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NARRATING NATURE: DOCUMENTARIES FOR ENVIRONMENTAL STUDIES Spring 2017 | ENV XXX Cross listed: LATAM XXXX | ICS XXX | DOC XXX Nicholas School of the Environment Duke University

Time Location (TBD) W/F 8:30am – 9:45am (10:05-11:20 a.m. / 6:15-7:30 p.m.) Classroom TBD Instructor Miguel Rojas Sotelo mlr34@duke.edu Phone: 919-681-3883 Office hours: (2 hours) Tuesdays and Thursdays 9:45-10:15am @ Franklin Center 133

COURSE INTRODUCTION: Documentary (non-fiction) research-based films, photo essays, radio documentaries, hypermedia documents, and long-form analytical narratives shed light on our world. They portray the environment, real people, events, and situations - with an aesthetic sensibility that transforms these depictions into compelling statements about all aspects of our environmental, social, cultural, political, and economic lives. In the course of a couple of generations managed to powerfully raise the temperature of an entire planet, to knock its most basic systems out of kilter. Although we know about it, we don’t know about it. It hasn’t registered in our gut; it isn’t part of our culture (yet). Art, like religion, is one of the ways we digest what is happening, to make sense out of it that proceeds to action. The aim of this course is to evaluate and illustrate how film documentary media can help communicate, critique, and educate the public about the complex environmental and social issues of our times. Students will analyze how environmental and social issues are presented through different audiovisual forums. The overarching theme of the course is to investigate how environmental/social activism and communication is enhanced (or hindered) through these modes of creative visual expression. As the course develops students will have the chance to put these concepts into practice and create their own environmentally-themed pieces. The course will cover both the history and introductory tool set involved in the production of each documentary mode, placing a strong emphasis on linking the research methods of the sciences and the humanistic concerns of the arts. Among the subjects covered in the course are: media archives and archival research, ethical and legal issues associated with documentary research and production, the history and theory of documentary photography, film, radio, and documentary production and editing. “No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls. They are how we make meaning of life. Call them schemas, scripts, cognitive maps, mental models, metaphors, or narratives. Stories are how we

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explain how things work, how we make decisions, how we justify our decisions, how we persuade others, how we understand our place in the world, create our identities, and define and teach social values. ” — Dr. Pamela Rutledge, Director, Media Psychology Research Center. Course Description: This course is developed in order to allow participants to understand, utilized, and produced (in an introductory level) documentary media on environmental topics. The course is divided into two parts (and four sections): the first part, introduces students to the histories and theories of non-narrative media production, while giving methods for understanding how media is constructed, produced, and circulated. Also, it introduces participants to the practices of documentary production, terminology, and ways to research and structure a documentary project. The second part is a hand-on workshop in which participants would be able to produced individual and group projects by applying the toolset studied and discussed in the first part. Simultaneously, the participants will be watching, discussing, and analyzing a number of environmental documentary films that present the diverse horizon of production on issues such as environmental justice, nature films, scientific media, and new multimedia applications. Two sections of the course deal with history and visual theory; the other two are related to production of individual and group documentary pieces. Students will produce an individual audio/visual essay (photography and audio) as mid-term project. The final “group” project will produce three short documentary films (3-10 minute long) on topics workshoped during the course. A documentary film is an editorial project; as such it has to be understood as a scholarly, research, and aesthetic product that links not only audiovisual narrative techniques, but also research, science, and authorship. In-class screenings, readings, and assignments would be giving in weekly bases. For the hands-on sections, students would produce footage and shoot interviews outside class. In-class screenings of works-in-progress would help students improve their work through instructor and peer feedback. The completed films will be screened and discussed during the final open class (as as small film festival). Instruction focuses on an overview of the documentary process, including documentary form and style, preproduction, shooting, editing, and documentary structure. Goals & Objectives: Each student will complete an individual photo and or audio essay (3 minute, 30 to 60 images) as a mid-term project. Each student will be part of a group documentary project (final films ranging 3 - 10 minutes). The individual pieces can be developed in SoundSlides or PowerPoint, and use Audacity for the audio part; group projects will be produced in high resolution video and edited in Final Cut Pro. Final versions will be exported to vod/mp4 (Quicktime file). Every week, students will be expected to come to class on time, prepared with that week’s assignment; for the hands-on sections participants are expected to be ready to present on digital format (SS/PPT/Quicktime files). For the second part of the semester the class will be split into three groups for more in-depth discussion and advised of works-in progress. Students must have access to a camera and editing equipment (via CDS and the LINK), and at least one idea ready for development after spring recess.

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Students will keep a log (digital portfolio) with weekly assignments and detail diaries of preproduction, production, and post-production of the individual and group projects. Grading: Course grades will be based the on the completion of assignments and classroom participation as follows: Breakdown of the weight for each component of the final grade: Digital Portfolio (Weekly assignments and logs): 20 %. Final cut of individual photo/audio essay: 30% Attendance/Punctuality/Participation: 10 %. Final cut group documentary project: 40%. Letter Grade % A (90-100%). B (80-89%). C (70-79%). D (60-69%). F (-60). Digital Portfolio: Journal assignments will be given weekly and will include things like: writing critics on films, creating monologues or dialogues for essay, outlining a potential documentary film, developing a character profile, archival research, time-lines, etc. Each entry will surround a specific environmental issue. The Portfolio will also host the development of the two course projects. For mid-term project: ONE 3-5 PAGE “SCRIPT,” documentary film script, street composition, screenplay etc. about an environmental issue of your choice. Examples include monologues, dialogues, documentary film treatment. Students will also provide a demonstrated understanding of their chosen environmental issue with a ONE PAGE treatment discussion of main arguments, controversies, misconceptions, etc. For FINAL GROUP FILM, ONE 5-10 PAGE “SCRIPT,” documentary film script, street composition, screenplay etc. about an environmental issue agreed by the group. About Group Project: With a group of 4-6 other students, you will work to create a final film that sheds light on a specific environmental topic. You will be given chances to build on components of your midterm script, or create something new entirely. Before starting production the group has to submit a: documentary prospectus. It should be a detailed narrative (5-10 pages in length), that offers a comprehensive description of a documentary project your group will undertake. The group might expand on one of the midterm projects (treating it as a pilot) and making it the focus of a more ambitious undertaking described in the prospectus. The prospectus should include: 1) a comprehensive narrative describing your project, including its rationale (why this topic; why this format; why this approach), 2) a discussion of intended audience, 3) a review of related projects (and how yours will differ from them), 4) a full discussion of research strategies and sources, 5) an overview of production tasks (for the group), and 6) a detailed production outline 7) a comprehensive bibliography of primary and secondary sources. The prospectus should be submitted electronically (and add it to each portfolio) on the date recorded in the schedule of the class. READINGS:

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Required Readings (these are our core texts; they will be supplemented by on-line and reserve readings and resources):

o Alan Weisman, Gaviotas: A Village to Reinvent the World. (Chelsea Green, 2008) o Jared Diamon, Collapse: How Societies Choose to Fail or Succeed (Viking Press,

2005) o Patricia Aufderheide, Documentary Film: A Very Short Introduction (Oxford

University Press, 2007). o Robert S. Boynton, The New New Journalism (Vintage Books, 2005). o Robert Coles, Doing Documentary Work (Oxford, 1997). o Ken Light, Witness in Our Time: Working Lives of Documentary

Photographers (Smithsonian Institution Press, 2000). o Liz Stubbs, Documentary Filmmakers Speak (Allworth Press, 2002).

Recommended Readings: o Jonathan Kern, Sound Reporting: The NPR Guide to Audio Journalism and

Production (Univ. of Chicago Press, 2008). Additional readings are available on the World Wide Web through links on this syllabus and on reserve. Course Outline

CONNECTIONS BETWEEN FILM AND ENVIRONMENTAL STUDIES WEEK 1: Class 1. Course Introduction and Introduction to the Range of Documentary Work Film: Crude.The real price of oil. J. Berlinger. 2010Class 2. Ethics and Ideology in Documentary Work Film: Crude.The real price of oil. J. Berlinger. 2010 | Selections from To Render a Life: "Let Us Now Praise Famous Men" and the Documentary Vision (1993) and Stranger with a Camera (2000). Required Readings: Robert Coles, Doing Documentary Work, 1-86. Alan Weisman, Gaviotas: A Village to Reinvent the World. (Chelsea Green, 2008) (intro-Chp 1,2) Bill McKibben, "Imagine That: What the Warming World Needs Now is Art Sweet Art" Film as dream, film as music. Grist, 2005. The Shared Experience of Absurdity. TED: Ideas Worth Spreading. Available at: http://www.ted.com/talks/charlie_todd_the_shared_experience_of_absurdity.html Juel, H. Defining Documentary Film. Available at: http://pov.imv.au.dk/Issue_22/section_1/artc1A.html Recommended Readings:

Calvin Pryluck, "Ultimately We Are All Outsiders: The Ethics of Documentary Filming," Appeared originally in: Journal of the University Film Association, vol. 33 (1976): 21-29.

Assignment: (Portafolio) Write about your reactions to the films shown last week in class and to this week's reading assignments.

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Class 3. Documentary Reportage, Documentary Writing / I Documentary writing merges techniques of participant or close observation, oral history, field and archival research, and literary interpretation of non-fiction subjects - social, economic, political, scientific, cultural. The documentary writer accurately and creatively narrates and interprets the details of everyday life or the technical and imaginative work of experts, the course of large and small events, and the lives of the obscure or the prominent. In this segment of the course, students will be introduced to the tradition of documentary writing, the relationship between fiction and nonfiction writing and reportage, the various research methodologies employed by documentary writers, and the broad range of narrative structures and editing strategies available to the documentarian. Film: Children of the Amazon. Denise Zmekhol (2008). Required Readings: Robert Coles, Doing Documentary Work, 87-145. Charles Darwin, Voyage of the Beagle (1839): http://www.gutenberg.org/etext/3704 [preface and chapter 17]. There are other copies widely available on the WWW. Jacob Riis, How the Other Half Lives (1890) http://www.yale.edu/amstud/inforev/riis/title.html. Read preface, introduction, and chapters 20-21. C. Mo Bahk, (2011). Environmental Education Through Narrative Films: Impact of Medicine Man on Attitudes Toward Forest Preservation. Journal of Environmental Education, 42(1), 1-13. George Orwell, Down and Out in Paris and London (1933) http://www.netcharles.com/orwell/books/downandout.htm [chapters 1, 14, 37, 38]. John Reed, Ten Days that Shook the World (1919), read preface and chapter 4 ("The Fall of the Provisional Government"): http://www.marxists.org/archive/reed/1919/10days/10days/ Recommended Resource: Henry David Thoreuu, Walden (1854): http://thoreau.eserver.org/walden00.html Lincoln Steffens, The Shame of the Cities (1904). Selection, at: http://historymatters.gmu.edu/d/5732/%20 Howard Zinn on Reds and John Reed: http://www.thirdworldtraveler.com/Zinn/John_Reed_HZOH.html John Hersey, Hiroshima (1946). Steve Rothman, "The Publication of "Hiroshima" in the New Yorker," (on-line; 1997), (http://www.herseyhiroshima.com/hiro.php). "John Hersey's Hiroshima: A Dramatic Reading."Real Media | MP3. Time: 51:50. Here is long selection from a 2003 dramatic reading of John Hersey's journalistic masterpiece "Hiroshima" written following his journey to Japan in the months following the U.S. atomic bombing on Aug. 6, 1945. Produced by Brian DeShazor and Mark Torres, in association with Artists United and The Feminist Majority. Adapted for radio by John Valentine. Directed by Michael Haney. Music by Mark Snow." Readings by Tyne Daly, Ruby Dee and Roscoe Lee Brown,

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Daniel Benzali, Roscoe Lee Browne, Esther K. Chae, Michael Chinyamurindi, Tony Plana, Jeanne Sakata, Chris Toshima and John Valentine. Assignment: (Portafolio Entry) Write about your reactions to this week's readings and last week's films. Class 4. Documentary Reportage / Documentary Writing, II Guest Presenter: Andalusia Knoll, Journalism Film/Media: short photo/audio documentaries SAF / NPR Required Readings: Miller, D. (2011). Reading and Writing about Films. Miller, D. (2011). Notes on Advanced Editing Aesthetics Robert S. Boynton, The New New Journalism (Vintage Books, 2005), read: introduction and preface (xi-xxxiv); Ted Conover (3-30); Richard Ben Cramer (31-52), Leon Dash (53-72); Jane Kramer (183-205); Adrian Nicole LeBlanc (227-247); Susan Orlean (271-292); Gay Talese ( 361-378); Lawrence Wright (434-456). Nichols, B. (2006). What to do About Documentary Distortion? Toward a Code of Ethics. Available at: http://www.documentary.org/content/what-do-about-documentary-distortion-toward-code-ethics-0 Recommended Resource: Narrative Digest [Nieman Foundation for Journalism,Harvard Univerisity]: http://www.nieman.harvard.edu/narrative/digest/ Assignment: (Portafolio Entry) Write an entry in your journal discussing the readings -- particularly the ethical dimensions and approaches to documentary writing/reportage. Mid Term Project : Utilizing newspapers, magazines, on-line sources, find three or four articles that focus on an interesting facet of the local environmental issue you are interested in. Scan or copy the articles and write a short 2-3 page introductory essay about them, suggesting what surprising insights they offer you for your own project. Add this material to your Portfolio. Class 5. Visual Documentary Work: Documentary Photography, I Documentary photography and cinematography combine science and art, reality and deception. In this segment of the course students will first be introduced to how photography has been used to observe and comment on various aspects of the human and natural world. We’ll begin by surveying the 19th century roots of documentary photography, and examine some of the key theoretical “manifestoes” related to the social and transformative impact of photographs. We’ll view the work of past and present documentary photographers -- and explore the range of subjects and approaches that are represented in their works. From still photography, we'll move into an exploration of different documentary motion picture genres. We'll explore some basic questions about authenticity, representation, voice, authorship, form, and politics and examine the broad range of documentary work produced from Robert Flaherty’s Nanook of the North (1922) to Davis Guggenheim's An Inconvenient Truth (2006).

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Required Readings: Nadkarni, N. M. (2004). Not Preaching to the Choir: Communicating the Importance of Forest Conservation to Nontraditional Audiences. Conservation Biology, 18(3), 602-606. Alan Trachthenberg, Reading American Photographs: Images As History-Mathew Brady to Walker Evans. Hill & Wang, 1990, chapter 4 (pp. 164-230). Lincoln Kirstein, "Photographs of America: Walker Evans," in Walker Evans American Photographs(Museum of Modern Art, 1938; 1988). Web Site: “Making Sense of Documentary Photography” at: http://historymatters.gmu.edu/mse/Photos; also available as a downloadable PDF file at: http://historymatters.gmu.edu/mse/photos/photos.pdf Look throught the following Web exhibits: 1) Roger Fenton's Documentary Photographs of the Crimean War: [http://www.loc.gov/rr/print/coll/251_fen.html]; 2) Matthew Brady Documenting the Civil War: http://memory.loc.gov/ammem/cwphtml/cwphome.html; 3) Photographs of Lewis Hine [http://lcweb2.loc.gov/pp/nclchtml/nclcabt.html]; 4) Photographs of Walker Evans [http://memory.loc.gov/ammem/fsahtml/fachap04.html]; 5) Photographs of Dorothea Lange [http://memory.loc.gov/ammem/fsahtml/fachap03.html]; 6) Photographs of Jacob Riis [http://xroads.virginia.edu/~ma01/davis/photography/images/riisphotos/slideshow1.html] Assignment: (Portafolio Entry) Analyze the work of any one of the photographers listed below and compare it to that of any of the photographers listed above. Discuss subject matter; point-of-view; composition/pose; perspective; light, color, and contrast; and any other elements that strike you as important. Use some of the pointers suggested in the Web site "Making Sense of Documentary Photography" above to analyze the photographs. [Note: I have linked to some useful Web site for SOME of the below photographs, but not all. Search on Google or look them up in the library. Some are poorly represented on on-line sources -- or their work is widely scattered among multiple sites -- and you may have much better luck in the library]. * Berenice Abbott: [http://digitalgallery.nypl.org/nypldigital/explore/dgexplore.cfm?col_id=160]; * Ansel Adams: [<http://www.archives.gov/research/ansel-adams/]; * Robert Adams: [http://www.pbs.org/art21/artists/adams/index.html; * Manuel Alvarez Bravo: [http://zonezero.com/magazine/articles/mraz/alvarezb.html]; * Eugene Atget: http://www.geh.org/fm/atget/htmlsrc/ATGET_SLD00001.HTML; * E. J. Bellocq; * Margaret Bourke-White; * Roy DeCarava [http://www.mocp.org/collections/permanent/decarava_roy.php]; * William Eggleston; * Theodore Horydczak[http://memory.loc.gov/ammem/collections/horydczak/index.html]; * Tina Modotti; * Eadweard Muybridge [http://americanhistory.si.edu/muybridge/];

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* Timothy O'Sullivan [Sample some of his photographs at:http://3dparks.wr.usgs.gov/indians/index.html andhttp://www.getty.edu/art/gettyguide/artMakerDetails?maker=1928.] * Alexander Rodchenko; * Milton Rogovin [http://www.loc.gov/rr/print/coll/238_rogo-pop.html]; * Edward Rothstein; * Sebastiao Salgado: http://www.amazonasimages.com/sebastiao-salgado * Ben Shahn [http://www.artmuseums.harvard.edu/shahn/servlet/webpublisher.WebCommunication?ia=tr&ic=pt&t=xhtml&x=introthemes]; * W. Eugene Smith * Edward Steichen [http://www.thecityreview.com/steichen.html]; * Alfred Stieglitz; * Paul Strand [http://www.getty.edu/art/gettyguide/artMakerDetails?maker=1899]; * William Henry Fox Talbot; * Doris Ullman, * Marion Post Walcott [http://www.oldstatehouse.com/exhibits/virtual/hard_times/marion_post/post_gallery.asp], * Carleton E. Watkins [http://www.carletonwatkins.org/]; Recommended Readings: Robert Coles, Doing Documentary Work, 146-252. Guide to the Dorothea Lange collection - Online Archive of California. [Repository: Oakland Museum of California]: http://content.cdlib.org/ark:/13030/ft3f59n5wt/ Dorothea Lange Oral History: http://www.aaa.si.edu/collections/oralhistories/transcripts/lange64.htm Thomas W. Kavanagh, Reading Historic Photographs. http://php.indiana.edu/~tkavanag/phothana.html. "Historic photographs of American Indians, long used simply as images or as illustrations, can be sources of ethnographic and historical information . . ." Notes on Photoanalysis: http://www.photherel.net/notes Maren Stange, Symbols of Ideal Life: Social Documentary Photography in America 1890-1950(Cambridge University Press reprint Edition, 1992). An Interview with Photographer William Henry Jackson. (1941). Real Media | MP3. Time: 23:58. This sound recording comes from the Records of the Department of the Interior, Office of the Secretary of the Interior. It is an interview with William Henry Jackson (April 4, 1843-June 30, 1942), photographer and painter of the pioneer West, conducted a day before his 98th birthday. It offers -- to borrow NARA's catalog summary: "a general review of Jackson's career as a landscape photographer and artist, with special attention to the frontier period and his work with the great geological surveys of the 1870s." The interview was conducted by Shannon Allen, director of the Interior Department's radio station. The Department of Interior records contain additional interviews with Jackson, though their audio quality is poor. For more information about Jackson, see: http://en.wikipedia.org/wiki/William_Henry_Jackson.

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Out of One, Many: Regionalism in FSA Photography [An excellent U. of Virginia on-line project]: http://xroads.virginia.edu/~UG99/brady/intro.html Class 6. Visual Documentary Work: Documentary Photography, II Guest Presenter: TBD, MFA Required Readings/Viewings: Ken Light, Witness in Our Time: Working Lives of Documentary Photographers (Smithsonian Institution Press, 2000). Recommended Readings: Photo Ethics and Law. Here's an excellent guide on photo ethics and law from North Carolina State Unversity: http://www.ncsu.edu/sma/staff/photostaffmanual/photoethics.htm. Grazia Neri, "Ethics and Photography," The Digital Journalist 101 (Dec. 2006): http://digitaljournalist.org/issue0101/neri.htm Guide to the Holdings of the Still Picture Branch of the National Archives and Records Administration:http://www.archives.gov/research/formats/still-pictures-guide.html Liz Wells, "Surveyors and Surveyed," in Photography: A Critical Introduction. [Electronic reserve]. Assignment: (Portafolio Entry). Write about your reactions to this week's reading assignment -- and the various ethical, political, technical, and aesthetic issues discussed by the various individuals profiled in Light's book. Class 7. Visual Documentary Work: An Introduction to Visual Anthropology and Visual Sociology Required Readings/Viewings: Patricia Aufderheide, Documentary Film: A Very Short Introduction (Oxford University Press, 2007), introduction and pp. 1-55, 106-116. Robert Flaherty, "How I Filmed 'Nanook of the North,'" World's Work (October 1922): 632-640.http://astro.temple.edu/~ruby/wava/Flaherty/filmed.html. Howard S. Becker, "Visual Sociology, Documentary Photography, and Photojournalism: It's (Almost) All a Matter of Context ," Visual Sociology 10 (1-2), 5-14. This article is available at:http://oldweb.uwp.edu/academic/criminal.justice/beckerbk02.htm. M. Ali Issari and Doris A. Paul, What is Cinema Verite (Metuchen, NJ: Scarecrow, 1979): pp. 3-31 & 67-104.[Electronic reserve]. Eric Margolis, "Video Ethnography: Toward a Reflexive Paradigm for Documentary," Jump Cut 39 (1994), 122-131 [http://courses.ed.asu.edu/margolis/videth2001.html]. Recommended Readings/Viewings: Nanook of the North (1922) and Nanook Revisited (1990) [IMA Productions and La Sept ; written by Claude Massot and Sebastien Regnier; directed by Claude Massot]. Jean Rouch, Cine-Ethnography, Ed. and trans. Steven Feld (Minneapolis: Minnesota UP, 2003), selections; 29-46; 229-265; 275-329.

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Class 8. Visual Documentary Work: History and Range of Documentary Filmmaking, I Required Readings/Viewings: Patricia Aufderheide, Documentary Film: A Very Short Introduction (Oxford University Press, 2007), 56-106; 117-end. Liz Stubbs, Documentary Filmmakers Speak (New York, 2002), pp. 3-67. Recommended Readings/Viewings: Ford Motor Company's Motion Picture Department (full collection now at the National Archives). Selections available at http://www.archive.org. Erik Barnouw, Documentary: A History of the Non-fiction Film, 2nd revised edition (Oxford University Press, 1993). Meran Barsam, Nonfiction Film: A Critical History (Indiana University Press, 1992). Sheila Curran Bernard, Documentary Storytelling for Video and Filmmakers (Focal Press, 2004). Genevieve Jolliffe and Andrew Zinnes, The Documentary Filmmakers Handbook (Continuum, 2006). Bill Nichols, Introduction to Documentary (Indiana University Press, 2001). Bill Nichols, Representing Reality: Issues and Concepts in Documentary (Indiana University Press, 1991). Brian Winston, Claiming The Real: The Documentary Film Revisited (British Film Institute, 1995). Project 2: Here you have a choice of one of the following: 1) Produce a SHORT documentary photo essay. For example: photos an old abandoned factory and the way nature take over, research and and tell its story; document recreational activities along the the Eno River; prepare a series of photographs of sustainable heroes in our community (Duke, Durham, and beyond -- illustrating how they interact with the River). 2) Produce a SHORT audio documentary (3 minute max). Same topics. Examples: http://saf-unite.org/home/ | http://www.npr.org/tags/128930503/documentary Check: When Wildlife Documentaries Jump The Shark. Listen· 6:54 Class 9. COMMUNITY ACTIVISM AND ENVIRONMENTAL JUSTICE Community-based environmental film, theater and other formats (street, improvisation, forum, etc.) Readings and course work: French, W. (1983). A Double-Threaded Life: Maryat Lee's Ecotheatre. The Drama Review, 27(2), 26-35. Martin, H. (1990, August 31). Stage Direction: Actors Use a Play to Educate Field Workers on Rights and Pesticides. Los Angeles Times. Available at: http://articles.latimes.com/1990-08-31/local/me-117_1_fieldworker Nadkarni, N. M. (2004). Not Preaching to the Choir: Communicating the Importance of Forest Conservation to Nontraditional Audiences. Conservation Biology, 18(3), 602-606.

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Scripting workshop: group formation for final production project and selection of environmental issue o Weekly journal assignments (announced in-class) o Course readings as required Visual Documentary Work: History and Range of Documentary Filmmaking, II Required Readings: Liz Stubbs, Documentary Filmmakers Speak (Allworth Press, 2002), 68-220. From Idea to Story: Discovering a Documentary Narrative (excerpt adapted from Documentary Storytelling), http://www.harborproductions.com/print_files/scb%20AIVF.pdf Eyes on the Rights: The Rising Cost of Putting History on Screen. http://www.harborproductions.com/print_files/IDAeyes6-05.pdf Creative License vs. Creative Arrangement. http://www.writersstore.com/article.php?articles_id=830 The Documentary Filmmakers’ Statement of Best Practices in Fair Use, November 2005, available online at www.centerforsocialmedia.org/rock/backgrounddocs/bestpractices.pdf Spend time at the websites for American Experience (http://www.pbs.org/wgbh/amex/) and Nova (http://www.pbs.org/wgbh/nova/), both of which offer transcripts, supporting information, and lots more online. Assignment: * (Portafolio Entry) Write about your reactions to this week's readings/Web assignments. Class 10. Activist theater/film – exploration of social and environmental justice in theater and film Readings and course work: Shawyer, S. (2011). Activist awareness in the theatre of the oppressed classroom. Canadian Theatre Review, 147, 12-17. Chapter: Theater for Oppressed Diamond, D. (2007). Theatre For Living: The Art and Science of Community-Based Dialogue. Trafford Press. o Whyte, T. (2009). The Power of Theatre. Nepal. Available at: http://vimeo.com/5122142 Watch: Roddy, C. (2011). Harvest of Pride. (3-part film series). Available at: http://huertodelafamilia.org/ Visual Documentary Work: History and Range of Documentary Filmmaking, III Required Readings: The Endurance / http://www.kodak.com/US/en/corp/features/endurance/ An examination of the achievements of Frank Hurley, the photographer who documented Sir Ernest Shackleton's famous 1914-1916 Antarctic expedition. An interview with D. A. Pennebaker and Chris Hegedus. RealMedia MP3. Recorded on 9-25-1998 and broadcast on Talking History on 10-1-98. Interviewed by Julian Zelizer; recorded and edited by Gerald Zahavi. An interview with George Stoney, Part 1: Real Media. | MP3. Time: 30:04. Part 2: Real Media. | MP3. Time: 18:40. Gerald Zahavi interviews George Stoney about his life and career as a documentary filmmaker and pioneer in community media. The interview focuses on Stoney's various projects, including field work under Howard University's Ralph Bunch for Gunnar Myrdal's An American Dilemma: The Negro Problem and Modern Democracy,

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and collaborations on over 50 films, including the historical documentary, "The Uprising of '34." Stoney has taught filmmaking at NYU for more than three decades. Films: An Inconventient Truth TBD. Using Full Frame Environmental Material Web site resources: Web site for An Inconventient Truth: http://www.climatecrisis.net/ Web site for Fog of War: http://www.sonyclassics.com/fogofwar/ Class 11. Aural Documentary Work, I This segment of the course introduces students to the history of audio/radio documentaries and the use of digital technologies in contemporary audio documentary production. It will survey the earliest history of sound recording, the theory and practice of acoustic ecology and its relationship to documentary work, the basic theory and practice of sound recording and editing, and the use of modern digital technologies in the telling of "sound stories" in the form of finished radio documentaries (exploring various formats and styles that have proven successful). Required Listening/Readings: Charles Hardy, "Authoring in Sound" (unpublished essay, 1999). [On electronic reserve]. Black and African [http://www.radioproject.org/archive/2008/3408.html]

Listen to the following documentary: "Remembering Kent State, 1970." Part 1: Real

Media. MP3. Time: 26:40. Part 2: Real Media. MP3. Time: 29:20. "When thirteen students were shot by Ohio National Guard Troops during a war demonstration on the Kent State University Campus on the first week of May 1970, four young lives were ended and a nation was stunned. More than 30 years later, the world at war is a different place. However, those thirteen seconds in May, 1970 still remain scorched into an Ohio hillside. Through archival tape and interviews, Remembering Kent State tracks the events that led up to the shootings. Produced by Mark Urycki and first aired on WKSU-FM on May 5, 2002." Oral history and Aural History ~ Case studies from the Cold War:

1) Toshi Higuchi interview of Ronald Benoit." (10-31-2004): Real Media. MP3. Time: 13:14. This is an edited selection from an interview with Robert Benoit conducted on October 31, 2004 by former University at Albany graduate student Toshi Higuchi as part of his final project for "Readings and Practicum in Oral History," an oral history course.

2) Gerald Zahavi interview of Roger Ray ~ Castle Bravo." (May 2004): Real Media. MP3. Time: 14:37. This is a selection from an extended interview conducted by Gerald Zahavi with Roger Ray. Between 1948 and 1958, the U.S. tested 66 nuclear devices in the Marshall Islands -- in the Bikini and Enewetak atolls. Ray played a key role in supervising many aspects of the latter series of tests, and later in attempts to clean up Enewetak Atoll and repatriate the Enewetakese (they had been relocated to a distant atoll before the tests began). In this segment, Ray recalls one of the hydrogen bomb tests that went wrong, Castle Bravo. For more information about Castle Bravo and other tests, see:

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http://nuclearweaponarchive.org/Usa/Tests/Castle.html andhttp://www.cddc.vt.edu/host/atomic/atmosphr/index.html. 3) "Roger Ray on the Enewetak Clean-up and Repatriation of the Enewetakese" (2004).

Real Media. MP3. Time: 6:11. In this selection from the above interview, Ray talks about the clean up of Enewetak Atoll and his involvement in the repatriation of the Enewetakese.

4) "Linus Pauling" (1958). Real Media. MP3. Time: 14:10 On February of 1958, noted physicists and Noble Prize winners Edward Teller (the "father" of the H-bomb) and Linus Pauling sat down to debate the effects of continuing nuclear testing and fallout on humans. This is Pauling's initial comments during the debate. For more information about Pauling's career and anti-nuclear activism, see: http://www.harvardsquarelibrary.org/unitarians/pauling.html.

5) "The Enewetak Clean-Up." (1977). Real Media. MP3. Time: 10:48. This is the sound track from a Department of Defense film titled "Preparation Clean Up, Enewetak Atoll" (1977). It was produced by the Defense Nuclear Agency and shows "the actions being taken to cleanup the islands comprising Enewetak Atoll so that the previous inhabitants could return to live on some of them. The inhabitants were forced to relocate to other islands in 1948 when the United States began atmospheric testing of nuclear devices at the Pacific Proving Ground. Over the 1948-1958 time period, 43 tests were conducted on or near Enewetak Atoll. Numerous decaying, abandoned buildings are shown that had to be demolished, while others were still suitable for use by the returning people. Homes, schools and government buildings had to be built. The film details the radiation studies conducted to determine the extent of contamination and the uptake of radioactive particles by plants. Some parts of the Atoll would never be suitable for habitation because of the extent of contamination. One of the decontamination activities planned was removing the contaminated soil, transporting it to craters on one of the highly contaminated islands, and encasing it in concrete. Those organizations cooperating in the cleanup effort included the Atomic Energy Commission, the Coast Guard, the Defense Nuclear Agency, and a marine biology firm." Assignment: * (Guided Journal Entry) Write about your reactions to Mark Urycki's Remembering Kent State. Class 12. Aural Documentary Work, II Required Readings:

Marcus Rosenbaum and John Dinges, Sound Reporting: The NPR Guide to Radio Journalism and Production [Selections on electronic reserve. Read the following sections: "Conceiving Features," "Delivery," "Interviewing," and "Producing Features"; A newer version of this book, by a different author (Jonathan Kern), is available at the bookstore.

Linda Wertheimer, Listening to America (selection). [On electronic reserve]. Read script for segments 13 of "Will the Circle Be Unbroken," available through the

following link: Will the Circle Be Unbroken? Listen to and read script of David Isay's "Sunshine Hotel." Be ready to discuss the

following in class: research, story structure, sound elements, transitions, and more.

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Recommended Reading/Listening: DNA Files radio series. "Hosted by John Hockenberry and guided by an outstanding panel of advisors, the documentaries and features explore the science of genetics and its ethical, social and legal implications. Produced by SoundVision Productions and distributed by National Public Radio, the series has met with wide acclaim across the country." To listen to some of their productions, go to: http://www.dnafiles.org/. Assignment: * (Guided Journal Entry) Write about your reactions to two of the following documentaries -- available through direct links on this page -- and compare them.

"The Sonic Memorial Project" (2002). Listen at:http://americanradioworks.publicradio.org/features/sonicmemorial/. This is a Peabody-award winning documentary that chronicles the sounds and voices of the World Trade Center and its surrounding neighborhood. The program was produced for NPR on the first anniversary of the destruction of the Center by The Kitchen Sisters and a nationwide collaboration. See also the Sonic Memorial Project Web site which continues to document the memories of the Trade Center and its destruction: http://www.sonicmemorial.org/sonic/public/index.html

"Ghetto Life 101." (1993). Listen at: http://soundportraits.org/on-air/ghetto_life_101/. "In March, 1993, LeAlan Jones, thirteen, and Lloyd Newman, fourteen, collaborated with public radio producer David Isay to create the radio documentary Ghetto Life 101, their audio diaries of life on Chicago's South Side. The boys taped for ten days, walking listeners through their daily lives: to school, to an overpass to throw rocks at cars, to a bus ride that takes them out of the ghetto, and to friends and family members in the community."

Accidents Will Happen; Three Mile Island." (1979) Real Media | MP3 Time: 29:18. This documentary on the Three Mile Island nuclear reactor accident of March 1979 was produced by Alan Snitow and Aileen Alfandary for Pacifica Radio and was broadcast in April of that year on many of Pacifica's affiliates.

Thembi's Diary. Joe Richman is an award-winning independent producer and reporter for public radio and an adjunct professor at Columbia University's Graduate School of Journalism. He is also the senior producer and founder of Radio Diaries. He often works closely and in collaboration with the individuals whose lives he wants to document. Here is one of Radio Diary's more recent productions, about Thembi, a 19 year-old South African who was given a tape recorder and sent out to make an audio diary of her struggle to live with AIDS:http://www.radiodiaries.org/aidsdiary/story.html.

"Passaic On Strike." (2006) Part 1: Real Media. | MP3. Time: 29:36. Part 2: Real Media. | MP3. Time: 24:22. In 1926, 16 thousand woolworkers in Passaic, New Jersey, walked out after their meager wages were cut 10%. It was a long strike - nearly a year - and it caught the attention of intellectuals and activists nationwide. Over the harsh winter of 1926, Passaic became a battleground, not just between workers and bosses, but between the traditional trade unions and a renegade organizer in the American Communist Party, who envisioned a

15

militant, industrial union for all workers. The program has ten parts, but was broadcast in two long segemnts -- Part I: The Battleground; Part II: Vera and Albert; Part III: Strike! Strike!; Part IV: The Strike Bulletin; Part V: Workers' Relief; Part VI: The Silent Movie; Part VII: Strike Strategy; Part VIII: The Riot Act; Part IX: Enter the AFL; Part X: The Final Chapter. This documentary was produced by Talking History contributing producers David S. Cohen & Marty Goldensohn for the New Jersey Historical Commission and NJN Public Radio in April of 2006. [For a copy of the script to this production, go to: this link: Script: Passaic on Strike. Be prepared to discuss both in class.

Dan Collison's "Port Chicago 50." 28.8 | 56. Dan Collison produced The Port Chicago 50: An Oral History in 1994. It aired on dozens of public radio stations around the country. It's the story of the worst homefront disaster of World War II and its aftermath -- an act of resistance by fifty African American munitions loaders. In late March of 1999, a docu-drama based on the Port Chicago incident -- titled The Mutiny -- was aired by NBC.

Curtis Fox's "Sacco and Vanzetti."" 28.8 | 56. This documentary, produced by Curtis Fox, is the second in his new history documentary series titled The Past Present. Here is his summary of the program: "Almost everyone has heard of [Nicola] Sacco and [Bartolomeo] Vanzetti, two Italian-born anarchists who were executed in 1927 for a crime they probably didn't commit--a payroll robbery and double murder in South Braintree, Massachusetts. What most people don't know, however, is that Nicola Sacco and Bartholomeo Vanzetti were part of a group of revolutionaries that conducted a bombing campaign against government officials, including Attorney General A. Mitchell Palmer and Supreme Court Justice Oliver Wendell Holmes. Historian Nunzio Pernicone discusses the anarchist background of Sacco and Vanzetti. Then Pernicone, joined by historian Richard Polenberg, examine the world-famous case that tore this country apart in the 1920s. The program includes historical audio of men involved in the case, Italian anarchist songs, Woody Guthrie ballads, and actors Joe Grifasi and Spiro Malas reading from Sacco and Vanzetti's Moving prison letters.

Class 13. Aural Documentary Fieldwork Required Readings:

Alan Lomax, The Land Where the Blues Began (New York, 1993). Read the preface and ch. 1 [On electronic reserve].

Erika Brady, A Spiral Way: How the Phonograph Changed Ethnography (Jackson: University Press of Mississippi, 1999), 1-9; 52-88. [On electronic reserve].

R. Murray Schafer, "Soundscape and Earwitnesses," in Mark Smith, ed., Hearing History (Univ. of Georgia Press, 2004): 3-9. [On electronic reserve].

Mark M. Smith, Mitchell Snay, and Bruce R. Smith, "Talking Sound History," in Mark Smith, ed., Hearing History (Univ. of Georgia Press, 2004): 365-404. [On electronic reserve].

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Alessandro Portelli and Charles Hardy III, "I Can Almost See the Lights of Home," in The Journal for MultiMedia History 2 (1999). Available on-line at: JMMH. Go to "Past Issues" and select volume 2.

Listen to Charles Hardy, "Prodigal Son" (1985) and read his essay via this link: Hardy Essay on Prodigal Son. Be prepared to discuss both in class. PRODIGAL SON: 28.8 | 56 | ISDN [all in RealMedia]. This 8-minute lyrical audio piece was first featured in Hardy's 1985 series, "Mordecai Mordant's Celebrated Audio Ephemera," a collection of audio art sound montages broadcast on public radio in 1985. Composed of excerpts from oral history interviews, archival recordings, and James Weldon Johnson's recording of his poem, "The Prodigal Son, " it explores how black migrants from the American South made sense of their ncounters with the "bright lights" of northern industrial metropolises in the early decades of the twentieth century. In this highly creative and imaginative work, Hardy was interested in unraveling the origins of a series of folk tales and personal narratives that elderly African Americans used to encode their own youthful experiences with the pleasures and dangers of the red light districts of industrial Philadelphia. For Hardy's essay on Produgal Son, go to: Hardy Essay on Prodigal Son.

On-line Guides to Collecting and Conducting Oral Interviews: * Step-by-Step Guide to Oral History, by Judith Moyer * Tips for Interviewers, by Willa K. Baum * Oral History Workshop on the Web (Baylor University Insitute for Oral History) * Making Sense of Oral History, by Linda Shopes * Technical/hardware advice: see "Tools" at http://www.transom.org Class 14: Documentary Work in Hypermedia (Historical Projects) In this class, students will be introduced to on-line and CD/DVD digital hypermedia documentary production. They will examine some outstanding and not-so-outstanding examples, and learn how to evaluate content, style, and impact. Guest Presenter: To be announced. Required Readings:

Michael O'Malley and Roy Rosenzweig, "Brave New World or Blind Alley? American History on the World Wide Web," Journal of American History (June 1997), available on line through the University library; go to the Journal of American History and locate the June 1997 issue.

Edward L. Ayers, "The Pasts and Futures of Digital History" (1999), available at: http://www.vcdh.virginia.edu/PastsFutures.html

Roy Rosenzweig, “Can History be Open Source?: Wikipedia and the Future of the Past,”Journal of American History 93 (June 2006), available at: http://chnm.gmu.edu/resources/essays/d/42

Recommended Readings: Daniel J. Cohen and Roy Rosenzweig, Digital History (Univ. of Pennsylvania Press, 2005)

[http://chnm.gmu.edu/digitalhistory/][First three chapters] Assignment: (Guided Journal Entry) Write about your reactions to this week's reading assignment and the Web sites you have visited.

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Required Web Site Resources: Valley of the Shadow: Two Communities in the American Civil War http://valley.vcdh.virginia.edu MediaStorm (Sponsored by Washingtonpost.com. In-depth documentaries and personal essays; multimedia site: photography, sound, animation, film/video). Attica Revisited http://www.talkinghistory.org/attica/ September 11 Digital Archive http://911digitalarchive.org/ History Wired: A Few of Our Favorite Things http://historywired.si.edu/index.html The Triangle Factory Fire http://www.ilr.cornell.edu/trianglefire/ U.S. Holocaust Memorial Museum http://www.ushmm.org Common-Place http://www.common-place.org/ Crossing the Blvd. http://www.crossingtheblvd.org Picture-projects http://www.hotwired.com/webmonkey -- HotWired's outstanding site for learning Web building. http://www.buider.com -- CNET's excellent site for people learning how to build Web sites. http://www.kaiwan.com/~lucknow/horus/horuslinks.html http://www.lib.virginia.edu/etext/ETC.html http://www.msstate.edu:80/Archives/History/USA/usa.html http://www.georgetown.edu/labyrinth http://lcweb2.loc.gov/amhome.html http://www.ucsc.edu/civil-war-letters/home.html http://www.history.rochester.edu http://neal.ctstateu.edu/history/world_history/world_history.html http://www.lib.virginia.edu/journals/EH/EH.html http://white.nosc.mil/museum.html http://www.comlab.ox.ac.uk/archive/other/museums.html http://history.cc.ukans.edu/history/WWW_history_main.html http://english-server.hss.cmu.edu/History.html http://miavx1.acs.muohio.edu/~ArchivesList/index.html http://www.onramp.net:80/~hbarker/ http://www.webcom.com/~jbd/ww2.html http://www.cwc.lsu.edu/ http://cobweb.utcc.utk.edu/~hoemann/warweb.html http://latino.sscnet.ucla.edu:80/murals/dunitz/Street-G.html http://www.ionet.net/~uheller/vnbktoc.shtml http://www.tntech.edu/www/acad/hist/resources.html

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http://www.directnet.com/history http://web.syr.edu/~laroux/ http://h-net.msu.edu/ http://www.georgetown.edu/crossroads/crossroads.html http://muse.jhu.edu/indehttp://scarlett.libs.uga.edu/darchive/hargrett/maps/neworld.html Class 15: WILDLIFE AND NATURE-BASED THEATER AND FILM Week 6: Connecting audiences with the natural world Readings and course work: Chapter: The Council of All Beings Seed, J. (1988). Thinking like a mountain: towards a council of all beings. Philadelphia, PA: New Society Publishers. Palmer, C. (2012). The Best and Worst of Wildlife Films. An Evening with Chris Palmer. Watch selected links from article: Shark Week (one or two videos) http://dsc.discovery.com/tv-shows/sharkweek/videos/2011-videos.htm; Sunbathing Sharks (first video) http://www.monstersandcritics.com/smallscreen/news/article_1653813.php/Great-White-Invasion-and-JawsComes-Home-on-Discovery-Sunday-July-31 Excerpts from Green Available at: http://www.greenthefilm.com/ (excerpts TBA) In-class: Watch excerpts from Blue Planet Assignment: Individual Script Assignment o Weekly journal assignment (announced in-class) o Course readings as required Class 16: COMMUNICATING COMPLEX ENVIRONMENTAL ISSUES USING MULTIMEDIA Week 7: How to use multimedia to reach a wider audience Readings and course work: Nichols, B. (2006). What to do About Documentary Distortion? Toward a Code of Ethics. Available at: http://www.documentary.org/content/what-do-about-documentary-distortion-toward-code-ethics-0 Gifreu, A. (2011). The interactive multimedia documentary as a discourse on interactive non-fiction: for a proposal of the definition and categorization of the emerging genre. Available at: http://www.upf.edu/hipertextnet/en/numero-9/interactive-multimedia.html Briefly browse through this multimedia collaborative documentary film project: 18 Days in Egypt. Available at: http://beta.18daysinegypt.com/. Readings and course work: Watch: A Sea Change on ocean acidification: http://www.aseachange.net In-class: Discussion and group project Watch Flow on the world water crisis Assignment: o Weekly journal assignment (announced in-class) Class 17: GENERATING ACTION – MAKING CHANGE THROUGH FILM Week 8: Films and plays that inspire change – what messages do they communicate and how do they do it? Readings and course work: Watch: The World According to Monsanto. Available at: http://www.youtube.com/watch?v=U8xsJJKZqtg&feature=gv Proposed readings and course work: Watch Taking root: the vision of Wangari Maathai

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Watch Wasteland Assignment: Draft of group film/theater script, design ideas, etc. Group project Reflection portfolio Course readings as required Field trip – final showings: Class 19, 20, 21, 22: In-class workshops for film/theater scripting, film editing, set and prop design, costume design, presentation preparation, etc. o Group project o Reflection portfolio FILMS: TBD PARTICIPATION AT FULL FRAME. ENVIRONMENTAL FILM SCREENINGS. Week 10 - 14: GROUP PROJECTS WORK. Presentation of final project due on Week 15. Group performance and/or screening and discussions Individual Journal Finals Week: o Reflection Portfolio Week: FINAL PROJECTS DUE.

Other films to Watch: Flow on the world water crisis. Available at: http://www.youtube.com/watch?v=DlbWsWPgUx8 Watch Bitter Seeds on genetically modified seeds in India Watch Gasland on hydraulic fracturing Crude on the case against Chevron and the oil spill in Ecuador

RESOURCES: The Alan Lomax Collection [at the Association for Cultural Equity Web site]. Allmovie.com (film database). American Memory Collection at the Library of Congress American RadioWorks April Winchell's Collection of Recordings Association of Independents in Radio (AIR). Major organization that promotes

excellence in radio production work. Education and advocacy organization. Association of Moving Image Archivists Atlantic Public Media [http://www.atlantic.org], a non-profit organization, founded by

Jay Allison. Based in Woods Hole, Massachusetts, it is devoted to serving "public broadcasting through training and mentorship, and through support for creative and experimental approaches to program production and distribution."

Appalshop (Whitesburg, KY)

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Battery Radio Bright Bytes Studio British Film and Televison History: http://www.screenonline.org.uk/ Broadcasting History Links (from Elizabeth McLeod). Canada's Version of Lost and Found

Sound: [http://www.radio.cbc.ca/programs/thismorning/lfnsound/index.html] Canadian Center for Documentary Photography The Canadian Society For Independent Radio Production. An organization founded in

1998 to serve the needs of professional and amateur radio producers and sound artists in Canada.

Center for Documentary Studies at Duke University (Durham, NC) Center for DocumentaryArts (Salt Lake City, UT) Center for Independent Documentary Chicago Film Archives Cinematic Terms (and illustrations) [http://www.filmsite.org/filmterms1.html] The Condiment Packet Museum Dead Media Project The Documentary Center at the George Washington University (Washington DC) The Documentary Channel Documentary Educational Resources: http://www.der.org/. Produces, distributes and

promotes quality ethnographic and documentary films from around the world. Documentary Film

Chronology: http://www.lib.berkeley.edu/MRC/docexhibit/docuchron.htm Documentary film distributors (from Berkeley's Digital

Library): http://sunsite.berkeley.edu/cgi-bin/db_mrc.pl?type=Documentary Documentary Photography Online Documentaryfilms.net: http://www.documentaryfilms.net/resources.html Documentography: http://www.documentography.com/issue/. DocuSeek Film and Video Finder: allows users to find videos from seven U.S.

distributors:http://www.docuseek.com/wc.dll?docprocess~startsearch "Early Cinema

Gateway:" http://website.lineone.net/~luke.mckernan/Linknonfiction.htm Encyclopedia of Television [Museum of Broadcast Communications]: EXPOSURE Falling Tree Productions Film & History's Guide to Documentary Films. Footage.net: Stock, Archival, and News Footage Network -- links to major sources of

stock footage. Glossary of Film Terms (from The New School, NYC) HearingVoices Home Movie Day Independent Lens: Independent Lens is a PBS series that presents independent film,

mostly documentariesy, but also dramas and shorts. This companion Web site contains links to filmmaker Q&As and other content complementing the films.

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Independent Television Service (ITVS) -- the presenter of Independent Lens, "provides information for hundreds of independent films and documentaries, offering show summaries, filmmaker information, outreach resources, public television broadcast listings and more. Links to film companion sites and distributors are also featured."

International Documentary Association Internet Movie Datebase (IMDB): http://www.imdb.com/ Light Work Lost and Found Sound MATRIX (Recording & Audio Guides): http://www.historicalvoices.org/oralhistory/audio-

tech.html Media Rights . org-- features "a database of social issue films that allows viewers,

educators, facilitators, activists and others to find relevant films." Motel Americana Moving Image Archive: Internet Archive National Film Board of Canada: Error! Hyperlink reference not valid. Narrative Digest [Nieman Foundation for Journalism,Harvard

Univerisity]:http://www.nieman.harvard.edu/narrative/digest/ Nixon's Resignation Northeast Historic Film Pacifica Radio Archives Photography Glossary: http://www.nikonians.org/html/resources/photography-

glossary.html P.O.V. / Point of View [http://www.pbs.org/pov/] -- "P.O.V. is an award-winning PBS

series featuring 12-14 independently produced nonfiction films each year. Its site provides extensive resources for films featured in the series, including lesson plans, discussion guides, background info, filmmaker interviews, production journals and more."

Political Film Society [http://www.geocities.com/~polfilms/] -- provides "politically contextualized reviews for past and present films."

Prints and Photographs Reading Room at the Library of Congress PBS: [http://www.pbs.org/]. Public Broadcasting System. Quiet American Radio Diaries Radio Rookies Race With History / Creative Change Productions [http://www.racewithistory.org/]. Rosebud: A Digital Resource for Film Studies. A superb site; a comprehensice glossary

with hyperlinks to editing terms and techniques -- and many visual examples (from Gene Robinson and Mitchell Lifton): http://www.lifmedia.com.

The Salt Institute for Documentary Studies (Portland, Maine) Save Our Sounds Sound Portraits Sound Print Square America Story Corps

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Talking History: Aural History Productions. Based at the University at Albany, a production, distribution, and instructional center for all forms of "aural" history. Its weekly radio show is broadcast over the air and via the internet.

Television Production ~ A Free, Interactive Course in Studio and Field Productionhttp://www.documentaryfilms.net/resources.html.

This American Life Transom Third Coast International Audio Festival Upstate [NY] Independents: http://upstateindependents.com Vertigo Then and Now VisualAnthropology.net Without Sanctuary: Photographs and Postcards of Lynching in America Witness Women Make Movies

LIST OF FILMS FOR THE COURSE

Mining – Forestry - Food – Ecology – Landscape – Activism – System – Energy -

Crude. The real Price of Oil (2009)

Director: Joe Berlinger

Unrated | 1h 45min | Documentary | 15 January 2010 (UK)

Crude Poster Trailer 2:34 | Trailer1 VIDEO | 7 IMAGES

The story of lawsuit by tens of thousands of Ecuadorans against Chevron over contamination of

the Ecuadorean Amazon.

Children of the Amazon (2008)

1h 12min | Documentary | 4 October 2008 (USA)

Director: Denise Zmekhol

Journey with Brazilian filmmaker Denise Zmekhol to the heart of the Amazon rainforest in

search of the indigenous children she photographed fifteen years ago. Children of the Amazon

invites you to see through the eyes of these inspiring, remarkably resilient people whose lives are

transformed by a road carved through their forest home by an outside world. From Chief Amir

Suruis embattled efforts to stop illegal loggers to the assassination of legendary rubber tapper

Chico Mendes, this poetic and visually stunning film engages our senses and sympathies as

global issues take on a profound human perspective.

If a Tree Falls: A Story of the Earth Liberation Front (2011)

Directors: Marshall Curry, Sam Cullman

Unrated | 1h 25min | Documentary, Biography, Crime | January 2011 (USA)

From $3.99 (SD) on Amazon Video

A rare behind-the-curtain look at the Earth Liberation Front, the radical environmental group that

the FBI calls America's 'number one domestic terrorist threat.'

Chasing Ice (2012)

Director: Jeff Orlowski

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PG-13 | 1h 15min | Documentary, Biography | 14 December 2012 (UK)

From $2.99 (SD) on Amazon Video

Follow National Geographic photographer James Balog across the Arctic as he deploys time-

lapse cameras designed for one purpose: to capture a multi-year record of the world's changing

glaciers.

An Inconvenient Truth (2006)

Director: Davis Guggenheim

PG | 1h 36min | Documentary | 30 June 2006 (USA)

From $2.99 (SD) on Amazon Video

Director Davis Guggenheim eloquently weaves the science of global warming with Al Gore's

personal history and lifelong commitment to reversing the effects of global climate change in the

most talked-about documentary at Sundance.

Zeitgeist: Moving Forward (2011)

Director: Peter Joseph Not Rated | 2h 41min | Documentary | 15 January 2011 (Brazil)

From $14.99 (HD) on Amazon Video

A feature length documentary work which presents a case for a transition out of the current

socioeconomic monetary paradigm which governs the entire world society. Towards a resource

base economy.

Gas Land (I, II) 2010 – 2013

Director: Josh Fox

1h 47min / 2h05min | Documentary |

An exploration of the fracking petroleum extraction industry and the serious environmental

consequences involved.

The Choice Is Ours (2015)

Director: Roxanne Meadows

97min | Documentary | 2 March 2015 (USA)

The series shows an optimistic vision of the world if we apply science & technology for the

benefit of all people and the environment.

https://www.youtube.com/watch?v=Yb5ivvcTvRQ (full version)

Racing Extinction (2015)

Director: Louie Psihoyos | Writer: Mark Monroe

1h 30min | Documentary, Action, Adventure | 18 September 2015 (USA)

From $3.99 (SD) on Amazon Video

Scientists predict we may lose half the species on the planet by the end of the century. They

believe we have entered the sixth major extinction event in Earth's history. Number five took out

the dinosaurs. This era is called the Anthropocene, or 'Age of Man', because the evidence shows

that humanity has sparked this catastrophic loss. We are the only ones who can stop it as well.

The Oceanic Preservation Society, the group behind the Academy Award® winning film THE

COVE, is back for "Racing Extinction". Along with some new innovators, OPS will bring a

voice to the thousands of species on the very edge of life. An unlikely team of activists is out to

expose the two worlds endangering species across the globe. The first threat to the wild comes

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from the international trade of wildlife. Bogus markets are being created at the expense of

creatures who have survived on this planet for millions of years. The other threat is all around us,

hiding in plain sight. There's a hidden world that ...

http://racingextinction.com/

Under the Dome (2015) Qiong ding zhi xia (original title)

Director: Jing Chai

1h 44min | Documentary | 28 February 2015 (China)

A documentary about pollution in China and how it has affected the lives of Chinese people. Directed and narrated by former CCTV journalist Chai Jing, we are taken on a high-budget

journey to the source of "PM2.5" (fine particulate matter) air pollution which afflicts many

Chinese cities, especially in the winter. We are shown an operation on the lungs of an

emphysema patient who never smoked; and an animation of micro-particulate effects on the

bloodstream that's not unlike the old Bell Science film, "Hemo the Magnificent." The film

explores the politics of China's big oil and big coal vs. the nascent Chinese environmental

movement, which are exactly like the politics of the U.S. oil and coal industries vs. the U.S.

EPA, except China's industries are arguably more corrupt. China has strong environmental laws,

but up to now has only rarely enforced them. Jing travels to far-flung places such as London and

Long Beach, California -- where a Chinese-speaking California Highway Patrol officer tests

truck tailpipe emissions at a roadside checkpoint, and issues $1000 fix-it tickets.

Most of the documnentary is presented by Jing before a live audience, TED-talk style. The film

begins and ends with Jing concerned about her daughter's having to wear a face mask to filter out

PM2.5 particles. She urges the audience to call 12369, the Chinese equivalent of 1-800-CUT-

SMOG, if they witness air pollution.

https://www.youtube.com/watch?v=T6X2uwlQGQM (Chinese with Eng Subtitles)

Food, Inc. (2008)

Director: Robert Kenner

PG | 1h 34min | Documentary | 31 July 2009 (USA)

From $2.99 (SD) on Amazon Video

An unflattering look inside America's corporate controlled food industry. The current method of

raw food production is largely a response to the growth of the fast food industry since the 1950s.

The production of food overall has more drastically changed since that time than the several

thousand years prior. Controlled primarily by a handful of multinational corporations, the global

food production business - with an emphasis on the business - has as its unwritten goals

production of large quantities of food at low direct inputs (most often subsidized) resulting in

enormous profits, which in turn results in greater control of the global supply of food sources

within these few companies. Health and safety (of the food itself, of the animals produced

themselves, of the workers on the assembly lines, and of the consumers actually eating the food)

are often overlooked by the companies, and are often overlooked by government in an effort to

provide cheap food regardless of these negative consequences.

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CALENDAR

January 2017

February 2017

March 2017

April 2017

W S M T W T F S W S M T W T F S W S M T W T F S W S M T W T F S

1 1 2 3 4 5 6 7 5 1 2 3 4 9 1 2 3 4 13 1

2 8 9 10 11 12 13 14 6 5 6 7 8 9 10 11 10 5 6 7 8 9 10 11 14 2 3 4 5 6 7 8

3 15 16 17 18 19 20 21 7 12 13 14 15 16 17 18 11 12 13 14 15 16 17 18 15 9 10 11 12 13 14 15

4 22 23 24 25 26 27 28 8 19 20 21 22 23 24 25 12 19 20 21 22 23 24 25 16 16 17 18 19 20 21 22

5 29 30 31 9 26 27 28 13 26 27 28 29 30 31 17 23 24 25 26 27 28 29

18 30