Genre Analysis

A documentaries purpose is to document an event. They can include footage of the event taking place, or perhaps a dramatic reconstruction to anchor meaning for the viewer and a voice over to perhaps influence opinion.

The definition of a documentary is problematic as there are many different forms and several sub-genres. Whenever a documentary is classed as ‘real’ this must be questioned. As a documentary, may strive to document actual events and present the vents as reality, it cannot be helped that a high level of construction takes place. Actors may be used for reconstructions, sets are sometimes used when interviewing people associated with the event and even in the interviews, and the documentary makers will only ask the interviewee the questions they want to be answered, making it seem as though the interview is natural, when in fact it is essentially staged.

“What distinguishes documentary is the portrayal of the recorded sounds and images of actuality”

-John Corner 1995

Documentary was first defined in the 1930’s when John Frierson made the first of its kind with ‘Housing Problems’. He defined a documentary as ‘The creative treatment of Actuality’ .

At this time, Documentaries were meant for the cinema, as TV had not yet been invented. Now, depending on the topic of the documentary, the schedule is vital. Many advertisers may be cautious of placing their adverts in the middle of documentaries that deal with controversial issues. Also, depending on what programmes are on before and after the documentary may affect its viewer total.

Some documentaries are sensational and emotional to gain a bias opinion from its viewers, whereas some offer a balanced view, leaving the viewer to make up their own mind. Documentaries are often renowned for its investigative journalism that often apposes the government and/or society.

Creativity

It has also been questioned as to how creative a documentary should be as authenticity is crucial to any documentary.

Even though it is possible to capture events in their raw state, it can still be considered ‘fake’ as the angles it is shown from, is the angle of a particular view point, and are not true to others that would have seen the event in a different way. Also, the narration that overlays the images can influence how we process the footage, to an extent the crew, and documentary maker(s) are in control of what truth the viewer sees.

“Truth is what you can actually come away with at the end of seeing a film. I mean it’s your truth you’re seeing. Everybody who makes a film is putting their truth on screen.”

-Diane Tammes

John Corner states that there are 5 central features to a documentary.

OBSERVATION
MISE-EN-SCENE
EXPOSITION
DRAMATISATION

Observation

Cameras placed act as an eyewitness observation, acting as a form of prove that something happened.

Interview

Interviews can contrast the footage that is shown, often during a cutaway to anchor meaning. Interviews can be used in 2 ways. As a full interview or as segments throughout.

Dramatisation

All documentaries use a form of dramatisation to make the audience feel as though they are an eyewitness to the event.

Mise-En-Scene

Where the interviewee is interviewed is vital, it must relate to the documentary topic and can also advance the exposition.

Exposition
The exposition is the  line of argument.

There are 4 types of exposition/
PLAIN
DIRECT
INDIRECT
HIDDEN

 - - -

A Narrator is used to further the argument, to perhaps tell the audience what to think or influence opinion. Documentaries that simply rely on observation for the audience to form an opinion is said to be weak in exposition.

Documentaries have resulted in the changing of laws and legislations. Ken Loaches ‘Cathy Come Home’ resulted in having the conditions homeless people live in improved.

 

“It is critical that film makers be rid of the fantasy that the documentary can be unproblematic representation of reality and truth can be conveniently dispersed and received like valium”

                                                                                                    -Dennis O’Rouke

John Corner believes evidence rather than truth would aid in proving that ideas of truth and reality can conflict.

Documentaries show the transformed new world.

They are the first to be cut if money is tight.

Sex Violence and Law and Order are get high viewers with documentaries.

3   WAY PROCESS People in them, viewers and the reaction.

TYPES OF DOCUMENTARY

Fully Narrated
Fully narrated documentaries have a voice over that makes sense of the visuals and anchors meaning. He or she is often the ‘Voice of God’ and we trust that what they are saying is the truth.

Fly On the Wall

comes from the genre of Cinema vertie. The events are recorded as they happen there and then. Editing in this case is crucial as it builds meaning and can definitely sway opinion. An example of this is 'Joan Rivers: A piece of work'

Mixed Documentary

Combination of observation, interview and narration to lead the argument.

Self Reflective 

When a documentary maker is involved and often talks to the camera. Critics say these are confusing as often the event is less focused on and more publicity is given to the documentary maker, like the Ross Kemp documentaries. 

Docudrama

These are a re-enactment of events. They are not filmed in reality and the drama can cause bias opinion. They claim to relive the event but in fact produce works of fiction

Docusoap

Follows the daily Lives of people or person. (The Family) Although questionable as to whether they are documentaries they are popular with viewers and cheap to make.

Disneyfication

Steven Barnett’s theory that the pressure for things to look good, glossy and appeal to the public, loses touch with the hard hitting and important issues.

- - - 

Narrative

Documentaries must have a beginning Middle and an end.

Beginning:  Must entice the audience and make clear what the Documentaries purpose is.

Middle: The middle focuses on the exposition/the argument that you are trying to make.

End:  Argument must be across and the audience is aware of what the documentary tried to do.

 

 

The Music Biz

TYPE
This is a mixed documentary. This is evident as there is a mixture between archive footage, narration, interviews, cutaways and observation.

THEMES
on top in the music industry/Success/ The competitiveness of the industry

NARRATIVE STRUCTURE
The documentary follows a linear Narrative. It begins by introducing the audience to the artist Meatloaf and that after his hit ‘Like a Bat out of Hell’ he just didn’t seem marketable. In the middle, we are shown the vast amount of problems that were had, making Meatloaf a successful and profitable artist with his comeback ‘I will do anything for love’. The end concludes the exposition when we are aware that the marketing campaign surrounding the single was entirely successful, profitable and concluded with Meatloaf winning a Grammy.

CAMERA WORK
There was an Extreme Close up in several interviews and archive footage of Meatloaf, to emphasise that he is the star of the documentary.

There were also several tracking shots through conferences, placing the audience in an eye-witness position of the events, which is visually appealing to us, but also makes us feel like we are involved and also are a part of the success of Meatloaf.

There was a shot reverse shot when Meatloaf was talking to the director of his music video to show their intimacy and how much they both care for this product and see it as crucial in Meatloaf’s success. The director was often filmed with a low angle to highlight his power over the production and his importance in the make or break of Meatloaf’s comeback.

MISE-EN-SCENE
All of the Green screen’s used in the interviews were relative to the documentary topic and/or what the interviewee was discussing. Several of these were not just still images, but the green screen was a video, making this aesthetically pleasing to the audience.

All of the cutaway shots were relevant to what the interviewee was talking about or whatever the documentary topic was on in that section of the narrative

SOUND
This documentary relied heavily on music tracks to convey meaning. Several songs were played whenever interviewees would talk about specific tracks and artists.

When the camera panned up the charts ‘Mpeople’s’ ‘Moving on Up’ was playing which was symbolic of the rising success of Meatloaf’s ‘I’d do Anything for love’

There were no sound effects in this documentary; the narrative was mainly lead by music tracks of relevant artists.

EDITING
When Meatloaf was asked about his song in one of the interviews, he answered by reciting lyrics from the song, after each line, it would cut to another interview where was reciting the same lyrics. By using 2 interviews to get across the same message is visually pleasing for the audience  and doesn’t bore them as much as it would to see Meatloaf just read out a verse of lyrics in one shot.

Another visually pleasing aspect of the documentary is that interviews would dissolve in and out which also stopped the viewer getting bored.

ARCHIVE MATERIAL
Music videos
top of the pops
Grammy’s
Brits
News

GRAPHICS

There was a section when the graphics on screen were repeating what the narrator was saying, to reinforce its importance.

Print based Media Font was used for the title which relates to the media theme of the documentary

The Devil Made Me Do it

TYPE
‘The Devil Made Me Do It’ is a ‘Mixed Documentary’. This is evident as it contains a mixture of Observation (E.g. Clips of Marilyn Manson in concert), Interviews (With Manson himself, lawyers and friends of the three girls), Narration to anchor meaning, reconstruction (of the nun’s death) and cutaways

THEMES

• Death
• Religion: notably Christianity and/v.s Satanism
• media influence

NARRATIVE STRUCTURE
The documentary follows a linear narrative following from when the nun is found dead leading to the girls’ sentence. At the start we are automatically set up as to what the documentary is going to be about, with Manson quoting the title of the documentary. This intrigues the audience and forces them to ask questions. An exposition and conflict is already put in place when we find that the nun has been brutally murdered. In the middle furthers its line of argument and presents us as the audience with a question as to whether Marilyn Manson is a puppet master or a scapegoat’. The conclusion to the documentary all the loose ends are tied. The girls are sentenced and the town where they lived returns to normal with all the satanic symbols being removed.

CAMERAWORK
We are shown an establishing high angle shot of the small town, making it seem vulnerable, so that the media attention and the horrific murder of the nun seem to do it more damage.  High Angles are also shown in the Marilyn Manson concerts when filming the audience, making them seem vulnerable, which supports the argument that Manson is a Puppet Master and he has a major influence over those that listen to and are a fan of music. This argument is also furthered by the low angles when filming Manson at the concert, making him seem powerful and in control.

Canted shots are used in the reconstruction to make the audience feel uncomfortable.

The Camera is handheld as it walks into a Marilyn Manson concert, placing the audience into an eye witness position, making the events seem highly authentic
 
A close up is used when speaking to the lawyer that specialises in satanic homicide making her seem very important, indicating to the audience that we must listen to what this woman has to say as she has spoken to the girls personally and is important in their sentencing. Reinforcing how horrendous the crime was.

MISE-EN-SCENE  

Everyone was interviewed in their own natural environment, so their response seems very true and natural and they aren’t restricting what they can say.

In a shot where the prosecution lawyer was walking through the subway, she wore a bright red suit, which itself connotes power, yet she was walking among a crowd of people that wore either black or grey suits, making her stand out in a crowd, literally, making her seem highly important and so we must listen to what she has to say.

We are also shown several shots of the concert goers dressed all in black and in gothic make-up, mimicking Manson, which may make the audience feel uneasy, but it also reinforces the exposition that Manson is extremely influential.

SOUND 
When the reconstruction takes place, although we never see a nun being killed, we just are shown the canted shots of the city. However we hear the voice over of the girls telling the story of how they killed her, and the echoing sound of the heartbeat speeding up, and banging sounds as though someone is struck. This then leads the audience to imagine what happened that night, and the imagination can make it all that more scary than reconstructing the gore and violence of the actual event.

As the documentary starts, the rock music begins and is very loud. As the programme begins the theme is ‘in your face’ and bold, and then when it switches to the religious choir music creates an antithesis between good and evil, symbolic of the 2 arguments running through the documentary, is Manson to blame for the girl’s actions, or should they be held responsible for themselves.

We also hear the ambient sound of traffic or birds when people are interviewed in their natural environment, emphasising that their response is natural and has no restrictions.

EDITING 
The documentary is cleverly edited to advance the exposition, that Manson is highly influential. When Manson is talking cutaways of several newspaper articles stating that he is to blame for the nun’s murder, we are also shown footage of the columbine murders. This is due to the fact that the murderers in this case wore Marilyn Manson T-shirts, making the audience further believe that he is to blame for influencing these malicious acts.

 

There are cutaways in every interview, this is visually pleasing to an audience and it stops us from getting bored, also the images used in the cutaways anchor the meaning of what the person is saying, and doesn’t simply lead the audience to form an opinion based entirely on observation.

At the start fast paced editing us used when showing us several images of mug shots, this confuses and disorientates the audience, which also relates to the documentary theme .

ARCHIVE MATERIAL 
Maralyn Manson music videos
Maralyn Manson concert
Talk shows discussing the murders
Some interviews with manson
Nun’s Funeral
Columbine news footage.

All used to anchor meaning.

GRAPHICS
The graphics, when introducing each of the interviewees were small, plain and white, this is due to the importance of the content of the interviews, and so the graphics do not distract us from what the person is saying.

The opening title is in a religious font and is white on a black background, again linking to the theme of religion and Good Vs. Evil.

We are also shown subtitles to some of Manson’s concerts, perhaps so that we can understand the lyrics, or to further the exposition that his  lyrics are extremely disturbing and badly influence a generation (‘I’ll rape the raper’)

The World's Greatest Wrestling Managers

THEMES
Success and failure in the wrestling industry. The history of the sport and the rise of women in the sport

NARRATIVE STRUCTURE
The documentary is split into  a number of different linear Narratives. Each wrestling manager considered a ‘great’ is given his or her own section of the documentary which documents their managing career. The beginning of each section introduces us to the manager. The middle discusses their success and failures and memorable moments they have had with their clients in and out of the ring. The end sums up their success and the legacy they have left behind in the field of wrestling.

CAMERAWORK
When we are being shown photographs, the camera is handheld and moves very quickly as  though it is us looking through the photographs. This involves the audience and also makes it feel as though we are looking through our own personal photo album, making the viewer feel as though they know these managers and popular icons that have been a part of their lives.

All of the interviews used a mid close up shot to show the importance of what is being said, as all interviewees were experts in either the wrestling or managing field.

The camera would zoom in on some archive pictures of certain managers and valets. This is to emphasise how much of a legacy they are in the WWE, yet also to highlight and reinforce the sexual prowess of the female managers.

MISE-EN-SCENE
At the start, the pictures were set out as though the audience was looking through their own personal photo album. This was also to make the viewer feel as though they know these managers and popular icons that have been a part of their lives.

In an interview with Bobby ‘The Brain’ Heenan in present time, he is wearing a popular attire from his managing days in the 80s. This jogs the memory of the viewer of the type of character Heenan was and the escapades he got himself into, causing the audience to, at first, instantly recall who Heenan is/was and then to reminisce.

All of the interviews were conducted at the World Wrestling Entertainment backstage areas. This keeps a consistency within the interviews and also relates to the documentary topic. This is also practical as the WWE tour around the country and so all of the interviewees are from different countries so could not be filmed in their own natural environment.

SOUND
the sound bed used was a rock/heavy metal type track, this was to emphasise the roughness of the ‘sport’.

When the manager Sunny was on screen, a sultry and erotic music track played, to emphasise her obtuse sexuality.

EDITING
The film used cutaway shots in every interview, usually cutting to archive footage or photographs.

When the documentary began to discuss the amount of clients that Jimmy Hart had had, it used rapid cross cutting when listing them, to emphasise the long list of clients and the amount of success that Jimmy Hart has had.

ARCHIVE FOOTAGE
This documentary relies heavily on archive footage in order to celebrate the list of wrestling mangers. They used a collection of match footage, interviews and promos.

GRAPHICS
The titles of the documentary look as though they have been etched in stone, to emphasise the proud and regal heritage of the long list of names that have carved their names into the annuls of the wrestling sport as very successful managers.

When each interviewee is introduced, they are done so in white font on a blue background that resembles a blue print, this is mirroring the graphics that introduce each section of the documentary. This connotes images that the wrestling managers listen in this programme are the first of their time and should be looked at and studied by managers today.

Aileen Wuornos: A Biography (A&E)

TYPE
This is a mixed documentary. It includes interviews, archive footage, narration and observation.

THEMES
Death, violence, the death penalty, the nature nurture debate

NARRATIVE STRUCTURE 
The documentary follows a linear narrative. First establishing who Aileen is and what she did in the beginning.   The middle  discusses her childhood and events that occurred which would eventually result in the killing of 7 men. Te end then focuses on Aileen’s execution.

CAMERAWORK
we are often shown close-ups of Aileen’s confession as the camera pans down, as though we are reading it. The close up gives us a further, and sometimes intimate relationship with the serial killer, but the dark lighting that often surrounds the shot creates a sinister tone.

When the narrator tells the viewer that Aileen admitted to murdering 7 men, the camera uses an extreme close up and the lighting becomes lighter around Aileen’s letter where she had handwritten ‘7 deaths’. This reinforces what the narrator is saying and emphasis the barbaric nature of Aileen’s crimes.

All interviews are shot in a mid shot, emphasising the importance of the interviewee.

MISE-EN-SCENE
There is a shot of a jail cell, where lighting is used to cast a cell-shaped shadow across the room,  emphasising the theme and dark nature of crime, a basis of the documentary’s topic

When the narrator discusses where Aileen grew up, the camera uses an establishing shot of a street in Michigan. The street is baron, implying the vulnerability of the community after the crimes of Aileen.

Interviews are conducted in the interviewee’s natural environment, making us feel that they are comfortable and what they are saying is the truth, with no restrictions.

SOUND
The film has 2 narrators. One being a stern, calm male voice, informing us of important facts and knowledge needed to fully understand the documentary, but also the voice of an actress, who speaks as the voice of Aileen Wuornos, giving us a more ‘intimate’ insight on her life and crimes and also anchors meaning.

The music at the start is very chilling and consists of only a piano using high notes. Creating an eerie atmosphere, relating to the heinousness of Aileen’s crimes

When the narrator discusses how Aileen was a beautiful child, the music changes to a string piece, the melody of which is soft, emphasising the beauty and angelic potential of Aileen.

The actress playing Aileen in the documentary says ‘let me begin my confessions to you with when I was a child’ At this point the piano music begins to change into a lullaby like tone. Creating a childlike atmosphere, relating to the narrative.

EDITING
After the male narrator says that Aileen’s was convicted for seven murders, a photograph of all of these men, smiling flashed through rapidly. The emphasis the cruelty of Aileen’s actions, that these men, who lived happy lives, were taken from the world so easily, and so quickly.

After this, we are shown archive footage of Aileen in court, where she says that if she were let free, she would kill again. This is cleverly selected to create a biased opinion against Aileen, perhaps to make us feel uneasy and relieve us now she’s dead, or , as she is crying at this point, empathise with her and allow us to realise her mental instability.

ARCHIVE MATERIAL
The film uses archive material of Aileen’s trials and pictures from her childhood. This is used to either reinforce what the narrator, or an an interviewee is saying or to anchor meaning.

GRAPHICSThe graphics used to introduce the interviewees are small and plain, so not to distract the viewer from what they are saying.

That Thing: Tomb Raider

THEMES 
Gaming, feminism, the role of women in the media and it’s change.

NARRATIVE STRUCTURE 
At the start the audience is introduced to the character of Lara Croft and the Tomb Raider gaming franchise. The middle of the narrative focussed on the success both the game and the character has had and how the character of Lara Croft has become a feminist icon and rose in pop culture cultivating in many fans bringing her from the virtual world into ‘reality’. The documentary also focuses on the release of the motion picture of the same name starring Angelina Jolie, and whether this was a good or bad idea, and whether this would carry the franchise to new heights. The end, although summed up the documentary’s exposition that Lara Croft has become a major figure in pop culture, but was left open as to whether the film was a success in box office or with avid fans of Lara Croft.

CAMERA WORK 
A Canted Angle was used in several interviews to make it seem as though the audience was playing a video game to engross the audience and feel entertained whilst they were being informed.

There were several Mid-shots in interviews with the creator of Tomb Raider, to highlight his importance, yet an extreme close up in the interview with Angelina Jolie, mainly because she is a bigger star and more recognisable, but is also playing Lara Croft in the movie and so is a ‘real life’ Lara Croft, who is, herself, the ‘star’ of the documentary.

Several panning shots were used to slowly capture the physical attributes of Lara Croft in the game. This emphasises her forward sexuality.

There was also a mixture of Extreme close ups of people’s hands playing the Tomb Raider game, showing the importance that the gaming community has to the ‘Lara Croft’ product.
There was also several panning shots of website entrees, notably letters written to Lara Croft, emphasising how in-demand Lara Croft is, that people have begun to see her as an existing person.

In each of the interviews, the interviewee was placed to one side, while the green screen of game footage could clearly be seen to entertain the audience and also fully understand what the interviewee is saying.

 

Many interviews took place while the interviewee was playing on the tomb Raider game, highlighting its mass effect on the video gaming community.

Several interviews were also shown on a computer screen, which is relevant to the theme of gaming, and is also aesthetically pleasing to the audience and makes a change to the original way of showng an interview.

SOUND 
We could hear a lot of game footage sound, notably the over-sexual sounds that Lara makes in the game when jumping or climbing to reinforce the impact of her sexually played character. This was also created through using Lara to ‘speak to the audience’ in such a way e.g. at the end when the character said ‘Thank you Boys’

There was also some non-diegetic background music which related to the topic being discussed, notably when an interviewee spoke of Madonna as a feminist, one of her songs could be heard.

EDITING 
There was a section, cleverly edited at the beginning when several interviews were inter-twined around game footage of Tomb Raider. An interviewee would offer an adjective(s) to describe the character of Lara Croft, it would then cut to a sexually orientated pose of Lara, and then back to a complimentary interviewee and back to game footage repeatedly until the documentary began. This is entertaining and original in conducting interviews, yet also highlights the popularity of the character.

Also, when the creator of the game spoke in the middle of the documentary, it would cut to a clip of Lara Croft answering him s though they were having a conversation, reinforcing this idea that Lara Croft is becoming more and more of a living entity in the lives of avid fans.

ARCHIVE MATERIAL 
Game footage was used to demonstrate the game demographics but also to emphasise Lara Croft’s sexuality. Film footage was also used to create this effect.
The interview with Angelina Jolie was likely to have archive as the low budget documentary would not have been able to afford to interview Angelina in person.

Also, in one interview, a man was speaking, where game footage was playing behind him, and this same footage was projected across his face in a green lighting, making it seem as though he was game footage, again both visually pleasing and entertaining, but also relates to the documentary topic.

Marketing Movies

TYPE 
This was a mixed documentary as a mixture of narration, interviews, cutaways and archive footage was  used.

THEMES 
The documentary features themes such as, marketing and how to do it successfully to different audiences, notably the film ‘Mouse Hunt’.

NARRATIVE STRUCTURE
The documentary follows a Linear. The Beginning shows us several ways of marketing, both successfully and unsuccessfully. The Middle follows the marketing of Mouse Hunt and how films can make money other than cinema tickets and DVD sales. I.e. Merchandise. The end is left open as to whether the film Mouse Hunt’s marketing campaign was as successful as previous films’.

CAMERAWORK 
Several interviews were filmed using a close up or a mid shot, fitting their face in the frame perfectly, highlighting their importance.

There were several panning XCU shots of merchandise that was related to the film the interviewee was talking about. Highlighting just how many products could be produced through one movie, and the profit it could make.

MISE-EN-SCENE 
All mise-en-scene was relevant to the topic of the documentary in the background of interviews. The green screen would often be pictures related to the movie the interviewee was talking about. This is visually pleasing to the audience and so that they are 100% certain on what the interviewee is talking about. There was also a consistency in the green screen images used between the people being interviewed so we could keep track of who it was that was speaking.

There were many shots of merchandise that were all carefully considered to enhance the exposition and relate to whatever the interviewees were discussing.

SOUND 
The narrator seemed official and presented himself as the voice of god. As this was an educational documentary, this was important as the narrator seemed knowledgeable and forced the audience to listen.

EDITING 
The documentary was cleverly edited. In  a section where an interviewee states that ‘The Lion King’ made more money in merchandise than in ticket sales, the documentary cut to a section of the film, ‘The Lion King’ when Simba  and Nala gasp in astonishment. This is entertaining for the audience, relevant to the topic and emphasising how much of an achievement this in and how successful this can be.

When each interview finished, the next image swiped across the screen, this makes it aesthetically pleasing  to the audience and is a change to the simple cu. Also, all of the interviews had cutaways and were sectioned throughout the documentary to avoid boredom in the audience.

ARCHIVE FOOTAGE 
Disney Films: Lion King, Little Mermaid

Movie Trailers: Rugrats
Premiers
Mouse Hunt film

GRAPHICS 
Between each section of the documentary a small animation of a stick man holding a film board is seen introducing it. This again adds an aesthetically pleasant element to the educational documentary.

Codes and Conventions of Documentaries

From the documentaries we have studied. We have noticed a few codes and conventions that make up most, if not all, of these products.

Interviews in which the interviewee never looks directly t through the lens of the camera
Cutaways
Archive Footage
Graphics introducing each interviewee
Commentary
Music bed
Mise-en-scene is considered for interview i.e. Green screen
Clear Narrative: Beginning, middle and end
Exposition
People
Follows a theme (s)
CU/MS/ MCU shots in interviews
Ambient Sounds
Conflict unfolds the narrative
Rule of thirds followed in interviews
Plain white graphics so not to distract viewer from interviewee
Never hear the questions being posed
Experts in the field used to interview
Vox-pops
opening titles
SFX sometimes
Based on truth
Variety of Camera Angles
Clearly sectioned Narrative
Evidence is supportive
Continuity kept throughout
Lack of special effects- not needed
Montages
Shot reverse shot.

Documentary Brainstorm

In our Media Groups, we listed possible themes/topics that our documentary could be based on:

Copyrights

Email to NATIONAL RECORDS
To whom it may concern,
        I am writing to request permission to use the 1950 recording of Gracie Field's "If I knew you were coming Id've baked a cake" which was released under your record label. The track will be used for an educational documentary that will only be viewed by an examiner and will gain no financial profit.

Email to McVITIES

To whom it may concern,
     I am writing to request permission to use the origional 'Full Moon' Jaffa cake advert for an educational documentary. The advert will only be viewed by an examiner and will gain no financial profit.

Email to BBC

To whom it may concern,
   I am writing to request permission to use the track "The biscuit rap" from the TV programme two pints of lager and a packet of crisps: When Jannet met Johnny. The track will be used for an educational documentary that will only be viewed by an examiner and will gain no financial profit.

Blank Questionaire