A2 Media Evaluation

1. Q1. In what way does you media
product use, develop or
challenge forms and conventions
of real media products?
Evaluation

2. Preliminary Work on
Documentary
• Before constructing my media product, I conducted research into a
number of existing documentary products in order to analyze the
various codes and conventions used within the genre.
• I analyzed a range of documentary types and styles in order to see
how different forms are expressed in relation to the subject matter.
• This included the texts Blackfish (2013), Coffee Shop Hot Shots
(2010), Spellbound, Triumph Des Willens and Sydney 2000 Official
Olympic film.

3. Across all of these documentaries I observed a number of
common themes:
• Montage elements used to support narrative ideas/themes.
• Use of interviews to provide information to audience
• Semiology conveyed through cinematography and iconography
• Actuality footage to support particular viewpoint
• Expressive sue of quick cut editing combined with technical
sequences to express idea (e.g. time lapses, animations, facts)

4. Sports Documentary
• I used what I learnt from my research into real media texts in order to
influence the construction of my work.
• I wanted to make a documentary that explored the issues surrounding the
effects of sport on society.
• This developed to have a focus on drug abuse and discrimination on sport,
as well discussing the legacy of the London 2012 Olympics.
• As I was presenting particular viewpoints, I felt as if the film adopted the
Expository mode, as well as blurring with the Reflexive mode, as I
attempted to make people reflect on the issues that sport presents.

5. • The piece was inspired by similar sports documentaries such as
Venus and Serena, as well the pre-existing fascination of sport
within British society.
• It was also inspired by cutting edge films like Coffee Shop Hotshots,
which explores the effects of various entities on society in a similar
way.
As I have progressed through the course from AS to A2, I have felt as if my
capacity to use research in my creative ways to influence my products has
developed.
I have been able to manipulate and subvert conventions/ideas to express
various viewpoints. For example:

6. • One thing that was difficult when
constructing my product is that are very few
films that address the whole issue of sport
and society.
• There are many that focus on just single
athletes or events/scandals, but none that
look to combine both.
• Therefore, I had to adapt the conventions of
different documentaries to combine these
themes in a way that expressed my ideas.

7. • For example, to satisfy my audiences needs for
high octane sports drama and spectacle:
• I had to use conventions form films such as
Venus and Serena and Sydney 2000 Official
Olympic Film.
• In order to present ideas of the sensitive
themes of drug abuse and discrimination, I had
to adapt conventions from the film Blackfish.
• Then, to link these issues with society, I had to
adopt conventions from Coffee Shop Hotshots.
As a media producer, I felt as if my ability to adopt and
manipulate certain conventions improved dramatically rather
than just copying them, thus resulting in an original, creative
product, rather than just something generic.

8. Narrative: Use of Interviews
Within my product, I used a conventional, static interviews style when addressing
experts by implementing a midshot/close up in order to interpellate the audience,
as if they were listening to a conversation.
I avoided direct mode of address, as this could have been seen as overpowering
and to direct for the audience, as if trying to enforce a point of view.

9. Narrative: Use of Interviews
I used the content of these interviews in order to construct a narrative within the piece; this
emphasised the idea of sport being an integral part of all our lives, in conjunction with the title
We Are Sport.
This subverted the common conventions of using the Voice of God, as I felt as
this would be too imposing, as if injecting information into the audience (Effects
model). Instead, the audience is left to make their own interpretation (Stuart
Halls Audience Encoding/Decoding.

10. This followed similar conventions to the documentary Blackfish, where a similar
narrative is constructed using synchronous audio form interviews in order to build
an argument against animal captivity.
Whilst adopting a similar style, I feel as if my product does not adopt such a
persuasive tone as seen in Blackfish, as those being interviewed are very adamant
in their opinions.
I feel as if the presentation of idea via interviews within We Are Sport instead
entitles the audience to build their own opinions, or rather just become better
informed.
.

11. However, the selective editing of narration and the specific idea addressed could
be interpreted as a preferred reading, stating that “doping and discrimination in
sport is wrong”. This therefore supports the idea of an expository documentary.
.
Such a style subverts the conventions seen in Coffee Shop Hotshots, where
interviews are active and are introduced by the a Voice of God narrator.
However, a similar narrative is also seen in Spellbound, in order to stress
how the subjects are normal people, just like the audience watching

12. Narrative Structure
My documentary could be seen as
following Todorov 5-part narrative
structure; The positive, reflective
opening sequence (connoted by the
upbeat music) could be seen as a state
of equilibrium.
The second sequence concerning drug
abuse and discrimination could then be
a disruption of that equilibrium, as the
audience realise sport is not as innocent
and pure as they want to believe.

13. A new state of equilibrium is then reached when all of the
positive aspects of sport are reflected upon by those
interviewed; even though there are problems, sport is still
presented as a unique and rewarding outlet.
I felt as if this structure was important in order to not present a biased point of
view to an extent; it was important to provide a balance of positive and negative
aspects of sport.

14. This kind of effect is also seen in Coffee Shop Hotshots, where both positive
and negative aspects of the Coffee Shop industry.
However, I would say the narrative structure of Coffee Shop
Hotshots is more complex in structure, constantly shifting
between different viewpoints.
Whilst having the same effect, the structures of the two
texts are quite dissimilar.

15. Use of Experts
Within the documentary, three experts are interviewed.
Ian Tomlinson is a sports lecturer and historian; the use of this expert acts as a
source of knowledge for the audience, functioning to drive the narrative
forward.
The authorative tone of voice engages with the audience more, affirming his
sense of knowledge.

16. Use of Experts
Within the documentary, three experts are interviewed.
Zara Dampney is London 2012 Beach Volleyball Olympian; this expert
represents the role of women in sport, with her status as an Olympian evoking
the audiences general knowledge of sport.
Such a level creates a sense of respect from the audience.
Her soft tone and slight stumbling of words acts as Cinema vérité, creating a
deeper sense of connection with the audience.

17. Paul Reese is Great British Powerlifting coach, who has been involved in
sport for over 50 years.
Using someone from an older demographic helps appeal to a wider target
audience.
His position in sport creates a sense of “The Mentor” (Propp), giving the
audience a sense of faith and trust in his views and opinions.

18. The use of a range of representative experts and the way
they are presented is effective in evoking a sense of trust
in the audience.
This makes them more susceptible to the information
being presented, allowing them to be more open to other
ideas/viewpoints.
However, this may also be interpreted as an attempt to sway an audience to a
particular point of view

19. Experts are used in a range of expository documentaries in
order to inform audiences about the themes being explored.
Blackfish uses experts in a similar way to my documentary, by interviewing
ex-Seaworld trainers in order to present information on the company.
Similar to Ian Tomlinson, a male with a deeper, authorative tone of voice is
used to drive certain aspects in the narrative.

20. Conventions of a Performative documentary are subverted here; In the film
Spellbound, children with unique characteristics (being national spellers) are
interviewed rather than specific experts.
This allows for an audience to have insight into their lives. In some ways, Zara
Dampney’s interview permits this for the audiences, but not the same extent.
However, the experts in Blackfish are selected due to the moral beliefs on animal
captivity, and thus are biased to this view. In my film, the experts are picked more for their
knowledge and experiences, rather than their political stances.

21. Use of Semiotics
In my documentary, the use of the Olympic rings is a strong
source of iconography, such as the close up shot used in the
opening titles.
The Olympic rings is arguably the most recognised sporting
symbol around the world, which establishes the sporting
nature of the documentary early.

22. Use of Semiotics
Zara Dampney wears a Great Britain Jersey, with the
unique colour scheme being iconic of the success at Team
GB at the London Olympics.
The colour scheme is renowned symbol is British culture,
creating a sense of respect in Dampney’s interview.
The positive presentation of these symbols creates an ideology of wonder about the
power of sport, implying the idea to the audience that sport is a good thing.

23. Semiology is used to similar effects in other documentaries to impart
ideologies.
In Triumph des Willens, an emphasis is placed on the swastika symbol by
the use of close up shots in order to enforce the political regime of Hitler
within the context.
The symbol is presented in a positive light by juxtaposing it with images of a
cheering crowd and smiling faces, connoting that the regime is prosperous and
beneficial.
In my documentary, the symbol of the Olympic rings is accompanied by uplifting,
positive narration from Dampney, connoting all of the positive experiences sport
brings.

24. Whilst my product adopts conventions of Triumph Des Willens, the
extent to which propaganda is employed is subdued in comparison.
Triumph Des Willens forces such representation repetitively on the
audience, whilst my text leaves the audiences to form their own
opinions.
I think this is important for contemporary audiences, who are more active
consumers of media and need freedom to think autonomously.

25. In terms of semiotics, my piece was influenced by contextual issues
that arose during the production process.
A close up shot of a tennis racket was used in conjunction with
narration about the drug abuse scandal in Russia.
This made reference to the case of Maria Sharapova, whose drug
scandal was exposed during the production of the piece.
I felt it was important to let the role of context influence my piece, as audiences
would be able to engage more effectively with the inclusion of current topics and
issues in the piece. This reflects in conventional products, where the most up to
date content is included to satisfy the audience’s desire for the most current news
stories.

26. Montage Editing
I used montage elements to support certain parts of the
narrative and portray certain ideas.
I used a fast paced montage sequence
when discussing drug abuse in sport.
The inclusion of close up shots of pills
and syringes connoted this.
The use of a time lapse symbolise how
the problem is an ongoing problem
within the running of sport.

27. Montage Editing
I used montage elements to support certain parts of the
narrative and portray certain ideas.
I also used a montage sequence to accompany
Paul Reece’s narration about sport.
The inclusion of an elder gentlemen playing
sport synchornised with the line “its got to
have a place for anybody”.
The use of synchronous elements within the
montage sequences helps to reinforce the
viewpoint to the audience.

28. My use of montage elements was
influenced by those seen in Blackfish;
I used a similar style of montage as seen in
Blackfish, such as the compilation of
whales suffering as well as the accounts of
injuries to trainers in order to enforce an
emotive idea.
I also used a time lapse sequence in a
similar way to Blackfish, which symbolised
the never ending cycle of killer whales
suffered in captivity.
The montage sequences in Coffee Shop
Hotshots had a big influence in my piece.
They featured shots concerning city life and
society in regards to the coffee industry, such
as the long shots featured down high street.
I was able to employ similar shots in my
montages to convey a similar effect.

29. Use of Actuality Footage
Sporting actuality footage was very important in satisfying the needs of my
audience.
I employed similar actuality footage as that seen in the “Sydney 2000
Olympic film”, such as action shots of sporting competition to convey the
action and drama that audiences want to consume.
A good example is seen during a montage sequence, where the shakiness
of the camera footage used to shoot a Brazilian sports crowd conveyed
the sincerity of sport and the emotion it can evoke it people.

30. Use of Actuality Footage
This is seen in other documentaries, such as “Blackfish.
However, the shaky camera footage used here conveys the sense of
secrecy that obtaining the footage involved, and thus I have employed
the use of cinema vérité to a different extent.

31. Music
• I employed the use of two backing tracks within my
documentary.
• The first track was an upbeat, high keyed piece that was
fairly evangelical and positive.
• This had the effect of creating positive connotations
when juxtaposed with sport and evoked a sense of
excitement and joy in the audience.
• This piece was then used again at the climax of the film
to reaffirm these positive images

32. Music
• The second song had much lower key, with a slower
temp and deep tone, creating a dramatic effect.
• This emphasises the problems of drug abuse and
discrimination within sport by evoking a sense of shame
and despair causing the audience to reflect on the
problems present.
A jovial piece, similar to my first track, is used in Spelbound to create positive
connotations around the ideas of spelling bees, as well as a more depressive,
reflective track in order to reflect on the stress caused to the young spellers.
I employed this similar style/convention within my piece to portray such an
effect.

33. Animations and Inter-Titles
My use of animation and the design of my inter titles was very basic
within the documentary.
I used a white, slender typeface for my inter titles and main title to create a
modern style to the documentary.
The typeface is similar to the London 2012 Olympic logo, carrying on the
symbolism of the Olympic spirit.

34. Animations and Inter-Titles
My use of animation and the design of my inter titles was very basic
within the documentary.
The use of animated, slide on text boxes containing facts is employed in order to
provide the audience with more information in a different visual form.
The animation is fairly basic, in order to not distract away from the main
narrative.
The use of such facts allows for further information to be provided that the
narrative style restricted due to interview dialogue being used.

35. My use of visual animation was inspired by Coffee Shop Hotshots, however
within my piece I feel as if I used a minimalist style in comparison.
In the real text, an animation is used that portrays statistics mentioned din the
narrative, with synchronous movement relevant to the footage shown on
screen.
This was very engaging visually for the audience.

36. I instead used facts with a greater amount of text with
simpler animation, in order to present the maximum
amount of knowledge in the short time scale by brief
presented.
Real media texts do not need to worry about this, and
instead seek to provide aesthetic appeal to the viewer.
To this extent, I was able to be inspired by real media
products without having to copy there exact conventions,
developing my creative production abilities.

37. Plato’s Allegory of the
Cave
Plato’s Cave Allegory explores the ways in which audiences become so
accustomed to constructions of ideas that they cannot accept the idea of
anything else; they become less open to other ideas.
To a certain degree, my piece conforms to this theory, as in many western
sporting media texts.
The dominant ideology in western texts is the viewpoint that drug abuse in
sport is unacceptable and cannot be condoned or permitted.
Many texts refuse to explore the viewpoint of cultures as seen in Russia and
East Germany because of this, and therefore there are opinions are not
considered.
To some extent, my piece is limited in the fact that it only explores this one
ideology and not that of an opposing viewpoint. However, this is conventional
of many media texts, and therefore shares conventions in this sense.