Evaluation

Based on the paucity of research on cosplay, I wanted to learn more about cosplayers, how often they cosplay the amount of time and money they devote to preparing for cosplaying, as well as their psychological motivations and experiences. Additionally, because some cosplay includes masks, helmets, and other props that disguise the face, we were curious to understand how covering one’s face during cosplay affects the sense of self. Whereas we had no hypotheses at the outset about the demographic of cosplayers or their cosplay behaviour, based on previous research on mask-wearing we hypothesized that wearing a mask while cosplaying would lead cosplayers to feel less like themselves, as have participants in previous research that didn’t involve cosplayers. Research Project In orders to explore shared characteristics among cosplayers, we developed a survey of self-report items spanning demographic, behavioural, psychological, and social questions. The final survey, included 20- 25 items (depending on whether certain questions were answered 'yes' or 'no') and the results described below were analysed from responses between 13 Febuary 2016 and 27 April 2016; no additional respondents went to the website and completed the survey and so the survey was considered 'closed' at that date. The people included gender, age of respondent, and ethnicity. Behavioural questions included age of first cosplay, number of times cosplayed each year, number of hours preparing costumes, and the average amount of money spent on costumes. Psychological questions included the reasons respondent chooses to cosplay, reasons respondent chooses a particular costume/character, and the impact of mask-wearing on self-awareness. Finally, social questions about cosplay included multiple-choice items querying whether respondent cosplayed alone or with others.

Survey respondents were recruited via the internet, including social networks (Facebook), blogs and micro-blogs (Twitter). So, participants were considered eligible if they self-labelled as a cosplayer, spoke English, and had access to the Internet. A total of 198 participants responded and were included in the analysis. Sixty-five percent of the sample identified as female. The average age of participants was 28.4 years old with an age range of 15-50.

Table 2 ( In sketch book) According to the survey, the majority of respondents spend between £100.00-£399.00 per costume (30% reported between £100.00-£199.00 and 24% reported between £200.00- £399.00 per costume). Nine percent of respondents reported spending £0-£50.00, 16% of respondents reported spending £51.00-£99.00, and 13% of respondents reported spending over £400.00 per costume. Eighty-two percent of respondents reported that they construct their own costumes.

The total time spent preparing costumes varied between 1 to 450 hours (based on 112 respondents). The average time spent preparing a costume was 44.16 hours. Each respondent was asked to answer questions about their 'most time-intensive costume'. According to responses, these types of costumes took an average of 133.58 hours (based on 118 respondents). The most recent time-intensive costume took 47.3 hours on average (based on 128 respondents).

Psychological Aspects of Cosplay

Respondents were asked to rank order their reasons for cosplaying. Unfortunately, the hosting software for the survey allowed respondents to rate more than one choice as #1. As noted in Table 3(in sketch book ), 'Fun' was the most endorsed top reason why respondents cosplay, with 101 respondents rating it their top choice. Next was 'Because I like the character', with 78 'top choice' endorsements, followed in popularity by 'A vehicle for creative expression', endorsed by 73 respondents as their top choice. Additional information can be found in Table 3( in sketch book ). 

Social Aspects of Cosplay

 Only 7% of respondents had never cosplayed with other people, with the most frequently endorsed option begin cosplaying with others 2-5 times per year (48% of respondents, N=86; see Table 7 for additional information in book )

This study provides information on a sample of cosplayers. For the majority of our respondents, cosplay represents a significant commitment in time (cosplaying three or more times per year and spending an average of 40 hours preparing each costume), and a non-trivial outlay of money (at least £100 per costume). Although the most popular #1 motivation for cosplaying was “fun,” the next top-ranked reason was because I liked the character'.

Responses to the question about the reasons for the choice of character illuminate the importance of the relationship between the cosplayer and the character: The top three out of four reasons (see Table 4 in sketch book ) were identification with some aspect of the character: its psychological characteristics, some aspect of the character’s history, or the character’s physical appearance.

Maybe that is true for cosplayers and the characters they portray: Some similarity between the cosplayer and character increases identification, which in turn increases liking and a desire to be it temporarily that character. First, we found that different respondents had different experiences of themselves when masked—there was no consistent pattern of their responses (see Table 5 in book ). One explanation for this result is that their experience of being masked Is dependent on the specific masked costume.

In addition, whereas past research found that masked participants felt less self-aware while masked, the majority of our respondents felt no difference in self-awareness when masked. Also some of our respondents felt more aware. An equal number felt less aware. This difference makes sense in that cosplayers’ motivations for masking are different from that of participants in earlier studies who were asked to mask as part of a laboratory experiment. Why there is variation among cosplayers is unclear. The fact that a subset of cosplayers felt more self-aware when masked (Table 6 in book ), and felt more like themselves (Table 5 in book) can be explained by a ironic effect that masking may have for some people: The anonymity that comes with masking may, ironically, allow a subgroup of cosplayers to more feel “unmasked” and liberated from their everyday appearance, allowing their true “inner” self to feel more prominent.

Expressions of Fandom: Findings from a Psychological Survey of Cosplay and Costume Wear

While researching the Psychological effects of cosplay I stumbled upon this artical on how Robin S. Rosenberg and Andrea M. Letamendi in america studded on how a person feels in and out of costume and reading there findings gave me more of an insight onto how cosplay is just plain fun and has actual negative effects or bad psychological repercussions . the question of if kid or adults should do it is no seeming more of a byass question as most people who would ask this must of never done it themselves or gone to a convention.
As for the cost of cosplay if you want to go out looking good wouldn't it be expensive you don't see people judging others over £500 Jordans or £60 t-shirts. so when a cosplayer pays £100 on an outfit it because they love that character enough and want to look as authentic and amazing as possible which is always the result when i see them at conventions.

Below is an example of a response that demonstrates how features such as independence, self-reliance, and physical appearance inspired a cosplayer to embody that character of Wonder Woman.

"It's a character I have always loved and been inspired by. Wonder Woman was a beautiful princess, but strong and independent. She took care of herself and everyone she cared about, and didn't need a prince to rescue her. Those were important qualities to me growing up in an all-woman household, just like the Amazons on Themiscrya. It didn't hurt that we were all brunettes over 5'7" either! In Wonder Woman I saw the best qualities of my mother, and the type of woman I wanted my sister and I to become. I've always idolized her from childhood and wanted to "be" her when I grew up."

This information was very important and made me feel a way that every time id try find some negatives about cosplay its like i was looking for a needle in a hay-stake which is brilliant and just makes me love cosplay much more as a fan , now it just make me want to take care in my preparations for upcoming Comic Cons.

Finding the right Angles and lighting

During filming it was annoying finding a good location to do interviews in most of the time it was raining and other times locations outside were awful with lighting and background.
Ryan's interview was held at level 2 where it was quite enough for sound to be picked up and not full of obstacle that would make the environment a hassle when filming.

His and gestures were very sharp and got more effective as he spoke more intensely about his own passionate views on cosplay. which was quite funny to capture and hard  not to avoid.

The position of the camera I chose was a standard direction that I then chose to play with after the interview was over to do some random angles . I noticed he used a lot of hand gestures and his body motion was interesting, so that is when I took the camera and filmed around his body.  





For jamals shoot  I wanted him to be in an open environment and lucky on this good day the sun decided to come out and there was no rain , so I took this opportunity to bring him outside for his interview. it was a beautiful day with wonderful lighting.
The only sad thing about this day was at the end of shooting we found out the the sound was not rerecording and made it pretty much use less but I couldn't waste these shots so I added it in to our over all film.  


When filming these girls we had to relocate instantly as the lightning in raves building was awful for a quick interview.


So i dragged them outside to film them , but soon after it started to rain, but we recorded enough and i asked enough questions to help the film.




Sadly when interviewing Rosa I didn't plan a location for us to interview , but it was still fun and insightful to hear her opinion on people on cosplay, which was very cool and passionate.

Which helped alot with my overall evaluation on what cosplay means to people.

Real Super-Heros

Phoenix Jones (born Benjamin John Francis Fodor, 1988 in Texas) is an American real-life superhero and the leader of the Rain City Superhero Movement, a Seattle, Washington based citizen patrol group that describes itself as a crime prevention brigade. Initially wearing a ski mask to intervene in a public assault, Fodor later developed a full costume and adopted "Phoenix Jones" as a pseudonym.

Jones says the best way to prevent getting mistaken for a criminal by the police is to wear a "supersuit", although local police have expressed concern that the strange costumes may lead to emergency calls from citizens who mistake the "superheroes" for criminals. Jones says that all members of the Rain City Superhero Movement have a military or mixed martial arts background.

Jones is also a mixed martial artist signed to World Series of Fighting, where he has fought at two catchweights, and the brother of UFC, Strikeforce and ONE Championship fighter Caros Fodor.

Jones says he wanted to take policing matters into his own hands after a few incidents changed his mind about Seattle. The first was when Jones says that his car was broken into and his son was injured after returning to the vehicle and falling on the broken glass. Jones was told that several people saw the break-in happen, but did not intervene. Later, Jones says that he encountered a friend being seriously assaulted outside a bar, and after calling 911 he put on the mask from the earlier break-in and "made a commotion" until the police showed up. "And I thought, why didn’t someone help him? There were seventy people outside that bar and no one did anything."

Jones went on to develop a full costume and pseudonym, when his crime-fighting behavior made him too recognizable. In a CBS news broadcast, Jones is shown entering a back room of an unnamed comic book store in which he changes into costume which consists of a Dragon Skin brand bulletproof vest and stab plating, as well as equipment including a stun baton, pepper spray or tear gas, handcuffs and a first aid kit.

On Sunday, January 2, 2011, in Lynnwood, Phoenix Jones stopped and chased away a car thief as the car owner (who asked to be identified only as "Dan") stood by in shock as Jones ran into action. CBS News introduced Dan and Phoenix Jones to one another the following Monday evening. Dan proceeded to thank Jones numerous times while later talking about Phoenix's gear.


Understanding his resolve and why he chose to become a real life super hero. he had me wondering if more people would at least help each other more and be mini heroes without costumes phoenix Jones wouldn't look so strange as some people say. To me he seems like an amazing role model for his kid and others as he represents justice and having the courage and knowing the right thing to do in helping those in need. and not to ignore crimes that take place so casually in the world.

The History Of Comic Con

Comic-Con International: San Diego

Comic-Con International: San Diego began in 1970 when a group of comics, movie, and science fiction fans -- including the late Shel Dorf, Ken Krueger, and Richard Alf -- banded together to put on the first comic book convention in southern California. Comic-Con started as a one-day “minicon,” called San Diego’s Golden State Comic-Minicon, on March 21, 1970 at the U.S. Grant Hotel in downtown San Diego. The purpose of this single-day event—which included two special guests, Forrest J Ackerman and Mike Royer, and drew about 100 attendees—was to raise funds and generate interest for a larger convention. The success of the minicon led to the first full-fledged, three-day San Diego Comic-Con (called San Diego’s Golden State Comic-Con), held August 1–3, 1970, at the U.S. Grant Hotel, with guests Ray Bradbury, Jack Kirby, and A. E. van Vogt. Over 300 attendees packed into the hotel’s basement for that groundbreaking event, which featured a dealers’ room, programs and panels, film screenings, and more: essentially, the model for every comic book convention to follow.

From the beginning, the founders of the show set out to include not only the comic books they loved
, but also other aspects of the popular arts that they enjoyed and felt deserved wider recognition, including films and science fiction/fantasy literature. After one more name change (San Diego’s West Coast Comic Convention, in 1972), the show officially became the San Diego Comic-Con (SDCC) in 1973 with the fourth annual event. In 1995, the non
-profit event changed its name to Comic-Con International: San Diego (CCI).

The show's main home in the 1970s was the fondly remembered El Cortez Hotel in downtown San Diego. In 1979
, Comic-Con moved to the Convention and Performing Arts Center (CPAC), and stayed there until 1991, when the new San Diego Convention Center opened. Comic-Con has been at home in that facility for over two decades.

With attendance topping 130,000 in recent years—in a convention center facility that has maxed out in space—the event has grown to include satellite locations, including local hotels and outdoor parks. Programming events, games, anime, the Comic-Con International Independent Film Festival
, and the Eisner Awards all take place outside of the Convention Center, creating a campus-type feel for the convention in downtown San Diego.

Over the years, Comic-Con has become the focal point for the world of comics conventions. The event continues to offer the complete convention experience: a giant Exhibit Hall (topping over 460,000 square feet in its current incarnation); a massive programming schedule (close to 700 separate events in 2014), featuring comics and all aspects of the popular arts, including hands-on workshops and educational and academic programming such as the Comics Arts Conference; anime and film screenings (including a separate film festival); games; the Will Eisner Comic Industry Awards, the “Oscars” of the comics industry; a Masquerade costume competition with prizes and trophies; an Autograph Area; an Art Show; and Portfolio Reviews, bringing together aspiring artists with major companies.

Comic-Con has presented literally thousands of special guests at its conventions over the years, bringing comics creators science fiction and fantasy authors film and television directors, producers, and writersand creators from all aspects of the popular arts together with their fans for a fun and often times candid discussion of various art forms. The event has seen an amazing array of comics and book publishers in its Exhibit Hall over the years. Over it’s four
and-a-half decade-plus history, Comic-Con International has continually presented comic books and comic art to a growing audience. That love of the comics medium continues to be its guiding factor as the event moves toward its second half-century as the premier comic book and popular arts style convention in the world.

Cosplayer At Home

An idea would of been to have a cosplayer dress up wile i film them in there houses and frame the interview like the artist photos . sadly there was noone i knew who i could film in their house hold like this. and most people who cosplay were only going to do it at this years london comic con.

 It would be reasonable to assume the people depicted in these portraits are wearing Halloween costumes, but they’re not. In his ongoing series of portraits titled Just the Two of Us, photographer Klaus Pitchler gained access to the homes of Austrian costume play (cosplay) enthusiasts where he photographed the elaborately costumed individuals against the backdrops of their everyday life. Via his artist statement:

"Who hasn’t had the desire just to be someone else for awhile? Dressing up is a way of creating an alter ego and a second skin which one’s behaviour can be adjusted to. Regardless of the motivating factors which cause somebody to acquire a costume, the main principle remains the same: the civilian steps behind the mask and turns into somebody else. ’Just the Two of Us’ deals with both: the costumes and the people behind them."

While the costumes are incredible, terrifying, and laughable, it’s the strange juxtaposition of ordinary home life and the unknown identities of each individual that create such great images.
these images have given me ideas of how to frame some of my interviews and cutaways shots.

Interview questions

Do you know what cosplay is?
Have you ever been to a convention? If yes who did you go as and did you go in a group?  
Would you cosplay?,  if yes how much would you spend?
Do you know someone that cosplay? 
Would you feel comfortable out in public in your chosen outfit? 
Do you think the person you know who cosplays is comfortable in public? 
Would you think cosplay is childish? ,  why / why not? 
Why do you think other people would agree with you? 
How serious would you take your cosplay,  at the end of the day are you still YOU or are you you're CHARECTER? 

these questions will be the final collection. for my interviews for my film . these questions will be asked by the public and casual gammers and social friends and family. 

this will further help my development of my final recordings. 

also it may answer my evaluation questions in my scketch book.