Media Production
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Media Production

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  • Representation Expectations of channels secret filming ReconstructionsDealing with contributorsPaymentsFairness and privacyCriminalityImpartilityPotentially offence materialCommercial refrences
  • Potentially offence materialCommercial refrences

Media Production Media Production Presentation Transcript

  • Media Regulations- PROTECTING UNDER 18s & HARMAND OFFENCE
  • Balance - a situation in Accuracy - the which different quality or state of being correct or precise Glossary elements are equal or in the correct proportions:Objectivity - A proposition is generally considered Impartiality -to be objectively true when its truth conditions are treating all rivals ormet and are "mind-independent"—that is, not met disputants equallyby the judgment of a conscious entity or subject. Access - the right or Representation - the action of opportunity to use or speaking or acting on behalf of benefit from something someone or the state of being so represented Privacy - a state in whichBias - a concentration on or one is not observed orconcern in one particular area disturbed by other peopleor subject Opinion - a view or judgement Subjectivity - based on or formed about something, not influenced by personal necessarily based on fact or feelings, tastes, or opinions: knowledge
  • Watershed.• In television, the term watershed means the time period in a television schedule during which programs with adult content can air.• a television watershed also serves as a dividing line – it divides the time between where content for families and/or children has to be aired, and where content aimed towards an adult audience can be aired Examples of adult content include, but are not limited to, graphic violence, horror, strong language, nudity, sexual intercourse or reference, drug use, and/or suggestive themes. In most countries, the same set of rules also apply to commercial advertisements
  • Interviews• Many interviews in documentaries rely on who they’re interviewing and also what the matter is and timing of the interview.• Many interviewees have a biased opinion on the subject matter. They hardly ever argue for both sides of the story. They almost try and persuade the audience to be on the same side as they are, and with supporting evidence and archive footage, there is more reason to support their ideas on the topic.. It is sometime difficult to book a specific interview as the interviewee may not feel comfortable talking about the subject matter etc.
  • Issues facing producers of factual programming..
  • Under 18’sUnder 18s must be protectedfrom potentially harmful andoffensive material. One of themain ways of achieving this is through the appropriate Anything unsuitable for any viewers must be scheduling of programmes. shown at nine pm or later. Nothing unsuitable for children should, in general, be shown before 9pm or after 5.30 am. there should then be a gradual transition to more adult material, generally, the more adult in nature a programme is, the later in the schedule it should appear.
  • The main way in which under 18s may be protectedfrom potentially harmful and offensive material isthrough the appropriate scheduling of programming.In practice this means that, as a general rule, themore adult in nature the content is, the later it shouldbe broadcast, with the 9pm watershed being thecrucial point in time before which material unsuitablefor children should not generally be broadcast.parents are expected to take full increasingresponsibility for their children’s viewing. Parents may need to take into account that by their children viewing a programme that is showing from 9pm onwards that this could have a huge impact on their physical, mental, and moral development.
  • Harmful or offensive material includes strong language, violence, sexual behaviour etc.. Its inclusion must be justified editorially and by Strong Language the context i.e. taking into consideration the editorial content of the programme, its scheduling, the audience’s likelyexpectations, any warning should and must be given before hand to raise awareness to the Viewers should be clearly forewarned viewer of any potentially harmful or offensive material so they can make their own informed choices about what they and their children watch. This usually requires clear on-air pre-transmission warnings.
  • Truth and Accuracy Programmes must be true and accurate. It is the responsibility of programme-makers and broadcasters to ensure that viewers are not misled.Programmes should not condone or glamorise violent, dangerous or seriously anti-social behaviour, especially where it is likely to encourage others to copy such behaviour
  • Any discriminatory treatment or language e.g. on grounds of age, disability, gender, race, religion, be Programmes including liefs and sexuality must be justified by exorcism, the occult and the the context. Nothing transmitted paranormal will require careful should be purposely intended to stir up handling racial hatred or, taking into account the circumstances, be likely to do so. Programmes should show respect for human dignity. In news and factual programmes, showing people in distress and in sensitive situations requires clear editorialRepresentation justification. Similarly, in entertainment programmes, careful consideration must be given to humour based on the plight or misfortune of individuals.
  • As far as the programme scheduling goes, the rules apply to all;including trailers and promotion advertisements.Depending on the context of the sequence will determine when theclip will be shown on TV and when it is most appropriate. The transition of the more ‘adult’ like programmes begin by the adverts. The adverts gives an insight to the audience especially if children are watching too. The advertisements builds up to the programme as if it’s an introduction, this is called a gradual transition. If it is not picked up on then almost always a ‘flag up’ will have been given, to give and inform the viewers about what they should expect from this up coming programme.
  • Expectations of channelsAll TV channels are there to represent itself but sometimes, hardly ever, a miss understanding may occur. Many TV channels have given a reputation for themselves! Examples of these are: BBC1 and MTV. You would expect to see factual programmes on BBC1 with appropriate medialanguage used, whereas, MTV have a reputation for there reality TV shows and the use of bad language. However both these TV channels are aimed at different audiences!
  • Secret Filming Producers must set out inBefore any secret filming is writing their justification forundertaken, covert filming/there are detailed guidelines you recording. It must satisfy themust provisions of Section 8.13 of the Code. Individuals must not normally be filmed or recorded secretly for inclusion in a programme unless approved by the broadcaster in advance.
  • Reconstructions• All reconstructions must be fair and accurate.• If there is a risk that viewers might be misled, reconstructions should be labelled as such to avoid confusion.• Where there is risk of causing distress by reconstructing actual events, appropriate parties should be informed.
  • Payments• Do not make payments to sources or contributors without reference to and the approval of the broadcaster.• You must seek advice from the programme lawyer before making or promising to make any payment to a convicted or confessed criminal.• You must not make any payment or promise to make any payment to any witness or defendant involved in any kind of legal proceedings without the consent of the commissioning editor and programme lawyer. Where criminal proceedings are likely and foreseeable, again never pay or promise to pay a potential witnesses without first consulting with your commissioning editor and taking advice from the programme lawyer.
  • Dealing with Contributors• If advertising for contributors, the wording of adverts should be approved by the commissioning editor and programme lawyer.• Contributors should take part in programmes on the basis of their informed consent.• Consent should normally be in the form of a signed release form, although consent on camera may be satisfactory.• Any set-ups or use of deception must be justified by the public interest and this must always be agreed in advance by the broadcaster, unless it is intended to seek consent of those filmed before broadcast.• Letters to key prospective contributors should be approved by the commissioning editor and programme lawyer before being sent.• Any approach to seek a response (right of reply) in relation to significant allegations or criticisms must be discussed and approved in advance by the programme lawyer.• Any conditions placed on interviews by contributors must be agreed by the programme lawyer before programme-makers accept. Programme-makers cannot agree to give contributors previews of programmes without the consent of the commissioning editor. Editorial control must never be ceded.
  • - Any attempt to seek an interview without prior arrangementi.e. a ‘doorstep, mustbe discussed and approved by the programme lawyer inadvance. - Programme-makers must comply with the rules onpayments.Interviews must be fairly edited.- Individuals in distress should not be put under pressure to agree to be interviewed or otherwise take part in a programme.- If filming with the police or other authorities, seek advice fromthe programme lawyer. - If a source seeks an absolute guarantee of anonymity seekimmediate advice from your programme lawyer.
  • Fairness and privacy• We must avoid the unfair treatment of individuals and organisations in programmes.• If the programme you are making involves criticising or making any damaging allegation about any living individual or organisation, seek advice from your programme lawyer.• Any significant infringement of privacy of an individual or organisation, in the making or broadcast of a programme, must be warranted by the public interest
  • CriminalityProgrammes involving criminals or aboutcriminality require special care and are likely tobe legally contentious
  • Impartiality• Programmes dealing with matters of political or industrial controversy or matters relating to current public policy should be duly impartial.
  • Potentially Offensive Material• Material with the potential to cause offence e.g. strong language, violence, sexual violence, explicit sexual portrayal etc. must always be justifiable by the context.• Advice should be given from the legal & compliance department at an early stage.• The commissioning editor, on the advice of the programme lawyer, will ensure that an on- air warning is given to viewers, where appropriate
  • Commercial References- Programmes should not give undueprominence to commercial products or services.Product placement is prohibited.- Where programmes contain viewer competitions and/or premium rate telephone lines for viewers to call, seek advice from the programme lawyer.- Sponsored programmes must not contain promotional references to the sponsor, its activities or products or services.- Advertisements or clips from advertisements used within programmes will require strong editorial justification.- Always seek advice from your programme lawyer.
  • Aileen.Aileen directed by Nick Broomfield.This documentary is a well known successful factual documentary, it is hugely successful for the waythe documentary is exposed to everyone and also the content in which filmed.Through the use of the codes and conventions, Nick Broomfield stuck to a strict schedule by onlyshowing the documentary after 9:30pm to 5:30am. This is ideal as it protects the viewers fromharmful, offensive material.By adding in the certificate of 16A it also informs the audience that the content that will be shownthroughout the documentary is only suitable for 16yr olds and over.If anyone decides to ignore the certificate given and is disturbed by the footage shown it is only theirfault as they were warned and decided to purposely ignore all the information they would havebenefitted from. They watched the programme at their own risk.All the information that was shown on the documentary is all factual based, it is important that theaudience are not miss led.Another factor was that the documentary did not condone or justify the violence for sawn, as this couldlead to others copying such behaviour as they believed their actions are justified. In addition theprogramme shows respect for people in distress and sensitive situations, this is shown and justifiededitorially.
  • My 9 minute Documentary… My nine minute documentary will be suitable for people under the Under 18’s age of 18 however it would be only be shown from 9pm and after. There is a possibility that strong may be used throughout my Strong Language documentary. But because it will be shown after 9pm it shouldnt matter as much, but if young children are going to be watching it will therefore be the parents responsibilities about what their children hear and see.Truth and Accuracy My documentary is going to be very truthful. We cannot promise that nothing will be set up purely for the audiences entertainment but it will be a reality factual documentary.
  • We intentionally will not be using the technique of secret Secret filming filming in our documentary however we can not promise anything. Secret film maybe set up for the viewers entertainment. My peers and myself will not be reconstructing an Reconstruction original ghost story. The footage that we film we not be acted out. Payments We will not be getting paid for a class 9 minute documentary. Every advertisement that is released about our nineDealing with contributors minute documentary will have to be approved by the contributors before it is out in the public eye.
  • If our programme is uncomfortable for someFairness and Privacy audience members to watch then it would be best to seek advice from the programme adviser..Criminality There will be no criminal based material throughout our 9 minute factual programme. - We’re dealing with the superstition of ghostPotential Offence Material occurring in the Henley college basement. - This could potentially offend any non religious groups of people and also