| source Duke (X) |
level |
department Documentary Studies (X) |
An exploration of how children cope with illness, incorporating the tools of documentary photography and writing. Students will work outside class with a child who is ill and teach them how to use a Polaroid camera, working towards an exhibit of photographs at the end of the semester. Permission required. No Instructor: Moses
Score: 12.255231 Details | Listing | Web page
A documentary approach to the study of local communities through video production projects assigned by the course instructor. Working closely with these groups, students explore issues or topics of concern to the community.
Score: 12.255231 Details | Listing | Web page
An intense tutorial in the art of finding, researching, reporting, and writing long-form, non-fiction stories. This course presents a strategy for documentary writing that combines the practices of journalism, the aesthetics of the novelist, and the ethics of the documentarian to create longer narratives that are absorbing, complex, artful, and sturdy enough to stand on their own without image or sound. This course is intended for those students who aspire to create written work in the manner of Tracy Kidder, Gay Talese, Susan Orlean, Joan Didion, John J. Sullivan, Donovan Hohn, Martha Gellhorn, Bruce Chatwin, John McPhee, Alec Wilkinson, Jonathan Harr, Adrian Nicole LeBlanc, John Hersey, William Langewiesche, William Finnegan, Erik Reece, Jane Kramer, and Eric Schlosser, to name a few writers who, though each very different, share a certain basic approach to this sort of work. This is a nuts-and-bolts course for the writer of narrative nonfiction books and magazine articles that direct attention outward toward other people and communities. (This is not a course for the memoirist.) Students will spend much of the course beginning work on their own long narrative project, or they may continue work already begun. In class we will discuss the tools and techniques of the journalist, weÂll read what some leading practitioners have to say about how they do their work, weÂll read widely varying examples of narrative, and weÂll listen to what some of those writers have to say during guest lectures.
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Documentary writing course focusing on race and "storytelling" in the South, using fiction, autobiography, and traditional history books. Students will produce narratives using documentary research, interviews, and personal memories. Focus on twentieth-century racial politics.
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Beginning photography foundations class utilizing black and white photographic process. Photogaphic process is the basis for using photography as a visual language.
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In this class we do a survey of historic photographic processes. These will include but not be limited to Gun Bichromate, Cyanotype, Kalotype and Platinum/Palladium Printing. The first half of the semester will consist of making negative large enough to print with these materials. In the second half of the semester each student will chose a process and create a portfolio using the syntax in inherent in the materials to express a coherent visual idea.
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This course steps "behind the veil" of segregation, moving out of the visible world of the white supremacist South and into the invisible interior life of the regionÂs African Americans. Students of Dixie had long believed that segregation resulted in total oppression by whites and passive submission by blacks. But a massive oral history project, housed here at CDS, prompted scholars to overturn this interpretation and replace it with a complex picture of African American ingenuity, survival, and resistance. This course allows students to see Âfirst-hand what the South looks like from the perspective of the regionÂs long-repressed, but frequently misunderstood, black population. Behind the veil we see not only oppression but struggle and persistence, not just despair but hard work and strong communities, not just hate but love, hope, and humanity.
Score: 12.255231 Details | Listing | Web page
Integrated with the films and filmmakers of the Full Frame Documentary Film
Score: 12.255231 Details | Listing | Web page
ÂThe South in Black and White is a lecture and discussion course. We will focus on the history and culture of the 20th century South, a region of the heart, the mind, and the United States where democracy has been envisioned and embattled with global consequences. We will constitute a kind of front porch on Southern history, where we will join those whom Zora Neale Hurston called Âthe big picture talkers and hear their stories. Each week there will be music, poetry, film clips, and opportunities for discussion. There will be music, poetry, documents and stories every day. We will explore a history as rich and complicated, painful and delightful as the South itself.
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Students in their will participate in the evolution of a literary work to a screenplay. EMMY award winning filmmaker/instructor Dante James and guest presenters will help students gain a better understanding of the interdisciplinary aspects of film-making. Issues and subjects to be explored include: early African American fiction, turn of the century race relations in North Carolina, the legal ramifications of turning a public domain story into a dramatic film, how the filmmaker maintains the integrity of literature while adapting it for a new medium and the relationship between artistic freedom and social responsibility. The structure of the course will include screenings, assigned readings, presentations by professionals in film-making or related fields and various research and writing assignments. Students will gain an understanding of the process, pitfalls, and issues that arise in converting literary works into screenplays.
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141S. Editing The TV Documentary: From Creativity to Collaboration to
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Literacy Through photography encourages children to explore their world as they photograph scenes from their own lives, and then use their images as catalysts for verbal and written expression. Framed around four thematic explorationsÂself-portrait, community, family and dreamsÂLTP provides children and teachers with the expressive and investigative tools of photography and writing for use in the classroom. Since 1989, the Center for Documentary Studies has worked with Durham Public Schools to involve teachers and students in this innovative approach to literacy and learning developed by artist and teacher Wendy Ewald.
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Intermediate to advanced filmmaking techniques. Presumes a working knowledge of Final Cut Pro, mini-DV camera, and some fieldwork experience with a camcorder. Topics include fieldwork in a variety of communities and work on pertinent social and cultural issues.
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DOCST 155S
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Theory and practice of documentary photography in a small-town context. Students work in collaboration with each other to document one nearby small town. Each student completes a photographic study of one individual, community or issue within that town. Includes analysis of the documentary tradition, particularly as it relates to locally situated work and to selected individual projects; building visual narrative, developing honest relationships with subjects, responsibility to subjects and their communities, and engaging with and portraying a community as an outsider.
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This course applies a documentary approach to the world of food and its inhabitants, from the men who sling eggs at Las Vegas diners to the farmers who raise North Carolina hogs. Students will employ extensive fieldwork to show the ways in which understanding what a person eats establishes his or her cultural identity. We will examine, through deep personal stories, issues in food including how it is raised, prepared, and presented. Food-oriented research projects will reveal the key biographical, economic, religious, and other truths that connect what we eat to who we are. We will cook for each other in the kitchen lab as well.
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Synopsis - Alice Gerrard Tradition/Folklife/Folk Culture What is it and why is it important to me? The Fund for Folk Culture defined Folklife very succinctly: "Folklife refers to the traditional ways in which groups of people maintain their shared sense of beauty, identity, and values. Such groups or communities may be ethnic, familial, occupational, religious or regional in nature.... Folklife traditions include music, storytelling and poetry, various forms of dance, drama, ritual pageantry and play, crafts, customs and beliefs...and language. A distinguishing feature of folklife practices is that they are generally learned informally, rather than through professional schools or institutions."
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This course will explore the connection between narrative -- the ability to tell one's own story -- and self-determination. Students will master, through reading and writing practice, essential non-fiction (aka documentary) forms including the personal essay, political essay, lyric essay, and the monologue. In order to further that mastery students will participate in a 10-week internship in the Durham Public Schools, collaborating with middle-school and elementary students to help them produce their own life-stories, first as essays, then as monologues for performance.
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Looking briefly at the history of film and documentary in South Africa. Examining the nature of TV news reporting during the 80Âs and 90Âs in South Africa and comparing the different approaches of European, British and US broadcasters. Examining documentary films that covered those events and seeing how they stood the test of time. Looking at storytelling in present day South Africa, both contemporary and historical and the challenges facing the documentary maker. Investigating the use of modern digital technology to overcome traditional obstacle that hindered documentary making.
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This production course will examine the personal documentary, a documentary that makes the experience of the filmmaker pertinent to the film by acknowledging the filmmaker as an observer and participant. Also known as the autobiographical documentary or diary film, the personal documentary has lineal roots from experimental films of the late1940s and 1950s. The adopting of the personal aspect of the avant-garde by documentary filmmakers emerged in the 1960s and 1970s and is today one of the more popular and significant documentary modes. Personal documentaries have enabled filmmakers to intimately address often marginalized questions about self, family structure, sexuality, gender, religion, race, class, our cultural life and more. While the approach is self-reflexive with autobiographical components it does not have to wholly be about the documentarian; subject matter can include material from autobiographical life segments to compelling family stories to views on current or historical issues. The process provides a great opportunity to explore themes of identity, expression, the subjective and objective. Select readings and diverse screenings of example films will help students develop a critical and artistic approach to the mode. The course also serves as a workshop as students develop and complete their own 10-minute personal documentary.
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There are more slaves now in the 21st century than during any other period
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In this seminar students will learn to use documentary photography as a tool
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Immersion in fieldwork-based inquiry and in-depth projects that
Score: 12.255231 Details | Listing | Web page