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| Chapters | |
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| Reimagining Documentary | |
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| ·Reality? | |
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| ·OBJECTIVITY? | |
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| ·TRUTH? | |
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| ·THE SUBJECT OF DOCUMENTARY | |
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| The "Gap" Between Subject and Filmmaker | |
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| Countering Ethnography | |
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| ·PUSHING DOCUMENTARY FORM AND FUNCTION | |
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| ·DOCUMENTARY, POWER, AND THE PUBLIC SPHERE | |
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| ·INTO PRACTICE | |
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| Analysis | |
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| Development | |
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| Production | |
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| ·WORKS CITED | |
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| A Brief History of Documentary: Movements and Modes | |
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| ·ROBERT FLAHERTY: BUILDING CHARACTER AND NARRATIVE COHERENCE | |
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| ·CINEMA AS SOCIAL TOOL: RUSSIAN FORMALISM AND THE REFLEXIVE MODE | |
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| ·WAYS OF SEEING: AVANT-GARDES AND THE POETIC MODE | |
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| ·DOCUMENTARY AS HAMMER: THE EXPOSITORY MODE | |
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| ·DIRECT CINEMA: THE OBSERVATIONAL MODE | |
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| ·CINeMA VeRITe: THE PartICIPATORY MODE | |
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| ·THE EMERGENCE OF VIDEO: TAKING ON TV & TOP-DOWN MEDIA | |
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| Collective Resistance: Guerilla TV | |
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| Community-Based Media and Independent Investigative Reporting | |
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| ·BODY AS CONDUIT: THE PERFORMATIVE MODE | |
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| Feminist Performativity | |
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| Queer Performativity | |
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| Broader Use of the Performative Mode | |
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| ·PERFORMING SELF: THE AUTOBIOGRAPHICAL MODE | |
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| Second Wave Feminism and Autobiography | |
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| Gay Rights Media and Queer Autobiography | |
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| ·TRYING OUT REALITY: THE ESSAYISTIC MODE | |
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| ·MULTI-MODAL MAKING | |
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| ·INTO PRACTICE | |
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| Analysis | |
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| Development | |
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| Production | |
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| ·WORKS CITED | |
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| Crafting Your Story | |
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| ·CONTENT: WHAT's IT REALLY ABOUT? | |
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| The Central Question | |
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| Theme, Story, Plot | |
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| World and Scope | |
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| Who is Your Audience | |
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| Documentary Function | |
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| ·RHETORIC: THE ART OF PERSUASION | |
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| A Sense of Ethos: Character Development | |
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| Feeling Pathos: Emotional Truths | |
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| Building With Logos: Demonstrative Proof | |
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| Choosing Your Rhetoric | |
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| ·STRUCTURE: ORGANIZING REALITY | |
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| Back to Aristotle | |
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| Stuck in the Middle | |
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| Structural Variations: Linear, Episodic, Thematic | |
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| Establishing a Present Tense | |
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| Developing Character Arcs | |
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| ·INTO PRACTICE | |
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| Analysis | |
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| Development | |
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| Production | |
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| Style: Audio-Visualizing the Documentary | |
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| ·VISUAL DESIGN | |
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| Shooting Format | |
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| Aspect Ratio | |
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| Color vs. Black and White | |
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| Framing | |
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| Shot Size | |
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| Camera Placement | |
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| Movement | |
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| Lighting | |
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| Visual Metaphors and Structural Motifs | |
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| Challenging Expectations | |
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| ·SOUND DESIGN | |
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| Tracks | |
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| Smart Design | |
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| Sound Alternatives: Beyond Voiceover and Talking Heads | |
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| ·THE BIG PICTURE | |
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| ·INTO PRACTICE | |
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| Analysis | |
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| Development | |
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| Production | |
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| Documentary Ethics: Focusing Your Professional "Gaze" | |
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| ·THE GAZE | |
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| The Accidental Gaze | |
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| The Helpless Gaze | |
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| The Endangered Gaze | |
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| The Interventional Gaze | |
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| The Humane Stare | |
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| The Professional Gaze? | |
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| ·APPROACHING THE OTHER | |
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| ·ETHICAL PRODUCTION METHODS | |
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| ·THE LEGACIES OF INTERVENTION | |
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| ·AN ETHICS OF THE ARCHIVE | |
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| ·YOUR PROFESSIONAL GAZE? | |
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| ·INTO PRACTICE | |
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| Analysis | |
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| Development | |
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| Production | |
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| Project Information Sheet | |
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| Subject Release Form | |
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| Capturing Reality: Production Strategies | |
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| ·IN FOR THE LONG HAUL: HARLAN COUNTY, U.S.A | |
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| ·PLANNING AHEAD AND LETTING GO: TOUCH THE SOUND | |
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| ·A VESTED CREW: DARK DAYS | |
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| ·THE PRODUCTION NOTEBOOK | |
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| Project Information Sheets, Release Forms, and Emergency Medical Forms | |
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| Location Releases and Permits | |
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| Production Insurance and Carnets | |
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| Shooting Schedule | |
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| Call Sheets | |
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| Treatment, Prospectus, and Aesthetic Plan | |
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| Camera Reports and Editing Log | |
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| ·THE RIGHT TOOLS FOR THE JOB: CAMERA/SOUND TESTS | |
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| Location Scouting | |
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| Camera Test | |
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| Lighting and Exposure | |
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| Making Sound Decisions | |
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| Types of Microphones | |
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| Handling and Positioning | |
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| Tethered or Wireless | |
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| Covering Your Bases | |
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| ·SHOOTING ON THE FLY: FIELD TECHNIQUES | |
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| Interviewing Tips | |
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| Coverage, Handles, and Transitions | |
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| Room Tone and Wild Sound | |
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| Developing a Routine | |
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| ·INTO PRACTICE | |
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| Analysis | |
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| Development | |
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| Production | |
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| Shaping Reality: the Post-Production Process | |
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| ·EDITING: CUTTING OUT THE BAD PartS? | |
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| Selects: One Man's Trash, Another Man's Treasure | |
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| ·DEVELOPING AN EDITING STYLE | |
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| Shots, Scenes, and Sequences | |
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| Transparency vs. Reflexivity | |
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| Modes and Editing Style | |
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| Manipulating Space and Time | |
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| Suspense vs. Surprise | |
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| Teasers and Trailers | |
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| ·DESIGNING SOUND | |
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| Track Organization | |
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| Sound Masking | |
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| Words, Words, Words | |
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| Mickey Mousing | |
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| Dynamics | |
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| Towards an Ethics of Scoring and Sound Design | |
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| Music Rights | |
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| Working With a Composer | |
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| A Grizzly Case Study | |
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| ·CONCLUSION: A POST-PRODUCTION MAP | |
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| ·INTO PRACTICE | |
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| Analysis | |
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| Development | |
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| Music Release Form | |
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| Practice | |
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| Distribution Strategies: From Movie to Movement | |
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| ·DON't UNDERESTIMATE YOUR AUDIENCE | |
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| ·ALTERNATE ACCESS | |
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| ·ACTIVE SPECTATORSHIP | |
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| ·BUILDING COMMUNITY | |
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| ·THE FUTURE OF DOCUMENTARY? | |
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| ·INTO PRACTICE | |
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| Analysis | |
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| Development | |
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| Practice | |
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| Appendices | |
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| Project 1: Camera-less Documentary | |
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| Project 2: Exploring Modes of Representation | |
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| Project 3: Gaining Perspective | |
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| Project 4: Editing a Teaser and Trailer | |
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| Project 5: Establishing a Web Presence | |
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| Exercise: Camera Concepts | |
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| Exercise: Sound Decisions | |
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| Quick Reference: Modes Reviewed | |
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| Quick Reference: Sample Forms | |
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| Quick Reference: Prospectus Checklist and Guidelines | |
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| Filmography | |
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| Index | |