Research: Short Film Analysis: The Anti-Social Network

Plot/ Narrative

In this comedic short film we are introduced to a man, addicted to using the social media site, Facebook. Throughout the entirety of the film graphics have been used to convey this obsession e.g. likes, relationship status, decline an event etc. This gives the impression that this character sees the 'real' world as a mass media media site. As the story develops the guy meets a woman he seems to like although we can't exactly tell if he genuinely likes her as his obsession masks this. He gets a wake up call when the woman tells him that he's being an idiot because he cares more about popularity than real people. By the end of the film Facebook has been removed, leaving the character to begin interacting in a 'normal way' and he gets back with the girl. Right at the end though he asks if she has Twitter which leaves us screaming at this frustrating character to just shut up and 'get a life'.

Characters

In a film the first character we're likely to be introduced to is the main character/ protagonist. Conforming to such conventions, the first character we see in this film is the main male character, Lucas. To the right is a medium shot of him lying in bed. Below this is a shallow focus medium shot of the guy's hand hovering beside his phone. Here, we can establish that from the casual clothing and very basic bedding the character is moderately wealthy, neither rich nor poor. By using the shot of the phone it suggests the character has some dependence on looking at his phone, most probably due to his addiction to social media. Back to the medium shot above, we can just about see that the man is in a double bed, however alone,informing us that he's single. The comical theme of this film is introduced even at the start as we can see that in the background is a small kitten. Stereotypically, old, single women are associated with having cats so it is humorous that a man mid-thirties should live a single life in the same way.

Another significant character, essential to the plot is Layla. Here the close up shot shows that she's wearing a maroon/dark pink top typically worn for social occasions. It looks as if she is wearing hoop earrings and clearly lots of make-up. This tells us she cares about what she looks like, thus we get the reading she is a very feminine woman. From the way she is dressed in the bar tells us she has come to the venue to socialise and essentially 'have a good time'.

In the medium close up shot on the left is Lucas' boss. We can tell he is the boss from the way a low angle shot has been used to emphasise his status. Moreover the character is dressed in a jacket, shirt and tie (suit) which connotes power and professionalism. This strengthens the reading that his role is a position of authority.




Camera Shot/ Angles/ Movement

At the very beginning of the film is a graphic of a moving Facebook status box which fades in from black. This provides the focus/ plot of the film, just as a preamble does for a novel. In the box it reads 'Addiction', followed by a definition. Immediately we are given the reading that this film is about obsession with the social media site, Facebook.

In a number of other shots the film uses these same 'graphics' to resemble the icons used on Facebook.  This helps to reinforce the fact that the story is based around an addiction to Facebook. If we look closely at the branded items we see the 'like' icon is above the jar of Vegemite. Not only does this inform us of Lucas' food preference but it tells us that this film is set in Australia.

In the medium long shot of 4 stock characters, another 'graphic' has been used to mimic 'tagging' on Facebook. By using the arrangement of graphics seen in this film it's easy to get the reading that the main character, Lucas, sees the real world as if it's a virtual world, similar to Facebook. This impression is validated further when an employee asks Lucas if he will go to an event to which Lucas immediately responds with 'Decline'- a piece of lexis from the semantic field of Facebook. The point-of-view-shot shakes also,suggesting that we, as an audience, are seeing through Lucas' eyes.

I chose to also feature the slightly low angle medium long shot of Lucas and Layla to demonstrate that this film uses a variety of camera shots, angles and movement, not just using a variety of special effects to create an effective and believable film.

Editing

The effect of the worm's eye shot here is slightly disorientating, used therefore to match Lucas' ever more drunken state. I've chosen to feature this shot in the editing element of this analysis because of the graphic running at the side of the quick cuts. Along the side, like a timeline, is a list of comments made by Lucas throughout the night, implying that while drunk, he's even more addicted to sharing his thoughts and feelings on social media and thus his behaviour is worse. It also establishes the fact Lucas is unable to stop using Facebook.

Another shot that has been edited is this close up shot which you can see is in soft focus, used to make the shot look like a mirage when in fact it informs us that Lucas is having a dream. The camera pans to the left showing that beside Lucas is Layla. Having had the reading that this is a dream, dramatic irony is created because we can use the fact it's a dream to show that in fact he is alone, not with Layla. The image then blurs to something similar to graphic match where Layla is replaced with Lucas' phone. This is humorous but also sad as it implies that the only love in Lucas' life is Facebook. So whilst in the majority of the film we think of him with distaste we also feel sorry for him, particularly during scene.

Another salient example of editing techniques includes this long shot in which the footage has been sped up. What we see is the busy street, flocked with people and vehicles moving fast, and yet Lucas remains virtually motionless, looking at his phone. The implication of this is that he spends hours on the social networking site and thus this reinforces his addiction/obsession.

During the office scene a flashback is used for dramatic effect since it cuts to show that Lucas wasn't really busy working when he told his boss he was. This creates comedy for the audience, because some members of the audience can relate to this situation.

Sound

The most iconic sounds in this film are the diegetic sound effects associated with computers and Facebook. For example, clicking and notifications. Uplifting music is the general score of the film, which is used to reflect the optimism and euphoria Lucas seems to be feeling. When it comes to office scene a sound bridge is used to carry over the music which then fades out so all we hear is the dialogue and diegetic sounds of telephones ringing (typical of office environments). Entertaining music plays in the background of a flashback also, signifying the character's blatant idiocy for procrastinating in the way he has.

Other sounds we hear include diegetic music for the club, the diegetic sound of people in the restaurant and ambient sounds such as birds and the sound of the water towards the end of the film. All sounds have been used with the purpose of sustaining the realism of the film.

Lighting

Unlike dark, horror or Sci-Fi films, the lighting for this film is typically high key lighting. No filter is obviously used because a foreboding and ominous mood doesn't need to be created. The use of high key lighting nevertheless sets up a positive mood/ atmosphere for the film.

Typography

The typography for the title is definitely one of the best examples of short film titles to have been made, explicitly linking in with the story. The typography font and colour scheme have been created to look like the Facebook logo. Like many of the graphics and use of edits and shots where we see Lucas with his phone, the title validates our reading that the film is based on an addiction to Facebook. In the background of the title is his arms, beside which is his phone. We can also see a kitten which is stereotypically unusual as typically a single man would have a dog as a pet (if any). Once the title cuts in, low-volume non-diegetic music plays in the background, setting us up for the opening of the film.

Typical of social media conventions, a hashtag  is used to signify the end of the film. Alongside this cut in, is a non-diegetic sound effect which is abrupt and striking, used for dramatic effect. Following on from this are the remaining credits which cut in and out along with upbeat, cheerful non-diegetic music. This provides the final implication that the relationship between Layla and Lucas will remain happy or at least no trouble will come to the characters.

Research: Short Film Analysis: Proximity

Plot/ Narrative

Suddenly found captured, the protagonist of this story escapes from 2 antagonists, aware of the fact he must stay as close as possible with another man otherwise the 'sensor' on his leg will blare red and his leg will be blown off. In this film the protagonist fights to stay alive: violence is a very prominent element of the film. Finally at the end of the film we are left asking more questions than answered when we see the protagonist has now become one of the antagonists. This provides the plot twist which helps to sustain the audience's attention. Yet at the last moment the character turns out to be good again. It's very confusing and leaves the audience wondering what the plot can really be. Despite the confounding nature of this film's plot it's a very well-thought out and constructed piece of film that is conceivably realistic and therefore effective.

Characters

Some of the most prominent characters in this short consist of 1 stock character, the protagonist and 2 antagonists. In the shots on the right are the two antagonists. Both wear the same clothes: khaki trousers and a black top. This helps them to blend in with the scenery which gives us the reading that the two characters intend to stay hidden from someone/something. In both shots we can see a hunting rifle, an icon of violence and power. Paired with the knowledge that these 2 men captured several other men we can assume that the antagonists plan on hunting the stock characters and protagonist.

As for the protagonist, we can see from the deep focus middle shot that he is wearing a white top with lighter khaki-coloured trousers. The top has mud stained into it, suggesting that in the character's capture there was a struggle. Surprisingly enough, the man's hair is neat and the make-up is made to resemble unblemished skin. While this could imply the kidnap happened only recently, all of the stock characters have a beard suggesting that actually they may have been abducted for at least more than a few weeks. What's really intriguing about this short is how the director/producer has used the colour of the characters' tops to give the audience the correct reading for who are the protagonists and who are the antagonists e.g. white has connotations of innocence, purity and goodness, whilst black connotes sin, darkness and evil.

Although there are several stock characters we could comment on, one of the most significant characters is the man with the sensor that's connected to the protagonist's sensor. In this shallow focus close up shot we can already see that the stock character is wearing the same top as the protagonist, informing us that this character is a 'good' one. After a struggle from the protagonist it's clear why we might see the faint traces of mud on his face. We can also see blood running down the side of his head (giving us the reading that to be captured he had to be knocked out- implying he is a strong character and was was ready to fight when he was captured).

Camera Shot/ Angles/ Movement

The use of camera movement is exceptionally good, particularly most effective in the fight scenes. Fundamentally this film uses each movement, angle and shot to convey importance. For example, at the start you can find a close up shot of the mens' tied hands, immediately telling us that these men have been captured. Another close up shot shows the 'sensor' during the fight scene, used as a way of creating tension and suspense, when  we see the two men moving further from it; thus the quick cuts between fighting and the close up of the 'sensor' helps to engage the audience's attention instantly. 

Shot-reverse-shot

Shot-reverse-shot

Another powerful example of camera shot, angle and movement is the use of shot-reverse-shot in these 2, deep focus, middle close up shots of the protagonist and stock character. The top shot is an over-the-shoulder-shot however we can see that in the second shot the angle is lower which is used to show that at this moment in time the stock character is indomitable compared to the protagonist who tries to subdue the character's wary nature. Gradually as the two characters exchange dialogue close up shots are used to show the conversation between the characters. Eye-line match is also interjected into the scene as the protagonist points towards the 'sensor' on the stock character's leg. This creates continuity, thus developing a realistic narrative that will allow the audience to connect with the film and feel as if they are part of the chilling plot.

Extra long shot pans down

In the fighting scenes we the camera moves about the most excessively, mimicking the falls and rises of the characters bodies as they struggle to kill one another. You'll notice that lots of close up and middle shots have been used when panning and tracking the characters' movements (captured quickly enough to emphasise the violence of the fight). Not only does the camera follow the movements but it also shakes to give the impression that we are in a fight ourselves, meaning we can understand the characters' difficulty in winning the fight.

A final shot to note about is this long shot of the landscape which moves ever so slightly so the light seems to fade from our view. I think it's important to note this shot because it happens just after the main fight scene. Juxtaposed with the previous violence, this tranquil image creates the impression that peace and relief can now be achieved, after all the antagonists are dead. Right? It's with the use of shots like this towards the end of the film that confound us when we reach the final scene in which the man is now in the position of an antagonist.

Editing

The editing of this film is clean and precise and with the interchange of quick cuts the short has been able achieve the impact it deserves. Along with this we also find jump cuts such as when the protagonist goes from picking up the main stock character to suddenly running through the forest. By using so many quick cuts the film seems to be happening very fast, leaving us trying to keep up with what's happening, just as the protagonist must be feeling. This is particularly interesting since it shows me how using quick cuts will build pace for my film and hopefully get the audience to connect with my characters.

Sound

Throughout the film we hear a variety of sounds, from the use of non-diegetic, incidental music to diegetic sound effects. The score adopts an extensive range of tense, dramatic, tracks which build suspense for the audience. We find this in many scenes such as when the man is running through the forest (which is erratic and intense). You'll also find ominous and foreboding music such as when the film begins which instantly gives the reading that this film has negative ideas connected with it. A convention of fight scenes, conformed to by this short, is the use of violent music in the background, paired with the diegetic sound of punches

One of the most effectual uses of sound is when the protagonist is running through the forest (in which rapid, harsh non-diegetic music plays) which is cut to a shot of one of the antagonists at which point the music is quiet, yet low and disquieting. When the shot cuts back to the protagonist the music changes slightly, of a considerably lower volume. However much of this sound is masked by the diegetic sound of heavy breathing and footsteps. Following this, the ambient sound of an eagle flying over near-by is audible. This holds the suspense and raises unease for the audience.

The diegetic sound of the 'sensor' is noteworthy, as the plot essentially revolves around the device. It's also used to hint at what may happen next in the film e.g. when the protagonist runs after the character his 'sensor' is connected to it suddenly becomes red but reaches amber/yellow quickly, implying the character is not far away. All of a sudden the light turns green and immediately the protagonist is in a fight to the death with the stock character.

Some notes I made on the film's sound include:

• High pitched diegetic music when the stock character is about to die
• The music stops as soon as the man is knocked out dead
• When we see one of the antagonists come running, looking for the protagonist the music intensifies
• Just as we have jump cuts, the music cuts between intense incidental music and the alarming diegetic sound effect of the man hacking at the other character's leg.
• When the 'sensor' comes off the music changes to a more positive, tune, mimicking the protagonist's wonder and mild elation.

In essence, the real effect the use of sound has on our reading is to build suspense and thus grab the audiences' attention.

Lighting

To create an ominous mood/atmosphere this film has made use of a dark filter which gives the audience the reading that this is a dark film which in one way or another, involves death.

Typography

Finally, subverting the convention of films, this short has placed the title at the end with the rest of the credits. In the screenshot on the left we can see that white writing has been used on a black background. With the exception of the letter 'i' all of the letters are upper-case letters. Personally i think it connotes violence and the 'i' is a representation of the protagonist because he is the one person who is fighting back; he is seemingly the only person to have found a way to begin to conquer what's happening in the plot. Behind the text is what looks like snow or ash. The meaning and reason behind using this is just as mystifying to me as any audience member, i'm assured.

As the text seems to zoom out, music very similar to that which can be found on the scores of adventure films is used. It's got a futuristic twist to it also, dramatic and striking but with a touch of uncertainty (if music can be described in such a way).

Research: Short Film Analysis: Agender

Plot/ Narrative 

In this dystopian short movie we find the protagonist, Charlotte, conflicted with emotions in a world where homosexuality is seen as the norm and heterosexuality is seen as something deeply wrong. Men are inferior to women and as a result, they are treated like slaves and like slaves, they receive violence.

This is a well-edited low-budget feature which, in fairness is quite a good film, with a deeply interesting plot, certainly well constructed for a 10 minute movie. However, as a criticism the acting is not great; the script could have also been refined and made a lot more powerful. Take the intro voice-over and the end voice-over which uses rhyme. Often I just wanted to scream out no, don't say that and I found myself huffing in annoyance, waiting for the girl to give a more realistic performance. Where was the emotion? Frankly I couldn't connect with it. I realise that acting timid as she was, was part of the character but on the most part, scenes like when Charlotte couldn't quite believe that the guy might like her, the acting was poor. Despite this, looking at the film just shows me how important casting is for my film in order to grasp the emotion and realism of the story and make it convincing for the audience.

Characters

In this short film we are introduced to 2 main protagonists: a rebellious young girl named Charlotte and young man (whose name we never find out, which in effect helps to highlight the disregard and lack of respect the women have for men). Other than that we meet Charlotte's two mothers and fellow classmates. From the scenes in the classroom we get an idea of the treatment of men from how the one male character in the room is made to serve the female teacher: totally under the teacher's control.


Initially we see a younger version of Charlotte with her mother and this is when we are first introduced to the first parent. In the scene the mother can be seen judging her daughter's actions and as a result, praising her with a look of satisfaction when Charlotte hits the young boy. In the two shots on the right we see that this woman is wearing a khaki coloured vest top, a maroon cardigan and jewellery. It's not clear if she's wearing make-up however the costume, despite the colour of the vest top, are all icons of femininity. However, in these shots we see that her hair is tied back, connoting practicality which conventionally, is a masculine trait. This subverts the feminine stereotype.

However, as we find out later on, this woman is a lesbian. The media stereotypes lesbians to appear 'butch', strong, muscly and have cropped hair. Here we can see that the woman subverts the lesbian stereotype. We can also assume that because of her age she must be a mother. Why? She comes from the house, looking to her daughter for some form of action when she sees the boy going through their rubbish, like a teacher observing students progress to see if they've learnt what's been taught.

Charlotte, as seen in the close up shot on the right, clearly wears a lot of make-up, a symbol of femininity. This tells us that she also cares about what she looks like which is another conventionally feminine value. Considering this is a dystopian/ Sci-Fi film it is typical to find that the main protagonist is female, so in theory we can immediately assume that this is a dystopian film purely based on the fact that the main character is female.

Charlotte's second mother appears to conform to the feminine stereotype, wearing jewellery and what appears to be a floral top. It's also very clear that she is wearing make-up, showing she does value what she looks like. We aren't aware of the fact she is Charlotte's second mother until eye-line-match shows Charlotte looking at a family photo hanging on the wall where all 3 are standing together. Just as with her partner, this character appears very feminine, subverting the lesbian stereotype.

The second most significant character in this short film is the young man. In the medium close up shot on the right we see that he is wearing a dark raincoat, a black top and a hoodie. Conventionally, these are all typical pieces of costume that connote masculinity. The costume also ascribes to the stereotype of a young person. From this we get the reading that this character is a young man, probably suggested to be in his late teens, early twenties and that because the clothes don't look particularly expensive but rather worn out, we get the reading he is on the run, or at least in hiding.

Although minor, we are also introduced to two stock characters who appear to be in a relationship. Both characters are wearing typically very feminine clothes, paired with accessories and hair and make-up which is neat, tidy and attractive. Evidently in this film, the characters subvert the lesbian stereotype which films tend to conventionally portray as having short, cropped hair, masculine clothing and having an all-round 'butch' appearance and personality.

Camera Shot/ Angles/ Movement


This film is a perfect example of the execution of camera movement, camera angles and camera shot. For one there is a lot of tracking, panning and zooming in and out that is used well in the film to lead the audiences' eye past the characters and to see what they are doing. Zooming is also used to convey what the characters are feeling, whether it's anger, or shock,  in which case you would zoom in. We have eye-line match and shot-reverse-shot to establish relationships between the characters and to show the audience that what the characters are looking at is significantly important (e.g. Charlotte as a young girl looking at the boy and the moment Charlotte makes eye-contact with the two classmates whose hands she is staring at).

Another brilliant shot that helps sustain the reality of the narrative is this extreme close up shot (on the left) of the teacher's mouth. By using such a detailed and close shot the director/producer is giving the audience the reading that Charlotte is bothered by what the teacher is saying, suggesting that Charlotte doesn't believe in the way society is run in this dystopian film. This proves crucial to the plot.

Editing

Continuity editing has clearly been used in this film although the narrative structure is non-linear which drops us immediately into the scene, producing the most shock from the audience when we realise how both genders are in a situation of unequal power. As for editing techniques the producer has used fades to white when the title appears, to create the effect that time has passed.

Sound

As with most films, to achieve an effective understanding of the plot and to maintain realism in a film, both diegetic and non-diegetic sounds are used. Agender displays this very well. Incidental music is used when Charlotte is taking food from the fridge, suggesting she is doing something risky. Likewise, any moment where we find tension or trouble about to occur the music intensifies. Incidental music is used a lot in this film, to build suspense and worry for the protagonist. The only light-hearted moment in the film is when uplifting music has been used for the moment when Charlotte and the guy realise that they like each other. It's not just the juxtaposition of music that causes a whiplash of emotions to hurdle our way but the careful fades and cuts of the music. For example, at the end when Charlotte unexpectedly hits the guy the music stops altogether, proving shocking and dramatic.

Lighting

High key lighting has been used here, to ensure the atmosphere and mood isn't ominous, however possibly a blue filter has been used also to create a sort of foreboding atmosphere, implying that the world the characters live in is wrong and unforgiving.

Typography


The film uses formal typography with a black font and white background. From a fade to white, the title dissolves in, floating around the middle of the screen before the text dissolves and the shot cross-dissolves into a close up of the protagonist's face. When we see the title the music gets louder, as if the convention of all movies (either louder background music or a sound motif).  The use of black writing on a white background creates this idea of role reversal because usually it is so common to see films use black background and white writing. By creating this idea, the titles help to inform the audience that the film has something to do with a role reversal, in this case it's power of gender (from when women were once inferior- not any more though). The white also has connotations of being lost and isolated, some of the many themes to cross into the film.

This film, in relation to titles, conforms to the conventions of films, with titles beginning the film and credits for cast at the end. Most credits for short movies are created to look different from how any other film sets them out. In Agender they have used a neat and organised structure which is very appealing. If you notice, some of the text is faded, which suggests that like the way the words are almost incomplete, the world is just as incomplete when there is no fairness and equality in whatever sexual orientation you have. This theory, if the deeper moral meaning of the film, shows us in a unique way that there can be no 'complete' and good world when people are deprived of what they love: in this case, whether they are homosexual or heterosexual.

Research: Short Film Analysis: Identity

Plot/ Narrative

The story behind this short film is based on the idea of identity, hitting hard on the issue faced by many young people and in fact many adults to this day: self-consciousness. Using masks the director of this film has made thoughtful consideration for how to represent this idea of 'the right beauty'. It's also fascinating to see how the producer has developed this film, through using a non-linear narrative where the intro is the end scene. This is then reversed to show what lead the protagonist to the point where she no longer wears her mask.

Characters

A convention of short films is that within the first 30 seconds you are bound to be introduced to the protagonist. This short is no exception.  As soon as the film begins we are immediately introduced to this protagonist. In the medium close up (on the right) the character is located in a bathroom, appearing quite dishevelled. We are given no context and so as we watch this girl, clearly spent but oddly relieved, we are given the reading that something has happened that has in some ways changed her outlook on things. From this moment the scene is replayed backwards.

When time is reversed we find the character sitting alone in a busy school/ college canteen. In her hands is a sketch pad. Most puzzling is why she's wearing a mask. That is until we realise that everyone is wearing a mask, all different colours. In the film most of the stock characters wear the same mask, corresponding to what social group they belong to. As the title implies, this is a film centred around the idea of identity and thus individuality.

In the medium close up shot below several girls are staring up at a poster stating that this is what beauty looks like, it's not about being individual, or having a unique identity ( in other words, a unique and decorative mask, completely atypical to the other masks in the film).

A really powerful element of this film is that there's a close up shot which tracks another stock character walking from a group, wearing a lilac mask. As soon as she nears another group she pulls off the mask, wearing a bright red one. This is a really well-thought, intuitive and powerful piece of footage because it's grasping the reality and idea of people being 'two-faced'. Building characterisation certainly for this stock character, I think the producer/director has intended for the audience to get the reading that the film is addressing the harsh perceptions of people in society e.g. judgemental and malicious behaviour towards others, such as acting like an honest friend when in fact that person is mocking them behind their back.

Camera Shot/ Angles/ Movement 

I really respect this film, and it's certainly commendable of appraisal because of it's high level of professionalism. 'Identity' uses a diverse range of camera shots, angles, movements and editing techniques to bring this story to life and therefore to allow the audience to connect with the main character.

One of the shots I really like is this close up shot where the camera tilts up, showing the character looking at her reflection in the mirror. What's particularly appealing about the shot is the way in which the camera shows the audience both the back of her head and the reflection in the mirror, giving the illusion that we are involved with the scene.

Another shot I thought was worth mentioning is this medium shot which the camera zooms into to focus on the main character. In front of the young adults are small desks. Behind the group is a wall filled which an array of posters and a map of the world. This leads us to understand that the main character is in a school environment; therefore informing us of the film's location.

The camera is also known to track the main character as she walks through the school corridor. One of many gripping and powerful shots, as demonstrated in the shot to the left, is that the producer/director tends to use a lot of close up shots of the main character. In this case we have a shallow focus shot of the side of the girl's face which helps us to see how disconnected this character feels from the rest of society: thus building characterisation. It's also significantly important to note that the teacher doesn't appear to wear a mask. This brings up questions such as why isn't he wearing one? Do only young people wear masks? Is it about growing up, and understanding that image doesn't matter that you can finally be considered mature, just like when the girl decides to walk away without the mask by the end of the film?

Another shot to grab my eye was this medium shot ( on the right) of the girl, sat alone in the school/college canteen. The scene is cut between this shot and shots showing the groups of people talking amongst themselves. By editing in this way and so juxtaposing the image of the girl on her own with the groups of people, the director is emphasising the isolation and loneliness this girl experiences- another pointer as to the divided feeling of an outsider which seems to be a key emotion the film explores with this character.

Another powerful and effective shot is the crane, high angle long shot which is used right at the end of the film. By using this shot we see the collective impact this girl has had on the other students, just by the temerity and conviction she displays through having disregarded the mask.

Finally we see that at the end and at the start of the film, the camera tracks the main character as she makes her way around the canteen to the toilets. One of the crucially significant editing techniques used by the editors is in running the film footage backwards to signify the reversal of time. By implementing this editing technique in to the film, the director/ producer creates, as said, a non-linear narrative, which is interesting and yet still easy to follow.

Sound

This film begins using a voice-over, conforming to the convention of short films because typically any voice-over found in a film comes from the main protagonist. Both at the start and end of the film we hear a synthesised sound resembling the movement of glass, such as might be heard in fantasy films when time rewinds and shattered glass rises, moving back into the smooth, large piece of glass it once was. Throughout the film both non-diegetic music and diegetic sounds play. These diegetic sounds include people chatting, the scraping of knives and folks on plates and the school bell, all of which are sounds typically found in a school/ college environment. Towards the climax point in the movie (when the main character takes her mask off) the music changes and gradually gets louder, signifying this is a paramount moment in the film. Interestingly enough, throughout the whole film we never hear the girl talk and this proves that body language alone is enough to impact the audience-so long as you use the right camera shots (for effect).

Lighting

This film uses high key lighting however it also looks as if a filter has been used to create a more desolate atmosphere. It may also be the case that a filter hasn't been used but rather the dark school corridors give the impression that one has been.

Typography


As is typical with many movies, this short film uses a colour scheme of black and white: white writing and a black background. The title in the shot on the right shows that the typography used is very harsh, appearing to be streaked with small incisions. The font therefore connotes violence and is similar to the writing we conventionally see when advertising any media associated with the military. It's unusual therefore that the producers chose to use this title, purely because the reading of it doesn't match the plot. However, if we look at it in the way this film is trying to demonstrate the cruel reality of society in this strange alternate universe, then I can, in some ways, understand why the font was used. The title, as we see, isn't centred but rather it sits at the bottom corner. In a way this is more reflective of the film, giving the audience the reading that this is a film about individual loneliness and isolation, just as the placing of the title suggests that it doesn't belong in the middle, but rather deserves seclusion.

As for the remaining credits, which run at the end of the film, the font is clearly very different and so is the layout. In the screenshot on the left we can see that 4 job roles have been segregated into two different columns. Personally I don't think this arrangement is attractive so rather than use this example as a stem of inspiration for my own credits, it's more something I will avoid to ensure my film is attractive in all ways.

Research: Short Film Analysis: Many Moons

Plot/ Narrative

Bertie Gilbert , a 17 year old film-maker, director and writer takes common place in the making of his own short films. Many Moons is one of Bertie's less regarded films, particularly because of the length of it (being around 2 minutes). Nevertheless it is a brilliant film, admittedly confounding but gripping all the same. In the short we see the character discussing how sorry he is (although the story behind this apology is unknown). It's a very intimate moment because as an audience, we are seeing a very vulnerable side of the character and that is particularly effective at drawing in the audiences' attention.

Characters

The only character we are introduced to is Bertie's character. Other than that we are given little information about the other character, who Bertie's character addresses using the sound recorder. The male character explains how he might not see this person ever again in a very outspoken, touching way, making the audience wonder where is he going? Is he going to die? We don't know whether he is an intelligible person or not but the way he talks about odd, weird facts like the size of a wale's heart, gives the impression he is spontaneous and fairly intellectual.

In this close up shot (to the right) we see the character is dressed in a shirt and and dark jacket connoting wealth and professionalism. He is also wearing glasses, an icon of intelligence and nobility. This leads us to assume the character must be a rational, intelligent young man. However matched with the dialogue (irrational behaviour), the short film is subverting the conventional assertion that he is level-headed and mature.

On the other hand, the shot on the left shows the young man wearing Nike trainers, conventionally an item of clothing that's associated with teenagers. This is showing the film is conforming to the stereotype of a young person showing the audience that this is perhaps a confused character, uncertain of how he should appear, just as his mind is uncertain about the future he sees with the character he's making a recording for.

Camera Shot/ Angles/ Movement

Example of a blurred location shot

Bertie has constructed this film with dexterous professionalism, making appropriate and effectual camera shot choices in order to entertain the realism of the film. Some of the really powerful shots that are used in this film are ones where the camera is moved about a lot, creating a blurred, disjointed image. This gives the reading that these images are connected with the character, as if they are point-of-view shots taken from Bertie's character's perspective. This suggests he's a daze, and the character feels his senses are numbed to the environment, a reason for why he feels he isn't going to see people again. In the shot above we can also see that the character is on the ledge of a building top, causing the audience to jump to the conclusion that he will jump. By doing this, we feel more engaged with what's happening because we want to wait and see why he is making the choice to do so.

Example of a blurred location shot

Close up shots dominate the film, ensuring that the audience has the best opportunity to be gripped by this one character who speaks so apathetically to the sound recorder. This is particularly useful and something I can definitely use in my own short film to hopefully make the audience emphasise with my own characters.

Some of the camera movements we see in this film, other than the uncoordinated movement of the camera, includes panning and tracking shots, but which used when the male character jumps up to stand on the ledge of a building. This helps to emphasise the fact he is standing high up on a dangerous escarpment.

Editing

Simple enough, the editing consists of cuts and for the title sequence, fades to black has been used. The use of cuts helps to sustain continuity in the film, whilst the use of fades slows down the tempo of the film to highlight the fact that this is not an action movie: it doesn't need bold editing techniques but rather the context of the film is sad and needs soft fades to black to convey this dejection.

Sound

One of the first things we hear when we play this film is the score of the movie, a soft-numbing piece of non-diegetic music. On top of this is the non-diegetic sound effect of an old recording. This gives us the reading that the character is using a sound recorder, even before we see him actually use it. Along with this is the use of dialogue. Gradually, as the movie begins to transcend, the music develops and the serene sound of a piano being played hits our senses. As relaxing as it is, it also heightens the mood into a doleful atmosphere; for myself, it was a struggle to not succumb to my emotions and cry.

Lighting

Having been filmed at night, the film uses low key lighting which creates a dismal and morose atmosphere, but one that is strangely peaceful. What's particularly effective about using low key lighting is that when Bertie's character uses a torch, it's strikingly vibrant in the dark environment, emphasising how lost the character is in this unilluminated and unforgiving world he sees.

Typography

Title

 The most prominent element of the credit sequence is the use of colour. 40 seconds into the film the title fades in and the background of city lights illuminates the shot background in a beautiful and entrancing way. Before this though is a series of informal credits explaining that the film has no context and the audience must decide for themselves what the meaning of the the story is. The font is the same throughout, even up to the end of the film where the final credits then fade in. What's different however is how Bertie uses a variety of font colours which contrasts well with the dark background.

Credits

Credits