This spring I taught a journalism class that centered on making a short online documentary using The New York Times‘s Op-Docs series as model. Below are the assignments used to build the projects and some of the rationales behind them.
Coming up with an idea often becomes the most difficult task behind any project, and choosing an idea early is essential to succeeding in a production course. The assignment called for a focus on women or women’s issues, which aligned with the mission of the all-women’s university where I taught. Students could choose their own topic within that scope.
The selection process began with a series of brainstormed topics lists, and the story pitch honed those lists to one idea. Since the project required three main interviews, the next assignment called for a potential participants list with short rationales for their choices. After that, students turned in a background research list, with citations and 1-2 sentences explaining how each source might contribute to their finished piece.
The documentary script assignment was intended to help organize materials before editing. At minimum, the script needed to show their interviews, the key themes, and the structure and flow. The assignment called for a three-column format with approximate runtime, audio, and video. Students were encouraged to include as much information as possible in the script, though the level of what they included depended on how much shooting they had completed.
The pitching trailer was intended to help hone their documentary as we moved toward the end of the semester. It was meant to envision the overall tone and scope within a 30-60 second clip, which was screened and discussed in class. In preparation for this assignment, we watched and discussed trailers from a wide range of documentaries, including Citizen Four, Hands on a Hard Body, American Movie, The Search for General Tso, Cover Girl Culture, Tarnation, and Vernon, Florida.
Rough Cut and Peer Review
With a four-minute minimum length, the rough cuts were also screened and discussed in class. They were intended to help with the questions arising from the editing process, such as if the voiceover worked, the juxtapositions made sense, the images conveyed the story, and the like. We also revisited some ethical issues about consent and fair representation during this session.
On the last day of class, the final (for class, anyway) cuts were due, and we screened and discussed them. Many doughnuts and bagels were consumed.
I originally had included two other assignments to accompany the final cut, but class flow prevented having enough time to address them. The first was a 500-word article about the doc and the story it told, similar to what appears with other Op-Docs on The New York Times site.
The other was what I had called an “interactivity statement,” which would have looked at how they might connect with audiences through online civic engagement. Some questions behind the assignment included the following:
- How might audiences engage with the documentary’s story?
- How might you handle a range of the audience’s responses, both positive and negative?
- What are some of the profiles for those audiences?
- On what social networking sites might you find those audiences? How might you engage them where they are?
- What organizations and other sites might you reach out to help with spreading the word about your documentary?
If you have any questions about the assignments, please feel free to contact me.