This document provides an outline for a documentary project focusing on the history of Gayhurst, a house with an interesting past. The proposed documentary would tell the story of Gayhurst chronologically through interviews with current residents and reenactments of important historical events. Pre-production materials include a storyboard draft and revisions. Key decisions around censorship, channel selection, and target audience are also discussed to plan the documentary's production and distribution.

1. Media Studies: MS2 Research and planning Natasha Brand

2. CONTENTS. Intertext analysis ‘ First Life’ ‘ The cove’ ‘ Take That: Look Back Don’t Stare’ Overall analysis of intertexts Censorship What channel to air my documentary on Audience Research First Ideas Pre-Production Production planning

3. Intertext Analysis.

4. ‘ First life’

5. Textual analysis Visual codes - Australian barrier reef. - Beach scene. - Bright and sunny. - Relaxed dress code – simple blue shirt and chinos. - Holding the sponge. Audio codes - Brief orchestral introduction - Wind showing distance of country - Seagulls and waves washing up on shore as Attenborough talks about fossil. Action codes - Very simple action, just Attenborough talking to camera holding fossil as display piece.

6. ..Textual analysis continued Narrative codes - Overview of how the structure came to be with the use of CGI and voiceover. - Shows location of setting from birds–eye view. - Attenborough looks for fossil in sea then describes it whilst in hand. - Describes structure in more detail with CGI and voiceover. Technical codes - Use of CGI to shows structure - Birds – eye view shots - medium close ups and long shots of Attenborough.

7. Analysis of ‘First Life’ Displays facts clearly through visual demonstrations and descriptive voiceovers. Inspirational and passionate speech - excites and interests audience Shows nature in simplest form so that audience can relate then adds detail and demonstrations through modern CGI technology to describe it further

8. Reviews of ‘First life’ http://channelhopping.onthebox.com/2010/11/05/david-attenboroughs-first-life-review-the-nature-daddy/ As soon as the commanding narration of the world’s most prolific, and arguably most important, wildlife presenter begins to fill the air, it is nigh on impossible to tear yourself away. No mean feat for an hour-long programme abut fossils and palaeontology, particularly as it has to fight tooth and nail with its less challenging rivals in the weekly Friday night scheduling war, a slot notoriously difficult to dominate when the audience is presumed to be too tired to pay much attention or out getting hammered. http://www.metro.co.uk/tv/reviews/846196-david-attenboroughs-first-life-and-white-van-man-tonights-tv-picks Even when discussing the humble and inanimate fossil, David Attenborough is as fascinating as ever. The study of fossils was a childhood love of his, and he revisits that as he takes us on a journey to the beginnings of life on Earth. His subjects are long dead but he’s still managed to rustle up the usual array of awe-inspiring archive shots and graphics to bring them back to life. One of those epic nature programmes that make you truly amazed we’ve managed to evolve this far.

9. How the reviews relate to my documentary Use insightful and inspiring language and tone of voice to hold the audience. Take pride in the subjects being discussed so that the audience becomes inspired. Use exciting and attractive shots of location and the subjects in hand.

10. What I have learned from this intertext Give item an overview before going over it in detail. Use insightful, commanding narration. Use shots that show location in best, most inspiring and beautiful light. Include passionate language in script so that this may transfer to audience.

11. ‘ The Cove’

12. Textual analysis of ‘The Cove’ Narrative codes - Starts off with information about the animals themselves that gives audience the background information necessary to understand implications that will follow. - Shows audience the location and what happens to the animals there. - Shows the fight for the freedom of he animals. - Concludes with information about how to help, after audience is aware of the problems and makes a connection with the animals and their story through the documentary. Audio codes -Primarily speech, very little non-diagetic sounds -Light, gentle, calming music when showing animals in natural environment.

13. … Textual analysis continued Action codes - lots of action, building suspense, running, crawling, driving. Visual codes -Animals in natural environment -The cove itself -Factories that abuse the animals as a product -UN meetings discussing the subject. - constant references back to the journey that the journalist goes on, as he battles the officials.

14. Analysis of ‘The Cove’ Starts off with hard factual evidence, so that audience may draw their own conclusions and hopefully become passionate about topic in question. Uses emotive language to gain support. Very truthful to audience - everything is filmed and documented so that audiecne is able to access all information and see the truth. Builds tension and excitement as enquiry becomes deeper.

15. Reviews of ‘The Cove’ http://www.rottentomatoes.com/m/1208882-cove/ One of the most suspenseful documentaries ever made, 2009 ’s “ T he Cove ” married ecological espionage to a frightening domino effect of imperialism, political corruption and a socio-environmental disregard. As the movie states, Taiji, Japan is a little town with a big secret: There, more than 23,000 dolphins are slaughtered annually - the rejects of an auction for trainers seeking dolphins for theme-park shows. Damning, chilling evidence that ’s gathered unfolds in a conclusion as unsettling as any nerve-grinding fiction. If they can generate a ripple effect, they ’v e succeeded. That there ’s even a movie is a testament to human empathy, heroism and the unfortunate circumstance that padded wallets cause blind eyes to the evil that men do. http://blogs.mirror.co.uk/the-ticket/2009/10/film-review-the-cove.html Of all the movies coming to cinemas this year, The Cove may well be the one that sticks with you longest. While any movie about the slaughter of dolphins is going to hit you in your gut, this documentary is also as well made as anything released all year, blending hard facts, cold scientific reason plus the thrills of a Hollywood spy movie to terrific effect.

16. How the reviews relate to my documentary Building tension and suspense for audience creates excitement and through this, responses. Use information that will cause audiences to think and react is the best to use because it means they will have created some sort of passion for the subject you’re discussing. Try to make the information exciting to keep the audience engaged. Mix the information with ‘the thrills of Hollywood’.

17. What I have learned from this intertext Use emotive language in script to spark some sort of emotional response from audience. Be truthful with audience, show the good and the bad so that they feel involved. Build tension throughout enquiry. Make information exciting so that audience stay engaged.

18. ‘ Take that – Look Back Don’t Stare’

19. Textual Analysis of ‘Take That:Look Back Don’t Stare Narrative codes -Shows what they were (flashbacks), when they were first famous, (continues throughout piece with brief snippets of concerts and interview footage.) -Shows the ‘present day’ progression of the band in studio as they create new album. Action Codes -during ‘flashbacks’ boys being playful backstage or performing. -During present day footage, boys just sitting around casually and singing. Audio Codes -During areas of ‘flashback’ constant sound of screaming fans and disjointed non-diagetic sound over the top. -During ‘present day’ footage, only diagetic sounds.

20. … Textual analysis continued Visual Codes: -In black and white throughout. -Chaos in old footage at concerts contradicts with the calm visual atmosphere created in the ‘present day’ footage in studio. -Very relaxed dress codes - tracksuits ect.. -Old footage, lighting is quite harsh in comparison to softer lighting in studio with present footage. Technical codes: -Steadicam used throughout. -Low production values, shows band in plainest form. -Title pages, background - black, font - white, continuing theme of black and white.

21. Analysis of ‘Take That - Look Back Don’t Stare’ Black and White - symbolic of their current status. Uses old footage to contradict current footage. Interviews each band member after a piece of current footage is shown - often relating to one and other. Very simplistic with the use of titles and camera angles/movement. Shows band in very relaxed environment.

22. Reviews of ‘Take That – Look Back Don’t Stare’ http://www.music-news.com/shownews.asp?nItemID=37435 In this amazingly candid documentary Take That: Look Back, Don't Stare, the band let cameras follow them for the past extraordinary 12 months to reveal the real story on how they got back into each other's lives and back into the recording studio. Shot in black and white, and peppered with archive footage, the fly on the wall documentary gives viewers unprecedented access to Gary, Howard, Jason and Mark as they reunite with former band mate Robbie Williams. It tracks their progress as they write and record their new album together and finally confirm the reunion of all reunions to the rest of the world. It's fifteen years since the band last recorded a full album together in 1995, and the documentary reveals in detail how the reunion came about and how they have all adjusted once more to life as a five piece. In the band's own words they disclose their worries, hopes and concerns about working together again and share the very private process of making their best album yet. Above all, Take That: Look Back, Don't Stare documents the story of a unique friendship that started twenty years ago and is now stronger than ever, culminating in the most exciting reunion in British pop history. http://www.promonews.tv/2010/11/12/take-that%E2%80%99s-look-back-don%E2%80%99t-stare-tvdvd-documentary-by-frednick/ For the past 12 months Pulse Films’ directing duo FRED&NICK have been filming and editing a feature length behind-the-scenes documentary on the reunion of Take That with Robbie Williams, and the creation of the resulting album, Progress Graded in black and white, the film is a candid observation on the process of friendship and forgiveness, as well as a new look at the band’s 20 year history, as they turn to face their past collectively, on their own terms.

23. How the reviews relate to my documentary Mix artefacts and older footage with a modern day voice. Include facts about every area of the past. Don’t simply look at the past, include the future as well - what will become. Interviews with people involved create an insight into the actual life that is shown.

24. What I have learned from this intertext Try to re-create situations that would have happened to give a visual showing of what is described. Don’t over complicate things, with extravagant titles etc.. Show information about present and future not simply the past.

25. Overall analysis of intertexts After watching a variety of documentaries I would say the focus is more on the content rather than the way it is put together. Of course there is a definiatve beginning, middle and end to every piece but usually documentaries draw in their target audience by pointing their chosen subject in the right direction. The audience watch because the subject interests them, it is up to the producer to wet their taste buds and ignite their passion for the subject in the way they chose to display the information. For example, Take That display old footage to remind their audience of the excitement, showing concerts and screaming fans, The Cove take the audience on a journey - a battle of rights to build tension and excite the audience with different prospects. How you display the information is the difference between a programme you’d have on in the background and an award winning piece that gains justice or fans.

26. Censorship As my documentary would be aired on television rather than made into a film I have to look at the censorship issues and then create a suitable time for my documentary to be aired. After researching the topic I’ve found that 9:00pm is the cut off. Before this time, no offensive language or images may be shown. Depending on what I will be showing in my documentary will effect the time it will be aired. I know I want to show my documentary in the evening so that it gains the maximum audience numbers as possible but what I show will influence what time in the evening I show it.

27. What channel to air my documentary Channel 4: A variety of documentaries are shown on channel 4, the most well known series probably being dispatches; a programme that uncovers hidden truths about today’s society. It uses investigators and interviews with people involved to display factual evidence about the subject in question. I’m not sure my documentary would be in keeping with the dispatches style unfortunately as mine uncovers truths from many many years ago, rather than uncovering secrets of today’s society. There are, however, often historical documentaries shown on channel 4 about the history of religions, buildings and monarchs that seem to fit the description and style of what I would like to make. Therefore I think my documentary would gain audiences if it were to be shown on Channel 4.

28. What channel to air my documentary BBC ONE: BBC ONE, gains audiences every evening being the national television channel. They have a great variety of genres aired everyday and therefore it is rare to find a programme that wont fit. I do believe, however, newer programmes on BBC ONE such as Sherlock and other such dramas have all proven to be very slick. This new era of television means only the best of the best will be aired. I think if I make my documentary appeal to a young audience, yet make it one that can relate to a more mature audience it will be suitable for the viewers of the national television channel, appealing to everyone.

29. Audience Research.

30. The information gained from my survey said that more people often watch programmes on BBC one. This was a very close margin to the people that often watch programmes on channel four, however, so I think with such a close proximity it doesn’t matter which channel I chose to air my documentary as both have proven popular.

31. This information, collected from my online survey says that I should re-create some of the happenings that will be discussed in my documentary to make it more enjoyable for the audience.

32. This information shows that younger presenters are more preferred and therefore I, or someone my age would be acceptable to present in my documentary.

33. What I have learned from this audience Choosing to air my documentary on either BBC ONE or Channel 4 will gain it a large audience of many different ages. I should try and re-create the action of key events mentioned in my documentary. Younger presenters are more accepted, with possible margin for a second older presenter.

34. Target Audience Profile Gender: Both - possibly more males Age: 15 - 55 Demographic: A, B, C, E. Media preference: television and Films Media genre preference: documentaries and dramas Uses and gratifications theory: Information & Entertainment

35. First Ideas.

36. Setting: Gayhurst

37. Introduction I’ve chosen to make a documentary because I have the advantage of using a location (Gayhurst) with an amazing history behind it. I thought about doing a horror, using the cellars and wooded area around the location but I felt the depth of history surrounding Gayhurst was too strong a story not to tell.

38. Narrative. Introduction - Title sequence - The house’s location - Brief overview of its past - The living situation as it now stands The story of Gayhurst - Tell the stories of the house in chronological order. - Interview residents who have information. (- When telling stories re-create key images and action sequences, present these in black and white.) Conclusion - Finish with what the house has become and what may become of it in the future.

39. Tzentov Todorov’s 5 stage narraitve theory can be applied to my text: - Equilibrium - the house as it is today - Disruption - the house’s past - Recognition: the re - enactment of the history - Repairing problem: Interviews with residents - Reinstatment of Equilibrium - the house today

40. Pre Production task Over the next few slides you will see my pre – production task, first a draft copy then the final copy. I have chose to do a story board, containing 12 shots, of the opening of my documentary. Slide 5 has a broken picture which will not be evident on my final story bards.

41. Pre – production task

42. Pre – production task

43. Evaluation of first draft pre-production I need to include: only 3 slides per page, to leave space for more descriptions of shots Descriptions of music Arrows, showing zooming and panning.

44. Pre-production new

48. Production planning

49. Shots of location

51. Actors for scenes that will be re-enacted Nick Brand Daniel Brand Harry Brand These actors will re-enact scenes of key imporatnce, primarily the gun powder plotters