Continuing Studies Overview

Frequently Asked Questions

Certificate in Documentary Studies

Courses Offered for the Upcoming Term

Current and Past Term Courses

Workshops and Institutes





Past Term Courses

Required Courses


Seminar in Documentary Studies
Dawn Dreyer
Class ID: 9148

This required class is designed for students in the Certificate in Documentary Studies program or those who plan to enroll this term.

Photography, video, oral history, writing, ethnography and community partnerships — Documentary Studies is interdisciplinary and multifaceted in nature, encompassing many genres and numerous means of interacting with the world and its peoples. Through short readings, close examination of several documentary projects, and guest speakers who will present their own projects and perspectives on the documentary experience, you will gain a broad introduction to the diverse fields that comprise documentary studies. We emphasize not only methodologies, but also philosophies and ethics of fieldwork in different settings. Throughout the term students will explore fieldwork examples, and at the final meeting, students will present preliminary projects of their own. These projects may be the beginning of long-term documentary initiatives or simply a means of helping decide directions for future projects. (Limit 18)

Dawn Dreyer is the Learning Outreach Director at the Center for Documentary Studies (CDS). She directs CDS’s annual Documentary Film and Video Happening and inaugurated Fresh Docs: Works in Progress screenings, a monthly venue for documentary artists to share their work and receive support and constructive feedback. In addition to her work at CDS, Dawn is board president of the Southern Documentary Fund. She is a published writer and writing teacher and has recently been exploring documentary sound and photography.

8 Wednesdays, 10 AM – 12 Noon (16 hours)
February 9 – March 30
Center for Documentary Studies
Materials fee: $10 (exact amount due at first class)
Course fee: $195





Writing


A World of Words: Writing from a Documentary Perspective
Chris Massenburg
Class ID: 9152

Writing is more than you think — more than text on a page — and as creative and expressive as your imagination. When you think of documentary work, do you think of creative writing? Do you write, work with photos, video, audio, or are you new to documentary work? In this course, we will discuss the different ways writing can be used as a documentary tool. From oral histories and narratives to poetry, this course examines the possibilities of including creative writing and other forms of written expression to convey your ideas. We’ll discuss the development of stories from images and explore a nonlinear approach to storytelling. We will examine how to convey your work to others, from visual presentation to performance. Regardless of your background, you will find new uses for writing in your documentary work. You will also complete work that may be presented individually or included in an ongoing documentary project. (Limit 18)

Chris Massenburg, better known as Dasan Ahanu, is a public speaker, organizer, workshop facilitator, poet, spoken word performer, and writer. He has been a featured performer for many poetry, jazz, and cultural events; worked as an organizer on such issues as war, social injustice, workers rights, and sexism; taught with the Center for Documentary Studies after-school and summer programs; and developed and implemented a special documentary arts curriculum for at-risk/court-involved youth.

8 Mondays, 7 – 9 PM (16 hours)
February 7 – April 4 (no class on March 28)
Center for Documentary Studies
Materials fee: $10 (exact amount due at first class)
Course fee: $195



The Other Side of the Story: Creative Expression in Documentary Writing
Chris Massenburg
Class ID: 9153

This course examines creative documentary writing in practice, not just in theory. There are many ways to bring a documentary concept to life. Students will take a deeper look into using specific creative mediums to tell their story. With a strong foundation in oral history and folklife as its base, the course focuses on creative methods to present documentary research to an audience. Beginning with a topic focus, each week will be filled with activities in a particular medium, from poetry to playwriting and including radio drama, scripting for TV or film, and short fiction. The course will culminate with a final presentation of each student’s best coursework. Students will receive feedback for each activity and will have an opportunity to work in a team environment on some. Before enrolling in this course, students should have taken A World of Words or have a documentary project already in its beginning or planning stages. Before attending the first session, students must e-mail topic ideas to the instructor at dasan1@duke.edu. (Limit 18)

Chris Massenburg, better known as Dasan Ahanu, is a public speaker, organizer, workshop facilitator, poet, spoken word performer, and writer. He has been a featured performer for many poetry, jazz, and cultural events; worked as an organizer on such issues as war, social injustice, workers rights, and sexism; taught with the Center for Documentary Studies after-school and summer programs; and developed and implemented a special documentary arts curriculum for at-risk/court-involved youth.

6 Wednesdays, 7 – 9 PM (12 hours)
February 9 – March 23 (no class on March 16)
Center for Documentary Studies
Materials fee: $10 (exact amount due at first class)
Course fee: $155





Family & Community


Police Work, Bureaucracy, and the Documentary Tradition
Rachel Hall
Class ID: 9150

“Every proper portrait has its lurking, objectifying inverse in the files of the police.” – Alan Sekula

Do you see a relationship between the family portrait and the mug shot? We will consider the photographic practices of the police and other government officials as part of the documentary tradition. We will attempt to understand how these practices give rise to particular ways of seeing those who are labeled suspect, criminal, or merely documented. We will discuss the lack of control individuals have over official representations of their identity, especially in the case of those suspected of having broken the law. And we will study the work of artists — including Taryn Simon, Deborah Luster, and Andy Warhol — who generate alternative means of representing and, therefore, viewing those officially documented and/or the incarcerated. In this course, you will have the opportunity to create ethnographic and photographic projects, exploring your own response to the issues. (Limit 18)

Rachel Hall (Ph.D. in Communication Studies, UNC-Chapel Hill) studies cultural narratives and artifacts of everyday life, especially as they relate to memory and identity. Her work explores the relationships between family and outlawry, home life and life on the lam, family portraits and mug shots, family romance and true crime. Currently Rachel is writing a history of the “wanted” poster.

8 Tuesdays, 7 – 9 PM (16 hours)
February 15 – April 5
Center for Documentary Studies
Materials fee: $10 (exact amount due at first class)
Course fee: $195

Suggested Text: Passport Photos, by Amitava Kumar





Proposal & Funding


Funding Your Documentary Project
Cynthia Hill and Dawn Dreyer
Class ID: 9149

You have a documentary project in mind, and you know you need to raise money to get it done. Overwhelmed? Don’t know where to start? Or maybe you have a good idea of where to go to get funding, but need to know more about putting a proposal together. In this course, you will learn how to complete a successful grant application, including the written proposal, budget, audience and distribution strategy, and sample portfolios. We will explore the world of local, state, and national foundations; corporate funders; governmental agencies; and individual donations. We’ll look at a range of proposals – from $500 to $50,000. Guest speakers , including successful fundraisers to representatives from grant organizations -- will enrich your class experience. We will use the Southern Documentary Fund (SDF) application as our guide; completed projects will automatically be submitted to SDF for consideration. Visit the SDF Web site at www.southerndocumentaryfund.org to learn more. (Limit 12)

Cynthia Hill is an independent documentary filmmaker and co-founder of the Southern Documentary Fund. Her last two films, Tobacco Money Feeds My Family and February One (co-producer), screened at festivals across the U.S. and internationally and are scheduled to be broadcast on regional and national PBS stations in 2005. She has raised more than $150,000 from foundations and corporations for the production and distribution of her projects. Hill, with co-producer Charles Thompson, is currently raising finishing funds for their feature-length documentary The Guestworker. Dawn Dreyer, who is also Learning Outreach Director at CDS, is board president of the Southern Documentary Fund and serves on the SDF project selection committee. With an extensive background in writing and editing, she has worked with a number of documentary artists to develop ideas and refine proposals.

6 Tuesdays, 6:30 – 9:30 PM (18 hours)
March 8 – April 12
Center for Documentary Studies
Materials fee: $10 (exact amount due at first class)
Course fee: $195





Audio


Make that Audio Doc: Introduction to Sound Recording and Digital Mixing
Paul Overton
Class ID: 9151

You’ve got the recorder and the inspiration and now you’re ready for some hands-on help. In this course you’ll produce your own short audio documentary using your own recorded sound. We’ll learn the basics of recording, interviewing, and editing using digital editing software, covering the process from beginning to end — from microphone placement to choosing the right interview setting, from loading your audio and organizing your tracks to creating the perfect cross-fade and incorporating sound and music into your piece. You’ll need to come to class with your own recorder (mini-disc, DAT, cassette), microphone, headphones and tapes/discs. For great advice on equipment, go to transom.org and look under “tools.” You will have access to a digital editing studio in which to practice and complete class assignments. (Limit 12)

NOTE: A basic knowledge of computer use is needed for this class.

Paul Overton is an independent producer living in Durham, North Carolina, with his girlfriend, his two dogs, and his tape recorder. Paul has an MFA in technical theater from the University of Delaware and was a sound designer for many years before entering the world of documentary audio. His work has aired on WZBC in Boston, KVNF in Colorado, WUNC in North Carolina, and KUOW in Seattle. Unfortunately, he also plays the ukulele.

8 Tuesdays, 7 – 9 PM (16 hours)
February 8 – March 29
Center for Documentary Studies
Materials fee: $10 (exact amount due at first class)
Course fee: $230





Photography


Fundamentals of Documentary Photography
Luis-Rey Velasco
Class ID: 9154

Beginners to more experienced photographers will benefit from this exploration of darkroom techniques. We will address camera basics for those who need an introduction, but we will spend the majority of class time in the darkroom printing our photographs. Learn about film developing, darkroom etiquette, how to mix chemicals, different paper types (fiber and resin-coated), and how to select a series of prints. Our goal is to begin a documentary project and complete five to ten finished prints by the end of the course. The spirit of the class is to take risks, explore, and have fun. (Limit 15)

Luis Velasco has completed substantial documentary projects on farmworkers in the Central San Joaquin Valley in California and in Stovall, North Carolina, and is embarking on a new project documenting quinceañera celebrations in Mexican American and farmworker families. A past documentary coordinator for Student Action with Farmworkers (SAF), he was inspired by his mother, a farmworker, to tell her story through his camera. He’s shown his work at the North Carolina Museum of Art and the Levine Museum of the New South, and he curated SAF’s traveling exhibition Recollections from Home. He is also the Darkroom Coordinator for the Center for Documentary Studies.

6 Thursdays, 6 – 9 PM (18 hours)
March 10 – April 14
Center for Documentary Studies
Materials fee: $50 (exact amount due at first class)
Course fee: $215

Text: Black and White Photography: A Basic Manual, by Henry Hornstein. Available at the Regulator Bookshop.



Documentary Photography as Fine Art
G. Douglas Vuncannon
Class ID: 9167

Where do documentary photography and fine art converge? When does the documentarian’s work verge upon the world of fine art, and how is it that a "fine artist" may produce works of documentary? And how does one come to terms with the statement “every photograph is a self-portrait”? Going beyond the realm of composition and craft, class discussions will strive to identify the elements of still photography that have the power to transcend the simple recording of image. We will explore such themes, and encourage each participant to develop a personal thesis on documentary photography’s relationship to "fine art." Through handouts and discussions, students will become familiar with the approaches of such photographers as Matthew Brady, Minor White, Eugene Smith, Walker Evans, Andre Kerdész, and Mary Ellen Mark. Students will be encouraged to bring in found materials for discussion and will develop their own photographic vision through weekly assignments and opportunities to share work during classroom critiques. (Limit 12)

NOTE: During the fifth week of class, students will meet with the instructor in individually scheduled meetings.

G. Douglas Vuncannon is a multimedia artist who has worked as a freelance photographer and writer since 1995. His short documentary films have screened at numerous film festival in the U.S. and Canada. In 2000 the Durham Arts Council awarded him an Emerging Artist Grant. His photography and writings have appeared in the Independent Weekly, and he is currently working on a documentary project made possible by a grant from Duke University’s Freewater Productions.

6 Thursdays, 6:30 - 9:30 PM (18 hours)
February 10 – March 17
Center for Documentary Studies
Materials fee: $10 (exact amount due at first class)
Course fee: $215



Self-portraiture and Photography
Leah Sobsey
Class ID: 9171

How does the act of playing both photographer and subject alter the way we make images? What compels us to document our own image? Is it truth or fiction we seek? Self-portraits are a way for photographers to access themselves within a visual dialogue. We will explore the history and contemporary usage of the self-portrait in photography and include assignments and informal written assignments. This two-session course will be devoted to class exercises, photographic assignments, slide presentations, and critiques. (Limit 12)

Leah Sobsey is an artist and educator. She received her MFA from the San Francisco Art Institute in 2001 and completed the Resident Certificate Program at the Maine Photographic Workshops in 1997. Her work has been exhibited widely and is in private collections across the country. She has taught at the San Francisco Art Institute, Duke University, and the Maine Photographic Workshops, and she currently teaches at UNC-Greensboro.

2 Saturdays, 10 AM - 12 Noon (4 hours)
February 12 – 26 (no class on February 19)
Center for Documentary Studies
Materials fee: $5 (exact amount due at first class)
Course fee: $65



Photographing at Night
Elizabeth Kunreuther
Class ID: 9170

This course will provide a chance for students to explore the possibilities of what their cameras can record after dark. It will offer a combination of classroom technical demonstrations and hands-on fieldwork. In class, you’ll be exposed to the work of night photographers and learn how they achieve certain effects. In the field, you’ll try out the techniques covered in class. As a group, this approach gives us a safe opportunity to explore a downtown urban area after dark – indoors and out. The class will also learn to photograph in whatever weather conditions we encounter. Students must have access to a camera with manual settings. Automatic cameras can be used, but the results may well be limited. (Limit 18)

Elizabeth Kunreuther is a practicing photographer living in Raleigh. Her most recent solo exhibit, Hillsborough Street, is a study of one of Raleigh’s “main drags” at night. The art critic for the Raleigh News and Observer writes: “Elizabeth Kunreuther has produced a group of urban nightscapes that are subtle, gleaming, and altogether pleasing.” She has exhibited throughout the U.S. and Canada and is locally represented by Raleigh Contemporary Gallery and Tyndall Galleries in Chapel Hill. She has most recently taught photography at the School of the Museum of Fine Arts in Boston and North Carolina State University.

NOTE: The course has six sessions during the seven-week period indicated; the skip date will be announced in class.

6 Mondays, 6 – 9 PM (18 hours)
February 28 – April 11
Center for Documentary Studies
Materials fee: $10 (exact amount due at first class)
Course fee: $215



What a Difference a Flash Makes
MJ Sharp
Class ID: 9168

Portable flash is like any other powerful thing--wonderful when used well and dreadful when used badly. These days it’s much easier to get well-exposed pictures with automatic cameras and their compatible flash units, but a generic, well-exposed picture and the picture you want to take to tell the story can be worlds apart. In fact, there are some kinds of photographs that are impossible to take without the use of flash. This class will explore flash illumination as another tool to use in composing your photograph. More specifically, there will be targeted assignments for you to do with your particular flash unit so that you can get to know how that specific unit behaves under specific conditions. The more comfortable you are with the technical aspects of your equipment, the less you have to worry whether or not you’re getting the right exposure and the more you can focus on the content of your pictures. (Limit 18)

NOTE: Students must have a flash unit available to them for the duration of the class, preferably the one they will use in their work for the foreseeable future. Students intending to buy a flash for the class may benefit from waiting until after the first class meeting to do so, since the first class may help them decide what type of flash unit would best fit their needs.

MJ Sharp was the staff photographer at the Independent for nine years and has freelanced both nationally and locally. National clients have included The New York Times Magazine, the Ford Foundation, the Columbia Journalism Review, and PBS’s Frontline. Local clients have included the Ciompi Quartet at Duke University, Weaver Street Market in Carrboro, and the Short Courses Program at Duke University. Samples of her work are on-line at www.mjsharp.com.

4 Wednesdays, 6 - 9 PM (12 hours)
February 16 - March 9
Center for Documentary Studies
Course fee: $155



Advanced Photography Project/Portfolio
Leah Sobsey
Class ID: 9166

Inaugurated by MJ Sharp, this course is intended for students who have a specific documentary project in mind or who want to refine or deepen aspects of topics they’ve already explored. This course will be offered by different photographers each term to provide the opportunity for receiving multiple perspectives on students’ work; the course may be taken more than once for credit toward the Certificate in Documentary Studies program.

Photographers wanting to fully understand and incorporate one technique into their photographic repertoire will benefit from this class. It is intended to deepen your engagement with a specific project or a specific technique rather than act as an introduction to a variety of techniques. We will look initially at film and format choices and then move on to explore a variety of shooting techniques as suggested by the specific documentary projects at hand. If indicated, the course will include targeted weekly assignments for individual students. While those shooting digital formats are welcome, you should be well acquainted with your equipment, since techniques and troubleshooting specific to digital photography will not be covered. (Limit 12)

Leah Sobsey is an artist and educator. She received her MFA from the San Francisco Art Institute in 2001 and completed the Resident Certificate Program at the Maine Photographic Workshops in 1997. Her work has been exhibited widely and is in private collections across the country. She has taught at the San Francisco Art Institute, Duke University, and the Maine Photographic Workshops, and she currently teaches at UNC-Greensboro.

6 Wednesdays, 6 – 9 PM (18 hours)
February 9 – March 16
Center for Documentary Studies
Materials fee: $5 (exact amount due at first class)
Course fee: $295





Film & Video


Visual Storytelling: Fieldwork and Editing in One Course
Nancy Kalow and Erika Simon
Class ID: 9172

Digital filmmaking for beginners, taught by experienced instructors whose top priority is to make the class fun. We’ll start with the whys and hows of documentary fieldwork and teach the basics of camera, sound, and editing. Your footage shot for biweekly video assignments will be your introduction to Final Cut Pro (FCP) at the CDS Digital Editing Suite. Our user-friendly FCP curriculum demystifies a powerful editing tool to serve your documentary ideas. Besides hands-on learning of FCP, a portion of class time will be spent watching and discussing the edited shorts you produce during the course. We’ll also view relevant sequences by the Maysles Brothers, Wim Wenders, Jehane Noujaim, and Les Blank, among others. (Limit 12)

NOTE: Students must have the use of a camcorder, tripod, portable FireWire hard drive (7200 rpm, 8mb cache, FireWire 400 required; 60gb is plenty), and two FireWire (IEEE 1394) cables (one 6-pin-to-6-pin for the hard drive and one 6-pin-to-4-pin for the camera). A lavaliere microphone is also suggested. Comfort with basic computer skills is required. The course fee includes access to the Digital Editing Suite through May 2005.

Nancy Kalow is a folklorist, filmmaker, and documentarian of communities and cultural expression. Some of her video work can be viewed for free at the Internet Archive address http://www.archive.org/search.php?query=Nancy%20Kalow. Erika Simon is a video editor and tutor in Final Cut Pro. She is a recipient of the Martha Nell Hardy Award for Outstanding Teaching at UNC-Chapel Hill, where she earned an M.A. in communication studies and the Lucia Morgan Memorial Award for putting communication theories into practice in local communities.

NOTE: No class on March 16; however, there will be a required Final Cut working session on that date.

8 Wednesdays, 7 – 9 PM (16 hours)
February 16 – April 13
Center for Documentary Studies
Materials fee: $15 (exact amount due at first class)
Course fee: $320



Advanced Documentary Video Editing: Final Cut Pro
Simone Keith
Class ID: 9173

This class will focus on FCP’s advanced features but give priority to editing techniques. Learn the ins and outs of smooth cuts, and proper use of effects and transitions as well as sound editing. Discussion of films and print materials will be used to fuel creativity. You will be encouraged to share your video projects in class and provide constructive feedback to your peers. (Limit 12)

Simone Keith’s short documentary Heavier Than Air has screened at numerous festivals and aired on UNC-TV. A native of Brazil, she has been making documentaries and video essays since she arrived in North Carolina nine years ago. She has earned two Telly Awards and was nominated for a regional Emmy for The Wonder of It All, a UNC-TV documentary about the life of George Beverly Shea. Keith is a videographer and editor at North Carolina State University.

8 Mondays, 7 – 9 PM (16 hours)
February 14 – April 4
Center for Documentary Studies
Materials fee: $10 (exact amount due at first class)
Course fee: $320

Text: In the Blink of an Eye by Walter Murch
Suggested text: Final Cut Pro 4 for Dummies



The Five-Minute Documentary
Jim Haverkamp
Class ID: 9177

The short documentary form presents a host of challenges and a wealth of opportunities for film and videomakers of all experience levels. Shorts, whether ends in themselves or sketches for longer works, force their makers to sharpen their focus, distill essential details, and experiment with structure in order to tell their stories economically and vividly. This course will expose you to a wide range of documentary works of roughly five minutes and under. You will then work individually or in teams to produce a short film or video on a topic of your choosing. The course will encourage creative treatment of material and place particular emphasis on the use of sound. Brief instruction on Super 8 film will also be provided. (Limit 12)

NOTE: Working knowledge of Final Cut Pro is required. Students must provide their own video cameras and tape stock. Super 8 cameras will be available for use by students who complete appropriate training.

Jim Haverkamp is an award-winning filmmaker and editor based in Durham. His credits include the documentaries Monster Road (co-producer, co-editor) and Armor of God (co-director), both collaborations with Brett Ingram. His other documentary and fiction films have shown in festivals across the country, and he was awarded a Filmmaking Fellowship from the North Carolina Arts Council in 2000. He is a former organizer of the Flicker Film Festival in Chapel Hill.

8 Mondays, 7 – 9 PM (16 hours)
February 7 – March 28
Center for Documentary Studies
Materials fee: $10 (exact amount due at first class)
Course fee: $195



Telling Your Story: Placing Yourself in the Documentary Film Tradition
Randolph Benson
Class ID: 9175

There are an infinite number of ways to tell your nonfiction story in film: cinema vérité, archival footage, photos, interviews, and re-creations are only a few examples. Will your film be a personal doc? A portrait, experimental, or propaganda? We will study documentary filmmaking through the screening of films and clips, class discussion, readings, and presentations. Outside of class, each student will be encouraged to keep a film journal in response to the films screened, readings and/or other researched materials. Surveying the tradition, history, and conventions of nonfiction filmmaking, you will have a firm foundation for deciding how to fulfill your documentary vision. You will also be encouraged to share ideas about your projects. (Limit 18)

Randolph Benson is a graduate of Wake Forest University and the North Carolina School of the Arts School of Filmmaking. His film Man and Dog has appeared in eighteen film festivals in seven countries and has garnered numerous awards, most notably a Gold Medal in the Academy of Motion Picture Arts and Sciences’ Student Academy Awards. His work has been featured on the Bravo Network, the Independent Film Channel (Split Screen), WTTW-Chicago, UNC-TV (North Carolina Visions) and Telewizja Polska S.A.- Poland, and has received an Eastman Kodak Excellence in Filmmaking Award at the Cannes Film Festival.

8 Tuesdays, 7 – 9 PM (16 hours)
February 8 – March 29
Center for Documentary Studies
Materials fee: $10 (exact amount due at first class)
Course fee: $195



Documentary Video Production: Planning the Project, Getting the Shots
Chris Potter
Class ID: 9174

Have the footage you need when you sit down to edit your video documentary. We will talk about planning and organizing your project, and learn some basic camera, lighting, and audio techniques that don't require expensive equipment. We will watch video clips that illustrate the techniques, try them out in class, and look at each other's homework. Please bring a camcorder and tripod to class. (Limit 12)

Chris Potter studied documentary film and video techniques at Rice University Media Center. He has produced and directed commercial, industrial, and public service videos at Southern Media Design & Production for more than twenty-five years. He is working on a documentary film on the historical ecology of southeastern Burgundy.

6 Wednesdays, 6:30 – 9:30 PM (18 hours)
January 26 – March 2
Center for Documentary Studies
Materials fee: $10 (exact amount due at first class)
Course fee: $215



Directing Your Documentary Film: Making Choices
Randolph Benson
Class ID: 9176

Making documentary films is more than pointing your camera at a subject, recording an event, or conveying interesting information. Your film will be a historical document that not only will tell the story of your subject but also will reflect you as an artist. Directing your film means making difficult choices--from initial story concept to your first screening. These choices, similar to those made by narrative fiction filmmakers, involve the range of available tools and techniques. Use this course to prepare for the choices you will make about how best to tell your story, design your production, develop your aesthetic, and capture your story on film. Through viewing selected film clips, reading, in-class production instruction, and weekly assignments, you will gain an understanding of the art of directing a documentary film while developing the skills you’ll need to fulfill your vision. By the end of the term, you will be expected to complete a “mini-documentary” of approximately two to three minutes in length, combining all of the methods and techniques learned in the course. You will need access to a video camera and a tripod. (Limit 18)

Randolph Benson is a graduate of Wake Forest University and of the North Carolina School of the Arts School of Filmmaking. His film Man and Dog has appeared in eighteen film festivals in seven countries and has garnered numerous awards, most notably a Gold Medal in the Academy of Motion Picture Arts and Sciences’ Student Academy Awards. His work has been featured on the Bravo Network, the Independent Film Channel (Split Screen), WTTW-Chicago, UNC-TV (North Carolina Visions) and Telewizja Polska S.A.- Poland, and received an Eastman Kodak Excellence in Filmmaking Award at the Cannes Film Festival.

8 Thursdays, 7 – 9 PM (16 hours)
February 10 – March 31
Center for Documentary Studies
Materials fee: $10 (exact amount due at first class)
Course fee: $195

Fall 2004