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'It's really difficult. It may sound extreme but I would feel like killing her and then myself' (BBC, 2017)

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How does Stacey persuade her audience in the argument between culture and paedophilia in the documentary?

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How does Stacey present the different ‘characters’ involved in the documentary?

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How authentic do her documentaries seem to audiences who are aware of her celebrity status?

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Released in February 2017 and directed by Joyce Trezzo.  (TheTalentManager, 2019)

Documentary follows investigative journalist Stacey Dooley on her journey in Tokyo, exploring the country's sexualisation of children. She visits specialist cafes and bars, meeting with young girls who thrive in this controversial business, discovers a disturbing grey area called Chako Ero where pre-pubescent girls are filmed in erotic clothing, meets with a self-confessed paedophile, as well as finding out what charities and the government are doing to control the issue of child pornography after new laws passed in 2014 (BBC, 2017).

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Contains disturbing scenes.

Stacey Dooley visits Tokyo to explore Japan's sexualisation of children and looks at what the country is doing to prevent it and protect young girls.

Stacey Dooley explores Japan's problem with the sexualisation of children. From bars where men pay to meet schoolgirls to suggestive pictures of very young children and comic books featuring child rape, the country has faced global criticism for its attitudes. It was only three years ago that possessing genuine child pornography was finally made illegal. Stacey travels to Tokyo to look into what effect the law banning child porn has had and to see if the attitude towards the sexualisation of children has changed. Stacey discovers a culture where sexual images of young girls are widespread and used for commercial gain. Her first stop is a legal Tokyo 'JK' cafe in which school-aged girls are paid to provide company to older men - who tell her that it is perfectly normal to talk about sex and hold hands with girls as young as 15 dressed in school uniform. Stacey uncovers an even more disturbing legal grey area exists in Japan called Chako Ero, where children as young as six are filmed or photographed in erotic clothing. She speaks to a producer of these films as well as a self-confessed paedophile to try and discover just why some Japanese culture seems to encourage inappropriate exploitation and sexualisation of children. Following the law change, the documentary examines what else Japan is doing to stop normalising the sexualisation of children. Stacey meets volunteers from a charity trying to help vulnerable girls, as well as the Head of the Juvenile Section at the National Police to find what they are doing to protect young girls.

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Stacey Dooley Investigates - Young Sex for Sale in Japan

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To play this programme you need to enable JavaScript. Contains disturbing scenes. Stacey Dooley visits Tokyo to explore Japan's sexualisation of children and looks at what the country is doing to prevent it and protect young girls. Stacey Dooley explores Japan's problem with the sexualisation of children.

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Stacey shares her direct opinions with the audience and confesses her 'apprehensive' feelings towards meeting people with perspectives she may disagree with. But doesn't compromise the authenticity of her content and seems confident and assured in the way in which she asks further questions.
Many instances where she comes aside to conclude her thoughts on things she has just witnessed or engaged in ; things she would not directly say to those being interviewed.

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Largely an informational documentary, as we receive a sequence of arranged factual information expressed through voiceovers, statistics and real life experiences. Opening of the documentary provides information explaining how the laws have changed in Japan yet sexualisation continues. These daunting facts are laid across a black background and montaged with bleak-seeming, almost silent shots of Stacey overlooking Tokyo.

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Following montages use juxtaposition ; the featured colourful anime of electronic Japanese billboards with the darker, night-life shots of Tokyo, showing how the city has its secrets and a more sinister side. Yet the vibrancy and 'kawaii' side could invoke attraction in viewers, causing moments of spectacle and adding some form of entertainment.

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Documentary follows a chronological narrative. Stacey informs us through her story, starting from a beginning and telling us the questions she wants answers for, to having collected her experiences at the end. Her commentary 'represents the perspective or argument of the film' (Nichols, 2002), as she as the speaker, is heard and also seen engaging in her argument. This documentary heavily relies on interviews featuring real people and either their acknowledgement or ignorance towards to the sexualisation in question. The inclusion of this again helps Stacey's argument.

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Incident occurs with disagreements about permission to film girls on JK Alley. These girls have minders who are protective over footage being filmed, and call the police to have Stacey and her crew arrested. This is unexpected and seemingly unstaged, adding to the emphasis on how tightly these men bind girls to their business. This conflict adds another entertainment factor to the documentary, as viewers feel anxious for the filmmaker. Stacey says herself that she felt 'intimidated' by them as they physically touched her, so she can't begin to imagine how they must treat the girls. Furthermore, the police seem to be on her opposing side and hold them for two hours, placing them in an unethical situation. The inclusion of this altercation is effective because it highlights the way police find no issue with the JK fascination, again emphasising how normalised it is. Filmed with handheld and body cams.

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Meets with the head of the juvenile section to get answers for the question she is asking for this documentary. She listens intently and challenges the individual by claiming that his figures aren't 'impressive', counteracting them with her figures from the UK. This interview strengthens her argument that the issue isn't being tackled seriously, as he seems to think his number is sufficient (37 vs 5000+).

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The way in which Stacey interviews the producer / director of her Chako Ero photoshoot she visits is effective in strengthening her argument further because she questions the way he separates his self between his business and personal life. By asking him questions about his morals, she presents him as a somewhat hypocritical and confusing character when digging inside more personally and using hypothetical situations to challenge his morals. His identity is anonymised, and the camera shots focus on his relaxed, un-remorseful body language, particularly from the chest down. His tone and body language becomes more stiff when Stacey presses him further.

In this segment of the documentary, Stacey uses an observational style to watch how the event works without her presence being too much of an influence, retaining a 'degree of detachment that differentiates her from those about whom she writes' (Nichols, 2002), and comments in a hushed tone on how she feels about the novelty of it. She also goes on to speak to one of the young female models and questions her innocently about her work and she is presented as again, extremely innocent and naive towards the argument that Chako Ero encourages the wrong behaviour.

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Stacey's interview with the self-confessed paedophile is the climactic moment in this documentary. He talks a lot about why he feels attracted to children only and doesn't accept that his feelings are unhealthy, as Stacey mentions as a side note. Although this individual could pose a real threat to children, Stacey treats him with respect, using a kind, thankful and gentle tone when asking him personal questions. She does not rush into judgements because she has only spent a few hours with him. The way she treats this individual adds to her 'accepting' and sympathetic aura, yet when she returns to the camera to make her comments, she does mention that his behaviour seems normalised by him, and she would not leave a child in a room with him 'in a million years'. The inclusion of his character in the documentary is effective because Stacey aims to show the audience that these people do exist, and shines a light on their world. And this again strengthens her argument of the documentary.

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Celebrity ventures & recognition in the media

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Celebrity ventures & recognition in the media

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Being a female growing in the journalism industry presents its own
challenges, not to mention her lack of professional training and
qualifications. There have been critics in her own life who have
presented challenges, believing she is unequipped for this industry.
'Some people don't understand why I'm on TV. But I deserve to be there' (The Guardian, 2019). And this is proved by her being awarded an MBE for her services to broadcasting (CurtisBrown, 2018). I believe her empathy and her ability to tap into the minds of those she interviews shows she needs nothing more than her presence and intuition.
Stacey's growing celebrity status means she has influence to shed more light on social issues that get swept under the rug, as after all 'celebrity = impact on public consciousness' (Holmes, 2010). But other viewers of her documentaries may argue her newfound status compromises the authenticity of her following work. For example, she may be more selective of what stories she features now, as her safety and public relations have become increasingly important. She has a '£250,000-a-year golden handcuffs deal to work only for the BBC' (The Guardian, 2019), meaning she is under contract and is may be controlled more than before by her management and PR.
'Stars rise through the rankings and gain popularity, building on success' (Rojek, 2001). Stacey is now equally well known for her celebrity ventures with winning 'Strictly Come Dancing', becoming the face of Clairol's hair colouring range, and presenting BBC 3's makeup contest 'Glow Up'. I believe that the impact her factual documentaries have on audiences, will not change or become less credible, as long as her passion and style of filmmaking remains as she has been as grounded as ever.

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Stacey's earliest ventures started without any previous journalism
experience and she signed up to participate in the documentary
series 'Blood, Sweat and T-shirts' in 2008. Her straight up emotion
and empathy, as well as her early passion for social issues like
labour laws in under-developed countries, landed her 'Stacey
Dooley Investigates' (Penguin, 2019). Since then on, she has gone to travel all over
the world coming face to face with different types of people and
organisations ranging from sex offenders to the female suicide
bomber group Boko Haram.

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'It honestly blows my mind, that people give a shit about who I fancy...when professionally I’m conducting interviews with some of the most recognisable terrorists in the world' (Hunger, 2019)

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'…whist spectacle is a distraction it also forms part of the attraction of the text…' (Thornton, 2018).

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'Japanese people would probably find it easier to understand ... but in Japan maybe it's our culture' (BBC, 2017)

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'...in my mind these young girls are employed as objects of sexual desire. You have to ask what this says about Japanese culture' (BBC, 2017)

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'I just don't think it's a healthy space for a 15 year old to be ... doesn't sit well with me personally' (BBC, 2017)

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'I don't think we can just write it off as a cultural difference, I think we have to call it out for what it is, it's child abuse and it must be stopped' (BBC, 2017)

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'Your ... overwhelming emotion towards them is hate but ... hating somebody isn't going to cause change' (BBC, 2017)

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''Being there'' calls for participation' (Nichols, 2002)

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Relaxed interviews on location between two girls and 2 separate male customers. She asks direct questions about the nature of their conversations, mentioning sexuality, as well as calling him out on the fact that he is 'significantly older' than the girls and she doesn't care for how old he exactly is because it is obvious. Even with this judgemental and condescending tone she expects a co-operative response from him.
She presents their second customer to be seemingly more unusual with his 'Lolita complex' and switches between being understanding and almost disgusted. A crude and personal question is also asked.
Stacey could've observed the conversations naturally to see the men's true behaviour and manner with the girls but she directly initiated questions.
She has a separate conversation with one the girls, who is presented as being very innocent even through her field of work. She feels embarrassed
to talk about sex.

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Stacey believes the JK phenomenon is a 'gateway to prostitution' and meets with a sex worker.
The prostitute is anonymised after editing, and she reveals that her reason for working in the sex trade is because she does it as a form of self harm. She seems to openly reveal this, and her desire to commit suicide without Stacey having initiated the question. We are not aware for sure that she admitted this on her own accord, previously away from cameras. Stacey uses this moment of vulnerability to ask further questions and get her to open up even deeper. This can raise the issue of what is further ethically acceptable to include in her interview, and this could be seen as Stacey taking advantage of the girl's mental state and trust to provide the audience with a heavy, more morbid side to the documentary, as she is under 18 years old and is also working illegally, yet her identity is anonymous. Stacey presents her as a character we are likely to sympathise and feel bad for.

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BBC, 2017. Stacey Dooley Investigates: Young Sex For Sale in Japan. BBC iPlayer. Accessed [11/12/2020] https://www.bbc.co.uk/iplayer/episode/p04t0h2b/stacey-dooley-investigates-young-sex-for-sale-in-japan

BBC, 2018.  Stacey Dooley wins Strictly Come Dancing 2018 [image]. Newsround. Accessed [11/12/2020]. https://www.bbc.co.uk/newsround/46585374

Curtis Brown, 2018. Stacey Dooley receives an MBE for services to broadcasting. Accessed [11/12/2020] https://www.curtisbrown.co.uk/news/stacey-dooley-receives-an-mbe-for-services-to-broadcasting

Holmes, S and Redmond, S. 2010. A Journal in Celebrity Studies. Celebrity Studies. Accessed [11/12/2020]. Available from: https://www.tandfonline.com/doi/full/10.1080/19392390903519016?scroll=top&needAccess=true

Hunger, 2019. Stacey Dooley on Questioning Integrity and Why the Future is Female. Accessed [11/12/2020] https://www.hungertv.com/editorial/stacey-dooley-on-questioning-integrity-and-why-the-future-is-female/

Nichols, B. 2002. What types of documentary are there? Indiana University Press. Accessed [11/12/2020] file:///C:/Users/roxan/Downloads/Week%202%20Reading%20What%20types%20of%20documentary%20are%20there%20(1).pdf - Available online from: https://www.worldcat.org/title/introduction-to-documentary/oclc/45618222

Rojek, C. 2001. Celebrity London. Reaktion Books. Accessed [11/12/2020] Available from: file:///C:/Users/roxan/Downloads/Celebrity%20Culture%202014.pdf

TalentManager, 2019. Joyce Trozzo Self Shooting Director & Producer. Accessed [11/12/2020] https://www.thetalentmanager.co.uk/talent/31119/joyce-trozzo

The Guardian, 2019.  Stacey Dooley: ‘Some people don't understand why I'm on TV. But I deserve to be there’. Accessed [11/12/2020] https://www.theguardian.com/tv-and-radio/2019/jul/29/stacey-dooley-work-really-hard-one-of-few-talents

Thornton, K. 2018. Discourses of power and representation in British Broadcasting Corporation documentary practices : 1999-2013. University of Bradford. Available from: https://catalogue.brad.ac.uk/record=b3097013

Wikipedia, 2020. Stacey Dooley [image]. Accessed [11/12/2020] https://en.wikipedia.org/wiki/Stacey_Dooley

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Alderedge, J. 2020. The 6 Types of Documentary Films. Premium Beat. Accessed [11/12/2020] https://www.premiumbeat.com/blog/6-types-of-documentary-film/

Alexander, S. 2020. Strictly Come Dancing winner Stacey Dooley defends 'exploitative' interview with rape victim. Digital Spy. Accessed [11/12/2020]. https://www.digitalspy.com/tv/a32729904/stacey-dooley-defends-interview-rape-victim/

BBC, 2012. Stacey Dooley Investigates: My Hometown Fanatics. BBC iPlayer. Accessed [11/12/2020] https://www.bbc.co.uk/programmes/b01cl48b

IMDB, 2020. Stacey Dooley Investigates - Full cast and crew. Accessed [11/12/2020] https://www.imdb.com/title/tt1733604/fullcredits/?ref_=tt_ov_st_sm

Kopotsha, J. 2017. Your Guide To The BBC Three Stacey Dooley Investigates Documentaries. Grazia. Accessed [11/12/2020] https://graziadaily.co.uk/life/tv-and-film/stacey-dooley-bbc-three-documentaries/

Masterclass, 2020. Film 101: Understanding Performative Documentary Mode. Masterclass. Accessed [11/12/2020] https://www.masterclass.com/articles/understanding-performative-documentary-mode#what-is-performative-documentary
Penguin, 2019. Stacey Dooley: How I kick-started my career in journalism. Accessed [11/12/2020]. https://www.penguin.co.uk/articles/2019/feb/how-stacey-dooley-kick-started-her-career-in-journalism.html

Rock, J and Smith, N. 2014. Documentary as a statement: defining old genre in a new age. Journal of Media Practice. Accessed [11/12/2020] https://doi.org/10.1080/14682753.2014.892698