This documentary has a very deep and poignant message. It is built up around family, horror, and heartbreak with undertones of revenge and stupidity which flair up at various stages. During our media text we will aim to explore how the senseless act of one person can quite literally crush the worlds of many for a lifetime. To help put this narrative into perspective I first want to paint you a picture of London in 1994. ‘During 1990-1992 the UK was suffering a recession. This led to economic hardship, which can be linked to increases in levels of crime in the early 90s’. (Measuring crime for 25 years Pg. 9 Krista Jansson). I think it’s safe to say that the standard of living during the early 90’s wasn’t at it’s all time high for the average Londoner but neither was public safety. In the capital alone there were 169 homicides in the year of 1994, and the death of Afolabi Oyedele was one of them. (Image on left is of the deceased)
During my research into similar documentaries I stumbled across ‘Damilola – The death of a 10 year’, which was very informative and detailed. They went into depth about times, locations, and even had key specialists relive and explain the incidents leading up to Damilola’s death. This helped us realise how much detail and research we will have to gather and compile to make a good documentary. The famous German director and writer Werner Herzog was also a big inspiration. His use of simplicity and calm in his doc ‘From one second to the next’ opened our eyes to a new way of filmmaking. Stripping back the elements to find their purest form. Mr Herzog’s intentions were clear and transparent which helped him to create this emotional heart felt documentary which has been well received by the public.
Bert Haanstra’s famous glass video almost instantly helped us to look at things from a slightly different point of view, which aided us to become more imaginative in the way of mode and style (further detail on stylistics page). This media text also helped to teach us about the importance of tempo and rhythm. ‘It should present an interesting, well shaped, story with rhythm that leads to a satisfying resolution’. (Alan Rosenthal, pg. 70, 2007). In the same text is goes on to say ‘If you want to use dramatic or fantasy sequences, then go ahead’.(Alan Rosenthal, pg. 73, 2007). This has given us the confidence and reassurance to be expressive whilst making ’22 Years later’, not to think too much about the traditional codes and conventions of documentary film making but to be innovative. We will take this on board especially as we attempt to make a creative an exciting reenactment scene. In the way of primary research we have been in close contact with Afolabi’s younger brother Yomi, who has been educating us on the case, motives and all the fine details surrounding the incident, which will help shape the documentary. We aim to transfer all of his families’ emotions and convey it in a truthful and simply artistic manor along with the emotions of friends, specialists, and other people with significant views.
Why do men kill?
Altercations are things we all have to deal old or young. But more specifically we want to look at the reason why young men kill. What pushes people over the edge? So we began our extensive research so we could give our documentary more solidarity and context. We found that ‘Research on youth murderers has been primary descriptive. Not surprisingly psychogenic explanations (eg mental illness, defective intelligence childhood trauma’ are the main reasons according to research. (Kathleen M. Heide. PH. D.pg. 29, 1999). This may have a part to play but we want to explore further. Could economic struggle have a huge part to play?
The delicate nature of this narrative adds additional pressure on our shoulders with the coupling fact that documentaries can’t be reshot. ‘If a documentary director makes a mistake on a one time event, there will be no film to speak of’. (Alan Rosenthal, pg 80, 2007). Even though the pressure will be immense it is a responsibility we are willing to take on. We feel like our documentary is completely relevant in today’s society. It will help to show the youth of today how one senseless act could change the world of many forever. Surely everyone deserves a warning? And those who have committed petty crimes a second chance? This documentary is the warning and the second chance. Specifically our audience consist of mostly males from the ages of 14 – 25. We will look to target our audience through educational systems like secondary schools, colleges, and universities. But this documentary has so many layers that overlap, which will help appeal to both the older and younger generation. It deals with family, love, heartbreak, and drama, which is almost relatable to everyone. The people who loved media text such as ‘Tupac the Resurrection’, ‘The murder detectives’ and ‘Straight outtta Compton’ will enjoy our documentary. As they all deal with similar themes and we have taken inspiration from all of these media texts and many more.
We have and will continue work hard on the vision of the film. We have also finished our treatment and have been in contact charities and organisations, which may help, fund a documentary of this nature.
The ultimate goal is simple. To create a film which not only fulfils the needs of the case and the family but a film that is also able to change the lives of many for the better. That’s all.
Krista Jansson. (2010). Measuring crime for 25 years. British Crime Journal. 1 (1), pg. 9.
Damilola – The Death Of A 10 Year Old. London: Talent TV South production, 2014. video.
From One Second To The Next. America: Werner Herzog, 2013. film.
Glas. Holland: Bert Haanstra, 1958. film
Alan Rosenthal (2007). Writing, directing, and producing documentary films and video. 4th ed. America: Southern Illinois university. pg. 70 -80.
Kathleen M. Heide. PH. D. (1999). Young Killers. U.K: Sage publications. pg.29.
Tupac: Resurrection. America: Lauren Lazin, 2004. film.
The Murder Detectives. U.K: Channel 4, 2016. video.
Straight Outta Compton. Compton: F. Gary Gray, 2015. film