Link to project:
Reflection:
A key concern of the studio focused on Ethics within the documentary film world. With this, I believe our process and production was well thought out in regards to being an ethical project. We knew we were entering individuals homes, asking them vulnerable questions about their finances, personal experiences and thoughts about themselves and their capabilities. All daunting and invasive questions. With this, we knew to keep reminding our subjects if they do not feel comfortable to answer the question to let us know and have an open dialogue about what they are comfortable with. We were lucky as our subjects were very on board and generous with their answers. In saying this, I kept in mind, in the edits keep showing our subjects snippets, ensuring they are comfortable with what we chose to keep in and remove, before displaying our project to the exhibit. This was an important ethical consideration regarding informed consent; by reminding our subjects they are able to express what they are and are not comfortable with. This was discussed in class and a key concern within the studio. Drawing from the article, ‘Honest Truths: Documentary Filmmakers on Ethical Challenges in Their Work’ by which stated an important note on the consideration of editing and sharing with their subjects. ‘Ross Kaufman noted that the subjects disagreed with the coda at the end of one of his films, saying that “it did not ring true to them . . . They didn’t demand it, but they were right. I changed it . . . They were much happier, I was much happier, and the film was better because of it.”(1) This stood out to me, as documentaries are about people and real events, and subjects can be harmed and exploited not only during filming but with the power of story manipulation via editing. Thus, if found it important that Luka our editor and Tess our director keep exporting cuts to share with our subjects. This also I found developed a better connection with those we worked with and a more positive experience in making this piece.
I hope our work shares how difficult the arts is for young people, yet also be a piece of media University students can relate to. That we are all feeling the harsh realities yet need to keep displaying our talents and share art to the world. In attending the studio exhibit, I noticed many were shocked to see our short not be just on displaying the talents of the fantastic band, ‘Neutraliser’. They saw a vulnerability, and many seemed to relate and connect. In turn, I feel this does tie into the ethical consideration measures we took in creating this piece. As we got to inform our audience and generate their engagement by targeting us creatives. However, this began by keeping our subjects informed and comfortable, maintaining an ethical production. This is what I truly hoped for when creating this project and I hope it continues to do so with our audiences.
One of the most successful aspects of our work has to come down to our collaboration. Together, we allowed each of us to play to our strengths. I focused organising, paperwork, timelines and submission schedules. Whereas, our Director, Tess, focused on the characters, the structure, the shots and storyboards. Our cinematographer, Sienna, focused on her visuals, equipment lists and tutorials, shot lists and working alongside Tess to ensure the vision is executed. Finally, Luka, our editor, took on the role of editing technique trials as well as learning how to go through sound. As our sound member left our group mid pre-production. In ensuring we finished on time, ran ahead of schedule made our process more enjoyable and less stressful. I found this to be overall one of our most successful aspects of our process. In turn this made the best piece of work we could have.
A problematic aspect of our process during the development came down to story structure and sharing perspectives. I found we all wanted to discuss multiple themes focusing around a small band, however meaning some scenes would be staged and not based on actuality. Relating to the article by, Rosenthal, Alan, and Ned Eckhardt. Writing, Directing, and Producing Documentary Films and Digital Videos specifically the chapter on ‘Clearing the decks’ stating, ‘Documentaries are generally about real events and people, providing a plausible perspective on actual situations’ as Nichols suggests that documentaries involve a balance between “creative treatment” and “actuality,” referencing John Grierson’s definition from the 1930sc (2). However, as a group we were struggling with finding a balance between the two. After multiple conversations, flushing out our story structure with our director, feedback we gathered from our pitch and tutor, we made our story smaller on scale. Especially given the time frame of staying within 5 minuets, I found we had too many perspectives and staged moments that did work well to display a well-balanced depiction of a documentary.
I would love to improve the story structure and develop deeper into the cost-of-living crisis, creative arts scene and potential get other small creatives. Adding them to the story to create range, display the communal struggle and heighten the issue. Potentially, for example, getting a local painter who is recently graduated from university studying oil and acrylic paint techniques. Interviewing them and discussing similar themes on making a living in the arts during a cost-of-living crisis. Alongside this, research deeper into Arts scene grants, and interviewing University Lecturers, Governmental or council bodies and those who have had success in the arts scene. Overall adding more layers, examples and greater severity to the issue we are wanting to discuss. As there is an article that stood out to me relating to this question, by Rosenthal, Alan and Ned Eckhardt on Writing, Directing and Producing documentary films. Specifically, the chapter, ‘Writing the proposal’, stated, “You must pay attention to the words need and interest. Many topics are out there begging to be made into films, and your job is to persuade… that your film is so dynamic and vital for the audience that it just must be made.” (3). By extending the layers of our topic, by reaching out to more artist and those in power I feel our story has need and interest of our aimed audiences. Thus, this is what I would like to do, to improve in our story continuing with the project.
During this studio experience, I have learnt many vital lessons and techniques I will bring into my future practice. One that stands out to me is data management and having the editor on set. Although we only had four of us in the end, Luka our editor assisted on set to help with camera etc. However, as Lucy stated when we discussed data management, it is great to have the editor on set. During breaks, the editor can manage and check the footage and converse back with the Producer and Director about how the takes looked. This also assists in ensuring the footage is managed well. Another quote from this studio, ‘if the footage isn’t in three places it doesn’t exist’. This engrained the importance of looking after the footage and keeping the takes safe in multiple areas. Therefore, going into my future practice, I will aim to have the editor on set to make their lives easier by managing the data on set and having piece of mind that the footage is safe in three places.
A key take away is to let those who are specialised / knowledgeable in their department, have trust in their role before intervening. I found it very important to let each department work with what they know then in our meetings come together and discuss anything we all liked or wanted to change. This allowed us all to have an even workload, stay focused with what each of us know. In doing so, if we had any questions or needed assistance from each other, that is then when we would jump in and assist as a team. It made our organising easier, we had a major role to play which kept us focused and on track. Thus, in working collaboratively, letting each department do their work before adding in feedback or trying to oversee everything made each of us feel confident and supported.
Refrences:
1. P . Aufderheide, P.Jaszi,09.2009, Centre for Media and social impact, ‘Honest Truths: Documentary Filmmakers on Ethical Challenges in Their Work’
Honest Truths: Documentary Filmmakers on Ethical Challenges in Their Work
- Rosenthal, Alan, and Ned Eckhardt. (2015), ‘Writing, Directing, and Producing Documentary Films and Digital Videos, Southern Illinois
University Press, 2015. ProQuest Ebook Central
http://ebookcentral.proquest.com/lib/rmit/detail.action?docID=4414608.
- Rosenthal, A., & Eckhardt, N. (2015). ‘Writing, directing, and producing documentary films and digital videos’. Southern Illinois University Press. ProQuest Ebook Central,
Poster:
