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Restricted Humanity Excav ati n g th e m ed i a i m age of th e ‘ Troubles’ in t he con tex t of a tran s i ti on tow ard s a U n i ted I reland.

Thomas Reeves Thesis Document Stage 6 2019-2020

Organisation Note

This document incorporates a number of animations and video clips, however due to Blackboard upload restrictions and Adobe Flash problems these videos could not be embedded. Therefore for optimum viewing I have provided a link to Adobe Online where this document and all its media are hosted for stress-free viewing:

Scene 0

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https://indd.adobe.com/view/5adc75ed-b103-4112-8878c903ad78b69f

This denotes a video or animation on this page

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Page Number

Scene 1 A Society of Spectacle Scene 2 Transformative Power of the Image Scene 3 The Power of an Image - Site for Excavation Scene 4 Autonomous control within an illusion of

‘transparency’ Scene 5 Translation of drawing to building Scene 6 A transitional machinery Scene 7 A transitional architecture Scene 8 Six O Clock News

00:00:02

Thesis Project

Restricted Humanity Abstract

Northern Ireland is, today, the frontier of the United Kingdom.

The media coverage up to Brexit seldom referred to the borderland of N.I. Since ‘Brexit-day’, however the border has dominated news cycles of the main media outlets as the impact of a border dawned on politicians of all sides.

Crossing the border today feels miraculously seamless Brexit threatens this by re-rupturing division revealing a scarred landscape with traces of a violent past. Uncertainty as to what the future holds, anger at a closed Stormont and increasing disharmony with Westminster grows and, so, support continues to be rallied across the island, north and south, for Sinn Féin. A United-Ireland now feels to many a likely future.

The powerlessness and frustration people are feeling today parallel the feelings at the start of the ‘Troubles’. In 1968, the people of Derry-Londonderry, inspired by the US movement, organised a civil rights march to protest the unjust voting system used by government to ensure protestant control over a Catholic population. The march was met with brutal force by the Royal Ulster Constabulary, the BBC caught it all on film and its broadcast led to global condemnation. This is viewed as the first day of the ‘Troubles’.

Since the birth of broadcasting, the ‘power of the image’ has been employed to feed our “society of spectacle” 1 thereby reducing our reality to commoditised fragments 2, propagating division, narrating a marginalised ‘truth’, and numbing our capacity to react when horrific images are reduced to nightly banality by the TV news. 3 This project frames the complicated history of the media image in NI by looking forward to one outcome - a United Ireland - and hypothesises the resulting impact to media corporations in a transitional country.

Guy Debord, The Society of the Spectacle, trans. Ken Knabb (Berkeley, CA: Bureau of Public Secrets, U.S., 2014).

2 Ibid.

Susan Sontag, Regarding the Pain of Others (New York, N.Y: Picador, 2003), 8 1

3

00:00:03

A United Ireland, poses the question, what happens to the BBC in Northern Ireland. This thesis proposes instead of control transferring to RTÉ (the republic’s public broadcaster) a new organisation be formed - a collaboration of BBC and RTÉ and a new centre founded. Like all things in transition there will be a time period of flux where both organisations work alongside one another but remain independent. The proposal will facilitate this transition.

Media organisations have played a strong role in propagating violence, spreading propaganda and shielding control. For a new United Media Centre to be sited on Duke Street in Derry, the location of the 1968 civil rights march, the architecture must be born out of the potent subconscious memory.

Interface is what Peter Wilson states architecture and media have in common - one with virtual depth and the other material depth. 4 The building will converge these thoughts - a ribbon shaped screen will spread along the route of the original march on Duke Street. Determined by analysis of the past the building will project this history amongst its occupants and to the city.

From a distance over the water the buildings skin will appear ambiguous: obscuring parts of Derry ahead, reflecting parts of Derry behind, its true size and internal workings will be mostly unknown - like our understanding of these corporations.

Human interaction along this skin - as commuters leave the station and follow the same route as their relatives did down Duke Street for example - will, however, cause a glimpse into the ‘truth’ of the building. The image of corporate busyness and the grand scale will be uncloaked and the mechanic workings exposed - this is as transparent as the media has ever been.

4

00:00:04

Peter Wilson, ‘Mass in the Age of Media’, Oz 19, no. 1 (1 January 1997),

Scene 1

Initial Enquiry The Troubles Archive

This project began with an interest in the representation of the Troubles through image.

The medium (left) is a video of a model produced by artist Philip Napier in the 1990s and shows an abstracted face of Bobby Sands.

The latter was an IRA-member and prisoner at the infamous Maze prison where he died in 1981. His face then became deified via Belfast’s the mural culture and also depictions such as Richard Hamilton’s ‘The Citizen’. Napier’s piece itself is made from nails which move in and out as a accordion groans: this symbolises the people’s suffering during the Troubles, but is also a criticism of an expectation that artists produce propoganda in this context.

00:00:05

Scene 1

“People have this idea and what they want is work that will illustrate this idea [...] so it is possible that you can make work that is a Troubles Ticket.�

Philip Napier, Artist, Belfast

00:00:06

Scene 1

‘Society of Spectacle’ Spectacle of Terrorism

Debord considered our society dominated by “an immense accumulation of spectacles”5, images that fragment our reality, the spectacle is a process that bends our perceptions to its purpose: television for Debord was a pinnacle of the commoditisation of reality (social media being another).

Confronting the spectacle is an unachievable task – it greases the cogs of our society - but being aware of its existence may mitigate its impact.

The video (left) documents Philip Napier’s thoughts on art in the ‘Troubles’, spectacle and restricted communication. This interview formed part of a 1993 series titled “The Trouble with Art”

“[The spectacle] is nothing more than an image of happy harmony surrounded by desolation and horror, at the tranquil centre of misery.”

Guy Debord

00:00:07

Scene 2

Transformative Function of the Image Anti-Terror TV Adverts Study 1988-1997

In 1988 the Northern Ireland Office undertook a radical advertising campaign to promote the ‘Confidential Telephone’.

The adverts were aimed at husbands, wives, fathers, mothers and employed the theory of ‘cognitive dissonance’ to create conflict within a person between their ‘‘love’ for paramilitary and their other love in their life, their family’, the one ultimately leading to the destruction of the other. It was intended to moderate and transform attitudes and behaviours, but as the following scene I have set up will show, the impact of these images for children in particular was brutal.

00:00:08

Transformative Function of the Image Anti-Terror TV Adverts Study Northern Ireland Office 1988-1997

Scene 2

‘A FUTURE’ - JANUARY 1988

00:00:09

Scene 2

Anti-Terror TV Adverts Study 1988-1997

January 1988

‘A Future’

00:00

All my life people have hated the police and army.

July 1993

‘Lady’

July 1993

00:00

‘I Wanna be like you Dad’

Song: Lady, Lady, Lady 00:05

I was reared in streets filled with

Joe Esposito

their guns, so I’ve always looked

00:02

Thoughts can come undone

00:09

Dancing behind masks

the other way when the lads were having a go.

00:09

“Who cares?” I thought. And when something really rough happened,

“Thoughts can come undone” - Focuses on women behind the men involved in the troubles.

Alerting them to the fact their lives are being

00:18

But where’s it got me? What have

But images reveal

risked by their husbands/boyfriends

I’d just train harder to forget it.

Anything for a quiet life, see.

Just sort of pantomime

“Dancing behind masks” reflecting the

00:14

This advert depicts a story of an paramilitary volunteer and his family. It shows how the child grows up looking up to his dad and ends up joining a paramilitary himself before being killed leaving the dad to reflect how his decisions killed his son.

00:00

My child arrived just the other day

Violent Imagery of a murder

00:04

He came to the world in the usual way 01:16 But there were planes to catch, and

I called him up just the other day

bills to pay

I said, I’d like to see you if you don’t These scenes show how the child has

00:12

He learned to walk while I was away

00:15

And he was talking ‘fore I knew it,

00:24

They’ve left me with no job, and no hope.

00:27

They’ve wrecked where I live, they’ve hijacked our cars, fed off

Shock Effect

And when I saw their kind of justice, I thought, there’s got to be

Showing a Knee Capping

something better than this.

The perilous risks of the realities of living and fighting in the Troubles is reflected in the Imagery of the rickety Holywood pier shown here.

Promoting the confidential telephone.

00:38

00:43 Aimed at reminding those who may know information to inform as a way of protecting their family

Subliminal messaging - Eniskillen bombing (which took place a few months earlier) shown on the TV set on the advert

00:28

Don’t walk this lonely avenue

Reminding wifes, girlfriends, mothers that prison will mean they will be alone.

Lady, lady, lady, lady

your family life as your kids

involved with the IRA can affect grow up.

You want me to

“You know I’m gonna be like you”

00:26

And the cat’s in the cradle and the

00:30

You see I want a decent future, and thats not going t happen while these heroes are screwing it

Reinforcing that all actions have local effects.

Don’tsufferit.Changeit.

Calltheconfidentialtelephonefreephone

up for everybody.

But it’s sure nice talking to you, dad

Little boy blue and the man in the

Shock Effect

He’d grown up just like me

moon

Funeral of the child

My boy was just like me

“When you coming home, dad?” “I 01:55

My son turned ten just the other day come on let’s play Can you teach me to throw, I said, I got a lot to do, he said, that’s okay And he walked away, but his smile never dimmed

Don’t suffer it. Change it.

01:59

Little boy blue and the man in the

02:00

Call the confidential telephone

02:01

“When you coming home, son?” “I don’t know when”

not today 00:52

01:58

moon

He said, thanks for the ball, dad,

Violent Imagery of a murder

And the cat’s in the cradle and the silver spoon

You know we’ll have a good time then 00:43

And as I hung up the phone, it occurred to me

But we’ll get together then

00:49 00:47

01:44

don’t know when”

One married to the prisoner of violence.

Don’t walk this lonely avenue 00:52

desperately wanting it to stop.

01:34

silver spoon

Lady, lady, lady, lady

what I know.

the kids have the flu

He’d say “I’m gonna be like you, dad”

00:22

00:33

One married to the victim of violence.

telephone number and told them

You see, my new job’s a hassle, and

It’s been sure nice talking to you

Let me touch that part of you 00:39 tragedies,

Both scared, both suffering, both Lady, lady, lady, lady 00:57

I phoned that confidential

00:18

These scenes show how being

00:44

01:31

and as he grew

Two women, two traditions, two

00:45

So I made up my mind. I want the hoods off my back.

Lady, lady, lady, lady

00:34

our backs.

00:32

00:23

He said, I’d love to, dad, if I could find the time

these hard men done for me?

Catholic or Protestant.

mind

transformed into his father

Aimed at the working class. But not necessarily

Well I’ve long since retired and my son’s moved away

00:08

Whatever lonely hearts can hide

cowardice of some of these actions

It said, I’m gonna be like him, yeah You know I’m gonna be like him

The advert does not hold back, is explicit with its representation of the violence and has been described as ‘realistic’.

With the secretary of state announcing that the adverts “are intended to demonstrate the reality of terrorism, they are shocking but this is the price to pay”

00:59

Realisation

02:05

The father realises his actions influenced his son

02:07

But we’ll get together then, dad Freephone 0800 666999

and eventually killed him.

02:14

Anything you know can help.

02:17

We’re gonna have a good time then

0800666999.Anythingyouknowcanhelp.

00:00:10

Scene 2

Anti-Terror TV Adverts Study 1988-1997

“[R]eporters seeking an overview were […] in danger of becoming little more than a series of “Jayson Blairs,” constructing colorful accounts of scenes they had never witnessed. […] [The reports] were themselves part of the war. The “media was weaponized”and the imagery was “a force-multiplier.”

Campbell, Representing Contemporary War

“[Media events] have a transformative function inasmuch as they illustrate or enact possible solutions to social problems, sometimes engendering yet further events which actually ‘change the world’.”

Dayan and Katz, Media Events

SIX ADVERTS SHOWN AT 5X SPEED 1988 ‘A Future’ // 1993 ‘Lady’ // 1993 ‘I wanna be like you dad’ // 1994 ‘Time to rebuild’ // 1995 ‘Boys’ // 1997 ‘Timebomb’ 00:00:11

Scene 3

The Power of the image A site for excavation: 1968 Derry-Londonderry Civil Rights March

The 1968 Civil Rights march was intended to travel from the Waterside Train station, south of the River Foyle, over the Craigavon Bridge and up to the Diamond within historic centre of Derry.

The RUC, however, formed a blockade to prevent this and, as protesters approached, many officers turned violent and brutally attacking protesters with some sustaining repeated blows.

00:00:12

Scene 3

Waterside Ward Mostly Protestant (4 Unionist Seats)

The march was captured on film by the BBC and broadcast worldwide that night: international response was huge, generating outrage at the actions of the RUC, and, more generally, the British in Northern Ireland. At that moment, this became a media event and was later noted as the first day of the ‘Troubles’.

North Ward Catholic & Protestant (8 Unionist Seats)

South Ward Mostly Catholic (8 Nationalist Seats)

My process has involved analysing the BBC footage frame by frame, selecting one police officer and one demonstrator per scene and tracking their interactions, which led to the adpotion of a dance notation language to translate these actions first to a written form with the intention of translating into a built form.

The Diamond

Waterside Train Station

Derry-Londonderry Belfast

14,429 Catholics

(8 Nationalist Seats)

8,781 Protestants (12 Unionist Seats)

00:00:13

Scene 3

The Day the Troubles began Derry-Londonderry Civil Rights March 1968 Site for Excavation

RUC Blockade

March became violent

March Began

Waterside Railway Station

00:00:14

Scene 3 h s

Scene 3

w k f

Scene 5

Scene 6 h

Translating actions into a notational language s

w k

f Scene 2 h s w k f

h Repeat

s Scene 3 h

s w w

kk

Scene 5

f

Scene 8

f Scene 5

Falling

Scene 7 h Scene 5 h s w k f

s Scene 6

When Police Strike

Bloke breaks free 1

w h s

kw

Scene 6

k

f f

Scene

h s

hw k

sf w Scene 6 - POLICE

Bloke breaks free 1

Twists a lot to 90

kh s

fw

Scene 9

k f

Scene Begins to fall to rhs

Prep for another strike

h

h s

sw k f w

k Scene 7 h

fs

w k f

Scene

h Scene 7 - POLICE A

Falling

s w k f Positions relative to the body

Scene 7

In front

Level

Directional Signs Behind

Linear

For bent knees and elbows

Rotation

Camera Movement

Positions relative to the

Bars h

Head

s

Shoulder

w

Waist

Knee k Directional Signs f

In front

Level

Behind

For bent knees and elbows

00:00:15

Linear

Floor

Rotation

Camera Movement

Bars h

Head

s

Shoulder

w

Waist

k

Knee

f

Floor

wk k Scene 2 k fh f s f w

Scene 3

k

Repeat

f

hScene 3

Repeat

Scene 3 Scene 5 h sh

s

s w w

kk

wf

f

k

Notational language in detail

Scene 5

f

Falling

Scene 7 h Scene 5 h s w k f

s

Scene Scene 6 5

When Police Strike

Bloke breaks free 1

w Scene 6 h

Bloke breaks free 1

s

h kw s

When Police Strike

k

f f

w h

k

Scene

s

hw

f sk f w

Scene 6 - POLICE Scene 6

Bloke breaks free 1

Bloke breaks free 1

k

h fw h k s f s w Scene Begins to fall to rhs wh k hs k sw f k f f w

When Police Strike

Twists a lot to 90

h s

Prep for another strike

k Scene 7 h

fs

Scene 6 - POLICE h w h k s f Scene s w hScene 7 - POLICE A ws k k w f f k f Positions relative to the body Behind In front Scene 6 -Level POLICE Begins to fall to rhs

h h s s w w k

Twists a lot to 90

Bloke breaks free 1

Twists a lot to 90

Falling

Directional Signs Linear

Bars

Rotation

Camera Movement bent knees and elbows h ForPositions relative to the h s Level Behind In front s w w k For bent knees and elbows k f f

Begins to fall to rhs Scene 7

Bloke breaks free 1

h

Head

s

Shoulder

Prep for another w strike Waist

Knee k Directional Signs f

Linear

Floor

Rotation

Camera Movement

Bars h

Head

s

Shoulder

w

Waist

k

Knee

f

Floor

Prep for another strike

00:00:16

Scene 3

Translation from language to drawing

Scene 6

Scene 7

RUC Officer Depicted in Red

Demonstrator Depicted in Clear

00:00:17

Scene 3

Erasure Duke Street 1960-2020

Duke Street looking North

Duke Street looking South 00:00:18

Scene 3

Duke Street is a site which contains an embedded memory of a search for peace, democracy and humanity but is also engrained with scars of a violent past. It was once like any high street in the UK but repeated violence during the Troubles led to a series of ‘redevelopment’ schemes including a dual-carriageway.

The old shops, factories, warehouses and homes were raised to the ground, erased from history without so much as a nod to their existence and replaced with alien out of context office and apartment blocks. Deliberate sanitisation of uncomfortable history or a more extreme form of what was happening across the UK ? We shall never know for sure.

Duke Street looking North

Duke Street looking South

00:00:19

Shadow as transformative

Shadow acting as the medium to translate drawing back onto the site for excavation and onto form.

Scene 3

00:00:20

SECTIONAL VIEWS Depicting the 1968 civil rights march in Derry-Londonderry Scene 3

00:00:21

TRANSLATION Model to Drawing

Scene 3

00:00:22

ELEVATIONAL STUDY Depicting the 1968 civil rights march in Derry-Londonderry Scene 3

00:00:23

“To pass from darkness to light is not, then, to rediscover a meaning already there, it is to construct a meaning which has never existed as such” Kofman (1998)

ELEVATION View towards the River Foyle from Duke Street Scene 3

00:00:24

Scene 4

Autonomous control within an illusion of ‘transparency’ A study into news broadcasting

00:00:25

Scene 4

Tracking the broadcasts

Time

18:00:00 18:01:12 18:01:32 18:01:44 18:02:39 18:07:58 18:08:26 18:11:24 18:11:34

Piece

Duration Location

Headlines Sport Headlines BBC News at One Titles

00:01:12 London 00:00:20 Salford 00:00:12 Package

News Story (Newsreader Stood up in front of TV wall) 00:00:55 London Top Story Package News Story (Newsreader sat at desk) Story Package

00:05:19 Package 00:00:28 London 00:02:58 Package

News Story Intro Short Package with Live Voice Over

00:00:10 London 00:00:18 Package

Camera 1 - Outside Track (Standing)

18:13:49 18:15:59 18:16:15

Interview with Guest/Correspondant

00:01:38 London

News Story Intro

00:00:19 London

Story Package

00:02:10 Package

News Story Intro (Incl TV Screen) Story Package

00:00:16 London 00:01:51 Package

18:18:06

18:19:39 18:19:55 18:23:33 18:24:00 18:27:20 18:27:31 18:27:47 18:29:23 18:29:37 18:31:07

News Story Intro

00:01:33 London

News Story Intro

00:00:16 London

Story Package

00:03:38 Package

News Story (Newsreader Stood up in front of TV wall) 00:00:27 London News Story Package

00:03:20 Package

News Story Extra

00:00:11 London

News Story Intro (incl TV Screen)

00:00:16 London

News Story Package

00:01:36 Package

Handover to BBC Sport BBC Sport Headlines

00:00:14 London 00:01:30 Salford

Handback to BBC News and End Programme

00:00:20 London

18:31:39 18:31:44 18:32:01 18:32:11 18:32:17

BBC Newsline Titles

00:00:12 Package

Welcome (Newsreader Stood Up) Headlines

00:00:05 Belfast 00:00:17 Belfast

Sport Headlines

00:00:10 Belfast

Weather Headlines (Green screen) BBC Newsline Titles (Short)

00:00:06 Belfast 00:00:04 Package

News Story Intro

00:00:34 Belfast

Story Package

00:04:21 Package

News Story Intro Story Package

00:00:29 Belfast 00:01:42 Package

18:32:21

18:32:55 18:37:16 18:37:45 18:39:27

News Story Intro

00:00:31 Belfast

Story Package

00:02:12 Package

18:39:58

18:42:10 18:42:36 18:44:58

News Story Intro Story Package

00:00:26 Belfast 00:02:22 Package

News Story Intro

00:00:22 Belfast

Story Package

00:02:33 Package

18:45:20

18:47:53 18:48:11 18:50:37 18:50:58

18:52:48

News Story Intro Story Package

00:00:18 Belfast 00:02:26 Package

News Story Intro

00:00:21 Belfast

Story Package

00:01:50 Package

Handover to Sport

00:00:09 Belfast

Sports News Intro Story Package Sports News Stories presented from Studio

00:00:18 Belfast 00:01:17 Package 00:01:46 Belfast

18:56:18 Handover back to News

00:00:14 Belfast

18:00:04 2. Panning Shot R-L (5s) showing studio

18:01:53 18:04:24

19. Static Head and Shoulders 20. Static Close IN View of (17s); Guest (3s); 22. Static Close IN View of Guest (19s); 24.

Static Close IN View of Guest 26. Static Head and Shoulders (45s) (16s); Camera Rotates 90 degrees during Package 27. Zooming In view of News Reader standing and LCD screens behind Camera Rotates back 90 degrees during Package 28. Static Head and Shoulders (11s);

18:58:13 18:58:16

Weather

00:01:32 Belfast

Handback to News & End Programme End Titles

00:00:09 Belfast 00:00:03 Package

21. Zooming IN Side View of NR and Guest (5s); 23. Fixed Side View (3s); 25. Fixed Side View (1s)

18:11:38 18:11:56 18:13:56 18:14:24

18:18:53 18:19:10 18:20:58 18:21:20 18:22:28 18:22:42

Camera 2 (Sports & NR Head and Shoulders)

Weather Greenscreen Camera

18:24:33 18:24:55 18:28:23

2. Zooming In and Panning Left to Right (10s)

00:00:04 Dublin 00:00:43 Dublin

RTE Six One Titles

00:00:08 Package

Top Story (Newsreader stood) Story Package News Story Intro

00:00:58 Dublin 00:02:31 Package 00:00:15 Dublin

1. Static Shot of Desk and two presenters standing in front (4s)

3. Static view of NR stood in front of LCD wall to right of desk, left of sofa

Camera 2 zooms in during Packages Story Package

00:02:01 Package

News Story Intro & Interview via LCD Wall Live TV Interview (Outside Broadcast) - Republic

00:00:11 Dublin/Outside 00:02:36 Outside

Interview handover 00:00:12 Dublin Live TV Interview (Outside Broadcast) - Northern Ireland 00:01:59 Outside

News Story Intro Story Package

00:00:18 Dublin 00:02:00 Package

News Story Summary

00:00:28 Dublin

News Story Intro Story Package

00:00:28 Dublin 00:01:51 Package

News Story Intro Live TV Interview (Outside Broadcast)

00:00:33 Dublin 00:01:37 Outside

News Story Intro

00:00:17 Dublin

Story Package

00:01:48 Package

News Story Intro Live TV Interview (Outside Broadcast)

00:00:22 Dublin 00:01:08 Outside

News Story Intro

00:00:14 Dublin

Story Package

00:01:51 Package

Coming Up - Headlines Adverts RTE Six One Titles

00:00:22 Dublin 00:03:28 Adverts 00:00:02 Package

18:29:15 18:29:53

Camera 2 rotates towards desk and zooms in to Head and Shoudlers view 7. Static Head and Shoulders at Desk (29s)

18:34:21 18:34:43

8. View of whole studio. (2s).

9. Zoom slowly into and rotate around desk to 'Desk View' (29s)

18:36:30 18:37:32

Camera 1 moves anticlockwise to show side of desk and all four LCD screens during Packages

18:37:57 18:39:42

10. Static Head and Shoulders at Desk (26s)

18:39:58

11. Camera rotates further towards screen until side onto desk. (22s) Camera 1 moves further left Camera 2 rotates around desk and zooms in to until desk is anti-clockwise and moves out of shot during Package back to include desk and LCD screens during Package.

18:42:44 18:43:05 18:46:43 18:46:45

12. Camera zooms 200% towards NR (18s)

18:47:32 18:47:54

13. Camera 2 pans right from side of desk to central Camera 2 rotates 90 degrees to face Sports presenter during Package

18:49:42 18:50:21

14. Camera lifts to above desk to see Sports reader and NR

Headlines (Voice over)

00:00:50 Dublin

News Story Intro & Interview via LCD Wall

00:00:38 Dublin/Outside

Live TV Interview (Outside Broadcast) - Republic

00:04:28 Outside

News Story Intro Story Package

00:00:22 Dublin 00:01:47 Package

Interview via LCD Wall

00:01:02 Dublin/Outside

News Story Intro Story Package

00:00:25 Dublin 00:01:45 Package

News Story Intro

00:00:16 Dublin

Story Package

00:02:46 Package

Headlines (W/Voice over) Adverts RTE Six One Titles

00:00:21 Dublin 00:03:38 Adverts 00:00:02 Package

Headlines (W/Voice over)

00:00:47 Dublin

News Story Intro Story Package

00:00:22 Dublin 00:01:48 Package

News Story Intro Story Package

00:00:39 Dublin 00:01:32 Package

News Story Intro

00:00:18 Dublin

8.NR in front of LCD wall (Static shot) (18s) - Left of desk 9. Head and shoulders shot behind desk (28s) -LHS

Story Package

00:01:42 Package

11. Head and shoulders shot behind desk (21s) - LHS

23.Camera zoomed into head and shoulders (7s)

20. Camera zooms in and pans left as presenter walks right (18s); 21. Static Zoomed in on LCD screen and presenter (62s); 22. Camera zooms out to show more screen and pans right as presenter walks right (12s)

Review of Main News (Voice off)

00:00:29 Dublin

Goodbye Advert Weather Welcome Adverts

00:00:21 00:00:11 00:02:08 00:02:30

Dublin Adverts Dublin Adverts

12. Side shot desk to right and LCD wall to left (12s)

13. Stood shot of sofa and LCD wall (17s)

14. Head and shoulders shot behind desk (21s) - RHS 15 (same as no 8).NR in front of LCD wall (Static shot) (18s) - Left of desk

Camera 3 zooms in to show Half Body shot during Packages

This study tracks the camera and newsreader movements during broadcasts. Resulting from the study is an increasing sense that these spaces are dominated by control and not the freedom they are curated to present.

For example, on the previous page, it can be seen that both studios have backdrops of news rooms. However, both are an illusion. RTÉ’s is a CGI image of a newsroom void of people(!) and the BBC’s despite being a ‘real’ view of a newsroom, it is heavily curated - there are very strict rules about what can and cannot happen if you are in shot.

Camera 2 Rotates 60 Degrees Left during Package 16. Head and shoulders shot 17. Half-Body shot of NR and behind desk (11s) - LHS LCD wall (11s)

Camera 3 zooms out and rotates 45 degrees to Return to side shot of sofa during Headlines 18. Side shot of sofa to show TV Screen (23s) 19. Side shot of sofa to show TV Screens show during questions (9s)

18a Head and shoulders shot on sofa (15s)

20 .NR in front of LCD wall (Static shot) (18s) - Left of desk 21 .NR in front of LCD wall (Static shot) (20s) - Left of desk 22. Head and shoulders shot behind desk (25s) - LHS

Camera 3 Rotates 45 degrees left during Packages to return to shot No.3

The newsreader, (human) may seem to be the focus of the image, however the cameras (machines) powered by artifical intelligence and autonomous in their movements are in control.

23 .NR in front of LCD wall (Static shot) (16s) - Left of desk Camera 1 Rotates 45 degrees Camera 2 Rotates 60 Degrees Right during Package to show Right during Package entire studio 24. Head and shoulders shot behind desk (21s) - RHS

26. Stood between sofa and desk. (4s) 27. Head and shoulders shot behind desk (21s) - RHS

25. Panning left to right (6s)

Camera 3 zooms out further during Package

This study considers how the machine may hold the key to the transition of two organisations with separate agendas, ways of working and government allegiance into one United organisation.

28. Stood between sofa and Camera 2 Zooms out to reveal desk but zoomed out further.

LCD wall during Package (39s) 29. Head and shoulders shot behind desk - RHS but zoomed out futher to incude LCD wall (18s) Camera 2 Rotates 30 Degrees Camera 3 Rotates 45 degrees Left to mIddle and Zooms out left & zooms out to capture entire studio during packages to Same shot as No.1 30.[Same as first shot] Static Shot of Desk and two presenters standing in front (29s) 31.Shot showing whole studio zooming out from front left to back right as credits roll (15s)

18:54:22

18:54:43 18:54:54 18:57:02 18:59:32

Camera 3 Rotates 20 degrees Right during Package

Camera 2 Rotates 60 Degrees Right during Package

18:53:53 Camera 2 rotates 90 degrees back to Head and Shoulders position.

Camera 3 Rotates 20 degrees left during Packages to return to shot No.3

10. NR in front of LCD wall (static shot) (28s) - Right of desk (next to sofa)

18:52:11

17. Shot remains zoomed in

5. Head and shoulders shot on sofa (6s)

7. Side shot of sofa to show TV Screen (5s)

18:51:53

15. Static shot showing sports reporter standing and LCD screens (7s); 16. Begins to zoom in slowly and pan right (11s)

2. Side view of desk, View panning left to right. (3s)

4. Shot remains same (15s) Camera 3 Rotates 20 degrees right during Packages to show side view of sofa and TV 6. Side shot of sofa to show TV Screen (5s)

18:28:25 3. Camera dropping and zooming (6s)

BBC News at Six

18:09:39

18:17:16

1. View of Set & LCD screens with backdrop of Belfast.

Zooming in 200% (5s)

24. Wide view Camera pans down slightly (2s)

18:06:51

18:16:43

31. Zooming out from Head and Shoulders to full studio & View of Newsroom

18. Camera remains showing Sport and NR.(6s); 19. Pans Right to reveal Weather presenter (8s)

18:06:40

18:14:52

29. NR and TV screen zoomed in (16s) Camera zoomed out to full aspect during package 30. Slow Zoom in to original position in No.29

Welcome to Six One Headlines (Voice over)

18:04:39

18:09:27 Camera moves along the track slightly and zooms 18. NR and TV screen zoomed in (16s)

18:56:32

18:58:04

6.Zooming IN Side View of NR 9. Oblique view of News and Guest (2s); 8. Fixed Side Reader during Question (1s); View (4s); 10.Fixed Side View 13. Oblique View of NR (2s) (1s); 12. Fixed Side View (2s); 14. Fixed Side View (3s); 16.

Fixed Side View (1s)

17. Static Head and Shoulders (19s)

4. Panning and Rotating R-L until central. (5s) 5. Then zooming in. (3s) 6. Then Static (26s) Camera 1 moves back and is centralled to the desk during Packages

18:00:47 18:00:55

7. Static Close IN View of Guest (1s); 11.Static Close IN View while answers question (34s); 15. " (47s)

18:52:57 18:53:15 18:54:32

18:00:00

5. Static Head at Shoulders (10s)

Camera 1 18:31:27

Camera 3 Inside Track Middle Camera 4 Inside Track RHS (News Reader Head & (Panning shot) Shoulders)

1. Zooming IN 150% to Head & Shoulders then holds (8s) Camera Rotates 90 degrees during Titles 3. Zooms IN 200% towards Newsreader then holds (12s) Camera Rotates back 90 degrees during Package 4. Static Head at Shoulders

18:11:52

18:13:30

Camera 2 Inside Track LHS (Side on View or View incl TV Screen on RHS)

* Fixed Camera

RTÉ Six One News

Newsreader movement as cameras move locations

Camera Movements Tracking the BBC News at Six and RTE Six One News.

00:00:26

News Studio Study BBC News, London

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Broadcast paraphernalia

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Paraphernalia The Robot TV Camera-Autocue 00:00:30

Scene 4

3.

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The autocue camera is essentially a piece of one way glass which allows the newsreader to read their speech but does not allow the camera to see it. This device is a useful analogy for how I would like the ribbon-like form to read.

The workings of an autocue-camera: 1.

2.

3.

4.

5.

6.

The script is mirrored and displayed on a 12� screen.

Reflective glass sits above the screen at 45°.

The text appears the right way up and can be seen in front of the camera by the Newsreader.

The text scrolls as the Newreader reads and is controlled by a dedicated Autocue controller.

The one-way glass means the camera can film the News Studio without the words appearing in shot The Camera shoots the image and uses a trichroic prism to split the image into three signals (RGB). These are digitally transmitted and reassembled by the TV screens.

Paraphernalia The Robot TV Camera-Autocue 00:00:31

Scene 4

Paraphernalia Path of the autonomous camera 00:00:32

Scene 5

Translation to built form

This process of translation was formed by the difference between the true geometry and the geometry warped through shadow.

The former becomes a lightweight skeletal ribbon which will both be a supportive exo skeleton and appear as one continuous LCD screen with TV cameras and other paraphernalia moving along tracks behind these screens. The latter leaning and warped by its translation becomes pockets of inhabitation surrounded by a crystalline skin leaning out over the ground plane below.

The building has a block image, able to screen out or reveal the city, however in places will have the the thickness of only an LCD screen in places.

STRUCTURE Steel Exo Skeleton

SKIN One way Glass Skins

MAIN BUILDING Spaces inhabited between POCKETS OF SPACE

TRANSLATION Drawing to building elements 00:00:33

PERSPECTIVE VIEW Showing slanted glass skin and steel structure.

Scene 5

00:00:34

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00:00:35

AXONOMETRIC Showing the pockets and ribbon Scene 5

00:00:36

ELEVATION Looking from the river Scene 5

00:00:37

PERSPECTIVE VIEW Looking along Duke Street from the Roundabout Scene 5

00:00:38

Scene 6

A transitional machinery Autonomous transition of two organisations

The process by which a built form has been produced has been heavily intwined in the past - an architecture born out of traces.

Now the infrastructure by which the future may exist is comprehended.

This thesis projects forward to a scenario of a ‘uniting’ island of Ireland. This building will merge and transition the two separate organisations of the BBC and RTÉ into a United Ireland Media over a slow and controlled process. The mechanics of the architecture will facilitate this convergence through autonomous planned interactions of these two organisations during their day time activities, movement around the space and most importantly broadcasting.

Flesh Diller Scofidio

00:00:39

‘Rupture Point’ Ireland is United BBC NI & RTE NI Merge

United Ireland Media

Shared Transition Distinct Imagery Phase One Establishing a framework for the BBC and RTE to begin working alongside each other in one location.

Referendum

Today

Autonomous building allows studio equipment and machinery to be shared between the two organisations

The building is designed to promote this collaboration with shared equipment and facilities, but with an intention that the two corporations can remain separate for the time being.

Two Distinct and Separate wings The building is divided into two wings, one for BBC Northern Ireland and the other for a Northern Ireland branch of RTÉ (the national public service media of the Republic).

However separate identities remain for each organisation.

Entry Points Two independent entries for each organisation A third entry for public between these two wings.

Entry RTÉ

PHASING Towards a ‘United’ Media Future Scene 6

00:00:40

Entry BBC NI

‘Rupture Point’ Ireland is United BBC NI & RTE NI Merge

United Ireland Media

United Ireland Media Phase Two Establishment of a United Ireland Media Corporation - owned equally by the BBC and RTÉ.

Referendum

Today

‘Pockets’ The media corporation will operate out of a number of pockets. (Darker Sections)

The building continues to operate in a very similar way.

The building promotes a United Image.

‘The image of busyness’ The entire building will provide an image of intensity to the wider world when in fact, the only populated pieces are the darker spaces, the lighter spaces are

PHASING Towards a ‘United’ Media Future Scene 6

00:00:41

Entry

The studio will become a point of intersection for these two organisations with both having to operate around one another in the same space during the main news broadcasts. The schedule of the programme however will be planned in such a way that cameras will only see the curated view of that organisation despite the other broadcaster also being live a few metres away.

BBC

RTÉ

BBC

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00:00:43

VIEW OF THE STUDIO SPACES Looking towards Derry Scene 6

00:00:44

WORMS EYE STUDIO SPACES First Minute of the broadcast Scene 6

00:00:45

TRANSITIONAL NEWS ROOM Camera control these spaces during broadcast Scene 6

00:00:46

CIVIC SPACE Route from Train Station to City Scene 6

00:00:47

Scene 7

A transitional architecture The Interface

This building is essentially one massive image. The ribbon of LCD screens allow this structure to both camouflage amongst and obscure the city.

This is a comment on the notion of transparency broadcasting corporations promote and their curated studios. This building by nature conceales its truth, portrays an illusion to the city until, however, humans are present: this interaction causes an automatic revealing of the internal workings. In order for transparancy to be maintained the surrounding ground must become given over to civic space. Inhabitation is essentially the trigger for truth.

Running Fence Christo and Jeanne-Claude

00:00:48

BUILDING OBSCURING ITS OWN IMAGE A rare glimpse of one pocket, rest hidden Scene 7

00:00:49

BUILDING BOLSTERING ITS SIZE Appearing larger Scene 7

00:00:50

IMAGE OF BUSYNESS Building shows ‘a CGI-Reality’ Scene 7

00:00:51

TRUTH Sparcely inhabited mechanised building Scene 7

00:00:52

GLIMPSE INTO THE RIBBON Walking from the Train Station Scene 7

00:00:53

GLIMPSE INTO THE NEWSROOM AND STUDIO THE BUILDINGS ILLUSION IS BROKEN WITH HUMAN INTERACTION. Walking from the Train Station Scene 7

00:00:54

Scene 8

The Six O Clock News Broadcast in transition

Time

18:00:00 18:01:12 18:01:32 18:01:44 18:02:39 18:07:58 18:08:26 18:11:24 18:11:34

Piece

Duration Location

Headlines Sport Headlines BBC News at One Titles

00:01:12 London 00:00:20 Salford 00:00:12 Package

News Story (Newsreader Stood up in front of TV wall) 00:00:55 London Top Story Package News Story (Newsreader sat at desk) Story Package

00:05:19 Package 00:00:28 London 00:02:58 Package

News Story Intro Short Package with Live Voice Over

00:00:10 London 00:00:18 Package

Camera 1 - Outside Track (Standing)

18:13:30 18:13:49 18:15:59 18:16:15

00:01:38 London

News Story Intro

00:00:19 London

Story Package

00:02:10 Package

News Story Intro (Incl TV Screen) Story Package

00:00:16 London 00:01:51 Package

18:18:06

18:19:39 18:19:55 18:23:33 18:24:00 18:27:20 18:27:31 18:27:47 18:29:23 18:29:37 18:31:07

News Story Intro

00:01:33 London

News Story Intro

00:00:16 London

Story Package

00:03:38 Package

News Story (Newsreader Stood up in front of TV wall) 00:00:27 London News Story Package

00:03:20 Package

News Story Extra

00:00:11 London

News Story Intro (incl TV Screen)

00:00:16 London

News Story Package

00:01:36 Package

Handover to BBC Sport BBC Sport Headlines

00:00:14 London 00:01:30 Salford

Handback to BBC News and End Programme

00:00:20 London

BBC Newsline Titles

00:00:12 Package

18:31:39 18:31:44 18:32:01

Welcome (Newsreader Stood Up) Headlines

00:00:05 Belfast 00:00:17 Belfast

18:32:11

Sport Headlines

00:00:10 Belfast

Weather Headlines (Green screen) BBC Newsline Titles (Short)

00:00:06 Belfast 00:00:04 Package

18:32:17

News Story Intro

00:00:34 Belfast

Story Package

00:04:21 Package

News Story Intro Story Package

00:00:29 Belfast 00:01:42 Package

18:32:21

18:32:55 18:37:16 18:37:45 18:39:27

News Story Intro

00:00:31 Belfast

18:39:58

18:42:10 18:42:36 18:44:58

Story Package

00:02:12 Package

News Story Intro Story Package

00:00:26 Belfast 00:02:22 Package

News Story Intro

00:00:22 Belfast

18:45:20

18:47:53 18:48:11 18:50:37 18:50:58

18:52:48

Story Package

00:02:33 Package

News Story Intro Story Package

00:00:18 Belfast 00:02:26 Package

News Story Intro

00:00:21 Belfast

Story Package

00:01:50 Package

Handover to Sport

00:00:09 Belfast

Sports News Intro Story Package Sports News Stories presented from Studio

00:00:18 Belfast 00:01:17 Package 00:01:46 Belfast

18:56:18 Handover back to News

00:00:14 Belfast

18:00:04 2. Panning Shot R-L (5s) showing studio

18:01:53 18:04:24

19. Static Head and Shoulders 20. Static Close IN View of (17s); Guest (3s); 22. Static Close IN View of Guest (19s); 24.

Static Close IN View of Guest 26. Static Head and Shoulders (45s) (16s); Camera Rotates 90 degrees during Package 27. Zooming In view of News Reader standing and LCD screens behind Camera Rotates back 90 degrees during Package 28. Static Head and Shoulders (11s);

18:58:13 18:58:16

Weather

00:01:32 Belfast

Handback to News & End Programme End Titles

00:00:09 Belfast 00:00:03 Package

BBC News at Six

21. Zooming IN Side View of NR and Guest (5s); 23. Fixed Side View (3s); 25. Fixed Side View (1s)

18:09:39 18:11:38 18:11:56 18:13:56 18:14:24

18:17:16 18:18:53 18:19:10 18:20:58 18:21:20 18:22:28 18:22:42

Camera 2 (Sports & NR Head and Shoulders)

Weather Greenscreen Camera

1. View of Set & LCD screens with backdrop of Belfast.

Zooming in 200% (5s)

18:24:33 18:24:55 18:28:23

2. Zooming In and Panning Left to Right (10s)

1. Static Shot of Desk and two presenters standing in front (4s)

00:00:04 Dublin 00:00:43 Dublin

RTE Six One Titles

00:00:08 Package

Top Story (Newsreader stood) Story Package News Story Intro

00:00:58 Dublin 00:02:31 Package 00:00:15 Dublin

3. Static view of NR stood in front of LCD wall to right of desk, left of sofa

Camera 2 zooms in during Packages Story Package

00:02:01 Package

News Story Intro & Interview via LCD Wall Live TV Interview (Outside Broadcast) - Republic

00:00:11 Dublin/Outside 00:02:36 Outside

Interview handover 00:00:12 Dublin Live TV Interview (Outside Broadcast) - Northern Ireland 00:01:59 Outside

News Story Intro Story Package

00:00:18 Dublin 00:02:00 Package

News Story Summary

00:00:28 Dublin

News Story Intro Story Package

00:00:28 Dublin 00:01:51 Package

News Story Intro Live TV Interview (Outside Broadcast)

00:00:33 Dublin 00:01:37 Outside

News Story Intro

00:00:17 Dublin

Story Package

00:01:48 Package

News Story Intro Live TV Interview (Outside Broadcast)

00:00:22 Dublin 00:01:08 Outside

News Story Intro

00:00:14 Dublin

Story Package

00:01:51 Package

Coming Up - Headlines Adverts RTE Six One Titles

00:00:22 Dublin 00:03:28 Adverts 00:00:02 Package

Headlines (Voice over)

00:00:50 Dublin

18:29:15 18:29:53

News Story Intro & Interview via LCD Wall

00:00:38 Dublin/Outside

Camera 2 rotates towards desk and zooms in to Head and Shoudlers view 7. Static Head and Shoulders at Desk (29s)

18:34:21 18:34:43

8. View of whole studio. (2s).

9. Zoom slowly into and rotate around desk to 'Desk View' (29s)

18:36:30 18:37:32

Camera 1 moves anticlockwise to show side of desk and all four LCD screens during Packages

18:37:57 18:39:42

10. Static Head and Shoulders at Desk (26s)

18:39:58

11. Camera rotates further towards screen until side onto desk. (22s) Camera 1 moves further left Camera 2 rotates around desk and zooms in to until desk is anti-clockwise and moves out of shot during Package back to include desk and LCD screens during Package.

18:42:44 18:43:05 18:46:43 18:46:45

12. Camera zooms 200% towards NR (18s)

18:47:32 18:47:54

13. Camera 2 pans right from side of desk to central Camera 2 rotates 90 degrees to face Sports presenter during Package

18:49:42 18:50:21

14. Camera lifts to above desk to see Sports reader and NR

Live TV Interview (Outside Broadcast) - Republic

00:04:28 Outside

News Story Intro Story Package

00:00:22 Dublin 00:01:47 Package

Interview via LCD Wall

00:01:02 Dublin/Outside

News Story Intro Story Package

00:00:25 Dublin 00:01:45 Package

News Story Intro

00:00:16 Dublin

Story Package

00:02:46 Package

Headlines (W/Voice over) Adverts RTE Six One Titles

00:00:21 Dublin 00:03:38 Adverts 00:00:02 Package

Headlines (W/Voice over)

00:00:47 Dublin

News Story Intro Story Package

00:00:22 Dublin 00:01:48 Package

News Story Intro Story Package

00:00:39 Dublin 00:01:32 Package

News Story Intro

00:00:18 Dublin

8.NR in front of LCD wall (Static shot) (18s) - Left of desk 9. Head and shoulders shot behind desk (28s) -LHS

Story Package

00:01:42 Package

Review of Main News (Voice off)

00:00:29 Dublin

11. Head and shoulders shot behind desk (21s) - LHS

23.Camera zoomed into head and shoulders (7s)

20. Camera zooms in and pans left as presenter walks right (18s); 21. Static Zoomed in on LCD screen and presenter (62s); 22. Camera zooms out to show more screen and pans right as presenter walks right (12s)

Goodbye Advert Weather Welcome Adverts

00:00:21 00:00:11 00:02:08 00:02:30

Dublin Adverts Dublin Adverts

12. Side shot desk to right and LCD wall to left (12s)

13. Stood shot of sofa and LCD wall (17s)

14. Head and shoulders shot behind desk (21s) - RHS 15 (same as no 8).NR in front of LCD wall (Static shot) (18s) - Left of desk

Camera 3 zooms in to show Half Body shot during Packages

Camera 2 Rotates 60 Degrees Left during Package 16. Head and shoulders shot 17. Half-Body shot of NR and behind desk (11s) - LHS LCD wall (11s)

Camera 3 zooms out and rotates 45 degrees to Return to side shot of sofa during Headlines 18. Side shot of sofa to show TV Screen (23s) 19. Side shot of sofa to show TV Screens show during questions (9s)

18a Head and shoulders shot on sofa (15s)

20 .NR in front of LCD wall (Static shot) (18s) - Left of desk 21 .NR in front of LCD wall (Static shot) (20s) - Left of desk 22. Head and shoulders shot behind desk (25s) - LHS

Camera 3 Rotates 45 degrees left during Packages to return to shot No.3

23 .NR in front of LCD wall (Static shot) (16s) - Left of desk Camera 1 Rotates 45 degrees Camera 2 Rotates 60 Degrees Right during Package to show Right during Package entire studio 24. Head and shoulders shot behind desk (21s) - RHS

26. Stood between sofa and desk. (4s) 27. Head and shoulders shot behind desk (21s) - RHS

25. Panning left to right (6s)

Camera 3 zooms out further during Package

28. Stood between sofa and Camera 2 Zooms out to reveal desk but zoomed out further.

LCD wall during Package (39s) 29. Head and shoulders shot behind desk - RHS but zoomed out futher to incude LCD wall (18s) Camera 2 Rotates 30 Degrees Camera 3 Rotates 45 degrees Left to mIddle and Zooms out left & zooms out to capture entire studio during packages to Same shot as No.1 30.[Same as first shot] Static Shot of Desk and two presenters standing in front (29s) 31.Shot showing whole studio zooming out from front left to back right as credits roll (15s)

18:54:22

18:54:43 18:54:54 18:57:02 18:59:32

Camera 3 Rotates 20 degrees Right during Package

Camera 2 Rotates 60 Degrees Right during Package

18:53:53 Camera 2 rotates 90 degrees back to Head and Shoulders position.

Camera 3 Rotates 20 degrees left during Packages to return to shot No.3

10. NR in front of LCD wall (static shot) (28s) - Right of desk (next to sofa)

18:52:11

17. Shot remains zoomed in

5. Head and shoulders shot on sofa (6s)

7. Side shot of sofa to show TV Screen (5s)

18:51:53

15. Static shot showing sports reporter standing and LCD screens (7s); 16. Begins to zoom in slowly and pan right (11s)

2. Side view of desk, View panning left to right. (3s)

4. Shot remains same (15s) Camera 3 Rotates 20 degrees right during Packages to show side view of sofa and TV 6. Side shot of sofa to show TV Screen (5s)

18:28:25 3. Camera dropping and zooming (6s)

24. Wide view Camera pans down slightly (2s)

18:06:51

18:16:43

31. Zooming out from Head and Shoulders to full studio & View of Newsroom

18. Camera remains showing Sport and NR.(6s); 19. Pans Right to reveal Weather presenter (8s)

18:06:40

18:14:52

29. NR and TV screen zoomed in (16s) Camera zoomed out to full aspect during package 30. Slow Zoom in to original position in No.29

Welcome to Six One Headlines (Voice over)

18:04:39

18:09:27

18:56:32

18:58:04

6.Zooming IN Side View of NR 9. Oblique view of News and Guest (2s); 8. Fixed Side Reader during Question (1s); View (4s); 10.Fixed Side View 13. Oblique View of NR (2s) (1s); 12. Fixed Side View (2s); 14. Fixed Side View (3s); 16.

Fixed Side View (1s)

Camera moves along the track slightly and zooms 18. NR and TV screen zoomed in (16s)

4. Panning and Rotating R-L until central. (5s) 5. Then zooming in. (3s) 6. Then Static (26s) Camera 1 moves back and is centralled to the desk during Packages

18:00:47 18:00:55

17. Static Head and Shoulders (19s)

18:52:57 18:53:15 18:54:32

18:00:00

7. Static Close IN View of Guest (1s); 11.Static Close IN View while answers question (34s); 15. " (47s)

Camera 1 18:31:27

Camera 3 Inside Track Middle Camera 4 Inside Track RHS (News Reader Head & (Panning shot) Shoulders)

5. Static Head at Shoulders (10s)

18:11:52

Interview with Guest/Correspondant

Camera 2 Inside Track LHS (Side on View or View incl TV Screen on RHS)

1. Zooming IN 150% to Head & Shoulders then holds (8s) Camera Rotates 90 degrees during Titles 3. Zooms IN 200% towards Newsreader then holds (12s) Camera Rotates back 90 degrees during Package 4. Static Head at Shoulders

* Fixed Camera

RTÉ Six One News

Overlaid Programme

00:00:55

BROADCAST PLAN Scene 7

00:00:56

THE BUILDING DURING THE SIX O CLOCK NEWS Scene 8

00:00:57

CAMERA VIEWS DURING THE SIX O CLOCK NEWS Scene 8

00:00:58

Credits

00:00:59

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