Module Code and Title:        BRD202 The Art of the Documentary

Programme:                          BA in Mass Communication

Credit Value:                         12

Module Tutor:                       New #2

General objective: The module aims to introduce students to the genre of documentary films as powerful communication mediums. The module delves into the characteristics and purposes of documentaries as well as best practices, and prepares students to use theories in order to critically analyse documentaries. Building on the theoretical knowledge, students are introduced to the process of planning for a documentary project and some essential considerations in the practice of documentary filmmaking, based on which they will compose a preliminary proposal for use in a later production.

Learning outcomes – On completion of this module, students will be able to:

1. Analyse the concept of a documentary film in comparison to other genres of film.
2. Discuss the key historical and theoretical approaches adopted by documentary filmmakers.
3. Explain how to “read” a documentary film dealing with social issues.
4. Analyse the evolution of documentary modes and styles.
5. Discuss the importance of research in planning a documentary.
6. Interpret media messages based on approaches to story.
7. Create a documentary proposal.

Learning and Teaching Approach:

Assessment Approach:

A. Individual Documentary analysis: Portion of Final Mark: 15%

Students will be required to choose a documentary to watch and provide a written analytical review of it. They will be required to analyse reviews posted about the documentary and background information related to the making of that particular documentary. Finally, students should report on the impact of the documentary on the society and the intended audience for it. The analysis should be a maximum of 1400 words.

4%       Quality and depth of analysis

4%       Accuracy of reviews, background and director’s view

4%       Discussion on impact to society and represented group

3%       Mechanics, structure, punctuation and spelling

B. Individual Scene mapping of a documentary shoot: Portion of Final Mark: 15%

Students will create a map of a major scene in a documentary of their choosing (tutor approved). Students are not graded on their artistic ability, but rather the spatial awareness of the subjects, background and movement in relation to the cameras, and ability to discuss director intention and success of the shoot. Students will show the short scene to the class for reference, and briefly describe their map, the director intention, and how it enhanced the approach to the story and possible reasons for the shot in 3-5 min (excluding scene screening time). A rubric will be given in class for specific requirements necessary.

6%       Detailed map of location denoted with accurate camera angles and movement

3%       Short scene presentation and brief background summary

6%       Discussion of director intention, approach and reasons

C. Midterm examination: Portion of Final Mark: 15%

Students will be required to sit for a written midterm examination of 1.5 hr duration proving their theoretical grasp of the concepts, as well as their ability to apply the concepts using practical examples.

D. Individual Documentary project proposal and treatment: Portion of Final Mark: 25%

Students will work individually to come up with a proposal and a treatment for a documentary that they will have the opportunity to produce in a latter module. The treatment should include a well-documented discussion and justification of the style/mood intended for use, overall sketch/summary of the film and a comprehensive bibliography of sources relevant for the film project. An outline for the project and a rubric will be distributed in class.

2%       Cover page, table of contents, one-liner that compellingly and descriptively introduces the film

2%       One-paragraph synopsis written using visual language and stylistic approach

8%       Treatment describing theme, outline, structure, style, documentary mode, point of view, interviewees (potential), questions to be asked during the film, location and other descriptors intended. Notes on use of additional sources, narration and genre should be conveyed.

2%       Audience description

6%       Background and research to intended materials to be included

2%       Production personnel and individual work contribution

3%       Plan and schedule describing how the 7-10 minute documentary could be put together in ~8 weeks

Pre-requisites: LAN202 Basic Journalism

Subject matter:

1. Unit I: Introduction to Documentary Work: Exploring the concept of documentary film: definition, origins, purpose, early history of documentary films, examples and impacts
   • Grounding in facts
   • Educational films, actualities and interest films: before the coined term “documentary”
   • Short films, Lumiere Brothers, (1896-1897, France)
   • Rain, Joris Ivens, (1929, Belgium)
   • Exploring ethnographic foundations, and the Soviet Documentary Movement of the 1920’s
     • “Reading” and analysing a documentary
     • Nanook of the North, Robert Flaherty (1922, USA)
     • Man with a Movie Camera, Dziga Vertov (1929, USSR)
   • Overview of early documentary movements of the 1920’s and 1930’s: Experiments in montage, compilation, abstractionism; Surrealism and impressionism and Social Documentary Movement; Rise of fascism; Documenting the war and post-war era
   • Emergence of television documentaries
   • Direct cinema and Cinema Verite
2. Unit II: Contemporary documentary filmmaking and typical portrayals, with select recent examples
   • Documenting protest/protesting with documentaries
   • Political, historical and investigative documentaries
   • Narrative and non-narrative approaches in science and nature
3. Unit III: Emergence and evolution of Bhutanese documentary work
   • Music of Bhutan 1978 by Dr. Johann S. Szuszkiewicz
   • Bhutan: A Strange Survival 1982 by Isabel Maxwell
   • Yonten Gi Kawa (Price of Knowledge) 2000 by Ugyen Wangdi
   • Boy of Good Waste 2005 by Dechen Roder
   • The Doma seller & The Badamwalla 2006 by BBS, directed by Kesang Chuki Dorjee
   • Made in Bhutan 2013 by Hirondelle Chatelard
   • The Curse 2015 by Sonam Yangzom
   • Searching for Wives 2016 by Zuki Juno Tobgye
   • Nazhoen Express 2017 by BBS
   • The Next Guardian 2017 by Arun Bhattarai and Dorrotya Zurbo
4. Unit IV: Requirements of documentary projects
   • Originality in topic and material
   • Independent research of content
   • Collaboration required with subject/s
   • Overview of skills required
     • Research skills
     • Time management
     • Synthesis of sources

5. Unit V: Story Design: Idea formation, point of view, preliminary research and the proposal
   • Importance of story planning
   • Essentials of documentary storytelling
     • In-Depth research
     • Documentary project proposal
   • Approaches to a story: key features of each, typical use cases
     • Poetic
     • Expository
     • Observational
     • Participatory
     • Reflexive
     • Performative
   • Foundational research
     • General topic
     • Point of view
     • Archival use
     • Existing documentation and sources
     • Public usage vs. copyright
   • Pitching and proposal/treatment or outline basics
     • Making an idea marketable
     • Deciding what to pitch
     • Asking for funding/support
     • Asking for permission for location shoots
     • Including concrete information in a proposal
     • Basics of seeking funding: Investors, crowdsourcing, publishing houses

6. Unit VI: Elements of documentary planning
   • Length of work and format
   • Narrowing down the audience
   • Aims and goals of a film
   • Previous media work produced on the subject: how a subject is made new, different, interesting and engaging
   • Style: preliminary thoughts on writing, shooting, audio or editing
   • Soundtrack and narration: preliminary thoughts on sound
   • Production team: key focal people, experience and past projects
   • Distribution: markets and distributors
   • Project history or current status of project
   • Historical background or context of the story
   • Projected timeline and budget

Reading List:

1. Essential Reading
   • Aldredge, J. (2016, May 26). A complete guide to documentary filmmaking. Retrieved from: https://www.premiumbeat.com/blog/a-complete-guide-to-documentary-filmmaking/
   • Aufderheide, P. (2007). Documentary film: A very short introduction. New York, NY: Oxford University Press.
   • Bernard, S. C., & Bernard, S. C. (2007). Documentary storytelling. Oxford: Focal.
   • Rosenthal, A. (1996). Writing, directing, and producing documentary films and videos. Carbondale: Southern Illinois University Press.
2. Additional Reading
   • Barbash, I., & Taylor, L. (2004). Cross-cultural filmmaking: a handbook for making documentary and ethnographic films and videos. Berkeley: Univ. of California Press.
   • Halperin, M. (2000). Writing the second act: building conflict and tension in your film script. Studio City: Michael Wiese Production.
   • Jayasankar, K. P., & Monteiro, A. (2016). A fly in the curry: independent documentary film in India. Los Angeles: SAGE Publications.
   • Nayar, S. J. (2014). Cinematically speaking: the orality-literacy paradigm for visual narrative. Cresskill, NJ: Hampton Press, Inc./SAGE Publications.
   • Stubbs, L. (2002). Documentary filmmakers speak. New York: Allworth Press.

Date:  May 14, 2018