Critical Reflection

Option 3: Documentary package

• An extract from a documentary ( major task)

• Official social media page

• Magazine article 

  
  

Introduction

After many challenges and difficulties, I finally reached critical reflection, and I am eager to reflect on my work and the process of making it by answering the next four questions.

How do your products represent social groups or issues?

My documentary focuses on Eastern European artists, a social group that is often discriminated against or overlooked in both global and regional media. In mainstream representations, Eastern Europe is frequently associated with political unrest, economic instability, or other problems, but rarely with modern creative expression. By focusing on real, contemporary artists from the region, I aimed to challenge these lowering narratives and highlight the diversity, resilience, and talent available in these regions.

The artists featured in the documentary, like Oana Nastasache, speak about the difficulties of being an artist, such as financial ones. She highlights the set of skills and knowledge that one needs to possess to avoid those problems. These past few months opened up a new world to me, and it highlighted the good and the bad of it. Meeting new people and creating new memories and possible careers. It was an amazing experience.

I also aimed to represent young possible artists, particularly as a social group that is often idealistic but uncertain about their future. Through the lived experiences of the featured artists, I hoped to give both realistic insights and inspiration.

How do the elements of your production work together to create a sense of ‘branding’?

I tried to create a brand around The Eastern Lens which could be recognized in each media medium by its authenticity and creative identity. Every element of the production, from the title design and fonts to the color grading and soundtrack, was chosen to reflect a raw, imposing tone that aligns with the documentary’s message.

Visually, the Circle logos together with the bold text used throughout the project can be clearly categorized into The Eastern Light even without the main text. In my opinion, this makes for a good brand image and recognizability, which can be used in marketing of different media texts of the same seed.

 Stuart Hall’s Reception Theory was essential in shaping the branding. Hall argues that producers must be aware of how audiences decode messages based on their demographics and psychographics. With this in mind, I made my brand as universal as possible for audiences interested in the discussed topics

How do your products engage with the audience?

My documentary engages its audience through a multi-platform approach that meets viewers where they are, both in terms of media habits and emotional connection. The primary audience is 16–50, many of whom are active on social media, stream content digitally

The documentary is streamed via Netflix, a platform widely used by my target demographic. Netflix allows for global reach and on-demand access.

To support the documentary and expand its impact, I created a promotional Instagram page and have imagined a YouTube trailer and a Facebook page to be made in the future. Also, a magazine article. Each platform engages audiences differently:

• Instagram is used for visual storytelling. Primarily aimed at younger audiences, it features release dates, other communities that support the cause, and engaging Easter eggs.

• The Imaginary YouTube trailer, which shows a preview of the documentary to engage all kinds of possible viewers

• Facebook allows for deeper engagement with older segments of the target audience.

• The magazine article works to legitimize the project, adding depth and context. It targets audiences who consume art and culture journalism and offers insights into artist profiles

I also applied Blumler and Katz’s Uses and Gratifications Theory to design content that satisfies different audience needs. Personal identity, where young artists may see themselves reflected in the featured artists. Through information and education, viewers learn about the challenges of being an artist in Eastern Europe, but also in general. Entertainment: the documentary uses music, cinematography, and storytelling to engage viewers. I verified this by asking different friends and family for feedback. A clearer example is my cousin, who is on the verge of going to the National University of Arts in Bucharest. I asked her to give an honest review of the documentary without telling her the context ( that it was made by me ( I skipped after the intro to avoid my name ) ) and if she found the information useful for making a decision over pursuing a career in this domain. After watching the documentary, she told me that there is useful and real information that could really help someone who doesn't know them. She was curious to see the rest of it, but she also told me that, for now, she didn't see a particular heavy topic being discussed. One of the things she particularly liked was having different age characters. An already established older male artist and a young growing artist girl. I also noticed while showing my parents that my father displayed amusement emotions during his first watch of it. This directly relates to the question by creating a connection with the audience. I also specifically added certain parts, like the one where Ovidiu is asking, "Who is Dali?" specifically for that reason.

How did your research inform your products and the way they use or challenge conventions?

Research was a fundamental part of the development of my documentary and the minor tasks. I researched different documentaries, Social media pages, Documentary series, Articles, and Short documentaries, all of which influenced the outcome and the creative decisions I made throughout the production process.

I also explored conventions of the documentary genre, including the use of mise-en-scène, Non-diegetic sounds, Graphics & subtitles, and Static camera during speeches. However, I chose to challenge several of these conventions to make the film more immersive and relatable for a younger audience. For example:

• Instead of using a formal narrator, I let the artists speak directly for themselves, which creates a more authentic and emotional tone.

• Rather than following a linear narrative, I structured the documentary around 3 main topics of discussion ( Community, Difficulties, and Inspiration )

• I also included unfiltered moments (pauses, laughter, raw emotions) that are often edited out in more polished documentaries, leaning into a sense of realism.

My research into distribution platforms like Netflix also informed the technical choices. Netflix documentaries often prioritize cinematic visuals, emotional storytelling, and strong visual branding. This led me to try and focus on high-quality visuals, consistent color grading, and a cohesive tone that would feel normal on a professional streaming service.

In terms of theory, I used Steve Neale’s Genre Theory to understand how genre expectations can be met. While I included recognisable documentary elements to ground the film, I also introduced creative visuals like the intro sequence and the letterboxing.

Overall, research gave me the confidence to experiment with structure, challenge genre norms, and build a documentary that not only informs but also helps people make life-changing decisions.

In Conclusion

The 2025 A-level documentary task has made me learn a lot of useful skills that I will be able to use in my future professional life. Skills such as Video editing, Photo editing, Filming, being organized, following a structure and a plan, and working in a team are all important advantages that one can possess. I consider myself very lucky to be able to learn these interesting and amazing things. I know I have a lot to improve on, and I am not saying that I am perfect. I have only scratched the surface of this large Media world, but I can say that I am proud of myself and my journey so far.