Log: Documentary Extract (Moving Image) Textual Analysis

Camera

Position, angle, movement, framing, lens choice.

• In what ways does the choice of shot situate the viewer to convey meaning?
• What meanings are set up by a long shot and a ‘point of view’ (POV) shot?

Throughout my documentary extract, I have used a range of different camera shots. This was an important aspect to think about even before shooting my footage, since a variety of angles and positions can make a moving-image media product more interesting and exciting to its audience. Furthermore, different types of shots illustrate different meanings, therefore I had to decided on certain shots to convey a certain messages. For example, at the beginning of my documentary extract I have a shot which displays the presenter speaking directly to the audience. I used a ‘video-diary’ type of shot which established a direct mode to the audience (from the presenter). This creates a more casual effect, since it is as though the speaker is conversing directly with viewers, rather than just using a authoritative voice-over. This was also a significant way to enhance audience interaction, making it easier for them to ‘connect’ or participate with the contents of the film. 

I also included several point-of-view shots in my documentary. These tended to be shorter shots, sometimes cut-away footage, accompanied by a voice-over which gave meaning to the shot itself. An example of a POV shot which I incorporated into my product is a close-up shot of an iPhone screen. Also in the shot are the models hands, holding her phone and scrolling through ‘Instagram’. This shot therefore provides the audience with an insight into her life, as they can directly see what she uses her phone for. The voice over enhances the meaning as the model describes that social media, like Instagram, have an effect on body image.  

Panning and zooming shots can also be effective in conveying a certain message to audiences. For instance, in my product, I used a slow zoom-in effect on the still images which were accompanied by voice-over. The zoom draws the audience to a certain sign which they are then encouraged to decode and understand.

Editing

Editing helps to convey meaning through the manipulation of time and space. Considered the most important and fundamental aspect of meaning-making. Often intended to seem ‘invisible’ .

• Jump cuts, cross-cuts, cutaways / Symbolic layers - rhythm and pace
• How is it trying to persuade?

The general editing pace of my documentary extract is rather fast, due to the many short-length shots and quick cuts. I like this style of editing since many different signs and codes can be put together (across different shots) to present general themes and ideas. For example, at the beginning of my product, I have a montage section which shows many shots, all relating to the topic of how ‘perfection’ is presented in the media e.g. designer brands, models, catwalks, fashion. The montage section also acts as an overview / summary of the entire documentary (since if it was a real media product it would be an hour in length), hinting to the audience what topics will be explored throughout.

I have used cutaways throughout the entirety of the extract, since they enhance the meaning of the message presented in the form of voice-over. The cutaway shots usually have a direct link to what the presenter / participants are saying and therefore improves the audience’s understanding. This also creates a preferred reading, since I, as the editor / film-maker of my product, intend the meanings to be read in a certain, ‘preferred’, way. For instance, when the girls being interviewed discuss what they believe is the ‘perfect woman, I have included contradictory facts which prove that their ideas are not realistic of the average woman in society, and are therefore heavily influenced by portrayals in the media. 

Sound

Sound provides anchorage. The combination of sound and image adds a number of layers to meaning. (Diegetic = in the world of the text / Non-Diegetic = added for the audience only).

• Provides either contrast or flow

Non-diegetic sound occurs often throughout my product, since it can influence the meaning of footage, and also, encourage the audience to feel a certain way. For instance, the first soundtrack is very upbeat which will create a certain ‘mood’. Also, I wanted to use a soundtrack which would get the viewer’s attention. Additionally, some members of the audience will recognise the background music, since I used Lily Allen’s ‘Hard Out Here’ soundtrack (the instrumental version without lyrics). Even though there are no lyrics, some members of the audience will comprehend the message associated with the particular song, in which Allen displays the difficulties of being a woman in society due to representations. On the other hand, when the topic moves from the glamour of model life and onto the dangers / body image the soundtrack that I have used is much slower, establishing a different mood. The sound therefore adds to the meaning, implying that the topic is a serious issue. 

Another important feature of sound in my product is the use of frequent voice-over. These occur throughout the majority of my documentary extract, as much of the information / meaning is established through it. The voice-over also provides anchorage to the footage.

Mise-en-scene

 Describes the overall atmosphere and sense of time and place created by such things as lighting, costume, setting and effects in combination to, as the French term describes, ‘put into the scene’ 

• Atmosphere / ambiance of a scene 
• Micro elements (e.g. lighting / costume etc) ‘add up’ to the construction of verisimilitude - a logical sense of ‘realism’ that we accept when viewing a moving image text.
• Generic realism adopts the conventions for the genre that audiences come to accept

Most of my cutaway footage is serendipitous which therefore means that I didn’t necessarily ‘plan’ all shots, not thinking about the mise-en-scene and how it could alter the messages of my product. For example, I did not use artificial lighting or setting in the shorter shots. However, during the two interview sections, I wanted to established verisimilitude and therefore did indeed plan the micro-elements. The first interview is with a young model. I included on-screen text to anchor the shot reading ‘Olivia Tidd, Model’ so that the audience are immediately able to understand the meaning of the interview. Nonetheless, without the text, most viewers would still be able to recognise that she is a model. Firstly she encompass features which are previously described in the vox-pops - long, blonde hair, tall, slim etc. Furthermore, cutaway shots show her exercising, eating healthily and modelling. 

Another example whereby mise-en-scene is effective in the extract is the interview with a ‘professional’ - a health consultant. The overall atmosphere of the scene is very formal, with natural lighting, a light / plain and simple colour palette, with the interviewer and interviewee dressed in darker colours. The professional has certain codes of clothing, which are suggestive of her occupation - smart / formal wear including a buttoned-up blazer and scarf. Moreover, her body language is ‘smart’ since she sits upright with her hands linked on her lap. This creates a certain representation, and furthermore, makes the subject ‘trustworthy’ to the audience. In other words, viewers are more likely to trust what she is saying since the mise-en-scene implies that she is professional.