Monday, 3 July 2017
THE K FOUNDATION
http://www.todayifoundout.com/index.php/2014/08/time-k-foundation-burned-million-british-pounds-apparent-reason/
Sunday, 2 July 2017
GW: HOAXES AND CREATED STORIES
The aim of my Global Warmning piece is to try and sell a falsehood to an audience. The aim is not to create a hoax but to use a dramatic, intriguing and interesting fictionalised narrative that can be used to help and sell the message I want to convey warning us of the Global warming issue. I have found that the Global warming issue is a little flat and a hard sell to audiences to get them to understand and act upon. This is because it does not seem urgent, it has become stale and it has been miss-sold for so long with spin by parties with self serving interests. I aim to try and make it more interesting by dressing up real facts in af ake or fictionalised narrative of a movement and characters that never existed. This will hopefully gain interest from the general publcicand get the issue talked about.
I have been researching lots of hoaxes to find out what it is that makes them work and tricks that they used to pull them off. I want to try and do this with my piece be it online OR as an installation. My current aim is for it to live online and be a variety of content linked together on the web that individually gives clues but all together pieces together the whole story.
I like the idea of these running through my own work somehow as little clues as to the true nature of the work that I am creating. Perhaps using images of them or the names of those perpetrating the hoaxes feeding back into my work as clues as to what is REALLY going on in the piece.
There is a huge variety here including the following.
http://cassieshouseofhorror.blogspot.co.uk/2012/08/what-is-slender-man.html
http://www.telegraph.co.uk/news/uknews/8679113/Five-famous-hoaxes-which-fooled-the-world.html
http://all-that-is-interesting.com/famous-hoaxes-fake-images
https://www.newscientist.com/article/dn15012-eleven-of-the-greatest-scientific-hoaxes/
http://listverse.com/2007/08/30/top-10-famous-hoaxes/
I have been researching lots of hoaxes to find out what it is that makes them work and tricks that they used to pull them off. I want to try and do this with my piece be it online OR as an installation. My current aim is for it to live online and be a variety of content linked together on the web that individually gives clues but all together pieces together the whole story.
I like the idea of these running through my own work somehow as little clues as to the true nature of the work that I am creating. Perhaps using images of them or the names of those perpetrating the hoaxes feeding back into my work as clues as to what is REALLY going on in the piece.
There is a huge variety here including the following.
- Cottingley Fairies 1917. Girls fake photos of fairies at the bottom of garden.
- Piltdown man 1912: Fragments of faked skull and jaw of HUGE man. Actually orangutan.
- The turk 1717: fake chess playing machine really a man iside.
- Alien Autopsy 1995: Two men fake alien autopsy footage.
- BBC Spaghetti trees 1957. April Fools day BBC joke with created spaghetti trees.
- Fiji Mermaid 1842: A mummified body that was actually grafted fish tail and baby monkey.
- Cardiff giant 1869: Giant man actually a model.
- BBC's Ghostwatch 1992: Spoof ghostly live show screened on Halloween.
The issue I will have is that most of these were in the days before the internet so I will have to be extra careful. My feeling is that one source will simply not sell my hoax and that I will need lots of threads to do this. This could be web-sites, mentions in Wikipedia, video, photos, filmed scenes and interviews and blogs etc. These will all be interlinked and provide a multi-thread approach to trying to convince the audience. On their own they will be a tough sell but if they all solidify one another the audience are more likely to be convinced by multiple sources all saying the same thing.
http://cassieshouseofhorror.blogspot.co.uk/2012/08/what-is-slender-man.html
http://www.telegraph.co.uk/news/uknews/8679113/Five-famous-hoaxes-which-fooled-the-world.html
http://all-that-is-interesting.com/famous-hoaxes-fake-images
https://www.newscientist.com/article/dn15012-eleven-of-the-greatest-scientific-hoaxes/
http://listverse.com/2007/08/30/top-10-famous-hoaxes/
Saturday, 1 July 2017
GW: PERIOD FONT RESEARCH
After working on some logo designs the obvious thoughts set in and most of my designs had incorporated Ariel which unfortunately did not come into existence until 1990. Tricky when the period setting I was needed graphics for was the late 60's and early 70's!
This led to some research into fonts and the website fonts in use proved to be invaluable. It gives dated examples of artefacts (book covers, posters, album covers etc) and then says which fonts they used. This will enable the authenticity to ring true on the artefacts and ephemera I create for my work.
https://fontsinuse.com/tags/301/1960s
https://fontsinuse.com/tags/299/1970s
Another consideration would be the authenticity of the early logos and branding of the Global Warmning movement and how this may change. I think that as it got bigger it would undoubtedly move from a basic and handmade nieve design through to something with more polish. So a couple of designs are likely to be needed. The modern Arial font works I have designed could be used to bring the logo up to date for the new modern incarnation of the movement.
This led to some research into fonts and the website fonts in use proved to be invaluable. It gives dated examples of artefacts (book covers, posters, album covers etc) and then says which fonts they used. This will enable the authenticity to ring true on the artefacts and ephemera I create for my work.
https://fontsinuse.com/tags/301/1960s
https://fontsinuse.com/tags/299/1970s
Another consideration would be the authenticity of the early logos and branding of the Global Warmning movement and how this may change. I think that as it got bigger it would undoubtedly move from a basic and handmade nieve design through to something with more polish. So a couple of designs are likely to be needed. The modern Arial font works I have designed could be used to bring the logo up to date for the new modern incarnation of the movement.
GW: LOGO AND PROMOTIONAL DESIGN
I spent an afternoon playing around with different logo designs many of which are demonstrated here. This is to create an identity, logo and font for the Global Warmning movement that I will be able to use for the archive footage on posters, badges, banners and placards etc. This was just initial research and development and here are some examples of the work I created. I aim to develop or use these to work with a collaborator to develop assets and branding for the Global Warmning movement.
The colours were chose to reflect the danger to earth and the shape for the same reason. I see the logo developing over time starting as the Global warming, Global Warning and then morphing the two together to get Global Warmning.
Friday, 30 June 2017
GW: ANDREA LUI: THE USE OF NARRATIVE WITHIN INSTALLATION ART
I was looking for some interesting articles about the use of narrative in interactive art and came across an piece by Anrea Lui in the NY Arts magazine. In it she posed lots of questions about the nature of narrative in installation art.
She noticed the increased prevalence of exhibitions set up as installations in the form of a narrative, whereby each part of the story was broken up into “stations” that the viewer was to view, and in a certain chronology in many more galleries and museums in her home town of New York.
She states "In its inception and original phase in the 70s, installation art engaged questions such as the collapse of the boundaries between art and audience, creating experiential immersive environments rather than a hierarchically composed work (i.e. painting), creating direct bodily experience rather than merely a representation of such, and de-centering the viewer from a singular focal point, etc."
Following on from this she asks the following very interesting questions and underneath are my own thoughts related to these areas from the perspective of my own practice. This really made me address my thoughts of working in this area.
Does the execution of narrative—a close-ended, linear entity broken into parts, proceeding in a fixed order—circumscribe or detract from the efficacy of a work of installation art and its capacity to break boundaries or foster a perceptually inclusive totality?
I feel the question is wrong as it assumes the narrative is close ended and linear and narrative does not have to be that. Fractured playful narratives are possible and whilst there is a narrative in there the audience can build their own narrative. This will allow the breaking of boundaries and foster perceptive totality as everyone can access the narrative their own way. The issue here is to keep the artists preferred reading or even a negotiated or oppositional one possibly. What is not wanted is a subversive reading which can be trickier if the door is wide open to interpretation. In my work I want a very clear narrative but this does not mean it is linear or has to be close ended.
How are narratives reconfigured or transformed, opened up or transgressed, within the context of installation art?
Installation art will allow a more playful quality to all of these. In a feature film for instance the story has to be neatly wrapped up in 120 minutes and is by and large linear and follows the 3 act paradigm. In an installation it allows this to be broken up with video pieces. These can be fractured, segmented, happen on multiple screens and therefore reconfigured or transformed, opened up or transgressed. This is what I am seeking to do on my GW piece, there is a narrative but it can be pieced together from different parts in different ways but it does all lead to a similar result.
Do video and film (within the context of installation) bear a more amenable relationship to narrative, being time-based entities; or not necessarily?
I can only speak from my own point of view but largely in my opinion yes due to their time-based nature. It is much easier to manipulate time and be constant in video installation work. However time based performance art could also work well.
How does one define “narrative” within the context of installation, or even within visual art itself? As narratives about the artist and the progression of his/her work, as narratives of the location where the installation is set, as narratives of things/people/events/sensations pictorially represented in the work, etc? Can we make a distinction between implied narrative (i.e. of artist or site) as opposed to narrative that is actively unfolded or created by the work itself?
This is due to the artist in question in my opinion and how hard they want to hang onto the reins of the narrative. I feel all of these are fair game so the definition is indeed hard. the narrative could be the artists own, site specific narratives of the environment or narratives based on the things/people/events represented in the work. As for the last question I feel that distinctions can be made between the implied narrative of the site and the narrative in the work. However those boundaries can be blurred.
How much elasticity is there in the concept of narrative—can it mean almost anything and take any form, in our postmodern era, or do there have to be certain components in place for it to qualify as narrative: temporality, causality, discrete events?
A big question this one but there is some elasticity in my opinion. However i feel that there has to be some sense of structure however fractured even if temporality, casually or discreetly. It needs to have some shape or form.
Can narrative be abstract or purely conceptual, even phenomenological, or must it relate to tangible things/events/people? Do narratives yoke us into a more conservative investment in representation, even realism, being a convention and a formal structure involving suspension of disbelief, continuity and resolution?
As above I feel it does need to be grounded in some sense of the codes and conventions of narrative so I guess this does yoke a little into representation and realism. However as long as there is some sense of this the abstract and conceptual can fit within this but a really interesting one this.
Are narratives depoliticizing by virtue of their retrograde schema of ordering the world, as opposed to questioning the conventions of representation, perception and even communication?
I feel that yes they by they very nature are depoliticizing by their nature. However I feel that within this they can question representation, perception and communication. My GW piece seeks to do just that and questions representation, perception and communication to an audience. The piece will be accessible but asks questions of all of the above as well as ideologies through it's form, construction and narrative and characters.
Are narratives neutral and it just depends on how they are used, or are they predisposed to expressing or supporting certain elements, sensibilities and ideologies in installation art and not others?
This is totally beholden to the creator and how they pitch their work. Yes they can be neutral but can also be used to support certain elements, sensibilities and ideologies. This is what I am doing in my piece. I like to work with ideologies and create messages and discussion in my work
Finally, can narratives render art discursive?
Again a yes and no. They can provide too open ended ideologies and themes but that is dependent on the art itself and the creator. they do not have to be this way, although sometimes a wandering and open to interpretation argument or arguments are more interesting than a hard focussed point in my opinion.
http://www.nyartsmagazine.com/?p=4180
She noticed the increased prevalence of exhibitions set up as installations in the form of a narrative, whereby each part of the story was broken up into “stations” that the viewer was to view, and in a certain chronology in many more galleries and museums in her home town of New York.
She states "In its inception and original phase in the 70s, installation art engaged questions such as the collapse of the boundaries between art and audience, creating experiential immersive environments rather than a hierarchically composed work (i.e. painting), creating direct bodily experience rather than merely a representation of such, and de-centering the viewer from a singular focal point, etc."
Following on from this she asks the following very interesting questions and underneath are my own thoughts related to these areas from the perspective of my own practice. This really made me address my thoughts of working in this area.
Does the execution of narrative—a close-ended, linear entity broken into parts, proceeding in a fixed order—circumscribe or detract from the efficacy of a work of installation art and its capacity to break boundaries or foster a perceptually inclusive totality?
I feel the question is wrong as it assumes the narrative is close ended and linear and narrative does not have to be that. Fractured playful narratives are possible and whilst there is a narrative in there the audience can build their own narrative. This will allow the breaking of boundaries and foster perceptive totality as everyone can access the narrative their own way. The issue here is to keep the artists preferred reading or even a negotiated or oppositional one possibly. What is not wanted is a subversive reading which can be trickier if the door is wide open to interpretation. In my work I want a very clear narrative but this does not mean it is linear or has to be close ended.
How are narratives reconfigured or transformed, opened up or transgressed, within the context of installation art?
Installation art will allow a more playful quality to all of these. In a feature film for instance the story has to be neatly wrapped up in 120 minutes and is by and large linear and follows the 3 act paradigm. In an installation it allows this to be broken up with video pieces. These can be fractured, segmented, happen on multiple screens and therefore reconfigured or transformed, opened up or transgressed. This is what I am seeking to do on my GW piece, there is a narrative but it can be pieced together from different parts in different ways but it does all lead to a similar result.
Do video and film (within the context of installation) bear a more amenable relationship to narrative, being time-based entities; or not necessarily?
I can only speak from my own point of view but largely in my opinion yes due to their time-based nature. It is much easier to manipulate time and be constant in video installation work. However time based performance art could also work well.
How does one define “narrative” within the context of installation, or even within visual art itself? As narratives about the artist and the progression of his/her work, as narratives of the location where the installation is set, as narratives of things/people/events/sensations pictorially represented in the work, etc? Can we make a distinction between implied narrative (i.e. of artist or site) as opposed to narrative that is actively unfolded or created by the work itself?
This is due to the artist in question in my opinion and how hard they want to hang onto the reins of the narrative. I feel all of these are fair game so the definition is indeed hard. the narrative could be the artists own, site specific narratives of the environment or narratives based on the things/people/events represented in the work. As for the last question I feel that distinctions can be made between the implied narrative of the site and the narrative in the work. However those boundaries can be blurred.
How much elasticity is there in the concept of narrative—can it mean almost anything and take any form, in our postmodern era, or do there have to be certain components in place for it to qualify as narrative: temporality, causality, discrete events?
A big question this one but there is some elasticity in my opinion. However i feel that there has to be some sense of structure however fractured even if temporality, casually or discreetly. It needs to have some shape or form.
Can narrative be abstract or purely conceptual, even phenomenological, or must it relate to tangible things/events/people? Do narratives yoke us into a more conservative investment in representation, even realism, being a convention and a formal structure involving suspension of disbelief, continuity and resolution?
As above I feel it does need to be grounded in some sense of the codes and conventions of narrative so I guess this does yoke a little into representation and realism. However as long as there is some sense of this the abstract and conceptual can fit within this but a really interesting one this.
Are narratives depoliticizing by virtue of their retrograde schema of ordering the world, as opposed to questioning the conventions of representation, perception and even communication?
I feel that yes they by they very nature are depoliticizing by their nature. However I feel that within this they can question representation, perception and communication. My GW piece seeks to do just that and questions representation, perception and communication to an audience. The piece will be accessible but asks questions of all of the above as well as ideologies through it's form, construction and narrative and characters.
Are narratives neutral and it just depends on how they are used, or are they predisposed to expressing or supporting certain elements, sensibilities and ideologies in installation art and not others?
This is totally beholden to the creator and how they pitch their work. Yes they can be neutral but can also be used to support certain elements, sensibilities and ideologies. This is what I am doing in my piece. I like to work with ideologies and create messages and discussion in my work
Finally, can narratives render art discursive?
Again a yes and no. They can provide too open ended ideologies and themes but that is dependent on the art itself and the creator. they do not have to be this way, although sometimes a wandering and open to interpretation argument or arguments are more interesting than a hard focussed point in my opinion.
http://www.nyartsmagazine.com/?p=4180
GW: OFF-GRID RESEARCH
The following are all links that I used for research into my off grid idea. I wanted to find stories and images for background of where and what Ben Wright may have been doing and living during his 40 year disappearnce. All of these provided interesting background to help me flesh out possible details. Also how he would live sustainably today.
http://www.bbc.co.uk/news/in-pictures-37561938
http://www.liveoffgrid.net/
https://www.off-grid.net/
https://www.theguardian.com/lifeandstyle/2014/apr/11/power-energy-companies
https://www.theguardian.com/lifeandstyle/2015/oct/08/gave-it-all-up-live-land-simple-good-life
https://www.theguardian.com/artanddesign/gallery/2015/mar/09/into-the-wild-the-rebels-living-off-grid-all-over-europe-in-pictures
https://www.e-architect.co.uk/england/black-barn-in-Suffolk
http://oldhall.org.uk/
http://www.telegraph.co.uk/finance/property/green/10425218/Eco-living-a-well-insulated-home-in-Suffolk.html
https://www.workaway.info/839688751978-en.html
https://www.workaway.info/538349741925-en.html
http://www.the-oak-tree.co.uk/virtual-farm-tour/
http://www.bbc.co.uk/news/in-pictures-37561938
http://www.liveoffgrid.net/
https://www.off-grid.net/
https://www.theguardian.com/lifeandstyle/2014/apr/11/power-energy-companies
https://www.theguardian.com/lifeandstyle/2015/oct/08/gave-it-all-up-live-land-simple-good-life
https://www.theguardian.com/artanddesign/gallery/2015/mar/09/into-the-wild-the-rebels-living-off-grid-all-over-europe-in-pictures
https://www.e-architect.co.uk/england/black-barn-in-Suffolk
http://oldhall.org.uk/
http://www.telegraph.co.uk/finance/property/green/10425218/Eco-living-a-well-insulated-home-in-Suffolk.html
https://www.workaway.info/839688751978-en.html
https://www.workaway.info/538349741925-en.html
http://www.the-oak-tree.co.uk/virtual-farm-tour/
Thursday, 29 June 2017
GW: FAKE REGIONAL TV NEWS ELEMENT
My initial aim is to create a regional TV News piece for the installation. There are many reasons for this the first of which being that even though people are suspicious of it they do tend to trust the news. This will be great for sewing the seeds of my fictional story by dressing it up in a media texts that people trust as the truth. TV News is also excellent as it can do a lot of story telling or exposition in a short amount of time. So it will act as a great shorthand for giving the audience the skinny on the story. I aim for the piece to be no longer that 4 minutes overall.
I have in the past worked a tiny bit for TV news and also taught the subject to degree level students so I do understand the codes and conventions. However here is an excellent Charlie Brooker deconstruction of language of the news as a refresher for me to make sure I capture the authenticity.
The clip above pushes news to the extreme but it does focus on the key elements that and the codes and conventions and stylistics of the news genre that I need to be aware of are. I may use vox-pops sound bites but I do not think they will be needed
I have in the past worked a tiny bit for TV news and also taught the subject to degree level students so I do understand the codes and conventions. However here is an excellent Charlie Brooker deconstruction of language of the news as a refresher for me to make sure I capture the authenticity.
The clip above pushes news to the extreme but it does focus on the key elements that and the codes and conventions and stylistics of the news genre that I need to be aware of are. I may use vox-pops sound bites but I do not think they will be needed
- Initial PTC from the news reporter.
- Hand gestures and key words emphasised in punctuated sentences.
- GV's tenuously linked to the news reports topic over a voice over by the reporter.
- Very short interviews with "experts" or those close to the story.
- Lower thirds to say who is commenting on-screen.
- On screen graphics highlighting any key facts, figures or statistics.
- A final summary and an often whimsical and wry send off from the reporter.
I will need to develop the idea for my news package but using these repertoire of elements I will consider what content needs to be communicated and then to deliver it in the news package. Currently I am playing with the following elements and format.
- PTC by a news reporter. saying Ben Wright may have re-appeared and his importance in the global warming history and fight.
- Continues into a VO with images of Ben Wright and Joseph Griffiths, photos footage and their disappearance.
- IV with a professor of climatology saying how advanced their work was and how they accurately predicted the global warming issue we are struggling to deal with today.
- Possibly graphics showing how their research and predictions was very accurate.
- IV with someone who knew them personally and was involved in the global warmning movement. personal touch perhaps a female who was very close to them. Be good to see him back, always had a crazy sense of humour angle.
- IV with son who he never knew he had. Reason for Ben coming back from the dead.
- VO mention of the re-appearnce in the form of a blogger claiming to be him. Shots of the blog and someone looking at it online.
- PTC outro by news reporter doing a summary and stating their importance and the severity of heeding their warning.
Wednesday, 28 June 2017
GW: TRANSMEDIA!
After floundering for a name for the style of multi strand and possibly platform narrative that I was trying to do for my Global Warmning project it seems I have discovered that the genre that I am closest to working in tis that of TRANSMEDIA.
From carrying out some research into the area I discovered that the Producers Guild of America defines that “a Transmedia Narrative project or franchise must consist of three (or more) narrative storylines existing within the same fictional universe.” The storylines can be on the same platform or across many different platforms. In her book A Creator’s Guide to Transmedia Storytelling, Andrea Phillips does not agree with this however stating that transmedia is more about fragmentation where “the story has been broken into pieces”. Therefore rather than being about three storylines it might just be one storyline told across different platforms. I agree with Phillips interpretation as all it has really done is expand upon the Producers Guild of America definition. This is really in keeping with what i am trying to do in my Global Warmning piece.
The use of transmedia seems to fall between using it for business or for creative vision I can understand the uses for both of these but for the purposes of my project I want to stick with the creative vision side. However looking into the future it is something that I may be able to exploit commercially too.
Phillips also says that a media producer has four main purposes to using transmedia narratives these are;
1: Worldbuilding.
2: Characterisation.
3: Backstory.
4: Exposition.
My idea plays into all of these and will utilise all of these ideas. Building a world and story for my characters and narrative to inhabit, characterise the protagonist, provide a backstory (40 years worth!) and also to fill in the gaps and find a shorthand way of dealing with the exposition in a very short time.
Good case studies for looking at all of these are pretty plentiful and I looked at few to help me flesh out my concept and to learn from them. The Lost TV show used the Lost Experience to explain the Dharma Initiative. Also the TV show Mad Men had their characters on Twitter where the tweets explained their motives on the show and the Alien prequel Prometheus even created a fake TED talk to fill in the background of the character behind the Guy Pearce character Peter Weyland. Phillips states that these other additional content is created because it can be done cheaply and only involve one additional media platform, for example a website to compliment a film. An early example of this was The Blair Witch Project, where the website built the world of the film before it was released in the cinema.
However I feel that there should and could be more to transmedia narratives then just world-building and simply creating new stories around the edges of an existing story. Whilst these new narratives could be told on different media platforms and, for example, tell the stories of minor characters or the events that lead to the beginning of a film why stop there. Why not use them to create new worlds rather than to just provide back up and stretch narratives of other content.
I feel the ultimate purpose of transmedia narratives could be as Phillips states to create "a work that is meant to be entirely and natively transmedia from start to finish, and not a single-medium work at all – an experience that you give to your audience, not just a story you are telling them.” I agree and feel that transmedia narratives should be an immersive experience in their nature. Frank Rose although coming at it from a business perspective goes a step further and tries to pinpoint the elements that make up a transmedia narrative. He feels they are “told through many media at once in a way that’s nonlinear, that’s participatory and often gamelike, and that’s designed above all to be immersive”. He goes on to explain that this creates deep media that can take audiences further than a film or a TV programme could. Effectively creating an experience for the audience. This is exactly what I am intending to do with my piece by using multiple formats and platforms and even possibly including physical artefacts and even performance alongside the multi platform video content in a gallery installation environment.
This leads neatly into theatre where many productions productions have combined audience participation and gaming along with multi media elements to create immersive experiences. One example is the USC School of Cinematic Arts World Building Media Lab’s Leviathan project. Audiences use tablet computers to engage with the Leviathan, a flying whale created by author Scott Westerfield, and create their own narratives inside a physical and digital world. Another example of immersive storytelling is Punchdrunk’s (2014) production of Crash Of The Elysium, an immersive Doctor Who theatre production, which puts the audience in the action and gives them 60 minutes to save the world. During the adventure, the audience has to solve puzzles and stop the Weeping Angels. At the end of the production each member of the audience is given a letter from The Doctor thanking them for saving the world. The limitation to these immersive productions is that the audience has to physically visit a venue whereas other immersive examples can be experienced anywhere in the world using an Internet connection.
My initial idea with the piece was to make it totally online and weave a thread of video, text, images, web-sites, games and articles to create a linked narrative. This would not be obvious but spread far and wide but interconnected through hubs such as message boards, a blog or even social media. Internet transmedia narratives would not be possible without hyperlinks changing the possibilities and the way we think about narrative. In an online version of my idea hyperlinks would be needed but for the installation version I am providing the links in the space but the audience can relate to them however they wish. The Video content could possibly be screened on several screens computers, TV and projection space allowing. Or one screen but the content represented on there as online. TV and film which would allow a greater control of the order of the narrative. The introduction of physical content such as the props, ephemera and artefacts allows another link and these items and especially the photos link back to the video content and relate to that. Add in the potential presence of actors going around in character and it extends the world and links to the venue.
The idea of linked texts and stories has been around for years but the internet and hyperlinks have just made it more possible. Roland Barthes in his book, The Pleasure of the Text stated that “what I enjoy in a narrative is not directly its content or even its structure, but rather the abrasions I impose upon the fine surface; I read on, I skip, I look up, I dip in again.” By disrupting the linear structure of a book, the reader creates joins between two surfaces (for example the book and world around the reader). These joins give pleasure to the reader because they create their own connections with the author’s work. What Barthes was describing though was what happens inside one person’s mind when they read whereas hyperlinks allow connections to spread from one person to another, or from a source to another text creating a hyper-connectivity. Barthes sums this up well “in this ideal text, the networks are many and interact, without any one of them being able to surpass the rest; this text is a galaxy of signifiers, not a structure of signifieds, it has no beginning; it is reversible; we gain access to it by several entrances, none of which can be authoritatively declared to be the main one; the codes it mobilizes extend as far as the eye can reach”.
There is lots of thinking about if the text is alive on line and being created, subverted, adhered to and developed by others who is the author. I want to try and maintain control of the audience and to get them to accept my preferred reading. Whilst this is possible to a greater extent in the confines of a gallery installation it is obviously much trickier online. Lorenzo Cantoni and Stefano Tardini stated that “hypertext authors do not design actual texts or dialogues, but only sets of syntactic rules and basic elements, i.e. they produce a sort of grammar.” This grammar provides the rules in which the hypertext system can respond to a reader. “In other words, hypertext authors design potential dialogues, which will become an actual communication…only when one reader navigates through the hypertext’s structure”.
This makes creating the text hugely difficult because each reader can choose or even create their own path through the hypertext, so an author needs to design the rules of all potential paths that a reader could take. Therefore Cantoni and Tardini are correct about hyperlinks if you analyse them in isolation; they are the rules that link everything together. I however think that you need to look at the complete process and that narratives are told when one piece of media is linked to another not the links that others create. If creating the work online hyperlinks are tools an author can use to create a narrative and build a world, much the same way that a director uses editing to create a film narrative.
Transmedia content and co-creation with the audience online becomes complicated if the author starts the story and the audience develops or even completes it. I want o remain a tight grip on my own work as the content is just a Trojan Horse for selling the idealogy of waking up to the global warmning issue. Also i am trying to sell it as real, with real characters and a real situation and I am unsure how audiences will react to this. Will they want to develop the story or hopefully research around it and find the digital footprints or trail of breadcrumbs I will hope to leave out in cyberspace. I want to remain the author and create the characters and the situation they find themselves in but I do want the the audience to respond but not to make it their own.
Henry Jenkins’ in his book Convergence Culture thinks along similar lines. He points out that “transmedia storytelling is the art of world making,” and because of this fans are “actively reshaping [these worlds] to satisfy their own fantasies and desires.” For immersive narratives the author has to create a fully realised world that can sustain multimedia content and be deep enough to satisfy the audiences’ desires. This means that the author has to create a fictional framework that is rich with content and characters. Therefore fans have more to engage with, compared to a story told on a single medium, and can tell their own stories around the author’s original content. I like Jenkins arguments and interpretation that fans become more invested in the story because “to fully experience any fictional world, consumers must assume the role of hunters and gathers, chasing down bits of the story across media channels, comparing notes with each other via online discussion groups, and collaborating to ensure that everyone who invests time and effort will come away with a richer entertainment experience”. I am not too sure i will have fans BUT as long as I regain control I am excited about the idea of a fictional world and want to explore if not desperate for them to build it further. My aim is to get them to be puzzled by the enigmatic characters, narrative and world that I create and for it to get them talking about the global warming issue through a backchannel of being interested in the story. My fear is that the facts and the issue will get lost and enveloped by the fiction and drama so I need to make the ideology and message integral and to maintain control of this.
Star Wars is a great example of immersive storytelling. The films provide the story that is the framework for the Star Wars Expanded Universe, which has created books, comics, toys, games and TV programmes. Star Wars set the precedent for creating new worlds, spin offs and content as well as related commodities and merchandising. It has proved to be the roadmap for success for many a franchise that Lucas did see coming and grossed him $4 billion pounds as he took less to direct Star wars but instead took the rights to the characters and merchandising. The Star Wars franchise with it's numerous film, TV, animation, book and toy spin offs and merchandiding is not just a money spinner but perhaps the best example of transmedia.
So if transmedia immersive storytelling is the future, what will happen to the old media? Jenkins explains that “cinema did not kill theatre. Television did not kill radio. Each old medium was forced to co-exist with emerging media… Old media are not being displaced. Rather their functions and status are shifted by the introduction of new technologies. i agree with this and that trans-media can embrace old media connecting elements such as the novel, film, featurette, Web site, and digital reading device. This will give the audience an enriched experience of a narrative, by engaging with more then one medium. This is what I aim to do in my piece and to combine old and new technology. this creates a richer experience and will open the piece up to a huge variety of audiences. Also my aim is to convince the audience that the stroy and characters may be real and the more clues to back this up from all areas of the media old and new, hi-tech and lo-tech.
Presently there is no and hard definitions on the grammar of transmedia narratives and this may be why currently there are few successful transmedia examples. Rose highlights this fact by stating that “at this point in history, it’s impossible to say how immersive these story worlds we’re building will actually become.” It seems likely that the reason why immersive transmedia narratives are not common on the Internet is because the grammar of these narratives has not fully been established. There is no blue print or road map to success. I however like this and that the field is still being explored, defined, developed and that the fronteers are unknown and it is an area for experimentation. There are clear elements that need to be included in transmedia narratives like hyperlinks, multi-media, non-linear, participatory and immersive, but each element’s role has not been fully defined. This could be linked back to the invention of storytelling in early cinema. In 1903, Edwin S. Porter invented editing by intercutting two pieces of film together to create a story. However it wasn’t until 1915 when D.W. Griffith defined the grammar of editing which created a unique cinematic experience. Therefore transmedia narratives could be in the same transition period. We have are beginning to discover the elements that allow creators to tell stories in a transmedia environment, but the grammar of those elements is still being refined and defined. It is a really interesting area and I am looking forward to being part of that process.
From carrying out some research into the area I discovered that the Producers Guild of America defines that “a Transmedia Narrative project or franchise must consist of three (or more) narrative storylines existing within the same fictional universe.” The storylines can be on the same platform or across many different platforms. In her book A Creator’s Guide to Transmedia Storytelling, Andrea Phillips does not agree with this however stating that transmedia is more about fragmentation where “the story has been broken into pieces”. Therefore rather than being about three storylines it might just be one storyline told across different platforms. I agree with Phillips interpretation as all it has really done is expand upon the Producers Guild of America definition. This is really in keeping with what i am trying to do in my Global Warmning piece.
The use of transmedia seems to fall between using it for business or for creative vision I can understand the uses for both of these but for the purposes of my project I want to stick with the creative vision side. However looking into the future it is something that I may be able to exploit commercially too.
Phillips also says that a media producer has four main purposes to using transmedia narratives these are;
1: Worldbuilding.
2: Characterisation.
3: Backstory.
4: Exposition.
My idea plays into all of these and will utilise all of these ideas. Building a world and story for my characters and narrative to inhabit, characterise the protagonist, provide a backstory (40 years worth!) and also to fill in the gaps and find a shorthand way of dealing with the exposition in a very short time.
Good case studies for looking at all of these are pretty plentiful and I looked at few to help me flesh out my concept and to learn from them. The Lost TV show used the Lost Experience to explain the Dharma Initiative. Also the TV show Mad Men had their characters on Twitter where the tweets explained their motives on the show and the Alien prequel Prometheus even created a fake TED talk to fill in the background of the character behind the Guy Pearce character Peter Weyland. Phillips states that these other additional content is created because it can be done cheaply and only involve one additional media platform, for example a website to compliment a film. An early example of this was The Blair Witch Project, where the website built the world of the film before it was released in the cinema.
However I feel that there should and could be more to transmedia narratives then just world-building and simply creating new stories around the edges of an existing story. Whilst these new narratives could be told on different media platforms and, for example, tell the stories of minor characters or the events that lead to the beginning of a film why stop there. Why not use them to create new worlds rather than to just provide back up and stretch narratives of other content.
I feel the ultimate purpose of transmedia narratives could be as Phillips states to create "a work that is meant to be entirely and natively transmedia from start to finish, and not a single-medium work at all – an experience that you give to your audience, not just a story you are telling them.” I agree and feel that transmedia narratives should be an immersive experience in their nature. Frank Rose although coming at it from a business perspective goes a step further and tries to pinpoint the elements that make up a transmedia narrative. He feels they are “told through many media at once in a way that’s nonlinear, that’s participatory and often gamelike, and that’s designed above all to be immersive”. He goes on to explain that this creates deep media that can take audiences further than a film or a TV programme could. Effectively creating an experience for the audience. This is exactly what I am intending to do with my piece by using multiple formats and platforms and even possibly including physical artefacts and even performance alongside the multi platform video content in a gallery installation environment.
This leads neatly into theatre where many productions productions have combined audience participation and gaming along with multi media elements to create immersive experiences. One example is the USC School of Cinematic Arts World Building Media Lab’s Leviathan project. Audiences use tablet computers to engage with the Leviathan, a flying whale created by author Scott Westerfield, and create their own narratives inside a physical and digital world. Another example of immersive storytelling is Punchdrunk’s (2014) production of Crash Of The Elysium, an immersive Doctor Who theatre production, which puts the audience in the action and gives them 60 minutes to save the world. During the adventure, the audience has to solve puzzles and stop the Weeping Angels. At the end of the production each member of the audience is given a letter from The Doctor thanking them for saving the world. The limitation to these immersive productions is that the audience has to physically visit a venue whereas other immersive examples can be experienced anywhere in the world using an Internet connection.
My initial idea with the piece was to make it totally online and weave a thread of video, text, images, web-sites, games and articles to create a linked narrative. This would not be obvious but spread far and wide but interconnected through hubs such as message boards, a blog or even social media. Internet transmedia narratives would not be possible without hyperlinks changing the possibilities and the way we think about narrative. In an online version of my idea hyperlinks would be needed but for the installation version I am providing the links in the space but the audience can relate to them however they wish. The Video content could possibly be screened on several screens computers, TV and projection space allowing. Or one screen but the content represented on there as online. TV and film which would allow a greater control of the order of the narrative. The introduction of physical content such as the props, ephemera and artefacts allows another link and these items and especially the photos link back to the video content and relate to that. Add in the potential presence of actors going around in character and it extends the world and links to the venue.
The idea of linked texts and stories has been around for years but the internet and hyperlinks have just made it more possible. Roland Barthes in his book, The Pleasure of the Text stated that “what I enjoy in a narrative is not directly its content or even its structure, but rather the abrasions I impose upon the fine surface; I read on, I skip, I look up, I dip in again.” By disrupting the linear structure of a book, the reader creates joins between two surfaces (for example the book and world around the reader). These joins give pleasure to the reader because they create their own connections with the author’s work. What Barthes was describing though was what happens inside one person’s mind when they read whereas hyperlinks allow connections to spread from one person to another, or from a source to another text creating a hyper-connectivity. Barthes sums this up well “in this ideal text, the networks are many and interact, without any one of them being able to surpass the rest; this text is a galaxy of signifiers, not a structure of signifieds, it has no beginning; it is reversible; we gain access to it by several entrances, none of which can be authoritatively declared to be the main one; the codes it mobilizes extend as far as the eye can reach”.
There is lots of thinking about if the text is alive on line and being created, subverted, adhered to and developed by others who is the author. I want to try and maintain control of the audience and to get them to accept my preferred reading. Whilst this is possible to a greater extent in the confines of a gallery installation it is obviously much trickier online. Lorenzo Cantoni and Stefano Tardini stated that “hypertext authors do not design actual texts or dialogues, but only sets of syntactic rules and basic elements, i.e. they produce a sort of grammar.” This grammar provides the rules in which the hypertext system can respond to a reader. “In other words, hypertext authors design potential dialogues, which will become an actual communication…only when one reader navigates through the hypertext’s structure”.
This makes creating the text hugely difficult because each reader can choose or even create their own path through the hypertext, so an author needs to design the rules of all potential paths that a reader could take. Therefore Cantoni and Tardini are correct about hyperlinks if you analyse them in isolation; they are the rules that link everything together. I however think that you need to look at the complete process and that narratives are told when one piece of media is linked to another not the links that others create. If creating the work online hyperlinks are tools an author can use to create a narrative and build a world, much the same way that a director uses editing to create a film narrative.
Transmedia content and co-creation with the audience online becomes complicated if the author starts the story and the audience develops or even completes it. I want o remain a tight grip on my own work as the content is just a Trojan Horse for selling the idealogy of waking up to the global warmning issue. Also i am trying to sell it as real, with real characters and a real situation and I am unsure how audiences will react to this. Will they want to develop the story or hopefully research around it and find the digital footprints or trail of breadcrumbs I will hope to leave out in cyberspace. I want to remain the author and create the characters and the situation they find themselves in but I do want the the audience to respond but not to make it their own.
Henry Jenkins’ in his book Convergence Culture thinks along similar lines. He points out that “transmedia storytelling is the art of world making,” and because of this fans are “actively reshaping [these worlds] to satisfy their own fantasies and desires.” For immersive narratives the author has to create a fully realised world that can sustain multimedia content and be deep enough to satisfy the audiences’ desires. This means that the author has to create a fictional framework that is rich with content and characters. Therefore fans have more to engage with, compared to a story told on a single medium, and can tell their own stories around the author’s original content. I like Jenkins arguments and interpretation that fans become more invested in the story because “to fully experience any fictional world, consumers must assume the role of hunters and gathers, chasing down bits of the story across media channels, comparing notes with each other via online discussion groups, and collaborating to ensure that everyone who invests time and effort will come away with a richer entertainment experience”. I am not too sure i will have fans BUT as long as I regain control I am excited about the idea of a fictional world and want to explore if not desperate for them to build it further. My aim is to get them to be puzzled by the enigmatic characters, narrative and world that I create and for it to get them talking about the global warming issue through a backchannel of being interested in the story. My fear is that the facts and the issue will get lost and enveloped by the fiction and drama so I need to make the ideology and message integral and to maintain control of this.
Star Wars is a great example of immersive storytelling. The films provide the story that is the framework for the Star Wars Expanded Universe, which has created books, comics, toys, games and TV programmes. Star Wars set the precedent for creating new worlds, spin offs and content as well as related commodities and merchandising. It has proved to be the roadmap for success for many a franchise that Lucas did see coming and grossed him $4 billion pounds as he took less to direct Star wars but instead took the rights to the characters and merchandising. The Star Wars franchise with it's numerous film, TV, animation, book and toy spin offs and merchandiding is not just a money spinner but perhaps the best example of transmedia.
So if transmedia immersive storytelling is the future, what will happen to the old media? Jenkins explains that “cinema did not kill theatre. Television did not kill radio. Each old medium was forced to co-exist with emerging media… Old media are not being displaced. Rather their functions and status are shifted by the introduction of new technologies. i agree with this and that trans-media can embrace old media connecting elements such as the novel, film, featurette, Web site, and digital reading device. This will give the audience an enriched experience of a narrative, by engaging with more then one medium. This is what I aim to do in my piece and to combine old and new technology. this creates a richer experience and will open the piece up to a huge variety of audiences. Also my aim is to convince the audience that the stroy and characters may be real and the more clues to back this up from all areas of the media old and new, hi-tech and lo-tech.
Presently there is no and hard definitions on the grammar of transmedia narratives and this may be why currently there are few successful transmedia examples. Rose highlights this fact by stating that “at this point in history, it’s impossible to say how immersive these story worlds we’re building will actually become.” It seems likely that the reason why immersive transmedia narratives are not common on the Internet is because the grammar of these narratives has not fully been established. There is no blue print or road map to success. I however like this and that the field is still being explored, defined, developed and that the fronteers are unknown and it is an area for experimentation. There are clear elements that need to be included in transmedia narratives like hyperlinks, multi-media, non-linear, participatory and immersive, but each element’s role has not been fully defined. This could be linked back to the invention of storytelling in early cinema. In 1903, Edwin S. Porter invented editing by intercutting two pieces of film together to create a story. However it wasn’t until 1915 when D.W. Griffith defined the grammar of editing which created a unique cinematic experience. Therefore transmedia narratives could be in the same transition period. We have are beginning to discover the elements that allow creators to tell stories in a transmedia environment, but the grammar of those elements is still being refined and defined. It is a really interesting area and I am looking forward to being part of that process.
Tuesday, 27 June 2017
GW: TV NEWS ANALYSIS: STYLE AND FORM
As well as understanding how news works and stories are chosen by whom and why? I wanted to do some analysis of TV news packages and extract the codes and conventions to make sure mine followed the genre stylistically as well as editorially and content wise.
I did some research online and from books alongside analysing lots of TV news packages both national and local. What was really surprising was how they were all structurally very similar but also how emotive and subjective some of them could be using really really subtle techniques and stylistics used. I am going to outline the areas for consideration moving forward that I will have to incorporate into my TV News piece.
I did some research online and from books alongside analysing lots of TV news packages both national and local. What was really surprising was how they were all structurally very similar but also how emotive and subjective some of them could be using really really subtle techniques and stylistics used. I am going to outline the areas for consideration moving forward that I will have to incorporate into my TV News piece.
- News package: A single news feature linked to from the TV studio. These are pre-recorded and edited together beforehand.
- Outside broadcast (OB): Live feed to a field reporter at the location of the story. Gives appearance of capturing news as it happens. Piece to camera (PTC): Reporter addresses the audience straight down the lens. Could be in a live feed or part of news package.
- Voice Over (VO): Reporters voice tells us the story and the facts with GV’s as wallpaper.
- General Views (GV’s): Shots used to illustrate a story. Visuals important in TV.
- Interviews: Interviews with key people involved or experts about the story.
- Vox Pops: Short interviews canvassing the opinion of the public. Voice of the people.
- Astons: Graphics in the bottom third of the screen that give the name and title of the interviewees or reporters. Adds kudos to them if experts or special Royal Correspondents etc.
- Graphics: Displayed on screen to give facts and figures about a story or graphical representation .
- Re-enactments: Sometimes used to show what happened in a situation if no footage exists. Must always state they are re-enactments and not real.
- Links to studio: Field reporters on location link back to the studio and the news anchor often signing off with their name and location.
- Library footage: Archive footage used as GV’s for a story when no other footage is available. This may from own archives or news agency.
- Idents: Brand is important in TV news and the idents of the news programme are important in a multi channel, multi-platform age.
While developing my idea I will make sure I wrap the TV news package up in all of these techniques for authenticity and to deceive the audience.
Monday, 26 June 2017
GW: TV NEWS ANALYSIS: CONTENT
I decided that part of the Global Warmning project would be a fake news piece. It would be a local TV news piece that would give the backstory of the movement, Ben's disappearance and possible re-appearance. It would also be really useful in contextualising the importance and correctness of the Global Warmning movement in predicting the future crisis we are in today as far as global warming goes 40 years after their warnings.
In order to do this I thought I had better do some research into TV news to make sure that what I created would qualify as actual news. How do stories get chosen? Other than a hunch would the news package ever make it to air in the real world? I also wanted to make sure it looked correct and followed the codes, conventions, stylistics and formula of the genre so it really worked as a news piece and was authentic.
News Agencies
News comes from a lot of different sources in-house but also form external agencies. These organisations sell their stories to news producers worldwide. Each agency has their own reporters, photographers and broadcast crews. The Press Association transmits an average of 1500 stories and 100 pictures every day. They sell both footage and edited packages ready for transmission. Associated Press (International organisation) Reuters (International organisation) United Press International (International organisation) Press Association (Main British News Agency).
I have decided that I wanted my piece to have a regional news feel and to tie one of the characters to a region in this case Anglia or the East. I want the package to be created by the station themselves so no news agencies are likely to be needed unless archive footage is needed.
News Agenda
This is how news producers construct and prioritise their stories and decide which stories will run on their news programmes. The producers act as gatekeepers and filter hundreds of potential stories down to the 5-6 that are actually covered in the programme. These are divided into two main catagories, hard and soft news. Hard news is the more serious side to the news and such issues as politics, economy, foriegn affairs, home affairs and disasters and generally makes up the first stories and large proportion of the news. Soft news is the human interest, entertainment and sport.
I feel by news story would not make the national news hence the regional news slant. It does incorporate a bit of politics and home affairs but really it is a human interest story of someone from our region and a mystery. As such it would come towards the end of the programme possible as an "and finally" news report. I do want to make sure the issue of global warming is not lost in the piece though.
News Values
This is really a way of deciding what makes the news agenda and eventually makes it into the news programme. Johan Galtung and Marie Ruge were researchers and media commentators and developed these catagories for defining the newsworthiness of stories in a 1973 paper.
In order to do this I thought I had better do some research into TV news to make sure that what I created would qualify as actual news. How do stories get chosen? Other than a hunch would the news package ever make it to air in the real world? I also wanted to make sure it looked correct and followed the codes, conventions, stylistics and formula of the genre so it really worked as a news piece and was authentic.
News Agencies
News comes from a lot of different sources in-house but also form external agencies. These organisations sell their stories to news producers worldwide. Each agency has their own reporters, photographers and broadcast crews. The Press Association transmits an average of 1500 stories and 100 pictures every day. They sell both footage and edited packages ready for transmission. Associated Press (International organisation) Reuters (International organisation) United Press International (International organisation) Press Association (Main British News Agency).
I have decided that I wanted my piece to have a regional news feel and to tie one of the characters to a region in this case Anglia or the East. I want the package to be created by the station themselves so no news agencies are likely to be needed unless archive footage is needed.
News Agenda
This is how news producers construct and prioritise their stories and decide which stories will run on their news programmes. The producers act as gatekeepers and filter hundreds of potential stories down to the 5-6 that are actually covered in the programme. These are divided into two main catagories, hard and soft news. Hard news is the more serious side to the news and such issues as politics, economy, foriegn affairs, home affairs and disasters and generally makes up the first stories and large proportion of the news. Soft news is the human interest, entertainment and sport.
I feel by news story would not make the national news hence the regional news slant. It does incorporate a bit of politics and home affairs but really it is a human interest story of someone from our region and a mystery. As such it would come towards the end of the programme possible as an "and finally" news report. I do want to make sure the issue of global warming is not lost in the piece though.
News Values
This is really a way of deciding what makes the news agenda and eventually makes it into the news programme. Johan Galtung and Marie Ruge were researchers and media commentators and developed these catagories for defining the newsworthiness of stories in a 1973 paper.
- Immediacy: Has it happened recently?
- Familiarity: Is it culturally close to us in Britain?
- Amplitude: Is it a big event that affects large numbers?
- Frequency: Does the event happen often?
- Unambiguity: Is it clear and definite?
- Predictability: Did we expect it to happen?
- Surprise: Is it rare or unexpected event?
- Continuity: Has it previously been defined as news?
- Elite Nations/People: Big countries or celebrities?
- Personalisation: Is it a human interest story?
- Negativity: Is it bad news?
- Balance: ”and finally” fun story to balance bad news…
As far as my piece goes whilst certainly not being national news regionally it does tick a lot of these boxes. I need to make it immediate so I could possibly tie the news piece into Ben Wrights re-appearance. I will build a familiarity of the story and refresher to the audience. The global warming issue effects us all and the events of his appearance is new. The story itself is definite and clear but the event of his possible re-appearance is was unpredicted. There is ambiguity to if he is back or not and his disappearance 40 years before but this is the enigma and hook of the piece. It was news previously and whilst not a celebrity now 40 years ago he was supposedly in the public consciousness. The story can be personalised, and it is good news possibly and is a fun story to run against the bad news.
Other media commentators, researchers and academics expanded their own ideas and built on Galtung and Ruges work. Jeremy Tunstall adapted their model to TV News. He argued that in TV News:
Other media commentators, researchers and academics expanded their own ideas and built on Galtung and Ruges work. Jeremy Tunstall adapted their model to TV News. He argued that in TV News:
- The visual is given more pre-eminence. If footage is available the story may be given more prominence – the visual imperative.
- News stories with ‘our own reporters’ conducting interviews or commentating on a story are preferred.
- TV News covers far fewer stories than newspapers. Even the top stories are short in comparison with newspaper coverage .
- Hard news or actuality is preferred.
This again gives me something of a blueprint for my TV news package. I can certainly create the our reporters aspect and whilst not hard news as such it would sit well as I have mentioned in a local news package. One thing I will have to consider is the visuals. A lot of the story will be in dealing with the past so I will need to find or manufacture stills, moving image footage to bring the news piece to life.
Dennis McShane (1979) again expanded on the study of TV news identifying five criteria used by journalists in their selection of news stories.
- Conflict
- Hardship and danger to community
- The unusual
- Scandal
- Individualism
McShanes list is interesting because I feel the narrative I am creating ticks all of his boxes or is flexible enough that I can make it. It does cover the conflict between the movement and the owers that be. There is hardship (what did happen to Ben?) and obvious danger murder, possible suicide etc. A 40 year disappearance is unusual, there is certainly individualism and possible scandal in who did kill Joseph and what dirt did they have on the oil industry.
The process of investigating news really helped me to solidify and crystallise my idea and show me the way forward giving some excellent ideas of how to spice up the narrative It has also given me lots of guidance as to how I can make my TV News package more authentic and newsworthy.
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