Wednesday 8 December 2010

America the Beautiful - Research into...



The title:
Coloured using the national colours of the American flag. The “I” in “America has been made into a lipstick for humour but also to emphasise the nature of the documentary. Making the Statue of Liberty hold a lipstick apart from the torch makes a mockery out of American culture and how it has become so obsessed with looking ‘perfect’.  America the Beautiful’ is the name of a well known patriotic song. Naming the documentary this is both ironic and humorous as again, it is making a mockery of American tradition and culture.

The image:
The image has been edited for the effect of the documentary. The fact that such an influential and respectable landmark has been drawn all over and changed to what is seen as ‘perfection’ both emphasises the light-hearted feel to the documentary, but also highlights the seriousness of it. The statue has been changed to fit the idea of the American man’s perfect woman. Some Americans may find this image offensive, but the producers of the film poster have cleverly used the image to represent the narrow-minded, productised characters of the American population. The annotations are written using a font that looks like someone’s handwriting to represent that it is so easy for anyone to highlight someone’s imperfections and how superficial people are becoming.

The slogan:
The slogan is a rhetorical device which intends to address the audience and draw them in. Using a question causes the reader to want to find out what the advertisement is about, therefore encouraging them to watch the documentary. ‘Obsessed’ has been highlighted and brought above the other words to emphasise it and also make a suggestion as to what the product being advertised is about. The colour is identical to that of the colour of the lipstick that the Statue of Liberty if holding to intensify the plasticised personality of Americans and also of the product.

Super Size Me - Research into...


Super Size Me

Super Size Me is a documentary film that was released in 2004 to highlight the issues of over-eating of fast foods (fatty foods) in America. The documentary follows Morgan Spurlock as he attempts to eat nothing but McDonald’s food for 30 days. The documentary explores into the fast food industry’s influence on poor nutrition for it’s own benefit and how this mass intake of unhealthy food has an effect on people’s health both physically and emotionally. Spurlock’s inspiration for the documentary was the fast increase in obesity in America.

 
Analysis of the opening of Super Size Me
Even from the beginning of the documentary, we are introduced to what the topic of the programme is. We are met with a track shot of a group of children of all different sizes (some displaying extreme obesity) singing a song based upon fast food. The connotations that we can gather from this snippet it that eating food is fun and enjoyable and that, even from a young age, children are introduced to the fast food industry which could potentially kill them. The screen fades to black, for which then a quotation from McDonald’s founder, Ray Kroc claiming “look after the customer and the business takes care of itself” which is completely ironic as fast food companies do not take care of their customers, yet the businesses are booming. The black screen then fades out into an image of the American flag to show the culture of the documentary, also ironic as American’s are well-known for being a stereotypically ‘fat nation’. A voiceover (Spurlock) then begins to speak, glorifying the ‘big’ nature of the USA with “the biggest cars, the biggest houses, the biggest companies, the biggest food and finally, the biggest people!” This creates a shock factor as all the other items mentioned are something to be proud of, whereas obesity is not. The voiceover begins to supply the audience with hard-hitting statistics that take the light-hearted nature of the documentary to a realistic, shocking level. The documentary presents both audio and visual information that coincide with each other to strengthen the message of the documentary. Spurlock then gives a personal account of his experience with food growing up, which adds to the realistic nature of the documentary. The reason for choosing McDonald’s as the primary target for this documentary is that it accounts for 43% of the fast food market.

The documentary is of a light-hearted and slightly humorous nature in order to attract a wider audience, especially the younger generation of whom can prevent this trend from furthering. The first few minutes of the documentary are focused on giving all the facts about obesity and setting the foundation for the narrative of the storyline to evolve. We are met with Spurlock about 4 minutes into the documentary where he talks directly to the audience and explains his mission.

How is this method/structure effective?
Presenting the audience with the harsh reality of what the fast food industry is doing to people not only draws them in and encourages them to watch the programme, but also sets a ‘no mercy’ message to the documentary. It almost suggests that there is no escape from the truth of fast food, just as there is no escape from the harmful effects that it can manifest. This documentary will be especially shocking for parents, specifically those that allow their children to eat large amounts of fast food. Inflicting harsh truths at the beginning of the documentary also prepares the audience for harsher events to come. Just as with a horror film, the narrative always becomes scarier as the story progresses. This is the same in Super Size Me; the situation being presented is bound to get worse, more shocking and grotesque as we progress further. The documentary is presented in a child-like quality to address the primary audience but also to make the information being presented more understandable for all ages. This is an appealing idea to use in my own documentary as it is targeted at a younger audience. My documentary needs to be made fun and entertaining to maintain the attention of the audience. This could be achieved using animations and more visual aspects (different video snippets changed often) as opposed to overloading the audience with too much information (including statistics) that will bore them and lose their interest. 

Budget: $65,000 (estimated)

Opening Weekend:
$516,641 (USA) (9 May 2004) (41 Screens)
£264,843 (UK) (12 September 2004) (82 Screens)
AUD 718,003 (Australia) (6 June 2004) (26 Screens)
€76,911 (Italy) (10 April 2005) (60 Screens)
SGD 70,861 (Singapore) (11 July 2004) (5 Screens)
KRW 18,900,000 (South Korea) (12 November 2004) (28 Screens)

Gross:
$516,641 (USA) (9 May 2004) - $11,529,368 (USA) (26 September 2004)
£264,843 (UK) (12 September 2004) - £809,046 (UK) (26 September 2004)
AUD 718,003 (Australia) (6 June 2004) - AUD 1,343,074 (Australia) (13 June 2004)
€76,923 (Italy) (10 April 2005)
€69,517 (Netherlands) (22 August 2004)
€124,500 (Spain) ( 2004)

Release Dates:

For the UK:     10th July 2004, at Cambridge Film Festival (premiere)
                        19th August 2004, at the Edinburgh Film Festival
                        10th December 2004
For France:     13th May 2004, at the Cannes Film Market
                        30th June 2004
For USA:          17th January 2004, at the Sundance Film Festival
                        13th March 2004, at South by Southwest Film Festival
                        10th April 2004, at Philadelphia International Film Festival
                        7th May 2004, limited areas
                        29th August 2004, video premiere  

Also released in: Canada, Australia, Switzerland, Singapore, New Zealand, Germany, Denmark, Norway, Hungary, Netherlands, Thailand, Iceland, Israel, Philippines, Finland, Sweden, Belgium, Poland, Turkey, Spain, Portugal, Austria, Mexico, South Korea, Czech Republic, Hong Kong, Indonesia, Japan, Argentina, Greece, Italy, Estonia

Ratings:
The Motion Picture Association of America (MPAA) rated the original version of the documentary as PG-13 for language, sex and drug reference, graphical medical procedures.
The educationally enhanced version was rated as PG for thematic elements, a disturbing medical procedure and some language.

Broadcasting

My documentary is eligible to be broadcast on Channel 4 as it is not the purpose of the documentary to gather ratings, it will be broadcast based upon public interest. For example, if the number of news stories/broadcasts are focused on underage drinking and the effects of underage drinking, then the documentary will be of more interest to the public. The recognition of the topic across the media as a whole is important to the intake of the documentary.

Channel 4 broadcasts documentaries such as:

Coppers (2010)
A documentary that attempts to capture the work of the police in the UK. The camera follows them in their day-to-day routines and allows the audience to understand how the police force works.
The Family (2008)
An observational documentary that captures everyday family life of different families in the UK.  
The Secret Millionaire (2006)
A documentary that follows a millionaire as they go undercover into struggling communities and choose individuals to give away tens of thousands of pounds to help them exceed in their current lifestyles.
Seven Days (2010)
Follows and documents the lives of individuals living and working in Notting Hill.
How The Other Half Live (2009)
A documentary featuring two families; one rich and one poor. The programme focuses on the children of the two families. The child from the poor family will send a DVD to the rich family in order for them to see what life is like for them. The rich family will normally then send money to the poor family in order to help them improve their way of life.
3 Minute Wonder (2007)
A short slot in Channel 4 prime-time programming that allows first-time directors to broadcast their 3 minute TV programmes in an attempt to help new talent break out in the very competitive television industry.

Taken from  http://www.barb.co.uk/report/weeklyViewing

Channel : Channel 4/S4C
Weekly views (000's) : 38,924
Reach : 67.9%
Av. Weekly Viewing (time per person) : 01:54
Share : 6.3%

Channel : BBC3
Weekly views (000's) : 16,614
Reach : 29.0%
Av. Weekly Viewing (time per person) : 00:23
Share : 1.3%

Channel : More4
Weekly views (000's) : 11,499
Reach : 20.1%
Av. Weekly Viewing (time per person) : 00:17
Share : 0.9%



Taken from  http://www.barb.co.uk/report/weeklyTopProgrammes?

Channel 4

w/e 29 Aug 2010

000's
1BIG BROTHER: THE FINAL (TUE 1959)4,287
2ULTIMATE BIG BROTHER (WED 2205)3,617
3ULTIMATE BIG BROTHER (THU 2203)3,513
4ULTIMATE BIG BROTHER (FRI 2100)3,309
5BIG BROTHER (MON 2203)2,977
6ULTIMATE BIG BROTHER (FRI 2237)2,782
7ULTIMATE BIG BROTHER (SAT 2100)2,750
8HURRICANE KATRINA: CAUGHT ON CAMERA (THU 2102)2,248
9ULTIMATE BIG BROTHER (SUN 1959)2,216
10CUTTING EDGE: MY NEW BRAIN (WED 2102)2,144

As shown in the table above, during the craze that was Big Brother, the programme received the most viewing hits on Channel 4. Excluding all Big Brother programmes in the chart, the two other most popular programmes on Channel 4 were both documentaries. Channel 4 is reknowned for its broadcasting of documentaries and for this, the programmes get more recognition. It is evident that if the documentary addresses public interest, for example; people were intrigued to know how it would have felt to experience Hurricane Katrina and because it was such a global catastrophe, they tuned in to the documentary 'Hurricane Katrina: Caught On Camera', then the documentary is more likely to recieve higher viewing rates.  




Channel 4


w/e 6 March 2011
                                                        000'S
1        FILM: TAKEN (2008) (SAT 2103)                                                                      3,716
2        EMBARRASSING BODIES (FRI 2100)                                                             3,244
3        ONE BORN EVERY MINUTE (MON 2100)                                                     2,891
4        JAMIE'S DREAM SCHOOL (WED 2101)                                                          2,539
5       COME DINE WITH ME (MON 1659)                                                                 2,529
6       COME DINE WITH ME (FRI 1659)                                                                    2,521
7       COME DINE WITH ME (TUES 1659)                                                                2,501
8       COME DINE WITH ME (THUR 1659)                                                                2,447
9       COME DINE WITH ME (WED 1659)                                                                  2,280
10     HESTON'S MISSION IMPOSSIBLE (TUES 2102)                                         2,224


As shown in the viewing figures above (taken from http://www.barb.co.uk/report/weeklyTopProgrammes?) Come Dine With Me was the most commonly watched programme on Channel 4 during the week stated above. However, what I found most noticeable and in relation to my own media production was that the film Taken was the most watched programme during that week by a clear margin.




Taken Poster
Taken (2008)
(Image and information taken from http://www.imdb.com/title/tt0936501/)


Taken is a film written by Luc Besson and Robert Mark Kamen and directed by Pierre Morel which tells the story of a father's struggle to save his estranged daughter after she is kidnapped whilst on holiday and sold into the slave market. The former spy relies on the skills he picked up during his service at the CIA to help uncover the whereabouts of his daughter and track down her kidnapper. 


The popular viewing rates of such a film that tackles issues similar to the ones that I wish to portray in my own short film suggest that it will be a great hit amongst viewers on Channel 4. Although Taken stars many famous actors that may or may not attract certain audiences to watch the film, it is the way that the film approaches the issue of kidnapping in such a realistic and shocking way that truly makes the film a hit. Channel 4 is also renowned for airing short films before the beginning of certain programmes in order to give new-time directors the chance to be recognised amongst the general public. 


Country: France, USA, UK
Language: English, French, Albanian, Arabic
Release Dates: 
France         27 February 2008
South Africa   12 September 2008
UK             26 September 2008
USA            30 January 2009
Egypt          4 March 2009
Greece         18 June 2009
Japan          22 August 2009


Budget: $25,000,000 (estimated)



Opening Weekend
$24,717,037 (USA) (1 February 2009) (3,183 Screens)
£1,165,986 (UK) (28 September 2008) (396 Screens)
PHP 4,522,977 (Philippines) (15 March 2009) (30 Screens)



Gross
$145,000,989           (USA)          (5 July 2009)
$144,989,009           (USA)          (28 June 2009)
$144,977,147           (USA)          (21 June 2009)
$144,924,285           (USA)          (7 June 2009)
$144,783,869           (USA)          (24 May 2009)
$144,540,399           (USA)          (17 May 2009)
$144,197,013           (USA)          (10 May 2009)
$143,623,907           (USA)          (3 May 2009)
$142,607,741           (USA)          (26 April 2009)
$142,088,804           (USA)          (19 April 2009)
$141,107,779           (USA)          (12 April 2009)
$139,416,323           (USA)          (5 April 2009)
$137,068,886           (USA)          (29 March 2009)
$133,096,403           (USA)          (22 March 2009)
$126,752,054           (USA)          (15 March 2009)
$117,933,922           (USA)          (8 March 2009)
$107,796,273           (USA)          (1 March 2009)
$95,034,161            (USA)          (22 February 2009)
$80,496,557            (USA)          (15 February 2009)
$53,610,944            (USA)          (8 February 2009)
$47,487,241            (USA)          (6 February 2009)
$24,717,037            (USA)          (1 February 2009)
£6,277,639             (UK)           (2 November 2008)
£5,525,386             (UK)           (19 October 2008)
£4,527,090             (UK)           (12 October 2008)
£3,104,042             (UK)           (5 October 2008)
£1,165,986             (UK)           (28 September 2008)
PHP 7,110,684      (Philippines)      (22 March 2009)
PHP 4,522,977      (Philippines)      (15 March 2009)






Thursday 25 November 2010

PCC - Press Complaints Commission

The Editors' Code - PCC

All members of the press have a duty to maintain the highest professional standards. The Code, which includes this preamble and the public interest exceptions below, sets the benchmark for those ethical standards, protecting both the rights of the individual and the public's right to know. It is the cornerstone of the system of self-regulation to which the industry has made a binding commitment.
It is essential that an agreed code be honoured not only to the letter but in the full spirit. It should not be interpreted so narrowly as to compromise its commitment to respect the rights of the individual, nor so broadly that it constitutes an unnecessary interference with freedom of expression or prevents publication in the public interest.
It is the responsibility of editors and publishers to apply the Code to editorial material in both printed and online versions of publications. They should take care to ensure it is observed rigorously by all editorial staff and external contributors, including non-journalists, in printed and online versions of publications.

Editors should co-operate swiftly with the PCC in the resolution of complaints. Any publication judged to have breached the Code must print the adjudication in full and with due prominence, including headline reference to the PCC.

Accuracy
i) The Press must take care not to publish inaccurate, misleading or distorted information, including pictures.
ii) A significant inaccuracy, misleading statement or distortion once recognised must be corrected, promptly and with due prominence, and - where appropriate - an apology published.
iii) The Press, whilst free to be partisan, must distinguish clearly between comment, conjecture and fact.
iv) A publication must report fairly and accurately the outcome of an action for defamation to which it has been a party, unless an agreed settlement states otherwise, or an agreed statement is published.

Opportunity to reply
A fair opportunity for reply to inaccuracies must be given when reasonably called for.

Privacy
i) Everyone is entitled to respect for his or her private and family life, home, health and correspondence, including digital communications.
ii) Editors will be expected to justify intrusions into any individual's private life without consent. Account will be taken of the complainant's own public disclosures of information.
iii) It is unacceptable to photograph individuals in private places without their consent.
Note - Private places are public or private property where there is a reasonable expectation of privacy.

Harassment
i) Journalists must not engage in intimidation, harassment or persistent pursuit.
ii) They must not persist in questioning, telephoning, pursuing or photographing individuals once asked to desist; nor remain on their property when asked to leave and must not follow them. If requested, they must identify themselves and whom they represent.
iii) Editors must ensure these principles are observed by those working for them and take care not to use non-compliant material from other sources.

Children
i) Young people should be free to complete their time at school without unnecessary intrusion.
ii) A child under 16 must not be interviewed or photographed on issues involving their own or another child’s welfare unless a custodial parent or similarly responsible adult consents.
iii) Pupils must not be approached or photographed at school without the permission of the school authorities.
iv) Minors must not be paid for material involving children’s welfare, nor parents or guardians for material about their children or wards, unless it is clearly in the child's interest.
v) Editors must not use the fame, notoriety or position of a parent or guardian as sole justification for publishing details of a child’s private life.

Clandestine devices and subterfuge
i) The press must not seek to obtain or publish material acquired by using hidden cameras or clandestine listening devices; or by intercepting private or mobile telephone calls, messages or emails; or by the unauthorised removal of documents or photographs; or by accessing digitally-held private information without consent.
ii) Engaging in misrepresentation or subterfuge, including by agents or intermediaries, can generally be justified only in the public interest and then only when the material cannot be obtained by other means.

Discrimination
i) The press must avoid prejudicial or pejorative reference to an individual's race, colour, religion, gender, sexual orientation or to any physical or mental illness or disability.
ii) Details of an individual's race, colour, religion, sexual orientation, physical or mental illness or disability must be avoided unless genuinely relevant to the story.

The public interest
There may be exceptions to the clauses marked * where they can be demonstrated to be in the public interest.
1. The public interest includes, but is not confined to:
i) Detecting or exposing crime or serious impropriety.
ii) Protecting public health and safety.
iii) Preventing the public from being misled by an action or statement of an individual or organisation.

2. There is a public interest in freedom of expression itself.
3. Whenever the public interest is invoked, the PCC will require editors to demonstrate fully that they reasonably believed that publication, or journalistic activity undertaken with a view to publication, would be in the public interest.
4. The PCC will consider the extent to which material is already in the public domain, or will become so.
5. In cases involving children under 16, editors must demonstrate an exceptional public interest to over-ride the normally paramount interest of the child.

Wednesday 24 November 2010

Ofcom Research

http://www.ofcom.org.uk/about/what-is-ofcom/

Ofcom is a communications regulator that works to regulate the TV and radio sectors, fixed line telecoms and mobiles, plus the airwaves over which wireless devices operate.
They work to ensure that the UK population are not at risk from scams through communications services whilst ensuring that competition can thrive.
Ofcom operates under the Communications Act 2003 which explains sepcifically what Ofcom can do. The Act claims that Ofcom should act only to further the interests of citizens and consumers.
They are also responsible for setting technical aspects of regulation, implementing and enforcing the law.

Ofcom's main duties are to ensure:
- the UK is supplied with a wide range of electronic communications services (e.g. broadband)
- high quaility television and radio stations are provided that appeal to a wide range of people's tastes and interests
- high quality television and radio stations are broadcasted by a number of different organisations
- the people who consume these radio and television stations are protected from harmful and offensive material that they may portray
- people are never treated unfairly in the television and radio programmes that are broadcasted, and that they are also free from risk of having their privacy invaded
- the radio spectrum that is used is used in the most effective way

They are not responisble for regulating:
newspapers and magazines
- the BBC TV license fee
- complaints about accuracy of BBC television programmes
- the content of TV and radio adverts
- premium rates services
- disputes between people and their telecom providers

In relation to my media products...

Wednesday 10 November 2010

Treatment for short film

Treatment
Title: The Bridge  'Tears of Blood' 

Rough:
The short film begins as we see our main character, Louise walking to work. The camera follows closely behind her and we immediately can see that Louise is nervous and anxious to get to work. She keeps looking back over her shoulder, suspicious that somebody is following her. She continues to move swiftly through the town centre until she reaches work.

A few hours later and Louise has finished work. The weather has become windy and cold. She puts her hood up to shelter her from the cold wind. It is soon becoming dark so Louise decides to ring her Mother to ask if she will be getting a lift home. When her mother tells her that she is too tied up and busy to be able to come and get her, Louise suggests that she will walk home. Her mother agrees and tells her to be careful. Louise claims that she will be home in around 20 minutes and hangs up the phone. Zipping her coat right to the top, Louise begins to make a move. She is walking through a housing estate, although the lights from the houses are on and the streetlamps light the walk, Louise can't help but feel uneasy in her surroundings. She begins to sense that someone has been following her and watching her every move. Louise decides that she must walk quickly and ignore her arousing suspicions as if she is home late, her mother will begin to worry. Several times during her walk through the housing estate, Louise stops and checks over her shoulder to ensure no one is there. She makes an attempt to check her phone every so often and continues on her way. In order for Louise to get to her house, she must ass under a bridge. The bridge is vibrantly coloured and brightly lit from one end to the other. Once Louise reaches the bridge, she begins to slow down feeling as though she is safe in the light. The camera closes in on Louise and passes over her shoulder. She begins to scream as a hand is placed over her mouth before the screen freezes and fades out to black.

The screen then re-opens 40 minutes after the last shot was taken. The camera is positioned in the back of the car, facing forward to capture the journey on the road and the back of a mysterious man's head whilst he drives. The radio is playing upbeat, happy music that fades in and out, creating a disorietated feel, in the background while the man quietly hums along. The mood inside the car is very calm and tranquil which leaves the viewers feeling confused and wondering what happened in the previous scene. Towards the end of the journey, the radio music seizes and daunting and mysterious music begins to play over the top, creating suspense and tension. The car pulls up to a house and stop in front of a white garage door. The scene then shifts to inside the boot of the car where we see Louise, smudged make up evidently from crying is all over her face. Louise appears to be very distressed as she bangs inside the boot of the car and cries "Let me out!!"

The scene then swiftly changes into what appears to be the side entrance of the garage. The camera changes to display the perception of the mystery man as he opens the foor. The camera then retracts to behind the mystery man as he opens the door and walks into the dark garage. The camera follows closely behind and captures his every movement. The man then begins to rummage around the garage, appearing to be looking for something. We then hear the voiceover of a very distressed Louise who cries "let me go, please! Just let me go!!"... "I haven't done anything wrong, please!" The man continues to rummage about in the garage until the scene fades out to black and we hear Louise scream "No, please! Get off of me! No!"

The scene then fades back in after motioning that it is the next day. Louise has escaped from her capturer. She is in deep shock and continues to cry. She has made her way to the local police station and is now sitting in the reception area. When her name is called, she approaches the receptionist and claims "I would like to report a rape." This is the first indication we receive of what happened to Louise. The receptionist comforts her and goes to find a police woman. The scene then cuts to the interview room where we see Louise sitting with a police interviewer. Louise is of a very nervous disposition and seems very uncomfortable. The police interviewer asks "Okay, take your time to explain the man to me." When Louise is unresponsive, the interviewer asks if she would like a glass of water and messages another police officer to get her some. The interview continues as the other policeman enters the room with the glass of water. The interviewer then requests that Louise tries again to give her a description of her attacker. The other policeman walks to the table and motions for Louise to take the glass. Louise shyly takes the glass and looks up at the policeman with a thankful expression. Her expression soon changes and she becomes hysterical and begins to struggle away from the policeman, spilling water all over the table. The police interviewer becomes concerned with Louise's behaviour, assuming that she no longer feels comfortable in the presence of males after her ordeal. Louise continuously whispers "It's you!" over and over before her whispers turn into screams. The scene ends there and the credits begin to play.


Proposal for the short film

Proposal

Production title: The Bridge "Tears of Blood"

Assignment Brief:
To produce a five minute short film on a subject of mine and my partner's own choosing, including research into other existing short films and how they are created and broadcast.

Proposal:

I INTEND TO PRODUCE A SHORT FILM ON THE ISSUE OF TEEN ABDUCTION AND RAPE.

Teenagers are becoming more and more evident in news headlines and papers across the globe. Reports of teens for inflicting crime and being the victims of crime are becoming more apparent as teenagers fight to gain more independence among society. Teenagers are all too eager to grow up and gain the freedom and independence that they so badly crave. What they do not understand is that with this independence, comes numerous responsibilities. Teenagers carry with them a negative view that is perceived by all other groups within a society. They are genuinely associated with anti-social behaviour, crime, violence and other negativities. What others fail, if not refuse to recognise is that not all teenagers are custom to the negative stereotype that comes with being a young adult. 
However, what this short story will aim to establish is the vulnerable side to being a teenager and the dangers that can occur in everyday reality. Homicide (violence at the hands of another person) is the fifth most common cause of teenage death. There are thousands of incidents that can be found where teenage girls have fallen victim to the violent acts of another human being, the most common being rape. The invincibility that some teenager’s feel they have can act as their downfall and end them up in all sorts of disastrous situations. This issue therefore needs to be addressed and we feel that showing the incident from a perspective that will allow the audience to truly experience how it may happen/feel, will be the best way of conquering the increasing levels of rape. The short film will show the events leading up to the abduction of our character and the events that happen after the abduction has taken place. As rape is such a sensitive subject amongst many people, the incident will be emphasised and implied, but not actually shown.
All footage used in the film will be created by both me and my partner. All editing procedures will be undertaken by us and any music used within the short film will not be subject to copyright.
This short film will aim to raise awareness of teen rape and its raising occurrence documented in the news and those that go unheard. It will offer support, guidance and reassurance for anyone who is a victim of rape, but also help to raise the knowledge that these things can happen and how is best to avoid them.  
The production work for the short film will include a poster for the film and a film magazine review page featuring the film.