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Course Criteria
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1.00 Credits
Traditions of documentary work seen through an interdisciplinary perspective, with an emphasis on twentieth-century practice. Introduces students to a range of documentary idioms and voices, including the work of photographers, filmmakers, oral historians, folklorists, musicologists, radio documentarians, and writers. Stresses aesthetic, scholarly, and ethical considerations involved in representing other people and cultures. Instructor: Staff
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1.00 Credits
How photographers create, document, and reflect visual culture, beginning with James Agee's notion of a photographer "ordering the façade" to interpretations, reflections, and comments on visual expressions in local landscapes and fieldwork. Not open to students who have previously taken this course as ARTSVIS 123. Instructor: Rankin
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1.00 Credits
Topics focusing on technical basis and aesthetic motivation of sound recording and sound exploitation. Technical demonstration and student exercises explore the mechanics and dramatic and psychological implications of formats, microphone placement, mixing, acoustic signature, digital recording, double system, and sound editing, leading to an individually produced sound design for live action or animation film/video. Prerequisite: Theater Studies 174, English 101A, Literature 110. Instructor: Staff
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1.00 Credits
The intersection of documentary photography and the medical community. Consent of instructor required. Instructor: Moses
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1.00 Credits
A documentary approach to the study of local communities through video production projects assigned by the course instructor. Working closely with these groups, students explore issues or topics of concern to the community. Students complete an edited video as their final project. Not open to students who have taken this course as FVD 105S. Consent of instructor required. Instructor: Hawkins
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1.00 Credits
Introduction to the history, theory, and styles of nonfiction film and video. Transformation in technologies and their influence on form, from actuality films to contemporary digital documentaries. Documentary's marginal status and surprising commercial appeal; the mixing of fiction and nonfiction strategies in cultural construction. Use of documentary as a tool for exploring individual identity, filmmaker/subject relationships, and fomenting political change. Instructor: Staff
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1.00 Credits
Introductory oral history fieldwork seminar. Oral history theory and methodology, including debates within the discipline. Components and problems of oral history interviewing as well as different kinds of oral history writing. Instructor: Staff
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1.00 Credits
Techniques of independent field research and reporting in the documentary tradition. Emphasis on structure, development, and style of factual narrative-including exercises in redrafting and editing-culminating in a final piece of documentary writing based on students' fieldwork experience. Historical development of documentary writing in relation to the diverse cultures that produced it. Instructors: Staff
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1.00 Credits
Documentary writing course focusing on race and storytelling in the South, using fiction, autobiography, and traditional history books. Producing narratives using documentary research, interviews, and personal memories. Focus on twentieth-century racial politics. Instructor: Tyson
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1.00 Credits
Investigates subjects in transition, with focus on changing physical and social landscapes of North Carolina. Digital darkroom techniques include digital capture, film scanning, Photoshop, ink-jet printing, as well as other methods of dissemination offered in digital age. Digital photographic impermanence as well as social transience discussed in unison. Service-learning environment consisting of fieldwork photography in collaboration with community organization. Consent of instructor required. Instructor: Post-Rust
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