This is the directors commentary, a recording of the documentary voiced over by myself explaining some of the decisions and processes that went into producing it to help further evaluate my work. This is also an extra feature on the DVD.
Thursday, 17 December 2009
Tuesday, 15 December 2009
Evaluating my piece - 15th December
As well as the audience feedback i have recieved and reflected on, i decided to evaluate my production further by answering some evaluation questions and producing a directors commentary
In what ways does your media product use, develop or the challenge forms and conventions of real products?
My documentary conforms to the generic conventions of investigative documentaries. It poses an argument in an unbiased way using a combination of talking head and voice over’s put across through sophisticated language providing the audience with an unbiased explanation of the argument. It also makes use of interviews with experts and Mise En Scene to provide professional opinion to sway their views whilst at the same time conforming to their expectations in attire and general Mise En Scene. Also conforming to the conventions of the investigative genre I have used footage shot for other purposes as well as establishing shots and panning shots of the local area to give meaning to dialogue being spoken acting as visual aid for the audience as well as means of breaking up the dialogue so as the audience do not grow tired of watching a person talk to a camera. I have used quick cuts and fades between each clip to keep the continuity of piece flowing and excluded for abrasive edits such as spirals and wipes that feature more in other genres for visual effect. In my soundtrack I have used upbeat music that drives the footage yet does not distract the audience from the dialogue spoken. The music is also contemporary and appealing to younger generations yet still accessible by older viewers.
I have also developed the conventions of a typical, hard hitting and serious investigative documentary that holds little interest in the student aged viewer. To do this I have included an upbeat soundtrack and kept the dialogue educated yet not sophisticated to a point where it is inaccessible by student viewers.
How effective is the combination of your main product and ancillary texts?
The production of my ancillary projects has enabled my documentary to become a media package combining both the documentary footage destined for television as well as advertisements in both the radio times and most national newspapers. These advertisements and the review in the magazine would hype up the documentary in the public eye, getting it noticed and thus attracting more viewers. As I have explained in my research, viewing figures are extremely important to the institutions as they increase the eventual profit made by the documentary and thus its success (at least in their eyes). I feel my advertisement and review will be an effective combination as they will attract the attention of readers of both publications and attract them to view my documentary.
What have you learned from audience feedback?
The audience feedback I have received has helped me develop my documentary from a poor production to what it is now. Collecting together a focus group of people in my class, I showed them the first rough cut of my documentary. They advised me that the interview was too long and that it featured a number of stammer’s and unnecessary information and ramblings. They also advised me that the scenic shots along side the voice over’s became repetitive and boring and they felt that some footage of a big cat hunting or footage caught of big cats roaming the UK would be better placed as visual aids and make my piece more appealing. Having made those changes I received a lot of positive feedback from YouTube viewers after posting my video online, which reassured me that the changes had improved my documentary. One comment I have received a number of times though is that I speak too fast in both talking head and voice over’s. If I were to recreate my documentary this is something I would take care to avoid as sometimes the dialogue was unclear.
How did you use media technologies in the construction and research, planning and evaluation stages?
The main media technology I madder use of during all the stages of my production was the internet. For my research it provided me with pages of notes, audience’s theories and examples of how documentary conventions can be implemented helping me understand them better. During the construction stage of my production I was able to access maps of Cannock Chase cross referencing them with various blogs set up online to work out a route and various locations that would be idyllic for filming. I also used the internet as a means to distribute my final production. Posting it on YouTube, I then posted a number of forums online to advertise my production and attract audience feedback. For my construction I used a number of media technologies such as a camera to film both the interview and all other shots such as establishing shots and medium shot of the talking head onto tape. For my interview I used a microphone that took power directly form the camera to boost the sound quality of the interview so that it was not to quiet. To edit the footage I used an apple Mac laptop and the imovie software that comes standard with the equipment (though I realise my end product would have looked more professional had I used Final Cut Pro, this software was not available to me). I then used a culmination of the laptop and the internet to upload my piece onto YouTube.
In what ways does your media product use, develop or the challenge forms and conventions of real products?
My documentary conforms to the generic conventions of investigative documentaries. It poses an argument in an unbiased way using a combination of talking head and voice over’s put across through sophisticated language providing the audience with an unbiased explanation of the argument. It also makes use of interviews with experts and Mise En Scene to provide professional opinion to sway their views whilst at the same time conforming to their expectations in attire and general Mise En Scene. Also conforming to the conventions of the investigative genre I have used footage shot for other purposes as well as establishing shots and panning shots of the local area to give meaning to dialogue being spoken acting as visual aid for the audience as well as means of breaking up the dialogue so as the audience do not grow tired of watching a person talk to a camera. I have used quick cuts and fades between each clip to keep the continuity of piece flowing and excluded for abrasive edits such as spirals and wipes that feature more in other genres for visual effect. In my soundtrack I have used upbeat music that drives the footage yet does not distract the audience from the dialogue spoken. The music is also contemporary and appealing to younger generations yet still accessible by older viewers.
I have also developed the conventions of a typical, hard hitting and serious investigative documentary that holds little interest in the student aged viewer. To do this I have included an upbeat soundtrack and kept the dialogue educated yet not sophisticated to a point where it is inaccessible by student viewers.
How effective is the combination of your main product and ancillary texts?
The production of my ancillary projects has enabled my documentary to become a media package combining both the documentary footage destined for television as well as advertisements in both the radio times and most national newspapers. These advertisements and the review in the magazine would hype up the documentary in the public eye, getting it noticed and thus attracting more viewers. As I have explained in my research, viewing figures are extremely important to the institutions as they increase the eventual profit made by the documentary and thus its success (at least in their eyes). I feel my advertisement and review will be an effective combination as they will attract the attention of readers of both publications and attract them to view my documentary.
What have you learned from audience feedback?
The audience feedback I have received has helped me develop my documentary from a poor production to what it is now. Collecting together a focus group of people in my class, I showed them the first rough cut of my documentary. They advised me that the interview was too long and that it featured a number of stammer’s and unnecessary information and ramblings. They also advised me that the scenic shots along side the voice over’s became repetitive and boring and they felt that some footage of a big cat hunting or footage caught of big cats roaming the UK would be better placed as visual aids and make my piece more appealing. Having made those changes I received a lot of positive feedback from YouTube viewers after posting my video online, which reassured me that the changes had improved my documentary. One comment I have received a number of times though is that I speak too fast in both talking head and voice over’s. If I were to recreate my documentary this is something I would take care to avoid as sometimes the dialogue was unclear.
How did you use media technologies in the construction and research, planning and evaluation stages?
The main media technology I madder use of during all the stages of my production was the internet. For my research it provided me with pages of notes, audience’s theories and examples of how documentary conventions can be implemented helping me understand them better. During the construction stage of my production I was able to access maps of Cannock Chase cross referencing them with various blogs set up online to work out a route and various locations that would be idyllic for filming. I also used the internet as a means to distribute my final production. Posting it on YouTube, I then posted a number of forums online to advertise my production and attract audience feedback. For my construction I used a number of media technologies such as a camera to film both the interview and all other shots such as establishing shots and medium shot of the talking head onto tape. For my interview I used a microphone that took power directly form the camera to boost the sound quality of the interview so that it was not to quiet. To edit the footage I used an apple Mac laptop and the imovie software that comes standard with the equipment (though I realise my end product would have looked more professional had I used Final Cut Pro, this software was not available to me). I then used a culmination of the laptop and the internet to upload my piece onto YouTube.
Audience Feedback - 15th December 2009
Audience feedback is an integral part of improving any production and it is something I have used both to help fine tune my final production and to evaluate it in hindsight picking up on any mistakes I would have rectified were I to redo it.
For my first couple of edits I formed together a focus group of students in my class where we each compared one another’s pieces and reflected upon them suggesting improvements. This was useful as it enabled me to judge how my piece was received as well as identify area’s which needed improvement
From the perspective of evaluating my piece post production, I uploaded it onto YouTube and posted a link both on facebook and the student room to attract viewers and their comments. These comments would help me understand how my piece was received and indentify the good and bad traits in it.
Here were some of the comments I received:
These comments mainly reflected the views of the focus group and my own views that the dialogue in places was too fast. It also gave me an insight into the positive reception my piece has received giving me the confidence that I have produced an entertaining and informative piece that also educates, the purposes of documentaries ad the charter of the BBC.
For my first couple of edits I formed together a focus group of students in my class where we each compared one another’s pieces and reflected upon them suggesting improvements. This was useful as it enabled me to judge how my piece was received as well as identify area’s which needed improvement
From the perspective of evaluating my piece post production, I uploaded it onto YouTube and posted a link both on facebook and the student room to attract viewers and their comments. These comments would help me understand how my piece was received and indentify the good and bad traits in it.
Here were some of the comments I received:
These comments mainly reflected the views of the focus group and my own views that the dialogue in places was too fast. It also gave me an insight into the positive reception my piece has received giving me the confidence that I have produced an entertaining and informative piece that also educates, the purposes of documentaries ad the charter of the BBC.
FInal piece - 14th December 2009
This is my final piece uploaded onto YouTube from the laptop:
Overall I am please with the piece. I feel the Mise En Scene of the forest as well as the “outdoor” clothing I am wearing help to convey a sense of authority on woodland information, more so than a suit and office would have. I also feel the establishing shots work well to keep the interest of then audience as well as convey the beauty of the Chase.
Though I am disappointed in the lack of interviews I managed to undertake, I still feel the one have filmed is informative, interesting and not too long. Had I had the resources and time, I would have travelled to Kent to interview Neil Arnold personally.
The only other fault that I would have rectified if I were to recreate my piece is the dialogue which I and those to whom I have shown it as well as YouTube viewers agree is too fast in places and hard to understand.
Overall I am please with the piece. I feel the Mise En Scene of the forest as well as the “outdoor” clothing I am wearing help to convey a sense of authority on woodland information, more so than a suit and office would have. I also feel the establishing shots work well to keep the interest of then audience as well as convey the beauty of the Chase.
Though I am disappointed in the lack of interviews I managed to undertake, I still feel the one have filmed is informative, interesting and not too long. Had I had the resources and time, I would have travelled to Kent to interview Neil Arnold personally.
The only other fault that I would have rectified if I were to recreate my piece is the dialogue which I and those to whom I have shown it as well as YouTube viewers agree is too fast in places and hard to understand.
Producing my docuemntary - 11th December 2009
Having contacted my interviewee’s I then set about planning my documentary. Using all that I had learnt from watching other documentaries both large and small scale I set about creating my piece.
First I set an interview date with Mr Fletcher and headed too see him in his office. There he discussed what his course was about and his investigations into the local legend explaining his point of view on it. Then he agreed to participate in a filmed interview so after setting up the camera and microphone to shoot a medium shot of him, he began to relate in short the half hour discussion we had just had.
Now that I had the core interview for my extract I set about writing up a script to read out on camera and plan a route and day for filming. Unsure of exactly what establishing shots I wished to use I felt it impractical to draw up a story and instead headed onto the Chase one morning with the intent of finding locations ideal for what I planned to produce.
After a day of filming the script and a huge range of establishing shots I then headed home and edited it together adding in voice over’s and the interview. I then showed this first cut to a focus group of friends who unanimously agreed that it focussed too much on the interview and too much time was spent watching Mr Fletcher talk into a camera. On the positive side though they liked the talking head and establishing shots and agreed the music worked well.
Taking on board their advice I began to look on YouTube for some footage shot primarily for other purposes that could be useful for my production. After contacting the owners of these clips of footage and explaining what I was doing and gaining their permission to use the clips, I edited them into my piece.
Upon showing the same focus group the amended version they immediately commented on the improvements and unanimously agreed it was a good production.
First I set an interview date with Mr Fletcher and headed too see him in his office. There he discussed what his course was about and his investigations into the local legend explaining his point of view on it. Then he agreed to participate in a filmed interview so after setting up the camera and microphone to shoot a medium shot of him, he began to relate in short the half hour discussion we had just had.
Now that I had the core interview for my extract I set about writing up a script to read out on camera and plan a route and day for filming. Unsure of exactly what establishing shots I wished to use I felt it impractical to draw up a story and instead headed onto the Chase one morning with the intent of finding locations ideal for what I planned to produce.
After a day of filming the script and a huge range of establishing shots I then headed home and edited it together adding in voice over’s and the interview. I then showed this first cut to a focus group of friends who unanimously agreed that it focussed too much on the interview and too much time was spent watching Mr Fletcher talk into a camera. On the positive side though they liked the talking head and establishing shots and agreed the music worked well.
Taking on board their advice I began to look on YouTube for some footage shot primarily for other purposes that could be useful for my production. After contacting the owners of these clips of footage and explaining what I was doing and gaining their permission to use the clips, I edited them into my piece.
Upon showing the same focus group the amended version they immediately commented on the improvements and unanimously agreed it was a good production.
Monday, 14 December 2009
Ancillary production - magazine article - 8th December 2009
As well as a newspaper advert I also decided to produce a magazine article promoting the documentary. This article took the form of an interview with the documentary’s creator Paul Boden (me) from the perspective of an anonymous journalist. In this I conformed to the conventions set by periodical (magazine) based interviews in that the interviewer not only describes and recounts the interview but adds a personal twist too it in order to engage the reader.
This is my magazine article, set out in a way that incorporates the pictures with the eye catching heading.
This article is an effective means of advertising my production as it features as a double page spread in one of the most read TV listings magazines in the country (The Radio Times).
The article, as well as advertising the production, gives an insight into the producer behind it's creation giving the audience a better understanding prior to the program. the relativly secretive answers and cliff hanger statements help intrigue the audience and would serve to add to the list of perspective viewers.
This is my magazine article, set out in a way that incorporates the pictures with the eye catching heading.
This article is an effective means of advertising my production as it features as a double page spread in one of the most read TV listings magazines in the country (The Radio Times).
The article, as well as advertising the production, gives an insight into the producer behind it's creation giving the audience a better understanding prior to the program. the relativly secretive answers and cliff hanger statements help intrigue the audience and would serve to add to the list of perspective viewers.
Friday, 11 December 2009
Anciallry production - Newspaper Advert - December 7th 2009
Alongside the production of a documentary I am to create a series of advertisements for my documentary to serve as ancillary additions to my production as a whole as well as reflect the understandings I have gained of audience theories, there consumption of media as well as the ways in which different media is produced for specific people.
The first of these ancillary pieces is a newspaper advertisement for my documentary.
Ancillary Production – Newspaper Advertisement
As I have come to realise through my research into media institutions, the publicity and promotion methods behind documentaries are key to their reception and thus success. As success and viewing figures create money institutions such as the BBC and film production companies set aside time and resources to advertise their productions and make them noticed.
One way in which documentaries are brought to public attention is through print advertising. Print advertising can appear in a number of different mediums ranging from periodicals such as “Men’s Health” fitness magazine to daily papers or even TV listings magazines depending upon the theme of the documentary and its target audience. For example a documentary on Cantonese cooking is likely to appear in “Good Food Magazine” to be received by an audience of cooking enthusiasts as opposed to “MBUK” a magazine focussed on mountain biking. It is also unlikely that an advert for new suspension forks is likely to appear in a food magazine, it all comes down to the perspective target audience of the production, information that is often acquired through methods such as questionnaires and demographics research.
As I have established through audience research I have carried out, I will be aiming my documentary at a mature audience of men who are likely to be more educated and in higher paid jobs than most of society. With that in mind I decided I would feature my article in a newspaper such as the Daily Telegraph or The Times (papers read by the more educated sections of society) in order to access as much of my target audience possible. Had I decided to publish my advertisement in a tabloid paper such as the Sun or the News of the World, my advertisement would not have accessed as larger number of my primary target audience as the readership of tabloid papers tends to favour toward manual workers. In this I have used the research I carried out into audience reception theories and demographics in order to access the medium most preferable for my advertisement.
For the content of my advertisement I studied a number of style models from broadsheet newspapers in order to gain an insight into the graphology and lexis featured in advertisements in order to grab attention and advertise documentaries.
This was an advertisement in the guardian for the documentary “Ice Road Truckers” on the history channel. The main feature of this advertisement is the text “TRUCKING HELL” an eye grabbing pun that attracts attention and relays the suspense and awe of the documentary. Alongside this lexis, imagery can be seen in the form of a truck giving meaning to the text and adding to the visual appeal of the piece. In the corner we can see a box of information detailing the documentaries title, the fact that it is a new series and what time it is being broadcast. In this is also the channel logo so viewers know where and when to watch this documentary. As an advertisement I feel it is effective in attracting attention with the large print title and shocking content of it. I also feel it relays the necessary information without overloading the audience with facts and figures and distracting them away from the imagery. In my advertisement I intend to create a similar level of shock to attract the attention of casual readers, flicking through the paper.
This is my first attempt at an advertisement.
Though it certainly does attract attention through shock, I feel maybe the content is a little too graphic for a daily paper and would likely offend, even if it were passed by the advertising standards agency. The imagery of a mutilated corpse and rhetorical question on the legitimacy of the legend certainly act as an effective advertisement for the documentary and I feel that the use of a rhetorical question in relation to a shocking image would be an effective theme for my advert. I also feel the text I have used is a little too overpowering and large and looks a little tacky. But as to the content of the lexis I feel it pulls readers in with declarative statements such as the truth, as well as giving the necessary information such as the time of broadcast and the channel.
This is my second attempt at an advertisement
The image I have used here serves to grab attention and shock, though not on an offensive level like my previous attempt. The snarling, aggressive image of the black leopard works well in relation to the rhetorical question “Woodland Creature?” this will work to create associations in the mind of audiences of small woodland creatures such as squirrels and deer and the alieness of such a ferocious creature. The aggressiveness of the image would also serve to create fear in the audience of what may exist in the local area which from an institutional point is good as fear sells. Once again I have used engrossing lexis such as “exposed” in order to attract the audience to my documentary.
However I feel the text in this example is to small and not eye catching. In the case of the ice truck advert, the text is big and eye catching, unlike the small text I have used.
This is my final newspaper advertisement
In this example I have included the addition of a headline rhetorical question in order to attract attention. I have also emboldened the text so it stands out more.
I feel as an advertisement it is effective in grabbing the attention of readers and creating a sense of fear induced curiosity that is fuelled by the definitive statement “exposed”. From this I feel audiences will be intrigued to discover the truth and thus watch my production.
My advertisement is likely to feature in the bottom half of a broadsheet paper as advertising space is expensive and the BBC do not dedicate huge resources to lower digital branch channels such as BBC 4.
The first of these ancillary pieces is a newspaper advertisement for my documentary.
Ancillary Production – Newspaper Advertisement
As I have come to realise through my research into media institutions, the publicity and promotion methods behind documentaries are key to their reception and thus success. As success and viewing figures create money institutions such as the BBC and film production companies set aside time and resources to advertise their productions and make them noticed.
One way in which documentaries are brought to public attention is through print advertising. Print advertising can appear in a number of different mediums ranging from periodicals such as “Men’s Health” fitness magazine to daily papers or even TV listings magazines depending upon the theme of the documentary and its target audience. For example a documentary on Cantonese cooking is likely to appear in “Good Food Magazine” to be received by an audience of cooking enthusiasts as opposed to “MBUK” a magazine focussed on mountain biking. It is also unlikely that an advert for new suspension forks is likely to appear in a food magazine, it all comes down to the perspective target audience of the production, information that is often acquired through methods such as questionnaires and demographics research.
As I have established through audience research I have carried out, I will be aiming my documentary at a mature audience of men who are likely to be more educated and in higher paid jobs than most of society. With that in mind I decided I would feature my article in a newspaper such as the Daily Telegraph or The Times (papers read by the more educated sections of society) in order to access as much of my target audience possible. Had I decided to publish my advertisement in a tabloid paper such as the Sun or the News of the World, my advertisement would not have accessed as larger number of my primary target audience as the readership of tabloid papers tends to favour toward manual workers. In this I have used the research I carried out into audience reception theories and demographics in order to access the medium most preferable for my advertisement.
For the content of my advertisement I studied a number of style models from broadsheet newspapers in order to gain an insight into the graphology and lexis featured in advertisements in order to grab attention and advertise documentaries.
This was an advertisement in the guardian for the documentary “Ice Road Truckers” on the history channel. The main feature of this advertisement is the text “TRUCKING HELL” an eye grabbing pun that attracts attention and relays the suspense and awe of the documentary. Alongside this lexis, imagery can be seen in the form of a truck giving meaning to the text and adding to the visual appeal of the piece. In the corner we can see a box of information detailing the documentaries title, the fact that it is a new series and what time it is being broadcast. In this is also the channel logo so viewers know where and when to watch this documentary. As an advertisement I feel it is effective in attracting attention with the large print title and shocking content of it. I also feel it relays the necessary information without overloading the audience with facts and figures and distracting them away from the imagery. In my advertisement I intend to create a similar level of shock to attract the attention of casual readers, flicking through the paper.
This is my first attempt at an advertisement.
Though it certainly does attract attention through shock, I feel maybe the content is a little too graphic for a daily paper and would likely offend, even if it were passed by the advertising standards agency. The imagery of a mutilated corpse and rhetorical question on the legitimacy of the legend certainly act as an effective advertisement for the documentary and I feel that the use of a rhetorical question in relation to a shocking image would be an effective theme for my advert. I also feel the text I have used is a little too overpowering and large and looks a little tacky. But as to the content of the lexis I feel it pulls readers in with declarative statements such as the truth, as well as giving the necessary information such as the time of broadcast and the channel.
This is my second attempt at an advertisement
The image I have used here serves to grab attention and shock, though not on an offensive level like my previous attempt. The snarling, aggressive image of the black leopard works well in relation to the rhetorical question “Woodland Creature?” this will work to create associations in the mind of audiences of small woodland creatures such as squirrels and deer and the alieness of such a ferocious creature. The aggressiveness of the image would also serve to create fear in the audience of what may exist in the local area which from an institutional point is good as fear sells. Once again I have used engrossing lexis such as “exposed” in order to attract the audience to my documentary.
However I feel the text in this example is to small and not eye catching. In the case of the ice truck advert, the text is big and eye catching, unlike the small text I have used.
This is my final newspaper advertisement
In this example I have included the addition of a headline rhetorical question in order to attract attention. I have also emboldened the text so it stands out more.
I feel as an advertisement it is effective in grabbing the attention of readers and creating a sense of fear induced curiosity that is fuelled by the definitive statement “exposed”. From this I feel audiences will be intrigued to discover the truth and thus watch my production.
My advertisement is likely to feature in the bottom half of a broadsheet paper as advertising space is expensive and the BBC do not dedicate huge resources to lower digital branch channels such as BBC 4.
Contacting interviewee’s - 5th December 2009
In order to gain the opinions on various professionals in my piece, I contacted a forensics lecturer, the local forestry commission, researcher and author Neil Arnold of the Kent Big Cat Research Facility and the local papers.
I sent emails to all the mentioned parties, except the forensics lecturer whom I visited in his office. In these emails I explained who I was and the purpose of my documentary and the need of their assistance.
The responses I received were varying. Out of the eight local papers I contacted I had only this back from the Stafford Express and Star:
Hello Paul,
Thanks for your email. I am afraid as the Stafford reporter I have not been
involved in any stories relating to the beast of the chase.
However, having once worked in the Cannock office of the Express & Star I
can tell you that I do not believe the beast exists at all. If you look
simply at the fact the Chase is a managed working forest with thousands of
visitors each year there is no way any kind of beast could survive without
being seen and then dealt with.
In my personal opinion the beast of the chase has been whipped up by some of
our rival newspapers, who are less interested in real journalism as they are
writing this kind of tabloid drival. I for one think our time could be
better spent investigating real life issues like the failings of Stafford
Hospital, which escaped most of the newspapers until last year.
They are often assisted with these stories by individuals who run paranormal
websites etc who stand to benefit by any publicity and so they approach the
newspapers they know are willing to run the stories and so the myth feeds
itself.
I would not want to appear in any documentary as I have had no first hand
dealings with the story but I know the Chase Post, based in High Green
Court, Cannock have done many outlandish stories about this so-called beast
so they might be the best ones to approach.
Good luck with the coursework and if you manage to interview anyone give
them a hard time from me as this kind of story does nothing for the
reputation of hard working local journalists who are trying to do a proper
job.
Best regards,
Shaun Lintern
Journalist
Stafford Express & Star
Tel: 01785 273917
Not a good start to my contacting of interviewees, though at least I had a condemning view of the debate that I could include in my documentary.
The next reply I received was from the forestry commission who had this too say
:
Sorry Paul but due to large work loads and staff illnesses we will not be able to help you at the present time.
Andy
Andy Coggins
Visitor Services Manager - Cannock Chase
Forestry Commission
West Midlands District Office
Lady Hill
Birches Valley
Rugeley
Staffs
WS15 2UQ
Tel 01889 586 593
Fax 01889 574 217
andy.coggins@forestry.gsi.gov.uk
Things were looking bleak as nobody seemed to be interested in participating my documentary, and then I received the following reply from Neil Arnold in Kent.
Hi Paul,
I will gladly be of assistance so find here my statement, regarding big cats. If you have any further questions feel free to ask.
I have researched exotic cats in the wilds of the UK for more than twenty years and and a full-time researcher and author. I have often found it most baffling that such reports are still treated with scepticism and painted with the brush of mystery. There is no mystery as to why large exotic cats roam the UK.
A majority of the animals seen in the wilds today are offspring of many animals which were released/escaped during the 1960s, '70s and early '80s. During the 1960s it was very easy to obtain large exotic cats, such as puma, lions, servals, from places such as London department store Harrods, or via pet shops and dealers. In 1976 a law was introduced - the Dangerous Wild Animals Act - which meant that anyone who owned a cat had to pay expensive license fees to keep their 'pets'. Many were turned away from zoo parks, whilst other owners released such animals into local woods.
However, there are many reports on records of large cats roaming the wilds several centuries previous. Again, these would be escapees from private collections and travelling menageries which were in abundance during the Victorian period. Lions and tigers however, DO NOT roam the UK countryside despite a handful of reports. Lions seek a pride and both cats would seek larger prey. On any rare occasion when a lion or tiger escapes from a zoo, they are usually recaptured or shot dead.
There are three main species of large cat in the UK.
1) Black leopard - this cat is often known as the 'panther', but a 'panther' is NOT a species of animal but a term used to describe a black leopard or black jaguar. There is no evidence to suggest the jaguar ( a South American 'big cat' roams the UK). The black leopard is the same as a 'normal' leopard. Native to parts of Africa and Asia these cats were purchased by those who wished to flaunt their sexy and symbolic animals through the streets of places such as London. It is rare to find reports of 'normal' leopards in the UK, this is because the pairing of male and female black leopards only produce black offspring. The leopard has a dark coat due to a skin pigemnt known as melanin. However, it certain light the rosettes can be seen to bleed through the darkness of the coat. The leopard reaches up to around five-feet in length, has a very long, curving tail and hunts by night, solitary and lays up in trees where it is known to stash prey. A black leopard has ben seen around Cannock Chase.
2) The puma (mountain lion, cougar) - native to parts of the USA and Canada this IS NOT oficially a 'big cat' roar it cannot roar like the lion, tiger, leopard and jaguar, instead it emits a piercing scream. The puma can also reach up to around five-feet in length, it's coat is fawn-tan with a white underside, young have spots which fade with maturity. There IS NO such thing as a black puma.
3) The lynx - once native to the UK a few thousand years ago, the lynx is mainly identifiable by its short, stubby tail, and large tufted ears. The lynx appears leggy in appearance, has a thick mottled coat which ranges from silvery-reddish-grey. It emits a bird-like chirp. The lynx now roams parts of Europe.
Smaller cats also roam the UK, mainly Jungle Cat, which is able to breed with a domestic cat.
Main prey: Rabbit (three rabbits a day could keep a cat going for all of its life), deer, fox, livestock, mice, rats, domestic cats, pheasant, pigeon.
Habitat: These animals do not have foxed dens except when a female rears young. Territory can range from thirty square miles to one-hundred square miles. Despite being very elusive and mainly nocturnal, reports often emerge of cats basking in the sun, invading back gardens, although the most likely reports come from dog-walkers and motorists travelling late at night or during the early hours when these animals hunt.
These animals ARE NOT cross-breeding..leopards seek leopards, puma seek puma etc.
It's unlikely humans will be attacked. The only chance of an attack occurring is if a cat is cornered, provoked or injured, in turn making it handicapped and agitated. If one sees a large cat reasonably close it is advisable to keep eye contact and back away slowly. Do not run.
Evidence exists in abundance. I have filmed large cats, paw-print casts are often found, and excrement, scratch marks up trees and hair samples. I have seen a black leopard three times, a lynx once, and a puma once.
Cannock Chase: This area is often considered a 'window' area for mysterious happenings, and so such cats are lumped in with the paranormal, when the relaity is, it's only natural such animals would be seen around the Chase as it's heavily wooded and mainly undisturbed. Cat sightings have emerged outside the Chase but the local press like to confine such mysteries to the area as it makes good headline.
Scepticism is rather tiresome now in regards to such cats. Sceptics often sit behind a PC in the comfort of their armchair and say what can and cannot be without ever looking more in-depth at the situation. The oficial line on such animals, i.e. police, government, is that they don't exist which seems a strange attitude. If such animals become recognised it means we can monitor them officially. Of course, this would cost the government money, but the problem is, every time a cat sighting emerges, especially near a school, the police waste time and resources sending out a batch of officers, helicopters etc. It's a crazy situation.
Large cats will not often be found dead on the roads. When you consider that foxes, badger and deer are rarely found dead in the woods, and puma and leopard rarely found dead in their countries of origin, then what chance have we of finding such intelligent and elusive animals in the UK...when no-one is really looking! A jungle cat was killed on the roads in Shropshire a few years ago, a lynx was shot in Norfolk, but in most cases a cat would crawl away to die, and then its carcass would be eaten by nature - scavengers, insects etc.
All this background information and scientific reasoning behind the debate will provide a major contribution to my piece. In the reply were his opinions and how there is scientific evidence to back them up. Though I would have liked to interview him, it was impractical with us both being located so far apart. I will however include parts of the statement in my documentary as a voice over alongside establishing shots and panning shots of the landscape, as well as footage of a black leopard setting in Gloucester so as not to just have me reading off a piece of paper.
I then conducted a sit down interview with Mr Fletcher from the local higher education facility, which I will cut down and edit into my documentary giving his professional opinion on the debate which is an opposite of Mr Arnolds. This helps give a balanced unbiased argument in my five minute extract and proves there is scientific evidence to prove both sides correct.
I sent emails to all the mentioned parties, except the forensics lecturer whom I visited in his office. In these emails I explained who I was and the purpose of my documentary and the need of their assistance.
The responses I received were varying. Out of the eight local papers I contacted I had only this back from the Stafford Express and Star:
Hello Paul,
Thanks for your email. I am afraid as the Stafford reporter I have not been
involved in any stories relating to the beast of the chase.
However, having once worked in the Cannock office of the Express & Star I
can tell you that I do not believe the beast exists at all. If you look
simply at the fact the Chase is a managed working forest with thousands of
visitors each year there is no way any kind of beast could survive without
being seen and then dealt with.
In my personal opinion the beast of the chase has been whipped up by some of
our rival newspapers, who are less interested in real journalism as they are
writing this kind of tabloid drival. I for one think our time could be
better spent investigating real life issues like the failings of Stafford
Hospital, which escaped most of the newspapers until last year.
They are often assisted with these stories by individuals who run paranormal
websites etc who stand to benefit by any publicity and so they approach the
newspapers they know are willing to run the stories and so the myth feeds
itself.
I would not want to appear in any documentary as I have had no first hand
dealings with the story but I know the Chase Post, based in High Green
Court, Cannock have done many outlandish stories about this so-called beast
so they might be the best ones to approach.
Good luck with the coursework and if you manage to interview anyone give
them a hard time from me as this kind of story does nothing for the
reputation of hard working local journalists who are trying to do a proper
job.
Best regards,
Shaun Lintern
Journalist
Stafford Express & Star
Tel: 01785 273917
Not a good start to my contacting of interviewees, though at least I had a condemning view of the debate that I could include in my documentary.
The next reply I received was from the forestry commission who had this too say
:
Sorry Paul but due to large work loads and staff illnesses we will not be able to help you at the present time.
Andy
Andy Coggins
Visitor Services Manager - Cannock Chase
Forestry Commission
West Midlands District Office
Lady Hill
Birches Valley
Rugeley
Staffs
WS15 2UQ
Tel 01889 586 593
Fax 01889 574 217
andy.coggins@forestry.gsi.gov.uk
Things were looking bleak as nobody seemed to be interested in participating my documentary, and then I received the following reply from Neil Arnold in Kent.
Hi Paul,
I will gladly be of assistance so find here my statement, regarding big cats. If you have any further questions feel free to ask.
I have researched exotic cats in the wilds of the UK for more than twenty years and and a full-time researcher and author. I have often found it most baffling that such reports are still treated with scepticism and painted with the brush of mystery. There is no mystery as to why large exotic cats roam the UK.
A majority of the animals seen in the wilds today are offspring of many animals which were released/escaped during the 1960s, '70s and early '80s. During the 1960s it was very easy to obtain large exotic cats, such as puma, lions, servals, from places such as London department store Harrods, or via pet shops and dealers. In 1976 a law was introduced - the Dangerous Wild Animals Act - which meant that anyone who owned a cat had to pay expensive license fees to keep their 'pets'. Many were turned away from zoo parks, whilst other owners released such animals into local woods.
However, there are many reports on records of large cats roaming the wilds several centuries previous. Again, these would be escapees from private collections and travelling menageries which were in abundance during the Victorian period. Lions and tigers however, DO NOT roam the UK countryside despite a handful of reports. Lions seek a pride and both cats would seek larger prey. On any rare occasion when a lion or tiger escapes from a zoo, they are usually recaptured or shot dead.
There are three main species of large cat in the UK.
1) Black leopard - this cat is often known as the 'panther', but a 'panther' is NOT a species of animal but a term used to describe a black leopard or black jaguar. There is no evidence to suggest the jaguar ( a South American 'big cat' roams the UK). The black leopard is the same as a 'normal' leopard. Native to parts of Africa and Asia these cats were purchased by those who wished to flaunt their sexy and symbolic animals through the streets of places such as London. It is rare to find reports of 'normal' leopards in the UK, this is because the pairing of male and female black leopards only produce black offspring. The leopard has a dark coat due to a skin pigemnt known as melanin. However, it certain light the rosettes can be seen to bleed through the darkness of the coat. The leopard reaches up to around five-feet in length, has a very long, curving tail and hunts by night, solitary and lays up in trees where it is known to stash prey. A black leopard has ben seen around Cannock Chase.
2) The puma (mountain lion, cougar) - native to parts of the USA and Canada this IS NOT oficially a 'big cat' roar it cannot roar like the lion, tiger, leopard and jaguar, instead it emits a piercing scream. The puma can also reach up to around five-feet in length, it's coat is fawn-tan with a white underside, young have spots which fade with maturity. There IS NO such thing as a black puma.
3) The lynx - once native to the UK a few thousand years ago, the lynx is mainly identifiable by its short, stubby tail, and large tufted ears. The lynx appears leggy in appearance, has a thick mottled coat which ranges from silvery-reddish-grey. It emits a bird-like chirp. The lynx now roams parts of Europe.
Smaller cats also roam the UK, mainly Jungle Cat, which is able to breed with a domestic cat.
Main prey: Rabbit (three rabbits a day could keep a cat going for all of its life), deer, fox, livestock, mice, rats, domestic cats, pheasant, pigeon.
Habitat: These animals do not have foxed dens except when a female rears young. Territory can range from thirty square miles to one-hundred square miles. Despite being very elusive and mainly nocturnal, reports often emerge of cats basking in the sun, invading back gardens, although the most likely reports come from dog-walkers and motorists travelling late at night or during the early hours when these animals hunt.
These animals ARE NOT cross-breeding..leopards seek leopards, puma seek puma etc.
It's unlikely humans will be attacked. The only chance of an attack occurring is if a cat is cornered, provoked or injured, in turn making it handicapped and agitated. If one sees a large cat reasonably close it is advisable to keep eye contact and back away slowly. Do not run.
Evidence exists in abundance. I have filmed large cats, paw-print casts are often found, and excrement, scratch marks up trees and hair samples. I have seen a black leopard three times, a lynx once, and a puma once.
Cannock Chase: This area is often considered a 'window' area for mysterious happenings, and so such cats are lumped in with the paranormal, when the relaity is, it's only natural such animals would be seen around the Chase as it's heavily wooded and mainly undisturbed. Cat sightings have emerged outside the Chase but the local press like to confine such mysteries to the area as it makes good headline.
Scepticism is rather tiresome now in regards to such cats. Sceptics often sit behind a PC in the comfort of their armchair and say what can and cannot be without ever looking more in-depth at the situation. The oficial line on such animals, i.e. police, government, is that they don't exist which seems a strange attitude. If such animals become recognised it means we can monitor them officially. Of course, this would cost the government money, but the problem is, every time a cat sighting emerges, especially near a school, the police waste time and resources sending out a batch of officers, helicopters etc. It's a crazy situation.
Large cats will not often be found dead on the roads. When you consider that foxes, badger and deer are rarely found dead in the woods, and puma and leopard rarely found dead in their countries of origin, then what chance have we of finding such intelligent and elusive animals in the UK...when no-one is really looking! A jungle cat was killed on the roads in Shropshire a few years ago, a lynx was shot in Norfolk, but in most cases a cat would crawl away to die, and then its carcass would be eaten by nature - scavengers, insects etc.
All this background information and scientific reasoning behind the debate will provide a major contribution to my piece. In the reply were his opinions and how there is scientific evidence to back them up. Though I would have liked to interview him, it was impractical with us both being located so far apart. I will however include parts of the statement in my documentary as a voice over alongside establishing shots and panning shots of the landscape, as well as footage of a black leopard setting in Gloucester so as not to just have me reading off a piece of paper.
I then conducted a sit down interview with Mr Fletcher from the local higher education facility, which I will cut down and edit into my documentary giving his professional opinion on the debate which is an opposite of Mr Arnolds. This helps give a balanced unbiased argument in my five minute extract and proves there is scientific evidence to prove both sides correct.
Intentions for my documentary - 5th December 2009
Having carried out extensive research into the documentary genre and audiences I have decided to create an investigative documentary to be broadcast on the digital channel BBC4 late in the evening so as to attract a more mature, educated audience.
From analysing a number of professional and amateur productions I have gained an insight into how the conventions of the documentary genre can be used in a number of different ways.
For my documentary I intend to investigate the mystery of the beast of Cannock Chase, to attempt to either prove or disprove its legitimacy in the minds of the audience. To do this I will use myself as the narrator to convey to the audience through the use of a voice over of footage and me as the talking head, the background information in a neutral fashion so as not to put a bias twist on the debate.
As well as this I intend to interview a number of experts on the subject such as the local forestry commission, a forensics lecturer, a researcher on big cats and representatives from the local papers.
By doing this I will conform to the conventions of interviews and the use of the expert to portray information to the audience that they will naturally be more inclined to trust as it comes from a reliable source. For this the Mise En Scene of my interviews will be very important as location and attire act as visual aids for audiences to associate the information being given to the person giving it and their professional position and trustworthiness. To do this I intent to interview the forensics lecturer in his office, surrounded by files and folders with him wearing a suit so as to give the impression of an academic, whereas I intent to interview the forestry commission’s representative outside their log cabin to give the impression of an association with the woodland.
On top of any information given I intend to use footage shot for other purposes such as nature programs as well as establishing shots of the area I have taken to act as a visual aid for the information being conveyed. For example I intend to ask about the hunting methods of black leopards. Alongside the response I will have footage of this hunting method being carried out to reinforce the idea within the audiences mind as well as keep them form the potential boredom of just watching a man talk to a camera.
As for sound and music, I intent to have an upbeat music track in the background that will drive the information being given, but not drown it out or distract audiences from it. For this music I sought to conform to the convention of using a piece associated with the theme. However the Pink Panther did not sound effective against the voice over so I settled for “underdog” by Kasabian, a lighter piece that would not distract audiences.
As I am only producing a five minuet extract, I will not perhaps be able to investigate as much as I would if I were producing a full program. If I were producing a full program I would possibly seek out those who have claimed to have “witnessed” the creature and perhaps spend a night on the chase hoping to observe the creature hunting.
Next I will attempt to contact potential interviewee’s and ask them if they will assist with my project.
From analysing a number of professional and amateur productions I have gained an insight into how the conventions of the documentary genre can be used in a number of different ways.
For my documentary I intend to investigate the mystery of the beast of Cannock Chase, to attempt to either prove or disprove its legitimacy in the minds of the audience. To do this I will use myself as the narrator to convey to the audience through the use of a voice over of footage and me as the talking head, the background information in a neutral fashion so as not to put a bias twist on the debate.
As well as this I intend to interview a number of experts on the subject such as the local forestry commission, a forensics lecturer, a researcher on big cats and representatives from the local papers.
By doing this I will conform to the conventions of interviews and the use of the expert to portray information to the audience that they will naturally be more inclined to trust as it comes from a reliable source. For this the Mise En Scene of my interviews will be very important as location and attire act as visual aids for audiences to associate the information being given to the person giving it and their professional position and trustworthiness. To do this I intent to interview the forensics lecturer in his office, surrounded by files and folders with him wearing a suit so as to give the impression of an academic, whereas I intent to interview the forestry commission’s representative outside their log cabin to give the impression of an association with the woodland.
On top of any information given I intend to use footage shot for other purposes such as nature programs as well as establishing shots of the area I have taken to act as a visual aid for the information being conveyed. For example I intend to ask about the hunting methods of black leopards. Alongside the response I will have footage of this hunting method being carried out to reinforce the idea within the audiences mind as well as keep them form the potential boredom of just watching a man talk to a camera.
As for sound and music, I intent to have an upbeat music track in the background that will drive the information being given, but not drown it out or distract audiences from it. For this music I sought to conform to the convention of using a piece associated with the theme. However the Pink Panther did not sound effective against the voice over so I settled for “underdog” by Kasabian, a lighter piece that would not distract audiences.
As I am only producing a five minuet extract, I will not perhaps be able to investigate as much as I would if I were producing a full program. If I were producing a full program I would possibly seek out those who have claimed to have “witnessed” the creature and perhaps spend a night on the chase hoping to observe the creature hunting.
Next I will attempt to contact potential interviewee’s and ask them if they will assist with my project.
How the extracts can help influence my work - 3rd December 2009
Having analysed all of the extracts I now have a much clearer idea of how to apply the conventions into my piece. Through analysing the aspects of camera, editing, Mise En Scene and dialogue I now have a much clearer idea of how I will construct my documentary.
The dialogue I will use will be put across through a mixture of talking head, shot as a medium shot as well as a voice over along side establishing, panning shots of the landscape and relevant footage filmed for other purposes that will be useful for my production. This dialogue will be informative, educated so as it appeals to the target audience of educated middle aged men, yet at the same time accessible by others outside of the target audience. It will also be factual and unbiased as I wish to present an even opinion in my extract and let the evidence sway the audience one way or the other.
For any interviews I conduct I will use a medium shot so the audience feel as if they are in the room as well, not observing from afar. I shall also edit the interview to keep it interesting and relevant as well as to iron out any stammers, speech impediments or mistakes. So the audience do not grow bored of just watching a person talk directly into a camera I will accompany the interview with establishing shots (much like the voice over) and footage shot for other purposes that coincides with what’s being spoken, i.e if the method of a big cats hunting is described I will include a clip of this taking place to act a visual aid for the audience.
As regards to editing I will mostly used fast cuts to keep continuity and a subtle fade effect alongside each cut so that the transition from clip to clip is smooth and not abrupt and noticeable.
As for location and Mise En Scene I will film the talking head and establishing scenes on the Chase so that the audience can relate to the area around them and not a man in an office wearing a suit. In choosing my attire I intend to wear clothes that the audience associate with the outdoors, i.e hiking trousers, boots and a lightweight jacket to conform to the audience’s expectations of what an explorer should look like. For any interviews I intend to film in a location that conforms to their expectations, i.e an office for the lecturer and the forest base for the forestry commission.
I intend to sue the track “Underdog” by Kasabian in my piece as it is a quiet track that is upbeat, but at the same time not distracting from the dialogue. This is a contemporary piece of music that will appeal to younger generations of viewers yet is still accessible by older viewers.
The dialogue I will use will be put across through a mixture of talking head, shot as a medium shot as well as a voice over along side establishing, panning shots of the landscape and relevant footage filmed for other purposes that will be useful for my production. This dialogue will be informative, educated so as it appeals to the target audience of educated middle aged men, yet at the same time accessible by others outside of the target audience. It will also be factual and unbiased as I wish to present an even opinion in my extract and let the evidence sway the audience one way or the other.
For any interviews I conduct I will use a medium shot so the audience feel as if they are in the room as well, not observing from afar. I shall also edit the interview to keep it interesting and relevant as well as to iron out any stammers, speech impediments or mistakes. So the audience do not grow bored of just watching a person talk directly into a camera I will accompany the interview with establishing shots (much like the voice over) and footage shot for other purposes that coincides with what’s being spoken, i.e if the method of a big cats hunting is described I will include a clip of this taking place to act a visual aid for the audience.
As regards to editing I will mostly used fast cuts to keep continuity and a subtle fade effect alongside each cut so that the transition from clip to clip is smooth and not abrupt and noticeable.
As for location and Mise En Scene I will film the talking head and establishing scenes on the Chase so that the audience can relate to the area around them and not a man in an office wearing a suit. In choosing my attire I intend to wear clothes that the audience associate with the outdoors, i.e hiking trousers, boots and a lightweight jacket to conform to the audience’s expectations of what an explorer should look like. For any interviews I intend to film in a location that conforms to their expectations, i.e an office for the lecturer and the forest base for the forestry commission.
I intend to sue the track “Underdog” by Kasabian in my piece as it is a quiet track that is upbeat, but at the same time not distracting from the dialogue. This is a contemporary piece of music that will appeal to younger generations of viewers yet is still accessible by older viewers.
Tuesday, 8 December 2009
Essay on Supersize Me - 3rd December 2009
This is an essay i wrote on the documentary Super Size Me
Documentary Analysis: “Supersize Me”
Unlike traditional documentaries where the audience are subjected too a smartly dressed academic reeling facts to them about ancient wars and bible conspiracies, “Supersize Me” takes a different angle. As a documentary “Supersize Me” embarks on what has commonly become known as a documentary quest. What is meant by this is that the documentary takes a somewhat charismatic presenter (Morgan Spurlock) and has him or her pursue a theory or a goal. Documentaries that adopt a similar approach are “Jamie’s Ministry of food” where celebrity chef Jamie Oliver embarks on a “quest” to change the eating habits of Rotherham, or programs by fashion “guru” Gok Wan that seek to empower women and get them to feel good about their bodies. Unlike traditional documentaries, the narrative aspects of these “quest” documentaries are seasoned with an air of drama and suspense (used to keep the audience interested). Often narrative stunts such as time boundaries (i.e. 24 hours to convert a garden) and general “hiccups” with the creation of the documentary (such as problems with health or physical well being) are thrown into the mix. Super Size me uses these narrative tools very effectively. The general theme of the documentary is to investigate the damage to ones health eating fast food non stop can do. In this the producers hoped to increase public awareness of the issue and dissuade them from fast food outlets. So unlike a traditional documentary, where the aim is to awe the audience with facts and figures, about military tactics or climate change, Supersize Me and other documentaries of this new “quest documentary” sub genre, seek to involve the audience in their “quest”. As a viewer, you feel almost a part of the production. You are made to empathise with the presenter and their goal. In the case of Supersize Me, Morgan Spurlock incurs some health issues as a result of his “MCbinge”. As an audience we sympathise with him and his cause, adding to the overall power that the documentary has in influencing our opinion.
The audience of this documentary and others like it are awed by a sense of inspiration and sensationalism. The audience often take on board the ideals portrayed by the documentary and act upon them. In the case of supersize me audiences would endeavour not to eat at fast food chains and eat more healthily. Often audiences relate to the presenter as he or she is represented not as a glamorous celebrity, above us in social class and life style but an “ordinary human being” to coin a meaningless phrase for what is an ordinary human being. Therefore the representation of the presenter is that of a down to earth person who is discovering things along with the audience and therefore the audience begin to feel almost a part of the production and thus relate positively too it.
However this documentary and other like it are based around a “pseudo quest”. By this we mean that although the production has the feel of an ongoing, ever discovering journey by the presenter and the audience in relation to him or her, it is in fact railroading toward a pre defined conclusion. In the case of super size me, the outcome is o course obvious. Why would an institution back a documentary that in the end discovered that MC Donald’s food in fact did not cause any health concerns, or in Michel Moore’s Fahrenheit 911 that George W Bush did in fact win a legitimate victory in the presidential elections and was a good leader. That would not sell and institutions fund documentaries for profit. So although these quest documentaries have the feel of an ongoing journey of discovery, they are in fact institutionalised and scripted toward a pre arranged conclusion, one that is sensational and one that will sell.
To summarise, Supersize Me is a documentary that (like many other recent documentaries) challenges the documentary stereotype, and uses a mixture of entertaining performance and informative statistics and facts to inform and entertain its audience. The narrative of the piece adopts a “quest” type of structure, where the presenter and the documentary takes us on a journey of discovery to bring about a result, in the case of Supersize Me, exposing the damage that fast food does to people however this result is often the desired outcome of the documentary producers and the documentary as a production is subtly scripted toward this set of ideals aiming to bring about this school of thought in the audiences mind.
Documentary Analysis: “Supersize Me”
Unlike traditional documentaries where the audience are subjected too a smartly dressed academic reeling facts to them about ancient wars and bible conspiracies, “Supersize Me” takes a different angle. As a documentary “Supersize Me” embarks on what has commonly become known as a documentary quest. What is meant by this is that the documentary takes a somewhat charismatic presenter (Morgan Spurlock) and has him or her pursue a theory or a goal. Documentaries that adopt a similar approach are “Jamie’s Ministry of food” where celebrity chef Jamie Oliver embarks on a “quest” to change the eating habits of Rotherham, or programs by fashion “guru” Gok Wan that seek to empower women and get them to feel good about their bodies. Unlike traditional documentaries, the narrative aspects of these “quest” documentaries are seasoned with an air of drama and suspense (used to keep the audience interested). Often narrative stunts such as time boundaries (i.e. 24 hours to convert a garden) and general “hiccups” with the creation of the documentary (such as problems with health or physical well being) are thrown into the mix. Super Size me uses these narrative tools very effectively. The general theme of the documentary is to investigate the damage to ones health eating fast food non stop can do. In this the producers hoped to increase public awareness of the issue and dissuade them from fast food outlets. So unlike a traditional documentary, where the aim is to awe the audience with facts and figures, about military tactics or climate change, Supersize Me and other documentaries of this new “quest documentary” sub genre, seek to involve the audience in their “quest”. As a viewer, you feel almost a part of the production. You are made to empathise with the presenter and their goal. In the case of Supersize Me, Morgan Spurlock incurs some health issues as a result of his “MCbinge”. As an audience we sympathise with him and his cause, adding to the overall power that the documentary has in influencing our opinion.
The audience of this documentary and others like it are awed by a sense of inspiration and sensationalism. The audience often take on board the ideals portrayed by the documentary and act upon them. In the case of supersize me audiences would endeavour not to eat at fast food chains and eat more healthily. Often audiences relate to the presenter as he or she is represented not as a glamorous celebrity, above us in social class and life style but an “ordinary human being” to coin a meaningless phrase for what is an ordinary human being. Therefore the representation of the presenter is that of a down to earth person who is discovering things along with the audience and therefore the audience begin to feel almost a part of the production and thus relate positively too it.
However this documentary and other like it are based around a “pseudo quest”. By this we mean that although the production has the feel of an ongoing, ever discovering journey by the presenter and the audience in relation to him or her, it is in fact railroading toward a pre defined conclusion. In the case of super size me, the outcome is o course obvious. Why would an institution back a documentary that in the end discovered that MC Donald’s food in fact did not cause any health concerns, or in Michel Moore’s Fahrenheit 911 that George W Bush did in fact win a legitimate victory in the presidential elections and was a good leader. That would not sell and institutions fund documentaries for profit. So although these quest documentaries have the feel of an ongoing journey of discovery, they are in fact institutionalised and scripted toward a pre arranged conclusion, one that is sensational and one that will sell.
To summarise, Supersize Me is a documentary that (like many other recent documentaries) challenges the documentary stereotype, and uses a mixture of entertaining performance and informative statistics and facts to inform and entertain its audience. The narrative of the piece adopts a “quest” type of structure, where the presenter and the documentary takes us on a journey of discovery to bring about a result, in the case of Supersize Me, exposing the damage that fast food does to people however this result is often the desired outcome of the documentary producers and the documentary as a production is subtly scripted toward this set of ideals aiming to bring about this school of thought in the audiences mind.
Documentary Analysis - Panorama, Scientology and Me - 3rd December 2009
Finally I decide to analyse a more hard hitting investigative piece in order to differentiate between how the conventions of documentaries are applied in each type of TV based investigate documentary.
The documentary I chose to analyse was one from the BBC’s Panorama series, a series of hard hitting investigative documentaries that are marketed as “revealing” and hit out against controversial subjects to attract viewers. The documentary I chose to analyse was “Scientology and Me” the documentary that digs deep into the mysterious world of the church of scientology investigating claims of corruption and ill being. I chose this episode as much like the beast of Cannock Chase, Scientology is an oddity, looked upon by people as strange and mysterious, much like rumours of the Cannock Chase panther.
Documentary Conventions used
Interviews – are used to give the audience a sympathetic view of the Mothers loss. This interview is used to further stain the image of Scientology by presenting the negative effects it has. Also the decision to exclude the second interview due to the return of the daughter is effective in creating conspiracy suspicions within the audience.
Talking Head – is used in conjunction with medium shots to convey information to the audience along with voice over’s much like the other examples.
Footage shot for other purposes is used such as interview with a deceased person that could not be filmed live.
Camera
Throughout the extract the voice over’s are coupled with establishing shots as well as tracking shots of the car driving too and from locations. Medium shots of the talking head conform to the generic conventions of the genre. Over the shoulder shots are used in both interviews to emphasise the presence of the narrator as the investigator.
Editing
Mostly quick cuts to keep continuity and match the dialogue of voice over’s so the change in clip is appropriate to the dialogue being spoken.
Wipes are featured in and out of the title sequence, a characteristic of the program.
Mise En Scene
The narrator wears a suit so as to emphasise his status as an academic and an educated individual to promote the idea of a reasoned unbiased documentary.
Dialogue
Is like most of the previous examples questioning to extract information as well as informative to convey that information to the audience. The language used is not sophisticated to the point of unclearness, yet is educated to appeal to the intellect of the target audience.
Sound and music
Voice over’s are backed with quiet instrumental music as an accompaniment, so as not to distract the audience with lyrics.
The title sequence features the generic Panorama theme music, which audiences associate with the program.
The documentary I chose to analyse was one from the BBC’s Panorama series, a series of hard hitting investigative documentaries that are marketed as “revealing” and hit out against controversial subjects to attract viewers. The documentary I chose to analyse was “Scientology and Me” the documentary that digs deep into the mysterious world of the church of scientology investigating claims of corruption and ill being. I chose this episode as much like the beast of Cannock Chase, Scientology is an oddity, looked upon by people as strange and mysterious, much like rumours of the Cannock Chase panther.
Documentary Conventions used
Interviews – are used to give the audience a sympathetic view of the Mothers loss. This interview is used to further stain the image of Scientology by presenting the negative effects it has. Also the decision to exclude the second interview due to the return of the daughter is effective in creating conspiracy suspicions within the audience.
Talking Head – is used in conjunction with medium shots to convey information to the audience along with voice over’s much like the other examples.
Footage shot for other purposes is used such as interview with a deceased person that could not be filmed live.
Camera
Throughout the extract the voice over’s are coupled with establishing shots as well as tracking shots of the car driving too and from locations. Medium shots of the talking head conform to the generic conventions of the genre. Over the shoulder shots are used in both interviews to emphasise the presence of the narrator as the investigator.
Editing
Mostly quick cuts to keep continuity and match the dialogue of voice over’s so the change in clip is appropriate to the dialogue being spoken.
Wipes are featured in and out of the title sequence, a characteristic of the program.
Mise En Scene
The narrator wears a suit so as to emphasise his status as an academic and an educated individual to promote the idea of a reasoned unbiased documentary.
Dialogue
Is like most of the previous examples questioning to extract information as well as informative to convey that information to the audience. The language used is not sophisticated to the point of unclearness, yet is educated to appeal to the intellect of the target audience.
Sound and music
Voice over’s are backed with quiet instrumental music as an accompaniment, so as not to distract the audience with lyrics.
The title sequence features the generic Panorama theme music, which audiences associate with the program.
Documentary Analysis - Louis Theroux's Guru's - 3rd December 2009
I then went on to view and analyse a BBC documentary to observe the ways in which television documentaries use the conventions of the documentary genre. The first television documentary I analysed was Louis Theroux’s Guru’s taken from his Weird Weekends series where he investigates and documents groups of people that have a passion for weird things (as the name suggests)
I will analyse this too see how the conventions of documentaries are used in television productions as well as to observe how a documentary can be made less sincere yet at the same time informative, educational and entertaining.
Documentary Conventions used
Interviews – Interviews are used throughout this documentary to acquire information and a professional opinion. A type of interview is conducted during the spiritual session combined with the use of fly on the wall filming.
Voice over – a voice over is used to present information about India and the guru’s on top of fly on the wall footage of the market place and them walking through it
Talking head- is also used as a means of presenting information to the audience and coincides with the ongoing interview with the guide. This is done so audiences feel a part of the investigation as well as so the presenter can convey information to the audience.
Camera
Throughout the extract, establishing shots and tracking shots of the market, the beach and the guide’s home are combined with a voice over to act as a visual aid for the information being conveyed.
During the ritual close up shots and medium shots are combined with quick cuts to give a sense of confusion within the audience mimicking the thoughts and feelings of the presenter, as well as give an insight into what happens at these ceremonies.
During scenes of the talking head and the ongoing interview, medium shots are used so the audience feels a part of the conversation, and a part of the investigation.
Editing
Predominantly quick cuts are used for the purpose of continuity and to display different angles and views during the ritual.
At the end of the day, the clip of the setting sun over the sea fades to black giving the impression of the day ending.
During the title sequence, wipes and computer graphics are used in combination with clips from previous episodes to emphasis the fact of it being a program from a series.
Mise En Scene
The attire of the presenter is very ordinary to promote the notion that he is an ordinary person and a visitor to this way of life just like the audience. Had he been wearing the outfit of a guru, the questions asked for the purpose of his (and the audiences) discovery of their way of life would not seem as relevant as the audience would assume he knew. His attire is also different to the guru’s and spirituality seekers to highlight the fact that he, like us an audience, is an outsider to this group.
Dialogue
The dialogue of the piece is both informative and investigative. On the informative side, the presenter relays background and contextual information to the audience through the use of voice over’s and language that is sophisticated, yet not to hierarchy that audiences cannot understand. On the investigative side, questions that form in the minds of the audience are asked, with nothing not being explained. This helps the audiences understand leaving them informed, fulfilling the purpose of the documentary.
Sound and music
Background music is once again featured alongside establishing shots and voice over’s to add to the overall viewing experience. Traditional Indian music is featured as it relates to the location and theme, as well as not being inharmonious and distracting viewers from the dialogue.
During the title sequence a piece of music is used as a generic backing for the title sequence that reminds audiences of the fact it is a series.
I will analyse this too see how the conventions of documentaries are used in television productions as well as to observe how a documentary can be made less sincere yet at the same time informative, educational and entertaining.
Documentary Conventions used
Interviews – Interviews are used throughout this documentary to acquire information and a professional opinion. A type of interview is conducted during the spiritual session combined with the use of fly on the wall filming.
Voice over – a voice over is used to present information about India and the guru’s on top of fly on the wall footage of the market place and them walking through it
Talking head- is also used as a means of presenting information to the audience and coincides with the ongoing interview with the guide. This is done so audiences feel a part of the investigation as well as so the presenter can convey information to the audience.
Camera
Throughout the extract, establishing shots and tracking shots of the market, the beach and the guide’s home are combined with a voice over to act as a visual aid for the information being conveyed.
During the ritual close up shots and medium shots are combined with quick cuts to give a sense of confusion within the audience mimicking the thoughts and feelings of the presenter, as well as give an insight into what happens at these ceremonies.
During scenes of the talking head and the ongoing interview, medium shots are used so the audience feels a part of the conversation, and a part of the investigation.
Editing
Predominantly quick cuts are used for the purpose of continuity and to display different angles and views during the ritual.
At the end of the day, the clip of the setting sun over the sea fades to black giving the impression of the day ending.
During the title sequence, wipes and computer graphics are used in combination with clips from previous episodes to emphasis the fact of it being a program from a series.
Mise En Scene
The attire of the presenter is very ordinary to promote the notion that he is an ordinary person and a visitor to this way of life just like the audience. Had he been wearing the outfit of a guru, the questions asked for the purpose of his (and the audiences) discovery of their way of life would not seem as relevant as the audience would assume he knew. His attire is also different to the guru’s and spirituality seekers to highlight the fact that he, like us an audience, is an outsider to this group.
Dialogue
The dialogue of the piece is both informative and investigative. On the informative side, the presenter relays background and contextual information to the audience through the use of voice over’s and language that is sophisticated, yet not to hierarchy that audiences cannot understand. On the investigative side, questions that form in the minds of the audience are asked, with nothing not being explained. This helps the audiences understand leaving them informed, fulfilling the purpose of the documentary.
Sound and music
Background music is once again featured alongside establishing shots and voice over’s to add to the overall viewing experience. Traditional Indian music is featured as it relates to the location and theme, as well as not being inharmonious and distracting viewers from the dialogue.
During the title sequence a piece of music is used as a generic backing for the title sequence that reminds audiences of the fact it is a series.
Documentary Analysis - Ethiopian tribes in the Omo valley - 3rd December 2009
Next I looked at a piece from the complete opposite end of production. “Ethiopian tribes in the Omo Valley” is an amateur documentary produced and funded by one man travelling in Ethiopia documenting life there for the Ethiopian people. This documentary is distributed solely on YouTube as there is no funding for distribution elsewhere. I analysed this piece in order to see how the conventions of documentaries are applied to an amateur production.
Documentary Conventions used
Talking Head – to convey information to the viewer, this is shaky as he is pointing the camera at himself as there is no camera operator.
Interview – with the African chieftain, conforming to the conventions of an interview except the content of dialogue as they share no common language.
Actuality – footage of the villagers going about their everyday lives the same as if the camera had not been there
Camera
As stated before the filming is all done by hand using a domestic camera. This renders all the footage shaky as he is not using a tripod. Establishing shots of the village as well as panning and tracking shots of the coach journey are used as a backing to the text dialogue and to set the scene.
Close up shots and medium shots are used in the interview to give the audience a close look at the interviewees.
Editing
Not many cuts are featured as it all filmed including the transitions from shot to shot as well as zooms. What little editing there is has been produced on a domestic software package with an over emphatic blur from one scene whereas the majority feature quick cuts to and from footage, text and images.
Mise En Scene
The attire of the presenter is representational of the audiences pre conceived impressions of an “explorer” or traveller. He wears clothes suitable for the hot climate of Africa that are also practical for exploration as opposed to a suit that would look out of place.
Dialogue
The interview is in coherent as both parties share no common language. However it does create a representation of the lives of Ethiopian tribes (the purpose of the documentary). The talking head dialogue is used to explain the conditions of the villagers and give meaning to the footage.
No voice over is featured; however text is used alongside footage and images to explain them.
Sound and Music
Photos and establishing shots are accompanied by traditional African music to adhere to the expectations of the audience.
Documentary Conventions used
Talking Head – to convey information to the viewer, this is shaky as he is pointing the camera at himself as there is no camera operator.
Interview – with the African chieftain, conforming to the conventions of an interview except the content of dialogue as they share no common language.
Actuality – footage of the villagers going about their everyday lives the same as if the camera had not been there
Camera
As stated before the filming is all done by hand using a domestic camera. This renders all the footage shaky as he is not using a tripod. Establishing shots of the village as well as panning and tracking shots of the coach journey are used as a backing to the text dialogue and to set the scene.
Close up shots and medium shots are used in the interview to give the audience a close look at the interviewees.
Editing
Not many cuts are featured as it all filmed including the transitions from shot to shot as well as zooms. What little editing there is has been produced on a domestic software package with an over emphatic blur from one scene whereas the majority feature quick cuts to and from footage, text and images.
Mise En Scene
The attire of the presenter is representational of the audiences pre conceived impressions of an “explorer” or traveller. He wears clothes suitable for the hot climate of Africa that are also practical for exploration as opposed to a suit that would look out of place.
Dialogue
The interview is in coherent as both parties share no common language. However it does create a representation of the lives of Ethiopian tribes (the purpose of the documentary). The talking head dialogue is used to explain the conditions of the villagers and give meaning to the footage.
No voice over is featured; however text is used alongside footage and images to explain them.
Sound and Music
Photos and establishing shots are accompanied by traditional African music to adhere to the expectations of the audience.
Documentary Analysis - Super Size Me - 3rd December 2009
The first documentary introduction I analysed was “Supersize Me” a large scale investigative documentary that was funded and produced by film companies and distributed via cinema and eventually DVD. (It has since appeared on television)
I will analyse this in order to gain an insight into the forms and conventions of the investigative documentary genre that feature in high budget projects.
Documentary conventions used
Voice over –
to give information on top of establishing footage and titles
Interview and use of the expert –
to gain an expert perspective from doctors on the subject that the audience can trust
Fly on the wall filming –
of obese people walking, that would have been the same had the camera not been there
Talking head – to convey information to the audience
Camera
The majority of camera shots featured are medium shots of the presenter and interviewees. Fixed medium shots enable the audience to focus primarily on the person speaking in the footage as opposed to what’s happening in the background.
As well as medium shots, long shots and establishing shots are also used for the footage that showcases the voice over. In this panning shots and tracking shots are used to coincide with the themes presented in the voice over, i.e. panning shots of fast food outlets or over weight people.
Editing
Most of the editing is quick cuts between extracts of the three interviews taking place. As the three interviews are of a similar theme, the quick cutting between extracts of all three is useful to swiftly present their information in an almost montage fashion, enabling the audience to hear each of there view points almost simultaneously.
Throughout the title sequence photos are presented with a “scrap book” editing technique where they enter the screen almost like they are thrown onto the footage from above. Alongside this a digital map is used to show MC Donald’s’ world wide business empire as well as the growing obesity figures in America over the last twenty years. The use of digital maps here coincide with the voice over dialogue and give a visual representation of what’s being said to help the audience consume the information being spoken.
Mise En Scene
The general Mise En Scene of the extract is typical of the audience’s expectations. In the varying medical practices the audience are presented with the typical Mise En Scene expected of a doctor’s office, folders, computers and medical records. This is used to give what is being said a more professional, legitimate reception from the audience as they automatically feel more trusting toward their expectations of a medical professional. The attire of the doctors is also as expected from the audience’s representations and expectations of doctors with them wearing white laboratory coats.
Elsewhere the Mise En Scene is typical of a documentary filmed in New York with the busy streets, establishing shots of sky scrapers and taxi’s as well as bug fast food outlets. Also the attire of the presenter is very ordinary reinforcing the notion alongside the dialect that he is an ordinary person that the audience can relate with.
Dialogue
The dialogue in this extract is used to give an introduction to themes of the documentary. The tone of voice and content of language is not overpowering and is accessible by all. The words spoken have a certain air of authority within the audience as it is littered with facts and figures that invoke acceptability within the audience.
Throughout the interviews the professional language expected from doctors is featured to give what they say a sense of professionalism and authority in the minds of the audience.
Sound and music
The backing music used is quiet and non lyrical so as not to draw attention away from the dialogue. During the later title sequence music that is associated with the themes (fat bottomed girls – queen) is used.
I will analyse this in order to gain an insight into the forms and conventions of the investigative documentary genre that feature in high budget projects.
Documentary conventions used
Voice over –
to give information on top of establishing footage and titles
Interview and use of the expert –
to gain an expert perspective from doctors on the subject that the audience can trust
Fly on the wall filming –
of obese people walking, that would have been the same had the camera not been there
Talking head – to convey information to the audience
Camera
The majority of camera shots featured are medium shots of the presenter and interviewees. Fixed medium shots enable the audience to focus primarily on the person speaking in the footage as opposed to what’s happening in the background.
As well as medium shots, long shots and establishing shots are also used for the footage that showcases the voice over. In this panning shots and tracking shots are used to coincide with the themes presented in the voice over, i.e. panning shots of fast food outlets or over weight people.
Editing
Most of the editing is quick cuts between extracts of the three interviews taking place. As the three interviews are of a similar theme, the quick cutting between extracts of all three is useful to swiftly present their information in an almost montage fashion, enabling the audience to hear each of there view points almost simultaneously.
Throughout the title sequence photos are presented with a “scrap book” editing technique where they enter the screen almost like they are thrown onto the footage from above. Alongside this a digital map is used to show MC Donald’s’ world wide business empire as well as the growing obesity figures in America over the last twenty years. The use of digital maps here coincide with the voice over dialogue and give a visual representation of what’s being said to help the audience consume the information being spoken.
Mise En Scene
The general Mise En Scene of the extract is typical of the audience’s expectations. In the varying medical practices the audience are presented with the typical Mise En Scene expected of a doctor’s office, folders, computers and medical records. This is used to give what is being said a more professional, legitimate reception from the audience as they automatically feel more trusting toward their expectations of a medical professional. The attire of the doctors is also as expected from the audience’s representations and expectations of doctors with them wearing white laboratory coats.
Elsewhere the Mise En Scene is typical of a documentary filmed in New York with the busy streets, establishing shots of sky scrapers and taxi’s as well as bug fast food outlets. Also the attire of the presenter is very ordinary reinforcing the notion alongside the dialect that he is an ordinary person that the audience can relate with.
Dialogue
The dialogue in this extract is used to give an introduction to themes of the documentary. The tone of voice and content of language is not overpowering and is accessible by all. The words spoken have a certain air of authority within the audience as it is littered with facts and figures that invoke acceptability within the audience.
Throughout the interviews the professional language expected from doctors is featured to give what they say a sense of professionalism and authority in the minds of the audience.
Sound and music
The backing music used is quiet and non lyrical so as not to draw attention away from the dialogue. During the later title sequence music that is associated with the themes (fat bottomed girls – queen) is used.
Monday, 7 December 2009
Audience Consumption of Documentaries - 28th November
With advances in the internet and the introduction of web 2.0, the means for people to interact with the internet, it has become possible for audience’s to both view documentaries and any other film online as well as upload their own productions. This has made way for all manner of amateur documentaries to be broadcast online where everyone can view them for free. Operating the same principle many broadcasters such as Channel 4 and the BBC have developed an online database of television programs to be watched at the leisure of audiences. The BBC iplayer and Channel 4’s on demand service enable viewers to access an online database of programs from the previous week. This grants documentaries alongside other genres a wider audience as viewers who may have missed a program in the week can view it online for free.
This alongside the more traditional ways of consuming visual broadcast media such as films and television via the television, in cinema’s or on DVD and VHS has given all genres including documentaries a much a wider reception from audiences whether they seek a hand held camera view of life in Ethiopia or whether they have missed the latest Panorama.
Despite all the advances in online viewing of media, television is still the most accessible and therefore popular method for audiences to consume documentaries. The rise in free view, sky and other providers of digital television has increased the number of specialist channels for reality TV, Historical documentaries, nature programs and most other genres. This has inevitably increased the number of documentaries being produced and consumed.
Below I have taken a typical weekday in a programs listings magazine (the Radio Times) and have highlighted when documentaries are broadcast both on terrestrial television and on digital channels to investigate whether there are any patterns in when and on what channels documentaries and more specifically investigative documentaries are broadcast.
Page 107
As we can see from the morning schedules for terrestrial television, documentaries feature very little with two traditional documentaries and a number of reality and home improvement programs. This is due to the audience of day time TV predominantly being mothers looking after kids at home as with the stereotypical family it is often the man who is out at work at this time. Therefore broadcasters aim their programs more toward an audience of women and children at this time.
Pages 108 and 109
The evening gives way to more documentaries with the majority of investigative more educated documentaries such as Andrew Marr’s The Making of Modern Britain. Over all five channels documentaries are featured, however as we can see it is predominantly the BBC that broadcast more investigative, educated pieces.
Pages 110 and 111
As we move onto the digital channels we can immediately see an increase in the number of documentaries even on the general digital channels as opposed to the more specialist channels on the next page. Once again the BBC channels feature more documentaries with BBC4 featuring three educated and investigative documentaries for more mature audiences, as BBC3is aimed mainly at teenagers. More 4 also feature a number of documental programs but are less investigative for example Grand Designs.
112 and 113
Once again as we move onto the more specialist digital channels we can see the rapid increase in the amount of documentaries broadcast. As these channels are split into categories, i.e. the History channel or the Natural geographic channel, it is self evident which channels will broadcast which type of documentary. However only a few investigative documentaries are featured in these channels as they predominantly broadcast programs specific to their genre.
Having analysed the days listings I have become aware of the patterns in the broadcasting of documentaries. They are predominately featured in an evening on digital television as terrestrial channels broadcast a variety of programs more appealing to the majority of people. In the digital channels documentaries are split between channels that showcase pieces of that specific genre i.e. Good Food featuring food based documentaries. BBC4 however broadcasts a number of investigative pieces aimed at a more mature and educated audience and it is for this channel that I shall create my piece.
I chose BBC4 as it is also linked to the BBC online database, iplayer, unlike most of the other digital channels increasing my perspective audience numbers.
I will now go on to watch and analyse a number of extracts from existing documentaries to gain further understanding on how the conventions I have researched are applied to professional pieces of all scales of production.
This alongside the more traditional ways of consuming visual broadcast media such as films and television via the television, in cinema’s or on DVD and VHS has given all genres including documentaries a much a wider reception from audiences whether they seek a hand held camera view of life in Ethiopia or whether they have missed the latest Panorama.
Despite all the advances in online viewing of media, television is still the most accessible and therefore popular method for audiences to consume documentaries. The rise in free view, sky and other providers of digital television has increased the number of specialist channels for reality TV, Historical documentaries, nature programs and most other genres. This has inevitably increased the number of documentaries being produced and consumed.
Below I have taken a typical weekday in a programs listings magazine (the Radio Times) and have highlighted when documentaries are broadcast both on terrestrial television and on digital channels to investigate whether there are any patterns in when and on what channels documentaries and more specifically investigative documentaries are broadcast.
Page 107
As we can see from the morning schedules for terrestrial television, documentaries feature very little with two traditional documentaries and a number of reality and home improvement programs. This is due to the audience of day time TV predominantly being mothers looking after kids at home as with the stereotypical family it is often the man who is out at work at this time. Therefore broadcasters aim their programs more toward an audience of women and children at this time.
Pages 108 and 109
The evening gives way to more documentaries with the majority of investigative more educated documentaries such as Andrew Marr’s The Making of Modern Britain. Over all five channels documentaries are featured, however as we can see it is predominantly the BBC that broadcast more investigative, educated pieces.
Pages 110 and 111
As we move onto the digital channels we can immediately see an increase in the number of documentaries even on the general digital channels as opposed to the more specialist channels on the next page. Once again the BBC channels feature more documentaries with BBC4 featuring three educated and investigative documentaries for more mature audiences, as BBC3is aimed mainly at teenagers. More 4 also feature a number of documental programs but are less investigative for example Grand Designs.
112 and 113
Once again as we move onto the more specialist digital channels we can see the rapid increase in the amount of documentaries broadcast. As these channels are split into categories, i.e. the History channel or the Natural geographic channel, it is self evident which channels will broadcast which type of documentary. However only a few investigative documentaries are featured in these channels as they predominantly broadcast programs specific to their genre.
Having analysed the days listings I have become aware of the patterns in the broadcasting of documentaries. They are predominately featured in an evening on digital television as terrestrial channels broadcast a variety of programs more appealing to the majority of people. In the digital channels documentaries are split between channels that showcase pieces of that specific genre i.e. Good Food featuring food based documentaries. BBC4 however broadcasts a number of investigative pieces aimed at a more mature and educated audience and it is for this channel that I shall create my piece.
I chose BBC4 as it is also linked to the BBC online database, iplayer, unlike most of the other digital channels increasing my perspective audience numbers.
I will now go on to watch and analyse a number of extracts from existing documentaries to gain further understanding on how the conventions I have researched are applied to professional pieces of all scales of production.
Thursday, 26 November 2009
Institutions research - 4th October
After researching audience theories and identifying my perspective target audience through a questionnaire and demographics I decided to investigate media institutions to understand how they are involved and how they influence documentaries. From this I will indentify the scale I seek my documentary to be and the institutions and production details that are associated.
Institutions
Documentaries like most media productions are hugely affected by institutions. Institutions such as television, distribution and production companies are vital to documentaries as they provide some of the services key to a documentaries success, funding, distribution and promotion.
Institutions create the split between amateur and large scale documentaries. The main split is created by funding. Funded documentaries are often the ones heard about by the public as they are broadcast on major television channels or showcased in multiplex cinemas, advertised in well known publications and presented by well known people. All of this of course requires funding. Those documentaries without major funding are what are known as independent documentaries and are a small scale almost underground operation broadcast through YouTube. They are often unheard of and unprofitable.
Large Scale Documentaries
Funding for large scale documentaries depends primarily on its final output category. If the documentary is to be screened on television, then a documentary is mainly funded by television companies such as the BBC, ITV or Channel 4. On the other hand if a documentary is to be showcased in cinema then released on DVD then often it is funded by film companies looking for a profitable investment. In some cases however a documentary can be co funded by parties from both categories such as the recent BBC documentary “Uncovering Our Earliest Ancestor: The Link” which was shown on BBC 1 and funded by both the BBC and American production company Atlantic Productions.
Often funders for documentaries are shrewd investors and can see that it is set to profit. A good example of a documentary profit was Michael Moore’s “Bowling for Columbine” which had a budget of $4 million and went on to make over $58 million.
Below is a list of some of the highest grossing documentaries and who was behind the funding and distribution:
1. Fahrenheit 9/11 - $222,446,882 – Lion Gate Films
2. March of the Penguins - $127,392,693- Warner Independent
3. Bowling for Columbine - $58,008,423 - Unite Artists
4. An Inconvenient Truth - $49,756,507 - Paramount
5. Sicko - $35,767,758- The Weinstein Company
6. Winged Migration - $32,257,753- Sony Pictures
7. Madonna: Truth or Dare $29,012,935 - Mirimax Films
8. Super Size Me - $20,641,054- Samuel Goldwyn Films
From this list we can both see the money to be made from documentaries as well as those documentaries that sell the most. All of them have similar themes in that they spur curiosity such as “Sicko’s” investigation and scrutiny of the health care system and “An Inconvenient Truth’s” revealing view into climate change, themes that of course sell. It is also interesting to note that all these box office topping documentaries have been funded, marketed and in many ways influenced by some of the largest and richest film companies showing us the extent of which institutions impact documentaries and drive them to create money.
As we can see by this, documentaries are a very profitable medium if they succeed. In order for documentaries to succeed often institutions and investors influence the documentaries design, ideas and production to sell. As making money is the key factor in there investment they promote conventions that sell a documentary. Some key selling conventions with documentaries are fear, controversy, speaking out as well as mystery. Often documentaries are watched as the audience wish to be educated on a matter or they want to discover the truth. Michael Moore’s “Fahrenheit 911” is a good example of this as with most Moore documentaries it speaks out against the authorities and gives the public an insight into darker truths behind matters. The controversy in the case of this film is the so called “legitimate” election of US President George .W. Bush in 2000. In this Moore relentlessly argues the deceitfulness and corruption of this “show case election”. Society as a culture and audiences within it love this, they see it as there own private rebellion against authority and therefore this sells, making money for big production companies, we need only look at the list above to see the profits turned by some of the most successful documentaries.
Small scale documentaries
However the profession and art of the documentary is not as glamorous and profitable as we have seen above. At the other end of the scale we have independent documentaries. Independent documentary makers are often individuals who feel so passionately or strongly about an issue that they feel it needs to be made public however they can. Often or not they assume a role similar to that of a free lance journalist and seek out interviewees, research and information off their own backs. From this they use domestically available filming and editing equipment widely available such as hand held video cameras and I Movie or Final Cut Pro on Apple Mac computers.
Often funding for these projects come from the director themselves and as they are a low key affair they require little more than time and transportation costs. However for those documentaries a little more adventurous that are intended for DVD, certain organisations such as The UK film council (UKFC) or Media 2007 exist and provide grants to documentary makers they see have promise or films they feel will be well received by audiences. Of course with all grants competition for the small amount of grants available render many documentary makers aidless and having to fund the project from their own bank accounts.
Of course the chasm between large scale and small scale documentaries is not absolute. Documentaries that are for the most part unheard off but still available on DVD are often funded by small scale film production companies and these documentaries are often fairly good quality but not box office material.
My Documentary
From my research into documentaries I have discovered the wide variety of documentary production, project and all associated institutions within this. By looking at large scale cinema documentaries and the scale of funding and production associated with this I feel this would be a medium far over what my piece and my resources would be capable of. On the other hand I wish not to dismiss my piece as a one man amateur YouTube production. Therefore I feel my documentary ranks itself as a piece that would be shown at an off peak time on a digital television channel such as BBC3 who often showcase less serious investigative documentaries.
As a smaller scale television production my documentary would not be a box office sell out yet would also not be a rank amateur production, but would embrace the passion of independent documentaries and the quality of a professional piece.
My documentary would be primarily distributed and shown on the BBC’s digital channels, but would later on depending on the positivity of its reception be produced on DVD and shown on the BBC’s main channels to be distributed and profited that way.
Having decided on the medium in which I wish to distribute my documentary, I will investigate audience consumption, looking at TV listings and identifying which channels showcase what documentaries at what times in order to see when my target audience would most likely watch it, in order to attract as larger audience as possible.
Institutions
Documentaries like most media productions are hugely affected by institutions. Institutions such as television, distribution and production companies are vital to documentaries as they provide some of the services key to a documentaries success, funding, distribution and promotion.
Institutions create the split between amateur and large scale documentaries. The main split is created by funding. Funded documentaries are often the ones heard about by the public as they are broadcast on major television channels or showcased in multiplex cinemas, advertised in well known publications and presented by well known people. All of this of course requires funding. Those documentaries without major funding are what are known as independent documentaries and are a small scale almost underground operation broadcast through YouTube. They are often unheard of and unprofitable.
Large Scale Documentaries
Funding for large scale documentaries depends primarily on its final output category. If the documentary is to be screened on television, then a documentary is mainly funded by television companies such as the BBC, ITV or Channel 4. On the other hand if a documentary is to be showcased in cinema then released on DVD then often it is funded by film companies looking for a profitable investment. In some cases however a documentary can be co funded by parties from both categories such as the recent BBC documentary “Uncovering Our Earliest Ancestor: The Link” which was shown on BBC 1 and funded by both the BBC and American production company Atlantic Productions.
Often funders for documentaries are shrewd investors and can see that it is set to profit. A good example of a documentary profit was Michael Moore’s “Bowling for Columbine” which had a budget of $4 million and went on to make over $58 million.
Below is a list of some of the highest grossing documentaries and who was behind the funding and distribution:
1. Fahrenheit 9/11 - $222,446,882 – Lion Gate Films
2. March of the Penguins - $127,392,693- Warner Independent
3. Bowling for Columbine - $58,008,423 - Unite Artists
4. An Inconvenient Truth - $49,756,507 - Paramount
5. Sicko - $35,767,758- The Weinstein Company
6. Winged Migration - $32,257,753- Sony Pictures
7. Madonna: Truth or Dare $29,012,935 - Mirimax Films
8. Super Size Me - $20,641,054- Samuel Goldwyn Films
From this list we can both see the money to be made from documentaries as well as those documentaries that sell the most. All of them have similar themes in that they spur curiosity such as “Sicko’s” investigation and scrutiny of the health care system and “An Inconvenient Truth’s” revealing view into climate change, themes that of course sell. It is also interesting to note that all these box office topping documentaries have been funded, marketed and in many ways influenced by some of the largest and richest film companies showing us the extent of which institutions impact documentaries and drive them to create money.
As we can see by this, documentaries are a very profitable medium if they succeed. In order for documentaries to succeed often institutions and investors influence the documentaries design, ideas and production to sell. As making money is the key factor in there investment they promote conventions that sell a documentary. Some key selling conventions with documentaries are fear, controversy, speaking out as well as mystery. Often documentaries are watched as the audience wish to be educated on a matter or they want to discover the truth. Michael Moore’s “Fahrenheit 911” is a good example of this as with most Moore documentaries it speaks out against the authorities and gives the public an insight into darker truths behind matters. The controversy in the case of this film is the so called “legitimate” election of US President George .W. Bush in 2000. In this Moore relentlessly argues the deceitfulness and corruption of this “show case election”. Society as a culture and audiences within it love this, they see it as there own private rebellion against authority and therefore this sells, making money for big production companies, we need only look at the list above to see the profits turned by some of the most successful documentaries.
Small scale documentaries
However the profession and art of the documentary is not as glamorous and profitable as we have seen above. At the other end of the scale we have independent documentaries. Independent documentary makers are often individuals who feel so passionately or strongly about an issue that they feel it needs to be made public however they can. Often or not they assume a role similar to that of a free lance journalist and seek out interviewees, research and information off their own backs. From this they use domestically available filming and editing equipment widely available such as hand held video cameras and I Movie or Final Cut Pro on Apple Mac computers.
Often funding for these projects come from the director themselves and as they are a low key affair they require little more than time and transportation costs. However for those documentaries a little more adventurous that are intended for DVD, certain organisations such as The UK film council (UKFC) or Media 2007 exist and provide grants to documentary makers they see have promise or films they feel will be well received by audiences. Of course with all grants competition for the small amount of grants available render many documentary makers aidless and having to fund the project from their own bank accounts.
Of course the chasm between large scale and small scale documentaries is not absolute. Documentaries that are for the most part unheard off but still available on DVD are often funded by small scale film production companies and these documentaries are often fairly good quality but not box office material.
My Documentary
From my research into documentaries I have discovered the wide variety of documentary production, project and all associated institutions within this. By looking at large scale cinema documentaries and the scale of funding and production associated with this I feel this would be a medium far over what my piece and my resources would be capable of. On the other hand I wish not to dismiss my piece as a one man amateur YouTube production. Therefore I feel my documentary ranks itself as a piece that would be shown at an off peak time on a digital television channel such as BBC3 who often showcase less serious investigative documentaries.
As a smaller scale television production my documentary would not be a box office sell out yet would also not be a rank amateur production, but would embrace the passion of independent documentaries and the quality of a professional piece.
My documentary would be primarily distributed and shown on the BBC’s digital channels, but would later on depending on the positivity of its reception be produced on DVD and shown on the BBC’s main channels to be distributed and profited that way.
Having decided on the medium in which I wish to distribute my documentary, I will investigate audience consumption, looking at TV listings and identifying which channels showcase what documentaries at what times in order to see when my target audience would most likely watch it, in order to attract as larger audience as possible.
Audience identification questionnaire - 2nd October
By researching audience theories I was able to gain an insight into how audiences consume media to suit their needs and gratifications. Through looking into marketing tactics such as demographics I was able to vaguely identify the social status of my perspective target audience. However demographics as I’ve stated before gives a very vague idea of target audience.
In order to attain a more detailed indication of my target audience I produced a questionnaire that sought to identify what kind of people were attracted to what types of documentary genres. From this I will be able to identify my target audience that I am to aim my documentary toward. I also included questions that invited my questionnaire subjects to identify what channels they expected their favourite documentaries to be broadcast on as well as identify a few conventions that they feel are typical of a certain genre. I did this to gain an insight into what audiences expect from different genres of documentaries so that I can key mine towards their expectations of Mise En Scene and representation.
In order to attain a wide variety of audience I distributed my questionnaire amongst members of the public on Stafford high street. Having analysed my results I will now summarise them and identify how they will effect my production. Below is a blank copy of the questionnaire I distributed.
Questionnaire results
I distributed my questionnaire to 50 members of the public (27 males, 23 females). The ages were varying so that the results of my questionnaire would not by bias toward any certain age group.
My results firstly indicated that the older a person was the more television on average he or she watched. This showed the most increase between the ages 26 and 55+, probably due to younger people choosing to spend their leisure time socialising or using the internet or playing computer games as opposed to watching television. I also became aware that men tended to watch more television than women.
My next question asked how often they watched documentaries. This question made me aware of how little people actually engage in the genre of documentary willingly, though they may sometimes watch programs such as big brother or design programs that they are unaware count as documentaries. My results tended to show that on average documentaries were mostly watched by people aged 30 – 55 and above, though there were noticeable amounts of younger students i.e. 19 – 25 year olds who watched documentaries often. This coincides with my findings through demographics that the main audiences of documentaries were older, more educated people and a small number of students. It also shows me that I will be targeting my documentary at an older, more mature and educated audience.
I then asked what people’s favourite documentary genres were. This question will be very significant in identifying my target audience as it will indicate the type of people whom enjoy investigative documentaries (my target audience). The results showed that the middle aged brackets (predominantly 30 – 40 and some 41 – 55’s) were most likely to enjoy investigative documentaries, as well as historical, political and cultural documentaries, whilst younger ages were more inclined to watch reality and real life documentaries. My results also indicated that men were more likely to enjoy historical and investigative pieces, where as women tended to enjoy reality and home improvement documentaries.
I then asked whether or not they would choose to watch a documentary over and above other genres such as sit com or soap. In the vast majority of cases the answer was either no or rarely, with many younger people choosing to watch sit coms and many women choosing soaps. However once again men from the late 20’s onwards tended to answer yes or more often than not to this question indicated once again to me the primary audience of documentaries as an art form.
Having all but identified my target audience, I included a couple of questions that sought to identify audience’s expectations of how documentaries are distributed through terrestrial and digital TV channels as well as identify their expectations on what conventions are typical of genres, in order to understand how they associate themselves with representations and specific Mise En Scene within any given piece.
Firstly I asked them to identify their favourite genre of documentary. In the vast majority of cases my audiences filed together into the categories laid out by demographics, i.e younger people chose reality documentaries, whilst most women chose home improvement and real life documentaries. Once again the key core of those who chose investigative documentaries were men aged between 30 and 55 with a few of student age as well.
I then asked them what channels they expected that genre of documentary to be distributed via from a list of 12 top terrestrial and digital channels. With most genres the answers were pretty obvious, i.e. historical documentaries appearing on the “history channel” and reality documentaries appearing on “CBS Reality”. However with the investigative documentary genre the results were mixed. The vast majority of people believed that they would be shown on the BBC channels as well as channel 4 as they are channels aimed toward a large and educated audience. The most prominent answer I received was BBC2 and BBC3 depending on the scale of the documentary. This indicated to me the most probable channels my piece would most likely be distributed via.
Finally I asked them to bullet point a few conventions they expected to find within their given genre. Once again certain genres had predictable answers such as the use of an authoritative narrator and footage shot for different purposes in historical documentaries, as well as montages and charismatic presenters in home improvement documentaries. With the investigative documentary genre however I received a variety of different expectations of conventions and representations. The most common of these being a charismatic presenter, who seeks to understand and investigate any given issue through the use of interviews. They also expected voice over narration coupled with talking head explanation of interviews, goings on and findings within the piece as it unfolded and reached a conclusion.
Applying the results of the questionnaire to my documentary.
Using the results of my questionnaire I have been able to identify the primary target audience for my final piece. The questionnaire along with my analysis of demographics have pin pointed males aged 30 and above as well as some students, with a higher intellect and education as the primary audience for investigative documentaries.
Being able to identify my pieces primary audience will be useful for producing the documentary as I will be able to aim it toward fulfilling the expectations of representation and Mise En Scene held by my audience. These expectations I also found out using the questionnaire. It seems that like most examples of professionally produced documentaries I have watched and my research into the conventions of investigative documentaries that the audience come to expect some of the genres traditional conventions such as a voice over narration, interviews and the use of a presenter and talking head. In order to access my audience as much as possible through my documentary I will adhere to these expectations and conventions so that the audience can relate to the representations presented through dialogue, editing and Mise En Scene.
The results also showed me some of the TV channels both digital and terrestrial, that audiences expect to find certain genres of documentaries on. I will now study into the institutions behind documentaries, investigating how they influence the production of documentaries and how institutions profit from them as an art from.
In order to attain a more detailed indication of my target audience I produced a questionnaire that sought to identify what kind of people were attracted to what types of documentary genres. From this I will be able to identify my target audience that I am to aim my documentary toward. I also included questions that invited my questionnaire subjects to identify what channels they expected their favourite documentaries to be broadcast on as well as identify a few conventions that they feel are typical of a certain genre. I did this to gain an insight into what audiences expect from different genres of documentaries so that I can key mine towards their expectations of Mise En Scene and representation.
In order to attain a wide variety of audience I distributed my questionnaire amongst members of the public on Stafford high street. Having analysed my results I will now summarise them and identify how they will effect my production. Below is a blank copy of the questionnaire I distributed.
Questionnaire results
I distributed my questionnaire to 50 members of the public (27 males, 23 females). The ages were varying so that the results of my questionnaire would not by bias toward any certain age group.
My results firstly indicated that the older a person was the more television on average he or she watched. This showed the most increase between the ages 26 and 55+, probably due to younger people choosing to spend their leisure time socialising or using the internet or playing computer games as opposed to watching television. I also became aware that men tended to watch more television than women.
My next question asked how often they watched documentaries. This question made me aware of how little people actually engage in the genre of documentary willingly, though they may sometimes watch programs such as big brother or design programs that they are unaware count as documentaries. My results tended to show that on average documentaries were mostly watched by people aged 30 – 55 and above, though there were noticeable amounts of younger students i.e. 19 – 25 year olds who watched documentaries often. This coincides with my findings through demographics that the main audiences of documentaries were older, more educated people and a small number of students. It also shows me that I will be targeting my documentary at an older, more mature and educated audience.
I then asked what people’s favourite documentary genres were. This question will be very significant in identifying my target audience as it will indicate the type of people whom enjoy investigative documentaries (my target audience). The results showed that the middle aged brackets (predominantly 30 – 40 and some 41 – 55’s) were most likely to enjoy investigative documentaries, as well as historical, political and cultural documentaries, whilst younger ages were more inclined to watch reality and real life documentaries. My results also indicated that men were more likely to enjoy historical and investigative pieces, where as women tended to enjoy reality and home improvement documentaries.
I then asked whether or not they would choose to watch a documentary over and above other genres such as sit com or soap. In the vast majority of cases the answer was either no or rarely, with many younger people choosing to watch sit coms and many women choosing soaps. However once again men from the late 20’s onwards tended to answer yes or more often than not to this question indicated once again to me the primary audience of documentaries as an art form.
Having all but identified my target audience, I included a couple of questions that sought to identify audience’s expectations of how documentaries are distributed through terrestrial and digital TV channels as well as identify their expectations on what conventions are typical of genres, in order to understand how they associate themselves with representations and specific Mise En Scene within any given piece.
Firstly I asked them to identify their favourite genre of documentary. In the vast majority of cases my audiences filed together into the categories laid out by demographics, i.e younger people chose reality documentaries, whilst most women chose home improvement and real life documentaries. Once again the key core of those who chose investigative documentaries were men aged between 30 and 55 with a few of student age as well.
I then asked them what channels they expected that genre of documentary to be distributed via from a list of 12 top terrestrial and digital channels. With most genres the answers were pretty obvious, i.e. historical documentaries appearing on the “history channel” and reality documentaries appearing on “CBS Reality”. However with the investigative documentary genre the results were mixed. The vast majority of people believed that they would be shown on the BBC channels as well as channel 4 as they are channels aimed toward a large and educated audience. The most prominent answer I received was BBC2 and BBC3 depending on the scale of the documentary. This indicated to me the most probable channels my piece would most likely be distributed via.
Finally I asked them to bullet point a few conventions they expected to find within their given genre. Once again certain genres had predictable answers such as the use of an authoritative narrator and footage shot for different purposes in historical documentaries, as well as montages and charismatic presenters in home improvement documentaries. With the investigative documentary genre however I received a variety of different expectations of conventions and representations. The most common of these being a charismatic presenter, who seeks to understand and investigate any given issue through the use of interviews. They also expected voice over narration coupled with talking head explanation of interviews, goings on and findings within the piece as it unfolded and reached a conclusion.
Applying the results of the questionnaire to my documentary.
Using the results of my questionnaire I have been able to identify the primary target audience for my final piece. The questionnaire along with my analysis of demographics have pin pointed males aged 30 and above as well as some students, with a higher intellect and education as the primary audience for investigative documentaries.
Being able to identify my pieces primary audience will be useful for producing the documentary as I will be able to aim it toward fulfilling the expectations of representation and Mise En Scene held by my audience. These expectations I also found out using the questionnaire. It seems that like most examples of professionally produced documentaries I have watched and my research into the conventions of investigative documentaries that the audience come to expect some of the genres traditional conventions such as a voice over narration, interviews and the use of a presenter and talking head. In order to access my audience as much as possible through my documentary I will adhere to these expectations and conventions so that the audience can relate to the representations presented through dialogue, editing and Mise En Scene.
The results also showed me some of the TV channels both digital and terrestrial, that audiences expect to find certain genres of documentaries on. I will now study into the institutions behind documentaries, investigating how they influence the production of documentaries and how institutions profit from them as an art from.
Audience theory - Demographics - 28th September
Demographics
Demographics is a method of audience research which divides the adult population into 6 different categories based mainly on the work they do. Each group has its own individual letter code that describes the income and job status of the members of each group.
A – Higher management – bankers, lawyers, doctors and other professionals
B – Middle management – Teachers, creative and media people
C1 – White Collar - Office supervisors, junior managers, nurses
C2 – Skilled Manual workers – plumbers, electricians, builders
D – Semi skilled and unskilled manual workers
E – Unemployed, casual workers, pensioners, Students
Using these 6 groups, marketers can distribute their product and advertise it in accordance with the group or groups their product is aimed at. For example a crime thriller is not likely to appeal to groups D or E (except students) and is more likely to appeal to groups A and B, and therefore the product should be created, advertised and distributed with them in mind.
Demographics does not however give a complete picture. It stereotypes all the members of each group into one collective mind frame. This is ineffective as it does not represent for example a builder whom enjoys documentaries and politics or a teacher who doesn’t.
Applying Demographics to my work
After studying this audience theory I thought how I could apply it to my documentary. The most likely groups for my documentary are A and B with possible elements of C such as supervisors and E such as students. This identifies the higher educated members of society, but however does not give a clear picture as it is based loosely around their job titles and not their personalities, hobbies and interests. However demographics does give me an indication to the type of people I should be marketing my documentary towards and this will be very helpful with promotion for my film. For example as groups A and B are higher educated and will be the main target audience for my piece, I would attract the most attention by advertising in a publication associated with that group, i.e. the Times newspaper as opposed to hello magazine.
Demographics is a method of audience research which divides the adult population into 6 different categories based mainly on the work they do. Each group has its own individual letter code that describes the income and job status of the members of each group.
A – Higher management – bankers, lawyers, doctors and other professionals
B – Middle management – Teachers, creative and media people
C1 – White Collar - Office supervisors, junior managers, nurses
C2 – Skilled Manual workers – plumbers, electricians, builders
D – Semi skilled and unskilled manual workers
E – Unemployed, casual workers, pensioners, Students
Using these 6 groups, marketers can distribute their product and advertise it in accordance with the group or groups their product is aimed at. For example a crime thriller is not likely to appeal to groups D or E (except students) and is more likely to appeal to groups A and B, and therefore the product should be created, advertised and distributed with them in mind.
Demographics does not however give a complete picture. It stereotypes all the members of each group into one collective mind frame. This is ineffective as it does not represent for example a builder whom enjoys documentaries and politics or a teacher who doesn’t.
Applying Demographics to my work
After studying this audience theory I thought how I could apply it to my documentary. The most likely groups for my documentary are A and B with possible elements of C such as supervisors and E such as students. This identifies the higher educated members of society, but however does not give a clear picture as it is based loosely around their job titles and not their personalities, hobbies and interests. However demographics does give me an indication to the type of people I should be marketing my documentary towards and this will be very helpful with promotion for my film. For example as groups A and B are higher educated and will be the main target audience for my piece, I would attract the most attention by advertising in a publication associated with that group, i.e. the Times newspaper as opposed to hello magazine.
Audience theory - 27th September
After researching into the different conventions, techniques and genres I will now seek to gain further understanding of the audiences that different documentaries are targeted at. All good media products are created with a specific audience in mind and are crafted to relate to the needs of that specific audience. Representation and Mise En Scene are two considerations directors of documentaries relate to when creating their work. Often the set up of an interview and attire of a presenter can be used to influence how an audience receives a product, much like the use of the expert convention explained earlier. For example a nature program presented by a man in a suit sitting in an office would not be as well received as if it were presented by a man in outdoor gear in a forest, as well as one would expect a documentary on economical decline to be presented by a man in a suit as opposed to a man in outdoor gear. Although virtually the same information, ideals and opinions are being put across, the audience will be more sceptical of the man in the suit as he is not a representation that the audience expects and is comfortable with, and will receive the information better when it is put across by a presenter they feel is representational to the information being put across.
In researching audiences I will investigate audience theories used in the media to explain audiences and see how these relate to my production. I will also research demographics and create a questionnaire to be distributed to a wide variety of people in order to discover my prospective target audience. I will then look into how audiences consumer media texts and research how institutions within the media distribute this with audience consumption in mind.
Audience theory
Audience Theory is a medium of research focused on how audiences receive media texts and consume them that have matured and sophisticated from as early as the 1920’s.
Since then there have been four major schools of thought regarding audience theory that have increased in sophistication and depth of audience with some of the first theories regarding audiences as very similar and almost drone like in their consumption of the media.
The Hypodermic Syringe Model
The Hypodermic Syringe Model (or the Hypodermic Needle Model) was the first attempt by academics to attempt to explain how “the masses” might react to media. The theory was created just after the First World War, at a time where the media as a means of influence was a new thing and governments had only just begun to discover the power that media had in influencing the population (this power would of course later be used to cataclysmic extremes by both the Nazi party in Germany and the Bolshevik party in Russia to impose their radical ideals on the people of both countries).
The theory in itself was a crude model that reduced audiences to passive drones consuming media without a second thought. The intelligence and opinions of the individual were not considered relative at the time of this theories creation. It also assumes that audiences receive any media without mediating (filtering it logically) it in their minds. The name of this theory literally refers to a metaphorical needle injecting media right into audience’s minds, manipulating them and indoctrinating them to follow the media creator’s ideals and that being their only thoughts. Of course this theory was soon superseded as it became apparent that audiences were not so easily manipulated by the creators of propaganda and media texts and that audience’s filtered information in their minds, instead of receiving it passively like an injection of information to the brain.
Two Step Flow
As mass media became more and more prevalent in societies throughout the world, it became apparent that audiences were not drone like in their consumption of the media, rendering the hypodermic syringe theory useless to anybody wishing to understand the relation between audience and media texts.
The Two Step Flow school of thought was developed during the 1940’s. Branching away from the hypodermic syringe model, this theory gave thought to idea that audiences do not directly consume media straight from media texts but from what was known as “opinion leaders”. These opinion leaders were people with more access to the media, who would then pass this information on to their “lesser associates” over whom they held influence. These opinion leaders would filter the information from media texts judging them by their own values and opinions before handing them on to the “masses”. The “masses” would then of course believe the opinions and facts handed to them by the opinion leaders much in the same was as the hypodermic syringe model worked.
Though this theory was a step up from the hypodermic syringe model by the fact it recognised that media texts were mediated by individuals not just received straight lie an injection, it still grouped the masses together into a single minded entity with passive drone like tendencies in consuming media texts.
Uses and Gratifications
During the 1960’s as the first generation born into a mass media consuming society who grew up with television became adults, it once again became apparent that current audience theories and the “Two Step Flow” model were outdated an ineffective in explaining the relation between audience and media text. A new theory that was developed around audiences having more than a passive intake of media that instead of them in taking it like a drone, they consumed certain media texts depending on their needs for their uses. In short the theory was an audience centralised school of thought where audiences controlled the media they consumed to gratify their needs, not the media controlling what audiences consume in order to manipulate and indoctrinate audiences. In the late 70’s four main uses for audiences were devised that sought to explain why certain audiences consumed certain media texts. They were:
• Diversion – for escapism value and a change of scenery from every day problems and stress.
• Personal Relationships – Using media texts for emotional interaction, eg substituting soap operas for family life
• Personal Identity – indentifying themselves within media texts and learning behaviour, ideals and values from them.
• Surveillance – watching news, weather and financial reports to intake information valuable in an audience’s life.
In this instance documentaries would fall under personal identity and surveillance, as an audience would consume a documentary to learn from it for use in social situations and think about the values presented in the documentary and identify their own values and morals in relation to this information and opinions presented.
Reception Theory
As it became more and more apparent that audiences consumed media for their own uses, academics soon began to investigate how certain individual’s situations such as race, gender, age and social status, affected what media texts they consumed and for what reasons. Based around the encoding/decoding theory that suggests media texts are encoded by creators and decoded by audiences through conventions such as representation and background knowledge. According to this theory, specific Mise En Scene may be placed on a set by a director in order to appeal to a certain audience almost like an inside knowledge of the themes presented in the text. This leads to separate audiences consuming the same media text in a different way, decoding a different meaning from it. This leads to the reception theory of preferred reading, where specific audiences consume texts they relate too and understand to gratify their needs as presented by the uses and gratifications theory.
Applying Audience Theory to My Production
From researching the progression of audience theory throughout the 20th century and into the 21st, I have learnt a great deal about audiences in relation to their consumption of media texts. I have learnt that audiences are not passive in their consumption of media texts, and that they gratify their needs by using media texts for different purposes. I have also learnt how conventions, Mise En Scene and familiarity are used by the creators of media texts in order for their audiences to relate to and choose to gratify their needs with certain media texts that they enjoy through preferred reading.
This understanding of audience theory will help me to create a documentary that can be used by audiences to gratify their needs of surveillance and personal identity, and that will use Mise En Scene and representation effectively so that my audience will both enjoy my piece and make use of it to fulfil their needs.
I will now study demographics, an audience theory used in market research as well as a questionnaire in order to identify my perspective target audience that I will create my documentary with in mind.
In researching audiences I will investigate audience theories used in the media to explain audiences and see how these relate to my production. I will also research demographics and create a questionnaire to be distributed to a wide variety of people in order to discover my prospective target audience. I will then look into how audiences consumer media texts and research how institutions within the media distribute this with audience consumption in mind.
Audience theory
Audience Theory is a medium of research focused on how audiences receive media texts and consume them that have matured and sophisticated from as early as the 1920’s.
Since then there have been four major schools of thought regarding audience theory that have increased in sophistication and depth of audience with some of the first theories regarding audiences as very similar and almost drone like in their consumption of the media.
The Hypodermic Syringe Model
The Hypodermic Syringe Model (or the Hypodermic Needle Model) was the first attempt by academics to attempt to explain how “the masses” might react to media. The theory was created just after the First World War, at a time where the media as a means of influence was a new thing and governments had only just begun to discover the power that media had in influencing the population (this power would of course later be used to cataclysmic extremes by both the Nazi party in Germany and the Bolshevik party in Russia to impose their radical ideals on the people of both countries).
The theory in itself was a crude model that reduced audiences to passive drones consuming media without a second thought. The intelligence and opinions of the individual were not considered relative at the time of this theories creation. It also assumes that audiences receive any media without mediating (filtering it logically) it in their minds. The name of this theory literally refers to a metaphorical needle injecting media right into audience’s minds, manipulating them and indoctrinating them to follow the media creator’s ideals and that being their only thoughts. Of course this theory was soon superseded as it became apparent that audiences were not so easily manipulated by the creators of propaganda and media texts and that audience’s filtered information in their minds, instead of receiving it passively like an injection of information to the brain.
Two Step Flow
As mass media became more and more prevalent in societies throughout the world, it became apparent that audiences were not drone like in their consumption of the media, rendering the hypodermic syringe theory useless to anybody wishing to understand the relation between audience and media texts.
The Two Step Flow school of thought was developed during the 1940’s. Branching away from the hypodermic syringe model, this theory gave thought to idea that audiences do not directly consume media straight from media texts but from what was known as “opinion leaders”. These opinion leaders were people with more access to the media, who would then pass this information on to their “lesser associates” over whom they held influence. These opinion leaders would filter the information from media texts judging them by their own values and opinions before handing them on to the “masses”. The “masses” would then of course believe the opinions and facts handed to them by the opinion leaders much in the same was as the hypodermic syringe model worked.
Though this theory was a step up from the hypodermic syringe model by the fact it recognised that media texts were mediated by individuals not just received straight lie an injection, it still grouped the masses together into a single minded entity with passive drone like tendencies in consuming media texts.
Uses and Gratifications
During the 1960’s as the first generation born into a mass media consuming society who grew up with television became adults, it once again became apparent that current audience theories and the “Two Step Flow” model were outdated an ineffective in explaining the relation between audience and media text. A new theory that was developed around audiences having more than a passive intake of media that instead of them in taking it like a drone, they consumed certain media texts depending on their needs for their uses. In short the theory was an audience centralised school of thought where audiences controlled the media they consumed to gratify their needs, not the media controlling what audiences consume in order to manipulate and indoctrinate audiences. In the late 70’s four main uses for audiences were devised that sought to explain why certain audiences consumed certain media texts. They were:
• Diversion – for escapism value and a change of scenery from every day problems and stress.
• Personal Relationships – Using media texts for emotional interaction, eg substituting soap operas for family life
• Personal Identity – indentifying themselves within media texts and learning behaviour, ideals and values from them.
• Surveillance – watching news, weather and financial reports to intake information valuable in an audience’s life.
In this instance documentaries would fall under personal identity and surveillance, as an audience would consume a documentary to learn from it for use in social situations and think about the values presented in the documentary and identify their own values and morals in relation to this information and opinions presented.
Reception Theory
As it became more and more apparent that audiences consumed media for their own uses, academics soon began to investigate how certain individual’s situations such as race, gender, age and social status, affected what media texts they consumed and for what reasons. Based around the encoding/decoding theory that suggests media texts are encoded by creators and decoded by audiences through conventions such as representation and background knowledge. According to this theory, specific Mise En Scene may be placed on a set by a director in order to appeal to a certain audience almost like an inside knowledge of the themes presented in the text. This leads to separate audiences consuming the same media text in a different way, decoding a different meaning from it. This leads to the reception theory of preferred reading, where specific audiences consume texts they relate too and understand to gratify their needs as presented by the uses and gratifications theory.
Applying Audience Theory to My Production
From researching the progression of audience theory throughout the 20th century and into the 21st, I have learnt a great deal about audiences in relation to their consumption of media texts. I have learnt that audiences are not passive in their consumption of media texts, and that they gratify their needs by using media texts for different purposes. I have also learnt how conventions, Mise En Scene and familiarity are used by the creators of media texts in order for their audiences to relate to and choose to gratify their needs with certain media texts that they enjoy through preferred reading.
This understanding of audience theory will help me to create a documentary that can be used by audiences to gratify their needs of surveillance and personal identity, and that will use Mise En Scene and representation effectively so that my audience will both enjoy my piece and make use of it to fulfil their needs.
I will now study demographics, an audience theory used in market research as well as a questionnaire in order to identify my perspective target audience that I will create my documentary with in mind.
Genres within documentaries - 22nd September
I then looked into the different genres of documentary film and their variations. There are a huge number of documentary film genres ranging from hard hitting investigative documentaries such as BBC1’s Panorama which deals with controversial issues in society such as domestic violence and press regulation, to documentaries on travel and home improvements such as “A Place In The Sun” and “Homes Under The Hammer” where property development and selling are documented to an audience for the purpose of entertainment.
Though both of these constitute as documentaries, it is evident to observe that their themes vary greatly. The varying themes in documentaries determine a documentaries genre.
Here I have compiled a list of some of the main genres of documentaries, explaining what each genre entails and giving a few examples of documentaries that fall into that certain genre. It is also recognised that many of these genres overlap with one another, for example a propagandistic documentary will most likely involve conventions found within campaigning and political documentaries.
Investigative Documentaries:
Investigative documentaries as the name suggests investigate an issue. Like investigative journalism, an investigative documentary will relentlessly seek to take an issue and discover as much about it as it can. Investigative documentaries deal with hard hitting issues such as war, controversy and corruption and are primarily aimed at a more educated audience, therefore adopting themes associated with them such as debated argument and graphic images. Interviews are a convention widely used in this genre as well as the talking head, vox pop and the use of “actuality” and fly on the wall filming to depict real events, however gruesome or horrific, in their naked form.
Examples of investigative documentaries include BBC’s Panorama and Channel 4’s Dispatches. Both similar series that deal with current controversial issues in the media, investigating them and providing information for the audience about the subject through he use of interviews, facts and information.
Historical Documentaries
Historical documentaries as the name suggests inform its audiences about historical happenings. Once again aimed at an educated audience, the historical documentary seeks primarily to inform. This can however be for either educational purpose i.e. the use in schools, or for entertainment, or both. Historical documentaries frequently feature the same cocktail of conventions: the talking head, the use of expert through the medium of interview and (depending on the historical age of the content) footage from the time or reconstructions if this is unavailable.
Examples of this genre include the “World at War” series documenting the entire Second World War. This genre also encompasses many of the conventions found in artistic/cultural documentaries, which use similar conventions to inform, educate and entertain its educated audience.
Travel and home improvement documentaries
Travel and home improvement documentaries are a cross between documental film and reality T.V. Aimed at a different audience to most documentaries, this genre documents projects undertaken by property developers, D.I.Y enthusiasts and ordinary people moving house depending on the program. This genre features a lot of scripted shots intended to be “fly on the wall” in order to give the audience (often middle aged women watching day time T.V) the impression of actuality. Unlike most documentaries, this genre is often a daily program or a series of programs showed on various days of the week, all with a similar theme giving the genre its reality T.V cross over. The genre also expands to programs documenting car selling, antiques purchase and auctioning as well as programs dealing with peoples diets and weight loss, all encompassed under the same genre with similar forms and conventions.
Examples of this genre include Channel 4’s “Grand Designs”, and the BBC’s “Cash in the attic” and mainly set out to entertain its audience as well as educate them by giving advice on projects such as D.I.Y. As a genre I feel the travel documentary holds few conventions that could be useful to my piece; however I do note its standing as a major documentary genre.
Political, Propagandist, Campaigning documentaries
All of these documentaries as genres share the similar theme of persuading its audience. All of them use very persuasive techniques such as clipped interviews and carefully selected interviewee’s to give the audience a very one sided story on an issue. The main purpose of these documentaries is to gain public awareness on the issue promoted by and documented in the film. The genre often features film shot for other purposes such as film from historic marches as well as actuality filming of political marches taking place that would occur whether the camera was there or not. These documentaries are often narrated by a presenter with a mix of voice over’s and talking head, accompanied by music relevant to the film. The predominant audience for these documentaries are the higher educated and are often shown in cinemas and DVD as opposed to TV.
A notable example of a documentary that encompasses all three of these sub genres is the 1975 documentary “The Night Cleaners”, which documented the struggle of women cleaners to get a union. Though my documentary has no real political message to convey, I do seek to push either side of the argument of true or false after reaching a judgment on which is prevalent. For this I feel some of the conventions of this genre such as clips interviews could be useful.
My Documentary
After looking into the conventions of some of the major genres of documental film I have decided to base mine around the conventions used in investigative documentaries. As I am investigating a rumour and a local myth I feel it is the most fitting genre. I will use the conventions of this genre such as voice over and talking head narration as well as interviews with experts and vox pop to maximum effect. However I will slightly break away from the codes and conventions of this genre and into others slightly. As the majority of investigative documentaries deal with hard hitting topics and create a very serious, solemn atmosphere through the use of interviews and very serious narration I feel it necessary to challenge this convention. As my documentary is based on a theme a little less serious than war, famine and corruption I will make my documentary slightly more light hearted yet not comical in order to attract an audience of younger educates such as students as well as the traditional audience of educated people interested in issues of controversy and debate. This style of genre convergence can be seen prominently in some of Louis Therox’s documentaries such as U.F.O hunters which I will be analysing later in my research.
Though both of these constitute as documentaries, it is evident to observe that their themes vary greatly. The varying themes in documentaries determine a documentaries genre.
Here I have compiled a list of some of the main genres of documentaries, explaining what each genre entails and giving a few examples of documentaries that fall into that certain genre. It is also recognised that many of these genres overlap with one another, for example a propagandistic documentary will most likely involve conventions found within campaigning and political documentaries.
Investigative Documentaries:
Investigative documentaries as the name suggests investigate an issue. Like investigative journalism, an investigative documentary will relentlessly seek to take an issue and discover as much about it as it can. Investigative documentaries deal with hard hitting issues such as war, controversy and corruption and are primarily aimed at a more educated audience, therefore adopting themes associated with them such as debated argument and graphic images. Interviews are a convention widely used in this genre as well as the talking head, vox pop and the use of “actuality” and fly on the wall filming to depict real events, however gruesome or horrific, in their naked form.
Examples of investigative documentaries include BBC’s Panorama and Channel 4’s Dispatches. Both similar series that deal with current controversial issues in the media, investigating them and providing information for the audience about the subject through he use of interviews, facts and information.
Historical Documentaries
Historical documentaries as the name suggests inform its audiences about historical happenings. Once again aimed at an educated audience, the historical documentary seeks primarily to inform. This can however be for either educational purpose i.e. the use in schools, or for entertainment, or both. Historical documentaries frequently feature the same cocktail of conventions: the talking head, the use of expert through the medium of interview and (depending on the historical age of the content) footage from the time or reconstructions if this is unavailable.
Examples of this genre include the “World at War” series documenting the entire Second World War. This genre also encompasses many of the conventions found in artistic/cultural documentaries, which use similar conventions to inform, educate and entertain its educated audience.
Travel and home improvement documentaries
Travel and home improvement documentaries are a cross between documental film and reality T.V. Aimed at a different audience to most documentaries, this genre documents projects undertaken by property developers, D.I.Y enthusiasts and ordinary people moving house depending on the program. This genre features a lot of scripted shots intended to be “fly on the wall” in order to give the audience (often middle aged women watching day time T.V) the impression of actuality. Unlike most documentaries, this genre is often a daily program or a series of programs showed on various days of the week, all with a similar theme giving the genre its reality T.V cross over. The genre also expands to programs documenting car selling, antiques purchase and auctioning as well as programs dealing with peoples diets and weight loss, all encompassed under the same genre with similar forms and conventions.
Examples of this genre include Channel 4’s “Grand Designs”, and the BBC’s “Cash in the attic” and mainly set out to entertain its audience as well as educate them by giving advice on projects such as D.I.Y. As a genre I feel the travel documentary holds few conventions that could be useful to my piece; however I do note its standing as a major documentary genre.
Political, Propagandist, Campaigning documentaries
All of these documentaries as genres share the similar theme of persuading its audience. All of them use very persuasive techniques such as clipped interviews and carefully selected interviewee’s to give the audience a very one sided story on an issue. The main purpose of these documentaries is to gain public awareness on the issue promoted by and documented in the film. The genre often features film shot for other purposes such as film from historic marches as well as actuality filming of political marches taking place that would occur whether the camera was there or not. These documentaries are often narrated by a presenter with a mix of voice over’s and talking head, accompanied by music relevant to the film. The predominant audience for these documentaries are the higher educated and are often shown in cinemas and DVD as opposed to TV.
A notable example of a documentary that encompasses all three of these sub genres is the 1975 documentary “The Night Cleaners”, which documented the struggle of women cleaners to get a union. Though my documentary has no real political message to convey, I do seek to push either side of the argument of true or false after reaching a judgment on which is prevalent. For this I feel some of the conventions of this genre such as clips interviews could be useful.
My Documentary
After looking into the conventions of some of the major genres of documental film I have decided to base mine around the conventions used in investigative documentaries. As I am investigating a rumour and a local myth I feel it is the most fitting genre. I will use the conventions of this genre such as voice over and talking head narration as well as interviews with experts and vox pop to maximum effect. However I will slightly break away from the codes and conventions of this genre and into others slightly. As the majority of investigative documentaries deal with hard hitting topics and create a very serious, solemn atmosphere through the use of interviews and very serious narration I feel it necessary to challenge this convention. As my documentary is based on a theme a little less serious than war, famine and corruption I will make my documentary slightly more light hearted yet not comical in order to attract an audience of younger educates such as students as well as the traditional audience of educated people interested in issues of controversy and debate. This style of genre convergence can be seen prominently in some of Louis Therox’s documentaries such as U.F.O hunters which I will be analysing later in my research.
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