Media Arts 453
Screen Artists: Steven Soderbergh
Fall 2005

Dr. Kevin Sandler
243 Marshall
626-6855
office hours: Mondays 1:45-3:45 or by appointment
ksandler@u.arizona.edu

Graduate Teaching Assistant
Brett Gray
247 Marshall
621-8972
grayb@u.arizona.edu
office hours: Thursday 1-2pm or by appointment

Class Times
Monday and Wednesday, 12:30 – 1:45 Marshall 212
Monday, 4:00 - 6:30 Harvill 102 (some days last longer)

Texts
Stephen Gaghan and Steven Soderbergh, Traffic: The Shooting Script ( New York : Newmarket Press, 2000)
Anthony Kaufman, Steven Soderbergh: Interviews ( Jackson : University of Mississippi Press, 2002) On Reserve at Library
Elmore Leonard, Out of Sight (New York: HarperTorch, 1996)
Steven Soderbergh, sex, lies, and videotape (New York: Perennial Library, 1989)
Steven Soderbergh, Traffic , DVD, Universal Home Video On Reserve at Library
Steven Soderbergh and Richard Lester, Getting Away With It, or The Further Adventures of the Luckiest Bastard You Every Saw (London: Faber and Faber, 1999) On Reserve at Library

Course Description

I think it's healthy to jump around a bit — at least it is for me — to try and do something different each time out. And part of the appeal of doing [ Erin Brockovich ] was not just the story — which I thought was really compelling — but that it was not like anything I've made before and so different than the two films that I just made back to back. It required a different set of muscles, and that was really pleasurable.

Steven Soderbergh (2000)

Over a group of films, a director must exhibit certain recurring characteristics of style, which serve as his signature. The way a film looks and moves should have some relationship to the way a director thinks and feels.

Andrew Sarris (1962)

With Hollywood primarily committed to by-the-numbers blockbusters and star vehicles, some of the most dynamic American narrative films in the last twenty years have been located in the “independent” realm. Certain directors like Jim Jarmusch ( Stranger than Paradise , Coffee and Cigarettes ), Hal Hartley ( The Unbelievable Truth , Henry Fool ) and Todd Solondz ( Happiness , Palindromes ) are relatively unknown to most moviegoers, their films relegated to metropolises and those smaller cites (like Tucson), lucky enough to have an arthouse cinema. Other filmmakers like Gus Van Sant, Wayne Wang, or Tim Burton, once outsiders to the Hollywood System, now alternate between the mainstream and independent worlds by directing big-budget ( Good Will Hunting , Maid in Manhattan , Charlie and the Chocolate Factory ) as well as smaller budgeted projects ( Elephant , The Center of the World , Big Fish ). Even with the allure (and procurement) of bigger paydays to finance their smaller films, these directors have not simply assimilated classical Hollywood style and ideology. Instead, they have absorbed, digested, and entered into a dialogue with these conservative modes of storytelling to produce a body of work more daring politically, sexually, and aesthetically than those filmmakers who exclusively habitate these forms (e.g. Rob Cohen: The Fast and the Furious , xXx , Stealth ; Brett Ratner: The Family Man , Red Dragon , After the Sunset ). Steven Soderbergh is one of these filmmakers.

The name Steven Soderbergh became synonymous with the modern day US independent film movement shortly after sex, lies, and videotape won the Palm d'Or (Best Picture) at the Cannes Film Festival in 1989. With the term “independent” eventually getting hijacked and co-opted by corporate-owned Hollywood distributors for financial gain during this period, has Soderbergh retained the spirit of a true independent filmmaker with and without studio funding for his films? This class will explore the nature of his work as he navigates an increasingly commercialized landscape of American independent cinema through the 1990s up to his most recent film, Ocean's Twelve and television projects, K Street and Unscripted . We will examine his status as an “auteur,” an individual who leaves the marks of his personality on a media text. Does Soderbergh have a discernibly consistent style and thematic preoccupation—a “signature” as Andrew Sarris suggests above--across his diverse body of subject matter? Does it matter if a film like Schizopolis shares a similar approach to form and content as Traffic ? What might be alternative methods in locating the author/director in a text, especially in a media largely collaborative and dependent upon marketing, stardom, and genre in shaping viewer reception? We will also examine what it means to be “independent” in today's industrial climate. What stylistic tools set Soderbergh apart from his contemporaries that bestow the term “independent” upon his person and work? Can Soderbergh really be considered “independent” if he directed Erin Brockovich and Ocean's Eleven ? Lastly, we will situate Soderbergh within the institutional, economic, technological, and aesthetic foundations of Hollywood 's independent film movement . What distinguishes him from filmmakers like Quentin Tarantino, Paul Thomas Anderson, and Spike Jonze? What does he have in common with these highly individualistic directors also working within the Hollywood system? How do they negotiate the commercial world while still maintaining some degree of authorial control?

At the end of this course, students will be able to: 1) critically engage with the entire filmography of Steven Soderbergh; 2) identify the aesthetics that define Soderbergh's approach to filmmaking in relation to other US filmmakers; 3) arrive at a personal understanding of authorship theory and apply it to Soderbergh's body of work; 4) conceptualize the notion of an “independent” artist in contemporary Hollywood; 5) examine the historical production and reception contexts of media by analyzing trade journals, reviews, and publicity materials; 6) analyze the processes involved in adapting source material like music, screenplays and novels into films.

Caveats
There are a few caveats for class. 1) Food consumption is not permitted in discussion or screenings. Beverage consumption is. 2) Tardiness will not be accepted. After five minutes past the hour, no one will be allowed in the classroom for discussion or screening. If you will be late, you must contact me prior to class. 3) Cell phones must be turned off. Any cell phone going off during a screening or discussion suggests disrespect to your professor and fellow students and you will be asked to leave. 4) No talking during the screening. Whispers now and then are okay but you should be taking notes and critically engaging with the film at all times. 5) Credits are part of the movie. Don't leave your seats until the lights come on. Give respect to the many technicians, production assistants, and Kraft food service people who make our cinemagoing pleasure possible. Without them, we would be English majors. 6)

Expectations
Simply: Show up. Be on time. Do the homework. Bring the readings to class. Engage in discussion. Develop your own perspective.

Really: This is a 400-level class. It requires a higher level of engagement and a great deal more reading than 200- and 300-level courses. You are expected to have completed all the readings and critically engage in dialogue with the material each time you step into the classroom. You are expected to carefully watch the film, taking notes during the showing. You are expected to work together as groups, equalizing participation between your members. You are expected to do research, be friendly, and think constantly.

Learner-Centered Teaching
This is a class that operates on many learner-centered principles. First, you are treated as learners and co-creators in the learning process. For the class to be successful, both the professor and student must be prepared each day to critically discuss the readings and films. Second, you will be continually challenged and asked to support your opinions through the reading and examples from films. Third, you are given a degree of choice and control over the subject of your assignment. You will be asked to apply class knowledge to interesting and relevant new contexts. Lastly, you are given an upfront explanation in this syllabus of what is expected from you in this class.

Structure of Class
Each Monday and Wednesday will begin in a similar fashion but what direction it takes is up to you.

Monday
For Mondays, each group will perform a different analytical task in relation to the authorship reading assignment for the day. One group will be the Summarizer, recapping the reading by identifying the thesis, argument, and evidence. Another group will be the Connector, relating the reading to other articles read in class while also questioning its argumentation). Two other groups will be the Analysts, providing examples from Soderbergh's films that highlight the key concepts of the reading. All groups will have a team leader who is responsible for presenting this material to the class. (The team leaders will rotate every week, with almost everybody presenting twice.)

A few words of advice for team leaders and listeners during this activity.

Summarizers and Connectors : Distill the main points of the article into short, succinct sentences using layperson's terms. Ask your classmates to turn to a particular page of an article if you are quoting from a passage. If you are unsure about a concept, say you don't know. It is okay to not know. It will serve as discussion.

Analysts: Select a clip from the previous week's film to illustrate your argument. After presenting your analysis, ask questions of your classmates. They may observe something about the film that you hadn't imagined.

For everyone: Speaking in front of a class for many students can be a harrowing experience. For others, it comes easy. Recognize this fact by calling on as many different people as possible and do so by name. Be patient when awaiting answers. Give time for your question to sink in. Be ready to rephrase your question if it seems confusing to your classmates. Don't answer your own question. If you ask a question, always wait for a response. Listeners, don't be afraid to write down your words before presenting them to class. Use your notes taken during the film to assist you in recalling information and thoughts.

Wednesday
For Wednesdays, one group (though different from the analytical task groups) will plan, conduct, and present a report on that week's film. This investigation will explore the social, technological, political, industrial, aesthetic, and cultural relations surrounding the film's historical moment. History is what we choose to remember, and you will be choosing what you feel are the most important contextual elements informing the text during its initial release. Your primary goal is to shed light on the film's production and reception, using documents that bear traces or clues about the time and circumstances under which the text was made. You can engage with popular and scholarly sources, books and periodicals, DVDs and websites, trailers and advertisements, statistics and movie reviews: any historical document that informs us about the period. Here's the kicker, though. The method for reporting these findings is your choice. You can give a presentation, construct a model, act out a skit, build a website, perform an interpretive dance, create a video, design a CD-Rom, design origami, etc. Whatever method you choose, you need to divide up and assign the task equally. Also, on the day your deliver your presentation, your colleagues will provide you with written feedback on its effectiveness.

To prepare for a discussion of the film, research these questions to put the film in a broader context:

1. What is the background of the film? What were the conditions of the film's production? How does it compare to other films made by the filmmakers, stars, and producers involved?

2. How was the film distributed and marketed? What was its release pattern? Did the trailers effectively convey the story and spirit of the film?

3. What was the reception of the film? How was the film reviewed when it opened? What was its competition on opening day? How did it do at the US box office? On video? Overseas?

4. What elements of the film itself are of artistic importance? Cultural and social importance? Does the film engage with any new technologies or storytelling aesthetics?

5. Choose two short clips (2-3 minutes) to anchor discussion of some of the above topics.

A few words of advice when doing projects.

Don't try to do everything. It is not possible, don't try it. It will only frustrate you and prevent you from finishing on time.

Have something to say. Make sure your approach to the film has a point. Do research, make an argument, and support it with well-chosen evidence and supplementary material. If members of your group disagree on a point or two, present it in the context of your report. Disagreement is productive and natural.

Speak to your audience. Tailor your project to the colleagues in the class, not to your mother, the dog, or the next-door neighbor who thinks Johnny Knoxville is the second coming of Orson Welles. Remember, you know what the class knows. Present it as such.

Don't talk down. Assume the class has watched the film and done the readings, but don't assume they remember everything they've seen or read. If you feel something is significant, repeat it without hesitation. What's better than repetition is amplification, using that text to respond to or lead into a larger concept or issue.

Cite your sources. When you amplify your ideas with support (or disagreement) from others, let your listeners know who they are and where they come from. Sources, title, page numbers are not necessary. For example, when you provide a statement that situates the passage within a larger statement, it can read: “Andrew Sarris' auteur reading of John Ford's films during the studio system poses theoretical quandaries when applied to contemporary Hollywood 's mode of production.”

Practice, practice, practice. The best projects are those that have been rehearsed, pondered, and contemplated. Incompleteness or lack of preparation is a waste of your colleague's time and poor use of your's.

Screenings
Screenings will take place in Harvill 102 on Monday from 4:00-6:30 . Some screenings will run longer and a few of the weeks are double features so please schedule accordingly. After each screening, we will take a short break before watching some featurettes off the DVD to help contextualize the feature.

Assignments
There will be four take-home assignments in this class: a DVD commentary (adopting the voice of Soderbergh) of a clip from Kafka (4-5 pages), a screenplay-to-film analysis of Traffic (6-7 pages), a position piece vis-à-vis film authorship (4-5 pages), and a final paper (7-8 pages on Ocean's Twelve ) or a project of your own choosing. All assignments must be submitted at the beginning of class on the date they are due. Late papers will be docked a letter grade for each day late.

DVD Commentary: You will design a DVD commentary to accompany a fifteen-minute clip to Soderbergh's Kafka . Given our access to technology, you will either do an audio commentary over the movie itself or provide me with a written commentary. Due September 21

Screenplay Assignment: You will do a comparative analysis between Stephen Gaghan's shooting script and Steven Soderbergh's finished film of Traffic . The two are quite different in terms of narrative structure, tone, and characterization. Your task is to identify the changes Soderbergh made during the filmmaking process and the reasons behind those changes, relying on historical documentation, theory, and biography to support your argument. Due October 26

Authorship Paper: You will write a paper inserting yourself in the theoretical debate over film authorship that has preoccupied our Monday discussions during the semester. Issues of directorial signature, audience reception, and textual meaning will play a primary role in your analysis. Due November 21

Final Project: You will either write a paper on the only Soderbergh film not show in class (7-8 pages on Ocean's Twelve) or design a project of your own choosing. This project could take the shape of a painting, sculpture, film, web site, performance art, interpretive dance, mime, or anything else. This project must be pre-approved by the professor. A proposal must be submitted and meeting scheduled with the professor by November 7. Project due December 5

Web sites which may assist you with your research include:
Steven Soderbergh web site www.stevensoderbergh.net
Steven Soderbergh web site 2 http://stevensoderbergh.tripod.com/
Movie Review Query Engine www.mrqe.com/lookup
Find Articles www.findarticles.com
DVD Times www.dvdtimes.co.uk
Filmmaker Magazine www.filmmakermagazine.com
Moviemaker Magazine www.moviemaker.com
Independent Film and Video Monthly http://www.aivf.org/independent/issues/0507.html
Rotten Tomatoes www.rottentomatoes.com
World Newspapers link to media sites www.world-newspapers.com/film-magazines.html
Indiewire www.indiewire.com
Reel www.reel.com
Screensite www.screensite.com
Millimeter www.millimeter.com
Variety www.variety.com
Slate www.slate.com
Salon www.salon.com
American Cinematographer www.americancinematographer.com
Internet Movie Database www.imdb.com
DVD Verdict www.dvdverdict.com
DVD File www.dvdfile.com
And of course:

UA library index page to Lexis-Nexis, Academic Search Premier, and InfoTrac http://www.library.arizona.edu/indexes.htm and

UA Subject Guide for Media Arts http://www.library.arizona.edu/library/teams/fah/subpathpages/MediaArts/

IIPA Full Text http://iipaft.chadwyck.com/home

Student Code of Conduct
The aim of education is the intellectual, personal, social, and ethical development of the individual. The educational process is ideally conducted in an environment that encourages reasoned discourse, intellectual honesty, openness to constructive change, and respect for the rights of the individual. Self-discipline and a respect for the rights of others in the university community are necessary for the fulfillment of such goals.

Code of Academic Integrity
Integrity is expected of every student in all academic work. The guiding principle of academic integrity is that a student's submitted work must be the student's own. This principle is furthered by the Student Code of Conduct and disciplinary procedures established by ABOR Policies 5-308/5-403, all provisions of which apply to University of Arizona students. Both the Code of Conduct and the Code of Academic Integrity can be found at: http://www.arizona.edu.~dos/SPC/policies.htm

Disability Resource Center (DRC)
Students with disabilities who require reasonable accommodations to participate fully in course activities or to meet course requirements must register with the Disability Resource Center . Any student qualifying for services through the Disability Resource Center for learning assistance should provide the instructor, by the end of the first week of class, with a Letter of Identification specifying the accommodations needed.

Absence Policies
Since participation plays a large part in your final grade, attendance is strongly encouraged. Excused absences which do not count against your participation grade include: All holidays or special events observed by organized religions for those students who show affiliation with that particular religion; and absences pre-approved by the UA Dean of Students (or Dean's designee).

Grade Breakdown
Group Presentations 15%
DVD Commentary 10%
Traffic Screenwriting Analysis 20%
Authorship Position Paper 15%
Final Project 25%
Participation 15%

Total 100%

A (90-100) = Excellent: all course work is performed at a clearly outstanding level.
B (80-89) = Good: all course requirements are met at a level measurably above the average.
C (70-79) = Average: all course work is completed at an adequate level.
D (60-69) = Poor: all course work is completed at a level measurably below average or not completing many assignments.
E (59 or below) = Failure: not completing much of the course work, completing assignments inadequately, or both.
I = Incomplete. The grade of “I” will be awarded only when all but a minor portion of the course work has been satisfactorily completed. Students should make arrangements with the instructor to receive an incomplete grade before the end of the semester.

Schedule (subject to change)
CP denotes coursepack reading
SSI denotes the book Steven Soderbergh Interviews
RB denotes the book Rebels on the Backlot

WEEK ONE: INFLUENCES AND EARLY WORK

Monday, August 22
Screening: Point Blank (Boorman, USA, 1967, 92m)
Screening: 9012 Live (Soderbergh, USA, 1986, 67m)

Wednesday, August 24
Screening: Winston (Soderbergh, USA, 1987, 12m)
Reading: Boorman, Adventures of a Suburban Boy , CP
Reading: Bazin , “Politiques Des Auteurs” CP
Reading: Holt, “Steven Soderbergh”
Reading: Waxman, “Introduction” RB

WEEK TWO CANNES FILM FESTIVAL

Monday, August 29
Screening: Sex, Lies, and Videotape (Soderbergh, USA, 1989, 100m)
Reading: Cameron, “Films, Directors, and Critics” CP
Reading: Soderbergh, sex, lies, and videotape

Wednesday, August 31
Readings: Kaufman, “Introduction” SSI
Reading: Minsky, “Hot Phenom” SSI
Reading: Ciment and Niogret, “Interview with Steven Soderbergh” SSI
Reading: Jacobson, “Steven Soderbergh, King of Cannes ” SSI
Reading: Siskel, “Candid Camera” SSI
Reading: Dieckman, “Liar, Liar, Pants on Fire” SSI
Reading: Waxman, “Chapter One” RB

WEEK THREE: ARTISTIC DIGRESSIONS

Monday, September 5 NO CLASS
Screening in Library: Kafka (Soderbergh, USA, 1991, 100m)

Wednesday, September 7
Reading: Sarris, “Towards a Theory of Film History”
Reading: Ciment and Niogret, “An Exploration of the work Kafka ” SSI
Reading: Perren, “Sex, Lies, and Marketing”

WEEK FOUR: CONVENTIONAL STORYTELLING

Monday, September 12
Screening: King of the Hill (Soderbergh, 1993, 109m)
Screening: “The Quiet Room” from Fallen Angels (1993, 30m)
Reading: Wollen, “The Auteur Theory”

Wednesday, September 14
Reading: Ciment and Niogret, “Interview with Steven Soderbergh” SSI
Reading: Chanko, “Steven Soderbergh Hopes . . .” SSI

WEEK FIVE: REIMAGINING FILM NOIR

Monday, September 19
Screening: The Underneath (Soderbergh, 1995, USA, 99m)
Reading: Buscombe, “Ideas of Authorship”
Reading: Heath, “Comment on the ‘Ideas of Authorship'”

Wednesday, September 21
DVD Commentary Due
Reading: Ciment and Hubert, “Interview with Steven Soderbergh” SSI
Reading: Lally, “Soderbergh's The Underneath . . .” SSI
Reading: Waxman, “Chapter Two” RB

WEEK SIX: REBOUND

Monday, September 26
Screening: Gray's Anatomy ( Soderbergh, 1996, USA, 80m)
Screening: The Knack . . . and How to Get It (Lester, 1965, UK, 84m)
Reading: Bordwell, “Authorship and Narration in Cinema” CP

Wednesday, September 28
Reading: Soderbergh and Lester, Getting Away with It

WEEK SEVEN: SURREALISM

Monday, October 3
Screening: Schizopolis (Soderbergh, 1996, USA, 96m)
Reading: Foucault, “What is an Author”

Wednesday, October 5
Reading: Thomson, “Crazy for You” SSI
Reading: Bernstein, “Suddenly Soderbergh” SSI
Reading: Waxman, “Chapter Three, Four, and Five ” RB

WEEK EIGHT ADAPTATION

Monday, October 10
Screening: Out of Sight (Soderbergh, 1998, USA, 123m)
Reading: Barthes, “The Death of the Author”
Reading: Leonard, Out of Sight

Wednesday, October 12
Reading: Kelleher, “Out of Sight” SSI
Reading: Lim, “Out of Sight” SSI
Reading: Waxman, “Chapter Six, Seven, and Eight ” RB

WEEK NINE EXPERIMENTING WITH NARRATION

Monday, October 17
Screening: Poor Cow (Ken Loach, 1968, UK, 100m)
Screening: The Limey (Soderbergh, 1999, USA, 89m)
Reading: Schatz, “The Whole Equation of Pictures,” CP

Wednesday, October 19
Reading: Johnston, “The Flashback Kid,” SSI
Reading: Kelton Jones, “Straight Man” SSI
Reading: Sragow, “Emotion, Truth, and Celluloid” SSI
Reading: Mooney, “Soderbergh Brings ‘Interesting Baggage'”
Reading: Waxman, “Chapter Nine, Ten, and Eleven ” RB

WEEK TEN: MAINSTREAM ART
Watch Traffic at home

Monday, October 24
Traffic Assignment Due
Screening: Traffik (Alistair Reid, 1989, UK, 160m) Part One
Reading: Corliss, “The Hollywood Screenwriter,” CP
Reading: Gaghan, Traffic: The Shooting Script

Wednesday, October 26
Reading: Leen, “Separating Drug-War Facts and Hollywood Fiction in Traffic”
Reading: Hope, “The Traffic Report with Steven Soderbergh”
Reading: Smith, “Hired Gun—Steven Soderbergh”
Reading: Reading : Vineberg, “An Earlier Drug Saga”
Reading: Waxman, “Chapter Twelve, Thirteen, and Conclusion” RB

WEEK ELEVEN REVOLUTION

Monday, October 31
Screening: The Battle of Algiers (Gillo Pontecorvo, 1965, France, 117m)
Reading: Johnston , “Women's Cinema as Counter-Cinema” CP
Reading: Flitterman-Lewis, “To Desire Differently” CP
Reading: Shaw, “'You are Alright, But…'" Individual and Collective Representations of Mexicans, Lations, Anglo-Amerians and Africans in Steen Soderbergh's Traffic”

Wednesday, November 2
Reading: Crowdus, “Terrorism and Torture in The Battle of Algiers : An Interview with Saadi Yacef”
Reading: Hoberman, “Revolution Now (and Then)!”
Reading: Said, “The Dictatorship of Truth: An Interview with Gillo Pontecorvo”
Reading: Bignardi, “The Making of The Battle of Algiers ”

WEEK TWELVE STAR IMAGE

Monday, November 7
Final Project Proposal Due
Screening: Erin Brockovich (Soderbergh, 2000, USA 130m)
Reading: Dyer, “A Note on Authorship” CP

Wednesday, November 9
Reading: Sragow, “Emotion, Truth, and Celluloid” SSI
Reading: Siegel, “Soderbergh's Starpower” SSI
Reading: Thompson, “Steven Soderbergh,” SSI
Reading: “73 rd Academy Awards,” SSI

WEEK THIRTEEN HIP VIOLENCE

Monday, November 14
Screening: Ocean's Eleven (Soderbergh, 2001, USA , 116m)
Reading: Dyer, “Believing in Fairies” CP

Wednesday, November 16
AUTHORSHIP PAPER DUE
Reading: Lim, “Having Your Way With Hollywood ” SSI
Reading: Kaufman, “Man of the Year” SSI
Reading: Udovitch, “Steven Soderbergh”
Reading: Dawson , “He Backed Frank and Elvis”
Reading: Levy, “Swingers”
Reading: Monahan, “Return of the Cool Caper”

WEEK FOURTEEN IMPROVISATION

Monday, November 21
Screening: Full Frontal (Soderbergh, 2002, USA 101m)
Reading: Corrigan, “The Commerce of Auteurism”

Wednesday, November 23
Reading: Peros, “Torn Pages from a Life”
Reading: Richardson , “The Very Boring Life of Steven Soderbergh”
Reading: Hunter, “Simply Soderbergh”
Reading: Kilday, “Dialogue with Steven Soderbergh”
Reading: Steven Soderbergh's list of rules for the actors in Full Frontal ”
Reading; Germain, “Soderbergh, Big-name Cast Go Unplugged for Full Frontal ”

WEEK FIFTEEN RETURN TO ROOTS

Monday, November 28
Screening: Solaris (Soderbergh, 2002, USA , 99m)
Screening: K Street (Soderbergh, 2003, HBO, USA , 30m episodes)
Reading: Andrew, “The Unauthorized Auteur”

Wednesday, November 30
Reading: Siegel, “What was K Street ?”
Reading: Abramson, “Hyperreality TV”
Reading: Frey, “ Hollywood Cues the Capitol”
Reading: Goldstein, “An Odd Couple with Oscars”
Reading: Romney, “Future Soul”

WEEK SIXTEEN CURRENT PROJECTS

Monday, December 5 Final Project Due
Screening: Eros (“Equilibrium” segment, Soderbergh, 2004, many countries, 40m)
Screening: Unscripted (Soderbergh, 2004, USA, 30m episodes)
Reading: Shales, “HBO's Unscripted ”
Reading: Olson, “Two Directors in Homage to a Third” online

Wednesday, December 7
Final Projects Presentations