WINOL: Features Archive

At the age of just 15, Paul Blackburn was wrongfully imprisoned for 25 years. Presented, edited and produced by Tom Morgan.

Media Law - Year Three Notes Archive

A collection of posts looking at media law, including tips for journalists, case examples and information on the various codes of conduct. Click here for more.

American Election 2012 - US Embassy Report

Myself, Lee Jarvis, Sam Sheard and Kirsty McDonagh spent the evening at the US Embassy as part of WINOL's coverage of the 2012 American election.

Work Experience: The One Show

This blog post serves as a summary of what I got up to during my time at the BBC and also provides some information on how the One Show is run.

Work Experience: PC Advisor

After breaking up from University for the summer, I arranged two separate work experience placements to keep me occupied over the break. The first of these placements was at PC Advisor in London.

Work Experience: Basingstoke Gazette

After breaking up from University for the summer, I arranged two separate work experience placements to keep me occupied over the break. The second of these placements was at the Basingstoke Gazette.

HCJ Notes Archive: Year One and Year Two

A collection of lecture notes, seminar papers and seminar summaries from Year One and Year Two on the HCJ course at the University of Winchester

Tuesday, 27 March 2012

Wittgenstein - Seminar Notes



1) The world is everything that is the case

Section 1 to 2 deal with what the world is fundamentally made up of
* The world is determined by facts
* It's the totality of facts, not things
* The world divides into facts

2) What is the case, the fact, is the existence of atomic facts

* An atomic fact is a combination of objects
* Nothing in logic is accidental
* "If I know an object, then I also know all the possibilities of its occurrence in atomic facts"
* Objects can't be compound because they form the substance of the earth
* Form - Possibility of structure
* We make pictures of facts and these pictures represent the facts in logical space
* In order to be a picture, a fact must have something in common with what it pictures

Picture: A) Represents a possible state of affairs in logical space
            B) Agrees with reality or not, it's right or wrong, true or false
            C) What it represents is its sense

3) The logical picture of the facts is the thought

* Form and propositions
* Proposition - The thought is expressed perceptibly through the senses
* The proposition is the sign
* "Objects I can only name. Signs represent them"

4) The thought is the significant proposition

* All philosophy is 'critique of language'
* Most questions written about philosophy are senseless

5) Propositions are truth functions of elementary propositions

States of affairs: Simple objects combined, combination of objects
Complex facts: States of affairs combined
Objects: Exist only in the context of states of affairs

Language - Consists of propositions
                  Names mirror objects

Proposition - A logical picture of reality
                     The elements of a proposition are arranged in such a way they resemble the reality they rep.

Signs - Given meaning through their use in propositions

"There are no genuine philosophical problems"
"Philosophy is just a by-product of misunderstanding language" - People misunderstand language when they try to give something a form when it can't have one. Pain and the soul, for example

Verification Principle: A statement is only legitimate if there is some way to determine whether the statement is true or false

Monday, 26 March 2012

WINOL Monday Debrief Notes - 26/03/12


Headlines and misc

* Best we've had yet
* The shot of the till is cliché, but it's good
* Lighting was poor this week
* The shadows cast of Aarran's face were off-putting

Lou

The link leading into the package was bias - "Aiming to improve taxes"
* We should have referenced the fact you were coming from a mobile phone in the link. It would have made the report seem more exciting
* Never say 'Labour will', for example. Say 'plan to'. Don't be wrong
* PTC - You could play it safe and say 'commentators say..'
* Well done to George for getting facts to you for the PTC
* Your scripting was poor
* Should have filmed with the phone closer to you
* The cutaways were archive footage but we didn't have text on the screen to show this. Myself and George should take the blame for this
* Scripting Issue: You can't speak to the 'working class'. It's abstract
* The Westminster package had afew problems, audio and visual
* The London team did very well to get footage back to Winchester
* Thanks to George for piecing together the content
* "You got lost in statistics. You need to be explaining easy-to-follow facts"
* "You said there were no surprises with the budget. You shouldn't knock your own story and this is what you did here"
* Did well to get the quote grab from Brine

Graham

Had to change the package on the day to take into account the information from the budget
* You did well to change the package in light of the budget news that came in on the day
* Ideally you wanted vox pops with motorists
* 'The AA says' is wrong
* The out of focus shot shouldn't have gone into the package
* 'Paying through the nose' - This is comment, not fact. Be aware of this

Flick

Using pictures, well structured package
* What could the Council have done though?
* Good use of natural sound at the start of the package
* Solved a malicious falsehood issue with your script. Originally, you were implying that Millet's was going bust, but you solved this problem on the day by adjusting your script

Dan

You did well this week to think visually
* For something that's 'very dull' you did a good job
* Script works with the pictures

Friday, 23 March 2012

WINOL REVIEW - 21/03/12




 

Week 8 at WINOL was very ambitious (particularly on the day) but overall I think it was a good performance from everybody involved. We tried to take on alot of tasks on the day of the broadcast due to the fact the budget was being announced and I think the fact we pulled together as a team made these challenges much easier to overcome. I thought Aarran and Rachelle worked very well as a presenting team, too.

In terms of individual feedback:

Eddie (Bank of England Report)

Even though we didn't use your footage in the bulletin, the fact that you went up to London and went to the trouble of getting the footage back to us is much appreciated. In the end, it was decided we couldn't use your footage because the tense of your script was wrong. You were discussing the budget announcement as if it hadn't happened, yet if we were to have run your package it would have happened, which would render your script pointless. I think there was a mix-up in communication here.

You had the whole of Tuesday to plan what you were going to say but I think what you had in mind and what Lou had in mind were ultimately the same thing. We could have (and should have!) text you up-to-date information on the budget as it came in to us so you could quote it in your script. The issue is this is exactly what we did with Lou's piece. Perhaps we didn't need packages from both of you in the first place. As I said , though, I'm very glad you were in London because from what I've been told you remained calm knowing time was running out to get material back to us in Winchester. You knew the process of sending material wirelessly from your your experience with the Harry Redknapp package and I think it was good you were in London to help Lou.

A big thankyou to Nathan for also tagging along, too.

Lou (Brine and Budget Summary)

I was extremely thankful you were a part of the WINOL team this week, Lou. If we hadn't been able to use your political contacts we would be severely struggling with finding content on the day. Without you, we wouldn't have been able to grab Brine. Without Brine, we couldn't have used Chris Pines. Without Chris Pines and Brine, we'd be 3 minutes down struggling to fill the bulletin with content. We had alot riding on you this week and you did very well.

The footage from your Westminster package was of a poor quality. Obviously, I'm aware it was quicker to send to us as a result, but the poor sound quality was quite off putting. Visually it was OK, but I don't think the sound quality did us any favours. It was a good idea to send your PTC in segments. I also appreciated the fact you didn't moan and question me when I asked you to redo some of your PTC's. I think yourself and the rest of the London team were very helpful and co-operative. It was pointed out in the Wednesday debrief that you shouldn't have said there were 'no surprises' associated with the budget. This basically meant you killed the importance of your own story.

It's a shame we couldn't get video footage of Brine, however, but this was down to your Internet signal. If you had managed to get a WiFi signal in London, an as-live video interview may have been possible. You were running off a 3G network however, with much poorer Internet strength. I made the decision that it was too risky to attempt a video interview over your 3G. I couldn't risk your signal dropping half way through the interview. We had alot banking on the fact we would be getting a live reaction from Brine and so I decided to do the interview in the style of a radio piece. I explained this to you on the phone and you remained calm even though I sprung this on you just before you met Brine.

In the end, I think the radio interview piece worked OK. It wasn't ideal, but it was definitely usable. The audio quality of Brine was also surprisingly good, I thought. Thanks to Flick for making the graphic that ran over the interview clip.

A very strong week for you, Lou.


Aarran

You took on a big task this week, Aarran. I appreciated the fact that even though I assigned you with the presenting role you were genuinely happy to accept it and excited to be a part of the live segments we were planning on adding to the bulletin on Wednesday. I think you did very well with the live guest interview. Obviously, our guest could have said anything and you did well to make sure he had the same amount of time allotted to him as Brine. I thought your presenting was very slick and you remained completely calm throughout the bulletin.

Graham

You only just got your package in on time this week and I think you did well to stay calm as your time was running out. Obviously, you had a big task this week. You had to rewrite your script, re-record your voiceover and get a collection of GV's and vox pops on the day of the bulletin. This was a big task and you did well to pull it off.

The quotes from your vox pops were good. I don't think many people realise just how hard it is to get people to stop in the street and chat to you (especially with camera equipment) so well done for that.

Many of your shots this week were overexposed. The vox pops in particular suffered from this. The shot of the board with the fuel prices on it also had the same problem. Keep an eye on that for your next package. I think overall you had a good week, though. Well done for staying composed on the day.

Hettie 

I think you had a difficult week this week. Your original idea of taking over Dan's story was tricky, particularly as a case study of a couple purchasing a house was pretty much vital for the story to work. You managed to get interviews with 4 estate agents, which I think was extremely impressive. Even though I couldn't use your package because there wasn't enough to it, you made yourself useful in the gallery which was great. You also helped me to organise the radio booth so we could record Brine, which was vital. Even though your package fell through this week, you were a valuable member of the WINOL team on the day of the broadcast.

George

You didn't come through with a package this week which was unfortunate, but you did a great job of scripting the OOVS (Alastair Stewart and the Hobbit update) and also editing together the footage coming in on Wednesday from the London team. You helped me edit the footage together just as we had done with the Harry Redknapp package afew weeks ago. I think you did well this week to communicate to myself and Lou what needed adding to the package to make it better. You knew you would be under time pressures on the day but you remained focused on what you had to do. By lunchtime, you were already piecing together GV's for lou's package which lightened the workload for later in the day. You did very well with the OOV's and London editing this week so well done.

Flick (Local Businesses)

This week we really needed some good packages and yours turned out well, I thought. You used pictures well to compliment what you were saying in your script, which was a nice touch. As was pointed out during the Wednesday debrief, the package was well structured and flowed nicely. Your voiceover was well paced and you described the story with clarity. The only issue raised on Wednesday concerned the Council's actions. In the package you had a shop owner questioning the Council but not really expanding on what she wanted to see happen in the future. In the end, we had a quote from her saying 'the council should have done more to stop shops going under' but no explanation of what this could potentially involve.

Overall, it was a strong package that I was glad to put in the bulletin. You got your filming done fairly early too, which was great. This meant you could put all your attention on your script which you adjusted on the day of the broadcast. This was a good week for you.

Dan

This was another strong week for you, Dan. Your package on the Olympic hopeful was a nice, interesting piece to end the bulletin. You got more creative with shots this week. The fading sequence towards the start of the package was a nice idea. I'm also glad you managed to get the permission to use the footage from London 2012 at the start of the piece. It was a nice way to begin your package and your voiceover complimented the clip well.

The headline clip, as mentioned on Wednesday, looked slightly odd. Louise was running away from the camera and it would have looked far better to have her running towards us. Your voiceover was well paced this week and you used your voice well. It would have been nice to see a moving PTC outside the cathedral, though. You had 2 stationary PTC's and it would have been nice to mix them up a little bit.

Your PTC at the end of the package was sightly overexposed but I liked the idea of Louise running past you during your sign off. You had a strong week this week and your 'and finally' piece slotted in nicely at the end of Wednesday's bulletin.

Uldduz

You came to me with a story idea on Monday that sounded good. It was always going to be a fairly difficult story to cover as the plans concerning the Winchester Sports Centre are still ongoing. You knew it was going to be a challenge and you still gave the story a go, which I thought was great. Unfortunately, I'm aware you had issues with your interview. You managed to arrange it and then your interviewee pulled out at the last minute which is a shame, but I appreciate the work you put in to arrange the interview in the first place. Fingers crossed your next package comes through!

Tuesday, 20 March 2012

WINOL REVIEW - 14/03/12



Week 7 at WINOL was a fairly strong week. Again, our scripting is letting us down slightly. I think we need to put more effort into piecing together some good links and a strong script. As a news team, we're doing much better on a technical level which is great.

In terms of individual feedback:

Eddie (Assault)

Your story on the Winchester assault was a good package to start with. You presented the story well considering it was on a difficult subject. Your scripting overall was strong and there were no legal issues. Towards the middle of the package, you say 'of a Wednesday evening'. It was mentioned in the Monday debrief that this didn't seem formal enough and was to colloquial-sounding. I thought it was very impressive that you managed to get the Police to talk to you. This was the first WINOL this semester where we've managed to grab an interview with an officer. Unfortunately, the quotes from the officer weren't particularly strong but you did well to get what you did. Your piece to camera was also well delivered. Remember to clean your camera lens in future too. There was a visible mark in the middle of the screen during your final shot.

Hettie (Hobbit)

I thought your story on the Hobbit this week was a good, interesting story which was well paced and well delivered. It was decided early on Wednesday that we needed to somehow mention Stephen Fry in the piece. I think you did well to edit your package to include this new information. You managed to get the package in with a decent amount of time until the deadline, which was good. Your shots this week were strong. I liked the sequence you had with your interviewee on the computer. You also managed to get the most memorable quote in the bulletin this week in my opinion. I think the footage of the film courtesy of Warner Brothers gave the package abit more substance, which was good. A great package this week.

Flick (Tattoo)

Your piece on Winchester tattoos was strong with some good shots and a nice piece to camera. I thought it was impressive that you explained more about the apparatus in your piece to camera. Your interviewee gave some good quotes. I'm aware there was a slight scripting issue with the tattoo kit and it's a shame we didn't catch it. We'll have to look out for problems like this in the future. Overall, I thought it was a good package with some nice sequences. The script was well paced. I also liked the walking sequence with John Cooper. The walk and talk with him was also a nice touch.

Sarah (Cancer Case Study)

Looking back at the bulletin, I feel that perhaps your cancer piece was perhaps more worthy of being a feature than an OOV / mini-package, but I was impressed you managed to get a case study. We're constantly reminded of the importance of putting the emphasis of our stories on people, and this was a very good example of this approach being used in the bulletin. The interview dealt with a difficult subject and I thought the quotes were quite powerful. If I could improve anything about the piece it would be your GV's. I was helping to put some finishing touches on the piece as you were busy presenting in the gallery and I saw that you didn't have a good variety of shots to choose from.

Graham


I know this wasn't your best week as your original plans fell through. I thought you did well to attempt to put an OOV together with footage gathered entirely on the day. It's a shame that the protest on the day you were going to cover wasn't particularly big, but nevertheless you managed to get some good quotes from your interview and some nice short sequences of the site. You tried very hard to get content on the day which is always useful for me in the newsroom.

Dan

Your and finally piece this week was very well put together. The footage you managed to get of the car travelling faster than a bullet was genuinely interesting footage and it made for a great headline clip. Your script delivery was well placed. I know your interview let you down slightly this week because of poor lighting, but you did well to salvage the clip in the edit. It was pointed out in the debrief on Monday that your headline was the only one that wasn't altered in some way, so you are clearly doing well at selling your story at the start of the bulletin. It's a shame you couldn't have had a shot of you using the simulator in the package, but this is only a minor problem I had with the package. Overall, I thought you did a great job.

Monday, 12 March 2012

WINOL Monday Debrief Notes - 12/03/12




Headlines:
  • Not everything made it on air, and that's a massive problem
  • If it hasn't made air, you have to have stuff you can slot into its place
  • The headline for Lou's package wasn't very interesting, the quote wasn't good enough
  • “Don't use quotes to tell a story”
Flick, Beckett
  • Your delivery could have been more laid back
  • The piece should have taken the form of a two-way
  • “It didn't work at all”
  • It needed to have the presenter and yourself discussing the issue
  • It was dull, just a standard piece to camera
  • Don't say 'however
Lou, Olympics
  • The link was poor
  • The word 'outrage' is banned
  • “The story seemed back to front”
  • The interview is very well done
George, gay marriage:
  • News is about people
  • The fact you were able to get a case study was brilliant news. You didn't make the most of it, though. Should have stuck with them abit more. People are more interesting than buildings8
  • “The whole piece is very biased”. You should remain neutral
  • “Don't be afraid to get abit of controversy going”
  • Don't say 'I spoke to'!
  • “I would liked to have known more about them [the couple in the interview]”
  • “The human interest should have been stressed more
  • The headline didn't go with the package
  • There wasn't enough information on where the cardinal had spoken out
  • The piece to camera wasn't great
  • The statement segment to the piece was boring
  • It would have been nice to see the couple somewhere other than in an interview scenario
  • “They looked too static in the dark room”.
  • You overcomplicated everything about the story
OOVS:
  • “The OOV into the air traffic control clip seemed a little disjointed”.
  • The second OOV was bizarre. “Best forgotten”.
Hettie:
  • A good, fun story
  • Could have done more with it
  • It would have been nice to see more of the equipment
  • The sound quality on the voiceover was great

Saturday, 10 March 2012

New Journalism - Seminar Notes




New Journalism


* The 1st new Journalism - The Yellow Press - late 19th century
* Sensationalism - Huge, emotive headlines with big, striking pictures
* Exclusives, dramatic stories, romantic stories

American Journalism


* 60s/70s:
- Political and social upheaval, fighting foreign wars, with even more serious military threats building
- Formulaic
- Sexual revolution, free love, student movement
- Experiments with interpretive reporting, new forms emerged, alternate Journalism
- Tom Wolfe was a new breed of Journalist

Wolfe


* A supporter of Zola - Wrote J'Accuse! Zola's article freed Dreyfus from Devil's Island
* Fascinated with the idea of status - Saw us as nothing but parts of a social structure
* Shocked by new features, people were using dialogue

1930's - "All the novelists seemed to be people who came blazing into stardom from out of total obscurity"
1962 - "Arrived at the New York Herald Tribune"
1950's - "The novel became a nationwide tournament"
1960's - "A discovery that showed it might be possible to write Journalism like a novel"

* Wolfe's first feature article contained 'anything that came to mind. Much of it was thrown together in a rough and awkward way'.
* "It showed me the possibility of there being something new in Journalism".
* Wolfe's roles at The Tribune - Two days a week, city desk reporter. Three days a week, 1500 feature piece

Page 46/47


* New Journalism in the 1960's - Journalists are learning the techhniques of realism
* By trial and error, Journo's began to discover devices that gave the realistic novel its unique power

1) Scene by scene construction
* Telling the story by moving from scene to scene and resorting as little as possible to sheer historical narrative

2) Extraordinary feats of reporting Journalists took so they could witness the scenes in other peoples lives as they took place, and record the dialogue in full
* Magazine writers learnt by trial and error that realistic dialogue involves the reader more completely than any other single device
* Establishes and defines character more quickly and effectively than any other single device
* Journalists began to use dialogue in a more cryptic and abstract fashion

3) Point of view

* Presenting the scene to the reader through the eyes of the character
* The reader has a feeling of being in the characters mind
* Journo's often use 'I was there'. This is limited. He can only show the reader his own thoughts. Irrelevant to the story and irritating for readers.
* The Journalist can get inside the mind of another person through an interview about thoughts and emotions

4) The recording of everyday gestures, habits, manners, etc.

* Symbolic of peoples status lives
* Wolfe admires Balzac
* For example, before Balzac introduces the Marneffe's in Cousin Bette, "he brings you into their drawing room and conducts a social autopsy"

Wolfe and POV


* "Sometimes I enter directly into the mind of a character"
* Often I would shift the POV in the middle of a paragraph
* "I switched back and fourth between points of view continually, and often abruptly, in many articles I wrote in 1963, 64 and 65"
* A reviewer called Wolfe a 'chameleon' - Took on the coloration of whoever he was writing about. The reviewer meant it negatively, but Wolfe took it as a compliment
* "I had no sense of being a part of any normal journalistic environment"

Fear and Loathing


* Raoul Duke, gonzo journalist
* Sent to cover a motorcycle race for his magazine
* Him and his atterney decide to search for what they call the American dream.
* Throw away the typical conventions of journalism, do as you wish and let it take you over
* FREEDOM
* Quite 'hippy'

The Last American Hero is Junior Johnson. Yes!


* Esquire, March 1965
* First para, extremley descriptive
* Lots of exclamation
* Driving to a stockcar race, North Wilksboro Speedway. Link with Fear and Loathing - This article mentions the 'bootleg turn'
* "Gawdam!" - It's like the writer is chatting to you

Links to Existentialism

New Journalism - Seminar Summary

America in the 1960's and 70's was a country experiencing political and social upheaval. As the war in Vietnam raged on, military threats were building, and from this period rose 'New Journalism'. It was a time of sexual revolution, free love and ongoing student movements. No longer were writers limited to following strict, formulaic conventions. Instead, they could produce work that would encourage readers to think and feel, putting themselves deep in the minds of the characters within the pieces.

New Journalism was a way of bringing together the world of fiction and non-fiction, hooking readers with cryptic dialogue, fascinating characters and revealing description.

Tom Wolfe is a key figure associated with New Journalism. Wolfe was a supporter of Zola, who wrote 'J'Accuse!',  the article which eventually freed Alfred Dreyfus from Devil's Island. More on that HERE. Wolfe was fascinated with the idea of status, seeing us as nothing but parts of a wider social structure. He arrived at the New York Herald Tribune in 1962, with multiple roles. 


Wolfe explained that the world of journalism and the fictional world were coming together

Two days a week Wolfe served as a city desk reporter, which was a fairly standard procedure at a newspaper. Three days a week, however, he would write a 1500 word feature piece. It was here that Wolfe could really change his readers perceptions of Journalism. It showed him 'the possibility of there being something new In Journalism'. As Wolfe said himself, the 1960's revealed 'a discovery that showed it might be possible to write Journalism like a novel'. Wolfe states in his book that his first article contained 'anything that came to mind. Much of it was thrown together in a rough and awkward way'. This, in my opinion, is one of the advantages of this style of writing. There's no set writing style or pattern. Typical writing styles are put aside to leave behind pieces that are unique and refreshing.

New Journalism in the 1960's saw journalists learning the techniques of realism. By means of trial and error, they began to discover devices that gave the realistic novel its power. In 'New Journalism', Tom Wolfe outlines these devices:

1) Scene by Scene Construction

Wolfe defines this as telling the story from scene to scene and resorting as little as possible to sheer historical narrative. If a writer were to use scene by scene construction, he/she would be describing a series of events rather than writing a concluding piece with no background information. This style of writing is idea for giving a piece context.

2) Dialogue

Recording dialogue in full is a window into the mind of a character. Wolfe explained that realistic dialogue involves the reader more completely than any other single device. With the arrival of New Journalism, writers began to use dialogue in a more cryptic and abstract fashion. This is truly what set it apart from conventional pieces. Often, readers were left to draw their own conclusions based on the descriptive nature of the writing and the characters personalities. These signs were based on what they were saying and how it was delivered.

3) Point of View

Presenting the scene to the reader through the eyes of a character will give the reader a feeling of being in the mind of that character. Wolfe points out a habit of some journalists at the time. He explains that when one says 'I was there', this is a limited means of writing a piece. If a writer is presenting their ideas from their own direct point of view, the reader will only be aware of the writers thoughts, not who the writer is describing or talking about. Not only is this irrelevant to the story, it's irritating for readers. The Journalist can get inside the mind of another person through an interview about thoughts and emotions. Nothing is more telling that an individuals answers in such a situation.

4) The Recording of Everyday Gestures

An advantage of using such long burst of description is that it serves as a 'social autopsy', says Wolfe. The recording of such habits can reveal alot about a character. In his book, Wolfe uses the work of Balzac as a teaching point. Balzac introduces the Marneffe's in 'Cousin Bette' by bringing the reader into their drawing room and conducting a 'social autopsy'. The clothes and possessions of an individual help paint a picture of their character. Before these people even appear in Balzac's book, the readers already have an idea of who they are because of the description of the drawing room.

POV in writing was something that interested Wolfe greatly. "Sometimes I enter directly into the mind of a character", he said. Often, Wolfe would shift the POV in the middle of a paragraph as a unique way of keeping readers engaged. He writes: "I switched back and fourth between points of view continually, and often abruptly, in many articles I wrote in 1963, 64 and 65". A reviewer once referred to Wolfe as a 'chameleon'. In response to this, Wolfe claimed: "[The reportermeant it negatively. I took it as a great compliment". The likeness to the creature the reviewer had mentioned clearly came from Wolfe's ability to take on the colouration of whoever he was writing about, a skill vital to one who wishes to represent the style of New Journalism.

In 'The New Journalism', Wolfe explained that most non fiction writers, without realising, were writing in 'a century-old British tradition'. Wolfe strove to be something more than just a 'reporter', instead being interested in what he referred to as the 'interpretive truth'. Traditional Journalism's limited concept of the importance of facts sometimes gave an incomplete story.


Fear and Loathing in Las Vegas is based upon a novel by Hunter S. Thompson

To me, New Journalism seems freeing. It was a means of writing about anything in any form. The typical conventions of writing before it were formulaic and somewhat limited, not allowing for true creativity from the writer. Hard journalism is based entirely on fact, yet New Journalism strayed away from this, exploring abstract concepts in a style more similar to that of a novel.

I watched Fear and Loathing in Las Vegas leading up to the seminar and thoroughly enjoyed the film. The film follows Raoul Duke, a gonzo Journalist sent to Las Vegas to cover a motorcycle race for his magazine. Raoul is accompanied by a lawyer by the name of Dr Gonzo, an unpredictable and often confrontational friend. Fueled by drugs and alcohol, the pair go in search of what they call 'The American Dream'.

During the seminar we discussed the links between the existentialists and New Journalism. Fear and Loathing in Las Vegas clearly has existential undertones. The fact that the two main characters use drugs and alcohol as a means of escaping the realities of the world around them shows this. The characters have no interest in how their actions will impact others, instead choosing to live in the moment and regret nothing of what comes of their actions. It's not about the past or future, it's about the present.

In the film, the winner of the race that Raoul arrives in Las Vegas to report on is never actually revealed. For an existentialist, the result of the event is not important. Instead, the description of the people at the event and the sights and sounds the characters experience take priority and become the key focus. Things that would instinctively seem interesting to the majority would be ignored by existentialists.

As I was watching the film, I felt a great sense of freedom from the characters. This, in my mind, is what New Journalism is all about - The ability to do as you wish and how you wish.

Thursday, 8 March 2012

WINOL REVIEW - 07/03/12



Week 6 at WINOL was very disappointing. The bulletin was terrible and I'm ashamed that it turned out the way it did. This week was too laid back. The fact that it was so calm in the newsroom on Wednesday morning was a sign that people weren't in the right frame of mind. I'm including myself in this group, too.

Before I go on, news reporters please take note of these messages:

1) You all need a strong main story and a strong backup story
2) This bulletin taught us that preparation and forward planning are vital.
3) Link drafts need to be in as soon as possible, preferably Tuesday evening
4) All the reporters need to pull their weight
5) If you pitch an idea at the news meetings and it's approved, make it happen.
6) Don't be scared to try things that are a little different
7) Start preparing your stories sooner. It makes it so much harder on yourself when you're trying to find and organise stories on Monday. It shouldn't be that way.
8) We need some good local stories about people.

Find your stories earlier this week, please.

In terms of individual feedback:

Flick

You were under alot of pressure this week to get out the Beckett story out on time. Obviously, you were unable to get it into the bulletin, but you didn't give up, which I thought was great. Even when the bulletin was being filmed you were still in the newsroom editing. As was mentioned in the debrief, the fact you went out on location to film some footage for the air traffic controlling OOV was great, too. Lets hope next week you can get a full package into the bulletin.

Lou

You're very consistent at getting relevant interviewees, which is great news for me because you're a reliable person to have on the team. Your package this week was a big improvement on your previous efforts in a technical sense. There were no shots that were completely bleached out and you looked confident in your piece to camera. I particularly liked the shot you walking with Brine. I thought it looked very professional. Your framing is vastly improved this week, which is great. You were slightly let down by the quality of your voiceover sound this week, which is a shame. Overall, though, a good package this week.

George

You had a nightmare with the tape decks this week, but you did great to recover from the problem and managed to get your package into the bulletin about 20 minutes before we went live. I thought your story itself was very strong. Unfortunately, I don't think you were able to do justice to it with just 1 interview. Obviously you agree, because we discussed this on Wednesday. I'm well aware you tried your best to bag a second interview, so I can't fault your effort! In the feedback session, it was mentioned that your piece to camera wasn't great. There also wasn't enough information in the package on where the cardinal had spoken out. The human interest side of the story should also have been stressed more. Overall, a good week for you though.

Dan

I needed your powercuts OOV put together just incase everything went wrong. Unfortunately, everything went wrong and I used it. Admittedly, hearing the story from your mouth it seemed particularly simple, yet this didn't translate well to the bulletin. I think the fact you were told to cut a sentence off the link only added to the problem, because you had less time to explain the story. Your interviewee wasn't really introduced, either. An odd OOV to say the least. I was foolish to use it.

Hettie

You did a great job this week of putting together an 'and finally'. It was a nice, light way to end the bulletin and I thought you were very creative with some of the shots you eventually ended up using. I liked the fact we could see you and the music producer both on screen using the equipment. You were very clever in the way you used the song itself in your package. It looks like you're doing well with improving your editing skills.

Uldduz

I thought your package this week was good. Although it didn't end up going into the bulletin, it was usable. There were no significant issues with it and it was well filmed. Some of the shots went on slightly too long. It was a difficult story to think of shots for though. You were quite limited here and you did well to get what you did. I know you had issues with filming permission. Be careful in future that you're in a location where you're allowed to turn the camera on. If you're unsure, check before you film. It was a good package, overall. Well done for putting it together before the deadline.

Graham

I didn't end up using your Biomass Plant OOV, but I'm very thankful that you managed to get it done in time for the bulletin. I should have used it instead of the powercut OOV, but that's down to me and not you. You did well to piece something together on the day of the bulletin. I'm also aware you tried hard to make your cycle path story work, but unfortunately your only interview wasn't a particularly memorable one. Fingers crossed next week goes better for you!

Monday, 5 March 2012

WINOL REVIEW - 29/02/12





Week 5 at WINOL was

Before I go on, news reporters please take note of these messages:

1) Make sure your opening shots strong this week
2) I want links in on Tuesday evening so I can put together a draft of the script
3) No shots of buildings please
4) Begin your packages with natural sound
5) Final Cut - Have the audio from the interview play before the person is in vision

In terms of individual feedback:

Hettie:

I thought your package this week was very well put together. As a result, I was happy to place it at the top of the bulletin. I liked you use of natural sound in the piece and I can tell that technically you're alot more confident in putting packages together now. Next time you write your link, however, keep your opening words from the package in mind. This week the link and the opening line were too similar, which looked slightly odd to watch back. In the Wednesday debrief it was pointed out that it would have been useful to have some more information on the number of lambs that had been born with the virus. The package didn't clearly explain how many lambs had been affected.Your interview was well framed, though. A good week for you.

Lou:


This week you did well to interview some good local council members. Your opening shot, which is meant to be your strongest, really wasn't good enough. There's really no excuse that some of your shots are washed out when we're this far into the process. I liked the fact you gave the walking piece to camera a go, though. Although you may have delivered the script slightly quickly, it was nice to see a piece to camera that wasn't just completely still. In the debrief it was pointed out that as the story was about council services and their effect on people, we needed to see people! Perhaps a case study would have been ideal.


Dan:

I thought your package this week had some great quotes tucked away into it. It started well and the natural sound at the start of the piece was effective. I also liked the GV's of the river in Winchester. Your package didn't, however, say enough about the advantages of fluoride. As Rob Kirk said, it felt slightly unbalanced. Furthermore, your interview was slightly bland, taking place in front of a blank white wall. In saying that, though, the quotes you managed to get were brilliant and really helped to improve the piece. As was said in the Monday debrief, the sequence with the man drinking didn't really work.

Flick:

I thought your performance this week was good. When asked about your package, Rob Kirk described it as "OK." He thought it was slightly dull, which I agree with to a certain extent. I'm glad you followed the story though. It was a national story and you managed to localise it fairly well. It would have worked better with a more straightforward approach, perhaps. There were too many facts coming at the audience. As was pointed out in the Monday debrief, the graphics you'd put together weren't on screen for long enough. I was impressed that you managed to make your own graphics, however.

George:

This week you did a good job of taking an interesting court story and putting together a reconstruction. It was the first time we'd attempted something like this and I think you pulled it off. It was much more interesting than a standard court report where you just relay the story to the audience without any cutaways. There were some issues with the relationship between the link and the start of your package, though. The link reffered to a man, yet the package focuses entirely on what happened to the woman. Rob Kirk said: "The reconstruction was a clever idea. It worked very well". There needs to be a little more care about the relationship between the intro and the substance of the package. It was mentioned in the Monday debrief that your reconstruction was slightly too literal at points, though.

Graham:

I didn't think your package this week was the greatest you've produced, but you did well to go to the event and identify the event in the first place. I think your biggest downfall this week was not asking Robin Cousins the correct questions. As was pointed out on Monday, you went to the event and then made the event itself the focus of your package. 

WINOL Monday Debrief Notes - 05/03/12






When you are handing the script writers your package links, they absolutely cannot be similar to your opening lines in your piece. Writer stronger links.

Your opening shots need to be your best. Every package should have some memorable shots.

All packages should begin with natural sound.
  • “The show itself was excellent”
  • Try and conduct your interviews in interesting locations
  • Try and vary your PTC's. Try walking PTC's, slow reveals etc.
Hettie:
  • The headline and Hettie's opening line disagreed
  • The link and the opening line were too similar
  • Next time, write your link with your opening words in mind
  • The package didn't explain how many lambs had been affected
  • How many lambs had been born with the virus?
  • Interview was well framed
  • Good use of natural sound at the start of the package
Council Cuts:
  • “It was OK”
  • The opening shot was poor
  • Your PTC was good, but the delivery was too fast
  • Start with an interesting shot
  • Council services are about people. Therefore, we need to see people!
  • The piece was bland and boring, needed people
Fluoride:
  • Started well
  • The natural sound at the beginning of the package was effective
  • “Generally a good report”
  • It didn't, however, say enough about the advantages of fluoride
  • The piece was slightly unbalanced
  • Your interview was in front of a dull, white wall
  • The sequence with the man drinking didn't work
Education:
  • “It was OK. I found it abit dull”
  • The graphics were 'clunky'
  • It would have worked better with a more straightforward approach
  • Too many facts
  • The graphics were up and gone too quickly
Court Assault:
  • The intro and the package didn't match up
  • The link referred to a man, yet the package focused entirely on what happened to the woman
  • “The reconstruction was a clever idea. It worked very well”
  • A little bit more care about the relationship between the intro and the substance of the package
  • The recreation was slightly too literal
Dancing on Ice
  • The commentary talked about Robin Cousins being there, but he wasn't in the opening shot
  • “Choose your words carefully”
  • The story wasn't really a story

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