• 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.

• 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.

I have found all of these images online.

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.

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.