D.P Exercise 1: Week 1 Documentary proposal



Logline (2-3 Sentences) – Provide a brief, catchy summary of your story.

A short documentary that tells the story of some of the many homeless that live on the streets on London. The idea of making this short film was to create a documentary where people can hear their stories without filtering anything.

Story Summary / Synopsis (Approximately 1-2 paragraphs)

The idea for this documentary was to go out and interview the many homeless people in London’s city centre. This of course is not a true representation of the scale of homelessness around the whole of London, however as someone who worked in the centre for many years I’ve always wanted to know what their stories were.

Topic Summary (Approximately 1-2 paragraphs)

The topic is important because the numbers of homeless people are on the rise. It is relevant because……..

How many people sleep rough each night?

According to the latest figures, collected in the autumn of 2016 and published in January 2017, 4,134 people are estimated to be sleeping rough on any one night.

Is rough sleeping on the rise?

There was an increase of 16% from 2015 to 2016, while since 2010 rough sleeping estimates show an increase of 134%.

Which areas saw the biggest increases?

The East of England has seen the biggest percentage increase in rough sleeping since last year (44%). This is followed by the North West (42%), the East Midlands (23%) and the North East (18%), all of which have seen increases in rough sleeping above the national average.

Artistic Approach (Approximately 1/2 paragraphs)

Selected participants will be asked a series of questions. Asked by the camera man, to include or not person with an establishing shot to start. Try and start the scene with them waking up in the morning getting ready to start their day, then following them until the evening to where they will rest for the night.

Key Creative Personnel (Approximately 1 paragraph/bio)

Female 1: 18 to 25, relationship status? Drug and alcohol dependences? Length of being homeless? What steps are they taking to get off the streets? What help are they receiving? Charity’s etc.?

Male 1: 18 to 25, relationship status? Drug and alcohol dependences? Length of being homeless? What steps are they taking to get off the streets? What help are they receiving? Charity’s etc.?

Intended Audience

The intended audience is from 18 years old through to 55 years old.  Covering the full age range of the interviewees.


Week 3: How the “Open Voice” operates through narrative and style



Whenever, the interviewee is given an opportunity to contest the filmmaker a difference may in the eventuality arise as was demonstrated by Carl Patringa which is known as the open voice.  It also opposes the concept through which there is the dissemination of the know how to the spectators through the formal means, it will show a situation where there is exploration, provocation and also will show the event.

In the documentary Atomic Café is a true picture of an open voice and is objective to handle the situation that is happening at the given time it is produced at a time when America is at war with other nations and most citizens have become nostalgic. Its shows how Reagan moves to an offensive position and takes up the big role of coming up with greater military equipment and container.

The role of the open voice is to explore and in Atomic Café it opens up a window that will be able to show how the government then used propaganda and misinformation at the period where there was the introduction of atomic bomb (Patricia &Aufderheide, 2007).

The film is produced with no narration as many open voice production will ensure they show more images and are able to explore more and will usually leave the viewer to make his own conclusion. Through the narrations, however, the show may end up making some conclusions for the viewer (Ebert & Rodger, 1982).

There are also raw coverage moment where the camera are rolled and are able to capture even the president Truman on his response to atomic bomb it goes a long way to enhance on its objectivity and ensuring that the information that is provided is true. Open voice will remain to be one of the best ways to produce documentary and reality show as it remains objective.


Works cited

Aufderheide, Patricia (2007). “Documentary Film: A Very Short Introduction”. Oxford University Press; 7th edition.

Ebert, Roger (1982). Chicago Sun-Times, film review. Last accessed: February 20, 2011

Week 1: The True Story of NARCOS: Pablo Escobar


The True Story of NARCOS: Pablo Escobar

As the documentary concerning the fiercest and richest drug lord in Columbia Pablo Escobar, it is evident that documentaries are fictions that aim at appearing like non-fiction. The Pablo Escobar documentary is a social representation that gives a reality aspect that is expected. The filmmaker exhibits the character in a particular angle that fits the selection set of the audience. Pablo Escobar documentary sheds light on what was supposed to be the reality of his life and activities and what became of him. The audience is provided with the opportunity to assess the claims and assertions depicted by the documentary and determine if the belief is worthy.

The introduction of the documentary ensures the audience is engaged. Pablo Escobar is illustrated as not only a rich, ruthless drug dealer but also somebody who had some part of humanity attached to him especially to the disadvantaged and his family (True Story of NARCOS – Best Pablo Escobar Documentary, 2017). The documentary illuminates the robin hood, and villain character in Escobar and the audience have the authority to hold Escobar accountable depending on their understanding. The documentary provides the likeness that evokes belief in reality because it describes what was prior the camera based on facts.

Finally, Pablo Escobar documentary is presented to the audience for their interpretation. It represents the perception of an individual, society, and organizations with the intention of persuading the public to accept their definition as appropriate. The representation degree might vary, but the core aspect is the initial idea of the representation matters. Documentaries aim at answering specific questions during their representations.


Week 10: Talk to her(2002) film analyses


Talk To Her Film Analyses

Talk To Her is a 2002 film directed by Pedro Almodóvar that can be considered a cinema of attraction. The film is a melodrama with several themes, all of which range in tone, ranging from a soap opera to a tragedy. The plot revolves around two men, one a travel writer and the other a male nurse. It is a form of a cinema of attraction because it constructs an intense emotional relationship with the audience (Gunning, 284). The two men in the film are free to express their emotions even when that reveals their vulnerability. They are both seen shedding tears of empathy and dedicating their lives caring for women who are helpless. One of the most significant themes is that men also possess sentimental attributes that are considered to be feminine.

What is common between the two men is that they have been emotionally compelled to wait by the bedside of women who are suffering complications that are so severe that they are not expected to recover again.  The suffering women are in a condition in which they cannot realize the devotion of the men taking care of them, but the men have devoted their lives to their service (Vardac, 1998). The director evokes complex emotions but in a rather unconventional way. Usually, it is women who are associated with the kind of emotions that lead them to feel deeply and take care of people who are helpless (Mulvey, 2010). In this case, however, it is men who do this, and they do it with optimal commitment and dedication. Benigno, one of the male characters, has been a caregiver almost all his life since he took care of his dying mother for years. When he begins taking care of Alicia after her accident, it gets to a point where he is at her bedside for 24 hours a day.



Gunning, T. n.d. The Cinema of Attraction[s]: Early Film, Its Spectator and the Avant-Garde. 381-387.

Mulvey, L. 2010 “Visual Pleasure and Narrative Cinema,” 6-8. Oxford Press.

Vardac, N. 1998. From Stage to Screen: Theatrical Methods from Garrick to Griffith New York: Benjamin Blom, 232.

Week 9: Interstellar, Cinema and Embodiment Effect


In most sci-fi films, visual perception involves the processes of proprioception as well as exteroception. This is the case with the popular 2014 Interstellar film by Christopher Nolan. The grandiose film is based on various serious scientific and philosophical concepts. It also revolves around themes such as love, meaning, human mistakes, among others. The plot of the film centers around a group of astronauts who travel to a far end of the galaxy in an attempt to replace the earth which has already been spoilt (web). Unexplained blights ravage the planet such that the earth is almost becoming inhabitable. Edenic imagery is used to portray the nature’s wrath on irresponsible human activities. While it is not stated, one can use the embodiment effects to conclude that the blight and famine in the earth have been caused by the geo-engineering the atmosphere and genetically modifying crops.

The cinema and embodiment effects applied in the film leave room for viewers to speculate the causalities of some of the unpleasant outcomes. Anne Rutherford argues that perception is neither a biological nor a cognitive process since the distinction can be non-sensical (Rutherford, Anne. 2003, pg. 5). Interstellar attempts to create a doctrine of natural perception. This is because most of its philosophy is constrained by the mechanical application of its own doctrine and is also designed to create a distinction between the viewing of the cinema and the applied natural perception (web). However, the message contained in Interstellar has deep collective consciousness and presents a lot to ponder about. There is a spiritual inclination of the film as much as there is also a philosophical and scientific twist to it. The production of the movie was effective in the use of cinema and embodiment effects to bring all these themes into perspective.


Dyer, Jay. 2014. Interstellar (2014) – The Secret Revelation.Jays Analysis. https://jaysanalysis.com/2014/11/12/interstellar-2014-the-secret-revelation/

Rutherford, Anne. 2003. Cinema and Embodied Affect : Senses of Cinema. http://sensesofcinema.com/2003/feature-articles/embodied_affect/

Zoller, Matt. 2014. Interstellar. Roger Ebert. http://www.rogerebert.com/reviews/interstellar-2014

Week 7: Analyse the film Departures in relation to representing Japanese Culture and death


Films are expected to reflect the reality. Nevertheless, given the fact that they are created by people, it is possible that this representation of reality will be flawed, often excluding some elements and emphasising others. As a result, the problem is representation should be carefully examined since systematic exclusion often results in negative consequences. This blog will example Departures (2008), analysing how this film represents the Japanese culture and death.

To begin with, it is worth pointing out that the film in question focuses on the social group that has been traditionally underprivileged – the morticians. Parmaggiore suggests that it is essential to make sure that a certain minority within the population is represented on the screen from time to time to let the rest of the people see the society from their perspective, thus facilitating the much-needed dialogue.

In addition to that, the film also explores various stereotypes that are associated with death and people how to work with it. According to Dyer, stereotypes are rigid concepts that people use in the absence of real experience. So, the film shows how the protagonist is stigmatised by the relatives and friends in the beginning. However, he is later respected.

Departures (2008) uncovers various issues that exist in the Japanese society, but are not known to the foreigners. In addition to that, it provides a philosophical commentary on the value of death, suggesting that it allows people to rediscover their humanity by carefully handling the corpse and reflecting on the brevity of life.

Week 6:Character and Emotional Response in the Cinema’ and use his model of “recognition-alignment-allegiance” to analyse a film of your choice


Analysis of Wandering In the Fog

Many studies use cognitive approach to create sympathy and to make the audience engaged in films. For discussing how cognitive approach and engagement in real and fictional players, the paper analyses the  in 2010. The analysis will be based on the model of recognition-alignment-allegiance by Murray Smith in his article “Altered States: character and emotional response in the cinema” (Smith, 1994).

According to Murray, people identify with character whether real or fictional based of sympathy structure. The sympathy structure involves all the sense of identification that makes one to quickly identify with and respond to a fictional player. Murray believed that sympathy structure includes three aspects, recognition, alignment, and allegiance.

The title of the film wandering in the Fog give an early clue to the environment of the film, and the narrative qualities are. For example, the movie start with a man’s voice later revealed as “Amin” (Smith, 1994). Contrary to spectator’s recognition of the lead character as an unreliable person, the name “Amin” means honest and reliable. The composer here uses an irony as an element to make the audience to identify the protagonist in the role that he plays and creates an imaginary individual in the mind of the public as a fabricated person and one who has forgotten his life history.

The audience is further aligned with the protagonist’s viewpoint and through his experience of learning new things to fill his erased memory. For example, the life experience of Amin where he searches for his life story using mixed combination of colours remind him of his early childhood life and his neighbour (Smith, 1994). Amin, through imaginations, makes up an image of “Roya a lady he had known when growing up. As such the audience are made to recognize Roya as Amin’s wife (Smith, 1994). As the story progresses, the audience is allied to the main character who narrates who his life has been up due to his unstable mind.



Smith, M. (1994). Altered States: Character and Emotional Response in the Cinema. Cinema Journal, 33(4), 34. http://dx.doi.org/10.2307/1225898