Continuing Education Spring/Summer 2012 Course Catalog

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ED CENTER FOR DOCUMENTARY STUDIES AT DUKE UNIVERSITY

Continuing EduCation

SPRing 2012

CouRSES

Special Topics &

General Interest

Audio

Multimedia/Web

Photography

Video

Writing

Institutes,

Workshops &

Weekend Courses

Advanced Project

Seminars

Register for Classes :

cdscourses.org

Find Out More About CDS:

documentarystudies.duke.edu

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DCONTINUING EDUCATION COURSES, WORKSHOPS & INSTITUTES

Register for Classes: cdscourses.org

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FRONT COVER, top to bottom: 1) Maggie Smith 2) Christopher Sims 3) Abigail Blosser 4) Judith Van Wyck 5) Sarah Stacke 6) Meg Daniels

“One of the best things about being involved with CDS is becoming a part of a worldwide community of alumni who care passionately about preserving stories in sound and images. I really value my CDS friendships.” —Bill Erwin, Communications Director, Alliance for Health Reform, Washington, D.C.

“At CDS I found a wonderfully talented and supportive community. I enrolled in the certificate program primarily to learn audio. As a professional photographer, I wanted to explore multimedia and increase the number of skills I could offer clients. Through classes, guest speakers, and fellow students, I have not only learned how to create mul-timedia projects but have also deepened my awareness of the power of documentary to engage communities and give voice to individuals.” —Sarah Stacke, Master of Arts in Liberal Studies candidate at Duke University and Certificate in Documentary Arts graduate

THE CENTER FOR DOCUMENTARy STUDIES at Duke University has focused since its founding in 1989 on cul-tivating new talent in the documentary field. From inter-national awards to award-winning books, from exhibitions of new and established artists to nationally recognized radio broadcasts, from fieldwork projects in the U.S. to documentary work abroad, from university undergraduate courses to popular summer institutes, attracting students from across the country—the Center for Documentary Studies is actively engaged in sharing documentary work with a broad audience and in educating students of all ages and levels of expertise.

Continuing Education in the Documentary ArtsThe Center for Documentary Studies (CDS) at Duke University offers a wide range of short courses, institutes, and workshops for adults who are interested in learning to do their own documentary work. These documentary arts courses, available through flexible admission with rea-sonable fees, involve instruction in photography, film and video, audio, and writing. Special topics and such subjects as documentary traditions, techniques, fieldwork theory, and ethics involved in conducting and presenting docu-mentary work are included. The hands-on courses at CDS help adults achieve their goals of completing a first project or refining an ongoing project. All courses are designed to

help students explore concepts in the documentary arts and apply them to their own work. This open-admissions adult education program includes the option of complet-ing a Certificate in Documentary Arts, which requires a minimum of six sixteen-hour courses (or the equivalent) and the completion of a final documentary project. Most courses are offered during the evening or on weekends, to accommodate the schedules of working adults.

Institutes, Workshops, and Weekend CoursesIntensive institutes, workshops, and weekend courses offer both local students and those who live in other areas the opportunity to participate in the CDS Documentary Arts program. Video, audio, and Literacy Through Photography institutes, as well as an Intensive Introduction to Documentary Studies course, are available during the sum-mer months. Students will receive continuing education credit toward the Certificate in Documentary Arts for these institutes and workshops. Examples of work produced in these institutes are posted on the Duke University iTunes site, CDS’s Vimeo site, and the CDS website.

Certificate in Documentary ArtsThe cornerstone of the CDS Continuing Education program is the Certificate in Documentary Arts. Enrollment in the certificate program is not required for students to take CDS courses; however, working toward a certificate provides a more formal process for involvement and for reaching specific goals. No prior educational specialization or exper-tise is required for enrollment in the program. Certificate students receive special invitations to events and other unique opportunities at CDS.

The certificate program establishes a process for engag-ing and empowering already motivated people to do the work they care about. Specific project goals, integral to the certificate program, create better opportunities for the successful completion of this work. In addition, certificate students can become part of a vibrant program with inter-ested, supportive colleagues. Students are encouraged to think broadly about their projects. While most are photo, audio, or video projects, students have also completed multimedia projects, websites, books, and installations. Suggested courses of study and answers to frequently asked questions are available on our website, cdscourses.org; we are available for further advising by appointment.

Certificate RequirementsTo receive the Certificate in Documentary Arts, students must take a total of 112 credit/class hours; complete one substantial documentary project (audio, video, writing,

FREE INFORMATION SESSION

With Program Director April Walton andProgram Coordinator Dionne Greenlee

Prospective and existing students welcome! Come and ask questions about courses at CDS, meet instructors, and learn about the Certificate in Documentary Arts.

Monday, January 30, 2011

5–7:30 p.m.Center for Documentary Studies1317 West Pettigrew StreetDurham, North Carolina 27705

Please register on-line for this free session at cdscourses.org.

For additional information, contact Continuing Education at the Center of Documentary Studies by calling 919-660-3663 or sending an email to [email protected].

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D COURSE CATEGORIES AND DESCRIPTIONS

Find Out More About CDS: documentarystudies.duke.edu

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photography, web-based, or multimedia); and take the fol-lowing courses:• Introductory Seminar in Documentary Studies• Final Project Seminar in Documentary Studies (per-mission from April Walton, CDS’s director of Learning Outreach, is required). A written project description and a draft of the final project must be submitted at the begin-ning of the term. A ten-minute outtake from the project will be presented to the public at the certificate ceremony at the conclusion of this course.• Advanced Projects Seminar in the medium of your choice• A minimum of four electives in addition to aboveStudents have four years from the time they enroll in the certificate program to finish. Any course taken and com-pleted counts toward the certificate. This is true even if a student decides to enroll in the certificate program after a course has been taken.

Enrolling in Classes To enroll in classes, students must create an account on CDS’s Continuing Education courses website, www.asaponlinereg.com/default.aspx?org=112. (The email address used for logging in will serve as our primary means of contact; we will also send periodic messages regarding upcoming course offerings.) The site tracks each student’s course and payment history. Some institutes and workshops may require a non-refundable deposit, so we advise students to read the refund policy carefully.

Students are generally expected to invest in their own equipment, though some courses include the sharing of a limited number of cameras or recorders. A lab fee of $100 is required for use of computer labs and darkroom, if space is available and a student has acquired proper train-ing. For most introductory courses, the lab fee is included (see “Course Fee” information in course description).

All documentary arts courses are marked “All Levels,” “Beginning,” “Intermediate,” or “Advanced” to assist students in determining the most appropriate course in which to enroll. The specific designations are defined as follows:

All Levels: This course is open to all skill levels. Beginning: No experience needed to take a course with this designation. Intermediate: This level assumes students have taken the Intro class in the subject and are able to work independent-ly with software, in the darkroom, etc. Advanced: This level assumes students have taken the Intro and Intermediate courses to acquire a comfort level working independently with the medium.

If you are uncertain which level is most appropriate for you, or have questions regarding course lab fees, please contact Continuing Education at the Center for Documentary Studies by calling 919-660-3663 or emailing [email protected].

Courses are filled on a first-come, first-served basis, and space is limited.

Special Topics/ General InterestEthnographic Writing: The Veterans Oral History Project in North Carolina ALL LEVELS NEW Michelle Lanier This course will introduce students to the art of conducting oral history interviews with U.S. military veterans who have served during times of conflict. Students will be expected to conduct five interviews with veterans throughout the time of the course (either audio or video). Students will read a wide variety of articles about the ethics of oral his-

tory work in general and the particulars of interviewing veterans in particular. Class time will also include dis-cussing the interviews students conduct throughout the semester, as well as working with portions of transcripts from their interviews. Student responsibilities will include writing responses to the various readings on a designated Blackboard learning site and giving a presentation at the end of the class on the interviews they have done. No tests or formal papers will be required.Tuesdays, January 17–May 1 (38 hours)6:15–8:45 p.m. Course fee: $150 • Course ID: ST200SP12

The South in Black and White ALL LEVELS Tim TysonThrough the lens of documentary traditions in the American South, this course will engage in a call and response between black and white cultures in a region where democracy has been envisioned and embattled with global consequences. The course will cover history and cul-ture as documented in spirituals, gospel, blues, and rock & roll; civil rights photography; southern literature; and historical and autobiographical writing. Classes will include lectures, music, poetry, film clips, discussion, and visitors. Please note: This 15-week hybrid course follows the Duke academic calendar and will combine continuing education students with Duke undergraduates. Students working toward the Certificate in Documentary Arts will be required to attend 95% of classes and write one response paper assigned by the instructor during the term to receive full credit. The course will meet in Bay 7 at Durham’s American Tobacco campus.Tuesdays, January 18–May 1 (38 hours)6:15–8:45 p.m.Course fee: $150.00 • Course ID: ST201SP12

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4 Art of the Narrative: Strategies for Documentary Artists ALL LEVELS Dawn DreyerWalter Fisher declared, “The world is a set of stories from which we choose, and constantly re-create, our lives.” The same can be said of any documentary: as writers, photog-raphers, filmmakers, or audio producers, we are constantly choosing—sometimes even on a subconscious level—which threads to abandon and which stories and characters to follow. In this course, we will look at a variety of documen-taries that tackle these narrative challenges (ranging from traditional forms to the experimental), as well as follow one award-winning documentary from initial funding proposal to final product. We will hear from talented and experi-enced documentary artists, as well as the people who read proposals and determine their funding potential. Finally, participants will submit a three-page proposal and budget for a documentary; each student will receive feedback and meet individually with the instructor.Tuesdays, February 28–April 17 (16 hours) 7–9 p.m.Materials fee: $10 (due at first class) Course fee: $270 • Course ID: ST183SP12

How to Write a Winning Documentary Proposal ALL LEVELS NEW Judy Van WykAs a fiscal sponsor, the Southern Documentary Fund too often receives proposals that have been dashed off to meet the deadline for submission without any clear description of how the filmmakers hope to make their films or what what they want to accomplish with them. In this workshop, students will learn how to sell their documenta-ry project on paper. We will examine each of the essential ingredients that go into writing a winning proposal, includ-ing a clear and compelling narrative, a solid plan for distri-bution and fundraising, and a well-developed and realistic budget. We will discuss the role of fiscal sponsorship and the steps necessary to target potential funders. Students will also have an opportunity to write a page-long project description and workshop it with the class.Saturday, March 3 (3.5 hours)1–4:30 p.m.Materials fee: $10 (due at first class) Course fee: $75 • Course ID: ST178SP12

WEEKEND COURSES

Mac OS X Primer ALL LEVELS NEW Samir AroraThis class is a brief introduction to Mac OS X. All of the lab computers at the Center for Documentary Studies are Macintoshes. Get an overview of the Mac user interface and essential features and tasks. The course is designed for Windows users new to the Mac platform. Basic com-puter skills are required.Saturday, February 4 (2 hours)10 a.m.–12 p.m.Materials fee: $10 (due at first class) Course Fee: $70 • Course ID: ST189SP12

Copyright Issues for Documentarians ALL LEVELS Jennifer JenkinsCopyright is an increasingly important, and sometimes treacherous, subject for documentarians, who are both owners and users of copyrighted work. This lecture will address copyright, fair use, and how the law affects docu-mentary making. Saturday, March 24 (2 hours)10 a.m.–12 p.m.Materials fee: $10 (due at first class) Course Fee: $50 • Course ID: ST182SP12

Documentary Interviewing: Learning to Collect Community Stories and Oral Histories ALL LEVELS Barbara LauStories matter, and most often it is through talking with others that we share the important stories about our-selves, our families, and our communities. Interviewing is a powerful tool that documentarians use to elicit stories about the past and the present. Conducting interviews is an art, and this course will teach students how to pre-pare for interviews, practice doing interviews, and read and think about memory and the cultural dimensions of interviewing. As noted oral historian Alessandro Portelli observes, “Oral sources tell us not just what people did, but what they wanted to do, what they believed they were doing, and what they now think they did.” By sharing our fieldwork experiences, we will develop a critical framework for analyzing what we hear.Wednesdays, February 1–March 21 (16 hours)6:30–8:30 p.m.Materials fee: $10 (due at first class) Course fee: $270 • Course ID: ST180SP12

Then and Now: A Hayti Civics Course ALL LEVELS NEW Kelvin De’Marcus Allen, W. Calvin Anderson, Jaisun McMillian, Victor StoneIn this research and fieldwork course, students will record oral histories and use archival material to produce a series of short documentaries about Durham’s Hayti neighbor-hood. Participants will create a multimedia portfolio and contribute to an ongoing project about Hayti’s history, as part of a collaborative community-based project sponsored by Triangle Virtual Media, Inc.Thursdays, February 2–March 29 (18 hours) 7–9 p.m. • Materials fee: $10 (due at first class) Course fee: $270 • Course ID: ST186SP12

Can Documentaries for Social Change Make a Difference?: Learning from the History of Documenting Coal Appalachia ALL LEVELS NEW Joy Salyers and Roger MayWe hear about the power of social change documenta-ries—from early activist photographers like Jacob Riis and Lewis Hine to modern docs like An Inconvenient Truth or The Laramie Project. But how does a documen-tary truly stimulate change? The effects of mining coal in Appalachia, especially in eastern Kentucky and western West Virginia, have been featured in documentaries for decades. The federal government’s War on Poverty in the 1960s brought many documentarians to the region to bring attention to poverty, environmental destruction, worker exploitation, and health issues. However, all of these problems still exist. Why have more than fifty years of documentaries helped so little? What strategies have worked and what new trends are emerging? This class will look at many documentary forms from the history of docu-menting coal Appalachia and collectively will create a tool-kit for effective social change documentaries that students can apply to their own work.Mondays, February 13–March 19 (12 hours)6–8 p.m. • Materials fee: $10 (due at first class) Course Fee: $260 • Course ID: ST190SP12

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10 a.m.–5:30 p.m.Materials fee: $10 (due at first class) Course fee: $230 • Course ID: AU111SP12

CDS workshopThursday–Sunday, February 2–5 (24 hours)Starts Thursday, 4 p.m.; Friday and Saturday, 9 a.m.–5 p.m. (plus evening presentations); concludes Sunday, 4 p.m. (lunch provided)Materials fee: $10 (due at first class) Course fee: $270 • Course ID: AU112SP12B

The Audio Postcard ALL LEVELS Jennifer Deer The National Public Radio website describes audio post-cards this way: “This is sound that is not just ambience. It’s the audio equivalent of that four-color photo. It should real-ly make listeners feel they were there.” The audio postcard is a short format, but a meaty one. Through an elegant lay-ering of voices, ambient and natural sound, the postcard allows audio documentary to do what it does best: place the listener smack in the middle of the sights, sounds, smells, and mood of a place or an event. This workshop is a good entry point for those just beginning their explora-tion into audio as a medium, as well as for those wishing to hone their audio skills. In the morning students will listen to and discuss the mechanics and applications of the post-card, then head out and see what it takes to make one. If you own recording equipment, bring it. Students will work in groups. Saturday, March 3 (7 hours)9 a.m.–5 p.m. (hour-long break for lunch)Materials fee: $10 (due at first class) Course fee: $150 • Course ID: AU100SP12

Sharpen Your Writing for Radio: Writing, Revising, and Finishing a Radio Essay ALL LEVELS Katie Davis Come ready to write! First thing in the morning, students will be given a prompt for a radio essay of 500 words. As a class, we will then work on writing for radio and voice. In the afternoon, students will revise their essays, and have a chance to work on their copy one-on-one with the instructor.Saturday, March 31 (7 hours)9 a.m.–5 p.m. (hour-long break for lunch)Materials fee: $10 (due at first class) Course fee: $150 (course fee discount for both classes, AU125SP12 and AU126SP11: $250) Course ID: AU125SP12

AudioMake That Audio Documentary: An Introduction to Sound Recording and Digital Mixing BEGINNING Aaron SmithersDocumentary audio isn’t just about getting on the radio! Knowing how to record and edit audio creates multimedia opportunities for all kinds of documentary artists, and there are many new venues (such as podcasting) for sharing work. In this class, students will make short audio documentaries using their own recordings. We will begin with the basics of interviewing and making “good” recordings and end by learning to edit sound using Pro Tools digital editing soft-ware. Please note: Students must provide their own recorder (preferably digital), headphones, and microphones. They will also need to provide a FireWire external storage device.Thursdays, February 16–April 5 (16 hours)7–9 p.m.Materials fee: $10 (due at first class) Course fee: $270 (lab fee of $100 is included intuition and is valid for the duration of the class) Course ID: AU101SP12

WEEKEND COURSES

From Soup to Nuts: Documentary Audio Production ALL LEVELS Claire SchoenThrough lectures, group discussions, student presenta-tions, written handouts, and lots of audio demos, this course will explore the ins and outs of creating a long-form documentary for radio or podcast. Designed to meet the needs of mid-level producers, this seminar is also acces-sible to individuals who have little or no experience in radio production. Compelling audio documentary incorporates a creative weave of narration, interviews, music, vérité scenes, character portraits, dramatizations, performances, archival tape, and ambience beds. Students will learn how to paint a picture in sound, with emphasis on the produc-tion process. We will examine the steps of concept devel-opment, research, pre-production, recording techniques, interviewing, writing, organizing tape, scripting, editing, and mixing. Most importantly, we will focus on the art of storytelling—we will discuss dramatic structure, taking the listener through the introduction, development, and resolu-tion of a story. We will also explore how character develop-ment brings the listener to the heart of the story.OFF-SITE workshop at Claire Schoen’s studio,Berkeley, CaliforniaSaturday–Sunday, January 21–22 (13 hours)

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cutting-edge work and engage in critical discussions about what elements make for effective multimedia storytelling. The course will provide students with a foundation in gathering high-quality audio and visuals as well as the skills to produce their own multimedia piece. A background in either photogra-phy or audio is helpful but not required. Students will need a DSLR camera and audio recorder and will learn the basics of using Final Cut Pro.Mondays, March 5–April 23 (16 hours)6:30–8:30 p.m.Materials fee: $10 (due at first class) Course Fee: $270 • Course ID: MM101SP12

PhotographyThe Elements of Effective Photographs BEGINNING NEW Richard LucicThis course is a practical primer on visual language. What makes a good photograph? Why is this important? Once a photographer understands what makes a good photograph, he or she is well on the way to being able to “speak” that language, to create stronger images that communicate and connect with the viewer. Photo “challenges” will be assigned weekly and analyzed at each class session, and a course project will demonstrate the skills and techniques acquired by participants. This course is for anyone interested in learning to make compelling digital images. No previous photographic skill level is presumed or required. Each course participant must have a digital camera that has a manual mode. Point-and-shoots are OK if they meet this requirement.Wednesdays, February 1–March 21 (16 hours)6:30–8:30 p.m.Materials fee: $10 (due at first class) Course Fee: $270 • Course ID: PH154SP12

The Family in Documentary Photography ALL LEVELS Abigail BlosserFamily stories not only make for interesting personal history, they can also convey a much broader sense of time and place as revealed through the lens of the individual. This class will explore documenting the family—as a person working to understand the evolution and complicated interpersonal dynamics of one’s own family tree and as a documentarian who is negotiating conflicting roles as family member, archi-vist, and storyteller. Students will work toward completion of an intensive documentary project for the duration of the course. Projects can range from stories about a single intrigu-ing relative to one’s own children to navigating an empty nest,

Using Your Voice to Tell Stories ALL LEVELS NEW Katie Davis Students will bring in a piece of short writing that they have voiced or would like to voice, and we will work on delivery. Students will then revise the writing to adjust to their voice. We will also listen as a class to various examples of voice work from radio.Sunday, April 1 (7 hours)9 a.m.–5 p.m. (hour-long break for lunch)Materials fee: $10 (due at first class) Course fee: $150 (course fee discount for bothclasses, AU125SP12 and AU126SP11: $250)Course ID: AU126SP12

Multimedia/WebDSLR Video: New Tools for Filmmaking & Media BEGINNING/INTERMEDIATE NEW Alex ManessVideo-capable digital SLR cameras have revolutionized filmmaking, but to unlock their creative potential you must have a good understanding of their unique functional-ity and how they work within the context of traditional cinematography. This class is designed for beginning to intermediate filmmakers interested in learning how to use a DSLR video camera more effectively. We will cover the advantages and disadvantages of these cameras, their aesthetic possibilities, and when best to use them to your benefit. Also discussed will be DSLR-specific audio for video solutions, lens choices, and support rig options. The class will follow the digital workflow from pre- to post-pro-duction, and students will produce a short practice piece. Participants should have a video-capable DSLR camera and knowledge of basic photography/ cinematography principles. Please feel free to contact the instructor with any questions about equipment. Mondays, February 13–April 2 (16 hours)7–9 p.m.Materials fee: $10 (due at first class) Course fee: $270 (lab fee of $100 is included in tuition and is valid for the duration of the class)Course ID: MM150SP12

Beginning Multimedia Storytelling ALL LEVELS Elena Rue and Catherine OrrWhat is multimedia? Through a combination of hands-on learning and critiques, students will gain an understanding of what multimedia is, where it is going, and how it can be used for powerful storytelling. Students will be exposed to

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7Successful Collaboration with NGOs Workshop INTERMEDIATE/ADVANCED NEW Misha FriedmanThis class is intended for photographers interested in work-ing on stories of social significance. We will look into how the non-profit sector is organized, as well as how to get assignments and write grants. We will focus on successful partnerships between photographers and NGOs, including editing techniques. You will learn about various distribu-tion models—where and how to show your work and how to make people aware of the issues you want to highlight. Saturday–Sunday, March 3–4 (12 hours)9 a.m.–4 p.m. (hour-long break for lunch)Materials fee: $10 (due at first class) Course Fee: $230 • Course ID: PH275SP12

Alternative Process Workshop ALL LEVELS Leah SobseyThis introductory class will explore alternative printing pro-cesses in photography. We will start by creating digital neg-atives from photographs, scans, found objects, and text. We will then use the digital negatives to create cyanotypes and Van Dyke prints, 19th-century processes that rely on ultraviolet light. Both processes are easy to use at home with no darkroom setup. In addition, we will explore how the advent of new technology opens up endless possibili-ties in alternative photographic processes. You will need to bring negatives, digital images, a digital camera, and any text that you are interested in using in your prints.Saturday, April 7 (6 hours)10 a.m.–4 p.m.Materials fee: $45 (due at first class) Course Fee: $155 • Course ID: PH215SP12

Digital Printing Tutorial INTERMEDIATE/ADVANCED Harlan CampbellThis two-hour intensive workshop will cover the basics of producing archival inkjet prints from digital files and pro-vide students with access to the digital printing facilities at CDS. This course will be taught to individuals or small groups, by arrangement with the instructor.Dates and times must be arranged individually withthe instructor (2 hours)Course fee: $80 • Course ID: PH350SP12

VideoIntroduction to Documentary Video Production BEGINNING Simone KeithThis course offers students the basic skills necessary to gather footage and negotiate technical problems in the field without compromising quality. Learn how to plan and organize a project, choose the best location for a shoot, work with available light, select the right microphone for the right situation, set proper audio levels, and “shoot in sequence.” We will also discuss proper framing and com-position techniques and the advantages of hand-held vs. tripod shots. Please note: Students may use any video camera available to them. However, cameras with an exter-nal microphone jack, a headphone jack, and the capacity for manual control of exposure and white balance will be ideal for this course. Video camera tripods (not photog-raphy ones) are also recommended. Please contact the instructor with any questions about equipment.Thursdays, February 2–March 22 (20 hours)6:30–9 p.m.Materials fee: $10 (due at first class) Course fee: $280 (lab fee of $100 is included in tuition and is valid for the duration of the class) Course ID: VI120SP12

overcoming a divorce, or caretaking for an aging parent. Students are welcome to work in creative ways with fam-ily negatives, documents, and photographs. We will learn about photograph and keepsake archiving, as well as look at various ways to present photographs in books, slide-shows, and exhibits. Please come to the first class ready to share ideas, photographs, digital images, or keepsakes.Thursdays, February 16–April 5 (16 hours)7–9 p.m.Materials fee: $10 (due at first class) Course Fee: $270 • Course ID: PH158SP12

Mount a Real Documentary Photography Exhibit ALL LEVELS NEW Joy Salyers and Liz LindseyThe North Carolina Folklife Institute (NCFI) has document-ed and preserved traditional arts in the state for almost 40 years, and it maintains the state’s folklife archive, including 60,000 images, at its offices in Durham. Through a special partnership with NCFI, the North Carolina Arts Council, and documentary photographer Cedric Chatterley, students will work as a class to examine the Chatterley photo collection and help select photos for an exhibit. Students will also gain experience in writing exhibition narratives and printing and mounting photography shows. The course will culmi-nate with an exhibit opening at a Durham gallery space.Saturdays, April 7–April 28 (18 hours)10 a.m.–12 p.m.Materials fee: $10 (due at first class) Course Fee: $250 • Course ID: PH175SP12

Photography Kickstarter: Darkroom Basics ALL LEVELS NEW Ava Johnson This two-day workshop is designed to give both begin-ning photographers as well as more advanced students a chance to practice and enhance their darkroom skills. This workshop provides an opportunity to develop that black-and-white film sitting in the camera bag, make those prints you’ve been meaning to get around to, or even add a pho-tography component to an existing project. Students, with instructor support and guidance, can start a project or get one back on track. The point is to spend some much-need-ed time in the darkroom and to have fun. The workshop will cover developing black-and-white film, making contact sheets, selecting images, printing, using contrast filters and burning and dodging to make better prints, and achiev-ing different looks with different types of printing papers.Saturdays, March 10 & March 24 (12 hours)10 a.m.–5 p.m. (hour-long break for lunch)Materials fee: $10 (due at first class) Course fee: $230 • Course ID: PH106SP12

WEEKEND COURSES

Documentary Photography as Fine Art ALL LEVELS G. Douglas VuncannonWhere do documentary photography and “fine art” con-verge? And how does a photographer come to terms with the proposition that “every photograph is a self-portrait”? Going beyond the realm of composition and craft, class presentations will focus on iconic photographers who have developed original approaches to documentary work. Through weekly assignments and classroom critiques, students will learn to identify elements of still photography that have the power to transcend the simple recording of images, as well as develop their own photographic vision. Students can meet with the instructor individually to dis-cuss their course portfolios.Saturdays, February 25–March 31 (18 hours)1–4 p.m.Materials fee: $10 (due at first class) Course Fee: $270 • Course ID: PH128SP12

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8 Intermediate Documentary Video Editing INTERMEDIATE Simone KeithIn this course, students will learn video editing techniques using the advanced features in Final Cut Pro. Find out what makes a smooth cut, understand the proper use of effects and transitions, and explore sound mixing while editing your next documentary project. Please note: Basic Final Cut Pro skills and access to a portable FireWire hard drive are required. Required Text: In the Blink of an Eye by Walter Murch. Recommended Text: Final Cut Pro HD for Dummies.Thursdays, March 29–May 17 (20 hours)6:30–9 p.m. • Materials fee: $10 (due at first class) Course fee: $275 (lab fee of $100 is included intuition and is valid for the duration of the class) Course ID: VI201SP12

WEEKEND COURSES

The Documentary and Three-Act Structure ALL LEVELS Joshua DasalThe standard for Hollywood narrative storytelling is tradi-tional three-act structure, and for good reason. The form is easy to master, it propels the story forward, and audiences have become comfortable with understanding the lan-guage of film. Documentarians can also benefit, creatively and in the marketplace, from incorporating this frame-work into their work. This one-day seminar will introduce students to the basics of narrative film structure—from Aristotle’s Poetics to the setup-confrontation-resolution model to Syd Field’s Paradigm to Frank Daniel’s Eight-Act Sequence Structure.Saturday, February 18 (6 hours)10 a.m.–4 p.m. (please bring a bag lunch)Materials fee: $10 (due at first class) Course fee: $155 • Course ID: VI133SP12

Making the Character-Driven Documentary ALL LEVELS Joshua DasalJust as a well-crafted story can be vital to the success of a documentary film, so can an equally compelling human subject. In this seminar, students will learn how to cre-ate documentary films crafted around a character with a strong and charismatic personality. The class will address issues such as how to select a screen-grabbing main char-acter, how to approach and involve that person in their film-making process, and how to structure a story and shoot in order to maximize screen time, effectiveness, and audi-ence investment.Saturday, March 17 (6 hours)10 a.m.–4 p.m. (please bring a bag lunch)Materials fee: $10 (due at first class) Course fee: $155 • Course ID: VI138SP12

WritingThe Documentary Essay ALL LEVELS NEW Rosecrans Baldwin The personal essay blends journalism and memoir. It looks beyond the author’s life but doesn’t lose sight of it. As a form, it’s big enough to include war reporting and small enough to analyze daily habits. This course is for students interested in magazine essay writing, for those who wish to tell their own story through fieldwork and to learn tech-niques to grip readers to the final word. Together, we will read and analyze exciting examples from the genre; find topics with a personal angle; conduct research and outline a story; fine-tune ideas and edit for structure, with an eye toward publication. By the end, students will have written essays that resound for them personally while appealing to a larger audience.Mondays, February 6–February 27 (8 hours)7–9 p.m. • Materials fee: $10 (due at first class) Course fee: $165 • Course ID: WR120SP12

Introduction to Documentary Video Editing BEGINNING Samir Arora How do you craft footage into a story—better yet, your story? We’ll analyze documentaries to learn basic edit-ing conventions and study the effects of stylistic choices. Then, through in-class exercises and weekly homework assignments, we will try it out for ourselves. Using Final Cut Pro, students will edit the same supplied footage to create their own take on the “same” story, which they will share with each other in class. Please note: No prior experience is necessary to take this course, though basic computer skills are required. Some homework assignments will require the use of CDS facilities between classes.Tuesdays, February 7–March 27 (20 hours)6:30–9 p.m.Materials fee: $10 (due at first class)Course fee: $275 (lab fee of $100 is included intuition and is valid for the duration of the class) Course ID: VI106SP12

The Five-Minute Documentary INTERMEDIATE/ ADVANCED Jim Haverkamp Short-form documentaries present a host of challenges and a wealth of opportunities for movie makers of all experience levels. Shorts force their makers to sharpen their focus, distill essential details, and experiment with structure in order to tell their stories economically and vividly. Through in-class screenings, discussions, assigned exercises, and a final project, this course will encourage students to explore the fundamentals of visual storytell-ing. Please note: Access to a video camera and editing software required. All production and editing will take place outside of class.Thursdays, March 8–April 26 (16 hours)7–9 p.m.Materials fee: $10 (due at first class)Course fee: $270 • Course ID: VI207SP12

Anytown USA: Star ADVANCED Randolph BensonAnytown USA is an advanced seminar in which each stu-dent will produce and edit an 8 to 12 minute video on a topic of their choice in Star, N.C. Students will be encour-aged to explore genre, technique, form, and their personal artistic vision in creating their short documentary. The instructor will pre-produce a number of potential topics within the community to be profiled. While students will be encouraged to focus their films on one of the pre-produced topics, they won’t be limited to those topics—they may “find” their own documentary within the community. We’ll start production the third week. Each week, students will review each other’s footage, story structure, and edits. At the end of the course the films will be screened in the com-munity. Previous Anytown courses have been profiled on WUNC’s The State of Things. Basic production experience suggested. Students must have access to a video camera, tripod, and a lavalier microphone.Wednesdays, March 14–May 2 (16 hours)7–9 p.m. • Materials fee: $10 (due at first class) Course fee: $285 • Course ID: VI515SP12

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9Portraits & Dreams: Literacy Through Photography ALL LEVELS Katie HydeDiscover the program created by photographer and teacher Wendy Ewald that encourages students to explore their world through photography. This workshop demonstrates ways to use photography and writing as a tool for increasing stu-dents’ critical thinking, self-expression, and personal involve-ment in school. By linking picture making, writing, and critical thinking, this workshop will help teachers make connections across curricula. Teachers will use photography to investigate self-portraiture and dreams, learn about LTP’s collaboration with Durham schools, and plan a project to implement in their own classrooms. Please note: Participants will be pro-vided with cameras for use during the workshop. Contact the instructor directly with any questions about the course con-tent at [email protected] I: Wednesday–Thursday, May 2–3 (12 hours)9 a.m.–4 p.m. (hour-long break for lunch on your own)Materials fee: $10 (due at first class) Course fee: $300 • Course ID: PH505SP12ASession II: Friday–Saturday, August 3–4 (12 hours)9 a.m.–4 p.m. (hour-long break for lunch on your own)Materials fee: $10 (due at first class)Course fee: $300 • Course ID: PH505SU12

Advanced Documentary Photography: Vision and Craft INTERMEDIATE/ADVANCED Christopher Sims This four-day workshop is intended for students who have created a relatively large body of photographs and now want to learn more about how to edit and present those photo-graphs to publishers, galleries, curators, and the general public. Sims will work with students one-on-one and in group critiques to help them find their most personal and power-ful images and then sequence those pictures in the most effective way. The second half of the workshop is devoted to beginning to build a printed portfolio by learning digital workflow, advanced Photoshop techniques, and inkjet print-ing. Students will take key representative images from their edited body of work and learn to adjust them effectively in Photoshop, as well as to make a series of consistently ren-dered inkjet prints. Sims will share his own work as well as the work of other accomplished documentary photographers. There will also be an evening presentation by a special guest photographer followed by a reception. Please note: Students should arrive with 40 to 60 digital images in original RAW,

Writing the Memoir ALL LEVELS John ManuelMemoirs are not just the province of the rich and famous. Memoirs can be written by anyone at any point in his or her life and about any aspect of that life. To make a memoir truly readable and interesting, writers need to make choic-es about what to focus on and how to structure their nar-rative. The course is designed to introduce students to the many different forms memoirs take and to encourage them to work on their own. Classes with help students find their voice, decide how to frame their stories, and begin writing. The class also offers guidance on publishing your memoir. Tuesdays, March 20-May 1 (14 hours)7–9 p.m.Materials fee: $10 (due at first class) Course fee: $270 • Course ID: WR172SP12

Institutes/WorkshopsDocumenting Medicine: A Day in the Life of a Patient BEGINNING NEW Dr. John Moses, Liisa Ogburn, Erica Rothman, Elena Rue This four-day intensive is designed for people with little documentary experience who are interested in using photography and audio to tell the story of a person with a serious medical condition. Students will see examples of relevant work, learn the fundamentals of capturing good quality sound and images, discuss the ethics and constraints of documenting patient stories, and become familiar with editing software. Students will work in small teams (one instructor for four students) led by experienced documentarians to map out, record, photograph, and edit and screen their three to six minute piece. We will have arranged to pair students with the patients with whom they will collaborate. (Please let us know if there is someone you would like to suggest.) Students are responsible for meals, housing, and transportation; snacks and beverages are provided.Thursday–Sunday, May 3–6 (24 hours)Starts Thursday, 4 p.m.; Friday and Saturday, 9 a.m.–5 p.m. (plus evening presentations); concludes Sunday, 4 p.m. (lunch provided)Materials fee: $10 (due at first class) Course fee: $685 • Course ID: MM125SP12

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10 org/archives/8020.) Additional information will be emailed to registered students prior to the institute. The enrollment fee includes all lunches during the week and one dinner. Students are responsible for housing and transportation.Saturday–Saturday, June 9–16 (48 hours)Starts Saturday, 3 p.m.; Monday–Friday, 9 a.m.–5 p.m. (plus evening presentations); concludes Saturday, 3 p.m., with public presentation of workCourse fee: $1,450 (cameras are provided) Course ID: VI525SU12

Intensive Introduction to Documentary Studies ALL LEVELS Michelle LanierThis intensive, weeklong class is designed for distance students who are pursuing the Certificate in Documentary Arts and fulfills their introductory course requirement, but it is also ideal for any student wishing to get a grasp of the basic history and principles of documentary work. This course will feature a variety of guest speakers including photographers, filmmakers, writers, and audio producers. We emphasize not only methodologies but also philoso-phies and ethics of fieldwork in different settings. Students will explore examples of fieldwork and at the final meeting will present projects of their own. These projects may be the beginning of long-term documentary initiatives or sim-ply a means to help decide on the direction of a future proj-ect. A list of required texts and a course pack will be sent to students prior to workshop.Sunday–Friday, June 24–29 (38 hours)Starts Sunday, 6 p.m.; Monday–Friday, 9 a.m.–4 p.m. (plus two evening presentations)Materials fee: $25 (due at first class) Course fee: $465 • Course ID: ST515SU12

Hearing Is Believing I: An Audio Documentary Summer Institute ALL LEVELS John BiewenIn this weeklong, morning-till-night immersion in mak-ing audio documentaries, you’ll learn hands-on skills in recording and digital audio mixing; discuss issues such as the ethics of documentary work; explore varied uses for audio documentaries; and hear accomplished producers play and talk about their work in evening presentations. During the week you’ll collaborate with a fellow student to produce and edit a short audio documentary, from the first interview and gathering sound to the final mix. (Examples of previous students’ projects can be found on CDS Porch: cdsporch.org/archives/6419.)

The institute will be led by John Biewen along with other staff members of the Center for Documentary Studies. Visiting artists will also join the institute faculty; past instructors include Jay Allison, the Kitchen Sisters, Joe Richman, Chris Brookes, Neenah Ellis, Karen Michel, and Dmae Roberts. Please note: Computers and Pro Tools editing software will be provided. Students should bring field-recording equipment, including recorder, microphone, and headphones. No experience in audio production is required, though a basic comfort level with computers is desirable. Additional information will be emailed to reg-istered students in June. The enrollment fee includes all lunches during the week and one dinner. Students are responsible for housing and transportation. Sunday–Saturday, July 15–21 (40 hours)Starts Sunday, 4 p.m.; Monday–Friday, 9 a.m.–5 p.m. (plus evening presentations); concludes Saturday, 3 p.m.Course fee: $845 • Course ID: AU525SU12

TIFF, or PSD files in the largest size available. Use of com-puters, software, large-format printers, and paper are included in the enrollment fee. Additional information will be emailed to registered students. Students are respon-sible for meals, housing, and transportation; snacks and beverages are provided.Thursday–Sunday, May 10–13 (24 hours)Starts Thursday, 4 p.m.; Friday and Saturday, 9 a.m.–5 p.m. (plus evening events); concludes Sunday, 4 p.m. • Smith Warehouse and CDS Course fee: $665 • Course ID: PH555SP12

Documentary Video Institute ALL LEVELS Randolph Benson, Jim Haverkamp, Simone Keith, Erika Simon, Carol Thomson, Nicole TricheIn this eight-day intensive, students are fully immersed in the process of documentary filmmaking. Working in small production teams (one instructor for every four students) led by experienced documentary filmmakers, you will be introduced to an array of tools and techniques as you col-laborate with a partner to direct, shoot, edit, and screen a documentary short. By the time you arrive at the institute, we will have arranged for you to do fieldwork in the Durham community on a documentary subject; you will then work with your partner to decide on the technical and creative approach you want to take with your project. We will also explore different documentary genres and discuss col-laboration, ethics, and community outreach. Nationally known guest instructors will teach classes and screen their work in evening sessions. Past visiting filmmakers have included Linda Goode Bryant (Flag Wars), Marco Williams (award-winning Two Towns of Jasper), and Ross McElwee (Sherman’s March, Bright Leaves). (Examples of previous students’ projects can be found on CDS Porch: cdsporch.

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11structure, and the art of writing great nonfiction, and a rare opportunity to be guided closely by top editors and writers.Monday–Saturday, July 30–August 4 (35 hours)Starts Monday, 9 a.m.; Tuesday–Friday, 9 a.m.–5 p.m. (plus evening presentations); concludes Saturday, 3 p.m.Course fee: $750 • Course ID: WR535SU12

Hearing Is Believing II: Making It Sing INTERMEDIATE/ADVANCED John BiewenAn intensive six-day workshop for students who’ve recorded interviews and gathered sound and are ready to construct a six- to twelve-minute audio documentary. This course is designed for those who have a basic grasp of audio editing software, or for individuals who have completed Make That Audio Doc and/or the one-week Hearing Is Believing summer institute and are ready to try a more ambitious project. This time you’ll bring your own recordings to the institute. You’ll get lessons and personal guidance from seasoned radio documentary producers as you structure and script your piece, record your narra-tion tracks (if any), and mix your documentary on CDS’s Pro Tools workstations or, if you prefer, on your laptop with your own editing software. (Examples of previous students’ projects can be found on the CDS Vimeo site: http://vimeo.com/cds.)

The institute will be led by John Biewen along with other staff members of the Center for Documentary Studies. Visiting artists and editors will join the insti-tute faculty, including Deborah George, Katie Davis, and Shea Shackelford; past instructors include Emily Botein, Cheryl Devall, and Emily Hanford. Additional information will be emailed to registered students. The enrollment fee includes all lunches during the week and one dinner. Students are responsible for housing and transportation.Monday–Saturday, August 6–11 (35 hours)Starts Monday, 6 p.m.; Tuesday–Friday, 9 a.m.–4:30 p.m. (plus evening presentations); concludes Saturday, 3 p.m.Course fee: $845 • Course ID: AU535SU12

Digging In: A Documentary Retreat INTERMEDIATE/ADVANCED Big ShedThis weeklong retreat brings together documentary makers and storytellers of all stripes for a productive, invigorating, and rejuvenating week of digging deep and making mean-ingful progress on individual projects. If you’re an audio producer, writer, photographer, filmmaker, multimedia cre-ator, or all of the above, Shea Shackelford, Jennifer Deer, and Jesse Dukes (aka Big Shed) designed this retreat so you could take a break from daily distractions and delve into the work that’s most important to you (work that’s often hard to make time for). If you have a story you’re try-ing to finish, a proposal you need to write, or maybe you just want space to think about your creative trajectory, spend a week as part of a great group of people doing the same thing! In case you need more convincing, the course fees include tasty lunches throughout the week . . . and hand-cranked ice cream on the porch.

Sunday–Friday, July 29–August 4 (45 hours)Starts Sunday, 4 p.m.; Monday–Friday, 9 a.m.–5 p.m.; concludes Saturday, 2 p.m.Course fee: $480 • Course ID: AU537SU12

Master Class: Nonfiction Writing ADVANCED NEW Duncan Murrell and Roger HodgeIntended for advanced writers of narrative nonfiction, this workshop brings students together with professional writers and editors for an intense week of collaborative discussion, revision, and writing. Students in the workshop will read and discuss the ongoing projects of fellow stu-dents, work individually with the instructors to refine and shape their own projects, and participate in readings and round-table discussions with top figures in the publishing world. Throughout the week, students will have the space and time for sustained, concentrated writing, as well as access to the world-class Duke University Libraries system. Because this is a workshop, it’s assumed students have completed most of their fieldwork and have possibly begun or completed an early draft of the writing project they’d like to work on while in residence. This is a workshop on craft,

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Required Courses for Certificate in Documentary ArtsIntroductory Seminar in Documentary Studies BEGINNING Michelle LanierThis course is designed for students in the Certificate in Documentary Arts program or those who plan to enroll. Photography, video, oral history, writing, ethnography, and community partnerships—the documentary arts are inter-disciplinary and multifaceted in nature, encompassing many genres and numerous means of interacting with the world and its people. We emphasize not only methodolo-gies but also philosophies and ethics of fieldwork in differ-ent settings.Saturdays, April 14–May 12 (20 hours)10 a.m.–3:30 p.m. • Materials fee: $10 (due at first class) • Course fee: $250 • Course ID: ST101SP12

Final Project Seminar in Documentary Studies ADVANCED Nancy KalowThis (permission-only) seminar is organized around group discussions of student projects, and how best to complete those projects, along with guided planning on taking the works to their intended audiences. Participants who suc-cessfully complete their project during this course will be awarded the Certificate in Documentary Arts. Certificate students who have met all other requirements and have done substantial work toward their intended final proj-ects may request admission to the course. Please note: Students must submit a detailed project description and a rough cut or draft of the project to the director of Continuing Education, April Walton, at [email protected], no later than March 26 to be admitted to the course. On Friday, May 18, students will share their work with a public audience. Wednesdays, March 28–May 9 (16 hours)7–9 p.m. • Certificate in Documentary Arts gradua-tion presentations: Friday, May 18Materials fee: $10 (due at first class)Course fee: $250 • Course ID: ST525SP12

Advanced Projects Seminars in Audio, Photography, and VideoThe Advanced Audio, Photography, and Video Projects courses provide documentary artists with the opportunity to work with award-winning professionals in small group settings. Each term, CDS invites three established art-ists to teach the Advanced Projects Seminars, which are designed for individuals who are working on projects and are seeking creative guidance. This is an opportunity for students in the certificate program to refine their work before applying for the Final Seminar. Participants are required to share excerpts from their works-in-progress, and the courses are designed around the specific needs of participants. Different artists will teach the seminars each term, giving students the opportunity to hear multiple per-spectives on their work. Students may take the course for credit more than once. This is also an ideal course for stu-dents who have completed the Certificate in Documentary Arts and are looking for professional advice to move forward in their careers, including information on finding resources (grants, fellowships, artist residencies) to sup-port their work. Certificate students are required to take a seminar in their chosen concentration before enrolling in the Final Project Seminar. Please note: A lab fee of $100 is not included in the tuition for these courses.

Audio Projects Seminar ADVANCED Jennifer DeerMondays, January 30–March 5 (12 hours)6–8 p.m. • Materials fee: $10 (due at first class) Course fee: $320 • Course ID: AU301SP12

Photography Projects Seminar ADVANCED Barbara TyrolerMondays, January 30–March 5 (12 hours)6–8 p.m. • Materials fee: $10 (due at first class) Course Fee: $320 • Course ID: PH300SP12

Video Projects Seminar ADVANCED Jim HavercampMondays, January 30–March 5 (12 hours)7–9 p.m. • Materials fee: $10 (due at first class) Course fee: $320 • Course ID: VI300SP12

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13InstructorsKelvin De’Marcus Allen is a graduate of North Carolina Central University and holds a Master of Arts in Leadership and Liberal Studies from Duquesne University. He has produced television specials and training videos for WTNH in New Haven, Conn.; the National Cancer Institute; and UNC–Chapel Hill. His documen-tary Imagine If was a winner of the Connecticut Higher Education Telecommunications Association’s Screening Room Award.

W. Calvin Anderson holds a B.A. in philosophy and political sci-ence from Boston College, an M.S. in Education Supervision and Administration from Mercy College, and is an M.Ed. candidate in Instructional Design for Online Learning at Capella University. He currently contracts with non-profits, charter schools, and faith-based educational organizations in New York, North Carolina, Georgia, and Connecticut.

Samir Arora is a freelance director and editor. He spent several years working as a narrative and documentary filmmaker in the San Francisco Bay Area before moving to the Triangle. His editing career began on a flatbed editor, cutting films by hand. His career includes projects in 16mm, 35mm, and all flavors of digital video. He holds degrees in the environmental sciences from UC–Davis and Duke University.

Rosecrans Baldwin is the author of the novel You Lost Me There, one of NPR’s Best Books of 2010 and a New York Times Book Review Editors’ Choice. His memoir, Paris, I Love You but You’re Bringing Me Down, is forthcoming from Farrar, Straus and Giroux (May 2012). A finalist for a James Beard Foundation Awards in 2011, his essays have appeared in The Nation, Salon, Slate, and on NPR’s All Things Considered. He is cofounder of the on-line maga-zine The Morning News.

Randolph Benson is a graduate of Wake Forest University and of the North Carolina School of the Arts’ School of Filmmaking. His film Man and Dog has garnered numerous awards, most notably a Gold Medal in the Academy of Motion Picture Arts and Sciences’ Student Academy Awards. His work has been featured on Bravo, the Independent Film Channel, numerous public television stations, Canal Plus–France, and Telewizja Polska S.A. Benson received an Eastman Kodak Excellence in Filmmaking Award at the Cannes Film Festival and a First Appearance Award at the International Documentary Film Festival.

John Biewen is audio program director at the Center for Docu-mentary Studies. Besides teaching summer audio institutes and undergraduate courses, he produces documentaries and features for NPR, PRI, American Public Media, and other public radio audi-ences. His work has won many honors, including two Robert F. Kennedy Awards, the Scripps Howard National Journalism Award, and the Third Coast International Audio Festival’s Public Service Award.

Abigail Blosser is a practicing artist and photographer. Her art has been exhibited in galleries and museums throughout the United States, including the Kennedy Museum of Art, the Reese Museum, and at Duke University. She earned her M.F.A. in photography from Ohio University and has taught photography to students of all ages.

Harlan Campbell is the photography and digital arts associate at the Center for Documentary Studies. He has a degree in photogra-phy from the Savannah College of Art and Design. While Campbell’s personal work focuses mainly on portraiture, his freelance projects have included book and album covers. He also specializes in cus-tom printing for artists and galleries.

Joshua Dasal, an Emmy-award winning documentary filmmaker, is a veteran of independent and mainstream documentary and narra-tive productions. He has developed, written, directed, or produced projects for the Discovery Channel, PBS, Sony Screen Gems, and director Wes Craven. His work has screened at the Academy of Motion Picture Arts & Sciences, the Director’s Guild of America, and the USC First Look Film Festival. Dasal has received a Final Draft screenwriting award, a Silver Telly Award for his PBS work, and the HDFest Best Documentary prize for The Mars Underground.

Katie Davis has been working in public radio for thirty years. Her experience includes wide-ranging production and on air work at National Public Radio, where she’s been a reporter, commenta-tor, and host. Her series Neighborhood Stories airs on All Things Considered, This American Life, and Hearing Voices. Her work is included in Reality Radio: Telling True Stories in Sound from UNC Press and the Center for Documentary Studies. Davis is currently senior producer of the nationally syndicated series The Story. She is opening the show up to independent voices and sound work.

Jennifer Deer is a writer, performer, and audio producer. Her work for radio has aired on such nationally syndicated programs as NPR’s All Things Considered, Weekend Edition, Day to Day, and

Weekend America. From 2001 to 2002 she hosted the radio maga-zine show ArtVoice for WABE in Atlanta. In 2005 she co-founded Big Shed, an audio and multimedia production shop, and co-curates the audio documentary podcast bigshed.org.

Dawn K. Dreyer has worked with documentary artists at every stage of the production process. As founding board chair of the Southern Documentary Fund, Learning Outreach director at CDS, and a teacher in the Documentary Arts program, she has consulted on a large number of projects. The founder and director of Cracked Window Studios, Dreyer is a mixed-media conceptual artist, Dreyer uses clay, photography, audio, and writing to develop projects that focus on the intersections of spirituality, social justice, creativity, and community.

Misha Friedman, originally from Moldova, formerly part of the U.S.S.R., has degrees in economics and political science and has worked for various NGOs, including the World Health Organization, Human Rights Watch, and Medecins Sans Frontiers. Friedman’s work has been published by the BBC and in The New Yorker, Time, and Le Figaro, among others, and he has received prizes from Picture of the Year International, Freedom to Create, and Stop TB.

Jim Haverkamp is an award-winning filmmaker and editor based in Durham. He co-directed the short films Armor of God, Willow Garden, and Hot Dog Man: A Case Study, and has worked as an editor on several feature documentaries, including Monster Road, Doubletime, and Hearts & Mines. He is co-organizer of Durham’s Strange Beauty Film Festival.

Roger Hodge is the author of The Mendacity of Hope: Barack Obama and the Betrayal of American Liberalism, published by HarperCollins in October 2010. Hodge was the editor-in-chief of Harper’s Magazine from 2006 to 2010. He began his journal-ism career as a freelance writer and in 1996 joined the staff of Harper’s, where he created the magazine’s “Findings” column as well as the on-line “Weekly Review.” Hodge was National Magazine Award finalist for Reviews and Criticism in 2006.

Jennifer Jenkins is a senior lecturing fellow and director of Duke’s Center for the Study of the Public Domain, where she heads its Arts Project, which analyzes the effects of intellectual property on cul-tural production. She is co-author of Bound by Law, a comic book about copyright, fair use, and documentary film, and several short pieces on intellectual property issues.

Ava Johnson is a visual artist, performer, and educator. She stud-ied photography at the Savannah College of Art and Design and received her M.F.A. in studio art at UNC–Chapel Hill. Her photogra-phy has been exhibited across the country, and she has performed in the United States, Canada, and Europe. Identity, family, and nos-talgia are common themes in her creative work.

Katie Hyde has been involved with the Literacy Through Photo-graphy (LTP) program at CDS since she studied with Wendy Ewald in 1998. She currently directs the LTP program and travels nation-ally and internationally to teach LTP workshops at major museums, schools, and community organizations. She has a doctorate in sociology from North Carolina State University and teaches visual sociology at the Center for Documentary Studies.

Nancy Kalow is a folklorist and filmmaker who began teaching at CDS in 2000. Several of her video documentaries are on-line, including Sadobabies, winner of a Gold Hugo at the Chicago Film Festival and the Special Jury Trophy at the San Francisco Film Festival, and The Losers Club. She has been co-chair of the Selection Committee of the Full Frame Documentary Film Festival since 2003.

Simone Keith started her career as a news editor and videotape operator. After spending a year in Ecuador to help train young peo-ple in aspects of production at an independent television station, Keith went to work for UNC-TV, where she shot and edited news sto-ries for North Carolina Now and worked on several award-winning documentaries. She recently produced her first independent fea-ture, Heavier Than Air, about Brazilian aviator Santos-Dumont.

Michelle Lanier, acting director of North Carolina’s African Amercan Heritage Commission and Curator of Multicultural Initiatives with North Carolina’s State Historic Sites, has been an instructor at CDS since 2000. She uses her background as an oral historian and folklorist to connect communities around the state’s rich cultural resources, and she also brings the ethical issues of public history and documentary work into the classroom.

Barbara Lau is the director of the Pauli Murray Project at the Duke Human Rights Center. Lau, who has a B.A. in Sociology/Urban Studies from Washington University in St. Louis and an M.A. in folk-lore from UNC–Chapel Hill, has more than twenty years of experi-ence as a folklorist, oral historian, teacher, curator, radio producer, and arts consultant. Lau previously held the position of Community Documentary Projects director at CDS.

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Liz Lindsey has worked for over a decade with non-profit organiza-tions, established artists, and professors, as well as undergraduate and continuing education students, who wish to tell stories through exhibits of various media. Her experience has included directing a non-profit artisans gallery; doing archival work for the North Carolina Arts Council and Southern Folklife Collection; and coordinating exhi-bitions at CDS. She is currently working as an independent folklorist. Lindsey holds an M.A. in folklore from UNC–Chapel Hill.

Richard Lucic is a professor of the practice of computer science at Duke University, where his courses include web design, multimedia communications (including digital photography), and mobile appli-cations development. He specializes in teaching technology-based subjects to students with little background or experience. His per-sonal photographic work focuses mainly on nature and landscapes but also includes preserving images of historical structures.

Alex Maness is a visual artist, photographer, and filmmaker based in Durham. A graduate of Syracuse University’s Visual and Performing Arts program, he has been making art with a camera for more than 15 years. He is a former Independent Weekly staff pho-tographer and is currently a full-time freelancer. As a member of the 715 Collective, Maness has been site photographer for archaeologi-cal digs on Crete, a sculptor’s apprentice in Raleigh, and is currently making short films and designing video for theater at Duke and for Little Green Pig.

John Manuel is author of a memoir, The Canoeist (Jefferson Press, 2006), and a natural history primer and guidebook, The Natural Traveler Along North Carolina’s Coast (John Blair, 2003). He is an award-winning journalist who has published articles and essays in state and national magazines, including Audubon, Canoe & Kayak, and Environmental Health Perspectives. He is a former instructor with the Duke Young Writer’s Camp.

Roger May is a documentary photographer and native of the Tug Valley region of eastern Kentucky and southwestern West Virginia. A current Continuing Education student at CDS, May is involved in a long-term project about the dynamic relationship between the coal industry, the environmental movement, and Appalachian communi-ties caught between the two. He is an avid researcher of the photo-graphic history of Appalachia through the work of William Gedney, Builder Levy, Shelby Lee Adams, and others.

Jaisun McMillian is an editor, screenwriter, and producer. She has written, produced, and directed stage plays, marketing and training videos, and television commercials. She is also a voice actor and a former performing member of the Platters and Martha Reeves and the Vandellas.

John Moses, M.D., is a primary care pediatrician and photographer based at Duke University. Over the last twenty years, Moses has worked on a number of projects at the intersection of documentary

and medicine, and has used this material to teach at the under-graduate, medical student, and medical residency levels. In addi-tion to maintaining a busy clinical practice, he teaches photography at CDS and helps direct the Duke Innovation Program, in which he mentors medical residents producing photographic documentaries.

Duncan Murrell is Writer in Residence at CDS. A contributing edi-tor at Harper’s Magazine and The Normal School, his work has also appeared in Guernica, The Oxford American, Southern Cultures, and many other publications. Murrell was an editor at Algonquin Books, where he acquired and edited several national bestsellers in fiction and nonfiction. He is a graduate of Cornell and Northwestern universities and has been a resident at Yaddo.

Liisa Ogburn currently teaches documentary to medical residents through the Documenting Medicine program that she founded with Dr. John Moses at Duke in 2011. She has taught documentary at CDS for the last five years and was recognized in 2011 by the Dean for teaching excellence. She helped found 415, a multimedia firm in San Francisco, where she worked with such clients as the Library of Congress and the San Francisco Symphony. While there, she began producing her first documentary work, with photography and audio.

Catherine Orr is a multimedia storyteller who enjoys nearly all aspects of visual communication but is most drawn to telling stories through documentary-style video and photography. She is a 2011 graduate of the master’s program at UNC’s School of Journalism and Mass Communication where she was a Park Fellow and a 2011 Carnegie-Knight News21 Fellow. She received her bachelor’s degree from the College of William and Mary and worked as the communications coordinator for the Office of International Education at the University of Richmond.

Elena Rue is a multimedia storyteller who uses the camera as a tool for exploration and learning. As a 2006 Lewis Hine Fellow she worked in Ethiopia with the NGO Hope for Children and then worked for three years as coordinator of CDS’s Literacy Through Photography program. She is a 2011 graduate of the master’s pro-gram at the UNC’s School of Journalism and Mass Communication where she was a 2010 Carnegie-Knight News21 Fellow and a 2010–11 Reese Felts Digital Newsroom Fellow. She is currently a freelance multimedia producer and director of the Lewis Hine Fellowship program at CDS.

Erica Rothman is the owner of Nightlight Productions. Previously a psychotherapist, Rothman started her documentary work with a project exploring families’ experience with end-of-life care. After receiving her Certificate in Documentary Studies at CDS, she changed careers and now produces public health and medical edu-cation videos, promotional and fundraising videos for non-profits, and has taught in Mexico and at CDS. Erica is also on the Duke Patient Advocacy Council, which has enhanced her enthusiasm for bridging the worlds of documentary and medicine.

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“All documentary work is local.”—Tom Rankin, director of the Center for Documentary Studies

The best way to get involved at the Center for Documentary Studies is to support the documentary arts. This is easy to do, by making a contribution through Friends of CDS. Through their contribu-tions, Friends of CDS help to support the Center for Documentary Studies, a 501(c)3 nonprofit organi-zation affiliated with Duke University. Because the founders of the Center for Documentary Studies envi-sioned an organization that would bridge campus and community life, CDS was established as neither an academic department nor a traditional university edu-cational center. Rather, CDS functions as an indepen-dent not-for-profit organization, with its own budget and fundraising goals.

Two ways To Give: you may make a secure on-line donation at http://cds.aas.duke.edu/donate OR you may send a check payable to “Center for Documentary Studies” at Friends of CDS, 1317 W. Pettigrew Street, Durham, NC 27705

For More information: Contact Lynn McKnight, Associate Director for Programs and Communications, Center for Documentary Studies at Duke University: 919-660-3663 or [email protected]

JOIN FRIENDS OF CDS

To Learn About Upcoming Events, Subscribe to the CDS E-BLAST:y cds.aas.duke.edu/about/guestbook.html

and Visit CDS PORCH:ywww.cdsporch.org

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Joy Salyers is a folklorist, writer, and anti-racism educator. She consults with individuals and groups on a variety of topics—her specialties include using oral history, experiential learning, and creativity to bridge community divisions, develop identity, and com-bat prejudice. Her personal fieldwork includes documenting life histories, writing poetry from family stories, and collaborating with members of a modern performance community.

Claire Schoen, an independent media producer with a special focus on documentary radio, has produced/directed over 20 long-form radio documentaries and several documentary films. As a sound designer she has recorded, edited, and mixed sound for film/ video, websites, museums, and theater productions. Schoen has received NFCB Golden and Silver Reels, Gracies, Clarion Awards, a PASS Award, and a New York International Festival Silver, and has shared Peabody and DuPont-Columbia awards. Schoen has taught media production for UC-Berkeley’s Graduate School of Journalism, AIR’s mentorship program, and the Third Coast International Audio Festival.

Shea Shackelford is an award-winning audio producer and co-founder of Big Shed, an audio and multimedia production shop. He created the Place + Memory Project, a public radio/internet cam-paign mapping a landscape of remembered places in partnership with NPR’s Weekend Edition. Shackelford is a media trainer and a former coordinator of youth media programs for the Latin American Youth Center in Washington, D.C.

Erika Simon has been teaching Final Cut to beginners at CDS since 2003. She was an editor for Gatewood: Facing the White Canvas and directed and edited SAF’s Levante: Theater for Social Change and a PSA that aired on Univisión. She recently edited Green Jobs Revolution to appear as an extra on the Everything’s Cool DVD. Her final project for the CDS certificate program won the 2006 Carrboro Film Festival Audience Award.

Christopher Sims has a B.A. in history from Duke, an M.S. in visual communication from UNC–Chapel Hill, and an M.F.A. in stu-dio art from the Maryland Institute College of Art. He has worked as a photo archivist at the U.S. Holocaust Memorial Museum, and he currently designs the CDS website. His most recent exhi-bitions include shows at SF Camerawork, the Griffin Museum of Photography, the Houston Center for Photography, the Light Factory, the Southeastern Center for Contemporary Art, and the Halsey Institute of Contemporary Art. His project on Guantanamo Bay was featured in the Washington Post, the BBC World Service, Roll Call, and Flavorwire. In 2010, he was the recipient of the Baum Award for Emerging American Photographers.

Aaron Smithers is a folklorist living in Carrboro. He was chief audio engineer for the Austin Music Network in Texas before continuing his studies in folklore at UNC. Since 2002, he has worked as an engineer and archivist on numerous digitization projects at the Southern Folklife Collection, and currently serves as assistant to the curator. He is the music editor for Southern Cultures, journal for the Center for the Study of the American South at UNC.

Leah Sobsey is an artist and educator. She received her M.F.A. from the San Francisco Art Institute and completed the Resident Certificate Program at the Maine Photographic Workshops. Her work has been exhibited widely and is in public and private col-lections across the country. A longtime instructor at CDS, she has also taught at the San Francisco Art Institute and the Maine Photographic Workshops. She is on the art faculty at UNC-Greensboro.

Victor Stone is a Durham native who studied music and art at North Carolina Central University. After serving as director of a summer camp for teens interested in video production at NCCU in summer 2009, he was inspired to produce a documentary on the history of Durham’s Hayti community.

Carol Thomson has been creating websites and multimedia works since 2000; her multimedia company, FireStream Media, LLC, is located in downtown Durham. Carol completed the certificate pro-gram at the Center for Documentary Studies in 2005. Her interac-tive, multimedia documentary Bridging Rails to Trails: Stories of the American Tobacco Trail can be seen on-line.

Nicole Triche worked for seven years at UNC’s Center for Public Television, where she produced various field and studio projects. From 2004 to 2007 she was director of the Flicker Film Festival in Chapel Hill. Her work has screened at various film festivals, including Full Frame, RiverRun, and the Sidewalk Film Festival. She received an M.F.A. in cinema from UNC–Greensboro and currently teaches at Elon University.

Barbara Tyroler produces site-specific portraiture for corporations, universities, and health-oriented non-profits. Tyroler, who has an M.F.A. in digital art and an M.Ed. in education, taught lens-based

critical theory at the University of Maryland and founded and direct-ed the Photographic Arts Outreach Program there before returning to Chapel Hill, her hometown, in 2009.

Timothy B. Tyson, author of Blood Done Sign My Name and other award-winning books, is a senior research scholar at CDS and Visiting Professor of American Christianity and Southern Culture in the Divinity School. Blood Done Sign My Name was a finalist for the National Book Critics Circle Award and winner of the Christopher Award and the North Caroliniana Book Award. He is a North Carolina native and a graduate of Duke (M.A. ’91, Ph.D. ’94).

G. Douglas Vuncannon is a visual artist and composer who works as a freelance photographer and writer. A recipient of the Durham Art Council’s Emerging Artist Grant, Vuncannon produced Super 8 films that were used in the critically acclaimed productions The Bitter Tears of Petra von Kant and Europe Central. His short docu-mentary films have screened at numerous film festivals in the U.S. and Canada.

Judith Van Wyk is an independent writer/producer who chairs the projects committee for the Southern Documentary Fund. After receiving an M.A. in broadcast journalism, she worked as a reporter in both public radio and television. She worked for eight years as an award-winning television producer for the Discovery Network. She recently completed a biography about controversial hog magnate Wendell H. Murphy and is currently at work on a short documentary about an Iraqi journalist forced to flee Baghdad during the height of the Iraq War.

The Center for Documentary Studies at Duke University teaches, engages in, and presents documentary work grounded in col-laborative partnerships and extended fieldwork that uses pho-tography, film/video, audio, and narrative writing to capture and convey contemporary memory, life, and culture. CDS values documentary work that balances community goals with indi-vidual artistic expression. CDS promotes documentary work that cultivates progressive change by amplifying voices, advancing human dignity, engendering respect among individuals, break-ing down barriers to understanding, and illuminating social injustices. CDS conducts its work for local, regional, national, and international audiences.

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Calendar SPRING 2012

All events are on the Duke University campus unless otherwise noted. Please check the CDS calendar on the web for updates to this events listing y http://cds.aas.duke.edu/events/index.html

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January 30MFA in Experimental andDocumentary ArtsDeadline for applications for Fall 2012 admissionmfaeda.duke.edu

January 30, 5 p.m.Information SessionFor current and prospective students of CDS continuing education courses Center for Documentary Studies

February 1, 7 p.m.Full Frame Winter SeriesA special screening of Project Nim by the Full Frame Documentary Film FestivalCarolina Theatre, Durham, NC

February 1–March 1John Hope Franklin StudentDocumentary AwardsAccepting applications for undergradu-ate summer research awardsCenter for Documentary Studies

February 6Lewis Hine Documentary Fellows ProgramApplication deadline for fall 2012Center for Documentary Studies

February 6When Janey Comes Marching HomeAn exhibition featuring photographic portraits and oral histories of female Iraq and Afghanistan war veterans, on view through April 21Center for Documentary Studies

February 28Shared TablesA Triangle-area symposium on local and global sustainable food systemsUNC–Chapel Hill

February 29Shared TablesA Triangle-area symposium on local and global sustainable food systemsDuke University

AprilGroundwork: Democracy Close to HomeDebut of CDS radio documentary on American democracy in action at the local levelgroundworkproject.org

AprilIn This Timeless Time: Living and Dying in Death Row in AmericaNewest book, by Bruce Jackson and Diane Christian, in the Documentary Arts and Culture series published by CDS Books and the University of North Carolina Pressdocumentarystudies.duke.edu > books

April 12–15Full Frame Documentary Film FestivalScreenings of 100 films with directors, discussions, panels, and partiesCarolina Theatre and other venues, down-town Durham, NC

April 19, 6–9 p.m.Artist’s Talk and Book SigningBruce Jackson talks about the exhibit Full Color Depression and signs copies of the show’s catalog and the book In This Timeless TimeCenter for Documentary Studies

April 29, 3 p.m.Picnic and Certificate CeremonyPicnic for graduating Certificate in Documentary Studies studentsCenter for Documentary Studies

April 29, 3 p.m.Opening ReceptionNorth Carolina at Work, a collection of Cedric Chatterley’s photographs orga-nized by students in the Continuing Education course Mount a Real Documentary Exhibit, through June 29Durham County Public Library

April 30Photographs by Hugh MangumAn exhibition curated by Sarah Stacke of work by a turn-of-the-last-century Durham portrait photographer, through October 20Center for Documentary Studies

May 3–6Documenting Medicine: A Day inthe Life of a PatientNew intensive course for beginning stu-dents interested in using photography and audio to tell the story of a person with a serious medical conditionCenter for Documentary Studies

May 7Undergraduate Student ExhibitionStudents completing the Certificate in Documentary Studies share their final projects, through September 28Center for Documentary Studies

May 18, 6 p.m.Certificate in Documentary ArtsGraduating students present final proj-ectsNasher Museum of Art

June 15–September 15CDS/Honickman First Book Prize in Photography CompetitionAccepting submissions. Deborah Willis is the sixth biennial judge.Center for Documentary Studies

June 21Print AuctionA public auction of the prints from the exhibit Full Color DepressionCenter for Documentary Studies

August 6Coney Island 40 Years: Photographs by Harvey SteinThis exhibition of images spanning the years 1970–2010 is a meditation on time, history, persistence, and longevity, through October 27Center for Documentary Studies

August 6–11Master Class: Nonfiction WritingNew summer institute for advanced writ-ers of narrative nonfictionCenter for Documentary Studies

Continuing Education Spring/Summer 2012 Course Catalog

Documents

Transcript of Continuing Education Spring/Summer 2012 Course Catalog