Mar 10, 2017

Documentary - Research and ethics

In today's lesson, we started of by talked about what we had learned so far in the course surrounding casting, location, scheduling, organisation and paperwork. A lot of what we have been taught here so far is very similar to what I've been doing working on previous projects, such as finding location and doing a recce, casting actors and keep up the communication (to avoid having them drop out), schedule the shoot etc.

That said, what have been a bit of a challenge so far is to understand the different laws here in the UK compared to the laws in Norway. This especially when I was planning to have a 10-year-old kid as an actor, but realised that in the UK to have a child as an actor you have to pay them and have their parents on set while shooting. Another case was when I was looking for a gun to have in my project and have to work out all the paperwork and people to contact to both get the prop gun itself and the permission to use it for the project.


Later we talked about how to go on with our ideas.

What you do after you've gotten an idea
- Test the viability of your story.
- Develop your script and rough schedule/budget.

Where to research
- Begin researching online and relevant journals, publications and newspapers.
- Acquaint yourself with the broader picture and background of your story.
- Establish key contacts.
- NB - never make a call to any of the contacts until you understand the basis of the story you wish to tell and have an appreciation of the remit/specialism of the individuals you are calling.
- You can then prepare some basic questions which you would like to ask your contacts.

Relevant background info
- Legislation/regulations.
- Organisations and experts.
- Existing research - up to date as possible, if unpublished better - exclusivity.
- Case studies.
- Previous coverage on TV/archive as appropriate.

Factual films require a 'journalists nose'
- What makes your story worth commissioning?
- What's new? (Your angle).

How much research should be done prior to pitching?
- Enough to answer the basic questions about the story and to form your proposal.
- Why/what/where/when/why/how.
- Find your USP.

Ethics & Representation
- It's important to realise that these are more than the subject for an essay or discussion.
- What it means in real terms is the way in which we, in the media, handle individuals and present them to the world.
- There are particular groups who should be treated with particular care such as:
   • Those with disabilities.
   • Vulnerable people - Including the young, elderly, those with mental health issues and drug addictions.

What is representation?
In media terms when we use the term we are referring to how people are used, presented and obviously represented in broadcast.
Typically it refers issues relating to:
Disability
Income/class
Values/culture
Ethnicity & race
Religion
Sexuality/gender
Issues e.g crime
Tokenism
Youth/middle/old age

Relevant organisations
- OFCOM (regulatory body of broadcasters)
- Press Complaints Commission (independent self-regulatory body deals with complaints about the editorial content of newspapers and magazines (and their websites).
- Broadcasters - have their own guidelines and regulations e.g. BBC has Producer Guidelines.
- Pressure groups/interest groups/community groups etc - likely to be 'watchful' e.g Diabetes UK.

Representation
Ensure the people you feature are:
- A fair representation of the wider context.
- Fairly treated and represented (honesty).
It's also worth remembering that even in selecting someone to contact you are making ethical decisions about them - so again:
- Avoid stereotypes reinforcing prejudices.
- Avoid 'lazy journalism'.
- Treat people with respect - They do not have to speak to you, so carefully consider your approach prior to contacting them.

Who's film is it?
This can be a source of tension. Essentially those with a vested interest in your film are as follows:
- You as a filmmaker.
- The contributors.
- The owners of the locations.
- Those connected with the subject matter.
- Those paying the bills - sponsors/commissioners.
- The film's 'facilitators' - such as Press officers and others who have helped you with the film.
- Where appropriate lawyers.
Thus keeping everyone 'happy' is a tall order.

Making factual programmes means dealing with 'real' people
- It can feel daunting at first, calling what are effectively complete strangers - some of whom will not be expecting your call and may initially feel worried or nervous about even speaking to you.
- People are very aware of the power of the media and its potential to do harm as well as good, therefore you need to find a way of dealing with the people which not only helps you and your film, but which represents the industry in the right way.

Finding case studies/characters
These should be the people who best illustrate your story and who are also the best talkers/characters.
Where do you find case studies and characters:
- Via relevant organisations - usually via press office.
- Via experts - e.g doctor/scientist/professor conducting a study - cases.
- Via reported cases in the media - think of yourself as a "detective", piecing together a story can be exhaustive.
- Through your own contacts.

Recce locations
Consider:
- Location aesthetics
- Practicalities - sound, light, hazards, power supply
- Relevance
- Permission - access (including time restrictions) and potential exclusivity of access
- Shot & storytelling possibilities
- Costs
- Filming opportunities/events coming up

At the end of the lecture we watched Louis Theroux, "Savile", focusing on the documentary from an ethical point of view. "Savile" is a documentary where Louis Theroux sets out to understand how a man at the centre of British entertainment and charitable fundraising for decades was able to get away with a long litany of crimes.

Ethics & 'Benefits Street'
- Ethical questions raised over their methods and 'fair dealing' with contributors.
- Local councillor said he would be glad to 'see the back' of the programme.
- Petition with 'Change.org' had nearly 60 000 signatures asked for the programme to be banned and any profits made given to the locals.
- It has now been subject for investigation by Ofcom following more than 1 700 complaints.
- Benefits Street was cancelled i 2016 after two series, has been criticised as "poverty porn" that reinforces prejudice against those on benefits.

Criticism
- Recently author and journalist, Caitlin Moran, criticised it amongst other programmes.
- She said: "It's important that there's a proper representation in there, and that everybody gets to feel normal ... if I was of colour or had a disability or a different sexuality I just wouldn't even bother turning on the television because you feel invisible."
- "The lack of working-class people in culture at the moment is notable. And when they are represented ... Take Benefits Street. It's the only time I've seen people on benefits on television, but you didn't get to hear them talking about their ideas on philosophy or politics, you didn't get to see them being joyful - it was simply about surviving, and that made them look like animals. It didn't show them as human beings."

Ethics and 'Benefits Street'
- Channel 4 Series claimed:
"This documentary series reveals the reality of life on benefits, as the residents of one of Britain's most benefit-dependent streets invite cameras into their tight-knit community."
- It gained Channel 4 it's highest viewing figures since the 2012 Paralympics - but at what prize? Should commercial success override ethics?





//All images from Google.com\\
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