use of the camera: Image. Light. Sound.

Documentary analysis:  Excentric

Week 6 and 7

Documentary modes: Found Footage Documentary. Fake Documentary. Subjective documentary. Essay Documentary. Mockumentary. Documentaries with different modes.

Documentary analysis:

F for Fake (Orson Welles, 1974)

Nobody´s Business (Alan Berliner, 1996)

Private Hungary Series (Peter Forgács, 1992)

Sans soleil (Chris Marker, 1982)

Les glaneurs et la glaneuse (Agnes Varda, 2000)

Required Readings: dossier

Week 8

The ethics of Documentary. Showing “the other.” Documentary in Spain. Documentary in Barcelona.

Guest Speaker (Documentary Director from Barcelona, TBA)

Documentary analysis:

En construcción (José Luis Guerin, 2001)

El Sol del Membrillo (Víctor Erice, 1992)

El desencanto (The Disenchantment) (Jaime Chávarri, 1976)

El cielo gira (Mercedes Alvarez, 2005)

Required Readings: dossier

MIDTERM EXAM

Week 9

Documentary Project. Pre-production: Ideas. Topics. Proposal. Investigating a topic. Documentary Script. Presentations.

Week 10

Getting organized for filming: Locations. Protagonists. Equipment. Production. Strategies for Interviewing. Solving problems.

Post-production: Editing. Types of Editing.

Week 11, 12 and 13

Editing the Project.

Week 14

Final Editing Details and Exhibition.


RECOMMENDED READINGS:

Aitken, Ian (2006). Encycloepedia of the Documentary Film. NY: Routhledge

Barbash, Ilisa & Lucien Taylor (1997). Cross-Cultural Filmmaking: Making Documentary and Ethnographic Films and Video. Berkeley: University of California Press.

Curran Bernard, Sheila. (2004). Documentary Storytelling for Video and Filmmakers. Burlington: Focal Press.

Ellis, Jack and Mclane Betsy (2005). A New History of Documentary Film.

Clark, B. & Spohr, S. J. (2002). Guide to Postproduction for TV and Film Managing. Burlington: Focal Press.

Frampton, Daniel (2006). Filmosophy. London: Wallflower Press.

Garrison, Kearns, Toal. & Young, (2002). Introduction to Documentary Production. London: Wallflowerspress

Jolliffe, Genevieve and Zinnes, Andrew (2006). The Documentary Film Makers Handbook. London: The Continnum International Publishing Group Ltd.

Macdonald, K. and Cousins, M. (1996). Reality: The Faber Book of Documentary. London: Faber & Faber.

Nichols, Bill (2001). Introduction to Documentary. Bloomington: Indiana University Press.

Rabiger, Michael (1998). Directing the Documentary. Reed: Butterwoth-Heinemann.

Renov, Michael & Rosen, Philip, (1993). Theorizing Documentary. London: Routledge.

Rosenthal, J. (1988). New Challenges for Documentary. Berkeley: University of California Press.

Rothman, William (1997). Documentary Film Classics. Cambridge University Press.

Winston, Brian (1995). Claiming the Real. Documentary Film Revisited. London: British Film Institute.

DOCUMENTARIES:

Nanook of the North (Robert Flaherty, 1922)

Berlin, Symphony of a City (WalterRuttman, 1927)

Rain (Joris Ivens, 1929)

Man with a Movie Camera (Dziga Vertov, 1929)

Land without Bread (Las Hurdes, Tierra sin Pan) (Luis Buñuel, 1932)

Chronique d’un été (Jean Rouch, Edgar Morin,1961)

The War Game (Peter Watkins, 1965)

Titicut Follies (Frederick Wiseman, 1967)

F for Fake (Orson Welles, 1974)

Sans soleil (Chris Marker, 1982)

Roger and I (Michael Moore, 1989)

Les glaneurs et la glaneuse (Agnes Varda, 2000)

Private Hungary Series (Peter Forgács, 1992)

Nobody´s Business (Alan Berliner, 1996)

Spanish:

El desencanto (The Disenchantment) (Jaime Chávarri, 1976)

El Sol del Membrillo (Víctor Erice, 1992)

En construcción (José Luis Guerin, 2001)

Balseros (Carles Bosch & Josep Maria Doménech, 2002)

El cielo gira (Mercedes Alvarez, 2005)

RECOMMENDED WEB PAGES

http://www.blogsandocs.com/

http://www.revistadocs.com/blog/

http://www.archive.org/index.php

http://www.witness.org/index.php

http://www.desorg.org/intro_2008.php

http://documental.kinoki.org/

http://www.ubu.com/