Tutorials targets
Analysis needs to be in great depths- completed https://naimzhussein.blogspot.com/b/post-preview?token=TZdT40kBAAA.RVQbL402d3yNvXQtajVBCw.AAmjExPJW1BbrRmhEKMn0Q&postId=1808733179352204944&type=POST
 Finish of the tasks that were given for homework- completed https://naimzhussein.blogspot.com/b/post-preview?token=TZdT40kBAAA.RVQbL402d3yNvXQtajVBCw.AAmjExPJW1BbrRmhEKMn0Q&postId=1808733179352204944&type=POST
 Change the topic question as the presentation's topic wasn't good-completed https://naimzhussein.blogspot.com/b/post-preview?token=701U40kBAAA.RVQbL402d3yNvXQtajVBCw.Wmg5nWe1EKZcqOE4n1KT-A&postId=2748878146909724000&type=POST
 Look more into feminism and to weather Nicki Minaj challenges or reinforces stereotypes in her music- ongoing
 Include more quotes- on going http://naimzhussein.blogspot.co.uk/2014/11/minaj-briefly-signed-with-brooklyn.html
 Look closely into her music videos- completed
Remain relevant at all times, don't go off topic- completed
Drop down the sources of the quotations-  https://naimzhussein.blogspot.com/b/post-preview?token=TZdT40kBAAA.RVQbL402d3yNvXQtajVBCw.AAmjExPJW1BbrRmhEKMn0Q&postId=1808733179352204944&type=POSTcompleted http://naimzhussein.blogspot.co.uk/2014/11/internet-links-httpwww.html
Set up a good argument- completed  https://naimzhussein.blogspot.com/b/post-preview?token=TZdT40kBAAA.RVQbL402d3yNvXQtajVBCw.AAmjExPJW1BbrRmhEKMn0Q&postId=1808733179352204944&type=POST

https://docs.google.com/file/d/0B0i5diL3vrEiTkR5UHJiSW9Xekk/edit

The commercial approach celebrity mentions that the BBC apted for an informal mode of address and young people o front its factual programmes, Bravo and Sky One have enlisted the help of celebrities to promote their most successful documentary standard. Nicki Minaj: My Truth is a three-part special of never-before-seen footage of Nicki Minaj in her personal and professional life. Part 1 of the trilogy will premiere on E! on Sunday November 4, 2012 at 10:30pm EST. The following two episodes will air the following two Sundays (November 11 and November 18, 2012). In the documentary we discover that The rumor was confirmed by E! on September 28. E! confirmed that the Young Money rapper is set to appear in three specials on the network beginning in November.[3] This is hardly the first time Minaj has been the subject of a special of this nature. Back in 2010, she let MTV cameras into her life for "My Time Now." On October 28, 2012, a fan asked Nicki on Twitter if My Truth will be My Time Now on steriods, she replied by saying, "yes babe". It has been revealed that we will see some studio footage of The Re-Up, Nicki's house, and her without makeup on. We won't see her real hair though. The magazine also goes to continue what  the genres in documenteries include and how they have kept up with the audience’s pace of changing and such to fit in the audiences desires. 1. Poetic documentaries, which first appeared in the 1920’s, were a sort of reaction against both the content and the rapidly crystallizing grammar of the early fiction film. The poetic mode moved away from continuity editing and instead organized images of the material world by means of associations and patterns, both in terms of time and space. Well-rounded characters—’life-like people’—were absent; instead, people appeared in these films as entities, just like any other, that are found in the material world. The films were fragmentary, impressionistic, lyrical. Their disruption of the coherence of time and space—a coherence favored by the fiction films of the day—can also be seen as an element of the modernist counter-model of cinematic narrative. The ‘real world’—Nichols calls it the “historical world”—was broken up into fragments and aesthetically reconstituted using film form.

Examples: Joris Ivens’ Rain (1928), whose subject is a passing summer shower over Amsterdam; Laszlo Moholy-Nagy’s Play of Light: Black, White, Grey (1930), in which he films one of his own kinetic sculptures, emphasizing not the sculpture itself but the play of light around it; Oskar Fischinger’s abstract animated films; Francis Thompson’s N.Y., N.Y. (1957), a city symphony film; Chris Marker’s Sans Soleil (1982).

2. Expository documentaries speak directly to the viewer, often in the form of an authoritative commentary employing voiceover or titles, proposing a strong argument and point of view. These films are rhetorical, and try to persuade the viewer. (They may use a rich and sonorous male voice.) The (voice-of-God) commentary often sounds ‘objective’ and omniscient. Images are often not paramount; they exist to advance the argument. The rhetoric insistently presses upon us to read the images in a certain fashion. Historical documentaries in this mode deliver an unproblematic and ‘objective’ account and interpretation of past events.

3. Observational documentaries attempt to simply and spontaneously observe lived life with a minimum of intervention. Filmmakers who worked in this sub-genre often saw the poetic mode as too abstract and the expository mode as too didactic. The first observational docs date back to the 1960’s; the technological developments which made them possible include mobile lighweight cameras and portable sound recording equipment for synchronized sound. Often, this mode of film eschewed voice-over commentary, post-synchronized dialogue and music, or re-enactments. The films aimed for immediacy, intimacy, and revelation of individual human character in ordinary life situations.

4. Participatory documentaries believe that it is impossible for the act of filmmaking to not influence or alter the events being filmed. What these films do is emulate the approach of the anthropologist: participant-observation. Not only is the filmmaker part of the film, we also get a sense of how situations in the film are affected or altered by her presence. Nichols: “The filmmaker steps out from behind the cloak of voice-over commentary, steps away from poetic meditation, steps down from a fly-on-the-wall perch, and becomes a social actor (almost) like any other. (Almost like any other because the filmmaker retains the camera, and with it, a certain degree of potential power and control over events.)” The encounter between filmmaker and subject becomes a critical element of the film. Rouch and Morin named the approach cinéma vérité, translating Dziga Vertov’s kinopravda into French; the “truth” refers to the truth of the encounter rather than some absolute truth.

Examples: Vertov’s The Man with a Movie Camera (1929); Rouch and Morin’s Chronicle of a Summer (1960); Ross McElwee’s Sherman’s March (1985); Nick Broomfield’s films. I suspect Michael Moore’s films would also belong here, although they have a strong ‘expository’ bent as well.

5. Reflexive documentaries don’t see themselves as a transparent window on the world; instead they draw attention to their own constructedness, and the fact that they are representations. How does the world get represented by documentary films? This question is central to this sub-genre of films. They prompt us to “question the authenticity of documentary in general.” It is the most self-conscious of all the modes, and is highly skeptical of ‘realism.’ It may use Brechtian alienation strategies to jar us, in order to ‘defamiliarize’ what we are seeing and how we are seeing it.

6. Performative documentaries stress subjective experience and emotional response to the world. They are strongly personal, unconventional, perhaps poetic and/or experimental, and might include hypothetical enactments of events designed to make us experience what it might be like for us to possess a certain specific perspective on the world that is not our own, e.g. that of black, gay men in Marlon Riggs’s Tongues Untied (1989) or Jenny Livingston’s Paris Is Burning (1991). This sub-genre might also lend itself to certain groups (e.g. women, ethnic minorities, gays and lesbians, etc) to ‘speak about themselves.’ Often, a battery of techniques, many borrowed from fiction or avant-garde films, are used. Performative docs often link up personal accounts or experiences with larger political or historical realities.

Americans increasingly follow midterms using social media and mobile

This article focuses on how many Americans were able to to vote during social media on mobile phones. In an election where virtually all the candidates are using Twitter, Facebook, Instagram and other social media. This has put many Americans in advantage as it was a quicker process for them to vote. Feeling more personally connected to political candidates or groups was a “major reason” why 35% of respondents said they follow political figures on social media, little changed from the 36% who cited this as a major factor in 2010.

I personally think that mobile phones and social sites have obviously made it a lot easier for people to vote and this is an advantage when this issue is looked at politically as more people vote so it becomes much more realistic in terms of who wins the elections.  Also, as said in the article they feel more ‘connected’ which is a great advantage. 

News values has it happened recently?

Immediacy is more important than ever due to news breaking on Twitter or elsewhere online. However, this in turn changes the approach of other news sources such as newspapers as the news will probably already be broken so different angles might be required. Newspapers now contain more comment or opinion rather than the breaking story.

Familiarity: is it culturally close to us in Britain?

This is very important due to the decline in news papers.People are only willing to pay for something that will effect them.

Amplitude:is it a big event or one which involves large numbers of people?
 People would only be willing to be paying for a story that would affect them so journalists need to try hard to find stories that effect the citizens.

Frequency: did the event happen fairly quickly?
People are most likely to be purchasing news papers if what the events that took place are shocking. If an event has taken place before, people are less likely to pay for it.

Ambiguity: is it clear and definite?
News papers articles need to make sure that the stories in the news are explained properly this is because when people receive news from social websites they try to look for clarity. 

Predictability did we expect it to happen?

Audiences are most like to pay for something that they didn't predict to be on the news. For example, the plane that went missing. There was a lot people that purchased news papers just to see what the fuss was about. 

Surprise is it a rare or unexpected event?

With social rumours that tend to spread faster these days, people are less likely to be shocked to see surprising stories on the news.

Continuity has this story already been defined as news?

Journalists also need to make sure that the stories that appear are not just an event that is repetitive. This is because people are less likely to buy news paper to read about what they've previously read. 

Elite nation which country has the event happened in? Does the story concern well-known people?

News paper stories are most likely to cover a less important story if an important person or a celebrity is involved. If someone who was less known had something important happening to them, they would less likely get covering. 

Negativity is it bad news?

News papers are most likely to cover stories with bad news. This because people are most likely to buy news paper if they hear rumours about something negative happening rather than something good. News industries feed of negative news. 

Balance the story may be selected to balance other news, such as a human survival story to balance a number of stories concerning death.

Due to social websites, institutions have to adapt stories to fit in the audiences interest or else they risk in a bigger decline.