If yes: i) indicate the age group and competency for giving consent.
Section 19b of the Massey University code of ethical conduct states, “children must be able to give their own consent if they are competent to understand the nature of the project. This usually applies from around the age of seven (7), but it could be younger. The researcher must gauge the understanding of the child and act accordingly.” Given that the children recruited will already be involved in drama they will have some idea about what a drama practice is, therefore in this project children from the age of six who are attending drama classes have been gauged as competent to give their consent. Consent will also be required from parents.
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ii) indicate if the researcher will be obtaining the consent of parent(s)/caregiver(s).
Yes No
(Note that parental/caregiver consent for school-based research may be required by the school even when children are competent. Ensure Information Sheets and Consent Forms are in a style and language appropriate for the age group.)
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47 Will participants include persons whose capacity to give informed consent
may be compromised? Yes No
If yes, describe the consent process you will use.
48 Will the participants be proficient in English? Yes ✓ No
If no, all documentation for participants (Information Sheets/Consent Forms/Questionnaire etc) must be translated into the participants’ first-language.
(Attach copies of the translated Information Sheet/Consent Form etc to the application form)
SECTION E: PRIVACY/CONFIDENTIALITY ISSUES (Refer Code Section 3, Para 12)
✓49 Will any information be obtained from any source other than the
participant? Yes No
If yes, describe how and from whom.
Addresses and phone numbers will be collected from parents. This is not data to be analysed. This is for organisational purposes during filming. I will request information from parents as to whether the child has asthma, allergies or any health issues which could constitute a risk be filled in as part of the consent form. This information will be shared only with the caregivers. All reasonable care will be taken with this information. No information will be disclosed, except in a case where this is required to avoid harm to the participant.
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50 Will any information that identifies participants be given to any person outside the research team?
Yes No If yes, indicate why and how.
The participant’s names will be included in the credits if they consent, (or if under the age of eighteen their parents or guardians consent). It is generally expected that people contributing to film and video projects are thanked in the credits. Only the participant’s names and the visually identifying film footage in the form of their likenesses will be included.
Names only will be publicly displayed. Personal details such as addresses will not be passed on to anybody except the onset caregivers.
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51 Will the participants be anonymous (i.e. their identity unknown to the
researcher?) Yes No
If no, explain how confidentiality of the participants’ identities will be maintained in the treatment and use of the data.
This project is about the use of Motion graphics as a narrative device. The participants will be actors in a short film that will be treated using motion graphic techniques of animation, inclusion of typography etc.
Participants in this film are not the subjects of the research. That this work is fictitious will be stated in the credits.
Raw footage from this film will be destroyed. There are no facts or personal information to be gathered on the children (or any of the actors) which will be analysed or published. Names only will appear in the credits of the finished film and only if consent is given.
Because likenesses of the participants are being recorded relevant aspects of the Code of Ethics devised by the National Oral History Association of New Zealand will be adhered to as suggested in section 24 of the Massey University Code of Ethical Conduct.
This includes the use of consent forms and a suitable release forms which will be provided. Adult participants, parents/guardians will have the opportunity to give feedback and place conditions on release of any identifiable material relating to themselves or their child. It is unlikely that they will require much restriction on the release of this film (the content does not warrant it) but this is a right that will be upheld.
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52 Will an institution (e.g. school) to which participants belong be named
or be able to be identified? Yes No
If yes, explain how you have made the institution aware of this? NA
53 Outline how and where: i) the data will be stored, and
Raw unedited footage from the original tapes will be deleted after edited cuts relevant to the project have been selected. This will occur toward the end of the post-production process. In keeping with section 24 of the Massey University code of ethical conduct, which states, “Where sound and image recording are involved, the option of the participant retaining the recording or agreeing to its storage in a research archive should be explored.”
I have opted to use the above guideline where relevant. (It is however important to bear in mind that the above statement is written in relation to oral history and unlike oral history this footage is not research on the participants, all visual information is fictitious.) Pending consent, rough edits of the film, design work associated with the project as well as the completed film will be stored in the University Library. This footage will be stored as Digital Video with the thesis so that the processes relating to motion graphics can be understood by students and researchers in this area. Adult participants and parents/guardians will be given the opportunity to view and approve this footage. Pending consent copies will also be given to participants and crew.
In keeping with this section 24 a suitable consent/photo release/condition of release/use of name form has been written and participants will be informed as to where filmed footage is stored.
ii) Consent Forms will be stored.
(Note that Consent Forms should be stored separately from data)
Suitable consent/photo release/condition of release/use of name forms will be kept by in a locked cabinet in my supervisor’s office Scanned copies will also be given to my supervisors to be stored on their password protected work computer hard drives. Because films may be screened over a long period of years and it is generally expected that consent forms for films are kept long term. I will also keep copies of the forms in a locked cabinet in my home office and request that the originals be passed on to me after the five year period.
54 i) Who will have access to the data/Consent Forms?
During the initial editing only my supervisors and I will have access to the raw data. This will subsequently be destroyed (tapes wiped and hard-drive material deleted) The fictional processed film footage and the completed film will be stored as described in section 53 above. My supervisors will ensure that my Massey based hard drive is reformatted after I cease to use this machine. Only my supervisors and I will have access to the consent forms and photo release/use of name forms.
ii) How will the data/Consent Forms be protected from unauthorised access?
Raw data will be destroyed toward the end of post production. Computer hard-drives storing consent forms and confidentiality forms will be password protected. Hard copies of consent forms will be in a secure cabinet in my supervisors office. Processed footage of this fictional film and the final film will be protected by copyright.
55 How long will the data from the study be kept, who will be responsible for its safe keeping and eventual disposal? (Note that health information relating to an identifiable individual must be retained for at least 10 years, or in the case of a child, 10 years from the age of 16).
(For student research the Massey University HOD Institute/School/Section / Supervisor / or nominee should be responsible for the eventual disposal of data. Note that although destruction is the most common form of disposal, at times, transfer of data to an official archive may be appropriate. Refer to the Code, Section 4, Para 24.)
Raw data will be destroyed toward the end of the post-production process. During which time it will be stored on my password protected home and work computers. Digital video tapes will be wiped. It is intended that the fictional processed footage of the film and the finished film be stored in the Massey University Library and by myself, pending the consent, and signing of suitable consent/photo release/condition of release/use of name form by participants and where relevant parents/guardians. My supervisors will insure that computers are reformatted and left clear after completion of the project.
SECTION F: DECEPTION (Refer Code Section 3, Para 13)
56 Is deception involved at any stage of the project? Yes No ✓
If yes, justify its use and describe the debriefing procedures.
SECTION G: CONFLICT OF ROLE/INTEREST (Refer Code Section 3, Para 14)
✓57 Is the project to be funded in any way from sources external to Massey
University? Yes No
If yes: i) Whitireia Community Polytechnic research fund. I am a staff member here.
ii) does the source of the funding present any conflict of interest with regard to the research topic?
No, the funding for this project is money required to make this project. The funding will not affect my analysis of the results. I see no conflict of interest.
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58 Does the researcher/s have a financial interest in the outcome of the
project? Yes No
If yes, explain how the conflict of interest situation will be dealt with.
59 Describe any professional or other relationship between the researcher and the participants? (e.g. employer/employee, lecturer/student, practitioner/patient, researcher/family member). Indicate how any resulting conflict of role will be dealt with.
To date I have no connections with participants, I will not however exclude actors or crew on the basis that I may know them. All participants will be treated equally. I see no conflict of interest here providing participants fit the criteria required by the acting parts the project is researching design techniques not children or actors. I will not be recruiting students whom I am teaching or whose work I am involved in marking or moderating. I may be familiar with some of the film crew but there is no conflict of interest here, this will contribute to good working relationships and quality testing of the techniques being explored in relation to motion graphics and storytelling.