Interview

prepare your interview, think what you want to know and why„always introduce the interviewee„tell why he/she is there or why you want to interview him/her„start questions with: what , who , where, when, why.„avoid questions that can be answered with a simple ‘Yes’ or ‘No’„you can use as well ‘Tell me about… ‘ „make contact with the interviewee before, do talk about the interview , but ingeneral terms„if interviewee is nervous, say that we can always do it again„you can also organise a ‘rehearsal’ that is recorded , in order to have morematerial„ask interviewee not to look to the camera but to look at the interviewerShots„do not forget ‘listening shots’. They are really difficult, try to catch someone whenhe/she is really listening.„listening shots can be close-ups or medium shots but also over -the- shoulder twoshots„shoot cutaway questions„it makes editing easier if you record cutaways on a different tape

DISCUSSION ON READING:

Graphic Design: The Basics

Point, Line, Plane: Point + Point + Point + … =Line

Line + Line + Line + … = Plane

Takes forms as a dot graphically

-insignificant fleck of matter

concentrated locus of power

Balance and Rhythm:

Anchors and activates elements in space

Visual balance- when weight of one or more things is distributed evenly or proportionately in space

Large objects vs Smaller objects

Dark objects VS Brighter Objects

&

Strong regular repeated pattern

construct single image

duration and sequence

punctuated with change and variation

Task 3: Interview indoors

Reading on ‘DEVELOPING YOUR
STORY IDEAS’

•Observing and sorting what takes place around you•Traditional stories as a source of inspiration•Oral history as another fund of family stories•The social sciences and fiction that is developed from actuality•Testing your own investment in an idea•Making best use of the medium and intensifying the story you choose

Found cpllecting raw materials keep a journal and note anything that strikes you, no matter what its nature. Real life is where you find the really outlandish true tales. Keep clippings or tran-scribe anything that catches your interest and classify them in a system of yourown. History doesn’t happen, it gets written. Look at whysomeone makes a record orwhysomeone writes a historical overview, and you see not objective truth butsomeone’s interpretation and wish to mark or persuade. Legend is inauthentic history. By taking a real figure and examining the actual-ity of that person in relation to the legend, you can discover what humankindfashions out of the figures that catch public imagination. All families have favorite stories that define special members. My grandmothersboth seem like figures out of fiction. Everyone emerges from childhood as from a war zone. If you did the creativeidentity exercise in the previous chapter, you surely wrote down several traumaticthings that happened when you were a child and which have become thematickeys to your subsequent life. Historys ocial science and social history are excellent resources for documentarians. Ifone of your themes happens to be the way the poor are exploited, you wouldfind excellent studies of farm, factory, domestic, and other workers. Fiction don’t separate and discard fiction because you are working with actuality.

Camera workshop in class

White balance, Iris, Gain, Zoom/Focus.

1. Establishing shot of living room:

2. Medium shot, tracking: Doggie walks into the living room .Camera follows dog who walks to Mrs. Jones and barks, shot ends on smiling face of Mrs. Jones

3. Close up: Mrs Jones smiles Doggie

4. Medium shot: Mrs Jones throws ball

5. Medium shot: Mrs Jones encouraging Doggie to fetch the ball

6. Wide shot: Doggie running after ball

7. Close-up : Doggie with ball in mouth8. Close-up: Mrs Jones with ball in mouth

Nichols (2010) – How can we differentiate among documentaries? (Poetic and Expository modes)

Notes On Six Modes Of Documentary

1 Expository: speak directly to viewer with voice over.

2 Poetic: emphasise visual associations, tonal or rhythms, patterns and the overall from of the film.

3 participatory: filmmaker interacts with his or her social actors. interviews are a prime example.

4 observational: look on as social actors go about their lives as if the camera were not present.

5 reflexive: calls attention to the conventions of documentary filmmaking and sometimes of methodologies such as filed work.

6 performative: express of filmmakers’ contact with film themes speak to the audience in a vivid way.

Four angles for video