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This interview uses the master scene method using the transition of shot-revert shot, between the interviewer and the drag queen himself, an element I really enjoyed was the fact that the drag continued to wear the makeup and the outfit within the interview which is something I believe I will implement in my documentary, as it sets the tone for the documentary and what it is about.  

Due to the different backgrounds, mise en scene and connection we can see that this interview has been done over a video call, which could be due to Covid-19 restrictions. The interviewer has a neutral plain light yellow background with an image of a drag queen behind him on the wall, whereas the drag queen has a strong neutral background of white with nothing placed behind, which emphasises the drag queens radical green outfit, with a matching wig and turquoise eyeshadow elevated by over the top eyelash extensions which establish the dragqueen look.Through the audio minor delay and bad quality we as viewers can tell that this is an interview done over video call. 

The diegetic sound between the contributor, is that of which the contributor asks questions and the contributor (the drag queen) answers them. 

The interview uses vertical 3 section swip transitions to present a stock photograph that represents the moment that the interviewer is referring to to give the audience some guidance on the conversation and the direction that it is going in. In this case the editor used a post production image from their stock from another video that depicts the contributor with her sister that relates to the topic of conversation. The transition is very rapid and helps with the continuinuity of the documentary. 

Multiple external videos and images are used in the documentary as references to the dopic beind discussed. These two mid-shots display the image of what is presented including a pan from left to right displaying the contributor in a music video, that has non-diegetic music from the video accompanying it. The stock image and video is displayed using a jump cut transition. 

A separate drag contributor is introduced, she/he is presented to be in a drag changing room presented by the mise-en-scene that includes fabrics a maniquin and bright vibrant colours that represent the life of drag. The second contributor sticks to the convention of the primary interviewer by also wearing the drag outfits and the overexaggerated make-up and blonde wig. The second contributor comes into shot with a jump cut and is presented in a central position using a mid-shot.  

 

Second hand videos are continued to be used throughout the documentary including some of the performances that the contributor was a part of, in the video the audio becomes non-diegetic as the contributor starts to narrate over the top of the video being portrayed, with a very small section of the video presenting the music audio of the performance which would be non-diegetic, the transition uses the same vertical three section swips and establishes an establishing shot of the performance of the contributor which invest the audience in the documentary as we are presented with an idea of what he/she job may be like and what the contributor does.

Cross-media convergence is presented within the documentary presenting the contributor on the front cover of magazines discussing the proper ganda that exists within the subject of drag in the interview. Here we can see one of the headlines of the magazines that exists on the subject presenting a photo of the contributor on the left hand side. The same transition vertical swip transition is used.