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Pearson BTEC Level 5 HND Diploma in Creative Media Production – Moving Image

 Unit 31: Development and Techniques of Film and Video Editing

 Assignment 1: 1.3   Analyze genre-specific editing techniques      

 By Clive Allen

 

Film: ‘Don’t Look Now’

Genre: Horror / Thriller / Drama

Director: Walter Murch (Also sound designer / editing)

 

The editing throughout this film ‘Don’t Look Now’, utilized some very key principle conventions to engage the viewer from the beginning to the end of this movie. The lay up and introduction of the main characters were brought to life, with some quaint but subtle techniques. In particular, we see the Kuleshov effect, being utilized, as scenes from child playing around the lake, situated in open field, being matched cut to scenes, of motivational dialogue, taking place inside the family home. Through the use of very intricate symbolism, and key references, the editor, interprets the script, so that viewer can, automatically, begins to piece the puzzle together. This was achieved, by, match and cross cutting, from scenes in two completely different settings, being affected by one connected source. This created much intrigue, and further engages the audience, to want see if what they now suspect, is actually going to happen.

The rhythm of the film starts, very quiet, and ordinarily, yet throughout the cuts, cleverly placed elements were injected via motivational dialogue, digestive and non digestive sound effects, along with color coded subjects, from two situations, relaying symbolic connection. The Kuleshuv effect employed, works to subliminally suggest something very sinister is about to happen, cutting from scenes of odd person sitting wearing a red robe, in the church pew, backed turned to camera, to young girl, also playing very carefree along side pond, also wearing red coat.

 

Cinematography, keeps our eyes trace, steady, almost directing us to what the camera wants us t see. All the time the pace, is slowly building, to reveal the tragedy, which is about to happen, and we are seeing the events unfold, but rendered powerless to prevent it from happening. What looks like random selected film inserts, become the hallmark, in a continuous fashion. Kuleshov Effective montage, scenes, explores emotions, rhythm, and psychologically implies the rule of 6, insuring that the story has a continuous process as it evolves.

The dimensional plane on the screen is maintained in the edit, respectfully keeping with the 180-degree rule, (always filming from one side of characters throughout their dialogue). Conventions, using the three dimensional space, establishing wide shots, mixed with medium frames, and close up detailed features, to emphasise motivational intent. What strikes me very impressively, was the rhythm and pace of the edit, for this particular genre, as this film takes a very steady pace, which seems to speeds up, to impact the level of tension, colliding sequences of montages, cross cuts, and cross fades. All at the same tie, maintaining a constant pace, which draw you in even further.

One particular film scene with really illustrates the genius of the editor in this movie; was the love scene sequence. Here we see several things happening at the same time. The sequence was a montage, telling two stories simultaneously, and rhythmically, cross cutting, / motivated cuts; between scenes of couple taking their time while making love, while at the same time, we see the same couple actually getting dressed, and ready to leave the room, for the next scene. Here the editor manages to encapsulate our sense, in a timeless manor, (suggesting the time dimension, as if correlating between the time it takes to get dressed, was equivalent to the time it takes to have sex). The awareness how even the match cutting operates, for both connecting particular aspects of the story, but also to retains viewers attention, especially as the positioning of subject matter, keep ones eye trace transfixed, subtlety guiding audience to follow without any jerky movements..

The film utilises  Flash back, or flash forward segments, to further challenge its audience, we later see the context of what appeared as random frames; finally unravel, after the reveal of our mystery character antagonist, goes in for the devastating blow.. We see more flash back, as blood begins to leave our protagonist’s body.. (He was in denial of his gift, which is what caused the death of his daughter, and now himself.)

 

In CONTRAST To….

 

Film: Kick ASS

Genre: Action / Adventure / Comic Spoof / Drama

Distribution: Lionsgate Studio

This film, tell you from the fist scene, what you was in for a ride.. Literally, turns what looks like every kids fantasy to wanting to fly, to a deathly reality, that we cannot fly.. This satirical humour is emphasized employing the marvel type transition’s, cross fade, and succinct match cuts, graphic marvel captions, with actors voice over, narrating his story. The film starts fairly normal, but ramps up, very quickly, and keeps you on the edge of your seat, with a twist of reality, and fantasy, merging with quite brutal consequences. The pace, keeps building, with strong musical sound track, which totally accompanies the dramatic scenes, which unfolds..

A Man stood on top of very tall skyscraper; steady camera, floats from behind him, reverse cut, to show his face, (looking like a genuine super hero). We then see a wide shot, of him Flying off the building, plummeting to the ground (Motivated cut), crowd applauses watching him fly (motivated cut), man then crashes into car with a bang, (reaction shot of crowd, in shock). This is a very upgraded Hollywood style production, which introduces, the theme, while destroying the myth of the usual super hero with extraordinary powers. Introducing comedy, twist, while injecting, ramped up energy compressing time through a very short, and impactive sequence. Cutting from this scene, to our main character, implying through this cut, that the main character, who want to be a hero, is actually a real loser..

Shots, such as; Wide shot of Bruce Willis, about to shoot his Co actor (Daughter), completely pulls you in, as the motivated transitional cuts, between their dialogue, and then the sudden, events which unfolds, starts to make you want to get more involved with this style of entertainment.

Key frames are used, to bridge various scenes, i.e. Match cuts, of Explosive view of Bullet which was just fired, cut to bowl in Alley hitting its target, where the same people can be seen, continuing their dialogue, (motivated cut), sat in café diner.. The diegetic sound, from bullet (bang, and the kettles being smashed, maintained the continuity, in both sound and sight. Film edit, speeds up with faster cuts, pacey music, a lot more action being introduced, even the transitions, play a part of the set up.. Clever use of effective ramping up of scenes, where the action raises the to a crescendo  speeds up, and at times, reverses, to slow motion, emphasising the compression of time, and stating more attention to detail.. 

Interesting POV shots, are also utilised to enhance intrigue, or even to grant the viewer the privilege view point, adding more adrenaline, to particular scenes, especially where the action is building up.. (We can see this similar style of editing, in Kill Bill). 

A proportionate use of CGI, have been used in this film, only to add some extra dimension, to scenes, but not used in a gimmicky sense. The film manages to keep you on the edge, with a fast paced cutting rate, and well choreographed action sequences. The editor has employed very smooth cross cutting, to move smoothly from one scene to another. This was a conscious decision, as it works, with camera pan action. This transitional cut, transports the viewer into the lives of various different, people, looking or discussing similar topic.

 

 

 

Pearson BTEC Level 5 HND Diploma in Creative Media Production – Moving Image

Unit 31: Development and Techniques of Film and Video Editing

Assignment 1: Describe the development of editing technology and practice, and analyze a couple of genre-specific editing techniques.

 

Understand the History Of Editing:

1.1 development of film and video editing technology and

1.2 Practices

Unit 31: LO1

Assign 1: 28/10/2014

Student: Clive Allen

 

What do editors do?

 

Having been introduced to this very insightful documentary, ‘What Do Editors Do?’ which looks in to the role of the editor, and their significant purpose and contribution to the development of the film industry evolution, it have inspired my research, to explore the various development and techniques employed for editing Film and `video. The editing process started in 1903, the same year as the beginning of aeronautical flights. In the early stages of the linear film, discovery, there was very little use of editing, as the film medium was in its early stages of awareness.

 

Edwin Porter: 1903

It was Edwin Porter born in Pennsylvania USA (originally a projectionist), and his team, who spend considerable time working out how they could express stories through film editing, and eventually begun to come up with interesting ideas, of how to explore emotions, adding drama to their stories, in his quest to add meaning to the viewing experience.

Highly influenced by George Mellies fantasy films at the time such as ‘Man on The Moon’, which was very randomly, yet brilliantly structured in camera/s shooting, and utilized a lot of in camera trick photography. Edwin spent his time at the Edison studio, illegally duplicating Mellies films, and later decided to go out on his own to produce and direct his two most significant films; ‘Life of An American Fireman and, ‘The Great Train Robbery’. Life of an American Fireman, combined actual stock footage, of real fires, firemen, and fire engines, along with juxtaposed set up scenes, directed by Edwin, adding tension, and release to the film, making it a truly dramatic viewing, which was well received from the audiences.

 

The Great Train Robbery: Made in 1903

Within the same year he went on to create, ‘The great Train Robbery’, described as first Epic Western film to have been made, which boasted 40 cast, sophisticated camera work, along with a strong script.

Edwin then joined the film together, editing his movie to express a believable storyline, with a big climax at the end of the movie.

DW Griffith: From1909 (Born in Kentucky USA)

Renown for his dramatic advancement of the editing process, and film direction, which really did, initiate the philosophical editing language. He introduced the parallel edit 1909 ‘The Sealed Room’), which he would film two very different stories, most often in different locations, and then edit between the two stories, illustrating the parallel existence, parody’s of different situations, seamlessly displayed through the cinematic screen. Even in today’s modern cinema, we can see this style being exploited, in movies such as, ‘Inception’, which uses this technique to explore many parallel stories.

He went even further in his film, ‘A Corner in Wheat’, where he expanded on more than two, to three different location / spaces. He then also introduced scenes of different social class’s; working farmers underpaid for their labour, Shop vendor, forced to overcharge for their goods, and a Wall Street tycoon, manipulating the markets to earn profit. These scenes, and geographic location far removed from each other, are connected together, through Griffith clever use of cinematic editing, creating parallel discourse, illustrating economic cause and effect.

His style of montage not only creates this unique visual narrative, but also adds contrast between the opulent wealth, and the disparities in compositions and movement between each scene, giving the audience an insight to his character developments, creating empathy, or even rage, according to how he hoses to weave the tale.

By the time of his master epic film, ‘The Birth Of A Nation’, created in 1915, Griffith had now honed his skills, and brought all his skills together, to divesting effect. His branded style of montage, parallel scenes, and camera work, were able to express, the metaphor of cause and effect in film. Griffith now weaves his story over not only four different spaces, but also four different centuries, Ancient Babylon, the age of Christ, 16^th Century France, and a contemporary New york city. This was a quantum leap, in terms of anything being created in this period, of filmmaking. These scenes were bonded through his talent to portray, suspense, metaphors, and poetic lyricism; he manages to retain the driving theme of Intolerance, with a very convincing and engaging narrative. DW Griffith is still revered today, despite the nauseous depiction and misrepresentation, the native Indians, and the African American received in his portrayal of them.

 

Montage Editing:

Sergei Eisenstein – The Soviet Film maker 1920

Sergei had a different definition to the meaning of montage, as viewed in the USA, and France. He was apposed to the notion of montage being scenes, sequentially positioned next to each other, as in DW Griffith, Dziga Vertov(A pioneer in the cinema truth film / Kino Pravda genre), but insisted that montage was to be several independent scenes, put on top of each other, creating a collision of visual imagery. (Example: Propaganda Film, ‘Battleship Potemkin’)

Kuleshov Effect: 1929

‘Kuleshov’, (Soviet Filmmaker); considered that the montage was the basic tool for creating cinema art. His style was very experimental, consisting of bringing together particular visual fragments, which he would assemble, or disassemble to generate distinctive feelings (Creating and inferring meaning).

Hitchcock describes this style of editing as, ‘Pure editing’, a form of autosuggestion, which we can see being employed especially in TV advertising today, and modern cinema. Hitchcock employs this form of editing in his film, ‘Definition of happiness’

Kuleshov’s style of montage went further; He would experiment with scenes, such as; presenting film footage of a person with the same expression, which was cut to particular footages, i.e. A bowl of soup, a dead child, and a woman in a divan on screen. The audience would then be convinced that each expression were in fact three different expression, as they would relate each fragmented footage, through their own mental process, (Sadness, Hunger, Lust). Commenting that the actor was in fact a genius.. Kuleshov realised that this style of editing had a profound and psychological effect on the audience, convincing them that the expression had changed. Hence `the viewer derives more meaning from two sequential shots, than from one shot in isolation’.

 

Sound for Film:

The first feature length ‘talkie film’ (Sound on film) as it was commonly known as, was ‘The jazz Singer’, released in 1927, and was created by ‘`Vitaphone’.

By the 1930, talkies were a huge success, especially in the USA, and this helped to make Hollywood position, one of the most cultural and commercial systems. Preceding this breakthrough, the first actual patent for sound-on-film was received by a French born, `London based engineer, ‘Eugene Lauste’. The sound was captured by a Microphone, and translated into light waves, via light valves, recorded unto a thin ribbon of sensitive metal over a tiny slit. His attempt was one of many which still was not viable to meet the commercial requirements.

It was in 1919 when an American inventor, Lee De forest, found a way to integrated sound on to film, and eventually presented his first commercial screening, in 1923, under the banner, ‘De Forest Phonofilms’. Previous to this the cinema screenings of films were accompanied, by either live performances, or phonogram recording, which would be played in keeping / time with the movie. Despite his break through, and initial success, he was faced with many challenges legal battles, not to mention competition in other foreign domestic markets, where the race to introduce sound to cinema begun to get even more intense.

In 1926, when Warner Bros. decided to sign a contract with George Groves, who perfected the audio recording, synchronized soundtrack for full length movies, ‘Don Juan’, (three hours long). Warner bros, was still in its infancy, and had just acquired a small studio, ‘Vitagraph Studios’. There was still much improvements, and significant economical challenges to roll out this systems across cinemas, as it was still not quite reliable, which started a race to decide which system would prove the most effective and reliable. Sound on disk, which was synchronised to the film, or sound to film, which seemed to wear out after 20 or so projections. In the end AT&T, went into partnership, for their advance sound technology patent, but lapsed payment, giving Fox the opportunity get in on the deal. They then became sub-partners of the said patent, sharing the cross license for this now amplification technology, which was available to Hollywood studios.

In 1927, the 5 leading Hollywood companies; Paramount, Metro-Goldwyn-Mayer, Universal, First National, Cecil B DeMills, all signed an agreement, to collectively share the same technical system, to accommodate talkies in cinemas. In the mean time warner Bros, were already having big success, with what could be stated as a partial sound to film movie, staring the big artist at the time, Al Jolson, and generated considerable commercial success., of their film, ‘The jazz Singer’ (using synchronised sound). Warner Bros, then went on to release three other successful talkies, their first actual where characters spoke, was ‘Tenderloin’. The industry knew that it was now essential to release their own talkies, as this was now the craze, and musical were the first to make big commercial returns, and also selling records featured in the films.

Up to 1930, the studio’s, still were producing dual movies, silent, and sound, as there was still many cinema’s which were not yet equipped, with the updated facilities required to play talkies. ‘Point West’, a Hoot Gibson Western, released by universal pictures in August 1929, was the last purely silent movie, put out to the mainstream by a Hollywood studio, as modern cinema, had evolved, with all the means to manipulate the sound, and various effects, to enhance the viewers experience. The Cinema world has gone from linear, to Non-Linear, analogue to digital, enabling the process to take on a discipline of it own, which runs parallel to the seriousness of the visual aid, which adds that crucial nuance, effects, creative emotions, and meaning through the other senses. With the ability of adding layers to understanding, each frame, we are now fully engaged. To date the technology has made it very accessible to recreate a wide selection of sounds, and to easily edit films from the many digital devices, with software available to produce industry standard quality sound effects, for recording and film, and all can be accomplished from the comfort of your home, using personal computers.

Linear Editing:

Linear editing is a term with relates to the method of editing applied to the older style of filmmaking. This is associated to the analogue film process, which was before the digital era. Film reels were cut, using manual cutters, so the editor had to edit their film in sequences. Prior to that the editing would be achieved in camera, similar to what George Millier created, in his film ‘Man on the Moon’.

Non-Linear Editing:

Non-Linear editing is related to the advent of the digital medium. Once we saw in the digital era, non-linear editing became available. This enabled the editing process, to be able to jump, back and forth, and create as much layers as is required. This relates to visuals, and sound alike, so the editor now has complete control, over the editing medium, and is less restricted with they can create. This allows for a much greater opportunity to express, and add even more feeling to their work, including adding effects, animation, graphics, and texts.

Assignment: Documentary Film History

Creative Media Industry

Unit 61 – Moving Image Documentary Production

Pearson BTEC Level 5 HND Diploma – Moving image

By Clive Allen

16 November 2014

Throughout history, documentary film has encompassed a broad category of visual expression that is based on the attempt, in one fashion or another, to “document” reality.

Although “documentary film” originally referred to movies shot on film stock, it has subsequently expanded to include video and digital productions that can be either direct-to-video or made for a television series. Documentary, as it applies here, works to identify a “filmmaking practice, a cinematic tradition, and mode of audience reception” that is continually evolving and is without clear boundaries.^[1]

^{WHAT IS DOCUMENTARY AND WHAT ARE THE AIMS OF A DOCUMENTARY?}

^{. Poetic: This can take the form of a topic which merely want to bring a new perspective to subject, supported by music, poetry, etc..???}

^{. Reflexive: a documentary, which has an emotional connection to either the director, or through the experience of the subjects story.}

^{. Performativity / Participatory – When the director is actually on camera, and presenting the story.}

^{. Expose / Exploratory: A research documentary, where the director attempts to unfold the story of their subject. Bringing for and against arguments to address a particular subject.}

^{. Narrative: This is where the film is nearly presented with a structured narrative in mind, often supported by narrators commentary throughout the film.}

^{Other skills employed: Dramatic recreation, Graphics, Cinematography, Lighting, cast}

^{. Observatory / Fly on Wall; Big brother type streaming documentary, where cuts are made, but very minimal editing can be seen..}

^{A documentary is a film, television or radio programme that provides a factual report on a particular subject or event.}

^{The aim of a documentary is to report something with real evidence. Documentaries can contain actual footage or reconstruction’s of events / situations. This is commonly done to contrast with what the interviewee is saying. A convention of documentary is to feature a unseen voice or narrator. This is done to anchor meaning to what is being shown.}

^{Documentaries can be based on any social, cultural, political, historical or historical events. However as real evidence is often unavailable to filmmakers, they often use reconstructions of events to demonstrate to audiences what happened.}

^{‘What distinguishes a documentary is portrayal of sound and images of actuality.’ – John Carter (1995)}

^{Bolex 16mm Synch Sound Camera:}

^{Designed 1933:http://en.wikipedia.org/wiki/16_mm_film. This camera was a very essential tool for the advancement of documentary, as it was designed to be used in a variety of spaces, allowing the cameraman to take better advantage of moving objects, and while on a moving object, it also offered improved and faster films, which made it easier to adapt to shooting in lower lighting situations.}

Chronological History of Documentary Film

Pre-1900

The French used the term documentary to refer to any nonfiction film medium, including travelogues and instructional films. The earliest “moving pictures” were, by definition, documentaries. They were single-shot moments captured on film: a train entering a station, a boat docking, or a factory of people getting off work. Early film (pre-1900) was dominated by the novelty of showing an event. These short films were called “actuality” films. Very little storytelling took place before the turn of the century, due mostly to technological limitations: cameras could hold only very small amounts of film; many of the first films are a minute or less in length. The earliest forms of films were made by Auguste and Louis Lumi√®re.

1895 – Lumier Brothers invention of ‘Actualities’

1895 was when the Lumiers brothers invented a camera that could hold 50 feet worth of film. At this time the film they produced were short and unedited (Linear). These film documentaries were called ‘Actualities’. The first ever film “Untrain Arivee”, was shared to a public audience in 1895, and was their most famous film, which simply showed a train pulling into a station. As you can image, in 1895, the audience were genuinely shocked seeing a moving photograph with so much detail for the first time ever.

The documentary film can be regarded as the first genre of the cinema. During the 1890s, when the cinema came into existence, most viewers saw some kind of ‘actuality’ film. These early documentaries were often simple, single-shot affairs, showing newsworthy events, scenes from foreign lands, or everyday events. However, more fictional, or ‘staged’ actualities also began to be produced from the earliest years of the cinema, based on the special effects capacity of the cinema. An example here might be the Lumière brothers’ Arroseur arrose, which appeared as early as 1895.

Lumiers Brothers – ‘Arrival of Train at La Ciotat’: https://www.youtube.com/watch?v=d_9N68MO9gM

1900-1920 – Travelogues / Scenics

Between 1895 and 1905 a number of identifiable genres of documentary film emerged, including ‘topicals’, ‘travelogues’, ‘scenics’, ‘industrials’, sports films, ‘trick’ films, ‘fantasy’ films, and films which used fictional reconstruction or staging in a variety of ways. These early genres of documentary film were quickly assimilated into existing modes of popular culture and entertainment, and initially appeared in venues which used other, non-filmic, forms of performance, such as acrobatics, song, and dance.

Between 1895 and 1905, the early form of documentary film was called travel log, otherwise know as ‘Scenics’. This was only really available to those who had wealth, and were able to purchase the camera equipment, and film, with the means to process footage of their trips to exotic places around the world. This was the first time the general public were able to see the world and record it on film through the moving camera. Affording them this novel discovery, with the ability to share their adventures with friends and family.

The Scenics genre documentary, assisted to establish publics interest, and served as form of barometer which illustrated the requirement for people to access the film medium.

Even tough the medium was still very limited, this never stopped people from trying out new ideas, and documenting some of the most wonderful scenes, as seen through the camera, and from a naïve perspective.. This for me lends an even more authentic pureness, which I greatly appreciate for the period of documentary.

You can later see how this form of filming later on comes back to influence the ‘City Symphony’ genre, and cinema truth genre. So there is clearly a battle for the progression and evolution of the artistic development and technical advancement growing hand in hand, as the medium of filming becomes more popular.

Seeing London in 1920’s: http://youtu.be/4Mts9tS5Em0

English Cities / Social Guidance / Educational Documentary. Accompanied by written text, to inform viewer about what they were observing.

Travel Log: Mount Tamalpais Gravity railroad: http://youtu.be/GJg-Zzd589Q

Ariel Trip Over New York 1920: http://youtu.be/oQFxoke2yXA

One of the most well known films created by Georges Melies’ A Trip to the Moon (1902). http://www.imdb.com/title/tt0000417/ . Martin Scorsese dedicated his film ‘Hugo’ in his remarkable fantasy, adventure movie, starring Jude Law, Sacha Baron Cohen, and Ben Kingsly, which inserted the actual original film, (with a little added colour), and other cherished footage from this period.

Trip To The Moon: http://www.theatlantic.com/video/index/381597/riding-unicycles-in-a-cave/

1920s Romanticism

The most famous film to have been made was titled, ‘Nanook Of The North’, directed by Flaherty in 1922. This how the actual definition, ‘Documentary’ was used to describe this film, in a review by john Grierson, meaning (The creative interpretation of reality). Grierson, went on to express how Flaherty, had staged the majority of the scenes, for the camera, to create a more dramatic and exciting viewing for the audience.

‘Nanook Of The North’: http://youtu.be/m4kOIzMqso0

This actual style of documentary were utilised to present an in depth study / representation of the so-called primitive cultures being documented. Most of these cultural groups were also unaware of the final intention of these films. In many circumstances, these remote communities would have been, miss-represented, without any say, and the audience left with no other means of knowing otherwise. From the storytellers point of view, this would be quite an exciting challenge, to serve their principal agenda / career, while on the other hand, those cultures who at the time were less savvy with the rise of this media access, and cinematic values, in the west, would be portrayed the way the director / producers wanted them to look, and supported with the presenters narration, which also would further inform what the audience was observing, and why!

In a way, I would say that this was a form of manipulation, to exoticise the indigenous cultures, while at the same time making themselves appear as the great hunter, war heroes, rulers of the land sort of thing. Charles Darwin has been mis-quoted over the many years for pioneering and scientifically proving the theories related to the indigenous cultures inferiority, which was also manipulated and campaigned to justify the brutal destruction of these once great people. http://youtu.be/HN9GP2S7c3E

Wikipedia, ‘Natural Selection’: http://en.wikipedia.org/wiki/Natural_selection – Darwin.27s_theory

The character Joe Black in King Kong comes to mind, where he was prepared to go to great lengths, for the sake of his career to be the first to capture footage of the primitives and subsequently King Kong, with no thought of the consequences. Its driven by blind ambition to further his fame as an explorer and naturalist film maker.

 

The city Symphony

This era of filmmaking totally illustrates the beauty of the film medium, and how progressive the film techniques were, and the skilful advancement of the cinematography employed.

On watching Ruttmann’s ‘Symphony of a great City’, I would actually place the film ‘Baraka’ in the same ‘City Symphony’ genre.

A parody of life in the city, sympathetic to both people and the many landmarks being portrayed, internally and externally.

It was particularly interesting to see they way the editor introduced some very early skills, such as cross fading, and montages.. Accompanied by a very emotive orchestrated music score, which kept the viewing quite compelling.

This was certainly the Art House experience, they set out to achieve, with this Avant-garde style project.

Interesting to also learn that this type of film, was released one year before Hitler decided to take over, and dominate the media, with his hard dictatorial Propaganda films. Hitler even went as far as becoming; Executive Director for film, ‘Triumph of The Will’. 30% of the Great city of berlin was bombed, and destroyed, so this film is all that remains as a reminder of what it once was like.

One of the most magical approach, but also the most riskiest, was that this “new style” of early filmmaking, actually evolved from a script-free open narrative form, that sought to show a clearer, less cluttered view of the world free from a real storyline or rigid structures

Berlin: Symphony of a Metropolis is a 1927 German film directed by Walter Ruttmann, co-written by Carl Mayer and Karl Freund, musical score, written by ‘Edmund Meisel’.

Newsreel tradition 1920 – 1940

Newsreel were a proponent to keep the social groups in society all up to speed with the current events taking place around the world, and at home.. This was also a good way to try to spread the good or essential news, while at the same time entertain the audience, with what’s taking place..

Many of the battle scenes, were actually staged, so once again the documentary machine, understood quite early, that it could present the notion of ideas suggested, to interpret the truth, and get away with it.

They generally tried to stay on the right side of propaganda, by attempting to appear unbiased, adding a sense of realism throughout the reporting of such events. We can see this style still being employed in recent times, as the news readers are prompted to drip feed the general public, with particular reports of events which mainly concerns the homeland’s agenda. As we no longer have to go to a cinema to receive this information, the newsreel, is broadcast direct to our TV, Mobiles, computers etc.

In the 1930 / 40’s, The newsreel, was the primary visual method to inform audiences of particular news / topical interests, a form of current affairs mixed with entertainment. There were cinemas located all over major cities, some of which were dedicated to solely update communities, about what was taking place around the world. They continued to be screened also prior to watching movies, up to the 1960’s.

The television took over pretty much from the 1950’s, but the footage still have very significant value, similar to the analogue film footage in both photography, and film history.. This all goes to show, how important it is to remain constant with documenting, and protecting personal and professional archive is, as there is an unstated value, for future generation yet to come.

“Cinema truth”, part one

As Edgar Morin wrote: “There are two ways to conceive of the cinema of the Real: the first is to pretend that you can present reality to be seen; the second is to pose the problem of reality. In the same way, there were two ways to conceive cinéma vérité. The first was to pretend that you brought truth. The second was to pose the problem of truth.”

Truthful cinema (Cinema Verite) was a silent revolt to the post war propaganda documentary era, where the filmmakers sought to remedy the intense manipulation through film, and the way much of the integral meaning had been lost, through political, and social interference. They would spend as much time considering the technical possibilities, as they would the content, and the style.

After the seemingly hijacked era of Cinema Truth 1

Dziga Vertov was central to the Russian Kino-Pravda (“cinema truth”) newsreel series of the 1920s. Vertov believed the camera — with its varied lenses, shot-counter shot editing, time-lapse, ability to slow motion, stop motion and fast-motion — could render reality more accurately than the human eye, and made a film philosophy out of it.

This approach could be achieve with either very basic equipment, or the use of particular techniques, to establish the method to which these anthropological statements could be achieved. A wide variety of lenses, slow-motion, time-lapse, tracking / panning shots, and fast pace editing, were used to convey their sincerity to their films. This could be seen as life imitating art, or the reverse, art imitating life.. Where even errors, are often the best mistakes..!

There were like no real rules In , so long as the end result felt to be trying to reveal the truth, which caul also include staged set-ups, and prompting of subjects.. So long as the director is willing to cross the line of banality, to expose their tricks, or push the subject matter, by employing cool effects, it really did not matter. Techniques such as time-lapse, slow-motion, tracking, all made the viewing very engaging, yet the content, still the focus point of their intention.

By this time the Bolex and other advanced cameras were now being made available. The Bolex was now readily available, with various focal length lenses, which rotated on the front of the camera, allowing cinematographer to option to show one scene, with several perspectives. It was also a good time for the filmmaker to work in adverse conditions, especially lower lighting, with film stock such as Kodak Tri-X available in film stock. The camera also introduced sound synch technology.

This period was inceptive of what we would commonly call the ‘Fly On The wall’ documentary.. It was more concerned with being the observer, ‘The David Attenborough style, only with people and life, as the main focus.

1930s-1940s: wartime propaganda

Propaganda style of documentary is the polar opposite to what ‘cinema Pravda’ set out to achieve. The propaganda sets out to suppress the collective masses will, to succumb to the vision of their military intended agenda, while using the ultimate hypodermic needle theory, with much fear surrounding the issue, of those who dare to oppose them. The sad thing is that the creative, at the time, such a Leni Riefenstahl’s, who co wrote and edited this ‘Triumph To Will’, and went on to achieve many great things in her life, was used as the catalyst, to manipulate the people, through her knowledge, and know how. This in itself presents a tragic situation, which further illustrates the power of the medium, and how effective the propaganda genre can be, if created with the support of those only in pursuit of power.

1915 Birth Of A Nation’ (Originally titled; Clansman), was created much earlier by W D Griffith. This was an even more ambitious film, created, produced as the first ever documentary feature film (12-reels film)

From my perspective, this film illustrates the depth to which documentary genres such a propaganda can be manipulated, and fed to the masses, who for patriotic reason will swallow it whole heartedly, was the case with this movie. Here you can see the orchestrated script, deliberately making an attempt to historically actualize the glorification of the Klu Klux Klan, who at the time was still lynching African American citizens, at local picnics, as a family day out.

It is very obvious, who the financial patrons were towards manufacturing this film, yet it is an historical artefact, which was also very well executed. It was very sad to see the way this era chose to use film, as the component to inject this stereotyping, and deliberately project a polar world, to promote white supremacy, while, at the same time, illustrating African Americans as sexual savages, deviants, or whores, (using white men tarred in black polish). It serves to show that the idea of media, is w very critical tool, which one has to navigate with an open and questioning mind.

The Birth of a Nation (originally called The Clansman) is a 1915 American silent drama, directed by D.W Griffith.

 

1950s-1970s “Cinema truth,” part two

With the onset of smaller cameras such as the 16mm bolex with interchangeable lenses and the availability of faster film stock such as Kodak Tri-X it became possible to film in a more discreet way, less intrusive and more realistic because it didn’t have to be staged anymore.

Cinema truth, is a much more direct style of genre, which through the advancement of technology, and camera equipment enables the director to create a POV perspective, which does require a very high shooting ration to edit, approx. 80:1, so much so that often the editors, actual receive shared titled as Co-directors, because they have to literally mould the edit from lengthy film rushes. There is an almost cultic appreciation for this form of documentary, which we can also see the idea being employed in film debut, ‘The Blair Witch project’.

Political weapons

In the 1960s and 1970s, documentary film was often conceived as a political weapon against neo-colonialism and capitalism in general, especially in Latin America, but also in a changing Quebec society. La Hora de los hornos (The Hour of the Furnaces, from 1968), directed by Octavio Getino and Fernando E. Solanas, influenced a whole generation of filmmakers.

Sweet bad ass song – Blaxsploitation film by Melvin Van Peeble, which was later seen a pioneering movement to promote the Blaxploitation film movement.

Other feature length film such as The Spook Who sat by the Door, was later heralded as another great film, which was shot on a very low budget, that set out to expose the governments agenda to dumb down the black community in America, and create a divide and concur regime. One man becomes an agent of the central intelligence, but was set up, and decides to leave his job, to train local groups within his community to teach them how to fight back against the system. The film itself was confiscated by the government officials, and destroyed, but fortunately there was a copy, which was rescued, and recently screened at the BFI, to a packed cinema.

Modern documentaries

Box office analysts have noted that this film genre has become increasingly successful in theatrical release with films such as Bowling for Columbine, Super Size Me, Fahrenheit 9/11, March of the Penguins and An Inconvenient Truth being among the most prominent examples. Compared to dramatic narrative films, documentaries typically have far lower budgets. This has made them attractive to film companies because even a limited theatrical release can be highly profitable. Fahrenheit 9/11 set a new record for documentary profits, earning more than US$228 million in ticket sales and selling more than 3 million DVDs.

The nature of documentary films has changed in the past 20 years from the cinema verit tradition. Landmark films such as The Thin Blue Line by Errol Morris, which incorporated stylized re-enactments, and Michael Moore’s Roger and Me, which placed far more interpretive control in the hands of the director. Indeed, the commercial success of the documentaries mentioned above may owe something to this narrative shift in the documentary form, leading some critics to question whether such films can truly be called documentaries; critics sometimes refer to these works as “mondo films” or “docu-ganda. However, directorial manipulation of documentary subjects has been noted since the work of Flaherty, and may be endemic to the form.

The recent success of the documentary genre, and the advent of DVDs, has made documentaries financially viable even without a cinema release. Yet funding for documentary film production remains elusive, and within the past decade the largest exhibition opportunities have emerged from within the broadcast market, making filmmakers beholden to the tastes and influences of the broadcasters who have become their largest funding source.

Modern documentaries have some overlap with television forms, with the development of “reality television” that occasionally verges on the documentary but more often veers to the fictional or staged. The making-of documentary shows how a movie or a computer game was produced. Usually made for promotional purposes, it is closer to an advertisement than to classical documentary. Modern lightweight digital video cameras and computer-based editing have greatly aided documentary makers, as has the dramatic drop in equipment prices. One novel technique proposed to produce low-cost media in settings where it would have been difficult to impossible previously is the documentary swarm.

It all begun, with ‘The Thin Blue Line’, by Errol Morris, which incorporated stylized re-enactments, which placed far more interpretive control in the hands of the director.

These set ups, were graphic, symbolical, casted, and some times fully lit.. The level of cinematography perspectives, and even added music, or ambient sound, totally reconstructs the period, and the moment, is literally re-born on screen.

With the advent of modern equipment, cameras, DSLR’s, Compact camera’s, Mobile phone devices, editing facilities, and easy computer access, it has made the scope for generating modern documentaries, not only easier, but less cumbersome. It is now nearly possible to create your own, documentary by yourself, and in all sorts of lighting. There are also much easier methods to broadcast final film to a very wide audience, through the Internet, via social media.

There is still many requirements, to produce credible documentary films, and in some sense, it has become harder to make a distinctive statement through film, as there are now so many people, who have been encouraged to access the medium of film.

There has also been an increase in the actualising the commercial feasibility to screen documentaries throughout national cinema’s, as illustrated with Michael Moore, ‘Fahrenheit 9/11’, ‘Bowling For Columbine’, along with films such as ‘Super Size Me’..

The modern documentary is now officially, bankable, and serves part of our on screen experiences. For instance, Fahrenheit 9/11 set a new record for documentary profits, earning more than US$228 million in ticket sales and selling more than 3 million DVDs.

I think this can be either a very good thing or quite scary.. The problem here is that once the studios, start seeing the purest form of documentary as a major money maker, there will no doubt be many compromises, and possible manipulation of these projects.

But on the other hand there is now more credibility in producing a film which makes it clear and true.. The film maker no longer needs to totally depend on the distribution studios, to make their film, and can even attract their own resources, via online marketing, by going direct to audiences, once they have been identified!

There has even been a new genre, which now looks to not take itself so seriously, known as. ‘Mockumentary’. This spoof orientated genre, is directly aimed at the commercial film market, and has crossed over into several feature movies, as a result.

 

Analytic study of Documentary film?

‘Man on a Wire’

Other documentary forms

Compilation films

Compilation films were pioneered in 1927 by Esfir Schub with The Fall of the Romanov Dynasty. More recent examples include Point of Order(1964), directed by Emile de Antonio about the McCarthy hearings and The Atomic Cafe which is made entirely out of found footage that various agencies of the U.S. government made about the safety of nuclear radiation (e.g., telling troops at one point that it’s safe to be irradiated as long as they keep their eyes and mouths shut). Similarly, The Last Cigarette combines the testimony of various tobacco company executives before the U.S. Congress with archival propaganda extolling the virtues of smoking.

Essay By Clive Allen

Notes & references

1. Nichols, Bill. ‘Foreword’, in Barry Keith Grant and Jeannette Sloniowski (eds.) Documenting The Documentary: Close Readings of Documentary Film and Video. Detroit: Wayne State University Press, 1998
2. Miriam Hansen, Babel and Babylon: Spectatorship in American Silent Film, 2005.
3. Grierson, John. ‘First Principles of Documentary’, in Kevin Macdonald & Mark Cousins (eds.) Imagining Reality: The Faber Book of Documentary. London: Faber and Faber, 1996
4. Slate, “Paranoia for Fun and Profit: How Disney and Michael Moore cleaned up on Fahrenheit 9/11”. May 3, 2005.
5. Wood, Daniel B.. “In ‘docu-ganda’ films, balance is not the objective”, Christian Science Monitor, June 02, 2006. Retrieved on 2006-06-06.
6.  Indiewire, “FESTIVALS: Post-Sundance 2001; Docs Still Face Financing and Distribution Challenges”. February 8, 2001.
7. http://en.wikipedia.org/wiki/Cin%C3%A9ma_v%C3%A9rit%C3%A9

8. Ref: Documentary Film encyclopaedia (http://cw.routledge.com/ref/documentary/introduction.html)

What is the media, as we know it today? We have lived most of our lives experiencing it..

However, have we stopped to ask ourselves this question?

The word ‘Media’ is the plural for what is known as the ‘Medium’, the first forms of communication, were drums / smoke signals, oral history and other forms of story telling. We now get the majority of our information and entertainment the what we now know as, ‘The Mass Media’.he first form of media was the printing press.

mass media reaches as wide a number of people as possible. The idea of ‘reach’, is the key to mass media – a successful form of media is said to have a wide ‘reach’.

 

In the 20th Century the mass media ‘exploded’, with the growth of city life. Newspapers, novels, ‘penny dreadfuls’, (serialized dramatic stories, which were the forerunner of our soap operas today).

Photography, the theatre, were the early forms of mass entertainment. Soon silent films, fair grounds, and later cinema theatres expanded with the introduction of Hollywood growing it wider distribution.

In the 1950’s, the Black and white  Television became an household item, which made it more convenient for audience to receive entertainment, news, and commercials from the comfort from their homes. This was the beginning of reshaping the way audience received and responded to the media.

We since then seen the evolution of the television, develop, with other mediums such as; The video recorder, which made it possible for audiences to record particular programs, and to purchase particular films for their personal use. The Tv set became a central aspect with most households, and soon the industry introduced the invention of the CD and DVD, which would contain special added features for this who purchased products.

Once the internet, became available, we saw a massive change in users behaviour, as the audience, started to become more astute with how they interacted with the media. This medium, opened up an entire new pathway for people to communicate and interact with a vast source of information. The fact that it was now very easy to commentate, and interact with a global market, with technological devices becoming more available, and improving at a rapid rate, users have become much more self gratified, and active participants.

As Stuart Hall reception theory states, that audience have become more aware of the media, and now more able to decode, and negotiate for themselves. This also opened up another chapter in audience reception ideas, as people started to respond in opposition to the effects of particular ideas.. For instance,, In the Batman film, you start to see that his nemesis, becoming as popular, if not even more popular, as the anti hero.. This is down to the audience reading into the context, and also negotiating within the social context and other discourse taking place, throughout the wider media platforms.

Irrespective of the evolution of the media, the same Key Concepts, in principle still apply, with regards to how the industry engages with its audience. The only difference in contemporary times are that, the audience, have the access to be very active users, or creators of their own media content, with the easy means to share this with global audience, without the need of any form distribution / publishing studios.

The Key Concepts are:

M – Media Language

The creative method of how we use visuals, sound, typography, special effects, technology, and images; to communicate the meaning to its intended audience.

I – Institution

The significant organisations, responsible for making, or distributing media content.

G – Genre

Understanding and identifying the audience category, for best audience reception. This applies for Movies, music, advertising, news, sport, and social media.

R – Representation

Understanding the how, why, and the who we are actually speaking to, as this will attract of repel audiences, based of content.

A – Audience

How to identify, define and understand who and how to engage and target particular audiences.

I – Ideology

The idea behind the programs /  content. What is the motivation for expressing the story.

N – Narrative

The structure of telling the story – The beginning, middle and the end, explaining the catalyst theme showing clear objectives.

E – Evaluation

How to appreciate the opinions of your piers, audience, and critiques. Essential review and feedback are the whole mark, of developing a sustainable dialogue with your audience.

Is Copyright Aiding or Destroying Creativity

Essay by Clive Allen

What is Copyright:

Copyright is the legal right created by the law of each country, which grants the creator / author of the original works, exclusive to its use and distribution. With the intention of enabling the creator / author, to receive compensation for their intellectual property, and efforts. (Wikipedia) Copyright may be sold or licensed on to other parties, who may attach contracts for usage for a period of time, if the creator thinks this would best serve their interest.

As the owner of your copyright, you will be considered as the ‘Rights holder’, who has the choice to do with your copyright what you like. Copyright does not cover ideas, and information, but only the actual form or manner by which they are expressed. For example, Micky Mouse cartoon restricts other from making copies of the cartoon or creating derivative works based on Disney’s particular mouse. However, this does not prohibit the creation of other work about mice in general..

Trade Mark:

There are a wide variety of copyright terms and usage, some that extends beyond just copyright, as one may want to create a particular brand, or sell merchandise of their products, which would require a more in-depth form of rights ownership, such as a Trade Mark. This is a very expensive process, and has particular tariffs, for optional territories, which may be the country of your residence; Europe, USA, or even Globally. The trade mark ™ protects your product / brand in the territory that it has been registered, so if anyone attempting to copy your product, logo, or brand identity, you will be able to challenge them, and force them to cease trading, and in some instances, receive compensation, if you can prove that they have benefited of your original creation.

Patent:

As an inventor, one would need to consider, patenting their creation, and would need to apply for this, and secure their invention patent through this process. Some applications can take up to six months to complete, but this will serve you well, especially if you wanted to attract funding, or the right business partner to assist with developing your invention

Creative Commons:

With the advent of the Internet becoming such a social frenzy, where people are sharing ideas much more openly, and creative can exchange their creativity, and collaborate with other people, brands, and friends. Creative Commons (public copyright license) is one of several copyright licenses, that enables the free distribution of an otherwise copyrighted work. A creative commons is used when an author wants to give people the right to share, use, and build upon a work that they have created. This does not mean that the work can be sold, as this would have to be agreed prior to them exploiting authors work, or you have agreed to do so in your creative commons terms.

There are a variety of Creative common licenses issued in 2002, which permits people to use work with or without credits, some are restricted to only digital interface, and some for all of the above. What’s important is that the author has the say in how they would like to share their work and ideas.. Some licenses, will only be accessible, if the person themselves, are signed up for Creative commons License.

Open Source:

Open source, totally changed the way people now access, their music, films, technology previously. It’s as if the world has regressed to a trade by barter type system. It is in the interest of those licensing from Creative Commons to also have the same mind state, which under the protection of stipulated usage, to also share their ideas, with others, who might just be the one to take an idea to market, or who does attract the funding. This increases the chances, for those who have participated in this creation, become beneficiaries to their shared success, thus increasing their possibilities as a collective, while openly sharing ideas.

Napster / Case study:

In 1999 Napster set up one of the first peer-to-peer services, where people could simply share files with each other. This caused a huge battle, over copyright infringement. They were forced to cease trading, then got bought by Roxio. Napster then went and set up as an online music store, until it was acquired by Rhapsody from Best Buy in 2011. Right here illustrates how, there has to be room for flexibility, in the market, as this in itself generates the market..

Back to the question; ‘Is Copyright good for creativity?’

My counter question would be, does it not depend on how copyright is being used?

In the past for instance, there was quite a rigid, and nearly selfish approach, to how we operated, and shared new discoveries, technology, art, writing, music, film etc. Where now, with the expansion of the social media, providing us with the access to communicate direct to each other, this rigid approach can be seen as a limited scope to further engage, and become part of the wider intellectual exchange.

Creative Commons is one example, and having had the opportunity to read The Pirates dilemma, and also watch the very interesting documentary, ‘Good Copy, bad Copy’, I can see the many levels of struggling taking place in the corporate business, to try and channel the individuals through their distribution channels. Matt Mason, who wrote ‘Pirates Dilemma, makes a very interesting point, when he states, “The Politicians at the top introduces policies. The people at the bottom find a way around them”.

A man named William based in New York, who had to flee the city, when Edison finally received his patent for his movie making technology. William then went west where they carried on trading unlicensed, for many years, and this place was soon to be known as Hollywood, The man I am referring to was non other than William Fox. I state this point, as it highlights the real issue, which comes back to the nature of capitalism, and the need for an overhaul re-evolution.

Corporation are all about structures, but not all these structures work in favour for the average person, and often they have abused this privilege, and forgot to give back, or even to share their bounty when the profits are good. In 2006, the music industry alone calculated that they made a loss of over $7 billion, which is just not sustainable at any stretch. The USA, and Great Britain was founded on breach of copyright, otherwise known as ‘piracy’, and France still to this day, collects almost 80% of their old colonies GDP, which has never been redistributed back to those peoples development, creativity, or their benefit.

I make this point in an attempt to broaden the picture, as there is also the issue of reciprocal understanding, which is what is now taking place with people online, over the Internet, and in local / global communities. People are realising that they need to become more co-dependent with each other, and less dependant on the state, lawyers, politicians, and distribution outlets, which only see’s the potential from their perspective, and not visa versa. In this respect, I would argue that Copyright in the wrong hands, can a very detramental for creativity..

Copyright has its place, when it is actually serving to protect those vulnerable individuals from being exploited, especially when others, want to come along, and take these ideas without regards to the original author. This is when it really is a very important tool. The likes of James brown, George Clinton, and many others, were actually compensated for their influence on so many young artists, who sampled their music, without registering with the appropriate publishers, requesting clearing permission.

Where on the other hand, artist such as Millie Small, who sang, ‘My Boy Lollipop’, was paid a session rates to co-write and sing this amazing sing, which went massive internationally, and she never received any royalties, due to her lack of knowledge of the copyright law. This was endemic throughout the Reggae scene, as there was no real infrastructure in Jamaica, for them to appreciate their rights.

There was a very interesting case mentioned in the documentary film, ’Good Copy bad Copy’, where the artist Mighty Mouse, decided to do a re-mix album of Jay-Z’s ‘The Black’ album, which he tilted ‘The Grey’ album. He then proceeded to upload this album, and share its entire contents to his fans online, through the internet, and became a global success, without receiving on penny.. Now at this point the corporations would be going crazy, as he has not technically broken any laws, but they cannot actually make any extra cash. While at the same time, Mighty mouse has expressed his creative attitude, and illustrated the feeling he needed to share. Through this form of success, Mighty Mouse was later contacted by the band ‘The Gorillaz’, who asked him to now produce their new album, which they will no doubt pay him handsomely, with copyrights all in place.. Beyond this factor, there are other hidden currencies, which has also shifted.. For instance, in the former years, many industries; fashion, advertising, music, films, were all based on a consumer market, and still is to some extent. However, the shift in todays market, can see the move towards the a Pro-Sumer market, where the people are slowly gaining momentum, and beginning to once more leverage their rights to a free market, where respect has to be earned, and not simply bought!

The artist known as, ‘Prince’ was one of the first artist to relinquish his ties, with the major record labels, (after selling over 100 million records), and has galvanised a huge fan base.. Through this fan base alone, he is able to distribute his music, share ideas, devise bespoke showcases, and still retain all his integrity, copyright, and offer the album for a third of the price, and still make 5 times he would make if he was still signed to the label. Recently Prince was almost on the verge of suing 22 of his fans for bootlegging his music. He eventually dropped the case, which would have been $1million dollars law suit per fan. He came to his senses, as he realised that this was the line not even he could dare to cross. I am sure if the corporate labels, had renegotiate with prince, and agreed a fair share of his license, he may have still been working along side them, in harmony. This was not the case, so on the termination of his contract, and him having the opportunity to exercise his creative rights, he took the initiative, and now has one of the largest and loyal fan base in the music industry.

In Conclusion: What do I think creativity is?

Creativity means to me; to liberate, the means to co-exist, to co-habitat, to express, and to exchange fairly with flexible ideas, which holds regards for all things, and individuals. Creativity is like the water, that refuses to be blocked, but instead, finds alternative channels to flow, and reconnect with its stream of consciousness.. We as the people are like that of the sea, where every single droplet matters. Any form of restrictive ideas, designed to consume this natural phenomenon, called creativity requires a re-evolution of thinking, and a better common understanding. The status quo, needs to come down off its perch and re-connect with the people on the ground, to once more appreciate the significance of what generates cultures.. Creativity is its own unique currency; just as culture has it own values.

We all need a framework to distribute our productivity, and to make a living, but this must be on common grounds, or their days will be numbered, just like we have seen Tower records.. Gone, HMV.. Gone, Virgin records; Gone, and Film Hire, now replaced by the likes of Netflix, YouTube, and other online film portals, or open source web links. Many retail companies struggling, and ASOS taking over.. This boils down to a required re-evaluation of how corporations need to respect the creative values, which the Pro-Sumer are now well aware, and even quite protective.

Copyright in itself is a very creative aspect of the law, one which each individual actually participates with in one way or the other. Agility is very much needed, along with flexible arrangements, that may encourages the creative expression, but also allows for a fair and mutual exchange / sustainable partnership.

By Clive Allen

Are todays Audience Active or Passive

(Article by Clive Allen)

 

 Research Evaluation:

My research, has clearly illustrated that the majority of the people are very active with their media engagement. The media has we once know it, has changed very radically, with the major increase of access to the Internet.

What was once a consumer market, where the majority trade was via physical shopping, and the market could be dictated with expensive advertising campaigns are now in great decline.

With the standard consumer market, you could buy the audience respect, but now, so much social interactivity, these companies, now have to re-learn how to earn their audience respect, or see their business suffer.

The Internet has unexpectedly given much more options for people to engage with their interests, in a way never foreseeable. Cyber reality dictates that we have to embrace a collective strategy.

The majority of my candidates emphasised about avoiding commercials, and actually catering for their particular needs. This would include, how they shop, the methods of accessing music, movies, technical information, and even educational research.

Some still preferred to buy physical books, or attend the movies, but only when it suited them, which they would consider as a treat. There is a sense of not being left behind, and I got to understand, that many did not want to be caught up in a digital divide, as so many within of the elder community have done.

This confirms that most people across a wide age group, are more involved in their self determination, exercising their gratification’s, with a very aware sense, of not being manipulated, to spend money or there time, on things that are not beneficial to them.

Social media, has literally aided the process of how people living within a metropolis society are evolving, and with this has also motivated the audience to be more participatory, with the widely available mediums, apps, blogs, and other social media platforms.

Many are even become very comfortable, and are experimenting, by remixing particular content, discovered online, with their own pictures, songs, videos, which they have sourced, or which have inspired them. With such easy access to manipulate these assets, they are able to experiment from their homes, with available software. Some have posted up and shared many self-made projects, or supported others who have done so.

Essentially people have become less passive, as they have had to streamline their energy / time, measuring how this is utilized, to engage the media. There are so many businesses bombarding the average person, on a daily basis, which once would prove very productive.

In a time where the consumer, has moved to become the pro-sumer, this method of marketing seems to be more of an annoyance rather than proving effective.

From the businesses point of view, companies are still trying to make themselves visible, to compete for customer loyalty, and financial exchange in return. However this has to be closely reviewed, as people are more closely connected, and able to share stories, and even react in a much more swifter manner, with devastating pragmatic effects, demanding to receive improvement on the services being promised.

It is therefore very important that, when exploring ones audience, a concerted level of research to understand the intended audience needs, and how best they can be served (needs to be met), making this arrangement, more authentic, transparent, cost effective, and sustainable.

The financial market has also played a major role, with the way people have to budget their resources, and still be able to live a good standard lifestyle.

People are having to be very fugal with there spending, so this puts even more pressure, to attract their financial commitment. Richard Branson has dominated this sector for the last two decades, as he realised very early on, the significance of putting people first, and lowering his profit margins, enabling those who would be missing out, to now be able to buy in to their ambitions. He managed to achieve this, while still offering customers, improved customer service, which out flanked many of his contenders. We have seen this with, Virgin records, airline, Virgin Active gymnasiums etc.

My last visit to the cinema, with a friend, came to nearly £30, and this was for tickets and pop-corn.. To my surprise, I had to reconsider whether I would be in a position to sustain my love for going to the cinema, at these prices. I now enjoy my films from the Internet (Netflix), or from films other pro-sumers, shared, who like myself, felt very hard done by financially, just to enjoy the cinema. This does not mean I don’t still attend the movies, but it does mean, I will only attend, one in every ten movies, the cinema now.

Once I have had this experience, I too will share this with my colleagues online, and then we all start to realise, that we share the same problem. This is where the active audience, begins to become creative, and makes the decision, how or if they actually need to engage with those particular companies.

Someone like myself even go a little further, to actually become the creators of their own ideas, and peruse methods, which might prove more in keeping with the current market, where authenticity, and consideration may be met with keen interest, and possibly financial support.

Crowd Sourcing:

The recent rise in Crowd sourcing has already proved that it can out rank, the gate-keepers (venture capitalists), who once were the more optional route to finance, and getting innovative projects to their audience. Projects can now be presented via specialist websites such as, ‘Indiegogo’ where they will actually promote your idea to their network, and even target the particular audiences, suitable to the genre of your projects objectives.

People will then pledge their funds to your project, based on the ideology, and what have been offered as an exchange. This could be as little allowing people to come on set, or to receive a signed copy of final package, poster, or original merchandising. It has been reported that in many instances, the pledges, for some projects, have far exceeded the funding initially requested. The most important thing is that we can see unfolding, is the desire and willingness, which more and more of the public are; aspire to participate with the actual process to engage.

There is a massive disconnect from the main stream, as people seek representation, within their quest to be entertained, inspired, or educated.

Through the increase of Social Media, it has given room for an institutional shake up, which may actually favour the brave, or in this instance, the smaller viable projects to be made possible, with alternative funding, being pledged, without the regular red-tape, and other business entrapments. People would rather support other people, to achieve their dream, than to keep supporting the traditional industries, who never seem to reach out to them in return.

‘Snowpiercer’, explores ‘The long Tail Theory’:

The Long Tail theory, have become known as the industries alternative approach, for film release. Where projects have a longer shelf-life-span, due to employing social media, along with the support of various online communities. We have seen the film ‘Snowpiercer’, created by Korean director; Bong Joon-Ho, (Sci-fi / Action / adventure) went against the industries norm. In 2014 Snow Piercer was initially released in only 8 theatres originally, and at the same time as one of the most popular movie, ‘Transformer’. In comparison, Snowpiercer, would ordinarily be dismissed as an art house film, and never achieve the audience reach as it did.

Here we can clearly, observe that this director was not necessarily well known in the mainstream; yet the film was two and a half hours long. The film went from 8 screens, expanding to be screened in over 354 theatres, and made over $1 million within 4 weeks, grossing over $86 million (film budget was $39.2 million), and has now been made available in over 85 million homes on video-on-demand!

(Graeme McMillan, the editor from the Wired magazine, wrote extensively, about what Video-on-demand would mean to the indie film industry.)

This was achieved, through a lot of passion, and determination, but more importantly, it was also due to them engineering a very succinct viral media campaign.

Pioneering alliance:

Through a good business alliance between Radius-TWC distribution Studio, and the film director, (Bong Joon-Ho), they released of a dynamic animated super slick trailer (authenticating their dedication to represent the original graphic novel, ‘Dystopian’). Laying tracks, for cult following, promoting the theme of an underlying anti-establishment concept, warranted for there to be a drive to achieve their audience objective.

The advent of social media, along with well orchestrated twitter campaign, fed this message to a global audience, who were also active, leveraging their collective expressions to see this film succeed. This culminated to measure the publics support and intent, which the distribution studio Radius – TWC, responded accordingly, and rightfully so.

In the end the movie grossed ($86 million) at the box office, and has now caused much to be discussed regarding the methods of how smaller independent films are being released, and the potential business opportunities which needs to be acknowledged, and addressed. This is a typical David Vs. Goliath syndrome. Which scored a big one for the small guy!

‘Quin’, Radius-TWC film distribution director, went on to state;

“He hopes this idiosyncratic release strategy will broaden the options available for distribution of future smaller films, in a ruthless market place”

Written by Clive Allen

Primary Research:

I have recently conducting a personal primary research; enquiring how the public accesses their media for entertainment, and other information such as; news, media trends, fashion, music, and for personal and business research / networking.

This research revealed that, from the 12 candidates I spoke with; 11 out of the 12 were indeed active users, who fell under the gratification category users.

Candidates: (names have been abbreviated for confidentiality purpose)

1. LA

Male, Aged 43

UK club promoter

. Facebook user: Daily to promote events, and connect with friends and family. Also to maintain community, beyond his events, file sharing images, and other upcoming projects.

. Twitter: Regular postings of events, and celebrity, DJ’s, comments to their fans.

. Mobile phone: Uses the phone to conduct 70% of his communications, and research.

Internet: Research, via Google, Yahoo, and emailing.

. YouTube: For research promoting projects, and to populate his FB fan page.

. Film: Netflix: and Sky movie channel, (selects what he wants to watch)

. TV: very rarely, for nostalgia soaps, and local news.

. Cinema: Occasionally attends the cinema, when there is a big film trending via twitter, and word of mouth referenced.

LA: Classifies as an active user and gratification

 

 2. MF.

Female aged 37

Health and Nutrition Coach

. Facebook: Uses FB on a daily basis, to communicate friends and clients. The majority of her business are from FB community.

. LinkedIn: business development networking, and promoting her services.

. Films: Netflix, YouTube (movies and documentary’s)

. Music: YouTube, I-tunes, Spotify

. Twitter: To engage with wider audiences, and connect with high profile people, essential tool, when promoting her latest project before, during and after event.

. Cinema: (Very rarely, too expensive)

. YouTube: Media platform for her projects campaign, which she also posts on Fb, and LinkedIn, from her YouTube page.

. News: Online News papers / Radio

. TV: Mainly for the news; RT, Aljazeera, BBC

. Internet: Google user; research

MF: Classifies as an active user and gratification

3. AW.

Female 40

E-learning Consultant

. Youtube: Research, and media platform, used to promote latest learning models online.

. Storify: Used for compiling video sourced online in personal account, (ideal for creating personal channel, and for sharing particular content to others, with same interest)

. Facebook: For connecting with friends, while also researching current trends, and engaging dialogue with others.

. LinkedIn: Business networking, and promoting services

. Films: Netflix and YouTube, (for movies and documentary’s)

. Sound cloud / ITunes: Music listening and sharing

. Blog: Has her own personal blog, sharing experiences, and critiquing other in her field of interests.

AW: Classifies as a very active user and gratification

4. AC & AJ

Male and female business partners, Aged 36, and 39

Directors of Creative agency

. Facebook: Regular use to engage many of their team members, friends, and clients.

. Website: Promoting their services, with built in links connected to FB and LinkedIn

. Youtube: Research, and Music

. Vimeo: Sourcing talent, and promotional usage

. Twitter: For promotional use, and following global trends across wide categories, (Film, fashion, finance, technology).

. Netflix: Movies, and documentaries

. Kindle: Books via Amazon, News updates

. Open Source: File sharing, technical software, films, other documents.

AC & AJ: classified as active user and gratification

5. MS.

Male aged 52

Film Director

. Facebook: regular for promotional usage, community engagement, and research

. LinkedIn: business network, and promotions

. Twitter: promotional usage (not regular)

. Open Source: File sharing, technical software exchange, Movies

. U-Torrent: Software access

. Vimeo: movie research, and recruitment for film projects.

. Netflix: Movies and documentaries

. Website: Promotional / Show reel

. TV: very rarely – news (RT, Aljazeera, Sky)

MS: Classified as an active user and gratification

6. TA

Female aged 25

Post Graduate – Psychology

. Facebook: Social use mainly

. YouTube: Music, fashion and Research

. Filmai.lt: Movies, documentaries, educational programs

. kinokrad.net: Russian movies / documentaries

. TV: Rarely

. Drop Box: File sharing

. Torrent: File sharing, Software sourcing

TA: Classified as an active user and gratification

7. DT

Male aged 29

Post graduate – Business

. Facebook: 80% usage, for networking and community engagement

. TV: 5%

. YouTube: Music, and research

. LinkedIn: business network

. Books: He still likes to read hard copy books

DT: Classified as an active user and gratification

8. OW

Male aged 45

Director of Security Firm

. Facebook: Very minimal, friends, and basic promotional usage

. LinkedIn: Professional networking

. YouTube: Music, research

. TV: Catch-Up TV, for older films, and relative documentaries, News

. Twitter: Very rarely.. (catch up on current trending stories)

. Blog: Thinking about it

. Whatsapp: Very actively used throughout, for shared information, and regular communication.

OW: Classified as an active user and gratification

9. AH

Female aged 37

Health and Fitness celebrity coach

. Amazon: Shopping for; medicine, books, food, clothes, (many items sold on Amazon, cannot be bought in physical shops).

. Facebook: Social usage to keep in touch with friends and family

. Radio: Internet radio, for news around the world

. Internet: Online news papers, and researching new medicines

. ITunes: Music / Playlist

. Skype: Face-time communication

. Catch-Up App: She uses special app, which enables her to catch-up on particular TV programs she may have missed

. Twitter: Only rarely, (sometimes for work promotions)

. Spotify: Rarely, for underground music, and trending activity.

AH: Classified as an active user and gratification

10. AS

Male aged 52

Mature student – Law

. Facebook: Business, and social network

. LinkedIn: Business networking, recruitment.

. Skype: international calls, business, and personal usage

. YouTube: Researching, movies, music, documentaries

. Sky TV: Movies, News (RT, Aljazeera, BBC)

. TV: No

As: classified as an active user and gratification

11. SD

Female aged 44

Administrator

. Whatsapp: Personal and business usage

. LinkedIn: Business network

. Youtube: Research, Music, Movies, and documentaries

. Netflix: Movies / Documentaries

. Google: Email and searches

. TV: No

SD: Classified as an active user and gratification

12. LC:

Female aged 28

Fashion Consultant

Asos: fashion buying, and trends

Elle magazine: Physical, and online

TV: Always watches soaps, reality TV programs

Newspaper: She reads newspaper everyday

Cinema: She likes the movies, what ever seems interesting / or trailer grabs her attention.

Internet: Gossip sites, fashion / beauty ads.

LC: Classifies as a passive user