Capturing Reality UG Final

8/3/2019 Capturing Reality UG Final

1/19A NATIONAL FILM BOARD OF CANADA PRODUCTION

WRITER/DIRECTOR PEPITA FERRARI PRODUCER MICHELLE VAN BEUSEKOM

www.nb.ca/capturingreality

USER GUIDE


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Capturin Ralit: T Art o Documntar 1

SyNOPSIS

Capturing Realityis a double DVD set. The rst DVD contains the 97-minute documentary lm CapturingReality: The Art of Documentary eaturing 33 accomplished directors including Albert Maysles, ErrolMorris, Alanis Obomsawin, Michel Brault, Nick Broomeld, Kim Longinotto and that great iconoclast, Werner

Herog sharing their insights o how they meet the challenges o making their documentary lms.

On disc 2 you will nd our hours o Special Features: interview clips with the lmmakers eatured in

Capturing Realityas well as ve additional interview subjects. Special Features can be screened either bytopic area or by lmmaker and includes bios and lmographies.

Both the documentary lm and Special Features are arranged thematically to provide a chronological

overview o the documentary lmmaking process rom why lmmakers make documentaries, to how they

nd their ideas, to how they work in the editing suite.

The more than 160 clips ound on the Special Features DVD can also be ound on www.nb.ca/

capturingreality. The Web site allows viewers to easily navigate by lmmaker or topic. Both the DVD andWeb site include a basic biography and lmography or each director eatured in the lm.

USER GUIDE

C A P T U R I N GR E A L I T YTHE ARTOF DOCUMENTARY


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Capturin Ralit: T Art o Documntar2

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This user guide includes discussion topics and questions by key topic areas, by chapter and Special

Features sections, as well as suggested activities by curriculum area. An at-a-glance chart is included

in this guide and on the Web site to easily nd lmmakers by topic.

Capturing Realityis suitable or classroom use in secondary and post-secondary education, in subjectsincluding lm, video and digital media production; media literacy, literature and English courses; cinemastudies; social studies; journalism; media and communications; and ethics.

Capturing Realityis a rich tool to explore the most serious issues acing any creator o art about real lie:

What story do I tell? Whats the most eective way o telling it? In what way do my choices about how to tell the story (Griersons notion

o the creative treatment o actuality) make the nal product an art orm?

How do I honestly and openly ace the inevitable ethical choices o tellinga truthul story about something signicant in real lie?

The lm and Special Features will also allow your students to learn more about important documentarylms and lmmakers o our time.

Audinc A: Suitable or ages 16+. The lms discussed and excerpted in Capturing Realityaddressimportant and sometimes grave or controversial issues o our time, such as animal slaughter, mentalillness, poverty, torture and violence. In the Special Features section, lmmakers occasionally use somestrong language. Educators are encouraged to preview the lm and research background inormation tocontextualie these situations when viewing the lm in class.


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FILM AND SPeCIAL FeATUReS, TOPICS:MAIN POINTS AND DISCUSSION QUeSTIONS

You can enjoy Capturing Realityin an extended viewing or over several class periods. The lm is neatly

chaptered by topic so that you can also show selected segments (5 minutes long on average) in class.The Special Features permit you and your students to explore particular issues in depth. This section also

suggests homework and extra credit assignments. (See Special Features chart on pages 16 and 17 orcross-listings o topics and lmmakers.)

Following are some main points and possible discussion questions. Not: Main points and/or Discussionquestions relating to the Special Features, Topics only are preceded by an asterisk.*

Bcomin a Filmmakr Film Chapter 1(Special Features: gttin Startd: Becoming

a Filmmakerand Why Make Documentaries?)

Main Points: Some go to lm school, some dont;some learn on the job, some stumble into it.

For some people, documentaries are a creative

challenge, or others its a way to enter other

realities; or some its a way to share an experience,

others want to correct the historical record or to

expose an injustice.

Discussion questions: How do people become

documentary lmmakers? What kind o training

and motivation do they have? Why do they chooseto work in the genre o documentary?

wat Is Documntar? Film Chapter 2(Special Features: explorin th gnr: What Is

Documentary? The Social Role of Documentary,

Cinma verit: The Fly on the Wall and Inuences)

Main Points: Filmmakers see this orm variously as

a way o engaging audiences emotionally througha story about real lie, as translated experience,

as a painting. Filmmakers see documentary as

an archive o human experience, a conversation,

a provocation. Sometimes it expresses a personal

voice, other times it makes a political statement.Cinma vrit is a ubiquitous style, but not neces-sarily the road to truth and according to some,

has limitations. *Certain documentarians have had

a proound infuence on other lmmakers.

Discussion questions: What makes documentary

lms distinct rom other genres? Is documentary an

art orm? Why do lmmakers enjoy making documen-taries? What dierence can a documentary make in

the world? *Who do documentary lmmakers citeas major infuences?

wr Do Idas Com From? Film Chapter 3(Special Features Plannin and Prparation:

Ideas & Inspiration)

Main Points: Their own curiosity and personal

engagement guide their search or stories and

shape their themes. Sometimes the idea arrives

unexpectedly; sometimes the lmmaker gives him/

hersel a set o criteria and then looks or the idea

to t it.

Discussion questions: What drives lmmakers tosettle on a particular story or theme? How do theychoose their stories? What makes them decide tocommit to making the lm?

Plannin & Prparation Film Chapter 4(Special Features Plannin and Prparation:

Research and Structure & Approach)

Main Points: Some documentarians nd a theme or

a through-line that guides their organization. Some

work rom well-dened scripts. Some simply lookor opportunity while others do a huge amount oresearch beore starting. In all cases, the resulting

lm has a dened structure that results rom a

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etics: Rprsntin Ralit Film Chapter 9(Special Features Truth, Prspctiv & ethics:

Perspective and Ethical Issues)

Main Points: Filmmakers disagree on the ethicalobligation they have to their subject. Some thinkthe subjects wishes need to be honoured i theres

a good reason. Some think that telling the story ismore important even i it might hurt the subject.Others deend their right to reveal insights rom

other cultures that may otherwise not be told or

heard. *A documentary doesnt refect an objective

truth but rather the perspective o the lmmaker.*Sometimes coming rom another culture or reality

can give a valid and dierent perspective. *It is

almost unavoidable that the lmmakers presence

and their camera will have some eect on thesubjects.

Discussion questions: What should a lmmaker do

i the subject doesnt like how he/she is portrayed?

What gives the director the right to tell someoneelses storyespecially rom across a cultural,

class or other divide that separates powerul romless powerul people? Does a lmmaker have the

right to make a documentary about a dierent

culture/reality than their own and lm peoples

stories or the entertainment or education o his

or her own society?

Risk & Adrsit Film Chapter 10(Special Features Th Shoot: Handling Risk

and Adapting to Circumstances)

Main Points: Both lmmakers and their subjects

at times choose to take risks in making a lm.

The process o deciding whether to take the riskis oten very dierent or each o them. Whetheror not to take the risk needs to be careully con-sidered on both sides. Experiencing diculties inmaking a documentary can be a good thing.

Discussion questions: Up to what point is it all

right or lmmakers to allow their subject to be

endangered or place themselves at risk? How do

documentary lmmakers assess how much risk

they or their crew should take? Think o dierentsituations where obstacles lmmakers conront

can be benecial to the lm.

Accss & Trust Film Chapter 11(Special Features T Soot: Getting Access)

Main Points: Access is essential. It depends

on establishing a relationship o trust, listening

closely and asking the right questions. Sometimes

it depends on persistence.

Discussion questions: What are some ways a

lmmaker can get access to their subjects and

the story? Why might someone consent to allow almmaker to document aspects o their lie? How

can access change as the lming process movesorward?

gttin t Sots Film Chapter 12(Special Features T Soot: Getting the Shots)

Main Points: Dierent lmmakers use various

approaches to recording events. Some let the

camera be their eye experiencing the event. Others

are very deliberate in how they rame and shoot

events. Some directors believe the camera should

not interrupt the exchange between the person

shooting and their subject, while others nd it canbe used to provoke reactions productively. *Both

technical and personal qualities make a good

cameraperson. *Planning shots and sequences

ahead is just as important as fexibility once theshoot is underway.

Discussion questions: What kinds o visual inor-mation might a documentarian hope to get in theirshot? How does the cinematographer decide whatand when to lm? How important is perspective

when shooting? *What are some characteristics

o a good cameraperson?

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Cuttin Ralit: T Art o editin Film Chapter 18(Special Features editin: Director and Editor:

The Relationship and Working with the Footage)

Main Points: Editing requires working with thematerial collected and distancing yoursel rom

the memory o what you had hoped to get beoreand during your shoot. It can be a long process

and it is crucial to building the narrative thread oa documentary. Some lmmakers make changes

in editing based on eedback rom test audiences.Editing involves wrestling with ethical choices.

There are many ways or the lmmaker and editorto work together.

Discussion questions: What are some dierent

approaches to putting a lm together in the editsuite? How do lmmakers decide what should

stay and what should go? How do lmmakers

get eedback? Is editing an ethical as well as anaesthetic process? *What are some ways or thelmmaker and editor to work together?

Final Touts & Ancdots Film Epilogue(Special Features Final Touts & Ancdots:Chris Marker to the Rescue, Anatomy of a Scene,

Director as Immune System of the Film, A Confronta-

tion o Fictions, The Importance o Experimentationand Filming: Its a Relationship)

Main Points: Documentarians sometimes want tochange the world, sometimes they want to enjoy

the world, sometimes they want to learn rom it,

sometimes they want to share their insights andexperience about it. Changes in technology and

the role o media are having a signicant impact on

peoples ability and desire to watch and to createdocumentaries. *Over time lmmakers develop

their own vision o what documentary is to them.

Discussion questions: What are some reasons

lmmakers work so hard at something that is

oten dicult to make and ultimately may not be

seen by many people? Do you think the general

publics interest in documentary is changing and

i so, why?

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SUggeSTeD CROSS-CURRICULAR ACTIvITIeS(ADAPTABLe FOR ALL COURSe SUBjeCTS)

Viewing with discussion. You can show Capturing Realityin its entirety and discuss it with your students.

I you dont have the time, or it isnt appropriate to your courses subject matter, you can assign the lmor viewing outside o class and replay key chapters in class. You can also select key chapters in the lmand/or the Special Features to trigger classroom discussion or show chapters in conjunction with a shortdocumentary or short news clip o your choice. (You may also want to assign Special Features segmentson the DVD or rom the Web site as homework)

Scenarios (case studies). Students can put themselves in the shoes o lmmakers acing an ethical,

aesthetic or technical challenge ater watching segments oCapturing Realityor select Special Features.Write scenarios that engage studentsthat are about their own lives, the places and people they encounter.

Ask them to orm small groups and to develop a position, exploring as well the reasoning behind it. Thenspokespeople rom the group can share the groups results. In each situation, people may come up withdierent positions, as is clear rom the lm. Here are some suggested scenarios:

After watching lm Chapters 1-2, 5-6, 8-9 and matching Special Features, Topics (see Film andSpecialFeatures section on pages 2-6 or related excerpts): You are making a cinma vrit lm about a yearin high school (or college). One o your most important characters, it turns out, is one o the leadingproviders o illicit substances in the school. Its a great story, and also it explains a lot about this char-acters behaviour, riends and spending habits. Leaving it out would be lying about reality, and putting itin would put them at risk o legal prosecution. What do you do?

After watching lm Chapters 1-3, 8, 14 and matching Special Features, Topics: You are making a docu-mentary about a major corporations corrupt behaviour. You have audio, but you have no video or acrucial piece o evidence showing that the corporations employees understood ull well what they weredoing. You could run a generic background, you could use a collage o peoples aces, you could lm

people in shadow, silhouette, behind og or in Rotoscoping doing the actions o the people heard onaudio. What is the most responsible thing to do?

After watching lm Chapters 1-2, 5-6, 8, 11 and matching Special Features, Topics: You have been working

with an elderly quilt maker in your community about her lie story, how she acquired her crat and whatstories her quilts tell. But she is now ailing, and her daughter doesnt like you. The daughter tells youthat you cant lm anymore and that you cant use the material youve lmed so ar. You think you haveenough material to tell a good story. You have a release rom the quilt maker, but the daughter says itsnot valid because she was already having memory problems when she signed it. What are the issuesyou are balancing, and what will you do?


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Role-playing. Students can role-play dierent lmmakers around similar scenarios. For instance, on thequestion o whether re-enactment is appropriate, have 4 or 5 students assume the roles o lmmakerssuch as Errol Morris, Michel Brault, Werner Herog, Jessica Yu, Nick Broomeld, Kevin Macdonald, SergeGigure or Stan Neumann. You can also debate the question o whether interviews or voice-over narration

is appropriate. Students might choose to play a male lmmaker (Jean-Xavier de Lestrade, Kevin Macdonaldor Barry Stevens) while others play a emale lmmaker (Jennier Fox, Laura Poitras or Nettie Wild), anddiscuss the challenges around commitment to subjects.

Note: This exercise will require a certain amount o research in order or the students to learn more about

the particular lmmaker beyond what is covered in Capturing Reality. Both the DVD and the Web site

provide a basic biography and lmography or each director eatured in the lm, which could be a goodstepping stone or this exercise.

Hold a debate. You can explore ethical, genre and aesthetic issues by way o a debate, in which one

team must attack and one team must deend a position. In all cases, o course, there is no correct side.The goal is to bring to light typical one-sided arguments and then show why they are not adequate to the

challenge o making honest and honourable documentary lms. Divide the class in hal. Ask the sides tomeet to develop positions (reminding them that the job is to deend the position, not what they think isright), or more casually simply ask students to chat or a ew minutes with their neighbours. Then ask one

team to speak in deence o the positioninormally, not according to debate rules, but using argumentsrom the lm. Ask members o the other side to reute that position, using arguments rom the lm. Some

debate topics might be:

Documentarians exploit people when they take their stories and use them to entertain other people.

A good documentary lm should be able to let the characters and their conficts tell the story;you shouldnt need a narrator to tell you what youre watching.

Documentaries are no more truthul than ction lms because lmmakers manipulate reality whenthey make their lms.


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SAMPLe TeAChINg MODULeSFOR MeDIA PRODUCTION, MeDIA LITeRACy, CINeMA STUDIeS, eThICS,LITeRATURe AND hUMANITIeS, SOCIAL STUDIeS AND jOURNALISM

Here are some sample modules, organied by curriculum area or secondary school and early post-sec-ondary studies. You can customie the modules or use them as a spur to your own invention. Dependingon time and level o the course, you may want to supplement with or simply use or assign the SpecialFeatures segments on the DVD or Web site.

Mdia Production/Mdia Litrac: Documntar flmmakin unit (4-8 ours)

Goal: To integrate core questions encountered by lmmakers and showcased in Capturing Reality intostudent productions, with students seeing themselves as media creators with a range o choices to

approach aesthetic and ethical issues.

Method: Assign or watch the lm in our units. The units could be divided as ollows:

Setting up the project: Chapters 1-2, 19, Special Features, Topics: gttin Startd, explorin t gnr,Plannin and Prparation and Final Touts & Ancdots.

Relationships with subjects and selection o style: Chapters 5-8, Special Features, Topics: Rlationsips,and Trut, Prspcti & etics: Truth.

Ethics and risks: Chapters 9-11, Special Features, Topics: Truth, Prspctiv & ethics: Prspctiv/

etical Issus, T Soot: Handling Risk and Adapting to Circumstances and Getting Access.

Elements o crat: Chapters 12-18, Special Features, Topics: T Soot: Getting the Shots, the Power oImages, Recreating Reality, and Sound: Designing Sound, Music, and Narration and editin.

For each unit, students work on a short (3- to 5-minute) documentary. I you lack equipment, you can havethem write a treatmenta step-by-step description o the lm. People can work in small groups, or as a whole.

Conclude the unit with a screening o work or, i a treatment, pitch session (a presentation o an ideaor a lm, with description, usually made to prospective unders, described well at http://www3.nb.ca/webextension/thepoint/students.php). Follow up with a discussion related to points made in CapturingReality.

At the end o the unit, students could be expected to upload and share their lm on a Web platorm suchas YouTube or a school site. They could also post questions similar to the ones raised in the lm abouttheir own lm on those sites.

An important aspect o media literacy is the understanding that all media is constructed and that dierent

people experience or express messages dierently. I you wish to explore this aspect urther, visit theCenter or Media Literacy website, and ask students to deconstruct a short documentary, their own work,or the work o their classmates using the CMLs Five Key Questions.

Suggestions or structuring the production assignment: Chose one or more topics yoursel or in a brain-storm session with your students. Regardless o how you structure this (assigned topics by the teacheror chosen by students), students should make a lm about something they know or are passionate about

and that they can realistically produce within the connes o a school, classroom or local community.


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Mdia Litrac/enlis/Cinma Studis: gnr--wat dfns a documntar?

1. Goal: To dene the genre o documentary lm using the actual experiences o lmmakers as shown inCapturing Realityand in the Special Features.

Begin by a brainstorming session, asking undamental questions such as: What is a documentary? Whatdocumentaries have you seen? What have you liked and disliked?

View one or more short documentaries, or instance rom the National Film Board o Canada, QuantumShit, or Media that Matters Festival. (You could assign specic lms or have students select and vote onthe lms to watch.) Discuss how this work ts the expectations and diers rom those o the students.Apply the CMLs Five Key Questions to ur ther explore and deconstruct the media at hand.

Encourage students to research the lmmaker behind the lm that they have just watched. What did theylearn about this particular lmmaker? What would this lmmaker say in response to what is discussed inChapters 1-5, 19 in the lm and the relevant Special Features?

As a class activity, students might pick a avourite director and discuss how this person would respond,providing rationale based on research and the content, technique and style o the lm.

2. Goal: To understand that documentaries are made by individuals or a wide range o reasons, with awide range o approaches. Nonetheless, they still work within a recognied genre o documentary lm.

Watch Chapters 1-5, 19 oCapturing Realityand relevant Special Features. Discuss how lmmakers thinkabout their work and what a documentary is or them. How do their experiences dier rom the studentsexpectations beore they watched?

Briefy discuss dierences between students attitudes about documentary beore watching the lm

and ater. Follow with Special Features excerpts rom two contrasting lmmakers, or example Alanis

Obomsawin, who has a clear social mission or her work, and Werner Herzog, who uses reality as a tapestry

or his existential quest. Or you could compare Jennier Baichwal and Errol Morris; both are driven to

explore philosophical questions, but in dierent styles. Or compare Catherine Martin and Serge Gigures

relationship with character and subject. Discuss how dierently they dene their task and how it aects the

documentary that results. How are subjects and/or events treated dierently by dierent lmmakersor

instance, directors with opposing points o view, directors rom varying cultural, socio-economic and ethnic

backgrounds, directors o varying age groups and by those with specic audience intentions (or instancea lm or young people, a lm or teachers, a lm or television viewers)?

As an activity, assign students a topic and have them write a description o two lms, each told rom aperspective represented by one o the lmmakers. Or simply ask them to deal with the same subjectmatter rom two perspectives.


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Litratur/Cinma Studis: Stortllin

1. Goal: To investigate the range o narrative approaches in documentary lm.

First, view a short lm, perhaps rom NFB.ca, or another o your choice, and discuss with students whatthey understood to be the plot and the structure o the lm. Ask who was telling the story, and how theyknew that. Ask who the leading characters were. You can assign, in conjunction, the paragraphs associated

with script in this helpul overview rom A Danish Journal o Film Studies. (Editor: Richard Raskin, Number

13, March 2002. Department o Inormation and Media Studies. University o Aarhus)

2. Goal: To introduce the notion that lms about real lie involve choices about how to tell the story, anddevices and approaches that parallel those in other texts.

View Chapters 3-5, 7, 12-18 and, i time permits, the related Special Features segments.

Discuss:

What narrative strategies do the lmmakers in Capturing Realityemploy and why?

What design elements and aesthetic choices aect the storytelling?

How are stories told and how would this story be dierent i it were written in a book?A newsmagaine? A television program? On the news?

How does the ormat dictate the message?

What is required o the audience in each o these situations?

How does this requirement shape the impact o the message on the audience? (For instance, watchinglms on TV is a relatively passive activity while reading a book is an active process; news is oten lacking

context while watching a ull lm oten provides context or a situation.)

3. Goal: To demonstrate the many tools and choices used by lmmakers in creating a story out o real-lie

material and characters.

As an activity, have students imagine a lm as a play, newspaper article, advertisement, book, magainearticle or other mode o expression.


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Social Studis/journalism

Some documentarians think o themselves as journalists; most, however, think o themselves as story-tellers o signicant and interesting aspects o real lie. Capturing Realitycan show how important public

aairs issues are addressed in long orm, storytelling mode.

1. Goal: To demonstrate the variety o ways that social issues can be covered and to show the impact odierent expressive choices on what is told.

Choose a current aairs topic that is touched upon in Capturing Reality, or instance, economic develop-ment in Arica (Darwins Nightmare, Hubert Sauper, or The Invisible Hand, Sylvain LEsperance), humanimpact on the planet (Manuactured Landscapes, Jennier Baichwal), disappearing ways o lie (Pour la

suite du monde, Michel Brault), transnational justice (The Pinochet Case, Patricio Guzmn), terrorism

(One Day in September, Kevin Macdonald), indigenous rights (Kanehsatake: 270 Years of Resistance,

Alanis Obomsawin), or the war in Iraq (My Country, My Country, Laura Poitras). Select a news segment,or instance rom the Canadian Broadcasting Corporation (www.cbc.ca), and have students comment on

the message and what was learned. Compare it with a short article rom a national-level newspaper onthe same general topic.

2. Goal: To raise or discussion the impact o orm and style on delivery o inormation in daily journalism.

Discuss the students expectations or what a documentary on such topics should look like. As a ollow-up, show Chapters 1-3, 7-10, 17 and 19, with related Special Features i time permits. Discuss how these

lmmakers approach the topics they address and how their choices dier rom a journalist working ora newspaper, radio, TV or Web service. Discuss how the dierence in time commitment to the topic thejournalist or the lmmaker can make will aect the coverage the story gets.


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etics/Mdia Litrac (1-4 ours, dpndin on coic o options):

The suggested activities explore the ethical challenges o telling something truthul about something inreal lie. Understand that all expression involves not only aesthetic but ethical choices.

First, assign students to watch, or watch in class, Chapters 1-3, 5-9, 11 and 14 rom Capturing Reality:The Art o Documentary.

Then, assign students to watch, either as a group or out o class, one o the lms discussed in the lm.Assign or screen Special Features segments ater the lm screening.

1. Goal: To raise & explore ethical choices in documentary lm.

a) For instance, you might use Standard Operating Procedure, Errol Morriss documentary about the photo-

graphs taken in the Abu Ghraib prison in Iraq.

Discuss: Do you agree with Errol Morriss choices or portrayal o character, interviewing and re-enactment?What are the principles on which you ound your support or disagreement?

What would this lm look like i it were told rom someone elses perspective (a victim, a governmentocial)?

Whose voice is absent or omitted rom the lm? Who did you want to hear rom? Why do you think thisvoice was excluded was it a question o access or o choice?

From whose point o view is this story told? Do you eel that this person is well positioned to tell the story?

Are there cultural, gender or class issues at play in this lm and how the story is told?

b) You might choose instead to show a lm by Alanis Obomsawin, or instance, Kanehsatake: 270 Yearso Resistance (available ree online at NFB.ca).

Discuss: Should Obomsawin have spent more time showing the other side o the story? How did Obomsawin

create interest in and empathy or the Mohawk activists? Was this air? Why or why not? How does sheuse technique to reinorce her political position? Discuss the impact o technique on the audience (orinstance, note the angle o view in representing the police, her narration, her positioning and representa-tion o the opponents). Compare her lm to media coverage o the stando. How does it dier rom whatyou can learn rom watching the news?

c) You might, alternatively, choose Nettie WildsA Place Called Chiapas, which explores the movement orindigenous rights led by a let-wing Mexican scholar. Discuss: How does the lm position the viewer? Does

Wild, as a Canadian, have a right to make a lm about civil rights struggles in Mexico?

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etics/Mdia Litrac (1-4 ours, dpndin on coic o options): Continud

2. Goal: To understand the ethical challenges lmmakers (and other storytellers about real lie) ace, tosee the range o approaches and attitudes and to discover common themes, or instance the developing

o mutual respect between lmmaker and subject.

Select, with the students, ethical challenges raised in the lm, or instance those raised in the questionsin Choice A. View, with the students, Special Features related to these questions or instance, sectionsRelationships, Truth, Perspective & Ethics. Discuss the ethical grounds or principles that seem to inormthe decisions that lmmakers make (even though they do not articulate them as such). Ask students how

they arrived at these principles or reasons or the attitudes and actions o the lmmakers.


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SPeCIAL FeATUReS By FILMMAKeR AND TOPICS

JENNIFER BAICHWAL

MANFRED BECKER

MICHEL BRAULT

NICK BROOMFIELD

JOAN CHURCHILL

MALCOLM CLARKE

EDUARDO COUTINHO

PAUL COWAN

JEAN-XAVIER DE LESTRADE

MOLLY DINEEN

JENNIFER FOX

SERGE GIGURE

DENIS GHEERBRANT

PATRICIO GUzMN

WERNER HERzOG

SCOTT HICKS

HEDDY HONGIMANN

JEAN-DANIEL LAFOND

SYLVAIN LESPRANCE

JEAN PIERRE LLEDO

KIM LONGINOTTO

KEVIN MACDONALD

CATHERINE MARTIN

ALBERT MAYSLES

ERROL MORRIS

STAN NEUMANN

ALANIS OBOMSAWIN

LAURA POITRAS

EMMANUEL PRIOU

VELCROW RIPPER

HUBERT SAUPER

RAKESH SHARMA

CLAIRE SIMON

BARRY STEVENS

SABIHA SUMAR

NETTIE WILD

PETER WINTONICK

JESSICA YU

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JENNIFER BAICHWAL

MANFRED BECKER

MICHEL BRAULT

NICK BROOMFIELD

JOAN CHURCHILL

MALCOLM CLARKE

EDUARDO COUTINHO

PAUL COWAN

JEAN-XAVIER DE LESTRADE

MOLLY DINEEN

JENNIFER FOX

SERGE GIGURE

DENIS GHEERBRANT

PATRICIO GUzMN

WERNER HERzOG

SCOTT HICKS

HEDDY HONGIMANN

JEAN-DANIEL LAFOND

SYLVAIN LESPRANCE

JEAN PIERRE LLEDO

KIM LONGINOTTO

KEVIN MACDONALD

CATHERINE MARTIN

ALBERT MAYSLES

ERROL MORRIS

STAN NEUMANN

ALANIS OBOMSAWIN

LAURA POITRAS

EMMANUEL PRIOU

VELCROW RIPPER

HUBERT SAUPER

RAKESH SHARMA

CLAIRE SIMON

BARRY STEVENS

SABIHA SUMAR

NETTIE WILD

PETER WINTONICK

JESSICA YU

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FINAL

ThOUghTS &ANeCDOTeS

SPeCIAL FeATUReS By FILMMAKeR AND TOPICS


19/19


ReLATeD ReSOURCeS

Auderheide, Patricia. Documentary Film: A Very Short Introduction (Oxord, 2007).

Barnouw, Erik. Documentary: A History o the Non-Fiction Film (Oxord, 1973).

Cunningham, Megan. The Art o the Documentary: Ten Conversations with Leading Directors,Cinematographers, Editors, and Producers (New Riders, 2005).

Macdonald, Kevin and Mark Cousins, eds. Imagining Reality: The Faber Book o Documentary(Faber & Faber, 2006).

Rabinger, Michael. Directing the Documentary(Focal Press, 2004).

National Film Board Web site www.nb.ca

Peter Wintonick, Cinma vrit: Defning the Moment (National Film Board, 1999).

Witness, Video or Change Training Guide (Pluto Press, 2005), also ound athttp://www.witness.org/index.php?option=com_content&task=view&id=277&Itemid=207

Visit the Capturing RealityWeb site: www.nb.ca/capturingreality or more related resources.

USeR gUIDe CReDITS

Written by Patricia Auderheide, Director o the Center or Social Media at American University, Washing-

ton, DC in collaboration with Pepita Ferrari, writer/director oCapturing Reality: The Art o Documentary.

NFB Project Leader: Susan Nosov

NFB contributors: Veronica Barton, Kristine Collins, Dylan McGinty and Michelle van Beusekom

Educational consultants: Eliabeth Miller, Susan Stranks, and Darrell Varga

Copy editor: Nancy Barr

Design and layout: Communication Malabar

Documents

Capturing Reality UG Final