Short Film Research: Thriller- Oracle- Ignorance Is Bliss

    Is that who I think it is? Hello again dearest reader, I am happy to inform you that we have now reached the last film on our watch list for examination, Oracle by Aaron Poole, which we also encountered on the "Short of the Week" website.

Camera Angles, Movement, and Shots:

In this short film, we saw that there were a good number of camera shots used. Said camera shots included medium close-ups of the primary subject as they went about their daily life, whether that be in bed, in the living room, or traveling up the stairs. Close-up shots were also used when the primary subject seemed to grow more aware and attuned to their surroundings. When the film began to devolve into a more experimental piece, over-the-shoulder shots were used to conceal the face of the primary subject and highlight their detachment from reality and the presence, an interesting and effective choice. The same was true for the usage of long shots in the short.

When looking at the camera angles used within the short film, my partners and I discovered that low, high, and eye-level angles were all used. Eye-level angles were used during moments when the primary subject had some sense of normalcy. This whilst the high and low angle shots were used in succession to distort the perspective of the audience as the primary subject began to question their own state of being on the stairs.

In terms of the camera movements applied, zoom-outs were used with the intention of showing the child zone out, whereas zoom-ins were used to the effect of showing the child become hyperfocused on a certain task or activity. This may indicate that the child has an attention deficit disorder or something of the like, which is why they are so adventurous, in their attempts to keep themselves preoccupied and other of their parents’ way. Panning was also applied when the subject shifted their focus from one thing to another. 

Mis-Én-Scene: 

This short film follows a young child who is dressed in regular casual clothing and then a set of pajamas later on. There is a point where they are shown in a jacket, but that marks the end of their clothing changes. In addition, seeing as they are a child, they do not wear any make-up whatsoever.

The lighting of the film was generally dark, since most of the short film is staged at night, although there are some moments of daylight earlier on in the film. The darkness in the majority of the film, particularly the extreme lack of light when the child enters a dream-like state, does add a sense of eerieness to the short, which does unnerve the audience a bit.

The acting within the short film was indicative of the symbolism within the film. When the film begins, the child seems to be entranced with the woodcutter and trying new things, like eating plants on their kitchen floor and staying up past their bedtime. Although, when it comes down to it, they still miss the idea of being a sheltered child, seeking to return to the safety in the cradle of their mother's arms once again, which they achieve by whining.

The blue balloon and wooden blocks were the only two main props used in the film. They had the most interaction time with the primary subject and seemed to symbolize their sense of innocence slipping away no matter how tightly they thought they were still holding on.

The entire film is set in one location, the primary subject’s household. This opens up the possibility to explore different sections of the house, such as the staircase, the kitchen, and teh bedrooms, as well as to shed the plane of reality and delve into the minds of those who dwell in the home, which is what the film does.

Sound:

In this short film, diegetic sound was essential to amping up what my group likes to call the “creep factor.” Ambient sounds, including the continued sound of the woodcutter even inside of the house (which later evolves into non-diegetic noise for the audience to hear as a call back to earlier in the film), are essential to creating a sense of familiarity that is still able to unnerve the audience. Additionally, the sound of muted and echoed screams by the primary subject was especially powerful, seeing to hint to them being trapped in their own desire to maintain their childhood innocence. The whispers of a female voice counting blocks were downright terrifying, especially when paired with a series of loud and heavy breaths made by an unknown source. Aside from this assortment of sounds, there really was no dialogue between any of the subjects shown in the film. When it came to the non-diegetic sounds, there was a continued droning of woodcutter at all times of the night, even long after the father of the child should have been asleep. That, in turn, creates a jarring, sinister sound just for being out of place.

Editing: 

On our first watch-through of the short film, my group and I found it interesting that the film was framed in a way that resembled an older camera model’s style. It was almost as if the director wanted to cut out all other potential distractions from the background and have the audience focus their attention on one specific aspect at a time. It served as a visual guide of sorts. In terms of the other form of visual editing we encountered with this short film, we found there was some blurry imagery included to represent how the line between reality and desire for the child was being blurred. Jump cuts between the child’s nightmarish thoughts and that of them being safely in the care of their mother created a contrast between the thin line that the child is currently treading.

Takeaways:

After watching this short film, we have found the value in taking time to think through the symbolism our film could contain. Knowing that even a prop as simple as a balloon can carry such an impactful message has inspired us to look for meaning in the mundane and use it to turn our own short into a masterful allegory. The idea of aligning shots to the current mental presence of a character was also a very intriguing concept for us, especially with the zoom-ins and zoom-outs.

I will say that watching that did make me a bit unsettled, so it definitely gave us the “heebiejeebies” (Aminé and Kahlani 2017).

Short Film Research: Thriller- Porcupine- A Prickly Predicament

    Hello! We will now continue to examine the conventions we found within other short films in our genre. The next film will we be taking a look at is Porcupine by Clifford Miu, which we also acquired from the "Short of the Week" website.

Camera Angles, Movement, and Shots:

Within this short film, we saw a decent amount of camera shots being used. The most often utilized shots being the medium and medium long shots. Given that there is only one primary subject of the film, said shots capture her in the isolation of her own home. That, in turn, creates a more tense scenario once she realizes that she is in danger. Close-up shots are also used to create contrast within this short film, such as when the film opens and the shot transitions from a close-up of the sparklers children use on holidays to the cigarette a woman was smoking. Additionally, an over-the-shoulder shot was also used to place the focus on the main threat that the primary subject was facing, making her fade into the background as all attention went to who might be behind her front door.

When it came to camera angles, the short film primarily utilized eye-level shots since there were not really many other subject-to-subject interactions for different angles to be used to highlight the power dynamic between the two characters. That, in turn, allowed the viewers to better relate to and sympathize with the primary subject as she experienced the terrifying situation.

As for camera movements tracking and handheld shots were used together to make the scene feel more realistic. Doing so gave the audience the opportunity to feel as though they were piercing the event unfolding themselves in real-time, having the rush of adrenaline or sense of dread as the primary subject. 

Mis-Én-Scene: 

In this short film, the primary subject was dressed in a flannel overshirt, a regular graphic T-shirt, gray sweatpants, and a pair of socks. Moreover, she lacked makeup or a fancy hairstyle, all of which are befitting of her being alone (albeit for her baby) in the comfort and (what is supposed to be) the safety of her own home.

Most of the film is shot in dim and dark lighting, obscuring the vision of the viewers and having them focus on one particular aspect of the scene, which then allows for the sound design to create moments of heightened fear. The times when the film includes bright lighting are during flashbacks to memories the primary subject has with her now-deceased husband.

The primary subject seems to be in a forlorn state, which is to be expected given that she recently lost her husband. As the short film progresses, these feelings of sadness gradually evolve into emotions of fear and concern for the safety of her child as well as herself when a man tries to break into her home. Her terrified facial expressions and franticness over the phone with emergency services do a fantastic job of conveying that sense.

    Props did help drive the plot along. For instance, the primary subject’s cell phone was used to call the authorities for advice on what to do about the person trying to forcibly enter her home, and her firearm was later used to kill the person trying to break into her humble abode. Other less noteworthy props include boxes, a baby bottle, and sunglasses.

The entire short film, except for flashbacks, is set within the home of the primary subject. The flashbacks take the subject to places including an outdoor party at night and the forest where she used to practice shooting with her husband when he was still alive.

Sound:

This short film had a number of diegetic sound effects, including the crackle of lightning, the sound of glass breaking (which was reversed and used to transition into a flashback), and the sound of a camera clicking. Even a voiceover was used when the primary subject began to regain memories of their girlfriend’s face. All of said sounds functioned to either further the plot in one way or another, or at the very least to set the tone of the film. When it came to the non-diegetic sounds, they mainly presented themselves in the form of dramatic music.

Editing: 

This short film was not editing-heavy so to speak. It was comprised of mainly continuous, uninterrupted shots. The inclusion of flashbacks did allow for there to be cuts between the primary subject’s past memories. The briefness of said cuts does a great job of highlighting the fact that they are just quick thoughts that the subject is having as she goes about her daily duties. Blurring was added in some parts of the short for the purpose of creating a forced focal point for the audience. It is meant to serve as a reminder that just as the subject cannot escape the danger they are in, neither can the audience; they are visually trapped and pulled along for the ride.

Takeaways:

From this short film, my teammates and I came t the realization that we do not need to have multiple locations in order for our short film to be engaging. We could film the majority, if not all, of our short film in one location and still have it be captivating, so long as we make as our film as visually engaging as possible. We feel that this can be achieved by hiding clues in some of our scenes as to what is truly going on, as well as making the proper choices when it comes to our videography decisions. On the topic of camera-related techniques, we believe it may be interesting to use close-up shots of our own for the same purpose of creating a contrast between two separate ideas or even subjects because painting a parallel may help the audience better visualize certain messages we are attempting to convey.

We all thoroughly enjoyed this short film and found it to be an interesting moral dilemma to consider, so truly ask yourself, “what would you do(?)” (City High 1999).

Short Film Research: Thriller- Prosopagnosia- An Unforgettable Short

     Welcome back! As you know today we’re working on breaking down the conventions we see used in different short films. Up next on our list is Prosopagnosia by Hugo Kaijzer, which we also obtained from the "Short of the Week" website.

Camera Angles, Movement, and Shots:

In this short film, a number of different camera shots are incorporated. The most common shots within the film were long shots, wide shots, and medium shots. Long shots were used to capture subjects are they were first introduced, whilst wide shots were used with the purpose of exploring new and unfamiliar settings. Medium shots were reserved for conversations between multiple subjects, as were over-the-shoulder shots. Close-up shots were not as common, but they did make themselves apparent. The close-up shot was used to create of intensity during the investigation being held between the primary subject and the police officer. 

Regarding the specific type of angle most often within the film, I would say that it was the high angle. It was used to a similar effect as the close-up shot, as to make the primary subject feel a sense of inferiority to the police officer who commanded power and authority during their conversation.

Camera movements in the film were fairly limited. The only noticeable camera movement was the simulation of the camera being handheld when the primary subject was traveling in a vehicle.

Mis-Én-Scene: 

The subjects in this film were dressed rather formally, fitted with a suit and tie. Although not wearing any make-up, both men appeared to be well-kempt, with slicked-back hair. When it came to the situation that the primary subject was experiencing, I thought that it seemed a bit odd for a man who had supposedly found the body of his friend and then reported to the police station to report a crime soon after to look so put together. I was expecting to see a disheveled individual.

The entire short film was shot in darkness, with the subject being cast in shadow. Now, this did not interfere with the quality of the film, quite the contrary. This creative decision allowed for an added sense of mysteriousness to be layered over the already tense scenes, creating a gripping visual experience.

The primary subject seemed to be very serious throughout the entirety of the short film. At times he did seem to quaver, faltering under the imposing nature of the officer he was speaking to. He did not seem to be overly upset or saddened by the entirety of the situation, whilst I believed that someone in that situation would be at their wit's end trying to figure out what happened, although one could argue that grief is manifested in different ways. To sell the point (and the title of the film), the primary subject does a great job of making it seem as though he truly has forgotten the face of the officer he is speaking to. When it comes to the acting performance of the officer himself, he seems to have a dry sense of humor and a dominating personality.

As is to expected, there were a number of props that related to the specific locations included in the film. For example, in the police department, there was a case file, a clipboard, and a coffee cup. The most noteworthy of props within the film were instead the photo the primary subject had of his girlfriend Laura, which he later uses to piece together the fact that it was not his friend who he had found lying dead, but rather his girlfriend, the New York Yankee shirt seen encased in his girlfriend’s home, and the camera, whose flash allows the subject to recall, even for a fleeting moment, the face of his girlfriend.

The film was set in three locations, the interrogation room of a police department, the apartment of the primary subject’s girlfriend where her body was found, and directly outside of said apartment building.

Sound:

This short film had a number of diegetic sound effects, including the crackle of lightning, the sound of glass breaking (which was reversed and used to transition into a flashback), and the sound of a camera clicking. Even a voiceover was used when the primary subject began to regain memories of their girlfriend’s face. All of said sounds functioned to either further the plot in one way or another, or at the very least to set the tone of the film. When it came to the non-diegetic sounds, they mainly presented themselves in the form of dramatic music.

Editing: 

Although this short film only switched between three different locations, the director’s decision to include flashbacks increased the need for the inclusion of some post-production magic. Cross-cutting is evident when the primary subject begins to think about memories they have of their girlfriend, whilst still immersed in a discussion with the police officer. Shot-reverse shots were also included during the exchange between the primary subject and the police officer when they were still in the interrogation room, illustrating the struggle for power they both engaged in as they tried to take control of the conversation. Moreover, the fading in and out of the opening sequence titles in the film, as well as the ending of the film which cuts to black, were also achieved via the use of editing.

Takeaways:

In this short film, we found there to be an interesting mixture of different filming styles. At points, the pacing slowed, particularly when the primary subject recalled times they had spent with their girlfriend, but at other times it quickened, such as with the conversation that transpired between said subject and the officer at the station. We especially liked the idea of using close-up shots to create feelings of intensity, so it may just be something that we include in our own work. With that being said, we did some faults within this short film, mainly with how the film concluded. While the ending was not ambiguous, it certainly was puzzling. Watching and analyzing this short has taught my fellow group members and I that we should not try to cram as many shots and details as we want into our film, despite how necessary we may originally feel them to be because instead of providing our viewers with more clarity, we may just leave them confused. 

The short film was decent overall, despite its plot being a little spotty, the camerawork, dialogue, and sound were fantastic and make for quite an interesting watch-through. If we were to give a final rating, we’d say that it is just about “good enough” (Empire Cast 2016).

Short Film Research: Thriller- Gridlock- Locked In For The Ride

     Hey again! Today we have decided to inspect other short films that match our genre. First on our list was Gridlock by Ian Hunt Duffy. The short film was made available to us because it was uploaded onto the "Short of the Week" website, which is easily accessible on all platforms. To obtain the best viewing experience, my teammate and I watched them on a large laptop in a quiet room where we would be free of external distractions. We then conducted a thorough analysis of the conventions used by the short film, and we have outlined them below.

Camera Angles, Movement, and Shots:

    In the short film, there are a wide variety of camera techniques applied. In terms of camera angles, the film primarily relied on eye-level shots, particularly when subjects wre conversing. The reason being is that doing so allowed for the audience to feel grounded in said conversations and not be tempted to dsitract themselves with what might be happening in the background. High angle shots were incorporated as well, although, they were used to the effect of eliciting a sense of sympathy in the audience when they realize how dismal the situation a particular subject finds themselves in truly is, such as when one of the female subjects is pictured mangled in the trunk of a vehicle.

Moving on to the shots used within the film. Wide shots were used to allow for multiple subjects to appear simultaneously on screen, specifically when a group of individuals gathered to search for the primary subject’s missing daughter. Likewise, two- and three-shots were also included for similar purposes. Over-the-shoulder shots were used to provide a less graphic idea of what was going on, a key feature of thrillers that differentiates them from the horror genre. A few close-up shots were sprinkled into the film, but the most impactful one occurred when the primary subject discovered his daughter’s doll in the woods, that shot serving as a pivotal moment with regards to the direction that the film was going to take.

When it comes to camera movement, tracking shots were used for animate and inanimate subjects, including the primary subject running around looking for his daughter, and even the primary subject’s vehicle being followed as it drove down the road. In the opening scene, a tilt was applied to shift the viewers' focus from that of the ground to the scenery ahead, marking the start of the film.

Mis-Én-Scene: 

Costuming in this film was relatively simple and casual. The primary subject was dressed in a rather rugged manner, wearing a flannel shirt and jeans. This whilst the attire of the rest of the characters varied depending on their social status, ranging from more professional and expensive-looking clothing to regular, everyday streetwear.

The entire film was staged in broad daylight, so the lighting was very bright. At no point in the film did the lighting shift given that the plot did not advance to any locations or times where it would be necessary to do so. 

In this short, acting was able to encompass a wide variety of raw emotion. There were feelings of distress, confusion, physical pain, anger, suspicion, relief, and shock that managed to portray themselves on screen within the limited time that the film provided. This was achieved through physical mannerisms, facial expressions, and varying tones of speech that truly sold the story being told.

The make-up of the subjects featured was primarily comprised of special effects to indicate that certain figures were injured, including the horse shown at the start of the film as well as the woman later discovered in the primary subject’s trunk. Most subjects, however, lacked makeup entirely, opting for a more natural look.

The main prop in this short film was the doll, given that it is what caused the primary subject to spiral and grow disheveled and violent in the first place.

As for the set, the film was primarily shot in an outdoor location in a vast, green forest. There were also some scenes shot on a small road in between the trees, as well as in the primary subject’s car at the very start of the film.

Sound:

This short film was riddled with non-diegetic sound in the form of music to really set the tone and ensure it conveyed the full way through. Said sounds manifested themselves through suspenseful music. This whilst aside from ambient noise within the forest, such as the sound of birds chirping for instance, or the sound of people talking on the phone, the only other diegetic sounds resulted from dialogue due to inter-subject interactions. 

Editing: 

Since the short film was primarily shot in a single location, it allowed for there to more uninterrupted and continuous shots. As a result, the only two main transitions used between scenes, aside from traditional cuts, were shot-reverse-shots during the conversation between the primary subject as he was driving and his daughter in the back seat, as well as those between other characters in the short.

Takeaways:

In this short film, we found there to be a limited number of different filming techniques applied. While were originally going to chalk it up to being because of the shortened length of the film, we realized that all the included shots and scenes are intentional. As a result, we have determined that said filmmaking decisions were made in accordance with the directorial style of the film’s creator. Overall, we particularly enjoyed the concept of filming a suspenseful thriller in the daytime, as well as the idea of choosing and sticking to a particular tone and theme throughout the entirety of a film, something we wish to emulate going forwards in our own work.

Since my team and I enjoyed the short film overall, in terms of creative choices, a compelling plotline, and a digestible message, we feel the need to express just how much we “like it like that(!)” (Cardi B 2018).

Research Blog: How To Make A Short Film- A Dash of Creativity, A Sprinkle of Realism, And A Whole Lot Of Planning

     Hi! Today my teammates and I viewed a quick video on YouTube to gain insight on how we should go about creating a short film of our own. The video itself was quite enlightening, bringing up some points we had not yet thought to consider and reaffirming those that we had already been aware of, yet presenting the information in a digestible manner that really drove the message home.

        When looking at conceptualizing our short film, we felt as though the video made some valid points. The first of which was concerning the realisticness of actually being able to film what my fellow members and I are envisioning. The reason why it is so important for us to keep this simple rule in mind is to not only avoid going over budget, but to also ensure that we produce the best possible product. If we were to run into a roadblock regarding the inability to capture a shot that may have been essential to the storyline once we are already in the process of filming, we will be setback and inevitably waste additional time returning to the planning phase. This, whilst, the issue could be avoided entirely in the first place with rational thinking and constructive inter-teammate discourse. 

    In addition to this, the idea that all shots are meant to be intentional is something that stuck out to me as being vital to the success of our film, particularly in the thriller genre. To me, the purpose and intention of any good thriller should be to construct a realistic storyline that is coherent and easy to follow, yet one that leaves the audience with inklings of the truth that they can subconsciously piece together as the plot progresses before the film crescendos into a climax and all is revealed. Furthermore, my partners and I also found merit in opting to divert the viewers' expectations of where our film was the most likely to go next. I find this to be an interesting notion that we can toy around with this time around, especially since we are producing a short film, comprised of a defined beginning, middle, and end, as opposed to the opening sequence we constructed last year (albeit in different groupings), where the audience's imagination did most of the work for us. As for the style and message we wish for our short film to convey, we have discovered that establishing those aspects early on and creating a piece that adheres to them all the way through is the best way to maintain a consistent tone and express ourselves in a more direct manner.

    When it comes to being prepared, the video highlighted the significance of having a number of contingency plans at the ready. As has been proven time and time again in our previous projects, sticking to the original storyboard and script is oftentimes an unattainable fantasy. This comes back to my earlier point regarding the plausibility of each of our shots and the script as a whole, both of which can be visualized with the help of a comprehensive storyboard. In the case that it does reach the point where we cannot obtain the shot that we desire, just the fact that we have already laid a foundation for the scene will allow us to have some idea of what alternate direction we should take, instead of just taking shots in the dark (pun intended) and hoping for the best.

    As previously stated, and as disappointing as it is to hear, we do not have access to unlimited resources (hopefully some day when we make our break into the big leagues we will have somewhere near that amount), whether said assets take shape in the form of money, our own time, or that of others who we may wish to involve in our filmmaking process (actors specifically), or even the presence of adequate filming locations in our vicinity. With that being said, the capability of our actors is not guaranteed, so, as the video elucidates, playing into what their strengths are and using them to drive our point home will be what makes or breaks our scenes. Of course, since we are the creative minds behind our film, we are to influence the manner in which they act, prompting them to do so to the best of their ability and with a complete commitment to their roles, so long as they do so safely and their well-being remains prioritized. My team and I have already had a discussion regarding the potential of inviting people to our join our acting cast, a choice that we would uphold with the utmost sense of responsibility and gratefulness, providing them with anything they may need whilst filming and making their safety our number one priority, given that they are volunteering their own time and energy for a project that is not truly their own. Now, when it comes to locational limitations, it is important that whatever direction we wish to take for our pitch is reasonable with what we currently have at our disposal, whether that be one of our team members' homes, a local park, or even the library- we can make do with practically any place as long as we obtain the proper permission and respect the privacy of others who may also be present.

      Upon considering the implications of our pitch, it is likely for our short film to be dialogue-heavy. What that means is that all of the diegetic sounds we incorporate should be audible (looking at you Christopher Nolan, even if it was intentional in Tenet, I still would have liked to hear what they were discussing), lest our viewers miss out on key details that would have otherwise clued them into what was truly unfolding. In the video, the speaker brought up the fact any downtimes one has when filming in a particular location can be used to obtain organic sounds that one could later apply in the post-production phase as they see fit. Now, although we already knew that recording longer shots that we later widdle down to create smooth transitions and a steady pace during editing was helpful for providing us with enough material to work with in the meantime, taking advantage of locational resources while they are still available to us is not something we had considered. 

    During filming, we will need to regularly touch bases with individuals who do not have a vested interest in our project, as to receive an unbiased opinion of how everything is progressing, as well as questions, critiques, and constructive criticism. Feedback will determine if we have succeeded on our mission to tell a conclusive and entertaining story, so long as the following questions (or variations of them) are not asked by our viewers under any circumstance once they have watched our short the full way through: "What happens next(?)" or "Is there a second part(?)". As flattering as it is to think that our film might have just been so good that they want an encore, said questions are likely to be hinting at a sense of confusion on the viewers' end or an ambiguous ending on our part instead, neither of which would have been our intention or objective to achieve. That would then lead to troubleshooting and reshooting to make sure that our message gets across and that there is no room left for questioning the fate our subject once the short comes to a close.

    Last, but certainly not least, one must consider how to go about approaching the post-production process. Aside from actively filming and perfecting the shots on set, post-production is probably one of the most time-consuming steps in the filmmaking process. Just as the video points out, giving oneself enough time to edit without being pressured to meet strict time constraints allows for a more stress-free and productive work experience, a luxury I know my group and I would like to enjoy. The way I see it, there's no sense in leaving what can be done today for tomorrow and putting that pressure on our future selves.

    Now that we have laid out all of the ingredients we need to make our short film, I'd say that it's almost time for us to start "cooking up something good(!)" (Mac DeMarco 2012).

Research Blog: Comparing Le Jetée, The Short, And 12 Monkeys, The Full-Length Movie- Time To Get Down To "Monkey" Business

    Hello! We have returned once again to further our efforts in comparing short films to those that are fully developed into lengthy features. To do so, we have chosen two more pieces to compare, “La Jetée” and “12 Monkeys”.

    “La Jetée” was originally a collection of black and white still photos; however, it was eventually adapted into a major motion picture under the direction of Terry Gilliam. Instead of keeping it in the likeness of flipbooks, the 1962 featurette, or photo-roman as its director Chris Marker refers to it, was completely readapted to fit the modern interests of Gilliam’s modernized audience in 1995. This meant that it underwent a complete makeover in terms of its visual aesthetics, although it did remain mostly true to the basic concepts of the film.

    In the aforementioned featurette, Parisian society has crumbled under the devastation of World War III, leaving survivors to flee underground for safety. Throughout the short, only the singular voice of one male is heard as he voices over each shot, thoroughly explaining the thoughts and feelings of all the film’s subjects. My group and I found this to be an interesting approach given that the purpose of the film was for one individual to evaluate their life and death whilst recounting their past memories, the very reason it was often referred to as being experimental. There was also a limited assortment of ambient sounds such as the sound of a clock chiming, the sound of footsteps, the sound of a thumping heart, and even the sound of birds chirping to simulate what one might normally expect when watching a motion picture. When it came to bringing the images to life in the form of a film, we found that Marker’s decision to use short, quick cuts between stills where the time difference was not as great, compared to fade-ins and -outs, as well as dissolves, when attempting to insinuate a longer period of time had elapsed was a crucial part of making his message on the fragility of life and the inevitability of death all the more impactful. In addition, Marker also used shot-reverse-shots in order to create a resemblance to that of a conversation occurring in real-time when portraying interactions between multiple subjects, without, of course, the actual inclusion of dialogue. Marker’s film appears to be more of a social commentary than anything else. While he does piece all of the stills together into a logical sequence, there truly seems to be no intentional plot, just the sole objective of conveying a singular message.

    From this particular short film, my teammates and I were able to grasp the importance of carefully selecting only relevant shots to further the plot of our film. Moreover, we determined that even simplistic shots can be used to convey a deeper message and meaning, so long as the symbolism is clear and the message is not improperly construed.

    Upon examining the “12 Monkeys” full-length film, there is definitely a notable influence that Gilliam drew from Marker. One example being the decision to place the film in a post-apocalyptic society, with the only difference lying in how the world came to be such a desolate place. In this specific movie, it was due to a lethal, contagious virus. With technological advancements that had transpired between the creation of the first film and the one currently being discussed, there were obviously some changes made to the direction taken by the film. This was evidenced in the more lively action incorporated into the film. When used in conjunction with Gilliam’s decision to distort particular shots with the help of close-ups, zoom-outs, long shots, tracking shots, and contrasting colors the film was truly brought to life.

    That is not to say that the lengthier film did not serve its purpose in paying homage to its inspiration, given that it still drives the message, that connection can be ripped away in the blink of an eye, home, elucidating the importance of cherishing every moment as it is lived and every memory as it is remembered. With that being said, however, Gilliam’s film does make an effort to create a plot around which said message can be expressed and more thoroughly grasped by the audience.  While it was the simplicity and directness of Marker’s film that made its meaning more impactful, it is the carefully crafted mystery, suspense, and plot twists of Gilliam’s movie that make the film out to be as successful as it was.

    From the full-length feature, my team and I determined that subverting the viewer’s expectations and playing more into the extremes of the film, where we test the limits of the screen, is a great means of communicating the meaning of our short.

All in all, we have discovered that any good film is able to create a balance between simplicity and more complex ideas, and that a team of well-prepared cinematographers can bring that concept to life. As such, we hope to be able to have both ideas “meet in the middle” (Diamond Rio 1991).

Research Blog: Comparing 9, The Short, And 9, The Full-length Movie- Size Matters

  Yoo-hoo! It is so nice to see you have returned for yet another one of our blogs! Today my team and I will begin by deconstructing a short film and its related feature in an effort to understand what makes the two forms of media so different from one another. We hope to apply this knowledge to our own short and allow us to make more rational decisions when it comes to our planning process.

Short Film:

• Plot: 

The film is essentially about the emotional journey the primary subject, 9, takes following the death of one of his close friends, 5. The first part of this story is told in the form of a flashback, where 9 and their friend try to evade capture by an unnamed half-mechanical, half-bone beast. During their altercation, 5 steps up to try and save the day and is sadly killed, whilst 9 is able to make a hasty escape. Once the flashback concludes, 9 is brought back to reality by the thrumming of a green-glowing object in their possession, which seems to alert them of the presence of danger. 9 is then forced to try to escape the monster on their own, and using the skills they have presumably developed and acquired since their last encounter, is able to outsmart the beast and use their resourcefulness to kill it once and for all. At the very end of the short film, 9 retrieves a piece of their friend from the beast they have just slayed, and pieces together the glowing green orb with a similar piece to create a whole sphere. At that time, ghosts or holographic projections of others of their kind (including their friend, 5) are shown in the form of green masses.

• Directorial Style:

The director of this short film seems to prefer a more dark and dramatic approach when trying to convey information. This is evidenced by their intentional decision to include certain tidbits of information (such as a piece of the deceased 5 on the back of the beast) to elicit an emotional response from the audience. With that being said, at least until the very end of the film, the director offers no time for the audience to dwell on those emotional impacts, opting for a fast-paced storyline. As a result of this quickened pacing, the director did leave out certain scenes of the film, but they still ensured to provide the viewers with just enough information for them to piece what may have transpired together, such as when the subject runs away in the flashback, or when they manage to kill the beast. Likewise, many of the director’s transitions were sharp and noticeable, likely done with the intention of painting a jarring contrast between scenes. When it comes to non-diegetic music it was used rather sparsely, being primarily confined to the very beginning and end of the film, likely a creative decision made so as to not distract from the desolateness of the setting in which the primary subject finds themselves. In terms of the film’s ending, my team and I found it to be quite ambiguous, being left up to the interpretation of the audience.

• Camera Angles, Movement, and Shots:

    This film made use of a number of different shots all used to the effect of creating a more immersive experience for the audience. One of said shot types was wide shots. The wide shots were primarily reserved for subject introductions, including that of the protagonist and the antagonist, although they are used to paint an image of said figures in reference to the backgrounds they were placed in. A high-angle shot was also incorporated for the purpose of making the subject seem small and helpless at the start of the short film, which paved the way for them to develop as a dynamic character over the course of the short. Another shot included in the short film was a long shot, which was used to show a moment of isolated desperation for the primary protagonist when they stood alone on a single beam with no place left to run. When the following high-angle shot was used to emphasize just how high the stakes were and how far the subject was from the ground, it caused the audience to feel a sense of overwhelming fear and concern for the subject’s fate. As the antagonist began to approach said subject, driving them closer to the edge, an aerial shot was adopted to further emphasize this point. An over the shoulder shot was also included when one of the subjects seemed to be unaware of the antagonist’s presence, keeping viewers on the edge of their seats as they lie in wait for what happens next. When both of the main protagonists were shown on screen, they were most often captured with two-shots, medium, and medium long shots, the latter two of which were also used when showing the singular primary subject on their own. The purpose of doing so in this short in particular was likely to make the audience akin to the location in which said subjects found themselves in (without the need to spend time world-building and explaining the dynamics of the environment), as well as to give viewers the chance to notice any danger before it arrives. 

    When it came to camera movements, zoom-outs were utilized prior to the adoption of a wide shot when certain subjects were introduced, whereas zoom-ins were used to transition into a flashback that the primary subject had due to coming into contact with an object that carries sentimental value. Another example of camera motion occurred with panning, particularly when one of the subjects scanned their surroundings for danger, imitating the action of swiveling their head back and forth. Quick pans were also utilized during action scenes, such as when the primary subject was being chased by the antagonist as means of communicating just how nerve-racking the subject’s experience was to the audience. Similarly, a shot reminiscent of that of a handheld shot in live-action films was used in conjunction with a point-of-view shot to make the audience feel as though they had embodied the antagonist for just a moment, heightening tensions because if they were able to see the primary subject, so was the antagonist, meaning that they were in imminent danger. The director used this to their advantage, making it seem as though the primary subject was about to die before soon revealing that the subject had baited the antagonist with a decoy as to evade capture and death.

• Mis-Én-Scene: 

    Looking first at the costuming of all of the subjects in the film, one will see that the two main subjects appear to be made out of a cloth-like material, with a painted “9” and “5” on their backs respectively, whilst the antagonist appeared to have a metallic exterior. The presence of said numbers on the backs of said subjects may have led the audience to question what happened to other individuals preceding those and those who came after. Furthermore, one of the two main subjects appears to be missing an eye, which may potentially indicate that they have experienced prior trauma due to an earlier encounter they may have had with the antagonist, especially since the antagonist appears to be missing an eye as well. 

    Regarding the lighting of this film, it is clear that it was the director’s desire to keep the included shots dimly lit and dark. That, in turn, would create feelings of suspense and fear subconsciously within the minds of the audience and keep them captivated the entire time. Additionally, when the antagonist was first introduced, they were shrouded in shadow, which we felt was done with the purpose of maintaining an element of mystery before their big reveal. 

    Given that there was no dialogue in the short film whatsoever, acting was heavily relied upon in order to relay how the subjects were feeling, in terms of their current motivations, concerns, or ideas. Facial expressions were essential to portraying said information, through the use of smiles, a look of realization, or even fear, especially when paired with bodily movements such as the shaking of one of the subjects’ heads in disbelief once the object they are in possession begins to glow once again. Even the deaths of the subjects are convincing, seeing as when one of the main protagonists is killed, they fall limp and no longer move on their own.

    The film made use of a limited number of props, including a metallic weapon that one of the main protagonists had armed themselves with, a bolt, a small light bulb, and the most important item of all, a glowing orb, a meaningful object that proved to be central to the film, seeing as it not only triggered the flashback experienced by the primary subject, but it was the key to unlocking the truth that they needed to see for themselves.

    The setting of the film varies between a dark room, deserted streets, an abandoned building, and a barren desert-like location. When the primary subject is first introduced, they are pictured to be much smaller than the everyday objects (with which the audience is likely to be familiar) around them. This is achieved with the usage of props, such as the bolt they used to hammer the piece of wire. In contrast, when the antagonist is first introduced, a regular-sized umbrella is seen in the foreground, being roughly the same size as it, which makes them out to be a threatening figure. 

• Sound:

When we initially began watching the short film, we immediately noticed that there was a lack of dialogue between the two primary subjects of the film, as well as the antagonist. That is not to say that diegetic sound was not capitalized on, given that had the film been entirely devoid of sound, the sense of tension would have not been properly conveyed. The film started with an eerie composition of non-diegetic music, with the lull in diegetic sound being broken by the noise created by the subject hammering a piece of metal and moving it around. In doing so, the director made it seem as though the subject was rather harmless. The most used sound in the film was that of footsteps, which quickened in times of distress, being paired with the sound of a drumming heartbeat in those tense moments, and was slower when the subjects were not in any immediate danger. The other sound that the main protagonists made quite often was a clicking noise whenever they would blink, being vaguely reminiscent of the sound of a camera taking a photo. The antagonist themselves did have a sound motif that was included whenever they were approaching, a jarring metal screech and clank that resulted from their movement. In addition, the antagonist also made a variety of animalistic noises, including hisses and roars in an effort to assert its dominance.

• Editing: 

The bulk of all special effects is made in the editing stage, unless they are practical effects. However, in the case of this animated short film, they are all confined to the post-production process. In order to create a smooth transition between shots, fade-ins and fade-outs are used interchangeably to shift from one location to another, such as with the first transition from when the primary subject is shown to when the antagonist makes their initial appearance. In the scenes that follow, there are variations in the transitions used, switching from sharp cuts to different settings or dissolves to reorient the audience into the present happenings of the film once the primary subject emerges from their flashback. An action match cut is also used within some of the scenes, although it does throw the pacing of the film off a bit because they are so abrupt. During the short film, a glowing green light, which the audience may presume represents the soul or life force of others like the main subject, is seen to be sucked out (for lack of a better word) of their friend, 5. Later on in the film, the very same light illuminates the barren land in which the primary subject finds themself, introducing a wide array of holographic figures, which allow 9 to see his friend, 5, once more and gain the closure he deserved. This parallel would have not been achievable without the help of special effects editing.

Full-Length Film:

• Plot:

The main subject, a ragdoll by the name of 9, finds itself trapped in a post-apocalyptic society where it is forced to survive under the threat of beastly machines who hunt its kind. Over the course of the film, 9 grows to be more proactive in its efforts, forgoing its once naive self to save the world. Along the way, 9 gains and then loses a share of its allies and friends, but uses their losses are reasons to continue its journey to battle against the oppressive machine regime.

• Directorial Style:

The directorial style of the full-length feature remains the same as the one previously stated above given that the same individual, Shane Acker, has taken the reigns in terms of directorial lead.

• Camera Angles, Movement, and Shots:

    With the liberty of being able to produce a film free of tight time constraints, there was room for a number of different camera techniques to be incorporated. The same shots, angles, and movements as previously mentioned above were incorporated and utilized for the same purposes, although others were also included. 

    Looking first at the camera shots, my team and I immediately noticed the presence of three shots. Given the need to account for a larger cast of characters, three shots were more prominent when trying to have the audience gauge the reactions of multiple characters on screen at a time. Since there were now more changes in location, with the increased length in time of the film, establishing shots were more common. Additionally, medium close-ups were also used when multiple subjects conversed on screen, or when their facial expressions needed to be the center of attention.

    Next come the camera angles, which aside from all those previously mentioned, have now come to include eye-level shots. During conversations, said shots made the dialogue easier to follow, as opposed to portraying the conversation from a different, skewed angle.

    Finally, come the actual movements of the camera. Tilting was used often when trying to showcase new locations, or introduce the danger at roughly the same time that the subjects were getting to see it. The same is true for tracking shots, which allowed for the subject on screen to guide us as they walked along in an unfamiliar setting. One thing that stuck out to us when watching this version of the film was that the camerawork seemed to be more stable, perhaps lending itself to better equipment and a bigger budget, or a desire for smoother shots to allow for the pacing of the film to remain undisrupted.

• Mis-Én-Scene: 

    Since the director remained the same for both projects, the character design in the full-length feature did not really change, although there were variations made between each of the subjects in the film, as to differentiate between them. Such differences lie in some of the subjects wearing capes, masks, hooded body suits, and headpieces, or even the fact that one of them had a striped exterior and was missing an eye. 

    The lighting in the film was still dark overall, but there were more scenes with clearer illumination, especially when they were more lighthearted or there was a need to bring attention to a specific object in the background.

    The cast of the film extended substantially, and this time around, dialogue was incorporated. Although non-verbal acting was not relied upon this time around, acting still proved to be essential. The voices of each character conveyed emotion- distress, fear, happiness, and relief. Although the animation could have visually shown the audience that, actually hearing the feeling and conviction in each actor made all the difference.

    In this film, props were used to indicate the personalities of each character. For example, the initially more passive primary subject, 9, carried around a lamp that illuminated the path for it and its fellow allies. This lends to its personality being more altruistic, as well as it having the desire to light the way to a better life. This whilst most of the companions 9 stumbles upon are equipped with makeshift tools, such as a telescope, weapons, such as a spear and scissors, or objects like canes and staffs, indicative of their capabilities, dispositions, outlooks, and opinions of the situation they have placed themselves in. Of course, the most important prop in the film was the talisman, which not only gave the primary subject purpose, but also resolved the outstanding issue of providing closure to the surviving subjects at the end of the film.

    As previously mentioned, the film is set in a post-apocalyptic world, which means that all of the settings used are almost entirely devoid of any life aside from that of the protagonists and the antagonists who are on their tail. Said locations included old buildings and bleak oil rig fields, but with the scale of the subjects in comparison to their environment, there was no need to change location all that often. All that the film’s creators were required to do was to create enough room for the characters to move around within a pre-established environment, where there was the possibility for them to encounter new threats and challenges, which they did exceptionally well.

• Sound:

The sound design of the film was comprised of diegetic subject-produced noises, whether they be those that directly originate from the mouth of the subject or from objects in the set with which the subject interacts. It is important to note that there is a relative lack of diegetic ambient noise, likely because of the context within which the film is set (following an apocalypse). That does not stop loud noises, such as explosions from taking precedence over other sounds in certain parts of the film though, but once again there is a lack of “natural” noise in the movie. Having said that, I would also like to bring to light the inclusion of suspenseful music when tensions rose, as well as bittersweet music when those who survived were met with the souls of those who had fallen.

• Editing:

The only major new addition to the editing scheme of the film was the usage of cutaways to provide context for where the subjects are currently located in terms of significant landmarks in their surroundings that would come into play later on in the film, such as with the windmill that was briefly shown earlier on in the movie.

Takeaways:

    Overall, I would say that both the short film and the full-length feature were both executed fairly well. Whilst the short film did resemble more of a video game in terms of its use of cutscenes and primarily action shots, it still did a great job at allowing for the primary subject to undergo character development even in such a short time span, marking their shift from a timid and weak persona to one who was more resourceful brave in the face of danger. The short film had been able to offer more attention to the background than the longer film did because it was focused on developing multiple characters and their personalities to further the plot. As for the longer film, the ability to include voice acting, which the short film lacked, greatly impacted the emotional effect that the film was able to have on the audience. That, in turn, was the main reason why my groupmates and I felt that the full-length film was the better of the two.

    All of what was mentioned above was only possible with the help of filming conventions that were used with the specific intention of supporting a specific theme, idea, or plot point, preventing each of the stories from becoming disjointed and keeping the films from losing sight of their true meaning. Since there were variations in the length of either film, it is important to note that whilst different conventions may have been applied, there were some conventions that remain shared specifically with transitions, camera techniques, and character design, especially since the directorial style never differed.

I’d say that we’ve been rather productive thus far today, so I feel like that calls for a round of “applause, applause, applause” (Lady Gaga 2013).

Genre Blog: Final Decision- A Very Tense Verdict

     Hear ye! Hear ye! It's the moment you've been waiting for, finding what genre we've decided to go with now that we have reviewed all of our options. We have come to the conclusion that it would be best to go with the thriller genre for our short film.

    The reason why we decided to eliminate the comedy genre was because of our mutual feelings that whatever jokes we came up with were not guaranteed to be understood by those outside of our social circle. The translation of jokes across age differences would likely not be understood. Hence, our film would not be entertaining to a wider audience of people outside of teenagers and people close in age. That is because of the inherent subjectiveness of comedy that we have pointed out prior in our earlier research blog. Moreover, since our film has the possibility of being heavy with more mature themes, adopting a lighthearted tone that a comedy might have provided may not be the best way to deliver an otherwise serious message (unless we were to have taken a satirical approach). My team and I definitely feel that we’ve come a long way from the novice cinematographers we were last year. However, we are not prepared enough to tackle such a nuanced genre.

    As for why we opted not to go for the horror genre, it was partially because of the fact that we felt it may end up being too expensive. In the case that any deaths or injuries were to occur in our short film, we may have needed to incorporate SFX makeup. In order to make the wounds as realistic as possible, we would need to acquire a decent amount of money outside of our very limited budget. That money would likely have gone towards high-tech CGI software editing programs that really would have made our makeup more convincing. On the topic of difficulties using SFX makeup, we would also encounter issues with actually trying to apply it since none of us have done so before and, as such, slack the necessary skill set to do so for the purposes of our project. We also felt that the horror genre might have forced us to incorporate unnecessary gore or violence in attempt to meet the standards that said genre would impose upon us. 

    Part of the reason why we were drawn towards the thriller genre was because of the feeling we had gotten from the pitch we had agreed upon, and the ideas that we initially had in mind, would fit better with the suspenseful ambiance that a thriller would provide. Despite having not chosen to pigeonhole ourselves into the horror and comedy genres, instead electing to frame our film around the thriller genre, we might still incorporate features from either genre into our short film. The fact that the thriller revolves around a somewhat realistic scenario meant that we would not need to struggle to acquire niche props or costuming, significantly decreasing the amount of money we would need to spend as well as the amount of time it would take to prepare for filming. Additionally, the thriller genre plays heavily upon the audience's indirect involvement with the film, providing them with the facts and clues they need to piece the story together before everything is revealed to them, giving my team and I the opportunity to fully think out all of the possibilities and routes the film could take before deciding on the most satisfying and conclusive ending.

All in all, the thriller genre seems to have everything we were looking for and more, so it makes sense that it has become our “chosen one” (A2 2006).

Genre Blog: Horror- Quite The Fright

     Boo! Did I scare you away? I hope not! Just stick around for a while since this is the last blog in our set of research, and maybe the last blog you'll ever read (just kidding)! Anywho, we will be focusing on the horror genre here and outlining its conventions below.

Camera Angles, Movement, and Shots:

    With the horror genre, a lot of unusual camera angles, shots, and movements are applied. One of said shots is the tracking shot, which is used in horror films to the same effect as it is in thrillers, to simulate the feeling of a subject being watched or followed. A good example of this occurs in the movie Touch of Evil (1958), where the subject of the camera switches every so often, an interesting concept that we might like to apply to our own short film. The high angle is also commonly used for the purpose of activating a primal fear within the viewer themselves such as when showcasing a character who may be close to falling from a high place, as in Fall (2022). Close-up and extreme close-up shots are also used with the intention of capturing the pain and fear within the eyes and facial expressions of the subject once they experience a terrible occurrence, such as in Psycho (1960). Dutch tilting is also used to skew the perspective of the audience and cause them to feel a sense of uncertainty and out-of-placeness. The final and most recognizable camera work in the horror genre is the movement created via the usage of handheld recording. This shaky, distorted visual raises tensions, especially when used in running scenes, highlighting the desperation of the subject as they try to evade danger, like in Rec (2007). My groupmates and I find this more natural camera movement to potentially be something that we might like to include in a work of our own.

Sound:

    Sound is absolutely essential the horror genre, its ability to affect the audience unbeknownst to them is incredible. It is such a central part of the horror filmmaking process that a new type of sound was ingrained into the sound design of such films, referred to as non-diegetic infrasound. Infrasound is an extremely high pitched key which is often inaudible that is played during the silence of horror films, which elicits feelings of anger and anguish, setting viewers on edge in preparation of a horrific scene. When paired with the diegetic sounds of screams, the squelching of blood, the laughter of small children, the creaking of a door, or the unidentifiable sounds of something skittering around, as well as the non-diegetic sounds in the minor key for deeper noises that reverberate within the viewers, and those in the harmonic major scale is used for lighter, sharper sounds, the sounds of horror films effectively send chills up their audiences' spines.

Editing:

    Editing in horror films is also quite important for increasing the effectiveness of certain shots and scenes. For example, using blurring to distort the background is crucial to keeping things ambiguous enough to the point that the audience can speculate what is going to happen to the subject once something breaks that illusion and enters the foreground. This can be seen in the 2020 film, His House, where the primary subject is seen lying on the floor after tripping, whilst he could do nothing to fight off the figure who approached him from the blurred background. That, in turn, served the purpose of making the audience feel nervous and scared of what might happen to the poor protagonist next. Jump cutting is also used in horror films as a means of emphasizing just how quick and powerful the antagonist is, like in The Ring (2002), when the ghost crawls out of the TV. Eyeline shots are also included when subjects glance into the darkness and are unaware of something peering back at them.

Mis-Én-Scene:

    Looking first at the costumes and make-up involved in horror films, one will find that they often revealing of the time period in which the film is set. Costumes will usually be comprised of masks for the antagonist as to conceal their identity and make their appearance all the more threatening, whilst in stereotypical fashion, specific article of clothing will be assigned to particular characters. For example, in Cabin the Woods (2012), the jock is seen wearing a letterman jacket, and the innocent girl is seen wearing plain and basic clothing, although the film does use this to subvert the audience's expectations of said characters, something we seek to emulate in our own work. In more graphic horror films, special effects make-up is applied to create gore for visible wounds on injured or dead subjects, such as one might expect to see in a zombie film, like Train to Busan (2016).

    In terms of the lighting in horror films, most shots are shrouded in darkness. Using darkness to their advantage, similarly to their application of blurring, filmmakers are able to obscure certain aspects of a scene until they wish to have the big reveal or big jump scare finally pay off, as in the Poltergeist (2015). The creation of silhouettes and shadows of easily identifiable horror characters makes their appearance all the more terrifying since the audience is already aware of their presence, unlike the helpless subjects whom they cannot warn.

    

    In horror films, acting sells the plotline. Subjects truly need to seem terrified when they are in the threat of danger, completely embodying their character. This was taken to the extreme in the case of the 1980 film, The Shining, where Shelley Duvall, who played the mother of Danny and wife of Jack, was crudely mistreated on set, which the director tried to justify by saying that her isolation and feelings of desperation from real life experiences, would translate over into a better performance of her character. In fact, this led to her iconic scream in the scene where Jack tries to bust down the door with his axe, a shriek that truly indicated how petrified she was.

    Horror films are pretty standard when it comes to the type of props that are normally used, although they will differ depending on the topic of the film. In more demonic based movies, such as The Conjuring (2013), creepy dolls and wind-up toys might be used, whereas in more action-based horror movies, like Friday the 13th (1980), knives and machetes are used. Occasionally, baby cribs, chainsaws, bats, and knives might also be incorporated.

    The sets of horror films, once again, depend significantly on the story being told. They may be set in a creepy forest in more supernatural films, at a summer camp for when a serial killer is on the loose, and even in the alleyways of an otherwise busy city in the dead of night. The commonality shared between those locations is the fact that they are relatively deserted and dark, such as with the opening scene of Woman in Black (2012). Although in recent years, that ideology has been challenged with the emergence of daylight-based horror films, like Midsommar (2019) and parts of Nope (2022).

Takeaways:

    My groupmates and I really found the horror genre to be nothing short of intriguing. We particularly liked the aspects of infrasound, handheld camera movements, and eyeline shots.

We feel as though it we chose to make our film comply with the conventions of the horror genre, we would not be "...making bad decisions" (The Strokes 2020).

  

Genre Blog: Thriller- The Suspense Is Killing Us!

    Hi there! The next genre up on our list is none other than the chilling thriller, and if you're willing we'll tell you all about it. The thriller is the suspense without the gore, the scares without the disturbing visuals (Midsommar (2019) this is directed entirely at you), and the creep factor with the fact that you can probably still sleep after. As with before, my team and I will now be guiding you through the essentials of any good thriller and seeing what makes it work.

Camera Angles, Movement, and Shots:

    In any thriller, it is the director's utmost intention that they still frighten the audience, albeit minus all of the gore that comes along with the horror genre. This can be achieved with the help of some trademarked jump scares, but any good cinematographer knows that uncomfortable camera angles and shots are the way to go.

    Putting the audience in a position that they cannot escape from, much like the subject themselves is probably one of the most effective thriller techniques, which is capitalized on in the 1999 film, The Blair Witch Project, a film shot primarily from that perspective. Tracking shots might be used for the purpose of showing a character as they are stalked unknowingly, a fact that the viewers are aware of, but one that they cannot warn the subject of until it may be too late. Eye-level shots can be used to capture the subject as they peer off into the distance beyond the camera and what the audience can see, leaving viewers in the dark of what lies just out of sight, a very simple, yet still impactful shot. The usage of close-ups and extreme close-up shots make the audience keen to how the subject truly feels, poking holes in the front they may put up in front of others, whilst over-the-shoulder shots do quite the opposite, making scenes devoid of emotion like in Parasite (2019). 

    Dutch tilts can be used to disrupt the familiarity of a scene, skewing the perspective of the audience and heightening tensions as seen in Law Abiding Citizen (2009), as the subject lies in wait of a deadly injection. High angles remove any sense of control that a subject may have felt they had in a situation once someone or something else rises above them and asserts their dominance, as with Shutter Island (2010), where the primary subject shoves a doctor into a desk and threatens him with incriminating information. Tilting and panning were both used to the effect of creating a dramatic reveal that decompressed the pent-up tension held by the audience, techniques my partners and I have considered employing ourselves. 

Sound:

    Sounds in thriller films are used to set the audience on the edge of their seats, unnerving them as much the subject who is experiencing the same things in real-time. The most common diegetic sounds in such films will be the sound of screams, footsteps, whispers, sobs, and banging, which will often occur abruptly and without warning. In terms of non-diegetic sounds, the incorporation of stings created by high-pitched string instruments and piano keys do nothing but make one's skin crawl, with the pace of the music picking up when tensions run high, and said pace slowing down when the danger has subsided (or that's what the director wants you to think).

Editing:

    Edits in thriller transitions can often unintentionally disrupt the tension building up in each scene, so edits are typically restricted to shot-reverse-shots in conversation, or cutaways to make a note of something in particular in another location.

Mis-Én-Scene:

    Costumes and makeup in thrillers are not overly drastic, since thrillers are meant to simulate realistic events. As such, casual wear is more likely to be encountered, whilst psychiatrist attire may be used, but in more specialized versions of the genre, such as a psychological thriller.

    Lighting in thrillers is typically darkened to obscure the audience's scope of view of particular scenes and create suspense.

    Acting is used to enunciate a subject's descent into madness, which can be illustrated when their laugh or smile is out of place, or when their dialogue reveals their lack of credibility as a source of information. Interestingly, thrillers are more of an audience-immersive film, since clues and hints as to what is going on are sprinkled throughout inter-subject interactions, setting up a satisfying plot twist that is conducive to the rest of the storyline.

    Props can include cell phones, knives, and masks, essentially anything that increase the level of relatability and realisticness for the audience as they watch along.

    Thrillers are often set in familiar locations where safety is expected, but as thrillers prove, is not ensured, such as the subject's own home.

Takeaways:

    The thriller genre is definitely unique, using certain conventions in alternate ways that other genres may not. As a result, my team and I particularly enjoyed the idea of using dark lighting, close-up shots, eye-level shots, and dutch tilts.

    Well, I must say that researching this genre has been quite the experience, so "Look out..." (Peach Pit 2022) because our short film might just be a thriller.

Genre Blog: Comedy- To Laugh Or Not To Laugh

     Welcome back, dear reader. The first genre on our list to explore is that of comedy. Right off the bat, I think it's important to establish that comedy is, contestably, the most intricate genre to work with. It is entirely subjective, whether or not a joke lands or is well-received is an experience that differs on a viewer to viewer basis since everyone's sense of humor varies. Comedy is not a clear, cut-and-dry, formulaic genre in which certain steps can be followed to get every single audience member to laugh, even if it is a slight giggle. No, it is a nuanced art form, where specific filming choices are handpicked and crafted to try to create a universally enjoyable (perhaps not funny for all) experience for the majority of those who give a particular movie a watch. Said filming components are outlined below.

Camera Angles, Movement, and Shots:

    Comedy can be expressed in different manners, that being on an inter-subject level to a subject's interactions with their environment, and even the "involvement" of the audience. Looking first at the ways in which environmental interactions may be taken to the extreme, one might be familiar with the 2005 film, The Hitchhiker's Guide to the Galaxy, where an overdramatized zoom-out sequence is used to elicit a sense of amusement within the audience. That is not to say that zooming in is not also a great way of achieving a comedic effect, like when giving way to a ridiculous scenario where the subjects are framed in two shots, three shots, and medium shots to fully immerse the audience into their hijinks. With said subject-to-subject level of exchanges contained solely within the realm of the film, it is common to find high angles to indicate power dynamics, as in Matilda (1996), with Mrs. Trunchbull's domineering appearance, whereas low angles are used to instill a sense of irony in the viewers, as with 21 Jump Street (2012). Referring back to the relation of the environment to the subjects via the usage of camera techniques, one will find that establishing shots are relatively common in comedies, serving the purpose of providing the necessary context for the film's location.

    As one might expect, comedy is all about relating to one's audience, and what's one surefire way to make absolutely certain they cannot miss the point of the joke? Make it the entire focus of a scene with the help of close-ups and extreme close-ups, which may give way to the aforementioned audience interaction with the film itself. A noteworthy example of this occurs in the 1987 film, Spaceballs, where the Dark Helmet is hit with the camera itself. Another way of making the viewers feel as though they can get in on the action themselves is with the occasional usage of point-of-view shots, making them feel as though they are the subject themselves, a tactic used in the Year One (2009). My team and I definitely feel as though this type of shot can be used within our short film to make it more engaging for the audience, whether or not it is used with comedic intent. Tracking shots serve a similar purpose, although they ensure to remind the audience of their role as an observer rather than an active participator as they allow viewers to peer into the lives of subjects, typically as they get ready for the day.

    When speaking specifically in terms of camera movements, whip panning and tilts seemed to appear the most often during our investigation. Whip pans disrupt the flow of a particular scene, whilst still managing to create energy that keeps the audience in a sense of momentum, like in the introductory sequence of The Grand Budapest Hotel (2014). As for tilts, they are typically employed with the purpose of conducting an anti-climatic reveal that the audience would have otherwise believed to be a danger to the main subject, as in Top Secret! (1984), where a set of enemy boots are revealed to be unoccupied. 

Sound:

    The usage of sounds in comedy is oftentimes essential to allowing the audience to understand the joke, although it can be the joke itself, in the form of auditory gags like bodily humor or an overstatement of a subject's injuries in the form of an overreaction. Hence why sound effect usage is the most widespread within the comedy genre. Sound in comedies, such as the 2001 Legally Blonde movie, can also be used to show a conflict between how a character perceives themselves in comparison to what those around them find them to be with the help of specific songs in the soundtrack to do just that.

Editing: 

    Like some of the camera movements, editing works to the effect of disturbing the pacing of a film in a way that shows the director's awareness of the fact that using choppy transitions was done with the intention of finding fault in them, as opposed to being poor cinematographic decisions, such as with the incorporation of older and less used transitional techniques like the dissolve. Even split screening can be used to showcase multiple subjects at once, like in Mean Girls (2004) with the four-way phone call scene. Occasionally, font types and their coloration in titles and opening credits of comedies will be used to make a joke, such as with Monty Python and the Holy Grail (1975). 

Mis-Én-Scene: 

    The first aspect of mis-én-scene is costuming. The subjects of comedies will usually wear mismatched apparel, or in the case of more dated films, a clown costume, if it means eliciting some form of laughter from the audience. In Edward Scissorhands (1990), the main subject is given pairs of scissors for his hands as a means of highlighting his difference from fellow society members.

    

    Scenes within comedies will usually be well-lit and lively, an effect achieved with the help of soft, bright, and high-key narrative lighting, which rarely gives way unless a joke is to be made regarding the seriousness of the subject, which would be matched with darker tones instead.

    

    As previously mentioned, acting is often over-the-top and blown way out of proportion in terms of how individuals would react to certain situations in real life. The outlandish situations in which the subjects of comedies find themselves in are all the more entertaining to the audience, like in The Mask (1994).

    

    Makeup is also relied upon to sell a comedic aspect of a film, with subjects being made to look extremely out of the ordinary or with exaggerated physical features. For instance, the 1993 film, Mrs. Doubtfire, features a father who is dressed like an old nanny, fitted with a wig and prosthetics, all for the sole purpose of seeing his children again.    

    

    When it comes to the props used in comedies, there is no set limit to what can or cannot be included, since comedy is so subjective, and different objects may be funny for a number of reasons. Therefore, things like weapons, puppets, and breakable furniture are not off-limits.

        

    Lastly, comedy is found everywhere, so the location of such films is not necessarily defined and can take place virtually anywhere, indoors in places like schools, such as the School of Rock (2003), offices, or the great outdoors.

Takeaways:

    Comedy can take a film in any direction imaginable, putting in the audience in full view of the absurdities and antics that are yet to come. From our research, my groupmates and I are particularly interested in the genre's application of close-ups, high angles, and point-of-view shots, since they can take audience interaction with the film a step further and enhance their viewing experience. 

    Comedy might just be the way to go, and if we do pursue that route, we'll have you "...laughing on the outside" (Bernadette Carroll 1946).

Genre Blog: Overview- A Matter Of Maybes

    Well hello there! Haven't spoken to you in quick a bit, have I? Nevertheless, I think it's best we just jump right back into the (lights, camera,) action and get back on track! Now that we have selected our pitch and had some time to think, my teammates and I are very excited to finally start conceptualizing our short film! The first step in that process is none other than selecting a genre. The genre of a film determines its entire tone and essentially the direction in which the story progresses. Based off of our pitch, my partners and I have concluded that our film could plausibly go in one of three directions, a cathartic comedy, a dreadful thriller, or maybe even a terrifying horror piece. 

    If one were to consider the comedic route on its own, they would find that it is quite an interesting avenue to take. Comedy has been a source of entertainment for over a millennia, causing audiences to crack up even in the days of ancient Greece within traditional theatere. As such, it is always fascinating to see the various ways in which one can build off of the established art form and make an innovation of their own, perhaps one that could shift the course of cinematic history forever. If we were to discuss comedy in terms of our short film, I would say that it would definitely be an amusing take on our pitch, which ended on the very ominous tone of things taking "a turn for the worst. Perhaps we might turn the concept on its head entirely, making our short about an individual who continues to purchase so many of the same type object because they forgot they "had some at home" already, that their entire house becomes filled with it to the point they can longer leave their home. Maybe we might even frame our film around someone who keeps forgetting special events with their significant other and show how they scramble to right their relationship before it all comes crashing down. 

    Moving on to the thriller genre, my partners and I find it to be a latent source of untapped creative ideas that we could possibly cash out on. The term, "thriller," is actually rather new, being used to describe works of media that create feelings of suspense and apprehension within its viewers. Thrillers are probably one of the most versatile genres of film, given that they can be utilized as a subgenre in nearly any film type, combining science fiction, action, and psychological aspects (to name a few), to not only flesh out the subjects, but also further develop the plot. Regarding the genre's relation to our short film, my groupmates and I feel as though it may be a valuable option to explore seeing as there are so many different directions to guide ourselves in, thereby providing us with the creative freedom that we so desperately crave. Maybe using the thriller genre will lead us towards a short about someone whose days seem to be never-ending because it all seems the same due to their amnesia, driving them to search for an escape from their mundane reality. Perhaps we might make it about a criminal on the run who forgets they are a criminal entirely and narrowly evades escape each time they are unknowingly pursued on screen.

    The last genre that my team and I are considering building our film around is the tried and true horror genre. All of my teammates are horror fanatics and for good reason, horror is the culmination of the primal and sometimes unrealistic fears that society harbors deep within them, nicely tucked away behind the safety of a screen for audiences to enjoy, as they watch helplessly as the subjects on screen succumb to their inevitable doom. The horror genre first emerged in theaters in the late nineteenth century and since then has made nothing but waves in the filmmaking community as cinematographers each try to redefine horror and amp up the level of fear they can drill into their viewers. For our purposes, we might create a short film based around the idea of an amnesiac being in a (not-so) long-term relationship with someone who they cannot remember (and for good reason), since their partner is revealed to secretly be an individual with malicious intent who wants nothing more than to harm the primary subject. Perhaps we might even center our short around a subject whose amnesia hides a dark and violent past that will soon come back to haunt them; the possibilities are endless.

    As we begin to contemplate what our film could potentially shape up to be, we must not lose sight of our current goal, to select a genre that we can work said film around. Now that we have introduced each of our potential genres fairly well, "Let's get down to business(!)" (Tiësto 2020).