An interview technique I may try in my interviews for my final task

Today I reviewed Panorama by BBC and during the episode 'is the cloud damaging the planet', I found an extremely odd yet interesting interview technique. This technique consisted of an over-the-shoulder shot from the interviewee, to show the interviewer's reaction and facial expressions to the responses to the questions. I have taken a still to analyze.

I found this technique extremely interesting as it is not often shown, usually, all focus is on the interviewee, however, this is definitely an interview technique that I will consider in my final task.

I feel as if this interview technique would really work in my second interview, in particular as I will be talking about the solutions to mental health. I believe it really helps the audience to picture the emotion in the image.

Comments

Codes and conventions of documentary

Preliminary task: editing using Premiere Pro

Although I have already decided that for my preliminary task, I will be editing using Davinci Resolve due to it being more accessible, while I'm at school, I decided to edit the preliminary task with Premiere Pro as well just to compare the results. I used Premiere Pro last year to edit my tasks but in my opinion, I found it far harder to use than Davinci Resolve, however now I am getting more comfortable with this software and would like to start using it more by practicing on it.

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 ...

Toby's A-Level media blog

Search This Blog