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G324 PLANNING

Jess Pitocchi 1705 Charlotte Ryder 1773
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Jessica Pitocchi

on 28 April 2010

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Transcript of G324 PLANNING

CHARLOTTE RYDER 1773 JESSICA PITOCCHI 1705 OCR G324 PRODUCTION PLANNING BRIEF 7;
A SEQUENCE FROM A DOCUMENTARY WITH TWO ANCILLARY PRODUCTS
AQUINAS COLLEGE 33435 DOCUMENTARY LENGTH: 5 MIN 22 SEC ANCILLARY PRODUCT 1: NEWSPAPER ADVERT THE BURIED TRUTH BEHIND BRITAIN'S TEENAGE DRIVERS ANCILLARY PRODUCT 2: RADIO ADVERT FOR KEY 103 RADIO STATION / GALAXY 34 SECONDS
SEE END OF DOCUMENTARY DISK [4 SECONDS AFTER DOCUMENTARY ENDS] PRELIMINARY PLANNING 'REACHING TOP GEAR'
TEENAGE DRIVERS; GOOD OR BAD? Being a highly talked about issue, it would be likely to appeal to wide diversities of consumers talking about and highlighting the issues there are with ‘reckless’ teenage drivers on the road and the unfortunate and sometimes devastating effects that occur from their behaviour. But by trying to create a controversial argument and present the majority teenage drivers as actually very sensible was likely to gain interest and appeal to the teenagers themselves as consumers of the programme.
WHY? As we discovered, it was actually very hard to represent the majority (or any) teenagers in a good light as very few statistics or information could be collated on the ‘positives’ of teen drivers; the only defence for them was their views on themselves and their friends as drivers. We felt this would make the documentary lack realism and would not conform to conventions of documentaries with no authoritative or influential interviews being conducted. With only interviews with the teenagers and parents themselves (a likely bias source), we felt this topic was a little too difficult to prove under out circumstances but would perhaps have been able to produce a valid debate with the use of case studies on teenage drivers or ‘undercover filming’ taken over a period of time. This opinion was also gathered when we presented our pitch to the class – they found the message unclear and hard to portray. HOWEVER We decided to make our topic for debate less diverse and simpler but in turn stronger by portraying the existing stereotype of teenage drivers as reckless and the dangers they put themselves and others in, but also investigating where the influence to drive like this comes from. This means we can use existing statistics and reports constantly in the news, draw on existing media debates and conduct interviews with members of authority relevant to the topic, eg. Driving instructors, MOT inspector, Police officers etc to show them as ‘negative’ in society. In a parallel narrative, we investigate into the influences and reasons behind why they maybe drive like this, using celebrities and the media as key topics for debate in addition with the inclination that the driving test might not in fact ‘work’. THEREFORE... The topic of our documentary has therefore changes from a balanced argument to a strongly-sided debate as to what lies behind the reckless ways of teens on the road, taking on a CHARITY-APPEAL format in attempting to try and explain and as a result prevent an existing issue from occurring.
This allows us to find similar media models to use as case studies for the purpose of our planning and production.
This style of documentary complies with Bill Nichols’ conventions of documentaries in

The EXPOSITORY MODE

in which a ‘direct approach’ is taken to a topic of debate and social issues (teenagers driving) assembled into an argumentative frame (=bad) mediated by a Voice of God narration (all evidence collated and put into the documentary must mean the assumption is correct)
and also the

THE PARTICIPATORY MODE

in which the encounter between film maker and subject is recorded as the film maker actively engages with the situation they are documenting asking questions of their subjects in turn for a sharing of experience and personal opinion (relying on the honestly of the subjects),


therefore I feel creates an interesting look into teenage drivers and an insight into the ‘why’ questions that have never really been answered.
‘GONE IN LESS THAN 60 SECONDS

The buried truth beneath Britain's teenage drivers’ This title acts as a pun on the existing film ‘Gone In 60 Seconds’, a renowned film also to do with cars and danger. Therefore the connotations of this film and the brand identity it has created are reflected onto our documentary and the audience automatically create expectations. The insertion of ‘less than’ distinguishes it as separate from the film and also creates a narrative of time, speed, impact and a finite ending.

The metaphor used in ‘the buried truth’ is conventional of captions or subheadings as the audience again make the clever associations whilst also representing the sombre tone; buried connoting images of death and graves. The alliteration creates a memorable rhythm within the audiences’ minds and the clear explanation of the topic and message of the documentary removes enigma therefore the audience know and remember the programme’s title and what it is they will be consuming.
GENRE - The idea of a ‘road’ genre, with various shots from around or on the road all of which involving cars and their drivers’ negative representations

AUDIENCE - The audience would range into several diversities; those who are new drivers (17-19), those eager to drive (16/17), the parents of both diversities (large age range starting from average 25-40s) and then even the grandparents (60+). These are the primary sectors who would most directly be hit by this programme but being such a highly debated issue within many communities, the audience consumption is likely to be very wide.

CHANNEL - Channel 4 we feel is the best to broadcast our documentary on as part of one of their Dispatches seasons. They typically highlight issues withholding many media debates therefore this channel suits our documentary perfectly.

TIME - A time of around 8pm so as to be just before the watershed which would eliminate the potential for viewers missing out, and also being a fairly reasonable mid-evening shot in which most viewers would be home from school/college/work etc. Furthermore, the benefit of broadcasting on 4 is the flexibility of 4+1 allowing double air time for our programme and meaning the audience can catch up on what they may have missed.
PLANNING FORMAT
This is done to create a well structured and understandable layout and composition to work from in order to film, edit and create a successful documentary.
STORYBOARDING – arrange still shots to represent what is going on in each scene, show variety of camera shots/angles/locations etc to establish the mise en scenes, begin to collate ideas and create an order in which to edit footage and structure doc.

SCRIPT QUESTIONS – Qs being asked in interviews on and off the camera plus any voiceovers or presenter led script.

PLAN THE PRODUCTION – Stars, consent, props, settings, lighting CONTINUITY, background noise etc

RESEARCH – Classroom, ‘Far Beyond Tattoos’ and other similar media, decide upon the channel and time suitable for documentary, research different formats of media for the production of ancillary products
PARTNERS

JESS
CHARLOTTE
We plan to keep all work/input balanced into all stages of planning and production - through college time, free periods and out of college hours - in order to create a successful coursework piece we are both happy with.
Idea for introductory title sequence
Images of newspaper articles accessed from media formats newspapers and the internet will be collected
Now ‘Gone in Less Than 60 Seconds’ – discussion and further planning
No still images able to gather, note form explanation
By collecting a variety of images of the types of subjects/objects/locations etc that we knew we wanted to put into our documentary, this allowed us to print off lots of pictures and collate existing and new ideas for the documentary. We didn’t stick the pictures down until a definite structure had been agreed on which would then be used as the foundation to the formation and construction of our documentary product.
A wide variety of SHOT TYPES will be used in our documentary, ranging from extreme long shots to establish settings and mise en scene to extreme close ups to add creativity to our media product and emphasise a particular body part, movement or character..
We will follow standard interviewing shot conventions; camera on tripod to left or right of subject, ensuring no eye contact is made between them and the camera
FURTHERMORE we will ensure sound is kept consistent to make we create a sophisticated professional media product
THE TOPIC OF STEREOTYPE
Evidence from images of teen cars and fly-on-the-wall filming on busy popular student roads and also anonymous mobile phone video footage of proof of reckless driving by teenagers
THE TOPIC OF INSURANCE
'Interviews' conducted with insurance companies through internet searches attempt to get a quote for insurance for the average 17 year old and show the shocking, but perhaps unsurprising, figures for first time drivers; in particular boys. (There is existing media to help with this narrative)
THE TOPIC OF THEORY TESTS
Spontaneous questioning, also know as VOX POP of teens on the meaning of symbols of the Highway Code intend to show the reality of the remembering of signs rather than the learning and awareness remaining with them as soon as their Theory is out the way; bringing forth the idea that the ‘driving test is not working’ THE TOPICS OF MEDIA INFLUENCE AND MODIFICATION
A huge part behind the stereotyped is believed to be the influence of the media; glamorising and teasing audiences with the desire to drive the quickest cars is constantly played upon and therefore implanted our young generations’ minds. British favourites such as Top Gear and American blockbusters like Fast and Furious portray the fastest cars as aspirational rides entailing adrenaline-racing adventures, unrealistic speeds and stunts and extreme car modifications (as well as a lot of attention). As a result the audience is left with a positive attitude towards the speed and modification of cars and are features become desired by teens.


In addition, an interview with a teenage driver tells us why they feel the need to do this to their cars but also the consequences of what can happen to their car after drastic modification

THE TOPIC OF DANGEROUS ROADS
Many drivers, not just teenagers, are all appealed to the twisting and turning routes belonging to the road The Cat and Fiddle, giving drivers access to beautiful scenery and chance of escape.
However, this road is known as ‘The Most Dangerous Road in the UK’ and young inexperienced teens are more at risk.
Precautions have recently been taken with the instalment of 7 speed cameras along the road, but this has only resulted in threats to tear them down and hate groups to be formed.
THE TOPIC OF CONSEQUENCES
Visits to local crash sites surrounded with memorial flowers, an interview with a Police officer and the statistics of UK teenage crashes and death rates due to dangerous driving on dangerous yet still popular driving roads intends to get across the message of the harsh reality and result of the speeds the modern young driver will go to.
Our documentary has various TOPICS which will each be dedicated time to in our production... ...and since storyboarding, further changes have been made which are now expressed in order in the following synopsis GONE IN LESS THAN 60 SECONDS TRUTH BENEATH THE STEREOTYPE

Our documentary intends to make clear the influences teenagers are permanently under but to show them the reality of those who have allowed them to persuade their attitudes to driving, the results on the physical price teenagers have to pay because of the teenage driving stigma, and intends to make them see the need for complying with the rules of the roads.
THE IMPORTANCE OF SCRIPTING

"A pre-shoot or shooting script is like carrying a map when you set out on a road trip.
You may stumble across many unseen barriers or unexpected surprises. You may
discover wonderful, uncharted areas off the beaten track. You may decide to go in one direction or the next or perhaps even a third. A map helps you on your way and prevents you from getting lost. A shooting script is a conceptual map for your shooting journey. It consolidates research and outlines the film’s story, providing a visual guideline for the shoot. It uses the same format and elements as a post-shoot script and can be as comprehensive or generic depending on the information available to the scriptwriter at that stage.”

TRISHA DIAS SCRIPTING AND WRITING STORYBOARDING PLAN THE PRODUCTION RESEARCH PROBLEMS WITH SPONTANIOUS DIALOGUE

UNSTRUCTURED – becomes unclear and non-fluent etc which appears unprofessional and makes it clear of a not well planned out documentary

Speech will be DIFFERENT EACH TAKE, with variations in word choice and intonations etc creating inconsistencies and in turn a poorly produced piece of media

SPEECH = THE NARRATIVE therefore a successful well scripted piece is essential to project a narrative (whether linear or parallel) throughout the filming



HOWEVER as explored earlier, scripts can be looked on as a form of ‘map’ to guide the producers but not necessarily always to be directly stuck to, allowing self-judgements to be made on what feels better/more suitable to the producers and in turn the audience. Cheadle Hulme teenage crash case
http://news.bbc.co.uk/1/hi/england/manchester/7562608.stm

English teenage driver death statistics http://news.bbc.co.uk/1/hi/uk/4871854.stm


Research into similar scripts Research into statistics/information on teenage drivers Transcript of similar media; allow to establish conventions of introductions, interview formats, presenter-led speech, interviewee-led speech to be used in own scripting and documentary – DESPERATELY HUNGRY HOUSEWIVES; MODE OF ADDRESS, WORD CHOICE, PAUSES ETC
VO

[3] Britain’s 17 year olds seem to have it all worked out when it comes to driving.
[1] Find the instructor
[1] Do the lessons
[1] Pass the test
[2] Not much appears to stand in the way of road trips with friends, longer mornings in bed and a chance to experience independence at a whole new level.
[2] But it becomes apparent in a worrying amount of cases that as soon as the test is out of the way, the teenagers’ morals go with them. This attitude has given Britain’s teenagers the fast, reckless, uncontrolled and irresponsible stereotype that stalks each of them today, whether fairly or not.
[2] In this unique documentary, we go beneath the stereotype, as opposed to just accept it, in an attempt to discover the real reasons why our teens drive the way they do
[1] Is the driving test working? Are teenagers really learning everything they’re being told?
[1] Slide. Skid. Speed. Why are these as well as the desire for lower, louder cars on many a teenager’s tick list?
[1] And why are Britain’s teenagers twice as likely to be involved in road accidents as any other driver, becoming off the road not long after they only just really get on

[TITLE CARD] [1:04]

GONE IN LESS THAN 60 SECONDS VO: Knowing about the road can be just as important as knowing how drive on it. Road signs are everywhere you look providing crucial information for road users.

[1] Presenter (prop – Highway Code): It is essential for drivers to know about all signs on the road, which is what the theory test is designed for. With a first time pass rate of 65% in Britain, it would seem our teens are fairly aware of the meanings of the signs on the road

[INTERVIEWS (ASKED Q BEFORE FILMING) - HOW DID YOU FIND YOUR THEORY TEST? – EXPECTED ANSWER ‘EASY’]

[1] But can they still remember all the meanings now?

[FOOTAGE OF ASKING QUESTIONS ON 3 SIGNS TO DIFFERENT STUDENTS – attempt to get quite a number of people getting it wrong]
[INTERVIEWS (ASK Q BEFORE FILMING) – DID YOU JUST REMEMBER WHAT SIGNS MEAN IN ORDER TO PASS YOUR THEORY RATHER THAN LEARN THEM]

[2] However, a pass is still a pass – meaning a worrying amount of teenagers get that bit closer to being on the roads on their own perhaps without a proper basic understanding of the ways of the roads.
[1] Because of this, ‘little’ mistakes can become a lot more serious when there’s no instructor with dual controls sat next to you. And it appears insurance companies are aware of this possibility too.
[1] Typically, the young new driver will want the something fast, cool and sporty.
[1] The trouble is the parents will want something slow safe and probably unstylish.
[1] And the insurance companies will want them to have nothing at all!

[INSURANCE INTERVIEW – “how much?!” – Presenter on phone/computer screen – dictate what they have just done (searched how much would be to insure a ‘typical’ student car (model, price etc), both male and female, report difference – VO: “As teenagers are twice as likely to be involved in a crash a statement given by the AA, this means insurance is incredibly high, sometimes two or more times worth the car itself.” ....showing the effect the stereotype can have on their bank balance”)


[1:12] Presenter: Car modification is an appealing factor to teenagers with what they see as many benefits for performance and appearance, but this means their insurance becomes even higher… [Shot of computer screen] As you can see, the price has gone up by ____ just to have your car a bit closer to the ground!


VO: And some extreme modifications can result in inconvenient damage towards the cars. Matt, 19 from Stockport, was attracted to the idea of modifying his car and has spent hundreds of pounds on having it lowered [clips/filming of matt’s car lowering]


[Interview with Matt: “So what was it that made you want to get your car lowered?” “Has it caused you any inconvenience?” – exhaust, stopped by police too low)

[Long shot of Matt’s car speeding off into distance – followed by close up shot of computer screen with similar car speeding image (TG)]

[1:00]
[2] Top Gear is a very popular TV programme amongst young people, but is of particular appeal to young drivers, aspiring to be able to drive the fastest cars and do the coolest challenges they watch on the TV.

[1]Cinema films such as Fast and Furious also tempt and tease their audience to seek the adrenaline the fast, furious explosive driving raises. [Filming of FAF with race setup]


[FILMING OF MOBILE PHONE CLIPS SIMILAR TO MOVIES] VO: [3] As you can see from this mobile phone footage, there is a scary similarity between the scenes here ||and the type of driving shown in the media||


Presenter: Whilst this is all appears just fun and games to the driver and impressive to the passengers, they are putting themselves at extreme risk from the false sense of reality they are supplied with from the media. There can be serious repercussions of this dangerous style of driving; when inexperience is combined with speed, this can become a particularly lethal combination.


VO: However, shocking truth came to light not that long ago that even the professionals can get it wrong ,demonstrating what can really happen in these circumstances . [YOUTUBE FILMING OF HAMMOND CRASH]

[1:02]
[GRAVEYARD SCENE] Presenter: Studies have shown that the death rate among young drivers have doubled over the past 5 years, driving with friends tripling the teen death rates, and making up 13% of annual fatal crashes in Britain.

[FILMING FROM CAT AND FIDDLE ROAD] VO: Some places in the UK, such as the Cat and Fiddle road, are hot spots for young drivers to practice reckless and dangerous driving styles, drifts and turns, trying to complete the 6 mile road, with its continuous series of sharp and often blind bends, in less than 5 minutes… resulting in its classification as the Most Dangerous Road in the UK.

[FILMING FROM UNDERNEATH SPEED CAMERA] Presenter: Recently precautions have been taken to try to stop the speeding that is renowned for on the road with the installation of 7 speed cameras along the road...

[Facebook hate group] VO: ...of which has resulted in the formation of hate groups with over 100 members all of which thrive and enjoy driving the road. They threaten to tear them down and claim to ‘own the road’, whilst not being afraid to hold back on their opinions of the government for their input.

[Filming by flower shrine on road] But it’s not just these particularly traitorous roads, accidents can happen everywhere all the time and the {evidence is all around us}-shots of other memorial shrines. [1] However, there appears to be a trend growing for accidents involving teenagers occurring late at night.

[Interview with police – AMOUNT OF TEEN DEATHS IN LOCAL COMMUNITIES IN THE DAY COMPARED TO AT NIGHT? INFLUENCE – SOMETHING TO DO WITH WHAT THEY SEE IN FILMS, NIGHT DRIVING?]

[1] This local house in the small village of Cheadle Hulme appears just like all the rest, but in 2008 the caravan outside was left a wreckage as two teenage males who were driving a stolen Vauxhall Astra lost control of the vehicle and died in the accident. [FILMING OUTSIDE CHEADLE HULME HOUSE – FLASH UP PICTURE OF CRASH WHEN MENTIONED ‘IN 2008...’]

After the break, we talk to the family and friends of the teenagers who explain how easy it is to be dragged into the car culture and influences that surround every day INTRO THEORY TEST &
INSURANCE DANGEROUS ROADS & CONSEQUENCES MEDIA INFLUENCE MODIFICATION SCRIPT Originally we planned to start our documentary with the title card sequence, but after further RESEARCH we saw that title cards and sequences work well about a minute into the documentary, filling the audience in on the topic and allowing them to make their expectations before an official introduction to the name.

The fast cut editing of filming of traffic lights turning from red to green is an appealing piece of media production and has strong connotations to the ROAD GENRE therefore will be used in the actual documentary filming BUT NOT IN THE TITLE SEQUENCE as there are stronger media images we could use that relate heavily to the idea of GONE IN LESS THAN 60 SECONDS ...
[DOWNLOADED IMAGE FOR EXAMPLE]







Close up of car wheel starting off stationary then tyre spinning off camera, leaving ‘Gone in less than 60 seconds’ title against road/pavement background creating mise en scene
- followed by a fade in of subheading ‘the buried truth beneath Britain’s teenage drivers’
Essential to suit genre

Help narrative along

Instrumental versions – to avoid associations being made with lyrics, unless intentional

Appeal/relate to audience – appealing if like/know soundtracks

Essential to suit ‘mood’ of documentary, must comply with mode of address of documentary

Music with low key, popular among teens, well known respected 'slow rock' band – appeal to ‘teens’, usually have soft/emotion - lyric coherance

Slower dramatised music to portray the ‘effects of teenage driving’
Soundtracks The Twang - Either Way Hoobastank - The Reason Aquinas College (represents ‘average’ college), outside and canteen


Local areas/communities in Britain affected directly by teenage driving – Cheadle Hulme


Stockport – Driving schools, A6 road


Cheadle Heath Police Station


Graveyard – arouse connotations of death and link to police interview and stats on fatalities Locations and Sets Umbrellas – preparation for bad weather conditions, protection of camera

Lighting continuity – filming scenes need be consistent, filming on a sunny day then filming on a winters day with no indication of a purpose apart from weather conditions on next day of filming would make documentary product appear sloppy and unprofessional.

Background noise – reduce as much as possible, eliminate as many elements of creating unwanted background noise as possible (sometimes will be suitable, eg Garage sound of mechanics, talking in college canteen to show realism and create mise-en-scene)
Camera and battery charged – ensuring no chance of battery running out on filming days

Mini DV Tapes – clear or correctly rewound/fast-forwarded to sufficient point to film

Tripod – substantial room to use and allow tripod to fully extend if required

Clapperboard – or equivalent cues to count down to filming

Extension leads – in case of need of filming which need be done with a camera on charge

MACs – ensure full ability to use all aspects of iMovie, iTunes, editing, print screening, text etc

Microphones – ensure participants/subjects are adequately placed in order to receive clear audio
Technicalities Props Stars and Permission Highway code

Road signs

Traffic lights

Roadside flowers

Previous crash settings
- to carry through the narrative/ topic shifts etc Presenters – 2, female – positive; allow on screen relationship and communications which appeal to audience and create collective identities for audiences (costume etc)

Videos collected off mobile phones were sent to us by friends, we did not go and film or tell the drivers to do the stunts for us – consented

Student and all other drivers on Nangreave Road (Aquinas College Road) at time of filming - aware and consenting




College students
Existing teenage drivers (male and female? Gender issues, although research has suggested typically male problem)
MOT Inspector?
Police Officer - permission granted through phone call request
Interview Subjects: Preliminary planning title sequence Improved Title Sequence through the use of downloaded and taken still imagery and notes STORYBOARDING OF THE STRUCTURE RESEARCH INTO SIMILAR MEDIA – notes on opening to Tattoo documentary
RESEARCH INTO SIMILAR MEDIA – notes on an Anorexia documentary
(Participatory Mode) similarly taking on a charity-appeal style
As a result of this research, we have picked up on various conventions used in documentaries such as a variety of shots and camera angles to introduce a character and by presenting their mise-en-scene first instead of directly cutting straight into an interview. Shots can be used to intentionally create enigma or drama with the effect being reflected onto the audiences’ viewing. Voiceover script, presenter-led and interviewee-led speech all help to create an entertaining viewing, giving the documentary variety which audiences love and need to maintain interest.

The issue is addressed as gender biased with only female participants being interviewed. However, gender issues are balanced with the interviews with the husbands, partners, sons etc and represent the men who are affected by the victim’s actions.

Image, speech and text cohesion is essential to create a structure that allows the narrative to flow and establish consistency and clarity with the viewer. Subjects were introduced through voiceovers and the audience were reminded of names through the editing of captions and prompts appearing conventionally across the bottom of the shots; a strategy used to introduced some locations also.

Furthermore, puns and metaphors are used and then repeated subtly throughout the documentary to create sophisticated media and a more memorable viewing. Our documentary used a pun as the title and a metaphor in the subheading caption, complying with both these conventions, and by applying reference to these linguistic devices subtly during the filming we feel we would be able to create another sophisticated piece of media which appeals to the audience.
QUESTIONAIRE FOR SECONDARY AUDIENCE – parents, asked to 4 consenting parents who had children who were either driving or learning to drive; one mother with a son, one mother with a daughter, one father with a son, one father with a daughter. This is to create gender balance and express opinion from both sexes…
1. Do they have their own car?

2. Are they on third party insurance on your car? If so do they use the car more than you?

3. Have you been in the car with your son/daughter?

4. Are you comfortable/confident with the thought of your son/daughter on the roads?

5. What scares you most about your child driving? Peer pressure or other road users?
QUESTIONAIRE FOR PRIMARY AUDIENCE– teenage drivers themselves + learners, asked to balanced gender selection of 10, representative of college students/ 17/18 year olds…
1. Are you male or female?

2. Do you drive?

3. Are you learning to drive?

4. On a scale of 1-10 with 10 being the highest how highly would you rate your interest in cars and driving?

5. Which from the following options would you prioritise as your favourite reason/benefit from driving?
A) Driving to college
B) Being able to drive to further, more interesting places
C) Independence
D) Able to drive fast and practice stunts/skills
MALE FEMALE YYYYN YYYNN NNNNY NNNNN 10, 9, 10, 9, 9 8, 9, 7, 9, 10 ADDCD ABBAC RESULTS: RESULTS: MOTHER WITH SON MOTHER
WITH DAUGHTER FATHER WITH SON FATHER
WITH DAUGHTER YES NO YES NO PEER PRESSURE NO YES - YES (USE MORE) YES YES PEER PRESSURE NO YES - YES (USE MORE) NO YES PEER PRESSURE YES NO NO YES PEER PRESSURE 1. 2. 3. 4. 5. 1. 2. 3. 4. 5. As a conclusion, all the males asked either drove or were learning to drive still compared with the three females who had passed their test and the other two who, despite being 17, had chosen not to take up driving lessons. This compliments the stereotypical male driver with a higher interest in driving, shown from the results of question four. Question 5 shows a variety of favoured reasons to learn to drive but suggests a truth in the ‘boy racer’ stereotype with the desire to become able to show off their skills in a car being only with males; therefore, the hard hitting documentary will attempt to target these individuals specifically who are putting themselves at danger on the road.
As you can see, there was a balanced amount of males and females with their own car and in turn a balanced amount of teenagers that are insured on their parents car but in fact was revealed by the parents that their children use the car more than them; this information can be used in our documentary into the topic on insurance issues.

Some parents said they had been in the car with their son/daughter driving but the mother with son said she still didn’t feel comfortable with him driving, suggesting a knowledge or suspicion that careful driving might have been put on for the presence of their parent. With the majority of parents admitting they are worried about their child on the road and all parents saying their deepest fear is peer pressure, they are likely to be highly interested in watching a documentary on teenage driving to see if they are correct to think so and even more likely to make their child watch it with them.
RESEARCH INTO AUDIENCE

Broadcasting Audience Research Board (BARB) – this website shows the monthly and weekly reaches of all the channels on television, providing us with excellent statistics to analyse decide whether the popularity of that channel will result in sufficient consumption by our audience.
As we can see from the figures, Channel 4 is amongst the channels with the highest average daily reach, resulting in the average person viewing 2 hours 15 minutes of the channel over the week. These figures are not as high as BBC1 who have the average person tuned in to the channel for over 29 hours a week, but for the purpose and style of our documentary being more of an ‘appeal’ we feel Channel 4 would be best suited as they have their ‘Dispatches’ seasons; established series’ of documentaries on certain topics which maintain regular viewers and are frequently funded and advertised. Our documentary would fit perfectly into the Dispatches season of ‘Broken Britain’ with the relevance to teenage drivers in the UK and the viewpoints of authoritative members of Britain (Metropolitan Police).
RESEARCH INTO CHANNELS AND TIMES From the breakdown of series and episodes of Dispatches documentaries, it is clear the typical time to broadcast is Monday evening at 8pm. This intends for a high number of viewing figures as typically on Monday evening a wide number of audiences will tune in, as most social events fall around the weekend. Monday morning’s ‘first day back’ stigma tends to allow TV to get the audiences in and therefore 8pm allows for time to finish work, have dinner and settle down to watch the programme.
From the breakdown of series and episodes of Dispatches documentaries, it is clear the typical time to broadcast is Monday evening at 8pm. This intends for a high number of viewing figures as typically on Monday evening a wide number of audiences will tune in, as most social events fall around the weekend. Monday morning’s ‘first day back’ stigma tends to allow TV to get the audiences in and therefore 8pm allows for time to finish work, have dinner and settle down to watch the programme.
From the breakdown of series and episodes of Dispatches documentaries, it is clear the typical time to broadcast is Monday evening at 8pm From the breakdown of programmes from the breakdown of programmes uysdhsyuyusdususususuususususuusususususu From the breakdown of series and episodes of Dispatches documentaries, it is clear the typical time to broadcast is MONDAY EVENINGS AT 8PM. This intends for a high number of viewing figures as typically on Monday evening a wide number of audiences will tune in, as most social events fall around the weekend. Monday morning’s ‘first day back’ stigma tends to allow TV to get the audiences in and therefore 8pm allows for time to finish work, have dinner and settle down to watch the programme.
RESEARCH INTO ANCILLARY PRODUCTS With any moving image, ancillary products are conventional and essential to create an advertising campaign promoting the media with the intention of getting the message our and reaching maximum exposure to a variety of audiences. Our coursework production consists of Ancillary 1; a newspaper advertisement and Ancillary 2; a radio advert. Ancillary 1 allows us to demonstrate our learning and understanding with print media and its conventions where ancillary 2 allows us to develop and expand on skills learnt in high school with the production of audio and create two dramatic ancillary products that compliment our documentary effectively. Therefore we researched into similar media but in different formats to create drafts of our own ancillary products.
Magazine advert/ Poster
In this poster which is just one of many for the drink driving campaign, placing a set of car keys next to an almost finished pint of beer is intended to be decoded as the two being typically associated. The near emptiness of the beer glass inspires the narrative of someone spending time at the pub having a drink; gender issues can also be raised as beer is stereotypically a ‘man’s drink’. The wet table appears to be spilt beer as it is coming from almost underneath the glass; this could suggest perhaps the subject having had more than one beer as spilling and accidents tend to happen after a few pints etc. The placing of the keys suggests the subject is planning on leaving soon, creating enigma as to what is going to happen when he does. These objects are placed together to establish new connotations for each other that are then projected as ‘wrong’ through the rest of the media campaign.
TV Ad ‘THINK’ - Transcript
“Aww, I’ve already told you, I’m driving aren’t I?”
“And?”
“Yeah what is this, your second?”
*laughing*
“Ohh, she’s definitely looking at you”
“Yeah she is isn’t she?”
“Stop staring mate”
“Ooh. Hang on.”
*girl walks towards table*
“Give her the look, go on”
*car screeching sound, screams, car slamming sound, SFX”
“It takes less than you might think to become a drink driver”
[silence ... ‘Think’ logo]
Draft scan of ANC1 Research notes on Think! advert & Draft scan of ANC2 As our documentary echoes the style and genre of a charity-style similar to that of drunk driving, the placing of learner car signs (to represent the typical learners starting as soon as they are able when they turn 17) next to and on a grave stone intend for the creation of new connotations and create a link between teenage driving and tragic deaths. Flowers hold different semantic features dependant on the context they are used in; either flowers can represent spring, sun and happiness, or contrastingly they can represent sympathy, respect and are placed in memory of. A point of improvement perhaps could be to include more typical ‘teenage’ items eg. Mobile phone, however it is known that deaths caused by not paying attention while driving on a mobile are not only a teenage error. Perhaps the including of a teenage face in a frame would directly target teenagers but then the audience would assume the documentary looks into the tragic death of that teenager specifically. Also this would raise gender issues, as our ancillary currently stands at no gender bias towards boys or girls. The authenticity of the advert isn’t high as this would not be a typical feature on a gravestone. However, the authenticity of the ideologies and beliefs in the topic are very real as there are existing, numerous media debates constantly broadcast and printed in the news of the dangers that are teenagers behind the wheel.

The use of learner signs in our ancillary is intended to connote the broken destroyed dreams of the young teenager just starting out driving. Placing the destroyed sign on the floor against a gravel background creates a grim, sombre metaphorical image that the teen should not have been so eager to bypass the ideology of passing a driving test meaning they can instantly drive well. The use of grey-scale non-naturalistic lighting on the image conjures up ideas of dullness, unhappiness and gloom. The editing of making the ‘L’s of the learner plates remain red instantly creates impact and the audience instantly decode of the colour; fear, danger, stop and death. Using red to also make ‘TEENAGE DRIVERS’ stand out also means the audience associate the codes of the colour with the text, giving our advert a unique selling point.
Similarly to the style of the TV drink driving advert, the use of background conversation establishes a narrative and positions the audience as an ‘observer’ as to what is going on. This advertisement strategy of ‘seeing’ rather than ‘being told’ is appealing to audiences as they pick up on connotations and cues and create their expectations and assumptions on their own before the media product is announced.

The use of SFX is a conventional strategy of radio advertising creating impact and trying to establish the same effect as visual; sometimes more effective as the listening audience cannot ‘see’ what is going to happen next. The dramatic sounds of car screeching and slamming have already been proven effective in previous Drink Driving adverts and intend to shock so sound would be heightened to increase the effect on the audience.

The silent 2 second ellipsis is for dramatic effect and allows the impact of the distressing crash sounds and screams to sink in with the audience before explaining the product advertised. A sombre serious tone would be used to introduce the programme, juxtaposed with the chatty informal speech of the ‘teenagers’ in the car; the assumption of their age through the connotations of loud music, chatting and mobile phones.

Furthermore, I decided to switch the original girl’s line “do you want me to answer it for ya” to a male line as gender stereotypes are then challenged as there is an assumed female driver which typically would not be judged as much as a male teen. The advert intends to make the audience think that maybe neither sex is innocent when it comes to the teenage driving and it’s may not just be the guys who are reckless, foreshadowing information to be included in the programme.
PAPERS TO PUBLISH IN: THE DAILY MAIL/ THE SUN
Newspaper circulation for The Sun – young male audience
Newspaper circulation for The Daily Mail – middle aged, working class, parents
Easy to target audiences
Half page advertisement – visual impact, noticeable STATIONS TO BROADCAST: KEY 103 / GALAXY
KEY 103 -Wide audience; worried mothers with sons, can target through time of broadcast, peak ‘drive times’ (7-9am and 4-6pm)
GALAXY – more niche audience, popular with teenagers, directly target intended audience
Full transcript