New Course: Story to Screen

New Course: Story to Screen

December 20, 2016

 

Story to Screen - "Heaven Only Knows" set
On the set of "Heaven Only Knows" - photo, Eli Ruben

A new DS course this semester, DS302: Story to Screen, was co-designed by Professors Nicole Coady and Vickie Riley, drawing on their respective talents in screenwriting and cinematography. For the past fifteen weeks, the interdisciplinary course brought together student writer/directors, cinematographers, and sound designers with the shared goal of creating an original short film. Though the course maintained a strong focus on fact-based research, it also given students the chance to explore the realm of narrative storytelling in a way that’s never before been offered at Skidmore.

The twelve students enrolled in DS302 came from a diverse range of artistic backgrounds, and worked to strengthen the individual skills they brought to the classroom setting and their respective films. When

Story to Screen - "Operation Suckerpunch" set
Shooting "Operation Suckerpunch" - photo, Sam Grant
asked to describe the class in her own words, Professor Riley pointed out that "We want students to take the skills they’ve learned in other classes and test their ability in a collaborative real world situation.” The class, though taught during one shared time block, was subdivided into the three categories of crew roles so as to approach each discipline thoroughly and attentively. “Each student ‘owns’ their part of the film. It’s up to them how to direct the actors, or how to approach sound or cinematography to further the story," she adds. While cinematographers and sound designers covered topics like camera angles, foley recording, and equipment handling, writer/directors discussed the basics of screenplay writing, festival circuits, and casting calls.

Though the material covered in class differed between the three groups, all of the students were responsible for producing an in-depth research paper on a topic of their choice, so as to ground their creative feats in fact. The chosen subjects of the papers ranged from the effects of PCP on the brain (a topic broached in one of the films) to the visual identifiers of 1940s film noir, and offered students the chance to explore a topic or style embraced by their film that they were excited to learn more about. “We’re trying to use evidence-based storytelling as we tell our narratives,” Professor Coady explains. “All of these unique projects are rooted in research, that’s how we connect to the broader goal of the MDOCS program.”

Caleb Weiss - Sound Engineer
Caleb Weiss (Sound) - photo, Anna Parsons

Even students not enrolled in the course have voiced their enthusiasm and support for it, and are eager to see the addition of narrative-based film classes into the existing documentary program. “We have outstanding musicians/sound designers, cinematographers, screenwriters and actors on campus,” Professor Riley notes. “We had the interest, talent, and helpful advice from a number of faculty. Jordana Dym, in particular, was crucial in providing some of the answers we needed and it can’t go unsaid that the support we got for gear was incredibly generous.” 

Director Dym is delighted with this year's projects, and looking forward to next year's class, which promises to introduce documentary storytellers to crew-based work.  "In 2014, Larry Hott argued that documentarians (whose reenactments have much in common with narrative filmmaking) have 95% of a narrative filmmaker's toolkit," she obseves. "i look forward to findout out how the two kinds of filmmakers grow from each other."

Already in the process of redesigning and tweaking the class for next spring, Professor Coady mentioned that “there’s definitely been a learning curve this semester, because it’s the first time we’re offering the course.” Students and faculty alike are looking forward to seeing how the course grows in coming years, particularly following the excitement following the recent two-night MDOCS Student Showcase, the event at which all four short films premiered to their very first outside audiences. Shot both on and off Skidmore campus, projects featured the work of both student and professional actors, many of whom were in attendance to see the culmination of their work.

For several members of the class, this was their first taste of producing a film from its pre-production phase (script writing, researching, casting, planning, etc.) into post-production (editing, sound design, color correction, etc.). This hands-on experience gave students the chance to wear multiple hats, some taking on roles they were less familiar with, such as directing, editing, and makeup designing. DS302 is a chance to broaden your cinematic horizons, and step outside of your academic comfort zone. "Film is the quintessential interdisciplinary medium,” Professor Riley explains. “When you get people together who are excellent at what they do, something great can happen. That’s the opportunity Professor Coady and I wanted to provide with this class.”  

Final films/class credits included:

Love in Idleness: Written/Directed by Bianca Thompson; Cinematography by Jennifer Davies; Sound Design by Connor Crawford

Operation SuckerpunchWritten/Directed by Sam Grant; Cinematography by Dante Haughton; Sound Design by Graham Gilmore

Loved OnesWritten/Directed by Alix Marello; Cinematography by Wilson Espinal; Sound Design by Jack Mullin

Heaven Only KnowsWritten/Directed by Anna Parsons; Cinematography by Eli Ruben; Sound Design by Caleb Weiss

Written by Sam Grant ‘18
Tags: , mdocs, documentary studies, storytelling, doc on campus
A A A