JCM 100 Week 6 Readings

*2 Traditions of Documentary* 2a. Ethnographic Cinema (_____ revelations: aimed at presenting specific people, rituals, or communities that may have been ______ or _____ to mainstream media) *2 Practices of ETH Tradition* 1c. Anthropological Films (explore different ____ _____ and people both living and _____) 2c. Cinéma Vérité / Direct Cinema (US) portable and lightweight tech (filming real objects, people, and events in a _____ way, so reality of subject continually acknowledges the reality fo the camera recording it)

-Cultural revelations, aimed at presenting specific peoples, rituals, or communities that may have been marginalized or invisible to mainstream media. -Explore different global cultures and peoples both living and extinct. Exotic/endangered communities 20th century. Now domestically too, investigate rituals of families and subcultures. -'Cinema truth' French school. Filming real objects, people, and events in a confrontational way, so that the reality of the subject continually acknowledges the reality of a camera recording it. Lightweight and portable devices. American more observational and less confrontational.

-Writing the TV Drama Series *The Dramatic Beat* A dramatic scene is the essential building block of storytelling on screen and should have a complete dramatic structure. Each scene should have a ____ ___ who wants something and drives the ____ to get it through ____ and with an ____, usually equally motivated _____. TV is more difficult than movies because it requires the same elements in a tighter form. Numbers on the act grids indicate *Slug Lines* or *Scene Headings*. A dramatic beat may encompass one or more slug lines, key is identifying a step of the story, not a shot. *A, B, C Stories* *Parallel Storytelling* 3 Storylines are not __-___, but independent tales each involving a distinct guest cast. Occurs in same arena. Interwoven, blended, juxtaposed together, might find theme. *_____/____ resonant: A-Plot* *C is sometimes used as ____ ____, or a ____ - recurring incident/character issue Some series have more than 3 stories (ER), some only have 1 (Monk, X-Files)

-Motivated protagonist, action, conflict, opposition, antagonist -Largest, most -Comic relief, runner

Basic TV Info (Dramatic Series or Sitcom) A TV program is overseen by a ____ ____ (_____ ____): (creative, business, or in-name only) 1) Can ____ scripts or ____ them solo 2) Can ____ stories with staff 3) Can ____ storytelling 4) Can ____ on budgets and staffing A Dramatic Series runs for ____ or ____ minutes. What's a Season? The _____ (____) of a TV program -For ______ TV, season has approximately ____-____ episodes. -For ____ and _____ TV, season can have as few as ____ or as many as ____. -Can also release 1/2 now, 1/2 next year. -Seasons typically begin in ___ and end in ____. Sweeps Month -Sweeps are the months that advertisers ____ ___ for TV shows based on ___ of show ____ (3 days On Demand, DVR, APP) -Sweeps periods are in ____, _____, ____.

-Show runner (executive producer) -Review, write -Break -Guide -Work -42, 60 -Run (length) -Broadcast (FOX, NBC, ABC, CBS, CW) 22-24 -Cable, subscription (HULU, AMAZON, NETFLIX, HBO, STARZ, AMC, FX, LIFETIME) -Set rates, success, ratings -February, May, November

*Why are docs not objectively true?* 1) All docs employ _____ and _____ to some degree to shape material. 2) All docs employ the same ____ _____ _____ _____ 3) No subject knowingly filmed can ever _____ as they would off-camera 4) All docs have _____ ____ on subject matter *THEREFORE DOCS SHOULD BE RE-CHARACTERIZED AS A ____ ____ OF REALITY* *ESPN Films and 30 For 30* -2008: ESPN Original Entertainment rebranded shifting focus from host of formats (dramatic, talk-show) to documentary. -Described programming as _____ - films that just so happened to be on TV -Created 30 For 30 in 2009. -Brainchild of Bill Simmons. -Described as an unprecedented documentary series featuring 30 films from sone of the days finest storytellers. -Documentary model has capacity to treat sports in a ____, _____, and ____ manner than regular sports programming -ESPN wants to compete with HBO Sports. Documentaries are not _____. Can be entertaining, interesting, informative, thoughtful, innovative in form. VS. HBO's audience which skews older and uses more traditional conventional storytelling. *June 17, 1994 (2010)* *Director: Brett Morgan* -Constructed production entirely from ____ ____ without ____ _____ and _____. -Resulted in a doc style he calls *________*, where audiences are made to feel as if they are actually _____ the documentary subject matter rather than merely watching a film about it. NY Rangers Parade, NBA Finals, World Cup, Arnold Palmer's final round at US Open

-Storytelling, dramatization -Subjective cinematic visual language -Behave -Personal perspective -A CREATIVE TREATMENT OF REALITY -Cinematic -Authentic, detailed, artful -Medicine -Archival footage, voiceover narration, interviews -*Experiential* -Experiencing

-Television Article *Serials: Introduction* -Expect us to make specific and substantial narrative connections between one episode and the next. Links are vague. The soap opera. Surge in 2000s - ER, Twin Peaks, 24, Grey's Anatomy, Lost, Desperate Housewives, The Sopranos. Sexism. Soap operas = purest, most extreme example of serial. *1: Multiple Protagonists* Even larger number. 15-20. Have largest of any program on television. ___ of ____ story-lines. Increased number lead to ____ of _____ for characters. Reasons? Economics. Multiplicity for narrative web. *2: Exposition* Story has already begun. In the middle of complicated storyline at beginning. All My Children. Soap operas keep this long-going story understanding for new viewers by containing a large quotient of ____ ____ ____, serving as ____ for viewer even ___ ____ ____. The regurgitated information includes ___c_ ____p_. Serial characters contain a ____, ____ ____. New characters are introduced. All undergo conventional exposition, commonly abbreviated by ____ ____, incorporating new characters into story lines. *3: Motivation* The ___ ___ also took place years ago. Some new ones are added to spice it up. Most concentrate on ___ ____ and ____ _____ (especially paternity). *4: Narrative enigma* Saturated. Multiplicity of characters ensure several will be running at once. Unlike series with 1, have multiple. Never lose momentum. *5: Cause-effect chain* Interrupted ____ ____ = ____ _____ _____ = ____ _____. Hour long segment = ____ minutes. Also ____ the narrative. Sometimes break preceded with ____ ____. *6: Climax* Individual story lines do climax. But these ____ ____ in ___ ____. *7: Lack of Resolution* Climaxes do not generate resolutions. Just create ____ ____. Even if one did close, several others still open. Even ____ is not a permanent ____. The story must continue.

-Variety, simultaneous -Decrease, importance -Redundant narrative information -Exposition -In between scenes -Characters pasts -Specific, significant, past -Familial relations -Original catalyst -Heterosexual romance, familial relations -More frequently, commercial breaks, most profitable -40 -Segments -Literal question -Never result in narrative resolution -New enigmas -Death, resolution

Defining Aspects of New Media (Continued): 3) Social Media Contribute content of own, not just selecting, actually creating it themselves. -Sharing ___ and ___ with other users in the course of ____ ___, umbrella term. -Giant media corps still here and getting bigger, but number of people required to turn out a media product is shrinking. -Social networking sites (Facebook, YouTube) and blogs (short for ___ ___ or 'we blog', personal home page with ____ addressed to an audience, ___ and _____ _____, sources for ____ ____) -News and media trends are generated by those with no professional training. 4) Asynchronous Communication Synchronously, characteristic of mass media, receiving messages at about the same time. (You had to catch it when it first aired or reruns, never applied well to film 'stretch same time') -Situations that lack simultaneity: DVRs/'time shift' programs, Internet video, postal mail, AND e-mail (two asynchronous interpersonal communication) 5) Narrowcasting Targeting content to smaller audiences, as opposed to _____. Advanced audience research methods, cater to smaller audiences by enhancing the ___ and ____ of audience ____. -Demographic characteristics once sole means of defining audiences, now focused on ____, ____ ____, _____ ____ (purchasing and online surfing behavior) 6) Multimedia Converging technologies, breaking down conventional distinctions between channels of communication (select between ___ of _____). -Online newspapers: links to additional resources, animated graphics, live video, polls, discussion group (we can choose to ____ the same story in ____ ways including conversation with other audience members) -New options for __s__ __i__, _p___ _c__, and __p__ in a larger _c___. -Older media forms (newspaper, TV, film) and conventional medias institutions (NYT, CBS) still with us. The Information Society: production, processing, distributing, and consumption of information: primary and social activities. Digital communications media. Information workers. Mass Media and Information Technologies converging: Internet (separate channels no longer needed for each medium) SMCR Model: IN MOST SITUATIONS feedback also provided between receiver and source, takes place in the context of a culture shared by source and receiver and that both contribute to the creation of meaning. Mass Communication: large professional orgs., audiences of hundreds-millions, no immediate feedback b/t source and receiver (NP, Radio, Mags, TV, Film)

-Words, images, social interactions -Web log, commentary, personal and professional commentary, traditional media -Broadcasting -Richness, speed, feedback -Lifestyle, user needs, individual preferences -Modes of presentation -Experience -Different -Selecting info -Personalizing content -Participating in larger conversation

3 Primary Qualities that distinguish 30 on 30 and ESPN by extension from sports television: 1. use of ______ form 2. ______ statuses as ______ 3. ______ positions as renowned _______ -ESPN's reputation a consequence of the symbolic capital: -To incorporate prestige into brand identity, ESPN made _____ _____ in 2008, which specialized in sports documentaries. -____ ____ Began as ESPN Original Entertainment (EOE): distributed smattering of dramatic series, made-for-TV films, studio productions, talk shows: penchant for _____ -ESPN Films: Documentary genre: A 'cinematic experience' FILMS -Uninterrupted mode of spectatorship, without commercial interruption, serious, carefully studied and researched -Positioned films with director first, then using ESPN as a facilitator (I.e. Spike Lee Joint) -Bill Simmons: VHS tapes, NOT an ESPN 25 - self-aggrandizing manner -Lack of excessive self-congratulation

1. Use of documentary form, productions' statuses as films, and commissioned filmmakers' position as renowned artists -Discursively constituted power that gives certain objects more or less privilege than others in particular contexts. Discursive and aesthetic tropes 'refined'. HBO SPORTS: refined traits, proper pedigree. -ESPN Films -Sensationalism, low-brow, gave exaggerated treatments to sport's famous stories and figures, acclaim compared to that of Lifetime or Hallmark channel

-Personal Documentaries look more like autobiographies or diaries. -Questions about ____ and ____ of documentaries. -Veracity of spoof documentaries, reenactment of presumably true or real events. -Mockumentaries - humorous approach to ____ and ____ by using a documentary style and structure to present and stage fictional realities. -How documentaries can generate different experiences and responses depending on viewer's knowledge of traditions and aims of such films. -Fake documentary.

Truth and honesty Truth and fact

It's Complicated: Social Lives of Networked Teens, Boyd: 1995: Sherry Turkle: 'Mediated future' b/t utopian/dystopian immersive worlds. Distinction b/t humans and computers blurred, new society emerging. Considered the therapeutic and deceptive potential of mediated identity work. Fictitious identities could harm, but process of self-reflection could occur to make themselves present in virtual worlds. Online situations had to consciously create their digital presence, unlike face-to-face where the body is taken for granted. (Sundén: 'People typing themselves into being.') A person's identity is tied to their psyche, BUT burdens of material identities could potentially make someone a better version of themselves. It was impossible to know if others were all they portrayed themselves to be. Some were obvious, but embodied characteristics such as race or gender were not so clear. Barlow: Declaration of the Independence of Cyberspace, 1996 Identities enabled with no bodies, children now 'native' to new civilization. Now, significant cultural difference between fictional role-playing sites and widely embraced social media sites. Social media sites encourage a more non-fiction atmosphere. Pseudonymity is common, but different than what Turkle imagined. Teens now socialize with friends they know from physical settings AND portray themselves in online contexts (unmediated social communities). Continuity between online and offline worlds. Not common in 90s. Identity work is still not uniform across all online activities. Not always trying to be different people (naive approach). Given name or descriptive screen name. Teens respond to what they perceive to be the norms of a particular service. Jessica Smith or littlemonster, not creating multiple identities, but choosing to represent herself in different ways on different sites with expectations of different audiences and different norms. Can be conscious attempts, but usually just site requirements on handles. Same handle on sites or fave nickname is taken/outgrown. Teens both interpret and produce the social contexts in which they are inhabiting. Context matters. (Managing social dynamics differently: unmediated (school) or mediated (networked publics)) Facebook: Friend groups collide, Tumblr/Twitter: Interest-driven communities Fashion or celebrities What matters is not the social media site, but the context (interplay between teens and the site) in which its situated within a particular group. Sites come and go, are repurposed, and evolve over time. Underlying practices often stay same even as context shifts what is visible/significant (not radical changes). Connect to those they know, observe, and reinforce/challenge norms: Norms shaped by network effects (peers influence one another and then collectively to create norms) Norms that get reinforced online, not deviated much from what is in school, BUT there can be distinctions (One Direction girl on twitter versus in school: friends on FB, fans on Twitter, some fans friended on Facebook, friends in school may be fans follow on Twitter) DOES NOT HIDE LOVE OF 1D FROM FRIENDS. The girl understands these are different social contexts and is comfortable in choosing how she presents herself. Switching social contexts and acting accordingly. Can be in multiple places simultaneously. Shaped, though not clearly defined, by setting, time, audience Social media: nonfiction identity production, BUT STILL PLACES WHERE TEENS GATHER ANONYMOUSLY Multiplayer online games (WoW, StarCraft, Second Life/Whyville) identity work: scholars did map out: avatar creation and selecting virtual characteristics (tremendous reflection), others not as invested like twitter handle (just a game) valuable but not of significance Choosing and designing an avatar is central part of participation in immersive games/virtual worlds. Can reflect physical bodies, skills/aesthetics. Some discrete from school environment, others with classmates. Significant separation b/t virtual and real? No, still often blurred. Subculture: outright eschew recognizable identity proclaiming virtues of anonymity (4Chan: Chris Poole: internet cultural production and malicious/prankster activity: teenage boys taste and humor: most content shared anonymously: sense of freedom from constructing a pseudonymous or real identity: can be used problematically: invisible part of crowd: MANY DO GET RELISHED WHEN POST GETS TRACTION/ATTENTION: COMMUNITY: IN-GROUP LANGUAGE AND SHARED REFERENCES EASY TO IDENTIFY OTHERS

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-Match film topics with those who had sincere interest: never thought they had chance to film such a thing (a genuine fascination) -'Art for art's sake' / 'economic world reversed' -Biographies of directors on website -Documentaries that rely on talking heads and voiceovers are the *Antithesis of cinema* -Explore vision 'unhindered' Manufacture alliance without influencing creative process -*In reality, ESPN oversaw the selection of topics and film's production: support team to update on progress* -2010: Lebron James: The Decision -Deliberately use to complement ESPN's regular coverage -Irony in the economics/aesthetics -Website: timeline 'how sports changed an era' How ESPN is synonymous with sport

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*Basic Four Act Grid* Commercial breaks on *network television* occur roughly every ___-___ minutes. *Same as premium cable?* By dividing ____ by 60, you get ____ acts. Hour drama actually runs 50 minutes, most acts are 12 minutes. Act One ends later if it includes a teaser. Will not always have ____ scenes in an act. 'Vignette shows' have nine or ten. Basis is the two-minute scene. House - 4 acts Each act about 15 pages except A1, 17. In theory, each act 14 minutes (2 minutes per scene, 7 scenes)

-13-15 -NO.

Catfish Filmmakers Get the Third Degree: Documentary spun as mystery/thriller, criticized for honesty, exploitative nature. 24 year old NY photographer Nev Schulman, begins online friendship with 8 year old prodigy Michigan artist, Abby, painted one of his published photographs. Befriends mother, Angela, and entire family, even babysitter. Abby's attractive 19 year old sister Megan, romantic relationship. Travel to confront Megan, Angela is the painter and there is no Megan there, all created by Angela. Stealing photos of others on Facebook, all fragments of own personality, escape from disappointing life (caretaker of disabled stepsons). Authenticity of Nev's feelings for Megan: suggesting him, Ariel, and Henry knew all along, never in love, leading Megan on for a better film. The grins they have when confronting Megan. Only really defensive about the film to the point of suspicion. Nev states she stole identities, exploited herself by being accessible, and exploited him. 9 Months In: Uncover Lie Buchanan claims that Nev crossed the line from Documentary to Reality TV. Where is the background research on subject? Purposefully failed to do before flying out. Who is exploiting who? Angela toy with emotions? Filmmakers toy with the audience, yet not admitting to exploiting a mentally ill woman? One suggests Angela was exploited, initially being on board, then attempting to sue. Became angry after discovering deceit. BUT Angela seemed to squash the beef, unknown if deal involving profits from film swayed her. "If anyone was lead down a path, it was the boys." "Would make a great film." Megan IS REAL. 21 Years old, lives with dad, but NOT the Megan in the pictures. TWO PEOPLE DO FEEL EXPLOITED: 1) Megan: no relationship with mom 2) Aimee Gonzales: 30 year old model, wife, mother, photos stolen. Aimee's name revealed only in epilogue, only interviewed after being tricked into being flown out to New York, to 'make a documentary about photography', husband's identity was stolen too and little sister, Confrontation for camera reaction. (Discovering her identity had been stolen was cut out: Made them seem deceptive)

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Dr. Horrible's Sing-Along Blog: Joss Whedon: Buffy, Angel, Firefly: New super-villain Dr. Horrible: of change, putting change in the 'wrong hands': story's creators and consumers as opposed to entertainment corporations. (Refers to the writer's 2007 strike. -Struggle for green light on TV, silly ideas do well online. Absurdity is a part of the internet's identity. -Buffy large, coordinated, influential online fanbase - discuss plot developments, critiques: fandom: spin-off movie production. -Launched on MySpace, Facebook, Twitter: Whedonesque to announce more details and encourage fans to spread word. -Budget himself, Universal Studios backlot, ignore conventional TV times (42 minutes) -3 acts for free viewing over week, available for retail via iTunes and DVD (engaged with Web as subject matter for film: webcam, emails, online engagements ups and downs: freeze ray: buffering, conversing through emails or messengers) -3 acts on Hulu - crash site and homepages (Hulu had international complaints overseas and access: increased bandwidth) -Topped download chart on iTunes and soundtrack -Amazon's chart (DVD) -Revenue over costs and applied to webisodes produced to promote TV shows and a profit-sharing scheme (relationship with show's fans maintained through online updates) -People's Choice Award -Established potential profitability of original online content (even if success was in private funding and a devoted pre-existing fanbase) (model for new way of putting out media) -Whedon at one point was the only B-movie system

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The Problem of Youtube: Strike TV: Hollywood professionals protesting during the writer's strike. A protest against industry and YouTube. Middle between industry trying to control the web and its ad-friendly spaces and user-generated Internet. -Independent films and web series by professionals outside industry. Crisper writing and cinematography. -YouTube is synonymous with web video. Seek a more sustainable and less 'viral' way to fund non-corp. content. Not the market necessary to fund a larger number of independent professionals. Unlike TV, ad-friendly and capable of bringing in new professionals, stressing quality of production and quantity of views. YT's focus is views, no building quality audiences or forms of storytelling. Only replicates long thoughts to corporate sites and minor blogs/user-generated content. -The Business Insider: Top YouTubers were vloggers, handful making comedy shorts. Set debate in filmmakers who were professionally oriented making more expensive episodic programs (web series). -Core of argument: the site is viral. Few people have been able to replicate the skill of getting millions consistently. -Long Tail: the web has created viable markets for those beyond the elite few. Really, the Internet creates large inequalities. A few sites dominate traffic. -The Missing Middle: consists of sites who get more views than unseen masses, but not enough to generate revenue or mass visibility (Huffington Post -> bloggers in basement) -Web video entrepreneurs and companies have been fleeing. First, mainstream media (comedy sites as anti-YouTubes: NBC, TBS, HBO) -Hulu is the most viable YouTube killer: the corporate grandma. They do make money and curate content, just not as much dominance. (Crackle, FunnyOrDie, Viacom's Atom). Independent entres. have tried to replicate the walled-garden model of Hulu. Low-cost, high def videos for niche audiences and match those audiences with advertisers (Strike TV). -Sites targeting minorities have debuted. Youtube, though diverse, is hard for minorities to break out into. -The web adds a greater potential for a 'middle ground' between amateurs and corporations. Low barriers to distribution. Web video should try and work towards a diversified market (Cinema).

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-ESPN Films threw away the rife of underdog stories or prominent figures falling from grace. -A statement that contrasts common expectations. -HBO Sports: 'push aesthetic boundaries while attracting viewers who might have had little interest in these types of programs' unlike HBO SPORTS: Outstanding Sports Documentary -ESPN Films logo: film projector, cinematic identity *Not all productions actually on film* -RECALL PRODUCTIONS IN FILM FESTIVALS. -2010 Panel Tribeca Sports Film Festival panel: Beyond the Playing Field: ESPN and the Future of Sports Filmmaking -New prominence, critical acclaim for ESPN Films and Tribeca -Less common in TV to use director's name and past accomplishments -30O30's status as a product of renowned authors -*'A Filmmaking Original'* interviews with directors -Can include producers as well in naming (if prominent)

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-*Serving as a Social, Cultural, Personal Lens* *2 Traditions of Documentary* 1a. Social Documentary (Emphasizes two goals: Authenticity in representing how people live. Discovery in representing unknown environments. Examine and present both _____ and _____ peoples and cultures as _____ _______) *Two Important Spinoffs of Social Documentary* 1b. The Political Documentary (investigate and celebrate ____ ____ of men/women as they appear within the __s__ of small and large ____ ______) 2b. The Historical Documentary (concentrates largely on ____ and ____ events or figures in history) (2 Broad Directions: Conventional, Reflexive)

-Examine and present both familiar and unfamiliar peoples and cultures as social activities. Emphasizes goals: 1. Authenticity in representing how people live and interact, 2. Discovery in representing unknown environments -Great Depression/WW1. Investigate and celebrate political activities of men and women as they appear within the struggles of small and large social spheres. Balance of aesthetic objectivity and political purpose. Provoke will to reform social systems. *Propaganda films* visible efforts to support a particular social or political issue or group, use complex arguments, subtle tactics. -Concentrates largely on recovering and representing events or figures in history. *Two broad directions* Conventional documentary histories (assume facts and realities of past history can be more or less recovered and accurately represented) Reflexive d.h. (dual POV: describe event, aware never able to fully retrieve reality of lost history)

Documentary AKA Nonfiction/Non-narrative: Story Structures: -Present _____ _____ of _____ _____, ______, or ______ rather than their fictional or invented recreation. -Created heated debates throughout film history because facts can be ____ or _____ dependent on POV *Organizational Frameworks*: Shape the formal practices according to certain perspectives and attitudes. 1) Effort to _____ the world and its people 2) _____ or _____ an event or a problem 3) Assumes stance of _____ who attempts to _____ the audience 4) Foregrounds and ______ presence and activity of _____ _____ (_____) *Non-Narrative films differ from narrative (scripted) because:* -______ stories and narrative (plot and narrative structure) instead focusing on the ____ of non-narrative film it is: 1) ____ ____ (stylistic properties of cinema) 2) _____ (persuasive/propaganda) 3) _____ _____ (minimizes filmmakers overt manipulations of materials) Be a ____ on the _____. This is not always true. (Koyaanisqatsi): Life Out of Balance *Sometimes Lines Get Blurry...* A non-narrative can be partially or entirely _____. A non-fiction film may be constructed as a _____. *What Then Distinguishes Documentaries from Narratives?* What it ____ _____ to. Narrative's ____ is to ____ _____ while Documentary's _____ is to 1) ______ of ______ 2) ______ of ______ 3) *and/or* _____ of ___p___/___s__ analysis *Whatever its _____, does not mean docs are _____ _____.

-Factual descriptions, actual events, persons, places -Adjusted, skewed 1) Explore, 2) Interrogate or analyze (a concept/idea), 3) Debater, persuade, 4) Reflects, filmmaking process, reflexive -De-emphasize, type -Visual poetry -Advoacy -Direct Cinema -Fly on the wall -Fictional -Narrative -Pledges allegiance -Allegiance, dramatic storytelling -Allegiance, recording of reality, education of viewers, presentation of political or social analysis -Objectively true

Expositions: Organizations that Show/Describe: Formal expositional strats -Documentaries employ strategies and forms that resemble scientific and educational methods. -Documentary organizations (3) 1. Cumulative organization (present a catalog of _____ or _____ through course of film.) May have no recognizable logic connecting them. Rainstorm: accumulation, fragments of life into numerical episodes 2. Contrastive organization (present series of ______ or _____ meant to indicate different _____ on its subject.) (May be evaluative like positive/negative or more complicated relationship between objects or individuals: changing of aging children on issues, successive films made every year: difference in class or outlook) war and peace imagery 3. Developmental organization (places, objects, individuals, or experiences presented through a _____ that has a _______ logic/structure but still follows a logic of _____ or ______ Individual seen are changing from passive to active or moving from physical to spiritual, mail train journey, progressive movement to goal: Donkey Kong) Night Mail *THE USE OF THESE PATTERNS IS OFTEN GOVERNED BY THE PERSPECTIVE OR RHETORICAL POSITION A FILM MAY TAKE*

-Formal expositional strategies used in documentaries. Some films use a combination of the 3 organizations. 1. Present a catalog of images or sounds throughout the course of the film. May have no recognizable logic connecting the images. 2. Present series of contrasts or oppositions meant to indicate the different POVs on its subject. May be evaluative (+/-) or more complicated relationship. 3. Places, objects, individuals, or experiences presented through a pattern that has a non-narrative logic/structure but still follows a logic of change or progression.

Straubhaar Article: -Large group communication? How many participants? Active involvement restriction? Immediate feedback? -Many communication situations do not fit neatly into a category. (Talk-radio show, American Idol - many-to-one comm.) -Social media: many-to-many communication: audience members are also sources of content. -Is the number of participants always reliable? What else needs to be considered? (nocs) -Organizational communication takes place in front of? Spans (classified by size)? Affected by a person's? Examples? -Intercultural communication takes place across international/cultural boundaries. (Cell phones: digital interpersonal if alone, small group comm., or large group comm.) -New media not just mass media, but interactive media technology. -Old media are acquiring new interactive dimensions. Defining Aspects of New Media: 1) Digital Improved the quality of ___ b/c digital signals are less susceptible to ____ and distortion. Can also be compressed, or can share same transmission channel _____ (pocket switching: Internet: email of neighbor and YouTube vid of you, in chunks called packets: can share same channel), key to multimedia (combining text, image, sound into __-way comm. channels: no more ____ channels) 2) Interactive Sometimes word is used as ____ for ___, but few are truly this unless interpersonal communication. (Facebook, Twitter, Video games: continually modified depending on your response) -Ultimate form of interactivity: Turing test: Artificial intelligence (chess example) -On other extreme, applied ___ to any situation in which the content of a media system is ____ or ____ by the user. (Would include online novels: alt. plot lines, websites: addressing you by name, indexes in books, televisions with remotes, and magazines with mailing labels) -Narrow to: where ____ from the receiver is ____ by the source - whether human or computer - to continually ___ the message as it is being ___ to the receiver. TV remotes and indexes would not count because of no ___-___ feedback to source. -Bye-bye SMCR model and conventional mass comm. -The audience gains new power: ___ content, ____ the messages supplied by the media, and ____ to media content. The audience is now ____ ____ in the communication process, rather than ____ ____ of media content.

-Involves anywhere from a dozen to several hundred participants, and the communication restricts active involvement to only a few of the parties. Still involves immediate feedback from the receivers of the message, which is not in the case of mass communication. Examples: lecture, concert, live theatrical performance -No, nature of communication setting and size of gathering -Formally structured organizations, spans entire spectrum of communication types as classified by size, affected by person's position and function within organization -1 direction: boss to workers with little flowing either back up or to workers in other departments -One-way (source to receiver) -Two-way (both participants are active role) -Transmission, interference, simultaneously, 2, separate -Synonym, 2-way -Broadly, Selectable, Customizable -Feedback, Used, Modify, Delivered, Real-time -Select, Contest, Contribute -Active participants, passive receivers

*Six Act Grid* Grey's Anatomy, Lost - 5 acts ABC Network - 6 acts because of? Take the teaser, lengthen it to 10 pages to create new Act One. Open story directly into jeopardy/action/provocative issue to hook the audience. Each act is 10 pages. Only 20-24 scenes. Act 6 can run as short at 5 minutes - twist, may be teaser to next episode Act 5 may only have 3 scenes, Act 6 may have 2 or 3 scenes or scenes in Act 6 will be very short. First three acts may also be longer 8-10, 8 or less, 8 or less, less than 8, 6-8, around 5 (Replaces tag) Each act other than 5 or 6 has roughly 4 scenes. Tag is A one to five minute mini-act at the end of a show, after the dramatic climax of the episode but before (or even during) the end credits, used to show the effects or aftermath of the episode

-More commercial breaks. Desperate to pump revenue where advertising rates are declining. People record shows to omit commercials or mute.

The Key Element of TV is the DRAMATIC SCENE -A ____ ____ who ____ something and drives the story's ____ to get it through ____ with an _____, usually an equally ____ _____. Sound familiar? CHC: undisturbed stage. So How Does It Break Down? -Stories made up in this order from ____ to ____. -_____ (1 action then another) -____ (set of ___/actions) -____ (2 or more ____) -_____ (2 or more ____) The largest. Traditionally, most TV series are __ acts. , but that has changed. A series can be ___, ____, ____, or even ___! How can you tell when a new act starts in TV? Commercial breaks = more money. What Happens in Each Act? -Usually _/_ story-lines make up an episode. -Largest story is the ___, Second largest is ___, Third largest is ___ (can be ___ ___ or ___ ___: character issue or seeding a new set of events: ____) -Also includes a ___: AKA COLD OPENING (dramatic material ____ the titles) -The ____ is designed to grab viewer's attention before the commercials. Can also seem like an act (can run from 2-15 minutes). Netflix has 4 acts, but removes the act breaks. Serial Examples: Empire, The Crown, The Walking Dead Episodic Examples: SVU, NCIS Hybrid Examples: Grey's Anatomy Why is This Important? -Content = your eyeballs. -Nielsen -Broadcast (150), Pay Cable (50) , Basic Cable (180), Online Services (130+), Shows are always being released each year. -FX Estimated # of Scripted and Original Series. -Online Shows emerged in the 2010s.

-Motivated protagonist, wants, action, conflict, opposition, motivated antagonist -Beats -Scenes, beats -Sequences, scenes -Acts, sequences -3/4 -A, B, C: comic relief or recurring Incident: runner -Teaser, before -Teaser

Nonfiction (*'Factual descriptions VS. 'fictional re-creations....Facts are malleable*) VS. Non-narrative -Nonfiction: Present presumed ______ _______ of _______ _______. -Non-narrative: Eschew or _______ _________ and narratives, employing other forms like _____, _______, or ______ as their organizational structure. What becomes secondary to the non-narrative pattern?

-NF: Present presumed factual descriptions of actual events, persons, or places, rather than their fictional or invented re-creation. -NN: Eschew or de-emphasize stories and narratives, instead employing other forms like lists, repetition, or contrasts as their organizational structure. Stories become secondary to the non-narrative pattern. *A NN may be fictional, a NF may be constructed as a narrative.*

-Television Article: *Introduction* -MOWs used as pilots: programs that? This affects their narrative structure, by ____ some narrative issues and ____ ongoing enigmas that will follow in the other program. (Miami Vice: Tubbs does not apprehend the murderer) -MOWs recognize TV's ____ form by developing narr. strats. to cope *The Television Series* -The medium of TV relied most heavily on ____, it's broadcasting predecessor. In the 40s, many images were fuzzy with more emphasis on _____ than _____. *TV inherited the ___ from the radio which is still used today. -TV saw precedents from cinema and literature, just not as impactful. *Narrative Structure of the TV Series* -The TV series presents weekly episodes with a defined set of recurring characters. Each episode DOES NOT begin where the previous one ended. -Friends is an example of a series with narrative arcs that span over the course of episodes, but the bulk of issues are resolved at the _____ of the _____. *The TV series resembles the ___ ____, but here are some distinctions.* *1: Multiple Protagonists* Function is to permit a variety of ____ within the same _____. _____ _____ shifts from one episode to the next but the ____ ____ remain the same. *2: Exposition* Each episode only needs a _____ exposition. We rely on the ____ of characters and space. Only _____ characters and _____ locations need to be _____ in the exposition. _____ _____ are rather vague and ____ ____. The ____ ____ is all that matters. *Friends: Serial storylines, but a series. Chandler's office behavior not previously discussed, why it is brought up in exposition. *3: Motivation* Consistency, remaining balance to continue would be no story, need to disturb balance. Most common narrative catalyst is the ____ or ____of the _____. We shift this narrative catalyst from one _____ to the other. *4: Narrative problematic* Enigmas must not ____ be ____. Must be a ____ that prevents their ____ ____. These individual desires and enigmas exist within a larger _____ ______. A narrative kernel- same question asked every week. Friends: Issues confronting friends in 20s. Miami Vice: Surrender to temptations and become villains? Specific enigmas ____ and ____, but the fundamental problematic remains the same. *5: Cause and Effect Chain* Chain must be broken at least once during half-hour and at least ____ times during an hour. Deal with this by _____ the narrative. *Each ____ known as an _____, consisting of one or more scenes that hold together as strongly as classical scenes.* End with own ____ ____. New minor enigmas may be posed too. ____ ____ resumes after commercials. Several upward curves linking together, resembling the play. *Interrupts rising curve of increasingly intensified action, replaces with portions of narrative equipped with own miniature climax.* *6: Climax* Do have a final climax. Climaxes are undercut by the ____ of the program. Reaches its peak, no ____ _____. *7: Resolution/denouement* Can have no ____ _____ = end of series. Ending of episode must leave us in ____ as to the ultimate resolution of series overarching plot. Larger questions not fully resolved, small questions are. Future complications are ____ _____. M-A-S-H example of narrative closure: two and a half hour movie. Most are up on the schedule and the next are gone. Friends: Left some parts unresolved -> Joey's own sitcom

-Open narrative of the series to follow -Resolve, establish -Interruptive -Radio -Sound, image -Series -End, episode -Classical film -Plots, environment -Narrative emphasis, core characters -Brief -Consistency -New, established -Personal histories/pasts, ill-defined -Present -Lack, desire, protagonist -Character -Immediately resolved, counterforce/antagonist, instantaneous resolution (could be internal, environmental, psychological, or another person) -Narrative problematic, Come and go -3 -Segmenting -Segment, acts -Small climax -Narrative chain -Repeatability -Final resolution -Final resolution -Already seeded

-Rhetorical Positions (O POVs that s their f practices according to certain perspectives and attitudes) (4 Principal Frameworks that articulate their attitudes and positions) 1. Explorative positions: A ___s___ search into a particular s/p/p ___p_____. Assumes perspective of __t___/__e___/__i___ who encounters __n__ ___w___ and describes them straightforwardly as ______. 2. Interrogative Positions: Subject as being under _______ through _____/____ questions of which individuals may or may not respond. 3. Persuasive positions: Expresses a ______ or _____ positions using _____ or ____ and aim to persuade viewers to __f___ and ____s__ in a certain way. 4. Reflexive/Performative Positions: Call attention to _______ process or perspective of the ______ in determining or shaping the documentary material being presented. Sherman's March

-Organizational POVs that shape their formal practices according to certain perspectives and attitudes 1. Announce or suggest that the film's driving perspective is a scientific search into a particular soc., psych., or physical phenomena. Documentary assumes perspective of traveler/explorer/investigator who encounters new worlds and describes them straightforwardly often as a witness. *travel films, anthropologist's urge to show diff. civilizations and tourist's pleasure of visiting novel sites and locations* 2. Identifies the subject as being under investigation through implicit or explicit question-and-answer format. Employs voiceover or on-camera voice that asks questions of individuals which may or may not respond. 3. Use of interrogation often (not always) intended to convince or persuade a viewer about certain facts or truths. Expresses a personal or social position using emotions or beliefs and aim to persuade viewers to feel and see in a certain way. Voices, interviews. Some use just images or sounds. *Propagandist movies* Just images. (What we are being persuaded to do may not be immediately evident) 4. Call attention to the filmmaking process or perspective of the filmmaker in determining or shaping the documentary material being presented. Calling attention to the making or watching a film itself. Emphasizes filmmaker as a performer of reality.

-What is the foundation of documentary films? (pps, h, or c t/f) -In order to locate the significance of a film, we often must understand the _____, _______, and _____ context in which it was made. 2 Primary Agendas of Documentaries -*Revealing New or Ignored Realities*: Question the basic terms of narratives (_____ of ______, importance of a _____ and _____ chronology, necessity of a ______ ______ of _______) -*Confronting Assumptions, Altering Opinions*: Which reality do we choose to accept? ^ ^ ^ *Persuade viewers of certain facts, attack other POVs, argue with other films, or motivate viewers to act on social problems/concerns*

-Presenting presumed social, historical, or cultural truths or facts. -Historical, social, cultural -Centrality of characters, cause and effect, narrative point of view -May present a familiar or well-known subject and attempt to to make us comprehend it in a new way. Persuade viewers of certain facts, attack other POVs, argue with other films, or motivate viewers to act on social problems/concerns

What are web series? -Web series are ____ of current and aspiring ___ ___ -Can vary in _____ (dramatic, sitcom, variety, non-descript) -Traditionally thought of as ___ for ____ ____ like YouTube, Sony's Crackle, etc. but has been expanded into Netflix, Amazon, Hulu, and Yahoo original programming the last 5-7 years. Traditional Web Series CAN Earn Profit BUT... (the ones that look like movies or TV but are not Netflix originals) -When considering ___ of TV and film, the ____ market for web video is still much ____. -IN FACT: Most of the important and noteworthy projects made for ____ ____ are made either by ___ ____ (major networks: NBC, CBS original content) and ____ (Fox, Sony, Warner Brothers) or by people with ____ ____ to them. Outside of the mainstream producers of web series there is INDEPENDENT (INDIE) Producing -Because budgets are so low and creators ____ the _____ ____, web series can be but ____ ____ ____ edgier, more ____ driven, and more political than ____ _____. -BUT because they often do not have the ____ they often lack production design and skill. -Different sets of ____ to these productions that have to take risks and make steep compromises to ____ a ____. What do INDIE web creators propose that content can do? -____ alternative ways of producing new ____ of ____ (___ and ___ experimentation) -____ with new practices in ____ (reeling in consumers) -____ new ways of ____/____ -____ new methods of _____ (getting content to people) -____ new ways of assessing ____ of content (What kinds of serials do consumers want? What will make them stay loyal to the show?) If these proposals are feasible, then WHAT rewards can Web Series offer? -Ways to ____ with consumers/users in an increasingly difficult market -Ways to ____ gender, racial, sexually oriented ____ in main-stream media -Ways to allow new content producers ____ into the _____. Case Study: Dr. Horrible's Singalong Blog (Whedon, 2008) -Created around the 2007 Writer's Strike (Writer's Guild) -$200K budget and permission to Universal Studios Backlot (TWO THINGS _____ ___ ___ would not have.) -42 minute RT that violated ____ ____ ____ ____, but NOT ONLINE (NO ____) -After sharing for free online, sold by _____ -Recovered ____ ____ -PROVED potential profitability of ____ ____ ____ Between Two Ferns Misadventures of Awkward Black Girl, Insecure, H+, Marble Hornets, Lizzie Bennett Diaries

-Products, Hollywood workers -Structure variety: musical, nondescript: blogging -Content, hosting sites -Profitability, overall, smaller -Online streaming, traditional institutions, studios, strong connections -Own the intellectual property, are not always, fan, legacy TV, budget -Ethics, realize a vision . . . .. . . . . . . . . . . . . . . . . . . . . -Illustrate, kinds, stories, narrative, genre -Experiment, marketing -Explore, financing/advertising -Identify, distribution -Determine, value -Connect -Correct, representations -Access, industry -Indie web creators -Traditional legacy TV standards, STANDARDS -iTunes -Production costs -Original online content H+ highest production then Insecure, Marble Hornets lowest production value, rest in fair-good MOABG: independently financed H+ sponsored by Warner Brothers' digital division Lizzie Bennett: Pride and Prejudice: way to earn credit for writers in written by for eligibility in union or WG

Structure -BOTH Dramatic and Sitcom TV are made up of 2 types? Serials -Structurally ____, ____-____ stories in 4 ways similar to daytime soap operas. Also know as the long narrative. 1) Expects viewer to make ____ ____ from 1 week to the next. (Will remind you. Your recollection.) 2) _____ some questions, leaves others dangling. 3) _____ on ensemble acts. (Though a show may focus on 1/2 of cast, multiple relationships are needed.) 4) Episodes ____ alternate strands of narrative from 1 ____ to the next. Episodic -____ of the problems raised in the beginning are ____ ____ by the end of the ____ and questions do ____ _____ week after week. -OF COURSE, there can be ____. (Arrow, Supernatural, MindHunter, Riverdale)

-Serial, episodic -Dramatizes, long-form -Narrative connections -Resolves -Focuses -Interweave, scene -All, generally solved, episode, not dangle -Hybrids