Macro Elements:
Genre:
Documentary
Daniel Chandler - Conventions of Content
Henry Jenkins - Breaking the rules, Hybridization
Narrative:
Non-Linear
Propp - Character Roles (Hero- Granddad, Villain- Dementia/Parkinsons)
Audience:
Blumler & Katz - Personal Relationship, Personal Identification, Information & Education
Stuart Hall - Reception Theory (Dominant/Preferred Reading)
Representation:
Stuart Hall - Reflective/Constructionist Approach
Micro Elements:
Mise-en-Scene:
Setting - Granddad's House (Granddad), my House (Peter), Norwich Theatre Royal (Granddad), Attleborough Connaught Hall (archive footage)
Hair & Make-Up - Naturalistic (he wouldn't look himself if this were changed)
Costume - Naturalistic (generally wearing clothes he would wear on a day to day basis. A smarter outfit was worn for filming at the Theatre Royal. Costumes were worn for the archive footage of his acting performances.
Lighting - Natural lighting used in my Granddad's house and in the Theatre Royal upstairs. Artificial lighting used in my house and the Theatre Royal Auditorium.
Character Expression & Movement - Expression depends on how he was reacting to the archive footage, and also what he was talking about when recalling the memories. There were some funny moments, but also quite emotional ones. Movement is limited, as for the interviews he is seated. Movement mostly comes from the archive footage when they are on stage.
Props - Archive footage (this was shown for him to react to on camera), Scrapbooks, Photographs
Sound:
Dialogue - I have interviewed my Granddad (at home and at the Theatre Royal). I have also interviewed Peter (who was in the Attleborough Players at the same time as my Granddad).
Ambience - There may be some noise in the background, e.g. there was some renovation work being carried out in the Theatre Royal whilst we were filming there.
Narration - I plan to possibly include some narration, to explain his condition; however, this might also be done using title cards.
Editing:
When editing the different layers together, my current plan is to intersperse them, so that rather than doing each section in turn, the different components are all linked together. So I may have the clips of my Granddad reacting to the archive footage, and keep cutting between his reaction and the archive footage. I may also spread the interview footage of Peter over the duration of the film, to provide some variety.
Cinematography:
Camera Shots - Most of the camera shots used in the documentary so far are medium shots; however when editing the clips I may enlarge some of the footage so that there are a few close-ups (this could be especially effective when his emotions are visibly clear).
Camera Angles - Most of the angles used (like the camera shots) are kept the same throughout. The angle of the camera tends to be just off to the side of the person who is being interviewed, so that they aren't looking directly into the camera; but I tried to set it up to their height and frame them off to the side using the rule of thirds.
Camera Movements - The camera is mostly static for filming, as I kept the camera filming on a tri-pod during interviews, so that the footage was stable. I filmed a tracking shot of my Granddad as he walked down the slope to the auditorium in the Theatre Royal which I may include, but this may not make the final cut; if used, it would need to serve a purpose by acting as a transition.
Genre:
Documentary
Daniel Chandler - Conventions of Content
Henry Jenkins - Breaking the rules, Hybridization
Narrative:
Non-Linear
Propp - Character Roles (Hero- Granddad, Villain- Dementia/Parkinsons)
Audience:
Blumler & Katz - Personal Relationship, Personal Identification, Information & Education
Stuart Hall - Reception Theory (Dominant/Preferred Reading)
Representation:
Stuart Hall - Reflective/Constructionist Approach
Micro Elements:
Mise-en-Scene:
Setting - Granddad's House (Granddad), my House (Peter), Norwich Theatre Royal (Granddad), Attleborough Connaught Hall (archive footage)
Hair & Make-Up - Naturalistic (he wouldn't look himself if this were changed)
Costume - Naturalistic (generally wearing clothes he would wear on a day to day basis. A smarter outfit was worn for filming at the Theatre Royal. Costumes were worn for the archive footage of his acting performances.
Lighting - Natural lighting used in my Granddad's house and in the Theatre Royal upstairs. Artificial lighting used in my house and the Theatre Royal Auditorium.
Character Expression & Movement - Expression depends on how he was reacting to the archive footage, and also what he was talking about when recalling the memories. There were some funny moments, but also quite emotional ones. Movement is limited, as for the interviews he is seated. Movement mostly comes from the archive footage when they are on stage.
Props - Archive footage (this was shown for him to react to on camera), Scrapbooks, Photographs
Sound:
Dialogue - I have interviewed my Granddad (at home and at the Theatre Royal). I have also interviewed Peter (who was in the Attleborough Players at the same time as my Granddad).
Ambience - There may be some noise in the background, e.g. there was some renovation work being carried out in the Theatre Royal whilst we were filming there.
Narration - I plan to possibly include some narration, to explain his condition; however, this might also be done using title cards.
Editing:
When editing the different layers together, my current plan is to intersperse them, so that rather than doing each section in turn, the different components are all linked together. So I may have the clips of my Granddad reacting to the archive footage, and keep cutting between his reaction and the archive footage. I may also spread the interview footage of Peter over the duration of the film, to provide some variety.
Cinematography:
Camera Shots - Most of the camera shots used in the documentary so far are medium shots; however when editing the clips I may enlarge some of the footage so that there are a few close-ups (this could be especially effective when his emotions are visibly clear).
Camera Angles - Most of the angles used (like the camera shots) are kept the same throughout. The angle of the camera tends to be just off to the side of the person who is being interviewed, so that they aren't looking directly into the camera; but I tried to set it up to their height and frame them off to the side using the rule of thirds.
Camera Movements - The camera is mostly static for filming, as I kept the camera filming on a tri-pod during interviews, so that the footage was stable. I filmed a tracking shot of my Granddad as he walked down the slope to the auditorium in the Theatre Royal which I may include, but this may not make the final cut; if used, it would need to serve a purpose by acting as a transition.
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