Sam Archer blogs

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Participatory Modes and the Truth

At the heart of a documentary film, there needs to be truth. A documentary relies on story just as much as a film of fiction, a story keeps the audience interested and entertained. However, documentary needs to be a story of truth. In order to make an effective documentary, (as mentioned) it is necessary to find the best way in which to display the truth on screen. Each story is unique and therefore not every film requires the same formula to achieve this goal. This is why in documentary film there is such thing as documentary modes. The modes are different approaches to formulating a documentary but they all find a way to showcase the truth.

Poetic- The poetic documentary is what you might call the avant garde of documentary filmmaking. A poetic documentary involves a series of juxtaposed images that still make a point. This is an important thing to note about poetic documentaries, they might be a series of juxtaposed images but they always need to be able to tell a story, it’s not just ‘anything goes.’ As mentioned, at the heart of a documentary is the truth. In order for a poetic documentary to be considered a documentary it still needs to apply truth at it’s heart. This is exactly why a poetic documentary aims to find a point or a message that is it conscious of, at all times and can be seen in the juxtaposition of images and sound.

  Observational- An observational documentary is to be almost a fly on the wall. Unlike some other documentary styles, interviews are not performed. The idea of observational documentation is to set up the camera and let it observe the environment around it. The filmmaker does not interfere with the subjects and lets things play out naturally and observe what happens. This also extends to post as the film should not edit scenes out of order from how they originally occurred. To make an interesting observational documentary, the same rules apply, there needs to be a story. It is easy to see how observational documentaries require truth, since the filmmaker does not interfere in any way and only observes the idea is to let the subjects play out their story naturally i.e the truth.

Expository- The expository mode could be likened to a cinematic essay. In order for expository mode to work successfully, it needs to make an interesting argument therefore it must be well researched and backed by evidence. Unlike the observational mode, the expository mode requires the Director to interview the subjects to gain as much information as possible and also include (if possible) some authoritative sources to interview in order to explore their argument or back it further. Expository documentaries generally include, interviews, recreations, narration and archival footage and/or images. Expository is referred to as a written mode which means there needs to be a lot of planning in the pre-production stages before shooting. This does not mean that Expository is contrived and lacking truth, in fact it requires this planning in order to remain truthful. As discussed, an expository documentary needs to present a compelling argument and therefore in order for this to work there needs to be facts and in order to be considered a fact it needs to be true. The interview is good for  adding truth to these facts especially if the interview involves an expert opinion to add weight to the truth of these facts.

Participatory- The participatory mode requires the filmmaker to participate in front of the camera, essentially they become part of the documentary themselves as the protagonist. The participatory mode usually involves the filmmaker on a quest for discovery. The filmmaker may have an idea that they would like to investigate further and therefore the participatory mode takes the viewer on the journey alongside the filmmaker in finding revelation. The participatory mode sometimes involves elements of other modes, however putting the filmmaker in front of the camera sometimes allows the viewer to feel a connection to the journey itself as they put themselves in the shoes of the filmmaker. An essential element of truth in participatory mode is that the filmmaker is genuinely on a quest for knowledge, this allows revelations to form throughout the film that were not known at the beginning of the quest. Issues arise and sometimes take the film in a compelling new direction as the viewer finds out new information or watches things occur as they happened to the filmmaker.

Truth in documentary, is it’s greatest strength and potential weakness. Documentary is telling the story of real life thus truth is essential and can lead to extremely interesting viewing. On the other hand, if a documentary lacks truth it becomes a film of fiction the added layer of ‘wow this really happened’ is gone and therefore causes a type of desensitization to the subject matter. Depending on the story, one mode just won’t accentuate the truth as well as the other. It is important to explore which mode will have the greatest effect on truth in your documentary.

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My 3 weeks in review: Myself, In the story

Time for a little reflection. Prior to this week, I spent the last 3, writing 3 drafts on a short film script I have been working on for my Production unit. What a process! I learnt not only about how to better my script but thanks to the help of my Screenwriting Teacher, whom I guess you could say, performed a spontaneous psych evaluation on me (I know I’m not in the least bit surprised it was me who had this happen to them, either) I was able to understand how myself, as a person effects the way in which I write. It was an interesting three weeks and now, cue my reflective music.

The Professional roles I am pursuing are, Director/Screenwriter however at this earlier stage in my career I am also what you would call a practicing Filmmaker. This is largely due to the fact that to get my own work up and running at this stage requires me to assume a lot of different roles. This doesn’t faze me as I love learning how the industry operates and I certainly want to have working knowledge in all aspects of film.

The script I have been working on, a short film titled Utopia Chasers, is a dark comedy about a Documentary Filmmaker who is unaware, the role she plays in her cult leader housemate’s ‘day of truth,’ is not what she was expecting. Originally, I developed this idea while trying to write something set in a previous era that would also allow me to evaluate the psyche of my characters. The idea of a cult came to mind, I did not intend to write a dark comedy however when deciding on an idea for my story things seemed to naturally go that way. I decided to alter my script to be set in present day, this way I could add commentary on the social media trend and the effect it has had on people.

My first draft received positive feedback for the film’s idea and originality. I did, however need to work on fully fleshing out some more of my characters, in a way that serviced the story as well as the genre. This was great, it allowed me to learn even more about the comedy genre and Commedia dell’arte. This information proved useful as I was able to see how the conventions of Commedia del’arte were already being applied to my characters without even realizing. With a further understanding, I was able to have more control over my character’s decisions by the second draft.

What have I learnt about screenwriting? You can’t fake it, without being aware, a huge part of who you are spills out all over the script. I submitted my third draft to our class script reading circle and I knew it myself, something was missing, I felt it. After my script was read, it became almost instantaneously obvious to my Teacher that something else was going on. Every choice I made, I might of thought was random but sub-consciously I had a reason for every choice. I chose my script to be a dark comedy, not because that suited the script but because I have commentary on the world around me. Personally, I find comedy to be the best means of getting not only world views but also pain across on screen. Almost to a fault, I hate to disappoint or to be thought badly of and as a result I tend to try and do what everyone else wants so I am not seen as a ‘bad’ or a ‘selfish’ person. I usually hide my opinions from others because I find it easier to not say anything than to worry all night afterwards, when I think I said something wrong. Right there in that awkward circle, I finally hit on my core issue, I guess you could say. I don’t want to be selfish and as a result I was sitting on the fence in my writing, sticking to conventions because it was safe from putting my own opinions out there, especially when it came to writing my characters. I needed to differentiate from being perceived as selfish as opposed to actually being selfish. I think the feedback I received was something like, “You’ve been brought up believing that you should never complain and never demand you have taken that to an extreme as it has been instilled in you your whole life and now those who do, walk all over you and you still can’t say anything because if you tried to say what you wanted you will be told to stop being selfish.” I guess you could say I’ve taken good morals that I’m so thankful for having instilled in me since I was a child, however due to having OCD and Anxiety disorder somewhere along the line those core values became almost a sub-conscious obsession that I could not let go of, even in my writing. Have I tried to speak up for what I wanted before and ended up having everything ruined by it? Yes. Has that effected me? Yes and naturally that has left me with scars about being honest about what I want.  A real frustration I find with myself is, yes I know I have things that hurt a lot that give me (as my Teacher put it) such a rich foundation to tell stories upon and there lies my frustration. I have the hurt, I have the creative incline, yet I couldn’t seem to put it into my work. Until I realized, I already had been, I was not incapable because the one character I wrote who was consistently liked in all my drafts was actually based upon my world view, it’s the annoyance I feel in the way I find mental illness being treated as an accessory in some ways, in the modern world. I have a voice and apparently I could ‘get angry’ despite being told to get angry with my other characters, I really didn’t think I could, I thought I had no message to say in this story, except I had.  

 I have learnt that when I write I have to be the real me no matter what because if I don’t than I am only doing a disservice to my creative ability. Like everyone, I have issues, yes but I can either choose to let them squander or flourish my creative ability.  Thanks to my own experiences, I have something to say. In summary I realized, it’s not selfish to have an opinion in your work, I have to write my stories doing what I think is right not what I think will please everyone as pleasing everyone is impossible. I also learnt just how hard writing comedy can be because word of warning, if you write it you have to be willing to really look at yourself and your opinions and I was scared of doing that because of what I might find and if I would really like who I am but as a result I am a better Writer for it. To be honest, that is the most valuable thing I took away from this whole three weeks and if nothing else, I’ll be forever glad I had that.

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Spectacle & Technology in Cinema

As mentioned in ‘Myself, as an audience member,’ I am someone who tends to enjoy involving themselves in the psychological components of a film. Taking that into account, I would say I am someone who prefers the narrative, more so than the spectacle in film. With technology in cinema continuously advancing, modern audiences have a higher demand for more realistic special effects and big action scenes. Although I prefer the narrative, I can appreciate the spectacle of a film and feel that in most cases the spectacle can make a film with a not so great narrative more positive.

If I was to consider whether spectacle is more important than narrative by today’s standards, my answer would still be, no. Although today’s audiences appreciate spectacle and it can add positives to a film it still does not outweigh a narrative as narrative is a fundamental in film. Films are still successful seldom spectacle. On the other hand there have been films that are heavily driven by spectacle and lacking in narrative that have not been overly successful. In my opinion, this proves that a strong narrative can do without a strong spectacle but a strong spectacle cannot do without a strong narrative.

As a Filmmaker, of course I am very interested in making sure I use spectacle feature films in terms of ensuring the images on screen are vibrant and cinematic by today’s standards. As wonderful as shooting on film is, I do think most of my films will continue to be shot digitally in terms of time efficiency and that I am able to see the result immediately.  I do think that I will draw a lot from older technologies in terms of prosthetics and make up as it is more attainable for my current level as a Filmmaker and therefore something that I am familiar with that I can take with me even as my knowledge of film making increases. I don’t think this is uncommon either as a lot of films today use both new and old technologies as both have proven successful in their own right.

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Myself, as an Audience Member

As an audience member, I have always loved watching films in the cinema, even as a kid. There was always something so special about watching something on the big screen. I remember as a kid thinking, ‘It doesn’t matter what I’m watching, so long as I get the chance to go to the movies.’ Granted, watching movies in bed or on the couch is more comfy and convenient than a cinema and I think that is what makes a trip to the cinema all the more valuable as it isn’t something you do every day and when you do it’s usually socially or to see something that you’ve really been dying to watch. I still feel the same excitement going to the cinema as I did when I was little and I think for at least me personally that shows there is a charm about the cinema that won’t ever go away.

Generally I prefer watching films where I feel as though I can connect with the character or characters on some level. They say some people watch movies to forget about their problems for a while, I agree with this personally but I also feel as though film is almost like music where when we watch or listen to it, we realize that we aren’t alone in our struggles and sometimes there is something comforting in that. Things that really help me engage with film are the little cutaway moments that add a little extra to the character’s personality that isn’t necessarily said through dialogue. That said I am a big fan of dialogue, it is said that too much dialogue can be draining for the viewer, however I personally find it an opportunity to really get into the character’s psyche and realize their reasoning for their actions on screen. I feel music is a huge part about connecting me to a film as a scene can evoke some sought of emotion and when matched with the right song, it can heighten those emotions even further.

If I was to think what type of Audience member I am, I would need to think about what type of person I am. I tend to observe the actions of others around me and I am someone who is probably, very much in their own head most of the time therefore I think I connect to films that little bit extra when they make me think or reflect and also that use techniques to help me better understand the intricate details that make up a character’s psyche. Techniques like dialogue, framing, music and lighting. They all set a mood that often reflects where the character is at mentally. I will say this however, I am a sucker for a happy ending.

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Inclusive Design

The class I had recently, was all about inclusiveness. This is something that is probably no secret, the Entertainment Industry is lacking in some regards. The topics highlighted included, ethnicity, gender and disabilities. The idea was how can we make the future of entertainment more inclusive? When thinking about my own answers to these questions as well as being asked to think about how each of us deal with such diversities, I really got to evaluate the way I write and think about this subject.

Ethnicity- Diverse Ethnicity is normal, that is the world we live in but unfortunately it’s not always the world we see on our tv screens that is supposed to reflect the real world. The fact is, every Ethnicity in the world shares one thing, we’re all human. The fact, we’re all human means that we all go through real world experiences and that does not change. A lot of people in the class believed that, although the entertainment industry has become more progressive with time and we are seeing more Ethnic inclusivity, it is still not enough. The general consensus seemed to be that in Western cinema, those of diverse Ethnicity are put in to promote inclusiveness however it can sometimes turn into tokenism. Most of the class wondered why the fact someone’s Ethnicity would even need to be brought up. I think the thing here is to just let characters be characters and be authentic to whichever diverse culture they come from but that doesn’t mean that’s all the character needs to be about. Our job is to tell a story and it’s not limited to one Ethnicity since we all go through real world problems, there is no reason why these problems need to be exclusive to one Ethnicity.

Gender- Being a girl, I was asked if I had written any main character’s that were of the opposite gender, which yes I have. We were then asked how we write those characters. I write them as humans, I’m aware of the character’s gender but when I write, I don’t seem to write how a guy or girl would react in that situation, I just write how the character acts.

Disabilities- We were asked this question, ‘if a character is in a wheelchair, why can’t someone who actually uses a wheelchair play the role as opposed to someone else pretending to?’ I’m sure that this has been done before but I just can’t seem to think of an instance where it has actually occurred. The main thing is disabilities (mental disabilities included) should always be written authentically, yes you should be true to the condition but also understand that they are not blanket terms. Everybody is unique and that is what should be conveyed, the character shouldn’t be written as a disability or a mental illness, they should be written as a character dealing with something in the way that is authentic to them.

In reflection of those topics, it seems that my take when I’m writing is to just write humans. I understand that in a lot of cases these diversities are valid in the way a story needs to be told and that the story might need to draw attention to this, if this is what the story is about. I don’t think anything needs to be addressed however it is not relevant to the story. I think it is best to start being inclusive to the point where inclusive is just the norm so we don’t need ‘inclusiveness’ anymore because everybody will already be included.

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Social Media

This week, we were all learning about the impact of social media in your career. I’m pretty aware of the ways in which social media can help promote your work yet I hadn’t really done too much in the way of using my social media accounts to promote my work. That said, I’m only just starting out so I don’t really have too much to promote yet but it is cool to know that websites such as this allow me the chance to interact in a way that reflects not only myself but also my creative style that will most likely reflect in my films.

I’m currently working on a portfolio for my industry overview class and that also involves having to develop my own webpage for my work. This wasn’t something I had really thought of doing before but it is cool to put your work out there and see what people make of it. I hadn’t done this before because, to be honest I didn’t really think anyone would be interested in it. I am finding as I continue to put my creative ideas out there that others are receptive to a lot of them and that has definitely encouraged me to start putting my ideas out there since after all, the films I want to make are the ones that can connect with people. Anyhow, before I ramble on too much, I’ll get back on to the topic of my website. I’m currently in the process of designing it and am trying the best I can to have it match my style of work as I want my work to be identifiable. What makes a good website, though? In my opinion, it’s easy to access, simple but effective and unique. Professionally I think it should relate to your style of work as that helps potential Employers as well as others interested in similar styles, understand the type of films you like to make. I should have my website up and running really soon (If I can ever just be happy with a design) and I will definitely be making sure to use it as a tool to promote my work.

 There is a really good saying that my year 11 Art Teacher told my class once “there is always going to be someone who likes what you’re doing.” That’s why I will use social media, for those who like what I’m doing. Oh and to find out if anyone knows the best ways to catch a Pokémon Go jiggly puff?

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Interview Techniques

I just ate a whole family size block of chocolate on my own in one sitting so I would hardly say I’m a starving Artist. Currently I would classify myself as an Artist with a tummy ache but an Artist who needs to be able to get creative jobs, none the less. This week my mind was blown because I realized something, there is actually genuine creative jobs going that you can find online, you just have to look in the right places. I know it sounds crazy that I didn’t know this already! The ones I found particularly useful were Grapevine Jobs, The Loop and Australian tv jobs.

One thing that always stumps me in a job interview, no matter the job is when I’m asked the “do you have any questions for us?” I could get a lot out of this question but I am normally blank on what to ask. I never thought outside the box because I wasn’t thinking about my long term goals. I’ll go ahead and list some good questions to ask that I definitely want to know the answers to.

-          What type of people are successful in this role?

-          What is the working environment like?

-          Is there room for growth within this position and if so what does it            entail?

It’s self-explanatory to see how these types of questions not only show a potential Employer how keen you are but also might help you realize in the process if this is a role you really want or not. From now on, I will definitely think about what I would like to ask before future job interviews because I never thought about how much information you can gain about the position from just a few simple questions. Artist with a tummy ache, out!

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Copyright & Contracts

Lately I’ve been learning more about copyright and contracts. Fantastic! Copyright infringements and legal issues when producing my own films, scares the crap out of me! If I had to pick the thing that limits my creative process when it comes to brainstorming my own productions, that would be it. With that knowledge, I guess it’s self-explanatory why I think learning more about copyright and contracts is fantastic.  I learnt lots about the legal processes one needs to go through in order to make a film but there were a few handy quick tips I learnt also. Shall I elaborate? Okay, I will elaborate.

How to protect your projects: It is true, literary work is automatically protected by copyright as soon as it is written. Unfortunately this does not make the idea itself exempt. For example, I could write a story about a cat on a journey to find a mystic apple (I know, I better copyright protect that idea quickly).  Anyhow, if someone else wanted to use the same idea (no idea why they would) they could legally do that. They could use my (epic) idea so long as it were not the same script as my own. Long story short, it’s always best to apply copyright to your work and ideas by ensuring you add the copyright symbol with anything attached to your work related ideas.

Product placement: This one walks a very fine line, it is always a good idea to get permission when using a product in your film however when is it particularly necessary? The main concern most brands will have is if their product is being defamed. Obviously, brands will not want their product to be viewed by audiences in a negative light without permission.

If the product is implied to endorse a behaviour that the company does not support- A brand has an image and if a particular brand is even associated with a behaviour it does not endorse in your film, that could be grounds for meeting Judge Judy.

Don’t deface or alter advertisements in backgrounds- This one is pretty simple, you’re more than likely safe to get a billboard or poster advertising a brand in your shots and that should be ok so long as you don’t deface or alter the advertisement.

Copyright is usually protected for 70 years after publication- However it’s still always best to check and make sure there are no copyright infringements you will be breaking, regardless of the year of publication.

Copyright licensing in music- One thing in particular I learnt is that you actually need two licences to obtain permission of music that isn’t royalty free, in your films. A recording license is required in the event that the song has been released commercially through a record label. A publishing license is also required for the song itself.

There you have it, that’s the main things I learnt this week about copyright and contracts. I will say, please don’t take this as solid legal advice as I myself am only just starting to figure all this stuff out and there is always a chance I haven’t got it 100% right, however I have tried my best to relay the information I have learnt to the best of my knowledge. I will however forever freak out about this kind of stuff when making my films eternally and therefore will continue to study up on the subject (perhaps, make sure I consult as Lawyer as well if I’m ever really unsure) Hope I could help somewhat however! I’m off to go help a cat find a mystic apple…..

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Opening Sequence Analysis

Spoiler Alert 

The opening sequence of Breakfast at Tiffany’s (1961) may have a lot to do with establishing not only character but an understanding as to what drives the film’s narrative in a certain direction. At first glance the opening sequence appears to not offer much in the way of information however a closer look at form and narrative reveals an informative subtext.

 This particular iconic sequence in Breakfast at Tiffany’s opens with an establishing shot of a taxi entering frame. Holly (The film’s protagonist) exits the taxi and spacing in frame is still quite wide and the audience is only able to see the back of Holly. This gives the audience a feeling of detachment from the character and first impressions of Holly may comes across as a woman who is sharply dressed and appears well off, that the audience does not know much about. Holly begins to window shop at Tiffany and Co. a shadow of Holly appears in the window, the lighting in the reflection is quite dark as opposed to the physical world that is quite brightly lit this could be considered a metaphor. The metonym is to understand that Holly, while appearing happy and content externally is actually longing for a life she doesn’t have that is mirrored through the darkness in the reflection of the window. The mis-en-scene in this sequence also involves a ‘breakfast on the go’ which shows that Holly might not be all that she appears and may not have too much time to window shop as it appears. As Holly moves towards the next window, all that appears in frame is Holly’s reflection amongst the expensive looking chandeliers. This shot highlights the lifestyle Holly dreams of having, this relates to the personality that Holly has in that she is a dreamer. Within this time the audience starts to feel more connected to what this character may be about and therefore the next shot sees the frame move closer into Holly which feels much less detached from the character as the previous establishing shots. The knowledge the audience has about Holly at this point however is still restricted therefore the next shot revolts back to a more detached wider frame as Holly leaves the front of the Tiffany’s store. As Holly begins to walk away from the store she moves away further in frame and throws out her breakfast in the bin. This could be seen as a way to symbolize Holly is about to enter her real life once again and therefore throws away her dreams of the life she really wants to live for another day in order to snap back into reality.

This sequence relates heavily to the film’s narrative, the sequence implies Holly is a dreamer and is trying to pretend to be someone she might not necessarily be. It is revealed later in the movie that Holly has infact, ran away from her old life and changed her name from Lula Mae Barnes. This evidence is brought into play in a classic Hollywood linear style of narrative as Holly’s former life is only spoken about in the present day and the audience is never shown any flashbacks. This information ties in with the audience’s understanding of what has so far been established about the character even in the opening sequence. It does not seem unlikely that the mysterious character would do this and therefore it is that type of character that would create these actions that drive forth the story in a logical way. The lack of flashbacks to Holly’s former life as Lula Mae Barnes enable the character to maintain an air of mystery as the audience will only ever see the present Holly. The non- diegetic music provides a sense of calmness with a tinge of sadness that emulates Holly’s internal vs external dilemma. 

 The music tells the audience that (along with the brightly lit shots) this film is not a horror or noir but a romance as the non-diegetic sound and the lighting fit in with popular romantic film conventions. As discussed, the sequence has given the audience an understanding that Holly might be pretending to be someone she isn’t using metaphors of window reflections. The sub-text however could be within the use of metonym, A mask of someone else, is never our true selves.

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My Income & My Art

Industry Overview, required us to respond as to how we plan to make a sustainable income out of our art. How am I going to make income out of my art, you ask? I’m going to make films that are going to make an impact! Okay, I’ve always thought into the future, how I plan to maintain a steady income once I have reached that destination but have I neglected myself in the here and now? Could I really have been neglecting a vital chunk of my life while I live in dreams of the future? I’m studying the industry so obviously I’m capable of reaching immediate goals, maybe it’s time I got a little bit more grown up and realized how I’m going to use immediate goals to reach my future goals. As I write this blog, I have no idea how I’m going to answer this so feel free to join me as I try and work it out through this blog.

Don’t get me wrong I’m a strong believer that in the creative industry, your talent and the product of that (your art) is the most important tool you will need to get you anywhere in the industry in a fulfilling way. However I think it is also important to understand, creative processes take time and in the meantime how am I going to get my name out there so that people will listen to my ideas and still be able to support myself in the meantime? Experience! I think it is going to be experience that is going to get me on the right track to where I want to be going. I need to find the courage to believe in myself enough to jump in head first into gaining experience in the industry. The experience is going to do more than pay in dollars but also in a wealth of knowledge that can only be acquired through, you guessed it, experience. This experience will be very useful when applying it to the work I put into my own films.

Alright, I’ve decided I need experience? That’s an A for effort but how do I go about gaining said experience? I reckon I’ve got it! I need to get on more sets! Okay, I guess that wouldn’t really come as much of an unforeseen turn of events, however the good news is I am in the position to go gain said experience. I’ve taken the active steps to put myself in a position with enormous potential to break myself into the industry. I’m studying a Bachelor of Film and therefore I have so many Teachers and Peers that I can ask for advice, I am put in the position to make professional connections and be able to be daring with my art. As a result, I’m going to use this to my advantage and start using those connections to get myself on set and continuously soak up as much knowledge as I can.

It appears I’ve gotten off  track, long story short, I need to use the resources available to me to get me on as many sets as possible even if it’s free, just do it because I’ll never get paid sustainably with no idea what I’m doing.  I’m trying to learn as many aspects of film as I can because any of them can get me on a set and as long as I’m on set I’m learning. Experience is going to further my skill, in turn I’m going to reach a point where I have enough credibility that people will consider paying me and by being on set I’m making the right connections to get my own art out there. I guess you could say that after writing this blog, perhaps I’m still not a hundred percent clear on exactly how I am going to keep a sustainable income but I am clear on the attitude I need to get there and the more I keep at it, the more I’m going to learn how to turn that attitude into financial stability.