Unit 27 factual programming
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This document discusses factual television programming such as documentaries and news. It outlines different types of documentaries, including observational and participatory modes. It also covers conventions used in documentaries and news programs, such as voiceovers, camera work, and graphics. The document addresses issues that can arise with factual programs like bias, accuracy, and representations. It provides examples of when programs were accused of manipulating footage or duping participants. The conclusion discusses an assignment involving creating a Prezi presentation analyzing issues, codes, and examples from factual programming.
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Factual programming powerpoint 4
The document discusses the history and codes and conventions of factual programming for television. It begins with the origins of actuality films in the late 19th century and discusses some of the earliest documentary films. It then analyzes various codes and conventions used in factual programming, such as the role of anchors/presenters, correspondents, editing techniques, interviews, use of experts and archives. It also examines different documentary formats including expository, observational, interactive, reflexive, and poetic documentaries. In the end, it provides examples of different documentary styles.
codes and conventions
News readers must accurately and impartially present factual information to large audiences on TV and radio. Their appearance, speech, and grasp of grammar and accuracy are important. Field reporters gather information through research, interviews, and first-hand reporting of events. They split their time between the newsroom and location. Witnesses and experts provide truthful, factual information and context to news stories. Documentaries use various techniques like reenactments, archival footage, and interviews to represent "truth" and shape audiences' perspectives on real events or issues.
Presentation2 codes and conventions sarah
Field reporters provide additional coverage of sporting events to complement the main reporter. They link to the studio by switching between live footage and the studio. Newsreaders are used to read syndicated news feeds and were originally used for online discussion groups before the internet. Reporters address viewers in a formal manner, often starting with "good evening." Interviews involve formal discussions between people to sell products, debate topics, or clarify issues. Experts and witnesses provide commentary during interviews and broadcasts. News reports follow an inverted pyramid structure, beginning with a headline and lead paragraph covering the key details of who, what, when, where, and why, followed by additional body details and less important information in the tail.
Codes and conventions
This document discusses various codes and conventions used in documentaries, including:
1) News readers, field reporters, links to studio, mode of address, interviewees, experts and witnesses, and report structure.
2) Formats such as expository, observational, interactive, reflexive, and performative.
3) Elements of realism including actuality footage, interviews, and photos.
4) Dramatization and narrativisation techniques.
Types of documentaries
This document outlines several types of documentaries: docusoaps which follow groups over time in an observational style; reality TV which blends authentic footage with commercial elements; fly on the wall documentaries where subjects ignore the camera; mixed documentaries that use interviews and archived footage; self-reflective documentaries where the subject is aware of the camera; docudramas that reconstruct past events; and fully narrated documentaries where a voiceover guides the story. It also discusses current affairs programs that explore issues in more depth than news but require faster production than documentaries.
Codes & Conventions
A news show follows certain codes and conventions including the use of studio news readers to present stories, field reporters who report from remote locations, and links between reporters and the studio. A typical news report structure involves a main story in the studio followed by a report from a field reporter and may include interviews and actual footage from events. Experts are also sometimes featured to provide context and analysis.
An Introduction to Documentary Films
Documentaries do not simply present reality, but construct a particular interpretation of real events and issues. They use techniques like narration, footage selection, and film style to influence viewers in certain ways. While documentaries aim to inform, educate, or persuade audiences, viewers also expect them to be grounded in factual events and present information objectively. There are many subgenres of documentaries, including observational, interactive, reflexive, and docu-dramas that depict reality in different styles and forms, with the overall goals of illuminating issues and engaging viewers emotionally or intellectually.
Unit 27 task 2 codes and conventions of factual programmes
This document provides information on codes and conventions used in factual television programs. It discusses the different genres of factual programs like news, documentaries, and reality television. It explains that codes are systems of signs that create meaning, and conventions are generally accepted ways of doing things in a genre. Technical, symbolic, and written/audio codes are described. Examples of codes for news include studio news readers and report structure, while codes for documentaries include film, script, music and camera angles. Conventions for both genres are also outlined, such as expectations for on-location broadcasts and graphics in news, and use of interviews, narration and archive footage in documentaries. Different documentary styles like expository, observational, and interactive are also
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Factual programming powerpoint 4
The document discusses the history and codes and conventions of factual programming for television. It begins with the origins of actuality films in the late 19th century and discusses some of the earliest documentary films. It then analyzes various codes and conventions used in factual programming, such as the role of anchors/presenters, correspondents, editing techniques, interviews, use of experts and archives. It also examines different documentary formats including expository, observational, interactive, reflexive, and poetic documentaries. In the end, it provides examples of different documentary styles.
codes and conventions
News readers must accurately and impartially present factual information to large audiences on TV and radio. Their appearance, speech, and grasp of grammar and accuracy are important. Field reporters gather information through research, interviews, and first-hand reporting of events. They split their time between the newsroom and location. Witnesses and experts provide truthful, factual information and context to news stories. Documentaries use various techniques like reenactments, archival footage, and interviews to represent "truth" and shape audiences' perspectives on real events or issues.
Presentation2 codes and conventions sarah
Field reporters provide additional coverage of sporting events to complement the main reporter. They link to the studio by switching between live footage and the studio. Newsreaders are used to read syndicated news feeds and were originally used for online discussion groups before the internet. Reporters address viewers in a formal manner, often starting with "good evening." Interviews involve formal discussions between people to sell products, debate topics, or clarify issues. Experts and witnesses provide commentary during interviews and broadcasts. News reports follow an inverted pyramid structure, beginning with a headline and lead paragraph covering the key details of who, what, when, where, and why, followed by additional body details and less important information in the tail.
Codes and conventions
This document discusses various codes and conventions used in documentaries, including:
1) News readers, field reporters, links to studio, mode of address, interviewees, experts and witnesses, and report structure.
2) Formats such as expository, observational, interactive, reflexive, and performative.
3) Elements of realism including actuality footage, interviews, and photos.
4) Dramatization and narrativisation techniques.
Types of documentaries
This document outlines several types of documentaries: docusoaps which follow groups over time in an observational style; reality TV which blends authentic footage with commercial elements; fly on the wall documentaries where subjects ignore the camera; mixed documentaries that use interviews and archived footage; self-reflective documentaries where the subject is aware of the camera; docudramas that reconstruct past events; and fully narrated documentaries where a voiceover guides the story. It also discusses current affairs programs that explore issues in more depth than news but require faster production than documentaries.
Codes & Conventions
A news show follows certain codes and conventions including the use of studio news readers to present stories, field reporters who report from remote locations, and links between reporters and the studio. A typical news report structure involves a main story in the studio followed by a report from a field reporter and may include interviews and actual footage from events. Experts are also sometimes featured to provide context and analysis.
An Introduction to Documentary Films
Documentaries do not simply present reality, but construct a particular interpretation of real events and issues. They use techniques like narration, footage selection, and film style to influence viewers in certain ways. While documentaries aim to inform, educate, or persuade audiences, viewers also expect them to be grounded in factual events and present information objectively. There are many subgenres of documentaries, including observational, interactive, reflexive, and docu-dramas that depict reality in different styles and forms, with the overall goals of illuminating issues and engaging viewers emotionally or intellectually.
Unit 27 task 2 codes and conventions of factual programmes
This document provides information on codes and conventions used in factual television programs. It discusses the different genres of factual programs like news, documentaries, and reality television. It explains that codes are systems of signs that create meaning, and conventions are generally accepted ways of doing things in a genre. Technical, symbolic, and written/audio codes are described. Examples of codes for news include studio news readers and report structure, while codes for documentaries include film, script, music and camera angles. Conventions for both genres are also outlined, such as expectations for on-location broadcasts and graphics in news, and use of interviews, narration and archive footage in documentaries. Different documentary styles like expository, observational, and interactive are also
Introduction to factual programming
This document provides an overview of factual programming for television. It begins by defining factual programming as including TV news broadcasts, documentaries, reality TV, chat shows, panel shows, magazine shows, review shows, and makeover shows. It notes that factual programming takes up the majority of broadcast TV schedules. It then discusses some key elements of TV news broadcasts, including studio news readers who present the news, field reporters who report from the field, interviews with different types of contributors, actuality footage of events, and cutaway footage used to fill time. The document emphasizes that the core of factual programming and news broadcasts is providing a glimpse of reality and current or unfolding events. It suggests exploring how different elements are used in a news broadcast
conventions of a news show
The codes and conventions of news shows can be divided into technical and symbolic categories. Technical codes include formatting and font sizes, while symbolic codes convey deeper meanings. A typical news show contains studio news readers, actuality footage from the field, interviews with eyewitnesses and experts, links between reporters in different locations, and a structured presentation of stories. Reporters gather information from various sources and aim to keep audiences informed about important events in an understandable way.
Documentary
This document provides an overview of documentaries and expository documentaries. It defines a documentary as a film that attempts to document or record aspects of the real world. Expository documentaries specifically use facts and recorded images/sounds to create a socially critical argument or expose a viewpoint. Key features of expository documentaries discussed include the use of narrators, scripts to structure the argument, reconstructions to retell the truth, interviews of eyewitnesses/experts, and mise-en-scene to advance the filmmaker's perspective. Examples like Nanook of the North are analyzed, though some of its scenes are now known to have been staged. The lines between documentary and fiction are also examined.
Documentary Presentation
This document discusses different types of documentaries and how the genre has evolved. It defines documentaries as consisting of official documents or using real events and interviews to provide factual reports. There are six main documentary styles: observational, expository, participatory, reflexive, poetic, and performative. Modern documentaries have become more interactive, abstract in filming style, and hybridized. They appeal to wider audiences through techniques like non-diegetic sound and reenactments. Examples highlighted include experimental silent films from the 1920s and more recent films that expose controversial truths in unflinching ways.
Documentary Conventions
The document describes different types of documentary formats including expository, observational, reflexive, participatory, and performative documentaries. It also discusses documentary realism, dramatization, narrativization, news reporting formats like studio newsreaders and field reporters, and techniques used in news reporting like linking to other studios, addressing viewers, interviewing, using experts and witnesses, report structure, and incorporating actual footage.
Codes and Conventions - TV News Programme
The document discusses codes and conventions of TV news programmes. It describes typical features like news packages, outside broadcasts with reporters on location, pieces to camera, general views to illustrate stories, and voiceovers with visuals. It notes that news presenters in the studio have a desk or table set, address the camera directly to connect with viewers, and are well-groomed in suits to look authoritative. Presenters clearly announce top stories, use the present tense and active voice to add drama, and emphasize points with pauses.
Documentary powerpoint
This document discusses the key elements and conventions of documentary filmmaking. It defines documentaries as factual films about real-world issues that are unstaged and based on observation rather than intervention. The document outlines different modes of documentary, including expository, observational, participatory, reflexive, and performative. It notes that the filmmakers' documentary will fall under the expository category, which aims to inform audiences about topics they are unfamiliar with through voiceover narration, commentary on images, and explaining what is happening directly to the audience. The document provides details on several conventions of the expository documentary form, including the use of voiceover, illustrative images, continuity editing, and assembling a variety of footage and materials
Theory of documentary
Documentaries aim to document and report factual information through footage, interviews, and observation. There are various types of documentaries including fully narrated, fly on the wall, verité, and cinema verité. Documentaries rely on human subjects and use exposition, which is the line of argument or narrative, to tell a story. Exposition can be plain, direct, indirect, or hidden. John Grierson coined the term "documentary" and defined it as the creative treatment of actuality for the purposes of education or persuasion.
News codes and conventions
A brief intro to the codes or conventions of broadcast TV news (used in the factual programming unit)
Documentary Theory
Documentaries aim to inform audiences about factual subjects using real footage and interviews. Documentary film began in 1895 with the Lumiere brothers and evolved with Nanook of the North in 1922, which was the first feature-length factual film. There are five key elements to documentaries: observation, interviews, dramatization, mise en scene, and exposition. These elements such as observation use unseen cameras to make audiences feel like eyewitnesses, while interviews provide different opinions to support or contrast observations.
Paper 15
Documentary films are nonfiction motion pictures intended to document aspects of reality primarily for instruction or maintaining historical records. Social media platforms have allowed documentaries to improve distribution and education reach. Documentaries can be used for journalism, advocacy, or personal expression. They aim to entertain, educate, persuade and inform, with values of being educative, illuminating issues, and engaging empathy. A good documentary raises questions, uses impartial filmmaking, and constructs a particular vision of reality through techniques to inform, convince and persuade.
Theory of documentaries powerpoint
The document discusses the theory and history of documentaries. It notes that documentaries aim to report on facts and events using techniques like narration, interviews, and observations. While documentaries strive for objectivity, they are also inherently subjective as filmmakers interpret and construct reality. The genre has evolved over time, ranging from Grierson's initial documentaries in the 1930s to more creative modern forms that some argue should no longer be called documentaries. Facts are used to make socially critical arguments, but documentaries still grapple with objectively representing truth.
Current affairs
These documents discuss the key differences between current affairs programs and documentaries, and provide guidance on structuring a documentary narrative. Documentaries take longer to produce than current affairs programs and do not have the same deadline pressures. An effective documentary relies on a clear narrative structure with a beginning, middle, and end, focusing on characters and conflicts. It also uses techniques like music, lighting, movement and visuals to enhance the narrative and elicit emotional responses from audiences.
The 6 modes of documentary
Bill Nichols proposed that there are 6 documentary modes: expository, observational, participatory, performative, reflexive, and poetic. These modes distinguish different styles of documentary based on their conventions and traits. The expository mode aims to put forward an argument and convince the audience through on-screen evidence. The observational mode films natural events without intrusion or presenter participation. The participatory mode heavily features the filmmaker's involvement through interviews and provocations.
Week 1 documentary
The document discusses various techniques used in documentary films to present real events and their impact on spectators. It describes common documentary conventions like using natural lighting, interviews, voiceovers, and reconstructions to appear more authentic. However, it notes that these are just conventions and the selection and construction of footage can manipulate viewers just as fiction films do. Viewers must examine how 'real' events are presented and how that might influence their perspective.
Documentary research including styles and inspirations
Direct Cinema originated in the late 1950s as a documentary genre focused on capturing reality without mediation. Prior documentaries were limited by equipment and a desire to educate viewers through editing. Direct Cinema films used handheld cameras for increased realism and often included interviews to directly represent reality. It aimed to question the relationship between filmed reality and actual reality.
Types of documentary
The document describes 7 types of documentaries: fully narrated, fly on the wall, mixed, self reflective, docudrama, docusoaps, and reality TV. It provides details on each type, including common styles, examples, and key characteristics to distinguish them.
Research into tv documentaries style and influences
This document discusses various styles and techniques used in TV documentaries. It outlines direct cinema, which emerged in the 1960s using portable equipment for a fly-on-the-wall approach without narration. Rules of direct cinema included no interviews, rehearsals, staged events, or film lights. Examples include D.A. Pennebaker's 1968 film "Don't Look Back". Cinema verite was a similar European style that also used interviews and expressed the filmmaker's opinions. Institutional documentaries use direct cinema techniques to provide insights into everyday work life. Docusoaps portray common experiences through the eyes of the public using fast editing and narrative strands. Public affairs documentaries traditionally discuss current issues using sources like the
Media types
The document defines and compares different types of documentaries including expository, observational, participatory, and dramatic documentaries. It provides examples and describes key characteristics of each type. It concludes by outlining a planned hybrid documentary project that will combine elements of expository and participatory documentaries to examine issues of racial identity. The documentary will include a commentator providing facts and opinions to make an argument, and will also feature the filmmakers directly interacting and interviewing subjects on camera.
Types of documentaries
There are six main types of documentaries: fully narrated documentaries use voiceovers to provide context to visuals and make sense of the topic; fly on the wall documentaries rely only on observation without interference to allow viewers to draw their own conclusions; mixed documentaries use a combination of interviews, observation, and narration to advance an argument; self-reflexive documentaries acknowledge the camera and filmmaker to create a view of reality; docu-dramas combine fictional reenactments with exposition elements but are criticized as delivering only fiction; and docu-soaps follow people's daily lives but are disputed as truly documentary.
Factual programming doctumentary task 1
This document provides guidance for students on factual media production. It includes definitions of key terms like accuracy, balance, and impartiality. It also discusses challenges like getting interviews, presenting information without bias, and following OFCOM rules on content for audiences under 18. The document provides examples from documentaries to illustrate concepts like balancing multiple perspectives and representing subjects fairly. It provides instructions on reconstructions, payments for contributions, and ensuring factual accuracy.
Research issues facing producers of factual programming and
The document provides guidance for a group of students making a documentary on how young people are portrayed in the media. It discusses challenges such as getting interviews, maintaining balance and objectivity, following regulations, and respecting privacy. It recommends learning from examples like "Supersize Me" and "Aileen, Life and Death of a Serial Killer" to handle these challenges appropriately.
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Introduction to factual programming
This document provides an overview of factual programming for television. It begins by defining factual programming as including TV news broadcasts, documentaries, reality TV, chat shows, panel shows, magazine shows, review shows, and makeover shows. It notes that factual programming takes up the majority of broadcast TV schedules. It then discusses some key elements of TV news broadcasts, including studio news readers who present the news, field reporters who report from the field, interviews with different types of contributors, actuality footage of events, and cutaway footage used to fill time. The document emphasizes that the core of factual programming and news broadcasts is providing a glimpse of reality and current or unfolding events. It suggests exploring how different elements are used in a news broadcast
conventions of a news show
The codes and conventions of news shows can be divided into technical and symbolic categories. Technical codes include formatting and font sizes, while symbolic codes convey deeper meanings. A typical news show contains studio news readers, actuality footage from the field, interviews with eyewitnesses and experts, links between reporters in different locations, and a structured presentation of stories. Reporters gather information from various sources and aim to keep audiences informed about important events in an understandable way.
Documentary
This document provides an overview of documentaries and expository documentaries. It defines a documentary as a film that attempts to document or record aspects of the real world. Expository documentaries specifically use facts and recorded images/sounds to create a socially critical argument or expose a viewpoint. Key features of expository documentaries discussed include the use of narrators, scripts to structure the argument, reconstructions to retell the truth, interviews of eyewitnesses/experts, and mise-en-scene to advance the filmmaker's perspective. Examples like Nanook of the North are analyzed, though some of its scenes are now known to have been staged. The lines between documentary and fiction are also examined.
Documentary Presentation
This document discusses different types of documentaries and how the genre has evolved. It defines documentaries as consisting of official documents or using real events and interviews to provide factual reports. There are six main documentary styles: observational, expository, participatory, reflexive, poetic, and performative. Modern documentaries have become more interactive, abstract in filming style, and hybridized. They appeal to wider audiences through techniques like non-diegetic sound and reenactments. Examples highlighted include experimental silent films from the 1920s and more recent films that expose controversial truths in unflinching ways.
Documentary Conventions
The document describes different types of documentary formats including expository, observational, reflexive, participatory, and performative documentaries. It also discusses documentary realism, dramatization, narrativization, news reporting formats like studio newsreaders and field reporters, and techniques used in news reporting like linking to other studios, addressing viewers, interviewing, using experts and witnesses, report structure, and incorporating actual footage.
Codes and Conventions - TV News Programme
The document discusses codes and conventions of TV news programmes. It describes typical features like news packages, outside broadcasts with reporters on location, pieces to camera, general views to illustrate stories, and voiceovers with visuals. It notes that news presenters in the studio have a desk or table set, address the camera directly to connect with viewers, and are well-groomed in suits to look authoritative. Presenters clearly announce top stories, use the present tense and active voice to add drama, and emphasize points with pauses.
Documentary powerpoint
This document discusses the key elements and conventions of documentary filmmaking. It defines documentaries as factual films about real-world issues that are unstaged and based on observation rather than intervention. The document outlines different modes of documentary, including expository, observational, participatory, reflexive, and performative. It notes that the filmmakers' documentary will fall under the expository category, which aims to inform audiences about topics they are unfamiliar with through voiceover narration, commentary on images, and explaining what is happening directly to the audience. The document provides details on several conventions of the expository documentary form, including the use of voiceover, illustrative images, continuity editing, and assembling a variety of footage and materials
Theory of documentary
Documentaries aim to document and report factual information through footage, interviews, and observation. There are various types of documentaries including fully narrated, fly on the wall, verité, and cinema verité. Documentaries rely on human subjects and use exposition, which is the line of argument or narrative, to tell a story. Exposition can be plain, direct, indirect, or hidden. John Grierson coined the term "documentary" and defined it as the creative treatment of actuality for the purposes of education or persuasion.
News codes and conventions
A brief intro to the codes or conventions of broadcast TV news (used in the factual programming unit)
Documentary Theory
Documentaries aim to inform audiences about factual subjects using real footage and interviews. Documentary film began in 1895 with the Lumiere brothers and evolved with Nanook of the North in 1922, which was the first feature-length factual film. There are five key elements to documentaries: observation, interviews, dramatization, mise en scene, and exposition. These elements such as observation use unseen cameras to make audiences feel like eyewitnesses, while interviews provide different opinions to support or contrast observations.
Paper 15
Documentary films are nonfiction motion pictures intended to document aspects of reality primarily for instruction or maintaining historical records. Social media platforms have allowed documentaries to improve distribution and education reach. Documentaries can be used for journalism, advocacy, or personal expression. They aim to entertain, educate, persuade and inform, with values of being educative, illuminating issues, and engaging empathy. A good documentary raises questions, uses impartial filmmaking, and constructs a particular vision of reality through techniques to inform, convince and persuade.
Theory of documentaries powerpoint
The document discusses the theory and history of documentaries. It notes that documentaries aim to report on facts and events using techniques like narration, interviews, and observations. While documentaries strive for objectivity, they are also inherently subjective as filmmakers interpret and construct reality. The genre has evolved over time, ranging from Grierson's initial documentaries in the 1930s to more creative modern forms that some argue should no longer be called documentaries. Facts are used to make socially critical arguments, but documentaries still grapple with objectively representing truth.
Current affairs
These documents discuss the key differences between current affairs programs and documentaries, and provide guidance on structuring a documentary narrative. Documentaries take longer to produce than current affairs programs and do not have the same deadline pressures. An effective documentary relies on a clear narrative structure with a beginning, middle, and end, focusing on characters and conflicts. It also uses techniques like music, lighting, movement and visuals to enhance the narrative and elicit emotional responses from audiences.
The 6 modes of documentary
Bill Nichols proposed that there are 6 documentary modes: expository, observational, participatory, performative, reflexive, and poetic. These modes distinguish different styles of documentary based on their conventions and traits. The expository mode aims to put forward an argument and convince the audience through on-screen evidence. The observational mode films natural events without intrusion or presenter participation. The participatory mode heavily features the filmmaker's involvement through interviews and provocations.
Week 1 documentary
The document discusses various techniques used in documentary films to present real events and their impact on spectators. It describes common documentary conventions like using natural lighting, interviews, voiceovers, and reconstructions to appear more authentic. However, it notes that these are just conventions and the selection and construction of footage can manipulate viewers just as fiction films do. Viewers must examine how 'real' events are presented and how that might influence their perspective.
Documentary research including styles and inspirations
Direct Cinema originated in the late 1950s as a documentary genre focused on capturing reality without mediation. Prior documentaries were limited by equipment and a desire to educate viewers through editing. Direct Cinema films used handheld cameras for increased realism and often included interviews to directly represent reality. It aimed to question the relationship between filmed reality and actual reality.
Types of documentary
The document describes 7 types of documentaries: fully narrated, fly on the wall, mixed, self reflective, docudrama, docusoaps, and reality TV. It provides details on each type, including common styles, examples, and key characteristics to distinguish them.
Research into tv documentaries style and influences
This document discusses various styles and techniques used in TV documentaries. It outlines direct cinema, which emerged in the 1960s using portable equipment for a fly-on-the-wall approach without narration. Rules of direct cinema included no interviews, rehearsals, staged events, or film lights. Examples include D.A. Pennebaker's 1968 film "Don't Look Back". Cinema verite was a similar European style that also used interviews and expressed the filmmaker's opinions. Institutional documentaries use direct cinema techniques to provide insights into everyday work life. Docusoaps portray common experiences through the eyes of the public using fast editing and narrative strands. Public affairs documentaries traditionally discuss current issues using sources like the
Media types
The document defines and compares different types of documentaries including expository, observational, participatory, and dramatic documentaries. It provides examples and describes key characteristics of each type. It concludes by outlining a planned hybrid documentary project that will combine elements of expository and participatory documentaries to examine issues of racial identity. The documentary will include a commentator providing facts and opinions to make an argument, and will also feature the filmmakers directly interacting and interviewing subjects on camera.
Types of documentaries
There are six main types of documentaries: fully narrated documentaries use voiceovers to provide context to visuals and make sense of the topic; fly on the wall documentaries rely only on observation without interference to allow viewers to draw their own conclusions; mixed documentaries use a combination of interviews, observation, and narration to advance an argument; self-reflexive documentaries acknowledge the camera and filmmaker to create a view of reality; docu-dramas combine fictional reenactments with exposition elements but are criticized as delivering only fiction; and docu-soaps follow people's daily lives but are disputed as truly documentary.
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Documentary research including styles and inspirations
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This document provides guidance for students on factual media production. It includes definitions of key terms like accuracy, balance, and impartiality. It also discusses challenges like getting interviews, presenting information without bias, and following OFCOM rules on content for audiences under 18. The document provides examples from documentaries to illustrate concepts like balancing multiple perspectives and representing subjects fairly. It provides instructions on reconstructions, payments for contributions, and ensuring factual accuracy.
Research issues facing producers of factual programming and
The document provides guidance for a group of students making a documentary on how young people are portrayed in the media. It discusses challenges such as getting interviews, maintaining balance and objectivity, following regulations, and respecting privacy. It recommends learning from examples like "Supersize Me" and "Aileen, Life and Death of a Serial Killer" to handle these challenges appropriately.
Codes and conventions of factual programming unit 27
The document discusses codes and conventions used in factual television programs such as documentaries and news. It defines factual programs and provides examples. It explains that factual programs aim to educate and inform audiences, but may also provide biased points of view. The document then discusses codes, which are systems of visual and audio symbols, and conventions, which are generally accepted ways of presenting information. It provides examples of codes and conventions used specifically in documentaries and news programs. Finally, it outlines different styles and formats of documentaries such as expository, observational, and poetic documentaries.
Studying documentary
This document discusses documentary films and provides context on the genre. It covers several key points:
1) Documentary films aim to show "reality" but are in fact constructed versions of reality that reflect the filmmaker's point of view.
2) The genre has evolved over time, from early films that simply recorded events to styles like direct cinema in the 1960s that used handheld cameras and interviews.
3) Documentaries transform reality through choices like editing, narrative structure, and how information is presented verbally or visually. The end product reflects an interpretation of events rather than a simple recording of them.
Power, Freedom & Responsibility
This document discusses several key aspects of news media, including bias, gatekeeping, ideology, and press freedom. It notes that every news organization has some level of bias in how they select and frame a story. Gatekeeping refers to the process of deciding which aspects of a story to cover within limited time and space. Additionally, all news operates within an ideological context of shared values and beliefs. The document also discusses the tension between government control and press freedom of newspapers and broadcasters. It provides examples of journalists who were murdered for criticizing their governments.
Realism
While media aims to represent reality, it inherently involves selection and construction that shapes audience perceptions. Audiences expect some connection to real life but recognize mediation. Assessing a text's realism considers surface details, emotional realism, plot plausibility, and technical codes used. Knowing audiences are aware of mediation and may suspend disbelief for genres like fiction. Reality shows construct narratives through editing, interviews, and conventions to infer a sense of reality.
Factual programming doctumentary task 2
The document discusses various techniques used in broadcasting news and their impact on audiences, including:
- Studio newsreaders who dress formally and maintain serious facial expressions impact audiences by appearing authoritative.
- Field reporters and presenters should dress professionally but more casually than newsreaders.
- Interviews provide different perspectives beyond just the media's view and can feature victims or perpetrators.
- Experts and witnesses increase believability, with witnesses providing first-hand accounts and experts validating topics.
- Using facts, statistics, and multiple opinions allows audiences to form their own conclusions.
Factual programming doctumentary
This document provides guidance and definitions for factual programming. It discusses key concepts like accuracy, balance, impartiality, objectivity, subjectivity, opinion, bias, representation, privacy, and OFCOM rules and regulations. Examples are given of documentaries that demonstrate these concepts well, such as maintaining accuracy in interviews, showing both sides of an issue for balance, and protecting subjects' privacy. The document also notes challenges like avoiding one's own biases and obtaining interviews from people who may be camera shy.
Factual production
This document discusses factual media production. It begins by defining factual media as products that report true information, as opposed to fictional media. It then examines some common types of factual media like documentaries, news broadcasts, newspapers and magazines. The document outlines some key conventions used in factual media, such as formal language, quoting sources verbatim and citing facts. It also compares the structures of radio news programs and documentary TV programs. Finally, it provides guidance on developing a factual media idea, conducting research, creating a proposal, pre-production planning and the production and post-production processes.
Structure of TV News
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Unit 27 task 1 factual programming essay
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Audience feedback presentation
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Film studies
This document provides information on a unit related to film studies, including its aims, introduction, learning outcomes, assessment criteria, unit content, and guidance for tutors. The unit aims to develop learners' understanding of how films are created for audiences and make meaning through exploring industry practices and theoretical approaches. Learners will analyze films using different theories and understand the relationships between films, their production contexts, producers and audiences.
Factual television trends: Illustrations of successful co-production
This document discusses trends in international co-productions of factual television programs. It provides background on successful co-productions like Planet Earth and Wild China. Co-productions allow partners to pool financial resources and access new markets. They provide cultural benefits but also difficulties coordinating between partners. Future trends may include targeting younger audiences, niche topics, and using crowd-funding sites to finance projects instead of relying on commissions. Co-productions will continue to be an important way for factual television to take advantage of globalization.
Factual Production Formats
This document outlines various media formats for factual productions across print, broadcast, and computer/electronic mediums. It provides examples and conventions for magazines, newspapers, leaflets, websites, blogs, social media, TV news, reality TV, documentaries, sport, wildlife, current affairs, lifestyles, and radio. Conventions include topics, layouts, interactions, and realism depending on the factual product and medium.
Codes and Conventions of Factual Programming
Expository documentaries present a strong point of view through voiceovers and titles in an authoritative manner meant to persuade viewers. Examples include nature documentaries and profiles that deliver an unproblematic interpretation. Observational documentaries aim to simply observe with minimal intervention using portable cameras and equipment, often applying a "fly-on-the-wall" technique. Interactive documentaries show how the filmmaker's presence affects the situations being filmed, with the relationship between filmmaker and subject becoming central. Reflexive documentaries draw attention to their own construction and representation of reality in order to question notions of documentary truth.
Features of documentaries
There are 5 key elements of documentaries according to John Carner: observation, which films subjects without their awareness; interviews, which contrast with observation sequences; dramatization, which portrays past events the filmmaker did not witness; mise-en-scene, referring to what is included in the frame such as lighting and props; and exposition, the line of argument or message the documentary aims to convey.
Documentary mode theory (bill nichols)
This document outlines six modes or genres of documentary filmmaking proposed by Bill Nichols: expository, observational, participatory, reflexive, performative, and poetic. It provides examples and descriptions of each mode. The expository mode uses voiceover narration to directly address the audience. The observational mode aims to objectively observe reality without influencing it. The participatory mode includes the filmmaker's visible participation. The reflexive mode acknowledges the construction of the documentary. The performative mode emphasizes the filmmaker's subjective participation. Finally, the poetic mode uses non-linear, artistic, and subjective techniques of expression over objectivity.
Radio drama analysis
This radio drama analysis discusses the suspense radio drama "Sorry Wrong Number". It begins with a narrator setting the scene and context for the story. The drama follows an elderly woman who is making phone calls. Through sound effects, the audience understands her actions and situation. The story progresses chronologically without flashbacks. It builds suspense through effective use of silence, such as when noises suddenly stop as an intruder approaches up the stairs. Overall, the analysis concludes that this radio drama was engaging and easy to follow for the audience.
Accuracy in Media: Media Bias
Media bias has been an ongoing issue that Accuracy in Media (AIM) was founded in 1969 to expose. AIM gives examples of media bias such as NBC editing 911 calls in the George Zimmerman case and ignoring poor unemployment numbers under President Obama. While the National News Council intended to address bias, it was ineffective and dissolved in 1983. Throughout the 1970s-1980s, newspapers and broadcast news leaned liberal but have since lost influence to the rise of cable news like Fox News, which addresses the bias that other networks ignore. Studies show most journalists are liberal and supported Democratic candidates. AIM continues working to combat bias and hold media accountable by fact checking coverage of issues like the Trayvon Martin case. Social media now
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Assignment 3 cinema verite
Cinema Verite is a documentary filmmaking style that combines naturalistic techniques with staged elements. It aims to capture truth or provoke subjects. Over time, Cinema Verite has influenced other genres by adopting handheld camerawork and lack of scripts to seem more realistic. Modern examples that mix Cinema Verite with horror and thriller genres include The Blair Witch Project, Cloverfield, and Grave Encounters.
Documentary week 3
The document discusses the objectives and content of a lesson on moving image documentary production. It provides definitions of documentary films, describes various documentary types and styles including direct cinema, compilation films and portrait documentaries. Techniques used in documentaries like interviews and reconstructions are examined. The works of influential documentarians Jean Rouch, Errol Morris and their films are analyzed in detail. The document concludes by defining categorical and rhetorical forms in documentaries and discussing examples that mix these forms.
Codes and conventions of a documentary
The document discusses several codes and conventions commonly used in documentaries. It notes that voiceovers are often used by experts to explain events to viewers and encourage the audience to believe what is said. Documentaries also use narrativization to communicate events in a story-like format to aid understanding. Additionally, documentaries strive to use real footage of events, interviews with real people involved, and texts to convey information and dates. Sound, dramatization, a sense of realism through unscripted footage and interviews, and handheld camera work are other techniques used to make documentaries seem authentic.
Theory of documentary
This document discusses the purpose and types of documentaries. It begins by explaining that documentaries aim to document facts using footage, interviews, reconstructions, and observations. A documentary relies on eyewitness accounts and uses narration to guide the audience. There are many documentary styles including fully narrated, fly on the wall, mixed, self-reflexive, docu-drama, and docu-soap. The document also discusses influential documentary theorists John Corner and John Grierson, including their definitions and contributions to the genre.
Case study fish tank
FishTank is a 2009 British drama film directed by Andrea Arnold. It follows 15-year-old Mia, who lives in an Essex housing estate with her mother and younger sister. The film explores themes of dysfunctional families and alcoholism through a social realist lens. While FishTank received critical acclaim and over 20 awards, it struggled to find a wide audience domestically or internationally due to its small budget, unknown cast, and focus on a gritty portrayal of life in East London housing estates, which limited its relatability.
New york times confrence on where advertising meets editorial
This presentation at the New York Times conference in 2010 was meant to provoke and question what commonly gets applauded as creative work when it is often a shameless promotion of brands by media owners,Often the economic model benefits the advertiser, the media owner and the consumer and therefore continue to thrive. The pockets of resistance which is growing rapidly has given rise to the " Indie" movement across disciplines to challenge the total blatant commercialization
Cinema verite
This document provides an overview of different styles and techniques used in documentary filmmaking. It discusses cinéma vérité style, which combines naturalistic techniques with staged elements. It also outlines three basic documentary structures: observational, using only filmed material without interference; standard, which may include voiceovers and interviews; and documentary drama, which uses reconstructions. The document then covers various documentary styles developed by Bill Nichols, including poetic, observational, reflexive, expository, participatory, and performative. It concludes by discussing techniques for storytelling, scripting, shooting video, and editing documentaries.
Tv documentaries styles and influences
Direct Cinema originated in the late 1950s as a documentary genre that utilized newly available portable audio-visual equipment. It aims for objectivity by having no narrator and leaving interpretation up to the audience. Cinema Verité also strives for realism but allows for interaction between filmmaker and subject and the expression of the filmmaker's perspective. Institutional documentaries may incorporate some Direct Cinema techniques while also using interviews. Docusoaps resemble soap operas through fast-paced editing and voiceovers as they examine ordinary experiences. Public affairs documentaries take a traditional format seen on public broadcasting and explore current issues often in a polemical style.
The Theory of Documentaries
The document summarizes key aspects of documentaries based on information from John Fell, John Corner, and John Grierson. Some of the main points made are:
- Documentaries document real events and rely on evidence such as footage and interviews to report on a topic factually.
- They tell a story and aim to leave the audience with a point of view to consider through techniques like interviews, observations, and commentary.
- John Grierson coined the term "documentary" and aimed to influence audiences emotionally with his early socially-focused documentaries.
- Elements like a narrative structure with a beginning, middle, end and conflict help engage audiences, as does the use of sound, interviews and cutaways
Intro to Film: Documentary
This document discusses various conventions and modes of documentary filmmaking. It begins by defining documentaries as films that exist within the same historical world as the viewer and depict real events, rather than being fully scripted recreations. It then outlines several common misconceptions about documentaries before reviewing the history of the genre. The bulk of the document categorizes six modes of documentary: poetic, expository, observational, participatory, reflexive, and performative. Each mode is defined by its relationship between filmmaker and subject as well as examples like Koyaanisqatsi and Salesman. The document stresses documentaries' ability to foster global and cultural awareness.
I, Daniel Blake Marketing
This document discusses the distribution and promotion of the film "I, Daniel Blake" by Ken Loach. It was distributed in the UK by eOne Films and targeted working class audiences through partnerships with newspapers like the Daily Mirror and events coinciding with political conferences. The film's promotion generated discussion of its social themes and political messages. It was promoted as a film addressing issues of importance to many citizens and was very successful commercially and critically, winning several awards in the UK and internationally.
Wild Bill - revision
This case study examines the independent British film "Wild Bill" directed by Dexter Fletcher. It had a low budget of under £700,000 that was raised through private investors. The film was Fletcher's directorial debut. It was distributed in UK cinemas through Universal Pictures and The Works UK, but only grossed £60,430 in its first weekend, which was disappointing. It received critical acclaim but failed to do well at the box office. The marketing focused on the genre more than the narrative and faced competition from larger films. It was later released on DVD and online.
Codes and conventions of a documentary
The document discusses the codes and conventions commonly found in documentary films. It notes that documentaries often feature a voiceover narration from an expert in the field to guide the audience. Documentaries also use interviews with real people involved in the events and "real footage" captured without actors to achieve a sense of authenticity. Additional conventions include the use of on-screen text, sound design, reenactments, and an unscripted camera style to further enhance the non-fiction nature of the documentary format. The document provides examples of several types of documentaries and explores techniques like voiceovers, interviews, and raw footage that are frequently employed to inform and engage audiences while maintaining a realistic portrayal of real-life people and events
The Theory of Documentary
The document discusses the theory and history of documentaries. It notes that John Grierson coined the term "documentary" in 1926 to describe the creative treatment of actuality or reality. While documentaries aim to document fact, they also involve elements of reconstruction, interviews, and narrative conventions to engage audiences. The line between truth and reality in documentaries is complex, as they are edited and shaped productions rather than a full representation of truth. Controversially, some argue documentaries have become more sensationalized over time at the expense of authenticity in order to attract viewers.
The theory of documentary
The document summarizes key aspects of documentaries including:
1. Their purpose is to document and report facts based on evidence such as reconstruction, interviews, and observation.
2. John Grierson coined the term "documentary" in 1926 to describe the creative treatment of actuality or reality.
3. Essential elements include observation, interviews, dramatization, mise-en-scene, and exposition.
Media studies the theory of documentary
Documentaries aim to document real events and provide factual accounts using evidence like interviews, reconstructed scenes, and observational footage. They tell a story through a narrative structure including an exposition, complication, and resolution. While documentaries strive for objectivity, they involve some degree of construction and interpretation in areas like editing, framing of shots, and narrative approach. The line between documentary and creative work can be blurred, as filmmakers must balance authenticity with storytelling techniques.
Features And Types Of Documentaries
This document discusses the key features and types of documentaries. It identifies five key elements of documentaries: observation, interviews, dramatization, mise-en-scene, and exposition. It then describes several types of documentaries, including fly on the wall, drama documentary, mockumentary, personal, fully narrated, mixed, self-reflexive, and investigative documentaries. Examples are provided for each type to illustrate its conventions.
Documentary Short Film Research
Documentary films can take many forms but generally aim to document real people and events factually rather than fictionally. They use techniques like actual footage, interviews, voiceovers, and text to seem authentic. There are different modes of documentary like expository, observational, participatory, reflexive, performative, and poetic. Single camera productions involve filming with one camera at a time for flexibility, while narratives can have open or closed endings and be realistic, anti-realistic, linear, or non-linear.
Comm 101 chapter #6 (film) - fall '21-LUTHER
The document summarizes the history and evolution of the Hollywood film industry. It discusses how:
1) In the Golden Age of Hollywood, major studios owned all aspects of film production and distribution, but this monopoly system broke down as stars, writers, and directors fought for independence.
2) Television emerged as competition in the 1950s, forcing movies to differentiate themselves by featuring bolder content and themes. Studios also sold films to television and realized home video's potential.
3) Modern blockbuster films rely heavily on franchises, sequels, remakes and merchandise to drive massive profits globally, with production and marketing budgets often over $100 million.
Post 3
This document discusses the history and genres of documentaries. It identifies six genres: expositional, observational, participatory, reflexive, poetic, and performative. The expositional genre focuses on social propaganda and was pioneered by John Grierson. The observational genre allows actors to be filmed without interaction. The participatory genre involves interaction between filmmakers and subjects. The reflexive genre brings attention to the filmmaking process. The poetic genre lacks narrative and character development. Finally, the performative genre presents personal and emotional experiences. The document also outlines some key developments in documentary history, including the first fictional films by the Lumière brothers and the staged documentary Nanook of the North.
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This document defines key concepts for understanding audiences of media texts:
- Target audiences are identified by demographics like age, gender, location and psychographics like interests. Five main psychographic groups are described.
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The document outlines the requirements for a documentary assignment, including conducting primary and secondary research. Students must create a research diary documenting their research process, sources used, and evaluations of the sources and how they informed the project. The treatment is a summary of the research and how it will shape creative elements. It must identify the target audience based on research and compare the proposed documentary to similar films, explaining how it differs. The synopsis should provide details on content, visual style, and how it will educate the intended audience based on research findings. Multiple drafts of the treatment are required with spelling and grammar improvements highlighted.
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This document discusses pre-production techniques for media production. It instructs students to develop pre-production skills like planning and resource organization. Students will analyze documentaries to understand requirements and apply pre-production headings. They will then prepare documentation for their own media production and apply their planning during filming. Finally, students will submit a 500-word report on how effective their pre-production planning was.
Unit 26 film studies Marketing assignment 3
This document discusses various aspects of film distribution, including:
- Connecting audiences to films through publicity, marketing, and delivering copies of the film.
- Studying audiences through test screenings to understand if they like and recommend a film.
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- Classifying films for certain age ratings to target wider audiences.
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The document examines whether David Fincher can be considered an auteur director. It defines an auteur as a director with a consistent visual style and thematic preoccupations across their body of work. Fincher is analyzed in terms of his mise-en-scene, cinematography, use of lighting and sound, and how his style differs from other directors working in similar genres. Examples from films like Fight Club, Seven and The Game are referenced to show Fincher's unique artistic fingerprint.
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A film auteur is a director with a distinct style and recurring themes seen across their body of work. They have artistic control that allows their personal influence to shape their films into a cohesive collection expressing their individual vision. Key attributes of an auteur include a recognizable visual style through techniques like camerawork and sound design, exploration of similar themes through unusual narratives that may cross genres, and consistent casting choices that become associated with their films. Examples provided discuss the auteur styles of directors like Stanley Kubrick, Tim Burton, Alfred Hitchcock, and Guillermo del Toro.
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This document provides an introduction to analyzing films through their language. It discusses macro and micro elements of film language, including genre, narrative, cinematography, sound, editing, and mise en scene. Specific techniques are described for cinematography like shots, movement, color, framing and focus. Editing techniques include shot transitions, montage, continuity and parallel action. Mise en scene covers lighting, color, and special effects discusses CGI, stunts, and animatronics.
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Unit 27 factual programming
- 1. Unit 27 factual programme production
- 2. Documentary • Documentary attempts to represent the world in a realistic style • Documentaries are still constructed products • Truth vs. construction • Creators opinion and point of view
- 3. Types • The Observational Mode: leaving the ‘actors’ free to act and the film maker free to record without interacting • The Participatory Mode: film-maker actively engages with the situation they are documenting, asks questions, sharing experiences. Reliant on the honesty of witnesses
- 4. Conventions of a documentary • What are they?
- 5. Documentary conventions • Presenter (particpatory • Voice over (observational and participatory) • Camera work (hand held) • Single strand narrative • Graphics • Interviews, talking heads • Reenactments/dramatizations • Real people
- 6. News conventions • What do we expect to see?
- 7. News conventions • • • • • • • • Studio Outside broadcast Suits on anchors Graphics Bulletin narrative structure Theme tune Multi camera set up Camera shots (mid shots)
- 8. Issues • Accuracy • Bias • Representations
- 9. Accuracy • Situations do not just naturally occur for the camera • Prior to shooting there is planning and preparation • Invasion of the camera will alter peoples reactions • Editing? • Film-makers opinion giving a biased view?
- 10. Positive values of factual programmes • Educate: a variety of point of views. • Inform: issues that the public are unaware of. • Create empathy: urge audience to help • Encourage social/political change: bring the issue to the public arena. • The producers intent may be positive but an oppositional reading will give a negative.
- 11. Negatives • It's not demonising the poor," McKerrow insists. "It's a very honest and true portrayal of life in Britain and people are frightened of it.”
- 12. • The backlash against Benefits Street is on a different scale, with an online petition nearing 20,000 sign (at the time of going to press) calling on Channel 4 to axe it, and a protest being planned on Facebook for outside Love Productions' London office.
- 13. Why? • Some participants claimed they had been duped into taking part under the pretence it was a series about community spirit.
- 14. Why? • "These are marginalised people with complicated situations being exploited for entertainment, and the thousands who have signed my petition agree with me," he said. • Representations?
- 15. Accuracy? • Dramatic footage of a polar bear tending her newborn cubs in the flagship BBC show Frozen Planet was filmed in a Dutch zoo using fake snow. • Reputation?
- 16. Accuracy? • ITV was this evening forced to apologise after faking footage on a brand-new flagship show – using clips from a violent video game. • Footage of the 1988 'attack' was shown to viewers on Monday night's premiere show on ITV1, which exposed the former Libyan leader Colonel Gaddafi's links with the IRA.
- 17. assignment • Create a Prezi • explain issues such as bias, representation and privacy that have arisen in the factual programme genre (p1), linking to clips, stills or interviews (m1) and explain how they have affected the programme or participants (d1)
- 18. • explain the codes and conventions of news programmes such as report structure, outside broadcasts, graphics (p2) giving example of actual footage by linking to clips, stills or interviews to explain why they are used (m2) using correct terminology to explain the examples (d2)
- 19. assignment • Explain what different forms of documentary there are (observational, dramatization etc) (p2) with examples (clips, stills or interviews) to explain why they are used (m2) using correct terminology to explain the examples (d2)
- 20. Assignment 2 • • • • • Write a proposal Get into groups Start pre production Get filming 24th February is deadline