Documentary= Comfy Funky and Essential
Channel= Channel 4
Scheduling= Monday 9pm-9.30pm
Duration= 27 minutes (including advert break)
Thursday 15 October 2009
Running order
This is the running order for the full 30 minutes of our documentary.
Documentary= Comfy Funky and Essential
Channel= Channel 4
Scheduling= Monday 9pm-9.30pm
Duration= 27 minutes (including advert break)
Documentary= Comfy Funky and Essential
Channel= Channel 4
Scheduling= Monday 9pm-9.30pm
Duration= 27 minutes (including advert break)
Tuesday 13 October 2009
Context research for documentary
Primary Research
Interviewer Topic Location Mise en scene Camera Shot
Mr Swindell MBT’s Interview Room Collaboration of shoe photographs Close Up
Schuh Worker Irregular styles In the shop Shoe stands Medium close up
Lisa Kenny Large Feet In Topshop Were is appropriate on the day Medium close up
Jess Gibbions Broad Feet New look Wide section Medium close up
Abi Smith Small Feet Market Shoe stall Close up
Clarks Worker Quality footwear Clarks Clarks Medium close up
Aldo Worker Price differences Aldo Checkout desk Medium close up
Primark Worker Cheap shoes Primark Escalators Close up
Boots Fit Flops Boots Checkout desk Medium close up
Voxpop
What do you think of when people say footwear (shoes)?
We will ask over 50 people for a short answer and collaborate the best ones in the 5 minute sequence.
Questionaire Results
We will produce a primary research questionnaire and use this information as the voice of god or statistics on the screen.
Emails
We will email Kickers and Nike.
Secondary research
To help understand about shoes and different styles and how they came about we did some research in the history of some possible shops to interview.
Clarks history
It began with a flash of inspiration. It was 1825 in the Somerset village of Street and James Clark was busy working at the tannery owned by his brother, Cyrus. Among the sheepskin rugs, the off-cuts and cast-offs were piling up when James had a brainwave: “Slippers!”. And the rest, as they say, is history. A few stitches and a few years later, the sheepskin slipper was born.
It was the very first Clarks shoe and the opening chapter in a remarkable story that continues to unfold to this day. In the decades that have passed since the young Mr. Clark’s eureka moment our shoes have seen social, political and economic revolution. They’ve seen fashions in footwear come and go, and come again – everything from court shoes and winklepickers to wedge heels, sandals and sneakers. They’ve tapped to the beat of crooners, rockers, Britpoppers and hip hoppers. They’ve walked, marched, strode and sashayed through an ever-changing world.
Our feet, meanwhile, have stayed firmly rooted in Street. It’s where Clarks started. It’s where our heart lies. And still, as always, we put that heart into every pair of our shoes to create stylish footwear that protects and cares for our customers’ feet.
1825-1900
Britain was perhaps at its greatest in the 1800s. Queen Victoria was on the throne from 1837 to just beyond the end of the century and reigned over a time of phenomenal economic, colonial and industrial growth. And while Charles Dickens gripped the nation with his storytelling skills, engineer Isambard Kingdom Brunel got it moving via his remarkable tunnels, bridges, railway lines and steam ships.
For Cyrus and James Clark business was booming. Their sheepskin slipper, named the ‘Brown Petersburg’, was a huge success. Within years of its unveiling, its unique design graced feet the length and breadth of the country and by 1842 sales were averaging 1000 pairs a month.
The ‘Brown Petersburg’ was made by hand in Street. There were no factories, so the brothers – now trading as C&J Clark Limited – relied on outworkers to meet the growing demand. The workers collected the leather from the tannery, along with a pattern, took the whole lot home and turned it into slippers. Production was often a family affair – everyone did their bit of cutting, sticking and sewing. Then, every Friday, all the finished footwear would be taken to Cyrus and James and swapped for wages.
The system worked well for many years. The good people of Street were happy in their work and the company prospered. In fact business was so brisk that in 1851 the Clark brothers won two awards at the Great Exhibition, an event organised by Prince Albert to showcase the achievements of British industry.
Riding the storm
Then, in 1863, disaster. A recession hit business badly and, almost overnight, the Clarks needed help. Lifelong Quakers themselves, they turned to contacts in the Quaker community for financial support and managed to secure a loan. But it came with conditions: James and Cyrus were to step down and William – James’ youngest son – was to take the reins.
It was another turning point in the company’s fortunes. Something of a visionary, William modernised the manufacturing process by bringing in the factory system and investing in the Singer sewing machine – a groundbreaking piece of technology at the time. Under his watchful eye, C&J Clark was revitalised, the loan was paid back in full and the company continued to move forward with developments like the Hygienic range. Launched in 1883, it was the first ever shoe designed to fit the shape of the foot; an innovation that is still the bedrock of Clarks’ reputation.
Whilst developing the commercial side of the business, William remained true to the ideals of his Quaker roots. He invested in the community, looked after his workers and built them homes – many of which can still be seen in Street today.
1900-1946
What the latter days of the 19th Century had started, the new millennium carried on with a passion. Science and technology were the watchwords. Inventions came thick and fast and included everything from the telephone and the zip to assembly line automobiles. Meanwhile, mass production and inexpensive alternatives to fabrics like silk meant a nation increasingly interested in fashion could finally afford to indulge itself.
With John, Roger and Alice Clark now running the company, Clarks continued to expand. Emerging from the buttoned-up days of the Victorian era, women in particular were a major new consumer. The female ankle was suddenly on display and shoes that showed them at their best were a must-have for every elegant lady of the time. C&J Clark was happy to oblige.
Spreading the word
With more and more product to promote, Clarks began advertising – our first press ad appeared in 1936. We opened our own chain of shops called Peter Lord, a name which remained on the high street until the 1990s. We also introduced a choice of width fittings to our children’s range, not forgetting the first ever Clarks foot gauge – two innovations which became a benchmark in the care of growing feet.
Before the 1900s were even half over, the world was plunged into two terrible wars. British industry stepped up to play its part in the war effort and during the Second World War the main Clarks factory was used to make torpedoes. On the home-front, meanwhile, the global conflict led to all sorts of shortages; raw materials became scarce, testing the ingenuity of manufacturers determined to meet the demand for everyday essentials. Clarks, for example, designed a unique, hinged wooden sole, so we could carry on supplying the nation with shoes even when leather was hard to come by
1940-1990
As the world emerged from the dark days of war, the next four decades saw change beyond the wildest dreams of many. What began with a baby boom, rock ‘n’ roll, teenagers, television and sputniks boldly going into outer space would end with mobile phones, the music video, Live Aid and an obsession with working out at the gym.
For C&J Clark the end of the 1940s ushered in a period of rapid growth. The available workforce in Street was too small to meet demand so, under the guidance of chairman Bancroft Clark, the company opened 15 new factories in neighbouring towns and cities. New shops and stores were also opened, including, in 1957, Clarks’ first flagship store on London’s Regent Street.
In the decades to come, expansion at home and abroad, increased production and the introduction of new materials like polyurethane and trademark technologies like Active Air all helped Clarks become the world’s best-known name in footwear. There were innovative styles too. The Desert Boot for example, brainchild of Nathan Clark, made its debut in 1950, captured the imagination of millions and remaining a global icon to this day.
1900-present
As the 90s became the noughties, the computer revolution that had started two decades earlier with the invention of the microprocessor continued to transform work and play. And it still does, with the worldwide web, uploading, downloading and emailing all very much a part of almost everyone’s daily routine.
The dawn of the 1990s found Clarks facing some tough decisions. Major changes in world trade meant the company could no longer stay competitive while manufacturing in the UK. Reluctantly, production was moved to the continent. We began in a small way in Portugal, but it wasn’t enough. In the end, we had little choice but to close our UK factory doors and move the entire production process overseas.
It was a change of location but our high standards remained, and remain to this day, the same. Overseas modern factories, many of them purpose-built for Clarks, are audited either by independent auditors or our own on-site teams in order to monitor conditions and promote the best working practices.
The decision to move overseas wasn’t taken lightly. However, coupled with our continuing commitment to quality, new marketing and ad campaigns – including ‘Act your shoe size, not your age’ and the current ‘Enjoy Every Step’ – plus a rebranding in the high street, it has helped us return to the success of the good old days.
Into the future
We’re pleased to say that things are still going well. New technology, state-of the-art facilities and our love of shoes means we’re not only the number one shoe brand in the UK. With continuing growth in North America, Western and Eastern Europe, India and China, we’re also the world’s largest casual and smart shoe company and the fourth largest footwear company on the planet.
We’ve come a long way since Cyrus and James Clark and the ‘Brown Petersburg’. But their vision and passion live on in our shoes. You could say we’re following in their footsteps.
Culture
From the moment Cyrus and James Clark established the company we know today as C&J Clark, we’ve built a reputation for treating our people with courtesy and respect. And from the moment you join us, we believe in doing everything we can to help you enjoy your work and really feel good about your career.
That’s why our people are proud to work with us. We’re a company where heritage and innovation sit side by side; where work is a journey to be enjoyed; and where every day brings new experiences and exciting new challenges.
One of the first things you’ll notice on joining Clarks is just how open, honest and down-to-earth we all are. And that’s before we’ve even mentioned the innovative, inspirational working environment....
Diversity
As you’d expect from a company which designs, manufactures, markets and sells an astonishing array of men’s, women’s and children’s shoes, diversity’s in our make-up.
For us it means making sure that we continue to recognise, value and take into account different backgrounds and experiences, skills and knowledge. It’s celebrating our differences and using those differences to create a productive, effective and happy workforce. It’s this diversity that adds to the way we work and the way we do business. You could say that it’s what makes Clarks, well, Clarks.
We treat everyone fairly and with courtesy and respect. We recruit and promote solely on the basis of merit, aptitude and ability. We never knowingly discriminate on the grounds of sex, race, religion or belief, sexual orientation, age, marital status or disability. And we refuse to tolerate harassment, bullying or victimisation in any shape or form.
Social responsibility
As individuals, we all have an effect on the world around us. And when hundreds, thousands, or even millions of people are grouped together – for example, at a workplace – that impact can be considerable.
Social responsibility is the responsibility that companies accept for the way in which their operations make a social, environmental, and economical impact. It’s about making a difference by the practices they adopt – accentuating the positive and eliminating the negative.
Clarks have always taken our role in the community seriously – from providing education and housing for our very first workers to supporting international initiatives to improve people’s lives today. We recognise the importance of caring for our employees, suppliers and stakeholders all over the world; and we are helping to create a sustainable future through our ‘reduce, re-use and recycle’ policy.
We’ve supported a variety of charities and their campaigns over the years, from personal appeals – such as our in-store scheme encouraging staff to apply for a £500 award to a charity of their choice – to large-scale initiatives like those listed below:
Soul of Africa
Soul of Africa is a self-sustainable charity initiative that helps orphans affected by AIDS. Its aim is to raise funds and create employment through the sale of hand-stitched shoes. Lance Clark set up the initiative in 2004 after visiting an AIDS-stricken community in Durban, South Africa. South Africa has been badly hit by HIV/AIDS, with many children left orphaned by the virus.
The scheme trains previously unemployed, and often unskilled, women to hand-stitch shoes, which are sold through Clarks and other retailers.
Since it was founded, the charity has raised over $1,000,000, which has been invested in facilities for the area’s orphans, as well as given meaningful employment to many women in some of the worst hit regions of South Africa.
Shoe Biz
Launched by Blue Peter and Unicef last year, the Shoe Biz appeal encouraged viewers to recycle their old shoes to raise money for education projects worldwide. As the leading children’s shoe retailer, Clarks were happy to support the scheme and helped collect over 1,500,000 pairs of shoes – which raised funds for safe learning environments across Malawi. We were able to help 175 of these ‘children’s corners’ in total, giving care and support to 43,000 children in need.
Although the Blue Peter appeal has now come to an end, we’ve pledged to continue our support to the initiative for the next three years.
Collection points have been set up at more than 500 of our stores nationwide for people to deposit their old or unwanted footwear. Three pairs of shoes could provide three children with basic school supplies; 84 pairs could buy 300 exercise books (enough for 150 children for a year); and 600 pairs could buy a 'school-in-a-box' kit which contains education equipment for a teacher and 80 pupils.
Aldo’s history
WORD FROM ALDo
Successful companies build on their founding traditions while looking ahead to the future - and that is what we have done at ALDO," states Aldo Bensadoun, founder & CEO of the ALDO Group, a privately-held company which operates close to 1,400 retail stores, over 700 of which are under the ALDO banner. The ALDO Group is present in Canada, the United States, the United Kingdom, Ireland as well as in 41 franchised countries by the end of 2009.
AT ALDO, IT'S ALL ABOUT PEOPLE
We never lose sight of our vision: to make people feel good, through the products and the service we provide everyday. We are dedicated to providing Total Customer Service.
THE ALDO RECIPE
ALDO specializes in the creation of high-quality fashion footwear, leather goods and accessories. This sought-after brand pays close attention to detail and to fine craftsmanship. ALDO is dedicated to bringing you both quality and cutting-edge trends at affordable prices, season after season. What's more, ALDO's dedicated team of buyers and stylists constantly travel the globe to keep you on the pulse of fashion. Whether the latest footwear trends are breaking in London, Milan, Paris, New York or Tokyo, ALDO will have them on your feet first!
GIVING BACK
ALDO places a premium on being a good corporate citizen by working to enrich the communities in which we live and work. It's not uncommon for ALDO or its employees to participate in fundraisers or to volunteer their time to community causes. ALDO is a brand with a conscience, a brand that cares. We actively support the fight against AIDS. Giving back to our communities is a necessary and fundamental part of the work we do everyday.Dans La RueOnce again, during the holiday season, the ALDO Group prepared 500 backpacks, which were distributed to
DANS LA RUE,
an organization that helps youth living on the streets of Montreal. Over 18,000 items, including backpacks, treats, snacks, personal hygiene products and warm accessories were collected or purchased for the cause! 60 volunteers from all of the ALDO Group's divisions generously donated their time to help out with the packaging of these items, which went directly to street kids. Since its creation in 1988, DANS LA RUE is a safe place for these kids to go and a place for them to grow. They can find resources that have been tailored to their individual circumstances. But above all, they can draw on an unending source of respect, friendship and encouragement.ALDO fights AIDSALDO has been involved with the fight against AIDS since 1985, a time when the cause carried with it an unfortunate stigma. Over the years, ALDO has committed millions of dollars to AIDS awareness and research organizations, including CanfAR, AmfAR and YouthAIDS.In Fall 2005 and Summer 2006 ALDO took a stand with the launch of the
ALDO Fights AIDS
campaign, an effort that demonstrates an ongoing commitment to this important cause. Amongst the diverse and talented group of celebrities from both the big-screen and music industry elite who donated their time and energy to the campaign are some of today's most influential celebrities: Ludacris, Charlize Theron, Michelle Yeoh, Pink, Avril Lavigne, Christina Aguilera, and the list goes on! The campaign used a powerful combination of top celebrities and multiple media genres to communicate real facts associated with the disease.
As part of the campaign, ALDO designed a series of limited-edition empowerment tags that were sold in-stores and online at www.youthaids-aldo.org
. With 100% of net proceeds benefiting YouthAIDS programs worldwide, the simple act of buying one empowerment tag for only $5 helps to educate and protect a young person from HIV/AIDS for 6 months.
TOGETHER WITH YOU, OUR CUSTOMER, ALDO IS MAKING A DIFFERENCE
Knickers history
Pentland Group PLC is a family owned group of companies. Our
values are family values. We believe that business should be conducted
honestly, fairly and with respect for people, their dignity and their rights.
This code is intended to make clear what this means in terms of practical
behaviour. It spells out the standards of behaviour by which we try to
manage the organisation. We expect and require that all managers and
employees of the Group apply the same standards in their dealings with
other people and organisations.
What are we in Business for?
We are in business to create shareholder value by developing and
marketing products of quality, reputation, performance, style and value and
by selling them on fair terms to our customers.
To build long term sustainable shareholder value, we need to implement
our vision to develop a portfolio of category leading brands and
businesses. We will do this honestly, fairly and with respect for people.
To continue to grow and prosper we will need, increasingly, to build
partnerships with our customers and suppliers. Such partnerships must be
based on mutual trust and we will earn our partners’ trust by operating
according to the principles laid out in this document.
Stakeholders
There are a number of categories of people and organisations who are
affected by our actions and to whom we have responsibilities. These
include our employees, our customers, our suppliers, other business
partners (such as licensees, distributors and joint venture partners) and
the wider community. These are, of course, in addition to our shareholders,
the owners of the business, to whom we have the responsibility to protect
their investment and to make sure that they receive an appropriate return.
Status of this Code
This Code has over-riding status in governing the standards of our
business behaviour. All contracts entered into by Group companies should
be consistent with it. If there are any inconsistencies, Group companies are
required to act in accordance with this Code’s standards rather than any
lower standards set out in such contracts.
In running our businesses, Group companies are required to observe the
standards of conduct set out below.
Towards Customers
To continue to succeed, we need to win and retain customers
by building partnerships with them. We will:
• Supply products and services that offer consumers good value in terms
of price, quality, performance, style, safety and environmental impact.
• Establish mutually beneficial business relationships and strive to meet or
exceed the spirit as well as the letter of our contractual commitments.
• Seek clarity in all our agreements, trying to avoid any ambiguity about
what we undertake to do and what we expect of our customers.
• Ensure that any quality or performance problems that occur in our
products are dealt with expeditiously with the minimum inconvenience
to our customers and consumers.
• Not seek to obtain sales or other business advantages by giving bribes
or other dubious inducements. We will not make any payments to any
employees of customers or government departments or agencies in
order to obtain commercial advantage.
• Take all reasonable practicable measures to prevent counterfeits of our
products from being marketed.
Primark history
Primark Stores Limited is a clothes and linens retailer in the UK and Republic of Ireland with over 100 branches. In the Republic of Ireland - where the company's headquarters is based - it trades as Penneys. It is a subsidiary of Associated British Foods plc.
History
Penneys opened its first store in Mary Street, Dublin, Ireland in 1969, with the first UK Primark store opening in 1973. In the early 1990s, Primark acquired BHS Republic of Ireland stores and rebranded them as Penneys.
Prior to 1997, Pennys often shared sites with Power Supermarkets, also at the time an ABF susbsidary, however this practice ceased after the sale of PSL to Tesco in 1997. ABF decided to maintain control of Primark rather than sell it on also, despite the fact that it is the only non-food part of the operation.
In July 2005 Primark/Associated British Foods purchased the 120 branch Littlewoods retail chain for £409 million. Some of the stores, variously reported as 30 or 50, will be converted into branches of Primark, but the majority are expected to be sold on to other retailers. The Littlewoods catelogue business has been retained by the Barclay brothers and will continue to operate under the Littlewoods brand.
In 2006, the company is planning to head to Spain with a branch in Madri
Preliminary Information: Iconography Explained
http://www.spiritus-temporis.com/primark/history.html
Nike's Heritage
NIKE, pronounced NI-KEY, is the winged goddess of victory according to Greek mythology. She sat at the side of Zeus, the ruler of the Olympic pantheon, in Olympus. A mystical presence, symbolizing victorious encounters, NIKE presided over history's earliest battlefields. A Greek would say, "When we go to battle and win, we say it is NIKE." Synonymous with honored conquest, NIKE is the twentieth century footwear that lifts the world's greatest athletes to new levels of mastery and achievement. The NIKE 'swoosh' embodies the spirit of the winged goddess who inspired the most courageous and chivalrous warriors at the dawn of civilization. (from Nike Consumer Affairs packet, 1996)
The Swoosh
The SWOOSH logo is a graphic design created by Caroline Davidson in 1971. It represents the wing of the Greek Goddess NIKE. Caroline Davidson was a student at Portland State University in advertising. She met Phil Knight while he was teaching accounting classes and she started doing some freelance work for his company. Phil Knight asked Caroline to design a logo that could be placed on the side of a shoe. She handed him the SWOOSH, he handed her $35.00. In spring of 1972, the first shoe with the NIKE SWOOSH was introduced.....the rest is history! (from Nike Consumer Affairs packet, 1996)
A brief history of Nike
The Nike athletic machine began as a small distributing outfit located in the trunk of Phil Knight's car. From these rather inauspicious beginnings, Knight's brainchild grew to become the shoe and athletic company that would come to define many aspects of popular culture and myriad varieties of 'cool.'
Nike emanated from two sources: Bill Bowerman's quest for lighter, more durable racing shoes for his Oregon runners, and Knight's search for a way to make a living without having to give up his love of athletics. Bowerman coached track at the University of Oregon where Phil Knight ran in 1959. Bowerman's desire for better quality running shoes clearly influenced Knight in his search for a marketing strategy. Between them, the seed of the most influential sporting company grew.
The story goes like this: while getting his MBA at Stanford in the early '60s, Knight took a class with Frank Shallenberger. The semester-long project was to devise a small business, including a marketing plan. Synthesizing Bowerman's attention to quality running shoes and the burgeoning opinion that high-quality/low cost products could be produced in Japan and shipped to the U.S. for distribution, Knight found his market niche. Shallenberger thought the idea interesting, but certainly no business jackpot. Nothing more became of Knight's project.
Cut to 1963. Phil Knight traveled to Japan on a world-tour, filled with the wanderlust of young men seeking a way to delay the inevitable call of professional life. Seemingly on a whim, Knight scheduled an interview with a Japanese running shoe manufacturer, Tiger--a subsidiary of the Onitsuka Company. Presenting himself as the representative of an American distributor interested in selling Tiger shoes to American runners, Knight told the businessmen of his interest in their product. Blue Ribbon Sports--the name Knight thought of moments after being asked who he represented--was born. The Tiger executives liked what they heard and Knight placed his first order for Tigers soon thereafter.
By 1964, Knight had sold $8,000 worth of Tigers and placed an order for more. Coach Bowerman and Knight worked together, but ended up hiring a full-time salesman, Jeff Johnson. After cresting $1 million in sales and riding the wave of the success, Knight et. al. devised the Nike name and trademark Swoosh in 1971.
By the late '70s, Blue Ribbon Sports officially became Nike and went from $10 million to $270 million in sales. Katz (1994) describes the success via Nike's placement within the matrix of the fitness revolution: 'the idea of exercise and game-playing ceased to be something the average American did for fun,' instead Americans turned to working out as a cultural signifier of status. Clearly, the circumstances surrounding the shift are not this simple; it is one of the aims of this project to discover other generators of popular attention to health.
If Nike didn't start the fitness revolution, Knight says, "We were at least right there. And we sure rode it for one hell of a ride" (Katz, 66). The 80s and 90s would yield greater and greater profits as Nike began to assume the appearance of athletic juggernaut, rather than the underdog of old. "Advertising Age" named Nike the 1996 Marketer of the Year, citing the "ubiquitous swoosh...was more recognized and coveted by consumers than any other sports brand--arguably any brand" (Jensen, 12/96). That same year Nike's revenues were a staggering $6.74 billion. Expecting $8 billion sales in fiscal 1997, Nike has targeted $12 billion in sales by the year 2000.
And all from the back of a car.
Few can question Nike's financial hegemony. But nearly $7 billion in revenues clearly begs the question, What sells these shoes? It is my assertion that Nike's power to sell comes from deep-rooted yearnings for cultural inclusiveness and individual athletic accomplishment. These seemingly paradoxical desires collide in consumers hearts and minds and produce the unyielding zeal for Nike shoes and apparel. Unfortunate effects of this zeal can be found in the rash of Nike apparel killings in 1991 and the profusion of Nike collectors and webpages designed around the company's products. (See listing of homepages on Works Cited Page) Nike appeals to these disparate elements of Americans' personalities through an advertising philosophy that is, at once, simple and sublime. In addition, Nike's practice of top-level athletes promoting their products appeal to countless ages and creeds as a way to identify with and emulate their athletic heroes. These forces work powerfully upon the individual consumer, but one should not lose sight of the cultural context in which the individual moves.
http://xroads.virginia.edu/~CLASS/am483_97/projects/hincker/nikhist.html
Schuh history
Back in 1981 Schuh opened its first store in the North Bridge Arcade, Edinburgh. Since then Schuh has grown significantly and now has a retail network of Schuh stores and Republic concessions spanning over mainland UK and ROI. Today Schuh still operates under its original philosophy: To provide aspirational but accessible fashion footwear, sold in a unique and exciting retail environment at prices which represent value for money and sold by friendly, knowledgeable staff. Schuh is at the leading edge of the UK fashion footwear industry and is widely recognised as one of the most innovative independent footwear retailers, not only on the high street but online too. With over 100 brands in stock Schuh has something for everyone with a passion for fashion footwear.
Secondary Research: Heels That Heal (Charity)
Fabulous magazine is looking at current charities and is trying to raise money for the ‘wellbeing of women’. After looking at this special edition we noticed it was all about celebrities wearing heels. This would help is in are documentary as we could talk about this charity and even use the images below as achieve footage.
Interviewer Topic Location Mise en scene Camera Shot
Mr Swindell MBT’s Interview Room Collaboration of shoe photographs Close Up
Schuh Worker Irregular styles In the shop Shoe stands Medium close up
Lisa Kenny Large Feet In Topshop Were is appropriate on the day Medium close up
Jess Gibbions Broad Feet New look Wide section Medium close up
Abi Smith Small Feet Market Shoe stall Close up
Clarks Worker Quality footwear Clarks Clarks Medium close up
Aldo Worker Price differences Aldo Checkout desk Medium close up
Primark Worker Cheap shoes Primark Escalators Close up
Boots Fit Flops Boots Checkout desk Medium close up
Voxpop
What do you think of when people say footwear (shoes)?
We will ask over 50 people for a short answer and collaborate the best ones in the 5 minute sequence.
Questionaire Results
We will produce a primary research questionnaire and use this information as the voice of god or statistics on the screen.
Emails
We will email Kickers and Nike.
Secondary research
To help understand about shoes and different styles and how they came about we did some research in the history of some possible shops to interview.
Clarks history
It began with a flash of inspiration. It was 1825 in the Somerset village of Street and James Clark was busy working at the tannery owned by his brother, Cyrus. Among the sheepskin rugs, the off-cuts and cast-offs were piling up when James had a brainwave: “Slippers!”. And the rest, as they say, is history. A few stitches and a few years later, the sheepskin slipper was born.
It was the very first Clarks shoe and the opening chapter in a remarkable story that continues to unfold to this day. In the decades that have passed since the young Mr. Clark’s eureka moment our shoes have seen social, political and economic revolution. They’ve seen fashions in footwear come and go, and come again – everything from court shoes and winklepickers to wedge heels, sandals and sneakers. They’ve tapped to the beat of crooners, rockers, Britpoppers and hip hoppers. They’ve walked, marched, strode and sashayed through an ever-changing world.
Our feet, meanwhile, have stayed firmly rooted in Street. It’s where Clarks started. It’s where our heart lies. And still, as always, we put that heart into every pair of our shoes to create stylish footwear that protects and cares for our customers’ feet.
1825-1900
Britain was perhaps at its greatest in the 1800s. Queen Victoria was on the throne from 1837 to just beyond the end of the century and reigned over a time of phenomenal economic, colonial and industrial growth. And while Charles Dickens gripped the nation with his storytelling skills, engineer Isambard Kingdom Brunel got it moving via his remarkable tunnels, bridges, railway lines and steam ships.
For Cyrus and James Clark business was booming. Their sheepskin slipper, named the ‘Brown Petersburg’, was a huge success. Within years of its unveiling, its unique design graced feet the length and breadth of the country and by 1842 sales were averaging 1000 pairs a month.
The ‘Brown Petersburg’ was made by hand in Street. There were no factories, so the brothers – now trading as C&J Clark Limited – relied on outworkers to meet the growing demand. The workers collected the leather from the tannery, along with a pattern, took the whole lot home and turned it into slippers. Production was often a family affair – everyone did their bit of cutting, sticking and sewing. Then, every Friday, all the finished footwear would be taken to Cyrus and James and swapped for wages.
The system worked well for many years. The good people of Street were happy in their work and the company prospered. In fact business was so brisk that in 1851 the Clark brothers won two awards at the Great Exhibition, an event organised by Prince Albert to showcase the achievements of British industry.
Riding the storm
Then, in 1863, disaster. A recession hit business badly and, almost overnight, the Clarks needed help. Lifelong Quakers themselves, they turned to contacts in the Quaker community for financial support and managed to secure a loan. But it came with conditions: James and Cyrus were to step down and William – James’ youngest son – was to take the reins.
It was another turning point in the company’s fortunes. Something of a visionary, William modernised the manufacturing process by bringing in the factory system and investing in the Singer sewing machine – a groundbreaking piece of technology at the time. Under his watchful eye, C&J Clark was revitalised, the loan was paid back in full and the company continued to move forward with developments like the Hygienic range. Launched in 1883, it was the first ever shoe designed to fit the shape of the foot; an innovation that is still the bedrock of Clarks’ reputation.
Whilst developing the commercial side of the business, William remained true to the ideals of his Quaker roots. He invested in the community, looked after his workers and built them homes – many of which can still be seen in Street today.
1900-1946
What the latter days of the 19th Century had started, the new millennium carried on with a passion. Science and technology were the watchwords. Inventions came thick and fast and included everything from the telephone and the zip to assembly line automobiles. Meanwhile, mass production and inexpensive alternatives to fabrics like silk meant a nation increasingly interested in fashion could finally afford to indulge itself.
With John, Roger and Alice Clark now running the company, Clarks continued to expand. Emerging from the buttoned-up days of the Victorian era, women in particular were a major new consumer. The female ankle was suddenly on display and shoes that showed them at their best were a must-have for every elegant lady of the time. C&J Clark was happy to oblige.
Spreading the word
With more and more product to promote, Clarks began advertising – our first press ad appeared in 1936. We opened our own chain of shops called Peter Lord, a name which remained on the high street until the 1990s. We also introduced a choice of width fittings to our children’s range, not forgetting the first ever Clarks foot gauge – two innovations which became a benchmark in the care of growing feet.
Before the 1900s were even half over, the world was plunged into two terrible wars. British industry stepped up to play its part in the war effort and during the Second World War the main Clarks factory was used to make torpedoes. On the home-front, meanwhile, the global conflict led to all sorts of shortages; raw materials became scarce, testing the ingenuity of manufacturers determined to meet the demand for everyday essentials. Clarks, for example, designed a unique, hinged wooden sole, so we could carry on supplying the nation with shoes even when leather was hard to come by
1940-1990
As the world emerged from the dark days of war, the next four decades saw change beyond the wildest dreams of many. What began with a baby boom, rock ‘n’ roll, teenagers, television and sputniks boldly going into outer space would end with mobile phones, the music video, Live Aid and an obsession with working out at the gym.
For C&J Clark the end of the 1940s ushered in a period of rapid growth. The available workforce in Street was too small to meet demand so, under the guidance of chairman Bancroft Clark, the company opened 15 new factories in neighbouring towns and cities. New shops and stores were also opened, including, in 1957, Clarks’ first flagship store on London’s Regent Street.
In the decades to come, expansion at home and abroad, increased production and the introduction of new materials like polyurethane and trademark technologies like Active Air all helped Clarks become the world’s best-known name in footwear. There were innovative styles too. The Desert Boot for example, brainchild of Nathan Clark, made its debut in 1950, captured the imagination of millions and remaining a global icon to this day.
1900-present
As the 90s became the noughties, the computer revolution that had started two decades earlier with the invention of the microprocessor continued to transform work and play. And it still does, with the worldwide web, uploading, downloading and emailing all very much a part of almost everyone’s daily routine.
The dawn of the 1990s found Clarks facing some tough decisions. Major changes in world trade meant the company could no longer stay competitive while manufacturing in the UK. Reluctantly, production was moved to the continent. We began in a small way in Portugal, but it wasn’t enough. In the end, we had little choice but to close our UK factory doors and move the entire production process overseas.
It was a change of location but our high standards remained, and remain to this day, the same. Overseas modern factories, many of them purpose-built for Clarks, are audited either by independent auditors or our own on-site teams in order to monitor conditions and promote the best working practices.
The decision to move overseas wasn’t taken lightly. However, coupled with our continuing commitment to quality, new marketing and ad campaigns – including ‘Act your shoe size, not your age’ and the current ‘Enjoy Every Step’ – plus a rebranding in the high street, it has helped us return to the success of the good old days.
Into the future
We’re pleased to say that things are still going well. New technology, state-of the-art facilities and our love of shoes means we’re not only the number one shoe brand in the UK. With continuing growth in North America, Western and Eastern Europe, India and China, we’re also the world’s largest casual and smart shoe company and the fourth largest footwear company on the planet.
We’ve come a long way since Cyrus and James Clark and the ‘Brown Petersburg’. But their vision and passion live on in our shoes. You could say we’re following in their footsteps.
Culture
From the moment Cyrus and James Clark established the company we know today as C&J Clark, we’ve built a reputation for treating our people with courtesy and respect. And from the moment you join us, we believe in doing everything we can to help you enjoy your work and really feel good about your career.
That’s why our people are proud to work with us. We’re a company where heritage and innovation sit side by side; where work is a journey to be enjoyed; and where every day brings new experiences and exciting new challenges.
One of the first things you’ll notice on joining Clarks is just how open, honest and down-to-earth we all are. And that’s before we’ve even mentioned the innovative, inspirational working environment....
Diversity
As you’d expect from a company which designs, manufactures, markets and sells an astonishing array of men’s, women’s and children’s shoes, diversity’s in our make-up.
For us it means making sure that we continue to recognise, value and take into account different backgrounds and experiences, skills and knowledge. It’s celebrating our differences and using those differences to create a productive, effective and happy workforce. It’s this diversity that adds to the way we work and the way we do business. You could say that it’s what makes Clarks, well, Clarks.
We treat everyone fairly and with courtesy and respect. We recruit and promote solely on the basis of merit, aptitude and ability. We never knowingly discriminate on the grounds of sex, race, religion or belief, sexual orientation, age, marital status or disability. And we refuse to tolerate harassment, bullying or victimisation in any shape or form.
Social responsibility
As individuals, we all have an effect on the world around us. And when hundreds, thousands, or even millions of people are grouped together – for example, at a workplace – that impact can be considerable.
Social responsibility is the responsibility that companies accept for the way in which their operations make a social, environmental, and economical impact. It’s about making a difference by the practices they adopt – accentuating the positive and eliminating the negative.
Clarks have always taken our role in the community seriously – from providing education and housing for our very first workers to supporting international initiatives to improve people’s lives today. We recognise the importance of caring for our employees, suppliers and stakeholders all over the world; and we are helping to create a sustainable future through our ‘reduce, re-use and recycle’ policy.
We’ve supported a variety of charities and their campaigns over the years, from personal appeals – such as our in-store scheme encouraging staff to apply for a £500 award to a charity of their choice – to large-scale initiatives like those listed below:
Soul of Africa
Soul of Africa is a self-sustainable charity initiative that helps orphans affected by AIDS. Its aim is to raise funds and create employment through the sale of hand-stitched shoes. Lance Clark set up the initiative in 2004 after visiting an AIDS-stricken community in Durban, South Africa. South Africa has been badly hit by HIV/AIDS, with many children left orphaned by the virus.
The scheme trains previously unemployed, and often unskilled, women to hand-stitch shoes, which are sold through Clarks and other retailers.
Since it was founded, the charity has raised over $1,000,000, which has been invested in facilities for the area’s orphans, as well as given meaningful employment to many women in some of the worst hit regions of South Africa.
Shoe Biz
Launched by Blue Peter and Unicef last year, the Shoe Biz appeal encouraged viewers to recycle their old shoes to raise money for education projects worldwide. As the leading children’s shoe retailer, Clarks were happy to support the scheme and helped collect over 1,500,000 pairs of shoes – which raised funds for safe learning environments across Malawi. We were able to help 175 of these ‘children’s corners’ in total, giving care and support to 43,000 children in need.
Although the Blue Peter appeal has now come to an end, we’ve pledged to continue our support to the initiative for the next three years.
Collection points have been set up at more than 500 of our stores nationwide for people to deposit their old or unwanted footwear. Three pairs of shoes could provide three children with basic school supplies; 84 pairs could buy 300 exercise books (enough for 150 children for a year); and 600 pairs could buy a 'school-in-a-box' kit which contains education equipment for a teacher and 80 pupils.
Aldo’s history
WORD FROM ALDo
Successful companies build on their founding traditions while looking ahead to the future - and that is what we have done at ALDO," states Aldo Bensadoun, founder & CEO of the ALDO Group, a privately-held company which operates close to 1,400 retail stores, over 700 of which are under the ALDO banner. The ALDO Group is present in Canada, the United States, the United Kingdom, Ireland as well as in 41 franchised countries by the end of 2009.
AT ALDO, IT'S ALL ABOUT PEOPLE
We never lose sight of our vision: to make people feel good, through the products and the service we provide everyday. We are dedicated to providing Total Customer Service.
THE ALDO RECIPE
ALDO specializes in the creation of high-quality fashion footwear, leather goods and accessories. This sought-after brand pays close attention to detail and to fine craftsmanship. ALDO is dedicated to bringing you both quality and cutting-edge trends at affordable prices, season after season. What's more, ALDO's dedicated team of buyers and stylists constantly travel the globe to keep you on the pulse of fashion. Whether the latest footwear trends are breaking in London, Milan, Paris, New York or Tokyo, ALDO will have them on your feet first!
GIVING BACK
ALDO places a premium on being a good corporate citizen by working to enrich the communities in which we live and work. It's not uncommon for ALDO or its employees to participate in fundraisers or to volunteer their time to community causes. ALDO is a brand with a conscience, a brand that cares. We actively support the fight against AIDS. Giving back to our communities is a necessary and fundamental part of the work we do everyday.Dans La RueOnce again, during the holiday season, the ALDO Group prepared 500 backpacks, which were distributed to
DANS LA RUE,
an organization that helps youth living on the streets of Montreal. Over 18,000 items, including backpacks, treats, snacks, personal hygiene products and warm accessories were collected or purchased for the cause! 60 volunteers from all of the ALDO Group's divisions generously donated their time to help out with the packaging of these items, which went directly to street kids. Since its creation in 1988, DANS LA RUE is a safe place for these kids to go and a place for them to grow. They can find resources that have been tailored to their individual circumstances. But above all, they can draw on an unending source of respect, friendship and encouragement.ALDO fights AIDSALDO has been involved with the fight against AIDS since 1985, a time when the cause carried with it an unfortunate stigma. Over the years, ALDO has committed millions of dollars to AIDS awareness and research organizations, including CanfAR, AmfAR and YouthAIDS.In Fall 2005 and Summer 2006 ALDO took a stand with the launch of the
ALDO Fights AIDS
campaign, an effort that demonstrates an ongoing commitment to this important cause. Amongst the diverse and talented group of celebrities from both the big-screen and music industry elite who donated their time and energy to the campaign are some of today's most influential celebrities: Ludacris, Charlize Theron, Michelle Yeoh, Pink, Avril Lavigne, Christina Aguilera, and the list goes on! The campaign used a powerful combination of top celebrities and multiple media genres to communicate real facts associated with the disease.
As part of the campaign, ALDO designed a series of limited-edition empowerment tags that were sold in-stores and online at www.youthaids-aldo.org
. With 100% of net proceeds benefiting YouthAIDS programs worldwide, the simple act of buying one empowerment tag for only $5 helps to educate and protect a young person from HIV/AIDS for 6 months.
TOGETHER WITH YOU, OUR CUSTOMER, ALDO IS MAKING A DIFFERENCE
Knickers history
Pentland Group PLC is a family owned group of companies. Our
values are family values. We believe that business should be conducted
honestly, fairly and with respect for people, their dignity and their rights.
This code is intended to make clear what this means in terms of practical
behaviour. It spells out the standards of behaviour by which we try to
manage the organisation. We expect and require that all managers and
employees of the Group apply the same standards in their dealings with
other people and organisations.
What are we in Business for?
We are in business to create shareholder value by developing and
marketing products of quality, reputation, performance, style and value and
by selling them on fair terms to our customers.
To build long term sustainable shareholder value, we need to implement
our vision to develop a portfolio of category leading brands and
businesses. We will do this honestly, fairly and with respect for people.
To continue to grow and prosper we will need, increasingly, to build
partnerships with our customers and suppliers. Such partnerships must be
based on mutual trust and we will earn our partners’ trust by operating
according to the principles laid out in this document.
Stakeholders
There are a number of categories of people and organisations who are
affected by our actions and to whom we have responsibilities. These
include our employees, our customers, our suppliers, other business
partners (such as licensees, distributors and joint venture partners) and
the wider community. These are, of course, in addition to our shareholders,
the owners of the business, to whom we have the responsibility to protect
their investment and to make sure that they receive an appropriate return.
Status of this Code
This Code has over-riding status in governing the standards of our
business behaviour. All contracts entered into by Group companies should
be consistent with it. If there are any inconsistencies, Group companies are
required to act in accordance with this Code’s standards rather than any
lower standards set out in such contracts.
In running our businesses, Group companies are required to observe the
standards of conduct set out below.
Towards Customers
To continue to succeed, we need to win and retain customers
by building partnerships with them. We will:
• Supply products and services that offer consumers good value in terms
of price, quality, performance, style, safety and environmental impact.
• Establish mutually beneficial business relationships and strive to meet or
exceed the spirit as well as the letter of our contractual commitments.
• Seek clarity in all our agreements, trying to avoid any ambiguity about
what we undertake to do and what we expect of our customers.
• Ensure that any quality or performance problems that occur in our
products are dealt with expeditiously with the minimum inconvenience
to our customers and consumers.
• Not seek to obtain sales or other business advantages by giving bribes
or other dubious inducements. We will not make any payments to any
employees of customers or government departments or agencies in
order to obtain commercial advantage.
• Take all reasonable practicable measures to prevent counterfeits of our
products from being marketed.
Primark history
Primark Stores Limited is a clothes and linens retailer in the UK and Republic of Ireland with over 100 branches. In the Republic of Ireland - where the company's headquarters is based - it trades as Penneys. It is a subsidiary of Associated British Foods plc.
History
Penneys opened its first store in Mary Street, Dublin, Ireland in 1969, with the first UK Primark store opening in 1973. In the early 1990s, Primark acquired BHS Republic of Ireland stores and rebranded them as Penneys.
Prior to 1997, Pennys often shared sites with Power Supermarkets, also at the time an ABF susbsidary, however this practice ceased after the sale of PSL to Tesco in 1997. ABF decided to maintain control of Primark rather than sell it on also, despite the fact that it is the only non-food part of the operation.
In July 2005 Primark/Associated British Foods purchased the 120 branch Littlewoods retail chain for £409 million. Some of the stores, variously reported as 30 or 50, will be converted into branches of Primark, but the majority are expected to be sold on to other retailers. The Littlewoods catelogue business has been retained by the Barclay brothers and will continue to operate under the Littlewoods brand.
In 2006, the company is planning to head to Spain with a branch in Madri
Preliminary Information: Iconography Explained
http://www.spiritus-temporis.com/primark/history.html
Nike's Heritage
NIKE, pronounced NI-KEY, is the winged goddess of victory according to Greek mythology. She sat at the side of Zeus, the ruler of the Olympic pantheon, in Olympus. A mystical presence, symbolizing victorious encounters, NIKE presided over history's earliest battlefields. A Greek would say, "When we go to battle and win, we say it is NIKE." Synonymous with honored conquest, NIKE is the twentieth century footwear that lifts the world's greatest athletes to new levels of mastery and achievement. The NIKE 'swoosh' embodies the spirit of the winged goddess who inspired the most courageous and chivalrous warriors at the dawn of civilization. (from Nike Consumer Affairs packet, 1996)
The Swoosh
The SWOOSH logo is a graphic design created by Caroline Davidson in 1971. It represents the wing of the Greek Goddess NIKE. Caroline Davidson was a student at Portland State University in advertising. She met Phil Knight while he was teaching accounting classes and she started doing some freelance work for his company. Phil Knight asked Caroline to design a logo that could be placed on the side of a shoe. She handed him the SWOOSH, he handed her $35.00. In spring of 1972, the first shoe with the NIKE SWOOSH was introduced.....the rest is history! (from Nike Consumer Affairs packet, 1996)
A brief history of Nike
The Nike athletic machine began as a small distributing outfit located in the trunk of Phil Knight's car. From these rather inauspicious beginnings, Knight's brainchild grew to become the shoe and athletic company that would come to define many aspects of popular culture and myriad varieties of 'cool.'
Nike emanated from two sources: Bill Bowerman's quest for lighter, more durable racing shoes for his Oregon runners, and Knight's search for a way to make a living without having to give up his love of athletics. Bowerman coached track at the University of Oregon where Phil Knight ran in 1959. Bowerman's desire for better quality running shoes clearly influenced Knight in his search for a marketing strategy. Between them, the seed of the most influential sporting company grew.
The story goes like this: while getting his MBA at Stanford in the early '60s, Knight took a class with Frank Shallenberger. The semester-long project was to devise a small business, including a marketing plan. Synthesizing Bowerman's attention to quality running shoes and the burgeoning opinion that high-quality/low cost products could be produced in Japan and shipped to the U.S. for distribution, Knight found his market niche. Shallenberger thought the idea interesting, but certainly no business jackpot. Nothing more became of Knight's project.
Cut to 1963. Phil Knight traveled to Japan on a world-tour, filled with the wanderlust of young men seeking a way to delay the inevitable call of professional life. Seemingly on a whim, Knight scheduled an interview with a Japanese running shoe manufacturer, Tiger--a subsidiary of the Onitsuka Company. Presenting himself as the representative of an American distributor interested in selling Tiger shoes to American runners, Knight told the businessmen of his interest in their product. Blue Ribbon Sports--the name Knight thought of moments after being asked who he represented--was born. The Tiger executives liked what they heard and Knight placed his first order for Tigers soon thereafter.
By 1964, Knight had sold $8,000 worth of Tigers and placed an order for more. Coach Bowerman and Knight worked together, but ended up hiring a full-time salesman, Jeff Johnson. After cresting $1 million in sales and riding the wave of the success, Knight et. al. devised the Nike name and trademark Swoosh in 1971.
By the late '70s, Blue Ribbon Sports officially became Nike and went from $10 million to $270 million in sales. Katz (1994) describes the success via Nike's placement within the matrix of the fitness revolution: 'the idea of exercise and game-playing ceased to be something the average American did for fun,' instead Americans turned to working out as a cultural signifier of status. Clearly, the circumstances surrounding the shift are not this simple; it is one of the aims of this project to discover other generators of popular attention to health.
If Nike didn't start the fitness revolution, Knight says, "We were at least right there. And we sure rode it for one hell of a ride" (Katz, 66). The 80s and 90s would yield greater and greater profits as Nike began to assume the appearance of athletic juggernaut, rather than the underdog of old. "Advertising Age" named Nike the 1996 Marketer of the Year, citing the "ubiquitous swoosh...was more recognized and coveted by consumers than any other sports brand--arguably any brand" (Jensen, 12/96). That same year Nike's revenues were a staggering $6.74 billion. Expecting $8 billion sales in fiscal 1997, Nike has targeted $12 billion in sales by the year 2000.
And all from the back of a car.
Few can question Nike's financial hegemony. But nearly $7 billion in revenues clearly begs the question, What sells these shoes? It is my assertion that Nike's power to sell comes from deep-rooted yearnings for cultural inclusiveness and individual athletic accomplishment. These seemingly paradoxical desires collide in consumers hearts and minds and produce the unyielding zeal for Nike shoes and apparel. Unfortunate effects of this zeal can be found in the rash of Nike apparel killings in 1991 and the profusion of Nike collectors and webpages designed around the company's products. (See listing of homepages on Works Cited Page) Nike appeals to these disparate elements of Americans' personalities through an advertising philosophy that is, at once, simple and sublime. In addition, Nike's practice of top-level athletes promoting their products appeal to countless ages and creeds as a way to identify with and emulate their athletic heroes. These forces work powerfully upon the individual consumer, but one should not lose sight of the cultural context in which the individual moves.
http://xroads.virginia.edu/~CLASS/am483_97/projects/hincker/nikhist.html
Schuh history
Back in 1981 Schuh opened its first store in the North Bridge Arcade, Edinburgh. Since then Schuh has grown significantly and now has a retail network of Schuh stores and Republic concessions spanning over mainland UK and ROI. Today Schuh still operates under its original philosophy: To provide aspirational but accessible fashion footwear, sold in a unique and exciting retail environment at prices which represent value for money and sold by friendly, knowledgeable staff. Schuh is at the leading edge of the UK fashion footwear industry and is widely recognised as one of the most innovative independent footwear retailers, not only on the high street but online too. With over 100 brands in stock Schuh has something for everyone with a passion for fashion footwear.
Secondary Research: Heels That Heal (Charity)
Fabulous magazine is looking at current charities and is trying to raise money for the ‘wellbeing of women’. After looking at this special edition we noticed it was all about celebrities wearing heels. This would help is in are documentary as we could talk about this charity and even use the images below as achieve footage.
Formal Proposal
This is our final proposal about our documentary.
Topic
The topic of our documentary is Shoes.
Type of Documentary
The type of documentary is a mix of compilation film and talking heads.
Style of Documentary
We shall be using a mix of documentary genres. However the main genre will be expository. We will be using key features of the genre so the audience is anchored in, we will use a voice of god and use images that explicitly show the texts meaning.
Channel and Scheduling
Channel 4
Monday
9pm
Target Audience
Are target audience will have a primary audience of women aged between 18 and 30. However a secondary audience of men and older females will enjoy the documentary.
Primary Research Needed
Interviews
Questionnaires
Emails
Voxpops
Secondary Research Needed
Countries and shoes
History of the shoe
Clarks, Schuh, Primark , Aldo, Kickers, Nike history and background.
Narrative Structure
It will have a linear structure- it shall start at the first shoe with a brief history developing into the new technology shoes such as Fit Flops.
Outline of Content
Interviews with: Shoppers, Mr. Swindell, Mobility Shoe shop owner, big fêted girls/boys, Small footed girls/boys, Broad footed girls/boys, Shop managers
Specialist Shoes: Mobility shoes, MBT’s, Fit Flops
Archive footage: films, Trinny and Suzanne, little boots.
History of shoes
A variety of styles of shoes covered
Health issues- bunions, and Flit Flops
Obsessives with shoes
Resource Requirements
Audio Recorder
Archive Material
Video camera
Still camera
Topic
The topic of our documentary is Shoes.
Type of Documentary
The type of documentary is a mix of compilation film and talking heads.
Style of Documentary
We shall be using a mix of documentary genres. However the main genre will be expository. We will be using key features of the genre so the audience is anchored in, we will use a voice of god and use images that explicitly show the texts meaning.
Channel and Scheduling
Channel 4
Monday
9pm
Target Audience
Are target audience will have a primary audience of women aged between 18 and 30. However a secondary audience of men and older females will enjoy the documentary.
Primary Research Needed
Interviews
Questionnaires
Emails
Voxpops
Secondary Research Needed
Countries and shoes
History of the shoe
Clarks, Schuh, Primark , Aldo, Kickers, Nike history and background.
Narrative Structure
It will have a linear structure- it shall start at the first shoe with a brief history developing into the new technology shoes such as Fit Flops.
Outline of Content
Interviews with: Shoppers, Mr. Swindell, Mobility Shoe shop owner, big fêted girls/boys, Small footed girls/boys, Broad footed girls/boys, Shop managers
Specialist Shoes: Mobility shoes, MBT’s, Fit Flops
Archive footage: films, Trinny and Suzanne, little boots.
History of shoes
A variety of styles of shoes covered
Health issues- bunions, and Flit Flops
Obsessives with shoes
Resource Requirements
Audio Recorder
Archive Material
Video camera
Still camera
BrainStorm
This is our final Brainstorm that we did about are chosen subject of shoes.
Shoes
-The different styles of shoes and different styles
-The history behind the shoes
-The different styles of shoes
-Different health issues about shoes such ‘fit flops’ and MBT’s
-The people that was obsessed with shoes
-People that have got into debt from buying shoes
The people that wear specialist shoes
Mobility shoes
Fit flops
MBT’s
Interviews
Different people outside the shoes shops asking different questions about shoes.
Mr Swindle – on MBT's
Sue or Kathy about mobility Shoes
Lisa
Abbie
Jessica
Charlie
Interview shops such as
Primark
Clarks
Schuh
New Look
Topshop
Markets (e.g. St johns-Liverpool)
Barrats
River Island
M&S
Achieve footage
Confessions of a shop - aholic
Trinny and Suzanne
Little boots
SFX –
When talking about money – cash machine
Sound of feet walking example wearing heels
Target audience: 18- 30 women
Channel: C4 9pm, Monday
Shoes
-The different styles of shoes and different styles
-The history behind the shoes
-The different styles of shoes
-Different health issues about shoes such ‘fit flops’ and MBT’s
-The people that was obsessed with shoes
-People that have got into debt from buying shoes
The people that wear specialist shoes
Mobility shoes
Fit flops
MBT’s
Interviews
Different people outside the shoes shops asking different questions about shoes.
Mr Swindle – on MBT's
Sue or Kathy about mobility Shoes
Lisa
Abbie
Jessica
Charlie
Interview shops such as
Primark
Clarks
Schuh
New Look
Topshop
Markets (e.g. St johns-Liverpool)
Barrats
River Island
M&S
Achieve footage
Confessions of a shop - aholic
Trinny and Suzanne
Little boots
SFX –
When talking about money – cash machine
Sound of feet walking example wearing heels
Target audience: 18- 30 women
Channel: C4 9pm, Monday
Questionnaire Results
What age category do you fall under?
The main age category that we found would be more interested in the subject of shoes were 16-35 year olds, this is going to the overall target audience of the documentary. So that is why most of the questionnaires were filled out by people within that age range.
What is your gender?
What is your gender?
Most of the people that we asked were females as we saw them that main gender audience for the subject of shoes, this will main that most of are answers will be bias towards women.
What is your occupation?
The most popular job that are audience has is students because of the target audience is a young age and most people of that young age are students.
What style of music do you prefer?
By looking at these results it has helped us decide on the style of music that would feature in our documentary. So the most popular style was pop music this will have us come up with all the different non diegetic music for different things like the opening titles.
What TV channel is your favourite?
This question is helped us to decide on what channel we would feature of documentary on, as the questionnaires were given to people in are target audience we were interested in what channel the like the best and watch the most as this would be the channel that we would use. And the most popular channel is channel 4 is perfect as it also fits in with the type of documentary that we are doing.
What is your favourite colour?
The results that we got from this question will help us as we now have a colour scheme to follow when adding different graphics .on our documentary. So our colour scheme is going to be blue and purple.
How often do you watch documentaries?
The question was to find out if our target audience enjoyed documentaries or even watched them at all. As we can see from the results most of the people asked ‘sometimes’ watch documentaries.
When would you most likely watch a documentary on TV?
To help us come up with a time to schedule our documentary this question informs us of what time are audience is most likely to watch a documentary. As they are most likely to watch a documentary between the times of 9pm- 10pm our documentary is going to be scheduled for 9 o’clock.
Would you prefer a male or female voice over?
The results lean more towards female voice over that is because the answers are bias but as of the subject we feel it would be appropriate to have a female voice as most of the audience that would watch the documentary would be female.
Would you like expert interviews included?
We were unsure as weather to add expert interviews into are documentary so the results of this question have decided for us. As the results give us no clear answer we are going to add them when appropriate for example when talking about MBT’S.
What shoe size are you?
The results that we got for this question we averaged out into men and women and we did a range between different sizes for men we got that most men have size 9 to 11 shoes and for women we have size 5 to 7 shoes this was only based on our questionnaire. In are documentary we are going to have interviews with people that find it hard to get shoes in different sizes so by finding out this average when then have facts to compare back to.
Where do you shop for the majority of your shoes?
This question shows us the most popular shoe shops that can feature within are documentary.
Do you know the history of shoes?
Not everyone knows the full history of shoes but people know some aspects to it, these gives our documentary a change to inform them, and as most people are unaware it gives them a reason to watch our documentary.
In your opinion what do you think is the most popular style of shoe?
As the majority of the questionnaires were filled out by females this means that this answer would be slightly bias this is why stilettos are the most popular style or shoe. The next popular answers are trainers and flats these results tell us what style of shoes are popular and what people would be interested in finding out about.
What word do you associate with shoes?
This question was to help us understand what our audience thought about shoes, and what they would associate with them, it has also helped us come up with the title of the documentary as we have picked some of the words that people associate with shoes to create a title as they audience would associate the title with shoes. The title is going to be ‘comfy, funky and essential’.
How many pairs of shoes/ boots do you own?
This question is to add some information into our documentary about how people can become obsessed with shoes and the results that we got back from our questionnaire were as follows most people have between 21-40 different pairs of shoes.
How much are you willing on spending on a pair of shoes?
There were many different answers for the different price ranges that different people were willing to spend. The price ranged from £25 all the way up to £150 this shows the different price range people of willing to buy on shoes. This is some background information that can be used in the documentary about how much people are willing to spend.
How important are shoes to you?
People answered this question as important as they need shoes so they don’t hurt there feet, but other people answered with more detail as they have problems with there feet are ankles that they to wear special forms of shoes or insoles. Also a lot of the young people that answered the questionnaire answered with it being a key point to there outfits.
Have you ever heard of the following shoes?
Not everyone that filled in the questionnaire knows what these shoes were and what they do. This has helped us decide what we will add into our documentary as many people our unaware are those special types of shoes our documentary gives them the change to find out about them.
Questionnaire
Circle or tick the answer that apply to you
What age category do you fall under?
16-25 26- 35 36-45 46-55 56+
What is your gender?
Female Male
What is your occupation?
Student Unemployed Professional Retired
What style of music do you prefer?
Pop Rock Classical Indie RnB Other………………………….
What TV channel is your favourite?
BBC1 BBC2 ITV1 Channel 4 Five E4
Other ……………………………….
What is your favourite colour?
Pink Blue Red Purple Yellow Green
Other……………………………..
Do you often do you watch documentaries?
Always Often Sometimes Never
When would you most likely watch a documentary on TV?
6pm-7pm 7pm-8pm 8pm-9pm 9pm-10pm
Would you prefer a male or female voice over?
Female Male Either
Would you like expert interviews included?
Yes No No preference
What shoe size are you?
1 2 3 4 5 6 7 8 9 10 11 12 13 14
Where do you shop for the majority of your shoes?
Clarks Schuh New Look Primark Topshop
Markets (e.g. St johns-Liverpool) Barrats River Island M&S
Other ………………………………
Do you know the history of shoes?
Yes No Some aspects
In your opinion what do you think is the most popular style of shoe?
Stilettos Boots Flip Flops Trainers Flats
Other……………………….
What word do you associate with shoes?
……………………………………………………………………
How many pairs of shoes/ boots do you own?
1-5 6- 10 11-20 21- 30 31-40 41-50 51+
How much are you willing on spending on a pair of shoes?
……………………………………………………………………
How important are shoes to you?
…………………………………………………………………………………………………………
Have you ever heard of the following shoes? Please circle the ones that you have heard of.
Masai basic tech (MBTS) fit flops
Thank you for your time and effort in completing this questionnaire.
What age category do you fall under?
16-25 26- 35 36-45 46-55 56+
What is your gender?
Female Male
What is your occupation?
Student Unemployed Professional Retired
What style of music do you prefer?
Pop Rock Classical Indie RnB Other………………………….
What TV channel is your favourite?
BBC1 BBC2 ITV1 Channel 4 Five E4
Other ……………………………….
What is your favourite colour?
Pink Blue Red Purple Yellow Green
Other……………………………..
Do you often do you watch documentaries?
Always Often Sometimes Never
When would you most likely watch a documentary on TV?
6pm-7pm 7pm-8pm 8pm-9pm 9pm-10pm
Would you prefer a male or female voice over?
Female Male Either
Would you like expert interviews included?
Yes No No preference
What shoe size are you?
1 2 3 4 5 6 7 8 9 10 11 12 13 14
Where do you shop for the majority of your shoes?
Clarks Schuh New Look Primark Topshop
Markets (e.g. St johns-Liverpool) Barrats River Island M&S
Other ………………………………
Do you know the history of shoes?
Yes No Some aspects
In your opinion what do you think is the most popular style of shoe?
Stilettos Boots Flip Flops Trainers Flats
Other……………………….
What word do you associate with shoes?
……………………………………………………………………
How many pairs of shoes/ boots do you own?
1-5 6- 10 11-20 21- 30 31-40 41-50 51+
How much are you willing on spending on a pair of shoes?
……………………………………………………………………
How important are shoes to you?
…………………………………………………………………………………………………………
Have you ever heard of the following shoes? Please circle the ones that you have heard of.
Masai basic tech (MBTS) fit flops
Thank you for your time and effort in completing this questionnaire.
Brainstorm of possible ideas
This is the brain Storm of ideas that we came up with in class and possible interviews and places we can film different footage from.
Little Vs. Large the prices of bras
-Prices of different sizes bra’s
-Interviews with different shoe shops
-People who measure your size
-Possible interview with Bryony, Lisa, Charlie, Abi and Heidi
-Surgeon
-Bramissivo- interview the lady in shop that measures you.
Fashion
-Shoes- how hard it is get different sizes and wide shoes even specialist shoes
-Clothes the different sizes and buying more money for better sized clothes
Chicken
-Free range
-Organic
-Eggs
Religion
-Church
-Christmas
-Steph’s religion
Captain tony’s
-Food
-Business
Apprenticeship
-Hair dressing
-School
Football
-Fans
-Matches- Everton and Liverpool can interview there
-Parents at children’s game
-Coaches
-Children games
Child and adult prices
-Buses
-Trains
-Pictures
-Lottery
-Planes
-Gambling
Local business vs. Super stores
-corner shop
- Adsa and Tesco
Ice Cream
-Different flavours
-Where it came from
-interview people with ice cream on the beach
Driving
-Change of age
-Prices- lesson/ test
-Boy races
-Girl drivers
-Pass plus
-Insurances
Teenage pregnancy
-Little Lisa – interview cause teenager and pregnant how she handling it
-Kristy – interview on change in breast size
-Breast feeding
-Clothes
-School
-Money
Jabs
-Cancer jabs
-Baby jabs
-Dog and cat Jabs
Drinking and drugs
-Clubs
-Parks
-under age
-should age be higher
Little Vs. Large the prices of bras
-Prices of different sizes bra’s
-Interviews with different shoe shops
-People who measure your size
-Possible interview with Bryony, Lisa, Charlie, Abi and Heidi
-Surgeon
-Bramissivo- interview the lady in shop that measures you.
Fashion
-Shoes- how hard it is get different sizes and wide shoes even specialist shoes
-Clothes the different sizes and buying more money for better sized clothes
Chicken
-Free range
-Organic
-Eggs
Religion
-Church
-Christmas
-Steph’s religion
Captain tony’s
-Food
-Business
Apprenticeship
-Hair dressing
-School
Football
-Fans
-Matches- Everton and Liverpool can interview there
-Parents at children’s game
-Coaches
-Children games
Child and adult prices
-Buses
-Trains
-Pictures
-Lottery
-Planes
-Gambling
Local business vs. Super stores
-corner shop
- Adsa and Tesco
Ice Cream
-Different flavours
-Where it came from
-interview people with ice cream on the beach
Driving
-Change of age
-Prices- lesson/ test
-Boy races
-Girl drivers
-Pass plus
-Insurances
Teenage pregnancy
-Little Lisa – interview cause teenager and pregnant how she handling it
-Kristy – interview on change in breast size
-Breast feeding
-Clothes
-School
-Money
Jabs
-Cancer jabs
-Baby jabs
-Dog and cat Jabs
Drinking and drugs
-Clubs
-Parks
-under age
-should age be higher
Code and conventions of Documentaries
9/11
Channel 4 nine o'clock
Type of documentary-
-Expository as ‘voice of god’ is used to narrate what was going on in the different parts of the twin towers and all the facts about the times that the towers were hit etc. A male voice was used to show authority and used a very serious tone of voice to go with the seriousness of the subject.
-Drama-documentary was also used as lots of different reconstructions were used to show what difficulties the different people had to face. Some of the reconstructions were based on transcribed conversations and others were re-enactments of what people had informed then what was going on.
Themes-
Narrative structure-
-The narrative structure was in the style of linear as all the events and different peoples views of what had happened were all in time order graphics were displayed on screen to keep the view informed of what time all the different events were happening.
Camera work-
-An establishing shot was used at the very beginning of the documentary was used to inform the views were they where and what it was about. The shot was a circling shot of all of New York going around the twin towers.
-Close ups of the towers were used to show were the plain had entered and the damaged that it had caused.
Close up of people’s feet running down the different sets of stairs to show the agency of the people getting out and the rush they had to face.
-Hand held camera work of people running down the stairs was also used to add to the rusting and the agency of trying to get out.
-Zooming in was used in interviews to show the actual set of the interview were the viewer could see the back drop and the lighting stands set up at the side, slowly zooming in. this was to show that it is real and to made the audience believe in it more. Also the emotions on the people’s faces to show that they were there and still feel for the event. the zoom out at the beginning is to almost show the reality behind the twin towers disaster
-Mid-shot and close up was used in the interviews to show the emotions on the faces of the people that were actually there.
Mise-en-scene-
- The interviews were all placed on a black backdrop to not take any focus of what they are actually saying and also to the show the important to the situation and topic of conversation, also to respect those that were killed or injured by the events.
- The clothes that the people being interviewed all wore suits to show respect to the topic. There was also a fire man to survive who had this fire mans suit on.
-Inside the twin towers on the reconstructions it was all a mess with ceiling falling down and rubbish all over the floors, very smoky dark rooms torches were used to show the smoke. Also there was fire and explosions going off.
Sound-
SFX non deigetic sounds and helicopters going round getting louder and building up the tensions at the beginning of the documentary.
-Voice over of actually conversation’s that different people made from inside the building and outside.
-Diegetic sound of the explosions going off inside in the twin towers.
-Non diegetic sound of music playing towards the end of the documentary. The music was wind instruments very sad and slow music to respect the situation.
Editing-
- Cut away from shot to shot, very smooth not noticing it. It moved from reconstructions to the actually people being interviewed.
- The graphics help the story move up and down the different building and different twin towers.
Archive material-
- Actual conversations played that people made in the build to emergency services and people outside watching what was happening.
- Peoples own footage of watching the plains and the building, hand held shacking and most on mobile so not as clear as normal camera work.
-News programmes displaying what had happened on the day to the world.
-peoples own footage of re action shots and what was going on outside of the twin towers.
Graphics-
- writing to inform the audience that all the stories are true, and the same writing of a very plain white font on a black background to show the seriousness, was used to inform the audience of the different times that all the different situations happened.
- Graphic were used on a plain crashing into the building to show what would have happen on the entry of the plain. The same style of these see through graphics was used to show the different floors of the towers and were the lifts and stairs were. This was to help the story easy move up and down the build to the different floors and to help the audience place themselves in the situation and understand were all the different floors were to were the people were.
The devil made me do it
Type of documentary-
-Expository- as it use a ‘voice of god’ to anchor the images that appear on screen.
-Observation- as it follows people around like fly on the wall.
Themes-
-Region- evil, devil, the religious symbols use and the religious places shown, as it is about a nun being killed.
Narrative structure-
-Non linear- as all the information is given in different orders.
Camerawork-
-Hand held camera work when using tracking shots
-Talking heads close up
-Tracking shots of the different people walking around such as the police man at work
-Tilt angle is use at a high angle and a low angle.
-Close up shots new papers so show the news at the time
-Close up of fans in concert
-Low angle shot of Marlin Mansion to make he look stronger and powerful as he is meant to be the devil behind the killing
Mise-en-scene-
-Lots of different places in Italy historical and the religious places
-Interviews taken place in different places to do with the person being interview, Marlin Mansion in his dressing room and the police in his office with his uniform on. Young people interview smoking and lying around in the café and in the bedroom.
-Empty court room as cannot film the actual court scene
Sound-
-non diegetic sound of high pitched people singing as if it was angles
-Marlin Mansion non diegectic music of his songs some live at concert which is diegetic sound.
-Non diegetic voice over of the translation into English
-Non diegetic sound of clock ticking and heart beat to make it sound creepy and add to the tension of the documentary.
-Non diegetic sound of violins
-Diegetic sound of the crowd at Marlin Mansion concerts.
Editing-
-Lots of cut away shots to show lots of different images.
-Cut a way’s to the 3 different girls in talking heads done in time with the heart beat in the background
-Tracking shot of tunnel, the voice over talking about the girls coming out of prison. So the tunnel is like a metaphor of there time in prison.
Archive material-
-Footage of the funeral
-Music videos and concerts of Marlin Mansion
-Old interviews
-Voice over of actual interviews
-Footage of people arriving at concerts
-Footage of the notebooks of the girls
Graphics-
-Devil in the title- dark black and had a cross thought it to show the devil
-Text on the bottom left hand corner of the scene to show who they are in the talking head interviews
-The song lyrics going a long the bottom on the screen when the song is to show what he is singing about.
-Paragraph of writing at the end to tell the end of the story off.
Marketing movies
Type of documentary-
-Expository as ‘voice of god’ is used to narrate what was going on in the different parts of the twin towers and all the facts about the times that the towers were hit etc. A male voice was used to show authority and used a very serious tone of voice to go with the seriousness of the subject.
-Drama-documentary was also used as lots of different reconstructions were used to show what difficulties the different people had to face. Some of the reconstructions were based on transcribed conversations and others were re-enactments of what people had informed then what was going on.
Themes-
Narrative structure-
-The narrative structure was in the style of linear as all the events and different peoples views of what had happened were all in time order graphics were displayed on screen to keep the view informed of what time all the different events were happening.
Camera work-
-An establishing shot was used at the very beginning of the documentary was used to inform the views were they where and what it was about. The shot was a circling shot of all of New York going around the twin towers.
-Close ups of the towers were used to show were the plain had entered and the damaged that it had caused.
Close up of people’s feet running down the different sets of stairs to show the agency of the people getting out and the rush they had to face.
-Hand held camera work of people running down the stairs was also used to add to the rusting and the agency of trying to get out.
-Zooming in was used in interviews to show the actual set of the interview were the viewer could see the back drop and the lighting stands set up at the side, slowly zooming in. this was to show that it is real and to made the audience believe in it more. Also the emotions on the people’s faces to show that they were there and still feel for the event. the zoom out at the beginning is to almost show the reality behind the twin towers disaster
-Mid-shot and close up was used in the interviews to show the emotions on the faces of the people that were actually there.
Mise-en-scene-
- The interviews were all placed on a black backdrop to not take any focus of what they are actually saying and also to the show the important to the situation and topic of conversation, also to respect those that were killed or injured by the events.
- The clothes that the people being interviewed all wore suits to show respect to the topic. There was also a fire man to survive who had this fire mans suit on.
-Inside the twin towers on the reconstructions it was all a mess with ceiling falling down and rubbish all over the floors, very smoky dark rooms torches were used to show the smoke. Also there was fire and explosions going off.
Sound-
SFX non deigetic sounds and helicopters going round getting louder and building up the tensions at the beginning of the documentary.
-Voice over of actually conversation’s that different people made from inside the building and outside.
-Diegetic sound of the explosions going off inside in the twin towers.
-Non diegetic sound of music playing towards the end of the documentary. The music was wind instruments very sad and slow music to respect the situation.
Editing-
- Cut away from shot to shot, very smooth not noticing it. It moved from reconstructions to the actually people being interviewed.
- The graphics help the story move up and down the different building and different twin towers.
Archive material-
- Actual conversations played that people made in the build to emergency services and people outside watching what was happening.
- Peoples own footage of watching the plains and the building, hand held shacking and most on mobile so not as clear as normal camera work.
-News programmes displaying what had happened on the day to the world.
-peoples own footage of re action shots and what was going on outside of the twin towers.
Graphics-
- writing to inform the audience that all the stories are true, and the same writing of a very plain white font on a black background to show the seriousness, was used to inform the audience of the different times that all the different situations happened.
- Graphic were used on a plain crashing into the building to show what would have happen on the entry of the plain. The same style of these see through graphics was used to show the different floors of the towers and were the lifts and stairs were. This was to help the story easy move up and down the build to the different floors and to help the audience place themselves in the situation and understand were all the different floors were to were the people were.
The devil made me do it
Type of documentary-
-Expository- as it use a ‘voice of god’ to anchor the images that appear on screen.
-Observation- as it follows people around like fly on the wall.
Themes-
-Region- evil, devil, the religious symbols use and the religious places shown, as it is about a nun being killed.
Narrative structure-
-Non linear- as all the information is given in different orders.
Camerawork-
-Hand held camera work when using tracking shots
-Talking heads close up
-Tracking shots of the different people walking around such as the police man at work
-Tilt angle is use at a high angle and a low angle.
-Close up shots new papers so show the news at the time
-Close up of fans in concert
-Low angle shot of Marlin Mansion to make he look stronger and powerful as he is meant to be the devil behind the killing
Mise-en-scene-
-Lots of different places in Italy historical and the religious places
-Interviews taken place in different places to do with the person being interview, Marlin Mansion in his dressing room and the police in his office with his uniform on. Young people interview smoking and lying around in the café and in the bedroom.
-Empty court room as cannot film the actual court scene
Sound-
-non diegetic sound of high pitched people singing as if it was angles
-Marlin Mansion non diegectic music of his songs some live at concert which is diegetic sound.
-Non diegetic voice over of the translation into English
-Non diegetic sound of clock ticking and heart beat to make it sound creepy and add to the tension of the documentary.
-Non diegetic sound of violins
-Diegetic sound of the crowd at Marlin Mansion concerts.
Editing-
-Lots of cut away shots to show lots of different images.
-Cut a way’s to the 3 different girls in talking heads done in time with the heart beat in the background
-Tracking shot of tunnel, the voice over talking about the girls coming out of prison. So the tunnel is like a metaphor of there time in prison.
Archive material-
-Footage of the funeral
-Music videos and concerts of Marlin Mansion
-Old interviews
-Voice over of actual interviews
-Footage of people arriving at concerts
-Footage of the notebooks of the girls
Graphics-
-Devil in the title- dark black and had a cross thought it to show the devil
-Text on the bottom left hand corner of the scene to show who they are in the talking head interviews
-The song lyrics going a long the bottom on the screen when the song is to show what he is singing about.
-Paragraph of writing at the end to tell the end of the story off.
Marketing movies
Type of documentary-
-Expository as it uses ‘voice of god’ but it does really expose anything just inform people of how things are done
-It is an education as it mentions hear is a clip for teachers
Themes-
-Movies
-Marketing
-Promotions
-Advertising
-Tagline
-Tie ins
Narrative structure-
- Telling a story all about how to market a movie
-It following a linear narrative as it goes in the different order of how to market and what to do next.
- ‘Voice of god’ is used to help the narrative go along and to explain to the view all the different technical terms.
Camera work-
-Close up is used on talking head
-Slow camera zoom in and out of different film posters this is used a lot as it zooms into the posters to show the audience what film they are talking about at the time. When this zoom is happening the ‘voice of god’ is explain in the image on screen.
-Extreme and close up of computer scene to show that the men is editing a film and to show how to edit the film.
Mise-en-scene-
-The different interview that where use had the merchandise of the different films that they produce or were involved with. Such as the mouse trap poster placed in the background.
-The different red carpet events, with all the different cameras and famous people that appeared in the film, form dress wear.
Sound-
-Non diegetic, sound of a very fast beat song made to sound like a movie soundtrack to go with the documentary, Also a jazzy sounding music.
-Diegetic sound of the actual films when they are being played.
- Diegetic sound of the crown at the red carpet events
Editing-
-Fast cut shots to all different images to do with all of the different films being shown
-Dissolve is used from the actual poster of the film to the people in the film.
-Fast clips from the trailers of films and the actual film clips.
Archive material-
- Interviews with people on the red carpet
- People outside different shops
- All different poster of film and all the different merchandise
-The McDonalds adverts for the toys which are the tie ins of the film
- Newspaper and Magazine reviews of the films when they came out
-The trailers and the actual sections from different films that are mention
-The different editors editing the actual film
Graphics-
- Money sings growing and moving towards the scene.
- The BBC two logo at the bottom left hand of the screen the whole time to show the views and remind them what programme they are watching
- The name and the Job title of the different people being interviewed, this is also in the bottom left hand corner and the name of the person is in a bigger type face then the job
-Titles of the different sections that they are moving onto in the documentary, this is used to help the narrative of the story go along as well.
The Music Biz- Marketing Meatloaf
Type of documentary-
- Expository as it uses a ‘voice of god’ which anchors the images on screen.
-It uses a bit of inactive filming where there is footage of one camera man filming another, this is use on the film set when they are making the meatloaf video.
Themes-
-Music
- Marketing
- Rebranding
Narrative structure-
-It follows a linear structure to show how to market an artist
-Two strand narrative- as there is two different artist that they look into and talk about one being a case study on Meatloaf and the other being a smaller case study about The Village people.
-The beginning of the documentary starts as a backstage look at music awards, like this for about ten minutes at the start. Then at the end of the documentary it goes back to the backstage were meatloaf is being interviewed.
Camera work-
-Establishing shot of the very famous radio city tower over in New York. Slowly the camera pans down the building.
-Tacking shot of all different famous people arriving at the radio city tower.
-External shot of the different famous people arriving at the bit awards.
-Point of view shot as the camera man walks into the backstage area an shows the people on the door there pass. This makes the audience feel involved and as if they have been invited backstage too.
-Establishing shot of the virgin head quarters with a slow motion zoom, zooming in on the room the people are in then arrive inside the room.
-Talking head interviews done in mid close up form, and none of the people in the interview sit facing the audience they sit to the sit not looking at the camera but looking at the person they are going to interview.
Mise en scene-
- Busy and complicated when backstage, showing all the different elements of media that normally appears backstage, small over crowed room.
-In talking head videos meatloaf’s video is being played in the background and album covers of his in the background.
- On of the talking head meatloaf video then dissolve into the talking head interview and then dissolves back out into the meatloaf video.
- Interview in the recording studio the music desk is in the background, as the famous singer is in front to show he was involved in the music business. Also he has glasses on the show that he is trying to look cool.
Sound-
- The diegetic sound of the crown when on the red carpet.
- A lot of the sound used is the non diegetic sound of meatloaf music being played.
- Non diegetic sound of a heart beat to show a fast pace to the documentary.
Editing-
- The opening titles is a music magazine with the main image changing to all the different famous musicians. This is to show that the documentary is all about the magazine business behind music.
-Most of the editing is simply just cut away shots.
- Parallel editing were both him and his manger walk up to get there awards to show the different reactions that they have.
- Slow motion of the fans reaction.
Archive material-
- The red carpet event, all the different interviews they did at the time.
- Different people on the television talking about meatloaf.
- Lots of music video footage also some oh the behind scenes is shown. Also photographs of meatloaf and album cover.
- Some of the footage that meatloaf is singing in is off other programmes should as when he performed for top of the pops.
Graphics-
- The name of the different music awards that they are at, there logos such as the Grammys and the Brit awards.
- The names of the people in the talking head interviews at the top left hand corner of the screen.
That thing Lora croft
Themes-
-technical
-power
-video games
-gender
Narrative structure-
- How the game become big, then became a film
- The narrative follows a linear structure as it goes though have the video game was invented and what it became.
Camera work-
- Talking heads, done in close up to go with the type of action and to make it look more dramatic.
-fast tracking shot, sped up done with a fish eye lens when all the teenagers are at the computers, this is to make it look fast and exciting like a game.
- Close up of keyboards and computers to show technology which is the main theme of the documentary
Mise en scene-
- all different forms and different elements that you can find when it comes to technology and video games for example there was the video game being played in the background of the talking head interviews and video clips. The people in the interview wore pretty casual clothes to so that is for a young audience and it was not about a serious subject.
Sound-
- Very fast up beat non diegetic music played at start this is gain attention and inform the view of the subject as the music sound like a video game.
-There are many different layers of sound that go on at the same time such as the ‘voice of god’ would be over a sound track, this is to continue with the theme of video game as they use many different sound and SFX.
Editing-
-Am interview was being played on a computer that was being filmed, this was to make it look like he was a video game.
- Things were played in fast motion to make it look like video game as they are fast.
-The rest of the editing is simply just cuts to all different shots and images.
Archive material-
- The game being played and the video footage
- Barbie doll advert to show have Lora has changed into a Barbie doll figure.
- Actual E mails that people have sent yet again using different forms of technology in the documentary.
Graphics-
- The person being interview at the bottom left hand side of the scene.
- At the being Lora Croft names comes up on scene in big bold letters.
Daredevils- The Ice man
Channel 4, 9.00pm
-Expository as it uses ‘voice of god’ but it does really expose anything just inform people of how things are done
-It is an education as it mentions hear is a clip for teachers
Themes-
-Movies
-Marketing
-Promotions
-Advertising
-Tagline
-Tie ins
Narrative structure-
- Telling a story all about how to market a movie
-It following a linear narrative as it goes in the different order of how to market and what to do next.
- ‘Voice of god’ is used to help the narrative go along and to explain to the view all the different technical terms.
Camera work-
-Close up is used on talking head
-Slow camera zoom in and out of different film posters this is used a lot as it zooms into the posters to show the audience what film they are talking about at the time. When this zoom is happening the ‘voice of god’ is explain in the image on screen.
-Extreme and close up of computer scene to show that the men is editing a film and to show how to edit the film.
Mise-en-scene-
-The different interview that where use had the merchandise of the different films that they produce or were involved with. Such as the mouse trap poster placed in the background.
-The different red carpet events, with all the different cameras and famous people that appeared in the film, form dress wear.
Sound-
-Non diegetic, sound of a very fast beat song made to sound like a movie soundtrack to go with the documentary, Also a jazzy sounding music.
-Diegetic sound of the actual films when they are being played.
- Diegetic sound of the crown at the red carpet events
Editing-
-Fast cut shots to all different images to do with all of the different films being shown
-Dissolve is used from the actual poster of the film to the people in the film.
-Fast clips from the trailers of films and the actual film clips.
Archive material-
- Interviews with people on the red carpet
- People outside different shops
- All different poster of film and all the different merchandise
-The McDonalds adverts for the toys which are the tie ins of the film
- Newspaper and Magazine reviews of the films when they came out
-The trailers and the actual sections from different films that are mention
-The different editors editing the actual film
Graphics-
- Money sings growing and moving towards the scene.
- The BBC two logo at the bottom left hand of the screen the whole time to show the views and remind them what programme they are watching
- The name and the Job title of the different people being interviewed, this is also in the bottom left hand corner and the name of the person is in a bigger type face then the job
-Titles of the different sections that they are moving onto in the documentary, this is used to help the narrative of the story go along as well.
The Music Biz- Marketing Meatloaf
Type of documentary-
- Expository as it uses a ‘voice of god’ which anchors the images on screen.
-It uses a bit of inactive filming where there is footage of one camera man filming another, this is use on the film set when they are making the meatloaf video.
Themes-
-Music
- Marketing
- Rebranding
Narrative structure-
-It follows a linear structure to show how to market an artist
-Two strand narrative- as there is two different artist that they look into and talk about one being a case study on Meatloaf and the other being a smaller case study about The Village people.
-The beginning of the documentary starts as a backstage look at music awards, like this for about ten minutes at the start. Then at the end of the documentary it goes back to the backstage were meatloaf is being interviewed.
Camera work-
-Establishing shot of the very famous radio city tower over in New York. Slowly the camera pans down the building.
-Tacking shot of all different famous people arriving at the radio city tower.
-External shot of the different famous people arriving at the bit awards.
-Point of view shot as the camera man walks into the backstage area an shows the people on the door there pass. This makes the audience feel involved and as if they have been invited backstage too.
-Establishing shot of the virgin head quarters with a slow motion zoom, zooming in on the room the people are in then arrive inside the room.
-Talking head interviews done in mid close up form, and none of the people in the interview sit facing the audience they sit to the sit not looking at the camera but looking at the person they are going to interview.
Mise en scene-
- Busy and complicated when backstage, showing all the different elements of media that normally appears backstage, small over crowed room.
-In talking head videos meatloaf’s video is being played in the background and album covers of his in the background.
- On of the talking head meatloaf video then dissolve into the talking head interview and then dissolves back out into the meatloaf video.
- Interview in the recording studio the music desk is in the background, as the famous singer is in front to show he was involved in the music business. Also he has glasses on the show that he is trying to look cool.
Sound-
- The diegetic sound of the crown when on the red carpet.
- A lot of the sound used is the non diegetic sound of meatloaf music being played.
- Non diegetic sound of a heart beat to show a fast pace to the documentary.
Editing-
- The opening titles is a music magazine with the main image changing to all the different famous musicians. This is to show that the documentary is all about the magazine business behind music.
-Most of the editing is simply just cut away shots.
- Parallel editing were both him and his manger walk up to get there awards to show the different reactions that they have.
- Slow motion of the fans reaction.
Archive material-
- The red carpet event, all the different interviews they did at the time.
- Different people on the television talking about meatloaf.
- Lots of music video footage also some oh the behind scenes is shown. Also photographs of meatloaf and album cover.
- Some of the footage that meatloaf is singing in is off other programmes should as when he performed for top of the pops.
Graphics-
- The name of the different music awards that they are at, there logos such as the Grammys and the Brit awards.
- The names of the people in the talking head interviews at the top left hand corner of the screen.
That thing Lora croft
Themes-
-technical
-power
-video games
-gender
Narrative structure-
- How the game become big, then became a film
- The narrative follows a linear structure as it goes though have the video game was invented and what it became.
Camera work-
- Talking heads, done in close up to go with the type of action and to make it look more dramatic.
-fast tracking shot, sped up done with a fish eye lens when all the teenagers are at the computers, this is to make it look fast and exciting like a game.
- Close up of keyboards and computers to show technology which is the main theme of the documentary
Mise en scene-
- all different forms and different elements that you can find when it comes to technology and video games for example there was the video game being played in the background of the talking head interviews and video clips. The people in the interview wore pretty casual clothes to so that is for a young audience and it was not about a serious subject.
Sound-
- Very fast up beat non diegetic music played at start this is gain attention and inform the view of the subject as the music sound like a video game.
-There are many different layers of sound that go on at the same time such as the ‘voice of god’ would be over a sound track, this is to continue with the theme of video game as they use many different sound and SFX.
Editing-
-Am interview was being played on a computer that was being filmed, this was to make it look like he was a video game.
- Things were played in fast motion to make it look like video game as they are fast.
-The rest of the editing is simply just cuts to all different shots and images.
Archive material-
- The game being played and the video footage
- Barbie doll advert to show have Lora has changed into a Barbie doll figure.
- Actual E mails that people have sent yet again using different forms of technology in the documentary.
Graphics-
- The person being interview at the bottom left hand side of the scene.
- At the being Lora Croft names comes up on scene in big bold letters.
Daredevils- The Ice man
Channel 4, 9.00pm
Type of documentary-
- Expository as it uses ‘voice of god’ the voice is a male and has a serious voice to do with some of the serious times in the documentary.
- Observational as it goes around his house as he does is normal things and lives his live with family, also follows him to see his normal daily routine.
Themes-
-Ice and snow
- Health reason, doctors, mental and getting inside the mind
- Running
Narrative structure-
- A linear structure, as it starts he is doing all the different training elements to go on his marathon in the snow and it then it finishes with the actual marathon.
Camerawork-
- They used an underwater camera when he was swimming in the ice, this was to show the audience that he was actually doing it and that it was real.
- Tracking shots were used to show his normal day live in the house and outside
- Close up of feet running in the snow followed by a close up of the foot prints in the snow and also a close up of his feet getting out of the water.
- Some of the camera work was done in the dark so it lighting was affected.
- Low angle shot looking up at the trees.
- Hand held camera was used when climbing up a mountain.
- A point of view shot is used when he is running so it is also hand held as to what he can see when he is running which is the finishes line.
Mise en scene-
- Doctors interview placed in the doctor’s room
- Interviewing the family is set in the room on the sofa to show were they live
- In mise en scene of the streets is all snow an ice everyone to show were they are in a cold place.
Sound-
- Music non diegetic action sounding music played as the man in running in slow motion.
- SFX of a heart beat to show the serious of the situation and how in tense it is getting when he goes underwater.
- The diegetic sound of his heavy breath while he is running to add tension to the documentary
Editing-
-Slow motion running in the snow
- Daredevils- the opening titles very fast up pace of lots of different cut away shots mixed in with the SFX of the heart beat getting faster as the images get faster to build up the tension and to keep people watching the programme.
- Adverts left at cliff-hangers
Archive material-
- Footage of different events that the daredevil has done before when he was younger to show that he was always into this type of thing
- Other people’s footage of thing that he has done
Graphic-
- The title of ‘The ice man ‘
- The name of people being interview at the bottom left hand corner of the screen eg the arctic expect
- Sub titles of the different language being spoke which is finish
Code and conventions
For the mise en scene of the talking head interviews that happen in a documentary are forces on a subject that relates to them or props are peopled in the background. Also the location of the filming all fits in with the documentary subject and other interviews are often placed in front of locations to fit in.
The editing is mainly made up of basic cut away shots as this is easy to keep the documentary going, sometimes slow and fast motion can be used to add more intensity and to focus on something, zoom is not very often used in a documentary as they are often on important subject and aren’t need but if they do get used they are generally to focus on something important or a building/ location.
The graphics that appear in a documentary are generally the opening titles and then the name of the person being interview and the job title or what there role is. This is almost always placed in the bottom left hand corner of the screen. Something else that sometimes appears in the bottom left hand corner is the logo of the televising of the programme so that people remember what channel they are watching.
The camera work code and conventions varies is some of the different shot used as different documentary have a different narrative and they can mess around with different shot frames. The main shots that are in most documentaries are an opening establishing shot of the location so the audience understand what it is about, hand held camera work is often used in reconstructions and action shots to add authenticity to the shot. When talking head interviews are done the shot the is a medium close up shot (not too close so you can see the mise en scene). Tracking shot is another code and convention as documentaries are normally tracking something or finding something out so they we need to use a tracking shot at some point, as the time taken to do the shots are very long takes this is because there is much editing done and to add authenticity and make the audience believe in the subject.
The sound that you can find is a mixture between diegetic and non diegetic. The diegetic sound is normally used in the background as a voice over would generally be talking over it. the non deigetic sound is made up of music and SFX that relate to the subject featured in the documentary. The main source of non diegetic sound is the Voice over or the ‘Voice of god’ that narrative the whole documentary and anchorages the images that are on the screen. This is one of the main code and conventions about documentaries.
Wednesday 7 October 2009
Documentary theories research
What is a documentary-?
-Documentaries are focused on actual people and events that have happened or going to happen, which is the audience is then able to place an opinion about what they are seeing on the screen.
-Most documentaries are factual and a common code and convention is the use of graphics showing the name and job title of the person on the screen this is to help the audience understand who they are and to show that they are actual people that exist.
-Documentaries use different techniques to show the information on the screen they record information as they actually occur, use visual aids and graphics to show charts and maps, use reconstructions that are staged for the camera to help the audience understand what they are talking about.
-Documentary crews are normally very small so it is easy to get around and move quickly, it usually consists of just one camera crew and a sound person.
Documentary techniques-
-Compilation film- where the documentary is made up of archive footage and images.
-Interview or ‘talking heads’- interviews where the interviewee talks about events and opinions about the subject or event.
-Direct camera- where an event is recorded as it happens with minimal interference from the film marker.
-Documentaries often tell stories in a narrative form they use voice over, interviews, footage, music to interest the audience.
-Documentaries use parallelism asking the audience to draw parallels between characters, setting and the situation.
Narration-
-Narration is used to help reveal the plot information.
-Most common is the ‘voice of god’ where you never see the person behind the voice.
-Most of the narration is done with someone with an ‘authoritative voice’ often to go with the subject they are dealing with.
-Voice over tend to be males because of the authoritative voice that they have, but are starting to introduce females voices.
Lighting-
-Natural lighting is used whether the actually light of the filming or the studio lights made to look natural.
-Reconstruction can often be darker light to show it is a reconstruction.
Camera work-
-Hand held camera work is used to made it look ‘authentic’ and ‘real’. They use their body as support if needed
Editing-
-Fade out-when an image gradually fades to darkness
-Fade in – when an image gradually fade in.
-Dissolve- the end of the shot overlapping with the next shot.
-Wipe- when a shot is replaced with the new shot by using a line.
-Editing is a way of interpreting and event and how it is placed and other together for the audience to see.
Sound-
-Most of the sound is diegetic from the source and the other is non diegectic, music over the top of interviews to promote to the audience what the documentary is all about.
-The documentary genre give the audience a change to illustrate the ‘truth’ about things which the audience can then make there decision on it.
Expository –
-Uses ‘voice of god’ narrative to directly speak to the viewers often anchoring the images or texts shown on the screen.
-This type of doc is often trying to expose a problem or a certain area.
Observation (fly on the wall)-
-Began with ‘direct cinema’ where in the 1960s the light weight camera meant that camera crews could get right up into the action.
-Does use voice over’s or commentaries.
-‘window of the world’ the camera is out of the way of the action
-Mostly long takes to look like not editing is done to show that all the action hasn’t been mess with.
-Events unfold while filming, film marker and crew often don’t know how it is going to end as it isn’t planned.
-Problems often hard to make it look like ‘window on the world’
-Most popular type of TV documentary.
Docusoaps-
-Long running documentaries that are like fictional soap opera. Follows a set of characters.
-Shows like ‘Air line’.
-Made possible cause of light weight cameras to follow and also made cheaper to film and cut.
-Contain code and conventions of soap eg storyline and audience get involved with the characters and creates ‘stars’ out of them.
-Characters play up to camera as they know it is there.
Reality tv-
-Reality tv is a mixture of different tv types which is known as infotainment.
-Reality tv is described as factual television with programmes such as emergency 999.
-You are under surveillance so the action is in first person and nothing is faked. Confessional style ie dairy room ‘Big Brother’. People know that camera are there and can talk to them.
-Normally a studio where presenters are.
Interactive-
-Acknowledges that the camera crew are there ie Cribs
-Made easier as of the lightweight portable equipment that they are able to move around.
-Made to look honest as they aren’t hiding the camera crew they are letting you know that they are there. But can sometimes be seen as manipulation to the audience.
Drama- documentary –
-Reconstructions to show things that didn’t have footage of or things that were in the past where there wasn’t camera to take footage of. The older reconstructions are not always correct as don’t know what happened exactly.
-Mostly used in investigation doc and dramatised docs.
-Most people are unsure about drama- doc as if the reconstructions aren’t based on transcripts then they may have a bias interpretation of the events that happened.
-Factual reconstruction are used in Crime watch used to keep the viewer more entertain that they don’t just hear about it but get to see it.
-Docudrama- fictional story that uses techniques of the doc to show it claim of realism.
-Dramadoc- reconstructions of actual evens using fictional cinema,
Current affairs-
-Journalist led programmes the focus on the news and political subjects.
-Often arguing about different cases the journalist has reported on
Documentary dilemmas-
-Most documentaries are edited so they cant make sure that the doc is suggest is either informing or entraining the audience.
-Paula Rabinowitz – three was relationship with doc the subject, the programme and the audience.
- ‘its not so much what you get in the shooting but what you do with it afterwards’ Paul Watson doc marker
-Most editing is done to juxtapose the images and the sound.
-The BBC and ITC have the final say in the edit of the programmes.
-Documentaries are focused on actual people and events that have happened or going to happen, which is the audience is then able to place an opinion about what they are seeing on the screen.
-Most documentaries are factual and a common code and convention is the use of graphics showing the name and job title of the person on the screen this is to help the audience understand who they are and to show that they are actual people that exist.
-Documentaries use different techniques to show the information on the screen they record information as they actually occur, use visual aids and graphics to show charts and maps, use reconstructions that are staged for the camera to help the audience understand what they are talking about.
-Documentary crews are normally very small so it is easy to get around and move quickly, it usually consists of just one camera crew and a sound person.
Documentary techniques-
-Compilation film- where the documentary is made up of archive footage and images.
-Interview or ‘talking heads’- interviews where the interviewee talks about events and opinions about the subject or event.
-Direct camera- where an event is recorded as it happens with minimal interference from the film marker.
-Documentaries often tell stories in a narrative form they use voice over, interviews, footage, music to interest the audience.
-Documentaries use parallelism asking the audience to draw parallels between characters, setting and the situation.
Narration-
-Narration is used to help reveal the plot information.
-Most common is the ‘voice of god’ where you never see the person behind the voice.
-Most of the narration is done with someone with an ‘authoritative voice’ often to go with the subject they are dealing with.
-Voice over tend to be males because of the authoritative voice that they have, but are starting to introduce females voices.
Lighting-
-Natural lighting is used whether the actually light of the filming or the studio lights made to look natural.
-Reconstruction can often be darker light to show it is a reconstruction.
Camera work-
-Hand held camera work is used to made it look ‘authentic’ and ‘real’. They use their body as support if needed
Editing-
-Fade out-when an image gradually fades to darkness
-Fade in – when an image gradually fade in.
-Dissolve- the end of the shot overlapping with the next shot.
-Wipe- when a shot is replaced with the new shot by using a line.
-Editing is a way of interpreting and event and how it is placed and other together for the audience to see.
Sound-
-Most of the sound is diegetic from the source and the other is non diegectic, music over the top of interviews to promote to the audience what the documentary is all about.
-The documentary genre give the audience a change to illustrate the ‘truth’ about things which the audience can then make there decision on it.
Expository –
-Uses ‘voice of god’ narrative to directly speak to the viewers often anchoring the images or texts shown on the screen.
-This type of doc is often trying to expose a problem or a certain area.
Observation (fly on the wall)-
-Began with ‘direct cinema’ where in the 1960s the light weight camera meant that camera crews could get right up into the action.
-Does use voice over’s or commentaries.
-‘window of the world’ the camera is out of the way of the action
-Mostly long takes to look like not editing is done to show that all the action hasn’t been mess with.
-Events unfold while filming, film marker and crew often don’t know how it is going to end as it isn’t planned.
-Problems often hard to make it look like ‘window on the world’
-Most popular type of TV documentary.
Docusoaps-
-Long running documentaries that are like fictional soap opera. Follows a set of characters.
-Shows like ‘Air line’.
-Made possible cause of light weight cameras to follow and also made cheaper to film and cut.
-Contain code and conventions of soap eg storyline and audience get involved with the characters and creates ‘stars’ out of them.
-Characters play up to camera as they know it is there.
Reality tv-
-Reality tv is a mixture of different tv types which is known as infotainment.
-Reality tv is described as factual television with programmes such as emergency 999.
-You are under surveillance so the action is in first person and nothing is faked. Confessional style ie dairy room ‘Big Brother’. People know that camera are there and can talk to them.
-Normally a studio where presenters are.
Interactive-
-Acknowledges that the camera crew are there ie Cribs
-Made easier as of the lightweight portable equipment that they are able to move around.
-Made to look honest as they aren’t hiding the camera crew they are letting you know that they are there. But can sometimes be seen as manipulation to the audience.
Drama- documentary –
-Reconstructions to show things that didn’t have footage of or things that were in the past where there wasn’t camera to take footage of. The older reconstructions are not always correct as don’t know what happened exactly.
-Mostly used in investigation doc and dramatised docs.
-Most people are unsure about drama- doc as if the reconstructions aren’t based on transcripts then they may have a bias interpretation of the events that happened.
-Factual reconstruction are used in Crime watch used to keep the viewer more entertain that they don’t just hear about it but get to see it.
-Docudrama- fictional story that uses techniques of the doc to show it claim of realism.
-Dramadoc- reconstructions of actual evens using fictional cinema,
Current affairs-
-Journalist led programmes the focus on the news and political subjects.
-Often arguing about different cases the journalist has reported on
Documentary dilemmas-
-Most documentaries are edited so they cant make sure that the doc is suggest is either informing or entraining the audience.
-Paula Rabinowitz – three was relationship with doc the subject, the programme and the audience.
- ‘its not so much what you get in the shooting but what you do with it afterwards’ Paul Watson doc marker
-Most editing is done to juxtapose the images and the sound.
-The BBC and ITC have the final say in the edit of the programmes.
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