Film Shoot #2 - Five Rivers

When all pre-production was completed, it was time for our 2nd location shoot. We took the same approach as the first session, in regard to having two camera set-ups, so once again we could capture a wide range of shots that we could use in the documentary. We travelled to another practice hall where we met the 'Five Rivers' Morris dancing team.

An issue with the filming in these halls however were lack of lighting equipment. It would have been helpful to have that extra set up, however due to the size of the equipment and the obstructions to the dancers, we didn't want to risk any injuries, especially so close to the festival. However, we should research some little lighting kits (if any) for next time we shoot interior locations.

I do believe that this shot was successful, we captured a nice range of footage, and also managed to get interviews after the practice in a pub, which I thought worked quite well because you capture a little of the social side within the interview set up - the fact they all go together for a drink after practice means they enjoy being in each others company outside of dance. The interviews did go quite well, we got some good and some unexpected answers, thanks to Alice being able to ask the interviewees a range of questions, as she has knowledge on the topic. We could have used lighting within the pub area, but once again ran into restrictions.

As the cinematographer, I would have liked to use lighting within this set up, however I feel the shoot went successful. We got a great range of shots and interviews we could use in the edit. I also enjoyed the change in location, as I feel that the audience would get bored with looking at practice halls throughout the film. Here are some shots we captured:

Questions (Interview Planning)

Vox Pops (better for the weekend festival, have music and dancing going on in the background)

What did you think of the Ivfdf?
What do you think about the dancing? Is it what you expected it would be?
Have you seen Morris dancing before?
Would you ever want to get involved yourself?
Do you have a favourite dance/group that you've seen so far?

Interview (Group Members)

How did you get into Morris Dancing?
Why do you get involved? What is your personal experience?
Tell me about the history? Of Morris, your group or Cotswold/Border
Do you think it's an important to British Culture?
Are you interested in the entire folk culture, or just enjoy the dancing?
In your experience, who gets involved? (Age range, gender etc.)

Call Sheet: Thursday 28th February

CALL SHEET 2 (NOT 1)

Tuesday 19th February: Camera Log Sheet

Documentary Practice

For the session, we were asked to experiment with movement when it came to interview, as we know that our subject within our documentary won't always necessarily be stationary. Firstly we went through some questions we could ask for our actual work, and then went on to film mobility.

Unfortunately, we hired faulty equipment and therefore was unable to record any sound for this session, however we were able to have a little practice with hand held movement within an interview. However, I plan to experiment (slightly with sound, as I am cinematography and do not have many skills or knowledge when it comes to sound) further in my own time before our next shoot.

Here is a little video from the practice today. We used the Workstation 101 to film, as this was where our session was. The room contained a green screen and props from other works.

This video was mainly working on the idea of a subject moving during an interview. Since our documentary is about dancers, we maybe interviewing people who are dancing or warming up beforehand, therefore we need to be able to move with them. For this, I followed Alice twice. One time, she talks about her Creative Project Realisation (Art Direction). And the other she discussed the use of the sound equipment whilst packing it away. The video contains a range of shots, as I feel staying the same distance from the subject throughout would become boring for the audience, whereas if we get up and personal as well as wide shots to reveal the scene/location of the interview, we're given a more 'whole' feeling, that as an audience, we understand the full picture and therefore are being presented with all the information, and there's nothing hiding off-screen. 

To us, this session was just a re-visit to previous works and styles we'd already looked at, however it was nice to revisit them and refresh the styles in our minds whilst we're filming, because it allows us to offer a range of techniques and visual appreciations throughout our work, rather than setting up interviews all in the same way - where they would almost become robotic and therefore boring to follow. 

This session allowed us also to organise our questions for our main works. We wrote down (shown in previous post) Vox Pops questions, which we would ask to the public watching the festival, as well as the interview questions for the people involved. We also discussed gaining access to copyright/archive footage, and therefore add more of a personal/shock factor to the work, rather than working towards a more stereotypical documentary. 

We also got to view what other people had managed to film, which I liked because I like to see the different styles people work in and how they choose to composition their shots, some works were good but nobody else worked on mobile interviewing, so I hope to do some practice work myself in my own time to work on my camera work, and hopefully sound designer may do the same.

Tuesday 19th February: First Day of Filming!

On Tuesday 19th February (as scheduled), we made it to our first filming location, which was at a local hall in Sheffield. In honestly, this was both mine and Lewis' first real times watching a group of Morris dancers train and perform different routines outside of costume, so it was a whole new experience in itself. As my role was cinematography, this was where I needed to ensure I captured as much footage as possible. We had two cameras shooting throughout the practice, with the help of Lewis (editor) and managed to get some good footage. (We did, when coming to the edit suite, notice that the footage from both cameras were very grainy, but some of it was usable). 

We did however run into a few issues throughout the shoot. For example, both of the cameras (550D & 600D CANON) were for some reason not recording properly and turning off automatically without notice. We researched the problem and found out that this was because we had the wrong class of SD cards. We had lower than class 6, and therefore luckily had spare memory cards we could use for this shoot (since this time I have purchased a Class 10 36GB for the remaining shoots), but at least we thought a head and many memory cards on filming day. To deal with memory issue (since we didn't have as many memory cards as we wanted) I'd luckily brought my laptop anyway, so we imported the footage onto my MacBook and cleared the memory cards for more space and filming. 

As we said before, we ran into issues with the footage in regard to gain. We got quite a range of shots within the practice and we should hopefully be able to use these within the edit, but luckily we will have time to go back if we need to. 

Here are some different styles of shots we had taken on the day:

Documentary Inspiration: Hip Hop Grannies!

For our inspiration aims of our project, we talked about researching the documentary 'Hip Hop Grannies'. This is the video we were inspired by as it takes the idea of stereotyping people involved with hip hop out of the window. The short documentary looks at elderly residents living in Beijing who get involved in Hip Hop dance classes. This documentary was eye catching and grabbed our attention instantly, as it's something new and 'abnormal' (in a sense). 

The film itself cuts from her lifestyle at her home, to the dance classes she teachers (and others attend). The Documentary is heavily reliant on dialogue to present the information to the audience, through interviews and voiceovers, which explains what they do and why they are involved. By using dialogue through interview and voiceover keeps the audience interested, for one, you're introduced to this person face-to-face, as if she's telling you this information, but at the same time, you are presented with images of what she is talking about, making it easy to follow and understand, this is important as the main focus of the documentary is to get a point across that Hip Hop isn't solely for the young. 

The atmosphere of the work is cheeky and cheerful, as we watch the women perform to hip hop tunes, and this is what we wanted to accomplish with our documentary. Create an atmosphere and allow the audience to enjoy the dancing and gain full understanding about what it is and who is actually involved, not just the stereotypical traditions.

Equipment List: Tuesday 19th February

Call Sheet: Tuesday 19th February

Morris Documentary

CALL SHEET NO. 1

19/02/13

PRODUCTION COMPANY DETAILS

CONTACT TEL NOS

Unit Mobiles:           

PRODUCER Alice (07753328823)

PRODUCTION CREW Natelie (07540791369) Lewis (07792124337)

Director:          Producer: Alice Hathaway      Unit Call (PLACE)  Sheffield Interchange		UNIT CALL         19.30HRS EST. WRAP:   22.00HRS   Breakfast from:   N/A Lunch:       N/A          Sunrise: 0.00   Sunset:            0.00 Weather Forecast: Dry/calm/cold
UNIT BASE Walkley	LOCATION  Walkley

SET/SYNOPSIS	SC	D/N	Set up	Shoot	CAST
INT /EXT ACTION COVERED		N		Pecseaten Morris	Pecseaten Morris

TRANSPORT ARRANGEMENTS

Bus from City centre to Walkley.

PARKING           

Day In Brief

Filming at the Pecseaten Morris Practice in Walkley. Meeting at half past seven at the interchange to catch the bus with the whole crew. Upon arrival set up cameras to capyute the practice. After film interviews.

LOCATION CONTACTS
Aisling Holmes (07786 925436)

EMERGENCY SERVICES
Hospital Royal Hallamshire Hospital (0114 271 1900) (999)	POLICE South Yorkshire Police (0114 220 2020) (999)

Don't Look Back

Film: Don't Look Back (1967)
Created By: D.A. Pennebaker

Another example we looked at in session was Don't Look Back. This documentary is a great example of a 'observatory mode', as the filmmaker doesn't interact, we merely see the people involved go about their business without awareness or interaction with the film crew. The film follows Bob Dylan as he spends three weeks in England. The camera follows him through the airport to their hall, from the hotel room to public house, from conversation to concert.

This was a very interesting example because there was no interaction whatsoever, you saw the people as if they weren't being watched, giving a personal element to it, as you're digging almost, into another persons life without being noticed. It's almost intrusive of personal space, hiding, to find the information out without any outside influence such as the camera crew and others.

Don't Look Back is an extremely interesting documentary. There are many interpretations as to what the director wanted to create and accomplish with this piece (in addition to working towards an experiment in early cinema-verité, as well as the idea of creating a 'rockumentary'). The film is less about Bob Dylan himself, but more about his work in regard to the art. Don't Look Back shows how a range of events within Dylan's life come together to form his work today, in regard to style influences, and also defend his change from acoustic to electric music.

'Dylan's artistic motivations were not so much the social issues of his time, as many believe. It is worth noting here that Martin Scorcese's excellent follow-up documentary No Direction Home demonstrates this clearly: in one British press conference, a reporter asks Dylan if he'll be attending some widely publicized protest later in the week. Dylan replies coyly, "I think I'll be busy that day." Rather, his musical influences, his poetic abilities and the nature of folk music were a natural musical direction for Dylan to explore. But Dylan saw himself as more than just a musician – he much preferred to be considered an artist. In Don't Look Back, Dylan even lashes out at one reporter (albeit unfairly) for branding him a folk musician. He also claims not to have the answers to social problems that people desperately wanted him to provide: he repeatedly goes into tirades throughout the film about there being "no truth" and that he is merely "painting portraits" of life.' - D.R.J. Demers (IMDB)

I felt more connection to this documentary than the previous ones, even though we weren't technically physically apart of the documentary (observation only), you feel you are invading this life, however by doing so learn a lot more about the person and the subject that the film tries to cover, there's no fake for the camera, merely truths as to what happened backstage to create what was presented to his fans in concert. It's an excellent presentation. I enjoy the fact there is no interaction with the camera, it almost makes you question what everyone is like when they aren't watched? Are they completely different to who they are when they are seen by others/in the spotlight. It opens up a private life and allows you to understand the person behind the art, as well as how the work was created and what was involved in the process, work and personal traits. I enjoyed the work, I think it successfully presented its aim and answered them too, allowing the audience to personally connect and learn about this subject. 

Man With The Movie Camera

Film: The Man With The Movie Camera (1929)
Created By: Dziga Vertov
Length: 68 Minutes

Another film we looked at was The Man With The Movie Camera, which has a different approach. This film is an experimental 1929 silent documentary film which contains no narrative and therefore no actors. The film presents urban life in Odessa and the other Soviet cities. We're shown the citizens of those cities as they work and play, as well as their interaction with machinery in the modern age.

After researching the origin of the film, I noted that it was famous for its range of cinematic techniques, which as the cinematographer of my project, caught my attention. For this documentary, Vertov invents, deploys and develops techniques such as double exposure, fast motion, slow motion, freeze frames, jump cuts, split screens, Dutch angles, track shots, stop motion animation, reversing footage and extreme close ups.


The film follows an avant-garde style and therefore emphasises the vast direction in which this film could go. An example found was ' the film uses such scenes as superimposing a shot of a cameraman setting up his camera atop a second, mountainous camera, superimposing a cameraman inside a beer glass, filming a woman getting out of bed and getting dressed, even filming a woman giving birth, and the baby being taken away to be bathed'

Vertov created the film through shooting all the scenes separately, by not following an intention of creating a narrative but rather taking all the random clips and putting into a database, which Svilova later edited and therefore created the narrative. For this film, Vertov's purpose has to break the mould of linear film that the world and it's audiences had come to expect.

The film appears to begin with a wide range of cutaways which present the mood, location and ambience of the piece. We see city streets and mannequins (which pose an enigma at this time) and bring the location of piece into familiarisation with the audience. The film then goes on attempting to capture people in their natural habit. By that, I mean the subject not noticing the camera and going about their lives as if no one was watching them, however many a times the camera is caught and the subject smiles and looks into the camera. It's very confusing at this point, but raises up many questions, is the piece about presenting a camera into the real life and seeing how people react? Or is it trying to hide to see how everyday people go about their lives, and unfortunately get caught.

There are also juxtapositions between shots showing the 'Man with the Movie Camera' as well as the footage which would be recorded through that specific camera. This is clever and allows the audience to understand the narrative between the juxtaposing shots.  We learning about behind and in front of the camera.

I did at points find this film hard to follow, however I feel it has been successful, I understood the purpose and questions raised, and maybe because it's a silent film I couldn't connect emotionally. There weren't any intertitles like Nanook of the North, and maybe therefore wasn't as easy to follow. However I enjoyed the rapid cutaway shots introducing the piece, made me very interested.

I like the technique and feel that this allowed me to think about expanding techniques when it comes to introducing the work to the audience.

Treatment: Final Document

As we presented our pitch powerpoint, we needed our finished treatment to present also. Here's the final draft we created (from the previous one posted).

The Nanook Of The North

Film: Nanook of the North (1992)
Created By: Robert J Flaherty
Length: 79 Minutes

Nanook of the North was a film we saw the opening inter titles of within our lectures. So I decided to explore this documentary, because it was one of the earliest documentaries, and was also silent, so I was interested to learn how they brought their subject across effectively without the use of sound/interview or music at all, as well as the emotional effect this film creates. For this film, Robert J. Flaherty recorded to struggling lifestyle of Inuk Nanook and his family in their home at the Canadian Arctic. Being 79 minutes in length, this was considered one of the first feature-length documentaries.

It follows Nanook and his family as they travel, search for food and trade in Canada. The family are believed to be 'fearless heroes who endure rigours no other race could survive.

To create the film, as explained in the preface inter titles, Flaherty was hired as an explorer for the Canadian railroad company. His job was to learn about the people who lived there, and the lands they inhabit. As he planned to obtain a lot of information, Flaherty decided to take a camera with him on the journey on his third expedition in 1913, however at this time knew nothing about camera work or cinematography. He attended a 3-week course on cinematography and used these skills (along with equipment and lights) to shoot the Eskimo lifestyle (between 1914-1915). By 1916, he believed he had enough footage to return home and create a film with his work. However after returning home, he unfortunately dropped a cigarette onto the camera negative and lost the majority of the film. So, Flaherty decided to return with a clear focus for his film, and focused on this one particular family.

This film cleverly links together the theme, facts and emotion. Watching snippets of the film, you are given the majority of information through inter titles that are presented throughout the piece. Even, to me, they created an emotional link to the characters, as well as Flaherty, because firstly, you hear about the ruin of the film and also the death of the main focus of the film. This instantly makes you want to carry on and learn this hero's story. The style is almost poetic, it allows the inter titles to juxtapose with the shots to bring together an emotional story of a family who are happy without any material possessions. It's warming and makes you appreciated what you have as a family, question what you really need to be happy, and many other questions. It doesn't decide these for you in my opinion. It merely shows you ONE case within this environment, another family's story maybe completely different, however this personal link creates the emotional link for the audience to react. I think it uses a clever balance of fact and emotion to keep the audience connected.

Being used to sound, I found it difficult to keep interested sometimes, however the way it was kept was definitely the intertitles of information. Your interested in the facts, however the way the facts are presented are important because you may want your audience to feel a particular emotion or make a certain question raise in their mind - which I feel this film successfully does. There are a range of shots, to keep interest, but they all flow and link to the flowing narrative of the work. I feel that this piece was successful, saying it was one of the first ever feature length documentaries, without any sound is impressive. Flaherty has captured the emotion and interest of the audience without this extra feature.

Treatment One - Draft

Today we went to a meeting booth to work on our pitch and treatment. Here is a copy of our treatment so far, as we wish to add to it later in the week.

Documentary Treatment

Working Title:

Length: 5-10 Minutes (Approx.)

Hook/Tag Line:

Short Synopsis: Focusing on several of the Morris sides in Sheffield, our purpose is to highlight who the dancers are and through this learn more about Morris dancing as a whole.

Outline of Documentary: Our two-piece documentary will focus on the cultures and personal lives of those involved within the Morris Dance community. For an introduction piece will aim to show its audience the process of a troupe's progression from rehearsal to the Morris Tour. We hope to use interview and vox pop within this piece to show the different views on the subject and the amount of people who actually understand what the Morris Dance entails. The main piece however, will focus on developing an emotional connection with those involved, by the use of interviews and archive to tell their individual stories as to why the take part in this society. The different stories will come together to allow the audience to have a broader understanding of the subject as a whole as well as hopefully change the stereotypical view of the culture and people involved. With this film, we intend to show the audience a world that they may not have seen before. Through showing them the strong sense of community, the strange yet loveable mix of characters that are involved, we intend to educate people on not only the dancing itself but the wider context of how important the traditions in our country are. By bringing to the forefront the excitement that is encompassed with in a performance, the audience will be able to engage with why people feel so strongly and enjoy the dancing so much. The visual spectacle and sound that come from a performance will be edited together to create a sense that the audience are part of this performance therefore drawing them into the film and it's issues even more.

Analysis: The film will be shot over a series of practices and a weekend of dance that is taking place in the Heart of Sheffield. We also plan to use a range of information, such as interviews, vox pops, archive and event footage, to offer variety throughout the piece, using shots and sound creatively. In regard to sound, we will use a mixture of the music from the events, the interview recordings, mirroring the rhythm and the power of the dance. We aim for the documentary to follow and rely on the interviews we record to create the narrative and emotion. During this, the shots will correspond with the interview information. The interview will talk about the process of rehearsal, where we will react with using shots that correspond with this, i.e. the film work taken within the training hall, if the interviewer talks about their past, we could use archive footage. We want the piece to flow so the audience understand and follow the information being presented to them. For inspiration, we looked at previous documentary Way of the Morris by Tim Plester & Rob Curry, and also used Alice's knowledge, as she herself is part of this group. Way of the Morris has been a major influence mainly due to its subject matter. The way in which it approaches the dancing through the human experiences of the people who are involved is something we have taken into consideration. However rather than tell the story of one team as Way of the Morris does we aim to tell the story Morris as a whole and how it has effected its members and why they have felt drawn to participate. The mood of the piece is light hearted, reflecting the jovial nature of the tradition. It would seem wrong to look at a hobby in a way that was serious or pessimistic. Some may want to document the decline of the tradition, whereas we want to celebrate it and it's people. In the film we aim to reflect the fun that people have, the brilliant mix of people and the passion they have for this form of dance.

Alice Hathaway: Producer/Sound Design

Lewis Hague: Editor

Natalie Obank: Cinematography

We decided to all take on the Director Role throughout the project.

As producer Alice is able to use her contacts in the Sheffield Morris scene to arrange contributors and locations for the documentary. As cinematographer, Natalie can use her module skills and equipment to capture the footage throughout the work, arranging different shots and set ups. Lewis, the editor, will look through the footage, and depending on the tempo of the visuals, he can accordingly create an edit that compliments the visuals on-screen. 

12/02/2013 - Group Meeting Three

After Tuesday's session, Alice and I had a group meeting to discuss what needed to be done and discuss any issues we have so far into the project.

We decided to outline the treatment to later discuss in our meeting tomorrow where we'll be working on our treatment and pitch presentation.

Working Title: A Life With Bells On (find something similar?)
Format: ???
Hook/Tag Line

NOTE: WAY OF THE MORRIS - DOCUMENTARY

Synopsis: Core Subject: the people and their stories within Morris Dance

Our documentaries will follow the culture and lifestyles of Morris Dancers within Sheffield. We plan to use the 2-minute piece to present 'stereotypical' information to the audience, but using an interview VoiceOver and linking it with images of the crew getting ready from rehearsals to actual performances. My idea was to end the piece where the VoiceOver says something along the lines of 'it's not like that all.' But that is dependent on the material we are able to achieve.

The short one will focus on the process of rehearsal to show, and the 10-minute was going to look, deeper into the stories of dancers in different groups, with the use of archive and interview, which will come together with the Folklore Festival on 2nd-3rd March.

The aim is to deplete the stereotype of the people involved in Morris Dancing, and also present information as to why people do it, and what exactly it means. The key contributors will be the dance groups and the audience at the festival.

Light-hearted theme throughout.


Tomorrow is: Pitch/Treatment/Equipment/Call Sheet

Week Three - Creative Approaches & Methodologies

This are my lecture notes from today's lecture, just as a reminder when it comes to our future group meetings.

We were told at 'poetic documentary draws on the real world for your raw material but transforms it into personal ways'. 

This is very true, as many documentaries I've seen have similar research and materials, however there are personal elements. I feel that sometimes within a documentary, it isn't necessarily the facts that interest your audience, but the emotion and feelings within the work. If a work is personal, for example the case in 'Animated Minds' By Andy Glynn, we're shown how Obsessive Compulsive Disorder is for this one specific person.

We watched a number of examples from different documentaries to link to this thesis, which of some I will discuss further within this blog. Other notes taken in this lesson were:

- The poetic potential of documentary to see the world anew - or even just a certain subject in a different way, which nicely links with our idea of folk dance being a stereotype and bringing out that stereotype to reveal a whole new range of information about the theme and people involved in this culture. 

- Editing style is particularly significant - of course. I believe that the process of editing is the main part of bringing the documentary together. As an editor, you're given a range of information, interview sound bites and raw materials to work with - and can creatively work and edit them together to create a story - depending on how you edit the film, the documentary can have many different themes, moods and the factual information may be altered. 

- Questioning the world by portraying its incoherence.

For next week, we need to ensure that we have a pitch ready to present and hand in, as well as research a range of short documentaries and choose clip to illustrate pitch - this is what we plan to do on Wednesday 13th in a meeting booth in another group meeting.

06/02/2013 - Group Meeting Two

On the 6th February, we held another informal meeting to see how plans were going for our piece. We've decided to stick with the 'folk dancing' idea and heard back from a few contacts, which have given us a few filming days to prepare for:

POSSIBLE DATES:
19th February 2013
25th February 2013
26th February 2013


DEFINITE DATES:
21st February 2013
2nd March 2013
3rd March 2013

We tried to organise what we needed. For example, within my camera work in the past, I'm used to working with DSLRs. So we tried to organise what camera we could use. I could fall back on using a Sony PD170, however would prefer to use a DSLR as I have more understand for this type of camera.

UPDATE: We are able to rent Canon 550D cameras from Adsetts. I've also purchased a 600D, and will work with this throughout the shoot.

Week Two - Documentary 'Style' Notes

For the second week of the session, I was unfortunately ill for the session, however researched and reviewed the subjects discussed.

One of the first things I came across was 'Bill Nicols Defining Documentary' which suggests that documentary can be categorised into six different modes:


1. The Poetic Mode - 'reassembling fragments of the world', a transformation of historical material into more abstract, lyrical forms, usually associated with the 1920s and modernist ideas. 

2. The Expository Mode - 'direct address', social issues assembled into an argumentative frame, mediated by a voice-of-God narration, associated with 1920s-1930s, and some of the rhetoric and polemic surrounding World War Two.

3. The Observation Mode - 'as technology advanced by the 1960s and cameras became smaller and lighter, able to document life in a less intrusive manner, there is less control required over lighting etc, leaving the social actors free to act and the documentarists free to record without interacting with each other.

4. The Participatory Mode - 'the encounter between the film-maker and subject is recorded, as the film-maker actively engages with the situation they are documenting, asking questions of their subjects, sharing experiences with them. Heavily reliant on the honesty of witnesses. 

5. The Reflexive Mode - demonstrates consciousness of the process of reading documentary, and engages actively with the issues of realism and representation, acknowledging the presence of the viewer and the modality judgements they arrive at. Corresponds to critical theory of the 1980s.

6. The Performative Mode - acknowledges the emotional and subjective aspects of documentary, and presents ideas as part of a context, having different meanings for different people, often autobiographical in nature. 

This are important and interesting to know. As I'm aware, we're to complete a 'Poetic' style, so it shows me the difference in process and contents.

Documentary Idea: The Pitch & Powerpoint

Our approach to the pitching of our treatment was quite well structured. We focused on setting each slide to a key point. Firstly, we thought it would be a good idea to give the audience an idea of 'What is Morris dancing?', as myself and others I'd asked weren't too sure about what the dancing involved, even though I'd seen several dances before - I didn't know anything about it or the back story the culture came with. 

An issue, one which I saw myself was the 'stereotype' of Morris dancing, and one of our aims was to show the audience there's much more than the stereotype, many other people and styles of dance that take place. 

By showing the audience what the traditions and stereotypes of the dance were, and explained as we presented, we wanted to show that this is the half of the story they know, and there's a whole other side to this activity, to do this we presented information and images of the opposite side of the stereotype. 

To show our inspirations for our work, we included a clip of a documentary called 'Hip Hop Grannies', which is a short documentary that follows an elderly woman who loves to do hip-hop dancing and diminishes the stereotype, which is what we want to accomplish for Morris dancing. 

We then went on to explain our aims, and purposes for our production. 

(The remaining slides are below)