YouTube LINK TO FINAL FILM - AMBER, AMY, JACOB

REPRESENTATION- AMBER

The main focus of our documentary is a woman, Lola Rouge. Women in the media often are subject to stereotyping of gender roles: namely a sexual, domestic or passive role. Imagining our documentary was real, and that Lola was real, she does not adhere to these negative stereotypes. Although delusional, she has a strong character and is very dominant in her manner. However, the fact that she was once a famous singer -and particularly in the performance scenes- she does take on a role based on physical appearance and attractiveness, as it is a huge part of who she is.

Class is also a theme in our documentary. Lola was once a superstar, and the differences in her lifestyles (before and after her downfall) are evident. Her clothing changes dramatically, from a glitzy dress to a tracksuit- a stereotypical clothing choice of "chavs" (a working class stereotype). The view of the exterior of her home also highlights a working class / underclass lifestyle.

TITLE SEQUENCES- AMY

Creative Review's best film titles of all time:
http://www.creativereview.co.uk/cr-blog/2009/july1/film-titles-list

The Internet Movie Database's list of top and bottom rated documentary titles:
http://www.imdb.com/chart/documentary



Some documentaries have footage, then a short title sequence, and then the rest of the documentary, followed by the closing credits; others have the titles and some opening credits immediately; others use variations of these.
In our documentary we hope to have a short title sequence immediately.

'WHEN LOVE TAKES OVER'- AMY

In our documentary we are using the song 'When Love Takes Over' by David Guetta and Kelly Rowland. Usually on projects like this copyright music is not allowed to be used however after looking at the terms and conditions of Kelly Rowland’s record label we found we could use the piece if it was for educational purposes with out breaching the copyright law; below is the actual paragraph from the website:

Can I email a request to be serviced with promotional product?
Though we have plans to make this service available, it is not at this time, sorry. Please note: The use of any of the information, artwork, photographs or music contained herein is solely and entirely for home entertainment and educational purposes.

RISK ASSESSMENT- JACOB

CALL SHEETS- JACOB

THE RISE AND FALL OF LOLA ROUGE:

SHOOTING DATE: 25th November 2009 - 16th December 2009

CREW DETAILS:

Producer(s) - Amber Belk, Jacob Fisher & Amy Wolstenholme

Director(s) - Amber Belk, Jacob Fisher & Amy Wolstenholme

Camera - Amber Belk & Jacob Fisher

Sound - Amber Belk & Jacob Fisher

CAST:

Lola Rouge - Amy Wolstenholme

Lolas 'date' & Number1 fan - Sam Belk

Victim - Choy Ting Law

CONTACTS:

Amber Belk - 07980407499

SCHEDULE:

LOCATIONS- JACOB

(above)Lola's living room and kitchen: Lola's interview is filmed in the brightly lit living room, with the kitchen being shown briefly when she returns from her night out, and is arguing with her "date".

Studio: for Lola's performance when she was at the height of her stardom.


(above)Barnsley Town Centre: Lola is spotted rooting through a park bin.

Barnsley College corridors: where Lola tells the interviewer about her education and intrudes on the conversations of other students.

Unknown room: an unnamed and indistinguishable individual shown in an unlit room is seen being interviewed about Lola and her infamous downfall 2 years ago, crying hysterically.

PROPS- AMY

(above) Photos that Lola displays to the camera to show her celebrity 'friends.'

Microphone and stand in Lola's performance in the studio.
Food, e.g. oranges which Lola hurls at her 'date' when he will not leave her house.

Camera/camera phone for extras to be using as Lola leaps into their photographs.

Hat to collect money in during Lola's busking.
Autobiography shoddily made which she proudly displays to the camera during her interview.

Sign which Lola's tramp fan waves.

COSTUMES- JACOB

Sam:
Lola's #1 Fan-

-Large green parka jacket
-Nirvana t-shirt
-Skinny blue jeans
-Worn black pumps
-"I love U Lola" banner that the fan waves to the camera sat on the steps at the end of the extract.

This is the outfit worn by Lola's #1 fan in,
Shot 10 - Lola running away from the fan in slow motion.
Shot 36 - Another slow motion shot acting as bridge to the advert break showing Lola's last devoted fan waving his sign.

Choy:
Lola's victim-

-This costume worn by Choy isn't seen in the extract just the outline of her silhouette to conceal her identity.

Shot 33 - An unknown and unidentified individual recollects her traumatic past experiences involving Lola.

Amy:
Lola Rouge

-Over sized basic shades
-Cream trench coat
-Black tights
-Black boots

This is the outfit worn by Lola in many of the short extracts showing what is yet to come in the show. It is also the costume seen in the establishing shots outside the college.

Shot 8 - Slow motion shot of Lola laughing.
Shot 10 -Slow motion shot of Lola running from her fan.
Shot 11 - Slow motion shot of Lola smoking.
Shot 16 - 1st establishing shot outside of college.
Shot 19 - Return to the same shot at the end of the interior college extracts.

-An idea for Lola's character/costume was that she would constantly don her sunglasses even indoors to try and retain some of her fading identity as a celebrity.

________________________________________________________________


For Lola's main outfit featured in the armchair style interview we set out to achieve a tacky "chav" look to emphasise her character.



Kerry Katona was a key figure in the inspiration of Lola's character so we decided a costume that resembled her would work well in our film. Coleen McCloughin was also an inspiration.

-Large pink hoop earrings
-Black tracksuit jacket
-An old tacky plain pink top

WATERSHED - JACOB

'The Rise and Fall of Lola Rouge' will be aimed at a pre-watershed audience. Any television shows in the U.K shown after 9.00pm fall into this category. This also applies to certain aspects of advertising on television too.
The 'watershed' is a time period in television when adult content can be shown. This can range from anything such as the use of strong language to the refrences of sexual intercourse or drug use. With the obvious lack of age restrictions on television it is essential to create an allocated cut off time where adult content can be shown so it is not easily accessed by younger viewers. (Ofcom in the U.K recognises younger viewers as anyone under the age of 15). In the western world the usual watershed time on television is 9.00 - 10.00pm. Switzerland is an odd exception with no watershed time 'However, broadcasters are required by law to avoid any confrontation of minors with unsuitable programming through the choice of transmission time.'
In the U.K some shows referred to as being in the 12+ category can be shown before 9.00pm, such as The Simpsons. The Simpsons contains often mild use of language along with references to drug use and sexual activity. However often on Channel4 certain parts of the episode may be cut out.

In our film 'The Rise and Fall of Lola Rouge' our main 'threat' to younger viewers would be the use of strong language despite all of it being censored out. Documentaries such as this are aimed at an older audience anyway and 9.00pm is often a suibtable time to air such shows.

http://www.ofcom.org.uk/tv/ifi/codes/bcode/protectingu18/

CHARACTERS- AMBER

Protagonist Lola Rouge (Amy Wolstenhome):
The focus of the entire documentary- and she knows it. Flamboyant, impetuous and loud, Lola was once a megastar and still believes she is. Throughout the documentary it becomes clear that Lola is a highly deluded individual, still acting highly over the top and believing strangers know who she is.
Lola is tall and blonde. She dresses like a W.A.G and wears sunglasses even in the dark. Although she will never admit it is clear that her alcohol addiction still lingers.










Minor characters:


Lola’s ‘#1 Fan’ (Sam Belk):
With her lucrative singing career now in tatters Lola seems to only have one actual fan, a rather dishevelled looking man who seems to be as deluded with Lola's actual fame as she is. He is dressed in a green parka and skinny jeans.











Lola's ex-fan (Choy Ting Law):
Lola assaulted this poor girl after a concert in London. Pixelated to protect her identity.

STORYBOARD- AMBER

*Zigzag lines indicate a change in location or time.








Although the quality of the illustrations is not great, the storyboard served its purpose well, helping us plan and visualise each shot.

SHOOTING SCRIPT- AMBER

INT. (COLLEGE) STUDIO

SHOT 1 Out of focus CU on Lola’s sequined top. Zoom out and come back into focus. Lola now in MS.

SHOT 2 CU from the left of Lola’s face as she sings.

SHOT 3 Slow upwards tilt starting from Lola’s feet.

SHOT 4 Low angle shot looking down on Lola from a high up position on the studio stairs.

INT. (COLLEGE) STUDIO- ON LOLA’S TELEVISION

SHOT 5 (CU of Lola’s television showing the above performance) Pan to follow Lola as she walks away from the mic stand as the song reaches the chorus.

INT. LOLA’S LIVING ROOM. DAYTIME.

SHOT 6 Zoom out and pan to reveal Lola sat beside her television.

(Fade to black.)

TITLES: The Rise and Fall of Lola Rouge Part 2

SHOT 7 MS (slow motion) of Lola laughing in an armchair.

SHOT 8 MS (slow motion) of Lola laughing.

SHOT 9 CU (slow motion) of Lola laughing.

SHOT 10 LS (slow motion) of Lola leaping and running from a strange boy.

SHOT 11 CU (slow motion) on Lola smoking.

EXT. BARNSLEY TOWN CENTRE. DAYTIME.

SHOT 12 High angle shot looking up at a block of flats.

SHOT 13 CU on the sign on the wall of the flats.

INT. LOLA'S LIVING ROOM. DAYIME.

SHOT 14 MS of Lola sat in an armchair in typical interview style, answering her first question.

INT. BARNSLEY COLLEGE. DAYTIME.

SHOT 15 MS of Lola talking directly to camera.

EXT. BARNSLEY COLLEGE. DAYIME.

SHOT 16 Quick cut to an establishing LS of Lola stood smoking in front of the college.

INT. BARNSLEY COLLEGE CORRIDOR i). DAYTIME.

SHOT 17 Revert back to MS of Lola talking directly to camera.

SHOT 18 CU on Lola talking to camera. Follow Lola down the corridor, handheld camera, moving left and right to capture the reactions of unsuspecting students.

EXT. BARNSLEY COLLEGE CORRIDOR ii). DAYTIME.

SHOT 19 Quick cut to LS of Lola in front of the college.

INT. LOLA’S LIVING ROOM. DAYTIME.

SHOT 20 MS of Lola sat in an armchair, answering her second question.

SHOT 21 CU pan across three photos in the living room.

INT. LOLA’S) LIVING ROOM. DAYTIME.

SHOT 22 MS of Lola sat in an armchair, answering her third question.

INT. LOLA’S KITCHEN. EARLY HOURS.

SHOT 23 LS showing Lola’s kitchen with the door at the centre of the shot. The camera remains in this same shot because it is supposed to be ‘a hidden camera’.

INT. LOLA’S LIVING ROOM. DAYTIME.

SHOT 24 MS of Lola sat in an armchair, answering her fourth question.

EXT. BARNSLEY TOWN CENTRE. DAYTIME.

SHOT 25 Establishing shot of a busy road.

SHOT 26 LS of Lola appearing to be reaching into a bin.

SHOT 27 Handheld camera approaches Lola until the shot is a CU.

INT. LOLA’S LIVING ROOM. DAYTIME.

SHOT 28 MS of Lola sat in an armchair. The 'date' from the previous night walks past the camera.

SHOT 29 The camera is removed from the tripod and follows Lola, handheld, into the kitchen.

SHOT 30 CU on Lola as she emerges from the kitchen.

SHOT 31 MS of Lola in armchair, answering her fifth question.

SHOT 32 CU on the interviewer's hideous shoes. Tilt back up to Lola's face.

INT. UNKNOWN ROOM. (COLLEGE STUDIO.)

SHOT 33 CU on a silhouette of an anonymous person.

INT. LOLA’S LIVING ROOM. DAYTIME.

SHOT 34 MS of Lola in the armchair answering her final question.

(Fade to black.)

SHOT 35 Fade back in to the exact same shot as 34.

EXT. THE STREET. NIGHT.

SHOT 36 CU on a sign reading "I HEART U LOLA". Zoom back out (slow motion) into LS.

(Titles repeated, fade to black.)

SCRIPT- AMBER

(THE RISE AND FALL OF LOLA ROUGE: PART 2.)

NARRATOR
Lola Rouge was once an international superstar and nation’s sweetheart. What went wrong?
_____________________________________________________________
INT. LOLA’S LIVING ROOM. DAYTIME.

INTERVIEWER
Have you experienced any financial difficulties since you lost your recording contract, Lola?

LOLA
No no, I’m still a star, I’m still financially secure thankyou very much!


INT. LOLA’S LIVING ROOM. DAYTIME.

LOLA
I still get hounded wherever I go, the paparazzi are so –BLEEP- annoying.


INT. COLLEGE CORRIDOR 1. DAYTIME.
LOLA
As you can see I'm back at my old college, it holds a lot of memories for me because it helped to become a star, and made me into the person I am today - no, no autographs today thankyou, can't you see I'm doing something, move along! -BLEEP-!

INT. COLLEGE CORRIDOR 2. DAYTIME.
This is the media department where I did a lot of my work- oh, two minutes, just a couple of fans. Just one photo boys. Come on then quickly, I'm doing something here. Thankyou.


INT. LOLA’S LIVING ROOM. DAYTIME.
INTERVIEWER
Do you still enjoy a glamorous social life Lola?

LOLA
Oh absolutely, I only go to the classiest places.


INT. LOLA’S KITCHEN. EARLY HOURS OF THE MORNING.

LOLA

More..more beer..come on, upstairs...

INT. LOLA’S LIVING ROOM. DAYTIME.
INTERVIEWER
Are you still in touch with any of your celebrity friends?

LOLA
Oh yeah, I've still got lots of friends. Me and Cheryl Cole are best buds!

Lola’s ‘date’ from the previous night walks past the camera and Lola shoots him a look of hatred.

DATE
(From the kitchen)Lisa, got any bread?

LOLA
Oh god. For –BLEEP- sake you freak, get out of my house, I’ve told you about thirty –BLEEP- times!...

INTERVIEWER
(To cameraperson) C'mon we need to get this, quickly

The camera moves to film through the slightly ajar kitchen door, where Lola can be seen throwing fruit at the date.

LOLA
No you're not going in there! BLEEP BLEEP get out!

(as she emerges from the kitchen door and smoothing down her hair) Oh sorry about all that noise, I er, tripped over the dog.

INT. LOLA’S LIVING ROOM.DAYTIME.

INTERVIEWER
So Lola, have you anything to say about your notorious downfall?

Lola looks blankly at the interviewer and then fakes a huge smile.

LOLA
Oh I just love your shoes. Where did you get them from? They’re so...now!

INTERVIEWER

Erm, thanks.

INT. UNKNOWN DARK ROOM.

DEVASTATED FAN

I was Lola's number one fan, I knew every song of every album, I loved seeing her in concert. But when she performed in London, I waited outside in the cold for two hours to get her autograph. but when she came out she called me a slag and gave me a punch in the face, I just can't do it...she was just so horrible to me, it traumatised me and I hate her now. She's the worst thing ever to live! I just can't do it.

INT. LOLA’S LIVING ROOM.DAYTIME.

INTERVIEWER
Have you any plans for the near future?

Lola walks off screen and returns some time later clutching a 'book'.

LOLA
This is my autobiography, don’t you think it’s –BLEEP- amazing?!
It’s only a mock-up but I can just tell it’s going to sell millions of copies. In shops, January 10th!

(END OF PART 2.)

CENSORED SWEARING-AMBER

Our documentary plans to use some censored swearing (with a bleep and black bar covering the speaker's mouth).

This extract from wikipedia highlights some use of such censorship on television.

This bleep was found on a free sound download site.

'Bleeping is commonly used on television programs that use profane words that are forbidden to television networks. Adult comedies such as The Office, Seinfeld, Family Guy, American Dad!, occasionally The Simpsons, and especially South Park and Robot Chicken use this process to block strong curses that cannot be used on television, and mainly to air it outside the watershed, or safe harbor. The 2008 series The Middleman, which aired on the ABC Family network, nonetheless included the occasional profanity in dialogue, which was bleeped for humorous purposes (with a black bar superimposed over the speaker's mouth).'

Often documentaries on music channels about celebrities use a comical censored box like this of Paris Hilton. We plan to do a very similar thing but with only a black box over the mouth.

We plan to do this using a feature of Final Cut: keyframing. The black box will be made and then, by pausing each millisecond of Lola's movement in the shot, it will be moved to the new position of her mouth, hence following her mouth to cover it completely.

TREATMENT- WHOLE FILM- JACOB

Title: The Rise and Fall of Lola Rouge

Synopsis: The documentary is to be shown on Channel 4 at 9pm. Although there is some content that involves expletives, we plan to censor them with a bleeping sound. Showing the program at 9pm will ensure that most children will view it, and appeal to a young adult audience.

Duration: approx. 40 minutes.

The documentary dives into the life of the once popular singer/songwriter Lola who eventually, drunk on her own fame and success, entered a downward spiral of cataclysmic mistakes; including gambling, regular excess alcohol consumption and numerous public catfights with various unsuspecting celebrity “girlfriends” of hers. Now the documentary picks up 3 years since her last studio album. The documentary starts with videos of Lola in her prime (concert footage, interviews etc) with commentary from the interviewer. Then the audience is introduced to Lola as she is now in her home.Lola gives the interviewer a tour, and they sit down to talk about her life as it is now.The interviewer first asks Lola about how she began her singing career, and clips follow along with commentary from the interviewer. This is the structure for the main interview that is in the show along with the one that features in the 5 minute extract. The show is divided into 4 parts each roughly 10 minutes in length with advert time in between. Each segment concludes with a classic “coming up” feature that is a usual device in documentaries such as this. During her interview swearing is bleeped out so the program would be suitable to younger audiences. Lola talks about her life answering questions from the interviewer. As well as the footage shown outside of the interview that is played under a voiceover from the interviewer. Footage from concerts, studio performances and still images from tabloids etc. Similar to beginning, during the documentary Lola shows the interviewer an insight into her life with tours around her haunts etc.


Suggested elements:

When it comes to the footage of Lola outside of the interview the documentary adapts a “fly on the wall” style showing Lola’s day to day life, each group of clips relating to the particular section of the interview. A portion of the documentary particularly at the beginning would feature footage shot in a style that would look like a handheld camera. Some shots particularly in the 5 minute extract will be shot in black and white to create a “star like quality” Interviews will be constructed in a classic format with Lola and others sat down infront of the camera, in a brightly lit setting. Howerver in certain instances the individual been interviewed may be subject to no lighting at all to hide their identity when it comes to discussing Lola.

TREATMENT- EXTRACT- AMBER

TREATMENT- EXTRACT
Title: The Rise and Fall of Lola Rouge

Audience: The documentary is to be shown on Channel 4 at 9pm. Although there is some content that involves expletives, we plan to censor them with a bleeping sound and a black box around the mouth. Showing the programme at 9pm will reduce the chances of it being viewed by children, and appeal to a young adult audience.

Duration: approx. 5 minutes

Synopsis: This five-minute extract is taken from approximately half-way through the entire film. It shows some of the documentary in full and ends with "end of part 2". The extract begins with Lola performing in a studio, when she was a famous singer. A voiceover plays over the top, accompanied possibly by some somber music: “Lola Rouge was once an international superstar and nation’s sweetheart. What went wrong?”
Next comes a black screen, with audio being heard. As the image fades in it becomes apparent that Lola is being interviewed. We next see her rummaging in a bin, completely contradicting the answer she gave the interviewer.
We return to see Lola in her home, answering interview question number two. It now cuts to shots of Lola walking down the street, walking past people that are minding their own business and screaming “Leave me alone! I just wanna be normal!” to them, followed by shots of her leaping into stranger’s photos.
“Do you still enjoy a glamorous social life Lola?” 'Secret camera footage' captures Lola stumbling in the door, heels in hand; looking highly dishevelled and is dragging a boy along with her.
Back to her interview: “Are you still in touch with any of your celebrity friends?” At which point she displays to the interviewer a terribly edited super-imposed framed photograph of her stood between Brad Pitt and Angelina Jolie. The date she brought home wanders past the camera and yells from presumably the kitchen. Lola follows and they have a row.
The interviewer next asks: “So Lola, have you anything to say about your notorious downfall?” Lola appears to have gone temporarily deaf and completely disregards the question. “Have you any plans for the near future?” Lola returns to the shot clutching a shoddy looking book, her autobiography.

Suggested elements: slow motion, bleeps and boxes to censor expletives, short bleep and very quick white screen which flashes between each question's section of footage.

RESEARCH INTO TARGET AUDIENCES - JACOB

For this type of documentary the target audience we would be looking at would be 16 - 24 year old individuals. A large majority of programming across Channel 4 particularly E4 is aimed that this age group. This group is also widely dominated by young people seeking further education meaning a large section of this age range are in fact students. Channel 4 is home to some of the most cutting edge and tongue in cheek documentaries available on terrestrial television in the UK.

http://http//www.channel4.com/programmes/the-worlds-and-me/video/series-3/episode-4

Documentaries such as The Worlds Strangest Plastic Surgery and me are common on Channel4 focusing on more light hearted subjects. On satellite television the biggest providers of such entertainment would be outlets such as MTV.

http://http//www.mtv.co.uk/artists/kerry-katona

Kerry Katona "Whats the problem?" is quite similar in terms of content to our project The Rise and Fall of Lola Rouge, ffollowing a fallen star through their day to day life. Despite the fact that the MTV show is in fact more of a reality show than documentary, but in terms of style and actual content reality shows such as this aiming at the same target audience as we are, do provide inspiration.

According to the Radio1 website:

• This age range is less than likely to read newspapers and they actually go on the internet for their news. The Sun is the most popular daily paper, meaning there is a greater interest in this age range for tabloid tales and celebrity culture than what could be seen as "hard hitting" issues.


• Drugs and sex have become more accepted today than ever before with over 40% of the young in the U.K having smoked cannabis and 86% support its legalisation. In the 16 - 24 age range, 20% of men and 15% of women have had more than 10 sexual partners.


• With a constant exposure to consumerism this age range today has become very demanding compared to previous generations in the media.

This age range focuses more on celebrity culture and reality television more than any other making it our perfect target audience for out project. Drinking, sex and general hedonistic behaviour is a common theme for such shows aimed at this age range whether it being a documentary or a drama such as Skins,

http://http//www.e4.com/skins/

Music obviously plays a large part in youth culture, yet again Channel 4 and 4Music are home to programming showcasing the latest music. And MTV is home to documentaries focusing on past or current music icons.

http://http//www.mtv.co.uk/shows/pete-doherty-in-24-hours

Our project seems to push all the correct buttons to appeal to this target audience, so that is why we chose the 16 - 24 category when creating our 5 minute extract. The Rise and Fall of Lola Rouge focuses on a fallen music and tabloid icon, and follows her through her day to day life through fly on the wall style filming. Celebrity culture is a theme which dominates the media in society - but it's principles whether it being Pete Doherty the rock star or Cheryl Cole the nations sweetheart are something which the younger generation look up to more than any of the other age groups.

Another helpful bonus with targeting this age group is for us as a group is the fact that we can use classmates and friends for research and audience feedback on our project, through social networking sites such as Facebook and eventually being able to post out film on YouTube to gain comments and feedback.

As well as the target age group a particular gender was kept in mind too for our work. Celebrity scandal is often an attraction for female, teenage audiences. But as with documentaries such as Pete Doherty in 24 hours the audience's gender may depend on the gender and occupation of the actual celebrity in question with Pete Doherty been more of a model and icon for younger males. However this would not eliminate fact that there still would be female viewers, just that the subject in question in documentaries aimed at 16 - 24 year old audience often dictates which gender it is more likely to attract.
http://http://www.itv.com/katieandpeter/

In conclusion the target audience is a huge factor when working with media or any other similar product. In our film we hope to appeal to a target audience of 16 -24 year olds. But attempting to appeal to both genders rather than just aiming for female gratification. The documentary sets out to be both entertaining and humorous focusing on Lola's now destructive yet amusing life.

DETAILED PLAN OF EXTRACT- AMBER

• The extract begins with shots of Lola performing in a studio, when she was a famous singer.
• As the image fades in we see the shame title shot of Lola performing in a studio. The camera zooms out "through" Lola's living room television, and we see her sat watching herself.
• The titles are next: the music continues and shots of Lola laughing in slow motion play. A voiceover plays over the top,: “Lola Rouge was once an international superstar and nation’s sweetheart. What went wrong?” The image fades to black.
• It becomes apparent that Lola is being interviewed; the shot is of her sat in an armchair looking at the interviewer who is sat off screen, the camera is behind them. As she answers her first question (“Have you experienced any financial difficulties since you lost your recording contract, Lola?”) with “No no, I’m still a star, I’m still financially secure thankyou.”, there is a cut to shots of her rummaging in a park bin.
• · We return to see Lola in her home, answering interview question number two: “How’s day to day life in general?” to which she replies: “I still get hounded wherever I go, the paparazzi are so –BLEEP- annoying.” It now cuts to shots of Lola in her old college, where she is speaking to the camera but stops to tell an unsuspecting stranger to move along. Then she is talking to camera again in a different corridor but spots two boys minding their own business and assumes they want a photo with her.
  · “Do you still enjoy a glamorous social life Lola?” She responds: “Oh absolutely, I go to only the classiest places.” The voiceover comes over a shot of Lola’s kitchen, looking towards her door. Subtitles along the bottom of the screen read: ‘Sunday, 3am’. Lola stumbles in the door, heels in hand; looking highly disheveled and is dragging a boy along with her, mumbling about 'more beer'.
  · Back to her interview: “Are you still in touch with any of your celebrity friends?” to which she replies: “Oh yeah, I've still got lots of friends, me and Cheryl Cole are best buds,” at which point the camera pans over three terribly edited super-imposed framed photographs of her stood between Brad Pitt and Angelina Jolie, Cheryl Cole and Paris Hilton. The date she brought home wanders past the camera and yells from presumably the kitchen: “Lisa, got any bread?” Lola mutters “Oh god” and walks off camera. The two can be heard screaming at one another, Lola being the louder. The interviewer says to the camera person: “Yeah we need to get this, quickly”- The camera is removed from its tripod and moves (handheld) to a slit in the kitchen door. Lola can be seen throwing things at the “date” from a nearby fruit bowl. Lola emerges from the kitchen sorting her hair out and says "Oh sorry about all that noise I er... fell over the dog."
  · The interviewer next asks: “So Lola, have you anything to say about your notorious downfall?” Lola appears to have gone temporarily deaf and completely disregards the question, choosing instead to comment suddenly on how much she “adores” the interviewer’s hideous shoes. It now cuts to an account from a hysterical ex-fan of Lola's whose face is obscured to protect their identity.
  · “Have you any plans for the near future?” Lola walks off screen and the image fades to black. When it fades back in there is still an empty armchair, with “25 minutes later...” across the bottom of the screen and Lola returns to the shot clutching a shoddy looking book. “This is my autobiography, don’t you think it’s –BLEEP- amazing?! It’s only a mock-up but I can just tell it’s going to sell millions of copies. In shops, January 10th!"
  
• The music from the beginning fades in as the titles read "end of part 2". A shot of a tramp waving a sign reading "I LOVE U LOLA" fades to black.

ANALYSIS OF A SIMILAR EXTRACT- JACOB

The extract I chose to analyze was "Pete Doherty in 24 Hours" which was originally shown on MTV in 2009. This extract of the program was found on

www.YouTube.com. The extract starts with a title sequence composed of cardboard cutout images moving around the screen in the style of a pop out book, all images having some relation to Pete Doherty. The intro is accompanied with fast paced lively music establishing the mood of the program and its theme. The titles finish with the actual physical text of the title been show lit up on a wall. At 37 seconds the footage begins with a shot from the backseat of a car establishing two individuals sat in the front moving along a country lane. Underneath a caption bar reads "24 hours to go MTV track down Pete Doherty" with images of clocks. The footage moves to quick establishing shots of a country house with the camera moving into focus on particular features such as cats and the style of the windows. A longer establishing long shot is shown of the two people walking towards the house.

55 seconds, and the scene has now become the footage shot from a handheld style behind what has now become established as the interviewer. In the same shot the door opens "Hi, were from MTV do you mind if we start rolling straight away?” The scene

moves into the house which is naturally lit and Pete's voice can be heard clearly as he takes on the sudden introduction of the two people in his house. The editing up to now is fast paced and creates quick cuts between the shots. The handheld style puts in concrete the "fly on the wall" genre for this documentary.The camera moves around into the kitchen, and Pete comes into eventually into view. Yet again quick shots of objects around the room is shown (more cats) with the constant audio of the main footage above. The shot zooms onto a CD player and a close up of Pete’s hand turning it on; at 1:16 upbeat reggae begins to play. And the camera cuts to medium close ups of particular aspects of Pete’s body has he begins to dance and make a cup of tea for himself a

nd the crew. The music appears to be diagetic but from the quality it can be established that it was put on through editing.The music creates a sound bridge to a new scene. A low angle establishing shot of a bar on a street corner is shown along with the same caption style from earlier.

Now reading "23 hours 43 minutes to go Fashion show team meeting". The lively music sets the mood and the shot shifts to that of a medium shot showing four men around a table in conversation. The music quickly fades away. It is established they are behind Pete’s fashion show set to take place in 23 hours and they speak about the plans for the event. As they talk the camera shifts to the speaker with medium close up shots and the camera continues to smooth zooming in and out on particular focus points (in this case the speaker). One man begins to speak and the caption from before appears again this time reading the man’s name. The scene is naturally lit and the camera moves back and forth through the conversation from the base establishing shot of the four men. A last close up is shown and the scene yet again quickly shifts.

2:00 and the camera is tracking a Land rover moving along a city road accompanied by fast paced music (Foals - Balloons) matching the pace of the footage. A close up appears of hands on the steering wheel of the Land rover shot now from the interior of the car. A man begins to speak about Pete and the fashion show and a caption is shown from a l

ow angle shot of him in the passenger seat. As the music continues the shots cut again to Pete’s house from the exterior. A quick zoom from a low angle focuses on an iconic Union Jack flag hanging out of a second story window. The scene shifts inside to more close up shots of Pete’s cats and a long shot of what appears to be a music room. The music continues to play from before and Pete and the interviewer can be heard as they begin to speak. A medium upper body shot of Pete is shown showing his presence in the room the camera slightly zooms in as he speaks as it follows his movements during his conversation. The whole tone of the documentary remains casual, with Pete’s approach to the interview and the handheld style of the camera. The camera follows Pete from a long shot as he pretends to model on the catwalk in the room. At 3:00 the camera zooms out quickly to show the interviewer physically speaking for the first time in a medium shot from behind. The scene and conversation continues up until 3:50 following the handheld style throughout and random close ups of relevant and quirky objects such as scattered vintage co

ins and lamps.

At 3:50 quirky whistling music begins along with a wide shot of Pete’s house from the outside been shown. Pete begins to speak again through commentary on top of more footage similar to before of his cats now outside the house. The first close up of Pete’s face brightly lit is shown. The camera then begins to move and follows Pete around the house staying back at a medium shot from behind. The upbeat music continues and the camera smoothly pans into a new room and Pete begins to show the crew around it.

At 4:42 the scene shifts back to the Land rover the camera remains stationary on the road showing a medium long shot establishing the 4x4 moving towards the screen. As it moves past the screen the shot cuts back to the same long shot used before showing the same passenger. A low angle shot almost parallel to the sky is shot

through the windscreen showing the cars movement whilst the man continues to speak. Here the 5 minute extracts ends.

Source:

http://http://www.youtube.com/watch?v=cnd20gi1B5E

ANALYSIS OF A SIMILAR EXTRACT- AMY WOLSTENHOLME

http://www.youtube.com/watch?v=l9TyCNpUNuQ

The rise and fall of Danity Kane

The documentary starts off with a high tempo track playing quietly whilst a photo of danity kane slides in bit by bit revealing each member one at a time. This imediatly creates an upbeat fast paced feel drawing in the audience. After this a voice over is heard whilst shots of their success e.g. album covers an scenes of concerts are shown the editing is quite fast paced being cut from one shot to another keeping in with the feel of the rest of the introduction. suddenley the music changes to a more violent sounding track as the voice over explains that their career ended badly. Images are shown in black and white of the band argueing to illustrate what is ment. The audience are told that they will learn from the begining as a scene is played backwords and a rewinding sound effect is played. then alot or climatic drum music is heard. This whole introduction makes the programme sound exiting and that it is possible they could find out a lot of scandal, drawing in the audience.

After that a title sequence is shown pink and orange patterns surrounding pictures of the band are cut toegther whilst a danity kane song is played. these colours seem to fit in with the programmes audience which would be yound adults that are female. Each band member are fazed on with their name shown next to them. This introduces them to the audience imediatly giving them a bond with the characters this way they will carry on watching the programme. At 1.50 a medium shot of screaming fans is played it suddenly turns to slow motion and flashes black and white, this is to symbolise their downfall.

A medium close up flashes on screen in a pink haze to reveal p.diddy doing a piece to the camera explaining about danity kane's career, this is very typical in this genre. The audio does a sound bridge as it carries on over a shot of the band dancing. It then cuts to a high angle long shot of crowds and a singing competition whilst a voice over is still being heard. The sound of the voice over is very good is builds up tension and really gets the audience wanting to know more information, usually this is what voiceovers sound like in documentaries. A medium shot is shown of a girl singing it is then cut to shot reverse shot whilst a short conversation takes place the editing has now slowed down.

What seems like a monatge of flash backs is slowly played bordered in a pink and purple haze this technique makes it simpler for the audience to understand and follow the story. Pink- get this party started is heard as pans of new york city are slowly cut together. This is away of rising the mood after all the meloncholy atmosphere before. it cuts to a medium straight on shot of Andrea talking straight to the camera about her experience in new york is shown followed by fast cuts of girls dancing. a small of squence of shot reverse shot is on screen as p.diddy watches the girls. once again the voice over starts explaining the story. All this is keeping the audience involved an on track, which is important for a documentary.

This 5 minute extract is similiar in sticking to the conventions of a documentary. Alot of scenes are cut together in order to sell a story, however i would have expected more interviews or pieces to camera from the actual band mates. However this had more voice overs. This makes it different to our style of documentary.

ANALYSIS OF A SIMILAR EXTRACT- AMBER

I found the video Live Forever: The Rise and Fall of Brit Pop on the website www.veoh.com and decided to analyse the first five minutes of part one of the documentary.

It begins with the titles, but with interview audio playing over them. Then we see part of an interview taking place; an establishing shot of two men sat directly in front of the camera on a sofa. A guitar and a beer are also in shot, immediately establishing what the content of the documentary will be.

Next it cuts to another interview; this time of Noel Gallagher in a medium close up. He seems to be stood in a dark corridor, and is lit only from his left by a red light. The effect is dramatic and striking.

Now it returns to the two men on the sofa for another clip of their interview; then back to Noel in the corridor, then returns again to the sofa. The two men are revealed to be members of an Oasis tribute band called Wonderwall. Withholding the identity of the men until this point allowed the audience to listen to their opinions and then put them in context at this point.

The scene now cuts to a smooth pan down a staircase. An Oasis song intro can be heard (‘Rock and Roll Star’) and the camera, handheld, ascends the stairs and veers left, entering the room where the music is clearly coming from. The camera goes through another set of doors inside the room and we see a band performing in long shot, presumably the Oasis tribute who were being interviewed previously. The camera continues smoothly toward them, close up on the singer and then moves left for a close up of the guitarist.

It then cuts to a slightly high-angle shot looking up a space between two rows of buildings; the sound suddenly becomes tinny and quiet, so we assume that this is the outside of the place where the band are currently playing.

Next it cuts to another slightly high angle shot of a darkening road in Sheffield. Subtitles across the bottom clarify the place. Yet another high angle shot follows depicting a road and a pylon, and another similar shot showing a ro

w of warehouses. The music is sort of dark, it matches the pretty bleak images of Sheffield is showing. A sudden cut shows a shot of a colourful row of bungalows on a sunny day, and the music is bright and uplifting jazz. Subtitles across the bottom read “Colchester”. Two more shots follow showing more pleasant- even perfect- suburban houses and their respective flowery gardens.

It now cuts to a shot looking up a narrow alley between two rows of houses; subtitles read Manchester and Rock and Roll Star blasts back out. More shots follow of a similar typical working class industrial area- warehouses etc. The last one fades to white and the music fades into audio clips of several people talking at once, clearly parts taken from interviews and spliced together here. They mention drugs, Oasis song titles and festivals etc., and the effect of them all overlapping is really powerful. As they speak an all red Union Jack is shown on-screen, then an all blue one, with the letters spelling “Live Forever” flying across. The letters fly into the centre now and form LIVE FOREVER in the centre of the actual Union Jack. The image is simple but the effect is powerful.

The titles now cut to a black screen, then fade in to the Stone Roses’ Waterfall and a low shot, as though the camera is in the grass, of a beach stretching out and cooling towers can be seen in the background. Subtitles across the bottom read: Spike Island – Merseyside, and then: Stone Roses play Spike Island May 1990. Several aerial photographs follow, showing the area and the stage and huge crowd.

Someone narrates over the top about the day as the stills continue. We then see the man who is speaking. He is shown in a medium shot and slightly from the left- and similar to Noel Gallagher previously, the red theme continues; the curtains behind him and the chair he is sat in are both red. Plus, he also is lit from one side. His name and occupation are shown along the bottom. As he talks about the concert, stills from the day are shown to illustrate what he is talking about. This is something we hope to accommodate in our documentary, but with video rather than stills.

The opening five minutes of this documentary are very good in my opinion. They establish what it is going to be about well, make very good use of the music it involves, and the titles were quick and to the point but still effective. The three comparisons of the different cities were also particularly memorable, there was no voiceover but by the level of brightness, the music used etc., the differences were clear to see.

Source: http://www.veoh.com/browse/videos/category/music/watch/v1273574EhKxxMqB

QUESTIONNAIRE RESULTS & ANALYSIS- AMBER, AMY, JACOB

All of our sample was aged 16-21, and all were students. This being our target audience, we hoped to gain useful results. We asked 20 people in total.


Do you usually watch documentaries?

The majority of our sample answered yes or sometimes. Only 30% do not watch any documentaries.



If yes, which documentaries have you seen lately?
Obviously this was a qualitative, open question and as such there was a variety of answers. The only answer repeated was Louix Theroux- Cystal Meth. Channel 4's 'Dispatches' and 'Bodyshock' documentaries were also popular.



What did you like/dislike about this documentary?
People said that they like expository documentaries, and in particular the work of Louis Theroux. A poignant answer was 'he gets to the heart of it'. We aim for a similar style in our documentary: no-holes-barred, scandalous look at the 'truth'.



Which type of documentary do you enjoy the most?

Celebrities and current events were the most popular answers. This shows that our documentary would be appealing to our target audience, as we asked students.



Our documentary is about Lola Rouge, who was once a singing superstar, but after a string of mistakes on her part, now has a failing career and social life. It follows her after her downfall. Would you watch our documentary?
14 out of 20 respondents answered yes. This majority shows again that such a documentary would be appealing to this age group.


What is the reason for your answer?
Those who responded yes answered mainly that it "sounds interesting" or "fun". Those who responded no answered that it was "not [my] kind of thing".


What time would you expect it to be on considering it contains some censored swearing?

The majority of respondents answered 9pm. Nobody thought it should be aired before 7pm, and only one person thought it should be shown after 11pm.



What channel would you expect it to be on?

Most people said channel 4. However only one less than this majority replied e4. We have decided, however, that our documentary remains aiming to be aired on channel 4, as it has a more "serious" and satirical undertone than e4, which is mostly American sitcoms and dramas, and rarely shows documentaries.



Would your friends watch such a documentary?

Equal amounts (each 40%) of our sample answered yes or maybe. This is encouraging to us as the peer groups of students are also, obviously, our target audience, and these results show our documentary would be appealing to most of this age group.


Which format of documentary do you like best?

The most popuolar answer was scenes with narrator, and the 'unpolished' rough cut style, both of which feature in our extract.

QUESTIONNAIRE- AMY, AMBER, JACOB

Age:
Occupation:

Do you usually watch documentaries?
Yes No Sometimes

If yes, which documentaries have you seen lately?

What did you like/dislike about this documentary?

Which type of documentary do you enjoy the most?
Celebrities Politics Nature Current events Historical

Our documentary is about Lola Rouge, who was once a singing superstar, but after a string of mistakes on her part, now has a failing career and social life. It follows her after her downfall. Would you watch our documentary?

What is the reason for your answer?

What time would you expect it to be on considering it contains some censored swearing?
7pm or earlier 8 pm 9pm 10pm 11pm or later

What channel would you expect it to be on?
Channel 4 e4 ITV1 ITV2 BBC1 BBC3

Would your friends watch such a documentary?

Which format of documentary do you like best?
Presenter and interviews
Scenes with a presenter
Scenes with voice over- narrator never seen
Unpolished style with one person with a camera and sound equipment

CHANNEL 4 STATEMENT OF PROMISES- JACOB

http://http//www.channel4.com/about_c4/promises_2002/promises_documentary.html
Documentaries:
We will continue to prioritise modern documentary and documentary formats that appeal to a younger audience.We aim to combine ambition, intelligence and energy with a popular sensibility.
AltTV will continue to give young talent their first break into peak time television, providing their first foothold on the Documentaries talent ladder.

Statement of Promises for Channel4 in general:

Channel 4 has never sought to be the biggest broadcaster but it does set out to be the broadcaster that has the most to say. In a climate of economic recession, and with increasing competition in a multi-channel environment, Channel 4 makes its top priority the distinctiveness, the imaginative and the social impact of its programmes.
We will champion, for viewers and the creative community in equal measure, an interrogative independence of mind, a defence of cultural freedom and diversity, the free play of the individual imagination and an interactive relationship between our programmes and our audience.

We will champion risk and non-conformism in all genres of programmes.

We will set aside programmes and resources to encourage new talent on screen and behind the camera.