简介
"Brilliant and effective...Documentary Storytelling guides readers through nearly every phase of creating a documentary: structuring, working up a proposal, and, of course, shooting and editing" - Backstage "Sheila Curran Bernard's ability to dissect a wide range of narrative apporaches and explore the elements that make dramatic stories so compelling make this guide invaluable for documentary filmmakers as well as anyone who uses information and evidence to portray real events." -Dr. Pennee Bender, Media Director, Center for Media and Learning, City University of New York, The Graduate Center. "With all the buzz over blockbuster docs, Focal Press serves up a perfectly timed winner in a much-neglected area. True to the nature of the beast, the book is more about filmmaking as a whole, and how and where storytelling weaves into the overall process".-Bruce Mckenna, Canadian Screenwriter (Writers Guild of Canada) "Bernard is keenly aware of the power of persuasive images, and her insistence on complexity and integrity is a consistant theme throughout the book."- Alyssa Worsham, The Independent (Association of Independent Video and Filmmakers) "With the availability of high-quality affordable cameras and editing equipment, documentary filmmakers today enjoy a freedom in shaping their films that their counterparts a decade ago could't have imaged. As the new aesthetic is shaped, Sheila Curran Bernard's brilliant and effective Documentary Storytelling, Second Edition: Making Stronger and More Dramatic Nonfiction films aims to guide the Erroll Morrises of tomorrow with great advice and practical knowledge that every documentatian would benefit from."-Backstage March 22, 2007
"Brilliant and effective...Documentary Storytelling guides readers through nearly every phase of creating a documentary: structuring, working up a proposal, and, of course, shooting and editing" - Backstage
"Sheila Curran Bernard's ability to dissect a wide range of narrative apporaches and explore the elements that make dramatic stories so compelling make this guide invaluable for documentary filmmakers as well as anyone who uses information and evidence to portray real events." -Dr. Pennee Bender, Media Director, Center for Media and Learning, City University of New York, The Graduate Center.
"With all the buzz over blockbuster docs, Focal Press serves up a perfectly timed winner in a much-neglected area. True to the nature of the beast, the book is more about filmmaking as a whole, and how and where storytelling weaves into the overall process".-Bruce Mckenna, Canadian Screenwriter (Writers Guild of Canada)
"Bernard is keenly aware of the power of persuasive images, and her insistence on complexity and integrity is a consistant theme throughout the book."- Alyssa Worsham, The Independent (Association of Independent Video and Filmmakers)
"With the availability of high-quality affordable cameras and editing equipment, documentary filmmakers today enjoy a freedom in shaping their films that their counterparts a decade ago could't have imaged. As the new aesthetic is shaped, Sheila Curran Bernard's brilliant and effective Documentary Storytelling, Second Edition: Making Stronger and More Dramatic Nonfiction films aims to guide the Erroll Morrises of tomorrow with great advice and practical knowledge that every documentatian would benefit from."-Backstage March 22, 2007
目录
Front Cover 1
Documentary Storytelling 6
Copyright Page 7
Table of Contents 10
Preface to the Second Edition 14
ACKNOWLEDGMENTS 14
Chapter 1 Introduction 16
DEFINING DOCUMENTARY 17
DOCUMENTARY AS A SUBSET OF NONFICTION FILM AND VIDEO 18
SUBJECTIVITY 19
WHO WANTS DOCUMENTARY STORIES? 20
WHO TELLS DOCUMENTARY STORIES? 21
STORYTELLING, NOT WRITING 21
ABOUT THE BOOK 22
INTENDED READERSHIP 23
FORMAT AND METHODOLOGY 24
OBSERVATIONS 25
Part I STORY DESIGN 28
Chapter 2 Story Basics 30
EXPOSITION 30
THE NARRATIVE SPINE, OR TRAIN 32
THEME 34
ARC 35
PLOT AND CHARACTER 36
DRAMATIC STORYTELLING 38
Who (or What) the Story Is About 38
What the Protagonist Wants 39
Difficulty and Tangibility 40
Emotional Impact and Audience Participation 43
A Satisfactory Ending 45
Chapter 3 Documentary Storytelling 48
STORY RIGHTS 49
\u201cFINDING\u201d THE STORY DURING PRODUCTION 50
SERENDIPITY 52
EVALUATING STORY IDEAS 53
Access and Feasibility 53
Affordability 54
Passion and Curiosity 54
Audience 55
Relevance 56
Timeliness 56
Visualization 57
Hook 57
Existing Projects 58
DEVELOPING THE STORY 58
IF YOU ALREADY KNOW YOUR STORY, WON\u2019T YOUR PRESENTATION BE BIASED? 59
TELLING AN ACTIVE STORY 59
Chapter 4 Approach 62
DOCUMENTARY OR DIATRIBE? 67
ARCHIVAL FILMMAKING 69
RECREATIONS AND DOCUDRAMA 72
SCIENCE FILMS 74
Chapter 5 Structure 76
ELEMENTS OF STRUCTURE 77
Shot 77
Scene 78
Sequence 79
Act 80
Inciting Incident 81
Point of Attack 81
Backstory 83
THREE-ACT STRUCTURE 84
Structuring Multiple Story Lines 85
What Three-Act Structure Is Not 86
Three Acts in Five or One or Two 87
APPLYING FILM STRUCTURE 87
Chapter 6 Manipulating Time 90
TELLING A CHRONOLOGICAL STORY, BUT NOT CHRONOLOGICALLY 91
COLLAPSING AND EXPANDING TIME 96
FILMING OVER TIME 97
COLLAPSING INTERVIEWS 97
Chapter 7 Case Studies 102
CASE STUDY: DAUGHTER FROM DANANG 102
Act One/Title Sequence 104
Act Two 105
Act Three 107
Resolution 108
CASE STUDY: MURDERBALL 108
Act One/Title Sequence 108
Act Two 112
Act Three 114
Epilogue 115
CASE STUDY: SUPER SIZE ME 115
Act One/Title Sequence 116
Act Two 118
Act Three 122
Resolution 123
Epilogue 124
Part II IDEAS TO TREATMENTS 126
Chapter 8 Research 128
Ask Questions, Dig Deeper 129
Do Your Own Research 130
Don\u2019t Be Afraid to Ask Basic Questions 130
WHEN DO YOU RESEARCH? 131
ADVISORS 132
Advisors\u2019 Meetings 133
Professional Conferences 133
TELEPHONE RESEARCH 134
FACT CHECKING 134
THE TELLING DETAIL 135
STATISTICS AND OTHER FORMS OF DATA 136
CHRONOLOGIES 136
PRINT AND INTERNET RESEARCH 138
Be Organized 139
VISUAL ARCHIVES 141
MOVING FORWARD 142
Chapter 9 Casting 144
WHEN TO CAST 144
WHOM TO CAST 145
Do Your Homework 145
Casting Nonexperts 146
On-the-Fly Casting 146
Casting Opposing Voices 147
Casting for Balance 148
Expanding the Perspective 148
HOSTS AND NARRATORS 149
PAYING YOUR SUBJECTS 150
Chapter 10 Pitching and Proposal Writing 152
PITCHING 152
Tailoring the Pitch 153
When to Pitch 155
Pitching on Screen 155
Pitching to Hone Storytelling 155
PROPOSAL WRITING 157
Nature of the Request 158
Introduction to the Subject 158
Rationale 158
Goals and Objectives 158
Related Projects 159
Ancillary Projects 159
History of the Project 159
Audience and Broadcast Prospects 160
Organization History 160
Project Staff 160
Plan of Work 160
Appendices 160
Treatment 161
Budget 161
A Few Extra Pointers 161
PROTECTING YOUR IDEAS 163
Chapter 11 Outlines, Treatments, and Scripts 166
OUTLINES 167
TREATMENTS 168
What Should Come Across in a Treatment? 169
Story, Not Images 171
Introduce People 172
Explanatory Materials 172
Quoting People 173
Unknown Information 173
Writing Treatments for a Series 174
Reflect the Work You\u2019ve Done 174
Tell a Good Story 175
THE SHOOTING TREATMENT 175
SCRIPTS 176
Scripts for Fundraising 176
Script Format 176
Narration Script 177
TREATMENTS AS A CLASSROOM EXERCISE 177
SAMPLE PAGES FROM BROADCAST FILMS AND SERIES 180
Part III SHOOTING AND EDITING 190
Chapter 12 Shooting 192
CREW SIZE 192
SHOOTING WITH THE STORY IN MIND 193
Thinking Visually 194
SHOOTING WITH THE EDITING IN MIND 196
CREATING VISUALS 197
Visual Storytelling in the Wild 199
TONE AND STYLE 200
SHOOTING FROM THE HIP 201
INTERVIEWS 202
Conducting Interviews 203
The Interview Setup 203
Interview Styles 205
Chapter 13 Editing 208
GETTING TO ROUGH CUT 209
Transcripts 211
Editing Interviews 212
Juxtaposition 213
Entering Late, Exiting Early 213
Anticipate Confusion 214
ROUGH CUT TO FINE CUT 215
Screening Tips 216
FINE CUT TO PICTURE LOCK 218
Fact Checking 218
FILM LENGTH 219
PROBLEM SOLVING 220
No Story 220
You Start One Story and End Another 221
Too Many Characters or Story Threads 221
Too Many Beginnings or Endings 222
Not Enough Breathing Room 222
Insufficient Casting 223
GETTING UNSTUCK 224
BE YOUR FIRST AUDIENCE 225
Chapter 14 Writing Narration and Voice-Over 226
POINT OF VIEW 227
VARIETY IN NARRATION 228
WHEN IS THE NARRATION WRITTEN? 230
WHO WRITES THE NARRATION? 231
WRITING TO PICTURE 233
WRITING NARRATION TO BE SPOKEN 236
SOME GENERAL GUIDELINES FOR NARRATION 237
Reapply the Rules of Grammar 237
Use Anticipation 239
Avoid Stereotyping 239
Watch Out for Anachronisms 240
Limit the Number of Ideas in Each Block of Narration 241
Foreshadow Important Information 242
Understand the Different Roles Played by Narration and Sync Material 242
Use Words Sparingly and Specifically 243
Use Telling Details 244
Put Information into Context 244
Get Off the Dime 245
Don\u2019t Drop Names 245
Put Lists in an Order That Builds (or Descends) 246
Use an Active Voice 246
Help to Differentiate among Similar Things 247
Do the Math for Them 247
Avoid Hype 247
Know When to Stop Narrating 247
Chapter 15 Storytelling: A Checklist 248
Part IV CONVERSATIONS ABOUT STORY 250
Chapter 16 Steven Ascher and Jeanne Jordan 252
Chapter 17 Victoria Bruce and Karin Hayes 266
Chapter 18 Ric Burns 278
Chapter 19 Jon Else 290
Chapter 20 Nicholas Fraser 304
Chapter 21 Susan Froemke 316
Chapter 22 Sam Pollard 328
Chapter 23 Kenn Rabin 340
Chapter 24 Per Saari 356
Chapter 25 Onyekachi Wambu 364
Part V ADDITIONAL MATERIAL 374
Sources and Notes 376
Films 380
About the Author 384
Index 386
Documentary Storytelling 6
Copyright Page 7
Table of Contents 10
Preface to the Second Edition 14
ACKNOWLEDGMENTS 14
Chapter 1 Introduction 16
DEFINING DOCUMENTARY 17
DOCUMENTARY AS A SUBSET OF NONFICTION FILM AND VIDEO 18
SUBJECTIVITY 19
WHO WANTS DOCUMENTARY STORIES? 20
WHO TELLS DOCUMENTARY STORIES? 21
STORYTELLING, NOT WRITING 21
ABOUT THE BOOK 22
INTENDED READERSHIP 23
FORMAT AND METHODOLOGY 24
OBSERVATIONS 25
Part I STORY DESIGN 28
Chapter 2 Story Basics 30
EXPOSITION 30
THE NARRATIVE SPINE, OR TRAIN 32
THEME 34
ARC 35
PLOT AND CHARACTER 36
DRAMATIC STORYTELLING 38
Who (or What) the Story Is About 38
What the Protagonist Wants 39
Difficulty and Tangibility 40
Emotional Impact and Audience Participation 43
A Satisfactory Ending 45
Chapter 3 Documentary Storytelling 48
STORY RIGHTS 49
\u201cFINDING\u201d THE STORY DURING PRODUCTION 50
SERENDIPITY 52
EVALUATING STORY IDEAS 53
Access and Feasibility 53
Affordability 54
Passion and Curiosity 54
Audience 55
Relevance 56
Timeliness 56
Visualization 57
Hook 57
Existing Projects 58
DEVELOPING THE STORY 58
IF YOU ALREADY KNOW YOUR STORY, WON\u2019T YOUR PRESENTATION BE BIASED? 59
TELLING AN ACTIVE STORY 59
Chapter 4 Approach 62
DOCUMENTARY OR DIATRIBE? 67
ARCHIVAL FILMMAKING 69
RECREATIONS AND DOCUDRAMA 72
SCIENCE FILMS 74
Chapter 5 Structure 76
ELEMENTS OF STRUCTURE 77
Shot 77
Scene 78
Sequence 79
Act 80
Inciting Incident 81
Point of Attack 81
Backstory 83
THREE-ACT STRUCTURE 84
Structuring Multiple Story Lines 85
What Three-Act Structure Is Not 86
Three Acts in Five or One or Two 87
APPLYING FILM STRUCTURE 87
Chapter 6 Manipulating Time 90
TELLING A CHRONOLOGICAL STORY, BUT NOT CHRONOLOGICALLY 91
COLLAPSING AND EXPANDING TIME 96
FILMING OVER TIME 97
COLLAPSING INTERVIEWS 97
Chapter 7 Case Studies 102
CASE STUDY: DAUGHTER FROM DANANG 102
Act One/Title Sequence 104
Act Two 105
Act Three 107
Resolution 108
CASE STUDY: MURDERBALL 108
Act One/Title Sequence 108
Act Two 112
Act Three 114
Epilogue 115
CASE STUDY: SUPER SIZE ME 115
Act One/Title Sequence 116
Act Two 118
Act Three 122
Resolution 123
Epilogue 124
Part II IDEAS TO TREATMENTS 126
Chapter 8 Research 128
Ask Questions, Dig Deeper 129
Do Your Own Research 130
Don\u2019t Be Afraid to Ask Basic Questions 130
WHEN DO YOU RESEARCH? 131
ADVISORS 132
Advisors\u2019 Meetings 133
Professional Conferences 133
TELEPHONE RESEARCH 134
FACT CHECKING 134
THE TELLING DETAIL 135
STATISTICS AND OTHER FORMS OF DATA 136
CHRONOLOGIES 136
PRINT AND INTERNET RESEARCH 138
Be Organized 139
VISUAL ARCHIVES 141
MOVING FORWARD 142
Chapter 9 Casting 144
WHEN TO CAST 144
WHOM TO CAST 145
Do Your Homework 145
Casting Nonexperts 146
On-the-Fly Casting 146
Casting Opposing Voices 147
Casting for Balance 148
Expanding the Perspective 148
HOSTS AND NARRATORS 149
PAYING YOUR SUBJECTS 150
Chapter 10 Pitching and Proposal Writing 152
PITCHING 152
Tailoring the Pitch 153
When to Pitch 155
Pitching on Screen 155
Pitching to Hone Storytelling 155
PROPOSAL WRITING 157
Nature of the Request 158
Introduction to the Subject 158
Rationale 158
Goals and Objectives 158
Related Projects 159
Ancillary Projects 159
History of the Project 159
Audience and Broadcast Prospects 160
Organization History 160
Project Staff 160
Plan of Work 160
Appendices 160
Treatment 161
Budget 161
A Few Extra Pointers 161
PROTECTING YOUR IDEAS 163
Chapter 11 Outlines, Treatments, and Scripts 166
OUTLINES 167
TREATMENTS 168
What Should Come Across in a Treatment? 169
Story, Not Images 171
Introduce People 172
Explanatory Materials 172
Quoting People 173
Unknown Information 173
Writing Treatments for a Series 174
Reflect the Work You\u2019ve Done 174
Tell a Good Story 175
THE SHOOTING TREATMENT 175
SCRIPTS 176
Scripts for Fundraising 176
Script Format 176
Narration Script 177
TREATMENTS AS A CLASSROOM EXERCISE 177
SAMPLE PAGES FROM BROADCAST FILMS AND SERIES 180
Part III SHOOTING AND EDITING 190
Chapter 12 Shooting 192
CREW SIZE 192
SHOOTING WITH THE STORY IN MIND 193
Thinking Visually 194
SHOOTING WITH THE EDITING IN MIND 196
CREATING VISUALS 197
Visual Storytelling in the Wild 199
TONE AND STYLE 200
SHOOTING FROM THE HIP 201
INTERVIEWS 202
Conducting Interviews 203
The Interview Setup 203
Interview Styles 205
Chapter 13 Editing 208
GETTING TO ROUGH CUT 209
Transcripts 211
Editing Interviews 212
Juxtaposition 213
Entering Late, Exiting Early 213
Anticipate Confusion 214
ROUGH CUT TO FINE CUT 215
Screening Tips 216
FINE CUT TO PICTURE LOCK 218
Fact Checking 218
FILM LENGTH 219
PROBLEM SOLVING 220
No Story 220
You Start One Story and End Another 221
Too Many Characters or Story Threads 221
Too Many Beginnings or Endings 222
Not Enough Breathing Room 222
Insufficient Casting 223
GETTING UNSTUCK 224
BE YOUR FIRST AUDIENCE 225
Chapter 14 Writing Narration and Voice-Over 226
POINT OF VIEW 227
VARIETY IN NARRATION 228
WHEN IS THE NARRATION WRITTEN? 230
WHO WRITES THE NARRATION? 231
WRITING TO PICTURE 233
WRITING NARRATION TO BE SPOKEN 236
SOME GENERAL GUIDELINES FOR NARRATION 237
Reapply the Rules of Grammar 237
Use Anticipation 239
Avoid Stereotyping 239
Watch Out for Anachronisms 240
Limit the Number of Ideas in Each Block of Narration 241
Foreshadow Important Information 242
Understand the Different Roles Played by Narration and Sync Material 242
Use Words Sparingly and Specifically 243
Use Telling Details 244
Put Information into Context 244
Get Off the Dime 245
Don\u2019t Drop Names 245
Put Lists in an Order That Builds (or Descends) 246
Use an Active Voice 246
Help to Differentiate among Similar Things 247
Do the Math for Them 247
Avoid Hype 247
Know When to Stop Narrating 247
Chapter 15 Storytelling: A Checklist 248
Part IV CONVERSATIONS ABOUT STORY 250
Chapter 16 Steven Ascher and Jeanne Jordan 252
Chapter 17 Victoria Bruce and Karin Hayes 266
Chapter 18 Ric Burns 278
Chapter 19 Jon Else 290
Chapter 20 Nicholas Fraser 304
Chapter 21 Susan Froemke 316
Chapter 22 Sam Pollard 328
Chapter 23 Kenn Rabin 340
Chapter 24 Per Saari 356
Chapter 25 Onyekachi Wambu 364
Part V ADDITIONAL MATERIAL 374
Sources and Notes 376
Films 380
About the Author 384
Index 386
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