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Techniques in Frontline?? (1 Viewer)
- Thread starter Leap
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yo i think on the engish resource section of the site tehres some notes, i think that where i got this from:
(unfortunatly unable to credit the source)
Techniques used in Frontline to create meaning
The excellent video documentary Behind the Frontline shows that this is done by mixing two very different types of footage. First, sharp, clear studio cameras shoot the actual presentation of the nightly show, with Mike at the desk, we see it just like a real home audience would. This contrasts with the majority of the shots, set in the various offices, which are shot using a small hand-held video camera. This provides an eyewitness feel, as if we are there watching secretly. The camera follows people around, switches from character to character, and is never completely steady or focused.
Another editing trick, which adds to Frontlines ironic and enlightening effect, is juxtaposition. In most episodes there are numerous scenes shot in two different locations that are deliberately placed together.
Sometimes ideas are enhanced by what we dont see. In We Aint Got Dames, we never actually see Mikes dreadful performance but Brians face says it all. At other times the creators arent above inserting brief gags that are almost slapstick. Frontline also features some real footage of hostage dramas and media scrums again giving us the impression that were watching a real current affairs program.
Other Techniques of Frontline
Note how viewers almost never get involved in the characters outside the office or the studio. This permits the episode to stay focused on the current affairs business, rather than getting too involved into the private life of the characters. This is just like real life television.
The use of real characters like Cheryl Kernot etc adds to the shows credibility. Constant references to Channel Nine and Seven also enhance this.
The use of effective sets adds to the documentary feel of Frontline. The office features monitors, phones, messy desks and other equipment that allow a variety of sights and sounds adding to the chaotic feel of the staff under pressure. The shots of Mike hosting the show were taken in the ABCs 7:30 Report studio. Yet the on location shots of a farmhouse under siege in the distance are equally believable.
The opening credits are not to be ignored. Its snappy pace and soundtrack these images of energy and integrity are created within a few seconds.
The rapid pace and urgent music in the opening montage of international events and personalities creates a tone of authenticity. The immediacy of actuality footage or live visual sequences objective reporters and appeals to the authority of experts are all intended to persuade the viewer that the program reports and interprets the news with honesty according to the Australian Journalistic Code of Ethics.
The parodies effectiveness is achieved by its verisimilitude, gained partly through the documentary style use of hand-held cameras, naturalistic performances and conventional camera angles.
Real people, places, rival programs and contemporary events add further authenticity, Joh Bjelke-Peterson, Cheryl Kernot are mentioned.
Actual footage is used of the logies (TNN), George Nagas and other celebrities attend parties. References are made to Melbourne and the Grand Prix and the real 1993 NSW siege involving Peter Willesee. Respected broadcasters: ABC, Time as well as the Police and police commissioner add further credibility, establishing standards for satirical comparison.
The visual elements of the television medium, such as selection and framing of camera shots reinforce the parody.
Professional filming techniques highlight the artificiality of Frontlines smooth format contrasting with the behind the scenes drama program.
Frontline manipulates the episodic genre. It adopts the 30 minute episodic format, variety of sub plots and conventional narrative structure. It abandons canned laughter and resists closure in every episode to endorse seriousness as a drama. An unexpected ending may ironically subvert or reopen an issue. Or administer poetic justice, for example when the gunman shoots hostages on air (TS).
Supplementary Texts
1. In illustrating this point we can juxtapose the newspaper coverage of the Peter Reith Telecard affair, and the reporting styles of the Sydney Morning Herald, a Fairfax publication, and the Sunday Telegraph a News Limited Publication. Whilst not a small petty issue, sensationalising, subjectivity, bias, and irrelevant vision are prevalent when presenting their version of the truth.
In the Sunday Telegraphs coverage of the story on October 27 2000, and October 22 2000, the journalists at News Limited have plastered biased bold and sensationalised headlines all over the front pages of their publications. The article titled Playing The Love Card provides the audience with their subjective and biased view of the truth and an impression of Peter Reith and his son which suggest a point of view before the article is even read. The article Playing the love card utilises direct speech to present apparent truths on the matter, which hold no real meaning except to further play the sensationalising. Comments regarding Paul Reiths relationship with a former housemate Ingrid Odgers from the mother of marathon swimmer Susie Maroney coupled with a host of others are an intrusion to Paul Reiths personal life and solely aim to extend the controversy. The story also utilises vision in the form of large pictures, and a caption titled showing off which dominate the page and act as an eye grabber to portray Paul Reith as an arrogant kid who wants to show off. The expression on Paul Reith's face is far from serious, and further presents the Telegraphs subjective view of the immature Paul Reith. The article is placed boldly on the front page of the paper with the aim of sparking an initial interest, and is highly biased in that it centres of providing arguments on why Paul Reith is in the wrong, and direct speech from friends to back their arguments. The sub-heading used titled Why friends believe Miss X is telling the truth about Reith gives Reith a limited argument before the article even begins
2. An interview with Col Allan, editor of The Telegraph which appeared on Channel Nines Sunday Program on October 22 reinforces the idea of bullying taken by those in power in presenting reports that are attention grabbing, marketable and highly selling. Allan describes a successful newspaper as one that sells, one that people enjoy, and believes in moving on a story and grabbing the agenda so that people are talking about the Telegraph are of paramount importance.
We hear that Col Allan and his editorial policy are about bullying, and the interview goes on to a comment from Allan Jones telling us Hes got a good nose for the people out there in the suburbs. The Telegraph is the peoples paper, targeting a working class audience. The interview suggests Col Allan as being extremely powerful creating prejudice from a very small spark. and manipulating the truth by exercising his editorial power to present sensationalised puff pieces that will appeal to an audience and maintain the papers status as Australias top selling newspaper.
3. The Sydney Morning Herald is less confronting about presenting their version of the Reith affair, yet cleverly manipulates headlines and the genre to present a humorous presentation of the issue, which like the Telegraph presents a subjective opinion of the truth. The opinion article cleverly titled With REITHcard it costs you nothing to stay in touch, ridicules Mr Reith for the misuse of his Telecard. The headline puts the surname Reith into capitals thus drawing an instantaneous attention.
Whilst not as brazen as the Telegraph, the Herald utilises satire to expose Mr Reith and prompt us to have a negative view of him. The article uses other literary techniques such as utilising Puns, and the use of a mocking frivolous tone to expose and confront Mr Reith to pay back his debts. The intended purpose of the ridicule is shown on the side of the piece in the quote:
When the time comes to pay the bill, the good old taxpayer pays it for you."
The article was placed towards the back of the paper yet is still highly biased and attention grabbing, presenting a sensationalised truth with the aim of exposing Mr Reith. It attracts readers through its humorous satirical content presenting the Heralds views on the matter, and how it should be dealt with. The concealed nature of the article is much the same as the Herald in general. The Herald targets an audience with a high level of intellect and the way this article has been written is appealing to a higher intellect level.
(unfortunatly unable to credit the source)
Techniques used in Frontline to create meaning
The excellent video documentary Behind the Frontline shows that this is done by mixing two very different types of footage. First, sharp, clear studio cameras shoot the actual presentation of the nightly show, with Mike at the desk, we see it just like a real home audience would. This contrasts with the majority of the shots, set in the various offices, which are shot using a small hand-held video camera. This provides an eyewitness feel, as if we are there watching secretly. The camera follows people around, switches from character to character, and is never completely steady or focused.
Another editing trick, which adds to Frontlines ironic and enlightening effect, is juxtaposition. In most episodes there are numerous scenes shot in two different locations that are deliberately placed together.
Sometimes ideas are enhanced by what we dont see. In We Aint Got Dames, we never actually see Mikes dreadful performance but Brians face says it all. At other times the creators arent above inserting brief gags that are almost slapstick. Frontline also features some real footage of hostage dramas and media scrums again giving us the impression that were watching a real current affairs program.
Other Techniques of Frontline
Note how viewers almost never get involved in the characters outside the office or the studio. This permits the episode to stay focused on the current affairs business, rather than getting too involved into the private life of the characters. This is just like real life television.
The use of real characters like Cheryl Kernot etc adds to the shows credibility. Constant references to Channel Nine and Seven also enhance this.
The use of effective sets adds to the documentary feel of Frontline. The office features monitors, phones, messy desks and other equipment that allow a variety of sights and sounds adding to the chaotic feel of the staff under pressure. The shots of Mike hosting the show were taken in the ABCs 7:30 Report studio. Yet the on location shots of a farmhouse under siege in the distance are equally believable.
The opening credits are not to be ignored. Its snappy pace and soundtrack these images of energy and integrity are created within a few seconds.
The rapid pace and urgent music in the opening montage of international events and personalities creates a tone of authenticity. The immediacy of actuality footage or live visual sequences objective reporters and appeals to the authority of experts are all intended to persuade the viewer that the program reports and interprets the news with honesty according to the Australian Journalistic Code of Ethics.
The parodies effectiveness is achieved by its verisimilitude, gained partly through the documentary style use of hand-held cameras, naturalistic performances and conventional camera angles.
Real people, places, rival programs and contemporary events add further authenticity, Joh Bjelke-Peterson, Cheryl Kernot are mentioned.
Actual footage is used of the logies (TNN), George Nagas and other celebrities attend parties. References are made to Melbourne and the Grand Prix and the real 1993 NSW siege involving Peter Willesee. Respected broadcasters: ABC, Time as well as the Police and police commissioner add further credibility, establishing standards for satirical comparison.
The visual elements of the television medium, such as selection and framing of camera shots reinforce the parody.
Professional filming techniques highlight the artificiality of Frontlines smooth format contrasting with the behind the scenes drama program.
Frontline manipulates the episodic genre. It adopts the 30 minute episodic format, variety of sub plots and conventional narrative structure. It abandons canned laughter and resists closure in every episode to endorse seriousness as a drama. An unexpected ending may ironically subvert or reopen an issue. Or administer poetic justice, for example when the gunman shoots hostages on air (TS).
Supplementary Texts
1. In illustrating this point we can juxtapose the newspaper coverage of the Peter Reith Telecard affair, and the reporting styles of the Sydney Morning Herald, a Fairfax publication, and the Sunday Telegraph a News Limited Publication. Whilst not a small petty issue, sensationalising, subjectivity, bias, and irrelevant vision are prevalent when presenting their version of the truth.
In the Sunday Telegraphs coverage of the story on October 27 2000, and October 22 2000, the journalists at News Limited have plastered biased bold and sensationalised headlines all over the front pages of their publications. The article titled Playing The Love Card provides the audience with their subjective and biased view of the truth and an impression of Peter Reith and his son which suggest a point of view before the article is even read. The article Playing the love card utilises direct speech to present apparent truths on the matter, which hold no real meaning except to further play the sensationalising. Comments regarding Paul Reiths relationship with a former housemate Ingrid Odgers from the mother of marathon swimmer Susie Maroney coupled with a host of others are an intrusion to Paul Reiths personal life and solely aim to extend the controversy. The story also utilises vision in the form of large pictures, and a caption titled showing off which dominate the page and act as an eye grabber to portray Paul Reith as an arrogant kid who wants to show off. The expression on Paul Reith's face is far from serious, and further presents the Telegraphs subjective view of the immature Paul Reith. The article is placed boldly on the front page of the paper with the aim of sparking an initial interest, and is highly biased in that it centres of providing arguments on why Paul Reith is in the wrong, and direct speech from friends to back their arguments. The sub-heading used titled Why friends believe Miss X is telling the truth about Reith gives Reith a limited argument before the article even begins
2. An interview with Col Allan, editor of The Telegraph which appeared on Channel Nines Sunday Program on October 22 reinforces the idea of bullying taken by those in power in presenting reports that are attention grabbing, marketable and highly selling. Allan describes a successful newspaper as one that sells, one that people enjoy, and believes in moving on a story and grabbing the agenda so that people are talking about the Telegraph are of paramount importance.
We hear that Col Allan and his editorial policy are about bullying, and the interview goes on to a comment from Allan Jones telling us Hes got a good nose for the people out there in the suburbs. The Telegraph is the peoples paper, targeting a working class audience. The interview suggests Col Allan as being extremely powerful creating prejudice from a very small spark. and manipulating the truth by exercising his editorial power to present sensationalised puff pieces that will appeal to an audience and maintain the papers status as Australias top selling newspaper.
3. The Sydney Morning Herald is less confronting about presenting their version of the Reith affair, yet cleverly manipulates headlines and the genre to present a humorous presentation of the issue, which like the Telegraph presents a subjective opinion of the truth. The opinion article cleverly titled With REITHcard it costs you nothing to stay in touch, ridicules Mr Reith for the misuse of his Telecard. The headline puts the surname Reith into capitals thus drawing an instantaneous attention.
Whilst not as brazen as the Telegraph, the Herald utilises satire to expose Mr Reith and prompt us to have a negative view of him. The article uses other literary techniques such as utilising Puns, and the use of a mocking frivolous tone to expose and confront Mr Reith to pay back his debts. The intended purpose of the ridicule is shown on the side of the piece in the quote:
When the time comes to pay the bill, the good old taxpayer pays it for you."
The article was placed towards the back of the paper yet is still highly biased and attention grabbing, presenting a sensationalised truth with the aim of exposing Mr Reith. It attracts readers through its humorous satirical content presenting the Heralds views on the matter, and how it should be dealt with. The concealed nature of the article is much the same as the Herald in general. The Herald targets an audience with a high level of intellect and the way this article has been written is appealing to a higher intellect level.
Whoa 
Thanks so much Supra!!
I did look at the notes on this site, but for some reason I can't seem to open pdf files. I dunno, I might not have the right plug-in or something, so I can only download the ones which are zip files or in Word.
Thanks so much Supra!!
I did look at the notes on this site, but for some reason I can't seem to open pdf files. I dunno, I might not have the right plug-in or something, so I can only download the ones which are zip files or in Word.