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Updated and improved, with new case studies and conversations with award-winning filmmakers including Alex Gibney (Taxi to the Dark Side), James Marsh (Man on Wire), and Deborah Scranton (The War Tapes).
Documentary Storytelling has reached filmmakers and filmgoers worldwide with its unique focus on the single most important aspect of documentary media-making: storytelling. Drawing on the narrative tools of the creative writer, the unique strengths of a visual and aural media, and the power of real-world content truthfully presented, Documentary Storytelling offers advice for producers, directors, editors, and cinematographers seeking to make ethical and effective nonfiction films, and for those who use these films to educate, inform, and inspire.�Special interview chapters explore storytelling as practiced by renowned producers, directors, and editors. This third edition has been updated and expanded, with discussion of newer films including Waltz with Bashir and Why We Fight.
- Sales Rank: #472745 in Books
- Model: 9243639
- Published on: 2010-09-02
- Released on: 2010-10-07
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .87" w x 6.00" l, 1.00 pounds
- Binding: Paperback
- 386 pages
Review
"Bernard's brilliant and effective Documentary Storytelling...aims to guide the Errol Morrises of tomorrow with great advice and practical knowledge that every documentarian would benefit from."--Backstage
"Storytelling--that's what this book is about. It's about the story, how to convey that story eloquently, effectively, and ethically...This book is absolutely brilliant."--Krista Galyen, AAUG Reviews
About the Author
Sheila Curran Bernard is an Emmy and Peabody Award-winning filmmaker and the author of Documentary Storytelling, a best selling guide to story and structure in nonfiction filmmaking, and , a guide to using archival footage and material in films. Her archival film credits include the series Eyes on the Prize, I'll Make Me a World, This Far By Faith, America's War on Poverty, and School, for which she also co-wrote the companion book. She has taught at Princeton University and Westbrook College and recently joined the faculty of the University at Albany, State University of New York.
Most helpful customer reviews
17 of 18 people found the following review helpful.
When making a documentary, this book is a great place to start
By Christina Paul
In filmmaking of any kind, it is the camera that tells a story. Documentary filmmaking is no different in terms that it is still the camera that is the key witness. The difference is in approach and construction. Sheila Curran Bernard's third edition of this textbook is timely and well detailed. "Documentary Storytelling" underscores that no matter the technical aspects of shooting and editing, the improtance of telling a good story in a documentary just as much as in a fictional film cannot be stressed enough.
Research, writing good treatments, and the importance of craft rather than a formulaic model are discussed in detail. Important aspects of documentary filmmaking such as the business side of film - such as budgeting for the film, pre-production, production, promotion and selling and putting your work out in the film festival circuit are also discussed. These are areas of the industry that is usually not given nearly enough attention. Sheila Curran Bernard has put together a great textbook where other documentary filmmakers were interviewed about what they do and the best way to put out work that captivates an audience.
Whether you want to be behind the camera as a director, editor, producer working for a big studio or as an independent filmmaker, I would definitely recommend this book. This new edition would also be great for any film / media studies student or even for communications / media or film departments to consider using this as a teaching text.
18 of 20 people found the following review helpful.
A very enjoyable read, and very helpful as well!
By Scott FS
'Documentary Storytelling' is an interesting book, but unlike what I expected. I expected more of a technical tome on how to make documentaries, with sections on lighting, sound, and editing. What I got was more of an overview of what makes a documentary instead just a 'non-fictional' film.
Author Bernard makes some excellent points on her way to divining what makes an excellent documentary. She believes that documentaries are a sub-set of the non-fictional film. It's not journalism. She expects documentarians to have a viewpoint, and to bring that viewpoint to center stage in his/her film. But she doesn't expect a political diatribe. She writes that the filmmaker needs to be fair, and to present both sides of a story. The filmmaker doesn't have to be impartial, though; he/she can and should have a point of view they want to get across.
One example she cites is 'Harlan County, USA' an award-winning documentary about a coal strike in Kentucky. Filmmaker Barbara Kopple had a definite point of view, which is obvious if you've seen the film. But it does strike a fair note by allowing differing viewpoints into her film.
Another point she made that I've never thought about is that the documentary should be made like a fictional film; that is, it must have compelling characters, and interesting story, strong visuals, and good writing. Yes, writing. Narration is going to be written, and interview questions are going to have to be written. A documentary may not be storyboarded, or have a plot, but it does need to have an orderly progression to it.
A great example of an excellent (even groundbreaking) documentary is 'The Thin Blue Line'. I remember how astounded I was when I first saw this film. It uses all of Bernard's ideas and then some. The film resulted in an innocent man getting justice after being falsely convicted in the murder of a police officer. I very, very highly recommend that film!
Highly recommended. If you are interested in watching documentaries, teaching documentaries, or even making documentaries, you need to read this book. Five stars for 'Documentary Storytelling'.
8 of 8 people found the following review helpful.
I keep giving my copies away!
By Claire Jordan
This is my third copy of this book, I received it as a review copy, but I'm glad to have it on my shelf again - I keep giving it away to associates who are interested in documentaries. There are other books on the subject that are better technical guides to filming, Directing the Documentary, Fifth Edition, for instance, or even, The Shut Up and Shoot Documentary Guide: A Down & Dirty DV Production, but for someone who is considering whether a particular story would make a good documentary, or who is trying to find the best way to frame a story for a documentary, this is a much better place to start.
I have given copies of this book to potential backers in documentary projects to help them to understand both my process and what I was hoping to accomplish in terms of telling a particular story. In both cases the backer had lots of great ideas they wanted to contribute, but unfortunately, many of their ideas would have sidetracked the story being told. Knowing what to leave out, is sometimes as important as knowing what to put in, but for many people the ability to do this is not intuitive. I have found this book to be an excellent ally in helping potential contributors to better understand the importance of a defined scope in terms of telling a story.
Aside from the pedagogical aspects, this book is a really good read for anyone interested in the art of documentary filmmaking. I highly recommend it.
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