What is News?

What is news?

·        The organisation of news and events from around the world, to be presented in an unbiased/understandable way to the public. Something that the audience will feel will be worth knowing.

·        What news is depends on the audience; local news will be mostly about what is happening in the local area of the audience households it’s being televised to; national news will cover the entire country, and often outside the country if it is significant.

What are the roles in news?

·        In news there is a ‘production team’.

·        Executive Producer – the program’s concept comes from this person. It is often the chief financial backer or production company head. They may develop the direction or conceive ideas.

·        Producer – Primary person responsible for the production of the program. They co-ordinate all parts of production at its highest level. They co-ordinate cast/crew/admin/legal/finance/budget/scheduling issues and are a driving creative force.

·        News Anchor – ‘The Face of the newsroom’. The person the audience identifies with the broadcast. This person can secure the audience’s trust/loyalty so that people will come back to watch, due to this relationship. Background in journalism, many start out as reporters – they usually work their way up.

·        Reporter – Usually in the midst of the action, delivering news straight from the field/source. Conduct on camera interviews with communities, for example, or going into war zones.

·        Broadcast Meteorologist (AKA Weatherman) – Forecast the weather to expect, many people tune in for this (i.e. to know what to wear). Some begin in journalism, others are genuinely scientists.

·        Web Master/ Social Media Manager – Represents the public face by maintaining the website, blogging and/or posting stories and links on social media sites. Interacts with viewers in a way unlike any other. This person communicates with any other role if they want to communicate with the public.

·        News Director – Oversee all aspects of the televised newscasts. Decide on major things like the hiring/firing of the on-air personalities and those behind the scenes. They manage personnel and staff and supervise special events. They often decide what stories air and are responsible for what viewers view.

·        News Writer/Editor – Create scripts for anchors and produce content for the website, like stories. They have to capture the viewer’s attention and keep them from changing channels. They work with the other roles as they must be journalists themselves and do research.

·        Camera Operator – Capture images in the studio or on the field, and choose proper equipment to use, set up and operate. On their own they usually work with the reporter.

·        Broadcast Technician – Responsible for what we see and hear in a news broadcast. They must choose the right transmissions for the station and field so that they are heard or seen and edits this in real time as it is being aired.

·        Audio Engineer – Operate the equipment used to transmit. Regulate volume levels and sound quality.

What makes a good news headline?

Target audience – for people who will be watching, they want to watch, or people who will be interested.

Facts – stick to the facts; don’t mislead. Don’t bait

Engagement – keep interest and find ways of gaining a lot of attention.

Rhythm – Keep pace

Images – Fit them appropriately

What are the key conventions of news as a genre?

Presenters dress smart (suits/dresses).

Interviewing – with a medium close-up, interviews are usually done in a home or work place or on the location of the report, with shots of mouth, hands, nodding.

Experts come on to back a story with facts and evidence.

Witnesses are brought on to give their personal accounts on a subject.

Reports all have headlines that are not complete sentences, but snappy and attention grabbing in a short phrase, encompassing the point of the story and how it is of interest to the viewers.

Real footage is used.

What are some legal and ethical considerations of the news?

·        A journalist must be sure that the sources for a statement are reliable before reporting it as a fact. If something is said to be true when it is proven to be false, then there can be a chance of litigations as this can be considered defamation. So, when presenting something that is a known lie, it must be referenced.

·        There is often a concern of invading an individual’s right to privacy. Sometimes it can be unclear whether you are saying something with your right to freedom of speech, or infringing someone else’s right to refrain from the public eye. It would also be unethical to try and interview or get a story out of someone after a tragedy as they are still grieving. However, you have the right to report on public life of public figures, but their private life should be reported only if the story affects their public duty, responsible for public assets and if they do any misdeeds that affect the public good.

Define news terminology

§  Actuality (Audio) – Audio recorded on location, called a soundbite in radio. Usually means audio that is not speech.

§  Atmosphere – Background noise recorded on location (same as actuality).

§  By-line – Line indicating the author of a story.

§  Chroma key – When a background is put in on a blank screen which a presenter is filmed in front of, making it appear they are not in the studio.

§  Correspondent – A journalist who has expertise in a certain kind of news which they mainly report on.

§  Cubicle – Where the technical team work to put the programme on air.

§  Deadline – The time that journalist must finish their report by.

§  Donut – An on-location interview that a presenter conducts. The studio presenter will describe the situation and then will hand over to the on-location presenter.

§  Edit suite – Where the materials are assembled and edited.

§  File – Sending a report back from a location.

§  Float – An array of picture that are shown or that float on top of a presenter talking or interviewing someone.

§  Gallery – (Same as cubicle)

§  Graphics – On-screen words/diagrams/maps/etc.

§  Log – The list of what has been recorded (audio and visual) to stay organised and make it easier to report.

§  Name super – On-screen caption, e.g. the name and title of an individual put on screen as they appear.

§  News Agency Wires – Latest news stories from journalists world-wide that are put into a computer system and media organisations pay to use.

§  News belt – Round up of short news stories.

§  News in Brief – The short stories that form a News belt.

§  Out of vision – When a presenter is talking but not shown on screen (e.g. using a float).

§  Panel – The equipment in a gallery used to mix visuals.

§  Picture feeds – Videos from news agencies that media organisations pay to use.

§  Prospects – List of possible stories that may be used in the news programme.

§  Running order – Order in which the stories are shown on the programme.

§  Rushes – Film that needs editing.

§  Scoop – A story that is exclusive to the reporters as it has not yet been reported.

§  Shorthand – A method of writing journalists use to note what a person says at top speed.

§  Slug – A word summing up an entire news story to save rewriting the headline multiple times.

§  Sound on Tape – Any sound recorded.

§  Still – Photo/graphic.

§  Sting – Phrase of music to emphasise the importance of the programme/news story.

§  Stock footage – Shots of common events added to the presentation of a story for effect.

§  Titles – Mark start and end of the programme (opening/closing titles), will contain music and closing titles have (a version of) credits.

§  Trail – Advertisement of stories that are to be shown later in the programme.

§  Transmission – Time and date of the programme’s broadcast.

§  Voice over – A recording of the reporter’s voice implemented in video clips to explain what is going on to the viewers.

§  Vox pops – Short interviews conducted with members of the public who are stopped at random to show certain public opinions on a topic.

§  Video Tape – All video, digital or on tape.

Reference:
BBC News. (08/07/2008). Glossary of common media terms. Available at <http://news.bbc.co.uk/1/hi/school_report/4791411.stm>Date accessed: (23/10/2016)


Bruce, I. (24/06/2012). News codes and conventions. Available at <http://www.slideshare.net/iainbruce/news-codes-and-conventions>Date accessed: (17/10/2016).

Hay, A. (30/09/2011). My understanding of Codes and Conventions of News and Documentary. Available at <http://mediablogjhay.blogspot.co.uk/2011/04/my-understanding-of-codes-and.html>Date accessed: (17/10/2016).

Ingram, D. and Henshall, P. (2008). Chapter 1: What is news? Available at <http://www.thenewsmanual.net/Manuals%20Volume%201/volume1_01.htm> Date accessed: (17/10/2016).

Ingram, D. and Henshall, P. (2008). Chapter 56: Facts and opinion. Available at: <http://www.thenewsmanual.net/Manuals%20Volume%203/volume3_56.htm> Date accessed: (17/10/2016).

Ingram, D. and Henshall, P. (2008). Chapter 62: Privacy and public interest. Available at: <http://www.thenewsmanual.net/Manuals%20Volume%203/volume3_62.htm> Date accessed: (17/10/2016).

McKay, D. (03/08/2016). TV News Careers. Available at <https://www.thebalance.com/tv-news-careers-525690> Date accessed: (17/10/2016).

Issues in Factual Television

Accuracy

In regards to factual television, accuracy is the degree to which the facts within the program are correct. This is something that should be and is expected from audiences when watching. The BBC is an example of facts being presented accurately in their programming, they even say themselves that “The BBC is committed to achieving due accuracy”. The way to achieve due accuracy is dependent on the situational factors; a controversial subject will need to have the relevant opinions and facts about it considered for its presentation.

For the producer, the effect of accuracy may change the style of the program, or how much research is needed. Something like the news will need its facts to come either directly from information gathered by the news team, or first hand from the sources. Though it may bring complications in the ease of the making, it may lead to making the facts more reliable and trustworthy.

For the audience, good accuracy in the program can lead to viewer trust, whereby viewers are not misled or deceived. Events will often not be able to be extensively analysed or presented due to time constraints, so they will unavoidably be edited down to their core but, as Channel 4 say, “this must not be at the expense of distorting reality or misleading viewers”.

An example of this is Channel 4 News. The format is relied on by its audience to be factually correct and have due accuracy. Channel 4 states that “the truth must not be sacrificed for the sake of a more entertaining programme if this means cheating the viewer”.

Balance

Balance within factual programming is when information is presented equitably, whereby the components of either side of a discussion are presented in a fair way. To be balanced, you must also be impartial.

For producers, achieving balance means they have to present the facts of an argument (like a political debate) evenly. This is so the program does not become partial to one side of a topic, and so it does not consequently sway a viewer’s opinion, or completely conflict with them.

For audiences, an even balance in the program means that viewers will not lose interest. This links to the impartiality of factual programming.

An example balance in factual programming is in BBC News. This is because they will often have to present a subject with more than one side, in this case it will be crucial that they present all (or an even number of) the facts for each argument. This is, as aforementioned, to avoid bias.

Impartiality

Impartiality is when neither side of a story or discussion is taken and the state of remaining neutral. In factual TV, this is to avoid bias and controversy with the audience. Impartiality is what creates the balancing in programming.

For producers, impartiality is achieved through giving the ‘due’ weight to any given side – In their editorial guidelines section of their website, the BBC claim that they achieve impartiality by not necessarily giving equal weight to a minority view on a topic, if the opposing side is more of a consensus. However, they also say that any impartiality can be jeopardised if a pivotal or outstanding perspective is excluded.

For audiences, impartiality in factual TV provides a sense of subjective freedom. By which I mean that it gives the viewer a lot more room to form their own opinion. This will also make the programme more reliable as it sways to neither side of an argument, so it is objective.

Louis Theroux’s documentaries are a good example of impartiality in factual television. Though he is an on-screen interviewer who experiences what is broadcasted first-hand, he puts no bias on how he is presented and attempts and succeeds to be solely objective.

Objectivity

Relative to factual programming, objectivity is when what is being presented has no influence from someone’s personal view or from opinions. To be objective you must be both unbiased and impartial.

Producers make their programmes objective by discussing a subject enough that all the facts are heard without a bias or weighing in on the matter with their perspective; this allows the topic to be left open-minded.

Audiences are able to form their own opinion on a subject purely from the facts rather than on the back of someone else’s opinion.

Subjectivity

Contrasting with objectivity, subjectivity is purely a judgement made with the influence of opinions.

Producers avoid subjectivity almost completely in programmes like the news, as otherwise the broadcast will be biased. However, some factual Medias use subjectivity, often if it is to follow the personal thoughts and feelings of an individual (somewhat like a case study).

The effect for audiences is that they are able to witness the personal experiences a person would have pertaining to whatever the particular subject matter is on. If the news was subjective, viewers would have far less freedom to form their own judgements on something; and just be listening to someone else’s.

An example of a subjective documentary is Supersize Me (2004), wherein we see Morgan Spurlock’s personal exploration into the negative consequences of a month long diet of only McDonald’s. The effect of this being subjective is that we are able to empathise with him and learn from what he does within the documentary

Opinion

Opinions are the judgements made based on an individual’s view of something rather than being impartial on a subject.

Producers must ensure that broadcasts and reports are not tied up in opinion this is so that audiences make their own judgements on things based purely on the facts.

Again, Louis Theroux’s documentaries are a prime example of an unopinionated factual programme, allowing viewers to base their opinions on what they are shown.

Bias

Bias is when an argument, opinion or discussion is one-sided in its presentation.

It is pivotal that producers do not make their reports biased as viewers may be offended, so factual programmes must stick to correct information and do not say anything that is partial to a side of an argument.

For audiences, it is crucial that what they view is unbiased. A passive audience is one that makes opinions according to what they see, so if there is bias in the programming, then they will form a biased opinion.

As well as being a good example of subjectivity, Supersize Me (2004) is a perfect example of a biased argument. The entire documentary is an argument against McDonald’s and how it negatively effects our health.

Representation

Representation is the way in which something is shown or portrayed.

Factual Television must stem away from making misrepresentations or stereotypes as it can offend viewers. Producers have been known for making stereotypes, a good example being that teenagers or ‘Hoodies’ are dangerous or troublemakers.

The effect this has on audiences is that it can be offensive or cause them problems. Take the ‘Hoodies’ example, teenagers who do wear hooded clothes may find that they are treated differently as audiences form biased opinions because of the media.

Not all representations have a negative impact, this is as some programmes use representations to help a minority group so the audience gives them sympathy.

Access

In factual TV, access refers to how the documentarians (for example) can use certain things through them acquiring permission.

For producers, this means they have to make sure they have permission to use information or materials so they are not liable for a lawsuit.

For audiences, this is important because it makes the programme safe and reliable, this is as producers choose to access the most reliable sources of information.

Privacy

Privacy is the extent to which information is withheld from being shown if it is too personal, and it is a person’s right to keep something to themselves or share it.

For producers, privacy can be an issue as media has freedom of expression (and it can be argued that they can report anything so long as it is of interest to the audience), but people also have the right to remain out of public attention. So, it can be difficult to not occasional breach of someone’s privacy.

For audiences, this is important as some individuals may see someone portrayed in a certain way and send abuse, so this person will have their face blurred or their voice altered. It is also important so that information shared is fair in its presentation.

An example would be TV News, when an individual wants their identity to remain a secret when sharing details and their anonymity is kept through face-blurring or voice alterations.

Contract with viewer

This is the unwritten rule wherein producers make a pact to supply the audience with accurate, interesting and precise information about whatever they said the program was going to be about.

An example being a documentary about sexism in the UK must have information about sexism in the UK.

Legal and Ethical considerations

·       Filming in public places – You must have permission from the local authorities as they own most of the land you will use. You will need the full co-operation with the police if you are planning to use anything that could pose a threat to the public (e.g. firearms, explosions, filming on public highways etcetera).

·       Permissions and clearances – When filming an actor inside a shop, you will need permission for the location and any use of brands with written evidence. When filming outside a location and showing its brand you do not need permission, however if it is to convey a negative message about the place there is a risk of litigations. In the UK, the copywrite of a film shot in public is legally the filmmakers, this means you do not need permission to use people’s faces.

·       Libel and defamation – The defamation law denotes false statements made about something or someone that can ruin their reputation that is, as HG.org says, “communicated as fact to one or more other persons by an individual or entity (such as a person, newspaper, magazine, or political organization)”; defamation is classified as either slander or libel. Libel refers to the defamatory statements made through TV or Media under the false pretences of being factual.

·       Broadcasting Act (1990) -  This act was to ameliorate the entire structure of British Broadcasting. It meant that 25% of the ITV channels output must be from a source, independent to ITV and from outside the UK. Channel 4 could sell their own advertising and ITV’s monopoly of advertising was deregulated. Like BBC, ITV and Channel 4, Channel 5 was the last conventional terrestrial TV channel before a takeover in the digital explosion in 1997 (this means it has the same regular programming every week). Also, the Criminal Justice and Public Order Act (1987) was also modified.

·       Ofcom Broadcasting Code – This code is to protect under-eighteens by scheduling programmes at certain times, and “to ensure that generally accepted standards are applied to the content of television and radio services [to] provide adequate protection for members of the public from the inclusion in such services of harmful and/or offensive material”, as said by Ofcom.

References:

BBC. (2016). Editorial Guidelines Section 3: Accuracy. Available at: <http://www.bbc.co.uk/editorialguidelines/guidelines/accuracy> Date accessed: (19/10/2016).

BBC. (2016). Editorial Guidelines Section 4: Impartiality. Available at <http://www.bbc.co.uk/editorialguidelines/guidelines/impartiality/breadth-diversity-opinion> Date accessed: (21/10/2016).

Bournemouth University. Broadcasting Acts. Available at <https://media3.bournemouth.ac.uk/profstudies/3medialaw/02acts.html>Date accessed: (23/10/2016).

British Film Commission. (2016). Filming in public spaces. Available at: <http://www.britishfilmcommission.org.uk/crew-facilities/locations/filming-in-public-spaces/> Date accessed: (23/10/2016).

Channel 4. (2016). Factual Programme Guidelines Introduction. Available at <http://www.channel4.com/producers-handbook/c4-guidelines/factual-programme-guidelines> Date accessed: (21/10/2016).

Haydn, L. (16/11/2012). Understand issues relating to programming for television. Available at <http://liamhaydn.blogspot.co.uk/> Date accessed: (23/10/2016).

HG.org Legal Resources. (1995-2016). Defamation Law – Guide to Libel and Slander Law. Available at <https://www.hg.org/defamation.html>Date accessed: (23/10/2016).

IMDB. Super Size Me (2004). Available at <http://www.imdb.com/title/tt0390521/?ref_=nv_sr_3> Date accessed: (23/10/2016).

Mirzad, B. (24/12/2012). LO1 Task 1: Issues Relating to Factual Programming. Available at <http://factualprogrammingbm.blogspot.co.uk/2012/12/task-2-issues-relating-to-factual.html> Date accessed: (19/10/2016).

Ofcom. (09/05/2016). The Ofcom Broadcasting Code (incorporating the Cross-promotion Code). Available at <https://www.ofcom.org.uk/tv-radio-and-on-demand/broadcast-codes/broadcast-code>Date accessed: (23/10/2016).

Wikipedia. (14/11/2015). Broadcasting Act 1990. Available at <https://en.wikipedia.org/wiki/Broadcasting_Act_1990> Date accessed: (23/10/2016).

Vox Pop Video Task

https://www.youtube.com/watch?v=9g7hPF7Xy7w&feature=youtu.be

Structures of Different Documentaries

The conventions of Expository importantly include a voice-over that speaks directly to the viewer, which is used in two ways:

• Voice of Authority – wherein the individual doing the voice-over is seen on screen as well as heard (an example being Louis Theroux’s Weird Weekends (BBC Bristol, 1998-2000)). With this type the argument put forward is very much point-of-view, as if to persuade the viewers opinion on something. Images used are there to emphasise the points of the voice-over, or even propose a counter argument.
• “Voice of God” – wherein the voice-over is only heard and never seen (for example, America’s Most Wanted (1988-Present)). The images used in this are not necessarily that important, this is due to the commentary having a more ‘objective’ argument, so images are only there to further the points said.

The way in which this type of documentary persuades the audience is through engaging with the idea of ‘common-sense’.

 

One of the main conventions of Observational documentaries is filming life as it happens, with minimal intervention or influence. This means that location filming is used with hand-held cameras (in most instances), and in some cases a voice-over is used, but there are usually no interviews.

Other conventions include long shots used throughout this type with unobtrusive camerawork, and sound is recorded directly from what is filmed (diegetic).

Typical examples of this style are nature documentaries, e.g. Great Barrier Reef with David Attenborough (BBC, 2015-present).

 

Reflexive Documentaries utilise anti-realist techniques for their conventions; these include re-enactments or dramatic music. This style borrows the features of fictional film to evoke a more subjective audience response.

Again, Louis Theroux’s unique style of film making is known for being partly reflexive, this is as he is attempting to remain impartial but being a casual on-screen interviewer. This way we see the inner working of structure in documentary making.

 

Participatory Documentaries (or Interactive documentaries) employ the same techniques of observational documentaries, but illuminate or affect how the film-maker influences a situation – the relationship between the documentarian (and crew) and their subject becomes a crucial part of this style. Usually interviews subjugate the film, and they are mostly informal; questions are mostly thought up on the spot.

To elaborate points, this style often uses archive materials, as well as mainly location shooting on a hand-held camera.

An example of this is Living with Michael Jackson: A Tonight Special (Granada Television, 03/02/2003), wherein Martin Bashir conducts an interview with Michael Jackson, which became unparalleled when given access to the life of this Pop-Star recluse.

 

Much like aforementioned documentary sub-genres, Performative documentaries include the film-makers interacting with the subject. This style often acts without convention or need for a satisfactory result. They usually follow the narrative of an investigation and can be experimental with hypothetical re-enactments. It can also have a strong and personal representation of a certain group (e.g women, minorities, LGBTQ+ group, etc.), wherein they get to “speak for themselves”.

One documentary that uses the performative mode is Tongues Untied (Sygnifyin’ Works, 07/1989), a film which highlights the revolutionary movement of gay black men. It sees Marlon Riggs narrate words of encouragement and talking about equality – it explores the emotion of the subject through the use of actors and intimate videos of the normality of a black gay couple.

 

Documentary Realism contains Surface Realism and Inner/Emotional Realism.

Surface realism refers to the superficiality of making the subject matter ‘real’. This is achieved by how the film is shot, the location, the accent – This is because if the look and sound all seems real, then it must be real (or correct).

The Inner/Emotional Realism refers to how the audience identifies with the documentarian. So if this character acts realistically, the audience will be able to identify with their responses and the emotional aspect to the subject.

 

Dramatization is a main part of prejudiced documentaries; ones with bias. This is because it is when the film builds up exaggeration. This can be bad as it is subjective in the way it presents its facts, and so the narration and documentary itself is exaggerated.

Narrativisation is an ‘effective way of addressing to the audience and telling the story or in this case documentary’ (see Reference List: IV). Dependent on the documentary it is included in, narrativisation can sometimes be a drag.

 

 

Reference list:


Amythechooch. (06/07/2010). Modes of documentary conventions.  Available at <http://www.slideshare.net/amythechooch/modes-of-documentary-conventions> Date accessed: 12/10/2016.


Burton, A. (16/11/2007). Documentary Form. Available at <http://alexburtonjournal.blogspot.co.uk/2007/11/documentary-form.html> Date accessed: 12/10/2016.

Great Barrier Reed with David Attenborough. (2015-). Davis, M. British Broadcasting Company.



Kemp, J. (25/11/2011). Documentary Conventions. Available at <http://www.slideshare.net/JakeKemp/documentary-conventions>  Date Accessed: 13/10/2016

Laurahillll15. (14/12/2012). Documentary style example. Available at <http://www.slideshare.net/laurahillll15/documentary-styles-examples> Date accessed: 12/10/2016.


Living with Michael Jackson: A Tonight Special. (03/02/2003). Shaw, J. Granada Television.


Tongues Untied. (1989). Riggs, M. Signifyin' Works.

 

Induction Evaluation

Induction Evaluation

The factual programme I deconstructed in preparation for the task was Channel 4's The Billion Pound Hotel. From just the first minute 20 individual shots were used, the majority of which were establishing shots of the surrounding area, the exterior and then interior of the hotel. From this, I was inspired to use multiple establishing shots (which were done with a myriad of angles) as well as the interview based mid shots that the Programme also used. The only effects the programme seemed to use as well were cuts between shots and over-dubs on the footage with a narration and background music, both of which I mirrored in my short video.

My video was made as if it were a section of a college prospectus, specifically the sport department of BHASVIC. I began the edit with an establishing panorama shot of the playing fields, and within the shot the music entered as did some audio from an interview.

Other establishing shots I used include the following:

The narrative of the video is heavily based on the interviews conducted with students at BHASVIC, asking their thoughts on the sports department. All interviews were filmed using a mid close-up shot.

Also, as the interviewees mentioned certain things a shot of something would overlap with a contextually appropriate shot (a technique used in The Billion Pound Hotel). In this instance, footage of basketball:

In the edit, only one visual dissolve was used and I utilised a fade to black effect at the end (aside from these, solely cuts were used). I also jumped between segments of the interviews, keeping what's actually said and shown concise, contextually appropriate and interesting. This also meant that I split up parts of the interviews intermittently, going back to different individuals in order to make the narrative flow better, an example being putting together the footage of whether the interviewees would recommend the department to others. 

The sound between shots were transitioned as well, so that the video didn't seem so uncomfortable or jolty in watching. This technique was used because prospectus style documentaries are designed to make the subject appeal to the viewer, so smoother transitions can make the subject matter seem calmer, friendlier and, in turn, more desirable to watch.

I believe that what went well within the video were the cuts and arrangements between shots. Furthermore, I think the way in which the interviews were used throughout the prospectus was very successful.

However, I believe the camerawork would need to be improved to be better, more specifically the focus on certain shots, the actual type of shots used, and the positioning of the camera. Moreover, the sound quality was not terrific, with various bumps and scratches on the mic. These things would need to be checked in advance to actually shooting the footage for a more successful video.