Documentary film has always had a complex relationship with archive material and archival practices.
In the 20th century media texts, such as television programmes, were transitory. It was assumed that a programme would air once, maybe twice if you were lucky, and then never be seen again by the public. However, the internet’s prominence in our lives has changed these once transitory texts into objects of permanence. Audiences now assume that once published, texts should be available to be revisited, resold and engaged with. Platforms like Youtube, Netflix and BBC iPlayer make this possible. The online library becomes some what of an archive in and of itself, allowing media texts to have an afterlife.
Archive has historic, educational and entertainment value however it needs technological, creative and curatorial skills to be able to unlock its full potential. The internet encourages publishing material and then connecting to audiences and similar texts. So you could argue that TV frameworks are becoming outdated.
If you consider another creative medium, such as music, you do not think of music from the past to be ‘archive music’. A song from the 1950’s is not considered to be ‘archive’, it is thought of as an album to be enjoyed in the present, perhaps even added to a playlist amongst recently created music. This framework encourages the integration of relevant material from both the past and the present for audiences to enjoy. It is interesting to consider what kind of digital innovation will be necessary to get archive film to be handled in the same way. Continue reading Archive Film Part 1
Pierrot le Fou is Jean-Luc Godard’s road movie based on Lionel White’s novel ‘Obsession’. After World War II, there was a rise in cinephillia across France when Ciné clubs became popular. These clubs allowed people to immerse themselves and engage with cinema from around the world. The cinématheque Français was key to the French New Wave movement as it provided the future directors and critics with the majority of their knowledge of the film industry.
Continue reading Musings: Pierrot le fou (1965)
Here is an exercise we had to complete for my course:
Working with Archive exercise – Diane Di Prima: Women of the Beat Generation from Elizabeth-Valentina on Vimeo.
Using only footage/interviews and music from other sources we had to produce a 2 minute short film on a topic of our choice. As a result, I do not own any of to footage or audio featured in this video.
In my research I found a great zine called BEATDOM . Each issue is themed and full of essays from academics, fans and creative writers with unique perspectives of the writers of the Beat Generation. Themes include, the contribution of women to the literary movement and the Beat’s drug and alcohol (ab)use.
As part of my course at UCL I recently completed a short observational film called ‘Life on Two Spectrums’. It is a short documentary project looking at the experiences of members of the LGBTQ+ community with Autism and Asperger’s syndrome. The film follows Dan ‘Tia Anna’ Kahn, a drag queen with Asperger’s Syndrome who founded A.S.P.E.C.S (Autistic and Aspergers Persons of Every Category of (Queer) Sexuality) a support and networking group to help address the needs of the neurodiverse members of the LGBTQ+ community.
Watch below or at https://vimeo.com/199202763
Life on Two Spectrums: Autism and the LGBTQ+ community. from Elizabeth-Valentina on Vimeo.
Over the last few weeks, I have been working as the production assistant on ‘TRIGGA’, which is a Creative England and BFI Network supported short film that follows a young girl who confronts the bullies with the help of her horse.
Continue reading TRIGGA Short Film
If you’ve got an impact project, distribution can be even more complex but it can also mean there are more opportunities available to you.
With impact projects your primary goal should be to 1) get your film seen by as many people as possible and 2) to get it seen by the right people in order to achieve the outcome you wanted when making the film.
BRITDOC’s Impact Guide: has some great information on how to successfully merge distribution and impact in a way that in mutually beneficial, cost effective and efficient. Impact Distribution is about compromise and ensuring that both the impact and commercial return are optimised. The two can even feed into each other, creating the widest possible distribution using marketing and press buzz helps to build strong relationships with movements, charities, the press and influencers and these relationships then help with marketing and outreach. Continue reading Impact Distribution: A 12 Step Guide
Vlogging is a deeply personal, informal way of connecting with large audiences. At Sheffield Doc Fest 2016’s ‘Vlogs Vs. Docs’ panel, Jolyon Rubinstein from ‘The Revolution will be Televised’ said Youtubers connect with their audiences ‘in a way that alludes commissioners’.
The under 25 audiences connects with this content because they see the people who produce them to be ‘just like them’. Their honesty is the source of their power and watching their videos becomes a part of their subscribers everyday lives.
Watching television is a laid back form of consumption whereas vloggers are able to actively engage with their community and take audience feedback on board much quicker, making vlogging much more of a two way connection. This two way connection is likely to be one of the reasons the under 25s engage with vloggers so much.
Another way in which television and vlogs are different is the level of regulation. Only recently, (as of August 2015), did the ASA implement regulations in the UK regarding product placement and branded content for Vlogs. These regulations do not stipulate that vloggers can’t enter into a commercial relationship with a brand in the UK. They do however state that if a Youtuber is including paid product placement in a video they must disclaim it. Amazingly though this is still not the case in the States, I worry about the effect these ‘advertorials’ and product placements are having on the very young youtube audience who engage with and idolise these vloggers as they might not realise the youtubers are being paid to say they love the products they are endorsing.
Companies have to deal with tough restrictions when it comes to most advertising platforms so it is no surprise we’re seeing a rise in the number of companies reaching out to popular Youtubers and taking advantage of the unregulated online space.
However, a vast majority of vloggers are very young. Fully understanding and complying with the rules and regulations is a big responsibility and it can have considerable repercussions. Vlogger, Jonathan Joly advised bloggers to bear in mind that ‘The internet doesn’t forget.’ and that you have to be careful about which companies you align yourself with.