SPORT AND SOCIAL CHANGE: DOCUMENTARY PRODUCTION   Comm Studies 690 Section 001  Spring 2014
 Prof Kindem  Office hrs.: 11:30 am - 12:30 pm TTh  Rm 205 Swain Hall kindemg@email.unc.edu
Course Purposes and Objectives:
1) to work in a small group producing a short sports documentary video that promotes progressive social change and 2) to acquire video/digital media writing and production skills used in sports documentary preproduction, production, and postproduction
Required Texts:
Bernard, Sheila Curran, Documentary Storytelling, Making Stronger and More Dramatic Nonfiction Films, 3rd ed. Focal Press, 2011.
Hampe, Barry, Making Documentary Films and Videos, Holt Paperbacks, 2007.
Wenner, Lawrence A., ed., MediaSport, Routledge, 1998, (full electronic text available UNC-CH Libraries, online resource).
Rail, Genevieve, ed., Sport and Postmodern Times, SUNY Press, 1998 (NetLibrary electronic book UNC-CH Libraries, online access).
Recommended Texts:
Rabiger, Michael, Directing The Documentary, 5th ed. Focal Press, 2009.
Kindem, Gorham and Musburger, Robert, Introduction to Media Production: the Path to Digital Media Production, 3rd ed., Focal Press, 2005
Nichols, Bill, Introduction to Documentary, IU Press, 2001, (electronic text available via the UNC-CH Libraries, online access).
Nichols, Bill, Representing Reality, Issues and Concepts in Documentary, IU Press, 1991.
Rosenthal, Alan, Writing, Directing, & Producing Documentary Films,  Revised ed., SIU Press, 1996.
Wigging, David and Patrick Miller, eds., The Unlevel Playing Field, A Documentary History of African American Experience in Sport, UI Press, 2003.
O'Reilly, Jean and Susay Cahn, eds., Women and Sports in the United States, NEU Press, 2007
Requirements:
Editing Exercise  10%  (Feb 6)
Proposal, Treatment, Budget & Schedule, Presentation  20%  (Feb 4 & 11)
Midterm Examination  10%  (Mar 4)
Documentary Still Images & Counterpoint/Overlap Sequences  20%  (Mar 18 & April 1)
Completed Documentary Video  40%  (Apr 24)
Proposal and Treatment:
A  proposal and treatment for your ten minute sports documentary video should be approximately 8 to 10 typewritten double-spaced pages in length.  The proposal should include each of the following items: 1) a film statement, indicating what you hope to say; 2) background and need, indicating your purposes and objectives; 3) your approach, structure, and style; 4) a budget;  5) a shooting schedule, 6) an equipment list, and 7) a short summary of the creative staff’s prior credits and relevant experiences.  Your treatment should be written as a third person, present tense narrative and include each of the following: 1) action sequences; 2) main characters/social actors; 3) conflicts; and 4) stylistic features that will enhance your piece.   A treatment visualizes the story as it will unfold on the screen, and includes all the majors actions and scenes in reduced form.  A good treatment adopts a lively prose style that effectively communicates the tone of the piece. Your video project should be provocative and insightful.  It should have something significant to say and you should find an effective means of saying it.
Counterpoint/Overlap Editing:
Counterpoint editing brings sounds and images into juxtaposition.  In practice this means bringing together the sound from one shot, such as an interview, with the images from another, such as B-Roll of the interviewee actually doing or not doing what they are talking about.  The benefits are multiple.  Talking-head material is kept to an interesting minimum as an interview is pared down and the audience is challenged to reconcile people’s ideas with what they are actually doing.  The overlap cut is a contrapuntal editing device, which is often used to hide the telltale seams between shots.  It brings sound in earlier than picture, or picture in earlier than sound, and thus avoids the jarring level cut, that is, abruptly cutting sounds and images simultaneously.
    (All projects will be done in groups of three or four, and all members of a group will receive the same grade on group projects unless two members of the group indicate that a particular member, who will receive 0 out of 100 points on that project, did not participate in the production of a specific project.  Grades are calculated on a ten point basis: 92.5+pts.=A, 90-92.5pts.=A-; 87.5-90pts.=B+, etc.  Assignments and projects are considered 24 hrs. late, if they are not turned in during the class at which they are due, and they drop 10 points at the end of that class and another 10 pts. for each additional 24 hrs. they are late.)

Schedule:
Jan    9   Introduction: Producing and Directing Low Budget, Short Sports Documentary Videos that Promote Progressive Social Change
        14   Jon Kasbe, visiting filmmaker; Formulating Ideas for Sports Documentary Projects
        16   Research and Writing the Proposal; PRELIMINARY PROJECT IDEA PRESENTATIONS
        21   Shaping the Approach, Structure, and Style: Modes of and Aesthetic Approaches to Sports Documentaries
        23   Basic Digital Editing
        28   Writing the Treatment and Narration; Directing the Documentary; Digital Editing Practice
        30   Kat Keene Hogue, visiting filmmaker
Feb   4   Budgeting and Scheduling; PROPOSAL PRESENTATIONS
         6  VIEWING OF EDITING EXERCISES; Still Image Scanning & Counterpoint/Overlap (B Roll) Recording & Editing
        11  Digital Video Recording;  WRITTEN PROPOSAL/TREATMENT/BUDGET/SCHEDULE DUE
        13  Digital Video Recording Practice
        18  Lighting
        20  Lighting Practice
        25  Audio Recording and Dubbing
        27  Audio Recording and Dubbing Practice 
Mar  4  MIDTERM EXAMINATION
         6   Equipment Checkout
        11  Spring Break
        13  Spring Break
        18  Still Image Scanning/Editing & COUNTERPOINT/OVERLAP (B-Roll) RECORDING RAW MATERIAL PRESENTATIONS
        20  Still Image Scanning/Editing Practice
        25  More Advanced Digital Editing
        27  Digital Editing Practice
Apr   1  COUNTERPOINT/OVERLAP EDITED SEQUENCE (approx. 2-5 minutes) PRESENTATIONS
         3   Full Frame Documentary Film Festival in Durham
         8   Special Effects
        10  Audio Mixing
        15  Titles  
        17  Ian Krabacher, visiting filmmaker and postproduction specialist
        22  Project Problem Solving
        24  FINAL PROJECTS DUE; CLASS SCREENING of Completed Sports Documentary Projects

Required Reading  Sport and Social Change: Documentary Production  Comm. Studies 690 Section 001  Spring 2014

Required Texts:
Bernard, Sheila Curran, Documentary Storytelling, Making Stronger and More Dramatic Nonfiction Films, 3rd ed., Focal Press, 2011.
Hampe, Barry, Making Documentry Films and Videos, Holt Paperbacks, 2007.
Wenner, Lawrence A., ed., MediaSport, Routledge, 1998, (full electronic text available UNC-CH Libraries, online resource).
Rail, Genevieve, ed., Sport and Postmodern Times, SUNY Press, 1998 (NetLibrary electronic book UNC-CH Libraries, online access).

Recommended Texts:
Rabiger, Michael, Directing The Documentary, 5th ed., Focal Press, 2009.
Rosenthal, Alan, Writing, Directing, & Producing Documentary Films, 2nd ed., SIU Press, 1996.
Kindem, Gorham & Musburger, Robert, Introduction to Media Production 2nd ed., Focal Press, 2001.
Nichols, Bill, Introduction to Documentary, 2001, (electronic text available via the UNC-CH Libraries, online access).
Wigging, David and Patrick Miller, eds., The Unlevel Playing Field, A Documentary History of African American Experience in Sport, UI Press, 2003.
O'Reilly, Jean and Susay Cahn, eds., Women and Sports in the United States, NEU Press, 2007.

Required Reading Schedule:
                       (Required)                                  (Recommended)          (Recommended)       (Recommended)             (Required)      (Required)                                       (Recommended)    
                      Bernard                                              Rabiger          Rosenthal & [Nichols]    Kindem & Musburger       Hampe      Wenner & Rail                              Wiggning/Miller & O'Reilly/Cahn                                           
Jan     9       1-11                                                       65-98                               1-13                          1-38                       1-88 
          14     133-147                                              27-50; 257-282)        14-44; 223-258                  39-42                     91-143  Wenner 134-217; 266-281 & Rail 49-139 Wigging/Miller & O'Reilly/Cahn
          16  119-132; 157-171                                       51-64                     [Nichols 99-138]              42-52                    144-172
          21  15-91; 100-107                                    99-130;283-334            45-103; 181-213        61-72; 83-88               173-215    Rail ix-xxi; 143-161
          23    187-203                                            205-253; 504-5210                                              331-346                   315-345
          28 149-157; 205-221                5-26;131-137;361-381;449-461;492-503                                                            256-313
          30
Feb     4                                                      128-130;366-369;375-381               105-131                   52-58                    347-389
           6                                                                      513-521                              65-180
          11  173-186                                                99-117;139-160                  133-163; 281-290   103-129;                   217-251
          13                                                               383-420;438-484                                          217-238; 255-267
          18                                                                     161-173                                                         181-214
          20
          25                                                               174-194;421-437                                                                                 252-255
          27
Mar    4
           6
          11
          13
          18
          20
          25                                                                                                    403-405
          27
Apr     1                                    443-481                     214-221                377-382
           3
           8                                    482-496                                                   281-311
          10
          15
          17
          22