1. Go to the
Channel 4 website and conduct research into 3 Minute Wonder, e.g.,
•what is a 3
Minute Wonder?
A short
documentary lasting an approximate time of 3 minutes.
•what is the
aim / purpose of a 3 Minute Wonder?
Primarily,
the aim is to create content that informs and/or entertains audiences on any
topic area, just as long as it follows the general structure of a documentary.
•what sort
of topic would you expect to see on a 3 Minute Wonder?
I would
expect to see storylines that are condensed down/ focused on the message the producers
are trying to get across (e.g real-life accounts). However, if there appears to
be no underlying message, then I would be inclined to reserve all judgements of
the possibilities that can come of a 3-minute wonder. I would imagine a comedy sketch
could be a possibility as it allows the creative freedom to film anything that
may be deemed entertaining.
2. Watch at
least five 3 Minute Wonder episodes.
3. Select
your three favorite 3 Minute Wonder episodes and briefly explain:
- The purpose is to share critics opinions on the famous ornamental “Fountain” by Duchamp’s. For years there has been controversy over whether it is “actual” art or not.
Fountain is one of Duchamp’s most famous works and is widely seen as an icon of twentieth-century art. The original, which is lost, consisted of a standard urinal, usually presented on its back for exhibition purposes rather than upright, and was signed and dated ‘R. Mutt 1917’. Tate’s work is a 1964 replica and is made from glazed earthenware painted to resemble the original porcelain. The signature is reproduced in black paint. Fountain has been seen as a quintessential example, along with Duchamp’s Bottle Rack 1914, of what he called a ‘readymade’, an ordinary manufactured object designated by the artist as a work of art (and, in Duchamp’s case, interpreted in some way).
Another critically
challenge piece of artwork known as the 144 Magnesium Square, earning itself a somewhat
“rightful”place in the Tate museum.
144 Magnesium Square 1969 is composed of 144 thin magnesium plates, each measuring 12 by 12 inches, arranged into a square on the gallery floor. It is one of six works composed in an identical arrangement but in different metals by the American sculptor Carl Andre. The first three works in the series, made of aluminium, steel and zinc, were initially shown at the Dwan Gallery, New York, in 1967, while the other three, composed of magnesium, copper and lead, were produced for his 1969 exhibition at the same gallery. The materials used in the series are presented in their raw state, without physical alteration by the artist. Visitors are allowed to walk over this and the other sculptures in this series
144 Magnesium Square 1969 is composed of 144 thin magnesium plates, each measuring 12 by 12 inches, arranged into a square on the gallery floor. It is one of six works composed in an identical arrangement but in different metals by the American sculptor Carl Andre. The first three works in the series, made of aluminium, steel and zinc, were initially shown at the Dwan Gallery, New York, in 1967, while the other three, composed of magnesium, copper and lead, were produced for his 1969 exhibition at the same gallery. The materials used in the series are presented in their raw state, without physical alteration by the artist. Visitors are allowed to walk over this and the other sculptures in this series
This is one of a series of tanks Koons made in 1985 for his first solo exhibition, entitled Equilibrium, at the New York gallery, International With Monuments. The tanks, glass vitrines supported on black steel stands, were made in three sizes, holding one, two or three professional basketballs. The Total Equilibrium Tanks are completely filled with distilled water and a small amount of sodium chloride reagent, to assist the hollow balls in remaining suspended in the centre of the liquid. In a second version, the 50/50 Tanks, only half the tank is filled with distilled water, with the result that the balls float half in and half out of the water. A group of objects cast in bronze, including a lifeboat and an aqualung (see Vest with Aqualung, Tate L02184), were exhibited at the same time. To complement the tanks, Koons framed a series of advertising posters created by the sportswear company Nike and hung them on the walls. These depict American basketball heroes wearing Nike trainers and other sportswear, holding and surrounded by basketballs.
•why you
like them
As someone
who is heavily influenced by art, these 3-minute wonders exploring
controversial art pieces, took my immediate interest. I thoroughly enjoyed listening
to the critics explain what they believe qualifies someone’s work to be art as
the subject itself is open to hundreds of interpretations.
•what you
have learned from watching them
I have learnt
how people view things differently to each other, however, despite all the controversy,
they’re critical input does not diminish the value of the artist’s work in an
art museum. If anything, it is that exact thing, the constant debate, that
makes it more fitting to be in a museum in the first place. I believe history
to go hand-in-hand with art work as it adds another level of meaning to the
overall product.
In addition,
I have been given insight into the possibilities a 3-minute wonder can have as a
lot can still be spoken/shown in such a short time frame it seems.
4. Market
research into the documentary format and its current viability:
There are six types of documentary formats, which are as follows:
1) Poetic Documentaries-
They focus on experiences, images and showing the audience the world through a different set of eyes. Abstract and loose with narrative, the poetic sub-genre can be very unconventional and experimental in form and content. The ultimate goal is to create a feeling rather than a truth.
2) Expository Documentaries-
probably closest to what most people consider “documentaries.” A sharp contrast to poetic, expository documentaries aim to inform and/or persuade — often through omnipresent “Voice of God” narration over footage devoid of ambiguous or poetic rhetoric.
3) Observational Documentaries-
they aim to simply observe the world around them. Originating in the 1960s with the advances in portable film equipment, the cinéma vérité style is much less pointed than the Expository. The style attempts to give voice to all sides of an issue by giving audiences first hand access to some of the subject’s most important (and often private) moments.
4) Participatory Documentaries-
While having elements of Observational and Expository, include the filmmaker within the narrative. This could be as minor as the filmmaker’s voice being heard behind the camera, prodding subjects with questions or cues — all the way to the filmmaker directly influencing the major actions of the narrative.
5) Reflexive Documentaries-
Similar to Participatory in that they often include the filmmaker within the film — however, unlike Participatory, they make no attempts to explore an outside subject. Rather, they focus solely on themselves and the act of them making the film.
6) Performative Documentaries-
An experimental combination of styles used to stress subject experience and share an emotional response to the world. They often connect personal accounts or experience juxtaposed with larger political or historical issues. This has sometimes been called the “Michael Moore” style, as he often uses his own personal stories as a way to construct social truths (without having to argue the validity of their experiences).
There are six types of documentary formats, which are as follows:
1) Poetic Documentaries-
They focus on experiences, images and showing the audience the world through a different set of eyes. Abstract and loose with narrative, the poetic sub-genre can be very unconventional and experimental in form and content. The ultimate goal is to create a feeling rather than a truth.
2) Expository Documentaries-
probably closest to what most people consider “documentaries.” A sharp contrast to poetic, expository documentaries aim to inform and/or persuade — often through omnipresent “Voice of God” narration over footage devoid of ambiguous or poetic rhetoric.
3) Observational Documentaries-
they aim to simply observe the world around them. Originating in the 1960s with the advances in portable film equipment, the cinéma vérité style is much less pointed than the Expository. The style attempts to give voice to all sides of an issue by giving audiences first hand access to some of the subject’s most important (and often private) moments.
4) Participatory Documentaries-
While having elements of Observational and Expository, include the filmmaker within the narrative. This could be as minor as the filmmaker’s voice being heard behind the camera, prodding subjects with questions or cues — all the way to the filmmaker directly influencing the major actions of the narrative.
5) Reflexive Documentaries-
Similar to Participatory in that they often include the filmmaker within the film — however, unlike Participatory, they make no attempts to explore an outside subject. Rather, they focus solely on themselves and the act of them making the film.
6) Performative Documentaries-
An experimental combination of styles used to stress subject experience and share an emotional response to the world. They often connect personal accounts or experience juxtaposed with larger political or historical issues. This has sometimes been called the “Michael Moore” style, as he often uses his own personal stories as a way to construct social truths (without having to argue the validity of their experiences).
•Look at the
TV listings for two channels (one should be C4) over the course of a period of
time (a day to a week - the more you do the more reliable your primary research
findings!). What percentage of television output on your chosen channels is
documentary? How many are shown at peak
time?
•Go to the
BARB website and find the viewing figures for factual programmes in general and
then some specific documentaries.
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