Thursday, March 24, 2011
Spring Trends 2011
Spring Trends 2011:
Girls:
Eras: 50s, 60s & 70s
Garden Party
Preppy
Block Colour
Guys:
I Love Rock 'n' Roll
Made in England
Preppy
Monochrome
Created by myself & Claire Lomas
WINOL Bulletin 23.03.11
In my opinion this was the best bulletin, from a production point of view, this semester. The production team was very well organised, and everything was on time.
The main problem we had today was having a fire drill 3 minutes into the live bulletin, meaning we had to evacuate and start again. Justina, director, handled this situation very well, she kept calm and told everyone to continue until we were sure of what was going on. When we were allowed back in the studio we were all very calm and accepted the fact that we had to go live in 4 minutes. We all worked so well as a team and I think this is shown through the quality of this weeks bulletin.
Julie did very well at presenting this week, as did Gareth for sports presenting.
Maria Milano was our guest editor this week. She is the editor of the InStyle Website. Claire and I were able to show her our latest fashion feature, Spring Trends 2011, to which she gave us positive feedback. She explained that it was a good feature however maybe a voice over would have made it stronger to fully explain the trends. On www.winol.co.uk we have our written piece to coincide with the video feature and this does explain the trends for both guys and girls. This was the first guest editor we've had in this semester with a background more to do with features than news, so it was a good opportunity to speak to her and get more of an insight as to what she does on a day-to-day basis. Maria came in the gallery throughout the bulletin and in the debrief stated that we are all very confident and capable. She said that as it is the beginning of 'silly season' the news team did very well to get the strong stories that they got, as well as a nice 'and finally' story.
The headlines today had words over them, however we will put them in capital letters in future as this will make them stand out far more than they did this week.
Angus knew one of the sports stories that was not included in this weeks bulletin but was included in Sports Week. The footage would have maybe embarrassed a player from a football team so the sports team decided to leave it out. Angus explained to us that we need to have a relationship with our contacts so that they understand that this is what we do and what they do is play football, so it should have been included in the bulletin as it was a good shot. It was also stated that if we know that a story will be in our audience's interests (which this story would have been) then it will be a good story, so use it.
WINOL Bulletin 16.03.11
This week Charlotte Clarke presented, she did very well. She is the editor of WINOL however, today as she was presenting, Karen Purnell who is Managing Editor, took on Charlotte's role. During rehersals there was a bit of confusion between who was in charge on running the bulletin while in the studio. Justina is director however this was not always the case. It was made clear to everyone that while in the studio, the director is to take charge and they are the decision maker. Everyone should follow what the director says, and should trust their judgement.
Within one of the links, it was said '...they are doing everything they can to help' however the pictures did not show this. The script writer and the reporters need to start working closer in order to be able to write relevant links that are going to capture the audience and encourage them to watch the whole bulletin. The headlines are crucial, but we are still finding them very difficult to get right.
It was said that the Barhain story was not localised for our audience. The previous week, we were able to to link our interviewee with a Winchester student, however this week while we were aiming to do a follow on story, we did not make the story local and as a local news station it is vital that we do this for all stories.
We had strong stories this week, with interviews from Japanese students telling of their emotions following the earthquake and tsunami, and the Barhain interview. Angus stated that the joy riders story was out of place and should not have followed the two top stories this week, although it was a good story in itself.
HCJ - Tom Wolfe 'The New Journalism'
HCJ Lecture:
- Existentialism was a movement in port war arts and culture, especially in music (jazz), theatre and literature.
- JP Sartre – Existentialism in humanism (1946)
- Existentialism and Literature
- ‘Being and Nothingness’: - Written by Jean-Paul Sartre – An Essay on Phenomenological Ontology. It is a philosophical treatise and its main purpose was to assert the individual’s existence as prior to the individual’s essence.
This book was influenced by Heidegger’s book – ‘Being and Time’.
Within Being and Nothingness, man is a creature haunted by a vision of ‘completion’ which religions identify as God.
‘Things in Themselves’: objects which are indeterminate but completely bound by their facility (e.g. trees, rivers, cheese, road kill, natural objects). They change constantly (e.g. decay) such as tree roots. The constant decay of everything is depressing which makes you feel sick. Sartre thinks that the answer to this is like Albert Camus – just to face up to the decay and rottenness of everything and not be bothered by it. Rotting and decay is a constant theme of art influenced by existentialism.
‘Things for Themselves’: Criticism – this is an idealist re-working of Marxism; the categories of Bourgeoisie and Proletariat are re-interpreted as ‘the determined’ or people as objects (e.g. sex objects) and those who determine others (e.g. journalists, writers intellectuals etc.).
- Rehabilitation of Marx and Hegel is known as the Critique of dialectical reason. Sartre is a follower of Heidegger and Husserl.
Hegel’s geist is ‘consciousness which is nothing’ (i.e. never an object).
Hegel sees everything as change – Sartre agrees. ‘Life has no essence, it is only becoming’.
- Existentialism and literature – You cannot write for slaves; writing is the act of human freedom. Freedom is not an abstraction guaranteed by law, it is the actual practice of freedom; freedom is not something that is given to you it is a social practice. George Orwell made a similar point in ‘Why I Write’. This was written by George Orwell to illustrate his personal journey to becoming a writer.
In this essay, he points out his four motives for writing:
- Sheer Egoism – Some people write in order to feel clever.
- Aesthetic Enthusiasm – The writer should make his work look and sound good.
- Historical Impulse – Simply being able to see things as they are, to find out true facts and store them up for the use of posterity.
- Political Purpose – ‘No book is genuinely free from political bias’.
The New Journalism: (Reading)
- The book is a manifesto for a new type of journalism and a collection of examples of New Journalism by American writers. The examples within the book are notable because they do not conform to the standard way of even-handed unbiased journalism.
- The term ‘Radical Chic’ was introduced by Tom Wolfe – the concept was described as being an exercise in double-tracking one’s public image: on the one hand, defining oneself through committed allegiance to a radical cause, but on the other, vitally demonstrating the allegiance because it is the fashionable way to be seen in moneyed, name-conscious society. Those who engage in radical chic remain frivolous political agitators. They are ideologically invested in their cause of choice only so far as it advanced their social standing.
- Existentialism was a movement in port war arts and culture, especially in music (jazz), theatre and literature.
- JP Sartre – Existentialism in humanism (1946)
- Existentialism and Literature
- ‘Being and Nothingness’: - Written by Jean-Paul Sartre – An Essay on Phenomenological Ontology. It is a philosophical treatise and its main purpose was to assert the individual’s existence as prior to the individual’s essence.
This book was influenced by Heidegger’s book – ‘Being and Time’.
Within Being and Nothingness, man is a creature haunted by a vision of ‘completion’ which religions identify as God.
‘Things in Themselves’: objects which are indeterminate but completely bound by their facility (e.g. trees, rivers, cheese, road kill, natural objects). They change constantly (e.g. decay) such as tree roots. The constant decay of everything is depressing which makes you feel sick. Sartre thinks that the answer to this is like Albert Camus – just to face up to the decay and rottenness of everything and not be bothered by it. Rotting and decay is a constant theme of art influenced by existentialism.
‘Things for Themselves’: Criticism – this is an idealist re-working of Marxism; the categories of Bourgeoisie and Proletariat are re-interpreted as ‘the determined’ or people as objects (e.g. sex objects) and those who determine others (e.g. journalists, writers intellectuals etc.).
- Rehabilitation of Marx and Hegel is known as the Critique of dialectical reason. Sartre is a follower of Heidegger and Husserl.
Hegel’s geist is ‘consciousness which is nothing’ (i.e. never an object).
Hegel sees everything as change – Sartre agrees. ‘Life has no essence, it is only becoming’.
- Existentialism and literature – You cannot write for slaves; writing is the act of human freedom. Freedom is not an abstraction guaranteed by law, it is the actual practice of freedom; freedom is not something that is given to you it is a social practice. George Orwell made a similar point in ‘Why I Write’. This was written by George Orwell to illustrate his personal journey to becoming a writer.
In this essay, he points out his four motives for writing:
- Sheer Egoism – Some people write in order to feel clever.
- Aesthetic Enthusiasm – The writer should make his work look and sound good.
- Historical Impulse – Simply being able to see things as they are, to find out true facts and store them up for the use of posterity.
- Political Purpose – ‘No book is genuinely free from political bias’.
The New Journalism: (Reading)
- The book is a manifesto for a new type of journalism and a collection of examples of New Journalism by American writers. The examples within the book are notable because they do not conform to the standard way of even-handed unbiased journalism.
- The term ‘Radical Chic’ was introduced by Tom Wolfe – the concept was described as being an exercise in double-tracking one’s public image: on the one hand, defining oneself through committed allegiance to a radical cause, but on the other, vitally demonstrating the allegiance because it is the fashionable way to be seen in moneyed, name-conscious society. Those who engage in radical chic remain frivolous political agitators. They are ideologically invested in their cause of choice only so far as it advanced their social standing.
- The Feature Game:
- First job after Graduate School – New York Herald Tribune.
“The managing editor worked in a space that was as miserable and scabid as the lowest reporter’s.”
“On newspapers very few editorial employees at the bottom – namely reporters – had any ambition whatsoever to move up, to become city editors, managing editors, editors-in-chief, or any of the rest of it. Editors felt no threat from below.”
“Reporters didn’t want much...only to be stars!”
“We were all engaged in a form of newspaper competition that I have never known anybody to even talk about in public.”
Feature writers: “What they had in common was that they all regarded the newspaper as a motel you checked into overnight on the road to the final triumph.” “The final triumph was known as The Novel.” “The best feature writer in town.” “The ‘feature’ was the newspaper term for a story that fell outside the category of hard news.”
“But I figured I could take them. You had to be brave.”
“Half the people who went to work for publishing houses did so with the belief that their real destiny was to be novelists.”
“The novel seemed like one of the last super strokes, like finding gold or striking oil, through which an American could, overnight, in a flash, utterly transform his destiny.”
“By the 1950’s The Novel has become a nationwide tournament.”
“There was no room for a journalist unless he was there in the role of would-be novelist or simple courtier of the great.”
“There was no such thing as a literary journalist working for popular magazines or newspapers. If a journalist aspired to literary status – then he had better have the sense and the courage to quit the popular press and try to get into the big league.”
“As for the little league of feature writers – two if the contestants, Portis and Breslin, actually went on to live out the fantasy. They wrote their novels…Which is to say that the old dream, The Novel, has never died.”
“They were dreamers all right, but one thing they never dreamed of. They never dreamed of the approaching irony. They never guessed for a minute that the work they would do over the next ten years, as journalists, would wipe out the novel as literature’s main event.”
Wolfe’s manifesto for The New Journalism:
Scene by scene construction – Rather than rely on second-hand accounts and background information, Wolfe considers it necessary for the journalist to witness events first hand, and to recreate them for the reader.
Dialogue – By recording dialogue as fully as possible, the journalist is not only reporting words, but defining and establishing characters, as well as involving the reader.
The Third Person – Instead of simply reporting the facts, the journalist has to give the reader a real feeling of the events and people involved. One technique for achieving this is to treat the protagonist like characters in a novel. What is their motivation? What are they thinking?
Status Details – Just as important as the characters and the events, are the surroundings, specifically what people surround themselves with. Wolfe describes these items as the tools for a ‘social autopsy’ so we can see people as they see themselves.
- First job after Graduate School – New York Herald Tribune.
“The managing editor worked in a space that was as miserable and scabid as the lowest reporter’s.”
“On newspapers very few editorial employees at the bottom – namely reporters – had any ambition whatsoever to move up, to become city editors, managing editors, editors-in-chief, or any of the rest of it. Editors felt no threat from below.”
“Reporters didn’t want much...only to be stars!”
“We were all engaged in a form of newspaper competition that I have never known anybody to even talk about in public.”
Feature writers: “What they had in common was that they all regarded the newspaper as a motel you checked into overnight on the road to the final triumph.” “The final triumph was known as The Novel.” “The best feature writer in town.” “The ‘feature’ was the newspaper term for a story that fell outside the category of hard news.”
“But I figured I could take them. You had to be brave.”
“Half the people who went to work for publishing houses did so with the belief that their real destiny was to be novelists.”
“The novel seemed like one of the last super strokes, like finding gold or striking oil, through which an American could, overnight, in a flash, utterly transform his destiny.”
“By the 1950’s The Novel has become a nationwide tournament.”
“There was no room for a journalist unless he was there in the role of would-be novelist or simple courtier of the great.”
“There was no such thing as a literary journalist working for popular magazines or newspapers. If a journalist aspired to literary status – then he had better have the sense and the courage to quit the popular press and try to get into the big league.”
“As for the little league of feature writers – two if the contestants, Portis and Breslin, actually went on to live out the fantasy. They wrote their novels…Which is to say that the old dream, The Novel, has never died.”
“They were dreamers all right, but one thing they never dreamed of. They never dreamed of the approaching irony. They never guessed for a minute that the work they would do over the next ten years, as journalists, would wipe out the novel as literature’s main event.”
Wolfe’s manifesto for The New Journalism:
Scene by scene construction – Rather than rely on second-hand accounts and background information, Wolfe considers it necessary for the journalist to witness events first hand, and to recreate them for the reader.
Dialogue – By recording dialogue as fully as possible, the journalist is not only reporting words, but defining and establishing characters, as well as involving the reader.
The Third Person – Instead of simply reporting the facts, the journalist has to give the reader a real feeling of the events and people involved. One technique for achieving this is to treat the protagonist like characters in a novel. What is their motivation? What are they thinking?
Status Details – Just as important as the characters and the events, are the surroundings, specifically what people surround themselves with. Wolfe describes these items as the tools for a ‘social autopsy’ so we can see people as they see themselves.
WINOL Bulletin 09/03/11
This week I was given the opportunity to present the bulletin. As daunting as it was, I wanted to do it for the experience. Kieran Brannigan was the sports presenter for this week and he did very well; he would like to present the news bulletin at some point next semester though.
The bulletin went well this week and there were some strong news packages. We now have access to Skype for news packages as we have the equipment to record the interview in the TV studio and to then edit the material in Final Cut Pro. This week Colin interviewed Aaron Porter NUS President. Although it was a very good opportunity, the production team were under a lot of pressure as we had to prepare for the bulletin usual and make sure everything still ran on time.
We have been told now though that there are no excuses for not being able to get an interview as now we can record our Skype interviews. This will have many advantages, one of which being that it will save time for reporters having to travel far to meet with their interviewees. We now also have the opportunity to record interviews over the phone, which again is convenient if you do not have a great deal of time to meet an interviewee. We can now ask someone to call the phone in our newsroom and have the interview over the phone, as the whole phone call will be recorded. We can then go to Andy Cotton and ask for the interview as a WAV or MP3 file to then use on Final Cut Pro. The only disadvantage with this is the lack of pictures people may have to include in their packages.
One thing Chris has suggested we try is words on the screen over the headline clips to reinforce the stories. As a production team we will try this for the following week.
Sunday, March 6, 2011
HCJ - Existentialism
Existentialism: Is a philosophy that emphasises the uniqueness and isolation of the individual experience in a hostile or indifferent universe. The belief that one shapes one’s basic nature through the direction of life one chooses to live.
An existentialist emphasises freedom of choice and personal responsibility but regards human existence in a hostile universe as unexplainable.
Existence is a way of being, a structure of choices, even at the level of phenomenology.
'The Outsider' - Albert Camus
Albert Camus was a French philosopher and journalist. The Outsider was the first novel Camus published. He is noted for his faith in man’s dignity in the face of what he saw as a cold, indifferent universe.
The Outsider is often referred to as an existential novel. This means that there is no higher meaning to the universe or to man’s existence, and no rational order to the events of the world. According to this meaning, human life is not invested with a redemptive or affirming purpose – there is nothing beyond man’s physical existence. Only some aspects of this definition appear in The Outsider.
Meursault could have been referred to as the ‘Outsider’ because he did not live life the way others did. He did not cry at his mother’s funeral, he did not show emotion like people would have expected him to, he did not always share his emotions and was able to deal with situations quickly and adapt. He is not like others therefore was known as the ‘outsider’.
Meursault refuses to be determined by other people - by love and marriage for example - and seeks authenticity and tries to live it. He has no guilt about his actions and he does not care about the consequences, he simply deals with them.
He is an existentialist as he determined his life on his own without considering the ‘normal’ approach to life, for example not believing in God and not turning to religion and belief in the afterlife once he is told he is going to be decapitated.
It is said that existential morality and psychotherapy aims to reduce feelings of guilt about the past and to promote ‘indifference’ towards the future. In this way the scope for freedom – making choices – in the present moment is enlarged, to which he becomes less inauthentic. The Outsider relates to this, as he has no guilt about putting his mother in the Home or killing the Arab.
To put his all into context we begin by looking at Edmund Husserl who was a philosopher who believed experience is the source of all knowledge – he was an empiricist.
He stated that consciousness is intentional and meaning is fixed subjectively. Knowing is a structure with some ideas having more priority than others: this depending on one’s intention. He was linked with phenomenology, which is a philosophical movement emphasising the study of conscious movement.
Phenomenology is the study of structures of consciousness as experienced from the first-person point of view. The central structure of an experience is its intentionality, it’s being directed toward something, as it is an experience of or about some object. An experience is directed toward an object by virtue of its content or meaning (which represents the object) together with appropriate enabling conditions.
http://plato.stanford.edu/entries/phenomenology/Phenomena are in the mind and objects meaning understanding are in the mind.
‘What are ideas?’ - Husserl states ideas are intention, moods, ambiguity and the act of choosing. Ideas and meaning are a structure of subjective values. The sources of those decisions are social, interactive and convenient ‘close to hand’ objects. (‘Close to hand’ objects are those such as clothes, wallet and bag e.g.) To be authentic means being the author of your own life. If you take away human interaction and sense data the person will be lost – experience is the source of all knowledge.
Martin Heidegger was a German philosopher known for his existential and phenomenological explorations. He claimed that when you concentrate on ‘normal’ objects you then think more about their purpose rather than them being ‘to hand’.
Time for Heidegger was ‘the structure of being’:
1) The past = guilt
2) The future = unknown
3) The present = dread
Meursault, in The Outsider, was not a clear existentialist however he did handle his death sentence in the way an existentialist would have done. He made the decision to shoot the Arab and did not feel there was any need for a lawyer as it was simple to him – he killed a man and was to pay for his actions. He understood his mother’s death when he was put in the same situation.
WINOL De-Brief - 02/03/2011
The bulletin this week took a while to progress due to a few things. I was director this week, which was daunting enough without the added stress of a legal change in one of the stories which led to a re-write of the whole script.
We had guest editor Tom Hepworth, video journalist and presenter for BBC South. He helped Andy, who was presenter this week, re-write the script for the bulletin. This began, as one of the packages was altered, as the case which was being reported on, had moved from the Magistrates Court to Crown Court.
The director’s role is to ensure the bulletin runs smoothly and all members of the production team and presenters know exactly what is going on.
As director I was looking to begin rehearsals at 2pm so everyone would be confident to go live. We had to practice the hand-over to sport and two OOVs – ‘out of vision’ – that were within the bulletin. Rehearsals did not begin then and at 2.40 we still did not have a script, therefore I decided to call a later deadline at 3.15pm to give us time to run through the OOVs and the hand-over before we went live. This was necessary due to members of the production team being new to their roles, so without any rehearsals the bulletin would not have shown our capabilities. At 3.15 I knew we still weren’t ready to go live so I called yet another deadline of 3.20pm. It was not a good thing that the bulletin did not go live at 3pm but having those extra 20 minutes meant everyone knew exactly what they had to do (including myself). The bulletin went well.
Tom Hepworth feedback was positive. He said the packages were good – some could have been re-worked to be more engaging. Andy and Karen were good as presenters. For news packages, he advised to keep any graphics simple, otherwise the audience will not be able to keep up with the story. GVs – general views – are about people doing things; Tom stated that you should only use GVs when you have nothing else to put into the package.
He said that the reporters should write the link to their story before they start editing their footage. That way you know the way in which you want to tell the story and this will make the bulletin stronger also. It was a very good thing that the legal aspect was noticed in advanced because we would not have had the defence of privilege if we had run the original story within the bulletin. Tom explained that it was not great that the bulletin did not go out on time but it was a good call from director to move the deadline to slightly later in order to have more time to perfect the running order of the bulletin.
Angus took a different approach and stated that there is no excuse to miss a deadline. He explained that if issues are preventing rehearsals before going live, director should inform everyone that we are going live without a rehearsal or cancelling the whole bulletin.
Angus said this week was our strongest bulletin editorially with strong stories and good production. It was not style over substance. We have been told to work on the headlines as some of them are not enticing enough, and we should not be afraid to give away the story in the headlines as we need to make our audience stay for the duration of the bulletin.
We had guest editor Tom Hepworth, video journalist and presenter for BBC South. He helped Andy, who was presenter this week, re-write the script for the bulletin. This began, as one of the packages was altered, as the case which was being reported on, had moved from the Magistrates Court to Crown Court.
The director’s role is to ensure the bulletin runs smoothly and all members of the production team and presenters know exactly what is going on.
As director I was looking to begin rehearsals at 2pm so everyone would be confident to go live. We had to practice the hand-over to sport and two OOVs – ‘out of vision’ – that were within the bulletin. Rehearsals did not begin then and at 2.40 we still did not have a script, therefore I decided to call a later deadline at 3.15pm to give us time to run through the OOVs and the hand-over before we went live. This was necessary due to members of the production team being new to their roles, so without any rehearsals the bulletin would not have shown our capabilities. At 3.15 I knew we still weren’t ready to go live so I called yet another deadline of 3.20pm. It was not a good thing that the bulletin did not go live at 3pm but having those extra 20 minutes meant everyone knew exactly what they had to do (including myself). The bulletin went well.
Tom Hepworth feedback was positive. He said the packages were good – some could have been re-worked to be more engaging. Andy and Karen were good as presenters. For news packages, he advised to keep any graphics simple, otherwise the audience will not be able to keep up with the story. GVs – general views – are about people doing things; Tom stated that you should only use GVs when you have nothing else to put into the package.
He said that the reporters should write the link to their story before they start editing their footage. That way you know the way in which you want to tell the story and this will make the bulletin stronger also. It was a very good thing that the legal aspect was noticed in advanced because we would not have had the defence of privilege if we had run the original story within the bulletin. Tom explained that it was not great that the bulletin did not go out on time but it was a good call from director to move the deadline to slightly later in order to have more time to perfect the running order of the bulletin.
Angus took a different approach and stated that there is no excuse to miss a deadline. He explained that if issues are preventing rehearsals before going live, director should inform everyone that we are going live without a rehearsal or cancelling the whole bulletin.
Angus said this week was our strongest bulletin editorially with strong stories and good production. It was not style over substance. We have been told to work on the headlines as some of them are not enticing enough, and we should not be afraid to give away the story in the headlines as we need to make our audience stay for the duration of the bulletin.
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