This documentary examines issues related to plus-sized modeling and fashion. It uses a variety of techniques including interviews, observational footage, archive footage, and a narrator. The documentary has a non-linear structure and covers topics like health, social change, modeling, and business in the plus-sized industry. Camerawork includes establishing shots, handheld shots when examining clothing, and movement on old photographs. Interviews are conducted in a conventional style without direct address. Relevant items are featured as mise-en-scene, and lighting is always high key. The documentary also uses a soundtrack including non-diegetic music and a female narrator. Editing employs straight cuts, cutaways, and montages, with occasional

1. PLUS SIZED
WARS
BY JOE HADFIELD

2. DOCUMENTARY TYPE
This documentary is classed as a mixed documentary, as it
includes interviews, a narrator, observational and archive
footage.
Observational Footage Archive Footage
Interviews

3. THEMES
• Health
• Social change
• Modelling
• Role models
• Fashion
• Business
• Social Media

4. NARRATIVE
STRUCTURE
The documentary is non linear, as it goes through by topic
therefore it is segmented.
It has a closed narrative due to the fact that both sides of the
argument have been covered.

5. CAMERAWORK
There is the use of an establishing shot outside of the shop
Evans, this is used to show the location of the next scene.
A handheld camera shot is used when showing a product,
this creates a sense of realism.
There are camera movements on old photographs to make it
more visually stimulating for the person watching.

6. INTERVIEW SETUP
Questions from the interview are edited out and we just hear
the response.
The interview setup in this documentary is conventional, as
the interviewee is off set from the centre of the camera, to the
left or the right. Their eye line is a third of the way down the
screen, following the rule of thirds. There is no direct
address and the camera is in a static position, making it
conventional interview set up.

7. MISE-EN-SCENE
It includes relevant mise-en-scene such as clothes, photo
cards of models and shops. The plus size clothing can be
seen throughout the documentary, links to topic.
The lighting is always high key and natural, this is so that the
documentary is clear to see and there is no need for any
different lighting.
Fiona Ross who is the manager of Evans, wearing a smart
suit matches the high role she has at the company.
Relevant mise-en-scene has been used during interviews, for
example when a woman is talking about her business that
makes plus size clothing you can clearly see examples of
their products in the background.

8. SOUND
There is an example of non diegetic music which is relevant to
the topic of the documentary. As a woman is trying to loose
weight by going to the gym, song that is playing is discussing
women's weight. The non diegetic music used in the
documentary is often upbeat therefore creating a positive
atmosphere.
The narrator of the documentary is a woman who is speaking
standard English. It is non diegetic sound that has an
interesting tone to her voice. The voice over is Lisa Riley who is
infamously a large lady, therefore she is relevant to the topic of
the documentary. The voice over also provides information,
introduces the topic of the documentary at the start and states
facts such as ‘1 in 4 people buy plus size’ and ‘£6million
industry this year’.
Also diegetic sound from the observational footage.
There is instrumental music used when a person is talking.

9. EDITING
Straight cuts are mostly used throughout, as they are
conventional and aren't distracting.
A cutaway is conventional of a documentary, it cuts away
from an interview to observational or archive footage, it
illustrates what’s being discussed and provides variety for
the audience. Cutaways have been used in the documentary.
Examples of cutaways are when one of the women from
Evans is discussing bloggers and it cuts to an image of one
of their social media pages. Another example is when
someone references Tess and it cuts to an image of her.
Montages are also used, using observational footage and
archive footage.
Occasionally there is a flash, which signifies a flash back to
archive footage.

10. ARCHIVE MATERIAL
Archive footage is used numerous times throughout the
documentary. This footage includes previous catwalks,
people in shops in the 60s, old social media posts and the
Plump and Lumpy Beauty Pageant.

11. GRAPHICS
The title of the documentary is on the title sequence and later on in the
ending credits there are graphics of peoples name who made the
documentary.
The names of people being interviewed and underneath that their
relevance to the documentary. Often their name is bigger/bolder than their
relevance.

12. Use of screenshots of social media which is relevant to what they are
talking about at the time. It also zooms in on specifics like certain pictures
and the number of followers they have.
Another graphic that has been is ‘#plussizedwars’, this has been used to
try and get people talking about the programme on social media.