ࡱ> ^ki  !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]_`abcdefghijklmnopqrstuvwxyz{|}~Root Entry F0v1@ WordDocument-Data C1Table { jbjbjBrBr -  =,nnnnn8<|@r$Ln"nn{{{nn{{{{`ԩ1N{0@{ )R { n{0{{@  4:   SHAPE \* MERGEFORMAT  Florida Atlantic University | Dorothy F. Schmidt College of Arts and Letters | School of Communication and Multimedia Studies 2011 Spring Syllabus | RTV 3332C - 001 Documentary Video | 4 Credits | Monday 1 p.m. - 5 p.m. | AT 416 | Fort Lauderdale Campus Professor: Shane Christian Eason, BFA, MFA Contact Info: 954 762 5246 +  HYPERLINK "mailto:eason@fau.edu" eason@fau.edu Office Location: Askew Tower 819, Fort Lauderdale Campus Office Hours: Monday from 11 a.m. - 1 p.m., by appointment Tuesday from 11 a.m. - 1 p.m., by appointment Wednesday from 11 a.m. - 1 p.m., by appointment Important University Dates January 8, 2011: Spring Semester Begins January 17, 2011: M. L. King Holiday (University Closed) March 7-13, 2011: Mid-Semester Break (No Classes) April 28-May 4, 2011: Final Examination Period May 6, 2011: Spring Semester Ends May 16, 2011: Summer Semester Begins Disability In compliance with the Americans with Disabilities Act (ADA), a student that requires special accommodations regarding course work due to a physical or mental disability, must register with the Office of Students with Disabilities. Information regarding registration can be found at  HYPERLINK "http://www.osd.fau.edu" www.osd.fau.edu. It is the responsibility of the student to find the assistance needed, and register properly with OSD. Zero Tolerance No food or drink in labs or equipment area; use of cell phones during class is prohibited; access to the internet during class lecture is prohibited; campus is a smoke free environment; a 20 minute break will be supplied for a 3 and 4 credit course. Equipment, Lab + Studio Access Current communication students that are enrolled in good standing in the SCMS at may reserve production equipment, external hard drives, and labs. All field equipment will be checked in or out during scheduled hours from AT-418, unless an arrangement is made in advance. All equipment must be returned on time and in proper working order. Late returns and negligent handling of equipment will result in suspended equipment access, grade penalties, course failure, and/or fines for replacement/repair. Students are responsible for all loss and damage to equipment while its in their possession. Proper care and maintenance of production facilities and equipment is important. Be forewarned that the mishandling of equipment or facilities at any time during the semester will result in suspension of your privileges. All students must participate fully in workshops to access specific equipment and facilities. Review attached policy and procedures for more information pertaining to equipment and facility usage. Equipment + Facility Access Equipment for check-out and check-in is located in AT-418. The Multimedia Labs are located in AT-414, AT-415, and AT-416. The production studio is located in AT-921. Access to equipment and facilities are determined by the professor and will be announced in the first week of the current semester. Additionally, an open lab is available in HEC-611. Please refer to  HYPERLINK "http://www.fau.edu/irm/broward" www.fau.edu/irm/broward for policy and operation hours of that lab. Goals and Objectives of RTV 3332C Documentary Video Production This course will explore the basic and advanced methods of documentary film and video production, in its most fundamental form. This active production course is designed to give participants a general introduction to documentary film and video production, providing historical, technical, conceptual, artistic, aesthetic, and theoretical insight into the medium. Students will be given hands on refreshers of the operation of digital video production equipment that will include camera kits, tripods, lighting gear, audio gear, etc., and the supplemental studio facilities and editing stations that include current video and audio editing programs. Students will also be instructed to prepare project treatments, scripts, story boards, shot lists, etc., and develop a general understanding of the various steps of the documentary film production process. This will include research and planning. Students will be asked to develop an understanding of the central aesthetics of cinema and should be aware of critical questions of the field, such as the specific features of the medium that include: real time, screen space, feedback, liveliness, portability, storytelling, etc. A student should understand the relationship between documentary film and other film genres, as well as other forms of visual and performing arts. Students will need to look at the areas of cultural production through photography, painting, television, sculpture, dance, etc., and how it relates to documentary film. Also, a student should become familiar with the politics of discursive cinematic forms, structures, and theories of documentary film. The course is designed to facilitate the development of a personal voice and point of view in student film and video work. The student will develop individual communicative skills through the medium, and begin to evolve a distinctive visual style of expression. The student should explore and transmit raw, personal experiences, and use the medium in a manner that can effectively communicate original ideas as filmmakers and artists. To complete the course, a student must fully complete a number of assignments on time that include short documentary video projects, in class exercises, out of class exercises, presentations, and workshops. Students will present video work to the class, and lead discussion of both technical and aesthetic points relating to their projects. Students are also required to demonstrate an ability to respond to, analyze, and evaluate film and video work through extensive readings and screenings from peers and professionals. Expectations + Prerequisites A willingness to read, write, work, and discuss. Much of what we do in class involves higher-level thinking; conceptualizing and planning projects; evaluating the meanings generated by a particular screening; and engaging aesthetic, political, and philosophical questions about documentary film and video. You should be prepared for critical discussion when you come to class. This is an active production class, therefore visitors are not permitted unless permission is granted by the professor. Students should posses an open mind. The work presented in class will bear very little relationship to mainstream or Hollywood cinema. Instead, the course asks students to explore new areas of media production, and perhaps even rethink some of their presumptions in existing areas. Watching certain types of film can be challenging, and even frustrating at first. To benefit most from this class, you will undoubtedly have to adjust your preconceptions as a spectator, your habits of attention, your viewing practices, and personal thresholds. Furthermore, consider this as a safe space classroom. To create a climate for open and honest dialogue, and to encourage the broadest range of viewpoints, its important for class participants to treat each other with respect. Name calling, accusations, verbal attacks, sarcasm, and other negative exchanges are counter productive to successful teaching and learning. The purpose of class discussions is to generate greater understanding about different assignments and topics in cinema production. The expression of the broadest range of ideas, including dissenting views, accomplishes this goal. However, in expressing viewpoints, students should try to raise questions and comments in a way that will promote learning, rather than defensiveness and conflict in other students. Thus, questions and comments should be asked or stated in such a way that will promote greater insight into and awareness of topics as opposed to anger and conflict. Remember that its all right to disagree with each other. The purpose of dialogue and discussion is not to reach a consensus, nor to convince each other of different viewpoints. Rather, the purpose of dialogue in the classroom is to reach higher levels of learning by examining different viewpoints and opinions. Disclaimer Be aware that the film, video, and other media screened in class may contain content unsuitable for some, and is therefore for mature persons. Each screening is done considering artistic development, ideas, philosophy, cinematic attributes, cinematic history, and stylistic approach. Attendance + Presentation All classes start on time. Tardy arrivals or an early departure from class may constitute a grade loss. Proper reason and documentation must be given in this situation. Three late arrivals and/or early departures may result in one full day of absence. Being absent on a presentation day, may count against a project grade. Attendance and participation on days that the class is discussing and screening assignments are vital to your development. Your presence on these days figures into your attendance grade. If a class is missed, it is your responsibility to cover all assignments and readings. Discuss a missed class with your peers or review the course syllabus. There is little time for repetition. If three or more classes are missed in the semester, without proper reason and/or documentation, you will lose 25% of the final grade. Being absent for 5 or more classes during the semester, without proper and/or justified reasons, will result in a failing grade. Prompt and regular attendance for the full class period is extremely important. Your classmates are a valuable source of support and idea generation within your development. For this reason, you will be asked to share your ideas, work in progress, and completed work with classmates for critical opinion and discussion. Each production assignment will have a formal screening and critique. Grading All students must be enrolled with Florida Atlantic University in good standing. A student whose GPA (Grade Point Average) is below 2.5 will be dropped from the FVNM track and placed into the Media and Cultural Studies track. A GPA of 2.5 is required for transfer into the program. Please review your catalog or go online to  HYPERLINK "http://www.fau.edu/scms" www.fau.edu/scms for more information regarding the School of Communication and Multimedia Studies. Grade Scale A = 100 - 95 A- = 94 - 90 B+ = 89 - 86 B = 85 - 83 B- = 82 - 80 C+ = 79 - 76 C = 75 - 73 C- = 72 - 70 D+ = 69 - 66 D = 65 - 63 D- = 62 - 60 F = 59 - 0 Required and Recommended Text Books and Supplies 1. Directing the Documentary - Fourth Edition Rabiger, Michael. Published by Focal Press, Oxford, UK, 2004. (REQUIRED) 2. Documentary Filmmaking: A Contemporary Field Guide - First Edition Hewitt, John & Vazquez, Gustavo. Published by Oxford University Press, NY, USA, 2010. (REQUIRED) 3. The Filmmakers Handbook: A Comprehensive Guide for the Digital Age - 2008 Edition Ascher, Steven & Pincus, Edward. Published by Plume of the Penguin Group - New York, NY, USA, 2007. (RECOMMENDED) 4. Final Cut Pro 6 for Mac OS X Brenneis, Lisa. Published by Peach Pit Press - California, 2007. (RECOMMENDED) 5. DV/HD Tapes, CD-RWs, DVD-RWs, External Hard Drive, Flash Drive, Video Equipment, Editing Programs, Journal, etc. (REQUIRED) *Note that some material is supplied, but also be prepared to buy additional material. If desired, you may use a home computer and editing program, portable hard drives, and personal film or video equipment. However, on campus workshops will use SCMS gear and edit suites. All textbooks are available through the Bookstore or online. Required Articles + Screenings Additional readings may be assigned on a weekly basis. Film and video screenings will be done in class. There may be instances when extra credit is available for off campus events or screenings. Announcements regarding off campus events will be presented in advance or when available. Assignments + Workshops Your grade will be determined by your performance as a time based media artist during the semester. Your grade will also be determined by your performance and your familiarity with basic operating procedures and the integrity of your work. By the end of the semester, you will have assumed new skills, (or advanced your skills), for camera work, editing, lighting, sound, etc. You will produce a number of short videos for presentation to the class and grade points. All video work should hold emotion and convey a sense of direction. Do not be afraid of taking risks with each assignment. This is a liberal environment. Students must supply proper production notes with each assignment when requested. Grades for all production assignments are based on the work in progress, formal screenings, and the required proposals and paperwork. For each individual production assignment, marks will be distributed into a number of categories. The project categories will be for ideas, pre production notes, production rushes, execution, image treatment, sound treatment, rough cut, final cut, formal presentation, etc. Each production assignment will be discussed and screened at various stages of development, before its final cut date. Film forms such as animation or music video will not be accepted. Popular music for use in soundtracks is discouraged. Aside, all assignments and presentations must be approved by the professor before moving forward. Classes will also consist of workshops of the facilities and equipment. Once a workshop is complete, you may access the facility or equipment. Missing a workshop will jeopardize your chances of using the equipment properly, or entirely. It is up to you to find time outside of class following lectures and workshops to practice and advance your skills with the equipment and facilities offered through the School of Communication and Multimedia Studies. There will be a number of production quizzes throughout the semester. Late Policy for Assignments Proposals and projects will be marked down one full letter grade per day after the due date. Assignments turned in after class on the day its are due will be considered one day late. Projects turned in without the required paperwork are considered incomplete and will be marked down for each day that the paperwork is not turned in. In addition, you must complete all assignments on time to pass the course. Arriving late on a day of a quiz, workshop, or presentation may result in a zero. Extensions or rewrites are not an option for assignment completion unless a dire need is presented. Assignments will not be accepted through e-mail or web sites. Nor will assignments be accepted through the means of others; accepted after hours; or left outside of, or under doors. If an assignment is going to be late, you MUST drop off material to AT-812 during normal operating hours, 10 a.m. - 4 p.m., M - F. There, you will be instructed by a staff member to sign paperwork. Your material will be stamped with a received date. If this procedure is not followed, your material will become void and graded as is, late, or incomplete. Be aware that the times listed is subject to change and is dependent on staff availability. Plagiarism and Academic Integrity The most common offense under the Academic Code of Conduct is plagiarism which the code defines as the presentation of the work of another person as ones own or without proper acknowledgment. This could be material copied word for word from books, journals, internet sites, professors course notes, etc. It could be material that is paraphrased but closely resembles the original source. It could be the work of a fellow student, for example, an answer on a quiz, data for a lab report, a paper or assignment completed by another student. It might be a paper bought through one of the many available sources. Plagiarism does not refer to words alone it can also refer to copying images, graphs, tables and ideas. Presentation is not limited to written work. It also includes oral presentations, film and video assignments, and artistic works. If you translate the work of another person into another language and do not cite the source, this is also plagiarism. If you cite your own work without the correct citation, this too is plagiarism. In simple words: do not copy, paraphrase or translate anything from anywhere without saying from where you got it. Use quotation marks appropriately. For more information regarding plagiarism, please see  HYPERLINK "http://www.fau.edu/handbook" www.fau.edu/handbook or online at  HYPERLINK "http://www.fau.edu/regulations/chapter4/" www.fau.edu/regulations/chapter4/4.001_Code_of_Academic_Integrity.pdf. Gordon Rule To comply with Floridas State Board of Education regarding the Gordon Rule, all students must successfully complete 12 credits of writing and 6 credits of mathematics, with grades of C or higher, as a requirement for admission to the upper division. Courses approved to satisfy the Gordon Rules writing component, administered through the Writing Across Curriculum Program at , are coded as WAC (Gordon Rule) in the course schedule and catalog. Courses approved to satisfy the Gordon Rules mathematics component are coded as Gordon Rule, computational in the course schedule and catalog. To have courses from out-of-state institutions evaluated as Gordon Rule equivalent, students must provide either a course syllabus or a letter from the previous institution on official letterhead that demonstrates they have fulfilled the writing or mathematics criteria listed above. Please see  HYPERLINK "http://www.fau.edu/registrar" www.fau.edu/registrar for additional information Evaluation and Mark Distribution Production Assignment 1 - Video Sketch: Reflexive 20 Production Assignment 2 - Video Sketch: Observational 20 Production Assignment 3 - Video Sketch: Open Concept/Open Form 20 Oral Presentation with 2 Page Supplement 15 Artist/Director Journal 15 Additional Participation and Attendance 10 Total Marks Attainable 100 Production Assignment 1 : Video Sketch: Direct Cinema through Portrait (TRT +/- 5 min.) For this assignment, create a reflexive documentary or a portrait of another person or group. The reflective documentary reflects not only the process of creating the film but will also incorporate the author's or subjects thoughts, perceptions, self examination, physical self and self critiques. The purpose of this project is to incorporate an event, happening and people you find of interest or controversial. You may also be a part of the specific group at hand or place yourself within the new environment you wish to cover. This will give you an opportunity to learn something specific about others and yourself. This type of film making may also give you an opportunity to do some self administered therapy or therapy for others. It can be difficult to pull off, but profound if done correct. Attribute close attention to how you and the camera move and interact, and to how a subject is constructed and framed for the camera. Furthermore, take time in setting your frame and shots. Be aware of aesthetic and technical capabilities such as colour, light, line, camera placement and so on. Images must be original and the use of a tripod for this assignment is encouraged. Both non diegetic and diegetic sound is also encouraged and must be original. The footage must then be edited on a nonlinear system. Be prepared to discuss the choices made within the context of the video during class. The video will be presented to the class for critique and discussion. Production Assignment 2 : Video Sketch: Observational Documentary (TRT +/- 5 min.) This project requires students to observe activity at a location. Choose an interesting place and keep in mind the distinct visual & aural characteristics of this location (i.e., compositional elements, colors, ambient sound). You may focus your attention on single or multiple characters in this environment or on the landscape. There should be no interaction or direct contact with people. Allow the space you select to become the character for the screen. The purpose of the assignment is to develop your visualization skills, as well as to think about the intersection of content and form for observational documentary. Try to create a social statement or argument about a particular place. Think about analogy and metaphor to create effective meanings behind your imagery. Consider your shot composition. Convey a sense of meaning and progression through image development and editing treatment. Attribute close attention to how you and the camera move and interact, and to how an image is constructed and framed for the camera. Furthermore, take time in setting your frame and shots. Be aware of aesthetic and technical capabilities such as colour, light, line, camera placement and so on. Images must be original and the use of a tripod for this assignment is encouraged. Both non diegetic and diegetic sound is also encouraged and must be original. The footage must then be edited on a nonlinear system. Be prepared to discuss the choices made within the context of the video during class. The video will be presented to the class for critique and discussion. Production Assignment 3 : Video Sketch: Open Concept/Open Form (TRT +/- 5 min.) Students must explore a topic or issue by means of documentary video. This final project can use any or all of the documentary strategies implemented in previous projects and lectures such as observational, cinema verite, reflexive, archival, observational, research, etc. The goal of the final project is to synthesize the concepts and strategies introduced in this course and to investigate an interesting subject as seen through a filmmakers eyes. Therefore, carefully select your subject matter and crew. You will devote a significant amount of time outside of class to this project and must prepare weeks in advance of the final and formal screening. Attribute close attention to how you and the camera move and interact, and to how an image is constructed and framed for the camera. Furthermore, take time in setting your frame and shots. Be aware of aesthetic and technical capabilities such as colour, light, line, camera placement and so on. Images must be original and the use of a tripod for this assignment is encouraged. Both non diegetic and diegetic sound is also encouraged and must be original. The footage must then be edited on a nonlinear system. Be prepared to discuss the choices made within the context of the video during class. The video will be presented to the class for critique and discussion. Artist/Director Journal Throughout the semester you are expected to keep an artists journal. The journal is a notebook dedicated to sketching ideas, teasing out points from readings, responding to assigned screenings, keeping note of video projects, and so on. Furthermore, you are to include thoughts of your creative process and inspirations. Carry it with you for the semester inserting quotes, ideas, sketches, etc. Do not use the journal for personal issues. Do not use the journal for lecture notes. Do not use the journal as a vent for dislikes of instructors or the university. There is a chance at the end of the semester to vent frustration in the course evaluations. The journal will be handed in twice during the semester. Mid-semester and in the last week of class. The journal will receive a grade based on the consistency of your responses to course readings, screenings and discussions. Keep the journal constant such as once a day. The size of the journal must be 7 x 9 or larger and hand written. Oral Presentation + 2 Page Supplement You are required to present a formal presentation on an alternative or experimental film or video maker. A list of film and video makers will be supplied. You will then be required to choose one from the list. It may be a good idea to research a few filmmakers from the list as you may be unfamiliar with them. Aside, a filmmaker cannot be chosen if previously presented by another student or the professor. The oral presentation should be done with Microsoft Power Point or Apple Keynote. You must incorporate audio, video, text, web sites, etc. The duration of the oral presentation is 30 minutes. A short 2 page supplement will accompany the presentation. The paper is a brief description of the of the film/video maker, important points that you will have covered in the presentation, and a list of all resources and references. The 2 page supplement is due the same day as your presentation. Aside, be confident and fully prepared for the presentation. Learn and understand all media and equipment that you will be using. Quizzes, In Class Assignments, Workshops and Participation There will be no production quizzes or exams for this course through out the semester. However, there will be a formal oral presentation. There will also be a number of in class assignments and/or workshops through out the semester. To obtain potential full marks, participation is key and every assignment must be completed in full and on time. There will also be formal production assignment presentations with critiques. Furthermore, participation marks will be deducted for unauthorized cell phone use, internet use and class interruptions. Semester Agenda (READ = Readings; DNC = Due Next Class; SCRN = Screening) Week One - 01/11/11 Course Introduction Production Experience Questionnaire Syllabus Review Production Assignments Equipment and Facilities Regulations Equipment and Facilities Walk Through Documentary Shorts Under 3 0 Minutes Documentary Film and Video Maker List Student Introductions SCRN: Wood Island (2001, USA) Kate Williamson SCRN: Have You Seen This Man? (2003, USA) Anna Boden and Ryan Fleck Week Two - 01/18/11 Holiday - Martin Luther King Jr. Day (University Closed) READ: Chapters 1 and 2 from Directing the Documentary READ: Chapters 1 and 2 from Documentary Filmmaking DNC: Concepts and Ideas for Production Assignments 1 - 3 DNC: Oral Presentation Choices Week Three - 01/25/11 The Introduction, History and Future of Documentary Film What is Documentary film Defining Documentary and the Direct Cinema of Canada, Europe and the United States Developing Ideas Characters and a Visual Story Oral presentation Scheduling Production Assignment Discussion In Class Editing SCRN: The Street (1997, Canada), Daniel Cross READ: Chapters 3, 4 and 5 from Directing the Documentary READ: Chapters 3 and 4 from Documentary Filmmaking DNC: Rushes/Rough Cut for Production Assignment 1 Week Four - 02/01/11 Archival Cinema, Found Footage and Representing the Past Historical and Research Documentaries The Photographers Rights Collaborations Proposals, Funding and Budgets Production Assignment Discussion Rushes/Rough Cut for Production Assignment 1 In Class Editing SCRN: Grass (1999, Canada), Ron Mann READ: Chapters 6, 7, 8 and 9 from Directing the Documentary READ: Chapters 5 and 6 from Documentary Filmmaking DNC: Rushes/Rough Cut for Production Assignment 1 Week Five - 02/08/11 Media, Propaganda and the Spin Effective Interviews Production Assignment Discussion Rushes/Rough Cut for Production Assignment 1 In Class Editing SCRN: Control Room (2004, Egypt/USA), Jehane Noujaim READ: Chapters 10 and 11 from Directing the Documentary READ: Chapters 7 and 8 from Documentary Filmmaking DNC: Final Cut for Production Assignment 1 Week Six - 02/15/11 Final Cut and Formal Screening of Production Assignment 1 READ: Chapters 15 - 19 from Directing the Documentary READ: Chapters 9 and 10 from Documentary Filmmaking DNC: Rushes/Rough Cut for Production Assignment 2 DNC: Oral Presentations Week Seven - 02/22/11 Representing Music in the Documentary Film The Art of Camera Work Small Screen Video Rushes/Rough Cut for Production Assignment 2 Production Assignment Discussion In Class Editing Oral Presentations 1._____________________ 2._____________________ 3._____________________ SCRN: ANVIL: The Story of Anvil (2008, England/Canada), Sacha Gervasi READ: Chapters 12, 13 and 14 from Directing the Documentary READ: Chapters 11 and 12 from Documentary Filmmaking DNC: Rushes/Rough Cut for Production Assignment 2 DNC: Oral Presentations DNC: Artist/Director Journal Week Eight - 03/01/11 Artist/Director Journal Midterm Hand-In Blurring Fictional and Nonfictional Boundaries - The Mockumentary Rushes/Rough Cut for Production Assignment 2 Production Assignment Discussion In Class Editing Oral Presentations 4._____________________ 5._____________________ 6._____________________ SCRN: Fubar (2002, Canada), Michael Dowse Week Nine - 03/08/11 Spring Break (University Closed) READ: Chapters 12, 13 and 14 from Directing the Documentary DNC: Rushes/Rough Cut for Production Assignment 2 DNC: Oral Presentations Week Ten - 03/15/11 The Documentary and Experimental Hybrid: Cinematic Poetry Care, Exploration and Spirit in the Documentary Film Research and Production Development Rushes/Rough Cut for Production Assignment 2 Production Assignment Discussion In Class Editing Oral Presentations 7._____________________ 8._____________________ 9._____________________ SCRN: Hows Your News (USA, 1999), Arthur Bradford Various Short Film and Video Works (1900 - Present), National and International Filmmakers READ: Chapters 20 - 23 from Directing the Documentary DNC: Final Cut for Production Assignment 2 Week Eleven - 03/22/11 Final Cut and Formal Screening of Production Assignment 2 READ: Chapters 24 - 28 of Directing the Documentary DNC: Rushes/Rough Cut for Production Assignment 3 DNC: Oral Presentations Week Twelve - 03/29/11 Cultural and Ethical Opinion through Documentary Cinema Use of the Reenactment for Documentary Film Rushes/Rough Cut for Production Assignment 3 Production Assignment Discussion In Class Editing Oral Presentations 10._____________________ 11._____________________ 12._____________________ SCRN: ZOO (2007, USA), Robinson Devor READ: Chapters 13 and 14 from Documentary Filmmaking DNC: Rushes/Rough Cut for Production Assignment 3 DNC: Oral Presentations Week Thirteen - 04/05/11 Representing Landscape through with a Cinematic Eye Developing a Sociopolitical using Analogy and as Metaphor The Art of Montage Rushes/Rough Cut for Production Assignment 3 Production Assignment Discussion In Class Editing Oral Presentations 13._____________________ 14._____________________ 15._____________________ SCRN: Baraka (1993, USA), Ron Fricke READ: Chapters 29 - 32 of Directing the Documentary DNC: Rushes/Rough Cut for Production Assignment 3 Week Fourteen - 04/12/11 Documentary as Exploration Representation and Misrepresentation of Characters in the Documentary Rushes/Rough Cut for Production Assignment 3 Production Assignment Discussion In Class Editing SCRN: The King of Kong: A Fistful of Quarters (USA, 2007), Seth Gordon READ: Chapters 33 - 38 of Directing the Documentary DNC: Rushes/Rough Cut for Production Assignment 3 Week Fifteen - 04/19/11 Cinematic Essay and the Meta-Documentary Free Form Cinema The Travelogue Film Rushes/Rough Cut for Production Assignment 3 Production Assignment Discussion In Class Editing SCRN: Sans Soleil (1983, France), Chris Marker READ: Chapters 39 and 40 from Directing the Documentary DNC: Final Cut for Production Assignment 3 DNC: Artist/Director Journal Week Sixteen - 04/26/11 Final Cut & Formal Screening of Production Assignment 3 Artist/Director Journal End Notes *Changes to the agenda may develop. *Screenings, editing, lab work and open discussion will occur only if time permits. *Note that all assignment will be graded and returned one week following due date. *For assignments that fall at the end of the semester, please pick up material in AT-812 one week later. *If the material cannot be retrieved at the end of the semester, supply a full sized self addressed stamped envelope for return. *All editing lab hard drives will be erased and reformatted one week following the end of the semester. *All material is held for a 12 month period and then destroyed if unclaimed. * is not responsible for material lost, stolen, or left behind in a classroom. There is a lost and found located in AT-418. 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