Working in production teams of three to four people, you will produce a 5-6 minute
documentary. The documentary should address one of the two related themes below. You will be
provided with some conceptual reading, which you are encouraged to use to spark off
ideas.
Human and Non-Human:
For this you might think about how you could tell a story about the following through particular characters, objects and places: our relationship to landscapes / places / environment / nature / other creatures / machines
Or
Self and other:
In what ways do people live / perform their sense of national, ethnic, religious, sexual, class or gendered identity? (e.g. explored though an ethnography of aspects of British society looking at what might seem strange to people coming from elsewhere). How is our sense of self defined in relation to what we think we are not?
Assessment 1
Pre-production portfolio
30% of the course
Due week 7
This should be up to 2-3 mins of original video footage shot by the team towards the
project. It should show either some of the proposed contributors and or locations or other
material shot by you exploring the intended style/approach. It CAN include material shot
for the set exercises as long as this clearly relates to the proposed subject and/or
approach of the final project. It should be roughly edited but you are not required to do a
sound mix at this stage. The key thing is to give a clear sense of how the
material/people/places you have researched will produce a compelling visual narrative so
you need to select carefully what to include. You must include credits for the roles
undertaken by group members on the pilot – at least on the USB label.
Project Ideas
- Croatian living in England --> National identity
- Humans & Water -.> Fishing, Waters Sports
- Humans & Pets --> Guide dogs, RSPCA
- Humans & Technology --> Phones & Internet
WEEK 7 WILL BE OUR PRESENTATION WEEK
This is taken from my previous blog last year from the Creative Production: Video Production blog, but it is still relevant to this module.
American documentary theorist, Bill Nichols looked at the history of documentary and came up with 6 distinct modes of documentary. These were:
1. Observational Mode
Direct engagement with the everyday life of subjects as observed by an obtrusive camera. By maintaining the observational mode, the director allows its subject to forget the presence of the camera and behave more naturally, thereby letting the audience get a better sense of how the person really feels about the subject matter.
Examples: Pennebaker's Don't Look Back [1967]
2. Expository Mode (Voice of God)
Verbal commentary and an argumentative logic. Assumes a logical argument and a "right" and "proper" answer using direct address and offering preferred meaning. Mostly associated with Television News programming.
Examples: Herzog's Grizzly man [2005], many nature Documentaries
3. Participatory Mode
Focuses on the interaction between filmmaker and subject. Unlike the observational mode, the participatory mode welcomes direct engagement between filmmaker and subject(s) - the filmmaker becomes part of the events being recorded. The filmmakers impact on the events being recorded is acknowledged, indeed, it is often celebrated.
Examples: Block's 51 Birch Street [2006]
4. Poetic Mode
This mode of documentary emphasises visual associations, tonal or rhythmic qualities, descriptive passages and formals organisation. The poetic mode of documentary moves away from the "objective" reality of a given situation or people to grasp at an inner "truth" that can only be grasped by poetical manipulation Codes emphasizes visual associations, tonal or rhythmic qualities, descriptive passages, and formal organization favours mood, tone and texture.
Examples: Leni Riefenstahl's and Dziga Vertov's work
5. Performative Mode
Performative modes of documentary are subjective or expressive of the aspect of the filmmakers engagement with the subject and an audiences responsiveness to this engagement. This mode of documentary emphasizes the subjective nature of the documentarian as well asacknowledging the subjective reading of the audience - notions of objectivity are replaced by "evocation and affect"
This mode emphasizes the emotional and social impact on the audience.
Examples: Spurlock's Super Size Me [2004]
6. Reflexive Mode
This mode of documentary calls attention to the assumptions and conventions that govern documentary filmmaking. The Reflexive Mode acknowledges the constructed nature of documentary and flaunts it - conveying to people that this is not necessarily "truth" but a reconstruction of it - "a" truth, not "the" truth.
Examples: Vertov's Man With A Movie Camera [1929]
Human and Non-Human:
For this you might think about how you could tell a story about the following through particular characters, objects and places: our relationship to landscapes / places / environment / nature / other creatures / machines
Or
Self and other:
In what ways do people live / perform their sense of national, ethnic, religious, sexual, class or gendered identity? (e.g. explored though an ethnography of aspects of British society looking at what might seem strange to people coming from elsewhere). How is our sense of self defined in relation to what we think we are not?
Assessment 1
Pre-production portfolio
30% of the course
Due week 7
Each individual student must submit a folder in duplicate (one hard copy and one on
USB) containing:
-
The group project proposal (collaboratively produced) – 500 words.
-
The individual pre-production research report – 2000 words
-
The pilot material (on two USB drives as the submission has to be in duplicate)
-
PLEASE NOTE: Your candidate number MUST be clearly written on the folders and the
USB (the stores can provide USB labels for this).
-
Further explanation of items required for Assessment 1:
- 1. Group project proposal
This should give a clear idea of what the film will do: -
What story will it tell?
-
How will it be told?
-
What is the theme?
-
Who will be in it?
-
Where will it be filmed?
-
What material will be incorporated? (e.g still or moving image archive)
-
What kind of sound is proposed? (e.g narration, such as third person, ambient
sound, music, effects etc) .
-
Who is the proposed audience?
(Describing the subject matter is NOT enough – the proposal needs to show clear evidence of concrete research of contributors and/or locations and how these will be used to explore a theme. Above all what will we SEE AND HEAR rather than what we will be told.)
You should refer to examples of proposals on the Creative Practice Virtual Learning Environment and those provided in class to get a sense of how a proposal should describe a documentary project. The proposal may originate from an idea from one member of your team but you should all contribute ideas for its realisation.
2. Individual pre-production research report
This should be in the form of continuous prose and should reflect your personal research for the project and on the documentary genre to date. It must contain critical references to reading undertaken and films viewed. It should include:
-
Critical reflection on what you have learnt which may be useful for you project from
viewing at least 3 documentaries such as for instance about approaches or
techniques relevant to your proposed project as a whole or your own role on it. You
should draw on your own responses to films viewed as well as your critical reading
on the documentary genre.
-
Reflection on your own production research to date e.g. on practice for your role,
exercises undertaken, subject research. This should include reflection on your
contribution to the production of the pilot material
Some pointers on what issues you should show awareness of in relation to roles:
Sound – creative thinking on how sound recording/design will address subject/theme, key
sound challenges at proposed locations, microphone selection, subject research.
Editor - creative thinking on how editing will address subject/theme, key challenges for
structuring proposed project, scheduling and organizing the edit, subject research.
Production management (all team members) – logistical issues, permissions/consents needed, scheduling required, budgetary considerations, any copyright issues and how these could be resolved;
Director – creative thinking on how story will be told,/subject/theme explored, notes on contributors/source materials, subject research,
If you are in a team of less than 4 people one person will need to double up and take the director’s role on location as well as doing either sound or camera. The director and editor should not be the same person. You are all however expected to contribute to the creative development and research for the project.
You should also attach to your individual report:
Minutes of group meetings noting who was present, (or absent) summary of points considered and action decided. Minute keeping should be delegated to someone in the team
3. Group Pilot material (collaboratively produced)
Production management (all team members) – logistical issues, permissions/consents needed, scheduling required, budgetary considerations, any copyright issues and how these could be resolved;
Director – creative thinking on how story will be told,/subject/theme explored, notes on contributors/source materials, subject research,
If you are in a team of less than 4 people one person will need to double up and take the director’s role on location as well as doing either sound or camera. The director and editor should not be the same person. You are all however expected to contribute to the creative development and research for the project.
You should also attach to your individual report:
Minutes of group meetings noting who was present, (or absent) summary of points considered and action decided. Minute keeping should be delegated to someone in the team
3. Group Pilot material (collaboratively produced)
Project Ideas
- Croatian living in England --> National identity
- Humans & Water -.> Fishing, Waters Sports
- Humans & Pets --> Guide dogs, RSPCA
- Humans & Technology --> Phones & Internet
WEEK 7 WILL BE OUR PRESENTATION WEEK
This is taken from my previous blog last year from the Creative Production: Video Production blog, but it is still relevant to this module.
Modes of Documentary
American documentary theorist, Bill Nichols looked at the history of documentary and came up with 6 distinct modes of documentary. These were:
1. Observational Mode
Direct engagement with the everyday life of subjects as observed by an obtrusive camera. By maintaining the observational mode, the director allows its subject to forget the presence of the camera and behave more naturally, thereby letting the audience get a better sense of how the person really feels about the subject matter.
Examples: Pennebaker's Don't Look Back [1967]
2. Expository Mode (Voice of God)
Verbal commentary and an argumentative logic. Assumes a logical argument and a "right" and "proper" answer using direct address and offering preferred meaning. Mostly associated with Television News programming.
Examples: Herzog's Grizzly man [2005], many nature Documentaries
3. Participatory Mode
Focuses on the interaction between filmmaker and subject. Unlike the observational mode, the participatory mode welcomes direct engagement between filmmaker and subject(s) - the filmmaker becomes part of the events being recorded. The filmmakers impact on the events being recorded is acknowledged, indeed, it is often celebrated.
Examples: Block's 51 Birch Street [2006]
4. Poetic Mode
This mode of documentary emphasises visual associations, tonal or rhythmic qualities, descriptive passages and formals organisation. The poetic mode of documentary moves away from the "objective" reality of a given situation or people to grasp at an inner "truth" that can only be grasped by poetical manipulation Codes emphasizes visual associations, tonal or rhythmic qualities, descriptive passages, and formal organization favours mood, tone and texture.
Examples: Leni Riefenstahl's and Dziga Vertov's work
5. Performative Mode
Performative modes of documentary are subjective or expressive of the aspect of the filmmakers engagement with the subject and an audiences responsiveness to this engagement. This mode of documentary emphasizes the subjective nature of the documentarian as well asacknowledging the subjective reading of the audience - notions of objectivity are replaced by "evocation and affect"
This mode emphasizes the emotional and social impact on the audience.
Examples: Spurlock's Super Size Me [2004]
6. Reflexive Mode
This mode of documentary calls attention to the assumptions and conventions that govern documentary filmmaking. The Reflexive Mode acknowledges the constructed nature of documentary and flaunts it - conveying to people that this is not necessarily "truth" but a reconstruction of it - "a" truth, not "the" truth.
Examples: Vertov's Man With A Movie Camera [1929]
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