Tuesday, 8 September 2015

Primary Target Audience Research*

My target age for my documentary would be from 15-50. My target gender would be predominantly males but females would certainly be targeted as well. My target sexuality would be heterosexuals. My target class would be from B-E. My documentary is aimed to people of all sexualities.

As my documentary is football orientated , I have made my audience based on these interests as I feel football fans would fit my target audience. My documentary is aimed at the average football fans rather than a specific niche market.

In terms of psychographics, I have considered various groups when planning my audience profile. In terms of "young and rubican" my documentary is aiming is aiming for "The Mainstream" category. It's aim in terms of lifestyle category would be the "Traditionalists".


https://www.surveymonkey.com/r/D6F2G37











Narrative and Reprsentation

In terms of plot, sports documentaries tend to have a narrative upon which the documentary is based on. Stereotypically the opening will be a brief overview/reminder on what the documentary is based on before properly starting the documentary in depth. It would then normally feature the story in chronological order with in depth stories and memories from people who were involved in the particular story. This works as it fascinates the readers to find out more in depth stories based on the documentary. Examples of this would be in Class of 92 where the players involved talk about memories that they have during the period where the story was based.

Initial Ideas*

Initial Ideas

After considering my options, I decided to choose the brief of making a 5 minute documentary. As my passion is football and its something I want to have a career in. having watched numerous football documentaries such as Class of 92 and Being Liverpool, I felt that it would be great fun and very helpful to a later career if I was to make my own similar programme I am currently torn besides weather to use my club side or the college academy team.


After considering my options I have decided to make a documentary based on what professional footballers go into after they retire. My segment shall focus on the work of Jamie Lowry, the ex Chesterfield and Plymouth Argyle player who was forced to retire aged 26 due to ongoing injury problems. I shall film footage from the college academy team where he is currently the manager.

The Effects Of Technological Advancements To My Work*

Documentaries have been heavily affected by media as well as the advancements of technology. The fact that social media and digital media have changed in recent times which has changed both the focus on documentaries as well as the technology used to film such documentaries. Techniques have changed and more handheld devices such as phones, tablets and laptops are commonly used for both filming and editing purposes.


A lot of television shows are edited via programmes and apps such as Final Cut Pro and iMovie. They are very modern and very accessible to most computer users which enable them to make films to a very professional standard even with minimal effort or planning. However these technological advancements have only taken serious effect within the last decade.

Institutional Information and Legal Restraints*

How classification works in television:
U
·         Discrimination- Discriminatory language or behaviour is unlikely to be acceptable unless clearly disapproved of.
·         Drugs- References to illegal drugs or drug misuse must be infrequent and innocuous, or have a clear educational purpose or anti-drug message suitable for young children.
·          Imitable behaviour- Potentially dangerous or anti-social behaviour which young children may copy must be clearly disapproved of. No emphasis on realistic or easily accessible weapons.
·         Language- Infrequent use only of very mild bad language.
·         Nudity- Occasional nudity, with no sexual context.
·         Sex- Only very mild sexual behaviour (for example, kissing) and references to such behaviour.
·         Threat- Scary or potentially unsettling sequences should be mild, brief and unlikely to cause undue anxiety to young children. The outcome should be reassuring. Violence
·         Violence-  will generally be very mild. Mild violence may be acceptable if it is justified by context (for example, comedic, animated, wholly unrealistic).

PG
·         Discrimination- Discriminatory language or behaviour is unlikely to be acceptable unless clearly disapproved of, or in an educational or historical context, or in a particularly dated work with no likely appeal to children. Discrimination by a character with whom children can readily identify is unlikely to be acceptable.
·         Drugs- References to illegal drugs or drug misuse must be innocuous or carry a suitable anti-drug message.
·         Imitable behaviour- No detail of potentially dangerous behaviour which young children are likely to copy, if that behaviour is presented as safe or fun. No glamorisation of realistic or easily accessible weapons such as knives. No focus on anti-social behaviour which young children are likely to copy.
·         Language- Mild bad language only. Aggressive or very frequent use of mild bad language may result in a work being passed at a higher category.
·         Nudity- There may be nudity with no sexual context.
·         Sex- Sexual activity may be implied, but should be discreet and infrequent. Mild sex references and innuendo only.
·         Threat-Frightening sequences or situations where characters are in danger should not be prolonged or intense. Fantasy settings may be a mitigating factor.
·         Violence-Violence will usually be mild. However there may be moderate violence, without detail, if justified by its context (for example, history, comedy or fantasy).

12a & 12
·         Discrimination- Discriminatory language or behaviour must not be endorsed by the work as a whole. Aggressive discriminatory language or behaviour is unlikely to be acceptable unless clearly condemned.
·         Drugs- Misuse of drugs must be infrequent and should not be glamorised or give instructional detail. Imitable behaviour No promotion of potentially dangerous behaviour which children are likely to copy. No glamorisation of realistic or easily accessible weapons such as knives. No endorsement of anti-social behaviour.
·         Language- There may be moderate language. Strong language may be permitted, depending on the manner in which it is used, who is using the language, its frequency within the work as a whole and any special contextual justification.
·         Nudity- There may be nudity, but in a sexual context it must be brief and discreet.
·         Sex- Sexual activity may be briefly and discreetly portrayed. Moderate sex references are permitted, but frequent crude references are unlikely to be acceptable.
·         Threat- There may be moderate physical and psychological threat and horror sequences. Although some scenes may be disturbing, the overall tone should not be. Horror sequences should not be frequent or sustained.
·         Violence- There may be moderate violence but it should not dwell on detail. There should be no emphasis on injuries or blood, but occasional gory moments may be permitted if justified by the context. Sexual violence may only be implied or briefly and discreetly indicated, and its depiction must be justified by context.

15
·         Discrimination- The work as a whole must not endorse discriminatory language or behaviour, although there may be racist, homophobic or other discriminatory themes and language.
·         Drugs- Drug taking may be shown but the work as a whole must not promote or encourage drug misuse (for example, through instructional detail). The misuse of easily accessible and highly dangerous substances (for example, aerosols or solvents) is unlikely to be acceptable.
·         Imitable behaviour- Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied. Whether the depiction of easily accessible weapons is acceptable will depend on factors such as realism, context and setting.
·         Language- There may be strong language. Very strong language may be permitted, depending on the manner in which it is used, who is using the language, its frequency within the work as a whole and any special contextual justification.
·         Nudity- There are no constraints on nudity in a non-sexual or educational context. There may be nudity in a sexual context but usually without strong detail.
·         Sex- Sexual activity may be portrayed, but usually without strong detail. There may be strong verbal references to sexual behaviour, but the strongest references are unlikely to be acceptable unless justified by context. Works whose primary purpose is sexual arousal or stimulation are unlikely to be acceptable.
·         Threat- There may be strong threat and horror. A sustained focus on sadistic or sexual threat is unlikely to be acceptable.
·         Violence- Violence may be strong but should not dwell on the infliction of pain or injury. The strongest gory images are unlikely to be acceptable. Strong sadistic violence is also unlikely to be acceptable. There may be detailed verbal references to sexual violence but the depiction of sexual violence must be discreet and justified by context.

18
where the material is in breach of the criminal law, or has been created through the commission of a criminal offence  where material or treatment appears to us to risk harm to individuals or, through their behaviour, to society. For example, the detailed portrayal of violent or dangerous acts, or of illegal drug use, which may cause harm to public health or morals. This may include portrayals of sadistic or sexual violence which make this violence look appealing; reinforce the suggestion that victims enjoy sexual violence; or which invite viewer complicity in sexual violence or other harmful violent activities • where there are more explicit images of sexual activity in the context of a sex work (see below) or where the primary purpose of the images in question is sexual arousal In the case of video works, which may be more accessible to younger viewers, intervention may be more frequent than for cinema films.
·         Sex education at 18 Where sex material genuinely seeks to inform and educate in matters such as human sexuality or safer sex and health, explicit images of sexual activity may be permitted.
·         Sex works at 18 Sex works are works whose primary purpose is sexual arousal or stimulation. Sex works containing only material which may be simulated are generally passed 18. Sex works containing clear images of real sex, strong fetish material, sexually explicit animated images, or other very strong sexual images will be confined to the R18 category. Material which is unacceptable in a sex work at R18 is also unacceptable in a sex work at 18.

R18
The following content is not acceptable:
 • material which is in breach of the criminal law, including material judged to be obscene under the current interpretation of the Obscene Publications Act 1959 (see Annexe)
 • material (including dialogue) likely to encourage an interest in sexually abusive activity which may include adults role-playing as non-adults
• the portrayal of sexual activity which involves real or apparent lack of consent. Any form of physical restraint which prevents participants from indicating a withdrawal of consent
• the infliction of pain or acts which may cause lasting physical harm, whether real or (in a sexual context) simulated. Some allowance may be made for moderate, non-abusive, consensual activity
• penetration by any object associated with violence or likely to cause physical harm
• sexual threats, humiliation or abuse which do not form part of a clearly consenting role-playing game. Strong physical or verbal abuse, even if consensual, is unlikely to be acceptable

These Guidelines will be applied to the same standard regardless of sexual orientation of the activity portrayed

History/Background of Documentaries*

Key events:


I shall be taking key notes from the website above based on the key events from the history of documentaries.


In 1877, Eadweard Muybridge become the first person to develop sequential photographs of a horse in motion, making it the world’s first ever film. He then went onto invent the zooparxiscope two years later. A device built for projecting and animating his work.

In 1895 Felix-Louis Regnault films a Senegalese woman during the paris exposition which was the first real life footage used for demographic research.

In 1914 Edward Curtis films “In the land of the war canoes” which was a narrative drama based on Kwakiutl actors, one of the first of its kind.

In 1922, Robert Flaherty films the first ever feature length documentary “Nanook of the North”. It included various new formats such as a third person narrative and a subjective tone.

In 1926, the term documentary is first coined by John Grierson in his film Moana for the New York Sun.

1930-1937 The workers film and photo league is formed in the US.

1939 John Grierson is appointed the government film commissioner and gathers a team of over 800 filmmakers inside 6 years.

1942-45 Frank Capra becomes a major in the US Army. During his stint he made a series of propaganda called why we fight which included some very famous filmmakers such as Walt Disney.

1950-60’s Handheld cameras were developed which also captured sound. This helped American and European filmmakers to rebrand documentaries.

1963: Abraham Zapruder captured the moment John F.Kennedy was shot on a 8mm Bell & Howell home movie camera. This become an iconic piece of history still seen today.

1970: Narrative is now being used as part of a third-person story teller role which is still today used.

1973: PBS film and run a TV show called An American Family which become the first glimpse of todays “Reality TV”.

1984: This is Spinal Tap is released which is an eleven hour mockumentary series about a fictional metal band.

1987 P.O.V premieres which focusses on political and social issues.

1991 Amateur videographer George Halliday films police beating and arresting Rodney King for 12 minutes after a high speed chase.

1999 The Blair Witch Project grosses over $100 million just in the US.

2001 Documentaries become a regular feature on TV including shows such as Big Brother, The Bachelorette and The Osbournes.


Today documentaries are constantly on television with shows such as Deadliest Catch and presenters such as Louis Theroux and Trevor McDonald having huge success and popularity.

Brief Choice

6.            An extract from an original documentary TV programmed, lasting approximately five minutes, together with two of the following three options:
•                      a radio trailer for the documentary; 

•                      a double-page spread from a listings magazine focused on the documentary; 

•                      a newspaper advertisement for the documentary. 

I would do a TV documentary based on being inside St Breward AFC focussing on the goings on inside an amateur football club.

Other ideas:

Euro 2016 preview

General chat show on the world of football


In my A2 media I was very interested in created something football related and more specificly football. I am looking at the TV documentary brief as it is similar to what I want do in later life as a career. I feel that by doing a TV documentary it will greater my knowledge in the subject and I will also be able to put my skills that I already have to good use.