DOCUMENTARY: Idea Review w/ZSale [31/04]

Last time: -what is being taught currently -at what age is sexuality first taught? -what questions -piggyback a school? -other countries

• Where are subjects finding information? Where should they go?
• Can we film some characters in their school?
• What are they teaching? What are they not? Why?
• Ask about bullying?
• Do school libraries have related books? 
• Teaching unions - NUT - LGBT branch
• If school is accused - ask got a responsive comment

DOCUMENTARY: Production Research [Policy Statement Research]

 Current national curriculum claims not to promote any particular sexual orientation. Contrasting Argument: " The only couples that we talk about are cis straight ones. ... [it's] crushing because it feels like there's no space for you in the world." Independent Article: "Stonewall Chief Executive Ruth Hunt, said: ... “Currently over half of secondary school students say they never have any discussion of LGBT relationships in their lessons, and over half of lesbian, gay, bi and trans young people are bullied in our schools because of their sexual orientation or gender identity."

Looked at DoE proposed policy statement (2017) and found: 

"This ensures that we are building an evidence-based approach to reform that works for schools and makes sure that all children benefit from a more consistent approach." 

...

"factual knowledge, at secondary school, around sex, sexual health and sexuality, set firmly within the context of relationships."

What does this actually change? 

Some have criticised.

See: Independent News Website ("Compulsory sex education: Human rights campaigners criticise government over faith school 'get-out clause'". 2017)

• Education leaders and human rights campaigners have criticised ... for "ignoring" LGBT issues and creating a "get-out clause" for faith schools.
• Human rights advocate Peter Tatchell also questioned that Ms Greening’s announcement gave no mention of LGBT issues – a subject MPs and charity groups say must be included in compulsory teaching.
• “They will be allowed to either ignore LGBT issues or to teach that same-sex relationships are immoral, unnatural, abnormal and sinful. In either case, it will have a damaging effect on LGBT pupils.” 
• Mr Tatchell added: ”Disappointingly, Justine Greening is not insisting on assertiveness training to give pupils the skills and confidence to resist and report unwanted sexual advances.
• schools will have "flexibility" ... "so they can develop an integrated approach that is sensitive to the needs of the local community; and, in the case of faith schools, in accordance with their faith."
• the policy paper states parents’ rights to withdraw their children from sex education will be upheld, the same paper discloses that a “blanket right” to opt-out is “no longer consistent with English case law".

• The matter has sparked rumours that parents’ rights will be reviewed. 
• The Government also states it is in the process of seeking input from external groups as to how the curriculum will be drafted.
• Speaking to PinkNews, LGBT charity Stonewall said it will be “working with the Government to ensure [LGBT issues] are reflected in updated guidance for schools."
• Stonewall Chief Executive Ruth Hunt, said: ... “Currently over half of secondary school students say they never have any discussion of LGBT relationships in their lessons, and over half of lesbian, gay, bi and trans young people are bullied in our schools because of their sexual orientation or gender identity."

Pink News: "Parliament gives green light to mandatory sex and relationship education" (2017)

• David Geary of Pride in London said: “Healthy sex and relationship education cannot be wholly effective until it helps every pupil in the classroom. In continuing to separate, single out and ignore the needs of LGBT+ pupils, the government is helping to cement stigma, self-doubt, confusion and bullying."

Interesting points to pursue:
-Old policy said it wouldn't present a bias but facts show it did. With no mention of LGBT+ topics in the new policy, how can we be sure we don't see similar hetero-normative teaching?
-Should parents have the right to withdraw their children from education they don't agree with?
-Are the teachers being appropriately trained?

DOCUMENTARY: Workshop (Actuality on location) [27/3 & 29/3]

Hold for 10 seconds!

Don't impose (camera) movement on static objects

45 degree turn MAX for pans! (Anything else will be too long)

LS 3:1 CU

Tripod! Tripod!! Tripod!!!

Hold shot when subject leaves frame

When sequencing:
-tight hand
-tight face
-overall

Final video edited by Jack Nix:

DOCUMENTARY: Institution Research [BBC Three]

-Launched 2003 to provide "innovative" tv and target a 16-34 demographic
-90% UK productions, 70% original, spanning all genres
-Unique 60 second news format
-Moved exclusively online in 2016 following mass budget cuts
-Demographic remained but focus moved to comedy and documentary
-Move online allows more freedom with programming content

TV Documentary Commissioners: Charlotte Moore (BBC)

What's the bigger picture?

Narrative is essential

What's the purpose behind your story? Why make it now? 

Be ambitious but not at loss of story

It's the commissioner's job to understand audiences completely but don't be ignorant to their needs 

DOCUMENTARY: Research (BAFTA Guru - Top Tips for Documentary Makers YouTube Playlist)

Documentary Tips With Alex Gibney

Your story needs a human element - something for people to be attached to without the film's inning meanings
Vary the style for the documentary (Reflective floor on Enron - sense of mistrust)
Do you want a sudden reaction or a long-lasting resonance?
Think about the subject. What visual style best reflects this?
How and why does the film look the way it does?
You don't always know where your film will go but "If you find the right balance between the material & what you want to say, you'll get there in the end."

Clare Johns: Documentary Directing Mini Masterclass

Re-use contacts if useful
If filming with vulnerable groups, put safety procedures in place to protect them AND yourself
Building trust and relationships with your subject is crucial

Penny Woolcock: Risk and Range in Documentary

You need to like your subject and like your subjects

Connect stories and connect lives - look for human similarities 

"make the unfamiliar, familiar"

Essential Guide to Reporting Conflict

You are a story teller - be objective, honest but compassionate 

The longer you spend with one subject, the more your knowledge on that subject will grow

You need a good story and a good subject 

DOCUMENTARY: Pre-Production [Questions - Zak]

Straight student:                                                                                             

Introduce self – Name, Age etc

So you’ve had sex ed classes at school. What sort of topics were covered?

What was the LGBTQ+ discussion like? How did it compare to discussions of straight relationships?

Do you think LGBTQ+ issues should be discussed in schools?

How often are you made aware of LGBTQ+ issues and current affairs at school?

How is sexuality viewed by peers at yours school?

Where would you go if you had questions about LGBTQ+ issues? Would you feel comfortable talking to your parents?

Closing Statement

Parents:

Introduce self – Name, Age etc

What were attitudes towards LGBTQ+ people like whilst you were at school?

Do you think they’re more accepted now?

What was your sex ed classes like? Were LGBTQ+ issues discussed?

Did you know many LGBT+ people growing up?

How do you feel about LGBTQ+ issues being taught about during sex ed? Is it okay to teach primary schools about LGBTQ+ issues?

Would you feel able to answer questions about sexuality and gender from your children?

Do you think better education could lead to more acceptance for the LGBTQ+ community?

LGBT+ as a trend and fashion statement?

Closing statement

LGBTQ+

What was your sex ed like? Were LGBTQ+ relationships discussed?

How did this affect your own opinions and perceptions of LGBTQ+ people?

So how did you educate yourself and come to realise that you’re _____?

How was your coming out received at school by your peers and teachers?

Was your school understanding in your coming out?

DOCUMENTARY: Lecture [Sequencing and Actuality (24/03)]

As with drama, we must direct sequences.

CU are key - repeat action at varying zooms and beware continuity

Sequences should be creatively interesting and relevant.

No excuses for poor lighting and sound!

Animate subject = Handheld
Inanimate subject = Tripod
Wherever tripod all sequences.

Good for introducing characters

Research helps highlight sequence potential

Watched: StoryGuide - The Key to Sequences 
Sequences help speed long stories
Highlight key moments
Shoot a variety of shots
Adjacent wides = jump cuts
3 CU for each LS
don't zoom - hold for 6-10 secs
repeat action @ different sizes

Write a list of what you need. Give yourself options but don't overshoot.

Think creatively - framing/continuity

Ensure shots match!!

Actuality
Conveys a feeling of 'real life'
REALISM - Not directed

generally handheld
control is key and planning is vital

let subject enter and exit frame

plenty of reactions

plan sound - radio mics
                 - atmos
brief cam and sound beforehand

helps to illustrate and edit sync clips

reflexive - exposes filmmaking process
self - reflexive - exposes author's own journey

Nick Broomfield (i like)

• Studied law, political science and finally attended the National Film School
• First film shot in 1971 whilst at film school called ‘Who Cares’ about slum clearance in Liverpool
• He originally made observational documentaries and stumbled across his now signature style of placing himself within the film itself to make sense of his film
• Driving Me Crazy Recently adopted what he describes as ‘direct cinema’ style in which real people play themselves in docu-drama style – eg 2006 film ‘Ghosts’ for Channel 4.
• Most well known film – Kurt and Courtney 
• He has won numerous awards for his work including a British Academy Lifetime Achievement Award for his contribution to documentary film making 

Watched: 'Aileen - Life and Death of a Serial Killer.' 

• In 1991 Nick Broomfield made a film (Aileen Wuornos: The selling of a serial Killer) about the family of America’s first female serial killer, Aileen Wuornos, who were trying to sell her story to the highest bidder – curiously it was Aileen herself who emerged as the most principled member of the family.   
• He subsequently remained in contact with her, writing to her until he was sent a subpoena to appear in the final state appeal before her execution.
• Broomfield decided to make this, the second film, looking at her tortured childhood and life as a prostitute.
• Charlize Theron used Broomfield’s documentaries about Aileen as the basis of her Oscar winning portayal of the serial killer in the motion picture ‘Monster’. 

Opens with int. w/ Broomfield, explaining reason for film, immediately giving personal thoughts and feelings - self-reflexive

hypothesis - is the death penalty okay? (youre film should always have an overall message, theme or higher topic you're actually exploring)

characters - opinion of Aileen shifts and changes [How is each character received by the audience and how do they each represent the hypothesis and themes?]

format: self-reflexive - shows us his less flattering moments, adds to authenticity [How much do you expose? Does it add?]

Actuality: lead up to execution leads narrative and provides structure

DOCUMENTARY: Pitch

• Section 28  - Local Government Act 1988 prohibited local authorities from "promoting" homosexuality or gay "pretended family relationships", and prevented councils spending money on educational materials and projects perceived to promote a gay lifestyle
• “Relationships education” - primary schools and “relationships and sex education” - secondary schools.
• -address risks to children which have grown in prevalence in recent years, including online pornography, sexting and staying safe online
• primary school focus - building healthy relationships and staying safe. 
• -As children get older, understanding of healthy adult relationships to become more in-depth, with sex education delivered in that context.

DOCUMENTARY: Idea review w/ ZSale (20/3)

• Why should older audiences care about school kids? 
• Current sex Ed teaching approaches - is it still badly taught? 
• How accessible is the information?
• Parent perspective as well 
• How's it taught all over? 
• Who thinks it needs to change actually? 
• Look at sex educators?
• How do we protect the young people we interview? - maybe don't upload to YouTube 
• Pictures?
• Central character - young and queer feels they weren't supported - reflective POV
• 2 people of differing ages - contact 
• Follow a sex educator? !!!!!!

DOCUMENTARY: Pre-Production [Miss-Representation (2011, Dir: Jennifer Siebel Newsom)]

“Written and directed by Jennifer Siebel Newsom, Miss Representation exposes how mainstream media and culture contribute to the under-representation of women in positions of power and influence in America.”  - http://therepresentationproject.org/film/miss-representation/about-the-film/#synopsis

On-screen text: Opens with quote.
Followed by statistics.

Combines Stock footage of women in media, news clips etc, Cut-ins to interviews to set tone and introduce topic.

Director voice over with pictures: babies, lady looking out over field.

Stock footage of female children finally settling on home pictures

Introduction to young people through shots of young people, followed by facts – on screen text.

Interview with high school students – how female representation in media has affected their lives (This interview presents the problem and adds emotion)

Interview with Jean Kilbourne, EdD (Filmmaker, author & scholar) – photoshop and image manipulation (This interview explains one of the causes of the problem)

Interview with Jim Steyer, (Lawyer & Civil Rights professor) – age differences in cognitive development and ability to understand media images (This interview backs up the discussion with scientific information)

Interview with Katie Kouric (News Anchor) –  worries about effect on own children(This interview gives a relevant and informed, relatable and personal story from a famous figure to build emotion)

Interview with Margaret Cho (Comedienne, Actor & Activist) –  media industry’s sexist double standard towards body image and personal health issues  (This interview adds another cause to the problem)

Interview with M. Gigi Durham (Author and Professor) – Advertisers use sex to sell so programming must compete (Presents a conclusion to why this is happening)

Self-reflexive, subject driven.

Director’s voice over directs audiences and adds emotional, personal narrative. Page turns.

Sets up the problem then uses interviews to discuss the cause, effect and explanation.

Interviews usually MCU, white studio or highly blurred background to make subjects stand out.

Stock footage in place of actuality or sequencing.

On screen text: gently re-directs narrative, presents key facts and figures, highlights and backs up key points and breaks up interview heavy film.

Director introduces specific interview subjects – inspirational characters

Narrative focus shifts to women in politics.

Follows previous narrative structure.

Voice over and sequencing introduces Devanshi Patel, aspiring public services student.

Interview explains her interest in politics and youth governor.

Interview with Devanshi’s mother adds highly personal element not available with other interviews.

Continued voice over from Devanshi explains her struggles with sexism and comments on body image.

On screen text explains Devanshi’s campaign loss and voice over leads narrative on again.

DOCUMENTARY: Lecture [Scripting and Storytelling W/HCurston (17/03)]

Title:

• Sells/teases the story
• Can help focus the meaning
• Think about brand

Treatment:

• Character
• Locations
• Style/Format
• Narrative Structure
• Presenter/Reporter?

• Start w/ comm & interweave w/ summ of sync
• Explore pic options
• Write to picture - should work together

Comm / V/o -- Commentary

Seq -- Sequence

Act -- Actuality

C/a -- Cut Away

Sync -- Interview Clips

SFX -- Sound effects

Commentary: 

• Guides/Explains story!!
• Progresses story
• Introduces characters
• Corner turner (Subject to subject, location to location)
• Info / Expertise

Reflect narrative w/ lighting 

Watched: 'Cops With Cameras' (2007)

Comm: intro who/what/where (Contextualises)

Singles and tight shops - helps to structure a narrative

Clips of kitting up w/ voice over adds tension

Upsound - atmos used as key sound

Narrative style:

-Filmmaker as narrative?

-Make it appropriate

BE AWARE OF COPYRIGHT ISSUES!!

Watched: Girl Gangs (2017) BBC 3
Led by investigator
Anonymity
Characters introduced through quote
Uses reporter v/o as page-turner

DOCUMENTARY: Project Research and Development [Initial Ideas and research]

http://www.telegraph.co.uk/men/relationships/what-its-like-to-be-young-gay-and-homeless/
http://www.independent.co.uk/news/homelesshelpline/lgbt-gay-hate-crime-homophobia-homophobic-bullying-homeless-helpline-centrepoint-albert-kennedy-a7480326.html
http://attitude.co.uk/dramatic-rise-in-number-of-lgbt-youth-being-thrown-out-of-home-warns-charity/
https://www.vice.com/en_us/article/london-queer-tours-lgbt-history-protest
http://www.huffingtonpost.co.uk/gabrielle-watts/lgbt-youth-groups_b_13672876.html
http://www.stonewall.org.uk/media/lgbt-facts-and-figures
http://www.elleuk.com/life-and-culture/culture/news/a34218/legal-same-sex-marriage-reduces-youth-lgbt-suicide-rates/
https://www.theguardian.com/us-news/2017/feb/20/drop-in-teenage-suicide-attempts-linked-to-legalisation-of-same-sex-marriage
http://www.bbc.co.uk/news/uk-scotland-39192130
http://www.huffingtonpost.co.uk/entry/lgbt-students-mps-compulsory-sex-relationships-education-valentines-day_uk_58a1cb83e4b03df370d87485
http://www.pinknews.co.uk/2017/03/06/lgbt-teens-half-as-likely-to-play-sport/
http://www.huffingtonpost.com/entry/cvs-loves-us-too_us_58af2d3ae4b02f3f81e444e7
http://www.lgbthealthlink.org/
https://blog.lgbthealthlink.org/
https://www.kent.ac.uk/sac/current-students/research-students/anthropology/p-t/tunaker_carin.html
http://genderedintelligence.co.uk/trans-youth/youth-group
http://www.huffingtonpost.co.uk/lj-ferris/exposed-the-truth-about-t_b_14704126.html
https://uktrans.info/70-topic-overviews/328-resources-for-schools

DOCUMENTARY: Lecture + Workshop (Interviews) [15+17/03]

Vox pops better for news
Too random for docs

Interviews must match style of doc

Docs:
Adds personal experiences and expertise
Add colour and content
Emotional engagement in character
Evidence - Personal testimony

Who?

• Expertise
• 'Ordinary People' - research relevant parties
• Officials - politicians, execs (can be biased)

What?

• Allow exploration of subject
• Enables the viewer to get to know the subject
• Sometimes create drama/tension
• Answer audience questions (You represent the audience - Ask the tough questions!)

Always get a final thought

LOCATION LOCATION LOCATION!!!

Open questions!!

Every interview needs a set up sequence

• Introduces interviewee
• Actuality, sequences & GVs

Do we see the interviewer?

If so, keep them active throughout the film.

Actuality interviews:

• conducted in situ
• allows you to keep action going
• questions react to events
• time specific

Sit-down interviews:

• Good for covering lengthy and tricky/emotive interview subjects 
• Controlled environment - good for clean sound
• Always a safe bet! 

Don't forget name and job title.

Talk to subject during set-up - build rapport

Give yourself OPTIONS!

Check all equipment before subject arrives

NAME AND ORGANISE CLIPS!!

Clip mics use radio freqs - you need a license

Further research:

https://www.youtube.com/watch?v=Ll7wjjp-aF4 'Song Stories: Frank Carter - How I wrote 'Snake Eyes' - NME

Setting: Dark, plain room - emphasises subject.
Equipment box and amp reflect topic

Interviewer not shown, keeps focus on subject

Near side on CU for emotional emphasis

Cut-aways to music video reflect conversation, gives reference and separates questions.

Workshop follow-up (17/03)

Check skin tones - Use zebra to highlight wash-out

Sound - Look for levels, listen for quality

Use MCU for captions etc

When editing zoom to 20% MAX!

• Well framed
• Lighting v. good - natural
• Sound hits levels well
• WS establishes location nicely and gives perspective
• Fancy lighting shot is V. nice!

DOCUMENTARY: Benefits Street

sets tone of underdogs (unemployed, 'one of the worst areas')
tightly packed, diverse area

lots of characters
community spirit
cu emphasises emotion of interview
combines interviews, narration,
progresses story through characters
looks at poverty, law,
subjects cut in on interviews  - informal
seems to highly focus on character downfalls
follows main story of taxes being cut

DOCUMENTARY: Louis Theroux: Saville (Dir: Louis Theroux, 2016)

Old footage of Saville at his home
Radio v/o of news announcement
Made when Louis met Jimmy
Three years after announcement, decided to try and understand how he evaded knowledge
Shots of school
Then int w/ her at home
sudden cut to very shaky footage of saville in car
Uses archive footage from his show
Asks in retrospective about documentary
Uses clips from 'WLmJ' for reflection
Makes himself a subject through old interviews and reflection
Looks at variety of connections: Victim with history of abuse, Old friend, himself, Victim with anger
Vivid memory replayed through travelling shots and picture of saville, music builds to pivotal part of story to build tension
Speaks to old workfriend that doesn't fully accept accusations
Louis reflects on his skills and approach during previous film
Interview with newreporter that had chance to expose truth
Interviewees have wide variety of belief about the accusations
Lets himself be interviewed by subjects

DOCUMENTARY: LECTURE [Research and Ethics w/HCurston (10/3)]

Research:

Casting
Communication - Cannot build a rapport via e-mail - ring them!
Interesting characters can change a production
Never commit or throw away until you're 100% ready
Make the cast feel important
The wider the net, the higher your chances
Use social networking

Locations:
Plan early
Take photos everwhere you go, build a bank of locations
Actually go there - Sound, Lighting, Risks, Access, Storytelling, Power, Storage
Is best to go when quiet
Take laptop or spare SD to store footage
Always be polite
Always have a plan b

Scheduling
Always overestimate
Schedule lunches!!

Organisation
Prioritise
Always have crew to mind kit and cast etc
check your equipment - be sure you know what you're using and how it works
ALWAYS get consent forms signed before shooting

Paperwork
Get it done early

You've got your idea, now what?
-Test viability, is your story relevant? possible?
- Develop schedule/budget and script
-What is the audience going to see? Think visual potential?

NEXT STEPS:

• Begin research online and relevant journals
• Acquaint yourself with the broader picture and background to your story
• Establish key contacts
• Don't call anybody without doing background research!!
• Keep records and notes
• Prepare basic questions

Relevant b/g info:

Legislations/Regulations

Organisations and experts

Existing research - up to date as possible, if unpublished better - exclusivity

Case studies

Previous TV coverage/archive if appropriate

What makes your story worth commissioning?

What is your angle? What's new about it? Your USP

Ethics:

Your cast are more than just subjects for discussion
Avoid lazy journalism
Treat people with respect
Think about your representation - diversity

Ofcom
PCC
Broadcasters have own guidelines and regulations eg. BBC has producer guidelines
Pressure/interest/community groups likely to be watchful

Finding case studies/characters:
-Those who best illustrate your story
-Interesting and engaging for an audience

Where to look:
-Relevant organisations
-Via experts
-Via reported media cases

Always meet them - building a rapport is important.

Important information to get:
name/Age/Contact details - write it down and keep it safe!
-Availability (work and holiday commitments)
-Potential filming locations
-Potential RELEVANT sequences
-For under 18s - Parental Consent

Listen to: 'Word of Mouth - Journalsese - Looking at Lazy Journalese' - Podcast via EStream

Claire Johns: Documentary Directing
Inspired by socially minded films
Went through a lot of red tape
Found pos whilst researching

CONTEXTUAL: Representation [Sex & Sexuality]

Representations of sexuality in the media
Eroticism, Pornography
Eroticism:
-Usually in writing or photography/art etc
-Aesthetic depiction of sexuality; may not involve nudity
-Pride and Prdjudice, Darcy emerging from lake - Eroticism on tv
Pornography
-Explicit depiction of sexuality usually via nudity and graphic sexual activity
-for arousal

Identity Representation of sexual empression
LGBT
asexualism
pansexualism

Censorship:
Mediated by exterbal censors
-UK: Legislations, watchdogs (ofcom)
-US - FCC

BBFC changed from film censors to classifications
-Unclassified films would not be allowed in cinemas, had to either be sold under-the-counter or in sex shops
-Not just pornography, horror movies too
-Changed in 90s, allowing dissemination of material

OFCOM
External

Broadcast newtworks also have individual editorial guidelines
Moral Majority also act as external watchdogs (Mary whitehouse, national press)
every broadcasting netwrok has own editorial guidelines
All about context

Channel 4 have history of rubbing Daily Mail because of depiction of Sexuality
Representation tightly controlled until 70s liberalisation
First portrayals of nudity and gay characters

Stereotypes
4 key sexual stereotypes (existed since 50s/60s - are the still relevant?)
Libertine
Camp
'Butch'
Asexual (most commonly found in sitcoms)

Sexuality and iconography
Ellen DeGeneres
Feminist, Gay icon
sitcom ran from 1994-98
originally primarily known as stand up comedian
very heteronormative, stereotypical representations
Heterosexual writers and producers

Ellen 'The Puppy Episode (1997)
Persona 'onscreen outing' towards end of 4th season
Right-wing groups threatened boycott, alleged sign of apocalypse having gay character on tv; advertisers pulled out
minimal gay mainstream rep until then
drew 42m viewers. Series dropped after season 5 but paved way for later medias (such as Will and Grace)

gay lib movement in 60/70s opened up gay film avenues

Queer theory
theorists such as judith butler argue gender and sexuality are social constructs informed by media and representation
Alternative to gay and les critical theory which places sexuality in historical, social and political context
theorists until then rarely looked at films from a modenrist pov
thoery allows for re-interprtation of sexuality

Freud and sexual theory
'The unconcscious' repressed or sublimayed sexual desuire expressed through subtext
Usually explored through surrealism
Hitchcock and especially 'Vertigo' are very psychoanalytical film. 'Psycho' has oedipus ties in character Norman Bates.
Polymorphism - existing in different forms (sexual deviancy outside hetero-normative)
Scopophilia/Voyeurism
Oedipul and Electra complex

Girls (2012 - 2017)
COmedy drama written and directed by Lena Dunham
Female-centric depiction of sexuality
HBO series outside of FCC control (because cable channel ran under own guidelines)
Frank language, nudity and sexual depictions

Agency
has become new criterion for analysing representation
To what extent diversity characters (non-hetero white males) creates, drives and changes

Seminar:
Mainstream representation of women can be almost too-powerful, can seem unrealistic
Kathryn Bigelow reflects feeling of women in man's job in 'Zero Dark Thirty'
Star Trek has themes of social justice running throughout,
-Next Gen has episode with agender planet (all female cast made to look genderneutral) (plotline has feeling of groundbreaking potential but not followed)
-Deep Space Nine uses parasitic alien to raise questions towards sexuality

DOCUMENTARY: Institution Research [Vice]

-Canadian company started in 1994 as a print magazine and website focusing on arts, culture and news

-Grew into Vice Media to include a film production company, a record label, and a publishing imprint

-Moved to NY in late 1990s and became known for provocative and 'politically incorrect' content

-British edition launched in 2002 focusing on "the things we're meant to be ashamed of", covering topics of extreme sex and bodily functions

-Launched a television network in Canada and US in 2016, targeting millennials

-Currently focuses on current affairs, still pushing provocative or alternative content with guerrilla style journalism

CONTEXTUAL: Gender Research (Gender research notes - Suffragette [Dir: Sarah Gavron, 2015] notes)

Film opens with shots of women wahsing clothes
looking up at them from a puddle - reflecting back on history
v/o mem speaking against women's vote
on screen text explains story - reminscent of shakespeare storytelling
shot of character undressing immediately focus pulls - opposes female gaze
character looks into doll store window as bells gongs, foreshadowing suffragette attack on store
male character sits at head of table
females repeatedly looked up to
brings up questions of law and establshment
husband controls money and makes son salute king
mom pulls son away from horse - freud refrence?
Bechdel test passed
Dark room red lighting conotes villainous characters
Man looked up to by camera reflecting character's fear
Predominately female roles
female characters start as camera's main focus once entering room but becomes swamped by male characters
Camera moves closer, ending with cu's on face + h&s
men lose power, become looked down on again by camera. Camera tracks in on her face as she takes full attention of room and audience. She is focus on screen but he is viewed over her shoulder.
Dark lighting when in bed with husband, somber
Female characters shown as good with kids, male characters show no interest
not super-fast cuts during violent scenes, gives feeling of classical horror genre
Hard, naturalistic lighting during interrogation
he holds power, but no light, she has streak across face
she drops to knees down to husbands level as he berates her
All gather for arrival of Pankhurst
Begins obscured by hat and door shutting - enigma
long drawn out shots create tension and action is contrasted by police approaching
umbrella and flame symbols of protection and safety after being kicked out
close up on eyes with his lips included in shot
he puts card between hands - she does not take it
Main character begins wearing more masculine seeming clothes: collars, overcoat and hat
Character leaving because of baby followed by shots of nature, washing on lines and children playing - connotes growth and change
i began crying when Maude's kid got taken
camera follows behind inspector, making him seem more important than audience
long shots for force-feeding, minimal sound design other than screaming
bev shot of spiralling staircase to show inspector losing control
quick cuts as deciding to attend derby, film's pacing increasing towards end
sound stops as Emily dies
She adopts coat as she adopts role
she sits in a large, dark church lit only by candlelight
Red jacket
White imagery
Camera blurs as she joins march, they all become one
cuts to archive footage of march

DOCUMENTARY: LECTURE [Ideas Lab w/ZSale [08/03]]

'The School that Turned Chinese.'

Think about characters

What fascinates you?

Watch: 'Searching for Sugarman' (Dir: Malik Bendjelloul, 2012)

Ideas that can be empathised with

Sources and contacts
What do you have specialist knowledge of?
Look at other media
Get behind the headlines
Best sellers/Most watched etc
TED talks can be fruitful (for presenters and experts too)

Research: Norma Percy

BBC Three documentaries are usually extreme and character driven

Think location (E.G gym in a town with weight issue)
'Secret History of our Street' - looks at one street a week, gives a social history of the UK

When investigating - go digital!
User generated footage is gold

Watch: 'Sri-Lanka's Killing Fields' (Dir: Callum Macrae, 2011)
Watch: '9/11: The Falling Man' (Dir: Henry Singer, 2006)

Watch: 'Our War, Into the Hornet's Nest' (Dir: David Salzberg and Christian Tureaud, 2014)
Immersive
Characters
Unfilmable by a crew
Asks questions
Socially and politically relevant
Honestly compelling

Affect the audience's heart, mind or wallet!

DOCUMENTARY: Dreams of a Life (Dir: Carol Morley, 2011)

Interviews from reporters
Shots of abandoned flat - recreation
Interviews with old friends, speaking to crew and with crew
People speaking in hindsight - sentiment obscures truth

First way in through lover
Interviews paired with recreations of her, throughout life and death - mostly based on assumptions and second hand knowledge from FRIENDS ETC

Uses research timeline of life to help progress story

Sequences typically very dark, with naturalistic lighting
Focus always on Joyce
Interviews are still, tripod shots
Sequences handheld

Introduces recorded clip of voice

Very little actuality

Finishes with real image of Joyce

DOCUMENTARY: LECTURE [Intro to Factual Programming w/HCurston (3/8)]

Actuality = Real moments the crew keep up with but can't stage
Sequences = Staged, directed moments

Fact and fiction borrow from each other - retelling reality

Different genres involve different degrees of intervention
EXPECTATIONS OF INTERVENTION:

Watched: Hidden Kingdoms - BBC One
Re-tells reality by filming marmosets in a studio
Similar to recreating train set from Nightmail
More interesting than graphics
Can seem dishonest - producers usually include 'making of' to evade this

Current affair programming
Often reporter led, dealing with weighty subjects
Less observational, more constructed
Journalism and story over character and actuality
Freedom of speech and free press - reality shaping capabilities

Voyeurism vs public interest

DOCUMENTARY: Britain Through a Lens (Dir: Chris Durlacher, 2011)

Social movement by John Grierson

Original documentaries made as social message, hoping to unite Britain. Hoping to lessen the building class divide with appreciation of the working man without making them a joke.

Listen to Britain (1942)
-No v/o
-Government propaganda

Industrial Britain (1931)
-First v/o
-Ordinary man shown as hero

Nightmail
-Meticulously researched
-Accompanied by poem and music
-Immersive, giving heavy sense of being in the action
-Real people but performing script (based on real conversations)

First Days (1939)
-Celebratory look at the start of WWII

Diary for Timothy
-Told through letter to child
-Can be uncomfortably honest (!!!)

DIRECTIONS: Critical Evaluation

 Initially I'd say this unit has been most productive as a learning exercise, helping me pinpoint aspects of my directorial approach that can be improved on and helping me to better appreciate how much a director has to consider.
 My primary objective was to direct an episode of The Office to look like a documentary, using continuous shots and minimalist editing to give an alternative, spontaneous approach to the show. Whilst I think using continuous shots was effective in making the episode look more like a documentary, I had to sacrifice cut-aways which The Office usually most effectively uses to pick out reactions, bringing subtle comedy to the forefront of an otherwise occasionally melodramatic show. However, I do not think this has too dramatically impacted my piece as it forced me to search for other chances and ways to let those reactions be seen.
 Losing the chance for comedic reactions, I became very aware that I would have to replace this element through another aspect of the show and, influenced by Otto Bathurst, decided to experiment with using non-diagetic sound effects to highlight certain moments in the film. Although this could be argued to contradict my creative vision, I think that the added elements of sound design add a surprising twist to the piece that achieves the comical effect I was hoping for.
 A major aspect of my film I found very effective was leading what would usually be two seperate scenes into one another. Slightly inspired by Edgar Wright's usage of people passing in front of the screen to wipe, I used Jan pulling Michael in front of the camera to move the focus onto them and away from Jim and Karen. I think it was effective at highlight the connection between the two plots instead of showing them as unconnected scenes happening under one roof.
 One of the major downfalls of my production is my obvious issue with daylight continuity and the effect this has on the believability of my film. This is an obvious oversight on my part as the director and by choosing to shoot in chronological order I could have gained a more chronological movement of time and not jumped confusingly between day and night. Given more time I would have liked to attempt to fix this issue with colour correcting software but did not feel I had the necessary skills to attempt this with my minimal schedule.

DIRECTIONS: Director's Statement

 The key aspect of my creative vision in my re-directing of 'The Office' came from an aspect of the show that annoyed me when I first watched it. The premise of the show is a faux-documentary watching the lives of office employees and I occasionally found the cuts and coverage always too clean for this. Whilst I understand this is because 'The Office' was in reality a comedy drama filmed with a multi-camera set-up I thought I would take this opportunity to see how the show looked filmed how I had always imagined - more like a single camera documentary than a drama.

Location

 For David Wallace's house I wanted a location that would reflect a mid-high income of the CFO of Dunder Miflin. I chose a detached house with an intimate, homely interior that also reflected the episode's romantic themes. On a shoot with a bigger budget I would have looked at acquiring a location such as those pictured below that would have better reflected Wallace's career. However, the shortening of the episode made this less of a necessity, enabling a location that reflected the episode as opposed to a singular, minor character.

Production/costume design

 My original intention for costume design was significantly more formal than the final product. Given a bigger budget, David and Michael would have worn suits: David's stylish and tailored to reflect his high status and Michael's being a tailored suit that seems a few years old. Jim's outfit would have been more smart-casual, mixing either a plain shirt or stylish t-shirt with a casual blazer. Karen's outfit would have been sophisticated but slightly more playful than Jan's pricey, sophisticated dress. 

 

Sound design 

My plans for sound design are heavily influenced by the episodes of Teachers directed by Otto Bathurst and his use of occassional diagetic sound effects for humour purposes. Whilst this varies from my idea of producing an episode that feels more like a documentary than the original, I believe it is an unexpected and effective way to emphasise some of the show's subtle comedy. 

Camera approach

 To try and reflect the intended documentary style I filmed each scene as one continuous shot. As an attempt to try and emphasise this naturalistic style and make my actor's actions seem comfortable I did not give them much direction in stage directions except where to move etc, instead allowing them to act as they felt the character would.
 However, as a contrast to this I repeatedly showed Jim and Karen through a face-on two shot of the couple sat on a sofa, hopefully conveying a feeling of intimacy between the pair. This shot choice was influenced by my research into Edgar Wright and Otto Bathurst.
 One of my initial creative ideas was to, in the scene where Jan drags Michael into the bathroom, have her pull him through the party and down a long hallway and into a bathroom at the end where the camera would be placed to show the party on one half of the screen and the hallway leading to the bathroom on the other.

Mood/tone/visual style 

I wanted to show Jim and Karen's relationship to be more comfortable and healthy than Michael and Jan's so had them sitting in all of their interactions on comfortable sofas whilst Jan and Michael would be stood and almost always moving in order to reflect the idea that their relationship was unstable and progressing towards the end. 
 One of my main ideas was to keep the majority of the action happening in one central room in the house, reflecting the show's usual setting of an office. This was to convey an idea that even though the characters have escaped the close quarters of the office, they are still forced together in their off time as well. To emphasise this connection, I twice transition one scene into another without cutting and instead just turning the camera's attention.

Editing

My approach to editing was very minimal, keeping with my one-camera documentary vision. I filmed no cut-aways or extra footage to cut to and as such most of my editing was in making sure sound design was crisp.