Issues in factual programming: L/O:2
News
Conventions include:
News readers/ Anchors Field reporters Links to the studio Direct mode of address to the audience Interviews- experts & witnesses Actuality footage |
News readers/ Anchors: News readers are the people who are responsible for verbally delivering the news to audiences. They talk straight to the camera as to the viewers- so the viewers feel they are talking to them specifically.
Field reporters: Field reporters are news reporters that travel to where breaking news/ the news is stemming from and report on the situation with what information they can collect. Field reporters often have a link from the studio and report on the news live from the situation often as it unravels. Links to/from the studio: During news programmes links to and from the studio are frequent occurrences, and example is during a section of the news where a field reporter is present at the event/situation the anchor will link to the reporter, and after the reporter has relayed all of the information that they have managed to collect they may then link back to the studio so the news will continue from the studio. Direct mode of address: All news programmes have a direct mode of address to the audience. Viewers are directly addressed by new reporters and anchors because the purpose of the news is to inform audiences [the public] of current affairs. Interviews: Interviews are a common convention of news reports. Interviews are conducted with either witnesses or experts; in a news report of an event, witnesses are often interviewed to enhance a news report and give it more validity and reliability- interviews with experts also improve and enhance news reports in the same way. Viewers often feel comforted when experts are consulted because they can provide more information for the viewers. Actuality footage: Actuality footage is non-dramatised footage of an event that is often captured by a member of the public/ an amateur. Actuality footage is often used in reports of disasters because to have the best impact on viewers, they need to actually see the damage and the devastation. AS disasters cannot be predicted news crews are unable to film them as they occur so news reports have no option but to reply on amateur footage. |
Documentary:
Conventions include:
Documentary formats- expository, observational, interactive, reflective, performative) Realism Dramatisation Narrativisation |
Documentary formats:
Expository: documentaries of a expository format are documentaries that talk directly to the audience, through a commentary/ voice over or a presenter. The voice over usually provides information that relates to what is being shown to the audience- the voice over can commentate the video or provide extra relevant information. Observational: Observational documentaries are programmes that usually follow the life of someone/ group of people or an event/ a happening, without interviews or presenters, the programme simply just shows a story as it develops. These documentaries can be for entertainment and informative purposes. Interactive: Interactive documentaries also known as web or multimedia documentaries are different to traditional film documentaries. They incorporate different media platforms and are non-linear productions. Interactive documentaries incorporate media forms such as, video, photography, audio, animation and inforgraphics- they have a different experience to comventional video documentaries as viewers can actively choose to be involved, if the documentary offers that option. Reflective: Reflective documentaries are documentaries where the audience are aware of the process of the documentary. The film maker acknowledges their presence and presents them self to the audience, they may even offer narration to documentary. These documentaries are often considered experimental because audience care just as much about the process of the production of the documentary just as much as they care about the actual content. Performative: Performative documentaries are dramatised documentaries. They include reconstructions and emotion provoking footage to force the audience to have a response. #unlike a fact filled formal documentary that is to inform audiences, performative documentaries focus more or emotional situations/ stories that will make viewers have an emotion response, viewers become emotionally invested in the programmes and become engrossed in the storyline, they care more about the subjects and their stories than the facts. Realism: Realism in documentaries is very common, it is the depiction of people, facts, events experiences accomplished through being both accurate and truthful. The documentaries are intermediated and consist of authentic information and footage, it is true to life. There is no bending of the truth of exaggeration. An example is Murderball it includes realism because although it has elements that are categorised as narratism or dramatisation, there are elements that are pure realism. A part of the video that is described as realism would be the interviews conducted with the subjects as they are simply answering truthfully and/or telling true personal stories. Dramatisation: Dramatisation is the reconstruction of an event in a dramatic form for entertainment purposes. This can mean exaggerating and possible scripting. These scenes/ sequences engage the audience because they are entertaining and often exciting in one way or another. An example of this within Murderball are the huddles of which the coach stereotypically motivates his team by shouting and ramping up spirits in an over the top manner. Narrativisation: Narrativism in documentaries is communicating events or experiences to audiences in narrative from (storytelling), in order for the audience to better understand them. The audience feel as they are reliving the events/experiences with the subject and create a relationship with the characters while watching them develop. Wish narrativism the documentary will have a motive with what the story will portray and how audience will respond. Murderball 2005, is an example of narrativization because it tells personal stories of different players/ subject in the documentary, a specific example is Zupan’s back story. |