Fall

Cinematography and Sound I
Success in the film industry requires fluency in the standard terminology of cinematic language and an immersion in the world of production techniques. Beginning with the uses of image and sound as the rudimentary tools of storytelling, this series of courses will focus on gaining a comprehensive grasp of the technical demands of filmmaking. Through class and laboratory sessions, a range of equipment—cameras, tripods, lighting instruments, audio recording and microphones—will be explored. Students will also learn how to use camera angles, sound and lighting to convey meaning and further their stories.

Directing I
The potency of any documentary is invariably linked to the perspicacity of the director, whose acuity of mind and eye must be able to translate intellectual content into an aesthetic experience. These courses will address topics that include how to most effectively tell a story, how to conduct meaningful and informative interviews, and how to navigate the relationship between subject and filmmaker. With an emphasis on originality as it applies to the documentary, students will explore new mediums and a variety of directing styles, tones and techniques. Included will be an extensive study of documentary film history and theory, which will examine a wide range of texts and films from the early 20th century to the present, and address such genres as realism, formalism, semiotics, feminism and postmodernism.

Editing I
If viewing a film is understood to be an interpretive process, then the orchestration of image and sound, and the rate at which information is disseminated, is critical to the endeavor. It is often the editor who transforms this process from observation to an engrossing experience. These courses will examine the critical role that editing plays in non-fiction programs, and look at how the editing room is often the arena where the structure and narrative arch are created. Classic documentaries will be screened to provide students with a fundamental understanding of editing styles, aesthetics and techniques. Laboratory sessions will demonstrate editing techniques with industry-standard technology. Topics will cover a wide range of subjects—from continuity of motion to montage, jump-cut, music usage and program structure. Finally, these courses will explore voice-over narration, sound design, music and other postproduction techniques to further the story and deepen the experience.

Process and Style I
Independent voices from the field will share their professional experiences and offer diverse perspectives in documentary film. Lecturers will discuss a range of specialized topics, including new technologies and new platforms; film festivals and distribution; the relationship between subject and filmmaker; the pitch; live television direction; rights and clearances; archival research; job opportunities and career advancement. Many sessions will highlight documentary filmmakers who will screen their projects and share details and anecdotes about the field.

Producing I
Multifunctional and multidimensional in approach, the role of a producer is to initiate, coordinate, supervise and control all matters in the realization of a film project, such as fundraising and hiring key personnel. These courses will cover crucial aspects of documentary production from pitch and budget preparation to production set-up, crew management and postproduction workflow. Students will learn how to analyze a project and apply this analysis in cost and project management, from preproduction right to editing and film distribution. How to read, understand and negotiate contracts with vendors, crewmembers and distributors will be included.

Visionary Journalism: Introduction
The field of social documentary is as much about journalism as it is about filmmaking; therefore, it is paramount that the journalistic process be comprehensively examined. From finding and researching a story to writing a treatment and a shooting script, learning and adhering to established journalistic ethics is of primary importance. This course will engender a full understanding of the ethical standards inherent in print and broadcast journalism, and non-fiction writing as they relate to social documentary. Working within these strictures, we will approach how to successfully tell a story—from origin of concept to finished project.

Spring

Cinematography and Sound II
(See Cinematography and Sound I)

Directing II
(See Directing I)

Editing II
(See Editing I)

Process and Style II
(See Process and Style I)

Producing II
(See Producing I)

Thesis: The Pitch
Getting an idea off the ground and maintaining the momentum is often one of the most difficult facets of a production, even for talented filmmakers. Yet without the proverbial green light, the most prescient ideas atrophy by the wayside. Course sessions are designed to address one of the most important skills in the filmmaking process: the pitch. Using their own project ideas, students will articulate their vision clearly and concisely and deliver this vision to a panel of film industry professionals. Students will answer questions and address comments posed by the panel. The course objectives are to build confidence in the presentation of ideas and master a professional pitch.

Visionary Journalism: Script, Text and Treatment I
Building upon the journalistic industry standards examined in Visionary Journalism: Introduction, these courses take students into the practical experience of creating the written body of work for the thesis film. Topics will include the creation of a project proposal, a written proposal for funding or professional interest in the film, and a project treatment that outlines the work. Each student will also complete an initial thesis script, which can be an in-depth description of the film as envisioned, or an in-depth description of material already shot, or a judicious balance of the two.