Narrative Structure - Unit 11

Story & Narrative: 

Story: Story is not a synonym for narrative. Story is the plot line of whats happening gets told but gets changed a lot overtime.

Narrative: Narrative structure: how we decide to tell the story. Same set events gets told.

Agency: The key driver for the narrative.

3 act narrative structure: 

Beginning:

Middle:

End:

5 act Classic Hollywood Structure:

Exposition: Key characters , locations

Development: You get to know more about the characters.

Complications: When something bad happens

Climax: When the problems gets solved.

Resolution: Happy Ending

Linear: story happens in this order.

Non- Linear: All these stages happens but the stages are jumbled up which often causes the story to be quite frightening and keeps you on edge. 

BBFC letter - unit 41

127 Highstreet 

Linton

Cambridge

CB21 4JT

20/12/2014

07533089121

dayna_crawford@hotmail.co.uk

Dear Sir/ Madam,

I am contacting you regarding the submission of my film "Behind the doors of Wesley West"not be considered for classification.

Ideally i would like this film to get a PG certificate and the reasons for this is because it has no violence, drug or sexual refrences.

If you have any opposition regarding the certificate I have chosen, or feel another certificate is best suited for my film, please let me know

yours sincerely,

 Dayna Crawford

BBFC Research - unit 41

BBFC RESEARCH

who is the BBFC and what is their role?
BBFC - "British board of film classification" or otherwise known as "British Board of Film Censors."
It is a Non - governmental organisation funded by the film industry and is responsible for the National classification and censorship of films in the United Kingdom.
Their requirements are to classify videos, DVDS and video games to a certain extent as some video games are under the 'video recordings act of 2010'.

History
The BBFC was established in 1912 as a 'British Board of Film censors' by members of the film industry and began operating on 1 January 1913. Its legal basis is the "Cinematograph act of 1909".  This is because cinemas have to have licenses from local authorities.
This was introduced for safety reasons after a number of cases of nitrate film fires in unsuitable venues (shops that had been changed into cinemas.) however, in the following year, court ruling determined the criteria of granting or refusing a license.

In December 1986, the first computer game to be certified by the BBFC was an illustrated text adventure of "Dracula" which received a 15 certificate but also the first computer game to receive an 18 certificate on the 11 December 1987.

Age certificate:

Symbol	Name	Consumer Advice	Recent examples
	Universal	All ages admitted, there is almost nothing unsuitable for children.	Turbo The smurfs 2
	Parental Guidance	All ages admitted, but certain scenes may be unsuitable for young children. Should not disturb children aged 8 years or over. May contain mild language and sex/drugs references. May contain moderate violence if justified by context (e.g. fantasy). Parents may wish to check the film before they let their children watch it.	Wreck - it - Ralph
	12A	Cinema only. Introduced in 2002. Films under this category are considered to be unsuitable for very young people. Cinemas are only permitted to supply tickets to see a 12A-rated film to children under the age of 12 years if they are accompanied by an adult, aged at least 18 years. However, it is unlikely to be suitable for children under the age of 12. Films under this category can contain mature themes, discrimination, soft drugs, infrequent strong language and moderate violence, sex references and nudity. Sexual activity may be briefly and discreetly portrayed. Sexual violence may be implied or briefly indicated.	Iron man 3, The hunger games: Catching fire.
	12	Home media only since 2002. Suitable only for persons aged 12 years and over, not to be supplied to anyone below that age. It is illegal to knowingly rent or sell a 12-rated VHS, DVD, Blu-ray Disc, UMD or game to anyone under the age of 12. 12A-rated films are usually given a 12 certificate for the VHS/DVD version unless extra material has been added that requires a higher rating. The content guidelines are identical to those used for the 12A certificate.	Les Mis, The perks of being a Wallflower.
	15	Suitable only for persons aged 15 years and over, not to be supplied to anyone below that age. It is illegal to knowingly rent or sell a 15-rated VHS, DVD, Blu-ray Disc, UMD or game, or supply cinema tickets for a film with this rating, to anyone under the age of 15. Films under this category can contain adult themes, hard drugs, regular use of foul language and limited use of very strong language, strong violence and strong sex references, and nudity without graphic detail. Sexual activity may be portrayed but without any strong detail. Sexual violence may be shown if discreet and justified by context.	The heat, Mama
	18	Suitable only for persons aged 18 years and over, not to be supplied to anyone below that age. It is illegal to knowingly rent or sell an 18-rated VHS, DVD, Blu-ray Disc, UMD or game, or supply cinema tickets for a film with this rating, to anyone under the age of 18. Films under this category do not have limitation on the foul language that is used. Hard drugs are generally allowed, and explicit sex references along with detailed sexual activity are also allowed. Scenes of strong real sex may be permitted if justified by the context. Very strong, gory, and/or sadistic violence is usually permitted. Strong sexual violence is permitted unless it is eroticised or excessively graphic.	Django unchained
	Restricted 18	Can only be shown at licensed adult cinemas or sold at licensed sex shops. It is illegal to sell a film with this rating to anyone under the age of 18, and it is illegal to sell a film with this rating by means of mail order, or online or by telephone. Films under this category always contain hard-core pornography, defined as material intended for sexual stimulation and containing clear images of real sexual activity, strong fetish material, explicit animated images, or sight of certain acts such as triple simultaneous penetration and snowballing. There remains a range of material that is often cut from the R18 rating: strong images of injury in BDSM or spanking works, urolagnia, scenes suggesting incest even if staged, references to underage sex or childhood sexual development and aggressive behaviour such as hair-pulling or spitting on a performer are not permitted. More cuts are demanded in this category than any other category.[23]	N/A

Legal Backing

The BBFC has no legal power, films don't have to be submitted for classification as it falls to councils to decide who should be admitted and who shouldn't. It generally applies to the BBFC certificates making them legally binding. In some cases however, councils may impose their own conditions either raising of lowering the minimum entry age for certificate. Setting their own minimum entry age for films that may have been refused by the board or that have never been submitted for BBFC certification. Before 1985, there were no legal binding ratings on video releases. The video Recordings act of 1984 introduced new legal powers to certify video releases independently from any existing cinema certificate. 

Coraline Case study:

 

Director: Henry Selik 

Year: 2009

Status: PG Uncut

Why did the BBFC settle on PG for Coraline?

BBFC guidelines for junior categories notes that PG has some scary moment as has a "rollecoaster effect" like Jurassic Park or Lord of the rings: The fellowship of the ring.

Coraline arrived at the BBFC with a PG category request as it is based around a children's book by Neil Gaiman and is a stop - motion animated film similar style to "Nightmare Before Christmas and "The corps Bride." 

At PG, the BBFC guidelines allow some elements of 'horror' along as it meets the criteria that there are not too many "frightening sequences" and are not too intense. The film has to have a positive and reassuring outcome for the BBFC to consider it as a PG.  Examiners noted a general air of creepiness of spookiness running throughout the film and despite the scariness, the film features a number of elements that reduce the intensity of frequency scenes. This includes moments of comedy and fun like silly songs, performances by dancing mice and the strange behaviour of the amusing and colourful neighbours. There is also, a lot of emphasis on the reassuring, happy ending.

Rushes Log and Edit decision - unit 41

This screenshot is of clips that I have used in my documentary. The highlighted ones are of ones that are the most important and the ones that I have mostly used in my documentary.

This shows a screenshot of some of my timeline sequence and how I have set the edit out to have my music running through the whole thing at the bottom of the rest of the clips I have to create a continuous sequence.

draft script - unit 11

story structure diagram - unit 11

This is the outline of my documentary

script draft - unit 11

Peer feedback:

The feedback i received was to take out some of the speech in which the interviewer says about Alice. I was also advised to edit the script to make it more direct and more forward due to the fact that i will not actually be filming this documentary i could include more questions of a personal nature.

I was also advised that if i was to structure the questions to the Alice's family much better the structure of the script would be much better.

Set Design - unit 41

I plan to film in 3 different locations 

Wesley's house
Wesley's garden
Wesley's workshop.

As i want the documentary to be an accurate reflection of Wesley's life and home, i docent plan on changing or rearranging anything in his house, garden or workshop.

I plan to leave everything where it is, although i will think carefully about where to place the camera and the subject in the room.

 For my first interview, I am landing to situate this in the living room. This is because it is a homely and relaxing place to conduct an interview. I plan to follow the rule of thirds and i plan to place him to the right of the screen in a mid shot. I picked this areas as its subtly shows off his work in the background/ on the walls so it emphasises his creativity and achievements.

For my second part of the interview, Wesley will be giving us a tour of the garden. This will be spontaneous and won't be thinking too much into set design as we will be following Wesley and he'll be deciding what he wants to show us. We'll be alternating from focusing the camera on Wesley to focusing it on his models.

Lastly, for the third interview, i will shoot Wesley still, in front of his models and equipment that are in his workshop. I will obey the rule of thirds and the shot will be a close up head shot. I will interview his sitting down talking and also some will be him standing up, working on his current project. I will position the camera so that the audience can see a bit of his desk and what he is working on.

Documentary Treatment - unit 41

Title: The title of my documentary will be 'Behind the doors of Wesley West'

Synopsis: This documentary shows Wesley's unique work that he's been previously commissioned to make and work that he's made from scrap metal that he's found lying around. Interviews also take place to tell his story as to how he started off and what inspired him to follow this career path.

Themes and concept of the film: The documentary stars Wesley West and his years as an Advertiser and artist. The documentary will deal with themes such as ambitions, job aspects, comedy and creativity.

Length and other technical details: I am hoping that my documentary is around the 9 minute mark as it was intentional to produce a documentary between 5-10 minutes.  The format of the shot will include the Arc shot, Close up shot, medium shot and a panning shot to create a number of different shots of Wesley and his work. It will be in HD digital 

Target Audience: The target audience that i am aiming to attract includes a wide variety of people varying from late teens to the older generations such as 65's - 70s both men and women. These people maybe interested in the arts and enjoy going to see documentaries such as mine. I am aiming to enter my documentary into a range of different film festivals such as the Strawberry shorts film festival and also into cinemas such as Cambridge arts theatre. 

Contact Details: 

Email - daynacrawford@hotmail.com

telephone number: 07983437341

Recce Report - unit 41

Location, scouting and preparation:

 Name: The Wooden House,

Address: The Wooden House
               Twenty Pence Road
               Cottenham
               Cambridgeshire
               CB218SP


Not only where Wesley lives but also where he works so this is even more of a reason to interview him here.



His house is on the outskirts of Cottenhamn and is a large, yellow
wooden house in which he constructed himself.

Wesleys garden is full of many models and sculptures he has produced. He has a workshop in there due to him working from home.

We have been contacting Wesley via Hotmail and have sent him the questions and discussed the time, dates and how we plan to shot for the film.

We plan to shoot it on Wesley property as this is where the majority of his work is kept and will give the audience and insight into his life, household and living/working environment.

Before emailing Wesley to find out if we could shoot there, I knew we wanted to use the house as we had all driven past him house many times before and the property is an attractive bright yellow building.

I had found pictures of the house on websites linked to Wesley's work and on google maps. I was also aware he built the house himself due to the internet and one of my group members telling me.

I was also aware that he works from hope and his workshop is located in the garden so to shot the interview anywhere else would be more complicated and not relevant to him.

Once he agreed to be interviewed in his home, the crew and I met him over lunch. Before shooting the short documentary, we spoke over lunch in his home and got to know him. He also showed us around us around his house, showing us his work. This was helpful and we got to know him better and we knew what to focus on in the documentary when we started filming.

Documentary - Rough cut : unit 41

peer feedback:

• add more and better music to run through the documentary.
• adding interviews to the documentary as at the time i had not included my interviews
• carry on some of the footage so that i don't cut some of the footage off too quickly e.g keep the house cut away footage running abit longer so that we see the rest of the house. 

Filming consent Form - unit 41

Rough cut Documentary: Behind the doors of Wesley West - unit 41

Although, this rough cut does not equal to 5 - 10 minutes in length, I have produced a rough cut of my documentary showing behind the doors of Wesley West. My documentary so far introduced Wesley and gives an insight into his work and his workshop.

I have not yet added in the interviews in which we held with him but i will include these when i finish it. I have included background music to fill in the gaps that have no current verbal content but during the finishing touches to my documentary I will import these from the microphone which we took as a spare and recorded all the speaking.

Call sheet - unit 41

Daily shooting schedule - unit 41

Risk assessment - unit 41

interview questions - unit 41

• So what is it exactly that you do for a living?
• Is this what you've always wanted to do for a living? What did you want to be when you were younger?
• Have you got any role models or inspirational people that help you to get inspiration with your work?
• What made you choose this line of work?
• What did you do before you got into advertising?
• What changes have you seen in the industry?
• What is your biggest achievement? 
• Have you got any favourite pieces of work that you've done?
• Is there any work that we may have seen around Cambridge or in the newspapers?
• What is it like working from home?
• What kind of things have you produced from paid work?
• What inspires you to do these sculptures in your spare time?
• Is there anything that you're currently working on?
• What are your plans for the future? Is there anything new you're planning on making in you're free time? 
• What is the most challenging thing that you've had to do?

script draft - unit 11

Planning your production - unit 41

Planning your production 

       

Equipment needed

Equipment:

• DLSR Camera - 36 GB memory card
• Battery 
• Battery charger 
• memory stick
• Tripod
• shoulder mount
• Go Pole mount
• Camera light
• Boom Pole
• Microphone
• Rhode microphone
• Dead cat wind protector

Paperwork:

• Script first draft
• Shot list 
• Shooting schedule
• List of Questions
• Permission to film paperwork

The Pitch - unit 41

Research Tasks:

• find out if we can interview the subject (a member in my group already has and Wesley is happy to have the documentary done and talk about his work.) 
• Find out what days and times he is able to be interviewed. 
• Discuss what equipment is need ad where we can get it from.
• Do test shots with the camera (Handheld, shoulder mount, tripod etc..) and test out the boom mic.
• Ask if the subject has any archive footage of themselves when he was younger (To do with their work - archive footage of Wesley                                                                         working as a child.)                                                                                                                    

The working Title will be : Behind the doors of Wesley West.

Genre: Non - fictional comedy.

Target Audience: The target audience would be art house viewers as they're more varied in the films they watch and are therefore more likely to go and see short independent films and documentaries. They also tend to be more supportive of the arts so will take a greater interest
in the film due to the artistic theme featured in it.

Long Line: This documentary is about a local inventor and creator and his background story of his life and work. 

Synopsis: This Documentary is based around an inventor and an advertiser named Wesley West. We would film him and his home where all the magic happens. We would show his work and inventions ranging from Double Decker buses with balcony's to Metal sculptures of animal and objects. 

annotated screenplay - unit 11

Sherlock Screen play - Script

Sound & Camera:

This is 3 scans of a screen play script that we looked at and diagnosed. We looked at the Sound and Camera work used in this script and separated them into different sections.

- Sound
- Camera

My Idea - My Pitch - unit 41

This is my idea of a pitch for a documentary based around a friend of mine called Alice struggling with the condition of Spina Bifida and how she's faced problems in her life and got past obstacles and barriers such as walking.

Documentary watched with Tom - unit 41

Documentaries watched with Tom

On the right is a picture representation of the documentary we watched with Tom. This is called Inside the Mind of Colin Furze.

With this documentary we were looking at the story, narrative and agency in the documentary.

On the left is a picture representation of the documentary called "when loud music turned deadly.

   

Documentary summary - unit 11

Documentary watched - unit 41

This is a documentary we watched with Barney. It is called 'Stories we tell' and is about a family who's mother had an affair and as a result one of the children finds out that one  of the daughters - Sarah Polley finds out the father who has looked after her all her life is not her real father.

6 Ideas - unit 11

IDEAS:

• A Story from your local paper:  Motorcycle accident? Horses spotted wandering free near railway crossing in Milton. 

• A person you know: Alice Rush. Spina Bifida, a documentary about how Alice has dealt with her disease and he everyday life. 

• Investigation into something you are interested in: Cambridge Canoeing: Canoeing, being a member of the cambridge canoeing club. Shots of me and my family canoeing. 

• A place: Thailand. Thailands tourism and economy. The way the locals live and their everyday life.  Green screen - videos of thailand. Black and white videos and photos. 

          Fulbourn windmill: the upkeep of the windmill and its history. black and white photos of what 

          it used to look like and what it looks like now days.

• An issue: Water Aid. Water shortage in Africa. Green screen - videos of children in Africa. Images aswell.

• Autobiographical: My life - what I've done in my life. My families life. What we've all been through. Perhaps a documentary on my grandmother.  reminiscing about her life. Her interests and her hobbies.

                  

Documentary Watched - unit 41

Title: Senna                                  
Director: Asif Kapadia                           
Year of Release: 2010

Based in 1978, Monaco archive footage and interviews are used to create effect of the real life of Ayrton Senna. The racing life of Senna started in 1984 and ended in 1994. Talking heads and full shots are both used in the interviews and subtitles are played throughout the documentary.

Music: Background and sports commentators speaking; sounds of racing cars are used to show the speed at which the racing cars are going.

No silence is shown at the point in which Senna is racing. This gives us the feeling of there not being time to hesitate but only to make quick, rational decisions.

 Background noise gets muted when Ayrton goes for important interviews to show the importance and meaning of his career and his feelings in his voice. Soft, subtle music is also played at certain times in the documentary to bring emotions to the viewer.

Beginning: Ayrton is shown competing and being interviewed by a number of different people. He is shown talking but also his family and his coach are shown talking about their views on his racing career and their opinions on how good he is. Close up shots of the frustration on Sennas face when the racing gets stressful.

Middle: Confrontation and stress is shown in the middle of the documentary/ conflict. Interviews are shown between Senna and interviewees to show Sennas career
                                                                                                       in the past few months.

End: Ayrton Senna is close to retiring in 1994 from racing. Long Shots and talking head shots are used at the end to show Sennas face expressions and feelings towards his retirement.

29th Apil 1994:  Feelings of Agitation, Annoyance and Frustration are also shown being felt by Senna.
1st May 1994:  Belogna, Italy Ayrton dies in a car crash aged 34.

Sad music is played to shown the feeling of the peoples reaction to his death. Gives us our own feeling towards his death. Visuals are also shown of people crying as he arrives in the Coffin.