Nov 4, 2003
Assignments for Next Week
Handouts for this Week
Lesson for This Week
What exactly is a documentary? Ryan Jerving describes it as any film "presumed
by its viewers to have a more or less direct relation to reality." Pretty
weird definition, eh?, since most films have some relationship to reality.
The key word here is "direct." In other words -- a documentary
purports to show some version of reality, without the heavy artifice
of an artificially imposed narrative. Any shape that you've given to
a documentary alledgedly comes from the material itself.
There are different types of documentaries -- observational, analytical,
ethnographic, impressionistic, and many more. Some attempt to avoid
imposing a point of view, others are blatant in their "selling" of
one. All of them, if they are well made, attempt to make a point.
To get at how each film makes its arguments, it is helpful to list
all the kinds and sources of visual and aural materials that each film
uses (including the title sequences). You can then start to analyze
what the overall style of each one it.
Tonight we will take a look at several different documentaries, depending
on how much time we have and how we define the term "documentary." The
first two are two very different looks at the same subject -- the immigration
station of Ellis Island, set in New York City's harbor. The first,
a 1997 Arts and Entertainment channel doc, directed by Lisa Bourgoujian,
is traditionally constructed and edited. You will notice the use of
voice over and archival footage. The filmmaker makes an attempt to
unite the past and the present (a theme of both of these documentaries)
by desaturating the color in the opening fly-over of the island, taking
us into the past. Notice the use of dissolves from one piece of footage
to the next, prelaping and postlapping interview voices, and the juxtaposing
of images that attempt to make the old footage relevant to today's
Here is a description of the film, from Harvard University's Teaching
Global Studies web site.
Ellis Island. Producer: Lisa Bourgoujian,
1997. 150 mins.
This "locingly assembled" (People Magazine) three-tape program
uses hundreds of interviews, photographs, films and recreations from the
Ellis Island Oral History Project to tell the incredible stories of immigration
to America through the "golden door," whose entrance, for over
half a century, meant an opprotunity for a new life.
second film, on the other hand, is a 1981 documentary, directed and
written in an experimental style by performance artist and composer
Meredith Monk. This version, also called ELLIS ISLAND, is told without
voice over and without archival footage. It, too, attempts to make
a contrast between old and new images by creating new images and old
ones, and making them all look similar. The music is entirely different
than Bourgougian's version, (it would be valuable to go through the
exercise we did during our lesson on music and try and ascribe adjectives
to each musical choice), and the storytelling structure is different,
but after a while it becomes clear that the filmmakers had similar
thoughts in mind.
What do you think they are?
Here is the description of Monk's film from her own web site:
Ellis Island. Directed
by Meredith Monk. Produced and co-directed by Bob Rosen. Camera
by Jerry Pantzer. Music by Meredith Monk. A film about the experience
of immigrants entering America at the turn of the century, ELLIS
ISLAND was awarded the CINE Golden Eagle, aspecial Jury Prize from
the Atlanta and San Francisco Film and Video Festivals.
the unlikely even that we have time, we will take a look at another
example of documentary work -- the film LOOKING FOR RICHARD, which
was directed by Al Pacino. This is a sampling of Shakespeare's "Richard
III" as Pacino tries to figure out if and why the play has relevance
to today's world and today's people. Pacino is also at the film's center
as he puts together a cast for a performance of the play, researches
its menaings, and interviews people in this country and Europe, about
what Shakespeare means to them. The structure of the opening of the
film, once again, attempts to find the contrast between the old and
the new. Shots are cut togehter to create mood, connectivity and to
announce to the audience what and who is important in this film. This
is a structure that you will have noticed in all of the documentaries
that we look at tonight; in fact, it is a structure in every film that
As a side notes, I present here a quote from Scoutt Foudras' revise
of Arlene donnelly's documentary feature NAKED STATES, from Variety.
The film follows photographer Spencer Tunick on his five-month quest
to find people in each of the 50 states to pose nude (en masses) in
public spaces for his camera.
"Naked States" settles into a too comfortable
rhythm of showing tunick setting up for a shoot and then cutting
to a print of the finished photo, and it is Donnelly's unfailing
attachment to this methodology, at the very moment the film needs
to take off in a new direction, that reveals her limitations
as a documentarian. Donal seems so passively enthralled by Tunick
himself that she never really stops to ask him why he does what
he does; nor is she interested in deconstructing the artist or
In fact, the above criticism should be something you ask yourself
constantly about every work that you create -- whether it is a documentary
or a narrative fiction film. Why do characers do what they do? Am I
too caught up in an intellectual rendition of style or too stuck on
my original ideas, to move past them to the point where I can make
my film really work. Editing is re-editing, re-examining,
- Editing THE MISTS OF
- Michael Friedlander, an assistant editor getting his big break
on this mini-series, talks about how he collaborates with him co-editor
and director, as well as having some sage words about relying on
material that was shot, rather than original ideas.
- Interview with Hope Hall
- Hope Hall directed and edited the documentary "This Is For
Betsy Hall," a short film about her mother's eating disorder.
In this interview, a portion of which is excerpted in this handout,
she talks about the process of structuring the film during the editing.
Note that she cut the entire piece of film, on a flatbed. Hope, is
a student at Stanford, also talks about how she decided to make the
- Jeff Werner Edits "Go
- When Jeff Werner was putting together his hi-def documentary about
the inner dynamics of a town focussed on football, he had to find
a script for it. This interview talks about that process, among others.
- Interviews with 2001 Oscar
- Kate Amend (go Kate!!!), Ann Collins, and Jean Tsien all had documentaries
in competition for the Oscar at 2001's Academy Awards. In this excedrpt
from an EditorsNet interview, the three discuss the process of crafting
a film and what interests them in the process.
- CD of Music for AND THE BAND PLAYS ON exercise
- Though this isn't yours to keep (there's only one for the entire
class -- so please put it back as soon as you take off what you need),
you will be receiving a CD with 19 musical cues to cut this sequence
to. The cues range from Erik Satie to Missy Elliott to Pantera to
cues pulled from other films, so there's a wide range. After you
determine what your sequence will be about, then you can think about
the music that will best work within that description. Transfer several
cues off of the CD that you think might work and try them all. Decide
where to begin in the picture, and what part of the musical cue you
are going to use. YOU MUST USE MUSIC FROM THIS CD. Use your rubber
banding tool to raise and lower the music if you need to.
- CD of images for AND THE BAND PLAYS ON exercise
- This CD contains a number of still images that you may or may not
use to add some style to the piece. You should learn how to import
images from the CD, and experiment with what happens to the screen
ratio of the image if you import at the wrong setting.
Assignment for Next Week
- Cut the footage from AND THE BAND PLAYS ON
- This material is actually made up of two separate scenes, but you
are encouraged to blend the two. Most of this footage is close-up
and insert shots of an operations and an experiment. Half of you
will be editing it to fulfill and analysis of a story line that you
will make up. The other half of you will be editing it to fulfill
a style-based analysis. Don't consciously try and build a story line,
but make associations based on some other criteria -- color, movement,
size. Both groups should add some sort music, from the CD that I
am supplying you. Remember, you are working in new groups beginning
this week. Click here to see
the new groups (will be online the day after class).
- Read Chapters 15, and 15A in the textbook
- This will take you pretty much up through the finishing of the film
in the lab.
(Page will open in a new window. Close it to return
to this page.)
Happens to Your Film In The Lab?
- This series of explanations about the work of a film lab suffers
by being a bit out of date. Well, actually, it's quite a bit out of
date. But, aside from the last page, which describes edge numbering
by the lab, it still remains one of the best descriptions about what
happens once your negative goes in through the door of the lab. Another
blow-by-blow description (more up-to-date, but less illustrated) is
available at the Kodak
on Cutting Negative
- Northeast Negative Matchers put together this list of handy tips
for preparing your film for negative cutting.
- It sounds dry, but Film Lab in South Africa, has a fairly comprehensive
and very readable overview of most lab processes. Well worth taking
of Los Angeles Film Labs
- This is a, more or less, complete list of film labs in the Los Angeles
- Kodak has a comprehensive web site with helpful papers on selecting
a lab, what a lab does, and a host of other production and post-production
issues. One interesting note is copies below:
Airport X-Ray Security and Film
Security precautions at US airports are currently being upgraded
following the tragic events of September 11th. Although detailed
information about new security procedures is not yet available,
it is likely that the use of high-intensity X-ray machines for
screening passenger baggage and freight will be increased.
While in the past, passing film through an ordinary X-ray scanner
at a security checkpoint usually did not affect film, travelers
should be aware that the high intensity machines now in use
at many airports, will fog all unprocessed film, whether exposed
or not -- and that all baggage may be subjected to scanning
in such machines.
Tips on Selecting A Lab
- This page from Kodak's web site discusses what you should look for
when you're searching for a film lab. Understand that film labs are
decreasing in number all of the time, but Los Angeles still has the
biggest selection of labs, so there are choices to make.
This Nov 4001 article is about Charles Guggenheim's
struggle to make a documentary film about a prisoner of war camp
during World War II. Though the article is primarily about the
events in the past, in the course of the piece Guggenheim discusses
a number of things that Robbie Kenner talked about in this evening's
class. I've highlighted them in yellow, as usual.
The folks at Cyber-College have a typically simple-minded
description of news gathering forces, but it's a great introduction
to the who-does-what on a news crew out in the field. This is actually
the first of two pages. The second page is here