窪蹋勛圖厙

Skip to Main Content
窪蹋勛圖厙
MDOCs title

Courses Push the Boundaries of Doc

May 16, 2018
窪蹋勛圖厙's documentary studies program is many things, but it is not (and does not aspire to be) one thing to all people.  In its first four years, the program has developed a three-tiered set of offerings designed to meet the needs of a diverse community of once and future storytellers who may arrive with no experience, as self-taught, or with coursework or professional experience in hand. Just as importantly, while building support in the program and across campus for a core group of competencies in oral history, sound storytelling, exhibition, photography and film, the MDOCS program has thrived on experimentation, innovation and risk taking whether by jumping in to a new-to-us or innovative medium, or facilitating partnerships.  To service this community, the program 'pushes the boundaries' of doc whether through inviting professionals to teach, trying new media, or edging into territory that may be claimed by journalism at one end and fiction at the other. Read on to learn more about the curriculum's structure and some exciting spring '18 courses that came out of them.

A lot of professors in the MDOCS department have full-fledged careers outside of being a Professor and what I find so valuable about that is that they bring that experience into the classroom and it really feels like youre talking to someone who has been there in the field and has the experience to share with you.
Eleanor Green
The Curriculum
The 'Storytelling Toolkit' classes offer one- and two-credit skill building opportunities in a range of methods and skills, suited for beginners. They focus on production, and invite students to bring stories or build in a class project.  These courses draw a diverse crowd from those not yet convinced of their ability to make a visual argument in a map, data visualization or film to those planning to incorporate oral histories into an American Studies capstone or exploring how exposure to professional graphic design software and principles can enhance public science communication. 
"Documentary Studies" courses more evenly mix theory and practice and add a good dose of storytelling guidance and ethical instruction to boot.  All emphasize how research can be presented creatively, whether by preparing a pitch or treatment, editing archival footage, layering soundscapes and music into an audio documentary, or heading to downtown Saratoga to photograph a political event.  Students in "Script to Screen" research historical settings, lighting traditions and even patterns of speech.  In Spring 2018, photographer Daesha Dev籀n Harris offered a new 7-week course in social documentary photography that brought them off campus and into the Saratoga community.  Martha Wiseman built an English Department course around the photo essay, inviting students to take what they learned when considering photo essays in print and in a gallery to creating their own photo story.
I think its a program thats so expansive in terms of experiences you can have. If youre interested in being a cameraman you can learn all skills needed to hold a camera and take a good image, but if youre interested in telling a story and what it means to have a good interview and edit and create a storyboard but also find the right audience MDOCS allows you to do everything thats related to film, media and documentary. You meet people from different parts of the world, you see work from different parts of the world, which I think is the most important. To be exposed to the work thats being done outside of 窪蹋勛圖厙, outside of Saratoga and see who you can become. And I think MDOCS allows us at an undergraduate level to use equipment and use resources to see who we can become using the power of media.
Urvi Kalra
Workshop and practicum classes support documentary work that does not quite fit in a regular course structure.  Ron Taylor's Video Workshop class offers critique and support to students creating videos for independent projects or courses outside of MDOCS.  For Maddie King, '18, the workshop offered the structure she needed to complete the film she started with a summer experience grant, The 窪蹋勛圖厙-Saratoga Memory Project Practicum welcomes faculty from all disciplines who are working with a community partner to pull together an academic experience in documentary form.
***
This spring, four courses on campus have pushed students' boundaries for making and engaging with documentary work.  In the March 2018 newsletter, we heard from students in Jasmyn Story and Noah Kernis' Tech for Change course.  Below, we hear from the other three. 
 
Students in Cecilia Aldarondo's Idea Lab course, Testing the Limits of Documentary Film, discuss the impact of inviting cutting-edge curators and filmmakers to present work, discuss their challenges as well as successes, and lead workshops.  Adam Tinkle's Creative Research course invited advanced students to explore multiple formats for presenting their research, using techniques from storyboarding to 'zine making to elicit the right form.  Sarah Friedland drew on her own research on Palestine for the film project Lyd in Exile to develop the Palestinian Voices series with Nurcan Atalan-Helicke, bringing students the opportunities to engage with professional and student work from across the globe, pushing the boundary on what is accessible by not only bringing speakers to campus but working with technology to host conversations with those who could not travel.

Testing the Limits of Doc Film

Part workshop, part visiting artist series, this 5-session experimental course explores boundary-pushing documentary practice in the United States, through a series of immersive exchanges between 窪蹋勛圖厙 students and prominent leaders in the field of documentary arts. The US documentary film landscape is in many ways more formally conservative than ever, with funders, festival programmers, and distributors alike favoring highly conventional films. At the same time, many documentarians are exploiting documentarys supposed limits and diving headlong into experimentation, cross-pollination, and innovation. This course invites students to study the minefields of contemporary documentary film arts, in order to provoke powerful debates around the tensions between documentary form and the genres most cherished political and social imperatives. Each session (exact dates TBD) involves (1) a Thursday night public presentation by the visitor and (2) a six-hour Friday workshop. (Counts toward the Media and Film Studies minor.)

Workshop Session
Workshop with Martin DiCicco.

"Our multi-hour sessions afforded a more in-depth experience with each visiting documentarian/curator than any other lecture or workshop I've had the pleasure to attend. The class imbued me with a renewed love of documentary film, complete with a trained critical eye. It was a real treat to work with such a varied group of creators and gain wisdom from them, especially given that the majority openly described all aspects of their filmmaking process with honesty and respect for us as learners. 窪蹋勛圖厙 would do well to host more courses in this vein of thought, structure, and style." - Testimonial from student

 

 

 

 

 

Creative Research, Multimedia Storytelling

In this project-based advanced seminar, we will explore the shared fabric and interdisciplinary connections between research and hands-on creative making. We will begin by interrogating disciplinary norms around how knowledge is produced, authenticated, and communicated--what are the claims that artistic, humanistic, and scientific disciplines  make on truth and representation, and why/how might we disrupt these?  Each student will then identify a major project of contentful inquiry that they will undertake over the course of the term. This might mean doing documentary fieldwork (especially for students  who have already taken MDOCS courses in audio or video), but for students from across the disciplines, this could instead mean dealing with found-footage, going into an archive, conducting an ethnography, or continuing to probe some research topic investigated  in some other past or concurrent course.
Then, working from the results of their personal inquiry, students  will employ a range of expressive media (presumably working largely with whatever media they are already most comfortable) to produce 3 creative projects, in 3 distinct modalities: an object (e.g. a poster, broadsheet, pamphlet, zine, assemblage, or display  cabinet), a spatial work (e.g. a gallery installation, a virtual reality space, a site-specific intervention, or an augmented reality mobile experience), and a time-based work (e.g. a film, podcast, or performance).
Creative Research Exhibit
Trees of Knowledge: an exhibition of creative research and multimedia storytelling

 

Palestinian Voices

It's not really boundary pushing, but MDOCS events ...

"The Palestinian Voice Series was a semester-long event series that carved out an unique and dynamic space on campus for students and faculty to engage with the work of Palestinian media artists, scholars, and filmmakers, as they shed their own light on the Israeli-Palestinian conflict. This series provided an interdisciplinary, artistic, and educational platform for Palestinian stories and voices to be heard and nurtured on our own campus, in a way that many of us have never seen before at 窪蹋勛圖厙. It empowered me particularly as an American Jew on-campus, whose education growing up surrounding the Israeli-Palestinian conflict often only centered Jewish Israeli voices and opinions. I felt encouraged to step outside of the paradigm I was exposed to and engage in a larger, more nuanced conversation between myself and others within and beyond the 窪蹋勛圖厙 Jewish community about Israel-Palestine. 

One of the most powerful aspects of the series was the way it challenged each of us, from our own positionality in this complicated conflict, to begin to deconstruct the narratives we were taught about this conflict and begin to open ourselves to the many Palestinian perspectives and voices that exist. Each of these events, particularly the Student Films from Palestine screening, gave the 窪蹋勛圖厙 community a rich glimpse into the multi-faceted lives and stories told and represented by Palestinians themselves. This event as well as others in the series, asked of students and faculty, especially those in the fields dealing with representation and truth telling, to hold a mirror to ourselves and the mediums in which we are attempting to represent the world through. As an aspiring documentary storyteller who is invested in using multimedia as a tool for justice and healing, I was inspired by Palestinian filmmaker Baha Abu Shanab as well as Palestinian scholar Issam Nassar, in their work and sentiments surrounding decolonizing the ways in which we all represent, capture, and consume the stories of Palestinians in Israel-Palestine. Through education and storytelling, this series served as a powerful launching pad towards more inclusive and nuanced discussions as well as community building on 窪蹋勛圖厙s campus that may not have existed prior. " - Amanda Peckler, '20