The document provides an introduction to documentary films including what they are, what they aim to do, and different modes or styles of documentary filmmaking. It discusses how documentaries explore real people and situations but different modes may include narration, observations without narration, include the filmmaker, or take a more experimental approach. It also addresses the "contract" between filmmakers and audiences where documentaries aim to tell the truth in an authentic way and discusses some ethics around representing subjects. Finally, it outlines best practices for documentary production including research, interviews, filming, editing, and distribution.

1. Introduction to Documentary

2. What is a documentary ?

3. What is a documentary ? “ Get two documentarians together, and the chances are high that they will argue about what documentary is . Even though documentary has evolved continuously from its inception, its purview and methods remain ambiguous , and its parameters keep enlarging . Uncontested, however, is what remains central to documentary’s spirit – the notion that documentaries explore the mysteries of actual people in actual situations .” – Michael Rabinger “Directing The Documentary”

4. What does a documentary do? Preserve Persuade Analyze Express Discuss Explore Intervene Enlighten

5. Documentary’s “Contract” Agreement between filmmaker and Audience Do one’s best to tell the ‘truth’ Authenticity, Truth claim “ None of this is made up” It’s okay to have an opinion

6. Documentary Modes * Consider how each of these modes/ examples are in dialogue with this contract

7. Documentary Modes EXPOSITORY Frank Lloyd Wright (1998, Ken Burns)

8. Documentary Modes EXPOSITORY Frank Lloyd Wright (1998, Ken Burns) - “Voice of God” narration - direct presentation of facts - can include all kinds of “evidence”

9. Documentary Modes OBSERVATIONAL Hoop Dreams (1994)

10. Documentary Modes OBSERVATIONAL Hoop Dreams (1994) -minimal (or no) narration -long takes, real-time, synch-sound -present tense - never (or almost never) see or hear the filmmakers

11. Documentary Modes INTERACTIVE Roger and Me (1989, Michael Moore)

12. Documentary Modes INTERACTIVE Roger and Me (1989, Michael Moore) -filmmaker is present on screen -filmmaker makes the action happen

13. Documentary Modes ESSAYISTIC History and Memory (1998, Rea Tajiri)

14. Documentary Modes ESSAYISTIC History and Memory (1998, Rea Tajiri) -uses “first person” address: “I” -tells personal stories from a personal viewpoint -does not try to be “objective”

15. Documentary Modes EXPERIMENTAL Tarnation (2003, Jonathan Caouette)

16. Documentary Modes EXPERIMENTAL Tarnation (2003, Jonathan Caouette) -obeys the documentary contract -otherwise, anything goes

17. When watching documentaries, remember… Everything in a documentary is intentional Who/what/when/where/why/how are all decided by filmmaker: camera movements, framing, editing, music, etc What are possible biases? Relationship between filmmaker and subject What’s the claim to truth/ authenticity? Relationship between documentary and reality Is subject being represented in a way that won’t harm his/her integrity?

18. Ethics in Documentary Filmmaking Working with the community Collaboration Interview Release Forms

19. Modes of Representation How do documentaries present ideas? Combo of visual and audio components Voice- over narration Interviews Related Media Original video (primary footage, b-roll Original images (still photos, graphics, charts, maps, etc) Archival film/ video Archival images (still photos, graphics, charts, maps) Dramatizations Text SOUND (music, effects, background - room noise)

20. Production Phases: Your Workflow Pre-Production Research, treatment, write script, storyboard/shot lists, gather photos, set up interviews Production Conduct interviews, record primary/b-roll footage, record voice-over narration (if necessary), edit script Post-Production Edit script, video editing, music, sound effects

21. Pre-Production: Production Schedule Get in your groups and decide your topic Assign roles to each member according to the syllabus timeline Work to create treatment/script Schedule times for production

22. Pre-Production: the Treatment Outline what you hope to create as a film (be specific) Introduction of your topic (with a hook!) Specific information that explains the events/issues Conclusion Layout your production plan (use the Production Schedule Worksheets!) What components are going to provide specific information. (Who? When? Where?)

23. Production Get to it! Record interviews Shoot b-roll film Locate found footage Note: some footage will be created during post-production

24. Production Crew Roles Director Producer Cinematographer (DP) Sound

25. Post-Production Log and organize your footage Create a script that revises the treatment, but considers the footage attained Begin sequencing the footage in Final Cut Pro (Assembly Cut) Go back and forth with the previous 2 steps Record voice-over narration (if necessary)

30. Stages of your project Assembly Cut Barebones version. It just establishes the information in a sequence First Cut Begin to consider how you want to represent your information Ex: Show interview…use graph…use created footage with text…voice-over narration over b-roll footage

31. Stages of your project Final Cut Smooth out the modes of representation Smooth transitions between shots Add all music/sound effects and fix audio levels Add text (Check the font, size and spelling) Export as a DVD