105mc book by ChurchyXD

Contents

Chapter 1: Introduction by Niki Tsvetkov 3 Chapter 2: Audience by Dipika Sharma 5 Chapter 3: Representation by Linda Horlali Cudjoe 12 Chapter 4: Genre by Oladeji Adegboyega 19 Chapter 5: Narrative by Jack Church 26 Chapter 6: Conclusion by Niki Tsvetkov 33 Bibliography 39

Chapter 1: Introduction 105MC: Key Concepts in Media and Communications Nikola Tsvetkov Student Number: 5161650 Link to Book: http://issuu.com/churchyxd/docs/105mc_book/0 Link to Documentary: http://vimeo.com/groups/72hour/videos/111827989 Documentary is the presentation of factual information about real people, places and events, generally portrayed through the use of actual images and artefacts. (Bernard 2004:2) “My Dance with Flamenco” is a poetic documentary based on a true story, which aims to introduce Rosa Maria’s journey and the realisation of her true passion. Flamenco arose in a southern region of Spain, Andalucia, evolving from the interaction of many migrating cultures and especially the Gypsies. Flamenco dance consists of several parts. The dance (baile), singing (cante), music (toque) and the rhythmic hand clapping (jaleo) that is most recognizable among the parts. “Flamenco is more than just an art, it is the way of looking at life, an integral form of feeling the cosmos and the small world of one’s own personality” Rafael Lafuente. Its subgenre shows a heavy concentration on the power of the image and editing. There is not an emphasis on the transfer of information about the historical world, but rather the filmmaker seeks to evoke emotion in the audience in a reference to a subject. Often relies heavily on music to create emotion. This is how the poetic mode reveals and express а multiple wave of feelings in the audience, trying to insert a strong communication through the music. There is not much camera movement, mainly because the ‘target’ is moving smoothly and slowly, revealing a story based on her life, expressed by higher form of art. Here we come up with the encoding-‐decoding theory developed by Stuart Hall (1973), which approaches of how the media messages are produced, disseminated and interpreted by the people. Depending on an individual’s cultural background, economic standing, and personal experience. In contrast to other media theories that disempower audiences, Hall advanced the idea that audience members can play an active role in decoding messages as they rely on their own social contexts, and might be capable of changing messages themselves through collective action. The music is accepted as a dialogue between two singers, a dialogue between the singer and the guitar player and between the song and the dance. This is how the flamenco explains its strong character. Rosa Maria has faced many difficulties in her life but yet she still stays strong and you can hear words like ‘love’, ‘respect’, ‘life’, and ‘passion’. But at one point she had to face on and to take a very important choice in her life. She had to complete two more years of studying law or to choose her life and passion, which is the flamenco. So she listened to her heart and made a wise choice, which gave her more confidence and reliability until today. They say that the flamenco is something more than music. It is a worldview, attitude towards life, love and death, art and towards the human destiny. The flamenco is fulfilled with strong and emotional experiences. The dance and the

playing guitar – everything is summoned to recreate an image of love, passion, suffer, separation, loneliness and the burden of everyday life. There is no such a feeling that cannot be expressed through flamenco.

Chapter 2: Audience 105MC: Key Concepts in Media and Communications Dipika Sharma Student Number: 5622117 Link to Book: http://issuu.com/churchyxd/docs/105mc_book/0 Link to Documentary: http://vimeo.com/groups/72hour/videos/111827989 “The audience for any media product is simply those people at whom the text is aimed and/or those who are likely to watch it” (Dawkins and Wynd 2010: 12). Whilst the actual audience may be anybody, our documentary, “My dance with flamenco” specifically targets males and females in the age bracket of 16-‐25. My dance with flamenco is about a dancer who talks about the dramatic turn she took from a more ‘traditionally prestigious career’, law to Flamenco dancing. There are key concepts to take in to consideration when creating any type of media product; these mainly consist of narrative, audience, representation and genre. Understanding these concepts is key as it “means that you can not only effectively analyse existing media products but also make your own production more creative and critical” (Dawkins and Wynd 2010: 8). Audience is an important concept in media as all texts are produced with a target audience in mind. A set target audience gives the writer clarity, purpose and understanding of how key concepts and themes should be portrayed appropriately to engage a specified audience. Furthermore it gives the piece consistency throughout. When creating the documentary all camera shots, editing techniques and music used were ones that would keep the specified target audience engaged throughout. An example of this is how we used a close up camera shot of the flamenco dancers feet, a long shot of the man playing the guitar and then a mid-‐shot of the flamenco dancer all one after the other. We used straight cut effects between each of these shots which created a fast pace effect for the video. This would stimulate the mind of young adults and therefore would keep them intrigued throughout the documentary. Poetic documentaries are “documentaries which rely upon a more abstract, lyrical form” (Dawkins and Wynd2010: 199). The documentary follows the conventions of a poetic mode in that its' abstract and lyrical features stand out. Lyrically, my group and me believed that this piece would naturally appeal to 16-‐ 25 year olds as they could relate to the difficulties in life and career decisions that have to be made at that age just like the flamenco dancer. Another reason why a younger audience was targeted is because stereotypically, young adults tend to have a lower attention span-‐ therefore my dance with flamenco was created in a way in which there were consistent themes but continuous change

of rhythm. We decided to portray the life of a flamenco dancer and her underlying passion for Flamenco dancing through a more lyrical and abstract way. We did this by making the documentary more musical and more upbeat rather then your standard ‘boring’ documentary. This was done through the use of fast pace music. Within the documentary, you have the flamenco dancer talking about her passion for flamenco dance and about how she came as far as she is now. The music is playing as she is talking which is what helps the audience understand the dancers emotions more. Whilst the flamenco dancer was dancing and talking about how she is very happy with the path she chose to take, the music was fast paced. However, when she talks about how he father wanted to her to be a lawyer etc, the music used in the documentary was very slow and draining. This allowed the audience to sympathise with her feelings more. Targeted audience is an extremely important key concept in the media industry. There are however some limitations and drawbacks to having a specified target audience. Firstly, it can be more time consuming to create the media product aimed at one specific audience as, a lot more background research has to be out-‐carried into the target audience before creating the finished product. This is because key concepts and themes have to relate to that audience. For example, you wouldn't play classical music at a rock concert as this would be highly conflicting and not to the likes or expectation of the audience. Secondly, giving a piece a target audience means that naturally the media product will not appeal to all mainstream audiences of any type. It may only be of interest to a certain group of people and therefore wouldn’t gain popularity in the same way that a more mainstream, less targeted piece would. As we decided to go with a target audience, to engage them and offer clarity throughout our piece, we used effects of camera shots, music and lighting. More specifically, the execution of effective camera shots was imperative in mastering such communication and we did this by using close-‐up camera shots to help focus on the facial expressions of the flamenco dancers, which we thought was the most effective way of communicating their emotion. Looking back at the historical context of the ‘audience’ one of the theories to take in to consideration is ‘The Hypodermic Needle model’. This is a model of communication which suggested that information from a media product passes into the mass consciousness of the audience without any thought which leaves the intelligence and opinion of individuals not considered. This model was rooted in the 1930’s and suggests that the audience may be manipulated by the creators of the media product which would result in the audience’s behaviour and thinking being altered. (Slideshare 2011) Although this theory is considered obsolete today, it is a historical point which shows how audience first came about. Referring back to our documentary, this theory still had some implications

upon it despite being considered out-‐dated seeing as our documentary could manipulate the audience in to having a positive view of the flamenco style but more importantly the gypsy culture. Historically, Flamenco dancing was stereotyped negatively. It was used in the media as ammunition to expose the Spanish gypsy culture in a violent way. We created a unique twist on the representation of flamenco dancing in our piece and successfully portrayed the dance in a positive, tranquil light through the employed tactics of effective lighting, sound and camera shots. The dance was therefore shown in a more positive light then ever before giving our dancers a chance to show their passion and our audience the opportunity to feel it.

Chapter 3: Representation 105MC: Key Concepts in Media and Communications Linda Horlali Cudjoe Student Number: 5653557 Link to Book: http://issuu.com/churchyxd/docs/105mc_book/0 Link to Documentary: http://vimeo.com/groups/72hour/videos/111827989 Representation theories were also another production process we considered looking at. “Representation can be defined as the construction in any medium (especially the mass media) of aspects of ‘reality’ such as people, places, objects, events, cultural identities and other obstruct concepts. In 1926 John Grierson created the word ‘Documentary’ and described it as a creative arrangement of reality. This therefore meant the things or people represented in our documentary have to be real and every information has to be as factual as possible. Documentaries were first started/created by the Lumiere Brothers in 1895, they were not exactly called Documentaries during those times, but rather they were called “Actualities”. These films didn’t have editing, no script. Films were filmed like documentaries; cameras were placed at one place and whatever was happening at that period of time was filmed and nothing was staged. However you could not make sense of these films, as they had no narrative, genre, target audience and had not being edited. But it did have representations of reality. We therefore had to look at the different types of representations to use in our poetic documentary to make it as factual and informative as possible. “Documentaries are cultural artefacts and as such they are always representations of a selected events and not the events themselves” (Kochberg 2002: 72). Therefore to represent the reality of Flamenco throughout our documentary we used a few clips and edited them into montages. The whole documentary was based on a woman telling her story on how Flamenco was all she wanted to do but it wasn’t approved by her parents. We therefore captured live clips of people dancing and through this showed their passion for dance as the passion the woman had for Flamenco. To enable us focus on what exact codes and conventions to use to enable us grasp the attention of our audience the right representation need to be used. As Kochberg stated “no media product is made without a specific idea of the target audience is, as the audience is at the centre of all media study” (Kochberg 2002: 59). Therefore using different representations helps them make sense of the subject /issue at hand. To capture the attention our audience we therefore used different shots, angles and sound. The real life footage captured from professional dancers was used; close up shots of them i.e. their facial expressions, their body movements etc. These therefore helped us to send across the right emotions through to our audience. Without the footage captured we would not have being able to represent the reality of the subject being spoken about in the documentary.

Representation could be perceived in a different way to reality. As Branston and Stafford said “However realistic or compelling, they never simply present the world direct” in our documentary we tried to emphasise on the realism of the subject being spoken about. The poetic genre portrayed throughout the documentary made it simpler for us to represent things in the most realistic form. The use of different sounds also made the representation of reality possible; we had both diegetic and non-‐diegetic sounds. Referring back to the statement made by Branston and Stafford “documentaries are always a construction, a representation, rather than a mirror” (Branston and Stafford 2010: 106), therefore we created some part of the reality of the documentary by the use of a soothing soundtrack which makes our audience feel as if they were there when the story was being told. This therefore explains that not every representation of reality in a documentary is not staged. In order to get through to an audience and make them understand certain things would have to be put in place. An example for instance is the ‘Arrival of a train at La Ciotat’, which was the first film ever made; this could have being described as a “Documentary” because of the representations of reality. However as it had no plot or narrative it didn’t exactly make sense. This is why one can say that the representation of reality has being developed greatly over time. In this modern day one cannot exactly present reality as it is to an audience as everyone takes in things differently therefore one has to include certain editing techniques to get through an audience. Representation of reality plays a big role in the making of a documentary. This is because a documentary is meant to be factual and informative and the only way to show this is to represent real life stories or capture actual moments of things happening. (litmuse) However this is not the same when being watched by an audience as “they are not watching reality but a recorded representation of what it once was”. That is why their things used to represent reality in documentaries have to make an audience feel as if they were there. Just like Roy Stryker said “ A good documentary should not only tell what a place or a person or a thing or a person looks like, but it must also tell the audience what it would feel like to be an actual witness to the scene”. T. Bennett argues, “Representation is not the same object as the reality it represents, but if Representation is different from its object how can it stand for it truly?” This is why when documentaries are made they must not be biased, doing this enforces that it is factual and not a one sided opinion of the director. (Gunthar) Our documentary would not be perceived as biased as it was a true story and was being told by the actual person who experienced so many things because she loved Flamenco and choose that as a career path instead of doing law. Focusing and capturing live performances of dancers helped us to represent the reality of the story being told and how Flamenco was perceived. Without the use of the different types of editing techniques representing reality would not have been accomplished in this documentary.

Chapter 4: Genre 105MC: Key Concepts in Media and Communications Oladeji Adegboyega Student Number: 56538015 Link to Book: http://issuu.com/churchyxd/docs/105mc_book/0 Link to Documentary: http://vimeo.com/groups/72hour/videos/111827989 Genre – How was it achieved?

‘Are genres really ‘out there’ in the world, or are they merely the constructions of analysts?’ (Stam 2000:14) In order for the audience to have a familiar understanding of a text they need to know what to expect and this is done through repetitive conventions that pop up throughout a genre. Without having to actually compare our documentary to ‘Solveig’s Homecoming (Part 1)’ (Lee, 2012) an audience would be able to spot similarities. Even though they are two total different concepts, similar characteristics feature in both documentaries forming the sub genre. The sub-‐genre of our documentary was poetic according to the six modes of documentary named by Bill Nichols. This type of genre included an unclear narrative where the audience themselves had to find an inner truth or deeper meaning. Being the editor of the finished product my aim was to present a modernised and exciting poetic documentary that would hook and appeal to my young target audience of 18-‐35 year olds. As Branston and Stafford argued ‘conventions, precisely in order to survive, need to be able to adapt and shift.’ (Branston and Stafford 2010:77) so I had to do this in an innovative way while still portraying an avant-‐garde style. The special effects and transitions were all in place to passively keep the audience engaged and to achieve the dreamy, modern styled look that would appeal to their taste and directly fit the genre ‘no media product is made without a specific idea of the target audience… audience is at the centre of all media study.’ (Kochberg 2002:59). (Neale 1980:27) Neale argues that ‘genres work on two, apparently paradoxical, levels: repetition and difference. At the level of repetition, certain signs will exist in most programmes within the genre and will be organized by the same codes thus marking them out as being within the genre.’ The use of the distortion gave it an old feel and look while maintaining the modern day HD image quality helping to keep the documentary contemporary and unique whilst mirroring features of ‘Every Harlot was a Virgin Once’ (Riley, 2012). Through visual codes I was able to achieve the dreamy look by overexposing the highlights, which made the light look blurry instead of sharp never showing a clear image representing a distorted reality. The fast paced cuts and lack of a continuous and stable shot with dialogue from the clip presents many different narratives for the audience to follow. This helped with disguising the true meaning within the documentary and enabling the audience to have to decode the true meaning to them which may vary as ‘people will get different meanings from the same documentary.’ (Kochberg 2002:61). The distortion effect and overlapping of videos is used to

distort the mind of the viewer. When they think they have grasped what they perceive to be the meaning, the lack of continuity opens their mind to new thoughts and possibilities. Audio was also an important feature of the documentary. The Flamenco soundtrack helped to involve the audience within the story and constantly reminded them that although the story wasn’t clear this was about Flamenco. Using personal pronouns through the non-‐diegetic sound was key to ensuring the documentary remained subjective. As the word ‘”I” was used, the viewer could substitute the ‘I’ for themselves and be able to empathise. For example the dialogue used in the documentary expresses personal opinions only, for example “I followed my dreams” and “I’m very happy” allowing the documentary to be based on personal influences and feelings a key convention of the genre. Instead of developing characters a number of characters are introduced but are never heard from. This combined with the mystery female dancers is done to make the audience question who’s story it really is, which is the point as it is not just one persons story but a whole group of people that can relate to it. As well as this leaving them unidentified doesn’t specify who the main protagonist is enabling each character to have a different meaning to viewers. This type of editing is common in poetic documentaries such as ‘Koyaanisqatsi’ (Reggio 1982) where many characters are introduced but none are given a specific role. Furthermore the characters are all portrayed positively and have no negative associations attached to them through dialogue. The positive representations of the women are done to add to the positive view of Flamenco that we are displaying. The hardest part of the task was capturing footage without knowing what genre was actually selected for us. Because of this we had to capture a variety of different shots that would be able to fit with all sub genres that were likely to come up. However an advantage of doing a poetic documentary was that the shots used didn’t need to have direct relevance to each other as it was up to the audience to find meaning within. So when we were given the poetic genre this helped, as I was able to easily select the shots I needed to form the narrative and complete the documentary. ‘Documentaries are cultural artefacts and as such they are always representations of selected events, and not the events themselves’ (Kochberg 2002: 72) so throughout the process of editing the documentary keeping Flamenco in a good light was key. Towards the end of the documentary the audience has been bombarded with so many personal opinions of Flamenco changing their existing perspectives of it. The main protagonists success story, whoever it may be, is then finished. It is then up to the audience to decode the meaning from the text. The overall aim of our poetic documentary was to emotionally appeal to our audience sticking to the conventions religiously. I feel we managed to do this successfully and our documentary would be able to be identified alongside another poetic documentary.

Chapter 5: Narrative 105MC: Key Concepts in Media and Communications Jack Church Student Number: 5668805 Link to Book: http://issuu.com/churchyxd/docs/105mc_book/0 Link to Documentary: http://vimeo.com/groups/72hour/videos/111827989 Narrative plays a huge part in not only media but also in our life. It tells a story and every single piece of media will have some sort of story to it, weather it’s a news article or a film or a documentary. Without a story it becomes an uninteresting piece of meaningless words and we lose the attention of our audience. For a story to be told it has to be told in a sequence of events that all link up together at the end of it all leaving no loose ends. A simple way of putting this is ‘the narrative object is a more or less chronological sequence of events’ (Metz 1991: 19) now although some may argue that it doesn’t have to necessarily be chronological there still have to be a sequence of events that fit together to tell the story. Even in our own documentary the poetic sub-‐genre can make it unclear as to whether it’s chronological or not but there is still a narrative told clearly by the narration. The narrative simply is about a women who is very passionate and has a lot of respect for the flamenco art of dancing but struggled at an early age due to certain stereo-‐types that would follow her but ultimately was able to follow her dreams and even make a living out of doing so. We live in an unfortunate modern day world where everyone is stereotyped and there’s no possible way of escaping this. It has even been said that ‘stereotypes…are a necessary, indeed inescapable, part of the way societies make sense of themselves’ (Dyer 2000: 12) Now this can be applied to so many different cultures and societies however this strongly effects gypsies in the way the media portrays them creating these stereotypes. One of the biggest problems for the gypsy culture would be the Channel 4 programme ‘My Big Fat Gypsy Wedding’. This programme has amplified an already negative view towards gypsies as unfortunately negative news is usually more interesting and engaging than positive news meaning it will be advertised more which breeds this negative view from the public towards the rest of the gypsy culture. According to Booker (2005) there’s only a grand total of seven stories that have ever been told, each time only using different characters, different objectives and different locations and this documentary is no different. In fact our documentary is a brilliant example of the Cinderella, rags to riches story (Seven Plots) in which the main character rises from poverty to a position of power and love such as how in our story Rosamaria begins life with a secret love of flamenco but has to keep it that way due to how it is portrayed by others but eventually ends up doing what she loves and also makes a living out of it by rising to a position of power. When considering stories and narratives you can never forget Vladimir Propp (1928) and the many theories he has contributed to the media world although one theory in particular stands out for me. In Propp’s character theory he states that they’re a grand total of 7 characters (Media Know All), which are essential for each story to help progress, this can be applied to

most films and TV shows that we watch today but I also believe our documentary is no exception. The main 3 characters involved would be the hero, the villain and the princess. The hero would be depicted as the true form and style of flamenco and gypsy culture, the one that the media unfortunately fails to see. This would make the villain the media, as they are the one’s portraying gypsies badly with programmes such as ‘My Big Fat Gypsy Wedding’ giving the public a false view on the culture and having a major effect on the opinion of them by the general public. Now the princess is often a goal and at the end of the story the hero will marry them but that doesn’t mean the princess has to be a person, the princess could even be a theoretical object making the princess in our documentary the flamenco dance that Rosamaria so desperately loves. There’s also one more noteworthy character and that would be the false hero, they claim to be the hero and can even try to marry the princess. In the case of our documentary the false hero would be the version of gypsy cultures portrayed by the media, which ultimately marries them to the princess and anything else associated to the gypsy culture. They’re three characters left, the first one is the dispatcher who sends the hero on their journey, in the documentary that would be the agent that gave Rosamaria the chance to work all over Europe. The last two are the helper and the donor now they can sometimes be combined together. (Faculty) In the case of the documentary these two are combined together and the donor/helper gives the hero something to help them on their journey and will assist them. This would make the donor/helper the people spreading the good word of flamenco and gypsies, putting out the positive word and revealing the false hero as the fraud allowing for the hero to marry the princess. Now this may be a lot to take in but this is just my view and the beauty of it all is that ‘people will get different meanings from the same documentary.’ (Kochberg 2002: 61) This will happen a lot in the media, not just with documentaries but also with some films although it is more common in documentaries. The problem is that ‘however realistic or compelling…they never simply present the world direct.’ (Branston and Stafford 2010: 106) as hard as any documentary tries it can never show the world for what it truly is, it can never be fully impartial. A decision has to be made to decide what shots to get then a decision has to be made on what shots to use so it’s inevitable and impossible to make a completely unbiased documentary. Poetic documentaries can prove to be even trickier as the meaning can become clouded in confusion if the audience doesn’t really understand it and this is no different to our own documentary. Filmmakers can often find audiences getting a different message from a film as opposed to the message they were trying to send so it’s important to break down these films and analyse them to find their true meaning.

Chapter 6: Conclusion 105MC: Key Concepts in Media and Communications Nikola Tsvetkov Student Number: 5161650 Link to Book: http://issuu.com/churchyxd/docs/105mc_book/0 Link to Documentary: http://vimeo.com/groups/72hour/videos/111827989 In relation with this documentary, “Man With a Movie Camera” (1929) by Dziga Vertov is an example of another poetic mode of silent documentary in which the music is able to recreate an atmosphere and feelings among the audience. We can hear the proper music and sound for the particular place or event shown in the movie, which works, brilliant in a way to affect the audience. Another instance where Dziga Vertov says about a technique which he believes trains the audiences perception skills: “I make the viewer see in the manner best suited to my presentation of this or that visual phenomenon. The eye submits to the view of the camera and is directed by it to those successive points of the action that, most succinctly and vividly, bring the film phrase to the height of depth of resolution.” (Kino-‐Eye 16) The way that the flamenco documentary is trying to achieve is almost the same thing, which Vertov says. It is about to make the viewer precisely to see insight these actions, which the flamenco documentary is trying to show, basically the dance that is on of the main topics. Of course both of the documentaries have many differences. “My Dance with Flamenco” has a based story that is developing through the whole film. And the common things between the two documentaries are probably the life, motion and the progress they lead. “Man With a Movie Camera” has been developed without its own story but when I watch the different events, of course with the help of the music, sound and image in it, I am able to create my own story. So that proves how the audience is playing a major role in the media world. The visual and sound parts are the main spheres that combine together so we can receive a proper message to tell us about the story, genre, audience, language, ideology, codes etc. It is not necessary that all of the viewers should read that message in the same way as the others, mainly because everyone has its own understandings of seeing media, it reacts in a different way to different people. For example, the flamenco is trying to show a really positive side of the Gypsies, showing a harmony, love and respect. While many people around the world would neglect this topic, even if they watch a hundred of documentaries of this specific flamenco lifestyle. They would never show some positivism about it, until they do not feel it or live with it. These documentaries are not about to force the people to accept a side or a culture or anything, it is about showing a media or a message which the viewer receive in a way, (positive or negative) and then reads this piece of media, that creates a two-‐way communication which everyone understand or decode, differently.

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