2032MAPA Documentary Praxis

Based on both themes of transgression and resistors, I selected my father to showcase his personal story of being a kosovan refugee in the late 1990’s. As immigration is a broad matter furnished with contrasting views, I have ensured to create this documentary as a first-generation immigrant by enlightening and educating an audience through an individual’s story.

Creating a documentary is undeniably difficult, though the research for the construction of a documentary is a substantial step, as it contributes to the ‘authenticity, […] representativeness, and meaning’ (Scott, 2006) in a documentary. A level of trust needs to be established in order to create an authentic representation of your subject, which I by default had made. As a film maker, I understood and sympathised with my father’s story, though in the process of my research I had found that a connection with the subject’s story and its context, also needed to be made. The Ted talk, ‘Why Children of Immigrants Work so Hard’ (TEDx Talks 2019) supports my aim whilst creating my documentary, ‘Nostalgji’, as having an immigrant family ‘takes away the option of easy’(TEDxTalks 2019), which I identify with. Though my father’s story is completely different to my experience as a first-generation immigrant, it the link which we share in common that strengthens the message between the filmmaker and the subject. It also creates meaning and authenticity, which is vital as research and passion for the topic influences the narrative, the questions asked and ultimately the final edit.

In the process of this project, I have been able to develop my creative skills, beginning with creating a 1-minute documentary based on the relationship between a mother and son. In this, I mostly developed my skills in colour grading. I found in my development that my source of motivation to create the 1-minute documentary, as well as in ‘Nostalgji’, is human emotion and relationships and how it can cinematically be bought to attention and essentially be appreciated by the audience creatively. Another source of motivation was the ‘Almost Famous by Op-Docs’(Proudfoot 2019) and its technical and creative execution. I emailed Brandon Somerhalder, the cinematographer, in order to gain some insight on how he created the Op-doc series and what technical equipment he used to film, so I can implement similar techniques. I was particularly inspired as it was also based on a personal story, and its use of archival footage, closeups and aspect ratio to showcase the subject were some creative choices I also wanted to adopt for ‘Nostalgji’. Sontag states that, ‘to take a photograph is to participate in another person’s […]vulnerability’(Sontag 2002: 11). I creatively made the decision to use personal vhs footage in the screentest and the final edit, as personal amateur imagery can ‘actively promote nostalgia’(Sontag 2002: 11), which was my aim with the documentary.

Before the initial shoot I ensured to carry out a test shoot, using equipment I am familiar with and that produce the best outcome for the documentary. However, the first shoot did not go as I had planned. This most mostly due to incorrect framing of the subject and the use of different sound equipment. However, I reflected on the mistakes and received feedback on what I could improve on in terms of framing, sound and location. In the second shoot, I used a lavalier microphone to record sound as opposed to using a portable recorder due to improved sound quality. Furthermore, I carried out the interview in a living room and kitchen area to reinforce the personal and intimate concept, as opposed to a white wall. I have learnt massively during the process of filming in terms of exploring my skills in sound and cinematography, but also lighting. Even though I did carry out a test shoot using the same lighting equipment, the natural lighting entering the room affected the footage, particularly towards the end of the interview as it created a hard-light effect on the subject’s face, requiring extra time in post-production.

The final edit of ‘Nostalgji’ remained similar to what I had planned in terms of following through with the concept of using vhs footage. This was because in the screen test, I had already begun to use the vhs footage and experiment with the editing style of the documentary. Thomas Austin states that ‘the aesthetics of documentary studies brings attention to the modes of narration’ (Austin & de Jong, 2008). Therefore, whilst creating ‘Nostalgji’ the cinematic approach I had planned to take on is observational mode from Bill Nichols’ 6 modes of documentary. It is described as an attempt to ‘capture[…]objective reality with filmmaker as neutral observer'( keyconceptsinmc 2012). Though my documentary partly fits in this mode, I found that the six modes of documentary generally ‘establish a loose framework of affiliation within which individuals may work’(B.Nichols, 2001:99). Therefore, there is room for flexibility and a possibility of merging modes together. This is evident in ‘Nostalgji’ as conventions of expository mode are also showcased through the use of narration and where ‘images serve a supporting role’(B.Nichols, 2001:107), particularly through the use of b-roll footage. However, the editing in the expository mode is described as ‘evidentiary editing’(B.Nichols, 2001:30) and it does not establish ‘a rhythm or formal pattern’. This opposes the style of editing in ‘Nostalgji’ and I intentionally edited the footage to support other elements of the documentary such as the soundtrack, adding to the narrative and its emotion.

Stella Bruzzi states that a ‘documentary’s driving ambition is to find a way of reproducing reality without bias or manipulation’ (Julie, 2014). In the process of filming and editing Nostalgji, I found that the narrative that is portrayed can be manipulated to some extent, through the use of b-roll and also through the questions asked. As my project is based on nostalgia, I ensured to base my questions on this concept rather than basing the project on political issues that understandably surround immigration. However, I have found that the subject can ultimately divert from the question and address other relevant points which can be useful, as it provides more footage to edit with and effectively allowing room to manipulate the narrative. Accordingly, the basis of my concept changed slightly as I found that my subject mentioned the topic of family frequently. To maintain the narrative of family, the documentary required more b-roll of vhs footage referring to the subject’s family members. However, the concept of nostalgia nevertheless merges in well with the concept of family as they are ultimately part of the past, present and the future of an individual.

References:

Scott, J. P. (Ed.). (2006). Documentary research. Thousand Oaks, CA: Sage Publications. 

Austin, T. & de Jong, W. (2008). Rethinking documentary: New perspectives, new practices. London: Open University Press.

Keyconceptsinmc (2012) Modes of Documentary – Bill Nichols. [online] available from<https://keyconceptsinmc.files.wordpress.com/2012/10/doc-modes-nichols.pdf&gt;&gt; [15 March 2020]

Sontag, S.(2002). On photography. London: Penguin

TEDx Talks (2019) Why Children of Immigrants Work so Hard | Colleen Bies | TEDxOshkosh.[online]available from<https://www.youtube.com/watch?v=9lRUVfFGVxQ&t=1s> [19 March 2020]

Ben Proudfoot (2019) I Quit The Black Eyed Peas. Then They Became Famous.[online]available from< https://www.nytimes.com/2019/12/16/opinion/black-eyed-peas-kim-hill.html>[17 March 2020]

Julie (2014) In front of the camera. [online] available from < https://unrealnature.wordpress.com/2014/01/02/in-front-of-the-camera/ > [15 March 2020]

Nichols, B. (2001) Introduction to documentary. 1^st edn. Indiana: Indiana University Press

Kids of Immigrants. (2020) ‘OUR STORY, Kids Of Immigrants’ . Kids Of Immigrants[online] 2020. available from< https://kidsofimmigrants.us/pages/our-story>%5B9 April 2020]

Somerhalder, B.(2019)‘NEW YORK TIMES | ALMOST FAMOUS | KIM HILL’ . Brandon Somerhalder[online]17 Dec 2019. available from<https://brandonsomerhalder.com/#/new-york-times-almost-famous-kim/>%5B1 April 2020]

United Nations Photo.(1999)‘Kosovo Refugees’. United Nations Photo [online] 01 March 1999.available from < https://www.unmultimedia.org/photo/detail.jsp?id=569/56994&key=7&query=kosovo&so=0&sf=date> [1 April 2020]

As shown below I had created a first draft for my edit. In this first draft there is no colour grading present or the use of b- roll. I simply cut down any unnecessary information, ensuring that I allow enough time to implement the use of b roll footage and certainly the use of vhs footage which was my main focus and feature I wanted to add to the documentary. Furthermore I added subtitles to allow feedback to be given easily aswell as guiding me through editing.

I made to sure to continue the theme of nostalgia and reminiscing for the past, though in my feedback I found that the narrative I had created in the first draft intensified the theme of family. For instance, at the time stamp of 00:20, the subject explains how it was difficult to say goodbye to his parents and later on he explains how his own family encourages him and gives him hope. In order to support this theme, I made the decision in the second draft (below) to omit the part where the subject speaks about the war and how it was different as the documentary focuses much more on an individuals story and their nostalgia for their own past rather than immigrants in general and how they all ultimately deal with the hardships of fleeing a war.

Other changes I made which are present in the second draft are that I omitted the part where the subject speaks about the song/sound that is nostalgic to him. Though this part would be interesting keep in the documentary if the duration of the documentary is longer and it would only work if the song would be used in the documentary. Though it did not fit in with the tone and mood of the documentary. Furthermore I have also added the vhs footage I felt that were appropriate corresponding the answers of the subject aswell as using the footage as an introduction to the documentary.

In order to improve my second draft I will begin by making the documentary slightly shorter as it is at 3:05 at the moment without credits. I also received feedback in which at the time stamp of 1:22 there is some repetition: “when I came to the UK, the moment I felt like I was at home in the UK”. The section at 2:42 needs to be condensed or taken out as the subject has already established his successes in the uk. Furthermore I will begin to refine the colour grading of the documentary as the lighting varies especially towards the end of documentary.

‘Nostalgji’ documentary edit plan:

As shown above I have created a storyboard for ‘Nostalgji’. This essentially gives a rough idea of the type of shots, sound and the duration of each frame in contribution to the final edit. However, as a documentary cannot be fully planned due to variation in the subjects answers to the questions, I have created the storyboard based on possible shots and vhs footage I could use in the final edit.

In the beginning of the documentary storyboard (Shot 1 to 6) I have used a similar structure to the screentest I created, as it is the creative approach I would like to take in the production of the actual filming of the ‘Nostalgji’. Again, as a documentary storyboard cannot be planned fully due to variation in answers from the subject, I have also included the type of b roll shots that I could implement in the filming in order to break up the consistent a-roll footage. This includes shots such as the closeup of hands moving whilst the subject is talking (shot 10) and the use of a photo album (shots 16-18); playing with idea of reminiscing for the past. In addition, I have ensured to end the documentary with the use of vhs footage since the documentary starts with vhs footage.

Making the 1 minute screen test(below) allowed me to experiment with various different shots, which I did not use many of for the 1 minute screen test due to lack of time. However the still images below show the inspiration of the storyboards for ‘Nostalgji’ ;aside from the lack of technicality shown in the shots in terms of lighting and the framing, it gives me an idea of the possible shots I could incorporate whilst filming.

Question 1: Simple introduction(name, age)

Question 2: Why did you leave Kosovo? 

Question 3: Is there a specific moment that stands out the most regarding your journey to the uk?

Question 4: When was the first time you experienced the feeling of nostalgia for home?

Question 5: When you went back to Kosovo in 2001, was it the same as you had memorised?

Question 7:Do you feel that you’ve lost your connection with Kosovo?

Question 8: Nostalgia usually forms to cope with the loss, what did you do to make yourself feel at home?

Question 9: What music/sound is nostalgic to you?

Question 10: Is there anything you missed out on from being a refugee ?

Question 11:  Are you happy now ?

Over the past week I have booked out equipment from the loan shop in order to test out different equipment and to note down what technical equipment will be appropriate to use for the production of my documentary. I carried out some test shots in which I mostly focused on lighting and tested out 2 light modifiers which were the Aputure Spacelight and Aputure Lantern Soft Light Box with the Aputure Light Storm C120d.

This image shows the set up of using the Aputure Lantern. The aputure spacelight was not appropriate for this particular set up and the spacelight itself did not provide a flattering effect on camera(using the GH5) as the lantern light modifier. Testing out these light modifiers is useful and convenient as I am able to test which equipment is suitable. I carried out some test shots using the Aputure lantern alongside the Aputure 120D.

This image was taken with the same set up as shown above. The intensity of the led is at the lowest, 10, which is appropriate for this particular shot as when I colour grade in Adobe Premiere it will essentially look much ‘cinematic’ and overall aesthetically pleasing.

As opposed to the image above, the image below shows a clear difference in lighting as I only used motivated lighting in the room. This was the set up I used for my screentest which was suitable at the time as it was a rough idea, though the image above clearly shows technical skill which I will apply to the final documentary.

The next few images shows the same shot but witht eh light intensity at 20, 30 and so on. This was mainly for me to see the difference in low light and a brighter image; overall, just testing.

Before filming commences I want to test out different lenses and this is mostly for the sit down interview section. I was inspired by an existing documentary ‘I Was in The Black Eyed Peas. Then I Quit. | ‘Almost Famous’ by Op-Docs’ in which the film maker used a wide angle lens, focused on the subjects face, for the sit down interview. This technique could be added to my documentary as because the topic is so personal and focused on one person, a closeup of the face as presented in the example documentary would add to my documentary creatively.

https://www.youtube.com/watch?v=KkSDNxM1w58

Working title: For now I want to call this project ‘nostalgji’ which is nostalgia in albanian.

Shooting schedule:

In this shooting schedule I have basically divided up the documentary in the topics I would like to cover. I feel that each topic shown below is relevant and essential to what I am trying to cover and portray through my father’s story. In the treatment, I wanted to base the documentary on the idea and concept of ‘nostalgia’. This was essentially down to the fact that I was going to implement the use of vhs footage filmed by my father aswell as archival footage of the war in kosovo. Furthermore my father’s story is personal to him and also myself.

Though, because a refugee’s story is broad and there are so many aspects of their story that can be covered, I slightly lost focus on what my treatment was actually about as I am trying to cover too many topics within 3 minutes. From the feedback I received on my shooting schedule, I recognised that I wasn’t focusing on the the concept of ‘nostalgia’ but I was mostly thinking about a linear structure and wanting to cover many topics; this was not what I was aiming to create as I want this to show a sense of reminiscing.

The shooting schedule below shows a re think of what I want to cover and what fits with the concept of nostalgia, the sound and visuals of the documentary. Even though there are still many topics to cover in the second shooting schedule I plan to take the most relevant points made for the edit and make the effort to create a short version for the submission aswell as a longer version for my personal portfolio .

In terms of sound, I want to implement the idea of albanian folk music as it is very traditional and it is the type of music that my father was surrounded by. This will create a way for the audience to delve into the kosovan culture and also understand how the nostalgia plays in the documentary. Though I will also look into using conventional type of documentary music to note down and decide on which sounds are appropriate for the documentary during the edit.

Just to recap my idea, it is essentially a documentary based on an immigrant in which their personal story will be told by covering topics such as the hardships they have faced leaving their country, any difficulties they faced in the new society they have joined and the difficulties of starting from scratch etc. I originally planned to show 2 treatments for this project, as my first plan was to base this short documentary on my father in which I created a screen test for this idea(shown on previous post). However I was not sure whether I could proceed with this idea as it is a sensitive subject, though I feel that creatively I can create this documentary in way that my father is not shown constantly and the narration of his story is essentially the main focus. I had a back up plan of using my cousin as a subject for the documentary, also sharing her story. Though there were some implications with this as the interviews would be have to done online over video chat and overall I feel that I wouldn’t have as much creative freedom as I would with my first idea. Therefore I will be proceeding with my first idea of using my father as the subject of my documentary.

Transgressions treatment: Length: 300 Words

I want to base the 3-minute documentary on the story of an immigrant. There are many connotations and associations with being an immigrant whether they are positive or negative. As an immigrant’s child, I am in the position to be able to share a story of an immigrant through my father. Immigration, or being a refugee in my father’s case, is a broad matter as this documentary can focus on the political implications of immigration or focus on an individual’s story. I will focus on an individual’s story. I want this documentary to generate the feeling of nostalgia as it ultimately is a film of reminiscing and empathising for one’s story.

The topics that I want to cover within 3 minutes are my father fleeing the Yugoslavian war and essentially the effect it had on him as well as what it meant for Kosovo as a country. Also touching on his journey of how he actually got to the Uk, as my father originally did seek refuge in Germany though there were implications with this. Furthermore discussing the way he needed to start from scratch and the hardships he faced with this as well as how it affected our family. Also touching on how far he has actually come within 22 years in the Uk and how he has progressed. Though these topics seem structured I feel that if the subject discusses the subject with related information it will seem natural and authentic.

Visually, I will be using a considerable amount of personal archival footage as I am in the position to get hold of the footage easily and the archival footage will allow the audience to visually be informed of my father’s experience in Kosovo as well as seeing archival footage from the war. This will be alongside a possible sit-down interview and the subject going about his daily life. Overall, I feel that a personal story will inform and educate different opinions on this issue aswell as giving the audience an insight on a refugee from Kosovo.

Assignment: Visual Narrative, 1 minute film

In this visual narrative, I have tried to show the creative route I would like to take when making the final documentary. As mentioned in previous blog posts, the topic of immigrants/refugees is a broad matter which can be approached in many ways such as a touching on 1 personal story or discussing the political impact immigration has etc. In this screen test I have decided to go for a personal visual where I have focused on the story of my dad.

This screen test is also a way for me to develop my own cinematic style which I feel I have started to do with the use of archival footage visually explaining the war in yugoslavia and also personal home video that were filmed by my father; giving more context and visual imagery to allow the viewer to understand the narrative clearly.

Assignment: Treatment

Based on both themes of transgression and resistors, the documentary will show the story of an immigrant. There are many hardships that are faced with leaving your home country, whether that is for a better lifestyle or for other personal reasons. In recent years, immigration or rather illegal immigration, has been a prominent topic up for debate in the media. Though this is a very broad matter, I feel that a personal story of someone’s journey of leaving their home country will inform and educate different opinions on this issue. The cinematic approach I am planning to take on is the observational mode. It is described as ‘attempted to capture (as accurately as possibly) objective reality with filmmaker as neutral observer'(keyconceptsinmc 2012).

Codes and conventions of observational mode:
– The filmmaker is usually hidden behind the camera

– filmmaker does not change or influence the environment/surroundings

– ‘Since nothing is staged for the camera, the camera rushes about to keep up with the action
resulting in rough, shaky, often amateur-looking footage'(keyconceptsinmc 2012)

My proposed idea fits with some of the conventions observational mode states, though I personally would like to create a much more cinematic visual for clips filmed in the present aswell as a mixture of vhs/archival footage (which could potentially create a much more constructed feel to the documentary film). However I feel that a documentary cannot be restricted to one particular mode as aspects of the poetic mode also applies to the creativity of the proposed documentary; it ’emphasizes visual associations, tonal or rhythmic qualities, descriptive passages, and formal organization favours mood, tone and texture'(keyconceptsinmc 2012) I want to create a documentary that is authentic and that can inform an audience but also make my creative decisions visible and appreciated, as ultimately documentaries and any media is a work of art.

Additional ideas and thoughts:

Equipment used to create screen test :

1. Panasonic Lumix GH5

2. Zoom recorder h4n

Using this equipment was in my comfort zone as I have used the panasonic and h4n in previous projects; knowing that they perform well. The screen test allowed me to portray the narrative easily but it also gave a chance to see what was missing in terms of the creative and technical production of the 1 minute video. The things I would change in future production is to experiment more with the lighting and possibly use different sound equipment as I initially booked out the rode wireless mics rather than using the zoom recorder h4n. However because I filmed in a quiet location, I felt that the wireless mics were not needed, though I would like to test them out in future productions.

As art is subjective, I want take the opportunity to step out of my comfort zone with certain filming equipment and experiment much more in order to create and develop my own personal filmmaking style. In future production of the documentary, I plan to elevate/ improve my lighting skills, sound skills and all technical skills in the documentary to make it work for the subject and generally to produce a higher standard of work.

In previous projects I took on the role as gaffer which allowed me to expand my knowledge on the types of lighting I think work well and I started to understand how cinematography and lighting go hand in hand. In the images below (test shots from previous project) I used the Aputure Lantern Softbox which as a larger light source, created a soft and flattering effect. I am planning on using Aputure Space Light alongside Aputure Lightstorm LS 120D as it theoretically offers a similar effect. Overall, my plan is to use equipment I am comfortable with using but to also experiment with the technical aspects of the documentary process.

References:

keyconceptsinmc(2012)Modes of Documentary – Bill Nichols.[online]available from<https://keyconceptsinmc.files.wordpress.com/2012/10/doc-modes-nichols.pdf&gt;