Reflection and Evaluation of The Reel Show

Here is the first full 10 minute episode of The Reel Show:

I can proudly say I am happy with the results of this show considering the time we had and it being everyone’s first time ever filming a live TV show. This blog post I will be reflecting and evaluating our work and what areas we could have improved on.

Firstly, looking at the brief I can say we did everything that was expected of us. 2 internet sourced VT’s, 2 self made VT’s, a guest interview and a live demonstration/performance. On our show we had the Gozilla trailer and Smosh video for our 2 internet sourced VT’s. We had the short film piracy documentary and public snog marry and avoid challenge for our 2 self made VT’s. Courtney Lavell, an aspiring actor as our guest interview and our film impression challenge with him for our demonstration. That was our first strong point. Another thing we did well was the subject we were filming. The presenters which was one of my roles were engaging and entertaining and I think that’s one of the most important things in any production. You can have the most amazing cinematography and equipment but if the subject you are filming lack enthusiasm and emotion, you will have a bad show. Considering it was mine and Ethan’s first time presenting I can honestly say we did pretty well. We started the module hoping for a role in the gallery but since no one else could present, we had no choice but to take the roles of presenters for the sake of the group.

Looking back, things we could have improved on was our set design. Yes we made a glowing logo sign that we hung up on set that looked fantastic and professional. But comparing our set design to the other groups, we could have introduced more colour such as wallpaper or drapes on the wall or even pillows on the sofa. If we were given the chance again that would be something we would have sorted before the holidays and not the week before the deadline. I think our biggest set back when we first started this module was that we did not get along as a group and there were arguments and people not showing up. It wasn’t till after the holidays we started working properly as a group. And because of neither of us took clear leadership at first we wasted a lot of the early valuable TV practice sessions in the TV studio.

But I’m still very proud of the end results and I’m glad I got to work with the group I was given as I have made some very good friends that I will be working with in future projects.

reelshow group



Professional Development on The Reel Show

For this module it wasn’t just about the quality of our TV show. Another big part in any production is the marketing behind it and specifically for us it was using social media and creating our own website for our show. In this blog post I will be reflecting on the professional development of our show and the successfulness of this.

To commence, on our brief for the show and website it was expected of us to engage our audience using social media. We saw ourselves in the last year on TV that even for film trailers being shown during advertisement breaks that there were ‘hashtags’ for films or TV shows to create hype on social media. I’ve come to find out that I am more likely to watch something if people I know are talking about it rather than just seeing a trailer for something. Creating a buzz or a trend amongst people sharing something on social network for free for you is not only effective in terms of advertising a product but doing it cost effectively. We incorporated social media into our show through asking our audience to follow our Twitter and like our Facebook and send in suggestions for items live on show to engage them.

Here is the link to our Facebook:
Here is the link to our Twitter:

Furthermore, we also had to create our own website for our show. To do this effectively I looked at websites for actual shows that people watch to get a grasp of the conventions and style for a website of a magazine program. Benchmarking my website to professional websites was the key in making my website as professional as it could be. I looked at a range of websites for magazine programs and found common similarities such as as a latest news page, a page about the presenters and the show itself, a series guide and bonus content page with exclusive videos from behind the scenes. I incorporated all these conventions to make my website professional.

Here is a link to my website for The Reel Show:

Impact of Different Media Platforms and Method of Delivery

In the 21st century we are bombarded with so many different media platforms such as social networks, gaming industry, music industry, films and television shows. With the rise of technology and smart phones and tablets and 4G internet, the way we consume media is rapidly changing. In this blog post I will discussing my understanding of the different media platforms and the method of delivery of these media texts and how it is impacting on media production practices.

To commence, I can’t remember the last time I watched a live TV show finale or premiere on my television. I’ve gotten into the habit of watching it online or on the go using services such as Netflix and Amazon Instant. Being with the EE mobile network and having access to 4G internet, I watch TV programs whenever I have time such as travelling on trains on my tablet or smartphone. So what does this mean? I doubt I’m the only person consuming their TV shows like this. It means we are consuming media texts differently than the producers intended. So does that mean audiences are consuming media texts the wrong way? Definitely not. As media producers we are the one who should be adapting our practices to audience consuming habits.

What does this mean for media production if we are having to adapt our practices for the modern audience? I think the sole taking we have to take from this change in media consumption amongst audiences is that now we are producing texts that might be intended for TV but is also for other platforms such as smartphones and tablets. We need to get out of the stubborn thinking that a TV show is only for TV. When we create a TV production we should be producing it to be viewed on as many platform as we can.

Creative Process and Development of The Reel Show

For this module we had to create a 10 minute magazine television program as a group. In this blog post I will depicting the critical creative process of creating our show and delineating how we developed our ideas.

To commence, the first thing we had to decide on was a theme for our show. We were given a few to choose from to get our creative juices flowing such as weird and wonderful, spontaneous, risky business and etc. As a group we liked the idea of fantasy and being comedic so this is what we initially decided. This theme eventually evolved into our show being about films. We initially wanted to do review films and show trailers. This was quickly shown to be the wrong thing to do by our mentor and then we started developing into other territory such as trending youtube videos, making videos on film industry related topics such as piracy and going out engaging the public with film related issues or challenges. Before we knew it, 10 minutes wasn’t enough to fit in all the ideas and items we wanted to do.

Moreover, one particular item on the show that went through much development was our guest demonstration. Originally we were inspired by Jimmy Fallen’s Lip Sync Battle which he does with his guests.

We wanted to do something similar to fit into the demonstration requirement of our brief. We brain stormed many ideas such as a film trivia quiz. These ideas we came up with just required a lot of talking which seemed quite boring and mundane especially since this demonstration would come after our guest interview. We wanted something that was more engaging and less talking and since we were interviewing an aspiring actor we then came up with the idea to make him do film impressions that our audience will tweet him in to do. This engages audiences and fits into our theme nicely.

Sarah – Reflective Analysis

Module: 162MC: Developing a Narrative
URL to Short Film:

Analysing and Reflecting the Impact of My Research on My Film Edit of ‘Sarah’

What is editing? Dancyger stated that editing is ‘“…to find a narrative continuity for the visuals and the sound of the film, and to distil those visuals and sound shots that will create the dramatic emphasis so that the film will be effective’ (Dancyger 2010). In this essay I will be depicting research on the British New Wave film style and delineating how they impacted on my film edit of ‘Sarah’ and reflecting the successfulness of this.

To commence, British New Wave emerged in Britain during the 50s and 60s. An important factor to look at is the socio-economic and political situation of Britain at the time. People were still in the mind-set of post-war and rationing. Class divisions were starting to resurface again. The only appearance of working class people in Cinema was for comedy relief (Brooke 2001).A very important movement at the time was the free cinema movement. This gave access to filming technology to ordinary people so for the first time people other than Hollywood filmmakers had the ability to make films (Thompson & Bordwell 2003).In terms of technology I could compare the conditions I filmed in similar to the free cinema movement. My film was shot on a DSLR and in the 21st century DSLR filming has been making a movement due to it’s high quality motion image capturing capability quality and its low entry costs; an entry level DSLR costing less than £300 (Reid 2010). Amateur filmmakers from lower class divisions such as myself are finding themselves having access to more and more filming technology just like new filmmakers did in the 50s to 60s Britain.

In addition, as well as the conditions British New Wave emerged in, it clearly had it’s own conventions in terms of narrative and editing. Looking at films such as Billy Liar (1962), Kind of Loving, A (1962) and This Sporting Life (1963), the leading character is usually a young angry male who’s political opinions would be seen as a radical or anarchic and would disregard the hegemonic norm at the time. In my film the lead character is contemplating self-euthanasia. Euthanasia is still a controversial topic in the 21st century where there is a very strong side against it and there are many laws forbidding its use. This style choice leads me to edit my film so that my leading male character was in most shots or if he were in shots with anyone else, he would be the main focus.

Moreover, another convention of the British New Wave film style was the simple, uncluttering edit style. Shots were static and handheld and sometimes ran a whole scene with just the one shot. In the beginning of my film where the lead character washes his face in the sink; originally there were 3 different angles; an over the shoulder shot, close up of the mirror and a long shot from behind. In my edit I chose to use the one over the shoulder shot for that entire scene and keep it simple and uncluttered just like the examples of British New Wave films I watched. Another style choice made by British New Wave films was the use of 16mm black and white film (Palmer 2006). Although there was the option of colour, black and white was still used. So adhering to this decision British New Wave films made back in the 50s and 60s, I made my film black and white in postproduction by taking away the saturation. Studies have shown that the use of ‘black and white films heightens the impact and highlights the duality of good and evil’ (Sparknotes 2014).

Also, most of the time in British New Wave films, a steady rhythm and pace is maintained. This is so that the actor’s performance and dialogue are heightened most because this style of film is more about the social realism and themes. This finding resulted in me cutting my film with a slow steady pace. Although it was filmed with many different angles such as close ups of facial expressions, I chose to primarily use just one or two shots for whole scenes. This made it so that the audience’s attention was primarily given to the actor’s performance and dialogue.

Reflecting on the successfulness of this research on my film piece, I can say I’ve adhered to the stylistic editing of British New Wave aesthetically in terms of black and white colour, the rhythm and pace and controlling the temporal space. But British New Wave wasn’t about aesthetics from what I have gathered. Capturing the social realism aspect was hindered since the script contained didactic dialogue from an unseen voice that could be interpreted as mysticism. Referring to Raymond Williams four rules of social realism (Caughie 2000), the first rule already being ‘firstly that the texts are secular released from mysticism and religion’. British New Wave films dealt particularly with themes such as unplanned pregnancies, drinking and adultery. Euthanasia was not an issue during post war Britain amongst working class civilians. If I were given the chance to write another contemporary script in the style of British New Wave, a social realistic issue I’d like to write about would be the tough economic times working class people face in this decade.

British New Wave was a brilliant style of film that didn’t adhere to the typical Hollywood conventions at the time and I applaud it for its courage. However British New Wave films may not have a place in 21st century Britain due to the radical changes of the socio-economic and political condition of Britain today compared to the 50s and 60s. That isn’t to say films concerning social realism and working class people cannot be made. Just that our social understanding is very different to Britain during the 50s when British New Wave originally emerged. This is shown through my film aesthetically adhering to the rules and stylistic conventions of a British New Wave film but not the social realism of 50s working class Britain due to it’s contemporary setting.


Brooke, S (2001) Gender and Working Class Identity in Britain During the 1950s. Journal of Social History. Oxford University Press.

Caughie, John (2000) Television Drama: Realism, Modernism, and British Culture. Oxford: Oxford University Press.

Dancyger, K (2010) The Technique of Film & Video Editing, History, Theory & Practice. Focal Press, Oxford.

Kristin Thompson & David Bordwell (2003) Film History: An Introduction. McGraw, Hill.

Reid, Andrew (2010) The DSLR Video Revolution. [online] available from [07 May 2014]

R. Barton Palmer (2006) Traditions in World Cinema. Edinburgh University Press.

Sparknotes (2014) Schindler’s List, The Impact of Black and White Film [online] available from [07 May 2014]

Sarah – Short Film in the Style of British New Wave

A young man is left distraught after his girlfriend breaking up with him and being diagnosed with cancer. Will he ever find hope again?

Sarah is a short film concerning the topic of euthanasia filmed, cut and edited in the style of a kitchen sink drama/British new wave film.

Without much further ado here is the film:

Top Gear or BBC3?

We’ve been told to imagine ourselves in a head TV position with 2 buzzers in front of us. One labeled Top Gear and the other BBC3. I have to press 1 of them and in doing so whichever buzzer I press that TV show will be axed. In this blog post I will be discussing reasons for and against keeping both shows and ultimately choosing which show stays on. As well as this I will look at what either show could be replaced with if it is axed and how both shows can improve.

Top Gear



For keeping it:

  • Guinness Book of Records holder for most watched factual programme in the world
  • Sold to 214 territories worldwide
  • 2 million subscribers to the Official Top Gear YouTube Channel with over 500 million video views
  • 19 million Facebook fans
  • Top Gear Magazine global circulation: 1 million
  • 5.7 million unique users on
  • Over 8.9 million downloads of Top Gear game apps
  • Over 1.5 million visitors to Top Gear Live

Against keeping it:

  • I genuinely couldn’t think of a reason why Top Gear should be axed other than the occasional controversy with Jeremy Clarkson and if any of these controversies were extreme it should result on him being axed and not the show




For keeping it:

  • BBC’s only other channel for 16-34 year old age group and youth orientated
  • Presenters and Crews keep their job
  • Not many people watch BBC iPlayer (only 2% of population have access to iPlayer)

Against keeping it:

  • Supposedly gain £100 million from cutting it
  • Not as many viewers compared to Top Gear


I think the outcome is pretty clear here. I would keep Top Gear. At the end of the day Top Gear is the one making money and getting views. Yes it will be a shame to loose BBC3 but with less viewers than Top Gear it’s an obvious one. Yes it’s a shame that BBC are losing its only channel that’s orientated at youths but I had to pick one. BBC3 can easily move onto iPlayer but considering not much of the population have access to it, the question with it will be financially worthwhile, it probably won’t. And lastly I don’t think I can improve Top Gear anymore other than just offering the episodes online as well as on TV so their audience base can grow.