COMM 462 Documentaries II
Documentary Genres and Modes, Spring 2015 Class: Mon 3-4.20pm and Wed 3-5.50pm in McEwen 103
Pre-requisites: COMM 452 Ros Smith
314A McEwen Hall
Office Hours: Mon &Wed 2-3pm,
Tues & Thurs 2-3.30pm or by appointment [email protected] Phone 716 673 4874 Fax: 716 673-3414 Cell: 843 224 1077 1. Course Description
It is the second semester of a two-semester capstone course. COMM 452 is a prerequisite for this course. The purpose of this course is have the students incorporate the theoretical, technical and practical skills in non-fiction video production learned in COMM 452 in the production of a well crafted documentary. This is a dynamic class, which may be modified according to the needs and interests of the students or instructor or availability of material. Therefore the syllabus is subject to change during the semester.
2. Rationale
The majority of videos produced today are non-fiction in nature. These include educational, training, corporate, promotional, infotainment, and investigative pieces. With the proliferation of cable channels there is a large market for documentaries. However, documentary is often the hardest genre to create from conceptual idea to the finished product. This class gives students the analytical and craft skills necessary to go into this growing field. In addition, it is imperative that students realize the power of media to manipulate the audience even in a genre usually perceived as being objective. 3. Department of Communication Philosophy
Communication does not exist outside of relationships. With this in mind, the faculty of the SUNY Fredonia Department of Communication believe that all communicators, whether in the classroom, on the air, or within created works, have a responsibility to themselves and their audience.
The faculty believe that it is our responsibility to provide perspective and structure as students make choices about their work, and consequently, about themselves and who they are as adults and scholars. We encourage students to make the effort to consider the consequences of their choices for themselves, for others, and for those relationships. The faculty encourages projects and behaviors that are undertaken with thoughtful respect and consideration for others. We support and encourage work that is both ethical and enriching to the students’ community and to personal and professional relationships. All students should review the Department of Communication Ethical and Professional Standards at http://www.fredonia.edu/department/communication/standards.asp
The Department of Communication at SUNY Fredonia advocates the following standards of behavior for all students.*
1. Academic honesty is expected.
2. Attendance is expected at all class-related meetings.
3. Punctuality is expected for all class- and department-related meetings. 4. Courteous classroom behaviors should be enacted at all times.
5. A respectful classroom environment should be maintained for classmates and instructors, regardless of differing viewpoints.
6. All university/department equipment or properties should be used with care and respect.
7. The campus sustainability policy should be supported by using department and other resources responsibly.
8. Cell phones should be turned off during all class meetings.
9. Laptops are a potential distraction in the classroom and in some classes may be allowed only to accommodate students with documented disabilities.
10. Email communications should use standard professional formatting.
11. A minimum of 3 hours of study time should be devoted for each in-class or credit hour.
*Students should adhere to individual instructors’ more specific policies. Additional information on the SUNY Fredonia policies regarding Student Rights and
Responsibilities can be found at http://www.fredonia.edu/catalog/4405.htm. Examples/Explanations:
1. Academic honesty – Compliance with strict standards of academic honesty is expected. Academic misconduct/plagiarism will not be tolerated and may be grounds for failure of a course and suspension or dismissal from the university. Note that plagiarism is the failure to correctly cite/reference any words or ideas which are not originally your own; you should always reference the sources of your information. Plagiarism also includes the using of others’ (or sharing your own) essays, quizzes, etc., as well as the use of pre-written, purchased, or down-loaded materials. Please review the SUNY Fredonia Academic Integrity Policy at
http://www.fredonia.edu/catalog/4442.htm.
2. Attendance – Regular attendance is expected for all class-related meetings. Notifying professors in advance, as required by some faculty, does not constitute an “excused absence.”
3. Punctuality – Punctuality is expected for all class-related meetings, as well as meetings with faculty or staff. Students having a scheduling dilemma that makes punctuality to a class difficult should reconsider their registration for that course. 4. Courteous classroom behaviors – Considerate and respectful conduct should be
enacted at all times. By way of example, this includes:
• having considerate attentiveness to others, including listening rather than talking while others (professors and classmates) are engaged in discussion; talking is distracting and disrespectful to the speaker and to other students. • avoiding side-work or distractions during class meetings. The focus
during a class meeting should be on the class meeting; engaging in other activities (such as texting or doing other reading) diminishes the ability to be fully involved in class interactions. It will therefore negatively impact credit for participation.
• not packing up materials before the end of class meetings.
• refraining from putting feet on chairs or other furniture/materials in the classroom.
5. Respectful classroom environment – Your enrollment in any course indicates your agreement that all discussions and interactions will be conducted with thought, maturity, and respect for others’ rights to differing values and views. Discussion of differing beliefs is encouraged and should be conducted in a manner that maintains a climate conducive to the thinking and learning of all members of the class. Students are encouraged to exercise personal responsibility and self-discipline as they engage in the rigors of discovery and scholarship.
6. University/Department equipment or properties – Equipment belongs to the State of New York and SUNY Fredonia: access to the equipment is a privilege. Students using this material are responsible, ethically and otherwise, for returning equipment in the same condition that it was in when it was checked out.
7. Sustainability policy – The Department of Communication is a Sustainability Partner on the SUNY Fredonia campus. In keeping with SUNY Fredonia¹s Go Green Initiatives to use resources more thoughtfully, students are encouraged to be mindful about paper and other resource usage. Please use double-sided printing for all hard copies. Moreover, you are encouraged to print selectively from course E-reserves, share with classmates, and recycle all printed materials that cannot be passed on to future students.
8. Cell phones – Receiving telephone calls and sending or receiving text messages are distracting from classroom goals. Cell phones and other interactive devices must be turned OFF—not set to silent/vibrate—and stored in students’ bags before the beginning of classes.
9. Laptops – Research shows that laptops are a distraction in the classroom.* In general, all electronic devices should be turned off unless otherwise instructed by a course professor or as needed to accommodate specific disabilities.
10. Email communications – Emails written to any faculty or staff, or to any community member as a representative of SUNY Fredonia, should use standard professional formatting. This includes a clear subject heading, a courteous greeting, proper spelling and grammar, respectful content, and an identifying “signature.” 11. Study time – The Department of Communication enforces rigorous academic
standards, which maintain the high quality and success of our graduates. Students should expect to devote a minimum of 3 hours of study/preparation time for each in-class/credit hour.
*References:
Bugeja, M. (2007). Distractions in the Wireless Classroom. Chronicle of Higher Education, 53(21), pp. C1-C4. Fried, C. B. (2008). In-class laptop use and its effects on student learning. Computers & Education, 50(3), pp. 906-914. Fink III, J. L. (2009). Why We Banned Use of Laptops and "Scribe Notes" in Our Classroom. American Journal of
5. Textbooks: Required
Barnouw, Erik. Documentary: A History of the Non-Fiction Film, second edition (New York and Oxford: Oxford University Press) 1993. Rabiger, Michael. Directing the Documentary, fifth edition, (Focal Press) 2009. Rosenthal, Alan. Writing, Directing, and Producing Documentary Films and Videos, third edition, (Carbondale: Southern Illinois University Press) Readings on Angel
Recommended
Jay Rose, Audio Postproduction for Digital Video, (San Francisco: CMP Books) Jay Rose, Producing Great Sound for Digital Video, (San Francisco: CMP Books) Lab Fee: There is a $75.00 lab fee for this course that is assessed upon registration. Materials and Supplies: camera, card reader, tripod, Mac computer, (from SUNY cage/Sheldon lab). Student must have their own tapes or if using DSLR’s at least 16GB CF/SD cards, 8G flash drive and external Hard Drive 250GB minimum with firewire 800 or USB3 connection
Technology Needed: Adobe Editing software, Excel, Word and PowerPoint (Sheldon Lab)
6. Course Objectives
This course is designed to enable students to:
1. Analyze non-fictive film styles, grammar and structural approaches to documentary production that were not covered in first semester.
2. Gain fundamental knowledge of the theories and techniques of non-fictive video production from which the student can progress to more advanced studies and projects.
3. Research and develop documentary proposals, outlines and treatments according to subject matter.
4. Utilize skills in grant writing, proposal writing, and promotion to reach a wider audience for their work
5. Evaluate the ethical issues involved in documentary production and create work that conforms to an ethical standard.
6. Produce and complete one major documentary of at least 15 mins length for inclusion in portfolio show reel.
Course Competencies
1. Able to recognize pre-eminent non-fictive films regarding style and formal elements .
2. Master the basic production techniques involved in storytelling using the documentary genre.
3. Utilize skills in grant writing, proposal writing, and promotion to reach a wider audience for their work.
4. Work well as a team to generate creative solutions to problems, prioritize steps, and complete tasks in a timely manner.
5. Create logging sheets, paper edits and assemble edits, rough cut and final cut of project for the Production Notebook.
6. Create 15-20 min documentary, genre of student choice. 7. Create demo reel and EPK kit for documentary.
7. Instructional Methods and Activities
Lectures are used to introduce the concepts or best practice skills. Screenings of clips or entire films are used to illustrate the topics and act as a springboard for discussion. There will be a discussion following each lecture/screening to foster students’ critical thinking skills in analyzing what is an effective documentary: what response is it trying to elicit from the audience and does it succeed? Students will be expected to compare and contrast films and to analyze in depth both the technical aspects and content/themes of the screened films. They will also be expected to incorporate concepts from the readings and to draw upon knowledge gained in other classes. It is essential for students do the readings before coming to class and to be prepared to talk.
Many classes will be concentrating on refining camera, sound, interviewing, lighting, editing skills garnered during first semester. Students will create final major documentary of at least 15 mins in length in response to the readings. Each student is expected to contribute substantially to the in-class critique of student work. The method of criticism for each project will be modeled on the methodology of the appropriate readings.
Activities include: Lectures/discussions
Demonstrations and guided practice on the equipment Tests on the equipment
Individual presentations of creative projects Individual production of creative projects Group critique of projects
Guided studio work Plagiarism
To plagiarize is “to steal and pass off as one’s own the ideas or words of another” (Webster’s Seventh New Collegiate Dictionary). Examples of plagiarism include presenting the ideas of another in one’s own words without crediting the source, copying sentences, paragraphs, or pages form a source without explicit reference to the pages from which the words were taken, and, of course, presenting another’s entire work as one’s own. If a student is not certain whether a particular practice may be considered plagiaristic, it is his/her responsibility to consult the instructor for whom he/she is writing the paper, exercise, or examination. SUNY Fredonia strongly condemns plagiarism and takes severe action against those who plagiarize. State University of New York at Fredonia College Catalog http://www.fredonia.edu/catalog/3844.htm.
8. Evaluation and Grading
Projects: The projects fulfill several purposes. They allow you to become familiar with the equipment you will be using for the capstone project. You will have an opportunity to work with the other production students in the class that should facilitate forming production groups for the capstone project in the spring. You can experiment with several types of documentary genres before deciding on the capstone. They can be used in your reel to show your versatility. Most importantly for learning, they allow you to respond as an artist to the films and readings you will be exposed to in class.
Evaluation and Grading - There are no mid terms in this course. The final exam consists of a ‘portfolio show’ which is when final documentaries will be graded. There is a heavy, intensive workload which you MUST do outside of class. Be prepared to put at least 12 hours a week into this. You are expected to know how to create synopsis, tagline, treatment for inclusion in full proposal and formatted in Production Notebook as this was covered in first term. You will have to work on this as an ongoing basis and regular review of progress will be performed.
NOTE: If you fall behind on deadlines it will be very difficult to catch up. REMAIN ORGANIZED. USE A DIARY ON A DAILY BASIS AND MAINTAIN A TO DO LIST! FOLLOW THE SYLLABUS DATES AND CHECK THE CALENDAR ON ANGEL EACH WEEK to help you stay on track.
Projects
Project 1 Each student will create a polished documentary between 15-20 minutes in length.
Project 2 Business Logo and business card Project 3 Documentary Poster and postcards
Project4 Students will edit a short trailer of their capstone documentary
Project 5 Students will create a demo reel to prepare them for the job market upon graduation.
Written Assignments
Written Assignment 1 - Artistic Statement
Refine the artistic statement that was created in semester one. This will be inserted into the EPK kit (see written assignment 3)
Written Assignment 2 - Production Notebook
Each student will turn in a production book. It contains all of the paperwork for preproduction, production and postproduction. It will consist of a fly cover with contact details, contents page, title, tagline, synopsis, treatment and ultimately the proposal of the documentary. Shot lists, story boards if appropriate, shooting schedule, equipment list, interview list with contact details, crew list with all contact details, biographies of interview subjects and crew, interview questions, release forms, budget, transcripts and edit logs, communication with participants (emails too). This list is not exhaustive.
Each student will create an electronic marketing kit to accompany their documentary. Included in the packet will be the student logo and business card, 1 minute trailer, press release, copy for a catalog write up, a brief biography of major interviewees and crew, a poster, postcards, and an exhibition/distribution plan.
Critique
Throughout the semester each student will screen their projects at various stages, raw footage, rough cut, medium cut, fine cut, etc. All students are required to participate in oral critiques. Critique is a vital element of this course and in the development of a video maker. Critique involves oral presentation by the group of what will be screened and criticism (positive and negative) of that work by fellow students and the instructor. This criticism should always be given and taken as constructive with the intent to provide feedback for the creation of a successful piece. In oral critiques students must describe, interpret and judge their own work as well as the work of fellow students.
The method of criticism for each project will be modeled on the methodology of criticism from the appropriate readings.
Attendance Two non-medical unexcused absences are permitted per semester. More than two unexcused absences will lower the grade by three percentage points (e.g. 85% becomes 82%). Two tardies equal one absence. You are tardy if you arrive after I have called the roll.
Grading
If a student is unable to meet the deadline for an assignment, he or she must make arrangements with the instructor at least 48 hours in advance (2 days). Otherwise late work will not be accepted. Every assignment may be resubmitted for a higher grade, within a ONE WEEK period, with the exception of the final project and final written assignment.
Project 1 - Major Documentary 30%
Project 2 - Logo and Business Card 5%
Project 3 - Documentary Poster 5%
Project 4 - Trailer of Documentary 1 min 10%
Project 5 – Demo Reel 10%
Written Assignment 1 – Artistic Statement 5% Written Assignment 2 - Production Notebook 10% Written Assignment 3 - EPK Festival/Distribution Packet 10% Professionalism and Participation 15%
1 Wed1 /21
Documentary - Course overview, project discussions Objectives
Overview course, deadlines of assignments and projects Analyze different types of artistic statements
Discuss why statements are needed Pitch Project 1
Commence Written Assignment 1 - Due Mon 2/26 Commence Project 1 - Due week 15
Lecture: Introduction to the course,
Screen: Polar Bear Man, 2014, Dumas (54 mins)
Reread: Michael Rabiger, Part 1, Ch 5, 6 & 7 pp. 49-88. Part 2, ch 11, 12, 13 pp. 142-172. Part 3 Ch 21 p 263-271 and Ch 23, p279-286
2 Mon 1/26
Branding Yourself as a Professional Objectives
Analyze logo styles and layout Discuss ideas for your personal logo Experiment with color/fonts for logo
Analyze business cards for best styles/function Written Assignment 1 DUE - Artistic statement
Screening: Killer Brands and how to create them
Lecture: Branding
Read: week 2 branding powerpoint and articles on Angle
Reread: Michael Rabiger, Part 1, Ch 5, 6 & 7 pp. 49-88. Part 2, ch 11, 12, 13 pp. 142-172. Part 3 Ch 21 p 263-271 and Ch 23, p279-286
Commence Project 2 - logo and card Wed
1/28
Lab: Exterior camerawork and composition Objectives
Review exposure, white balance and camera settings Review stick tripod use
Review lenses — variable and prime usage
Review optimum settings for creating shallow depth of field Lab: Camerawork
Reread Rosenthal ch.6-8 pp. 65-126 (Shaping the Film, Beginning the First Draft, Completing the First Draft)
3 Mon 2/2
Lighting - External Objectives
Review lighting safety Review major types of lights
Recognizing lighting temperatures and how to control them Updates of Project 1
Screening: Kids on Ice, 2014 (43 mins) Lecture: Lighting in documentary
Read: power points and articles on Angel Wed
2/4
Lighting - Internal Objectives
Proficient control sun as key light Utilize bounce light as fill
Use camera filters for maximum creative effect
Lab: Perform light study — power, vulnerable, beauty Read: power points and articles on Angel
4 Mon 2/9
Recording Sound Objectives
Understand the limitations of different mic formats Recognize importance of capturing room tone/atmos Become proficient with utilizing Zoom mics
Lecture: Hear Hear!
Screening: Singin’ in the Rain
Reread Rosenthal ch. 14 Editing, ch. 13 On Location. Rose Producing Great Sound Section III Production Sound pp. 109-223.
Wed2 /11
Recording Sound Objectives
Review how to wire a subject for sound Recognize best formats for sound recording Utilize wireless mics for optimum recording Updates of Project 1
Lab: Wiring for Sound
Read: Power points and articles on Angel
Reread: Michael Rabinger, Part 1, Ch 5, 6 & 7 pp. 49-88. Part 2, ch 11, 12, 13 pp. 142-172. Part 3 Ch 21 p 263-271 and Ch 23, p279-286 Rose Producing Great Sound Section III Production Sound pp. 109-223.
5 Mon2 /16
Creating the marketing poster Objectives
Review and analyze how marketing posters work Understand format and style for documentary poster Sketch first draft for poster
Project 2 Due - Business logo and business card
Lecture: Creating your poster
Screening: Symbolism in Logos, 2011 (1hr 4 mins)
Read: Power points and articles on Angel Commence Project 3 - Documentary poster Wed2
/18
Participatory, Historical and Compilation Documentaries Objectives
Recognize format and style
Discuss how grain and color affects memory and style Major project updates
Screening: Man on a Wire, 2008 James Marsh 94 mins
Read: Linda Williams “Mirrors without Memories: Truth, History, and The Thin Blue Line” Chapter 23 Documenting the Documentary pp. 379-396.
6 Mon2 /23
Interviewing - Headers and Walkers Objectives
Recognize what creates good interviewer/interviewee Create appropriate questions that interviewer can utilize Discuss how to shoot interviewees in appropriate settings Discover how to get creative b-roll of interview = laddering Updates of Project 1
Screening: The Scariest and Deadliest Moments in Space History, 2002 Lecture: How to get the best out of interviewees
Reread Rosenthal chapter 12 Directing the Interview pp. 177-192 Michael Rabinger, Part 1, Ch 5, 6 & 7 pp. 49-88. Part 2, ch 11, 12, 13 pp 142-172.Part 3 Ch 21 p 263-271 and Ch 23, p279-286
Wed2 /25
Interviewing Objectives
Practice interviewing scenarios for headers and walkers Record a meaningful, well composed interview
Proficient at recording sound
Ensure lighting is best as possible with each scenario Lab: Interviews
Reread Rosenthal chapter 12 Directing the Interview pp. 177-192 Michael Rabinger, Part 1, Ch 5, 6 & 7 pp. 49-88. Part 2, ch 11, 12, 13 pp 142-172.Part 3 Ch 21 p 263-271 and Ch 23, p279-286
7 Mon3 /2
Camerawork for the still image Objectives
Analyze various styles for shooting still images/archival materials Review integration of stills into documentary programs
Screening: Pearl Harbor - The Untold Story, History Channel Documentary 2014 Updates of Project 1 Wed 3/4 Shooting Stills Objectives
Discover techniques for creating an aesthetic shot from a still Practice lighting various still image styles, formats and sizes Lab: Shooting the still image
8 Mon 3/9
Performative and investigative documentary Objectives
Be aware of difficulties with investigative doc Utilize technology and apply to critical reasoning
Evaluate the ethical issues involved in documentary production
Discuss the role of the filmmaker vis-à-vis representation of subject matter Screening: Sicko, (2006) Michael Moore
Reread: “Ethical Principles and Guidelines for the Protection of Human Subjects of Research” (handout) John Stuart Katz and Judith Milstein Katz, “Ethics and the Perception of Ethics in Autobiographical Documentaries” Image Ethics: The Moral Rights of Subjects in Photographs, Film, and Television, edited by John Stuart Katz and Judith Milstein Katz (Oxford: Oxford University Press) 1988 pp. 119-134. (on Angel)
Wed 3/11
Moving Camera Objectives
Discover how to rig the Fig Rig Practice assembly of rock kit
Discover cheap/quick ways to obtain professional moving image without special equipment
Project 3 Due - Documentary poster due Lab: moving shots practical
3/16-3/20
SPRING BREAK NO CLASSES
Work on your one minute trailer and Project 1 9 Mon
3/23
Editing for the moving image Transcripts and paper edits
Housekeeping techniques and backups
Create an assemble edit of trailer for maximum impact Lecture: Importance of housekeeping for high shooting ratios Screening: Excerpts from The Cutting Edge, 2004, Wendy Apple. Wed
3/25
Editing the trailer Objectives
Understand how trailer pacing works
Create rough cut with beginning middle and end for maximum impact Ensure major essence is maintained within trailer regarding project 1 Rough cut to be completed
Fine cut to commence
Screening: Excerpts from The Cutting Edge, 2004, Wendy Apple. Lab: Create rough cut and fine cut for trailer
10 Mon 3/30
Editing the trailer Objectives
Picture lock complete
Sound sweetening to commence Commence Color grading
Screening: Excerpts from The Cutting Edge, 2004, Wendy Apple. Lab: Editing trailer
Wed 4/1
Editing the documentary
Discover techniques of cutting on color, shape and movement Attempt the utilization of the natural wipe as aid to the edit How to use sound overlap as aid to disguising the cut Project 4 Due - one minute trailer
Screening: Trailer projects
Lab: Cutting on color/shape/movement 11 Mon4
/6
SUNY CLOSED - NO CLASSES TODAY Work on Project 1
Wed 4/8
The Investigative Documentary Objectives
Review how to obtain sources
Be able to perform in depth research and material procurement Review difficulties with investigative doc
Utilize technology and apply to critical reasoning
Updates on Project 1 and written Assignment 2 Production Notebook Screening: Loose Change, 2006 (1hr 21 mins)
Read: Michael Rabinger, Ch 21 pp263-271, ch 22 pp272-275. Rosenthal, ch 21.
Lab: Work on Project 1
12 Mon 4/13
The Personal Documentary
Screen: Regret to Inform by Barbara Sonneborn, Silverlake Life: the View from Here, 99 min. (1993) directed by Tom Joslin, Mark Massi, and Peter Friedman
Updates on Project 1 - editing should have commenced with at least assemble edit created.
Read: Rosenthal, ch 21.
Wed 4/15
The Mock Doc Objectives
Discuss the differences and similarities between mock docs & documentary Analyze the construct of the mock doc
Screening: The Big Tease, (1999) Kevin Allen
13 Mon4 /20
How to create a demo reel Objectives
Analyze various demo reels by professional filmmakers Outline elements to be included for student’s demo reel
Establish incorporation of logo and artistic statement in demo reel
Analysis and critique of Assignment 2
Written Assignment 2 Due - Production Notebook
Updates on Project 1 - Rough cut almost complete and fine cut to be commenced
Wed 4/22
Lab: Editing Project 5 - Demo reel
14 Mon 4/27
Open lab: Editing or Filming
Wed4 /29
Open lab: Editing - picture lock of demo reel
15 Mon 5/4
Project 5 Due - Demo reel
Open lab: Editing final documentary fine cut to be complete Wed
5/6
Lab: Editing of Project 1 - documentary
Objectives
Critique of EPK assignment
Picture lock, sound sweetening completed. Commence color grading
Written Assignment 3 Due - EPK 16 5/11T
BA
Screening of final documentary and ‘Portfolio Show’ Please invite your families/friends if you wish.
Critique and review after families leave. Bibliography and further reading:
Barnouw, Erik. Documentary: A History of Non-Fiction Film. Oxford: Oxford University Press, 1983.
Barsam, Richard M. Non-Fiction Film: A Critical History. Bloomington: Indiana University Press, 1992.
Barsam, Richard M editor. Nonfiction Film Theory and Criticism. New York: E.P. Dutton & Co. Inc., 1976.
Coles, Robert. Doing Documentary Work. Oxford: Oxford University Press, 1997. Donaldson, Michael C. Clearance and Copyright: Everything the Independent Filmmaker Needs to Know. Los Angeles: Silman-James Press, 1996.
Grant, Barry Keith and Jeannette Sloniowski, editors. Documenting the Documentary: Close Readings of Documentary Film and Video. Detroit: Wayne State University Press, 1998.
Planning, Filming, and Editing Documentaries of Real Event. New York: Henry Holt and Company, 1997.
Jacobs, Lewis editor. The Documentary Tradition. New York: W.W. Norton & Company, 1979.
Nichols, Bill. Representing Reality: Issues and Concepts in Documentary. Bloomington Indiana University Press, 1991.
Rabinger, Michael. Directing the Documentary. Boston: Focal Press, 1987. Renov, Michael editor. Theorizing Documentary. New York: Routledge, 1993. Rosenthal, Alan, editor. The Documentary Conscience: A Casebook in Film Making. Berkeley: University of California Press, 1980.
Rosenthal, Alan, editor. New Challenges for Documentary. Berkeley: University of California Press, 1988.
Rosenthal, Alan, editor. The New Documentary in Action: A Casebook in Film Making. Berkeley: University of California Press, 1971.
Rothman, William. Documentary Film Classics. Cambridge: Cambridge University Press, 1997.
Schultz, John and Barbara Schultz. Picture Research: A Practical Guide. New York: Van Nostrand Reinhold, 1991.
Sherman, Sharon R. Documenting Ourselves: Film, Video, and Culture. Lexington: The University Press of Kentucky, 1998.
Tobias, Michael, editor. The Search for Reality: The Art of Documentary Filmmaking. Studio City: Michael Wiese Productions, 1998.
Vaughan, Dai. For Documentary. Berkeley: University of California Press, 1999. Warren, Charles. Beyond Document: Essays on Nonfiction Film. Hanover: Wesleyan University Press, 1996.
