Does fake news remain fake if it is not perceived as real by the audience? (Tandoc et.al 2018, p.148)

This is complicated, and really dependent on the context of said piece. I personally believe that yes, it is still considered fake news, because the definition is more due to the intention of the project than the reception. Satire is slightly more clear-cut, as its reception involves humour, but with phenomena such as Poe’s Law, a good satirist can be very deadpan, with consumers missing the tongue-in-cheek humour.

When examining satire, reception gets even more muddled. Satirists are obviously trying to make light of something that has actually happened, and attempt to use this to see how close they can get to make people really think that it could happen. At times, even satirical pieces can become real.

One could also consider that the premise of the question is incorrect – in that there are likely to be no fake news articles that haven’t been perceived as real by at least one consumer. For example, look at the numerous scam emails that used to go around with poor spelling and grammar. I would personally see one of those emails, and laugh about how unconvincing it looks, however, people still seem to fall for them. Allegedly there are reasons why scammers write like that, but to the untrained eye, it seems ridiculous.

This is my entry for Exercise 3. I used Script 3B – featuring characters Evie and Martin.

The Original Script (courtesy of Robin Plunkett)

Exercise 3B – Indoor – Classroom
Shooting Order	Shot	Shot Size	Angle	Movement	Subject	Description
1	1	Wide	Eye Level	Pan left to right across room	Evie and Martin in Classroom	Establishing shot
5	2	Medium two-shot	Eye Level	None	Evie and Martin facing each other while talking
2	3	Medium close up	High angle	None	Dirty over-the-shoulder at Martin
3	4	Close up	Low angle	None	Directly at Evie
4	5	Medium-close two-shot	Eye Level	None	Evie and Martin facing each other while talking
6	6	Medium two-shot	Eye Level	None	Evie talks then leaves the scene

1. Turn the camera off at the request of the participant (Rachel Boynton, DOC NYC, 2018).
2. Show the participant the finished film before the public (Rachel Boynton, DOC NYC, 2018).
3. Love the people that you film. (Rachel Boynton, DOC NYC, 2018).
4. Do not misappropriate the participant’s actions or words.
5. Ask the participant if there is anything they don’t feel comfortable talking about.
6. Allow the participant to have any support they need.
7. Seek permission from the participant (or guardian if they are unable to consent)

REFERENCES:

DOC NYC PRO: Casting Case Studies 2016, streaming video, DOC NYC, New York, viewed 14 November 2019, <https://www.youtube.com/watch?v=Bndwq27kkjc>.

“I was in a bit of a rush, I had just finished a class, and was getting ready to get back into the city to get the train home.” The bearded man didn’t seem overly stressed, but he was probably just used to hiding emotions, like every man is told to by societal norms.

He checks his phone, “it’s for the timetable,” as if I care about what he’s doing on his phone, though he was starting to get visibly frustrated, probably because of the shitty network coverage outside.

He ends up walking up the stairs until he eventually gets reception. He took a while, so I guess he still had plenty of time.

I eventually noticed that there was a wall that looked like one of those warped mirrors that wouldn’t look out of place as a sideshow attraction.

A photographer was enthused by it too, and took pictures of their reflections.

The tram stop was quieter than normal, probably due to uni break, but there were still passengers. Some probably weren’t the ones you’d expect.

Eventually the bearded man’s tram arrived. “I know that the tram always stops here, but I still worry if I don’t hail it.”

I watch him running after the tram and embarking.

I’ve never seen people stickerbombing, but every day, I walk past, and new stickers are up.

More trams roll past, people get on, people get off. It’s time for me to go back upstairs, time for coffee.