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Emily

Incorporates animation WITH archival footage.

So for example, at 10:11, there's a video of a car driving and at 10:18, it almost seamlessly transitions back into the animation. Then, the scene flips between archival footage of the town and an animated clip of an interview of a police officer, and keeps alternating between animation and archive.

Images of the people affected by the event (i.e. one police officer who helped to stop the shooting says that he was thinking of his family, and pictures of him and his kids are shown on screen). Very impactful to see there real people.

Portions of an interview (showing the speakers sat down) are also animated. For the most part, however, the interview is displayed purely as dialogue over actuality shots/archival footage (i.e. not much of the interview is visibly seen unless it's part of the interview which is very raw and emotional (or simply impactful - e.g. when the police officer says, "A revolution", it cuts back to his interview) or perhaps when they didn't have any other footage to place here. People who are interviewed include:

Police officers

Victims

Just before the point in the documentary where they stopped the shooter, there are multiple interview shots back-to-back of the police officers. This builds tension before the big final end.

There are quite a lot of sound effects which help to drive home the topic. It gives a further sense of how the victims must have felt during the event:

A gunshot (deafening in the film, much louder than the voice-over. This allows the audience to feel as if they were there, hearing the terrifying sound of gunshots).

Tower bells - give more atmosphere, bringing the audience to the event. Also, this is very impactful because the shooter (the person holding the gun) was standing ON TOP OF THE TOWER, so this further allows for some extra atmosphere.

Suddenly, after the point where the shooter has been stopped, they start showing interview footage of the victims today which isn't animated.

The documentary shows some news reports back from when the event happened.

The black and white animations help to immerse the audience back when the event happened, and the coloured, real-life shots connect the viewer with the people impacted by the event.

I think that from this, I've taken away some stylistic ideas for our documentary:

Show the entire documentary in black and white when the subject is talking about the event, but then when he's talking about the current impact (the mental strain he still feels today) we change it to colour.

Interview Paige's grandad and his son (her dad) if possible to get more insight into the topic and how this affected more than just the subject.

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Part 1: Why This Documentary is Important

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Part 1: Why This Documentary is Important

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Paige - I think its important because we grew up in the areas affected by the miners strike which affected our family's and home towns.

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Emily - Potentially, our documentary can spread awareness to people our age (such as people who know nothing about the mining ban) a great understanding of why Thatcher was so hated, and possibly help them sympathise with the people affected. It could also be a means of allowing anybody who experienced the strike first-hand (particularly the people of Doncaster) to feel like their experience has been heard and hopefully make them feel validated.

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Tyler - SECONDARY THEMES: Other themes we could implement into a longer cut (or slightly into the university version) include: Their views on Thatcher, Community Solidarity/Scabs, cultural identity, Media Representation and more.

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Tyler - MAIN THEMES: The main theme throughout our University edit of the documentary will be about how our families were financially devastated by the strike.

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Emily - OTHER THEMES: Something else which may be mentioned includes the difficulty of the people we interview figuring out how to find their way out of such a difficult situation. This could be an interesting insight into the aftermath of the strike. Another theme which we will try and touch upon is the mental impact of what happened. Some people having many children to care for may have faced incredible stress and anxiety, wondering how they'd be able to feed and clothe them. I feel that back then, the mental health awareness wasn't very good, so trying to learn about this aspect of the situation may help other people to feel less alone.

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Paige - Ian Hodgson: I will be interviewing my grandad about his experience in the mines and how he was affected mentally and financially by the miners strike in 1984-85.

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Tyler - Geoff Ilsley: As a member of the miner's strike in 1984, my grandad has agreed to give an interview about his experience. As well as share some photos and other archival material from the time.

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Tyler - Friends Grandfather: Being the person who gave us the idea to focus on generational debt in the documentary, I think my friend Harvey's grandfather would be a good interviewee.

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Part 4: Interesting Events and Locations

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Part 4: Interesting Events and Locations

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Paige - MOORENDS MEMORIAL WALL: I think this would be a good thing to include in the documentary as it shows all the different individuals affected.

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Tyler - A RICH SEAM: A statue in the centre of Doncaster dedicated to the town's mining heritage. It would be thoughtful imagery in the documentary.

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Tyler - HATFIELD COLLIERY: Being the colliery in which most of our participants worked, I think this is one of the most important locations to include.

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Tyler - ARMTHORPE MEMORIALS: Armthorpe Markham has 2 statues in memory of Doncaster miners. This location will be helpful by giving us 2 filmable subjects.

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Emily - DONCASTER RAILWAY MUSEUM: Seeing as coal would've powered the trains back in the 80s, it may be an interesting idea to visit this museum as part of background research (and possibly to film some B-roll here) and speak to any workers who know a lot about the situation we are covering. It would give us a good insight as to how far this coal mining ban affected people, beyond the workers themselves.

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TYLER - The Times of Harvey Milk (Expository)

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TYLER - The Times of Harvey Milk (Expository)

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A documentary told through multiple perspectives. Not necessarily through interviews but through storytelling. Half way through it turns into the story of Harveys murder through peoples perspective (recounting a moment with no archival footage, sound or anything through story’s).

Incorporates non-subject specific archival footage to set the tone of the 70’s.

Interviewees include people very close to Harvey Milk. Their accounts of the subject matter can be so personal that it made me tear up whilst watching.

The scope of this documentary is quite big, it has many themes which all weave together to make a satisfying end conclusion, all the themes being primarily depressing.

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Emily

The intro opens with B-roll shots of the nature surrounding the mines and an interview overlayed talking about what the miners would do on a day. Then it changes to handheld camera shots of him still talking (adds dynamics to the documentary).

Actuality shots where the subject in front of the camera was brought back to the mines to speak about it.

Very realistic, very raw - and allows for a deeper understanding.

This is something we want to do because it allows for an emotional scene, also allowing for more stories to be told by Hodgson for our documentary.

It emphasises that over 2,000 people worked here, specifically calling them "breadwinners".

This would've been the case for Ian Hodgson's family, and they'd have had issues with money after the loss of work.

Archival videos of the strike and protests are shown with audio from those days, adding more reality to the situation. Other footage included the miners themselves inside the pits as they worked, back before the mines shut.

There are also some videos of modern protests at the end of the documentary, sort of as a homage to the miners' strike, the longest strike in UK history.

Lots of photos are displayed of the victims/protestors being attacked by police and taken away by ambulances.

News reports and newspapers are shown from the protests.

There is footage from interviews with Margaret Thatcher.

There's some old music (somewhere between the 1920s and 1950s) which also allows the viewer to connect with the topic on an interpersonal level.

The director has allowed the contributors (people who worked in the mines) to talk about their fond memories of the mine and how it was for them.

Some information in the documentary states that the government stopped benefits for the strikers who lost their careers (this is what Paige's grandad said happened).

There's also information at the very end of the documentary which says that three children died scavenging for food. This explains to me that it was a very common thing for the families of the miners to have difficulties financially.

Most of what has been done in this documentary is something that we want to do. In particular, the use of archival footage and bringing the subject back to his workplace is something that we want to include since it gives the audience a further chance to relate and understand our topic and the lives/experiences of our subject.

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Durham Mining Museum - Hatfield Main Colliery (UK)

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This site hosts the Durham Mining Museum website

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(in Manchester offers exhibitions and artifacts documenting the strike, such as the role of flying pickets, the Battle of Orgreave, and the NUM’s strategies. These contextualize the events from a socio-political standpoint)

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Powered By Reason - poweredbyreason.co.uk

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Miners’ Strike 1984 to 1985 - People’s History Museum

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Led by the National Union of Minerworkers’ (NUM) Arthur Scargill, the Miners’ Strike 1984 to 1985 strike polarised the country. Key events include the Battle of Orgreave and the Cortonwood Colliery walkout.

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Part 5: Documentaries to Watch and Analyse

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Part 5: Documentaries to Watch and Analyse

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Emily - Paige's dad: He could be a good contributor since he has first-hand experience of what it was like growing up with a father who lost his job due to Margaret Thatcher.

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Emily - FINAL CONCLUSION ON CONTRIBUTORS: As a group, we will only be interviewing one person as our contributor. Our main interviewee will be Ian Hodgson, Paige's grandad, and our secondary interviewee will be Paige's dad since they both have first-hand experience of the strike. To prevent any further issues with filming, our backup contributor will be Geoff Ilsley, just in case we cannot interview Paige's family. Although, this shouldn't have come to fruition since Paige's grandad has proven to be a good contributor.

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Paige - Ian Hodgson: he was in Hatfield Main Colliery Mine, he might know your grandad Tyler Geoff Ilsley. The archive he has is the last piece of hazel coal and he has pictures from underground in the mines, his children were affected massively and they struggled with food, wife and lids had to go to soup kitchens and he would go days without eating so kids could eat. he had to chop down 5 trees a day to get a bit of extra money, they couldn't afford heating and lived on family allowances as the state wouldn't give them anything. his name is on a memorial wall along with his dads, he was mentally affected even after the strike and was constantly worried and wouldn't speak to anyone for years and is still affected by that now they were on strike for one year and one day before they had any money coming in, and even when they was back at work they were still struggling for money for over a year, as everyone wanted everything. he moved house on Oak Moor Road 1 week before the strike happened and decided to renovate not knowing the strike would happen and ended up living on floorboards for 1 year as he couldn't afford carpet. he said it was mentally draining. and he expected the strike to end in 6 months and to be back at work and that they would win the strike. Also, he is comfortable with going back to the mines and comfortable with anything.

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Emily - ARCHIVAL IMAGES: I have found a large amount of images which we can include in our documentary. This includes a mixture of old newspaper articles, images of protests, and pictures of the mines back during their prime.

I have found all of these images online.

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Sony WH-MX5000 Headphones (for listening to the Mix-Pre).

Sony A7S II Compact Kit

Manfrotto Compact Kit Tripod

SIGMA E 30mm F1.4 DC DN | Contemporary Lens (for MEDIUM shots)

Sony E 55-210mm Lens (for LONG-RANGE shots)

Ssangyang FE-Mount Lens Kit

Mix-Pre 3 Audio Recorder

RODE Boom Pole with RODE NTG 4 (for on-field shootings)

RODE Video Microphone for Camera

Sennheiser 100 Series Radio Mic (for interviews/long-distance recordings)

Neewer LED Lights and Tripods

DJI Ronin RS2 Gimbal

DJI Mini 3 Pro Drone

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Tyler - INTRO: I believe it would be powerful for the film to open with nothing but sound from archival footage of the riots. This approach would not only be immersive but also incredibly evocative, hopefully pulling the audience straight into the raw energy and chaos of the moment. Rather than relying on conventional visuals to set the scene, we could create an experience where the audience is fully surrounded by the sounds of unrest—shouting, sirens, breaking glass, etc. By withholding visuals initially, the sound would become the primary storyteller, forcing the viewer to imagine what’s unfolding and gradually orienting them in the midst of the violence and turmoil. This choice allows the audience to feel as if they are right there, caught in the middle of the events our documentary focuses on. The soundscape itself would become a kind of emotional and artistic. Personally, I think its the best way to go

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EMILY - THE THEME: Overall, the main theme we will incorporate into our documentary is the financial devastation caused by the strike. How this affected the miners themselves, but also how this impacted their families, is something we have a great interest in exploring. Our other, secondary theme, is the mental impact of having such little money due to the strike, and being unable to provide their kids with a better life.

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EMILY - IMPORTANCE OF OUR DOCUMENTARY: The overall importance behind our documentary is that it gives our contributors, and other people who were in a similar situation, a voice to explain their stories, good and bad. It allows for an opportunity for their struggles to be heard and listened to, giving other people affected by the strike a place to remember that they aren't alone.

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PART 9 - FINAL THOUGHTS ON OUR DOCUMENTARY (BEFORE FILMING)

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PART 9 - FINAL THOUGHTS ON OUR DOCUMENTARY (BEFORE FILMING)

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EMILY - OUR CONTRIBUTORS: After last-minute issues at home with our main contributor, Ian Hodgson, we have decided it will be best to reduce the amount of time he spends on camera and split our weekend (the period we'll be filming our documentary over) over two contributors, instead of making Hodgson film with us for three days straight. We realised that, since he's been struggling, it wouldn't be fair to have him be the main focus of the documentary since that means he'll have to be available for much longer than he's free to do and we also don't want to overwhelm him. So, we've gotten in contact with Harvey's grandad, Andrew Downs, and he's willing to do an interview and record other shots with us. Due to this, we're only going to have to film each of them for two hours maximum which means they won't be too overwhelmed spending too much time in front of the camera.

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EMILY - LOCATIONS TO FILM: We have removed some of our initial locations which we chose, due to irrelevance to our documentary and our updated themes that we want to focus on. Since we won't be talking to anybody from the Armthorpe area in Doncaster, it seems irrelevant to film any shots of the old mines or memorials in the area. Of course, this could be good if we had a longer documentary and could fit in some more context or contributors, but it seems wise to remove this from our visit list. We also won't be filming at the Doncaster Railway Museum since, again, we won't have time to include any extra context (such as the mine closures reducing the amount of coal for trains to use). Considering the five minutes we have, it would be best to focus on the more important places: Hatfield Colliery (where Ian Hodgson worked), the Moorends Miners Memorial (which has an engraving of Hodgson's name in the wall), the Hatfield Miners Memorial, the Yorkshire Colliery sign in Edlington (since the original mine has been demolished), and the Doncaster Town Miners Memorial (which displays the names of the Hatfield and Edington mines).

Filming anywhere else would eat away at the minimal time we have to film (just one weekend in winter with less daylight) and also holds a lack of relevance to our contributors.

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DAY 1 (Friday 6th December) - Paige is unavailable so Tyler, Emily, and Harvey will be driven by her dad to Doncaster to film the Doncaster Miners Memorial in Frenchgate, Town Centre. Then, Tyler and Emily will go to his house to stay for the weekend and Harvey will go to his parents' house. We will review, transfer all footage to a hard drive and format the cards ready for the next day.

DAY 2 (Saturday 7th December) - Harvey will get the bus to Tyler's house early in the morning. Paige will travel down to Doncaster, where she will pick Tyler, Emily, and Harvey up from his house. First, we will film Ian Hodgson's interview and will record any B-roll shots that we want in his house. Then, we will visit the Moorends memorial to record the statue and Hodgson's engraved name in the wall. Then we will all go back to our places for the night and review, transfer the footage we've filmed and format the SD cards.

DAY 3 (Sunday 8th December) - Harvey will travel to Tyler's house early in the morning and Paige will pick Emily, Harvey, and Tyler up. First, we will travel to the Hatfield memorial and record any shots. Then, we will drive to Hatfield Colliery to record the mines from afar. After this, we will drive to Edlington to interview Andrew Downs and record any B-roll shots in his home. Finally, we will drive to the Yorkshire Colliery sign and record clips of this. We will all go back to our places for the night and review, transfer all footage we've recorded and format the SD cards.

DAY 4 (Monday 9th December) - We may not need to do anything on this last day but we've got it just in case we need to film any re-shoots/extra shots. We will all travel back down to Lincoln ready to edit from December 11th-13th.

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1. Doncaster Miners Memorial - 1 Printing Office St, Doncaster DN1 1TJ

2. Ian Hodgson's house - 22 Ferndale Dr, Moorends, Doncaster DN8 4SQ

3. Moorends Miners Memorial - 161 Marshland Rd, Moorends, Doncaster DN8 4SB

4. Hatfield Colliery Memorial - Stainforth, Doncaster DN7 5QG

5. Hatfield Colliery - Stainforth, Doncaster DN7 5TZ

6. Andrew Downs's Home - 18 Beechwood Drive, Edlington, Doncaster, DN12 1QE

7. Yorkshire Main Sign - Edlington Ln, New Edlington, Doncaster DN12 1DA

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Day 1 - Compact camera kit (incl. lens), 14mm lens, Manfrotto tripod.

Day 2 - Compact camera kit (incl. lens), 14mm Ssangyang lens, 35mm Ssangyang lens, Manfrotto tripod, Sony WH-MX5000 headphones, Mix-pre 3, RODE boom pole w/ RODE NTG 4, Sennheiser Radio Microphones, LED lights/tripods.

Day 3 - Compact camera kit (incl. lens), Ssangyang FE-Mount lens kit (14mm, 24mm, 35mm, 50mm, 85mm & 135mm), Manfrotto tripod, Sony WH-MX5000 headphones, Mix-pre 3, RODE boom pole w/ RODE NTG 4, Sennheiser Radio Microphones, LED lights/tripods.

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Single perspective documentary through the eyes of Jim Carrey as he describes his creative process and what art means to him.

Involves no questions on screen, formatted as Carrey talking straight to the viewer.

The music and sound effects vary from the painting he’s presenting, each matching what the painting represents.

Also very emotional. Very vulnerable Jim Carrey moments.

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Paige- This documentary is very important to all of us. It is important to me because I grew up in the areas that were affected and many of my family were affected including my grandads and my father. From hearing stories as a child we wanted to create our vision of how people struggled through this time.

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Paige- This is my granddad's home where we will be filming the main interview shot, filming here will create a sense of home and understanding of his character.

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PAIGE- Miners' Strike 40 Years On: 'We Were Robbed of our Futures and Livelihoods'

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PAIGE- Miners' Strike 40 Years On: 'We Were Robbed of our Futures and Livelihoods'

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This documentary was good to watch and retrieve some great ideas on styles and continuity.

It is very emotional to watch and gives the viewers a lot of useful information to understand their story.

He also talks about the commardardy in the mines which my grandad mentions allowing us to understand what our documentary could potentially feel like to watch.

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Miners' Strike 40 Years On: 'We Were Robbed of our Futures and Livelihoods'

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Paige- 'Don't expect me to shed any tears for Margaret Thatcher'

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Paige- 'Don't expect me to shed any tears for Margaret Thatcher'

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I think this was a good documentary to watch as it showed how communities and families really felt about how thatcher closed the pits and what it did to them, destroying communities now its an annual event that brings these communities back together.

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'Don't expect me to shed any tears for Margaret Thatcher'

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Paige- The Battle Of Orgreave: Police's Horrific Clash With The Miners

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Paige- The Battle Of Orgreave: Police's Horrific Clash With The Miners

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The Battle Of Orgreave: Police's Horrific Clash With The Miners | Miners' Strike 1984 | Channel 4

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Paige- National Coal Mining Museum/ Miners' Strike

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Paige- National Coal Mining Museum/ Miners' Strike

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Paige- BBC News/ Why UK miners walked out and how it ended

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Paige- BBC News/ Why UK miners walked out and how it ended

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About three-quarters of the country's 187,000 miners went on strike to oppose the pit closures, which were expected to mean 20,000 job losses.

Thousands of officers were drafted in to police the picket lines, with violence breaking out at times.

The miners' eventual defeat was the end of an era for Britain's trade union movement and helped cement Mrs Thatcher's reputation as the Iron Lady.

It paved the way for the privatisation of more nationalised industries and utilities, including steel, railways, gas, telecoms and water.

A wave of pit closures followed the strike and almost all of the UK's deep coal mines - where digging takes place underground - were shut within the next 20 years.

It caused lasting unemployment and poverty in former mining areas, just as the workers had warned with their slogan "Close a pit, kill a community".

In 2019, Sheffield Hallam University researchers said the former coalfield areas - with a combined population of 5.7 million people - continue to be dogged by deprivation and poor health.

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Miners' strike 1984: Why UK miners walked out and how it ended

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Thousands of miners were locked in a bitter dispute with Margaret Thatcher's government.

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Paige- Archival images from my grandad, of his and his friends in the mines

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Paige- Archival images from my grandad, of his and his friends in the mines

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Paige-  Archival images from grandad, of his family and also more from the mines

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Paige-  Archival images from grandad, of his family and also more from the mines

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https://uol.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=008c6c05-3522-4513-98a3-b26700c416c9

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Capture, manage, and search all your video content.

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TYLER - IMPORTANCE OF THE DOCUMENTARY/THEME: 

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TYLER - IMPORTANCE OF THE DOCUMENTARY/THEME: 

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Our collaborator brings a unique and invaluable perspective, their firsthand account offers a personal and emotional backdrop that will allow the audience to connect on a deeper, more intimate level with the realities of life as a miner during the strike. Ian Hodkins voice gives us an opportunity to witness the everyday struggles—the physical toll of the work, the emotional weight of the strike, the pressure on families, and the deep sense of injustice that fueled their resistance. I believe this is something untold on a wide scale, and deserves to be told. The primary theme of the documentary focuses on the financial devastation caused by the Strike, which infamously led to widespread poverty, job insecurity, and long-term economic hardship for miners and their families. Many faced mounting debts, the loss of homes, and the breakdown of entire communities, which we want to portray here. The secondary theme explores the impact on family life. With miners on the picket lines and the threat of violence ever-present, the strain on relationships grew unbearable. So perhaps exploring that would be impactful

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Over the past week, we've had to reassess our approach due to a recent issue involving our main collaborator, which may jeopardize the progress of the project if we solely rely on his input. Given the uncertainty surrounding his participation, we've decided to expand the scope of our interviews to include additional perspectives. One of the most important decisions we’ve made is to interview Harvey's grandfather, who has firsthand experience of the strike and its impacts. He’s open to sharing his story, and his experiences align closely with those of our main collaborator, providing valuable insight into the broader effects of the strike. By incorporating Harvey's grandfather into the project, we not only ensure a richer, more diverse range of voices but also maintain the documentary's authenticity. His memories and reflections will help to deepen our exploration of the miners' struggles, particularly in relation to family life and financial hardship. We’re excited about the opportunity to bring his unique perspective into the film, knowing it will strengthen the narrative and help ensure the project moves forward.