Course Title: Develop factual narratives
Part B: Course Detail
Teaching Period: Term1 2010
Course Code: COMM5931
Course Title: Develop factual narratives
School: 345T Media and Communication
Campus: City Campus
Program: C6088 - Advanced Diploma of Screenwriting
Course Contact : Brendan Lee
Course Contact Phone: +61 3 9925 4368
Course Contact Email:email@example.com
Name and Contact Details of All Other Relevant Staff
Nominal Hours: 70
Pre-requisites and Co-requisites
This course involves stimulated and critical engagement with the form of communication known as documentary. It looks at the skills and knowledge required to write the documents and scripts and develop factual narrative - including documentary film or series. It identifies and analyses current types, genres and trends in non fiction documentary screenwriting in establishing a specific project.
National Codes, Titles, Elements and Performance Criteria
National Element Code & Title:
VPAU662 Develop factual narratives
1 Develop concept
1.1 A strong, original story is established
2 Develop Treatment
2.1 A treatment of eight to ten pages in length is developed to industry standards, which clearly conveys an original and engaging story
3 Seek Funding
3.1 A finance and marketing strategy is developed including contingencies and risk management plan
4 Write a script
4.1 Rework story after footage is filmed
Details of Learning Activities
- Lab work
Each class will develop specific topics or themes. These relate to the styles and approaches that have developed within the documentary genre and to the various challenges and considerations facing the documentary maker. The Ghoulish Profession considers how documentaries are drawn to trouble., Who’s On First examines artistic collaborations, The Hook considers film openingsetc. Exerpts from films pertinent to these topics will be screened and discussed. For example Darwin’s Nightmare by Hubert Sauper, Demon Lover Diary by Jeff Kreines and Joel DeMott, and To Be and To Have by Nicholas Philibert.
The Interview considers the skillsand techniques used in interviewing. Dennis O’Rourke’s Cunnamulla and Errol Morris’s The Fog of War and and Thin Blue Line demonstrate different approaches.
The War Documentary is the class topic for the week of Anzac day. Program exerpts are from Night and Fog by Alan Renais, The Fog of War by Errol Morris, The Spanish Earth by Joris Ivens and Orders from Above by Nicholas Bethel.
Class topics will include:
- The Hook - film openings
- Writing and preparing the documentary
- As it happens - Cinema Verite
- Interview techniques
- The ghoulish profession
- Basic Camera
- The War documentary
- The diarist or personal journey approach
- Agit Prop - before and after Michael Moore
- Who’s on first? Artistic collaborations
- Illuistration, evocationor dramatization. The docudrama.
- Joris Ivens, Jean Rouch and the ethnographic
- Reality TV
- Access and relationships with subjects
- Reading light qualities
- Atmosphere and music
- Quest and conflict
- Form to content relationship
- Plot points and story momentum
- The History documentary
- Made on a mobile
- Financing and the professional model
- The Documentary Poem
Classes may comprise more than one topic and the order of study may vary according to class progress and resource availability.
Overview of Assessment
Students will complete a documentary project.
1. Class exercises
Written exercises set in class that may relate to course work and to documentaries viewed and discussed. They may be reviews, autobiographical, narration assignments or responses to current events and issues, and are designed to be completed, read and discussed in class.
2. Personal Project.
One to one contact weekly regarding each student’s preparation and production of a documentary. To be filmed, edited and presented within the time frame and parameters of the one semester documentary course.
Any length, filmed in any format with any camera or device (eg mobile tel.) according to what is appropriate and available. Must be edited with a sound track at least in part recorded separately to visual scenes. The project is to be presented in class at a nominated session toward end of term.
3.Class Blog A classroom blog will be set up for the submission of weekly exercises, posting updates and drafts in the preparation of personal projects and also for reflective writing or comments for discussion.
These assessment tasks are designed for you to demonstrate competency in the required skills and knowledge of this unit.
This unit will also be graded. Your teacher will provide a grading guide for you at the commencement of the course.
|VPAU662 Develop factual narratives||Class Exercises||Personal Project|
1 Develop concept
|2 Develop Treatment||X||X|
|3 Seek Funding||X||X|
|4 Write a script||X||X|
• Research skills sufficient to undertake literature searches, archival research, electronic searches and case study approaches
|• Analytical skills sufficient to evaluate evidence||X|
|• Narrative skills sufficient to compile meaningful and entertaining narrative structures||X|
|• Communication skills sufficient to undertake research interviews||X|
|• Ability to pitch a proposal to funding bodies or organisations||X|
• Legislation governing copyright and ownership of material
|• Legislation governing privacy provisions||X|
|• Legislation governing the rights of individuals and indigenous groups||X|
|• Current documentary markets||X|
|• Production companies||X|
|• Funding sources, including state and federal film funding bodies||X|
|• Documentary styles and production processes – traditional, factual, reality||X||X|
|• Editing techniques||X||X|
This is a HANDS ON documentary course focusing on the processes and practicalities of documentary work. It provides students with an opportunity to make their own documentary film . The individual project focuses on collecting immediate and intimate material, the development of story, theme, the value of access, authenticity and relevance. It encourages the exploration of topics that may arise from the experience of the studnent. However, there are neither pre-requisites nor prescribed approaches to the studnet’s documentary projects, apart form legal and ethical concerns.
Classes provide exercises in craft and technique, develop the individual projects and study significant historical aspects to the development of the documentary as a communication and artistic form. Screenings of documentary works from Lumiere brothers to Michael Moore underpin discussion and written work on documentary genres, production issues and emerging trends.
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