Monday, 18 October 2010
6. Brainstorm of content
We decided that during our documentary, we would have a male voice over as the film includes footage of psychic and paranormal beliefs and we felt that a deeper voice would complement the message and spiritual nature.
For the interviews we thought of a number of people that we may be able to interview throughout the documentary, the most important being a medium of some sort whether it be a palm reader or a tarot card reader . We also decided to interview the public so we would have conflicting ideas throughout our documentary to make our audience feel that our documentary is more interesting.
Our archive footage will consist of psychic readings and the wide range of different readings e.g. tarot cards, palm readings, crystal balls. This will help to show the audience that they are many aspects to the spiritual world and whether their opinions on it can change.
For cutaways we want to use lots of shots of typical psychic objects such as crystal balls so that people can relate and will think they know all about the topic and may be surprised with the information given throughout the documentary.
The music that we choose throughout our documentary should be soft yet intense as people tend to not accept that people can contact the dead or predict behaviours so loud, heavy music would not be appropriate.
For the interviews we thought of a number of people that we may be able to interview throughout the documentary, the most important being a medium of some sort whether it be a palm reader or a tarot card reader . We also decided to interview the public so we would have conflicting ideas throughout our documentary to make our audience feel that our documentary is more interesting.
Our archive footage will consist of psychic readings and the wide range of different readings e.g. tarot cards, palm readings, crystal balls. This will help to show the audience that they are many aspects to the spiritual world and whether their opinions on it can change.
For cutaways we want to use lots of shots of typical psychic objects such as crystal balls so that people can relate and will think they know all about the topic and may be surprised with the information given throughout the documentary.
The music that we choose throughout our documentary should be soft yet intense as people tend to not accept that people can contact the dead or predict behaviours so loud, heavy music would not be appropriate.
3. Brainstorm
In the beginning of the planning process, we all decided to share ideas and topics of documentaries which we could then follow and make our own. These ideas included:
- Smoking
- Disabled sports
- Sexuality
- Tattoos
- Psychics/mediums
- Celebrities
- Social networks
- Education
- Lifestyles
- Religion
- Eating disorders
- Free running
- Fashion
- Music
- Money
- Crime
- Smoking
- Disabled sports
- Sexuality
- Tattoos
- Psychics/mediums
- Celebrities
- Social networks
- Education
- Lifestyles
- Religion
- Eating disorders
- Free running
- Fashion
- Music
- Money
- Crime
2. Documentary analysis
Documentaries can be split into six different types or subsets:
Poetic documentaries
Which first appeared in the 1920’s, were a sort of reaction against both the content and the rapidly crystallizing grammar of the early fiction film. The poetic mode moved away from continuity editing and instead organized images of the material world by means of associations and patterns, both in terms of time and space. Well-rounded characters—’life-like people’—were absent; instead, people appeared in these films as entities, just like any other, that are found in the material world. The films were fragmentary, impressionistic, lyrical. Their disruption of the coherence of time and space—a coherence favored by the fiction films of the day—can also be seen as an element of the modernist counter-model of cinematic narrative. The ‘real world’—Nichols calls it the “historical world”—was broken up into fragments and aesthetically reconstituted using film form.
Expository documentaries
Speak directly to the viewer, often in the form of an authoritative commentary employing voiceover or titles, proposing a strong argument and point of view. These films are rhetorical, and try to persuade the viewer. (They may use a rich and sonorous male voice.) The (voice-of-God) commentary often sounds ‘objective’ and omniscient. Images are often not paramount; they exist to advance the argument. The rhetoric insistently presses upon us to read the images in a certain fashion. Historical documentaries in this mode deliver an unproblematic and ‘objective’ account and interpretation of past events.
Observational documentaries
Attempt to simply and spontaneously observe lived life with a minimum of intervention. Filmmakers who worked in this sub-genre often saw the poetic mode as too abstract and the expository mode as too didactic. The first observational docs date back to the 1960’s; the technological developments which made them possible include mobile lighweight cameras and portable sound recording equipment for synchronized sound. Often, this mode of film eschewed voice-over commentary, post-synchronized dialogue and music, or re-enactments. The films aimed for immediacy, intimacy, and revelation of individual human character in ordinary life situations.
Participatory documentaries
Believe that it is impossible for the act of filmmaking to not influence or alter the events being filmed. What these films do is emulate the approach of the anthropologist: participant-observation. Not only is the filmmaker part of the film, we also get a sense of how situations in the film are affected or altered by her presence. Nichols: “The filmmaker steps out from behind the cloak of voice-over commentary, steps away from poetic meditation, steps down from a fly-on-the-wall perch, and becomes a social actor (almost) like any other. (Almost like any other because the filmmaker retains the camera, and with it, a certain degree of potential power and control over events.)” The encounter between filmmaker and subject becomes a critical element of the film. Rouch and Morin named the approach cinéma vérité, translating Dziga Vertov’s kinopravda into French; the “truth” refers to the truth of the encounter rather than some absolute truth.
Reflexive documentaries
Don’t see themselves as a transparent window on the world; instead they draw attention to their own constructedness, and the fact that they are representations. How does the world get represented by documentary films? This question is central to this sub-genre of films. They prompt us to “question the authenticity of documentary in general.” It is the most self-conscious of all the modes, and is highly skeptical of ‘realism.’ It may use Brechtian alienation strategies to jar us, in order to ‘defamiliarize’ what we are seeing and how we are seeing it.
Performative documentaries
Stress subjective experience and emotional response to the world. They are strongly personal, unconventional, perhaps poetic and/or experimental, and might include hypothetical enactments of events designed to make us experience what it might be like for us to possess a certain specific perspective on the world that is not our own, e.g. that of black, gay men in Marlon Riggs’s Tongues Untied (1989) or Jenny Livingston’s Paris Is Burning (1991). This sub-genre might also lend itself to certain groups (e.g. women, ethnic minorities, gays and lesbians, etc) to ‘speak about themselves.’ Often, a battery of techniques, many borrowed from fiction or avant-garde films, are used. Performative docs often link up personal accounts or experiences with larger political or historical realities.
Poetic documentaries
Which first appeared in the 1920’s, were a sort of reaction against both the content and the rapidly crystallizing grammar of the early fiction film. The poetic mode moved away from continuity editing and instead organized images of the material world by means of associations and patterns, both in terms of time and space. Well-rounded characters—’life-like people’—were absent; instead, people appeared in these films as entities, just like any other, that are found in the material world. The films were fragmentary, impressionistic, lyrical. Their disruption of the coherence of time and space—a coherence favored by the fiction films of the day—can also be seen as an element of the modernist counter-model of cinematic narrative. The ‘real world’—Nichols calls it the “historical world”—was broken up into fragments and aesthetically reconstituted using film form.
Expository documentaries
Speak directly to the viewer, often in the form of an authoritative commentary employing voiceover or titles, proposing a strong argument and point of view. These films are rhetorical, and try to persuade the viewer. (They may use a rich and sonorous male voice.) The (voice-of-God) commentary often sounds ‘objective’ and omniscient. Images are often not paramount; they exist to advance the argument. The rhetoric insistently presses upon us to read the images in a certain fashion. Historical documentaries in this mode deliver an unproblematic and ‘objective’ account and interpretation of past events.
Observational documentaries
Attempt to simply and spontaneously observe lived life with a minimum of intervention. Filmmakers who worked in this sub-genre often saw the poetic mode as too abstract and the expository mode as too didactic. The first observational docs date back to the 1960’s; the technological developments which made them possible include mobile lighweight cameras and portable sound recording equipment for synchronized sound. Often, this mode of film eschewed voice-over commentary, post-synchronized dialogue and music, or re-enactments. The films aimed for immediacy, intimacy, and revelation of individual human character in ordinary life situations.
Participatory documentaries
Believe that it is impossible for the act of filmmaking to not influence or alter the events being filmed. What these films do is emulate the approach of the anthropologist: participant-observation. Not only is the filmmaker part of the film, we also get a sense of how situations in the film are affected or altered by her presence. Nichols: “The filmmaker steps out from behind the cloak of voice-over commentary, steps away from poetic meditation, steps down from a fly-on-the-wall perch, and becomes a social actor (almost) like any other. (Almost like any other because the filmmaker retains the camera, and with it, a certain degree of potential power and control over events.)” The encounter between filmmaker and subject becomes a critical element of the film. Rouch and Morin named the approach cinéma vérité, translating Dziga Vertov’s kinopravda into French; the “truth” refers to the truth of the encounter rather than some absolute truth.
Reflexive documentaries
Don’t see themselves as a transparent window on the world; instead they draw attention to their own constructedness, and the fact that they are representations. How does the world get represented by documentary films? This question is central to this sub-genre of films. They prompt us to “question the authenticity of documentary in general.” It is the most self-conscious of all the modes, and is highly skeptical of ‘realism.’ It may use Brechtian alienation strategies to jar us, in order to ‘defamiliarize’ what we are seeing and how we are seeing it.
Performative documentaries
Stress subjective experience and emotional response to the world. They are strongly personal, unconventional, perhaps poetic and/or experimental, and might include hypothetical enactments of events designed to make us experience what it might be like for us to possess a certain specific perspective on the world that is not our own, e.g. that of black, gay men in Marlon Riggs’s Tongues Untied (1989) or Jenny Livingston’s Paris Is Burning (1991). This sub-genre might also lend itself to certain groups (e.g. women, ethnic minorities, gays and lesbians, etc) to ‘speak about themselves.’ Often, a battery of techniques, many borrowed from fiction or avant-garde films, are used. Performative docs often link up personal accounts or experiences with larger political or historical realities.
1. Screening of documentaries
The devil made me do it
This is an investigative/crime documentary as it shows how people can destroy and ruin not only places and monuments but lives as the two girls shown in the film believe strongly in religion but let the influence of music and lyrics take control of their minds and therefore commit serious crimes e.g. murder. However, it also has a reflective element as it enables you to think about your actions and why we do them. Music can be powerful especially the lyrics but could they really influence you to live your life depending on them as this is the message which is broad casted throughout the documentary.
The themes which are linked to this documentary include crime such as murder, religion /satanism and the influence of music and role models. The role model during this documentary is Marylin mason and how his lyrics and actions influence how other people behave in order to live the life of a musician in which they choose to follow. Another theme which complements this is rebellion. The two girls choose to rebel against rules and laws in order to prove themselves but it only causes upset to the people around them.
The narrative structure is linear as the story follows straight through from the beginning to the conclusion in chronological order. The documentary is circular as it begins with the story introducing us to the two girls and ends with the madness in which they caused and what happened to them.
The way in which the camera was used shows the emotions of people and what type of people they are. By using a handheld camera, it reflects irrational actions and chaos. Talking head shots represent authority and this is shown by the local policemen giving their views on the murder. Low level shots are used to show people as more superior than others such as, Jesus on the cross, Marilyn Manson and the police. In this documentary, this shows that different types of people are seen as superior to audiences. In contrast to this, high angles were also used to highlight weak and inferior people throughout the film. Stock footage was also used as CCTV was shown during the concerts and footage of the girls rampage on the village. Covert and point of view shots were also used throughout.
Mise-en-scene consisted of religious symbols and Gothic accessories to accompany the theme of satanism relating to the two girls and how they strongly disbelieved in Jesus and they were willing to show how they felt which involved the murder of a nun.
The sounds of a heartbeat during the opening connotes crime as the feeling of panic and anxiety enters the mind. The music played mostly relates to Marilyn Manson and contrasts the sound of religious music (choirs). This reveals emotion and how different beliefs share the same feelings.
The editing involves cut aways throughout the documentary - during voice overs to show visuals which relate to the topic being discussed. The pace of the editing also changes depending on the content and the topic being discussed.
Archive material was used when viewing music videos, concert footage and the film from the trial.
The Meth epidemic
This documentary is investigative as there is a lot of criminal activity due to the use of drugs and ways in which they are used to abuse and degrade the human body. The police are also involved and make multiple arrests. There is also a scientific nature to this film as throughout the documentary, professional scientists and pharmacists are interviewed to make it aware that non prescription drugs are dangerous in large amounts and if taken irresponsibly. The themes which run throughout the film include addiction and abuse of drugs and crime and government issues surrounding the topic of drug abuse and how it affects different people.
The narrative structure is linear because the documentary runs through the years in order of dates showing the impact Meth is having in America as time passes, so we see what happened when Meth was not being taken to when it caused chaos and deaths throughout America.
The camera work used throughout the documentary is clean and well presented. It is obvious that the documentary is produced on a large scale budget and had good quality equipment available. This is shown through professional camerawork and how the production team had flown a member of the crew to Mexico to film live footage of Meth being manufactured and also to interview people that are involved within the Meth industry. This gives the audience a clearer and broader understanding to what Meth actually is and what a huge impact it has on people. Hand held camera work is shown throughout the documentary to show footage of Meth being produced which gives the audience a sense of reality into what is actually happening in the world and how easily people are able to get this drug. Frequent archive footage is shown a lot throughout making the audience get more of an understanding to the theme from different view points and makes it more interesting and entertaining, such as CCTV footage and police footage from raids and arrests.
The sound which is used is consistent throughout the documentary which helps to portray people's emotions. For example, positive music is played to retain hope for the person talking and to get an insight into their life and how being in this situation has affected them and their loved ones. On the other hand, negative music is used for people who have no intention in giving up the drug and continuing to abuse their body without caring about anything. A low beat which sounds like a heartbeat is used to show that when taking Meth your heart will beat slower so it has a big impact on the story and it also becomes faster when raids and arrests are shown to highlight how the people are feeling and that they are scared and afraid for what is to come.
The editing used is clear cuts throughout the documentary which help to determine the pace of the story and fast cuts are used when there is a lot of movement and action e.g. arrests. Fades are used between emotional scenes, especially when the woman expresses her feelings about losing all of her children due to the addiction of meth and how she could have been a better mother without it. This simple transition helps to symbolise that her life is fading away and unless she changes, it will only continue to do so. Therefore the message is clear and shows clearly not only the physical damage but the emotional and mental damage it causes between friends and families.
Loose Change
Loose change is based around the disaster of 9/11 and all the reasons for it and what exactly happened and why it happened on that specific day, answering unanswered questions. It has many themes around the story, including: terrorism, planes, politics, the government, police and fire brigade. It shows who they thought was behind the attack and why and how the authourity were completely unable to prevent it or that is what was thought of at the time. The narrative structure of the documentary is in a linear order and adapts a diary form of the whole month of September and the aftermath in October/November.
It looks into both sides of the story involving George Bush and his part in the attack and where he was when it happened and the terrorist Bin Laden, explaining his impact in the attack so we get many suspects for it and different views and opinions which make valid yet contrasting points. It also supports people's views with factual information and evidence that the twin towers could not have fallen down from just the impact of the aeroplanes.
Through out the documentary most of the camera work is taken from archive material such as phone footage, CCTV footage and news footage. This is the main camera footage throughout as it shows the same plane hit over and over but from different angles: above it, side of it and below it, gaining a true understanding as to what happened. Aerial shots are used to give us a clear view of 9/11 and its affects; we also see the use of handheld camera work to make it more interesting and factual as the true feeling of shock and fear is reflected through the use of a camera which is unpredictable e.g. video phone.
During this documentary a music motive is used which links all the clips together as it helps to interpret the mood and visual picture for the viewer. Quotes are used such as "so what are we going to do about it" which addresses the viewer directly to make them more involved, as it gives them time to think and reflect about the visuals that have just been shown.
This is an investigative/crime documentary as it shows how people can destroy and ruin not only places and monuments but lives as the two girls shown in the film believe strongly in religion but let the influence of music and lyrics take control of their minds and therefore commit serious crimes e.g. murder. However, it also has a reflective element as it enables you to think about your actions and why we do them. Music can be powerful especially the lyrics but could they really influence you to live your life depending on them as this is the message which is broad casted throughout the documentary.
The themes which are linked to this documentary include crime such as murder, religion /satanism and the influence of music and role models. The role model during this documentary is Marylin mason and how his lyrics and actions influence how other people behave in order to live the life of a musician in which they choose to follow. Another theme which complements this is rebellion. The two girls choose to rebel against rules and laws in order to prove themselves but it only causes upset to the people around them.
The narrative structure is linear as the story follows straight through from the beginning to the conclusion in chronological order. The documentary is circular as it begins with the story introducing us to the two girls and ends with the madness in which they caused and what happened to them.
The way in which the camera was used shows the emotions of people and what type of people they are. By using a handheld camera, it reflects irrational actions and chaos. Talking head shots represent authority and this is shown by the local policemen giving their views on the murder. Low level shots are used to show people as more superior than others such as, Jesus on the cross, Marilyn Manson and the police. In this documentary, this shows that different types of people are seen as superior to audiences. In contrast to this, high angles were also used to highlight weak and inferior people throughout the film. Stock footage was also used as CCTV was shown during the concerts and footage of the girls rampage on the village. Covert and point of view shots were also used throughout.
Mise-en-scene consisted of religious symbols and Gothic accessories to accompany the theme of satanism relating to the two girls and how they strongly disbelieved in Jesus and they were willing to show how they felt which involved the murder of a nun.
The sounds of a heartbeat during the opening connotes crime as the feeling of panic and anxiety enters the mind. The music played mostly relates to Marilyn Manson and contrasts the sound of religious music (choirs). This reveals emotion and how different beliefs share the same feelings.
The editing involves cut aways throughout the documentary - during voice overs to show visuals which relate to the topic being discussed. The pace of the editing also changes depending on the content and the topic being discussed.
Archive material was used when viewing music videos, concert footage and the film from the trial.
The Meth epidemic
This documentary is investigative as there is a lot of criminal activity due to the use of drugs and ways in which they are used to abuse and degrade the human body. The police are also involved and make multiple arrests. There is also a scientific nature to this film as throughout the documentary, professional scientists and pharmacists are interviewed to make it aware that non prescription drugs are dangerous in large amounts and if taken irresponsibly. The themes which run throughout the film include addiction and abuse of drugs and crime and government issues surrounding the topic of drug abuse and how it affects different people.
The narrative structure is linear because the documentary runs through the years in order of dates showing the impact Meth is having in America as time passes, so we see what happened when Meth was not being taken to when it caused chaos and deaths throughout America.
The camera work used throughout the documentary is clean and well presented. It is obvious that the documentary is produced on a large scale budget and had good quality equipment available. This is shown through professional camerawork and how the production team had flown a member of the crew to Mexico to film live footage of Meth being manufactured and also to interview people that are involved within the Meth industry. This gives the audience a clearer and broader understanding to what Meth actually is and what a huge impact it has on people. Hand held camera work is shown throughout the documentary to show footage of Meth being produced which gives the audience a sense of reality into what is actually happening in the world and how easily people are able to get this drug. Frequent archive footage is shown a lot throughout making the audience get more of an understanding to the theme from different view points and makes it more interesting and entertaining, such as CCTV footage and police footage from raids and arrests.
The sound which is used is consistent throughout the documentary which helps to portray people's emotions. For example, positive music is played to retain hope for the person talking and to get an insight into their life and how being in this situation has affected them and their loved ones. On the other hand, negative music is used for people who have no intention in giving up the drug and continuing to abuse their body without caring about anything. A low beat which sounds like a heartbeat is used to show that when taking Meth your heart will beat slower so it has a big impact on the story and it also becomes faster when raids and arrests are shown to highlight how the people are feeling and that they are scared and afraid for what is to come.
The editing used is clear cuts throughout the documentary which help to determine the pace of the story and fast cuts are used when there is a lot of movement and action e.g. arrests. Fades are used between emotional scenes, especially when the woman expresses her feelings about losing all of her children due to the addiction of meth and how she could have been a better mother without it. This simple transition helps to symbolise that her life is fading away and unless she changes, it will only continue to do so. Therefore the message is clear and shows clearly not only the physical damage but the emotional and mental damage it causes between friends and families.
Loose Change
Loose change is based around the disaster of 9/11 and all the reasons for it and what exactly happened and why it happened on that specific day, answering unanswered questions. It has many themes around the story, including: terrorism, planes, politics, the government, police and fire brigade. It shows who they thought was behind the attack and why and how the authourity were completely unable to prevent it or that is what was thought of at the time. The narrative structure of the documentary is in a linear order and adapts a diary form of the whole month of September and the aftermath in October/November.
It looks into both sides of the story involving George Bush and his part in the attack and where he was when it happened and the terrorist Bin Laden, explaining his impact in the attack so we get many suspects for it and different views and opinions which make valid yet contrasting points. It also supports people's views with factual information and evidence that the twin towers could not have fallen down from just the impact of the aeroplanes.
Through out the documentary most of the camera work is taken from archive material such as phone footage, CCTV footage and news footage. This is the main camera footage throughout as it shows the same plane hit over and over but from different angles: above it, side of it and below it, gaining a true understanding as to what happened. Aerial shots are used to give us a clear view of 9/11 and its affects; we also see the use of handheld camera work to make it more interesting and factual as the true feeling of shock and fear is reflected through the use of a camera which is unpredictable e.g. video phone.
During this documentary a music motive is used which links all the clips together as it helps to interpret the mood and visual picture for the viewer. Quotes are used such as "so what are we going to do about it" which addresses the viewer directly to make them more involved, as it gives them time to think and reflect about the visuals that have just been shown.
Monday, 11 October 2010
4. Initial Research
• Witchcraft
• Disabled Sports
• Underage Sex
• Swans
• The human centipede
• Sexuality
• Underage Drinking
• BNP
• Drugs
• Smoking
We decided on these ten subjects as they were all things that we we’re familiar with or that had connotations of the teenage age range and therefore we would have the facilities to produce them. Some of these were topics of interest of ours as individuals, and things we already knew a lot about such as sexuality, and others such as witchcraft were things we didn’t know a lot about but would like to know more.
We eventually decided on sexuality as it was something we thought would be easy to do due to the thriving gay culture of Manchester, which would help our production along and is easy to get to. We researched GBLT events in the area in the next two weeks and soon found that we had just missed most of the pride events which made it harder for us to think of ideas of where to go and what to use as cut shots. We thought of putting a twist on the plot of the documentary and basing it around homosexual idols in society today, and so we sent emails to people who we thought would be significant and accessible, our first thought was Kieron Richardson who stars in local soap opera “Hollyoaks”.
After getting no reply from these emails we had to change our idea as we couldn’t delay filming anymore and so we chose the idea of witchcraft, as in the initial planning we couldn’t decide between that and sexuality. We again, looked for local events that related to our topic but all that we found was psychic readings and convents. Because of this we decided to slightly alter our idea of witchcraft which we planned to put elements of other supernatural activity in anyway, to psychics, as there was a vast amount of psychic events in the area and a group member had access to “Mystic Bell” who works locally.
After researching what documentary channels there is, we decided that our documentary would be shown on something like Living TV. We first considered discovery channel and channel 4 but these channels mostly shown scientific programs or entertaining documentary’s such as “super size me”, as our piece fit neither of these we decided to look elsewhere. We found that Living TV displays everyday things in different cultures such as “My Indian Wedding” which slightly concerns our piece, plus they show other supernatural programs such as “Most Haunted” which would convince people that the documentary would be of a high standard. It would be shown at around 7’oclock as the older and teenage audiences would be home from school/work but it isn’t too late so viewers who may be interested but still in school, we considered putting it later but then thought there was no need for it to be beyond the watershed as it was quite a welcoming subject.
• Disabled Sports
• Underage Sex
• Swans
• The human centipede
• Sexuality
• Underage Drinking
• BNP
• Drugs
• Smoking
We decided on these ten subjects as they were all things that we we’re familiar with or that had connotations of the teenage age range and therefore we would have the facilities to produce them. Some of these were topics of interest of ours as individuals, and things we already knew a lot about such as sexuality, and others such as witchcraft were things we didn’t know a lot about but would like to know more.
We eventually decided on sexuality as it was something we thought would be easy to do due to the thriving gay culture of Manchester, which would help our production along and is easy to get to. We researched GBLT events in the area in the next two weeks and soon found that we had just missed most of the pride events which made it harder for us to think of ideas of where to go and what to use as cut shots. We thought of putting a twist on the plot of the documentary and basing it around homosexual idols in society today, and so we sent emails to people who we thought would be significant and accessible, our first thought was Kieron Richardson who stars in local soap opera “Hollyoaks”.
After getting no reply from these emails we had to change our idea as we couldn’t delay filming anymore and so we chose the idea of witchcraft, as in the initial planning we couldn’t decide between that and sexuality. We again, looked for local events that related to our topic but all that we found was psychic readings and convents. Because of this we decided to slightly alter our idea of witchcraft which we planned to put elements of other supernatural activity in anyway, to psychics, as there was a vast amount of psychic events in the area and a group member had access to “Mystic Bell” who works locally.
After researching what documentary channels there is, we decided that our documentary would be shown on something like Living TV. We first considered discovery channel and channel 4 but these channels mostly shown scientific programs or entertaining documentary’s such as “super size me”, as our piece fit neither of these we decided to look elsewhere. We found that Living TV displays everyday things in different cultures such as “My Indian Wedding” which slightly concerns our piece, plus they show other supernatural programs such as “Most Haunted” which would convince people that the documentary would be of a high standard. It would be shown at around 7’oclock as the older and teenage audiences would be home from school/work but it isn’t too late so viewers who may be interested but still in school, we considered putting it later but then thought there was no need for it to be beyond the watershed as it was quite a welcoming subject.
Friday, 8 October 2010
5. Questionnaire
9. If you could ask a psychic anything, what would your question be? _________________________________________________________________
_________________________________________________________________
_________________________________________________________________
10. If you believe in being able to contact spirits, do you think that people should be able to make a career out of it? Please explain your answer.
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
11. Do you think that our documentary should show a contrast of traditions and beliefs?
Yes No
12. Finally, what information would you like to have found out about at the end of our documentary?
____________________________________________________________________________________________________________________________
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