Locations

My house, private area, will be able to film without interruptions with good lighting too. Open spaces with big rooms, less chances of injury

Galley Common bridge on the dark track, relatively clear from people, very muddy, chances of injury due to slipping in the mud, rocks sticking out of the mud (could trip), glass, branches, falling from the bridge/high up.

Devils Drop bridge in Bedworth, alternative to the Galley Common Bridge, less clear from people than Galley Common, very muddy, chances of injury due to slipping in the mud, rocks sticking out of the mud (could trip), glass, branches, falling from the bridge/high up.

Meg's house, alternative to my house, private area, will be able to film without interruptions with good lighting too. Open spaces with big rooms, less chances of injury

Contingency Plan

Green Screen:
Use a bed sheet as a blue screen
Only use a close up - makes it easier to look realistic
Find a new way to end the music video - make it more suggestive

Bridge Location:
Two separate locations, one in Galley Common and one in Bedworth/Coventry
Or find a new way to end the music video - make it more suggestive

Weather Conditions:
A little bit of rain/cloudy will help set the mood, lighting doesn't have to be the best as inside we'll use artificial lighting and outside shots will be in black and white

Health and Safety:
Try to be as safe as possible to prevent injuries
if serious injuries do occur, call an ambulance, take them to a safer location and treat the injuries if possible.

Hardware:
Make sure all cameras and lights keep dry and full charged before shooting
Have spare batteries and SD cards ready

Scheduling: 
Have extra days for recording certain scenes just incase people have to go earlier than they're needed for or the shots didn't go to plan

Props:
Don't smoke all of my cigarettes before hand
Make sure we have spare bowls/plates - break them safely, pick up any bits of broken bowls to prevent cuts and scrapes.

Questionare

https://www.surveymonkey.co.uk/r/SQZRBMG

Carol Vernanalysis - The Kindest Cut (2001)

Carol Versailles' music video theory in her academic work 'The Kindest Cut" (2001) is similar to that of Andrew Goodwin's, however, there are quite a few differences. She explores the methods found between film and music video editing.

There are four main parts to here theory are:

Narrative
Editing
Camera Movement And Framing
Diegesis

Narrative:
She states that "Narratives in music videos are not always complete" allowing the music being to be open to audience interoperation, getting people to discuss the meaning and ending behind the music video and "Music videos are not always balanced between performance and narrative" meaning that some music videos have more of a narrative story than the artists/performance and others revolve around the artists/performance than the story. This is seen commonly in pop music videos.

Editing:

She states that "The rules of continuity editing are broken to draw attention to what is happening on screen" and that "edits may be really obvious to draw attention to themselves" this can be done by the use of special effects. Jump cuts are also used a lot during music videos, these can help edit to the beat of the song and/or to the lyrics. She also states that "A master shot is frequently used to give the video a structure" this is a shot/scene/location that is often brought back multiple times during the music video. An example of this is the hallway shot in Britney Spears - "...One More Time".

Camera Movement And Framing:

Vernallis says that establishing shots of the location and close-ups of the subject(s)/star(s) are frequently used in music videos, the camera can also be moved in time with the beat and/or the lyrics of the song. The framing of the music video usually depends on the genre of the music video itself. 

Diegesis:
This is a narrative or plot, typically in a film however can be applied to music videos.Vernallis says that there can be a lot of repetition of shots and certain frames can be highlighted more than others (the master shot) due to the fact that the actions in a music video may not always be comparative and can be left unfinished.   

Music Video Analysis

All My Life analysis from Jack Martin on Vimeo.

Research Questionnaires And Focus Groups

Questionnaire Pros And Cons:

Pros:
Can get answers from a lot of people in a relatively short space of time.
They provide lots of data for analysis and the more data sets, the more accurate the analysis.
Everyone answers the same questions i.e. same information is requested. Reduces bias.
Allows people to answer at a time convenient to them.
If anonymous, perhaps more honest answers will be provided.
Questions can be planned ahead of time by the analyst.
Questionnaires are one of the most affordable ways to gather quantitative data. Especially online and mobile surveys have a very low cost and a generous reach. There’s no printing cost, you don’t have to hire surveyors to ask people the questions, not do you have to buy stamps to send out your paper survey.

It’s quick and easy to collect results with online and mobile tools. This means that you can gain insights in as little as 24 hours (or less!), depending on the scale and reach of your questionnaire. You don’t need to wait for another company to deliver the answers you need.

Questionnaires and surveys allow you to gather information from a large audience. Online, you can literally distribute your questions to anyone, anywhere in the world (provided they have an internet connection). This means that for a relatively low cost, you can target a city or a country. Geography no longer stands in the way of market research. It’s important to be aware of cultural differences between people and countries when conducting worldwide research.

Cons:
Only as good as the questions being asked. If the questions are poorly worded or they are biased then the data obtained might not give an accurate picture.
Can be difficult for the analyst to ask the right questions if they are unfamiliar with the system.
They are impersonal, people may be more open face to face discussions.
The response rate may be poor - especially if people are busy or don't see the benefit in answering.
Difficult to allow people to expand on their answers, especially with closed questions.
While there are many positives to questionnaires, dishonesty can be an issue. Respondents may not be 100 percent truthful with their answers. This can happen for a variety of reasons, including social desirability bias and attempting to protect privacy. Stop dishonesty in its tracks by assuring respondents that their privacy is valued and that the process prevents personal identification. Every administrator hopes for conscientious responses, but there’s no way to know if the respondent has really thought the question through before answering. At times, answers will be chosen before fully reading the question or the potential answers. Sometimes respondents will skip through questions, or split-second choices may be made, affecting the validity of your data.

A survey or questionnaire cannot fully capture emotional responses or the feelings of the respondents. Without administering the questionnaire face-to-face, there is no way to observe facial expression, reactions or body language.

When using questionnaires, there is a chance that some questions will be ignored. If questions are not required, there is always that risk they won’t be answered. Online questionnaires offer a simple solution to this issue: make answering the question required.

No matter what form of delivery is used, lack of accessibility is a threat. Surveys may be unsuitable for users with a visual or hearing impairment, or other impediments such as illiteracy. This should be considered when choosing to do research in this manner. Always choose a questionnaire platform that has accessibility options built in.

Focus Groups Pros And Cons:

Pros:

An interesting aspect of the focus group is how answers tend to build on top of each other. The processing that happens is unique because people are able to consider different answers and opinions other than their own to have their personal views begin to evolve. This gives survey takers more complete information and allows participants to have their own person views begin to evolve. Both sides receive value.

Focus groups can attract people today from all over the world. They can even be conducted online under certain circumstances. This means it becomes possible to screen more people so that the critical factors being researched can be examined without the same levels of restriction.

The problem with survey taking in general is that they all tend to be disruptive. If you’re out shopping at the mall with your family, do you really want someone asking you questions for 5-10 minutes? Of course not. Although there can be travel requirements for a focus group, the chance to be with peers and discuss important topics is fun for participants and a convenient way to gather information.

Online focus groups tend to provide more anonymous information than in-person groups, but all focus groups allow for a certain level of privacy. Most people don’t know each other in a group, which allows people to provide honest answers and open responses. This is critically important when attempting to research information about cultural, personal, or even socioeconomic issues. If people feel like they will be judged by those that they know, they tend to alter what gets said, even at the expense of their personal opinions.

There will always be the costs of meeting rooms, A/V equipment, transcription services, food and beverages, and potentially hotel accommodations. Even online focus groups have certain cost requirements. Yet in the gathering of critical data from a fairly large sample of people, there aren’t many other methods that are as affordable as the focus group. People who participate in them appreciate travel expenses and other needs being met, making the event seem like a vacation.

Instead of focusing on a scripted response, focus groups are able to ad-lib questions within the moment to create more detailed information. This may require a skilled facilitator to recognise emotional changes in the group, but when it is done correctly, it can literally change how the world perceives certain subjects.

Cons:

If you put a group of people into a room, a leader tends to emerge. This person helps to facilitate the discussion and makes sure their personal opinions are heard first. Strong, persuasive leadership can alter the opinions of other focus group participants and make it difficult to receive accurate data, even if there is a strong facilitator in the room.

The level of involvement that some participants may have could be minimal. Sometimes people don’t interact in a focus group at all. It’s important to recognise who may have an introverted personality in a focus group because introverts tend to absorb all the information around them and offer brief moments of insight. Those brief moments can be worth more than 30 minutes of others talking.

Every person has a certain bias on every subject because of their upbringing, their current environment, and other personalised experiences. This personal bias can come out when certain group dynamics are present, seemingly justifying the bias. When included with the final outcome, sometimes the researchers conducting the focus group have more influence on the final outcome than the participants.

Someone who hasn’t been talking for awhile suddenly crosses their arms in front of their chest. To many, this seems like a defensive pose that indicates they disagree with what is being discussed. It could also mean that they’re just bored with the conversation and interactions happening because they seem pointless or surface-level. Non-verbal cues can provide an extra depth of insight, but they can also create misinterpreted data that alters the final results.

Many focus groups try to eliminate distractions that may occur. Although this is a concern, a greater issue is security. When people disagree with each other on a passionate issue, things can go from shouting to violence in a very short amount of time. Screening in respondents who are not likely to have such a response provoked out of them is important, but not a guarantee that something won’t happen.

Facilitators do more than just ask questions. They provide the group with a certain level of energy. They encourage engagement. They keep the conversation on track. Moderators can also influence the data when questions posed aren’t neutral in nature.

Sources:
http://www.teach-ict.com/as_a2_ict_new/ocr/A2_G063/331_systems_cycle/investigation_methods/miniweb/pg4.htm
https://surveyanyplace.com/questionnaire-pros-and-cons/
https://brandongaille.com/12-pros-and-cons-of-focus-groups/

Bibliography Unti 11

Jacques Lacan

Jacques Marie Émile Lacan (April 13, 1901 to September 9, 1981) was a major figure in Parisian intellectual life for much of the twentieth century. Sometimes referred to as “the French Freud,” he is an important figure in the history of psychoanalysis. His teachings and writings explore the significance of Freud’s discovery of the unconscious both within the theory and practice of analysis itself as well as in connection with a wide range of other disciplines. Particularly for those interested in the philosophical dimensions of Freudian thought, Lacan’s oeuvre is invaluable. Over the course of the past fifty-plus years, Lacanian ideas have become central to the various receptions of things psychoanalytic in Continental philosophical circles especially.

Lacan's article "The Mirror Stage as Formative of the I" (1936, 1949) lays out the parameters of a doctrine that he never foreswore, and which has subsequently become something of a post-structuralist mantra: namely, that human identity is "decentred." The key observation of Lacan's essay concerns the behaviour of infants between the ages of 6 and 18 months. At this age, Lacan notes, children become capable of recognising their mirror image. This is not a dispassionate experience, either. It is a recognition that brings the child great pleasure. For Lacan, we can only explain this "jubilation" as a testimony to how, in the recognition of its mirror-image, the child is having its first anticipation of itself as a unified and separate individual. Before this time, Lacan contends (drawing on contemporary psychoanalytic observation), the child is little more than a "body in bits and pieces," unable to clearly separate I and Other, and wholly dependant for its survival (for a length of time unique in the animal kingdom) upon its first nurturers.

The implications of this observation on the mirror stage, in Lacan's reckoning, are far-reaching. They turn around the fact that, if it holds, then the genesis of individuals' sense of individuation can in no way be held to issue from the "organic" or "natural" development of any inner wealth supposed to be innate within them. The I is an Other from the ground up, for Lacan (echoing and developing a conception of the ego already mapped out in Freud's Ego and Id). The truth of this dictum, as Lacan comments in "Aggressivity and Psychoanalysis," is evident in infantile transitivity: that phenomenon wherein one infant hit by another yet proclaims: "I hit him!" and visa-versa. It is more simply registered in the fact that it remains a permanent possibility of adult human experience for us to speak and think of ourselves in the second or third person. What is decisive in these phenomena, according to Lacan, is that the ego is at base an object: an artificial projection of subjective unity modelled on the visual images of objects and others that the individual confronts in the world. Identification with the ego, Lacan accordingly maintains, is what underlies the unavoidable component of aggressivity in human behaviour especially evident amongst infants, and which Freud recognised in his Three Essays on Sexuality when he stressed the primordial ambivalence of children towards their love object(s) (in the oral phase, to love is to devour; in the anal phase, it is to master or destroy…).

It is on the basis of this fundamental understanding of identity that Lacan maintained throughout his career that desire is the desire of the Other. What is meant by him in this formulation is not the triviality that humans desire others, when they sexually desire (an observation which is not universally true). Again developing Freud's theorisation

 of sexuality, Lacan's contention is rather that what psychoanalysis reveals is that human-beings need to learn how and what to desire. Lacanian theory does not deny that infants are always born into the world with basic biological needs that need constant or periodic satisfaction. Lacan's stress, however, is that, from a very early age, the child's attempts to satisfy these needs become caught up in the dialectics of its exchanges with others. Because its sense of self is only ever garnered from identifying with the images of these others (or itself in the mirror, as a kind of other), Lacan argues that it demonstrably belongs to humans to desire---directly---as or through another or others. We get a sense of his meaning when we consider such social phenomena as fashion. As the squabbling of children more readily testifies, it is fully possible for an object to become desirable for individuals because they perceive that others desire it, such that when these others' desire is withdrawn, the object also loses its allure.

I have chosen the film "Whiplash" (2014) to analysis using Lacan's theory of "lack and desire" as it is about a young mans (Andrew) desire to become a world famous jazz musician drummer. This scene is a montage of his practice to impress his teacher (Terence Fletcher) and to get the part as the drummer for the song "Whiplash".  This montage first starts off him grabbing his drum sticks and walking past a CD of "Buddy Rich" using a pull focus to bring this CD into light and lingering on said CD for a short while. Buddy Rich is the drummer Andrew desires to be as good as, if not, better than. The scene follow Andrew printing sheet music with a non diegetic sound of Buddy Rich drumming, to show that drumming is always on his mind. It's an obsession at this point rather than a hobby. Even when we can hear the diegetic sound of Andrew drumming, the non diegetic drumming still continuously plays throughout this montage.  We see he's calm and collected throughout the first drumming scene of this montage which then cuts back to him in his apartment moving all of his essentials into his drumming room. This demonstrates the level of his obsession (desire) to become the next world famous jazz drummer as his now living in the same room as his drums so he can get the most amount of practise time he possibly can. He also sleeps under a poster of Buddy Rich - the drummer he now literally looks up to as he lays on his mattress for motivation for his desire.        




Sources:
https://plato.stanford.edu/entries/lacan/
https://www.iep.utm.edu/lacweb/
https://www.iep.utm.edu/2005/page/3/
http://csmt.uchicago.edu/glossary2004/symbolicrealimaginary.htm
https://link.springer.com/chapter/10.1057%2F9780230390140_5
https://www.a-n.co.uk/media/52445075/
http://www.english.hawaii.edu/criticalink/lacan/

Sigmund Freud

Perhaps Freud's single most enduring and important idea was that the human psyche (personality) has more than one aspect. Freud's personality theory (1923) saw the psyche structured into three parts (i.e., tripartite), the id, ego and superego, all developing at different stages in our lives. These are systems, not parts of the brain, or in any way physical. According to Freud's model of the psyche, the id is the primitive and instinctual part of the mind that contains sexual and aggressive drives and hidden memories, the super-ego operates as a moral conscience, and the ego is the realistic part that mediates between the desires of the id and the super-ego.
Although each part of the personality comprises unique features, they interact to form a whole, and each part makes a relative contribution to an individual's behaviour.


The id is the primitive and instinctive component of personality. It consists of all the inherited (i.e., biological) components of personality present at birth, including the sex (life) instinct – Eros (which contains the libido), and the aggressive (death) instinct - Thanatos.
The id is the impulsive (and unconscious) part of our psyche which responds directly and immediately to the instincts. The personality of the newborn child is all id and only later does it develop an ego and super-ego.
The id remains infantile in its function throughout a persons life and does not change with time or experience, as it is not in touch with the external world. The id is not affected by reality, logic or the everyday world, as it operates within the unconscious part of the mind.
The id operates on the pleasure principle (Freud, 1920) which is the idea that every wishful impulse should be satisfied immediately, regardless of the consequences. When the id achieves its demands, we experience pleasure when it is denied we experience ‘unpleasure’ or tension.
The ego develops to mediate between the unrealistic id and the external real world. It is the decision-making component of personality. Ideally, the ego works by reason, whereas the id is chaotic and unreasonable.


The ego operates according to the reality principle, working out realistic ways of satisfying the id’s demands, often compromising or postponing satisfaction to avoid negative consequences of society. The ego considers social realities and norms, etiquette and rules in deciding how to behave.
Like the id, the ego seeks pleasure (i.e., tension reduction) and avoids pain, but unlike the id, the ego is concerned with devising a realistic strategy to obtain pleasure. The ego has no concept of right or wrong; something is good simply if it achieves its end of satisfying without causing harm to itself or the id.
Often the ego is weak relative to the headstrong id, and the best the ego can do is stay on, pointing the id in the right direction and claiming some credit at the end as if the action were its own.
The superego incorporates the values and morals of society which are learned from one's parents and others. It develops around the age of 3 – 5 during the phallic stage of psychosexual development.


The superego's function is to control the id's impulses, especially those which society forbids, such as sex and aggression. It also has the function of persuading the ego to turn to moralistic goals rather than simply realistic ones and to strive for perfection.


The superego consists of two systems: The conscience and the ideal self. The conscience can punish the ego through causing feelings of guilt. For example, if the ego gives in to the id's demands, the superego may make the person feel bad through guilt. The ideal self (or ego-ideal) is an imaginary picture of how you ought to be, and represents career aspirations, how to treat other people, and how to behave as a member of society. Behaviour which falls short of the ideal self may be punished by the superego through guilt. The super-ego can also reward us through the ideal self when we behave ‘properly’ by making us feel proud.


If a person’s ideal self is too high a standard, then whatever the person does will represent failure. The ideal self and conscience are largely determined in childhood from parental values and how you were brought up.

Sources:
https://www.simplypsychology.org/psyche.html
Freud, S. (1920). Beyond the pleasure principle. SE, 18: 1-64.
Freud, S. (1923). The ego and the id. SE, 19: 1-66.

Laura Mulvey

The Male Gaze theory, in a nutshell, is where women in the media are viewed from the eyes of a heterosexual man, and that these women are represented as passive objects of male desire. Audiences are forced to view women from the point of view of a heterosexual male, even if they are heterosexual women or homosexual men.

From the feminist perspective, this theory can be viewed in three ways: How men look at women, how women look at themselves and finally, how women look at other women. Typical examples of the male gaze include medium close-up shots of women from over a man’s shoulder, shots that pan and fixate on a woman’s body, and scenes that frequently occur which show a man actively observing a passive woman.

The Male Gaze suggests that the female viewer must experience the narrative secondarily, by identification with the male. In 1929 Salvador Dali released a film called Un Chein Andalou, which is an abstract short film that portrays a perfect example of this. One scene in the film, a man is found dissecting the iris of a young woman’s eye, which infers this idea of female sight not being central, and that men are not only the audience, but also in control of the action, the camera, the direction, the writing, et cetera, therefore completely running the show, dominating the entirety of the narrative and how it is depicted.

Not only is the Male Gaze theory relevant to cinema, but it also correlates with every-day life. Some theorists have noted that in advertising, objectification and sexualised portrayals of the female body can be found even in situations where sex or representations of sex have nothing to do with the product being advertised.

Although as of recently, movies like Frozen (2013) and Suffragette (2015) do Mulveyjustice in highlighting women’s independence and empowerment, breaking away from the Male Gaze, decades later we still see the same broken record playing, with films like The Wolf of Wall Street (2013) and Star Trek Into Darkness (2013) revealing women in extremely sexual and somewhat unnecessary manners.

One reason for this is simply that the movie companies producing these films are male-dominated, as cinema is predominantly a male-run industry, and just like when Mulveyoriginally wrote this critical analysis of film, producers are still churning out the same work that has proved to be successful in the past with audiences as they invest to make profit. They believe that they are giving the public what they want, when that isn’t necessarily true. They are giving audiences what a proportion of males want, and what the rest of society has been brainwashed to accept.

However, many people argue against Mulvey's theory of the camera being a heterosexual male. This argument can be made in films such as Magic Mike (2012) which is a film the revolves around male strippers and the pleasures that females again from watching. I wouldn't in this instants see the camera as a heterosexual male as watching male strippers wouldn't bring gratification to a heterosexual male, however, it would to a heterosexual female. 

Sources:
https://www.filminquiry.com/film-theory-basics-laura-mulvey-male-gaze-theory/
http://www.studentnewspaper.org/laura-mulvey-and-the-male-gaze-in-the-21st-century/
http://www.luxonline.org.uk/articles/visual_pleasure_and_narrative_cinema%28printversion%29.html
http://theconversation.com/explainer-what-does-the-male-gaze-mean-and-what-about-a-female-gaze-52486

The Development Of Editing

Editing is a key part of moving image, it can set the tone of the genre and set the narrative of the text being able to film scenes out of order and then edit them together to "make sense". Before editing in the 1900s film makers used to have to shoot each scene in the order it would appear in the moving image.

Lev Kuleshov, David Griffiths and Sergei Eisenstein are the main the film makers that experimented with editing techniques that are still used in the editing world today.

L. Kuleshov believes that the construction of a film is vital for it to be successful which is usually done through editing where the way two shots interact with each other matter more than the way two actors interact with each other. The "Kuleshov Effect" is his very own method of film making. This is where through the use of editing an audience can tell how a character is feeling with a close up and a cut to what the character is looking at.





D. Griffiths is known to have created parallel editing. This technique is where there is an alteration of two or more scenes that are happening simultaneously but in different locations. The conclusion of this occasionally ends up with the two parties meeting each other in a single place.

S. Eisenstein believed that montages were a way to create meaning to a scene and also show a progress of time. He was a student of Kuleshov, but they went separate ways due to conflicting opinions.


To edit before, film makers used to have to physically cut the film with a razor blade. This method was massively time consuming but was the only way to do it until 1924. This was when the Moviola invented by Iwan Serrurier was brought into action. This allowed editing within film to become much easier and more precise.

In the 1930s when the Flatbed was invented by Steenbeck and K-E-M (Keller-Elektro-Mechanik) the Moviola became less popular however the Flatbed didn't become mainstream until the 1960s as they were much smaller and easier to use. 

Until the 1990s linear editing was the only way to edit moving image using two video tape machines and a video monitor. Non-linear editing computers were introduced in the 90s the first being the CMX-600. Non-linear editing is more widely preferred today over linear editing. Non-linear editing is computer based, you upload footage from a camera into your editing software and you choose how you want to edit from there, the possibilities are endless from cuts, transitions and effects which are all built into the editing software.

Suggested Lighting Equipment And Set Ups

A small documentary where portability is paramount - Sun light, ring light attached to the camera, small box lights

All of this equipment is small and light making it easy to carry around as you move from location to location for said documentary. The ring light attached to the camera will help keep areas in front of the camera well lit and the small box lights will help light up more shaded areas the the sun can't reach. The only issue with the sun on a bright day is as you move from shade into sun light it can make keeping the light exposure levels consistent and can cause people on screen to squint. to help resolve this, you could either keep to shaded areas, have the people on camera face side on from the sun so they don't squint or plan ahead and shoot on a cloudy day or when the sun is at a high point in the sky which would keep the lighting consistent and away from eyes.

Talking head style interview - Full studio soft box lighting kit -

This lighting is what is used in the majority of head style interviews as the subject usually stays in the same spot. This will mean you wouldn't have to move heavy equipment around and the lighting and exposure levels would stay consistent throughout the shoot.

A night time shoot - Natural lighting (cities) and ring lights.

I would choose this equipment for a night time shoot as the ring lights will help keep what's in front of the camera stay well light in dark areas whilst also keeping the "night time feel". I would also use natural lighting from the cities as unless you're walking around into unlit areas at night the exposure levels and lighting would stay fairly consistent throughout the shoot.

Bibliography Unit 1

1. Hitchman, S. (2013 http://www.newwavefilm.com/international/american-new-wave-1.shtml)
A History of American New Wave Cinema

2. Saporito, J. (2016 http://screenprism.com/insights/article/the-filmmakers-handbook-what-is-the-new-hollywood-movement) What was the New Hollywood movement? 

3. Jordan, S. (2018 http://facets.org/blog/exclusive/lists/essentials/the-new-perspectives-in-the-american-new-wave/) The New Perspectives In The American New Wave

4. Esterkamp, J. (2014 https://medium.com/@jtesterkamp/new-hollywood-why-the-70s-were-the-greatest-decade-in-america-cinema-c42676e2170f) Why The 70's Were The Greatest Decade In American Cinema

5. IMDB (https://www.imdb.com/title/tt0064276/trivia?ref_=tt_ql_2) Easy Rider (1969) Trivia

6. Highton, S. (https://www.vrphotography.com/data/pages/askexperts/basics/pointatsun.html) Ask The VR Photography Experts

7. Zoons, A. (https://amylaurenzoons.wordpress.com/2013/03/09/how-taxi-driver-defied-traditional-hollywood-and-exemplified-the-new-hollywood/) How Taxi Driver Defied Traditional Hollywood and Exemplified the New Hollywood

8. Jacobs, D. (1977 Hollywood Renaissance) Page 146

Referencing - French New Wave

The style of French new wave film/cinema

Wiegand, C. (2001 p. 7)  French New Wave. Pocket Essentials: Harpenden

"The look of the New Wave films also owed much to two other factors: the new equipment used by the directors and the low budgets they were forced to work with. Because mobile cameras were used and much of the film-making equipment was improvised, the pictures have a spontaneous and unpredictable nature." (Wiegand 2001)

Parnell, L (2016 https://theculturetrip.com/europe/france/articles/the-french-new-wave-revolutionising-cinema/) The French New Wave: Revolutionising Cinema

"The French New Wave was a group of trailblazing directors who exploded onto the film scene in the late 1950s; revolutionising cinematic conventions by marrying the rapid cuts of Hollywood with philosophical trends." (Parnell 2016)