30-1-12 Homework

Presentation

Websex Questions

The non-diegetic sound contains electro pop and dubstep, as it will attract the institutions key demographic- people aged 16-25. This is further reinforced with the voice over, a young mix-raced female; the audience will form a sense of identification with the narrator of the documentary. Also, the tone of the dialogue is almost conversational, which again creates identification (uses and gratification-Bulmer and Kratz 1964). In addition, as the narrator is of a multi-ethnic background, it represents a multi-cultural and liberal society. Also, the inference of a liberal society supports the subject of the documentary, ‘websex’. 

During the documentary there are many close-up shots, this connotes a close glimpse on the issue. The documentary will be focusing more thoroughly on the subject, despite that fact that it is a sensitive topic. In addition, the natural location, such as forests and restaurants suggest sex via the Internet is natural in today’s society. Furthermore, interviewing young teens at school or their education place connote the demographic, which are young people. Also, the images of phones, laptops, and electronics dominate the documentary. This supports the subject of the documentary of the power of electronics and how it affects how lives, including our sex lives. This also reinforces the audience for the documentary, the youth, this is because they are known as the ‘internet generation’.    

The reaction of the audience may vary, depending on age, values, attitude and gender. If they were to be more conservative, they would have values that preclude the idea or the mere mention of the matter. However, for a more liberal audience it would be acceptable for this issue to exhibit. In addition, for both genders it may or may not be an issue. Some audience members may find it problematic, as they might think the documentary is generalising

all teen males and females. This stereotype will not be appreciated, as the public will assume all teens have an urge for sex, they use the internet a lot, and for activates such as meeting people and performing sexual activities in front of a webcam- which may not be entirely true. In the text there are people who use colloquial language. This may present the youth as people who are unable to speak in Standard English. This may perhaps create moral panic: The intensity of feeling expressed in a population about an issue that appears to threaten the social order. The public will consider the issues in the text reflect all of the younger generation, thus they will panic over the morals they are not being upheld or the morals the youth have.  

However, some audience members might identify with the stories the people in the documentary tell. For an older audience, it may create controversy as it could bee seen as encouraging sex via the Internet. However, the documentary does show the dangers of ‘Websex’. In addition, there is a scene where the host/narrator Nathalie Emmanuel interviews a young gay man. This may create debate as some people may be homophobic and will not which to see gay men on television; as it could influence the younger audience.

The text appeals to the audience, as it talks about real life issues, which are seen to be too sensitive to bring to the surface. However, in BBC Three doing this it could help audiences. This is because they might have had the same experience, therefore in raising this issue the audience will identify and perhaps aid them in telling their story. In addition, mentioning a topic such as sex, which is in some societies and taboo or is considered a sin; it creates a thrill for the audience. They are watching something that isn’t really spoken about on television, in this way (a first hand look on the topic, which interviews and the film maker taking part).  

The genre of the text is Participatory documentary. Participatory documentaries believe that it is impossible for the act of filmmaking to not influence or alter the events being filmed. What these films do is emulate the approach of the anthropologist: participant-observation. Not only is the filmmaker part of the film, we also get a sense of how situations in the film are affected or altered by her presence. These conventions are evident in 'Websex', as Nathalie Emmanuel not only observes and narrates, but she also participates in the actions . This shows the audience, first hand how these things are done. 

The subject is given both sides, its dangers and its perks. Therefore, BBC Three are trying to show that although it can be fun and 'harmless', it does have its dangers too. This is BBC's aim, they aspire to inform, educate and entertain. Although, they are entertaining their audience, they are also warning and informing the dangers of 'Websex'. The text has ben distributed via public opinions, surveys and expert opinions. This reinforces the goal of educating the public with supported facts.    

Homework -Fri 20/1

Technophobia: A person who fears, dislikes, or avoids new technology

AUDIENCE

BBC three’s key demographic would typically be 16-34 age group, with a socio-economics band of B2-C3. However, this programme would attract anyone, despite their age, gender, socio-economics class or race. This is because anybody can suffer from a disorder, such as Technophobia. It would also depend upon their attitudes, values, lifestyles, and opinions on this issue. Some people may have a cynical view of this disorder, and may not watch it.

INSTITUTION

This programme will look at the issue in depth, as BBC Three aim to tackle subjects with sensitivity, while making sure to appeal to a younger audience. The institution also attempts to their audiences of their actions through a series of programmes challenging common beliefs, this also creates a sense of identification (Bulmer and Katz 1974).

MEDIA FORMS

This documentary will be observational. This is because Observational documentaries attempt to simply and spontaneously observe lived life with a minimum of intervention. Another example of an observational documentary by BBC Three is 'Dangerous Pleasures Season'. The Dangerous Pleasures Season follows young people's pursuit of pleasure and isn't afraid to show the darker side of tackling challenging subjects head on.

The conventions of the documentary will follow are: 

Location shooting- handheld cameras

Long take dominate

Synchronous (direct) sound recording

No voice over (n it purest form)

No interviews

PRESENTATION

his mode of film eschew voice-over commentary, post-synchronized dialogue

and music, or re-enactments. The films aimed for immediacy, intimacy, and

revelation of individual human character in ordinary life situations. Therefore, the

opinions I would expect to see would be personally and very intimate 

web blog review

Technophobes on BBC Three follows the lives of five people who are

afraid of technology.

It has its typical BBC Three approach, the quirky, intimate scenes,

which makes us wonder, really? Would you say that on television? And we think to ourselves, that maybe that piece of information should have been kept quite.

However, the feeling of embarrassment for the people is quick to fade away when we hear their stories, and how they develop such an odd disorder. We follow these five people, day by day, seeing how they get along with avoiding technology; as it is everywhere we go. The viewers are able to these people avoid things such as cash machines, a phone and even something as small as a calculator, this documentary really allows us to get into the mind of a technophobe. 

Overall, Technophobes is a film aimed for immediacy, intimacy, and

revelation of individual human character in ordinary life situations. However, it is best to keep some details secluded, for everyone’s benefit.  

Voiceover

The voiceover will usually be authoritative, and will encourage the audience to think that they have some kind of specialist knowledge; examples include:

<!-Michael Moore

<!-Nick Broomfield

They have “the right” opinion that people should pay attention to, and agree with. They are the ‘voice of god’.

‘Real’ footage of events

Documentaries are essentially seen as non-fiction, documentaries often got o great lengths to convince the audience that the footage is real and raw. However, editing and voiceover can effect and manipulate the ‘reality’ we, as viewers, see.  This is a form of mediation, where institutions edit in order to influence and induce the audience. For example, Lehni Reifenstahl mediates propaganda documentary, ‘Triumph of the will’ in order to portray Adolf Hitler as a man of power and strength.

Archive footage/stills- too add to authenticity and to add further information which the film maker may be unable to obtain themselves

Five modes of documentary typical conventions

Expository:

<!-Voiceover addresses audience directly

<!-‘Voice of god’ (heard but not seen)

<!-Images use to illustrate

<!-Editing used for continuity- linking images to support arguments.

Documentary conventions- observational mode:

<!-Location shooting- handheld cameras

<!-Long take dominate

<!-Synchronous (direct) sound recording

<!-No voice over (n it purest form)

<!-No interviews

<!-Subjects pretend they are not being filmed

Participatory (also referred to as interactive):

<!-Documentary maker (and crew) interact with subject

<!-Interviews dominate but tend to be formal literally ‘on the run’ questioning

<!-Use of archive material

<!-Location shooting- handheld cameras

<!-Documentary maker is visible to the audience- intervenes and participates in the action

<!-Louis Theroux, Michael Moore  

Reflexive documentary:

<!-Borrows techniques form fiction form an emotional, subjective response

<!-Voiceover usually questioning and uncertain – rather than authoritative

<!-Reliance on suggestion rather than fact

Performance mode:

-Documentary maker comments on the process of making the documentary

-The documentary is often shaped into the narrative of an investigation of an investigation or search, which there may be no satisfactory conclusion to

- Direct and emotional address

-Subject to do with identity – rather than ‘factual’ subject