Thursday, 16 March 2017

DOCUMENTATY; RESEARCH INTO TEENS

Our idea for our documentary commission 'Digital Detox' is exploring the way in which teens use social media and how dependent they have become on it. In order to have a clear view of the subject i am researching into social networking sites itself and the usage of it within teens. 


History of Social Networking Sites
The first official social networking site was launched in 1997, called 'First Degrees'. It was extremely popular at one point, having around a million members at its peak, it was bought for £125 million in 2000, demonstrating and in a way foreshadowing the amount of these sites were about to be created in our modern society. However for this site it wasn't meant to be as it was closed down in 2001. The point of this site however, was instant messaging between friends, bringing an online community closer together. After this became a stream of sites that all in essence had this very same purpose, sites such as MySpace, Bebo and most arguably the most famous Facebook. 

Social Networking in Teens

Using the following site as my reference - http://www.pewinternet.org/2015/04/09/teens-social-media-technology-2015/ - many statistics can be found about firstly how many of teens use these sites and secondly how often they use them. Due to the increase of widespread use of smartphones, teens have a larger access to social media than every before. Found in the Pew Internet Research, only 2% of teens admitted to not going online that often, thus demonstrating the amount that do. Within teens Facebook is the most popular social networking site, however 71% of teens are still using more than one site such as instagram. These sites have in more recent times developed into more than just instant messaging services, Snapchat allows users to send pictures that disappear after up to 10 seconds, Instagram works like everyones public photo album and twitter allows for opinions and debates through 'tweets'. The widespread use and purposes that we have now through these sites means that teens are using these as part of everyday life, instead of real social interaction. 

The statistics above demonstrate the intensity of which teens have become highly dependent on these sites, within our documentary commission our 2 aims would be too 
1) Explore just how far teens are dependent on these sites by examining its effects
2) Put it to the test by taking someones social media away from them
This topic is so relevant for todays teens because the sites are being used more than ever and its also being recognised more than ever. For example as part of Red Nose Day 2017, some  of YouTubes most famous starts took part in 'RedOut' a 24 hour period by which they weren't allowed on their social media. Moreover a local school in Maidstone also took part in a technology ban to equally demonstrate how dependent we are on it. (We hope to speak to someone from this school as part of our doc and talk to them about their experiences)













Monday, 13 March 2017

DOCUMENTARY; IDEAS DEVELOPMENT

After coming up with my own idea for the commission, we came together in our group to discuss or options and brainstorm some ideas.



Firstly we were toying with the idea of Stereotypes and Labelling, focusing on mainly the negative portrayals of youth within the media. We were thinking of doing reconstructions of some teens walking down a road in certain clothing and constructing some adult reactions to this. Worried that this would be too boring and after talking to Zoe about our ideas, we decided to look at the portrayal of teenagers within TV and how so many programmes negatively portray teens. For example as a form of research i looked into the categories that BBC3 do in terms of programming and the teenage programmes mainly appear within the "Sex, drugs and drinking" categories.

After doing some more research we again decided that this may not be the idea we can do, purely because its too factual in terms of statistics and we also struggled to find programmes that stick to the teenage bracket rather but instead the more early twenties age bracket, which isn't in keeping with the teen eye view we are meant to be looking at.

And so the idea that we have decided on, is 'Digital Detox', we want to find someone who is willing to give up their access to technology for a few days and see how they handle it. Teens within life at the minute are so dependent on technology, whether that be to tell the time, wake them up in the mornings with alarms or for social media, and so we want to see how someone reacts when that is taken away from them.

DOCUMENTARY; RESEARCH BENEFITS STREET

Benefits Street is a British documentary series first broadcast on Channel Four. The programme was filmed over the course of about a year, featuring the lives of many different residents of 'James Turner St' in Manchester. Mainly, it is the portrayal of people who are living off of benefits and the series documents their successes and their struggles. Many different codes and conventions are used within Benefits Street that i can take influence from.



Danny as he is about to be pinned down
by the police
Firstly, the show documents are persons real life, many of the residents, including the main feature 'White Dee' open up the entirety of their life to the camera, hiding nothing. This makes for a very real and raw story, however the story the show is portraying is such a sensitive subject that it can portray a range of different reactions from the audience. For example, one may angrily react complaining at what could be described as the glorification of living off of benefits for no good reason (in some cases) whereas others could react feeling sad for the characters that are battling alcohol or drug addictions whilst being on benefits, or characters who have children living off of benefits. This all links into the way the television programme was produced, in order to inspire these stories to transmit onto screen. For example, the handheld way in which it is filmed allows the crew to follow the action as it happens (as things can change very quickly in real life), in episode one Danny goes from riding his bike through town to being pinned to the floor by the police, and the crew managed to to capture all of this.

one of the main contributors
'white dee"
The fact that the show was filmed over a huge one year period means too things; the development of long gripping real life stories, and the build of rapport for these stories to be told. Many of the stories that each episode revolves around is about certain stories that take place over the course of a few months, therefore the filming period of one year allows for each characters 'story' to be told with a beginning, a middle and an end. Furthermore it means that the people on the street can build a rapport with the crew that are filming them, as to the process of the show we never see who's behind the camera or any form of presenter or narrator, but still its almost as if the people on the show are talking to whoever by the camera, so the crew would have needed to build the rapport needed to gain the honesty from the characters, for the entertainment of the show.

Something that i like from the production of Benefits Street that i will not be able to replicate in my own documentary; is the year long production time. Everything about the programme is clear and concise and certainly within the first episode, nothing feels as though it doesn't have an ending. However due to the time constraints of a student project it isn't something i am going to be able to replicate within my own work. Something i do however hope to replicate from Benefits Street is the honesty from the characters, they obviously felt comfortable enough around the crew to build this honesty and trust and its something i believe that makes the programme so great.









DOCUMENTARY: RESEARCH AND STORYTELLING

3 Lessons that you have learnt so far about setting up your films in terms of:
-Organisation; filming to late in the day that it starts to get dark, filming on two different days and the weather changes
-Casting; find someone who is confident and will give you entertainment, make sure you have people locked down so that they do not drop out
-Paperwork; access into certain areas/locations

Researching and Developing Ideas
- Test the viability of your story
- Develop your script and rough schedule/budget
- Essential for you to understand the potential of your idea and what we can see/film prior to pitching
- Begin researching online and relevant journals, publications and newspapers 
- Acquaint yourself with the broader picture and background to your story
- Establish key contacts
- NB; Never call to any of these contact until you understand the basis of the story you wish to tell and have an appreciation of the remit/specialism of the individuals you are calling
- You can then prepare some basic questions which you would like to ask your contacts

Relevant Background Info
- Legislation/regulations
- Organisations and experts
- Existing Research - up to date as possible, if unpublished better because of exclusivity
- Case Studies 
- Previous coverage on TV/Archive as appropriate
- Factual films require a 'journalist nose', think about what makes your story worth commissioning - what is new, what is your angle
- Find your USP

Ethics and Representations
It is important to realise that there are more than the subject for an essay or discussion. What it means in real terms is the way in which we in the media, handle themselves. In media terms, when we use the term 'representation' we are referring to how people are used, presented and obviously represented in broadcast. Typically it refers to issues such as - Disability, income/class, values, ethnicity, religion sexuality and issues. 

Relevant Organisations
OFCOM (Regulatory body for broadcasters)
Press Complaints Commission (Independent self regulatory body deals with complaints about the editorial content of newspapers and magazines)
Broadcasters - have their own guidelines and regulations e.g. BBC has produce guidelines 

Who's film is it anyway? 
This can be a source of tension. Essentially those with a vested interest in the film are anyone who is on the crew, cast and can be connected to the story/. Thus keeping everyone 'happy' is a tall order. You can drive it creatively and editorially but are mindful of the above. 

Consent Forms
Use consent forms to gain permission to film your major contributors. As a courtesy you can create a small sign which explains that you are filming at the location today so that people can decide whether they want to be in the background shots or not. 





Thursday, 9 March 2017

DOCUMENTARY; BBC3 RESEARCH AND INITAL IDEAS


Project Brief
We must research, cast, script and edit a 10 minty documentary for a SIMULATED documentary strand - 'teen spirit' - to be transmitted online on BBC3. These should be serious, factual ideas but delivered with the BBC3 brand in mind.

Development
When first hearing the briefing, i almost instantly came up with one idea - the exploration of young people stereotypes. I believe this is an interesting subject that would allow for lots of research to be found, with lots of content to include. However in order to make sure i have an idea that will work, i need to make sure that it fits the BBC3 Brand and so in order to make sure of this, i need to research what the brand is and what BBC3 targets with its programming.

BBC3 is a mixed genre channel, with a broad amount of programming that includes comedy, sitcoms, panel shows, reality and factual documentaries. Mainly their programmes are targeted at young people, looking around the demographic of ages 18-25, this means that the idea that we need to come up with for our own documentary needs to be specific to this audience and relatable to them. When looking at the commissioning page for the BBC3 channel of the official BBC website, i found that ther are three main priorities that the channel looks at when looking to commission a new programme, this includes;

- Having a disciplined focus on young audiences, with 16-34 year olds at the centre of their pogromming, people who are young in spirit and in mindset

- Never afraid to try things and continues to be innovative through breakthrough comedy, stand up entertainment, brave documentary and intelligent factual formats. Content needs to have potential to innovate across all platforms

-BBC Three should provide an environment for the development of new ideas and talent and for exiting talent to take risks

The main way in which the channel has become influential and innovative in comparison to other channels, is the change from mainstream forms of normal channel available to view on any television, to a purely online platform. This solidified it as a channel that is purely aimed at the younger generation, the generation who stray from timed programme and like the fluidity of being able to watch on any platform (i.e. smartphone or laptop) and watch what they want to watch, when they want to watch.

I believe the initial idea that i have, linking to stereotypes of teenagers would suit this demographic as it would be able to use real stories of real teenagers, and therefore be relatable to the audience. However it would require some thought and development as to how the idea could be interesting, engaging and innovative.







Wednesday, 8 March 2017

DOCUMENTARY COMMISSION; AN INTRODUCTION

What is factual programming?
Factual is the over-arching term for non fiction programming and filming. There are many varied genres, devices and formats within factual filmmaking. Each have their own conventions (habits/cliches in style/format/delivery/content). Fictional and factual programmes borrow from each others style and treatment.
All films - fictional and factual - are constructed to some degree, i.e. whether it is in pre, production or post production stages - human intervention is unavoidable. Different genres of factual programmes, in particular documentary films, involve different degrees of intervention.

Truth and Controversey
In 2007 the BBC's reputation was seriously damaged by revelations of 'Fakery', competition winners in particular had been 'faked' (e.g. blue peter and radio one), the BBC were eventually fined £400 000 by Ofcom, this led to more revelations and a complete review of the BBC's handing of competitions and factual programme making. This element of 'fakery' came up again in 2015 with the programme 'Human Planet' where they faked some scenes using a semi domestic animal.

Factual programmes can be divided into a number of genres;
-Current affairs
-News
-Documentaries
-Reality TV
-Factual Entertainment

Current affairs programmes are often 'reporter led' and deal with weighty subjects with a harder news edge, they have a less observational feel to them and are more obviously constructed, the journalism and the story is at the heart of these films, relying less on character and actuality.

Documentaries defined - 'Artistic representation of actuality'. Their job is often to inform us about our world and even about ourselves, but also to entertain and hopefully to engage us. Documentaries speak about or allow others to speak for themselves, the filmmaker often acts as a representative of the public.

Conventions
 - Style - shooting and editing - different factual genres utilise different conventions in terms of style
- Structure - varies according to style and content
- Format - varied factual formats
- Narrator/Presenter/Reporter e.g. dignified male voice of authority within a programme
- Experts - used to add 'intellectual weight and authority to a film and its arguments
- Conventions are often subject to lots of satire - exposing the established methods by which stories are told but possibly also limited.

Factual Devices
Particular types of factual programme rely on particular storytelling devices, these various formats become established mothers available to makers of factual programmes. For example. engineering 'tension' is a common technique, by bringing together through careful casting opposites a film gains tension.

Viewing - "Dreams of a life" 
Narrative ; to allow us to move through the narrative we were provided with a range of different devices - Interviews/testimony - timeline of her life (chronologically) - dramatising the narrative through reconstructions of both her seat and her whole life. Investigation to find out what happened, 'tension'. Singing and music was giving the audience a sense of the time.
A big challenge in a documentary is permission, within this, the family of the real character chose not to take part and didn't want to be involved.







Thursday, 2 March 2017

DIRECTIONS: DIRECTORS STATEMENT

The first time I saw any of my chosen directors, Ariel Schulman, was when i watched the film . The camera approaches and elements of post production that i saw within this film were both innovative and engaging. For example, just simply the way it was filmed from a handheld camera fully interested me in Schulman's work and made me look into more of his work. When Nerve was released in 2016, i watched it not knowing that it was directed by Ariel Schulman, there were so many elements within the film that again were innovative and engaging, reminding me of Catfish. This is why i chose Ariel Schulman as my director, i was interested in recreating his work in my own way and also looking at his work on the whole further. The general approach that i took with this, was to be organised in every act of filming, including script, location, casting, camera approach and sound. The art of directing is a hard task to master, and too prepare myself for this i researched some academic articles to develop my knowledge and understanding as what is required of me as a director. The first site I read upon, was http://www.filmmakers.com/stories/Director.htm, a rather long article, but one thing i read stuck with me throughout the process was 'the role of a director is to creatively translate the words of a script into an image'. The reason that this stuck with me was because it made me think about why i chose to do something, why i chose to shoot something in this shot etc.


I undertook some research of certain directors and directorial styles of programmes in order to influence how i would direct myself. From my research of Jack Bender, director of Lost, i looked into the art of displaying a characters emotion. From the script of Nerve i understood the internal conflict that my main character Vee would be going through, i wanted the drama that i create on screen to be very subtle, much like the character herself. This is why i took influence from the work of Bender and used a range of close up shots all in succession with each other to show the emotions n and internal struggle that Vee goes through. Another element that i decide to use (that i didn't find in any of my research) was to use sound effects to create this drama also, in the same subtle way. The two examples that i have used within Nerve would be when Vee is making a cup of coffee and i used sound effects to build up tension before she talks to her mother, and then also using a sound effect for when Vee slams her laptop down.

Most of the creative process that comes with being a director, comes with a lot of decision making, this includes decisions in casting, locations mood and style. Firstly, there were reasons that i chose the specific locations that i chose. My production all takes place in one house, however to film i used multiple rooms in multiple different houses. The key reason behind this decision had everything to do with lighting. In each of the rooms there is different elements that allow for different amounts of lights. For the scenes that take place in Vee's bedroom, i wouldn't the light to be quite low and almost cold, in a way reflecting the personality of  Vee because as a character she is very introverted and quiet, therefore i chose to film in a certain house that had just one window that would let some light in, and also had dark painted walls to reflect the light to look a dark/blue tone. Furthermore for the kitchen scene that i did i wanted the lighting to completely oppose that of Vee's bedroom. Therefore i chose to film in a different house, mainly because it had 2 wide windows in both sides of the wall that would allow for maximum light, also the room itself is a lot lighter in terms of the kitchen design and wall colours, this helped to create a more vibrant, yellow looking feel. The main reason for this idea of opposing lighting in the kitchen was because I wanted the kitchen to reflect the personality and stature of Nancy (Vee's mother), Vee struggles to communicate with her mum and that is put across throughout Nerve, i wanted to create a this opposite in personality through their home and for me, lighting, was a key element in creating that atmosphere, which is what lead me to make these decisions in locations. 

This leads me to decisions that i made in both casting and costume design. The main actor that i cast was Holly Conroy in the lead role of Vee. When casting the main role, i wanted someone who would be aged 18 who could be going through the same thing as Vee goes through within Nerve. Holly looks very similar to Vee within the original adaption of Nerve i thought this was a good thing because whilst i have directed it in a different way to Ariel Schulman it isi good to have these recognisable elements from the film. The character of Vee's mother Nancy is a minor but important role with my production. I wanted to cast someone with different coloured hair to Vee because it is the an obvious difference between the two, subtly referencing their personality differences. This also lead me into my decisions in costume, the character i wanted to be wearing specific clothing was Nancy. I wanted Nancy to be very well dressed and well presented, because the type of character i was trying to portray was someone who is confident and an upstanding member of society, and the clothes that she wore on the shoot and the way in which she presented herself did very well in adding to this representation of the character. Vee i wanted to be dressed in a very normal, teenage way, clothes that weren't too bright and vibrant, just conformable clothes that a normal teenager would wear.

Sound design is something i didn't think much about when organising my production, until we had a workshop with Simon about the different ways in which sound can be used within a film. First of all, i wanted to open with some music, the music itself it very happy sounding music that i believe links well with the genre and therefore i believe it fits very well. For the rest of the production i wanted to use mainly sound effects and ambient sounds. This is because what we see is very much day to day life for Vee and therefore these normal sounds would be in a way expected by the audience. I didn't want to use music throughout the non-dialogue scenes, purely because i wanted to have a realistic sense about the production, something i believe too much music doesn't provide. Moreover, sound design was very important in looking at the actual game of Nerve (the videos that Vee watches throughout the film), because the graphics of the game was very hard to replicate on a professional level, i decided to just use the sound and instead focus on Vee's reaction to the game rather than the actual videos itself. This sound was important, i wanted the sounds from the video to be loud and intense, appearing almost like the audience are watching and seeing the video soon, so i prerecorded the sound and layered it in to the film, turning the audio gain up to make it as loud as possible.

An example of the coverage i achieved in the Kitchen Scene
Decisions that i had to make in sound design, particularly for the Nerve videos, made me consider the different camera approaches that i wanted to take. Throughout i had 2 main camera approaches, firstly i wanted to to make sure i had good coverage of every scene, so in order to achieve this i wanted to make sure i had at least 3 different shots of each scene; a long wide shot that would show the whole room/location rather than just the action, a medium shot that would detail some of the action but still show some space around the character, and finally close shots that would focus on just the action and dramatic parts of the film. One of my biggest creative influences for this, was my research of BBC programme Luther, this is because Luther i believe in a similar way has very good coverage of its scenes (mainly due to its crime drama genre) and this is something i wanted to replicate. The second approach that i wanted to take, was a succession of low and high close up shots of Vee as she watches the Nerve videos, this was to make for a more intensifying view for the audience and also i believe pairs well with the sound design of these videos.


In terms of editing within this production, i didn't really take a different approach to what i normally do when editing. I like to edit very tightly and i like every shot to flow into one and other naturally, this obviously comes back to camera approaches because you need to make sure you film all of the shots you need to get that flow that is trying to be achieved in editing. Something that i also had to do in editing was reverse a few of my shots so that i didn't cross the line, this actually is something i had never done before but it worked well and I'm happy with how it looked in the final edit. I believe that all of the above elements and creative decisions i made, including camera approaches and sound design, helped to achieve the correct mood/design that i wanted. Nerve as a film, has implications of many different genres, including elements of sic-fi, teen drama and thriller. I wanted to try and create elements of mainly drama through the mood i create, the main things i believe to affect this mood are the sound design and lighting, the sounds i create, for example in the kitchen scenes i decided to use some ambient music, which creates this implication of drama. The lighting also is quite cold, its very blue in most of my scenes and again this adds to the effect of drama, the unknown and enigmas within the narrative.

Overall, i am happy with all of the creative decisions i made as a director. I believe that, as i have explained, i had reason and explanation for all of my decisions and they all went in favour to create a my production as a clear and concise film with the direction that i wanted. Though some things i have learnt from and didn't entirely go to plan, i am happy with the end project.






MAJOR PRODUCTION; CRITICAL EVALUATION

Final Unspoken Poster Working on Unspoken, has been one of the longest projects we as students have ever worked on. Myself and my grou...