Wednesday, January 14, 2009
Live Client Project Schedule
Sid and I have produced aschedule for our live client,it shows 220 hours of work, we used excel, so it cannot be published onto blogger correctly.
Research project, practice based
Personal Research Project MMPR30020
Practice Based Research Agreement Form
To be completed by the student and when agreement reached to be signed by both student and supervisor. When complete to be handed in to the Administrator Office WAV128 before Tuesday 3.30 pm 16/12/2008
ANSWER ALL QUESTIONS (a) TO (j) BELOW
(a) Please state the ‘question’ that the ‘research via practise’ (terms 2 and 3) will try to answer or explore?
How has media enhancements effected the class divisions of social realism and their creators?
(b) What type of artefacts/experiments that will be produced/conducted (e.g. short video clips, short animation sequences, building visualisation, audio listening tests with focus groups e.t.c.)? Note it is accepted that this may change as the research progresses past the first few artefacts.
I might create film clips, surveys and create focus groups.
(c) Have you checked that the research meets the university ethical guidlines and will not require approval (if NOT checked or it requires approval then state the date on which you expect to obtain approval)? IF UNSURE WHAT THIS MEANS TALK TO YOUR SUPERVISOR!
Yes
(d) Have you checked that appropriate resources and facilities exist for you to produce/conduct the artefacts/experiments (If NO then explain how you will obtain the required appropriate resources and facilities)?
Yes
(e) How will you evaluate and/or reflect on the artefacts/experiments produced/conducted in (b) above (e.g. reflection, survey, focus group, statistical analysis e.t.c.)?
I will possibly evaluate my experiments by reflection, focus groups and statistical analysis.
(f) Please write down below the preparatory work you will do for the first artefact over the Christmas period:
I will gather information on avaialable renatal cinema room and organise a varied focus group
(g) What is the detail of the first artefact that will be demonstrated to the supervisor?
I will get a focus group to watch to social realistic films, from two directors from different backgrounds, maybe Shane Meadows and Ken Loach. I will get them to answer a survey and post these answers on my online journal. Using the survey, I will try and find out what each person liked and disliked about the film, possibly find out what the focus group would of liked to add.
(h) On what date will the first artefact be shown to the supervisor? Please remember that on this date you will also provide a short 300 word evaluation and/or reflection summary as well as the actual artefact.
Artefact 1- 03/02/09
Artefact 2- 16/02/09
Artefact 3- 03/03/09
Artefact 4-17/03/09
Artefact 5- 21/04/09
Artefact 6- 05/05/09
(i) How will you present the research conclusions from the artefacts/experiments and evaluations during week 43 (e.g. written document, slides and/or documentary film)? PLEASE NOTE THAT THE RESEARCH CONCLUSIONS MUST BE IN A FORM THAT CAN BE HANDED IN IMMEDIATELY AFTER THE PRESENTATION i.e. a permanent record of your conclusions and arguments needs to be submitted immediately after the presentation in week 43.
Possibly an evaluation document and slides
(j) On what date will you be presenting your draft research conclusions to the supervisor for review (it is suggested 2 weeks before week 43 presentations)?
05/05/09
Student Name and Signature (remember to keep an electronic or paper copy and hand original in to WAV128 Administrator Office)
University ID: N0144872
Name: Richard Parr
Signature: Date: 11/12/08
Supervisor Name and Signature
Name: Julius Ayodeji
Signature: Date:
Practice Based Research Agreement Form
To be completed by the student and when agreement reached to be signed by both student and supervisor. When complete to be handed in to the Administrator Office WAV128 before Tuesday 3.30 pm 16/12/2008
ANSWER ALL QUESTIONS (a) TO (j) BELOW
(a) Please state the ‘question’ that the ‘research via practise’ (terms 2 and 3) will try to answer or explore?
How has media enhancements effected the class divisions of social realism and their creators?
(b) What type of artefacts/experiments that will be produced/conducted (e.g. short video clips, short animation sequences, building visualisation, audio listening tests with focus groups e.t.c.)? Note it is accepted that this may change as the research progresses past the first few artefacts.
I might create film clips, surveys and create focus groups.
(c) Have you checked that the research meets the university ethical guidlines and will not require approval (if NOT checked or it requires approval then state the date on which you expect to obtain approval)? IF UNSURE WHAT THIS MEANS TALK TO YOUR SUPERVISOR!
Yes
(d) Have you checked that appropriate resources and facilities exist for you to produce/conduct the artefacts/experiments (If NO then explain how you will obtain the required appropriate resources and facilities)?
Yes
(e) How will you evaluate and/or reflect on the artefacts/experiments produced/conducted in (b) above (e.g. reflection, survey, focus group, statistical analysis e.t.c.)?
I will possibly evaluate my experiments by reflection, focus groups and statistical analysis.
(f) Please write down below the preparatory work you will do for the first artefact over the Christmas period:
I will gather information on avaialable renatal cinema room and organise a varied focus group
(g) What is the detail of the first artefact that will be demonstrated to the supervisor?
I will get a focus group to watch to social realistic films, from two directors from different backgrounds, maybe Shane Meadows and Ken Loach. I will get them to answer a survey and post these answers on my online journal. Using the survey, I will try and find out what each person liked and disliked about the film, possibly find out what the focus group would of liked to add.
(h) On what date will the first artefact be shown to the supervisor? Please remember that on this date you will also provide a short 300 word evaluation and/or reflection summary as well as the actual artefact.
Artefact 1- 03/02/09
Artefact 2- 16/02/09
Artefact 3- 03/03/09
Artefact 4-17/03/09
Artefact 5- 21/04/09
Artefact 6- 05/05/09
(i) How will you present the research conclusions from the artefacts/experiments and evaluations during week 43 (e.g. written document, slides and/or documentary film)? PLEASE NOTE THAT THE RESEARCH CONCLUSIONS MUST BE IN A FORM THAT CAN BE HANDED IN IMMEDIATELY AFTER THE PRESENTATION i.e. a permanent record of your conclusions and arguments needs to be submitted immediately after the presentation in week 43.
Possibly an evaluation document and slides
(j) On what date will you be presenting your draft research conclusions to the supervisor for review (it is suggested 2 weeks before week 43 presentations)?
05/05/09
Student Name and Signature (remember to keep an electronic or paper copy and hand original in to WAV128 Administrator Office)
University ID: N0144872
Name: Richard Parr
Signature: Date: 11/12/08
Supervisor Name and Signature
Name: Julius Ayodeji
Signature: Date:
Final draft of research project essay
Richard Parr
N0144872
Research Project
How has media enhancements effected the class divisions of social realism and their creators?
Acknowledgements
I would like thank my tutor Julius Ayodeji for the guidance he has given me for this document. Also I would like to thank the other members within the tutor group as they helped me produce this document by suggesting some relevant ideas.
Abstract
This document explores the question “How has media enhancements effected the class divisions of social realism and their creators?” by using qualitative and secondary research methods to gather my evidence on the subject. The document explores social realism across five decades, examining what equipment was available at the time and analysing the significance of this equipment towards effecting class divisions within social realism. Specifically, it covers enhancements such as the Hi 8 format, Mini DV digital format, the Oakely Red one industry standard digital video camera and web based video sites such as youtube and blog tv. Using the information about the new enhancements, the document examines how this effects the social class divisions by looking at some key creators at the time of these enhancements. The document mainly focuses on Ken Loach, Mike Leigh, Shane Meadows and Paul Abbott. The document discusses the development of the social class of the creators of social realism and defines how media enhancements have influenced these changes.
Moreover, it continues to discuss the success of Ken Loach and Shane Meadows, the findings seemed to be Ken Loach over powers Shane Meadows on box office results, however, Shane Meadows has a better outcome in the rewards aspect.
To conclude, the evidence discovered suggests that media enhancements have effected the class divisions of social realism and their creators, allowing the working class to create their own material. However, the genre is still over powered by the original middle class creators. In addition, future media enhancements look promising to eliminate any class division in social realism, mass film and broadcast television, as technology will be so advanced and cheap, allowing anyone to create their high quality work.
Contents
Acknowledgements 2
Abstract 3
Contents 4
List of illustrations 5
Chapter One – Introduction and context 6
Chapter Two – Research Method 7
Chapter Three – Survey of literature and works 8
Chapter four – Discussion 13
Chapter five – Conclusion 15
References 16
Bibliography 18
Appendices 20
List of illustrations
Figure 1 Peter Wintonick http://farm1.static.flickr.com/104/285595107_08ed81b3f4.jpg?v=0 Page 8
Figure 2 Robert Drew http://www.museum.tv/archives/etv/D/htmlD/drewrobert/drewrobertIMAGE/drewrobert.jpg Page 8
Figure 3 Ken Loach http://blogs.guardian.co.uk/film/ken_loach_cannes2006.jpg Page 8
Figure 4 Mike Leigh http://www.filmreference.com/images/sjff_02_img0742.jpg Page 9
Figure 5 Hi-8 http://ecx.images-amazon.com/images/I/51S3GGWR38L._SL500_AA280_.jpg Page 9
Figure 6 Mini DV http://www.videovaultne.com/images/miniDV_full.jpg Page 10
Figure 7 Shane Meadows http://www.virginmedia.com/images/shanemeadows400.jpg Page 10
Figure 8 Paul Abbott http://cache.gettyimages.com/xc/52071317.jpg?v=1&c=ViewImages&k=2&d=17A4AD9FDB9CF19390335F8FA9CA92A6B001D4F373B266BA8BC3F87336C851A1 Page 11
Figure 9 Youtube http://matcmadison.edu/cetl/resources/archive/images/youtube_logo.jpg Page 11
Figure 10 premiere Pro http://www.manifest-tech.com/images/links/vid_gallery_scr/adobe_premiere_pro20_scr.jpg Page 11
Figure 11 Blogtv logo http://upload.wikimedia.org/wikipedia/en/thumb/a/ac/Blogtv_logo_small.png/225px-Blogtv_logo_small.png Page 11
Figure 12 Oakley red one http://cache.gizmodo.com/assets/resources/2006/10/red_camera.jpg Page 12
Figure 13 The wind that shakes the barley http://www.thewildgeese.com/pages/images/corkhill.jpg Page 13
Figure 14 This is enlgand http://lookingatfilm.files.wordpress.com/2007/12/this-is-england.jpg Page 14
Chapter One – Introduction and context
This document explores how enhancements within media possibly has changed the face of social realism and their creators. This document looks at how the accessibility of technology has potentially affected the social class within different aspects in social realism, such as the topic of social realism itself, for example who is being represented and how they are being represented. Also the social class of the creator of social realistic work
What is social realism?
“Social Realism, also known as Socio-Realism, is an artistic movement, expressed in the visual and other realist arts, which depicts working class activities.”
(MiMi.hu ,2008)
Social realism within film was a massive movement in many countries. Peter Wintonick in 2006 stated in his film “Cinema verite” that their were many movements such as neo-realism in Italy, the French new wave and Cinema verite in France and Free cinema in Great Britain.
Moreover, this document explores who and where the key creators within these movements came from, what topic they directed and examine the significance of the technology available at the time.
In addition, this document continues to look at key creators throughout the years and compare the findings to the equipment available. Possibly finding a change in their social class or a change of topic within their work. This will continue to the present key social realism creators and touch on accessibility for future creators to break through.
Chapter Two – Research Method
To produce the document, I will use an assortment of research methods to compile the information required to explore the chosen question.
The main research method used will be secondary research.
“Secondary research occurs when a project requires a summary or collection of existing data. As opposed to data collected directly from respondents or "research subjects" for the express purposes of a project, (often called "empirical" or "primary research"), secondary sources already exist.”
(Asian market research, 2003)
Most of the secondary research sources I have accumulated are a majority of books and websites. However I have also retrieved information from journals, newspaper articles and digital video discs.
As I want my information to be accurate, I am undertaking another research method known as qualitative research.
“Qualitative research is used to help us understand how people feel and why they feel as they do. It is concerned with collecting in-depth information asking questions such as why do you say that?”
(Market research world 2008)
To ensure my information is precise, I will only use information from safe, respectable and practitioner based sources.
Chapter Three – Survey of literature and works
Social realism movements developed through the decades in different countries, and in direct parallel, film equipment became more sophisticated. In Wintonick’s documentary called “Cinema Verite, defining the moment” Wintonick (2006) claims that “In the 1950’s and 60’s, filming is getting easier due to the camera’s becoming portable and the sound becoming synchronised with the image, making it more accessible”.
However, the cameras might be more sophisticated and the sound might be synchronised, this does not mean that it was cheap. In the film “Cinema Verite, defining the moment”, Robert Drew (2006), a famous Canadian social realism director states that he produced a camera in the 1960’s which cost his sponsors “1 million dollars” to create, the camera was portable, had synchronised sound and used 16mm film.
Therefore, In the 1960’s, media enhancements were functional but not cheap. The significance of this technology being created towards attacking any change of social divisions is irrelevant as the equipment were too expensive for any of the working class to afford, therefore, limiting any change of the creators of social realism classes. For example Ken Loach.
Ken loach was a very educated man and was middle class, however representing the lower and working class in his works such as “Kes” (1969).
“he attended grammar school in Nuneaton and after two years of National Service studied Law at Oxford University, where he was President of the Dramatic Society”
(Screen Online, 2008)
In addition, the topics of his films are very working/lower class based, for example, a lonely boy adopting a kestrel (Kes, 1969), a Scottish teen trying to cope with drug problems and poverty (Sweet Sixteen, 2002), homelessness (Cathy come home, 1966) and miners strikes (Which side are you on, 1984).
“Working Class - People doing heavy manual work, usually for low wages, such as farm labourers, miners, builders and factory workers”
(Victorian West Sussex, 2008)
Moreover, Mike Leigh, who is another famous Social realist director covered similar subjects, however, he was also well educated.
“Mike Leigh was born in Salford on 20 February 1943, the son of a doctor, and was educated at Salford Grammar School before gaining a scholarship to the Royal Academy of Dramatic Art in 1960”
(Screen Online, 2008)
Surely these directors must have based their assumptions on stereotypes of a working class family and how they live their life as they did not experience a working class upbringing. If that is the case, how can the genre be classed as realism, when the “reality” depicted in the film is based on assumptions, therefore diluting the truth.
Moreover, throughout the 1960’s, 70’s and 80’s, even though equipment was enhancing, the social class of the creator was still middle class, representing a working/lower class.
However, In the 1990’s, the Hi 8 filming format became massively popular because it was really cheap to buy a Hi 8 camera and tape. Jelling (2008) states that “Hi-8 has a better image quality than 8mm due to the fact that it has a resolution of about 400 lines while the resolution of 8 mm is of about 140 lines”. As the Hi 8 format was cheap it was more accessible to a different class of creators.
In addition, after Hi 8 was released, a new digital format was released known as mini DV. Jelling (2008) continues to state that “After Hi-8 tapes, digital technologies brought mini DV tapes which came allowing consumers to enjoy of a 520 lines resolution. This way, since the appearance of digital formats, Hi-8 and its successor 8mm became less popular due to the lower resolution quality they offer“.
Moreover, the Mini DV format was cheap and accessible to the masses, enabling the working class to represent their self, therefore, possibly breaking the boundary of misrepresentation in Social realistic film .
As Mini DV became popular, it gave working class people, such as Shane Meadows a chance to illustrate his experience living in working class environment onto film.
Britmovie (2008) explains Shane Meadows was “Raised in Nottingham England, Shane Meadows dropped out of school as a teenager. After some odd jobs and a shot at studying acting and photography, Meadows volunteered at an art centre and learned the craft of film-making. He borrowed a camcorder and taught himself a technique of making short films with his friends as actors”
Kermonde on the BBC culture show (2008) explains that “Shane Meadows funded his earlier short films with his dole money” and continues to explain that Meadows “shot his first feature film TwentyFourSeven (1997) on Mini-DV”.
The breakthrough of a working class man creating social realistic work was not a fluke. The trend of other working class creators breaking through continues.
Paul Abbott is another example, Abbott had an unfortunate upbringing with both of his parents abandoning the family when he was only eleven. Cooke (2008) explains that Abbott was “Born in Burnley, Lancashire in 1960, Paul Abbott grew up in a crowded working-class household, the ninth of ten children. After his mother abandoned the family when he was nine, to be followed by his father two years later, the children were left to fend for themselves, with the eldest daughter assuming the maternal role”.
Paul Abbott is the writer of social realist channel four drama “Shameless” (2004), Shameless is based around Abbott’s experiences as young boy, therefore possibly the subject of social realism is becoming more accurately represented?
Moreover, due to technology becoming cheaper, creating a film is not just an industry based force. With internet web sites enabling users to upload their own footage, could this mean that social class divisions within social realism and their creators is changing?
YouTube is a massive platform for the general public to distribute their footage between other users. Digital Ethnography (2008) explains that there is approximately “78.3 million videos on YouTube”, and “200,000 videos are uploaded per day”. “80.3% of the videos are Unambiguously User-Generated (amateur)” and only “14.7% of the videos are professional”.
In addition, editing software has become cheap, if not free. Therefore amateur users can add a professional feel to their footage. With Microsoft windows, you obtain video editing software called “Movie maker”. With Macintosh they provide something similar on their machines called “iMovie”. Also, users can buy other professional software such as “Adobe Premiere Pro” or “Final cut pro”, which both retail to around £600 each.
Also, there are websites which enable anyone with a web cam or video camera to broadcast footage, live to an audience over the internet. The best example for this is www.blogtv.com. Blog television was an instant success. Google (2008) explains that “Blog TV recorded more than 411,000 unique users in the first month, more than one million daily broadcast views within two months, and conversion rates at 2.6%”. Claude Galipeau (2008), who is the Senior vice president of digital media alliance Atlantis states that “those figures are usually only achieved by an established brand and not by a new brand offering a new concept”.
Moreover, education for the masses is becoming more accessible. The government are giving students grants if their household do not earn very much, students can be entitled to £2,835 per academic year, therefore helping the working class further their education. Also with the massive increase of interest about film, the UK universities boost their filming degrees. Brown (2000) “points out that more universities than ever before were offering media or film degrees; from 166 courses in 1990 to over 280 in 1988”.
However, media enhancements are not all accessible to the masses, Oakley have released a video camera with such a high spec, it is competing with big industry high quality cameras. Gizmondo (2006) explains that “Typical high-end HD camcorders have 2.1M pixel sensors and record with 3:1:1 colour sub sampled video at up to 30fps. The Red one delivers 11.4M pixels at up to 60fps and record RAW, or 2x over-sampled HD in 4:4:4 or 4:2:2”. With this kind of spec, companies were expecting the price tag to be a very expensive. Gizmondo continues to explain that “On an Apple forum thread about the price of pro cameras just a few months ago, someone was guessing the RED would go for about $250k, but the RED site is saying $17,500”.
Moreover, with technology like the red one, surely, due to the existing trend of enhancements, within the next 10 years, we could possibly see even more drastic enhancements, possibly making an industry standard camera cheap enough so the working class people can purchase one and produce their own high quality social realist pieces of work.
Chapter four – Discussion
The effects of media enhancements are inevitable; cameras becoming cheaper, people becoming more technically minded and aspirations from the working class are increasing. The working class are finally doing it for themselves. However, are the working class making any impression on the film industry or do the original big shots in social realism like Ken Loach and Mike Leigh still hold a massive presence over the whole social realism genre?
Ken Loach has been in the filming industry since 1966 and has produced over a hundred pieces of work. His experience in film as well as social realism is immense. He is currently directing a drama based around Eric Cantona’s life. His latest piece of social realism was released in 2006, the film was called “The wind that shakes the barley”, the film is a sympathetic look at twentieth century Ireland and how two brothers cope with being torn apart due to an anti-British rebellion. At the box office the film did well, in the UK alone it has earned a gross of £1,248,724.13 and overseas it has earned a gross amount of £14,324,194.11. Ken Loach is still a very successful social realistic director, even though he is middle class, representing the working class.
In comparison, Shane Meadows, another famous social realism director. Meadows’ experience cannot compare to Ken Loach’s, as Shane has only directed 10 films. However, Meadows is from a working class family and has been in the film industry for around 12 years. He has just released his latest film “Somers town”. However, Meadows released his own social realism film in the same year as Ken Loach’s “The wind that shakes the barley”. That film was “This is England”. “This is England” was in the cinemas for seventeen week, which was the same duration as “The wind that shakes the barley”, however, it did nowhere near as well. In the UK, “This is England” made a gross amount of £224,010.66 and overseas it made a gross amount of £5,263,879.47. This is just over a third of Ken Loach’s film profit.
In addition, Loach’s “The wind that shakes the barley” won 5 awards and had 18 nominations, Meadows’ “This is England” on the other hand won 7 awards and had 14 nominations, awards including best British film from the BAFTA’s, best British independent film from the British independent film awards and the Best director award from the Newport international film festival. So, how can you judge the success? Loach’s film was distributed to many more countries, therefore made more money. However, “This is England” seemed to gather award after award. Loach has accumulated a massive fan base over the years, Meadows is more of a cult director breaking into the mainstream.
Maybe this is the beginning of change, the accessibility of film cameras is helping this change of class divisions in social realism. It is giving the working class a chance to produce their own work. Work which possibly represents the working class more accurately. I believe that people like Shane Meadows and Paul Abbott will continue to strive, creating a fan basis like Loach and Leigh. More importantly, these working class creators will inspire other working class people to create material themselves, and with the technology becoming cheaper and more refined, it is easier for the working class to purchase this equipment and express their own experiences.
Therefore, the next generation of film makers could be working class and if that is the case, we could see the whole face of social realism and how it is represented change. Creating a mass new wave of creators and ideas, not only just in social realism, but in mass film and broadcast television itself. Constructing a new revolution amongst media and its existing practitioners. Possibly eliminating any class divisions within the genre.
Chapter five – Conclusion
Using a vast amount of resources, I have defined where the genre of social realism originated from, with this as a catalyst I discovered that social realism was representing a working class, however, this representation was based on assumptions and stereotypes that the middle class had. The genre was dominated by the middle class
However, over five decades technology started to become more sophisticated, and with the new technology becoming more efficient, prices of the equipment started to fall. Therefore giving the working class a chance to create their own work. Also with addition of education becoming more available to anyone, the working class started to compete with the middle class giants within the genre.
I believe that the genre has been changed, and the social class divisions are changing. I also believe that the changes have come due to media enhancements. The introduction of the Hi-8 and mini DV formats seemed to be the catalyst of change as creating digital video is a lot cheaper compared 16mm film, also, the digital format can be distributed cheaply as well, via the internet of a DVD. However, even with these enhancements, I still believe there is a clear divide between classes within the genre. It seems to me that the economic side of things is heavily controlled by the middle class.
Moreover, with the release of the Oakley red one, media enhancements seemed to be improving still, therefore, I believe in the future quality of cameras will continue to increase and become more distinguished but the prices will remain low. This will enable the working class creators close the gap between the middle class creators, in theory, eliminating any kind of social class division.
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Wintonick, P. (Director). (2006). Cinema Verite, defining the moment [Motion Picture].
Appendices
N0144872
Research Project
How has media enhancements effected the class divisions of social realism and their creators?
Acknowledgements
I would like thank my tutor Julius Ayodeji for the guidance he has given me for this document. Also I would like to thank the other members within the tutor group as they helped me produce this document by suggesting some relevant ideas.
Abstract
This document explores the question “How has media enhancements effected the class divisions of social realism and their creators?” by using qualitative and secondary research methods to gather my evidence on the subject. The document explores social realism across five decades, examining what equipment was available at the time and analysing the significance of this equipment towards effecting class divisions within social realism. Specifically, it covers enhancements such as the Hi 8 format, Mini DV digital format, the Oakely Red one industry standard digital video camera and web based video sites such as youtube and blog tv. Using the information about the new enhancements, the document examines how this effects the social class divisions by looking at some key creators at the time of these enhancements. The document mainly focuses on Ken Loach, Mike Leigh, Shane Meadows and Paul Abbott. The document discusses the development of the social class of the creators of social realism and defines how media enhancements have influenced these changes.
Moreover, it continues to discuss the success of Ken Loach and Shane Meadows, the findings seemed to be Ken Loach over powers Shane Meadows on box office results, however, Shane Meadows has a better outcome in the rewards aspect.
To conclude, the evidence discovered suggests that media enhancements have effected the class divisions of social realism and their creators, allowing the working class to create their own material. However, the genre is still over powered by the original middle class creators. In addition, future media enhancements look promising to eliminate any class division in social realism, mass film and broadcast television, as technology will be so advanced and cheap, allowing anyone to create their high quality work.
Contents
Acknowledgements 2
Abstract 3
Contents 4
List of illustrations 5
Chapter One – Introduction and context 6
Chapter Two – Research Method 7
Chapter Three – Survey of literature and works 8
Chapter four – Discussion 13
Chapter five – Conclusion 15
References 16
Bibliography 18
Appendices 20
List of illustrations
Figure 1 Peter Wintonick http://farm1.static.flickr.com/104/285595107_08ed81b3f4.jpg?v=0 Page 8
Figure 2 Robert Drew http://www.museum.tv/archives/etv/D/htmlD/drewrobert/drewrobertIMAGE/drewrobert.jpg Page 8
Figure 3 Ken Loach http://blogs.guardian.co.uk/film/ken_loach_cannes2006.jpg Page 8
Figure 4 Mike Leigh http://www.filmreference.com/images/sjff_02_img0742.jpg Page 9
Figure 5 Hi-8 http://ecx.images-amazon.com/images/I/51S3GGWR38L._SL500_AA280_.jpg Page 9
Figure 6 Mini DV http://www.videovaultne.com/images/miniDV_full.jpg Page 10
Figure 7 Shane Meadows http://www.virginmedia.com/images/shanemeadows400.jpg Page 10
Figure 8 Paul Abbott http://cache.gettyimages.com/xc/52071317.jpg?v=1&c=ViewImages&k=2&d=17A4AD9FDB9CF19390335F8FA9CA92A6B001D4F373B266BA8BC3F87336C851A1 Page 11
Figure 9 Youtube http://matcmadison.edu/cetl/resources/archive/images/youtube_logo.jpg Page 11
Figure 10 premiere Pro http://www.manifest-tech.com/images/links/vid_gallery_scr/adobe_premiere_pro20_scr.jpg Page 11
Figure 11 Blogtv logo http://upload.wikimedia.org/wikipedia/en/thumb/a/ac/Blogtv_logo_small.png/225px-Blogtv_logo_small.png Page 11
Figure 12 Oakley red one http://cache.gizmodo.com/assets/resources/2006/10/red_camera.jpg Page 12
Figure 13 The wind that shakes the barley http://www.thewildgeese.com/pages/images/corkhill.jpg Page 13
Figure 14 This is enlgand http://lookingatfilm.files.wordpress.com/2007/12/this-is-england.jpg Page 14
Chapter One – Introduction and context
This document explores how enhancements within media possibly has changed the face of social realism and their creators. This document looks at how the accessibility of technology has potentially affected the social class within different aspects in social realism, such as the topic of social realism itself, for example who is being represented and how they are being represented. Also the social class of the creator of social realistic work
What is social realism?
“Social Realism, also known as Socio-Realism, is an artistic movement, expressed in the visual and other realist arts, which depicts working class activities.”
(MiMi.hu ,2008)
Social realism within film was a massive movement in many countries. Peter Wintonick in 2006 stated in his film “Cinema verite” that their were many movements such as neo-realism in Italy, the French new wave and Cinema verite in France and Free cinema in Great Britain.
Moreover, this document explores who and where the key creators within these movements came from, what topic they directed and examine the significance of the technology available at the time.
In addition, this document continues to look at key creators throughout the years and compare the findings to the equipment available. Possibly finding a change in their social class or a change of topic within their work. This will continue to the present key social realism creators and touch on accessibility for future creators to break through.
Chapter Two – Research Method
To produce the document, I will use an assortment of research methods to compile the information required to explore the chosen question.
The main research method used will be secondary research.
“Secondary research occurs when a project requires a summary or collection of existing data. As opposed to data collected directly from respondents or "research subjects" for the express purposes of a project, (often called "empirical" or "primary research"), secondary sources already exist.”
(Asian market research, 2003)
Most of the secondary research sources I have accumulated are a majority of books and websites. However I have also retrieved information from journals, newspaper articles and digital video discs.
As I want my information to be accurate, I am undertaking another research method known as qualitative research.
“Qualitative research is used to help us understand how people feel and why they feel as they do. It is concerned with collecting in-depth information asking questions such as why do you say that?”
(Market research world 2008)
To ensure my information is precise, I will only use information from safe, respectable and practitioner based sources.
Chapter Three – Survey of literature and works
Social realism movements developed through the decades in different countries, and in direct parallel, film equipment became more sophisticated. In Wintonick’s documentary called “Cinema Verite, defining the moment” Wintonick (2006) claims that “In the 1950’s and 60’s, filming is getting easier due to the camera’s becoming portable and the sound becoming synchronised with the image, making it more accessible”.
However, the cameras might be more sophisticated and the sound might be synchronised, this does not mean that it was cheap. In the film “Cinema Verite, defining the moment”, Robert Drew (2006), a famous Canadian social realism director states that he produced a camera in the 1960’s which cost his sponsors “1 million dollars” to create, the camera was portable, had synchronised sound and used 16mm film.
Therefore, In the 1960’s, media enhancements were functional but not cheap. The significance of this technology being created towards attacking any change of social divisions is irrelevant as the equipment were too expensive for any of the working class to afford, therefore, limiting any change of the creators of social realism classes. For example Ken Loach.
Ken loach was a very educated man and was middle class, however representing the lower and working class in his works such as “Kes” (1969).
“he attended grammar school in Nuneaton and after two years of National Service studied Law at Oxford University, where he was President of the Dramatic Society”
(Screen Online, 2008)
In addition, the topics of his films are very working/lower class based, for example, a lonely boy adopting a kestrel (Kes, 1969), a Scottish teen trying to cope with drug problems and poverty (Sweet Sixteen, 2002), homelessness (Cathy come home, 1966) and miners strikes (Which side are you on, 1984).
“Working Class - People doing heavy manual work, usually for low wages, such as farm labourers, miners, builders and factory workers”
(Victorian West Sussex, 2008)
Moreover, Mike Leigh, who is another famous Social realist director covered similar subjects, however, he was also well educated.
“Mike Leigh was born in Salford on 20 February 1943, the son of a doctor, and was educated at Salford Grammar School before gaining a scholarship to the Royal Academy of Dramatic Art in 1960”
(Screen Online, 2008)
Surely these directors must have based their assumptions on stereotypes of a working class family and how they live their life as they did not experience a working class upbringing. If that is the case, how can the genre be classed as realism, when the “reality” depicted in the film is based on assumptions, therefore diluting the truth.
Moreover, throughout the 1960’s, 70’s and 80’s, even though equipment was enhancing, the social class of the creator was still middle class, representing a working/lower class.
However, In the 1990’s, the Hi 8 filming format became massively popular because it was really cheap to buy a Hi 8 camera and tape. Jelling (2008) states that “Hi-8 has a better image quality than 8mm due to the fact that it has a resolution of about 400 lines while the resolution of 8 mm is of about 140 lines”. As the Hi 8 format was cheap it was more accessible to a different class of creators.
In addition, after Hi 8 was released, a new digital format was released known as mini DV. Jelling (2008) continues to state that “After Hi-8 tapes, digital technologies brought mini DV tapes which came allowing consumers to enjoy of a 520 lines resolution. This way, since the appearance of digital formats, Hi-8 and its successor 8mm became less popular due to the lower resolution quality they offer“.
Moreover, the Mini DV format was cheap and accessible to the masses, enabling the working class to represent their self, therefore, possibly breaking the boundary of misrepresentation in Social realistic film .
As Mini DV became popular, it gave working class people, such as Shane Meadows a chance to illustrate his experience living in working class environment onto film.
Britmovie (2008) explains Shane Meadows was “Raised in Nottingham England, Shane Meadows dropped out of school as a teenager. After some odd jobs and a shot at studying acting and photography, Meadows volunteered at an art centre and learned the craft of film-making. He borrowed a camcorder and taught himself a technique of making short films with his friends as actors”
Kermonde on the BBC culture show (2008) explains that “Shane Meadows funded his earlier short films with his dole money” and continues to explain that Meadows “shot his first feature film TwentyFourSeven (1997) on Mini-DV”.
The breakthrough of a working class man creating social realistic work was not a fluke. The trend of other working class creators breaking through continues.
Paul Abbott is another example, Abbott had an unfortunate upbringing with both of his parents abandoning the family when he was only eleven. Cooke (2008) explains that Abbott was “Born in Burnley, Lancashire in 1960, Paul Abbott grew up in a crowded working-class household, the ninth of ten children. After his mother abandoned the family when he was nine, to be followed by his father two years later, the children were left to fend for themselves, with the eldest daughter assuming the maternal role”.
Paul Abbott is the writer of social realist channel four drama “Shameless” (2004), Shameless is based around Abbott’s experiences as young boy, therefore possibly the subject of social realism is becoming more accurately represented?
Moreover, due to technology becoming cheaper, creating a film is not just an industry based force. With internet web sites enabling users to upload their own footage, could this mean that social class divisions within social realism and their creators is changing?
YouTube is a massive platform for the general public to distribute their footage between other users. Digital Ethnography (2008) explains that there is approximately “78.3 million videos on YouTube”, and “200,000 videos are uploaded per day”. “80.3% of the videos are Unambiguously User-Generated (amateur)” and only “14.7% of the videos are professional”.
In addition, editing software has become cheap, if not free. Therefore amateur users can add a professional feel to their footage. With Microsoft windows, you obtain video editing software called “Movie maker”. With Macintosh they provide something similar on their machines called “iMovie”. Also, users can buy other professional software such as “Adobe Premiere Pro” or “Final cut pro”, which both retail to around £600 each.
Also, there are websites which enable anyone with a web cam or video camera to broadcast footage, live to an audience over the internet. The best example for this is www.blogtv.com. Blog television was an instant success. Google (2008) explains that “Blog TV recorded more than 411,000 unique users in the first month, more than one million daily broadcast views within two months, and conversion rates at 2.6%”. Claude Galipeau (2008), who is the Senior vice president of digital media alliance Atlantis states that “those figures are usually only achieved by an established brand and not by a new brand offering a new concept”.
Moreover, education for the masses is becoming more accessible. The government are giving students grants if their household do not earn very much, students can be entitled to £2,835 per academic year, therefore helping the working class further their education. Also with the massive increase of interest about film, the UK universities boost their filming degrees. Brown (2000) “points out that more universities than ever before were offering media or film degrees; from 166 courses in 1990 to over 280 in 1988”.
However, media enhancements are not all accessible to the masses, Oakley have released a video camera with such a high spec, it is competing with big industry high quality cameras. Gizmondo (2006) explains that “Typical high-end HD camcorders have 2.1M pixel sensors and record with 3:1:1 colour sub sampled video at up to 30fps. The Red one delivers 11.4M pixels at up to 60fps and record RAW, or 2x over-sampled HD in 4:4:4 or 4:2:2”. With this kind of spec, companies were expecting the price tag to be a very expensive. Gizmondo continues to explain that “On an Apple forum thread about the price of pro cameras just a few months ago, someone was guessing the RED would go for about $250k, but the RED site is saying $17,500”.
Moreover, with technology like the red one, surely, due to the existing trend of enhancements, within the next 10 years, we could possibly see even more drastic enhancements, possibly making an industry standard camera cheap enough so the working class people can purchase one and produce their own high quality social realist pieces of work.
Chapter four – Discussion
The effects of media enhancements are inevitable; cameras becoming cheaper, people becoming more technically minded and aspirations from the working class are increasing. The working class are finally doing it for themselves. However, are the working class making any impression on the film industry or do the original big shots in social realism like Ken Loach and Mike Leigh still hold a massive presence over the whole social realism genre?
Ken Loach has been in the filming industry since 1966 and has produced over a hundred pieces of work. His experience in film as well as social realism is immense. He is currently directing a drama based around Eric Cantona’s life. His latest piece of social realism was released in 2006, the film was called “The wind that shakes the barley”, the film is a sympathetic look at twentieth century Ireland and how two brothers cope with being torn apart due to an anti-British rebellion. At the box office the film did well, in the UK alone it has earned a gross of £1,248,724.13 and overseas it has earned a gross amount of £14,324,194.11. Ken Loach is still a very successful social realistic director, even though he is middle class, representing the working class.
In comparison, Shane Meadows, another famous social realism director. Meadows’ experience cannot compare to Ken Loach’s, as Shane has only directed 10 films. However, Meadows is from a working class family and has been in the film industry for around 12 years. He has just released his latest film “Somers town”. However, Meadows released his own social realism film in the same year as Ken Loach’s “The wind that shakes the barley”. That film was “This is England”. “This is England” was in the cinemas for seventeen week, which was the same duration as “The wind that shakes the barley”, however, it did nowhere near as well. In the UK, “This is England” made a gross amount of £224,010.66 and overseas it made a gross amount of £5,263,879.47. This is just over a third of Ken Loach’s film profit.
In addition, Loach’s “The wind that shakes the barley” won 5 awards and had 18 nominations, Meadows’ “This is England” on the other hand won 7 awards and had 14 nominations, awards including best British film from the BAFTA’s, best British independent film from the British independent film awards and the Best director award from the Newport international film festival. So, how can you judge the success? Loach’s film was distributed to many more countries, therefore made more money. However, “This is England” seemed to gather award after award. Loach has accumulated a massive fan base over the years, Meadows is more of a cult director breaking into the mainstream.
Maybe this is the beginning of change, the accessibility of film cameras is helping this change of class divisions in social realism. It is giving the working class a chance to produce their own work. Work which possibly represents the working class more accurately. I believe that people like Shane Meadows and Paul Abbott will continue to strive, creating a fan basis like Loach and Leigh. More importantly, these working class creators will inspire other working class people to create material themselves, and with the technology becoming cheaper and more refined, it is easier for the working class to purchase this equipment and express their own experiences.
Therefore, the next generation of film makers could be working class and if that is the case, we could see the whole face of social realism and how it is represented change. Creating a mass new wave of creators and ideas, not only just in social realism, but in mass film and broadcast television itself. Constructing a new revolution amongst media and its existing practitioners. Possibly eliminating any class divisions within the genre.
Chapter five – Conclusion
Using a vast amount of resources, I have defined where the genre of social realism originated from, with this as a catalyst I discovered that social realism was representing a working class, however, this representation was based on assumptions and stereotypes that the middle class had. The genre was dominated by the middle class
However, over five decades technology started to become more sophisticated, and with the new technology becoming more efficient, prices of the equipment started to fall. Therefore giving the working class a chance to create their own work. Also with addition of education becoming more available to anyone, the working class started to compete with the middle class giants within the genre.
I believe that the genre has been changed, and the social class divisions are changing. I also believe that the changes have come due to media enhancements. The introduction of the Hi-8 and mini DV formats seemed to be the catalyst of change as creating digital video is a lot cheaper compared 16mm film, also, the digital format can be distributed cheaply as well, via the internet of a DVD. However, even with these enhancements, I still believe there is a clear divide between classes within the genre. It seems to me that the economic side of things is heavily controlled by the middle class.
Moreover, with the release of the Oakley red one, media enhancements seemed to be improving still, therefore, I believe in the future quality of cameras will continue to increase and become more distinguished but the prices will remain low. This will enable the working class creators close the gap between the middle class creators, in theory, eliminating any kind of social class division.
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Drew, R. (Director). (2006). Cinema Verite: Defining the moment [Motion Picture].
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(2002). British social realism from documentary to brit grit. In S. Lay, British social realism from documentary to brit grit (p. 101 125). London: Wallflower Press.
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Appendices
Catalogue Entry
Catalogue Entry
Richard Parr
N0144872@ntu.ac.uk
Tel: 07983440313
Email: richardparrproductions@live.co.uk
Director for sale! Do you want a dedicated and hard working practitioner? Yes! Then I’m the one to employ. I have produced two documentaries for the BBC. I’m experienced in a professional environment. I enjoy working with others and I always look forward to a challenge. My skills range from directing, editing, sound, lighting etc. You name it, I can do it! Employ me, you won’t regret it!
Richard Parr
N0144872@ntu.ac.uk
Tel: 07983440313
Email: richardparrproductions@live.co.uk
Director for sale! Do you want a dedicated and hard working practitioner? Yes! Then I’m the one to employ. I have produced two documentaries for the BBC. I’m experienced in a professional environment. I enjoy working with others and I always look forward to a challenge. My skills range from directing, editing, sound, lighting etc. You name it, I can do it! Employ me, you won’t regret it!
Rationale
Rationale
For my catalogue entry I have accumulated a collection of images which I believe depict my abilities as a multimedia practitioner. The first image I have chosen is an image of myself, I believe it is important to have an image of yourself in a catalogue, so people can put a name to a face; therefore it is more likely for a potential client to employ you.
Moreover, the second image is a screen shot from my first piece I created at university, I have included this image as it potentially presents the versatility of my work as “the conflict” was filmed using a DV camera, then imported into flash, where every frame of film was sketched over, giving a such a raw feel. I felt that this image was important to include as it shows an employer that I am not just an audio-visual practitioner, but shows the employer that I have many skills within multimedia.
In addition, the third image is a frame from another piece created in my first year of multimedia. The piece is called Bogden. I believe the shot is visually pleasing, it paints the feel of the short film in one frame, lonely. Moreover, another reason why this image is included is that, as a group we had to interpret a script that someone else has created, and put images to the script, therefore creating our version of the script. I felt that this helped me understand how scripts work and how they can be interpreted.
Furthermore, image four is a frame from a piece of work I created in my second year. I believe that this image is powerful, the amount of graves compared to the two characters in the middle seem to depict a powerful daunting message. Another reason why I chose this image is because that this image is from the first project I wrote a script from scratch. It helped me understand how a script is written and professionally formatted.
Moreover, image five is another image from my piece of work called “I’ve got to go upstairs”, now this image is focusing on not just my multimedia skills, but my overall artistic skills as well. I taught myself some make up skills on the set by creating artificial cuts and bruises. I believe this also shows how I am a quick learner, which will help me in the future, keeping up with media enhancements and gaining more skills.
In addition, the sixth image is of the documentary I directed and presented. This is a key image as it displays my two passions within multimedia, directing and documentary. I felt really compatible directing the documentary; also, I really enjoyed engaging with someone who usually would not have a chance to be on film (a big issue seller). I truly believe that this image is greatly important as it is what I would like to in the future.
Furthermore, the seventh image is of me capturing sound on another peers film set. I decided to include this image as it shows my willing attitude to help others. Also it illustrates my ability to work well with others, accepting, my role on the shoot and delivering the quality needed. Moreover, it also illustrates my extent of abilities such as a sound engineer.
Finally, the eighth image is a screen shot from my recent piece of work; it is an advert about making the general public aware of the cause of excessive drinking and smoking towards infertility. I chose this image as it is lit very well; I believe it depicts my skills as a light technician very well. It took me at least two hours to light that one shot, so I believe that this image is important as it also suggests my hunger for perfection and quality.
My catalogue entry is trying to portrait my versatile abilities as a multimedia practitioner. Also the style of the entry is like an advert, hoping a potential client will notice the different style, therefore, standing out as a practitioner.
I believe that these images give the audience an idea of my abilities and how I see myself as a multimedia practitioner, in the future I plan to refine my skills and pursue my dream to become a respected documentary director, potentially creating my own independent film industry concentrating on documentaries, art house films and social realism films. I have the determination to make these dreams a reality; however, I know it will not come instantly. I know it will require a lot of work and patience; however I am determined to work hard and get to that specific point. Another thing I want to pursue in my career is teaching. After working as a student ambassador and being part of a scheme which I go into schools and advise students on further education, I believe I would enjoy teaching audio visual skills to other aspiring students, I want to inspire other students like teachers inspired me, giving other people the chance to dream and improve themselves. Therefore I am thinking about attending a PGC teaching degree as well as pursuing an masters in either film and television or directing. I believe as a multimedia practitioner I am professional. I have gained these skills from working with the Nottingham BBC in college. I have kept these skills as I have had the opportunity to work with the BBC again this year for my live client project. This opportunity will improve me as a practitioner and I am looking forward to refining my skills, as I pursue perfection.
For my catalogue entry I have accumulated a collection of images which I believe depict my abilities as a multimedia practitioner. The first image I have chosen is an image of myself, I believe it is important to have an image of yourself in a catalogue, so people can put a name to a face; therefore it is more likely for a potential client to employ you.
Moreover, the second image is a screen shot from my first piece I created at university, I have included this image as it potentially presents the versatility of my work as “the conflict” was filmed using a DV camera, then imported into flash, where every frame of film was sketched over, giving a such a raw feel. I felt that this image was important to include as it shows an employer that I am not just an audio-visual practitioner, but shows the employer that I have many skills within multimedia.
In addition, the third image is a frame from another piece created in my first year of multimedia. The piece is called Bogden. I believe the shot is visually pleasing, it paints the feel of the short film in one frame, lonely. Moreover, another reason why this image is included is that, as a group we had to interpret a script that someone else has created, and put images to the script, therefore creating our version of the script. I felt that this helped me understand how scripts work and how they can be interpreted.
Furthermore, image four is a frame from a piece of work I created in my second year. I believe that this image is powerful, the amount of graves compared to the two characters in the middle seem to depict a powerful daunting message. Another reason why I chose this image is because that this image is from the first project I wrote a script from scratch. It helped me understand how a script is written and professionally formatted.
Moreover, image five is another image from my piece of work called “I’ve got to go upstairs”, now this image is focusing on not just my multimedia skills, but my overall artistic skills as well. I taught myself some make up skills on the set by creating artificial cuts and bruises. I believe this also shows how I am a quick learner, which will help me in the future, keeping up with media enhancements and gaining more skills.
In addition, the sixth image is of the documentary I directed and presented. This is a key image as it displays my two passions within multimedia, directing and documentary. I felt really compatible directing the documentary; also, I really enjoyed engaging with someone who usually would not have a chance to be on film (a big issue seller). I truly believe that this image is greatly important as it is what I would like to in the future.
Furthermore, the seventh image is of me capturing sound on another peers film set. I decided to include this image as it shows my willing attitude to help others. Also it illustrates my ability to work well with others, accepting, my role on the shoot and delivering the quality needed. Moreover, it also illustrates my extent of abilities such as a sound engineer.
Finally, the eighth image is a screen shot from my recent piece of work; it is an advert about making the general public aware of the cause of excessive drinking and smoking towards infertility. I chose this image as it is lit very well; I believe it depicts my skills as a light technician very well. It took me at least two hours to light that one shot, so I believe that this image is important as it also suggests my hunger for perfection and quality.
My catalogue entry is trying to portrait my versatile abilities as a multimedia practitioner. Also the style of the entry is like an advert, hoping a potential client will notice the different style, therefore, standing out as a practitioner.
I believe that these images give the audience an idea of my abilities and how I see myself as a multimedia practitioner, in the future I plan to refine my skills and pursue my dream to become a respected documentary director, potentially creating my own independent film industry concentrating on documentaries, art house films and social realism films. I have the determination to make these dreams a reality; however, I know it will not come instantly. I know it will require a lot of work and patience; however I am determined to work hard and get to that specific point. Another thing I want to pursue in my career is teaching. After working as a student ambassador and being part of a scheme which I go into schools and advise students on further education, I believe I would enjoy teaching audio visual skills to other aspiring students, I want to inspire other students like teachers inspired me, giving other people the chance to dream and improve themselves. Therefore I am thinking about attending a PGC teaching degree as well as pursuing an masters in either film and television or directing. I believe as a multimedia practitioner I am professional. I have gained these skills from working with the Nottingham BBC in college. I have kept these skills as I have had the opportunity to work with the BBC again this year for my live client project. This opportunity will improve me as a practitioner and I am looking forward to refining my skills, as I pursue perfection.
Live Client Project
I have met with Tony Roe from the BBC, me and Sid are co-directing a documentary for Tony Roe about the devlopment of the east midlands. We have set several meetings in stone, the dates are:
10/12/08
1/12/09
1/4/09
10/12/08
1/12/09
1/4/09
PRP 18/11/08
I have done some research on research methods now. I am going to use secondary research methods and qualative research methods for my research document.
SPP 3 18/11/08
I have just been briefed on what I am expected to create a portfoliio/showreel, 6 images for the catalogue, catalogue entry and a 1000 word document explaining the reasons why I choose the six images and the catalogue entry.
PRP reading list/sources
To produce my research document, I will use these sources:
Blog tv stats. (2008). Retrieved December 2, 2008, from Google corp: https://adwords.google.com/select/afc/casestudies/stories/blogtv.pdf
Culture Show. (2007, 6 Novemeber). Retrieved December 2, 2008, from Youtube: http://uk.youtube.com/watch?v=p8Z8U7IZrE8&eurl=http://tccbritishcinema.blogspot.com/2007/04/shane-meadows-dead-mans-shoes.html
Drew, R. (Director). (2006). Cinema Verite: Defining the moment [Motion Picture].
Jelling, P. (2008). Hi 8. Retrieved December 1, 2008, from Snap junky: http://www.snapjunky.com/camcorder-video-storage/hi-8-tape-today.shtml hi 8
Ken Loach. (2008). Retrieved November 25, 2008, from Screen online: http://www.screenonline.org.uk/people/id/458945/index.html
Ken Loach. (2008). Retrieved Novemeber 24, 2008, from IMDB: http://www.imdb.com/name/nm0516360/
Kermone (Director). (2007). Shane Meadows BBC culture show [Motion Picture].
(2002). British social realism from documentary to brit grit. In S. Lay, British social realism from documentary to brit grit (p. 101 125). London: Wallflower Press.
Mike Leigh. (2008). Retrieved Novemeber 27, 2008, from Screen online: http://www.screenonline.org.uk/people/id/461294/
Social Realism. (2008) Retrieved November 23, 2008, from MiMi: http://en.mimi.hu/finearts/social_realism.htm
Paul Abbott. (2008). Retrieved December 1, 2008, from Screen online: http://www.screenonline.org.uk/people/id/970032
qualative research method. (2008). Retrieved December 1, 2008, from Market research world: http://www.marketresearchworld.net/index.php?Itemid=64&id=10&option=com_content&task=view
Red one. (2008). Retrieved November 22, 2008, from Gizmondo: http://gizmodo.com/gadgets/gadgets/red-one-camera-169222.php
Secondary research. (2008). Retrieved December 1, 2008, from Asian market research: http://www.asiamarketresearch.com/glossary/secondary-research.htm
Shane Meadows. (2007, April 5). Retrieved December 3, 2008, from TCC British cinema: http://tccbritishcinema.blogspot.com/2007/04/shane-meadows-dead-mans-shoes.html
Shane Meadows. (2008). Retrieved Novemeber 24, 2008, from IMDB: http://www.imdb.com/name/nm0276349/
The wind that shakes the barley. (2008). Retrieved Novemeber 24, 2008, from IMDB: http://www.imdb.com/title/tt0460989
The wind that shakes the barley awards. (2008). Retrieved November 24, 2008, from IMDB: http://www.imdb.com/title/tt0460989/awards
The wind that shakes the barley box office results. (2008). Retrieved November 24, 2008, from Box office mojo: http://www.boxofficemojo.com/movies/?page=main&id=windthatshakesthebarley.htm
This is England. (2008). Retrieved Novemeber 24, 2008, from IMDB: http://www.imdb.com/title/tt0480025/
This is England awards. (2008). Retrieved Novemeber 24, 2008, from IMDB: http://www.imdb.com/title/tt0480025/awards
This is England box office results. (2008). Retrieved Novemeber 24, 2008, from Box office mojo: http://www.boxofficemojo.com/movies/?page=main&id=thisisengland.htm
Wintonick, P. (Director). (2006). Cinema Verite: Defining the moment [Motion Picture].
Working class. (2008). Retrieved November 28, 2008, from Victorian west sussex: http://victorians.westsussex.gov.uk/ccm/navigation/glossary/?page=8
world, M. r. (2008). Qualitative Research. Retrieved Novemeber 1, 2008, from Market research world: http://www.marketresearchworld.net/index.php?Itemid=64&id=10&option=com_content&task=view
Youtube stats. (2008). Retrieved December 7, 2008, from Digital ethnography: http://ksudigg.wetpaint.com/page/YouTube+Statistics?t=anon
Blog tv stats. (2008). Retrieved December 2, 2008, from Google corp: https://adwords.google.com/select/afc/casestudies/stories/blogtv.pdf
Culture Show. (2007, 6 Novemeber). Retrieved December 2, 2008, from Youtube: http://uk.youtube.com/watch?v=p8Z8U7IZrE8&eurl=http://tccbritishcinema.blogspot.com/2007/04/shane-meadows-dead-mans-shoes.html
Drew, R. (Director). (2006). Cinema Verite: Defining the moment [Motion Picture].
Jelling, P. (2008). Hi 8. Retrieved December 1, 2008, from Snap junky: http://www.snapjunky.com/camcorder-video-storage/hi-8-tape-today.shtml hi 8
Ken Loach. (2008). Retrieved November 25, 2008, from Screen online: http://www.screenonline.org.uk/people/id/458945/index.html
Ken Loach. (2008). Retrieved Novemeber 24, 2008, from IMDB: http://www.imdb.com/name/nm0516360/
Kermone (Director). (2007). Shane Meadows BBC culture show [Motion Picture].
(2002). British social realism from documentary to brit grit. In S. Lay, British social realism from documentary to brit grit (p. 101 125). London: Wallflower Press.
Mike Leigh. (2008). Retrieved Novemeber 27, 2008, from Screen online: http://www.screenonline.org.uk/people/id/461294/
Social Realism. (2008) Retrieved November 23, 2008, from MiMi: http://en.mimi.hu/finearts/social_realism.htm
Paul Abbott. (2008). Retrieved December 1, 2008, from Screen online: http://www.screenonline.org.uk/people/id/970032
qualative research method. (2008). Retrieved December 1, 2008, from Market research world: http://www.marketresearchworld.net/index.php?Itemid=64&id=10&option=com_content&task=view
Red one. (2008). Retrieved November 22, 2008, from Gizmondo: http://gizmodo.com/gadgets/gadgets/red-one-camera-169222.php
Secondary research. (2008). Retrieved December 1, 2008, from Asian market research: http://www.asiamarketresearch.com/glossary/secondary-research.htm
Shane Meadows. (2007, April 5). Retrieved December 3, 2008, from TCC British cinema: http://tccbritishcinema.blogspot.com/2007/04/shane-meadows-dead-mans-shoes.html
Shane Meadows. (2008). Retrieved Novemeber 24, 2008, from IMDB: http://www.imdb.com/name/nm0276349/
The wind that shakes the barley. (2008). Retrieved Novemeber 24, 2008, from IMDB: http://www.imdb.com/title/tt0460989
The wind that shakes the barley awards. (2008). Retrieved November 24, 2008, from IMDB: http://www.imdb.com/title/tt0460989/awards
The wind that shakes the barley box office results. (2008). Retrieved November 24, 2008, from Box office mojo: http://www.boxofficemojo.com/movies/?page=main&id=windthatshakesthebarley.htm
This is England. (2008). Retrieved Novemeber 24, 2008, from IMDB: http://www.imdb.com/title/tt0480025/
This is England awards. (2008). Retrieved Novemeber 24, 2008, from IMDB: http://www.imdb.com/title/tt0480025/awards
This is England box office results. (2008). Retrieved Novemeber 24, 2008, from Box office mojo: http://www.boxofficemojo.com/movies/?page=main&id=thisisengland.htm
Wintonick, P. (Director). (2006). Cinema Verite: Defining the moment [Motion Picture].
Working class. (2008). Retrieved November 28, 2008, from Victorian west sussex: http://victorians.westsussex.gov.uk/ccm/navigation/glossary/?page=8
world, M. r. (2008). Qualitative Research. Retrieved Novemeber 1, 2008, from Market research world: http://www.marketresearchworld.net/index.php?Itemid=64&id=10&option=com_content&task=view
Youtube stats. (2008). Retrieved December 7, 2008, from Digital ethnography: http://ksudigg.wetpaint.com/page/YouTube+Statistics?t=anon
PRP 4/11/08
I have started my research for my question. I am discovering alot about neo realism, free cinema and technology avaiable now, then and for the future. There is a camera called the red one made by oakely and it is better than blockbuster standard however only costs £17,500. This infornmation is paving the content of my research paper.
Simulated Client Project 4/11/08
After showing Debra all of my progress, she sets me the task to film the film and document it with images.
Simulated Client Project
TALENT RELEASE CONTRACT
RICHARD PARR
22 BARNSTON ROAD
SNEINTON
NOTTINGHAM
NG2 4HW
In consideration of the sum of £0 and any other good and valuable considerations, receipt of which is hereby acknowledged, I hereby give RICHARD PARR, their licensees, successors, legal representatives, and assigns the absolute and irrevocable right and permission to use my name and to use, reproduce, edit, exhibit, project, display, copyright, publish and/or resell photography images and/or moving pictures and/or videotaped images of me with or without my voice, or in which I may be included in whole or in part, photographed, taped, videotaped, and/or recorded on 6th NOVEMBER 2008, this also covering any changes to recording dates a month either side, and thereafter, and to circulate the same in all forms and media for art, advertising, trade, competition of every description and/or any other lawful purpose whatsoever. I also consent to the use of any printed matter in conjunction therewith.
I hereby waive any right that I may have to inspect and/or approve the finished product or products or the editorial, advertising, or printed copy or soundtrack that may be used in connection therewith and any right that I may have to control the use to which said product, products, copy and/or soundtrack may be applied.
I hereby release, discharge and agree to save RICHARD PARR, their licensees, successors, legal representatives and assigns from any liability by virtue of any blurring, distortion, alteration, optical illusion or use in composite form whether intentional or otherwise that may occur or be produced in the making, processing, duplication, projecting or displaying of said picture or images, and from liability for violation of any personal or proprietary right that I may have in conjunction with said pictures or images and with the use thereof.
___________________________________________
Signature of talent here
___________________________________________
Print of talent here
_________________
Date
Address:
______________________________________________________________________________
Phone Number: ______________________________
RICHARD PARR
22 BARNSTON ROAD
SNEINTON
NOTTINGHAM
NG2 4HW
In consideration of the sum of £0 and any other good and valuable considerations, receipt of which is hereby acknowledged, I hereby give RICHARD PARR, their licensees, successors, legal representatives, and assigns the absolute and irrevocable right and permission to use my name and to use, reproduce, edit, exhibit, project, display, copyright, publish and/or resell photography images and/or moving pictures and/or videotaped images of me with or without my voice, or in which I may be included in whole or in part, photographed, taped, videotaped, and/or recorded on 6th NOVEMBER 2008, this also covering any changes to recording dates a month either side, and thereafter, and to circulate the same in all forms and media for art, advertising, trade, competition of every description and/or any other lawful purpose whatsoever. I also consent to the use of any printed matter in conjunction therewith.
I hereby waive any right that I may have to inspect and/or approve the finished product or products or the editorial, advertising, or printed copy or soundtrack that may be used in connection therewith and any right that I may have to control the use to which said product, products, copy and/or soundtrack may be applied.
I hereby release, discharge and agree to save RICHARD PARR, their licensees, successors, legal representatives and assigns from any liability by virtue of any blurring, distortion, alteration, optical illusion or use in composite form whether intentional or otherwise that may occur or be produced in the making, processing, duplication, projecting or displaying of said picture or images, and from liability for violation of any personal or proprietary right that I may have in conjunction with said pictures or images and with the use thereof.
___________________________________________
Signature of talent here
___________________________________________
Print of talent here
_________________
Date
Address:
______________________________________________________________________________
Phone Number: ______________________________
Simulated Client Project
Booked Equipment List
• Z1 Camera
• K6 Mic (with softie, etc)
• Boom pole
• XLR extension
• Power plug extension (if you have one)
• Tripod (A big one)
• Headphones
• One red head light (with stand)
• Light filters
• DV tape x 2
• Z1 Camera
• K6 Mic (with softie, etc)
• Boom pole
• XLR extension
• Power plug extension (if you have one)
• Tripod (A big one)
• Headphones
• One red head light (with stand)
• Light filters
• DV tape x 2
Simulated Client Project
Sound List
Here are the sounds I will need for the advert:
• Digetic sound
• Gulping of a pint
• Atmosphere track
• A busy bar
• Clanging of pint glasses
• A puff of smoke
Here are the sounds I will need for the advert:
• Digetic sound
• Gulping of a pint
• Atmosphere track
• A busy bar
• Clanging of pint glasses
• A puff of smoke
Prop List
Prop List
Here is a list of props that will be needed for the shoot:
• A pint of beer
• A measuring jug
• 40 cigarettes
• A beer mat
• A black tie
Here is a list of props that will be needed for the shoot:
• A pint of beer
• A measuring jug
• 40 cigarettes
• A beer mat
• A black tie
Simulated Client Project
Shot List
Shot one:
Shot one is basically a shot of the actor, static, head on. In this occasion the actor talks through the whole script, pausing between each line.
Shot Two
Shot two is very similar to shot one, but at different angle, the angle will be head height, but from the right hand side.
Shot Three
Shot three is yet again, the acting performing, the camera is static but has an extreme close up on the actors eyes.
Shot Four
Shot four is similar to shot three, however there will be a close up on the actor’s hand movements.
Shot Five
Shot five is a shot of a pint of beer, in this shot the beer in the glass will be taken away, using stop animation it will look like the beer is disappearing on its own.
Shot Six
Shot six has the same principal as shot five but with cigarettes. There is a pile of 40 cigarettes , one after one, cigarettes will be taken away from the pile. Using stop animation it will look like the cigarettes are disappearing on their own.
Shot one:
Shot one is basically a shot of the actor, static, head on. In this occasion the actor talks through the whole script, pausing between each line.
Shot Two
Shot two is very similar to shot one, but at different angle, the angle will be head height, but from the right hand side.
Shot Three
Shot three is yet again, the acting performing, the camera is static but has an extreme close up on the actors eyes.
Shot Four
Shot four is similar to shot three, however there will be a close up on the actor’s hand movements.
Shot Five
Shot five is a shot of a pint of beer, in this shot the beer in the glass will be taken away, using stop animation it will look like the beer is disappearing on its own.
Shot Six
Shot six has the same principal as shot five but with cigarettes. There is a pile of 40 cigarettes , one after one, cigarettes will be taken away from the pile. Using stop animation it will look like the cigarettes are disappearing on their own.
Location Release Form
Location Release Contract
PRODUCTION PROGRAMME: Simulated Client Project
PRODUCTION DATE: 06/11/08 (12:00 TO 14:00)
Permission is hereby granted to RICHARD PARR to use the property and land located at CASTLE WHARF, WATERWAYS BUILDING, CANAL STREET, NOTTINGHAM, NG1 7EH for the purpose of photographing and recording scenes for the above program produced by RICHARD PARR.
Permission includes the right to bring personnel and equipment onto the property and to remove them after completion of the work. The permission herein granted shall include the right, but not the obligation, to photograph the actual name connected with the premises and to use such name in the program(s).
The undersigned hereby gives to RICHARD PARR, its assigns, agents, licensees, affiliates, clients, principals, and representatives the absolute right and permission to copyright, use, exhibit, display, print, reproduce, televise, broadcast and distribute, for any lawful purpose, in whole or in part, through any means without limitation, any scenes containing the above described premises, all without inspection or further consent or approval by the undersigned of the finished product or of the use to which it may be applied.
RICHARD PARR hereby agrees to hold the undersigned harmless of and free from any and all liability and loss which RICHARD PARR, and/or its agents, may suffer for any reason, except that directly caused by the negligent acts or deliberate misconduct of the owner of the premises or its agents.
The undersigned hereby warrants and represents that the undersigned has full right and authority to solely enter into this agreement concerning the above described premises, and that the undersigned hereby indemnifies and holds RICHARD PARR, and/or its agents, harmless from and against any and all loss, liability, costs, damages or claims of any nature arising from, growing out of, or concerning the use of the above described premises except those directly caused by the negligent acts or deliberate misconduct of RICHARD PARR, or its agents.
___________________________________________
Signature of authorized property owner/representative
___________________________________________
Print of authorized property owner/representative
_________________
Date
Address:
___________________________________________________________________________________
Phone Number: ______________________________
PRODUCTION PROGRAMME: Simulated Client Project
PRODUCTION DATE: 06/11/08 (12:00 TO 14:00)
Permission is hereby granted to RICHARD PARR to use the property and land located at CASTLE WHARF, WATERWAYS BUILDING, CANAL STREET, NOTTINGHAM, NG1 7EH for the purpose of photographing and recording scenes for the above program produced by RICHARD PARR.
Permission includes the right to bring personnel and equipment onto the property and to remove them after completion of the work. The permission herein granted shall include the right, but not the obligation, to photograph the actual name connected with the premises and to use such name in the program(s).
The undersigned hereby gives to RICHARD PARR, its assigns, agents, licensees, affiliates, clients, principals, and representatives the absolute right and permission to copyright, use, exhibit, display, print, reproduce, televise, broadcast and distribute, for any lawful purpose, in whole or in part, through any means without limitation, any scenes containing the above described premises, all without inspection or further consent or approval by the undersigned of the finished product or of the use to which it may be applied.
RICHARD PARR hereby agrees to hold the undersigned harmless of and free from any and all liability and loss which RICHARD PARR, and/or its agents, may suffer for any reason, except that directly caused by the negligent acts or deliberate misconduct of the owner of the premises or its agents.
The undersigned hereby warrants and represents that the undersigned has full right and authority to solely enter into this agreement concerning the above described premises, and that the undersigned hereby indemnifies and holds RICHARD PARR, and/or its agents, harmless from and against any and all loss, liability, costs, damages or claims of any nature arising from, growing out of, or concerning the use of the above described premises except those directly caused by the negligent acts or deliberate misconduct of RICHARD PARR, or its agents.
___________________________________________
Signature of authorized property owner/representative
___________________________________________
Print of authorized property owner/representative
_________________
Date
Address:
___________________________________________________________________________________
Phone Number: ______________________________
Simulated Client Project
Shooting schedule
Here is the time of the tasks that they should be completed:
Pick up equipment – 9:30 am
Check equipment – 10:30am
Meet Crew and actor – 11:00
Get to venue – 11:30am
Set up - 12:00pm
Shot one - 12:10pm
Shot two – 12:20pm
Shot three – 12:30pm
Shot four – 12:40pm
Shot five – 13:00pm
Shot six – 13:20 pm
Sound – 13:40
Contingency – 13:50
Pack up – 14:00
Here is the time of the tasks that they should be completed:
Pick up equipment – 9:30 am
Check equipment – 10:30am
Meet Crew and actor – 11:00
Get to venue – 11:30am
Set up - 12:00pm
Shot one - 12:10pm
Shot two – 12:20pm
Shot three – 12:30pm
Shot four – 12:40pm
Shot five – 13:00pm
Shot six – 13:20 pm
Sound – 13:40
Contingency – 13:50
Pack up – 14:00
Simulated Client Project 28/10/08
I must show debra next week my prgress.
Schedule
Contracts
Risk Assessment
Visualisations
Equipment Booked
Script
Location Booked
Schedule
Contracts
Risk Assessment
Visualisations
Equipment Booked
Script
Location Booked
PRP 28/10/08
After meeting with Jools my tutor and discussing my lack of sources for the topic I decided to change my topic. My new topic is "How has media enhancements effected the class divisions of social realism and their creators?", I prefer this question because I am interested in the subject and eagar to discover the research. I have done some research on social realism and discovered some key movement such as neo realism and the french new wave.
Research project 14/10/08
I have just briefed on the research project. In term one I need to produce a 3000 to 4000 word document discussing a particular research question. I have chosen the BA pathway. I would like to create a document on documentary and how the researchers role changes a documenary for the better or worse.
Simulated Client Project 13/10/08
After the lecturing explaining the brief I have produced a couple of ideas for the public awareness advert I want to produce. I want to produce an advert around sexual awareness. My 1st idea was baby close up screaming with txt appearing, it would of been done in a mundane style, similair style you would find in child abuse adverts. The audience would be led to believe that the advert is talking about the child being abused, for example, text saying "Do you want baby Sarah to cry anymore?", however the end twist would be that its a campaign for condoms, using text such as "well, if you don't want to hear baby Sarah's cries, wear a condom".
After disucussing this idea with Debra, she made me aware that this idea has already been done, so I went back to the drawing board. After a few more brain storms, I decided to tackle something which isn't spoken about much. Male infertility.
After much research I found out that smoking and drinking were a major factor for infertility. For example "Smoking and drinking affect fertility levels and can increase the risk of impotence. It is estimated that 120,000 men (in the UK) in their 30s and 40s are impotent as a direct result of smoking. Also if you are 30-40 years old, smoking also increases your risk of impotence by about 50%."
So the idea was simple. A man infront of a camera, in a bar, talking to the audience. He would ask questions such as "Can you smoke 40 fags a day" or "20 pints when you go out" in the style of a pub conversation. However the twist would be the man asking a final question "Well, if you can do all that, can you make a baby? Probably, due to all that drinking and smoking". Hopefully, using harsh words and scare tactics, it will confirm a serious message.
I discussed this with that group and Debra, thay seemed happy with the idea. I then produced a storyboard.
After disucussing this idea with Debra, she made me aware that this idea has already been done, so I went back to the drawing board. After a few more brain storms, I decided to tackle something which isn't spoken about much. Male infertility.
After much research I found out that smoking and drinking were a major factor for infertility. For example "Smoking and drinking affect fertility levels and can increase the risk of impotence. It is estimated that 120,000 men (in the UK) in their 30s and 40s are impotent as a direct result of smoking. Also if you are 30-40 years old, smoking also increases your risk of impotence by about 50%."
So the idea was simple. A man infront of a camera, in a bar, talking to the audience. He would ask questions such as "Can you smoke 40 fags a day" or "20 pints when you go out" in the style of a pub conversation. However the twist would be the man asking a final question "Well, if you can do all that, can you make a baby? Probably, due to all that drinking and smoking". Hopefully, using harsh words and scare tactics, it will confirm a serious message.
I discussed this with that group and Debra, thay seemed happy with the idea. I then produced a storyboard.
Monday, October 13, 2008
1st day of first year
Today I had my first lecture, it basically outlined the whole year and Simon tried to motivate the whole year.
I have learnt that for my research project that referencing is important, however I shouldn't reference too much.
Also, I will have to reserve roughly £75 to be put in the multimedia catalogue. I also have to get a show reel sorted, so I have something to put in this catalague and show case my work for future employers.
The SPP 3 project sounds like its something that is going to help me optimise employment after I finish my last year.
There are two assignments:
Assignment one: Catalogue Entry and Showreel DEADLINE 16/12/08
Assignment two: Post graduation Application packages DEADLINE 24/03/09
Later on that day we had a lecture about the client project.
The client project is broken up in two parts:
Simulated Project - 6 weeks directed product
Live Client Project - End of term, 1, 2 and 3
This lecture informed me to understand the need of the client and the key audience. It also informed me on proffesionalism.
The client project is a great oppotunity to push myself and to make contacts.
The simulated project is basically easin the group into the project by giving us a 6 week task, the task is to create a product for awareness. The topics of awareness are either:
Sexual Health
Climate change
Health living
Sustainability
I have no idea yet, however climate change seems live the obvious one to do in my opinion.
www.nationalarchive.gov.uk/films
The live client project is already in the pipe line, I am creating a local documentary for a client called Tony Roe. He works at the bbc and he wants a local documentary in the style of his local tv show "inside out". Me and Sukhdeep are going to work on this project, however split the documentary into two halfs, one I will direct and Sukhdeep will produce and via versa.
We will also have to meet with the client atleast 3 dates, so he can evaluate our progress.
I am really looking forward to getting my head down this year! I'm going to show what I really can do!
Watch this space!
I have learnt that for my research project that referencing is important, however I shouldn't reference too much.
Also, I will have to reserve roughly £75 to be put in the multimedia catalogue. I also have to get a show reel sorted, so I have something to put in this catalague and show case my work for future employers.
The SPP 3 project sounds like its something that is going to help me optimise employment after I finish my last year.
There are two assignments:
Assignment one: Catalogue Entry and Showreel DEADLINE 16/12/08
Assignment two: Post graduation Application packages DEADLINE 24/03/09
Later on that day we had a lecture about the client project.
The client project is broken up in two parts:
Simulated Project - 6 weeks directed product
Live Client Project - End of term, 1, 2 and 3
This lecture informed me to understand the need of the client and the key audience. It also informed me on proffesionalism.
The client project is a great oppotunity to push myself and to make contacts.
The simulated project is basically easin the group into the project by giving us a 6 week task, the task is to create a product for awareness. The topics of awareness are either:
Sexual Health
Climate change
Health living
Sustainability
I have no idea yet, however climate change seems live the obvious one to do in my opinion.
www.nationalarchive.gov.uk/films
The live client project is already in the pipe line, I am creating a local documentary for a client called Tony Roe. He works at the bbc and he wants a local documentary in the style of his local tv show "inside out". Me and Sukhdeep are going to work on this project, however split the documentary into two halfs, one I will direct and Sukhdeep will produce and via versa.
We will also have to meet with the client atleast 3 dates, so he can evaluate our progress.
I am really looking forward to getting my head down this year! I'm going to show what I really can do!
Watch this space!
Tuesday, May 27, 2008
NTU vs NCN
Today I took part in the NTU and NCN collaboration scheme, which simply gets ncn students into uni and give them a taste of multimedia through a workshop who Sid, Jools and I followed through.
We gave them a digital cameras to take photos to create a narrative. With the photos, they imported them into premiere pro CS3 and created a relevant sequence. If there were any missing photos, they had a chance to get more photos in the afternoon.
To conclude
We helped ncn pupils get an experience of multimedia and resulted with a film they could take back to college.
P.s. £8 an hour!!!!
We gave them a digital cameras to take photos to create a narrative. With the photos, they imported them into premiere pro CS3 and created a relevant sequence. If there were any missing photos, they had a chance to get more photos in the afternoon.
To conclude
We helped ncn pupils get an experience of multimedia and resulted with a film they could take back to college.
P.s. £8 an hour!!!!
The Trailer
Here is the trailer for "I've got to go upstairs", I converted this into a wmv, 3pg and Mpeg 2
http://youtube.com/watch?v=3P7xqo-U0iQ
http://youtube.com/watch?v=3P7xqo-U0iQ
Sunday, May 18, 2008
Edit day two
Today I have finished my film, what I learnt today was that sound is crucial to the films misc en scene, ambience sound and slight tweaks on existing sounds make the difference. For example today, Owais helped me to put a reverb and an echo on "Will's" thoughts, at first before the reverb and echo it sounded ok, I could of gotten away with it, however, with the reverb and echo it sounds 10 times better! So to conclude, always think the sound in depth, as it is as equally important as the visual aspect of the film.
Edit day one
Today I started editing, I was struggling to cut the film down to 8 minutes let alone 6, so I asked Debra for some help. She showed me how to be ruthless and I have learnt I have to balance shot relevance to the story and amazing shots which just don't mean anything to the story. As the director and editor of this film, it was hard to balance the 2, but I feel like that I have done a good job.
Film Credits
Film Credits
Written and Directed by Richard Parr
Lighting by Richard Parr and Sukhdeep Nanua
Sound by Richard Parr and Sukhdeep Nanua
Camera by Richard Parr
Editing by Richard Parr
Will – Thomas Robinson
Robert – William Barton
Hollie – Hollie Starbuck
Will’s mum – Susan Parr
Make up – William Barton
Written and Directed by Richard Parr
Lighting by Richard Parr and Sukhdeep Nanua
Sound by Richard Parr and Sukhdeep Nanua
Camera by Richard Parr
Editing by Richard Parr
Will – Thomas Robinson
Robert – William Barton
Hollie – Hollie Starbuck
Will’s mum – Susan Parr
Make up – William Barton
I've got to go upstairs - The Film
Here is the final edit of "I've got to go upstairs". Enjoy
http://uk.youtube.com/watch?v=5_vFPeIc20Q
http://uk.youtube.com/watch?v=5_vFPeIc20Q
Research
I’ve got to go upstairs – Research
How to create a press release
I was unsure on the layout and how to right a press release, so I decided to search a few sites for information. Here are the sites I used.
http://www.cinema.com/articles/4226/dirty-sanchez-the-movie-press-release.phtml
http://www.bbc.co.uk/bbcfilms/press/londonfilmfestival2005release.shtml
http://www.xenite.org/faqs/lotr_movie/press-release.html
http://www.vocus.com/uksearch/google/pressreleasedistro/index.asp?cid=ukps&gclid=CMDStvOWsZMCFQyN1Qod939mng
http://www.flickernow.org/article413.htm
Interactive Trailer
I had a look at several interactive trailers and normal trailers to help me base my EPK and trailer on, here are the sites I visited to gather this information.
http://www.youtube.com/watch?v=zwXDHSrNFbQ – Magnolia
http://www.youtube.com/watch?v=TrpIWAAU3Cs – Dead man shoes trailer
http://www.youtube.com/watch?v=YLn1y9v6yno – Oldboy
http://www.youtube.com/watch?v=Dc1KzpMnuX0 – Leon
I choose these films to research on because they interest me and they have a level of greatness that I aspire to.
Cinematography
I wanted to create a dark cinematography so I tried to find out the history of cinematography and how to create a solid cinematography.
http://www.precinemahistory.net/
http://www.foxcinematography.com/
http://books.google.co.uk/books?hl=en&id=1JL2jFbNPNAC&dq=cinematography&printsec=frontcover&source=web&ots=PDQRcV-qFj&sig=DxJqKKZhjlBunqvq-dXO6L8-q0Q
http://www.cine-holocaust.de/eng/
Royalty free sound
I wanted to find royalty free sound, to make my film totally independent. Also I wanted a car crash sound, creating a car crash sound would be expensive.
http://freesound.net/
http://www.sonomic.com/affiliate.jsp?code=GOOG&gclid=CJzYlbGbsZMCFQyD1Qodsm91ng
http://www.sounddogs.com/
http://www.royaltyfreemusic.com/sound-effects.html
How to create a press release
I was unsure on the layout and how to right a press release, so I decided to search a few sites for information. Here are the sites I used.
http://www.cinema.com/articles/4226/dirty-sanchez-the-movie-press-release.phtml
http://www.bbc.co.uk/bbcfilms/press/londonfilmfestival2005release.shtml
http://www.xenite.org/faqs/lotr_movie/press-release.html
http://www.vocus.com/uksearch/google/pressreleasedistro/index.asp?cid=ukps&gclid=CMDStvOWsZMCFQyN1Qod939mng
http://www.flickernow.org/article413.htm
Interactive Trailer
I had a look at several interactive trailers and normal trailers to help me base my EPK and trailer on, here are the sites I visited to gather this information.
http://www.youtube.com/watch?v=zwXDHSrNFbQ – Magnolia
http://www.youtube.com/watch?v=TrpIWAAU3Cs – Dead man shoes trailer
http://www.youtube.com/watch?v=YLn1y9v6yno – Oldboy
http://www.youtube.com/watch?v=Dc1KzpMnuX0 – Leon
I choose these films to research on because they interest me and they have a level of greatness that I aspire to.
Cinematography
I wanted to create a dark cinematography so I tried to find out the history of cinematography and how to create a solid cinematography.
http://www.precinemahistory.net/
http://www.foxcinematography.com/
http://books.google.co.uk/books?hl=en&id=1JL2jFbNPNAC&dq=cinematography&printsec=frontcover&source=web&ots=PDQRcV-qFj&sig=DxJqKKZhjlBunqvq-dXO6L8-q0Q
http://www.cine-holocaust.de/eng/
Royalty free sound
I wanted to find royalty free sound, to make my film totally independent. Also I wanted a car crash sound, creating a car crash sound would be expensive.
http://freesound.net/
http://www.sonomic.com/affiliate.jsp?code=GOOG&gclid=CJzYlbGbsZMCFQyD1Qodsm91ng
http://www.sounddogs.com/
http://www.royaltyfreemusic.com/sound-effects.html
Press Release
I’ve got to go upstairs – Press release
Crashing into a cinema near you
“I’ve got to go upstairs” is the newest film written and directed by Richard Parr. Richard Parr is a breath of fresh air for the UK film industry, with his unique approach to directing and dark imagination he has created this tale of unfortunate events where the lead character “Will” (Thomas Robinson) struggles with the guilt and consequence of causing a fatal car crash which involves himself, his best friend Robert Gamble (William Barton) and his long term girlfriend Hollie (Hollie Starbuck).
“I’ve got to go upstairs” is a very atmospheric film, mixing great mundane acting with a quirky soundtrack and a tense edit reveals an intense feature, which will get the audience wanting more after leaving the cinema.
The sublime audio within “I’ve got to go upstairs” really adds to the misc en scene, the ambience and thoughts of Will really gives the audience a sense of pain and anxiety.
Richard Parr directs the film in a way that makes the audience anticipates that within the car crash that Will has caused, his girlfriend Hollie has died. There is several clues to this story line, like Will staring at a photo of them for a moment, Robert suggesting that Hollie will forgive Will for the crash and audio clips of the accident. However, this story line is thrown through the window screen as we find out in a dramatic end that Will is mourning his best friend Robert (who he has a conversation with in the dining room halfway in the film), this twist is entwined with epic audio of the havoc of a doctor trying to save Robert but failing, perfectly synchronized with the realisation of Robert’s tragic death, however to thicken the plot, the Will wakes up at the end, suggesting, this all could of been a dream or some sort of terrible ground hog day experience.
Goober productions are very proud to present “I’ve got to go upstairs” and will be released on the 19th may.
Always wear a seatbelt.
Crashing into a cinema near you
“I’ve got to go upstairs” is the newest film written and directed by Richard Parr. Richard Parr is a breath of fresh air for the UK film industry, with his unique approach to directing and dark imagination he has created this tale of unfortunate events where the lead character “Will” (Thomas Robinson) struggles with the guilt and consequence of causing a fatal car crash which involves himself, his best friend Robert Gamble (William Barton) and his long term girlfriend Hollie (Hollie Starbuck).
“I’ve got to go upstairs” is a very atmospheric film, mixing great mundane acting with a quirky soundtrack and a tense edit reveals an intense feature, which will get the audience wanting more after leaving the cinema.
The sublime audio within “I’ve got to go upstairs” really adds to the misc en scene, the ambience and thoughts of Will really gives the audience a sense of pain and anxiety.
Richard Parr directs the film in a way that makes the audience anticipates that within the car crash that Will has caused, his girlfriend Hollie has died. There is several clues to this story line, like Will staring at a photo of them for a moment, Robert suggesting that Hollie will forgive Will for the crash and audio clips of the accident. However, this story line is thrown through the window screen as we find out in a dramatic end that Will is mourning his best friend Robert (who he has a conversation with in the dining room halfway in the film), this twist is entwined with epic audio of the havoc of a doctor trying to save Robert but failing, perfectly synchronized with the realisation of Robert’s tragic death, however to thicken the plot, the Will wakes up at the end, suggesting, this all could of been a dream or some sort of terrible ground hog day experience.
Goober productions are very proud to present “I’ve got to go upstairs” and will be released on the 19th may.
Always wear a seatbelt.
Friday, April 11, 2008
Buddy scheme
I have taken part in a thing called the buddy scheme, which requires me and a team of students from ntu multimedia to go round schools and talk about our work as multimedia students and tell them about the course as well as university life. I found this experience to quite enjoyable as I can show my work to people who like to get to higher education. Also we visited my old school, so it was defiantly nice seeing my old teachers. But all in all I felt that it was a good thing to sign up to (even though it took up alot of my time which could of been transferred to my 6 minute film) and I'm looking forward to the next stage in the scheme.
Friday, March 21, 2008
Moral 40 second pilot...Les Mantock
This is a 40 second pilot written and directed by Les Mantock. It stars Richard Parr (Me) as Terry and Sukhdeep Nanua as Gavin. This is a test pilot for Les Mantock's 6 minute script called "Moral".
This also briefly shows my acting abilities aswells as Sukhdeep's. Sukhdeep and I have never acted before but we approached by our friend Les Mantock, he asked us for our help. Obviously we were happy to oblige and this is the outcome of a fun filled afternoon.
"I'm just trying to remember my second line"
"What....No!"
*Laughter*
This also briefly shows my acting abilities aswells as Sukhdeep's. Sukhdeep and I have never acted before but we approached by our friend Les Mantock, he asked us for our help. Obviously we were happy to oblige and this is the outcome of a fun filled afternoon.
"I'm just trying to remember my second line"
"What....No!"
*Laughter*
Thursday, March 13, 2008
Reflection cont...
Make up
I have spent quite a lot of money on make up to make the scars and bruising look as realistic as possible. I also got Will Barton to do this for me as he has had a lot of on set make up experience and I felt that the finished product came out quite well. The makeup used was snazzaroo fake skin and a fake cuts and bruises set, professional sfx skin makeup, a syrup based fake blood (made for tv use) and a deep dark red fake blood.
Pre-Visualisation
Frameforge has not been working for the past 3 weeks now, as I am not experienced on frameforge that much, I decided to ask jools if I could make one based on my storyboard, he said it was fine. That has taken a lot of weight of my shoulders.
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