My survey findings- as it stands

I have conducted a survey, to close peers- I have a good sample size and have gained some valid results. As it stands these are the statistics that I will use in my documentary.

Over the past year have you experienced symptoms of anxiety and depression?

Yes- 78.57%
No- 14.29%
Prefer not to say- 7.14%

Do you truly believe there is a crisis in men's mental health?

Yes- 92.86%
No- 7.14%

Are you aware of any suicide/mental health services?

Yes- 71.43%
No- 28.57%

Have you had mental health problems?

Yes- 78.57%
No- 21.43%

If so did you receive any treatment?

Yes- 14.29%
No- 78.57%
Havent had mental health problems- 7.14%

Do you feel as if you can't open up?

Yes- 71.43%
No- 21.43%
Prefer not to say- 7.14%

Have you ever had suicidal thoughts?

Yes- 64.29%
No- 35.71

In your own words what can be done to fix this problem?

Use your negative emotions as drive to become a better version of yourself
People should come together and understand that men can have traumatic experiences and shouldn’t be afraid to show emotion
People should come together and understand that men can have traumatic experiences and shouldn’t be afraid to show emotion
Spread awareness and show that men can have feelings and that they aren’t weak if they do open up. Get rid of the stereotypical man up way

Comments

Codes and conventions of documentary

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Vertov

Dziga Vertov was a pioneering Soviet documentary film and newsreel filmmaker as well as a cinema theorist. He was born in Russia, with the name David Abelevich Kaufman but he often went by the name Denis Kaufman. He was born on 2 January 1896 and died on 12 February 1954. His filming techniques and theories influenced the Dziga Vertov Group, a radical filmmaking collective active from 1968 to 1972, as well as the cinéma vérité style of documentary filmmaking. His most famous film was Man with a Movie Camera (1929). This film portrays a day in a Russian city, however, it was filmed in several cities over 4 years. Vertov was heavily influenced by Eisenstein's use of montage and his aesthetic was driven by his political beliefs as a communist. Vertov believed that film truth should be captured, which is fragments of the actuality that, when organized together, have a deeper truth that cannot be seen by normal people. Vertov's Kino-Pravda focused on everyday experiences, eschewing ...

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