SCHOOL OF VISUAL ARTS
MFA SOCIAL DOCUMENTARY FILM
Documentary has gone from niche to omnipresent in the last decade. Audiences are thrilled to see fresh
global stories, and be inspired by the lives of change-makers, artists, and the Average Joe. They celebrate our
history, inspire change and let us discover distant regions and our own neighborhoods with a fresh eye. But,
as changes in technology make it easier to make films, more and more non-fiction films compete for limited
resources and audience. It then becomes vitally important to produce a film that stands out. Those with true
fluency in the documentary form have a crucial advantage.
SVA’s Social Documentary Film MFA program fosters filmmakers that are skillful and assured—technologically, artistically, socially and critically. Throughout the two-year program, students learn the fundamentals of nonfiction filmmaking in a supportive and inclusive environment. Students make many films in
program, allowing them opportunities to experiment and hone their craft. They are introduced to the wider
industry through internships, film festivals, guest lectures, screenings and a host of other networking events
in the city.
Located in the heart of Manhattan, “SocDoc” is a part of the most active documentary film community
in the world. Students work directly with accomplished nonfiction storytellers—as faculty, mentors and
collaborators. Our hard-working faculty are constantly putting out new films and television series, giving our
students first-hand access to the day-to-day workings of a filmmaker, and the benefit of their expertise and
insights. The department also works to foster a direct line into the production community that will be their
best network after graduation.
SocDoc alumni have made an impressive impact. Alumni films have received nearly a million dollars in
production funding from Sundance Institute, ITVS, Jerome Foundation, Center for Asian American Media,
IDFA BERTHA Fund, Princess Grace Award and others. They have won a Student Academy Award and received
multiple nominations. Alumni earned international industry support via film markets like Doc Buenos Aires,
HotDocs Forum and IFP Independent Film Week, have been broadcast or received theatrical release across the
U.S., as well as in Russia, Germany and Japan, and have played festivals around the world including Berlin,
IDFA, SXSW, Full Frame, Tribeca and DOC NYC.
Now in our eighth year, MFA SocDoc is proud to advise, inspire and mentor the next generation of non-fiction filmmakers. No matter the subject matter or style—be it personal, political, comic or revolutionary—social documentary films increase our awareness of ourselves and the world we inhabit. At SVA, we are committed to realizing that potential, and we welcome the opportunity to add you to our growing community.
Maro Chermayeff, department founder and chair
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G R A D U AT E P R O G R A M S
CHAIR STATEMENT
mfasocdoc.sva.edu
ABOUT THE PROGRAM
The School of Visual Arts’ MFA program in Social Documentary Film provides a solid foundation in the fundamentals of nonfiction filmmaking, as well as an immersion into the critical and analytical process necessary
to conceptualize and develop significant, socially relevant film. This program represents the convergence of
journalism, social activism and the art of filmmaking.
Our program is open to qualified students from varying backgrounds—prior filmmaking experience is
encouraged but not required. Ultimately, we are looking for passionate, insightful individuals who know how
to tell a great story, and are eager to learn how best to share these stories through documentary film.
Working with documentary filmmakers as teachers and mentors in a collaborative think-tank environment, the MFA Social Documentary Film program will not only teach students how to tell a story, it will guide
them toward a lifelong career in filmmaking.
The core curriculum is devoted to exploring the past, present and future of the art of documentary film,
while mastering the tools and techniques needed to tell compelling stories. Each student will complete five to
seven documentary shorts, in addition to other class assignments.
During the second year, students focus on their thesis films, and courses are designed to support them
in their production. Each student will direct a film, primarily filmed in the summer between first and second
year, and serve as a key production crewmember on at least one other thesis project. These thesis projects must
be reviewed and approved by the thesis committee and the department chair in order for the student to be
eligible for degree conferral.
Degree candidates must successfully complete 60 credits, including all required courses, with a cumulative grade point average of 3.0. A residency of two academic years is required.
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CURRICULUM/SAMPLE PROGRAM
FIRST YEAR / FALL
CREDITS
SECOND YEAR / FALL CREDITS
Cinematography and Sound I
3
Process and Style III
0
Directing I
3
Thesis: Directing 6
Editing I
3
Thesis: Editing
3
Editing, Camera and Sound Labs 0
Thesis: Producing
3
Process and Style I
0
Visiting Artists: Documentary Masters 3
Producing I
3
Visionary Journalism I
3
FIRST YEAR / SPRING
SECOND YEAR / SPRING
Cinematography and Sound II
3
Process and Style IV
0
Directing II
3
Thesis: Directing Lab
6
Editing II
3
Thesis: Editing Lab
6
Editing, Camera and Sound Labs
0
Thesis Review and Presentation
3
Process and Style II
0
Producing II
3
Thesis: The Pitch 0
Visionary Journalism II 3
mfasocdoc.sva.edu
COURSE OFFERINGS
This is a sample of our recent course listings. For our full curriculum, please
visit: sva.edu/mfasocdoc/curriculum.
YEAR ONE
exercises involving interviews within the class itself
CINEMATOGRAPHY AND SOUND I & II
as well as with family and friends, and ‘man on the
Success in the film industry requires fluency in the
street’ interviews with anonymous pedestrians.
standard terminology of cinematic language and an
immersion in the world of production techniques.
EDITING I & II
Beginning with the use of image and sound as the
If viewing a film is understood to be an interpretive
tools of storytelling, these courses focus on gaining
process, then the orchestration of image and sound,
a comprehensive grasp of the technical and creative
and the rate at which information is disseminated,
demands of documentary filmmaking. Through class
is critical to the endeavor. The editor transforms
and lab sessions, a range of equipment—cameras,
footage from observation to an engrossing experi-
tripods, lighting instruments, audio recording and
ence. These courses examine the critical role that
microphones—will be explored. Students will then
editing plays in non-fiction programs, and look at
focus on a broad spectrum of non-fiction techniques,
how the editing room is often the arena where the
including how to use camera angles, sound and light-
structure and narrative arc are created. Classic and
ing to convey meaning and further their narrative.
contemporary documentaries will be screened to
Finally, on-camera interviewing skills—the essence
provide students with a fundamental understanding
of much of the documentary experience—will receive
of editing styles, aesthetics and techniques. Topics
a thorough examination.
will cover a wide range of subjects—from continuity
of motion to montage, jump-cut, music usage and
DIRECTING I & II
program structure. Finally, these courses will explore
The potency of any documentary relies on the
voice-over narration, sound design, music and other
instincts of the director, whose acuity of mind and
postproduction techniques to further the story and
eye must be able to translate intellectual content into
deepen the experience.
an aesthetic experience. These courses will address
topics that include how to most effectively tell a story,
EDITING, CAMERA AND SOUND L ABS
how to conduct meaningful and informative inter-
In addition to the core classes and the Process and
views and how to navigate the relationship between
Style guest lecture series, students in the first year
subject and filmmaker. With an emphasis on origi-
attend two lab sessions per week. One lab covers
nality as it applies to the documentary, students will
camera and sound and one covers editing—both
explore new media and a variety of directing styles,
labs deal with the technical aspect of how to use all
tones and techniques. Included will be an extensive
of the equipment. The labs allow students hands-on
study of documentary film history and theory, which
opportunity to get comfortable using microphones,
will examine a wide range of texts and films and look
cameras and editing software, especially AVID, as
at such genres as realism, formalism, cinéma vérité,
storytelling tools, while also opening up the core
essay, feminism and postmodernism. Class assign-
classes to discussions of aesthetics and style.
ments will emphasize the interview technique, with
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PROCESS AND ST YLE I, II, III & IV
THESIS: THE PITCH
Independent voices from the field will share their
Getting an idea off the ground and maintaining the
professional experiences and offer diverse perspec-
momentum is often one of the most difficult facets
tives in documentary film. Lecturers will discuss a
of a production, even for talented filmmakers. Yet
range of specialized topics, including new technolo-
without the proverbial green light, the best ideas at-
gies and new platforms; film festivals and distribu-
rophy by the wayside. Using their own project ideas,
tion; the relationship between subject and filmmak-
students will articulate their vision clearly and con-
er; the pitch; rights and clearances; archival research;
cisely and deliver this pitch to a panel of film industry
job opportunities and career advancement. Many
professionals and faculty. Students will answer
sessions will highlight documentary filmmakers who
questions and address comments posed by the panel.
will screen their projects and share their experiences
The course objectives are to build confidence in the
and career trajectory. This course is a requirement of
presentation of ideas and master a professional pitch,
Year One and Two of the program.
in addition to securing the topic for their graduate
thesis film.
PRODUCING I & II
Multifunctional and multidimensional in approach,
VISIONARY JOURNALISM I & II
the role of a documentary film producer is to initiate,
The field of social documentary is as much about
coordinate, supervise and control all matters in the
journalism as it is about filmmaking; therefore, it is
realization of a film project, such as fundraising and
paramount that the journalistic process be compre-
hiring key personnel. Beginning in the first semester,
hensively examined. From finding and researching
students will receive a full grounding in what they
a story to writing a treatment and a shooting script,
need to know to proceed with their first assigned
learning and adhering to established journalis-
projects. All key aspects of documentary production
tic ethics is of primary importance. This course
will be covered in these courses, from pitch, grant
will engender a full understanding of the ethical
writing and budget preparation to production set-up,
standards inherent in print and broadcast journal-
accounting, scheduling and crew management and
ism, and non-fiction writing as they relate to social
postproduction workflow. Students will learn how to
documentary. Working within these structures, we
analyze a project and apply this analysis in cost and
will approach how to successfully tell a story—from
project management from preproduction rights to
origin of concept to finished project.
editing and film distribution. In addition, they will
learn how to implement production arrangements
singular to the field of documentaries. How to read,
understand and negotiate contracts with vendors,
crewmembers and distributors will be included.
mfasocdoc.sva.edu
YEAR TWO
THESIS: EDITING L AB
THESIS: DIRECTING
This course will encompass all of the finishing touch-
This course will guide students through the process
es for the thesis film projects, including opening ti-
of bringing their thesis ideas and footage to fruition.
tles, closing credits, sound editing and mixing, visual
Of central focus will be the aesthetic and overall style
effects, color correction and film scoring. A profes-
considerations for thesis films. Emphasis will also be
sional editor, under whose guidance students will
placed on the student-director’s communication with
strengthen their editorial acumen while completing
the producer, cinematographer, sound recordist and
their thesis films, will supervise the editing lab.
other personnel who will assist on the project and
help to make each student’s thesis vision a reality.
THESIS: PRODUCING
In this course, students will don the mantle of a film
THESIS: DIRECTING L AB
producer—coordinating production schedules and
Bolstered by critiques of professional film directors
book shoots, and navigating the often turbulent
and fellow classmates, students will gain additional
waters of location permits, budgets, expense recon-
insights and the technical resources to complete
ciliation, crew management, postproduction and film
their thesis films. Directors’ cuts of thesis films will
distribution. The final result will be broadcast-quali-
be screened and analyzed, and students will have the
ty documentary thesis films.
opportunity to incorporate valuable suggestions into
the final work.
THESIS REVIEW AND PRESENTATION
During their final semester, students will present
THESIS: EDITING
their thesis projects to a team of faculty advisors
On average, in documentary films there is a ratio of
for review, advice and critique, and will introduce
10 hours of footage shot for every minute in the final
their documentaries to the film community at large.
film. This course will address the challenge of man-
Students will research, target and submit their thesis
aging the sheer bulk of media amassed for the thesis
to a required number of film festivals both domestic
film. While shooting may continue throughout much
and abroad.
of this period, students will be required to block
out the basic sequence from what has already been
VISITING ARTISTS: DOCUMENTARY MASTERS
filmed, and hew the narrative together into a rough
To help forge relationships between experts in
cut. The goal is to bring projects into readiness for
documentary film and MFA SocDoc students, these
fine-tuning and finishing in the spring semester.
seminars offer in-depth study and discussion of the
craft of documentary storytelling. Seminar topics
will vary each year based on student interest and
changes in the field.
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mfasocdoc.sva.edu
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FACULTY
To learn more about the faculty members and to read their full biographies
visit: sva.edu/mfasocdoc/faculty.
Maro Chermayeff, department
chair; director, Half the Sky;
Micah Fink, filmmaker
(PBS’ Wide Angle)
producer, Marina Abramović: The
Richard Hankin, editor (The Jinx)
Artist is Present
Tom Hurwitz, ASC,
Axel Baumann, cinematographer
(Carrier)
Alan Berliner, filmmaker
(First Cousin Once Removed)
Mira Chang, producer
(A Path Appears)
Peter Chelkowski, filmmaker
(Carnival Roots)
Ann Collins, editor (Sound and Fury)
Deborah Dickson, filmmaker
(Lalee’s Kin)
Michael Epstein, filmmaker
(LennoNYC)
cinematographer (Queen of
Versailles)
Kirsten Johnson, filmmaker
(Citizenfour)
Ross Kauffman, filmmaker
(Born into Brothels)
Beth Levison, producer
(The Trials of Spring)
Mark Mandler, production sound
Thom Powers, programmer,
Toronto Int’l Film Festival
Robert Richman, cinematographer
(Paradise Lost)
Jerry Risius, cinematographer
(Anthony Bourdain: No
Reservations)
Amy Schewel, archival producer
(American Experience: Clinton)
E. Donna Shepherd, editor
(Soundbreaking)
Toby Shimin, editor (Buck)
J.T. Takagi, sound recordist
(Going Clear: Scientology and the
(Black Panthers: Vanguard of
Prison of Belief)
the Revolution)
Samuel D. Pollard, filmmaker
(4 Little Girls, When the Levees Broke)
LECTURERS, MENTORS AND ADVISORS
FILM INDUSTRY
FILMMAKERS
Sheila Nevins & Nancy Abraham,
Natalia Almada (El General)
HBO Documentary
Joe Berlinger (Paradise Lost)
Darius Clark Monroe (Evolution
of a Criminal)
Abigail Disney, Fork Films
Doug Block (21 Birch Street)
Ross McElwee (Shermans’ March)
Tamara Gould, ITVS
Christine Choy (Who Killed
Muffie Meyer (Grey Gardens)
Judith Helfand, Chicken & Egg
Pictures
Vincent Chin?)
Marshall Curry (If A Tree Falls)
Beth Hoppe, PBS
Jason DaSilva (When I Walk)
Simon Kilmurry, International
Susan Froemke (Escape Fire)
Documentary Association
Michael Kantor & Susan Lacy,
PBS American Masters
Vee Bravo & Jose Rodriguez,
Tribeca Film Institute
Molly Thompson, A&E
IndieFilms
Brett Morgen (Cobain: Montage
of Heck)
Marcel Ophuls (The Sorrow
and the Pity)
Alex Gibney (Taxi to the Dark Side)
DA Pennebaker (Don’t Look Back)
Sam Green (Utopia in Four
Yoruba Richen (The New Black)
Movements)
Lauren Greenfield (The Queen of
Versailles)
Zachary Heinzerling (Cutie and
the Boxer)
Ellen Kuras, ASC, cinematographer
Jay Rosenblatt (I Used to Be a
Filmmaker)
Kazuhiro Sôda (Campaign)
Ondi Timoner (We Live In Public)
Pamela Yates (Granito)
Jeremiah Zagar (In A Dream)
Caveh Zahedi (The Sheikh and I)
mfasocdoc.sva.edu
APPLICATION PROCESS
APPLICATION REQUIREMENTS
For detailed instructions, visit: sva.edu/grad/howtoapply
●● Online Application and $80 Application Fee: sva.edu/apply
●● Statement of Intent/Personal Statement
●● Résumé
●● Letters of Recommendation
●● Official College Transcript
Some international applicants may be required to submit the following:
●● Proof of English Proficiency
●● Copy of Permanent Residency Card
●● Declaration of Finances
●● Verification of Finances
●● Foreign Transcript Evaluation
DEPARTMENTAL REQUIREMENTS
For specific guidelines about these requirements, visit: sva.edu/grad/deptreq
●● Portfolio
●● Writing Sample (Treatment)
●● Interview
DEADLINES
For information on application deadlines, visit: sva.edu/grad/timeline
IMPORTANT LINKS
●● FAQ: sva.edu/grad/faq
●● International students: sva.edu/grad/intl
●● Tuition and fees: sva.edu/tuition
●● Visit SVA: sva.edu/grad/visit
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CONTACT US
We encourage applicants to visit our department. Contact us directly to
schedule a department tour or sign up to attend an Information Session.
For more information and to register, go to: sva.edu/grad/visit.
If you have any questions about the application process, contact Graduate Admissions at 212.592.2107
or email: [email protected].
Maro Chermayeff, chair
Rose Vincelli Gustine, director of operations
Timothy Doyle, assistant to the chair
Kristian Gonzales, senior systems administrator
Joseph Eisenstein, video production manager
Tel: 212.592.2919
Fax: 212.627.2526
Email: [email protected]
Site: sva.edu/mfasocdoc
Department site: mfasocdoc.sva.edu
facebook.com/SVAMFASocDoc
twitter.com/socdoc
vimeo.com/svasocdoc
instagram.com/SVAsocdoc
mfasocdoc.sva.edu
ACCREDITATION
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The Master of Arts in Teaching in Art Education program is accred-
confer the degree of Master of Arts on graduates of the programs in
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Critical Theory and the Arts; Curatorial Practice; Design Research,
(CAEP).
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is approved by the American Art Therapy Association, Inc., and as
in Art Practice; Art Writing; Computer Art; Design; Design for So-
such meets the Education Standards of the art therapy profession.
cial Innovation; Fine Arts; Illustration as Visual Essay; Interaction
Design; Photography, Video and Related Media; Products of Design;
CREDITS
Social Documentary Film; Visual Narrative; and to confer the de-
© 2016, Visual Arts Press, Ltd.
gree of Master of Professional Studies on graduates of the programs
Creative director: Anthony P. Rhodes
in Art Therapy; Branding; Digital Photography; Directing; Fashion
Director of design and digital media: Gail Anderson
Photography. Data required by the U.S. Department of Education
Design: Ryan Durinick, Brian Smith
on “Gainful Employment” for each of the above programs may be
Editorial: Sheilah Ledwidge, Abby Kreh
found on each individual program page at sva.edu/ge.
The School of Visual Arts does not discriminate on the basis of
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Higher Education of the Middle States Association of Colleges
status, national origin or other legally protected statuses.
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