Film Treatment

Synopsis: The story revolves around the long distance relationship between Phoebe and her boyfriend. The idea is based upon an article on how long distance relationships are destined to fail, mostly because the boyfriend/girlfriend that is away usually cheats on their partner back home. http://www.mirror.co.uk/lifestyle/sex-relationships/relationships/dear-coleen-cheated-long-distance-girlfriend-6008900 Throughout the film opening, it is revealed that the boy is cheating on Phoebe all whilst pretending that their relationship couldn't be more perfect. The film is based upon Phoebe's discovery of her boyfriend's double life and her journey throughout the process of moving forward.

File Title: "Distance"

Production Company's Name: "Fair Oaks Productions"

Roles:
- Director (Katy Wealleans)
- Assistant Director (Bonnie Bidgood)
- Production Manager (Grace Weston-Davies)
- Camera Man (Alice Greengrass)

Characters:
- Girlfriend (Phoebe Una Train)
- Boyfriend (Daniel Henshaw)
- Other Girl (Alexandra North)

Costumes: Generic outfits for both girlfriend and boyfriend. For the girl of whom Daniel is cheating with, she needs to wear an oversized shirt.

Setting: The setting we have chosen is the simplicity of two contrasting rooms. We have chosen this as an appropriate location because it is able to show the stark contrast and distance between the couple.

Props:
- Two phones
- Three matching bracelets
- Laptop
- Male shirt

Sound:
- Diegetic sound = dialog and various sounds such as the laptop keyboard taps.
- Non-diegetic sound = Soundtrack to move the narrative along and make the film flow a lot better.

http://www.bensound.com/royalty-free-music/3 (Tomorrow song)

Lighting: Natural lighting will be key throughout the piece, however, a desk lamp will be used in the boyfriend's scene.

How Research Will Inform Planning

Our research will inform planning in numerous ways. Our primary research (focus group and audience profile information) that we conducted, helped us to decide what our target audience was going to be (15-25). Our primary research also helped us identify whether or not our target audience enjoyed the genre (romance) that we wanted to base our film opening around. When it came to our secondary research (real media artefact, typography and BFI information on Box Office trends) it showed that the genre 'Romance' was not particularly popular, but we concluded this was due to the lack of releases last year (2014). We decided to continue with our chosen genre, even with it's low ranking on Box Office figures, because some of our focus group members like romantic films. We also had confidence in our own ideas.

The research into real media artefacts and typography has helped us inform our planning by noting down key connotations of films situated in the 'Romance' genre, which we can then use in our own film opening. These key conventions of romance will give our film a more professional and well thought out feel to it. It is also easy for the audience to guess what genre the film opening falls into as the key conventions shown in the short two minutes of film will be familiar to them.

The research into Typography has helped us identify and establish what type of typography is commonly used in romance films, thus helping us chose an effective font for our film opening. We noticed that most romantic films use bold fonts with block colours and capital letters, therefore we installed this in our own film opening to make it easier for the audience to figure out which genre this film opening falls into. 'Love Actually' uses block colours and bold fonts to express the genre of the film and this secondary research (analysis of real media artefact) helped us to express the genre of our film opening.

How does music impact film?

Music is a powerful guide to what is happening in the scene. Music within film can set the mood of a particular scene and can introduce important elements of the plot. It also gives the film itself a character and can also inform the audience of the time period in which the film is set. Music is also used within film to make scenes more interesting, rather than just having dialect, diegetic sounds or sound effects. It has also been proven that music has a profound effect on the viewers' emotions and therefore Music Supervisors need to chose songs or produce soundtracks that will provoke the right emotion from the audience in correspondence to what is going on in the scene. For example, if a well liked character dies you would chose a thoughtful/sad song that makes the audience cry or feel upset. Therefore, a successful film should not lack music.

In our film opening we needed thoughtful music but not a song that is particularly sad as that is not the purpose of our film opening. We also did not want the song to be overly 'romantic'. Even though our genre is 'romance' there is also a twist and an element of drama, so a romantic song would not suit the film opening we created. We used a website called 'Bensound' (suggested by one of our classmates).

http://www.bensound.com/royalty-free-music

As we explored the various pages of songs we came across a song called 'Tomorrow'. After playing this song and playing our film opening together we realised this song fitted our film opening perfectly and so we downloaded it and transferred it into Final Cut Pro. We also investigated what rights we had to this piece of music and according to the website as long as we give Bensound credit for the song we can use it free of charge.

Stuck In Love (2012) Deconstruction

Stuck In Love (2012) Deconstruction

This film opens with the Millennium Entertainment and Informant production company titles before a 'fade-in' (where the shot gradually and smoothly appears or disappears from the screen) technique is used to transition to the main sequence. As soon as the 'fade-in' technique is complete non-diegetic music is played (sound or visual element of a fiction film that does not exist in the diegesis, meaning that the music being played cannot be heard by the characters in the film). The camera then pans down an English lesson's calk board during an extreme close-up the opening credits superimpose on the screen. The camera then cuts to a mid-shot of one of the main characters (Rusty Borgens). He is looking over his shoulder. Typography superimposes the mid-shots of Rusty looking at one of his class mates (Kate) as a voiceover of Rusty talking about Kate is played (non-diegetic sound).
As the words appear on the screen a sound effect of a pencil writing is used.

A close-up of Kate shows that her nose is bleeding. The way that Rusty is shown to be looking at her, tells the audience he has some sort of feelings towards her. In the mid-shot where Kate looks up she looks directly at Rusty who then proceeds to tell her that her nose is bleeding. Further mid-shots show Kate grabbing a tissue and cleaning up her nose, whilst Rusty hesitantly looks at her. These shots then cut to a wide-shot of Kate walking out of the classroom and putting her rucksack over her shoulder. The camera uses the 'cut' technique to transition to a new shot of Kate's boyfriend walking up to her and kissing her in the hallway. The camera then immediately cuts to a mid-shot of Rusty looking at them and bowing his head in disappointment. The audience now knows that Rusty has some affectionate feelings towards Kate as his head bows and his face drops from a smile to a rested mouth at the fact she has a boyfriend.

       

The non-diegetic music has now stopped and for rest of the opening there is just a close-up of Rusty's sister (Samantha Borgens) talking about how she lives her life. As she is talking, again, typography of her sentences superimposes the screen for the beginning part of her monologue and the sound effect of keys on a keyboard is played over the diegetic-sound (can be heard by characters) of the noises in the bar they are stood in. The lighting has also changed from the lit-up hallways of the school to the dim lighting used in the bar in which Samantha is situated.

Conventions identified:

• Fade in & cuts
• Non-diegetic music
• Panning
• Lots of close-ups/ mid-shots
• Different uses of typography
• Voiceover
• Sound effects
• Diegetic sound
• Mixture of light and dark lighting

LOL (2012) Deconstruction

LOL (2012) Deconstruction

LOL opens with the LIONSGATE and MANDATE PICTURES production company titles. A sound bridge occurs at the end of the MANDATE PICTURES title. The titles then cut to an establishing shot of the high school. There is non-diegetic music playing throughout the opening and the lyrics consist of "everybody wants to love, everybody, everybody wants to be loved" inferring this film will be about a love story. Opening titles superimpose during the entire opening.

A 'cut' is used to transition to another long-shot of the school campus and then used again with another establishing shot, this time the city in which the school is situated. Several establishing shots of the school grounds and the public transport systems within the city are then shown.

There is then a mid-shot of the school's sign, which pans down to the three main girl characters. They walk towards the camera in slow motion as a voiceover is played of Lola talking about how she finds it weird going back to school after the summer break.

The slow motion then stops as Lola walks up to her boyfriend and kisses him. During this panning shot lots of other main characters are introduced.

Conventions identified:

• Sound bridge
• Cuts
• Non-diegetic music
• Superimposition
• Long-shots & mid-shots
• Slow motion
• Panning

Dear John (2010) Deconstruction

Dear John (2010) Deconstruction

This film opens with the production company's logo (Screen Gems and Relativity Media). This then cuts to another set of production titles. A 'cut' is used to transition to the introduction of the main character (John) with a close-up, high-angle shot of him lying on the ground in an army uniform with one of his colleagues propping him up against the wall because he has just been shot.

The camera then backs away from the actors and is raised slightly in the panning shot that follows. However when the coins start to get thrown at them the camera gets closer to the two men again. During this time a voiceover of John is played. He is talking about what he was thinking about before he blacked out. It was his tour of the US Mint. The camera then cuts to a close-up of a younger version of John and falling money is superimposed on the screen.

A close-up of coins on the machine is shown, followed by various close-up shots of coins being made in a machine and the younger boys reaction to it. This then cuts to an extreme close-up of a coin being flipped through someone's fingers before another extreme close-up of John's face.

The voiceover has continued and he is now talking about how coins can relate to his position in the United States Army. A low-angle close-up shot is shown of John's co-worker rushing to try and keep him alive. During this shot the focus is blurred to indicate John is losing consciousness.

Two more extreme close-ups of coins being rimmed and bevelled are then shown before a close-up shot of John's face lying on the ground as he begins to lose consciousness. Uplifting music is played throughout the entire opening.

Conventions identified:

• Cuts
• Close-up shots
• High-angle & low-angle shots
• Panning
• Voiceover
• Non-diegetic music throughout

Love Actually (2003) Deconstruction

Love Actually (2003) Deconstruction

The film 'Love Actually' opens with a montage of different people, of all age, race and gender embracing in different ways in an airport. During the first panning shot you see a woman, wearing a large rucksack (obviously just arrived home after a trip abroad), hugging her partner tightly. He holds her head as they hug and then they kiss each other in the close-up shot. The camera then cuts to a close up of two little girls running up to what looks to be their mother and they all hug each other in another close-up shot.

The montage continues to show two old ladies hugging. After this clip is shown Hugh Grant's character is heard through a voiceover, which is played over the uplifting non-diegetic music, which plays throughout the entire opening. He is talking about how whenever he feels gloomy about the state of the world he thinks of the arrivals gate and Heathrow Airport because even when there is hatred in the world (time of the Twin Towers terrorist attack) you can always find love at the arrivals gate, with everyone embracing and greeting each other, even if it is not news worthy. The lighting changes with each new clip, as they are shot in different places and at different times in the arrivals gate, therefore the lighting changes.

Conventions identified:

• Montage of shots
• Panning
• Close-up shots
• Cuts
• Voiceover
• Non-diegetic music throughout
• Mixture of lighting with each new shot

Learning how to Deconstruct a Film

Before we set off to deconstruct our own film openings in our chosen genre (romance) we need to understand how to deconstruct a film opening and what to look out for in order to obtain information about typical conventions of romantic film openings. As a class we deconstructed 'The Bourne Legacy'. This helped us investigate how to include enigma within our films by watching a film opening that is rife with enigmatic elements. We then recorded the conventions on a timeline (shown below) that was sectioned into 'Visuals' and 'Sound'. By sectioning the visuals and sound separately it helped us see how sound and visuals work together in order to help create enigma within a film.

We also deconstructed 'Forest Gump' as a class because this film opening had excellent use of a Mcguffin. In fiction, a mcguffin is a plot device in the form of some goal, desired object, or other motivator that the protagonist pursues, often with little or no narrative explanation. The specific nature of a mcguffin is typically unimportant to the overall plot. For example, like the feather in Forest Gump. The floating feather, which floats through town on a busy morning, straight up to Forest, represents the fact the story is going to be about his journey through his troubled yet exciting life.

We also then deconstructed a film from our chosen genre. We chose 'Love Actually' because this is a critically acclaimed romance film and would help us understand and note the conventions of a typical romance film, e.g. number of cuts, sound bridges and narrative.

'Uses and Gratifications'

During several of our media studies lessons our class has been exploring the 'Uses and Gratifications' model when trying to understand media.  

The ‘Uses and Gratifications’ model was first introduced by Elihu Katz; he asserted that audiences use media texts for gratification. Katz contended that there are four types ‘Uses and Gratifications’ audiences get from media texts:   

   

• Personal identity: We can get a sense of ourselves and our peer group from media representations.  This is probably particularly important for adolescents.

• Information: The media are full of information which we are at liberty to use.

• Entertainment: We often consume media texts for entertainment.

• Social interaction: The news, films or last night’s television programmes are common topics of discussion; we use the media to feed this social interaction.  The media may also ‘keep us company’: radio, in particular addresses its audience on a personal basis.  We may feel we know characters in, say, soap operas, better than we do our own friends and thus engage in parasocial (interpersonal relationships in which one party knows a great deal about the other, but the other does not) interaction when ‘interacting’ with them.

Vox Pops:

My production team and I put together a focus group made up of people who conform to the decided target audience, in an attempt to obtain more qualitative research data and to explore how we can successfully make sure our production caters to our target audience. We asked them what they liked about watching romance films and here is what they said:

Ayesha: "I really enjoy romances that seem real and not as if it is all a fairy-tale. To think that the storyline is legit and could potentially be happening to someone is a lot more interesting than if the storyline was too farfetched or cringe."

Rebecca: "I like romances because it is something I want to experience in later life and so it is very interesting and exciting as I know I have it to look forward to."

Orlagh: "I like watching romances because it helps me escape from the stresses of school life and helps me wind down."

Annie: "I think it is really important that the main characters are relatable. Someone you empathise or agree with is always enjoyable to watch, like Sid from Skins. Characters that are perfect or too good to be true can often seem untrustworthy and it would be difficult to back them and enjoy the production."

Kate: "To glean inspiration for everyday life. I like that most romances are about two people who come together even with seemingly insurmountable odds against them, it gives me hope."

Significance:

• Enjoy and feel it is vital that you can identify with one of the main characters and that they can't be too perfect.
• Romances or any film genre should provide escapism.
• Romances should provide hope and inspiration for difficult situations people face.
• To have some sort of validity so that it does not seem like a fairy-tale and unimaginable in real life circumstances.
• To provide the audience with anticipation that this will some day happen to them.

Typography

Stuck In Love (2012) Typography Deconstruction

Stuck In Love uses a bold font, capital letters and block colours (red has connotations of love and passion). However in the opening scene the typography changes and the font is much softer and takes the appearance of actual handwriting:

The typography also changes again within the opening scene of this film and takes the appearance of the stereotypical 'keyboard' font that you would commonly find on a Mac computer:

The different typographies are used to represent the difference in the two character's personalities, with Samantha (bottom photo) being modern with her blog writing and her brother, Rusty, (second photo) being more traditional with his love for reading books.

Love Actually (2003) Typography Deconstruction

The typography used in Love Actually is a lot softer than the typography used in Stuck In Love. This is because of the skinner choice of font used for the word "actually" and the fact it is not written in capital letters. The word "love", however, is written in a bold font to make it clear to the audience that this is a romantic film, if the choice of colours and pictures weren't enough to make the genre clear. The colour red is used and this is again because red has connotations of love and romance.

Dear John (2010) Typography Deconstruction

Dear John's typography is almost identical to the one used in Stuck In Love. It has very bold letters, all in capital, this seems to be a running theme through a lot of films in the romance genre. Unlike the other two romance films I have deconstructed, Dear John does not use traditional colours (mainly red and pink). It uses more earthy colours, such as brown and mustard yellow. Perhaps this is due to the theme of physicality (John was in the army) within the film.

LOL (2012) Typography Deconstruction

The film LOL uses a similar typography to other romantic films. It uses bold text, with a block colour and also uses capital letters. The use of the colour pink is very stereotypical of a teen-romance due to its connotations of love and compassion. The font used in LOL is different to the typical block fonts used in the other three films shown above. It takes the appearance of fonts used in old video games and old mobile phones. This is because the main character is called Lola but everyone calls her "Lol" and lots of the characters use technology within the film (e.g. texting and messenger on laptops) and the word LOL stands for 'laughing out loud' and is commonly used in 'text-speech' by lots of people of different ages, not just teenagers. So therefore the typography links with the content of the film very well.

Audience Profile

Age: 15-24 years old
Gender: Could be mixed but most likely to be female
Register General's Social Scale: A, B, C1 (mixture)
Selby's Psychographic Cluster: 'Trendies' (people who crave the admiration of their peers) and 'Cynics' (people who have something to complain about).

Description: A typical member of our target audience would be a young female in their late teens, early twenties. They would be someone who is growing increasingly concerned by what others think of them and perhaps craving the admiration of a male or fellow peer. They would also be rather intelligent and studious, but they would feel unfulfilled by life and may suffer from low self-esteem/confidence issues, perhaps maybe because they do not receive enough attention. A comparison can be made with Britt Robertson's character in 'Ask Me Anything' and members of our target audience:

Audience Classification

During our media lessons we have been looking at ways that audiences are classified.

The need to define audiences has been driven by commercial needs.  Many media businesses need to deliver audiences’ eyeballs, or ears, to advertisers in order to be profitable and so the audience needs to be categorised.

The Registrar General’s Social Scale is the way the British Government defines the populace through their occupation:

Group	Occupations
A	Professional Workers (lawyers, doctors etc.), Scientists, Managers of large-scale organisations.
B	Shopkeepers, Farmers, Teachers, White-collar workers.
C1	Skilled Manual (i.e. hand) workers – e.g. high grade, e.g. master builders, carpenters, shop assistants, nurses.
C2	Skilled Manual – low grade, e.g. electricians, plumbers.
D	Semi-skilled Manual, e.g. bus drivers, lorry drivers, fitters.
E	Unskilled Manual, e.g. general labourers, barmen, porters.

A benefit of the Registrar General’s Social Scale is that it can help companies to target audiences. However, the scale has been criticised for being both crude and rigid.

Values, Attitudes and Lifestyles (VALS): Possibly a better way of defining audiences is by categorising them by the values and attitudes they hold and the lifestyle they have; these are psychographic (psychographics is the study of personality, values, attitudes, interests, and lifestyles) variables.  For example, one of the better known systems is the Values, Attitudes and Lifestyles (VALS):

• Actualisers: Successful, wealthy, dynamic people for whom image is important as an expression of their individuality.
• Fulfilleds: Mature people who are well-educated professionals. This group values order, knowledge and responsibilities.
• Achievers: Successful and career-orientated people.  They are politically conservative and value the status quo.  Image is important to them and they tend to buy established, well-known products.
• Experiencers: Young, impulsive and rebellious.  They like new products and styles but soon tire of them and search for new novelties.  They spend as much as they can afford on clothing, fast food, music and films.
• Believers: Conservative people who believe in traditional institutions, such as the Church, and in the importance of the family and community.  Their lifestyle tends to be very routine.  Their income is small but sufficient.
• Strivers: Tend to be unsure of themselves and have a low income.  They are striving for approval from others, which they feel they could gain by ownership of possessions, most of which they cannot afford.
• Makers: Makers are do-it-yourself enthusiasts and tend to live a conventional, family life.
• Strugglers: Strugglers are on the lowest income and tend to be loyal to their favourite brands.

Selby’s Psychographic Clusters: Similar to the VALs system, Psychographic Clusters is a system invented by Keith Selby:

• Trendies: Who crave the admiration of their peers.
• Egoists: Who seek pleasure.
• Puritans: Who wish to feel virtuous.
• Innovators: Who wish to make their mark.
• Rebels: Who wish to remake their world in their own image.
• Drifters: Who are not sure what they want.
• Drop-outs: Who shun commitments of any kind.
• Traditionalists: Who want things to stay as they are.
• Utopians: Who want the world to be a better place.
• Cynics: Who have to have something to complain about.
• Cowboys: Who want easy money.

Significance: After numerous discussions, as a group we feel that the Register General's Scale is slightly awkward as it is difficult to apply. A problem we face is that we have decided to aim our production at people aged 15-24. This makes it problematic because not many people of this age category have committed themselves to a career path as of yet. Therefore, when applying the Register General's Scale we looked into the occupation of the parents of those members of our target audience. When it came to making a conclusion, we referred to the following tables from the BFI's 2014 Statistical Yearbook:

As mentioned before, our film opening is going to be targeted to a 'niche' audience, therefore, it is very hard to compare our production with any of the successful productions in the BFI's 2014 Statistical Yearbook (Audiences). By not being able to compare our film opening to any of the productions listed and their categories, it limits our ability to put our film into a category. However, due to the fact that it is being targeted for a niche market I would estimate that people falling into the A, B and C1 categories are most likely to enjoy this film the most. But you argue that due to the films simple and easy to understand storyline, anyone from any of the listed categories would enjoy it.

Similarly, my group found that the VALs system and the categories its offering are limiting. They lack space for people towards the younger section of our target audience (15-17) as they are not yet familiar with things like careers or their own family life. The VALs system would work better if our target audience was one of the older generations. Fortunately we did have better luck when exploring Selby's Psychographic Clusters model and found that 'Cynics', 'Egoists' and 'Trendies' are all fairly apt descriptions for our target audience as they are able to relate to the main characters who have these traits.

Secondary Research: Box Office Figures Research

During our media lessons, we felt it important to learn how to distinguish between quantative and qualitative research. We also learnt about how both can be valuable when identifying and catering to a chosen target audience.

Quantitative research is ‘Explaining phenomena by collecting numerical data that are analysed using mathematically based methods (in particular statistics)’. The most common form of quantitative research is surveys. Quantitative research is useful for finding out specific information such as ‘Which is the most popular?’ The main benefit of quantitative research is that, if conducted properly, it can provide very accurate statistical information. However, one of the biggest shortcomings of quantitative research is that, whilst it can make it clear what is popular, it provides little insight into why something is popular.

Qualitative research is ‘Research that is used to gain an understanding of underlying reasons, opinions, and motivations. It provides insights into the problem or helps to develop ideas or hypotheses for potential quantitative research’. The most common form of qualitative research is interviews. Qualitative research helps to address the why question: it is a means of speculating as to why something is popular. However, unlike quantitative research, qualitative research cannot be measured or quantified accurately.

In order to obtain accurate quantative data, we, as a class, resorted to the BFI's Statistical Yearbook due to the fact it is beyond the scope of any survey  we could ever conduct by ourselves in the time frame given. In the BFI's own words, 'The Statistical Yearbook presents in one place all the available statistics on UK film and the UK film industry.'

In 2014 the 'Romance' genre ranked 13th, this is primarily due to the low percentage of releases (40) in comparison to the top ranking genre (Comedy), which released a total of 136 films. Even though the romance genre ranked quite low, it still manage to earn £15.6 million in terms of Gross Box Office and the top most performing title was 'The Fault in Our Stars'.

In the previous year the 'Romance' genre ranked higher (6th), which is strange because that genre released 11 fewer films that year in comparison to 2014. However in 2012 the 'Romance' genre managed to earn £46.5 million more and the top most performing title was the very popular 'The Twilight Saga: Breaking Dawn - Part 2'.

I think that our film opening would most suit the age range of 15+ due to the nature of the mature themes (long-distance relationship with an ongoing affair). This classification proved to be most popular with the highest number of releases (304). Despite this it did not manage to earn the most money in terms of Gross Box Office. It only earned £293.6, whereas the 12A classification earned £477.7. This is mainly due to the popularity of the top performing title (The Hobbit: The Battle of the Five Armies) and it's successful 'Fantasy' genre, which ranked 4th in 2014 and earned £104.0.

As you can see from the BFI's 'Top 10 '15' classified films, 2014' the romance genre does not rank. This would indicate that this genre attracts a 'niche' audience. As a group we need to investigate how to attract this niche market to our film opening by collecting qualitative data. This will be difficult due to the lack of funds to promote our independent film opening. The following table on the 'Significant greater female audience share' fortifies the point on the fact the romance genre is one that interests a niche market. We had expected to see the romance genres ranking highly with the female audience but there is not a single listing. This has led our group to increase the investment of time spent on trying to find ways to interest the niche audience.

Significance: Romance films are not exactly the most popular of genres with the British public, however this is because most of the BFI's statistics on successful films of 2014 (and previous years) are comparative of the 'mainstream' films, with the top performing romance film being  'The Fault in Our Stars' (2014) and 'The Twilight Saga: Breaking Dawn - Part 2' (2012). Our film was on the different end of the spectrum in terms of 'mainstream' our film opening is more of a niche film; as such, we will have to really consider how we are going to cater for our target audience.

The fact that the most the '15' classification proved to be most popular with the highest number of releases (304) in 2014 was useful information as it proves to us that by rating our film opening a '15' it would gain some popularity within the generation of 15-24 year olds, who seem to take the most interest in media. We were surprised that the romance genre was almost as unpopular with females as it was with males. this could be due to the state of romance films produced in that year or the fact that this genre caters to a niche market, meaning we, as a group, need to investigate further into how we are going to entice this niche audience into our media product.

Primary Research: Audience Profile and Focus Group Information

Who are they and what age bracket do they fall into?

Gender and Education Level

Participant	Gender	Education Level
Memoona	Girl	YEAR 12
Annie	Girl	YEAR 12
Kate	Girl	YEAR 12
Liz	Girl	YEAR 12
Ayesha	Girl	YEAR 11
Chloe	Girl	YEAR 12
Orlagh	Girl	YEAR 12
Rebecca	Girl	YEAR 12

All participants had priorities that included working hard to complete school then to either move on to further education (university) or into the working world.

Motivation and Interests

Participant	Motivation	Interests
Memoona	Success	Horse Riding
Annie	Money	Music
Kate	Nothing	Piercings
Liz	Other people’s success	Comedy
Ayesha	Religion	Deep thinking
Chloe	Other people’s success	Special Effects Make-up
Orlagh	Success	Music
Rebecca	Money	Dance

How do they spend their free time and what are their lifestyles like?

Participant	Free Time Spent	Lifestyle (Active / Leisurely)
Memoona	Working	Active
Annie	Working	Mixture of Both
Kate	Working	Mixture of Both
Liz	Working	Active
Ayesha	Furthering Education	Leisurely
Chloe	Working	Mixture of Both
Orlagh	Extra-Curricular Activities	Active
Rebecca	Dance	Leisurely

How do they spend their money and do they follow any particular fashions?

Participant	Money Spent On	Follow Particular Fashions?
Memoona	Pandora	No
Annie	Clothes	Yes – “Trendy”
Kate	Piercings	Yes – Tumblr
Liz	Food	Yes – Mainstream
Ayesha	Savings	No
Chloe	Make-up	Yes – Mainstream
Orlagh	Food	Yes – Mainstream
Rebecca	Clothes	Yes – “Road”

Who influences them and do they have a role model?

Participant	Influence	Role Model
Memoona	Mother	Mother
Annie	Friends	N/A
Kate	Myself	N/A
Liz	Media	Mother
Ayesha	Religion	“Allah”
Chloe	Media	N/A
Orlagh	Friends	School Teacher
Rebecca	Family	“Myself"