Summary of Tutorial 25/02/15

After useful and positive feedback I intend to continue with my briefs generally as planned. We discussed whether the individual student videos were relevant, and a useful part of the project, and decided that they were as they show the overall debate surrounding the issue of arts education. This allows me to employ a lot of my COP research into the acknowledgement of constructing an argument when producing a documentary; the individual videos will show peoples experiences and opinions as truthfully as possible, and they I will consciously construct an overall documentary which draws on positive comments from the students, to argue that arts education is highly important.

I will perhaps not only include students in the individual videos, as originally planned. Instead the individual interview videos could include interviews with staff, senior management, post-graduates, and people working in the art industry, to show a more broad debate, as this strengthens the purpose of this aspect of the project.

Plan of action and things to note:

I should focus on how I select who I will interview – I should try to avoid using Viscom students – whose learning journeys I am already familiar with, and find subjects from different courses as this will give the project more integrity and allow me to develop my interview skills, as I won’t be able to anticipate what they might say. This will challenge me to have contingency questions, and to develop a fuller interview plan.

I should also try to choose a diverse range of subjects, including those from different financial backgrounds, from different parts of the country, international students, mature students, those who suffer from learning difficulties and so on. This will obviously be an investigative process and I will encourage me to develop my researching of subjects, in order to get different perspectives on the issue of arts education.


Like Knows Like

Like Knows Like is a documentary collection website and project that showcases inspiring creative practitioners and artists, revealing their personal stories:

For example, above is a biography style documentary of the illustrator: Wasted Rita.

I really like the emphasis on their experiences, influences and inspiration surrounding their practice. Initially when wanting to focus on promoting LCA students who will graduate 2015, I wanted to take this approach to telling their stories and experiences through 3 years of higher education in the arts, reflecting on their own development.

Now my projects focus has changed slightly, I want to investigate more into how important the education has been to them, how they have changed and developed themselves as practitioners, with focus on the importance of arts education – was the 3 years and £21,000 worth it? I would still like to use this style of investigating their journey similar to the Like Knows Like project.

I should remember to focus on the positive aspects, since I hope to create a longer documentary that promotes art education… although I do want to honestly voice the opinions of the subjects, and how they feel their experience has been.

Ed Milliband’s ‘Arts for All’ speech – Feb 24th

A speech given by Ed Milliband on 23/02/15 at the Battersea Arts Centre

“ Because the arts, culture and creativity define us: who we are as a nation.

Because they make a major contribution to our economic success.

… I know the people who subsidise the arts the most are artists
themselves: who work for free, for long hours, for scant financial

…I don’t believe culture belongs to just one
department. Because what you do matters across our society and we can only achieve the mission of a society that works for all and not just a few if we see the value of culture right across government.

The Department of Work and Pensions for the routes into work you offer.
The Ministry of Justice because your work with young offenders is
And the Department of Education because how we teach the young is so
important to your future and ours.

It matters to our young people for the opportunities they can enjoy.
It matters to you for the talent they have.
It matters to us for all of the magical things our young people might create.

… So putting art and culture at the heart of government policy means
putting art and culture at the heart of our offer to young people.

… It is an area where Britain leads the world.

…Together, the creative industries account for at least 1.7m jobs and
are the fastest growing sector of our economy.
…They define our character as a nation.

Great architecture and public art, from the Millennium Bridge to the
Angel of the North, lifts our spirits. Publicly-funded art and culture is vital to our dynamism as a country. Encouraging our experimentation, creativity and innovation. And it opens up new opportunities.

… I would go further: if you believe in social justice, if you believe
in a more equal society, as I do, then access to the arts and culture
is not an optional extra—it is essential. Not simply because of the worlds it opens up, but because of the wider
impact it has.

Some people pose the arts and culture as an alternative to academic education. But the truth is the opposite. Over 40% of 16 year olds from low-income families who engage in the arts and culture score above average in their school tests.

Those who take part in the arts and culture are more likely to get a degree.
It can’t be right that all of these advantages are the privilege of a
few, rather than the right of the many.

That is why at the heart of the next Labour government’s mission is to
guarantee every young person, from whatever background access to the
arts and culture. A universal entitlement to a creative education.

The number of arts and culture teachers in schools has fallen by 11% since 2010. And in 2013, fewer than one in ten of students combined arts and
culture and science subjects at AS level.

And only this morning at the BRIT school I heard about their fear
about the all pervasive downgrading of what they do.

At the moment there is no formal requirement for arts and culture and
cultural education in schools and much of what we did to improve
access in government has been cut back.

In my view, a truly outstanding education cannot exclude creative
subjects, especially if we wish to see fully rounded citizens of our
country leaving our schools and colleges at 18. And schools will have to provide high quality creative subjects and cultural opportunities to all their pupils if they want to get an “outstanding” Ofsted rating.

It is about understanding the importance of the arts.

… Because young people deserve a broad and balanced curriculum.

So our plan starts with schools and making sure creativity and the
arts and culture go from the margins to the mainstream in education in
this country.

Next, we need to make sure that the thousands of fantastic arts and
cultural organisations we are so fortunate to have in this country are
truly open to all our young people, in all regions, from all

We will maintain the policy introduced by the last Labour government
of free admission to our national museums and galleries.

In the first 10 years of free museum and gallery admission, visitor
numbers more than doubled. Over two million more children visited museums every year. And the number of ethnic minority visitors nearly trebled in the first 10 years it was in place.

And I know so many of the organisations that you lead are doing more
and more every year to widen access to the arts, often against the
hardest of odds, both social and financial.

Organisations who receive funding from the Arts Council are already
encouraged to improve the number of activities that they offer young
people. But we will work with you to do more to ensure that public money is
always used to increase the number of arts and cultural opportunities
and activities available for young people of all backgrounds.

If the first part of our plan is about school and the second part is
about access to arts and culture organisations, the third part of our
plan is about working in the arts and creative industries.

We must open up the opportunities for young people to work and develop
their artistic and creative talents wherever they are in the country.
That starts with proper opportunities in school, real work experience
and expert careers advice.

Last year there were only 1,000 apprenticeship starts in culture and
the creative industries. And yet, the creative industries are one of the fastest growing and increasingly essential sectors of our economy.

So a Labour government will work with you – and work with the creative
sector all over Britain – to increase the number of apprenticeships.
We will give you more control over the available funding for training
and apprenticeships. And in exchange, we want you to make those apprenticeships available. As well as increasing opportunities through apprenticeships, our plan also involves getting young people who have been out of work back into jobs.

And there is a role for arts and culture here too. The next Labour government will give a Jobs Guarantee for every young
person who has been out of work for 6 months. In return for employers providing a job and at least 10 hours of
training to participants, government will pay the wages. We want you involved in this. You offer the jobs of the future and lots of young people want to work in your sector.

And so we will look to the arts and creative sectors to play a key
role in creating these paths to employment. So I intend to make a permanent change to the way that the arts and culture are represented in Westminster and Whitehall. The members of the Committee will include leading figures from the arts and culture world, drawn from a whole host of backgrounds from right across the country. Practitioners as well as decision-makers. To bring key issues of concern in the arts, culture and creative industries directly to the attention of the Prime Minister.
To make sure that you and your value is recongised across government.

To increase funding for the arts and culture by bringing private and
philanthropic sources of support into a closer relationship with the
public sector. And to help us go further in expanding our agenda of increasing access
to the arts and culture to all young people of any background.

So this is our plan to celebrate, enhance and open up the arts and
culture in Britain for a new generation.

Because I believe, and I know so many of you do too, that Britain will
be a prouder, richer, stronger country when we give everybody the
opportunity to develop their creativity, expand their horizons,
enhance their talents and make a life for themselves in the arts and


This video (its actually interactive on the original website) was created by the Arts Council, in support of the Create journal which includes loads of personal stories and debates surrounding arts education. This video has a lot of facts which would be useful to include in my video, e.g. statistics about how arts education can improve society, children’s learning, quality of life etc etc.

Like in this video, I also want to focus on personal experiences of how arts education helps people, but I am looking from the perspective of students in higher education.

It would be interesting to link how early education in the arts inspired them to follow through their interests to HE. > when interviewing students for my project I should try to get people to briefly discuss why they chose art, how was their art education from an early age, what inspired them to study art at University – may get some useful answers.



Extended Practice: My Brief

  1. Create a series of videos, which document the opinions and experiences of students who are about to graduate from art education, focusing on their personal stories and journey through 3+ years at £9,000 per year. The videos should question: was it worth it, what have they learnt, how important was this education to them in preparing them for work in the creative industries. The videos will be based on a main interview and supported by shots of that person’s creative practice. The videos will be hosted on a youtube channel, or its own website as another online aspect showing the fuller debate surrounding the final documentary.
  2. Compile these mini documentary videos, into one full documentary which creates an argument to support the Leeds Art Party organisation. This will also include interviews with people such as tutors, post-graduates, and creative practitioners already working in the industry. This will be supported by a voiceover providing facts and context for the interviews and opinions. Will also possibly use stock footage to illustrate political and social context – e.g. student riots / campaigns for arts education / government plans to cut funding.


Statement of Intent:

During this project I would like to develop my project managing skills, including aspects such as organisation and idea generation. I want to evidence my ability to oversee a longer documentary film from start to finish, as well as to create a series of short videos which illustrate the debate surrounding an issue.

I intend to develop my editing ability, to allow me to produce an interesting documentary with an engaging structure. To evidence my ability to co-ordinate different aspects of a film I hope to work with other students to produce different kinds of visual content for the film – illustrations, stop-frame animations which help tell the story. I also hope to experiment with editing existing footage of political speeches and news coverage to communicate the context around the issue I am exploring. I would like to develop my skills in storytelling, by creating a voiceover which is interesting as well as informative. My overall goal is to evidence that I can produce engaging and relevant films, to help me get work in a company which produces documentaries.

Final Piece – my video


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Screen shots of my video in editing stage (above), incorporating observational footage, reflexive interviews, and clips of the edits which Nic created for me. Mixing these together to build a picture of how we construct a message.

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Stills from footage filmed of Nic in observational style.

I tried to get shots that give a ‘point of view’ feel. E.g. from behind the shoulder.

I captured shots from above to get an angle which shows the editor Nic’s movements.

I filmed shots of the screen to show the editing software being used to construct the films.

Close ups of hands clicking were to emphasize the physical process, so therefore very much an ‘outside’ act that happens separate from the filming environment.

I tried to get shots of the screen, where Nic’s face was also clearly reflecting to emphasize his gaze, and his opinions and judgements creating the film. I also got shots of Nic’s face, attempting to show him thinking about his choices, to emphasize a personal decision making process.

Interviews, edited over the mix of observational footage and Nics own edits allowed me to linkthe output edits Nic created, with the personal process. This was to mimic reflexive techniques seen in artists I had looked at.

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Introduction credits to show the viewer clearly what I had asked Nic to do, to give them understanding.