OBJECTIVES / COMPETENCES



On completion of the subject the student will be able to:

- Understand, explain and use theoretical concepts in order to identify diverse documentary styles and techniques present in different formats (film, television, multimedia and interactive forms)

- Recognize the aesthetic, formal and narrative strategies present in the documentary

- Analyse methods and techniques to produce documentaries

- Create a project about documentary, applying diverse methods and techniques to adapt it to multiple media platforms and multimedia devices

COURSE CONTENTS



Theory:



- Key concepts in documentary film

- Documentary theories and styles

- Animation documentary

- I-docs (interactive documentaries) and expanded documentaries

- Poetic documentary

- Performative documentary

- First-person documentary

- Fake documentary

- Archival documentary

- Observational documentary





Practise:



- Reflection about key concepts for the study of documentary

- The relationship between sound and image in documentary film

- Analysis and comparison of different documentary modes

- Curatorship/Programming of documentary film

METHODOLOGY:



In this course the student must actively participate in the analysis, discussion and development of documentary film practices and projects.

Theoretical concepts will be explained in class, including screening of key documentary films.

The learning process in based on both individual assignments and collaborative work.

ASSESSMENT SYSTEM:



Final grade will be based on practical exercises proposed in class, and the development of a final project developed through the semester.





FINAL EXAM OPTION:



Students who cannot follow regular classes and/or participate in the continuous evaluation system can be assessed in a final exam. The grade of this exam will be 100% of the final grade.

Students willing to choose this option should discuss it with the professor. Deadline and procedure: According to art. 8.3. of the Regulation of Student Evaluation, students willing to abandon the option of continuous evaluation and opt for a single final exam must write a letter of resignation within the first 9 weeks of the semester.



RESIGNATION TO THE EXAM (ABSENCE FROM EXAMINATIONS):

According to art. 12.2. of the Regulation of Student Evaluation, students can resign to do the exam and directly take the exam of the second call if they notify the professor one month before the end of classes. An official resignation letter must be presented to the professor of this course.



*This assessment system will be applied both face-to-face and/or non-face-to-face, in the event that the situation demanded.

MATERIALS OF OBLIGATORY USE:

Slides and other materials available in he online platform “egela” (moodle): https://egela.ehu.es/ (you can access with your LDAP name and password).

BOOKS:
- NICHOLS, Bill (1991) Representing Reality. Issues and Concepts in Documentary. Minneapolis: Indiana University Press.
- Barnouw, E. (1993). Documentary: A history of the non-fiction film. Oxford: Oxford University Press.

Basic bibliography

BASIC BIBLIOGRAPHY:



BARNOW, Erik (1993). Documentary: A history of the non-fiction film. Oxford: Oxford University Press.

NICHOLS, Bill (1991) Representing Reality. Issues and Concepts in Documentary. Minneapolis: Indiana University Press.

In-depth bibliography

AITKEN, Ian (ed.) (2006) Encyclopedia of the documentary film (vol 1-3). London: Routledge.
BRUZZI, Stella (2000) New Documentary: a critical introduction. London: Routledge.
DÉPREZ, Camille and PERNIN, Judith (eds.) (2015) Post-1990 Documentary: Reconfiguring Independence. Edinburgh: Edinburgh University Press.
GRANT, Barry K. and HILLIER, Jim (2009) 100 Documentary Films. London: British Film Insitute.
KAHANA, Jonathan (2016) The Documentary Film Reader. History, Theory, Criticism. Oxford: Oxford University Press.
KRIGER, Judith (2012) Animated Realism: a Behind the Scenes Look at the Animated Documentary Genre. Focal Press.
LEBOW, Alisa (2012) The Cinema of Me: the Self and Subjectivity in First Person Documentary. London: Wallflower Press.
MACDONALD, Scott (2015) Avant-doc: Intersections of Documentary and Avant- Garde Cinema. Oxford: Oxford University Press.
MICKWITZ, Nina (2016) Documentary Comics. Graphic Truth-Telling in a Skeptical Age. London/New York: Palgrave MacMillan.
NICHOLS, BILL (2010) Introduction to Documentary. Minneapolis: Indiana University Press.
RENOV, Michael (ed.) (1993) Theorizing Documentary. Routledge.
SHAPIRO, Ann‐Louise (199/) “How Real Is the Reality in Documentary Film? Jill Godmilow, in conversation with Ann‐Louise Shapiro”, History and Theory, vol. 36, no 4, 80-101.
VALLEJO, Aida, and WINTON, Ezra (eds.) (2020) Documentary Film Festivals Vol 1: Methods, History, Politics. Palgrave MacMillan: Cham, Switzerland.
VALLEJO, Aida, and WINTON, Ezra (eds.) (2020) Documentary Film Festivals Vol 2: Changes, Challenges, Professional Perspectives. Palgrave MacMillan: Cham, Switzerland.
WINSTON, Brian (2011) “Documentary Film”, in William GUYNN (ed.) The Routledge Companion to Film History. New York: Routledge, 84-91.
WINSTON, Brian (2013) The Documentary Film Book. London: British Film Institute.

Journals

JOURNALS:

Studies in Documentary Film: http://www.tandfonline.com/loi/rsdf20
Doc On-line: http://www.doc.ubi.pt/
Cine Documental: http://www.revista.cinedocumental.com.ar/
Images Documentaires: http://www.imagesdocumentaires.fr