The following is for group use.
I just wrote this up for everyone so we can be clear about the kind of questions we are asking each contributor so we don't just have 4 interviews with exactly the same content.

Shot List and Structure

I would like to get some medium static shots of people dressed in typical mod clothing, using a 24mm lens against an interesting background to get a nice sharp focus, possibly at least 5 shots so we can make a small montage long enough to fill a short interview question about clothing. During the interview I will ask what the specific types of clothing are, it then provides a basis for us to get these shots.

For the documentary structure I want to emphasise the fact that it is shot in Sheffield, including the directions to some of the locations in the interview will help do this. We should aim to get a minimum of three interviews but preferably five. With the interviews I will intercut each one, so it does not just focus on the life of one person. I want the piece to have a clear beginning and end, so for the first 20 seconds of the documentary, I would like to show images of Sheffield that relate to mod culture, possibly using tracking shots for the establishing shots.  I want to create the illusion of day turning into night, so the beginning of the film can feature the café and the motorbike shop talking about some of the history of Sheffield such as the music, with interviews ending in what they like to do in an evening, leading onto the radio DJ and the various nights that are held around Sheffield.

During the interviews I will introduce the characters using onscreen text along with them saying their name and place of work, so the audience knows who does what and where in Sheffield.

Sample interview questions for Oke’h café.

1.       Could you state your name and where you work.

2.       What is the purpose of this café / could you talk a little about the café

3.       Who comes in here mostly and what do you like to provide?

4.        When did you get into the mod culture. (please repeat the question back to me while you answer)

5.        What did you find aspirational about the culture, what enticed you to become a mod / where did the mod culture start?

6.        Mod fashion and music is so iconic, could you describe some of the most iconic things for us?

7.        What was the mod culture around Sheffield like in its hay day?

8.        How does that differ to now?

9.       Why have you stayed true to the culture for so long, what keeps you in it?

1.     What places do you most like to go in Sheffield, are there any nights that you could specify?

11.    Extra questions for Dee’s husband if possible, could you go into the specifics of male mod fashion.

12.   Dee extra question could you go into detail about female mod fashion?

Things to keep in mind, don’t go into music too much as this will come in later interviews, talk about scooters as this will provide a basis for second interview.

Scooter shop.

1.       Could you state your name and where you work for me (how long have you worked here)?

2.       In your place of work who generally comes in?

3.       Would you say that you cater to specifically mod’s?

4.       What is the staple of a mod motorbike? Any iconic things that would be on it?

This session is mostly for image, but any useful information can be used to echo any other interviews. I did notice when I went in to chat to the owner that a mod was working but he was busy so I was unable to speak to him, but he might be there so it might be interesting to chat to him.

Radio DJ

1.      Could you please state your name and where you work?

2.       How long have you been a radio DJ?

3.       What type of music do you specialise in and why?

4.       How do you find the reception for your music in Sheffield?

5.       What are the staple bands that define the Mod era?

6.       What kind of nights do you most enjoy about Sheffield?

7.       Could you in a few sentences describe what it is to be mod?

8.       How do you think Sheffield fares against other city’s in keeping mod culture alive?

9.      Do you think the Mod culture has a future?

Any other questions that come up while we ask is helpful; just remember big pauses between questions.

Green Room DJ

1.       Could you please state your name and occupation?

2.       What kind of music do you play when you play at bars, and why?
3.   Do you feel that Mod culture appeals to younger people or is it 'of its time'
4.   What is your favourite aspect of the culture?
5.   Could you please give us a breif history of where it all started?
5.   

I would like to interview random people at some of the events briefly also and just ask the question "what is a mod?" and to give a breif answer, depending on the variation of the answers we receive this would make for a nice ending to the piece. Its only an idea so far but i think it would round our piece off nicely so its not so interview based.

Post Poetic Documentary.

After showing our poetic documentary i was pleased with the results, we got a good reception and good feedback, people thought our shots were interesting and well composed, one of the only negative comments was about the pull focus which we were already aware of. We went away happy but wondering what else we could add into our documentary, we have arranged interviews with a local radio DJ that specialises in mod music, we have also secured an interview with a local mod that runs a night at the 'Green room' in Sheffield, the manager of 'Green room' has courteously allowed us to film inside the venue, and have said that if we should need a quieter space for the interview we can use the kitchen. As the director its up to me to decide how we should structure these interviews into the film, i had the idea to do a transition from day to night early on, our subject calls for an abundance of image as mod culture spans so many areas such as fashion and music, we only have 10 minutes for the entire documentary which could prove to be a problem, this problem can only really be tackled through the concise planning of interview questions, i will try to avoid getting the same answer twice. The only downfall is because of our limited knowledge so far of the overall mod genre it is difficult to predict an answer  

Poetic Sequence.

For our poetic sequence we filmed in 'Okeh Cafe', we arranged to meet at nine o'clock in the morning, we met Dee and explained that this was a preliminary shoot and that we would be back for the full documentary soon, thankfully this was okay with her and she even agreed to ask her husband to be in the documentary which was useful for us. For my inspiration we watched the documentary 'Prime'by Ben Wu and David Usui.

http://vimeo.com/35965635

The pictures below are stills from the documentary, i think this shows the style we are trying to achieve, i would like to emphasise strong camera work and use of colour, achieving clean crisp focus on images will give our piece a more professional look. I like the use of interesting compositions in this film, it has inspired me to think more creatively in my cinematography. 

During the filming i feel we achieved some really well composed shots, we had a few hiccups in the beginning as we couldn't get the aperture to match up with the ISO, so five of our first shots were unusable which we didn't realise until we got the footage into the edit, it was slightly dissapointing but we have learnt for next time. We began by trying to thing of interesting ways to open the poetic sequence, as we didn't want to just get a typical frontal shot of the cafe, we wanted the space to feel enclosed and warm. In many ways our first year production sense's of space may have influenced this theme, as the cafe seems to really have a life of its own and we wanted to portray this aspect of the Mod lifestyle in sheffield in our poetic. It helped us practice ways in which to create a sense of space using image and sound, and this will be helpful for some of our other locations as they won't be as easy for us to create this.

One of our major downfalls was the inability to use the tripod on location, we would have been able to use one of the smaller tripods with less difficulty but unfortunately the tripod we booked out was too large for us to use inside the cafe. Again this is one of the things we are aware of now, we did have a shoulder rig which did help but we found it quite difficult to keep the camera steady on high angle shots. 

We captured some really interesting shots, some of my favorite's i have screen grabbed below.

I think from this you can see how we have taken inspiration from 'Prime' but the dark and earthy tones that come across in the documentary didn't suit the vibrancy of our subject for our documentary so we accentuated colour, while still playing around with angles and composition. 

The Pitch

Our pitch went well and both of our ideas were well received. But the majority of the class preferred the Mod documentary idea, myself included. We have made contact with the cafe and have spoken to Dee, one of the owners of the cafe who is more than happy for us to film there. We are making plans for our poetic sequence, we have the idea to centre our sequence around the cafe's day to day life. Showing it as a bustling hub of social importance to 21st centrury Mods. The Cafe is family run and is extremely local with many regulars, there is great potential for characters and exploring other areas of this lifestyle through them. We are hoping to get in and film with them later on this week.

Academic Texts.

Film Art an introduction - David Bordwell, Kristen Thompson 10th edition

p352.

This chapter outlines the difference between documentary and fiction, it says that the fact a film is fictional, does not mean that it is not tied to reality, for example the 'Godfather' takes place within historical events and the Locations are real, the story is not abstract, it remains true enough to represent the real world, while holding a fictional narrative within. It states that fictional films may also comment on the state of the real world with messages in the narrative. Michael Haneke's 'Hidden' is a good example of this, as he uses film as a medium to try and construct a non biased piece about some of the problems surrounding race. His use of world issues, in a fictional style leads the audience to wonder why he didn't make a documentary. Many documentary films blur the lines,  'The thin blue line', is noted for its use of reconstruction, the film is fully constructed using  actors and sets throughout.

Plan B

During the time between our last tutorial we had a group meeting to discuss our pitch, we decided to have a look at our other options again, we looked at one of our previously discussed idea's which was Charlotte's idea to do a documentary about MOD culture in sheffield, she knew a cafe on london road that was MOD themed. 

Okeh's Cafe Photgraphs.

We did a little bit of research into Mod culture and found out more about what it actually is as we had no idea.

Mod (or, to use its full name, Modernism or sometimes Modism) was a lifestyle based around fashion and music that developed in London, England in the late 1950s and reached its peak in the early to mid 1960s. People who followed this lifestyle were known as Mods, and were mainly to be found in Southern England.

Mods were obsessed with clothes and music, including Black American R&B and Soul, Jamaican Ska, and Bluebeat and a select few British groups such as the Small Faces, the Kinks, The Spencer Davis Group and The Who.

Mods would gather at all-night clubs to show off their clothes and dance. They would typically choose scooters as their mode of transportation, either the Lambretta or the Vespa. These were sometimes adorned with many lights and mirrors and were intended to gain attention.

Mods are sometimes seen as an outgrowth of the Teddy Boy movement, and the most obvious similarity might be their love of suits. However, their emphasis was more on England than the Teddy Boys, and perhaps this is part of the reason why they did not appear on a big scale in other parts of the world.

This is a good definition that i found on the internet, that encompasses the many aspects of this British trend. 

We became more interested in this as a subject for our documentary, as there would be a wide range of things to cover from the fashion to the music, and obviously the transport, using the cafe as our base for the documentary and showing it as the hub of mod life in sheffield. Our pitch will be going up against our previous pitch for the Castle market and it will be useful to gauge some feedback from other classmates. 

I am now leaning much further towards this idea and i feel that we can do something fresh that hasn't been done by previous students, as we found out our first idea had been done before.

Documentary

During the seminar we established roles for the documentary, i am the director for the project, i feel that this will be a challenging role for me as i usually like to be the editor, but it fits well with my other module as i am doing creative project realisation, so i will be using my creative directing skills in both modules, which i feel will strengthen my confidence and assertiveness this semester. I am looking forward to. In our first meeting with the module leader we found that another group in a previous year had done a similar documentary on castle market. We discussed whether we still wanted to do the documentary and we decided that because of the timing of the market shutting down and the opening of the new market being within our time frame we would like to give the project a go regardless.  

Documentary planning

For our documentary project we are making a 5- 10 minute poetic documentary, as a group in our first meeting we talked about different themes that we wanted to explore, we first cancelled out themes that didn't appeal to us, we wanted to steer clear of mental health as we thought it would be too difficult ethically and because of our age we didn't think we would be able to get the interviews necessary to do the subject any justice. We originally wanted to steer clear of any subject that was quintessentially Sheffield, but the Sheffield market that has been standing for over 100 years is closing down, and reopening on the moor, and the dates in which the change over happens are within the time frame for the documentary, so we can capture the decline of the original market as for many years now it has been considered a bit of an eyesore in Sheffield. The opening of the new one. I think what attracted us to this idea most is that there is a vast amount of resources available to us about the market, it gives us a lot of scope to have our own creative stamp on the piece and we will hopefully have a wide range of filmic texts at our disposal, such as archive footage, newspaper articles, interviews with the various stall owners and customers to the markets. there is also a wide range of sounds available to use for the piece. And because of the timing between old and new market we will be able to create a rhythm and flow that resonates with the context.

Documentary reading and films

Poetic Documentary 

For my semester one documentary module, i will be making a 5 to 10 minute poetic documentary, in our classes we have been looking at various styles and techniques that would make a documentary poetic.

 Firsly we looked at different movements of poetic documentary over the years, the British movement was headed by John Grearson, he believed in creative interpretation of actual reality, and was marxist in his belief of "community over the individual" He enlisted many other film makers into the GPO film unit, including Basil Wright, Harry Watt and their 1936 film Night Mail.

Night Mail was an educational documentary, it was extremely stylistic and would not be considered a conventional documentary by today's standards. But for its time it was an educational film about the UK's postal service, it used actors and followed a scripted narrative, that was supposed to represent a typical night for the workers. 

A poem was written for the film by W.H. Auden and was used towards the end of the film, the film is poetic because the use of images and editing matches the speed and rhythm of the poem, the score was written for the film and the creator Benjamin Britton, emulated the natural speed of a train with the slow crescendo then the repetitive rhythm of the train on the track. The sound and the image work to evoke the movement of the train and because of this its a very interesting example of early documentary.

A second movement we looked at was direct cinema/ observational cinema, this was a cinema that was highly codified, interested in trying to stay true to the documentary genre, it was opposed to interviews and was focused on trying to get the subject to forget the camera crew to gain a more realistic performance from the subject.  

A notable director of this movement was D.A. Pennebaker, he filmed 'Dont look back' in 1967

The film followed Bob Dylan on his tour, the non invasive style of documentary film making allows the audience to see Bob Dylan at the height of his fame as himself, i think because of the nature of the documentary style it calls into question whether Bob Dylan is playing up to the camera or not, as there is no interviews, apart from the press interviews that he has to seemingly endure. My own personal opinion is that this film does in fact represent the star quite fairly, as at the time as i mentioned he was at the height of his fame and probably ego, and i think this documentary interestingly shows rather than the true nature of the star, his reaction to fame. In some of his interviews he seems to waffle on a bit with no real point, making himself sound a bit arrogant and young. The most obvious poetic aspect of the documentary comes at the beginning, it is described as the first music video, and it shows Dylan holding placards featuring lyrics from his song subterranean homesick blues. Using image and sound that are aware of each other has become symbolic of poetic documentary. The use of lightweight cameras enabled the direct cinema auteurs to interact with the audience to produce a more fly on the wall and in the moment feel, something extremely new and progressive for its time.

Contemporary Cinema

Wisconsin death trip is a contemporary documentary that is based on a book of photographs from 19th century Wisconsin. The director James Marsh collected notes from the nearby mental asylum and formed some main characters from the photographs and notes. He uses a range of techniques including black and white, re-enactment and still photographs. The narration consists of the mental asylum notes and exerts from a local paper from the time. The film for me was interesting and possessed a dark comedy which worked really well with the content, but i felt it lacked a rhythm and speed and it seemed to drag on a little bit. I liked the use of re-enactment especially for Mary the 'window smasher'. I felt that the use of colour within the film against the black and white seemed to ruin the 19th century setting, as it was quite confusing as you associate black and white with the past and when the modern colour shots appeared you almost felt like he was talking about a different era entirely. On the whole i think techniques i would like to use in my own poetic documentary include the use of still photographs. The cinematography in the film was nice, the scene where Mary the 'window smasher' is flipping her hair in the doorway seemed to show her isolation as the narration highlights that she doesn't know why she smashes windows but a mania seizes her. 

'Waltz with Bashir' is an animated documentary made in 2008 by Ari Folman, and it depicts his experiences in the Lebanon war. The Narrator tries to reconstruct some of his missing memories surrounding the massacre in Lebanon. The film is completely animated apart from the last two shots in the film, which show real footage of when the soldiers find the bodies in one of the camps in Lebanon. I thought the use of animation was extremely effective in this film as it allowed Folman to reconstruct a flashback that he is experiencing (the image on the poster above) that he would have had great difficulty directing in real footage. The use of animation allows him full creative control over the images and as he is the subject of the documentary it allows him to show the viewer what is in his minds eye. During the documentary it becomes apparent that during interviews and afterwards he is drawing pictures of the scenery and the subject, which i think is interesting as all of the animation is done subjectively from his point of view, which makes the documentary like a portrait documentary but with a historical backdrop. The animation and the flashback sequence that reoccurs makes the documentary poetic, and this technique works so well with the content but unfortunately i don't think using this technique is possible for our own documentary as the time frame is too small but i would be interested in bearing this in mind for any future projects.

'Project Nim' is James Marshes 2011 film centering around Nim, a chimpanzee that was the subject of a scientific study from his birth, he was raised in a family of humans and taught sign language in an effort to see if another species could communicate with us on a human level. The documentary interviews some of his various carers in chronological order, it consists of found footage of Nim of which there is a vast amount and interviews with the people who knew Nim or had significant involvement in his life, doing it in such a way that it becomes apparent that all of the carers had a very different role to play during the course of Nim's life. The documentary does not attempt to humanize Nim, it tries to document Nim's life in order and takes the audience through what he may have experienced but a natural sympathy for his emotions occurs while watching the film without the film maker having to. But intentionally or unintentionally it shows the personalities of those who cared for him, in many ways it ceases to be a film about a chimpanzee but a documentary about the radical science of the 70's and the Hippie culture that surrounded it, it raises many ethical issues such as the chimp smoking a joint in some of the photographs, and during interviews with some of the participants it becomes apparent that they are eccentric and this makes for a better story. In regards to technical film making its not very ambitious but the structure is clever as the story appears unbiased but Marsh has created a film that begs the audiences own biases of the 70's and causes them to judge the characters portrayed. I enjoyed the film but i felt it lacked the momentum and by the end of the film i felt sympathy for Nim but had lost interest in the narrative.