Research Proposal - Alex Smith.pdf

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Aims and Objectives
This research project will be exploring my role as creative producer and director of
photography on my major project. I want to do these two roles as I am interested in
pursuing them as a career. By taking on these roles for this production, whilst I am
still in university, allows me to explore how I perform in the roles and if they are a
career path for me. I also hope to further my skills and knowledge in each area. In
the second year of university, I had the role of director of photography on multiple
productions, including a third-year film. The film went on to be featured in a
showcase for the university’s film department. I have also had experience as an
assistant producer which has allowed me to learn all the paperwork involved and
build a variety of connections. I feel like this previous experience has allowed me to
know to effectively fulfil these roles in this production. I also believe that I have learnt
more since my last project and am hoping to put the knowledge I have learnt to use
in this project.
Producing is a key role within a production. It is the producer’s job to find things such
as suitable locations, actors, and props. They also must ensure all legal
requirements are met and risk assessments are completed (Patz, 2011). The size of
the production means that the job of the producer can vary. However, overall, a well-
managed production allows the rest of the crew to have the opportunity to creatively
express themselves and produce good a high-quality film (Gates, 2013). However,
the director of photography has the job of communicating with the director and
translating their vision from story to screen. When thinking about the type of pf
producer and camerawoman I would like to be I looked to the theory of the six
thinking hats (De Bono, E. 1999). This theory is a way to enhance creative thinking
by splitting up the various ways of thinking into six coloured hats: creativity, caution,
optimism, emotion, logic, and control. I see myself as the red hat which is said to be
for emotions and feelings. I chose this because as a producer I would ensure
everyone’s ideas were heard and that everyone was feeling comfortable on set. I
want to be friendly and approachable towards the crew I am working with in hopes
that they can confide their worries in me which will make us a stronger team. As I am
also doing camera work on this project, I feel like I must be a creative producer and
have creative input throughout. I am aware that difficult challenges can occur during
production which can be worrying. However, I will create contingency plans and have
a backup, when possible, to prevent any challenges we might face from ruining
production. Overall, I am excited to be working as a creative producer and director of
photography on this project. I look forward to the different challenges and seeing
everything come together.
Annotated Bibliography
• BFI. 2021. BFI Inclusion in the film Industry. [online] Available at:
<https://www.bfi.org.uk/ inclusion-film-industry> [Accessed 22 November
2021].
When preparing for my role as a producer I found the British Film Institute website
extremely helpful. It has a wide range of resources that give insight into diversity and

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inclusion within the film industry. It talks about the ethics and guidance to prevent
and address bullying, racism, and harassment.
As someone who has seen bullying, racism, and harassment in the workplace, I
have seen the damage it can do to people both mentally and emotionally. Therefore,
it is important to me that I protect those I work with and condemn any inappropriate
behaviour. This website has given me the resources to prevent and tackle these
issues if they arise. The website also has a lot of information on how to meet
inclusion and diversity targets. These are based on gender, ethnic group, sexuality,
socio-economic and disability for example. I fit into multiple of these categories
therefore, I already advocated for this. However, this website has given me the
knowledge I did not have before such as data and statistics. It has also helped me
prepare for when I am recruiting cast and crew.
• Cleve, B. (2017). Film Production Management: How to Budget, Organize
and Successfully Shoot your Film 4th Ed. Abingdon: Routledge
The role of a producer is a challenging one. It requires lots of communication,
planning and paperwork (Spicer, 2004). This book takes you through every step of
production management. It includes information on shooting schedules, budgets,
locations and hiring crew to name a few topics. This book is invaluable to me as it
has allowed me to be better prepared for the role of producer by breaking
information down and providing many examples. I had some previous experience
with producing that involved securing locations and completing paperwork. However,
this book helps me understand how to complete these tasks more professionally and
to a higher standard. This book is written to educate you on how to produce large
budget films with many cast, crew and locations. It is extremely beneficial to know
this, however; some advice will not work on my production. This is because it is a
small crew with only two performers and two locations. Although this is a smaller
scale it is still challenging as it means I will have to take on more tasks to complete
the project.
• Parks, S. & ProQuest. (2012). The insider's guide to independent film
distribution, 2nd ed, Elsevier, Waltham, Mass.
This book looks at the distribution and marketing of independent films. It starts by
going into depth about the history of distribution and how it has changed in recent
times which is helpful to know. Previously, I had thought that all distribution and
marketing was left until the production had ended and it was the last task to
complete. However, this book has taught me that distribution starts before
production even begins and should be acknowledged all throughout the filming
process. Due to this book, I will now target my audience, create a campaign, and
build a marketing theme during pre-production. It also talks about budgeting for
your distribution and marketing which is helpful knowledge for future projects.
However, in this project, all marketing will be done by myself and the volunteer
cast and crew. I also now know that it is important to keep marketing in mind
during shooting, as it allows you to take stills, build audience buzz and take
behind the scenes images. I now aim to do this to promote our film and get it
ready for distribution. Originally, I knew that I wanted to submit this film to
festivals but did not have the appropriate knowledge to do so. However, having

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read this book I have learnt the different types of strategies and circuits there are.
Overall, I would like to create a trailer, social media campaign and build the
marketing of this film in order to both promote the film and gain experience (How
to Promote Your Independent Film, 2021). I believe that my prior education
studying Business and Marketing will help with this.
• Seitz, M. Z. et al. (2013). The Wes Anderson collection. Harry N Abrams
When filming this project, I aim to take inspiration from the filmmaker Wes
Anderson. He tailors every aspect of mise-en-scene to make his films dreamlike
and whimsical. He works with an Art Nouveau style by using symmetry,
composition, and leading lines (Gontar, 2006). I enjoy this style as I feel he treats
each shot as a piece of art that has much thought and intention behind it. It
allows the audience to immerse themselves into a fairy tale world despite the
tragic storylines that are underneath (Alison, 2021). This book is an in-depth look
at Wes Anderson’s work as a filmmaker. It dives deep into the production of his
films and gives great insight into his creative process. I believe this to be useful
as it will allow me to draw inspiration from his techniques and practice different
styles of filmmaking. The book also describes Anderson as a true auteur meaning
that he is involved in every aspect of the production which gives the film a
personal and unique feel (Sarris, 2008). By taking on the role of creative producer
and director of photography I hope to put auteur theory into practice and put my
unique stamp onto the film.
• Utami, C.D. & Arifianto, B.D. (2019). "Symbolic Interaction of Director of
Photography in Film Production Organizing at Camera
Department", Komunikator (Yogyakarta, Indonesia), vol. 11, no. 2, pp. 163-
172.
This book looks into the relationship between the director of photography and other
members of the crew, such as the director and camera department. It explores the
different methods of communication and ways to interact symbolically in specific
patterns to achieve the desired outcome. I think this book is valuable to me as it has
taught me to use different language when speaking to people in different roles to
efficiently get my creative vision across. Before this book, I was under the impression
that I could explain my ideas to the crew as a whole and have them understand me.
However, I now see how this is unproductive as not everyone comprehends the
same way. The book is effective in explaining what type of language to use for each
person on the film production which is going to help me communicate my vision
effectively. This is similar to Blumer’s symbolic interaction theory (1962) which states
that humans act a certain way towards people depending on the meanings they hold
for them. To begin with, I thought my communication was strong due to having a
relationship with the director. However, this has allowed me to use the appropriate
film language and be more professional on set.

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Project Planning Document
As I currently work a part-time job to support myself at university it is difficult to
provide accurate dates and times for a proposed timeline. However, I have included
specific milestones and the dates on which I hope to achieve them. I am reducing my
work hours in the new year; therefore, I hope to come back to this timeline and
provide more accurate dates in the future.
DATE
2020 - 2021
TASK COST COMPLETED
1st November 2021 – 30th
November 2021
Research into directing styles and themes
within film genre. Explore films that feature
themes of manipulation, power, and control.
Read The Wes Anderson Collection book.
£25
1st December 2021 – 5th
December 2021
Complete forms required (RE 1 form, ethics
statements, diversity statements). £0
10th January 2022 - 31st
January 2022
Work closely with the writer on the script
and complete a script breakdown.
£0
1st February 2022 – 28th
February 2022
Scout for and secure locations.
Complete all producer paperwork (release
forms, budget sheets, risk assessments,
equipment list, breakdowns).
Put out a casting call.
£200
1st March 2022 – 14th
March
Hire volunteer film crew for
sound/light/runners.
£0
14th March 2022 – March
18th
18th March 2022 – 25th
March 2022
Complete auditions and cast two actors.
Write a shooting schedule and send out call
sheets.
£20pp
4th April 2022 – 10th April
2022
Filming for one week. £50
11th April 2022 – 9th May
2022
Editing the short film. £0

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10th May 2022
Reflection. Evaluate what went well and
what went wrong. State how my prior
research affected my role on this project.
Contingency
I understand that problems can occur during the production process which is why I
will have a contingency plan.
1. A set amount of budget will be set aside in case of reshoots, overtime or any
other additional costs that are deemed essential.
2. In case of location issues a second location will have its own risk assessment
and permissions.
3. Similar to the locations, we will also keep the contact details of two performers
from the auditions in the event of issues with actors.
4. Keep copies of all paperwork and data to ensure none is lost.
5. I will complete first aid training and carry a first aid box in case of accidental
injuries.
RESEARCH ETHICS CHECKLIST Form RE1
This checklist should be completed for every research project which involves human
participants. It is used to identify whether a full application for ethics approval needs to be
submitted.
Before completing this form, please refer to the University Code of Practice on Ethical
Standards for Research Involving Human Participants. The principal investigator and,
where the principal investigator is a student, the supervisor, is responsible for exercising
appropriate professional judgment in this review.
This checklist must be completed before potential participants are approached to take
part in any research.
Section I: Applicant Details
1. Name of Researcher (applicant): Alex Smith
2. Status (please click to select): Undergraduate Student
3. Email Address: alexsmithphotograph@gmail.com
4a. Contact Address: Linwood House, Bolton
4b. Telephone Number: 07711220473
Section II: Project Details
5. Project Title: Hikikomori
Section III: For Students Only:

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6. Course title and module name and
number where appropriate
School/Centre:
Pre-Production Research and Planning
(MED6100-21-UOB-A)
University of Bolton
7. Supervisor’s or module leader’s
name:
Brid Andrews
8. Email address: b.andrews@bolton.ac.uk
9. Telephone extension: 3300
Declaration by Researcher (Please tick the appropriate boxes)
I have read the University’s Code of Practice
The topic merits further research
I have the skills to carry out the research
The participant information sheet, if needed, is appropriate
The procedures for recruitment and obtaining informed consent, if needed, are
appropriate
The research is exempt from further ethics review according to current University
guidelines
Where relevant, I have read the ethical guidelines of the regulatory body that is
relevant to my discipline and verify that the research adheres to these guidelines
Comments from Researcher, and/or from Supervisor if Researcher is Undergraduate
or Taught Postgraduate student:

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YES NO
1. Will the study involve participants who are particularly vulnerable or
who may be unable to give informed consent (e.g. children, people
with learning disabilities, emotional difficulties, problems with
understanding and/or communication, your own students)?
2. Will the study require the co-operation of a gatekeeper for initial
access to the groups or individuals to be recruited (e.g. students at
school, members of self-help group, residents of nursing home)?
3. Will deception be necessary, i.e. will participants take part without
knowing the true purpose of the study or without their
knowledge/consent at the time (e.g. covert observation of people in
non-public places)?
4. Will the study involve discussion of topics which the participants may
find sensitive (e.g. sexual activity, own drug use)?
5. Will drugs, placebos or other substances (e.g. food substances,
alcohol, nicotine, vitamins) be administered to or ingested by
participants or will the study involve invasive, intrusive or potentially
harmful procedures of any kind?
6. Will blood or tissues samples be obtained from participants?
7. Will pain or more than mild discomfort be likely to result from the
study?
8. Could the study induce psychological stress or anxiety or cause harm
or negative consequences beyond the risks encountered in normal
life?
9. Will the study involve prolonged or repetitive testing?
10. Will financial inducements (other than reasonable expenses and
compensation for time) be offered to participants?
11. Will participants’ right to withdraw from the study at any time be
withheld or not made explicit?
12. Will participants’ anonymity be compromised or their right to
anonymity be withheld or information they give be identifiable as
theirs?
13. Might permission for the study need to be sought from the
researcher’s or from participants’ employer?
14. Will the study involve recruitment of patients or staff through the NHS?

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Section IV: Research Checklist
Please answer each question by ticking the appropriate box:
If ALL items in the Declaration are ticked AND if you have answered NO to ALL questions in
Section IV, send the completed and signed Form RE1 to your School/Centre Research
Ethics Officer for information. You may proceed with the research but should follow any
subsequent guidance or requests from the School/Centre Research Ethics Officer or your
supervisor/module leader where appropriate. Undergraduate and taught postgraduate students
should retain a copy of this form and submit it with their research report or dissertation (bound in
at the beginning). MPhil/PhD students should submit a copy to the Board of Studies for Research
Degrees with their application for Registration (R1). Work which is submitted without the
appropriate ethics form will be returned unassessed.
If ANY of the items in the Declaration are not ticked AND / OR if you have answered YES to ANY
of the questions in Section IV, you will need to describe more fully in Section V of the form below
how you plan to deal with the ethical issues raised by your research. This does not mean that
you cannot do the research, only that your proposal will need to be approved by the
School/Centre Research Ethics Officer or School/Centre Research Ethics Committee or
Sub-committee. When submitting the form as described in the above paragraph you
should substitute the original Section V with the version authorized by the School/Centre
Research Ethics officer.
If you answered YES to question 14, you will also have to submit an application to the appropriate
external health authority ethics committee, after you have received approval from the
School/Centre Research Ethics Officer/Committee and, where appropriate, the University
Research Ethics Committee.

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Section V: Addressing Ethical Problems
If you have answered YES to any of questions 1-12 please complete below and submit the form
to your School/Centre Research Ethics Officer.
Project Title
Hikikomori
Principal Investigator/Researcher/Student
Alex Smith
Supervisor
Brid Andrews
Summary of issues and action to be taken to address the ethics problem(s)
This project investigates the themes of power, control, and manipulation. The two characters
are a young thug and a weak old man who go on to argue and physically assault one another.
No one will be harmed on set however, this could be distressing to act out. There is also talk
of a drug addiction and suicide which could be sensitive topic to the two actors. To ensure
everyone is comfortable there will be meetings before hand to talk over health and safety and
to voice any concerns. Both actors will be briefed before being cast on what the role involves
however, if they wish to withdraw due to emotional stress, they are welcome to do so.
Please note that it is your responsibility to follow the University’s Code of Practice on Ethical
Standards and any relevant academic or professional guidelines in the conduct of your study.
This includes providing appropriate information sheets and consent forms, and ensuring
confidentiality in the storage and use of data. Any significant change to the design or conduct
of the research should be notified to the School/Centre Research Ethics Officer and may require
a new application for ethics approval.
Signed: Alex Smith Principal Investigator/Researcher
Approved: Supervisor or module leader (where
appropriate)
Date:
For use by School/Centre Research Ethics Officer:
• No ethical problems are raised by this proposed study - Retain this form on record
• Appropriate action taken to maintain ethical standards
• The research protocol should be revised to eliminate the
ethical concerns or reduce them to an acceptable level,
using the attached suggestions
• Please submit School/Centre Application for Ethics Approval
(Form RE2(D))
Retain this form on record
and return a copy of section V
to Researcher

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• Please submit University Application for Ethics Approval
(Form RE2(U))
Signed:
Date:
Diversity
It is important to me that there is diversity and inclusivity in this production. This is
important to me as I represent multiple categories for under-represented groups myself
and understand the significance of it. In this project I am hoping to achieve Standard A
of the BFI Diversity Standards Criteria (2019). To achieve this the film needs to meet at
least three of six criteria from the On-Screen Representation, Themes and Narratives
category. My project will achieve:
1. Location: Most scenes will be shot in Bolton which is classed as an under-
represented region.
2. The lead character will be from an under-represented group.
3. The secondary character will be from an under-represented group.
We also hope to achieve Standard B. To achieve Standard B the project will have to
meet two of four criteria from the Creative Leadership and Project Team section. This
project currently meets the criteria:
1. A considerable amount of crew is from a lower socioeconomic background.
2. The film offers local employment that is outside of a London and Southeast
England.
3. Three members of creative leadership are from an under-represented group.
Personally, I am proud that this project allows diversity and promotes inclusivity and aim
to keep this moving forward.
Ethics
Through completing the RE1 Research Ethics form I have found that approval may be
needed. This is due to the fact that some scenes could be distressing or emotionally
difficult to film. The film shows an old fragile man and a younger man physically assault
one another. It also has themes of suicide, drug abuse and depression. This can be
mentally and emotionally challenging for the actors to perform and crew t film. To
minimize this, I will ensure all performers and crew are briefed before production begins
and ensure that they are comfortable throughout filming. They are also to withdraw at
any moment if necessary.

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Paperwork
The first thing I have done is create a production checklist. This list helps me organize
everything that goes into the production itself and reminds me what jobs I must
complete. So far, I have been able to check off some elements of pre-production. I hope
that by having this checklist it allows a smooth transition between each stage of
production. Although it seems simple, I believe it will help with organization and
planning throughout the film.

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Release forms are arguable the two most important pieces of paperwork. This is
because it gives us permission to use locations and feature performers by setting legal
agreements. Without having these forms signed it allows room for disagreements and
legal disputes. The forms also allow both the production and performers to set any
limitations they may have beforehand.

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This is a budget top sheet. It is used to create an estimated budget for your film. I have
broken down each stage of production into a spreadsheet and estimated an amount for
each to provide an estimated budget as a whole. Funding for this film is provided by the
University of Bolton as well as our own savings. I can now present the university with
this spreadsheet when asking for funding as it allows them to see what the money is
being put into.

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I have put this document together in
preparation for filming. Once we have
decided on the dates, we are filming I
can fill in this document. It helps keep
track and organise any equipment we
might need. For this project, we will
source our equipment from the
university, shops that loan equipment
and our own kit. Therefore, it is
essential that I know what dates they
are required, where each piece is from
and the date it needs to be returned.
This document will prevent any late
fees or misplaced equipment.
I have created a communications log to
mark key events throughout production.
As the production ensues, I will write
down any important interactions I have
with the cast, crew, and locations in
order to remember essential
information. For example, what was
said in production meetings or what
was agreed to with locations or actors.

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A risk assessment is a vital piece of
documentation. Every location that is
used must have its own risk assessment
completed before filming begins. It helps
identify potential hazards and think about
how you will manage them. This needs
to be done for the safety of the cast and
crew. Once we begin scouting for
locations, I can begin to fill out this
document.
I have created a
stripboard as it is used
to display information
about each scene being
shot. This keeps the
crew informed on what
is needed on the day of
the shoot. I hope this will
keep a calm and
organised set. Once we
have set out filming
dates, I will be able to
complete this document
and hand it to the crew.

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I have created a call sheet as this is also a vital piece of documentation. It gives the cast
and crew all the information needed for filming days. It contains call times and contact
information for both cast and crew. It also informs everyone the weather, the nearest
hospital to set and additional notes. Once we have set out our filming dates, I can
complete this and send it out to all cast and crew.

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I also have created a variety of documents
that are vital to other members of the crew.
For example, continuity log, editing log,
storyboard, shot list and sound breakdowns. I
want to be an organised and effective
producer, which is why I decided to create
these templates. I will hand them out to the
crew for them to fill out while working. I think
that this will lead to a more organised and
stress-free working environment.
Additional References
Allison, M. (2021). Cinema's most misunderstood filmmaker. [online] Bbc.com. Available
at: <https://www.bbc.com/culture/article/20211015-cinemas-most-misunderstood-
filmmaker> [Accessed 18 November 2021].
Blumer, H. (1962). Society as symbolic interaction. Contemporary Sociological Thought,
p.91.
De Bono, E. (1999). Six thinking hats. Boston, Back Bay Books.
De Louise, A. (2016). The Producer's Playbook: Real People on Camera: Directing and
Working with Non-Actors. Abingdon: Routledge
Gates, R. (2013). Production management for film and video. CRC Press.
Gontar, C. (2006). Art Nouveau. [online] Metmuseum.org. Available at:
<https://www.metmuseum.org/toah/hd/artn/hd_artn.htm> [Accessed 18 November
2021].
Hurbis - Cherrier, M. (2018). Voice & Vision: A Creative Approach to Narrative
Filmmaking, 3rd Edition. Abingdon: Routledge.
Kenworthy, C. (2011). Master Shots: v. 2: 100 Ways to Shoot Great Dialogue Scenes.
Studio City, C.A: Michael Weise Productions.

18. Page 18 of 18
Masterclass. (2021). How to Promote Your Independent Film. [online] Available at:
<https://www.masterclass.com/articles/how-to-promote-your-independent-film>
[Accessed 22 November 2021].
Patz, D. (2011). Film Production Management 101. Michael Wiese Productions.
Prospects.ac.uk. (2020). Television/film/video producer job profile | Prospects.ac.uk.
[online] Available at: <https://www.prospects.ac.uk/job-profiles/television-film-video-
producer#skills> [Accessed 18 November 2021].
Sarris, A. (2008). Notes on the Auteur Theory in 1962. Auteurs and Authorship: A Film
Reader
Spicer, A. (2004). The production line: reflections on the role of the film producer in
British cinema. Journal of British Cinema and Television, pp.33-50.