By Peter Lee-Wright
ISBN-10: 0415434025
ISBN-13: 9780415434027
'The Documentary Handbook is essential analyzing in case you desire a serious figuring out of where of real codecs in today’s exploding tv and media undefined, in addition to professional assistance in advanced craft abilities so that it will totally take part. the sensible recommendation and knowledge here's moment to none.' – Tony Steyger, Principal Lecturer, Southampton Solent college, UK
The Documentary Handbook is a serious creation to the documentary movie, its thought and altering practices. The ebook charts the evolution of documentary from reveal artwork to center tv style, its metamorphosis into many differing types of real television programme and its present emergence in varieties of new media. It analyses these pathways and the transformation of technique of creation via monetary, technical and editorial changes.
The Documentary Handbook explains the documentary strategy, abilities and task standards for everybody from entrants to senior team of workers, and exhibits how the commercial evolution of tv has relocated the powers and ideas of decision-making. by utilizing expert professional Briefings it provides sensible tips approximately programme-making, from examine, constructing and pitching programme principles to their creation and supply via a fast-evolving multi-platform universe.
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Additional info for The Documentary Handbook (Media Practice)
Sample text
Rarely written down, this latitude reflects the received opinions of the time, the political position of the organisation vis-à-vis the government and its licence renewal, and corresponding economic and commercial pressures on the channel. Over time, all broadcasters are called to account on how they exercise that judgement and, in anticipation of that reckoning, sometimes fight shy of supporting their reporters’ independence. James Mossman was one of the great reporters of Panorama in the 1960s, something of a matinee idol at a time when as many as 20 million people watched the programme.
34 Sean Langan’s trademark style is the way he holds his camera at arm’s length, enabling him to swivel the lens to capture his own comments, reactions and laconic asides, whether interviewing Taliban insurgents or dodging bullets with a British army in a firefight. He finds it unnerving to be asked learned questions about this method at documentary conferences because he admits the style emerged from him being too lazy to carry the tripod he was originally sent out with to do his reflective diary pieces on.
Covert filming should never be considered just another programming technique and must not be abused. Law-abiding individuals who have done nothing wrong are entitled to have their privacy respected. The right to privacy can only be overridden where the public interest outweighs it. (Channel 4 Compliance Manual, p. 98) High stakes The legal fallout can be substantial. Former World in Action investigative reporter Donald MacIntyre kick-started the current trend for undercover with his series MacIntyre Undercover for the BBC in 1999.
The Documentary Handbook (Media Practice) by Peter Lee-Wright
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