35 What are the possible benefits (if any) of the project to individual participants, groups, communities and institutions?
There is strong evidence that children active in drama have much to gain. As noted earlier in this application, children have demonstrated increased development with respect to articulation and interpretations, creative and critical skills as well as showing a greater ability to “shift their perception from self to other,” (Shelby A,1994) through voice and physical action.
The project introduces children to the processes in film making. It will be a sociable activity and an interesting experience for them.
This project is valuable for me in terms of professional development and will give me greater insight in managing student motion graphic projects at Whitireia Community Polytechnic. This will be of benefit to our student community and in turn will support the development and interest in graphic media within the Porirua area, which includes a range of multicultural communities.
This project will make a contribution to the design and filmmaking communities by critically reflecting on the use of motion graphics as a narrative device. We are surrounded by motion graphics on television, the internet and in the cinemas, and yet the academic theoretical base is very thin. There is a genre of graphic film starting to emerge (Sheffield 2007). This type of film still is in the early stages of development. I hope to make a contribution to this new type of filmmaking, through a critical evaluation of how narrative can be informed through the use of Motion Graphic techniques.
It is hoped that this project will be accepted into juried film festivals.
36 What discomfort (physical, psychological, social), incapacity or other risk of harm are individual participants likely to experience as a result of participation? Activities are low risk. Risks could include exposure to weather or the types of risks involved in any social interaction or a school play. Risks relating to equipment are minimal in this production. Despite the low risk of these activities it is noted that a high level of OHS planning will be required due to the age group of some of the actors and identified hazards on the set.
37 Describe the strategies you will use to deal with any of the situations identified in Q36.
Exterior filming will not be done in bad weather. Parents and guardians will be briefed as to appropriate clothing. Sunscreen will be provided. Appropriate seating and shelter will be provided. The environment will be smoke free.
Food and beverages will be provided. Although I see any kind of accident as unlikely a first aid kit will be provided.
Toilet facilities will be organised. It is intended that toilets will be located near all locations. Children will always be accompanied to the toilet by one of the caregivers.
I am also aware that even filming in controlled conditions, children must be supervised at all times, hence the appointment of dedicated caregivers with a ratio of two children to one adult whose only role will be to supervise, care for and entertain the children.
If any caregiver is unable to attend, filming will be cancelled that day. Parent’s will be invited to be present at all stages of rehearsals and filming.
Any health and safety risks relating to equipment will be assessed prior to shooting under the guidance of crew who have experience in dealing with such issues and strict health and safety guidelines. I will carefully supervise all activities as I see myself as ultimately accountable. I have recently familiarised myself with guidelines as outlined in the “Blue Book” (The Blue Book is the standard reference document of best practice processes for the engagement of screen production crew in New Zealand. It is jointly developed and published by the Technicians' Guild and the Screen Production & Development Association (SPADA).
In this project, Film equipment related safety risks are minimal, most of the potential safety issues common with larger productions are avoided, in that this film does not involve large sets, props, or cranes or other potentially dangerous equipment. The use of an age appropriate induction to OHS issues related to being on set will be carried out and an identifiable hazards board placed at the entrance to the set.
The kitchen scene has however been identified as an area of potential risk, strategies to deal with this have been discussed in section 13 with respect to location.
Social risks would be similar to those of children acting in a school play. From experience I have found most children to be less self conscious in front of the camera than many adults. Because participants are recruited through parents who have indicated that a child is interested in acting and drama teachers I will be able to include children who are already familiar and interested with acting processes. All actors and children will be well prepared through workshops and rehearsals.
Social risks will be minimised through understanding of the project developed through workshops and rehearsals.
Around three minutes of the film will include children. Their activities will be normal every-day activities such as walking down the street with their mother, planting a tree in the garden, or reading a book in the back of the car. These are low risk familiar activities.
Thoughtful scheduling will mean that people can go and practice or leave the set when not required. Children will not be required on set for great periods of time before shooting or during shooting. Books, toys and art materials will be provided. The studio space will also be equipped with books toys and games. A video player will also be set up with a selection of children’s videos. Caregivers will interact with the children at all times.
Activities relating to the drama will also be organised in the rehearsal space. For example children will be encouraged to act out other actor’s roles as well as doing other physical activities. These will be developed with a children’s drama teacher.
Transport will be carefully organised. For rehearsals, children will be brought to rehearsals and picked up by parents. For filming sessions, caregivers will offer transport if the parents prefer.
38 What is the risk of harm (if any) of the project to the researcher? Risk of harm to myself is low.
39 Describe the strategies you will use to deal with any of the situations identified in Q38.
I will appoint a personal assistant to assist with organisation of people and production. Roles such as supervising actors and children, will be clearly appointed.
40 What discomfort (physical, psychological, social) incapacity or other risk of harm are groups/communities and institutions likely to experience as a result of this research?
No institutions, groups or communities are likely to be at risk. This is a short film project, I have supervised many of these (both student projects and my own) and I have never been involved in a project in which harm or even perceived harm has come to any group, community or institution. The content of this film is not controversial.
41 Describe the strategies you will use to deal with any of the situations identified in Q40.
NA
42 Is ethnicity data being collected as part of the project? Yes No ✓
If yes, will the data be used as a basis for analysis? If so, justify this use in terms of the number of participants.
If no, justify this approach, given that in some research an analysis based on ethnicity may yield results of value to Maori and to other groups.
(Note that harm can be done through an analysis based on insufficient numbers)
43 If participants are children/students in a pre-school/school/tertiary setting, describe the arrangements you will make for children/students who are present but not taking part in the research.
(Note that no child/student should be disadvantaged through the research)
NA