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for a past academic year. Please see the current academic year for up to date information.
| Unit name |
Documentary Histories and Practices |
| Unit code |
DRAM23135 |
| Credit points |
20 |
| Level of study |
I/5
|
| Teaching block(s) |
Teaching Block 2 (weeks 13 - 24)
|
| Unit director |
Mr. Metelerkamp |
| Open unit status |
Not open |
| Pre-requisites |
None
|
| Co-requisites |
None
|
| School/department |
Department of Film and Television |
| Faculty |
Faculty of Arts |
Description including Unit Aims
The unit will consider key moments and texts in the history of documentary film and television production, and explore the ethical, social, social and aesthetic questions they pose. Specifically, the unit will explore the problems of history, actuality, indexicality and evidence that documentary poses makers and audiences. The unit will also consider modes, styles and contexts for documentary making, and lead to an exploration of contemporary prospects for documentary makers with a view to exploring them in practice.
Aims
- To understand how the camera has been used to create a sense of the verifiable.
- To consider key movements in screen documentary and the technical, cultural and philosophical contexts informing them
- To compare screen documentary with news, fiction film and photography
- To investigate the power relationships in the making and exhibition of documentaries
- To explore style and form and issues of ‘truth’ through practice
- To understand cultural and theoretical contexts of the ‘credible’ (empirical, existential, surrealist)
- To explore critically a range of film practices.
- To develop appropriate critical and theoretical approaches to the chosen practices.
- To investigate in a chosen practical and creative manner one or more alternative languages of cinematic expression.
- To develop appropriate self-reflective analytical methods.
- To engage in research-based investigation of appropriate primary and secondary material.
Intended Learning Outcomes
- Demonstrate an understanding of how the camera has been used to create a sense of the verifiable
- Develop an intermediate historical and cultural understanding through considering key movements in screen documentary and the technical, cultural and philosophical contexts informing them
- Develop intermediate understandings of the differences and similarities between screen documentary and news, fiction film and photography
- Develop an awareness of the connection between cultural production and social and cultural forces
- To demonstrate sound knowledge of key secondary literature
- To be aware of, and able to apply a range of established critical and theoretical ideas
- To present a clear and well-structured argument, supported by relevant critical and theoretical literature
- To present work that is consistently accurate in terms of its use of English and referencing
- To be able to communicate verbally key ideas based on secondary reading and relevant primary texts
- To demonstrate skills of time management
- To plan and execute a research project
Plus as appropriate to the mode of teaching, that is, the combination of seminar and practice-based workshop and/or presentations:
- To be able to write a reflective account of practical work
- To be able to work constructively and creatively in a group-based workshop
- To be able to work within the disciplines of production and project processes, working to deadlines and within production budgets
- To work independently and reach individual/personal judgements within a collaborative context
- To be able to reflect on individual work within a collaborative production context
Teaching Information
Seminars, workshops, screenings, as appropriate
Optional units may be taught according one of three models, depending on student numbers choosing the option and resource matters. Unit convenors will decide on teaching mode in consultation with HoE and with students in advance of advertising option year-on-year. Contact hours and assessment details will be mapped to teaching mode, as detailed below.
Model A is a seminar-based unit
Model B combines seminars with workshops encompassing an average 30-hour production period
Model C is taught through workshops encompassing an intensive 60-hour production period
Assessment Information
Teachers will assign assessments according to the teaching mode employed.
Model A:
3,000-word essay (50%) + student presentation (25%) + 1,500-word write-up (25%), or equivalent.
OR
Model B:
Essay [1,500 words] (33%) +
Workfile (22%): containing evidence to demonstrate student contribution to workshops / practical exercises; contribution to seminars Presentation/performance (22%) Critical analysis [1,500 words] (22%)
OR
Model C:
Workfile (33%): containing evidence to demonstrate student contribution to workshops / practical exercises; contribution to seminars, preparation & execution of technical production role Presentation/performance (33%) Critical analysis [1,500 words] (33%)
Reading and References
- Barnouw, E. (1993) Documentary: A History of the Non-fiction Film, Oxford: Oxford University Press.
- Bruzzi, S. (2000). New Documentary: A Critical Introduction. London: Routledge.
- Chanan, M. (2007) The Politics of Documentary, London: BFI.
- Cousins, M. and Macdonald, K. (1998) Imagining Reality: The Faber Book of Documentary, London: Faber and Faber.
- Nichols, B. (2001). Introduction to Documentary. Indiana: Indiana University Press.
- Renov, M. (ed.) (1993) Theorising Documentary, London: Routledge.
