Filmmaking In this course students will gain a theoretical understanding of the ways moving images and sounds communicate, as well as practical experience creating time-based work. We will study examples of moving images as we use cameras, sound recorders, and non-linear editing software to produce our own series of short works. Emphasis will be placed on understanding the possibilities of the medium through experimentation, analysis, and detailed feedback while exploring different facets of cinematic communication.

Documentary Filmmaking: Seeking Truth Through the Art of Non-Fiction In this course we will explore the artistic strategies used by documentary films to investigate ontological and existential “truths” about the world around us. Pairing non-fiction films across historical periods, countries, and stylistic modes with interdisciplinary readings, students will discuss and analyze their form and function through written (essays) and spoken word (podcasts). In the second half of the semester, students will collaboratively write, produce, and edit a documentary film about an issue or community close to them.

African Cinema In this course we will examine how films written and directed by African filmmakers address the evolving identities of post-colonial Africans. Students will explore the development of various national cinemas and the film movements that helped define African cinema as a tool for cultural expression and social change. We will pair film studies, post-colonial studies, and African studies readings with a diverse selection of films from across sub-Saharan Africa, from Senegal’s 1967 Black Girl (Ousmane Sembene) to the 2018 Netflix-produced Nigerian “Nollywood” film, Lionheart (Genevieve Nnaji). 3 hours lect./3 hours screen.

African Cinema In this course we will examine how films written and directed by African filmmakers address the evolving identities of post-colonial Africans. Students will explore the development of various national cinemas and the film movements that helped define African cinema as a tool for cultural expression and social change. We will pair film studies, post-colonial studies, and African studies readings with a diverse selection of films from across sub-Saharan Africa, from Senegal’s 1967 Black Girl (Ousmane Sembene) to the 2018 Netflix-produced Nigerian “Nollywood” film, Lionheart (Genevieve Nnaji). Note to students: this course involves substantial streaming of films for assigned viewing. 3 hours lect./3 hours screen.

Collaborative Video Projects In this course students will learn to work collaboratively either as crew members on the senior thesis films produced for FMMC 0701 or on original projects, depending on availability of resources. Students will receive credit for performing in key creative positions, including Producer, Assistant Director, Cinematographer, Art director, Sound Designer, and Editor. In this class students will learn advanced set operations, while workshopping projects from pre-production to main photography to editorial, post-production and the final screening. Students must do significant pre-production before January.

Black American Cinema In this course we will examine various representations of Blackness in American Cinema, from Oscar Micheaux’s early silent films to Ryan Coogler’s Black Panther. While we will primarily focus on films written and/or directed by African-Americans, we will also study the social, cultural, and political impact of Hollywood ideas and images of Black people and how they changed over time. Through a framework of both film theory and critical race theory, students will analyze how Black creative expression has manifested itself through film, influencing both form and content. 3 hours lect./3 hours screen

Writing for the Screen II Building on the skills acquired in Writing for the Screen I, students will complete the first drafts of their feature-length screenplay. Class discussion will focus on feature screenplay structure and theme development using feature films and screenplays. Each participant in the class will practice pitching, writing coverage, and outlining, culminating in a draft of a feature length script.

Black American Cinema In this course we will examine various representations of Blackness in American Cinema, from Oscar Micheaux’s early silent films to Ryan Coogler’s Black Panther. While we will primarily focus on films written and/or directed by Black Americans, we will also study the social, cultural, and political impact of Hollywood ideas and images of Black people and how they changed over time. Through a framework of both film theory and critical race theory, students will analyze how Black creative expression has manifested itself through film, influencing both form and content. 3 hours lect./3 hours screen

Advanced Screenwriting Building on the skills acquired in Screenwriting, students will complete the first drafts of their feature-length screenplay, or TV pilot and Bible. Class discussion will focus on feature screenplay structure and theme development using feature films and screenplays. Each participant in the class will practice pitching, writing coverage, and outlining, culminating in a draft of a feature length script or TV pilot and Bible.

Writing for the Screen I In this course we will examine the fundamental elements of dramatic narrative as they relate to visual storytelling. We will emphasize the process of generating original story material and learning the craft of screenwriting, including topics such as story, outline, scene structure, subtext, character objectives, formatting standards, and narrative strategies. Weekly writing assignments will emphasize visual storytelling techniques, tone and atmosphere, character relationships, and dialogue. Students will be required to complete two short screenplays. Required readings will inform and accompany close study of selected screenplays and films. (FMMC 0101 OR CRWR 0170 or approval of instructor)

Screenwriting In this course we will examine the fundamental elements of dramatic narrative as they relate to visual storytelling. We will emphasize the process of generating original story material and learning the craft of screenwriting, including topics such as story, outline, scene structure, subtext, character objectives, formatting standards, and narrative strategies. Weekly writing assignments will emphasize visual storytelling techniques, tone and atmosphere, character relationships, and dialogue. Students will be required to complete one short screenplay. Required readings will inform and accompany close study of selected screenplays and short films. This class will require some streaming of video material. (FMMC 0101 OR CRWR 0170 or approval of instructor)

Advanced Filmmaking In this course students will work in teams to produce several short films, having the opportunity to take turns at fulfilling all the essential crew positions: director, producer, cinematographer, production sound mixer, editor, and sound designer. We will emphasize thorough pre-production planning, scene design, cinematography, working with actors, and post production —including color correction and sound mixing. The critical dialogue established in FMMC 0200 Filmmaking will be extended and augmented with readings and screenings of outstanding independently produced work.

Natasha Ngaiza

Reviews and ratings for Natasha Ngaiza at Middlebury College.Natasha Ngaiza teaches Filmmaking, Documentary Filmmaking, African Cinema and more.  Explore top rated instructors and find the best for you.Is Natasha Ngaiza good ? Find out on MiddCourses.

Prof. Ngaiza is an amazing professor. This is a very project heavy class, with no readings and no exams. Pretty much every week you will be working on something new. What you learn in this class is very valuable in terms of the technical side of film production. Prof. Ngaiza very clearly understands the concepts she teaches. 

This class was by far the easiest class I have taken at Midd. The expectations for projects were incredibly low, and I spent minimal time outside of class doing readings. Class discussions were quite circular and felt as if the entire class was competing to see who could create the most far-fetched critical analysis of a film, even if there was no real substance. Natasha Ngaiza is incredibly kind to students, but this class needs more direction.

I felt that the content covered in this class did not necessarily allow me to think about African cinema through a lens I had not already considered. Class discussions, though welcoming, did not seem to raise helpful and perceptive ideas.