Liverpool Stories- Overhead

Liverpool Stories - Overhead from Katherine Muldowney on Vimeo.

Producer- Hamish McCarter
Director- Hannah Porter
Sound- Patrick Clifton
Editor- Dylan Oscroft
Camera- Kathy Muldowney
(Asst. Camera- Dylan Oscroft)

PRODUCTION: Shotlist

PRODUCTION: Research/The skills of a documentary cinematographer

During researching my role, I found this article from Red Gecko Productions to be of much use. It clearly distinguishes the difference between narrative film cinematography and documentary photography. It also discusses the important relationship between cinematographer (myself) and the director (Hannah), and my specific responsibilities which come with my role. 

Jan Keck 

July 2010

The skills of a documentary cinematographer

http://red-gecko-productions.com/redgecko/2010/07/29/the-skills-of-a-documentary-cinematographer/ 

Two Important points; 

Relationship between cinematographer and director- 

• One of the most important relationships in production of any film 
• Very important that the director is as clear as possible about his/her vision and that the cinematographer understands and can help to realise this 
• All shots should be planned out with the director prior to filming on location
• Director has to trust and rely on the cinematographer more than anyone else

Role and responsibilities-

• Scouting locations to assess lighting
• Setting up camera instruments 
• Deciding camera positioning in collaboration with director
• Making all camera movements. 

Difference between narrative and documentary film making

Unlike narrative film where the cinematographer’s job is to create images, with documentaries his job is finding images. The cinematographer needs a sensitivity to what is going on in front of him/her to be able to pick up on small cues, fleeting facial expressions, telling hand gestures – the little things that reveal characters and moments. He/she needs to perfect the skill of finding these images and image sequences that director’s mean when talking about the “emotion of the moment”, “documentary moment” or “documentary butterfly”. Most of  those moments happen only once in a lifetime, so when the cinematographer needs to observe and listen and always be ready to shot it, or it’s gone.- Jan Keck (2010)

PRODUCTION: Treatment (Annotated)

Liverpool stories- Overhead

Treatment finalised by Hamish McCarter
Shot annotations by Kathy Muldowney

PRODUCTION: Research/Inspiration

Two documentary films I have researched have personally helped to inspire our film; when it was suggested by Hamish that we use drawings to represent what the Liverpool overhead railway would have looked like, it reminded me of a stylistic technique used in James Cameron's Ghost of the Abyss (2003), whereby shots are superimposed on one-another to represent people, structures and objects of the past. Another film which more informed the documentary style of our film, was Itzhak Perlman's documentary for the BBC, titled Harry Patch: The Last Tommy(2009). A very personal and emotional piece as Harry Patch, the last living WW1 veteran, recounts his days in the trenches.



Ghosts of the Abyss- Stylistic

Stylistically, this documentary about the shipwrecked Titanic inspired a lot about how I visioned our piece. In many of it's scenes, it demonstrated the historical significance of difference aspects of the ship, by combining two different shots- one of the old and rusting wreck at the bottom of the ocean, and one superimposed over the top, to represent how it would have looked when people dwelled aboard the fated ship. The aim for our own film, much like in Ghost of the Abyss, is to superimpose drawings of the Liverpool overhead railway, on top of our own shots of where the structure used to stand across Liverpool, in order for the audience to be able to visualise for themselves what it would have looked like, and also to draw a parallel between past and present. I feel this will give our film a sense of realism, much like it does with Cameron's documentary. It helps us to picture and see that these structures (both the ship and the railway) really existed and were experienced by real people. It provides a real visual experience for the viewer, and I hope it will have the same effect in our own film. 


Harry Patch: The Last Tommy- Personal/Story-like interview style

For our film, we'd like to make our interview with Hamish's Grandfather (George Bates) more personal and story-like, rather than just informative. In the documentary film The Last Tommy, Harry Patch gives a very personal and emotional recount of his experiences during WW1 (and emotive and sensitive subject matter to begin with). Hearing  about the war from someone who actually experienced it, as opposed to a historian perhaps, gives the documentary a lot for meaning in my opinion, and also provokes a lot more thought and interest. Like this, we have chosen to let George (a frequent rider of the Liverpool Overhead Railway) tell us about the railway in his own words and relating to his own experiences. We hope to get a personal recount of his times on the railway, and how is did (and possibly still does) hold a certain significance for him. 

Images-
1. Ghost of the Abyss, James Cameron (2003)
2. Harry Patch: The Last Tommy, Itzhak Perlman (2009)

"Blackfish" Documentary Analysis

Documentary Analysis- Blackfish (2013) Gabriela Cowperthwaite

Title - Blackfish

Gabriela Cowperthwaite

Year - 2013
Running Time - 90'00"

The documentary focuses on the captivity of Tilikum; one of the largest Orca’s in the world, captured and kept in captivity. The film centres around the fact that Tilikum has been involved in three deaths during his lifetime, including two park trainers and one civilian. The documentary intends to critique the cultural concept of show animals and performances within the entertainment industry. It argues the idea that keeping animals in captivity has a negative impact on the their temperament, this being the primary reason for the fatalities caused by the 12,000 lbs Orca, Tilikum. I think this documentary intends to give a side to these stories that the newspapers or park spokespeople intentionally do not show; these instances are all put down to ‘trainer mistakes’ and ‘accidents’, whereas this documentary seeks to show people the real and bigger picture behind these ‘mistakes’, the real picture being that animals kept in captivity become sick and aggressive. 

“Blackfish” is primarily made up of interviews, and makes heavy use of archived footage. The interviews we see in the film are with the trainers and handlers who used to work at both parks where Tilikum has performed and been housed, and also the families of the victims. The interviews mainly consist of each person's recount of events that led up to the fatalities, and the aftermath in regards to the law and the media, and the impact had on friends and families of those attacked and killed by the whale. I think the archived footage is intended to cause an emotional response within the viewer throughout the duration of the film. For example; we see a clip depicting the capture and removal of young Orcas from the ocean, and their journey to various waterparks around the world. I think this is supposed to cause feelings of shock and anger within the audience, as the voiceover describes and explains the stress-calls of the baby Orca’s and their mothers, from whom they are being brutally separated from. Another example of archived footage being used to create emotional response, is the incredibly graphic footage captured of the attacks themselves; we see the animals temperament completely change during their public performance, the exact moment that they turn on their trainers and begin to viciously attack them, causing serious injury and, in three unfortunate cases, even death. This also creates shock within the audience, because this is no re-enactment, it is real footage depicting the real deaths of real people. I think it causes the viewer to respond with two thoughts; firstly, sadness and shock for the fates of the the trainers, but also anger and frustration at what may have caused these usually harmless animals.

The visuals in this film are captured in an incredibly engaging manner, in spite of the traumatic subject matter. There are many shots of Orcas in both their natural and captive environments, footage captured which spans Tilikum’s lifetime to date (33 years), and despite it’s age, the older footage captured on VHS camcorders holds a very significant place in this documentary, well presented in a captivating manner. The director also uses various other visual materials, including photographs, newspapers headlines and various online material, which I think helps to emphasise the critique style and personal stance that the director has taken.
The film is edited in a chronological sequence as to document the events that have occurred throughout Tilikum's life from capture, to events which led up to the attacks, interviewing people who observed his changing behaviour as a result of living in captivity. I think this is a very clever technique used by director, Gabriela Cowperthwaite, as it captures your attention as soon as you see the baby Orca being torn from it's mother, and holds it as it shows you the trauma that this animal further endures while being kept in captivity, leading up to the climaxes that are each attack.
The sound within this documentary doesn't tend to draw much attention to itself, no (if any) music is used for effect, which seems it would be quite irrelevant given the shooting/editing style. Also, a lot of the sound in the archived footage (which is as much as 15 years old) is of course diegetic, therefor it is of low quality, although the director has made the choice to include this, as it contains vital information to the narrative of the film.
I think Blackfish has a huge, mainly emotional, impact on it's audience, through use of both it's visuals and subject matter.  I think the employed editing technique of depicting chronologically the lifetime of Tilikum, has great effect in generating this emotional response. Also, the in-depth and heartfelt interviews with park-workers and family further engages you in the emotional theme of the film. 

"King of Laughter" Analysis

King of Laughter from Tarmak Media on Vimeo.

Title - King of Laughter
Nick Hillel
Year - 2006
Running Time - 3'10"

"King of Laughter" explores the positive power of laughter, in what has been named Britain's unhappiest place to live, Walsall. The piece follows Belachew Girma, originally from Ethiopia and holder of the Guinness world record for longest continuous laugh, as he makes his way through the town's city centre, using his infectious laughter to brighten the days of strangers. 
The subject matter deals with the cultural idea that we cannot be truly happy unless we are in possession of certain things e.g. money and material goods. There is a sort of nostalgic hint to the narrative at this point, as the elderly women describe how there is no time for the family anymore and no time to enjoy yourself (other than to watch the telly). They describe how everyone has now become absorbed in 'their own little cocoons', no longer aware of the joys that life holds.
Belachew explains that, having endured two counts of extreme bad luck, resulting in the loss of his possessions and his business, he had to teach himself in order to get through it, and how it was such an important element in his survival after tragedy. His words put emphasis on the importance of laughter in a world full of challenges and troubles. This documentary piece has a very strong and relevant message, which is portrayed throughout the entire film; you as the viewer instantly feel better as you hear the laughter spreading thorough the people as the piece progresses.    
The film makes use of various different types of visual material; first we see Belachew being filmed interacting with different people inside a convenience store, he is facing into the camera for a majority of the film, although this scene seems pretty standard, with a few cut-aways of different parts of the store. I think the next location holds more narrative significance, as it makes use of visual material through decorations and wall displays. For example; we see a cross-stitch image which reads "Laughter is shrinking", a prominent message relevant to the nature of the film, which also mirrors what is being said in this particular scene. Another interesting aspect of this scene, is that the words and sound is not synced up to the image; we see lips moving, but what is being said doesn't match. Perhaps this technique has been used to convey the idea that the times these people knew are now behind them, giving the idea that being happy and laughing for the sake of it doesn't exist anymore. 
Additionally, in terms of visuals, the use of the steady-cam of Belachew's laughing face and reactions, creates a very personal, and infectious, feel to the documentary. The constant view of his smiling face and laughter is very effective in engaging the audience. 
The sound within the film primarily consists of the sounds of laughter, from both Belachew and the strangers that he encounters. However, there are few slightly more complex features which contribute to the sound of the film. Firstly, in the supermarket, we hear a voice on the intercom announce "Good morning shoppers, we have a very special offer on for you today", I think this is prominent for the reason that is denotes a sale is on at the supermarket, but the connotations of a 'special offer' result in the appearance of Belachew to the customers. During the scene with the elderly ladies, we hear them singing "If he wants to laugh, let him laugh", also prominent and relevant to the subject matter of the film. 
Overall, I think the effectiveness of this film on it's audience is great. It immediately sends out a 'feel-good' message to viewers, through the combined use of it's visual and subject matter.