Presentation and Brainstorm - Voice and Point of View

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http://videoplan.witness.org | This session reviews different style and point-of-view considerations in advocacy video making.

WITNESS Training Curriculum - Part of module 5

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  • WITNESS: Strategies for using video as a tool in human rights advocacy Have an understanding of video advocacy and the WITNESS methodology based on case studies from the global network of WITNESS partners; Be able to identify when video advocacy is an appropriate and effective tool to create change; Know how to develop an effective strategy to create change by making critical audience-based decisions about the video ’s message, story approach, length, style and point of view; Have developed preliminary ideas to effectively integrate video into their own advocacy work; and Have the resources and tools to begin integrating video into your advocacy work.
  • WITNESS: Strategies for using video as a tool in human rights advocacy
  • WITNESS: Strategies for using video as a tool in human rights advocacy
  • WITNESS: Strategies for using video as a tool in human rights advocacy
  • WITNESS: Strategies for using video as a tool in human rights advocacy
  • WITNESS: Strategies for using video as a tool in human rights advocacy
  • WITNESS: Strategies for using video as a tool in human rights advocacy
  • WITNESS: Strategies for using video as a tool in human rights advocacy
  • WITNESS: Strategies for using video as a tool in human rights advocacy
  • Presentation and Brainstorm - Voice and Point of View

    1. 1. Presentation and Brainstorm: Voice and Point-of-View WITNESS invites you to use, remix and share this curriculum.  All materials are under Creative Commons Attribution-Non-Commercial ShareAlike 3.0 License.  You can also find more video advocacy training materials at www.witness.org. 
    2. 2. <ul><li>Objectives: Examine the role of narrative voice, and point-of-view, and consider ‘genre’ </li></ul>Voice and Point-of-View
    3. 3. <ul><li>Stories are about people </li></ul><ul><li>Stories need to be fixed in time and space </li></ul><ul><li>Stories speak the audience ’s language </li></ul><ul><li>Stories stir up emotions </li></ul><ul><li>Stories don ’t tell. They show. </li></ul><ul><li>Stories have at least one “moment of truth” </li></ul><ul><li>Stories have clear meaning </li></ul><ul><li>The people in your story have to want something </li></ul><ul><li>Let your characters speak for themselves </li></ul><ul><li>Audiences bore easily so stories need challenges/obstacles </li></ul>Andy Goodman ’s 10 Rules for Storytelling
    4. 4. <ul><li>Who is telling the story?: Point-of-view </li></ul><ul><li>How are you telling the story?: Narrative structure and genre </li></ul>Key Considerations for Video
    5. 5. <ul><li>Point of View : </li></ul><ul><li>Who provides the guiding information in the film? </li></ul><ul><li>Who orientates us and explains what is happening? </li></ul><ul><li>Who frames what we are seeing? </li></ul>Crafting a Video: Point-of-View
    6. 6. <ul><li>Four filmic approaches to point of view: </li></ul><ul><ul><li>Narration or titlecard-driven : We are guided by a named or anonymous narrator </li></ul></ul><ul><ul><li>Interview-driven : We are guided through by a series of interviews </li></ul></ul><ul><ul><li>Observational-verite : We see ‘life as it happens’ with no apparent intervention </li></ul></ul><ul><ul><li>Character-led : We are led through by a person involved in the narrative </li></ul></ul>Crafting a Video: Point-of-View
    7. 7. <ul><li>Four filmic approaches to point of view: </li></ul><ul><ul><li>Narration or titlecard-driven </li></ul></ul><ul><ul><li>… </li></ul></ul><ul><ul><li>Interview-driven : </li></ul></ul><ul><ul><li>… </li></ul></ul><ul><ul><li>Observational-verite : </li></ul></ul><ul><ul><li>… </li></ul></ul><ul><ul><li>Character-led : </li></ul></ul><ul><ul><li>… </li></ul></ul><ul><ul><li>Remember - many films mix approaches… </li></ul></ul>Crafting a Video: Point-of-View
    8. 8. <ul><li>Stories from the same genre/approach draw on these filmic forms and share certain conventions of structure and story-telling: </li></ul><ul><ul><li>Personal point-of-view (Michael Moore – ‘Roger and Me’) </li></ul></ul><ul><ul><li>News-journalistic (investigations on evening news – ‘Benny Farm’) </li></ul></ul><ul><ul><li>Journey around a central character (Joey Lozano in ‘Seeing is Believing’) </li></ul></ul><ul><ul><li>Location-centered film (Fred Wiseman – Titticut Follies) </li></ul></ul><ul><ul><li>Survey/thesis film ( ‘Seeing is Believing’) </li></ul></ul><ul><ul><li>Music video (Breakthrough TV – Mann Ke Manjeere) </li></ul></ul><ul><ul><li>Public Service announcement (PSA) (concept-based) </li></ul></ul><ul><ul><li>Viral videos on YouTube (humor, pop culture, celebrity) </li></ul></ul>Using Genre
    9. 9. <ul><li>Ensure that the voices in your video have: </li></ul><ul><li>Emotional credibility : Who speaks to our heart , and to our storytelling instincts? </li></ul><ul><li>Analytical credibility : Who speaks to our head ? </li></ul><ul><li>Ethical credibility : Whose voices must be in for ethical reasons? I.e. Do we always ensure that those most victimized/marginalized are given the space to speak out? </li></ul><ul><li>Political credibility : Who speaks to the audience? Who needs to be in to satisfy them? </li></ul>Choosing Your Voices and Characters
    10. 10. <ul><li>Questions to sharpen your stories: </li></ul><ul><li>Who ’s the protagonist? </li></ul><ul><li>What ’s the hook? </li></ul><ul><li>What keeps it interesting? </li></ul><ul><li>Where ’s the conflict? </li></ul><ul><li>Have you included telling details? </li></ul><ul><li>What ’s the emotional hook? </li></ul><ul><li>Is the meaning clear? </li></ul>Sharpening Questions
    11. 11. Presentation and Brainstorm: Voice and Point-of-View WITNESS invites you to use, remix and share this curriculum.  All materials are under Creative Commons Attribution-Non-Commercial ShareAlike 3.0 License.  You can also find more video advocacy training materials at www.witness.org. 

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