Monday, 19 October 2015

Treatment


Treatment


Working Title: Anechoic
Length: Poetic Documentary – 00:02:00            Main Documentary – 00:05:00 – 00:10:00Format: 1080x1920 HD 16:9
Hook or tagline: echoes of Sam Emsley’s life living with a hearing impairment




This portrait documentary focuses on Sam Emsley who is in his early twenties, enjoys subjects such as Geography and History and who is deaf. It investigates on his experiences growing up, with the support of his family and the unfortunate loss of the Leeds Deaf Social Club, a cause of financial cuts, resulting to impacts on his and his family's lives. This piece focuses on the importance of family and support from others when living with a disability.

The poetic documentary reveals life with and without a hearing impairment; we see a montage of images and home videos of Sam Emsley as a child and manipulate the soundscape to enable to audience to reflect on life with and without sound. This will foreshadow Anechoic which unfolds the story of Sam Emsley, focusing on themes of disability, family, support and finance. Through observing his day-to-day life we witness the struggles he faces in order to be happy and healthy, the support he has from his loving family and the support he has lost from institutions due to financial cuts which has had an impact on his development and life. The documentary also shows archived footage of him as a child. We meet Sam’s Grandmother, Barbara and Mother, Christine who are discussing the sacrifices they have had to make in order to look after and support Sam, but how they are happy to do so. We also reveal the news of the Leeds Deaf Society’s closure,  despite a petition to save it. We also discuss the impact on his family and the widespread closures of similar facilities around Yorkshire. Finally we explore Sam’s relationship with his new carer, Matt, who serves to reverse the loss of the society by enabling Sam to take part in activities he would have done at the society.

This film’s goal is to make people empathise with Sam and other people affected by the cuts that the council is making, especially those who suffer from disabilities. More importantly the crucial importance family have over individuals like Sam.

The poetic documentary is one that presents the character of the documentary and enables the audience to reflect and consider what it is like to be deaf. We will present a variety of photos and home videos of Sam Emsley as a child through montage; over the course of presenting these images and videos, this idea being inspired by Night and Fog (Alain Resnais, 1955), we will manipulate the soundscape in terms of recreating the loss of sound. The use of the sound is inspired by Blight (John Smith, 1996) a recreation of atmosphere and there emotional effects. For example we show an extract of Sam as a child playing with his family, to which we pull into the image of him on this video and remove the sound replacing it with muted noise or drone. Establishing the focus on the piece and enabling the audience to think about what they should be hearing and are not. The editing of the montage will also put together a visual rhythm that will emphasise the abnormality the audience is intended to feel, such as  gradual fast pace and sound-bridges.

Anechoic will follow the modes of observational and reflexive techniques. The piece will begin with following Sam in his everyday life from morning to night; this will be shot in a fly-on-the-wall manner, inspired by Titicut Follies (Wiseman, 1967) and Gimme Shelter (Maysles Brothers, 1970). The mood of this opening will be neutral and observational; we see Sam doing sign language, lip-reading and having subtitles on the television – using subtle visual means will respectfully reveal Sam’s disability. The sound of the piece will predominately be diegetic, using the sound from the visuals to reiterate Sam's disability.

As Sam returns to his home we reveal the identity of his Grandmother and Mother, Barbara and Christine. Through a wide shot in a natural, practical light manner, inspired by Plank (Billy Pols 2009) we interview Sam and his family together in a way they feel comfortable in their own home. The mood becomes light and heart-warming as they discuss, in a colloquial manner, their experiences as a family this will be presented with cutaways to images and home videos of Sam whilst he was growing up. In this section, the soundtrack will be light and cheerful to incorporate the mood. This will be edited to have as less 'talking head' shots as possible throughout the sequence, so the audience can still be entertained by cutaways and action shots but also see Sam use his sign language to provide his feelings on the matter.

The mood in the conversation will become negative as the family begin to discuss the sacrifices they have had to make in order to support Sam we will discuss the news of the Leeds Deaf Social Club; cutting away to images of the petition, the old building, any illustrative archive footage available and access to other social clubs to reinforce the topic under discussion. Furthermore we will briefly interview members in a formal interview setup of authority who can discuss other cuts made in Yorkshire.

This is when the piece becomes formal and negative. As the discussion takes a turn to finance and trouble finding support this is cut to formal interview setups with characters of authority who work for organisations of support for those suffering with a disability and who will confirm with evidence about cuts made; providing information that this issue is not just over Leeds but in Yorkshire as a whole.
We then return to the family and are introduced to Matt. We will return to observing Sam doing social things in Yorkshire with his carer Matt with wide two shots inspired from Richard (Matthew Hopkins, 2012). Complimented by a friendly interview setup with Matt with Sam as he discusses why he helps people and any relevant information.

Finally returning to Sam with his family, the mood lightens as despite troubles we observe them as a family supporting each other happily with a uplifting soundtrack to compliment this.

Anechoic is a documentary that investigates sociological issues that appear to go unnoticed by the majority; focusing on themes of family, support, finance and disability Anechoic requires the audience to reflect on Sam’s life, their own and others that may be around them too. 

Sunday, 11 October 2015

Touching The Void documentary analysis

Touching The Void (2003)- Kevin Macdonald 


Touching The Void is a performative documentary directed by Kevin Macdonald. It is about two mountaineers who climbed up the west face of Siula Grande in 1985. The documentary re-enacts their journey through a poetic mode to endorse the audience in the tragedy of Simon Yates and Joe Simpson’s life changing experience.

Throughout the documentary there is a constant emotional and subjective aspect to emphasise the tension to the audience. In one of the most popular scenes there is a poetic mode portrayed in the cinematography and editing. This specific scene is when ‘Joe’ is deteriorating upon his complete lack of energy as he becomes, what seems, bewildered by reality. The style is lyrically linked with the drone soundtrack along with a slow motion, reverbed version of ‘Brown Girl in The Ring’ by Boney.M. Then played on its own abstractly to resemble what Joe was feeling at that moment. The cinematography also contributes to this by using abstract camera angles and spatial juxtapositions which disorientate the audience as the rest of the documentary is structured through continuity editing.  


Touching The Void (1988)



Touching The Void (1988)


This is relevant to my project as it contains a certain subjective interpretative style that doesn’t make it too intense for the audience but gives a real-life perspective. I will use this technique in my poetic documentary to show the experiences that customers of Sheffield Nightline go through. However, ultimately I would to make an unbiased point and just provide a narrative in a ‘beginning, middle and end’ structure, such as David Maysles explains, “Part of our whole purpose is to make the viewers their own commentators... Narration is only a leg that you use for support if you need it.” (Maysles, D; 1964; 263).  

Bibliography

·         COUSINS, Mark and MACDONALD, Kevin (1996). Imagining Reality: the faber book of documentary. Faber and Faber limited, Queen Square London.

·         KOCHBERG, Searle (2002). Introduction to Documentary Production: a guide for media students .Wallflower Press, London.

·         NICHOLS, Bill. (1942-2001). Introduction to Documentary. Indiana University Press.

·         Touching The Void.(1988). [online]. Directed by Kevin Macdonald. Youtube. 22nd December 2014.