Analysis of Documentary

The Class of ‘92

The camera movement, shots and angles are all a crucial element in signifying the genre of the documentary. The genre of this particular documentary is in fact a hybrid of sports and historical aspects – the sub genre, in terms of sports, is football. Various camera techniques have achieved a good overall complexion of the documentary in the sense that it looks professional, clean and realistic. Providing the documentary with these characteristics and signifying the genre is due to a number of reasons, specific camera techniques have been incorporated to do this. The documentary opens up with an aerial establishing shot followed by a long, high angle shot of a football stadium (Camp Nou) with a loose frame. [INSERT PIC] These impressive camera techniques engage the demographic almost immediately as they provide an entertainment factor. This is classed as entertainment due to the fact that it is not only engaging the target audience but also inspiring them at the same time. We can categorise the audience related to this factor by turning to Blumler & Katz’s Uses & Gratifications Theory as the theory suggests audience watch media texts for a specific “function”, one these “functions” do indeed include entertainment.

Another camera technique that has been demonstrated is the use of floor shots and hand – held shots, [INSERT floor PIC] the floor shot allows the audience to get closer to the action and is a generic convention of documentaries classified in the sporting genre. This camera shot is a genre signifier as it is considered conventional of the sporting genre. In addition, through the use of hand – held shots it enables you to provide the documentary with a sense of ‘realism’ and gives an active audience the experience they desire.  This element of desire is linked in with Richard Dyer’s Utopian Solutions Theory. The theory suggests that audiences watch media texts in order to gain perfection they can’t receive from their real lives. This is the foundation for the theory whereby it believes media texts offer “utopian solutions” for the target audience. Therefore, audiences use the element of desire in order to solve the problem of frustration.

In relation to camera techniques, in terms of conducting interviews there is an essential rule that directors must follow in order to create a good looking interview. As a result, this engages the audience that little bit more and ultimately establishes a connection with your demographic. Thus why this rule is considered a generic convention of not only interviews themselves but also documentaries as a whole. This rule is referred to as the Rule of Thirds, whereby the director positions a character or prop near the sides, or where the lines cross on an imaginary grid. The Rule of Thirds is vital because it makes the shot look more interesting and realistic at the same time. Of course this documentary has illustrated this element on all of their interviews. [INSERT PIC OF THIRDS] Interviews and the Rule of Thirds go hand in hand and are both known as conventions of documentaries, and this one in particular as they not only provide additional insight for the target audience to help them understand and comprehend such themes, but also because audiences like “repetition”. By this I mean audiences enjoy conventions and elements they recognise in specific genres of media texts and therefore and more engaged when accompanied by such conventions. Interviews within documentaries are considered generic conventions and can potentially link in with Steve Neale’s Genre theory. This theory suggests that audiences enjoy viewing particular genres as they offer “repetition” thus engaging target audiences more.

Furthermore, on the topic of conventional interviews, another camera techniques that can be incorporated are the use of an over the shoulder shot. This has taken place in this particular documentary [INSERT OVER THE SHOULDER] in order to engage the demo and psychographics due to the fact that that this type of shot is utilised to make the audiences feel part of the scene and display the concerning character’s perspective. This technique is conventionally implemented to enable an addition of a certain depth to the perceived documentary. In this particular documentary, the over the shoulder shot is in shallow focus whereby the character in the foreground is out of focus and the character in the background is in focus. It connotes the importance of what the character is saying in his dialogue.

Moreover, a significant camera movement that is worth mentioning is the use of a silhouetted tilt included within this documentary. [INSERT SILHOUETTE] A tilt is usually implemented in order to show off and specific object or character(s) and this case; the tilt has been used to show off certain characters. This has been done to signify to the audience the importance and significance behind these characters (The Class of ’92). [3 MAN SHOT] This camera technique isn’t necessarily considered a generic c convention suited to his particular genre but is still an essential aspect to be consisted of.

In terms, of conventions that accompany documentaries, one feature that is typically included are through the use of archive footage. Archive footage is referred to as a convention as it provides the documentary with specific content and adds more depth to the context in which the director is denoting. [INSERT ARCHIVE] In The Class of ’92 the incorporation of archive footage is key when signifying the genre as one branch of the supposedly ‘hybrid genre’ is indeed the historical element. In order for audiences to identify this historical element genre signifiers must be implemented.

The editing techniques embedded within this documentary are useful  in order to engage the target audience.

Combination of pull focus & cross dissolve

Slow Mo

Super imposed graphics

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