Royal Television Society lecture

Written and Presented by

Owen Jones

Royal Television Society lecture:

People like us

• People like us - BBC documentary series that focuses on a struggling group of people living in the North of Manchester.
• 200 Harpurhey residents attended an angry meeting when the series aired.
• Their  complaint was the BBC gave a biased and distorted view of the area.
• Local children were bullied at school as a result of the program.
• People even pulled out in buying houses as a result.
• A local council worker, Richard Searle whos daughter featured on the program argued that "The BBC should not be propagating this harmful and miss-leading image of the working class"  

How do you define what the working class is?

• Owen Jones view is somewhat old fashioned in the sense that "someone who has to work for someone else in order to live, and they don't have control over the work that they do"
• Which would indicate that this is most people, weather you work in retail, secretary or a nurse 

Depiction's of the working class in television 1960's - 1970's

• Early depiction's of working class television were scripted by working class writers.
• Shows like Steptoe and Son in 1963 was created by two members of the working class community Ray Dalton and Allan Simpson
• Only fools and horses was made by John Sullivan
• Back in the 60's the BBC was very middle class orientated, the channel even turned down Coronation Street, deeming it common. But as more and more shows were introduced the ratings went up.
• A couple of years later Danny Coen took control of BBC1, he thought that there too many middle class sitcoms and not enough working class shows.
• The BBC in the 60's still under the influences of John Reith's concept of broadcasting, educate, inform and entertain.
• The corporation could become an incubator for gritty, issue based working class drama.
• BBC opened there doors to young bright working class men, who worked their way up to become writers, directors and producers.
• The list is long as it is impressive with luminaries such as: Tony Garnett, Ken Loach, Dennis Potter and Allan Clarke.
• These were just some of the film makers at the BBC that wanted to cause controverse, headlines and great reviews.
• Occasionally the drama in these shows would lead to actions in parliament, such as Cathy Come Home in 1966. Tackled the issue of homelessness in Britain, alerting the public, the media and the Government to the scale of the housing crisis. The show won second place in the British Film Institute's TV 100 poll of industry figures. Watched by 12million people Cathy Come Home was a defining moment in 1960's television.
• Tony Garnetts depiction of the working class leading up to the 1977 Queens Jubilee 'The Sponges'
• Shows authentic problems faced by the working class, went on to win numerous television awards
• Boys from the black stuff, which struck a nerve and found large audiences in 1982
• Shows like Cathy Come Home, The Sponges and Mrs Brown's Boys we're a key part in Television ecology. Producers of the 1960's and 70's understood that there was a moral obligation for television to show healthy and constructive class portrayal. Producers were aware of the transformative power television held, they understood that this medium could shape society by bringing issues to light.

Depiction of Television 1980's - to present

• Television is a powerful medium, and with great power came great responsibility
• By the early 1980's some trends would seem to suggest that belief in collected responsibility were being over shadowed.
• Television producers were turning frequently to what was known as 'cops, docs and frocs'
• Some may argue that the reality of working class Britain has been entirely driven from our television screens, what remains are demonised depictions used to vent our anger and disscust 

University exit strategy

University exit strategy

My step Uncle Gerald Emmanuel is a lecturer at Cardiff University for Animation. Whilst over the summer we had a long and arduous conversation involving my future and the creative industry. He made me analyse my work, forcing me to explain every detail that I had done towards a production, what I like/didn't like and most importantly how I contributed towards the project. Forcing me to analyse my work critically, establishing what I am good at, so that I may stand alone; hireable for a particular industry niche.

The conversation shifted on towards different practitioners and companies. Gerald reminded me that it is imperative that I research other work and organisations in the creative industry. So my Uncle told me to pick five companies that I aspire to work for, that embody my work ethos and creative mindset. Once I have these five companies in mind he urged me to do two things; Pester and Produce. He made it very clear that the only way to get a job is to show charisma, a solid working attitude and enthusiasm. 'So a company hasn't replied to your e-mail' he said 'go to their office and ask to speak to them', 'if they turn you down, make something new and come back again and again'.

So here are a selection of production companies that I will will whittle down to my key 5:

Analog studio London

http://www.analogstudio.co.uk/

+44 (0) 203 588 2020

studio@analogstudio.co.uk

"Analog is an independent creative Visual Effects Studio Based in London Producing visual effects for commercials, film, music videos and web content. The studio offers a wide range of services, inculding photo realistic 3D and compositing, 2D and 3D animation and grading."

Analog produce original content and work with directors and agencies to tell stories. Although I do not want to get into animation, the work this company produces astounds me. If I can get my foot in the door as a runner they might allow me to work on set; crafting myself into the future roll of camera operator.

Analog Showreel 2012 from Analog on Vimeo.

OMC

http://theomc.tv/

+44 (0) 208 986 4102

infro@theomc.tv

"The Odyssey Media Collective is a collaboration group of filmmakers, designers, animators and photographers, bound together by a shared passion for producing cutting edge work that looks and sounds amazing"

Although the OMC specialises in film, they also draw upon a wide range of artists together; bringing a unique new look to film. This forward thinking company places near the top out of the five companies I want to work for. With their work on British sub cultures and sports; I see myself fitting into to the OMC very well.

i-SPEED showreel from The OMC on Vimeo.

Dragonfly Productions 

http://www.dragonflyproductions.co.uk/
020 7100 3495
contact@dragonfly.co.uk

Dragonfly productions seems like a simple production company I can push my way into. The company offers animated videos, event filming, corporate video, video for websites, viral video, marketing video, promotional video, video editing services and aerial videos. The company covers a broad area in production, claiming that they are "highly adaptable, swift and efficient. I see myself as an adaptable person and if given the chance I will adapt to the variety in production.


showreel from Dragonfly Productions on Vimeo.

Big Talk Productions

http://www.bigtalkproductions.com/film/
t: +44 (0)20 7255 1131
f: +44 (0)20 7255 1132
info@bigtalkproductions.com

Big Talk Productions is one of the UK’s most highly regarded production outfits that’s enjoyed success across film and comedy TV. It also has a track record of finding and working with young and upcoming talent – many of which, like Edgar Wright and Joe Cornish, have now graduated to the big time. Big Talk is taking Ben Wheatley’s black comedy Sightseers to Cannes this month, where it plays in Directors’ Fortnight. Credits: Shaun of the Dead, Hot Fuzz, Scott Pilgrim vs. The World, Paul, Attack the Block, Sightseers, Rev (TV), Spaced (TV), Him and Her (TV)


Big Talk Showreel from Jerry Ramsbottom on Vimeo.

Archer Street Films

Production started in Scotland last month on Archer Street’s latest, the long gestating adaptation of The Railway Man. Oscar winners Colin Firth and Nicole Kidman lead the stellar cast in the £12m film about the true story of a Scottish prisoner of war and his journey to confront his Japanese captors. Archer Street was launched after the success of producer Paterson and director Tucker’s 1998 hit Hilary and Jackie. Credits: Girl With a Pearl Earring, Beyond the Sea, Burning Man

Bedlam Productions

http://www.bedlamproductions.co.uk/

T: +44 (0) 20 7287 6317
F: +44 (0) 20 7287 3619

info@bedlamproductions.co.uk

Bedlam’s Gareth Unwin partnered with See-Saw on the The King’s Speech, for which Unwin became an Academy Award winning producer. Working across film and TV, Bedlam is now shooting Zaytoun, about an Israeli fighter pilot who is shot down over Lebanon, and is readying The Lady Who Went Too Far with The King’s Speech writer David Seidler. Credits: The King’s Speech.

MEDLIFE Summer internship:

For: Current undergraduate students or recent graduates.

Length: 8-10 weeks.

Language Requirement: Knowledge of spoken and written Spanish strongly recommended, but is not required.

The Basics:

MEDLIFE hosts both summer and year-round media interns in both Riobamba, Ecuador, and Lima, Peru. Interns will work closely with our field staff members to document MEDLIFE's work on the ground through a variety of mediums (text, photos, video). Interns will also work with the Director of Communications and the communications team to contribute to multimedia projects for our website, blog, and social media sites. Media interns must have some prior experience in communications, have strong writing skills in English, and be familiar with basic editing software (Adobe Suite, Final Cut Pro). 

Administrative aspects of the communications internships (e.g. benefits, schedules, housing) will be handled by MEDLIFE's Director of Student Affairs.

Sample Responsibilities:

• Contributing to MEDLIFE's social media presence (mainly, but not limited to, Facebook, Twitter, and Vimeo); developing and implementing a creative social media strategy to attract new supporters online.
• Creating communications materials in order to present projects to government offices and other stakeholders in Ecuador; assisting with presentations to such groups.
• Attending local field events in order to document our work via various mediums (photos, videos, podcasts, blog posts); potential travel to other field sites located throughout Peru and Ecuador.
• Producing and editing short videos, photo albums, and other content for the MEDLIFE website.
• Drafting language for press releases, donor newsletters, and additional promotional materials that will reach thousands of MEDLIFE's supporters.
• Managing lists of media contacts and MEDLIFE supporters.
• Assisting MEDLIFE's Director of Communications in all aspects of MEDLIFE's media and communications program.

Internship Timeline:

January 15 - February 15: Accepting applications for summer & year-long internships 

February 15: Deadline to complete General and Media applications for the summer & year-long internships 

February 1 - March 31: Phone interview season

March 15: All students have received either an invitation to interview or a letter of regret 

April 1 - May 1: Student Affairs and Communications Departments admit selected applicants from the waitlist. 

May 1: All final decisions have been made.

MEDLIFE receives a great number of applications each year for a very limited number of placements; we are only able to select a small percentage of all qualified applicants.

This is my main exit strategy after University. Although MEDLIFE make it very clear that they receive a lot of applicants for a very limited amount of placements, I stay confident in my ability to bring a creative essence into the charities media work. A flare that will hopefully stand out, with the possibility of networking and branching my work out to the world.


ohh yea ive got this now.

Aesthetica film festival

Aesthetica Film Festival

Seminar 001:

Tom Leggett Film 4 on production

Mensch

02076832530

info@menschfilms.com

Tom Legget FIlm4 development editor gave the seminar on Film4 production. He began by showing us the Film4 Cannes showreel 2013. Toms role in Film4 as a development editor is to work with the director and script writers; he also scouts for film makers and script writers. Tom got his foot into the industry via the NFTS (National Film and Television School). Film 4's specialism in British social realism is the exact film work I would want to be doing; listening to Tom has inspired me to push for larger film companies, for I feel I could offer them the same insight into film that they are looking for.
Film4 Internships start from their resources team in July - and is a possible exit strategy after University

A hand full of film that we're in the Cannes showreel:

'How I live now'



'A field in England'

Other Films that Tom Leggett urged us to watch are:

Trance

Network

Frank

D&AD Brief

I have decided that this is the year to push my self to the limits. It is my last year before I enter the working world, therefore my last year to take in as much information freely as possible. As well as produce as much content towards a showreel; using the college facilities and equipment
So i've decided to enter into the D&AD awards in order to boost my portfolio and network my creative work.

For the awards I must create a 25 second ident for Digital Cinema Media (DCM). Making my own creative interpretation of what cinema means to me and the power it holds. For this brief I will need to literally visualise what cinema feels, emotionally and visually.
The DCM ident is one of the first and last things that people see when going to watch a film. It needs to set the scene and have an impact. Something that illustrates and celebrates the emotion we all feel when we take our seats and enter the magical world of the movies.

The Brief urges me to think BIG, with big concepts, big ideas, big executions. Creating a piece that is authentic, genuine and extraordinary to make the big screen come to life before the eyes of the cinema-goers.

Inorder to expand my ideas I decided to watch as many film idents as I could:

UKTV Watch ident


DixonBaxi / UKTV Watch Idents from DixonBaxi on Vimeo.

In 2012 digital cable and satellite television network UKTV launched these different ideans, for its general entertainment TV channel.
Creative agency Dixon Baxi - which UKYV had appointed to create the brand, concept, look and direction for the overall channel brand. They recruited london-based production studio Analog to produce four ident sequences under their direction. Using four main themes: Smoke, Liquid, Crystal and Hair.
I liked the use of organic visual effects in the liquid and smoke theme. The colours worked perfectly, giving the ident a fresh breath of beauty through the organic movements of the colours.

4Seven ident


4seven / Idents from ManvsMachine on Vimeo.

4creative in 2012 appointed design and motion studio ManvsMachine to create this unique ident for its new channel 4seven. The short video follow the Channel4 coming together of the logo, where the viewer is always travelling around a corner from left to right. The ManvsMachine team comment on their website, "The Graphic elements take the brand into three dimensions with a reactive seven, which reflects the amount of 'buzz' around programming throughout the day"

I came across a Digital Cinema Media ident from this year. This has helped me form a basis of ideas on how DCM want their ident to look and feel