1. 1.The Civil War (Ken Burns, 1990) 2.Know Your Enemy: Japan (Frank Capra, Joris Ivens, 1945) 3.Are You Popular? (1950?) 4.What Happened on 23 rd Street (Edison, 1901) 5.Mechanical Universe and Beyond (PBS, 1987) 6.Faces (John Casavetes, 1968) 7.Battle of Algiers (Gillo Pontecorvo, 1966) 8.Grey Gardens (Albert and David Maysles, 1976) 9.North Sea (Harry Watt, 1938) 10.Koyaanisqatsi (Godfrey Reggio, 1983) 11. March of Time (1945) 12. Shark Callers of Kontu (Dennis O'Rourke, 1987) 13. Sink or Swim (Su Friedrich, 1990) 14. Family Gathering (Lise Yasui, 1990) 15. Fear of a Black Hat (Rusty Cundieff, 1992) 16. All the President’s Men (Alan J. Pakula, 1976) 17. Surname Viet, Given Name Nam (Trinh T. Minh-ha, 1989) 18. Deadly Deception (Debra Chasnoff, 1991) 19. Casablanca (Michael Curtiz, 1942)

2. Docu…what?: Class Definitions

3. Docu…what? “An information program that is not designed to be purely entertainment and which may include drama or variety techniques in achieving its information goal” – ACTRA “'Documentary film belongs to a class of social discourses - juridical or historical - that seek to account for actual occurrences in the phenomenal world. They take as their reference events that are perceptible, have been observed, and can be specifically located in time and space. Documentary films are constituted of documents, in the sense by which this word obtains in the human science: faithful representations (here, filmed rather than written) of events that exist outside the consciousness of the documentarist.' --William Guynn, A Cinema of Nonfiction

4. Docu…what? “Pictoral accounts that would bring to the fore otherwise hidden aspects of nature” --Siegfried Kracauer “Documentary defines not subject or style, but approach…Documentary differs from that of story-film not in its disregard for craftsmanship, but in the purpose to which that craftsman is put.” --Paul Rotha, Cinema Quarterly

5. “Any film practice that has as its subject persons, events, or situations that exist outside of the film in the real world.” --Film Studies Dictionary “Unlike most fiction films, documentaries deal with facts—real people, places, and events rather than invented ones. Documentaries believe that they’re not creating a world so much as reporting on the one that actually exists.” --Understanding Movies Docu…what?

6. “ “"All methods of recording on celluloid any aspect of reality interpreted either by factual shooting or by sincere and justifiable reconstruction, so as to appeal either to reason or emotion, for the purpose of stimulating the desire for, and the widening of human knowledge and understanding, and of truthfully posing problems and their solutions in the sphere of economics, culture,and human relations.“ --1948 definition (as quoted in Brian Winston: “Documentary: I Think We are in Trouble”)

7. Docu…what? "Of course Moana, being a visual account of events in the daily life of a Polynesian youth, has documentary value. But that, I believe, is secondary to its value as a soft breath from a sunlit island, washed by a marvelous sea, as warm as the balmy air. “ --John Grierson, Review of Robert Flaherty’s 1926 film, Moana. New York Sun.

8. Docu…what? “The creative interpretation of reality” – John Grierson

9. Docu…what? "Documentary's essence lies in the dramatization of actual materials.” --Paul Rotha

10. Documentaries of Wish Fulfillment Documentaries of Social Representation

11. Documentaries of Wish Fulfillment Deal with imagined realitiesDeal with imagined realities Reflections and shapers of culture (fantasies, prejudices, hopes and fears)Reflections and shapers of culture (fantasies, prejudices, hopes and fears) Document images/actions in front of the cameraDocument images/actions in front of the camera Requires that the viewer suspend disbeliefRequires that the viewer suspend disbelief Ultimate Goal: to entertainUltimate Goal: to entertain

12. Documentaries of Social Representation Imaginative representation of historical or personal reality Lay claims to representing the “Truth” (unlike films of wish fulfillment) Make arguments/claims about the world outside of the theatre Use of evidence drawn from the “real” world Goal: to have the viewer believe in what is being represented; to act on those beliefs

13. “We don’t like to use the D word…” --Errol Morris How can [all these diverse films] be in one class? I think they all exhibit a common defining trait: inherent in their stance toward the audience is the claim not so much to educate as to edify. So I call this huge class of films ‘films of edification,’ or “edifiers. At least the label avoids the classic truth claims of documentary and acknowledges the intention to persuade…to raise up the audience to a more sophisticated or refined notion of what is.” --Jill Godmillow

14. A body of works characterized by common conventions and norms, e.g.,A body of works characterized by common conventions and norms, e.g., Voice-of-God narrationVoice-of-God narration InterviewsInterviews (general heavy reliance on spoken word) Historical footageHistorical footage Location shootingLocation shooting Reliance on social actors – people in their everyday rolesReliance on social actors – people in their everyday roles Certain technological features and cues (e.g., handheld camera)Certain technological features and cues (e.g., handheld camera) Bill Nichols: A Corpus of Texts

15. Organizational and structural logic in relation to subject (the historical world), e.g.,Organizational and structural logic in relation to subject (the historical world), e.g., Problem/solutionProblem/solution Social activismSocial activism Organizational logic (editing, sound, etc.) that supports or presents evidence for claims/arguments being made (often different from narrative fictional film’s continuity editing)Organizational logic (editing, sound, etc.) that supports or presents evidence for claims/arguments being made (often different from narrative fictional film’s continuity editing) Bill Nichols: A Corpus of Texts

16. Shared sense of purpose: a common, self-chosen mandate to represent the historical rather than imaginary world.Shared sense of purpose: a common, self-chosen mandate to represent the historical rather than imaginary world. Often committed to social action: the use of film as an agent for social or cultural change.Often committed to social action: the use of film as an agent for social or cultural change. Move in the same circles…share common audiences and exhibitions venues.Move in the same circles…share common audiences and exhibitions venues. Talk the same language, share common concernsTalk the same language, share common concerns (…but what about those who straddle the line? (e.g. Werner Herzog) Bill Nichols: A Community of Practitioners

17. “Documentaries are what organizations and institutions that produce them make.”“Documentaries are what organizations and institutions that produce them make.” Production and exhibition context as cue to documentary status.Production and exhibition context as cue to documentary status. Context establishes audience expectations and assumptions.Context establishes audience expectations and assumptions. Bill Nichols: A Community of Practitioners

18. Institutional framework imposes institutional agendas: ways of representing the world, filming conventions, points of view.Institutional framework imposes institutional agendas: ways of representing the world, filming conventions, points of view. Independent doc distributors – distribute documentaries outside of Hollywood mainstreamIndependent doc distributors – distribute documentaries outside of Hollywood mainstream Institutions that support doc may also support other types of filmInstitutions that support doc may also support other types of film Bill Nichols: A Community of Practitioners

19. Sense of a films documentary status lies in the mind of the viewer.Sense of a films documentary status lies in the mind of the viewer. Audience assumptions and expectations about the relationship of the images on the screen to the historical world:Audience assumptions and expectations about the relationship of the images on the screen to the historical world: The primary assumption: what we see and hear is grounded, in some way, in the real world. The events represented possess a historical basis, something we can point to as actually happening or having had happened down the street or across the sea. Assumption that image and sound are accurate recordings of this historical world with minimal manipulation. These expectations are based on previous experience, both with life and with other films Bill Nichols: A Constituency of Viewers

20. Bill Nichols Documentary Modes PoeticPoetic ExpositoryExpository ObservationalObservational ParticipatoryParticipatory ReflexiveReflexive PerformativePerformative

21. Poetic Style first developed in late teens and 1920s Images from the real world shaped into subjective impressions Emphasis on texture, rhythm, mood, visual associations Less emphasis on time/space continuity Bill Nichols Documentary Modes

22. Expository Make arguments/tell history using visual evidence Heavy reliance on the spoken word to make arguments Address the viewer directly Voice-of-God Voice-of-authority Emphasizes the impression of objectivity or authority Bill Nichols Documentary Modes

23. Observational ( Observational (“Fly on the wall“ filmmaking )   Came of age in the 1960's with movements known variously as cinema verité or Direct Cinema.   Reaction to the earlier expository styles   Response to new technological developments (portable cameras and synchronous sound)   Concentration on   Direct engagement with the subject;   Minimum directorial intervention or editorial manipulation;   Spontaneity...no scripts, voice-over, no music, no interviews, no second-takes

24. Documentary Modes Participatory (Interactive)   Filmmaker as social actor in his/her own film   Direct and obvious engagement/interaction with film subject   Filmmaker’s voice or physical presence is part of the subject   Presence of filmmaker may reveal “truths” which would have not existed otherwise.   Interviews – another, more formal, form of filmmaker interaction with subject

25. Documentary Modes Reflexive   Acknowledge the problems and issues of representing the historical world on film.   Call into question traditional documentary evidence.   Make the filmmaking process a focus of attention: self-conscious and self-questioning.   Call into question traditional documentary evidence.   Attempt to readjust audience assumptions and expectations about the documentary, about historical truths and the representation of reality in general

26. Documentary Modes Performative   Recognize that knowledge about the world is built on more than objective fact & visible evidence: meaning is often personal and subjective.   Stress emotional complexity of experience from the perspective of the filmmaker   Can include combination of actual and imagined images and event to convey sense of subject   Poetic liberty, unconventional narrative structure (rather than realist representation)   Mix of methods to convey texture and depth of experience.

27. The Pre-history of Movies, The Pre-history of Documentary Film Eadweard Muybridge: sequence photography Etienne-Jules Marey: Photo gun and sequence photographs

28. The Pre-history of Movies, The Pre-history of Documentary Film Auguste and Louis Lumière

29. The Pre-history of Movies, The Pre-history of Documentary Film Thomas A. Edison

30. Films of Travel and Exploration Robert J. Flaherty Edward S. Curtis

31. Films of Travel and Exploration Herbert Ponting

32. Origins of Soviet Documentary Dziga Vertov Sergei Eisenstein

33. 1920’s Experimentation: Dada and Surrealism A Young girl commits suicide. Because of What? DADA The spirits are telephoned. Who invented it? DADA Someone walks on your feet. It's DADA If you have serious ideas about life, If you make artistic discoveries and if all of a sudden your head begins to crackle with laughter, If you find all your ideas useless and ridiculous, know that IT IS DADA BEGINNING TO SPEAK TO YOU

34. 1920’s Experimentation

35. British Documentary Movement John Grierson

36. The Great Depression Dorothea Lange Ben Shahn Walker Evans

37. Documenting the Depression Pare Lorentz Paul Strand

38. Documentaries go to War: Britain Humphrey Jennings

39. Documentaries go to War: Spanish Civil War Ernest Hemingway & Joris Ivens

40. Documentaries go to War: Germany

41. Documentaries go to War: US Frank Capra 1.To foster a firm belief in the right for which we fight. 2.To foster a realization that we are up against a tough job. 3.To initiate a determined confidence in our own ability and the ability of our comrades and leaders to do the job that has to be done 4.To instill a feeling of confidence, insofar as is possible under the circumstances, in the integrity and fighting ability of our allies 5.To create resentment, based on knowledge of the facts, against our enemies who have made it necessary for us to fight 6.To foster a belief that through military victory, the political achievement of a better world order is possible.

42. Post-War Documentary Edward R. Murrow Italian Neo-Realism British Free Cinema

43. Jean Rouch Al & Dave Maysles Fred Wiseman Robert Drew Cinema Verite / Direct Cinema Ricky Leacock

44. War in Vietnam 1965 to 1968 —Escalation of the war; mass protests at home. 1968 —Tet Offensive; US embassy compound in Saigon seized by NLF 1968 —Lyndon Johnson declines to run another term; Nixon elected. "The greatest honor history can bestow is the tittle of 'peacemaker'... after a period of confrontation we are entering an era of negotiation." 1969—Draft lottery instituted 1969-72 —“Vietnamization program: gradual withdrawal of US troops; military aid to South Vietnam. US invasion of Cambodia and Laos; renewed bombing of North; mass protests at home. 23 Jan 73 - President Nixon announced an agreement "to end the war and bring peace with honor in Vietnam and S.E. Asia."

45. Feminist Documentary: Reclaiming History