This website: Scotland on Screen is a fantastic resource for all media students studying moving image. It discusses in detail factual and fictional moving image texts and frequently uses relevent keywords that would be very beneficial for More House students to learn and use in their own writing.

Here is an excerpt that looks at factual moving images, which links with what the year 11 are studying now:

Factual narratives

Documentary is supposed to be truthful as well as informative. It is the reader’s job to ensure that s/he can distinguish between fact and opinion, detect any bias in a film, and examine how the filming may have had an impact on what was filmed. That said factual films are rarely simply documents in themselves as where the early topical films or YouTube style single shot videos. Most of them use editing techniques to create meaning from a series of images, scenes and narration.

Subject Matter – Where is it set and what is it about? This is particularly when looking at archival film where the world have changed considerably since the film was made. In this case what is most interesting about the film may not be what it was meant to show, but elements of the scene that the filmmakers may take for granted or have gained or decreased in significance to the audience through time.

Rhetorical questions – Look at the different questions raised by the film, examine their order and use this to analyse how the filmmakers build and expand upon their initial arguments. Many arguments proceed along dialectical lines. This means the filmmakers present a thesis, then show conflicting views and then try to resolve the differences between these two or more points of view. Narrative sequences – Identify the different sequences and the different documentary techniques they employ, e.g. ‘Voice of God’ narration, observational sections (either using continuity style cuts and/or long-tracking or panning shots that reveal the presence of the cameraman) or not presenter led discussion, interviews, talking head interviewees with illustrative cutaways or GVs (general views that are often used to underscore or reinforce the theme or context of the narrative).

Surprise – Identify the main surprises and turning points in the narrative, how are these used to influence the argument and engage the audience emotionally and intellectually.

Authority and trust – Examine how the filmmakers encourage the audience to trust in their ability to examine the argument fully. This may be achieved by having a well-known voice narrate a ‘voice of God’ narration or having a well-known presenter appear in the film to lend credibility. Likewise the film may interview a range of experts whose names and titles appear on screen. Or it may be produced by a particular broadcaster, producer or director who has a reputation to preserve.

Truth – Look closely to see whether the filmmakers are even-handed and fair. Are there times when their shooting or editing techniques favour one side or the other? In some cases the film may be deliberately one-sided and polemical, but if this is the case the filmmakers should be upfront about their intentions. Drama documentary, staging and historical re-enactments – Where films use these devices you will need to examine closely the issue of accuracy. The dramatic reconstructions may have been written or approved by historians but where this is not clear you may need to look closely at the historical record to see how much really is known about what exactly happened and where the filmmakers have ‘filled in the gaps’.

Statistics – If the film uses statistics, examine whether they explain their method or whether they expect you to take their statistical gathering and analytical techniques at face value. Remember the quote attributed to former British PM Benjamin Disraeli and popularised by the novelist Mark Twain, “There are three kinds of lies: lies, damned lies, and statistics.” If people don’t explain their statistics, you will need to discuss how far they can be trusted, based upon your knowledge about who made the film.

The presence of the camera – Examine whether the presence of the camera or the technical requirements of filming would have changed the nature of the events being filmed and ether this might compromise the integrity of the film.

from https://scotlandonscreen.org.uk/moving-image-education/close-reading-guide-for-moving-image-texts

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