Title for Documentary: Brainstorm

Production Title - Brainstorm

• Furry Friends
• Canine Companions
• Park Life
• Mutts Best Friend
• Bow Wow Buddys
• Pooch Partners
• Puppy Love

Week 7 Presentation: Reflexive Documentary

Workshop Presentation Brief: Reflexive Documentary

With your team, analyse how the techniques associated with ‘reflexive mode’ mode (as identified in Nichols) are being used/varied in the film Derrida (Dick & Ziering- Kofman, 2002) and how the use of this mode affects your feelings for and understanding of the subject. Present your analysis in the next workshop session in Week 7 in a presentation of no more than 15 minutes, including a clip of max 5 minutes.

SLIDES

1. WHAT IS THE REFLEXIVE MODE

2. TECHNIQUES/CONVENTIONS OF THE REFLEXIVE MODE

3. OUR REFLECTION ON DERRIDA 

4. READINGS REFERENCES

5. QUESTIONS FOR THE CLASS

Planning

Myself and Luke meet up a lot during our reading week and discussed that we would split the readings between us and find our own clips regarding the slides we we're going to talk about. We had set readings to refer to as well as a main film of reference all to incorporate into our short presentation. These are:

• Sections on the reflexive documentary in Nichols, “What types of documentary are
  there?’ and in “Representing Reality”
  
• Nichols, B. (2001) Introduction to Documentary, Ch. 1: Why are Ethical Issues
  central to Documentary Filmmakijg?
  
• Chanan M. ( 2007) The Politics of Documentary. Ch. 13 The Space of the Subject:
  the projection of personality. 
  

Script for Presentation: George

What is the "Reflexive" Documentary

The Reflexive mode is both the most difficult to define and the least common of the six documentary modes described by Bill Nichols in his honoured taxonomy first articulated in Representing Reality (1991). 

In essence, Reflexive documentaries undertake a structural critique of the documentary form itself, emphasising the constructed nature of both film and reality. The goal of a Reflexive documentary is to get audiences to think about the ways that documentaries construct their vision of reality; it exposes the various “rhetorics of authenticity” by which the documentary mode asserts its truth claim. Thus, reflexive documentaries acknowledges the constructed nature of documentary and flaunts it - conveying to people that this is not necessarily "truth" but a reconstruction of it - "a" truth, not "the" truth. 

Also, in the section on 'What types of Documentary are there?' in representing reality, Nichols elaborates that reflexive documentaries "acknowledges their presence in front of the camera and provides a narrative to the documentary "...provokes our awareness of social organisation and the assumptions that support it." In this way, the reflexive mode of documentary often functions as its own regulatory board, policing ethical and technical boundaries within documentary film itself. The viewer is made aware of the process of production, and the presence of the filmmaker in the scenarios which s/he is constructing. Also the filmmaker controls in some real way the meaning of what is said in the reflexive mode. 

Luke will now go onto discuss some of the codes and conventions in Derrida in reference to this week's readings.

Clip Comments

Clip 1 - 

Clip 2 - 

How the ‘Reflexive’ mode affects us in Derrida

Derrida incorporates and manipulates the codes and conventions of a typical reflexive documentary. At several points, Derrida shows the philosopher applying his theory of deconstruction to the film itself. Derrida often challenges the filmmaking process and argues against the capability of any film to portray him accurately. The film also includes metacinematic scenes in which Derrida analyses previously recorded footage of himself. 

We are constantly reminded as audience, we are watching an act of fiction and we are told this not only by seeing visuals of the camera crew, setting up of clip-on mic and other things during the documentary. 
Normally in the reflexive mode, the interviewee and audience may manipulated by the filmmaker. However, Derrida is a philosopher and has a clear way of thinking (deconstruction). The filmmakers do use a voice-over narration, but it is used in the film to quote Derrida directly so the filmmaker does not manipulate the audience with their own words, but Derrida's.

Script for Presentation: Luke

slide 1

'instead of seeing through documentaries to the world beyond them, reflexive documentaries ask us to see documentary for what it is; a construct or representation' Nichols 'I don’t know who’s going to be watching this' acknowledging its a film. 

Breaks down the wall. 

'I want to explain the presence and ask your permission for this film crew on my left they'll be recording some images' acknowledging that it is a film. 'the reflexive mode is the most self conscious and self questioning mode of representation' Nichols 'reflexive documentaries also tackle issues of realism' Nichols 'this is what you call cinema verite? Everything is false' 'One of the things that makes Derrida the film such a playful documentary is that Derrida the man is completely aware of these processes, which he holds up and turns around in front of the camera. At the start we find him at home planning to go out, he's lost his keys, and greets the camera with a playful negation 'Forgive me for not even saying hello. It's a bit difficult. A moment later he addresses the camera again, 'So you're going to come with me' Chanan He is acknowledging it is a film and playing with the film maker. 

Slide 2 

'Derrida does his best to undermine things, taking nothing at face value, becoming an active participant in the deconstruction of his own documentary, and on several occasions challenging his interviewer, complaining, always with good humour, that this question is too general, and that one too complicated, to be able to give reply' Chanan Derrida is playful and interacts with the film maker breaking down the wall. He challenges the filmmaking process and argues against the capability of the film to portray him accurately. 'The camera repeatedly catches him doing what he does best, deconstructing. The film makers enter into the spirit, playfully deconstructing their own process in cahoots with their subject, and Derrida's philosophical wariness about becoming a 'subject' for the camera serves them as a spirngboard to investigate the limits of the biographical film portrait' Chanan They are playing with process of film maiking and actively acknowledging they are making a film.

Week 8 [Workshop Notes]

Editing the Documentary

A brief history cinematic and documentary film editing.

First film of all time Workers Leaving the Factory (1895) by the Lumiere brothers, exhibited in Paris 28th December

Film editing did not exist yet, the films were shorter than a minute with a static camera and mostly shot in one take: the so-called tableau shots. They intended to show an event as it occurred in front of their camera.

The need for editing gradually emerged as the lack of sound hampered storytelling: it was necessary to find ways to control rhythm, mood and shifting attention in the scene.è

George Méliès discovered the first jump cut in 1896 whilst the camera jammed during filming so the bus he filmed turned into a bus cart. He then introduced editing devices like: fade in/out, overlapping dissolve and stop-motion photography. One of his most famous films being A Trip to the Moon (1902)

Edwin S. Porter is the father of the 'fictional narrative. He introduced the straight cut in his films and his contribution to editing was the arrangement of shots in a way to produce narrative continuity. Splicing together different shots not necessarily of the same time and place, could create narrative through editing, so, film practitioners understood that cinema's most basic unit was the shot and not the scene.

D.W. Griffith influenced both Hollywood and Soviet filmmakers. His techniques were developed instinctively. He introduced many elements of continuity editing: the cut-in shot, 180 degree rule, inter or cross cutting, establishing shot, the reverse shot.

Eisenstein's Theory of Montage

Montage - The french word for 'to assemble'

Sergei Eisenstein attempted to theorise about film editing as a clash of images and ideas based on the Marxist theory of dialectic (conflict producing synthesis of ideas_

He categorized these as the 5 types of montage:

1. Metric - According to the frame number
2. Rhythmic - According to the rhythm created by the action in the shot
3. Tonal - According to the tone of the shot (light, composition, etc.)
4. Overtonal - A combination of all  (mostly in sequences of shots)
5. Intellectual - Expressing abstract ideas by creating relationships between opposing visual intellectual concepts.

Documentary Editing

A scene - This is a continuous time and space unit in your story, made of at least one shot.

--> What does the scene mean? Exposition, conflict?

--> Don't use a shot for it's own sake. Some shots may, within themselves, be superb, but may not for reasons of styles, shape or just original intention, fit into the overall film.

--> As a rule, do not use several shots when one will do. Fussy elaboration has no virtue in itself and simplicity gives clarity.

--> Find the moment of the shot.

Documentary filmmaker as a storyteller:

A story is a way we make sense of unrelated events, how we create a 'logic' or a 'link' between different events.

"Style in documentary derives partly from the director's attempt to translate her perspective on to the historical world into visual terms, but it also stems from her direct involvement with the film's actual subject" (Nichols 2001, p. 44)

Editorial Organisation

• List all your material in a logging list. This will help you identify the takes that are not usable, but you'll also identify the best takes.
• Write down the length of the shots. Try to identify the natural life span of the shot. the moment it becomes interesting until the moment you lose interest
• Identify continuity problems and possible solutions.
• Make a paper edit and makes notes as preparation for the commentary.
• Write down the duration of the time.

Rough Cut

- Does it tell the story you intend to tell?

- Does every shot have the right length (life-span)?

- Does it sound right?

- Are the interviews right? Not too long or too short?

- Are all the shots acceptable?

- Do throw away shots that do not progress the narrative

- Is the film rhythm right?

Narration

• Realise that a different narration can make a completely different film.
• Do not describe the visuals to your audience
• Do not use written language when narrating. Use simple english sentences
• Keep it minimal, no one wants a whole film of narration. Give your narrator space to breathe and develop
• Too much information does not come across

Walter Murch: On Editing [Video Interview]

What makes a good editor?

- Must have sense of how to tell a story

- Have a good sense of rhythm

- Editing is 70% about rhythm, its important to get it right to convey your message and information appropriately

Role of the assistant editor

- Someone who is well balanced between the big picture and the tiny details of the film.

- They shouldn't lose touch in terms of numbers. Especially with the advancements of tech

Digital cameras capture huge pixel densities nowadays, thus in the editing stages we can recompose in the frame. This is great for documentary film for manipulating footage. 

ADVICE: Just edit! Get used to your tools and softwares. There's so many to chose from its good to establish a good knowledge of them. The more you 'do' the more you'll learn.

Evan Richard's Vimeo Video on Pudovkin's Five Editorial Techniques

Editing is an aspect of film art form which is completely unique from all other art forms.

It's not merely a way of structuring shots together. Relational editing, conveying an emotion without saying it

1. Contrast

2. Parallelism

3. Symbolism

4. Simultaneity

5. Leit Motiff

Production Processes

• Prepare a draft schedule for production and post-production
• Allocate tasks and identify further research needed e.g. locations, of relevant background material, of music, photos or archive footage
• List practicalities that have to be sorted - equipment booking, transport, subsistence etc.

Basic Editing Considerations - Notes from the reading

Glynne, A. (2008) Documentaries and how to make them, Chapter 15 Preparing for the Edit

• Think ahead to the key moment of the scene before starting the cut, then have a clear picture of the shape firmly in mind.
• Avoid having to cut between shots on the same camera angle especially if the shot is of a single person.
• Watch your eye-lines. It is all too easy to give the effect that two people are looking away from each other in separate close-ups, which obviously influences the emotional effect of the scene.
• Watch the pace of the action which has to be matched in cutting. The demands of shooting may necessitate adapting your ideas to accommodate a different pace to that envisaged but you must incorporate such changes in all shots. e.g. if the hand held close-up of a person talking whilst walking has to be taken more slowly, then the intercut wide shot must be slower. Do not delude yourself into thinking that the c/u face of a walking person does not convey a sense of pace.
• Remember you can only cut the material you possess. If you are cutting your own film the editor in you must control the director you thought you might be -- if you haven't shot the right footage you can't make the film you originally intended.
• Pre-selected music is often very restrictive as can be pre-edited interview material. Both have a pace of their own which may drag your visuals into a form bearing no resemblance to the style of the film as a whole.
• Do aim for self discipline when cutting. It's all very well to say "if it doesn't work we can stick it back together again". Experimenting is part of the learning process but, the sooner you are positive in your approach the quicker you will become confident in construction and pacing.
• It's usually better to spend an hour familiarising yourself with and analysing your material rather than jumping straight in. Tape joiners are a mixed blessing. You may thing you have lost nothing if a quick first cut doesn't work but too many re-cuts result.. in everyone being more conscious of the joins of the shots.

Editor + Dog Related Reading Notes

Editing Related Reading

- Glynne, A. (2008) Documentaries and how to make them, Chapter 15 Preparing for the Edit

• Think ahead to the key moment of the scene before starting the cut, then have a clear picture of the shape firmly in mind.
• Avoid having to cut between shots on the same camera angle especially if the shot is of a single person.
• Watch your eye-lines. It is all too easy to give the effect that two people are looking away from each other in separate close-ups, which obviously influences the emotional effect of the scene.
• Watch the pace of the action which has to be matched in cutting. The demands of shooting may necessitate adapting your ideas to accommodate a different pace to that envisaged but you must incorporate such changes in all shots. e.g. if the hand held close-up of a person talking whilst walking has to be taken more slowly, then the intercut wide shot must be slower. Do not delude yourself into thinking that the c/u face of a walking person does not convey a sense of pace.
• Remember you can only cut the material you possess. If you are cutting your own film the editor in you must control the director you thought you might be -- if you haven't shot the right footage you can't make the film you originally intended.
• Pre-selected music is often very restrictive as can be pre-edited interview material. Both have a pace of their own which may drag your visuals into a form bearing no resemblance to the style of the film as a whole.
• Do aim for self discipline when cutting. It's all very well to say "if it doesn't work we can stick it back together again". Experimenting is part of the learning process but, the sooner you are positive in your approach the quicker you will become confident in construction and pacing.
• It's usually better to spend an hour familiarising yourself with and analysing your material rather than jumping straight in. Tape joiners are a mixed blessing. You may thing you have lost nothing if a quick first cut doesn't work but too many re-cuts result.. in everyone being more conscious of the joins of the shots

https://apdt.com/pet-owners/choosing-a-dog/reasons/

*Individual Pre-Production Research Report [2,000 words]

This should be in the form of continuous prose and should reflect your personal research for the project and on the documentary genre to date. It must contain critical references to reading undertaken and films viewed. It should include:

• Critical reflection on what you have learnt which may be useful for you project from viewing at least 3 documentaries such as for instance about approaches or techniques relevant to your proposed project as a whole or your own role on it. You should draw on your own responses to films viewed as well as your critical reading on the documentary genre.
0. 
   
• Reflection on your own production research to date e.g. on practice for your role, exercises undertaken, subject research. This should include reflection on your contribution to the production of the pilot material
  Some pointers on what issues you should show awareness of in relation to roles:
  
  

Camera – creative thinking on how visual approach will address story/subject/theme, key lighting challenges at proposed locations, framing, equipment requirements and limitations, subject research. 

Sound – creative thinking on how sound recording/design will address subject/theme, key sound challenges at proposed locations, microphone selection, subject research.


Editor - creative thinking on how editing will address subject/theme, key challenges for structuring proposed project, scheduling and organizing the edit, subject research. 

Production management (all team members) – logistical issues, permissions/consents needed, scheduling required, budgetary considerations, any copyright issues and how these could be resolved;

Director – creative thinking on how story will be told,/subject/theme explored, notes on contributors/source materials, subject research,


If you are in a team of less than 4 people one person will need to double up and take the director’s role on location as well as doing either sound or camera. The director and editor should not be the same person. You are all however expected to contribute to the creative development and research for the project.

You should also attach to your individual report:
Minutes of group meetings noting who was present, (or absent) summary of points considered and action decided. Minute keeping should be delegated to someone in the team 

Plan

Things to include:

• Practical Tasks 
• Pilot material
• Readings concerning doc modes, humans and dogs, editing
• Films/Documentary inspiration and my responses to them
• Interview practice and techniques
• How I will organise the edit, challenges I will face
• Things I've learnt from or need to consider

The Essay

From the moment our production group decided our roles and documentary project theme, I have conducted vast amounts of research into an array of different mediums that concern my production role as the editor and our documentary's subject matter on human and dog relationships and the documentary genre. I’ve have applied the knowledge and skills acquired from my research to our production tasks, creative project and it's pilot material and this is what I shall be reflecting on in this report.

Since our documentary mode is to be an observational one with interactive mode aspects, I drew upon Nichol’s honoured taxonomy’s Representing Reality (1991) and Introduction to Documentary (2001) to acquire more extensive knowledge about the modes that our documentary the code and conventions our documentary would follow. I shall be using these readings by Nichols as a main critical reference throughout for this report and relate it to how the films I have watched that have inspired me for our group’s documentary project and how much they meet Nichols’s classification on certain documentary modes.

There are many documentary films in which I have drawn inspiration from for our documentary project. One is a Dog’s Best Friend (Briles 2012) where the film follows many different dog owners who see there pet as more than just an animal they care for. The filmmaker establishes a meaningful relationship between the owners and their dog by the amount of equal frame-time both the dog and their owner receive. A non-diegetic soundtrack is also added to certain pieces of sequences to emotively engage the audience into what is being told to them which in turn, sets a tone for the piece and reinforces its message. For example, when John & Cindy tell us about the passing of one of their dogs they previously owned, a piano score accompanies the dialogue. This made me sympathize towards these characters and the music emphasized my emotions. This editorial technique shall be incorporated into our final piece once our sound artist decides on at suitable score available.

Rhythm, pace and tone is set from the backing score, with cuts occurring between shots simultaneously with the music. I found this to be an effective technique used with in Dog’s Best Friend as it kept my attention with the visuals and well as the audio. Furthermore, the use of fade-to-black as a transition between each character(s) was used which made me as if the documentary us segmented and unnatural. These were all possibilities we play with for when it comes to the editing stage of our documentary so we could emotively manipulate our audiences response just through our selection of sound score and when to use it.

This documentary contains performative and observations aspects of documentary.  One technique being the use of “pseudomonologue” for the interview sequences where the visible and audible absence of the filmmaker allows the social actors dialogue to  “appear to deliver the thoughts, impression, feelings and memories of the individual witness (in this case, a dog owner) to the viewer.”  (Nichols 1991, p.54) We want to incorporate this method to our documentary as it allows our subjects to “speak for themselves” as if they are directing their word to the audience rather than the filmmaker, giving a more personal link between spectator and subject. The absence of the filmmaker in Dog’s Best Friend is also an observational characteristic Nichols discusses since the Briles “adopts a peculiar mode of presence ‘on the scene’ in which he or she appears to be invisible and non-participatory.” (Nichols 2001, p.112) Therefore, to adopt this technique for our documentary, I will have to edit out all the questions we ask as filmmakers from the recorded interviews and transcript our interviewees response to our questions and select the most emotive response in order to shape our documentary’s narrative. I will have to be careful with continuity issues when it comes to editing of our interviews if we are to use this editorial procedure since the “editing operates to maintain a logical continuity between individual viewpoints, usually without the benefit on an overarching commentary, the logic of which shift to the conversational exchange between filmmaker and social actors.” (Nichols 1991, p.45)

Another documentary I learnt from is the interactive and observational documentary called Lift (Isaacs 2001), where the filmmaker places himself in a lift in at a tower block of flats located in North London and people start conversing with him in the lift, where we find out more about their lives as the narrative progressea. The use of cutaways in this film is significant as they are used purely to push forward time within the narrative to ensure the audience is aware it is a new day or another character we are being introduced to. I liked this technique as I found it a simple yet effective method of transitioning. We could incorporate this technique of pushing time within the documentary to advance onto our next interview simply by using footage from the morning and the afternoon for each dog and owner relationship we focus on.

Isaacs made his subjects feel more comfortable around the camera with just by conversing with simple conversion and a small hand-held camera. The characters in lift began to form a relationship with Isaacs through his polite small talk as well as his constant presence. The relationships he made whilst producing the documentary became strong enough with his social actors that one of the them offered him some food, and another revealed and opened up to more personal matter such told us about the passing of a family member. A technique in Lift used by Isaacs, which discussed by Nichols in concern to the interactive mode, where “the filmmaker need not be a cinematic, recording eye. He/she may approximate the human sensorium…the filmmaker’s voice could be heard as readily as any other, not subsequently, in an organizing voice-over commentary, but on the spot, in face-to-face encounters with others.” (Nichols, 1991, p.44)  From something that could have been so intrusive and revealing in terms of its concept resulted in quite a touching and personal documentary and via that form of approach, it is very similar to the style of documentary we want to produce for our group’s documentary produce. I want the carefully select people we interview for our project to be wary of the cameras presence but I want to form a positive relationship with our interviewees before we interview them so they feel more relaxed in front of the camera and have a more natural and confident response from them, as it’s clear in Lift that the more the characters had interacted with the filmmaker Isaacs in Lift, the more comfortable they felt around the camera by ignoring it’s presence.

Anvil: The Story of Anvil (Gervasi 2008) is another documentary I watched which is a performative and sincere rockumentary by Sacha Gervasi. It explores the unfortunate history of the metal band Anvil and catches up with the band members Steve Kudlow (Lipps) and Robb Reiner 30 years after the release of their first album ‘Metal on Metal’ a follow them on their quest to fulfill their dream of being a successful metal band. This characteristics and qualities this documentary has holds a firm essences of realism and dramatization within its narrative. This in mainly conveyed by Kudlow in documentary as we are shown every side of his life throughout the film. We see him display all types of emotions, such as happiness, sadness, regret or remorse. Whether it is Kudlow working in a kitchen or working on stage, we are exposed to his emotional and eccentric character, whilst Reiner has a more reserved character.

Gervasi allows his audience to see the subjects for who they truly are and does not exclude any embarrassing or revealing moments within the documentary. For example, when Lipps loses his temper at the Croatian club owners as they refuse to pay the band for the gig at their club and a fight kicks off in which the camera follows with lengthy takes. This is an identifiable trait used by Gervasi from the observational modes, which let’s the scene unfold for itself and the filmmaker doesn’t intervene on the action. Grant summarizes Nichols’s definition of the observation mode as “seeking to be objective, the unobtrusive camera takes on the role of the audience, watching and observing the action.” (Natusch, B. & Hawkins, B. 2014, p.112) and that is exactly what Gervasi does here.

What I really liked about this documentary is how Gervasi aligns us with these two characters emotionally by building this bond between character and spectator. It forces us as a spectator to sympathize with the two characters and makes us hope for them to succeed their boyhood dream.

It reminded me of a more realistic version of This is Spinal Tap (Reiner, 1984).

Since our documentary’s aim was to provide a deeper awareness into the emotional connections people build with their pet dogs, and yet I am not a dog owner personally, I took upon myself to find out more about the forms of relationships people have built with their pet dogs so I would have a broader understanding regarding our documentary’s subject matter. I read various articles, journals and surveys related to this and found the most relevant and interesting piece called Understanding dog-human companionship (Dotson, M. J.; Hyatt, E. M. 2008). This journal provided a strong insight into how and why humans form specific relationships with their pet dogs, and explains the benefits of people keeping pet dogs and the nature and meanings of certain dog and humans relationships. For example, this journal elaborates on Michael Fox’s work on the Interrelations between humans and pets (Fox 1981) where he reports that there are four categories of dog and human relationships. "Object-oriented (with the dog as possession), utilitarian/exploitative (with the dog providing benefits to the human), need-dependency (with the dog as companion or child surrogate), and actualizing (with the dog as a respected significant other)." (Dotson & Hyatt 2008, p.458) He explains that dogs also have identical emotions to humans and that is why such strong bonds can be formed between humans and their dogs. From all my research behind our subject matter, I can deduce that research has confirmed that there’s also a psychological bond between humans and their pets in terms of satisfying each other’s needs such as unconditional love and affection, friendship and companionship.  It is this message that we want to try and convey to our audience with our observational documentary by showing these emotional and almost humanistic bonds people form with their pet dogs and we have constructed our questioning to our interviewees.

In terms of editorial-related reading research, I have been taking notes from Walter Murch's editing bible In the Blink of an Eye: A Perspective on Film Editing (Murch 2001). One of his key practices, which I have been incorporating into our pilot material and the project as a whole, is what he called the rule of ‘Rule of Six’. This is a method of analysing what makes a good cut. Murch elaborates that there are six sections of criteria to an ideal cut which are (in order of importance) are emotion, story, rhythm, eye-trace, two-dimensional plane of screen and finally three-dimensional space of action. Murch prioritises emotion over the other characteristics that you should look for in a good cut and goes on to say that “what they (the audience) finally remember is not the editing, not the camerawork, not the performances, not even the story – its how they felt.” (Murch, 1992, p.18)  Thus, by incorporating this editing technique we shall achieve our goal in making our audience participate in the documentary by making it emotionally engaging through the manipulation of our footage in the editing process.

With regards to permission and consents needed for our documentary, we would definitely need to acquire consent permission from our interviewees to film our interviews. Therefore, we would ensure we would get each individual shot an interview with to fill out a consent form before recording. We also decided to film a majority of our documentary in outdoor, public locations so that we wouldn’t need to get location permissions to film there. On the other hand, since we are making an observational documentary, even though our subjects are wary of the camera, others in the public area where the camera will be place are not. We’ll have to be wary of this as some dog owners may not to be filmed in a public place. Also, with our musical score, we have to be wary that we do not use any copyrighted or unlicensed material and when we do find our appropriate score, we shall be sure to give its produce a credit in our documentary.

Bibliography

Briles, P. (2012) Dog’s Best Friend. Available at: https://www.youtube.com/watch?v=AN9zSNN-k88 (Access: 10^th October 2015)

Dotson, Michael J. ; Hyatt, Eva M. (2008) Understanding dog-human companionship Journal of Business Research, Vol.61(5), pp.457-466

Fox, M. (1981) Relationships between human and non-human animals in interrelations between people and pets. Bruce Fogle (Ed.), A symposium on the human-companion animal bond (1981) London, England

Gervasi, S. (2008) Anvil: The Story of Anvil [film] Canada: Metal on Metal Production

Isaacs, M. (2001) Lift. [film] UK: Dual Purpose Productions

Murch, W., (2001) In the blink of an eye: a perspective on film editing, Los Angeles: Silman-James Press.

Natusch, B. & Hawkins, B. (Summer 2014) 'Mapping Nichols' Modes in Documentary Film', The IAFOR Journal of Media, Communication & Film, 1(2), pp. 103-112.

Nichols, B. (1991) Representing Reality: Issues and Concepts in Documentary Bloomington: Indiana University Press, Ch. 2: Documentary modes of representation

Nichols, B. (2001) Introduction to Documentary, Indiana University Press Chapter 6: What types of documentary are there? pp.99-139.

Reiner, R. (1984) This is Spinal Tap [film] USA: Spinal Tap Productions