Showreel Assignment

Assessor: Gilly Hope
Deadline: 7th June 2017
Unit: 37 - Presentation Techniques for Broadcasting
Scenario: Using your filmed/audio work from across the year you have been commissioned to create a show reel. Include an introduction and explanation piece for each section of film.

TASK 1

What is a showreel? Why are they important?

A showreel (also known as a demo reel) is a short piece of video or film footage showcasing an actor or presenter's previous work. They are important because they can advertise the skills, qualities and accomplishments of an individual for a viewing audience to take in and assess.

Examples?

Proposal

It will be a simplistic approach, relying mostly on amateur maneuvers such as a single camera production that will hit off as my introduction, followed by footage of my clips from throughout this year of the course. The audience I have in mind is the class itself, as this showreel is intended solely to be shown for course purposes. Thus, the direction is intended to be linear, starting off with my earliest work and ending with my most recent. 

Actuality footage will only be featured in the very beginning of my showreel, as I intend to talk over the footage shown and explain what I have accomplished this year. There isn't a lot to write about to be honest, as I have everything else to sort through such as actual production of the showreel as well as compile documentation. 

TASK 2

Planning:

• pre-production documentation - all documentation shall be placed right here and if necessary, in a folder/document to be handed in.
• selection of location - locations include Bede Campus of Sunderland College. The only actuality footage used will be the opening of my showreel.
• dress and appearance - casual and plain, using only what I wore on the day. I find it suitable for an amateur, college student's showreel.
• props - no props were used or necessary. Only the camera and myself in front of it were needed for the opening.
• appropriate equipment - camera and tripod along with a possible Tascam for voice-over recording.

Presentation:

• rehearsal - actual presentation for my opening was done on pure improvisation and did not need a script. The case shall be otherwise when it comes to my voice-over recording. 
• recording - voice-over recording will have to  be done in a sophisticated manner, most likely in the Arts Academy studio where I can hopefully complete professionally. 

Script

1st clip: The earliest form of production that involved the use of cameras that I did was a mini-project we did with Alan Sill, simply entitled 'Bede College Trailer'. The task was simple: film whatever you want and then come back to edit the footage. I improvised from there and this was the final result.

2nd clip: My second experience with production and editing came in the form of a lyric video of 'It's Raining Men', by far the most painful experience in my life. It is admittedly poor and I think drags down the rest of the video; however, I took it as a lesson to improve upon my amateur editing skills. 

3rd clip: The Turing Test is a scene from the movie Ex-Machinia, which we recreated with the gorgeous and handsome duo of Al Smith and Laura Beattie. This was with our lecturer Keith Lawler, and was an attempt to get an idea at how single camera productions and techniques work. I was the cameraman for this project. 

4th clip: The Vox Pop interviews were apart of our assignment for Stephen Woods. Me and cameraman Brandon Ord went around Bede campus to interview individuals on their tastes in video games. This was part of research necessary to find our audience and demographic for our own pitched video game.

5th clip: My final production of the year. I, Kevin Middleton and Brandon Ord did a documentary on video game violence, and it is by far my best production, in my opinion. As always though, I could have added more actuality footage and include the interviews; still, there are two more versions as done by my team mates. 

TASK 3

Process - Self Evaluation 

Overall, the showreel itself is very amateur in it's making, which I think reflects my progress made throughout the year. It wasn't till this course that I could edit using Adobe Premiere or put work into camera. As for the actual showreel, it isn't the best. I find the voice over to be dull and boring, and the Tascam did me no favors. Nevertheless, it is complete.

Assignment 6: Plan, Research and Produce

Assessor: Gilly Hope
Deadline: 24th May 2017
Unit: 27 - Factual Programme Production Techniques for TV
Scenario: Your community TV station is due to launch. Your production company has been commissioned to produce a 5-7 minute short factual program for broadcast.

TASK 1

Build a portfolio of research and pre-production materials needed to effectively produce the program. Include the following:

• Proposed ideas - what is the format? Genre? Style? Audience? Aim/motive?
• Develop idea - what is the synopsis? Possible contributors? Storyboard?
• Research - primary and secondary sources? 
• Legal and ethical considerations - filming in public? Clearances and permissions? Privacy? Libel and defamation?
• Roles and responsibilities - schedules? Interviews? Contacts? Scouting? Risk assessments?

TASK 2

Film, edit and store the work. Be sure to complete the following:

• Production techniques - filming, graphics, scripts, location and sound.
• Production management - monitor progress, identifying and solving problems, organizing, booking equipment and ensuring return. 

- END OF BRIEF -

This portfolio is currently being completed and compiled as part of a Word document. 

The Making of 'The Archives: Video Game Violence'

The Plan

We will be focusing on video game controversies, primarily violence in video games and how it influences people. Footage will contain both original and borrowed content.

Links:

• http://edition.cnn.com/2016/07/25/health/video-games-and-violence/
• http://videogames.procon.org/
• http://www.bbc.co.uk/news/technology-33960075
• https://www.scientificamerican.com/article/do-video-games-inspire-violent-behavior/
• http://www.telegraph.co.uk/science/2016/03/12/study-finds-no-evidence-violent-video-games-make-children-aggres/
• https://www.theguardian.com/technology/2016/mar/09/do-video-games-make-children-violent-nobody-knows-and-this-is-why
• https://www.psychologytoday.com/blog/media-spotlight/201304/can-video-games-cause-violence

These links will be cited within the documentary itself, in order to back up our findings. These are primary sources. In addition to original footage, we will be using public content exhibiting video game violence and the debates surrounding it.

Members

• Brandon Ord
• Kevin-Lee Middleton
• Matthew Tulip

Info from Links

According to CNN:

The American Psychological Association observed in an August 2015 policy statement (PDF) that research demonstrated a link "between violent video game use and both increases in aggressive behavior ... and decreases in prosocial behavior, empathy, and moral engagement."

In its July guideline on media violence, the American Academy of Pediatrics warned that violent media set a poor example for kids. Video games, the academy noted, "should not use human or other living targets or award points for killing, because this teaches children to associate pleasure and success with their ability to cause pain and suffering to others." 

Overall, the academy's summary of the results from more than 400 studies revealed a "significant" link between being exposed to violent media (in general) and aggressive behavior, aggressive thoughts and angry feelings.

According to ProCon.org: 

The debate over violent video games can be traced back to the 1976 release of the game Death Race. The object of the game was to run over screaming "gremlins" with a car, at which point they would turn into tombstones. Controversy erupted because the "gremlins" resembled stick-figure humans, and it was reported that the working title of the game was Pedestrian. After protestors dragged Death Race machines out of arcades and burned them in parking lots, production of the game ceased.

In 1993, public outcry following the release of violent video games Mortal Kombat and Night Trap prompted Congress to hold hearings on regulating the sale of video games. During the hearings, California Attorney General Dan Lungren testified that violent video games have "a desensitizing impact on young, impressionable minds." Threatened with the creation of a federal regulatory commission, the video game industry voluntarily established the Entertainment Software Rating Board (ESRB) on Sep. 1, 1994 to create a ratings system. Based on the video game's content, the ESRB assigns one of the following ratings: "Early Childhood," "Everyone," "Everyone 10+," "Teen," "Mature," "Adults Only," or "Rating Pending" (only for use in advertising for games not yet rated). In a Pew Research Center 2008 survey, 50% of boys and 14% of girls aged 12-17 listed a game with a "Mature" or "Adults Only" rating in their current top three favorite games. 

According to BBC:

More than 200 academics have signed an open letter criticizing controversial new research suggesting a link between violent video games and aggression.

The findings were released by the American Psychological Association.

It set up a taskforce that reviewed hundreds of studies and papers published between 2005 and 2013.
The American Psychological Association concluded while there was "no single risk factor" to blame for aggression, violent video games did contribute.

"The research demonstrates a consistent relation between violent video game use and increases in aggressive behaviour, aggressive cognitions and aggressive affect, and decreases in pro-social behaviour, empathy and sensitivity to aggression," said the report.

"It is the accumulation of risk factors that tends to lead to aggressive or violent behaviour. The research reviewed here demonstrates that violent video game use is one such risk factor."

However, a large group of academics said they felt the methodology of the research was deeply flawed as a significant part of material included in the study had not been subjected to peer review.

"I fully acknowledge that exposure to repeated violence may have short-term effects - you would be a fool to deny that - but the long-term consequences of crime and actual violent behaviour, there is just no evidence linking violent video games with that," Dr Mark Coulson, associate professor of psychology at Middlesex University and one of the signatories of the letter told the BBC.

"If you play three hours of Call of Duty you might feel a little bit pumped, but you are not going to go out and mug someone."

The question about whether violent games inspire violent behaviour "in real life" is a subject that strongly divides opinion.

,,,

The APA taskforce used meta-analysis - combining the results of lots of studies in order to look for patterns and correlations, rather than carrying out any new research itself.

It conducted a comprehensive review of academic work around the subject, some of which dated back to 2005.

"While there is some variation among the individual studies, a strong and consistent general pattern has emerged from many years of research that provides confidence in our general conclusions," said task force chairman Mark Applebaum.

However, this approach was criticised by the group of experts, which said such correlations sometimes had other explanations.

For example, boys were more likely to play video games than girls but they were also more likely to be aggressive in general.

Dr Coulson also cautioned about work included in the study that may not have been subject to peer review, where it is critiqued by the wider academic community.

"Obviously there is a lot of stuff out there that doesn't get into peer review journals," he said.

"If you look at all the literature in this area you are bound to get a sensationalist conclusion."

According to Scientific America:

A few studies tried to draw distinctions between good and bad games. In a 2010 experiment, Tobias Greitemeyer, then at the University of Sussex in England, and Silvia Osswald of Ludwig Maximilian University in Germany asked subjects to play one of three video games—either a “prosocial” game, an “aggressive” game or the “neutral” game Tetris. After eight minutes, an experimenter reached for a stack of questionnaires but “accidentally” knocked a cup of pencils off the table and onto the floor. Participants who had played the prosocial game were twice as likely to help pick up the pencils as those who played the neutral or aggressive game.

Others have tried to tease out the aftereffects of playing violent games. In a 2012 study, André Melzer of the University of Luxembourg, along with Mario Gollwitzer of Philipps University Marburg in Germany, found that inexperienced players felt a need to “cleanse” themselves after playing a violent video game (the so-called Macbeth effect: “Out, damned spot!”). Researchers asked subjects to play either a driving game or the mayhem-heavy Grand Theft Auto for 15 minutes, then pick gifts from an assortment, half “hygienic” (shower gel, deodorant, toothpaste) and half nonhygienic (gummy bears, Post-it notes, a box of tea). Inexperienced players who played Grand Theft Auto were more likely to pick out hygienic products than were experienced players or inexperienced players who had played the driving game.

But neither of those studies make the case that these games lead to real-word violence. Although drawing conclusions about small population subgroups—such as kids at risk of violence—from broad population trends can be dicey, it is still worth noting that as violent video games proliferated in recent years, the number of violent youthful offenders fell—by more than half between 1994 and 2010, according to the U.S. Department of Justice. 

Even if violent video games are not turning people into killers, we might still wonder if they are harming our kids in subtler ways. As psychologist Douglas A. Gentile of Iowa State University puts it, whatever we practice repeatedly affects the brain. If we practice aggressive ways of thinking, feeling and reacting, he writes, “then we will get better at those.” In a 2008 survey on the gaming habits of about 2,500 young people, Gentile and his father, psychologist J. Ronald Gentile, found that children and adolescents who played more violent games were likelier to report “aggressive cognitions and behaviors.” They concluded that violent video games “appear to be exemplary teachers of aggression.” 

According to the Telegraph:

Playing violent video games is no more likely to be damaging to young children’s behaviour than those considered harmless, an Oxford University study suggests.

Research involving British primary schoolchildren found that the length of time young people spend playing games, rather than their content, could have an effect on their behaviour or school performance – and even then only slightly so.

But it concluded that fears that a generation of young people are growing up with their development impaired by exposure to violent video games are no more likely to be borne out than previous “moral panics” over television and other media.

The study, published in the journal Psychology of Popular Media Culture, found that children who play online games involving linking up with other players were less slightly likely to have problems relating to other children than those who played alone.

According to the Guardian:

‘Violent videogames cause an increase in aggression long after the game has been turned off’ is the headline for one 2010 study, which draws this conclusion by linking a 20-minute gaming session with an abstract aggression test 24 hours later, and differentiating between players who had ‘thought’ about the game in the interim and those who hadn’t. This is a tenuous experimental setup in the first place and one that fails to account for any number of other factors, so to draw firm causal conclusions – never mind extrapolate (as the authors did at the time) that it is “reasonable to assume that our lab results will generalise to the ‘real world’” – is fanciful.

The problem is not just on academia’s side: the media almost never stops to challenge a tasty headline linking games and real-world violence. This use of games as panic fodder is not benign, but percolates into real-world flash points that have consequences.

The problem with violent video games and aggression is that defining and categorising both is an inexact science. The Children of the 90s study began in 1991, so the ‘shoot-em-ups’ this paper was looking at when those kids were eight or nine might be the likes of Goldeneye 007, Medal of Honor, Quake III and so on. These games are from a different and often incomparable era to the modern first-person shooter, a Call of Duty or Halo, which is much more realistic visually and in most cases includes a competitive online element.

According to Psychology Today:

When the U.S. Supreme Court handed down a decision on the Brown v. Entertainment Merchants Association case on June 27, 2011, that ruling not only established that video games were covered under the First Amendment but that video game content could not be regulated by governments.    Part of the reason for the court ruling was that psychological research linking violent games and violence was “unpersuasive”.    Though psychological research is often used in the courtroom in issues relating to child safety, the lack of consistent findings connecting video games to violent behaviour in children helped sway the court against regulation.

At the same time, there was a sharp rise in research studies examining the link between child violence and video games though the results were rarely consistent.  In an excellent overview of video game studies recently published in American Psychologist, author  Christopher J. Ferguson  of Texas A&M International University pointed out that many scholars working in the area of child violence added to the moral panic with studies that were often flawed.     While psychological studies designed to correct for these problems continued to show a link, other studies turned up no relationship at all between video game violence and antisocial behaviour in children.  The debate over video games has led to a serious split between different groups of researchers which was as much about politics as research findings.

Whatever the status of the research so far, the only clear outcome is that the divide between pro- and anti-video game activists seems as wide as ever and both sides are citing research to support their arguments.   In some cases, they are even looking at the same research studies and coming away with opposite interpretations of the findings. 

- This info will be cited and used within the documentary -

Conclusion

All members of the group tend to agree with the sentiment that video game violence does not necessarily lead to real life violence. We ourselves play games with violence and are not excessively influenced by the blood and gore we see. Thus, the conclusion to our documentary will be that we are against the idea of video game violence impacting and influencing the individual into a violent manner that would have long term consequences. This makes our format a subjective take on the issue.

Steps

1. Opens with actuality footage of ? playing a game and voice-over accompanying the scene, introducing us to the who, what, when, where and why of the documentary and what it wishes to address.
2. Discuss the origin of video game violence and how it sparked controversy.
3. Interviews of individuals and their opinions on violence in video games.
4. Cut to footage of AlSmithGaming and lead into the studies on video game violence and its impact.
5. Offer counter-points to the idea of violence in video games causes negative impacts on an individual enough to make them want to take the violence to the next level.
6. Conclude the documentary with our take and end. 

Assignment 5: Factual Program Production Techniques for TV

Assessor: Gilly Hope

Hand-in Deadline: 26th April 2017

Unit: 27 - Factual Programme Production Techniques for TV

Scenario: Your community TV station is due to launch soon. VPA. TV (your production company) has been asked to prove your understanding of the different codes, conventions and issues relating to factual programming for TV. Produce a report on factual programming genres, news and documentaries.

TASK(s)

Chapter 1 - Genres:

• Investigate and analyze the codes, conventions and issues of factual program genres.
• Genres include educational; magazine; discussion; review; chat show; special interest or 'reality' TV.
• Look at accuracy; balance; impartiality; objectivity; subjectivity;; opinion; bias; representation; access; privacy, and contract with the viewer.

Chapter 2 - News:

• Analysis a news bulletin and explain the codes and conventions of a news program.
• Include news readers; field reporters; links to studio; mode of address to the viewer; interviewing; experts and witnesses; report structure; actuality footage.

Chapter 3 - Documentary:

• Watch a documentary and then explain the codes and conventions.
• Look at documentary format i.e. expository, observational, interactive, reflexive, performative.
• Discuss realism; dramatization and narrativisation.

- Identify issues the producers would face -

To be completed via Word document and uploaded onto Turnitin. 

Russell Brand from Addiction to Recovery - Factual Program Review

Russell Brand from Addiction to Recovery was a 2012 documentary broadcasted on BBC Three. The description on IMDB reads: "After the death of his friend Amy Winehouse from an overdose, Russel Brand looks back on his own years of addiction and wants to show that not all addicts turn out the same way."

It was written by Brand and directed by Ross Wilson. It follows Brand on his expository journey concerning his own demons with drug addiction and how he overcame them, as well as his investigation into other drug addicts' lives, attempting to offer a sympathetic view towards alcoholism and addiction, towards a more mainstream audience. Two years later he would continue with the documentary Russell Brand: End the Drugs War.

The program opens with Brand talking candidly about his past experience with drug usage and the death of close friend Amy Winehouse, giving context as to why he decided to take on the project of documenting 'Addiction to Recovery'. I find the opening to be a fair way of giving the audience a prologue to work with when getting down to basically as to why Brand decided to commit to this program. It is straight-forward, honest and clear in intention.

As for the rest of the program, we see Brand discuss addiction and its impact with an expert as well as having a rather tense discussion with Dr. Clare Gerada, Chair of the Royal College of Practitioners. This scene is no doubt to cause a split between the viewing audience, depending on their allegiance or views on the issue. Dr. Gerada, of course, is an expert in her field and is more in line for a practical way of combating addiction. This is in contrast with Brand's beliefs and worldview, and it comes from a former user, who advocates for programs to help those addicted through a spiritual manner. The viewer is left to decide who they are more aligned with.

Personally, I see the tangibility in both arguments, with Brand's arguing for a more appropriate and effective way of combating addiction, while also taking into account the doctor's expertise. However, the abstinence vs. methadone argument seemingly betray's Brand here, who seemingly contradicts himself. He goes on to talk with one Professor Neil McKeganey who makes for a strange bedfellow, as he is on record for not agreeing with Brand's views that drug users should be decriminalized when the usage itself is.

His argument against the use of methadone is in contrast to that of the World Health Organisation’s view, a view that concludes that methadone is an essential medication; there’s evidence that methadone can reduce HIV risk, drug use, and criminality. Of course, this does not take away from the fact that those on methadone abuse it on top of other drugs, and thus can pose a danger to ones recovery. 

Overall I thought the documentary was done from a production stand-point, and offered us an opinionated take from Russell Brand concerning addiction to drugs and alcohol. As for my personal opinion, I am still at odds as to what I feel towards the opinion of Brand and his opposition. Regardless, it left me thinking about my own opinion concerning the issues of drugs, and for that I applaud it.

Unit 27: Unit Content & Factual Program Example

UNIT CONTENT

- Understand issues relating to factual programming for television -

Issues:

• accuracy
• balance 
• impartiality 
• objectivity 
• subjectivity 
• opinion 
• bias 
• representation 
• access 
• privacy 
• contract with viewer 

- Understand codes and conventions of factual programming for television -

News: 

• studio news readers 
• field reporters 
• links to studio 
• mode of address to viewer 
• interviewing 
• report structure 
• actuality footage

Documentary: 

• documentary formats (expository, observational, interactive, reflexive, performative)
• realism
• dramatization
• improvisation

- Be able to plan and research a factual program for television -

Genres: 

• news 
• documentary, eg docudrama, docusoap, infotainment, ‘reality’ TV, educational, wildlife, special interest, makeover
• magazine 
• discussion 
• review 
• chat show 

Develop ideas:

• program concept 
• target audience 
• development techniques, eg creation of narrative, scenario, synopsis, research process, interview questions 

Research:

• primary sources, eg contacts, interviews 
• secondary sources, eg broadcasts, reviews, internet, archives 
• checking information 

Legal and ethical considerations:

• filming in public 
• clearances and permissions 
• privacy 
• libel and defamation 
• requirements of the Broadcasting Act 1994 
• BBC producers’ guidelines
• Ofcom 

Planning:

• production organization roles and responsibilities 
• schedules 
• interview and contacts appointments 
• location recess 
• budget (planned, evolving) 
• risk assessments 
• documentation 

Proposal:

• subject idea 
• format 
• genre 
• style 
• audience 
• intended aim 
• budget 

- Be able to produce a factual program for television -

Production techniques: 

• filming (general views, interviews, cut-aways) 
• graphics 
• scripted pieces to camera 
• studio 
• location 
• public space 
• sound (ambient sound, wild track, interviews, presenter’s descriptions, studio sound) 

Production management: 

• monitoring progress 
• identifying and solving problems 
• production organisation, eg call sheets, equipment booking, location management, logistics management 

Editing: 

• creating narrative 
• conveying meaning 
• illustrating topic 

Example of a Factual Program

As per wikipedia:

"Super Size Me is a 2004 American documentary film directed by and starring Morgan Spurlock, an American independent filmmaker. Spurlock's film follows a 30-day period from February 1 to March 2, 2003, during which he ate only McDonald's food. The film documents this lifestyle's drastic effect on Spurlock's physical and psychological well-being, and explores the fast food industry's corporate influence, including how it encourages poor nutrition for its own profit.

Spurlock ate at McDonald's restaurants three times per day, eating every item on the chain's menu at least once. Spurlock consumed an average of 20.9 megajoules or 5,000 kcal (the equivalent of 9.26 Big Macs) per day during the experiment. An intake of around 2,500 kcal within a healthy balanced diet is more generally recommended for a man to maintain his weight. As a result, the then-32-year-old Spurlock gained 11.1 kilograms (24 lb), a 13% body mass increase, increased his cholesterol to 230 mg/dL, and experienced mood swings, sexual dysfunction, and fat accumulation in his liver. It took Spurlock fourteen months to lose the weight gained from his experiment using a vegan diet supervised by his then-girlfriend, a chef who specializes in gourmet vegan dishes.

The reason for Spurlock's investigation was the increasing spread of obesity throughout U.S. society, which the Surgeon Generalhas declared "epidemic", and the corresponding lawsuit brought against McDonald's on behalf of two overweight girls, who, it was alleged, became obese as a result of eating McDonald's food (Pelman v. McDonald's Corp., 237 F. Supp. 2d 512). Spurlock argued that although the lawsuit against McDonald's failed (and subsequently many state legislatures have legislated against product liability actions against producers and distributors of "fast food") as well as the McLibel case, much of the same criticism leveled against the tobacco companies applies to fast food franchises whose product is both physiologically addictive and physically harmful."

Morgan Spurlock is, of course, still alive and well following the project. The impact the documentary had saw McDonald's drop it's supersize portions, and raised awareness of the growing obesity around the globe, specifically in the U.S.

Overall, the production was received well but sparked various criticisms and controversies. Below are examples. 

Above link: https://web.archive.org/web/20071012135323/http://mcdonalds.co.uk/pages/global/supersize.html 

Above link: https://www.pastemagazine.com/articles/2004/07/super-size-me.html

Assignment 4: Interview Production

Assessor: Gilly Hope
Hand-in deadline: 15th March 2017 (2:30 PM)
Unit: 36 - Interview Techniques for Creative Media Production
Scenario: You have been commissioned to research, plan and record a 4 minute interview to be broadcasted within the college, either radio/audio broadcast or a filmed recording.

TASK

Research and produce your own interview with anyone. Plan the structure of the interview and identify purposes. You must think of:

• the purpose of the interview - inform; educate; entertain.
• the plans - location; date and time of recording; setting; recording methods; interviewee.
• the structure - question formulation; interviewing style; introduction; summary.
• the preparations - consent; copyright issues; agreements; dealing with talent.

You must then conduct the interview according to your plans, as well as make note of any changes made. Finally, you must then record your interview for broadcasting.

- Address the criteria -

Ideas:

• Interview my girlfriend about hairdressing?
• Chat with a lecturer concerning coursework?
• Discuss stuff with a class mate?
• Maybe an interview with my brother? 
• Perhaps interview someone after a viewing, giving a sort of interview-review angle to the broadcast?
• Nate Anderson - interview a wrestling trainee?

I have come to the conclusion that I shall interview my lecturer, Gilly Hope, on her work at the BBC. Initially, I had a deal to work and interview with aspiring wrestler Nate Anderson; however, due to disclosure agreements in his contract, I was unprivileged to do so.

The Purpose

To become more informed on the topic of works that the interviewee is involved in, as well as ask opinions she may have about her work or what it concerns. Questions will concern work in the BBC and here in Bede campus. 

The Plan

Location: Sunderland College, Bede Campus

Date: 03/09/17

Time: 11:45 am - 12:05 pm

Setting: a quiet, closed-off area (preferably an empty classroom)

Recording Device: camera

Interviewee: Gillian Middleton a.k.a Gilly Hope

The Structure

Formula - the following are the questions:

1. Did you work firstly for the BBC or here at Bede?
2. When did you first decide you wanted to work within the media industry?
3. How did you get into the media industry yourself? How did you apply yourself into the BBC and get work here in Bede?
4. Is it at all what you expected? 
5. What are you working towards: continuing your career path in the BBC or in education?
6. Do you have any regrets regarding your choice in career path?
7. Speaking on your current occupation as a morning radio weather broadcaster, do you hope to expand your range by venturing into other forms of broadcasting?
8. Concerning mainstream media news, do you think it often times gets a bad reputation or is well earned by audiences?
9. Are there recent events that have either encouraged or discouraged you into delving further into broadcasting?
10. What are your favorite parts about working in education and in media?

Style: laid-back, informative and personal; non-confrontational 

Introduction: to be shown via title cards following video editing

Summary: an interview with Gilly Hope a.k.a Gillian Middleton on her work at both Bede College and the BBC.

The Preparations

Consent

I have discussed this with Gilly and she has agreed to the interview, and there shall be a written form of consent signed. 

Copyright Issues 

No issues will be made out of copyright. All material used is original and of my own use. Audio material will be uploaded and edited from a voice recording device.

Agreements 

A form of written consent shall be made before the interview is made. The following screenshot below is the consent form.

Dealing of Talent

Talent will be notified at a determined time for when the interview will take place. This must occur before 15th March hand-in deadline, and preparations must be made on the part of the producer. 

Factual Program Research (homework)

NEWS REPORTING

News, particularly that of the mainstream flavor, has long followed a set of codes and conventions that keep with the programs theme, setting and forward momentum. This enables a program to flow fluently without its audience being lost along the way.

News Reporting in the U.S.

Link - Donald Trump elected president
Codes & Conventions:

• Wolf Blitzer of CNN standing in the forefront with a graphic declaring the finally result of the U.S. general election of 2016.
• Commentates over footage of the Trump family at their HQ in New York. 
• Dressed sharply and informative of the event, standing stoutly and announcing the result.
• More action driven and focused based off of the focus on the family and the emphasis of the Trump win.

News Reporting in the U.K.

Link - US Election: Moment Ohio was called for Donald Trump - BBC News
Codes & Conventions:

• A panel of broadcasters with practical background exhibiting graphics of polls.
• All dressed appropriately and smartly, as expected with news broadcasters.
• Commentaries over footage in addition to an interview being done. Multi-tasked.
• Progressed more with informative news as well as a need to focus on what is next. 

DOCUDRAMAS

A drama is the deportation of an exciting, emotional, or unexpected event or circumstance. A documentary is a film or television or radio programme that provides a factual report on a particular subject. Combined, docudramas can be more often or not based on true events, the hypothetical or even fictitious projects.

Example of U.S. Docudrama

Link - The Day After
Codes & Conventions:

• Bigger budget, Hollywood-like.
• More recognizable cast.
• Better special effects 
• More up front and out there in is less subtle in story telling.
• More hopeful of the future.

Example of U.K. Docudrama

Link - Threads
Codes & Conventions:

• Lower budget, local actors + relatively unknown.
• BBC made film with minimal budget.
• Less special effects, more practical.
• Subtle in it's story yet informative and factual.
• Very grime outlook on the future for humanity.

Assignment 3: Interview Techniques & Magazine Article

Assessor: Gilly Hope
Hand-in deadline: 8th February 2017 (2:30 pm)
Unit: 36 - Interview Techniques for Creative Media Production
Scenario: You have been commissioned to produce a magazine article for "BROADCAST MONTHLY".

TASK 1

Understand interview purposes and techniques:

• Produce a magazine article to show your understanding of interview purposes an techniques used by professional interviewers/journalists.
• Include examples and use correct subject terminology.
• Explore techniques of either TV, radio, online or print - choose three. 
• Give journalistic context.

Techniques of interviews concerning TV, radio, online and print must be explained.

TASK 2

The purposes of interviews; choose three:

• Research - enhance understanding for the audience.
• Informational - presenting information.
• Interpretive - explaining or expressing of an opinion.
• Justification - accountability.
• Emotional - allowing audience insight to a situation.
• Entertainment - entertain an audience. 

Research, include and explain the following interview techniques:

• Open/closed questions
• Single questions
• Multiple direct
• Suggestive question

Research, include and explain the following interview styles:

• Hard news
• Combative/aggressive 
• Promotional entertainment 
• emotional

Types of structures:

• Intro
• Developmental questions
• Key questions
• Soundbites
• Summary
• Wind up

Communication skills:

• Building confidence 
• Body language

- Explain thoroughly and give examples -

This assignment will be completed via Microsoft Word and be both emailed and printed off for hand-in.

Assignment 2: TV Guest Researcher

Assessor: Gilly Hope
Hand-in Deadline: 4th January 2017
Unit: 36 - Interview Techniques for Creative Media Production
Scenario: As a TV talk show researcher, your job is to choose who you will research who will be appearing on The Jonathon Ross Show. 

TASK

• Conduct research in preparation for interview on show (10 minutes).
• Create a research portfolio and have a list of past interviews.
• Research interesting topics and points of interest for discussion. 
• Ensure that methods of research are documented i.e. magazines, books, videos etc.

You can pick ANYONE to appear on the show, just so long as you justify your pick with thorough research and opinion. 

My guest show pick? Maynard James Keenan. Being the lead front man and vocalist of one of my favorite bands, Tool, I figured Mr. Keenan would be a perfect pick. However, Keenan has a reputation for being rather notoriously hard to handle during interviews, as he can clearly get irritated or bored with questions. Being a recluse as well helps the man maintain an enigmatic and mysterious persona, which has only helped encourage the mythos surrounding himself and his band members. Thus to engage Keenan in a conversation, one must peak his interest and make it so that he takes the narrative and drive the interview forward. That would be hard work considering the time restraints.

Website links:

• Wikipedia profile - Maynard James Keenan
• Background bio - http://toolshed.down.net/bio/maynardbio.php

Magazine interview links: 

• Interview with The A.V. Club - http://www.avclub.com/article/maynard-james-keenan-14038
• Voice Magazine - https://www.voicemagazine.org/pdf/pdf2002/1039-Oct09-02_VOICE.pdf
• NY Rock interview - http://www.nyrock.com/interviews/2000/apc_int.asp 
• October 31st 2001 interview - http://www.cdicarlo.com/paper_04maynard.htm
• Angry Jung Men - http://toolshed.down.net/articles/index.php?action=view-article&id=February_1997--Livewire.html 
• Flailing Wildly to Escape the Darkness - http://www.nytimes.com/2001/10/06/arts/pop-review-flailing-wildly-to-escape-the-darkness.html 
• Tool & Wine: Alt-rock Frontman Uncorks New Career - https://www.pastemagazine.com/articles/2008/12/tool-wine-alt-rock-frontman-uncorks-new-career.html 
• Songfacts: 10,000 Days (Wings, Pt.2) by Tool - http://www.songfacts.com/detail.php?id=6301
• 10 Years Ago: Tool Unleash ‘10,000 Days’ - http://loudwire.com/tool-10000-days-anniversary/?trackback=tsmclip

Video interview links:

• Maynard James Keenan Interview 1987 (Rare)
• Maynard James Keenan Interview 1993 (Full) HD 
• Maynard James Keenan(Tool) Interview 1997
• Tool - Interview With Maynard (Australia 1997)
• Maynard James Keenan - Tool - Interview
• Tool - Maynard Interviewed By Patton Oswalt [Funny]
• Rare Tool Interview about 10,000 days - feat. Maynard James Keenan and Danny Carey
• Maynard James Keenan - Interview on Carson Daly (2010)
• JRE 246 : Maynard James Keenan interview on The Joe Rogan Experience podcast
• Tool - Maynard on The Joe Rogan Experience (November 2013)
• Tool - The Best Maynard James Keenan Interview EVER [2013]
• Maynard James Keenan Talks about Tool, Art, Writing (2015)
• Tool - Maynard James Keenan Podcast Interview October 2016

Here below is a great example Mr. Keenan engaging in an interesting topic that no doubt spices his interests: Interview About Philosophy

Here is an example of Mr. Keenan not being so eager to co-operate: Work With Me

Robyn Doreian sums up Mr. Keenan's approaches perfectly when he authored an interview of the man himself entitled A Beautiful Mind, dated July 200 (a year before the release of Tool's third album, Lateralus):

"Maynard James Keenan is an intensely private person. The Tool frontman will speak freely on issues such as censorship and President George W. Bush. But when asked about his personal life, Keenan responds with "I am not going into that," and the conversation comes to a screeching halt.

What does get Keenan talking, however, is his passion for art, music, spirituality, and psychology. And when the conversation shifts to religion, the government, and the horror of compromised integrity, the singer is positively verbose. It seems Keenan has deemed it his responsibility to speak out against the forces that seek to oppress him."

As a result of this research, I have come to the conclusion that in order to engage Maynard James Keenan in an interview, one must bring up the following topics as part of points of interest for discussion:

• Political, social and economic areas.
• Philosophical and spiritual engagements.
• A link to Keenan's songwriting to these issues.

Thus, I have complied the following questions to be asked by host Jonathon Ross of The Jonathon Ross Show, given the hypothetical that Maynard James Keenan would decide to sit down for an interview on the show:

1. Comparing Tool's EP Opiate and their first full-length album Undertow to both AEnima and Lateralus, it is almost like listening to two very different bands. Clearly the sound evolved. Was there any huge driving force behind such a change in mood and sound? Any political or philosophical reasoning?
2. You've noted before that comedian Bill Hicks served as "inspiration" for Undertow, and it is obvious his impact could be later felt in AEnima, with Third Eye taking lines from some of his stand-ups. You have mentioned before how he and Tool were trying to deliver across a similar message. What exactly is that message? 
3. Do you think after Bill Hicks death in 1994 that this message, this direction the band was going in, was more important than ever? 
4. From what I have seen in your work, you have always held a rather, shall we say, skeptic view of religion, particularly Christianity. Of course, I like to compare A Perfect Circles' Judith to Tool's 10,000 Days' own Wings for Marie. In the former, you seem to hold contempt towards your mother for her religious views, but in the latter you seem more at peace, coming to terms with her beliefs. Has this been an overarching theme throughout your life? Or have you always held your mother and her faith in high regard?
5. You once said the following: "If people can take something positive from Tool's music and use this for self-reflection and discovery, great. But I'm not going to preach to people about what they ought to know." This "Think for yourself, question authority" mentality, as well as Tool's advocacy for people to self-reflect and use it to better themselves, seems to offer healthy advice. And it is consistent. Do you think, with this advice, that people can break-away from the barriers in their lives and make it so they better everyone else around them?

Entertainment Interviewing Style Example: Peter Sellers Interview - Parkinson

Notable moments from the TV show Parkinson (hosted by Michael Parkinson) included actor/comedian Petter Sellers making an appearance. Sellers agreed to take part only if he were allowed to walk on as someone else. Once introduced, he appeared dressed as a member of the Gestapo, impersonating Kenneth Mars' role in The Producers, and performed a number of lines in character before removing his "mask". He then settled down for what is arguably one of Parkinson's most memorable interviews. 

Michael Parkinson's style tends to be very laid-back and relaxed, often making it more of a conversation than a traditional interview. His technique was that of getting well known guests to appear on his show and try to find at least on relatable story or trait about them, so that he may further the narrative and conduct the pace of the interview. This made people warm to Parkinson's less-conservative approach. This is emphasized by the clothing choice of both guest and host, with Sellers dressing more casual compared to Parkinson's smartly dressed suit. 

The setting is accompanied with a live studio audience and sees both Sellers and Parkinson sit oppositely of one another with a coffee table taking the center. Much of the body of both is shown with camera angles tending to pan back and forth between mid-shots and close-ups of both guest and host. The use of comedy as part of the rather mundane, yet relaxed set entertain's the viewer and keeps them occupied. 

Sellers' book is promoted and talked about later on in the interview, but the focus always tends to go back to Sellers comedy, which shines center stage but never becomes too much or insufferable. Parkinson enjoys himself and never attempts to speak over or take back control of the pace. It makes the show seem more like a conversation between two friends rather then business men within the media industry. 

Many stories are shared by Sellers, as well as numerous impersonations of various people and personalities. He relates back to both his personal and professional life, mixing comedic humor with the tales told, never really getting too serious or personal, keeping the show entertaining and not giving too much away. One particular story is told of Peter Seamus O'Toole corpsing on the set of Lawrence of Arabia, after a reading from the holy Islamic text the Q'uran, which enraged fellow actor Alec Guinness. 

This narrative is furthered by Parkinson who introduces various spoofs and corpses by Sellers himself during the shooting and production of The Pink Panther. Overall the interview proves very entertaining for not only the viewing and live audiences, but for both guest Peter Sellers and host Michael Parkinson. Near the end however the tone changes only slightly, with a question concerning Sellers first marriage to Anne Howe. However the subject reverts back to a humorist tone. 

The interview ends on an entreatingly high note, with Sellers playing the guitar and singing for the audience. Parkinson throughout was excellent, asking the right questions and ensuring he never interrupted and let Sellers control the narrative of the show himself where appropriate. 

TASK - Audio Interview: Remembrance Day

VOX POP - Remembrance Day

TASK

Interview several people in a production time and ask them 7 questions. Audio recorders will be provided in order to complete the task, and groups will be organized into production teams. In a team involving I, Laila and Jessica we asked the following to six individuals: 

1. What do you think of the significance of Remembrance Day?
2. How relevant is the Poppy in today's modern age?
3. What is the meaning behind the Poppy?
4. Did you wear a Poppy? Why?
5. Who were you remembering?
6. Did you take part in an event?
7. Did you respect the minute?

Research

The remembrance poppy is an artificial flower that has been used since 1921 in commemoration of all  military personal who died in war and conflict in both the past and present. Inspiration for the usage of the poppy as a memorabilia symbol was drawn from the World War 1 poem "In Flanders Fields" by John McCrae. The opening lines of the poem make reference to the poppies that grew on the graves of dead soldiers in Flanders, a region in Belgium. 

Assignment 1 Brief: Roles & Techniques - TV Presentation

Assessor: Gilly Hope
Hand-in Deadline: Wednesday 2nd November (turn in by 4:30 pm via Turnitin).
Unit: 37 - Interview and Presenting Techniques.
Scenario: You have been commissioned to produce a TV program/presentation/blog for teenagers analyzing a range of TV presentation roles and techniques.

TASK

Choose 4 presenter roles and study examples and analyze based-off of the following:

• Verbal techniques: use of language and phrase structure, breath of vocabulary, phrasing, illustrative language, quotations, consistency, accent, tone, delivery and appropriateness to the audience. 
• Visual techniques: dress and appearance, body language, physical gestures, movement and expression.
• Context: production, background (studio location/setting) and target audience.

I have decided it be best to create a blog in order to complete this task. The 4 type of TV presenters/roles I will be looking are the following:

1. News broadcaster.
2. Documentary narrator
3. Reality TV host.
4. Game show presenter.

Link to blog: http://btecmediatvpresentationassignment.blogspot.co.uk/ - assignment will be written and updated onto his blog, specifically designed for the task. 

Types of Presenters & Styles

News Broadcaster

Role: TV journalist, newsreader

Presenter: Fiona Bruce

Examples of programs: BBC News at Six, BBC News at Ten, Crimewatch, Antiques Roadshow.

Link: https://www.youtube.com/watch?v=nPRT17P6uRg

Verbal techniques: Bruce communicates with the audience in a very stern yet professional manner, being very formal in her tone and changing only slightly in order to fit the mood of the story being told. 

Use of language: being very formal and well-spoken is expected on any news channel/network. Bruce is no different here as she delivers her lines in a professional manner, one that disconnects her from the viewer yet still gets across the story being told.  

Breath of vocab: the language and words used are simple yet effective. Words are expressed such as "Sharply", with the extra emphasis getting across the desired point of the broadcasting message. Apart from that, the clip shows us that Bruce tends not to use many big words, perhaps so the viewers can better understand and follow the news, as it applies to all ages and is integral to the everyday population and average citizen. 

Illustrative language: there is not much descriptive language of events used in the clip here, other than the explaining of the situation of the event itself, such as the banks in Europe falling due to economic ruin. This is the story Bruce is attempting to spin and sell for the viewer, while also keeping the general informed. 

Use of quotations: she quotes then Chancellor of the Exchequer, George Osborne, on his comments concerning the banking crisis in Europe. This brings in a sort of legitimacy to the story, as an MP is giving their input on the story. 

Catchphrase: no such catchphrases are used as they are not common place among newsreaders or broadcast journalists. 

Accent: her accent is very formal and posh, not so much the Queen's English yet still very refined and calm. It helps in her delivery of the news and makes her seems separate from the actual events, as if cut-off emotionally so she can better deliver the stories needing to be told to the audience.  

Tone of voice: as aforementioned, the tone of voice is rather formal and serious and tends not to gush out with expressive or emotive language. This is the norm for most newsreaders and broadcast journalists. 

Appropriate to the audience: this is very atypical for the desired target audience, as the clip and broadcast itself is the general fit for the public norm of news broadcasting. This makes this specific clip rather generic in style. 

Visual Techniques: cut-ways to interviews and other images such as statistics and diagrams are used to add an extra layer to the broadcasting, to keep the viewer from tuning out and get them more engaged. The color scheme remains the same throughout, which could be rather mundane for some; however, the change in visuals could help keep most engaged and interested. 

Dress and appearance: rather causal with a white shirt under a dress sweater and tan colored pants. It makes the broadcast seem rather laid-back but emphasizes that this programming is still rather formal.

Body language: there are no real uses of body language, with the camera being focused mostly on Bruce's chest area and up, with another angle (at a medium long shot) showing Bruce standing cross legged and her hands mostly to her belly area or sides. 

Physical gestures: Bruce often sways her hands in gestures but not much else, using little physical expression to get her point across. 

Movement: what little movement there is comes with the sway of Bruce's hands and her head usually turning and nodding when discussing the latest news to the viewer. 

Facial expression: mostly plain face yet still expressionistic in a way that is still meant to ensure the viewer still is occupied with the broadcasting message. 

Appropriateness to audience: the broadcasting and the presenter itself seems very appropriate to the desired target audience, which will no doubt be predominantly adults to seniors.

Context: Bruce is talking about the Euro debt crises and its impact on Europe and the economy. Greece is in financial disarray and France and Belgium rush to buy out the bankers who wrecked the economy. 

Production background: very atypical of a traditional BBC set with the red and white color scheme being very prominent. 

Background (studio/location): location of studio is unknown; however, the background itself is that of the traditional BBC news station. Studio E, Broadcasting House, London 2013-present, serves as the location for the broadcasting station for BBC News at Six.
Target audience: the BBC is a rolling news network, meaning it runs 24/7, thus it tries to appeal to and apply to all ages, demographics and minorities, depending on the time of day. However, for this particular clip, the show is being aimed predominately towards the older audiences of adults and seniors, due to the political aspect of the broadcast. 

Chat Show Host

Role: host, presenter, interviewer

Presenter: Graham Norton 

Examples of programs: The Graham Norton Show

Link: https://www.youtube.com/watch?v=yuXGpUR7fXA

Verbal techniques: very loud and expressive in tone, as well as satirically extravagant and expressive. Graham tends to bring the fun to his audience by asking his guests questions concerning their upcoming projects or personal lives. 

Use of language: rather plain yet fast to talk and always jumpy, it does nothing to take away the product however, as Graham does well to keep the pace of the broadcast going. 

Breath of vocal: there is not so much use of big words or a large range of vocabulary use. Instead Graham lets his guests do most of the talking, allowing them to control the narrative of the broadcasting. 

Illustrative language: not much illustrative language is used here. Graham instead alludes to the story as told by Greg Davies, allowing him to get across his part of the entertainment. 

Use of quotations: no use of quotations here.

Catchphrase: Graham does not use any catchphrase in this clip, nor does he for his show through the duration of its running. 

Accent: Graham's Irish accent has mixed alongside his English ways of speaking, making for a somewhat campier, more effeminate way of speaking. It makes him come off as fun and joyous in his language. 

Tone of voice: as aforementioned, Graham's tone of voice is definitely joyous and relaxed, yet excited and engaged. This ensures he does not come off as bored and makes sure his viewers remain engaged. 

Appropriate to the audience: the show is a one of celebrity gossip and making reference to the mainstream, which brings in a broad audience, one that is interested in the day-to-day topics of pop culture and wants to keep up and see whats new. 

Visual Techniques: there are little to no special effects used other than in the shows opening and credits. Camera angles focus mostly on Graham and his guests, usually with medium close-ups from the chest and up. This gives a good view on the attendants. 

Dress and appearance: Graham wears a very peculiar suit, with a black dress shirt with white spots on it, while wearing a pinkish red jacket and slacks. It makes it seem more inviting and fun, like Mad Hatter from Alice in Wonderland of the sorts. 

Body language: Graham is far more expressive with his hand gestures and the constant fidgeting in his seat makes him come off as excited and eccentric, which makes him seem happy and fun. Small features such as these can have a neat little impact on an audience, as they will be interested and entertained by the traits. 

Physical gestures: as mentioned beforehand the use of hands and the way he sways them towards his guests when talking to them make Graham come off as a very expressive person, one filled with strong emotion. 

Movement: Graham mostly fidgets in his chair, making gestures with his hands to assert a question towards his guests in order to milk some entertainment out of them.

Facial expression: he seems joyous and happy in expression, popping jokes and generally enjoying himself on the show. This in a sense relaxes the viewer as they know this is Graham's show and that if he is enjoying it, then so should we. His face reddens with laughter and he smiles with glee. 

Appropriateness to audience: Graham generally likes to often times include his audience and other viewers in his program, and this appropriates towards an adult audience and teenagers as well as young adults. This is because of the pop culture appeal the program offers. 

Context: Graham alludes to a story of Greg Davies in reference to his guests Ryan Gosling and Russel Crowe's new movie, and has him explain to them (as well as Jodie Foster), and the live audience as to what it is. What ensures is laughter. 

Production background: the visuals of the setting itself is very vibrant colors of orange and purple, almost like the colors of a chocolate wrapper. It makes you feel and warm and welcome in a fun environment. There are red ornaments as well such as glasses, sofas and a table. 

Background (studio/location): the show is located in The London Studios. The show is broadcasted on the BBC One network. 

Target audience: the show appeals to the mainstream due to its popular guests and pop culture references and relevance. It thus appeals to a rather broad audience, with mostly teens, young adults, adults and seniors who have grown up watching Graham Norton over the years.  

Documentary Presenter 

Role: broadcaster, naturalist

Presenter: David Attenborough 

Examples of programs: Life, Natural World

Link: https://www.youtube.com/watch?v=Z7bY2UgLrH8

Verbal techniques: very descriptive and astutely asserted language comes to play here as Attenborough attempts to describe to the viewer the nature of the dung beetle. 

Use of language: very extensive use of big words and refined vocabulary that brings the viewer into the world of nature, and the wonders it holds. Attenborough's wildlife commentary is soothing yet exciting. 

Breath of vocab: a wide range of vocabulary as expected from one such as David Attenborough. He brings forth an astute understanding of the field in subject. He names animals and points out their traits and characteristics. 

Illustrative language: he gives great description for the dung beetle, describing their "Long-hind legs" and how it suits them perfectly. 

Use of quotations: no use of quotations are used here; however, in other documentaries you may find excerpts from other materials such as letters, poems, books and even interviews (perhaps from war styled documentaries). 

Catchphrase: Attenborough has no use for any catchphrase. 

Accent: very posh, the Queen's English which is a major appeal for fans of Attenborough. He is the reassuring narrator, the safe tour guide, who knows his way around and can gently take 

Tone of voice: soft and smooth, with very refined words coming to and from the lips. 

Appropriate to the audience: being a wildlife documentary, the show tends to draw in an older audience of adults, middle-aged and seniors. This is generally due to most finding the subject rather mundane and boring; however, Attenborough himself attracts a broad audience, in the same way Morgan Freeman's voice does. 

Visual Techniques: close-ups focus on the animals and the wildlife itself rather then Attenborough, who more often than not tends to stay behind the camera and instead give commentary as to what is occurring in front of us. 

Dress and appearance: Attenborough does not appear thus this does not apply. 

Body language: n/a

Physical gestures: n/a

Movement: n/a

Facial expression: n/a  

Appropriateness to audience: Attenborough is a expert in his field and thus is a perfect person for concluding the information for his audiences. He is well mannered and spoken, making it appropriate for all ages to witness. 

Context: Attenborough gives some thoughtful commentary on the flight of the dung beetle, as well as it's efforts to survive the harsh landscape it resides in. 

Production background: set largely in the fields and plains of what resembles the continent of Africa, Attenborough and his crew attempt to document the dung beetle. BBC contracted Attenborough and a crew to carry out the documentary for BBC Earth. 

Background (studio/location): unknown. 

Target audience: documentaries tend to draw in a broad audience depending on their subject. On the case of nature this tends to range from adults, middle-aged people and seniors. In addition, fans of Attenborough and his commentary will be drawn towards the product. 

Reality TV Host

Role: host, presenter

Presenter: Jeremy Kyle

Examples of programs: The Jeremy Kyle Show

Link: https://www.youtube.com/watch?v=XJ8bKqYCqCY

Verbal techniques: Kyle is very assertive and empirical in his language, usually having to talk over his guests due to their constant bickering and arguing. Thus this is a great asset for him to have, as he does not lose the narrative of the show and maintains control throughout. It is his job as the host to keep the show moving on, and he must ensure nothing stalls that. Here in the clip he tells off the couple for their lying and cheating, but makes sure that things do not escalate too much by keeping them to the standard and keep things from falling apart. He does this by constantly posing questions towards his guests.

Use of language: he is very simplistic yet not still somewhat refined, borderline colloquial but has an air of authority when it comes to using words. 

Breath of vocab: admittedly not so large, instead relying on simplistic words and language patterns that relate to the live audience, viewers and average guests. This ensures all understand and take in what he is saying. 

Illustrative language: although there is little of it used, Kyle likes to raise his voice to get a point over, trying to paint a picture of the situation for the audience.

Use of quotations: occasionally he will uses his guests own words in order to add to the narrative, should it be for or against them. 

Catchphrase: "Welcome to the Jeremy Kyle Show..."

Accent: being born in Reading, Berkshire, Kyle has a distinctive colloquial accent that comes off as normal yet distinctive, which helps him grasp an area of control over his audience. 

Tone of voice: at times calm, other times loud ad some times even baffled, Kyle seems to have a bipolar tone of voice. Depending on the situation at hand, Kyle changes his tone in order to best fit the situation. Should things escalate however, Kyle can come off as annoyed, frustrated disappointed and even angry. This helps him maintain an air of authority on set. 

Appropriate to the audience: The Jeremy Kyle Show itself has been described by a Manchester District Judge as "human bear-baiting". The show's controversy has no doubt draw its fair share of critics; however, this is exactly what draws it in. People love to watch other people and their problems as a form of entertainment, because the media, in various ways, have conditioned us to grow numb towards it. 

Visual Techniques: there are little visual techniques used other than the opening and ending credits. Occasionally the cameras will switch to the back in order to get a view of another guest on the show, usually with them arguing backstage. 

Dress and appearance: Kyle dresses smartly in a dress shirt, jacket and slacks, without a tie. It makes him come off as more of an authoritarian figure then those around him, especially in contrast with his guests who tend to wear casual, sporty clothes. 

Body language: often times Kyle face palms in annoyance and disbelief at his guests, or even widens his eyes before them, to express just how dumbfounded he is about them. It is an expressive manner common among reality TV hosts. 

Physical gestures: Kyle tends to move his legs more than he would sway his hands, often only tilting his head in motion as to when he should bark back at a guest in order to get a point across. Often times he may become baffled and face palm to show his disbelief.   

Movement: Kyle prefers to sit at the opposite of his guests on the wooden steps as he interacts with his guests and audience, usually standing up and moving about, especially should things get out of hand.    

Facial expression: often times stern and cold faced, Kyle has to be versatile and put on a brave face for the audience at home and in the studio. This ensures we know he understands the situation at hand and has full control over it. Other times it can show his personal disgust towards a particular guest or situation. 

Appropriateness to audience: Kyle distances himself from his audience yet is always willing to have their input, making it suitable for participants should then want to get a point across. This makes Kyle very versatile in his role and often able to either ignore his audience completely or keep them in tune. 

Context: in this clip, Kyle reveals to a couple that the man did indeed lie about having physical contact with another woman as well as telling the truth about not having intercourse. The woman is also caught lying about cheating on her significant other while she was pregnant. 

Production background: the production is handled mostly by Kyle's crew of security and medical personal. The show also features psychotherapist Graham Stanier.

Background (studio/location): set-up in MediaCityUk, located in Greater Manchester, England. 

Target audience: the target audience for reality TV itself is predominately adult and middle aged individuals, and this seems to suit The Jeremy Kyle Show well. Live audiences members tend to suit this demographic as well. 

Children Programmers 

Role: TV personality 

Presenter: Fred Rogers

Examples of programs: Mister Roger's Neighborhood 

Link: https://www.youtube.com/watch?v=5xhbctEcAAA

Verbal techniques: verbal techniques are sparsely used as Mr. Rogers instead opts to give an easy to understand explanation of things and how they work. In this specific situation, he attempts to explain the making of crayons, and refrains from using any professional words when discussing the matter. 

Use of language: the language pattern is formulaic, simplistic and easy to follow, suitable for the desired target audience. 

Breath of vocab: though not child-like unlike most other children's TV programmers, Mr. Rogers likes to explain things in a very simplistic way for his young audience so they better understand and take in what they are being told. 

Illustrative language: he describes the colors of the liquid and how they make the wax hard so the crayons are of use. "...poured into a kinda-big kettle" is an easier description for kids to follow. 

Use of quotations: there are no quotations used in this clip, and others may vary to a degree. 

Catchphrase: Mr. Rogers had no particular catchphrase, but did have an abundant of memorable quotes. 

Accent: southern, kind and gentle. It is a reassuring accent that somewhat breaks the stigma of the typical accent associated with the south. However the voice a mix, as Rogers was born in Pennsylvanian.  

Tone of voice: his kind-hearted nature shines through with his soft spoken and mild-mannered tone of speech. It made Rogers stand out among the crowd, and ensured he had that ideal uncle-figure go on. He was the one you knew you were safe with, the one who reassured you and taught you everything you needed to know. 

Appropriate to the audience: Mister Roger's Neighborhood enjoyed much success among young viewers, yet also attracted an adult audience, as some episodes where no doubt rated PG yet still inviting to all ages. 

Visual Techniques: images of the making of the crayons are shown, along with the demonstration of the crayon making. 
Dress and appearance: Mr. Rogers wears his signature sneakers and a zippered cardigan sweater, This is almost an attempt to appear hip, but it actually has become a staple among seniors or elderly folk. 

Body language: Mr. Rogers body language is rather plain and not as expressive as most children's TV presenters. 

Physical gestures: there is more focus on the crayons themselves than there is of Rogers; however, he usually demonstrates examples with his hands and makes it easy to follow for practical. 

Movement: Mr. Rogers usually roams his home, as well as the rest of the neighborhood. He tends to walk slowly in a pace that makes the scenery calm and relaxing. It helps for his child audience to keep up. 

Facial expression: Rogers is usually plain faced when speaking directly towards his audience; however, he is more often or not happy and joyful, only putting on a serious face when the situation calls to it. 

Appropriateness to audience: Mr Rogers' mannerisms are very plain and simple, making them easy to follow for all ages and thus appropriate to the desired target audience. 

Context: Mr. Rogers is explaining to the audience how crayons are made and manufactured. 

Production background: production companies included WQED, Small World Enterprises (1968–1971) and Family Communications, Inc. (1971–2001).

Background (studio/location):  CBS Studios in Toronto, Ontario, Canada (1963-66) then Pennsylvanian, US (1992-2001).

Target audience: as previously mentioned, Mister Rogers' Neighborhood had a broad appeal among children and adults; however, it was for the most part aimed at a young demographic of 12 and up. It's lessons on social and economical aspect of American life drew in a large portion of audiences. 

Lifestyle Presenters 

Role: TV presenter, broadcaster, guide

Presenter: Nigella Lawson

Examples of programs: Nigella Feasts, Nigella's Christmas Kitchen, Nigella Express

Link: https://www.youtube.com/watch?v=w9h9Y1VxTbs

Verbal techniques: Lawson does not shy away from using visual and illustrative language when it comes to her tastes, especially when describing her work to the audience. 

Use of language: very sophisticated and suave, almost seductive yet endearing in a happy way. It brings on a relaxing atmosphere. 

Breath of vocab: Lawson uses expressive and descriptive vocab to get the method of her hospitality across. She has a wide range of words to use from her extensive, and sophisticated vocabulary, which she uses in a flirtatious and alluring manner. 

Illustrative language: Lawson uses exemplar methods of cookery and bakery, as shown in the clip, where she shows her own way of making chocolate chip muffins. She gives details into the way you would mix the ingredients and how they come together in order to make a fun addition to comfort food. 

Use of quotations: none. 

Catchphrase: none. 

Accent: a strong English accent, very sophisticated, smooth and alluring. 

Tone of voice: her tone is rather flirtatious yet engaging, drawing in her desired viewers and target audience. 

Appropriate to the audience: as per Wikipedia - Lawson has become renowned for her flirtatious manner of presenting, although she argues "It's not meant to be flirtatious. ... I don't have the talent to adopt a different persona. It's intimate, not flirtatious".The perceived overt sexuality of her presentation style has led to Lawson's being called the "queen of food porn". Many commentators have alluded to Lawson's attractiveness, and she was once named as one of the world's most beautiful women. She has been referred to as "stunningly beautiful, warm, honest, likeable and amazingly normal", as well as being described as having "flawless skin, perfect white teeth, a voluptuous body, ample height and lots of lush, brown hair". Nigella Lawson has been voted, Sexiest Celebrity Chef. The media have also noted Lawson's ability to engage with both male and female viewers; The Guardian wrote, "Men love her because they want to be with her. Women love her because they want to be her"

Visual Techniques: there are little visual techniques used other then camera angles, which consist of close-ups either focused on Nigella or the work at hand. 

Dress and appearance: Nigella dresses very modestly and domestically, much like a typical at home mother. These clothes usually consist of a white shirt under a blouse or cardigan. On specials she may even wear a dress, further provoking the idea of her overtly sexual presenting style. 

Body language: as aforementioned, Lawson has been described as having "a voluptuous body", and she seems to sway this to her advantage, moving with grace and ease. 

Physical gestures: her physical features are noticed as previously mentioned by one commentator, "flawless skin, perfect white teeth, a voluptuous body, ample height and lots of lush, brown hair".

Movement: as previously mentioned, Lawson moves with a sense of grace and makes it look effortless. 

Facial expression: always smiling and happy, Nigella's expressions are contagious and it draws the viewer, be they male or female. They feel comfortable around her because of her happy attitude, and she shows it on her face. 

Appropriateness to audience: the broad appeal of Nigella, as well as her (somewhat) unintentional versatility to appeal to her demographic, makes her suitable for those who tune into her program, should they watch for her or for her skills. 

Context: Nigella is showing her audience her method in baking one of her favorite comfort foods, chocolate chip muffins. 

Production background: under a BBC contract in 2006, Nigella was able to host her own show called Nigella Feasts. It ran for a full season at 13 episodes, with Time magazine writing a favorable review of the show; "the real appeal of Feasts ... is her unfussy, wry, practical approach to entertaining and quality comfort food. ... between the luscious camera shots and Lawson's sensual enjoyment of eating, Feasts will leave you wishing for an invite". 

Background (studio/location): location of the clip seems to take place in a bakery store as well as Nigella's own apartment. This makes the settings familiar and comfortable to the audience, as this is where her cookery and bakery come into play. 

Target audience: Nigella's audience is rather broad among the male and female demographics. Her sex appeal no doubt attracts the adult and middle aged male audience. Meanwhile, most women who would watch the program are presumed to be doing so in order to learn from her cookery methods. 

Voice-over Announcer 

Role: narrator, contextual-provider

Presenter: Don LaFontaine

Examples of programs: numerous trailers & TV adverts

Link: https://www.youtube.com/watch?v=PjWKE-IJ4R8

Verbal techniques: a bold voice and a knack for exaggerating words make LaFontaine's voice captivating and legendary. They didn't call him "Thunder Throat" for no reason. It is a booming voice, often intimidating yet gets you pumped. 

Use of language: the language can range from formal to informal, often direct and adding the necessary context to the narrative and situation. 

Breath of vocab: the range of vocabulary of LaFontaine can be described as very explosive and masculine. He brings the needed energy to a trailer and ensures it gets that extra push across.

Illustrative language: LaFontaine often has scripts at hand that ensure he gets across a character's motivation, in order to give the trailers a personal edge. This makes it so that a picture is painted for the already filmed action of an upcoming movie, and adds more anticipation to the release of a movie. 

Use of quotations: n/a

Catchphrase: "In a world..."

Accent: heavy and masculine, strong and assertive. It is Don LaFontaine. He was commonly nicknamed "Thunder Throat" and "The Voice of God" in the industry. 

Tone of voice: exaggerate and strong, yet also atypical of the 80s and 90s action movie voice overs. LaFontaine is a legend among the voice-over announcing industry, and he brings with him and epic, manly tone that attempts to illustrate a spectacle.  

Appropriate to the audience: these programs are, for the most part, action-based trailers 

Visual Techniques: the trailers themselves provide the necessary background for the voice over.

Dress and appearance: n/a

Body language: n/a

Physical gestures: n/a  

Movement: n/a  

Facial expression: n/a 

Appropriateness to audience: applies to a wide demographic, though mostly adult to middle aged audiences, who predominately are more attracted to action-based movies. 

Context: the clip is a compilation of trailers narrated by Don LaFontaine.

Production background: vary.

Background (studio/location): numerous.

Target audience: whichever demographic is drawn towards the desired movie, mostly action associated meaning a dominant male adult to middle aged audience. 

Continuity Announcer

Role: bridge before and after programs

Presenter: Duncan Newmarch

Examples of programs: various BBC programming intros/outros

Link: https://www.youtube.com/watch?v=lNdfDMdrIi4

Verbal techniques: small pauses and an exaggerate tone may be used, as well as soft, vibrant words that are meant to relax the viewer before programming starts (or perhaps prep them in a exciting or spooky manner, depending on the next program). 

Use of language: language is used short and quick, usually with humor and wit incorporated in order to move the broadcasting on. This ensures it entertains yet takes nothing away from the broadcast. 

Breath of vocab: the vocabulary range can vary depending on the required description needed on talking about the program. 

Illustrative language: details are given concerning the upcoming program and more often or not colorful language is used to describe the broadcast.  

Use of quotations: rarely used; sometimes to hype up the next program, Newmarch me use a tagline or quote.  

Catchphrase: none. 

Accent: the accent comes off as rather normal and generic, yet warm and comforting, so the viewer feels safe and at home. 

Tone of voice: the tone is a joyous and cheery one, filled with humor, wit and happiness. It keeps the viewer reassured and relaxed before programming starts. 

Appropriate to the audience: these continuity announcers serve as somewhat of a buffer between the next segment of television, before and after a program starts/finishes. There is no real desired target audience; however, appropriateness would include no vulgar language. 

Visual Techniques: talking over various clips, animations and other visual effects, it keeps the viewer somewhat engaged and entertained while the message is made. 

Dress and appearance: n/a  

Body language: n/a

Physical gestures: n/a

Movement: n/a 

Facial expression: n/a

Appropriateness to audience: there is no particular target audience in mind, which leaves the announcer a little bit of free reign in how they act and position themselves for the viewing audience. Depending on the broadcast beforehand, the viewing demographic could be entirely different, leaving little to work with yet so much to do. In the case of Duncan Newmarch, he tends to bring a cheery attitude to the program, and works that to an advantage, making him inviting towards his audience. 

Context: the clip is a compilation of various Newmarch continuity clips.

Production background: this may vary - https://www.youtube.com/watch?v=QOyo18hiqSA

Background (studio/location): as aforementioned, production can vary, depending on location.

Target audience: as aforementioned with the appropriateness to the audience, there is no real desired target audience; however, appropriateness would include no vulgar language. Target audience and demographic would change depending on the channel being watched, the time of the airing and the program about to be broadcast-ed.