Indian Documentary Film Festival

 A Journey of Passion

late Gopal Chandra Ghosh has done for the Odia film industry is immeasurable, so it was about time this multi-hyphenate star's story was told in the best way possible and by his own family members.

 So, Bijay Nishanka directed the 51-minute documentary A Journey of Passion as a hat tip to one of Odia cinema's greatest. The documentary is about how Tanmayjit, Ghosh's grandson, set out on a journey to find prints of his grandfather's original work. 

Ghosh was behind Odisha's first crowdfunded film Sri Jagannath, which released in 1950 and won him the President's Award. "Back in those times, they went door-to-door to collect `10 for the movie and those who gave more than Rs 1,000 were included in the list of Board of Directors," says Bijay, who works in the Film Division, Ministry of Information and Broadcasting in Kolkata.

Maida

Lubna Yusuf's ‘Maida’ tells the story of a girl from a Bihar village who drops out of school post puberty and gets married.

When Maida is asked how she goes to school, she answers cheerfully, "wearing my clothes". Three years later when she is asked the same question, the smile is not there, but she still answers, "wearing my clothes and combing my hair".

Lubna Yusuf, fresh out of law school, decided to make a film on Maida’s story, tracing her life through eight years - but she wanted a success story. A girl from a village in Bihar, reaching heights. But Maida dropped out after class 7 and got married, like other girls of her village. Lubna finished her documentary which she named after her, with Maida’s little daughter on her lap. A girl that Lubna worries may grow up and have the same fate as her mother, unless the system changes.

“I feel bad about what happened. I wanted to make a film based on the impact of the children being given free food and cycles at school. I thought I will trace a girl's story and when she finished school, I could help her when she pursues further education, or get her a job. Maida was doing so well in school,” Lubna tells TNM in an interview.

She doesn’t believe it is because there are no laws. There are. There are also NGOs helping out and funds pouring in. “But the mental setup should change. Parents are scared of sending girls to school post puberty. The girls will drop out once they begin menstruating. Maida did. That’s why she didn’t go to school after class 7.”

https://www.youtube.com/watch?v=L9wTrLmy7G8

                                                                                     The director of Maida is Lubna Yusuf

The year before Maida’s wedding, Lubna was not allowed to meet her. She didn’t know Maida was going to get married. And then nine months later, Maida became a mother. “It is a whole loop. Changing the law is not going to change the loop.  Instead of food and cycle, maybe steps should be taken to make the parents more aware. They should be encouraged to send their girls to school and reassured that they will be safe there. That no one would attack the girls, and they will have bathrooms to use when they menstruate.”

The last shot of Maida in the movie is of her in a veil. “She is happy, she is sorted out, falling into the system. I am afraid for the daughter she holds on her lap. Will that child too follow in Maida’s footsteps?” Lubna asks. 

Director Lubna Yusuf | (Photo: Maida)

The director, who was born in Kolkata, had to cope with her own nightmares in addition to the villagers' mild opposition to her filming the movie. "Law books used to fall on my head in my dreams. "What's the purpose of all my education if I don't tell this story?" she says.

Grandir au Ladakh​ 

Most of our childhoods have involved grandparents, but in Ladakh, they play a crucial role. Stanzin G. Dorjai decided to tell that tale in his 26-minute film Grandir au Ladakh (Growing up in Ladakh). The bond between his mother and his own niece Padma, who reside in the isolated village of Gya, 4,300 meters above sea level, is the subject of this short film. "You gain knowledge but not wisdom through education. "Grandparents are very important in a child's life," the director says, acknowledging that shooting his own family was both simple and challenging.

When I was growing up in Gya, pashmina goats and yaks were my friends. After the age of 13, when I went to school I realised things like modernisation

Stanzin G Dorjai, Director

Memoirs of Saira & Salim

In 2002, sectarian riots tore Gujarat apart, resulting in the burning of numerous homes. In the documentary Memoirs of Saira & Salim, Eshwarya Grover documents the first time that Saira and Salim return to their ancestral home following the riots. She shot the movie in two days after meeting the couple in February of last year. "In that house, they had envisioned their entire future. "That house is where their son was born and killed," Eshwarya recounts, giving us chills. Salim's voice had taken on a distanced sound, but Saira was quite outspoken about her emotions.

The 26-year-old had met the couple, who currently reside in a one-bedroom apartment, at a memorial service for riot survivors. This documentary swiftly evolved from an architecture project centered on deserted areas.

Eshwarya, who is originally from Jaipur but is now based in Ahmedabad, says, "I just wanted to let people see for themselves what these people had to go through. I'm not trying to make any political statements." The child is currently filming her next movie, which is about her summertime adventures with her grandparents.

Nodir Kul Nai: A short film by Parasher Baruah explores the culture of Char Chaporis of Assam    

- We Have Not Come Here To Die: Post the suicide by Rohith Vemula, this movie attempts to document how the landscape of education exploded  
- Kaifiyat: This film looks at tabla, how Ustad Nizamuddin Khan and how the musical instrument has evolved

- Uyyala: Through this film, Aditi Maddali talks about the agricultural songs of Telangana and their political journey  

https://www.youtube.com/watch?v=kvHbGjiUQrA&pp=ygUiZG9jdW1lbnRhcnkgZmlsbSBvZiBzYXRoeWFqaXRoIHJheQ%3D%3D

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Elements of Proposal

 Synopsis • Subject Bios • Crew Bios • Background Research • Director’s/Visual Treatment • Budget • Financial Plan • Marketing Plan • Two-Column Script

What to include in a film proposal?

1. Title slide: Your film's calling card, combining its name with a logo that sticks in the mind of your audience.

2. Synopsis: A compelling summary that captures the essence of your film's plot, drawing in your reader with its uniqueness and intrigue.

3. Mood board: A visual representation of your film's tone, style, and aesthetic, setting the emotional and visual tone for your project.

4. Main characters: Introduce the heart of your film through detailed descriptions and visuals of the key characters, making them memorable.

5. Setting/Location: Bring your film's world to life with vivid visuals and descriptions of the main settings, inviting your audience into the story's environment.

6. Key scenes: Highlight the transformative moments or sequences in your film, showcasing the drama, tension, or comedy that defines it.

7. Target audience: Clearly define who your film is for and why it will resonate with them, outlining its market appeal.

8. Budget breakdown: Offer a transparent overview of your film's financial needs, detailing the estimated costs involved in production and post-production.

9. Market analysis: Provide evidence of your film's viability with data on audience size, competitors, and potential distribution opportunities.

10. Team overview: Shine a spotlight on the key players behind the scenes, detailing the roles and expertise of your film's core team.

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Basic Structure or Grammar to produce Documentary Film

 

 John Grierson has called “Documentary film is the creative treatment of actuality” and Mr. Bosil Wright has defined it as the method to impart knowledge ….. All the documentary has some basic structure or grammar to produce it professionally.

 These are as follows: 

All the documentary has some basic structure or grammar to produce it professionally. Its structures are compiled by the following steps ;

 › Idea or thinking

 › Write the Treatment or Proposal 

› Creating a Script or Storyboard 

› Shooting Script 

› Post-Shooting Script 

1› Idea or thinking Think of an idea.

 Make sure it is original and able to keep the audience’s attention for more than 90 minutes. Before creating the script the documentary topic should be completely researched to to know the topic so well that it can practically tell someone anything they want to know on the topic.

 2 › Write the Treatment or Proposal

 A treatment is a short story narrative written in simple, non-technical language (ie. no camera angles, transitions, etc.). A proposal, which frequently includes a treatment, is a thorough description of all aspects of a project. 

It is created in the pre-production stage of a documentary project to persuade funders, distributors and others to support the project. 

Proposals: An effective proposal will: 

ƒTell a good story 

ƒMake human truths emerge through images—not just verbal description. 

ƒPresent a personal, critical perspective on some aspect of the human condition.

 ƒInform and emotionally move an audience. 

Usually a proposal will contain the following information: 

ƒLength of work, format.

 ƒWho is the intended audience? 

ƒGoal or intended purpose(s) of the film 

ƒStyle (Any key stylistic elements in writing, shooting, audio, editing, etc.)

 

ƒWhat about the soundtrack? (Any music, narration, etc.—If so, who? what?) 

ƒWho is working on the project? And what similar projects have they done in the past? (Credibility of production team) 

ƒHow will this work be distributed? (Which markets, any distributor on board already?)

 ƒProject history or current status of project.

 ƒHistorical background or context of the story 

ƒWho, what, where, when, how, why? Depending on the situation, the flowing things may include in the proposal:

 ƒHow will the project be funded?

 ƒAn outline production schedule. 

ƒA proposal will usually be accompanied by a budget and a sample reel or work-in progress edit. 

ƒThe goal of a proposal is to communicate the director’s idea to someone who may know nothing about either him, his previous work, or this project—don’t make assumptions. ƒUsually a proposal is a key element in securing resources to produce a project--so the credibility of the production team, and such factors as ‘Why this film?’ ‘Why now?’ and ‘Why these producers?’ are important. 

3 Treatments: ƒWhereas a proposal presents its argument rationally via categorized information, the treatment evokes how an audience will experience the film on the screen. 

ƒWrite in the active-voice in present tense. 

ƒTell the reader what they will see and hear on the screen. 

ƒDescribe the story and introduce any characters. Write colorfully, so the reader Visualizes what’s in the filmmaker's mind’s eye—

 ƒThe treatment has to show how the story is spellbinding and demonstrate that Ms. Sharikas work is remarkable by providing supporting information.

 A treatment is not necessarily brief! (Usually 2-10 pages, double-spaced) 

ƒBe specific—don’t uses words like may, might, possibly—the film will do xyz. If any one doesn’t know exactly which music he will use—make his best guess—he can always change his mind later.

Treatments and proposals are used to: 

1. Describe a project so that people involved share an understanding of interpretation and approach.

 2. Create a paper document that can help secure funding, distribution, and other resources. 

3. Provide guidance in the structuring and editing of a documentary project. 

4. Treatment or proposal should only be written after conducting the initial research. 

5. Be professional—not personal. Never make up partners or awards etc. Write and re-write the proposal until it is fluid.

 3.› Creating a Script or Storyboard 

Scripts are often not used  what will happen when the camera is rolling. In place of a script, filmmakers use treatments, proposals, or even outlines--to describe and help plan a documentary project. There is a lot of overlap between these concepts and different filmmakers use them in similar and often interchangeable ways. Some filmmakers will have a rough script written before they begin shooting while others will wait until all the footage is shot and then have a writer come in to piece together a story from the footage. Still others want a writer to come in after the documentary is almost entirely edited and simply write the narration. 

A storyboard is a visual display of the script divided into segments, where each segment is represented by an appropriate image (slides, video clips, etc.) for that segment. Storyboarding is an important part of the documentary process.

 This technique is used to help the director to decide which pictures, graphics and sound will best suit the narrative script. Now we will continue with the most common procedures to prepare a script.  

4 › Shooting Script 

Step 1: Write down an outline of what you think your documentary will be about and where you want to take the viewer during the film. This should include both locations and an array of emotional states. For instance, if you wish to attain sympathy for a particular group, think of ways to accomplish this. Decide what you want to accomplish with your idea. This outline needs to include the characters, their conflict and how you imagine their conflict will be resolved. Your documentary will change as you begin shooting, so right now all you need is a vague outline. 

Step 2: Fill out your outline with the findings from your research. The more useful information you can fit into your script, the better your project will be. 

Step 3 :Get in contact with experts in the field you are covering. They will be an invaluable resource when interviewing subjects. 

Step 4: Create a list of questions that you want to ask your characters. These questions will help to develop the characters and investigate their conflict. Consider your goals, and then outline the objectives to meet those goals. 

Step 5: Begin shooting, now that your shooting script is done. Film two or three times more footage than you expect to use. Stick to your outline and relay the story. Film everything on the script. Make sure you cover all of the questions you had, but be ready to take your documentary in a different direction if a new, better conflict arises. As your conflict changes, keep editing you shooting script

5. › Post-Shoot Script Step 

1 : Complete all of your filming, and start your post-shoot script. The purpose of this script is to help you or your editor to know exactly what to do to complete the project. Step

2 : Go through the footage and take notes. Look at the rough outline which was created for shooting. Write out a revised outline. Watch all the footage several times, making notes of clips and segments that can fit in with the outline or would make good transitional moments. Create yet another revised outline with your new inclusions or create a shot-by-shot outline of the script and use this as your guide. Step 

3 :Choose the scenes that you shoot that best develop your characters, conflicts and plot. Write an outline of the scenes that you intend to use in your final production..

 › Tips & Warnings 

• Keep the camera still and focused. Too much zooming and panning will make your film look out of focus and amateur.

 • Always carry a backup battery and charger. Nothing will kill the momentum of your filmmaking faster than a dead battery. 

• Relay the story as it unfolds; don’t get caught up in pretty shots. 

• Be conscious to select a proper microphone. A boom mic or a large shotgun mic will be invaluable to you. 

Watch all the footage every night. 

Keep tabs on what works for your documentary and what you will have to re-shoot.

 • Be sure to back up your documentary with facts and figures if you are making any claims against other parties.

source

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Purpose, Objectives of Documentary Filmmaking, Challenges

What is the Purpose of Documentaries?

As Master of Suspense Alfred Hitchcock so eloquently says, documentaries are story-driven visual documentations of the real world: “In feature films the director is God; in documentary films God is the director.” 

1. Inform and Educate
• Present factual information on social, cultural, political, environmental, or historical topics.
• Raise awareness about underrepresented or marginalized issues.
2. Advocacy and Activism
• Act as a catalyst for social change by highlighting injustices, inequalities, or human rights violations.
• Encourage viewers to take action or reconsider their perspectives.
3. Preservation of Culture and History
• Document cultural traditions, oral histories, and significant events for future generations.
• Capture fleeting moments, rituals, or ways of life that are at risk of being lost.
4. Exploration of Human Experience
• Provide insight into personal journeys, emotions, and struggles.
• Showcase universal themes such as love, resilience, and hope through individual stories.
5. Challenge Power and Authority
• Question dominant narratives, expose corruption, and critique systems of power.
• Encourage critical thinking and dialogue about societal structures.
6. Artistic Expression
• Use creative storytelling, visuals, and sound design to present reality in an engaging way.
• Blur the lines between art and documentation, offering innovative perspectives.

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Objectives of Documentary Filmmaking

1. Representation of Truth- Tell Real Stories
• Share authentic human experiences and personal journeys to foster empathy and understanding.
• Give a voice to those who might otherwise remain unheard.
• Strive for authenticity and accuracy while recognizing the filmmaker's subjectivity.
2. Building Empathy
• Bridge gaps between different cultures, communities, or viewpoints.
• Foster understanding and compassion for others.
3. Empowering Voices
• Amplify the stories of individuals or communities often ignored by mainstream media.
4. Encouraging Dialogue
• Serve as a platform for debate and discussion about pressing global or local issues.
5. Creating a Historical Record
• Provide an enduring visual account of events, people, and societies.

Challenges

Most researchers are not documentary filmmakers and may lack experience in visual arts and in using the video camera. Learning to use the camera and microphone, techniques to frame shots and filming in real time can prove to be very challenging. Data analysis/video editing phase can be very time consuming and challenging as well. Since the video captures moving real time images and shares with the viewers more evidence than static images or text, researchers have to be reflexive and make ethical decisions about video clips that are included or excluded from the film.

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