The Civil War (Ken Burns, 1990)

1.1. The Civil War The Civil War (Ken Burns, 1990)(Ken Burns, 1990)

2.2. Know Your Enemy: JapanKnow Your Enemy: Japan (Frank Capra, Joris Ivens, (Frank Capra, Joris Ivens, 1945)1945)

3.3. Are You Popular?Are You Popular? (1950?) (1950?)

4.4. What Happened on 23What Happened on 23rdrd StreetStreet (Edison, 1901) (Edison, 1901)

5.5. Mechanical Universe and Mechanical Universe and BeyondBeyond (PBS, 1987) (PBS, 1987)

6.6. FacesFaces (John (John Casavetes, 1968)Casavetes, 1968)

7.7. Battle of AlgiersBattle of Algiers (Gillo Pontecorvo, 1966)(Gillo Pontecorvo, 1966)

8.8. Grey GardensGrey Gardens (Albert and David Maysles, (Albert and David Maysles, 1976)1976)

9.9. North SeaNorth Sea (Harry (Harry Watt, 1938)Watt, 1938)

10.10.KoyaanisqatsiKoyaanisqatsi (Godfrey Reggio, 1983)(Godfrey Reggio, 1983)

11.11. March of TimeMarch of Time (1945) (1945)

12.12. Shark Callers of KontuShark Callers of Kontu (Dennis O'Rourke, (Dennis O'Rourke, 1987)1987)

13.13. Sink or SwimSink or Swim (Su Friedrich, 1990)(Su Friedrich, 1990)

14.14. Family GatheringFamily Gathering (Lise Yasui, 1990)(Lise Yasui, 1990)

15.15. Fear of a Black HatFear of a Black Hat (Rusty Cundieff, 1992)(Rusty Cundieff, 1992)

16.16. All the President’s MenAll the President’s Men (Alan J. Pakula, 1976)(Alan J. Pakula, 1976)

17.17. Surname Viet, Given Surname Viet, Given Name NamName Nam (Trinh T. (Trinh T. Minh-ha, 1989)Minh-ha, 1989)

18.18. Deadly DeceptionDeadly Deception (Debra Chasnoff, 1991)(Debra Chasnoff, 1991)

19.19. CasablancaCasablanca (Michael Curtiz, 1942)(Michael Curtiz, 1942)

Docu…what?: Class Docu…what?: Class DefinitionsDefinitions

Docu…what?Docu…what?

““An information program that is not designed to be An information program that is not designed to be purely entertainment and which may include purely entertainment and which may include drama or variety techniques in achieving its drama or variety techniques in achieving its information goal” information goal” – ACTRA – ACTRA

““'Documentary film belongs to a class of social 'Documentary film belongs to a class of social discourses - juridical or historical - that seek to discourses - juridical or historical - that seek to account for actual occurrences in the account for actual occurrences in the phenomenal world. They take as their reference phenomenal world. They take as their reference events that are perceptible, have been observed, events that are perceptible, have been observed, and can be specifically located in time and space. and can be specifically located in time and space. Documentary films are constituted of documents, Documentary films are constituted of documents, in the sense by which this word obtains in the in the sense by which this word obtains in the human science: faithful representations (here, human science: faithful representations (here, filmed rather than written) of events that exist filmed rather than written) of events that exist outside the consciousness of the documentarist.' outside the consciousness of the documentarist.'

--William Guynn, --William Guynn, A Cinema of NonfictionA Cinema of Nonfiction


““Pictoral accounts that would bring to Pictoral accounts that would bring to the fore otherwise hidden aspects of the fore otherwise hidden aspects of nature” nature” --Siegfried --Siegfried KracauerKracauer

““Documentary defines not subject or Documentary defines not subject or style, but approach…Documentary style, but approach…Documentary differs from that of story-film not in its differs from that of story-film not in its disregard for craftsmanship, but in the disregard for craftsmanship, but in the purpose to which that craftsman is purpose to which that craftsman is put.”put.”

--Paul Rotha, --Paul Rotha, Cinema Cinema QuarterlyQuarterly

““Any film practice that has as its subject Any film practice that has as its subject persons, events, or situations that exist outside persons, events, or situations that exist outside of the film in the real world.”of the film in the real world.”

----Film Studies DictionaryFilm Studies Dictionary

““Unlike most fiction films, documentaries deal Unlike most fiction films, documentaries deal with facts—real people, places, and events with facts—real people, places, and events rather than invented ones. Documentaries rather than invented ones. Documentaries believe that they’re not creating a world so believe that they’re not creating a world so much as reporting on the one that actually much as reporting on the one that actually exists.”exists.”

----Understanding MoviesUnderstanding Movies


““"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”)

Docu…Docu…what?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.


““The creative The creative interpretation of interpretation of reality” – John Griersonreality” – John Grierson

Docu…what?Docu…what?"Documentary's essence

lies in the dramatization of actual materials.” --Paul Rotha--Paul Rotha

Documentaries of Wish FulfillmentDocumentaries of Wish Fulfillment

Documentaries of Social Documentaries of Social RepresentationRepresentation

Documentaries of Wish FulfillmentDocumentaries of Wish Fulfillment

•Deal with Deal with imaginedimagined realities realities

•Reflections and shapers of Reflections and shapers of culture (fantasies, prejudices, culture (fantasies, prejudices, hopes and fears)hopes and fears)

•Document images/actions in Document images/actions in front of the camerafront of the camera

•Requires that the viewer Requires that the viewer suspend disbeliefsuspend disbelief

•Ultimate Goal: to entertainUltimate Goal: to entertain

Documentaries of Social Documentaries of Social RepresentationRepresentation

•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

““We don’t like to use the D word…” We don’t like to use the D word…”

--Errol Morris--Errol Morris

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

--Jill Godmillow--Jill Godmillow

•A body of works characterized by common A body of works characterized by common conventions and norms, e.g.,conventions and norms, e.g.,

•Voice-of-God narrationVoice-of-God narration•InterviewsInterviews

(general heavy reliance on spoken word)(general heavy reliance on spoken word)•Historical footage Historical footage •Location shooting Location shooting •Reliance on social actors – people in their Reliance on social actors – people in their everyday roleseveryday roles•Certain technological features and cues Certain technological features and cues (e.g., handheld camera)(e.g., handheld camera)

Bill Nichols:Bill Nichols:

A Corpus of TextsA Corpus of Texts

•Organizational and structural logic in relation Organizational and structural logic in relation to subject (the historical world), e.g.,to subject (the historical world), e.g.,

•Problem/solutionProblem/solution

•Social activismSocial activism

•Organizational logic (editing, sound, etc.) Organizational logic (editing, sound, etc.) that supports or presents evidence for that supports or presents evidence for claims/arguments being made (often claims/arguments being made (often different from narrative fictional film’s different from narrative fictional film’s continuity editing)continuity editing)


A Corpus of TextsA Corpus of Texts

•Shared sense of purpose: a common, self-Shared sense of purpose: a common, self-chosen mandate to represent the historical chosen mandate to represent the historical rather than imaginary world.rather than imaginary world.

•Often committed to social action: the use of Often committed to social action: the use of film as an agent for social or cultural change.film as an agent for social or cultural change.

•Move in the same circles…share common Move in the same circles…share common audiences and exhibitions venues.audiences and exhibitions venues.

•Talk the same language, share common Talk the same language, share common concernsconcerns

(…but what about those who straddle the line? (e.g. (…but what about those who straddle the line? (e.g. Werner Herzog)Werner Herzog)


A Community of A Community of PractitionersPractitioners

•““Documentaries are what Documentaries are what organizations and institutions that organizations and institutions that produce them make.”produce them make.”•Production and exhibition context as Production and exhibition context as cue to documentary status.cue to documentary status.•Context establishes audience Context establishes audience expectations and assumptions.expectations and assumptions.


A Community of A Community of PractitionersPractitioners

•Institutional framework imposes Institutional framework imposes institutional agendas: ways of institutional agendas: ways of representing the world, filming representing the world, filming conventions, points of view.conventions, points of view.•Independent doc distributors – Independent doc distributors – distribute documentaries outside of distribute documentaries outside of Hollywood mainstreamHollywood mainstream•Institutions that support doc may also Institutions that support doc may also support other types of filmsupport other types of film


A Community of PractitionersA Community of Practitioners

•Sense of a films documentary status lies in the mind Sense of a films documentary status lies in the mind of the viewer. of the viewer. •Audience assumptions and expectations about the Audience assumptions and expectations about the relationship of the images on the screen to the relationship of the images on the screen to the historical world: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


A Constituency of ViewersA Constituency of Viewers

Bill NicholsBill Nichols

Documentary ModesDocumentary Modes

•PoeticPoetic•ExpositoryExpository

•ObservationalObservational•ParticipatoryParticipatory

•ReflexiveReflexive•PerformativePerformative

PoeticPoetic•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



ExpositoryExpository•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




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


Participatory (Interactive)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


ReflexiveReflexive

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


PerformativePerformative

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.

The Pre-history of Movies, The Pre-history The Pre-history of Movies, The Pre-history of Documentary Filmof Documentary Film

Eadweard Muybridge: sequence photographyEadweard Muybridge: sequence photography

Etienne-Jules Marey: Photo gun and Etienne-Jules Marey: Photo gun and sequence photographssequence photographs


Auguste and Louis LumièreAuguste and Louis Lumière


Thomas A. EdisonThomas A. Edison

Films of Travel and ExplorationFilms of Travel and Exploration

Robert J. FlahertyRobert J. Flaherty

Edward S. CurtisEdward S. Curtis

Films of Travel and ExplorationFilms of Travel and Exploration

Herbert PontingHerbert Ponting

Origins of Soviet DocumentaryOrigins of Soviet Documentary

Dziga VertovDziga Vertov

Sergei EisensteinSergei Eisenstein

1920’s Experimentation: Dada and 1920’s Experimentation: Dada and SurrealismSurrealism

A Young girl commits suicide. Because A Young girl commits suicide. Because of What? DADAof What? DADAThe spirits are telephoned. The spirits are telephoned. Who invented it? DADAWho invented it? DADASomeone walks on your feet. It's DADASomeone walks on your feet. It's DADAIf you have serious ideas about life,If you have serious ideas about life,If you make artistic discoveriesIf you make artistic discoveriesand if all of a sudden your head begins and if all of a sudden your head begins to crackle with laughter,to crackle with laughter,If you find all your ideas useless and If you find all your ideas useless and ridiculous, know thatridiculous, know that

IT IS DADA BEGINNING TO SPEAK TO YOUIT IS DADA BEGINNING TO SPEAK TO YOU

1920’s Experimentation1920’s Experimentation

British Documentary MovementBritish Documentary Movement

John GriersonJohn Grierson

The Great DepressionThe Great Depression

Dorothea LangeDorothea Lange

Dorothea LangeDorothea Lange

Ben ShahnBen ShahnWalker EvansWalker Evans

Documenting the DepressionDocumenting the Depression

Pare LorentzPare Lorentz

Paul StrandPaul Strand

Documentaries go to War: BritainDocumentaries go to War: Britain

Humphrey Humphrey JenningsJennings

Documentaries go to War: Spanish Civil Documentaries go to War: Spanish Civil WarWar

Ernest Hemingway &Ernest Hemingway &Joris IvensJoris Ivens

Documentaries go to War: GermanyDocumentaries go to War: Germany

Documentaries go to War: USDocumentaries go to War: US

Frank Frank CapraCapra

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.

Post-War DocumentaryPost-War Documentary

Edward R. MurrowEdward R. Murrow

Italian Neo-RealismItalian Neo-Realism

British Free British Free CinemaCinema

Jean Jean RouchRouch

Al & Dave MayslesAl & Dave Maysles

Fred WisemanFred Wiseman

Robert DrewRobert Drew

Cinema Verite / Direct CinemaCinema Verite / Direct Cinema

Ricky Ricky LeacockLeacock

War in VietnamWar 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."

Feminist Documentary: Reclaiming Feminist Documentary: Reclaiming HistoryHistory

The Civil War (Ken Burns, 1990)

Documents

Transcript of The Civil War (Ken Burns, 1990)