UNIT 3 TELEVISION DOCUMENTARY

ructure
5.0 Aims and Objectives
3.1 Introduction
3.2 Writing for a Documentary
3.3 Script Writing for Public Purpose Ad Film
3.4 Shooting Script
3.5 Shooting Schedule
3.6 Tentative Screenplay
3.7 Checking the Script
3.8 Script Terminology
3.9 Principles of Film Production
3.10 Scripting the Unpredictable
3.11 News Film Script : Election News
3.12 News Film Script : Festival of India in France
3.13 Comment
3.14 Aids to Answers

3.0 AIMS AND OBJECTIVES

At-the end of your study of this unit, you should be able to

Follow the technique of writing for TV visuals;
Prepare a script for TV documentary;
Write the script for a public advertising film and a news story.

3.1 INTRODUCTION
While writing script for a news film or an advertising film one has to keep in mind the
visual possibilities of the script which the writer has in mind. A news film is a visual
presentation of a news event. In practical terms, for example, it could even be a road
accident. Therefore, the scriptwriter for news has to have a look at the rush of films
taken by the cameraman who is always in a hurry since he has to meet the deadline.
Visual news writing for news film, therefore, always presupposes availability of visuals
beforehand and, to that extent, it is easier to write words for the visuals.
Ad films on the other hand, are something which have to be entirely created by the
writer. He has to think beforehand about the interest of the consumer of the medium,
that is, whether the film is being shown across the television or in exhibition halls along
with the feature films or before a selected gathering of consumers. According to the
projected taste and identity of the client, therefore, the creative scriptwriter has to hit
on an idea; to visualise it mentally and then write the script.
Meanwhile, the scriptwriter for TV news has to understand the importance of the
particular news item i.e. at what portion of the News Show a given news item is being
slotted. Since 'news' is the report of an event and on TV it is projected audio-visually,
words are always subservient to pictures. Words in a news film are complementary or
U
supplementary to the visuals which have already been established by camera. Ad films,
also words basically, cater to the requirements of the visuals which are primarily meant
for motivating the viewer, who in the ultimate analysis, is the consumer, likely to buy
the projected product. (In Public Service Advertisement - PSA Films, the aim is to
present an idea to the viewer.)
A comparison of these two techniques can be seen in the following examples.

3.2 WRITING FOR A DOCUMENTARY

In contrast to Ad films and News films, documentary is very different. Its span could be
anything between 20 minutes to 120 minutes or it could be serialised as well. The
treatment of the documenthry is very different from the treatment or an aa nlm or news
film, where the'time span is very short and one has to hit the point directly.

By its very nature, in a docementary there has to be an element of establishment of t h e

subject-results of subject research should be elaborate and logical. Also, enough time
should be given to the development of the subject so that the theme of the documentary
sinks into public mind. The stress, therefore, in a documentary is on the subject
research. Say for example, let us consider the same theme i.e., "Literacy among women
folk in rural area", as the subject of a public purpose ad film. On a theme like literacy
of rural women the subject research will include detailed figures of literates in the
country and the number of women literates in a given society. To make the data
interesting the imaginative producer should think in terms of graphic illustrations of
basic data of literacy in women and then place these in a given reference point. This may
be a village in a particular district in India. The documentary should try to provide a
profile of the tribe or caste or language profile of the village in which the documentary
will be shot. The research part of the documentary should provide clues to the
scriptwriter to produce a shooting script. The breaking down script should provide shot
details and the rest will follow as in case of ad.film or news film.
The technique of writing for a documentary is also quite different from the other two
categories. For documentary scripts words should follow visuals, but shouldbe written
in a narrative form. Whereas, in an a d film or in a news film economy of words is
absolutely necessary.
In a documentay narratioa a little more information needs to be given keeping in mind
the interest of me viewers. In modem documentaries the anchor person and his
personality are exploited ta drive homd a given message and it is the anchor penon who
signs off the documentary. But so far as technique of production is concerned there is
hardly any diffurence in terms of the drill involved in film making, ad film and newsfilm
making.
The technique of documenilary writing is different from other two categories. The span
of dciumentary is more elaborate. The narrations should include investigative data by
which the logic behind the theme is established before the viewer. In the end, the
vieker should be,in a position to feel the emergence of a message or should feel enriched
with some information which is audio-visually communicated to him. If the theme of a
given documentary is on the New Market of Calcutta after it was destroyed by a
devastating fire, the script+riter should concentrate on the history of the area. He
should try to visually record old Calcutta by filming still pictures and paintings of the
old city as available in variops museums and, from there on, should talk about the origin
and growth of the city, the trade which flourished at the Port-city 300 years ago, the
birth of capitalism and whdlesale-cum-retail trade in early years of British India and
then the expansion of the Mew Market when Calcutta was declared as the capital city
during British Raj. From thereon, the situation of the market just before the fire could
be narrated by means of oldlFilms Division's footage and then the re-built New Market
could be shown with the pnchor person rounding off the narration with an appropriate
commentary hinting upon the future of trade in Calcutta.

Steps in documentary writigg

1) After the selection of thleme, the message should be churned by the
producer-director in his mind and research should be initiated on the theme. Here
the story is regarding the burning out of the old New Market building in Calcutta.
Hence the first step would be to conduct research about the area, the economics, -
politics and sociology of Hogg Market, as it was known in the 19th century.
2) The next step would be the making of the film treatment, the fine of the story, the
imaginative way of narrating a theme culminating in the shooting script.
3) After having arrived at the shooting script which will give an idea of visualisation it
will have to be made into a break down script which will narrate:
Shot No. Summary pf Action Costume Notes Props Cast
Col1 Col2 Col3 Col4 Col5
4) The next step will follotk technical planning which will include (i) Cost of location
shootings (ii) Studio mc@rding(iii) Graphic treatment (iv) Sound effect (v) Visual
effect (vi) Editing (vii) *t overheads (viii) Other expenses.
5) Planning stage of d d e n t a r y will be incomplete without a total pensketch of its
production, cost-time friune, shooting schedule and editing schedules worked out.
 Once that is done the producer will feel the impact of preconceived visualisation of
the theme.
6) Then will come the detailed scenario, dialogues, narrations and involvement of
shooting personnel and the actors and handling of documentary shooting of library
material. In the given situation the pensketch and subsequent scenario will narrate
the entire sequence of shooting and the role of the anchor person -his acting
schedules and visualisation of his presentation of the theme.
Therefore, from the aforesaid it will be evident that the basic grammar of film making
being the same, news film, ad film and documentaries vastly differ in treatment and
fulfil different roles as per viewer's expectations.

Exercise 1
Prepare a tentative shot list for a documentary on dance. Keep narration to minimum.

(Check with aids to answers 3.14)

3.3 SCRIPT WRITING FOR PUBLIC PURPOSE
AD FILM
Let us suppose the theme of the ad film is on adult literacy. There has to be a story-line
in the script preceding the s+reenplay which may be like this:
I

An illiterate village belle in Her teens is working in the in-laws household in avillage. It
is a typical Indian village with ponds, trees, kutcha roads, cattle, lights and shades, The
girl is without her husband Who is working in the Army. She has her old in-laws who
also do not know how to read and write. Her brother-in-law is too senior to her to have
that kind of proximity as to help her in reading the letter of her husband. Now a letter
of her husband arrives fromthe post office. The postman comes to deliver the letter.
She requests him to read it b r her, which the busy postman refuses. There could be
three turns of events from this point.
i) The postman might agrek to read the letter in which some intimate lines written by
the husband would not n'emain private since it would be read by the postman and
she will blush.
ii) Another turn of event cbuld be that she remains ignorant of the letter containing
the message that the hu$band would not be able to come back since his leave has
been refused. This is beqause she is illiterate and is not able to either read or share
it with anybody else. Shk runs around keeping the letter close to her chest.
iii) The third possibility cojld be, instead of a lettershe gets a money order and she is
cheated by the postman,
Since this is a public purpose ad film, the client is supposed to be DAVP or may be
some autonomous body affiliated to the Ministry of Education. Let us suppose that the
client has chosen the third alternative.
I

3.4 SHOOTING SCRIPT

Once the story-line is approted, a shooting script is written. When the theme and the
treatment have been agreed upon and approved, more detailed research into the
subject matter can proceed. Naturally, investigations will have been made already; but
now, all the information t h y the film is to present must be systematically gathered
together and checked for ackuracy. Wherever possible, locations should be visited,
contacts established with those persons the crew will have to work with and camera
angles planned.
If the film is to deal with a technical subject a considerable amount of effort may be
required to master the prindiples and techniques to be presented. No source of
information, however smallits contribution, should be neglected. In the case of
technical films, an expert od the subject can often be induced to write a description of
a process, or a summary of his field of work, and this can provide invaluable background
information. Books, rnagazihe articles, even sales leaflets, all help to build up that fund
of information that will be so useful when writing the shooting script -particularly
where a detailed commentaty is called for.
It may be that the budget do@ not allow all the locations to be visited -if some of them
are overseas, not only cost b ~also t time may preclude a preliminary reconnoitre-but
it is still possible to find out a great deal in advance through study and research. While
the resulting shooting script cannot be as watertight as the one where a detailed
examination of every locati~nhas enabled each camera set-up to be planned, we shall
see later that much can nevqrtheless be achieved.
The shooting script: Let us bnsider first, the case where a full and detailed shooting
script can be produced. ~ h binformation
t should it contain?
The ideal script should descfibe the visuals, shot by shot, and provide the following
information: I

The shot number

I
~
Whether exterior or ir$terior
The location
The time of day-whekher day or night, unless some more specific time is
important to the script, such as "Dawan" or "Twilight".
 The area to be seen by the camera,
described as
Long Shot (LS)*
Medium Long Shot (MLS)*
Medium Shot (MS)*
Medium Close Up (MCU)*
Close u p (CU)*
Big Close Up (BCU)*
If the camera angle is other than a normal eye-levelview, a further description must be
given such as upward angle, downward angle (sometimes called a Top shot) and any
camera movement called for within the shot, such as Pan left* Tilt upward*, zoom in*
etc.
*(These script terminologies are explained in 3.8)
All this sounds very complicated, but an example will show that it is, in fact, quite
straightforward.
f
First sequence: Exterior Pan Shot-A typical Indian village is shown where the village
belle is washing clothes at the well within the courtyard of her house. (Dissolve to
M.C.U.)
Second sequence: The postman comes on a cycle with a bunch of letters and money
orders. He knocks at the door, the girl comes and opens the door. The village belle is
extremely happy to see the Money Order and the letter written on it.
The postman wants to sit in the house. He is invited inside the house and given a stool
to sit. In-laws who do not come out but enquire from behind about the stranger. She
says that Money Order has come from her husband. (Zoom out the girl. C.U. to M.O.)
Third sequence : She is bringing water while the postman counts the money and gives
her just half of the amount. Postman's vile postures reflect his misdeed.
She is not very happy to get only Rs. 3001- and she offers sweets along with water to the
rr postman.
Fourth sequence : She counts the money and goes inside the house. Shows it to her
mother-in-law who also expresses disappointment. She wakes up the father-in-law.
Fifth sequence : (Interior) Inside the house father-in-lawasks the village belle to bring
his pair of spectacles. Father-in-law, whose eyes have gone bad, wears the glasses and
starts reading the letter on the money order with great difficulty. The letter is addressed
to the father-in-law who could not be called at the time of the delivery of the Money
Order since he was sleeping. Now that he has woken up, the village girl has given the
Money Order and the money to her father-in-law. The old man is shocked and abuses
the daughter-in-law.

?'
Sixth sequence : Mother-in-law tells her husband "Why don't you teach her alphabets?"
(Dissolve to exterior)
Background narration carrying the message of literacy.
C-

3.5 SHOOTING SCHEDULE

After the story-line is approved the scriptwriter should ask himself some questions.
Those questions are: I

i) What is the duration of the ad film and how many characters are there in the film?
) What is the profile of the audience for whom the film is being projected?
iii) What is the specific message of this ad film?
iv) How much money is the Advertiser prepared to pay to do the film?
v) What is the deadline for the completion of the project?
Accordingly shooting schedule and location are to be finalised.

I
Let us suppose that the duration is for ten to fifteen minutes and there shall be four
characters besidesthe narrator who will be off the screen. The audience profile may be
ordinary film goers and the film is meant both for exhibition halls (i.e. 35mm) and for
roadside screening by the Directorate of Field Publicity (LC.16mm). The specific
message of the Ad film is gpreading of awareness of literacy. Let us also presume that
the money given is suficiept for one location shooting for a day. On the finalisation of
these parameters the screepplay emerges.

3.6 TENTATIVESCREENPLAY
Since there are six sequencks, the first thing the scriptwriter should do is to divide the
duration among the sequerices which in this case would be on an average less than two
minutes per sequence. The normal speed of narration in documentarylnews writing is
two words per second. Therefore, for a one minute sequence, at the best 120 words
could bs written for videoll6mm film camera.

,
I
Shot- Durahon Visuals Audio-viwd Narrationldialogue
list
1

1) 2 Typical Appropti@csound. The time This is Village BARUIPUR, 30 bms. may h n Cllcutta.
minutes Indian is about &on. The camera pans Thoughlt isnear the city thelight of literacy hasnot reached
Village onto thc v/hge and it moms the village. The village PI, Bimla, is well edjuPted
into the p b d v household with the family into which she came just ayciuago.
. Thegateofthe Herbusband,Gopal,isinthe(~~y. Heisservingin the
"o~?
courtyard o p a n d t h c North-East. She is wistfully lookimg forwardto a
v i h g t d is dnwing water ammumcation from him.
from thedell and washing
hthes Theamerazooms
insidt the h o w , focuseson
%fatberiin-lawand mother-
in-law.
The fawin-law is dozing
and the Wher-in-law e
knitting.
2) 3 The postmancoma ona Appro- P o s m :"There is a money order for you."
minutes cyckwith abunchof le e n
and money He Lks
at the door, the girl comes and
priate
Au&o
Bimla: "Any letter?"
Postman: "Yes, be haswntten smctbiq,I will
read out for you but first you get me somewater."
opens the door. The vibge (The girl goes in& the house. Thc postmsn
bclk is extremely hrpp to see kaves hiscyck and startssomout thewmey
Lemmqorderdt ~ l e t a order)
written on d.
The postmh wants to sit in the Mother-in-law:"Who hascomeBi"?
h o w . He isinvitedins+le the Bimla:"Postman"
h o w and given a stool to sit. (Thepostmanis muting w t e s for Rs. W-and
In-lawsdo not come ou/but camera moms in on the money order form wbm
enquirefrom behind abbut the Rs.6001-is focussed. The &I briagstwo Iddu d
stranger. She sapthat M.0. a glassof water)
has come from her h u s b d .
Girl : "Have some sweets."
I
Postman :Thank you very much (Portmpa
starts tak~ngsweets)
3) 2 Focaon themoney order- Postman :"Here is yuumoney Rs.3801-from
minutes again the sum is shown. your husband."
G1rl:"300Rl.oaly~roeth?"
back to the mowy bt
munted by the postman 7
notsof Rs. 101- a\lrsiMting to
Postman:"WhatcanIdo?You~scethe
mouyorder"
k.300/-.
He rides on the bicydc P$d hl:" 1 ~ ' read".
t
goesoff. I
Postman:"?hankyou,9~ey0~l~~tmoatb."
4) 2 !%c counts the m y d d goes G~rl: Money order has come from your son.
minuter msde the house, s 8 a n h He hm sent Rs. 3W-. He isnotmmiqhone
the mother-in-lawwho+ thismonth.
. .
expressesd m p o m w n t . Father-in-law:"Let mewe what be bs wntkn."
She wakaup her frtatrjin-law.
5) 3 Father-in-law&for splrcs, Father-in-law: "My eyaarefmliaS, k t m e d
minutes wean them smdstarts ( P a w ) How much numey bll be sent, k.60(Y-?
the *(Yr.HI is insiky
m.
I
Bimla : Rs. W-only.
Mother-in-law: "Why? How much did l#
I
send?
 F.I.L.: Rs.6001-When youc~a'treadwhyaai
you wake me up?"
Bimla:"How could 1 know that the paatman
wouldcheat me?"
F.I.L.: "Yourparcntsdidnot teach you t o r d
even numericals?"
M.I.L. :"Don't abuse her. Why don't you
help her to kam?"
Background narration: Lemyour alphabets
to realise your rights.

3.7 CHECKING THE SCRIPT

After the script is made there will always be a conference between the producer, the
client and the scriptwriter in which these five questions are to be answered one by one:
a) Does the presentation appeal to the proper audience and achieve its intended
objectives?
b) Is it informative?
c) Does the photo story move smoothly with irrelevant elements eliminated?
d) Does it hold the attention of the audience?
e) What about the technical qualities like filming, acting talents, music, location,
scene effects and editing?
Once these questions are answered the entire team should be in a position to readjust
the different elements of production and a final shooting script will emerge which could
. go as screenplay. But before we finally ikorporate cameraman's details, let us
familiarise ourselves with a typical example of cameraman's terminologies.

3.8 SCRIPT TERMINOLOGY

Script terminology varies slightly with individual scriptwriters, but it may be helpful at
this stage to summarise the most common terms used, and define them.

PICTURE
Exterior : Any scene shot in the open air.
Interior : Any scene shot indoors, usually with the aid of artificial lighting but not
necessarily so. It may be useful, as an aid to subsequent planning, to add in the script
an indication as to whether artificial light will be required or not. In feature film
production, INTERIOR would usually indicated a studio scene shot on a set with, of
course, lights.
Long shot : A full general view of the subject.
Medium shot : Part of the scene photographed from nearer than a long shot. MEDIUM
SHOT (halfway between a long shot and medium shot) MEDIUM CLOSE UP
(half-way between a medium shot and a close up).
Close Up : A close view of an object or some detail in a scene. In the case of human
subjects, the head only.
Big Close Up : A very close shot taking in a very small area. In the &se of human
subjects part of a head or face only, e.g. the eyes or the mouth.
TWO SHOT, referring to a shot just framing two persons-probably h a d and shoulders
only - is a useful and concise description. CLOSE SHOT - Some writers prefer
CLOSE SHOT (C.S.) to CLOSE UP, but such variations are purely personal and are
easily understood.

CAMERA INSTRUCTIONS
PAN : An abbreviation of the word "Panorama" meaning to rotate the camera
horizontally.
TILT : A movement of the camera in the vertical plane, the direction usually being
indicated : TILT UP OR TILT DOWN.
TRACK (OR DOLLY) : To move the camera forward, sideways or backwards, using
a "dolly"- a camera support on wheels. Sometimes the term is changed to TRUCK,
i.e. TRUCK IN OR TRUCK OUT.
ZOOM : To operate a zootn lens on the camera to bring the subject optically nearer or
farther. Thus ZOOM IN or ZOOM OUT, sometimes amplified still further to ZOOM
FROM MEDIUM SHOT T O CLOSE UP.

SHOT-LINKING INSTRUCTIONS
DISSOLVE (OR MIX): The merging of one scene into the next.
FADE: The gradual darkaning of a scene until the screen becomes black (FADE OUT)
or the transition from a bleck screen to a normal picture (FADE IN).
WIPE: Aline moving across the screen "wiping" off one scene and revealing the next.
In practice the line can be straight or any shape, vertical, horizontal or at any angle in
between.
These effects are all knowd as "opticals" because they are often inserted at the printing
stage by means of what is known as an "optical printer"-although now-a-days many
such effects can be introduced in ordinary printing. But these are technicalities that will
be gone into more fully later.
Dissolves are most often used to bridge time or change of scene from one place to
another, when a quick, smooth transition is required. Fades, although they are also
used to carry us to another time or place, separate two scenes much more decisively.
They must, therefore, be Used more sparingly.
b
Wipes provide a quick, slicklink, but they are rather a "gimmick"and can soon become
irritating if they are used frequently.

Exercise 2
What is a pan?
(Check with aids to answers 3.14.)

Exercise 3
What is tilting of a cameraand what does it achieve?

SOUND INSTRUCTIONS
In the case of the sound track, the terminology is less complicated. In addition to the
commentary and dialogue, the only instructions usually relate to the handling of music
and effects. The following Ferms are commonly used:
SYNCHRONOUS SOUMD (or SYNC SOUND): indicating that the sound is to be
recorded at the time of shdoting.
WILD SOUND (or WILD TRACK), indicating that the sounds, usually effects or
background noises, are to be recorded non-synchronously -that is, not at the same
time as the shots were taken, or not with a sound system linked to the camera.
MUSIC, MUSIC T O BACKGROUND LEVEL are self-explanatory.
MUSIC OUT or MUSIC IN are the same as FADE-OUT MUSIC and FADE-IN
MUSIC.
I What is the difference between a shooting script and a final screenplay?
(Check with aids to answers 3.14.)

I Exercise 5
Write short notes on long shot, close up, big close up.

It will already be clear that the preparation of a detailed watertight script is no small
undertaking. If the film is a commercial one, or has beencommissioned by a client, the
script will represent a sizeable item in the budget, and the amount of work involved in
its preparation must not be underestimated.
It is also obvious that the scriptwriter must have a sound knowledge of the principles of
film production. He must understand rules of camera movement, the proper length of
shots, the variety of angles and camera viewpoints required by the film editor, and
when to use "opticals"-dissolves, fades and wipes. He must be able to suggest how
the various ingredients of the sound track -dialogue, commentary, music and effects
-can be blended together to s u p p ~ randt reinforce the visuals.
Script writing is not merely telling a story or presenting a subject in a filmic form. It is
the making of a plan of action whereby a team, consisting of a director-and his
technicians, can bring their subject effectively to the screen. The breakdown of the
subject into separate shots and the selection of camera angles are not, in documentary
*work,a matter merely for the assistance of the particular scriptwriter. In the production
of fiction films everything will normally be under his complete control. The approach
rhat the scriptwriter considers to be most effective from an artistic point of view can be
imnceived. The art director can no doubt so design his set that, however unusual the
requirement, that particular camera angle can be made possible.

The documentaries, on the other hand, are usually dealing with reality. What the
scriptwriter is intending to film probably already exists and cannot be altered merely to
suit his purpose. That is why the preliminary research before the script is written must
be much more than a survey of the subject-matter. It must also be an examination of
the locations with the practical object of deciding the best camera positions that are
physically possible. It is useless to suggest a downward angle for a shot of a large
machine tool if the problems of getting the camera into the elevated position visualized
are going to dislocate the factory.
It is important that the camera angles described in the script area are well thought out
and practicable. When the crew arrive to shoot the scenes their work will proceed
imoothly only if the camera set-ups suggested are feasible without a great deal of
rearrangemeht. For, if one of the suggested set-ups turns out not to be possible,
~liscussionsare necessary, alternatives must be compared one against the other, and a
;;reat deal of time is wasted. And there is always the danger that a changed camera
position for one shot will upset the proper transition of that shot to the subsequent one.
Hasty adjustnients of the camera viewpoints if called for in the script, may result in
pictures that the film editor later finds difficulty in assembling smoothly.
 3.10 SCRIPTING THE UNPREDICTABLE
So far we have consideredthe case where it is possible to prepare a detailed script of the
whole film. In documentaty work, by no means do all subjects lend themselves to being
fully scripted in advance. It is obvious that films containing sequences to be shot
newsreel fashion -such Bs film of a motor race, for instance4annot be planned in
very great detail, Films that observe life, using "candid camera" techniques to film life
as it happens, must remain only loosely planned, at least as regards the sequences
where the subject is not under the director's control. But it is always vitally important
to prepare as detailed a script as the subject-matter permits - and in many cases more
can be planned and presepted on paper than might be imagined.
The best approach to the problem is to divide the scenes under two headlines, those
which are under your conaol and those which are not. The former can be scripted, the
latter cannot. The script &il then take the form of a framework, with the predictable
items acting as the pegs upon which to hang the remainder. The unpredictable portions
can then be inserted in plain language, in a style similar to that employed in writing the
. treatment.
The unpredictability factor is uppermost in a news gathering situation. This is
particularly when a politidal story is developing-at every moment a new twist and turn
of a given event. Say, forexample, when the news camera crew was waiting in front of
the house of former Primp Minister Chandra Shekhar where Ram Jethmalani was to
begin his fast-nobody a u l d predict that Mr. Jethmalani would be so badly bashed up
by some hoodlums. Similarly while gathering the shots of earthquakes of disasters like
floods and famines, one sjmply cannot predict what is going to happen at the seene of
the event. However, in r ~ u t i n enews coverage one could always expect certain things
to follow. Say for examplq, on a coverage like that of pre-election campaign by political
parties one could elrpect news films giving details of the constituency, highlights of the
major contestants, percedtage of voting in the previous elections etc. (Two samples of
the film script are given ib sections 3.11 and 3.12).

3.11 NEWS FILM SCRIPT : ELECTION NEWS

Now, let us look at a news film script of Election News.

Shot- Visuals ' Duration Nwration

list

I
1) General shots of Haryana 45 ' Haryana and Western Uttar Pradesh have more thanone thing
iwluding green fields, seconds in common. Besides being geographically and ethnically
fast movingvehicles, continuous, both have given the lead in the agricultural
trucks, tempos, bedecked breakthrough in the country, converting arid zones into a
wlth flowers, costumes, green belt. Rohtak constituency, from where the Dy. Prime
slogans, old men and Minister will defend his seat, has straightaway gone into
women moving on 1 high-pitch campaigning. Public meetings, posters, banners,
tractors etc. cut-outs, slogans and limericks over the public address system
I speak of the Election fever.
I

2) Mapwith barssuper- I 90 This time 26candidates are in fray including Bhupinder Singh
imposed on general shot1 seconds of Cong. (I), Raj Kumar of BJP, Inder Singh of Haryana
of public meetings-some! Vikas Party besides the defendingcandidates Devilal of
synchronisingwith the , Samajwadi Janata Party. Following the electoral adjustments
candidates as spoken in (he State it becomesevident that there are four major
by the narrator combines in the fray: namely Janata Dal, Haryana Vikash
Party of Sri ~ a n s i l a lthe
; BJP; theCong. (I) andSJD. Eachone
of the combinations is optimistic of drawing advantages over
the dther. Last time the Dy. Prime Minister had defeated his
nearest Cong. (I) rival, Hardwari La1by a margin of 1,89,005
votes. He had polled 64 per cent votes. The electoral history
of the constituency reveals that since 1%7 it has given its
verdict t o BJS in 1971, BLD in 1977, JP(S) in 1980. JD won in
1989with J D 64% barring 1984 when rhe nation
overwhelmingly voted for Cong. (I).
3) Introduction t o the 5 Considering thelaw and order situation in the neighbouring
interv~ewswith seconds state of Punjab the Govt., in consultation with the Centre, has
DMIADM or been coflstantly assessing the situation andapplying
SPIAddl. SP correctives. Due care has been taken toguard the polling
booths.
4) Interviewson Synch. 45 (Holdsound up)
seconds

3.12 NEWS FILM SCRIPT : FESTIVAL OF INDIA IN

FRANCE
This is a news script on the inauguration of the Festival of India in France:

Shot- Visuals Duration Narration

list

1) General shots of Eiffel 60 The Festival of India in France was launched in Parish short-
Tower and the vicinityof seconds while ago. Against the backdrop of h i s t o r i c T m d e r o which is
Trocadero overlooking resdendent with victow arches. festoons. cultural stalls. both
the river Seine. The Mela ~ r d n c hpresident ~ i t t e i a n and
d Indian Prime Minister Rajiv
ground on the Trocadero Gandhi witnessed the floating of the symbolicoil lamp boats
t o be shown with a long carrying the water of Ganga floating on the river Seine.
shot pan from left to right Thisis the second festival of its kind in E u r o w where Indian
and then zooming into the Culture with all its earthy fragrance is transplantedontooneof
lighted oil lamps floating the main thoroughfares of this historic International City.
on the river carrying Ganga
waterwithcamels and
elephants caprisoned
carrying over 100 artists
in the background.
2) Viewsof EiffelTower 60 While oil lamps floated on the Seine both the leadersshook
tiltingup to the storey, seconds hands, keenly attentive to the atmosphereof sounds and voices
where both the French intersoersed with criesof birds and murmur of Indian and
President and the Indian French crowds, fragrance from burning incense. with tights
Prime Minister are illuminating the flags of India and France transforming the
seen witnessing the nerve centre of France into a miniature India. Itwas avision of
launching of the festival. a typical Indian Mela transplantedon theTrocadero.
The camera also shows the
Mela atmosphere.

3) The pan shot of the With this, the year long festival of India in France has begun.
entire Mela.

Exercise 6
Write the narration for a news film sequence of your choice. Give only brief dekriptions
of visuals.
 '
wrltiag for n - n (Check with aids to answers3.14.)

3.13 COMMENT :
However, in documentary fipms the opening and the ending are the most difficult parts
to write. If a films tells a stary, the story itself - if it is a good one has a readymade
beginning and end. But a dokumentary film is very often a slice of life, and life flows on
in a continuous stream. s o h e moment must be selected, arbitrarily, as the beginning.
and another moment as the end. A good opening sequence is full of anticipation; it
captures the interest at the putset and gives promise of interest to follow. The
conclusion is equally impofiant, and should have an air of finality and completeness.
Even if the bulk of a film i~~unpredictable and cannot be scripted in detail in advance,
at least try very hard to scriflt the beginning and the end. Beginnings and endings don't
happen naturally; they have to be contrived.

3.14 AIDS TO ANSWERS

Exercise 1
Study 3.6.
Write your final draft in thk format given for the documentary on Literacy.

Exercise 2 I

PAN-PANNING:Abbrediation of Panowma. To rotate the camera, while taking a

shot, about its vertical axiq.
I

Exercise 3
TILT-To move the camkraup or down about its horizontal axis during the taking of
a shot. I

Exercise 4
Study 3.4 and 3.6 and dedelop your own answer.

Exercise 5 I

LONG SHOT - Shot taken with the camera at a considerable distance from the
subject. A shot including the wholescene, or, in the case of a human subject, including
the whole figure.
Close-up- Shot taken close to a subject and revealing detail. In the case of a human
subject, a shot of the face only, the head only etc.
-
BIG CLOSE UP Shot taken very close to a subject, closer than would be necessary
for a CLOSE UP.In thelcase of a human face, part of a face only.

Exercise 6
Follow the model givenlor 3.12.
You can take a newspaper item and develop it into a newscript.