NOTES ON SHORT FILMS

6 SHORT FILMS - MICROELEMENTS

SLAP - Nick Rowland



Mise en scene:

Use of mirrors - how the film addresses issues with identity. Connor seeing himself with makeup and boxing. public v private. 
cracked mirror suggests how he cannot be himself and has difficulty seeing and expressing the real him to the people around him

The posters of half-naked women in Connor's room are his symbolic beard to deceive his father into thinking he is a typical masculine/'macho' teenage boy. admiration of women's bodies and his desire to dress and look like a female. 

Lighting:

Simple and natural.
In the party scene, the strong red light adds to the tension and impaired vision - confusion. anger, therefore conveying the frustration that Connor feels in that no one understands

gloomy greenish lighting in the toilet at the party accentuates the shadows on Connor's face suggesting this is a dark place for him. isolated, alone and separate from society
echoes Connor's emotion and expressions - we are able to empathise with him

Cinematography:

The handheld slightly shaky camera adds a personal feel to the film - it does address someone's personal issues. The camera situates you watching Connor mostly which lets you get to know and empathise with the character.
We are encouraged to feel sympathetic towards Connor by the camera which follows in front and behind Connor - we are on a journey with him

Editing:

From Connor walking out of the party in drag with his face beat to Connor walking into gym with his face beaten up - shows the contrast between his two identities. (Drag in the dark to boxing in the light)

CW -  Mise en scene - use of mirrors and at 14:40 cracked mirror - identity as coping with identity and trauma
Genre - 'coming of age' type 
The natural lighting - contrast warm to cold(gold vs blue) - reflects internal emotions

TIGHT JEANS - Destiny Ekharaga

Mise en scene:

Marketplace/community park/estate - working class neighborhood

baggy jeans and bright clothes- young
Colours - red(associated with anger) is frustrated by waiting/orange(associated with joy) is silly and a joker/blue(associated with calm) tell both to calm down
Race - the three black people vs. the two white people with tight jeans and shirt

Performance:

they are cold through the hands in pockets and hunched posture and shaking of hands
Can tell they are waiting - playing with a toothpick and speech
Humour bawdy conversations
'punch line' things at the end - humour

Cinematography:

Camera moves in - establish setting and characters

Camera pans - match the flow conversation and energy or waiting like clock ticking
Camera zooming sense interest - immersion in the diegesis

POV shots show exactly what the boys see and what they focus on as the camera tracks tight jeans

Sound:

Music in the opening - African drums - tradition-  original production adds authenticity
Race - 'begging' black boys (used as tokens) "way into the black community"

CW-  colour association with character - kalu in white and then in black towards end - echo how he becomes silhouetted as he slips away - just a shadow  

OVER - John Threlfall


Cinematography:

wide/long shots - ambiguous of what happens - enticing and mysterious yet peaceful because we are set apart from the film-position as the observer is made clear

Lack of close ups empahsises the lack of sympathy and connection we can have for the man from Angola  - no information and personal connection people could have for/with him in England in the area. 

variation of angles of the same area - slowly establishes the area - draws you in 

Close ups on the items belonging to the man - allow a limited level of sympathy towards person but still given no real identity

Narrative

Film is worked backwards which successfully builds more tension as the audience is gradually given more information but is still left in the dark right until the end

Sound:

Simple and natural - creates more contrast when the body falls - all diegetic so reflects the reality of the situation because it was a true event

CW the narratve unfolding alsmot backwards herethe climax is straight at th eend as the narrative uncovers layer by layer and same wiht mine there is a slight twist at the end - waited the whole time woit slight clues etc. different effects this is to compare and comment on real life event whereas imie is jst for story ;;;;;eyfgwiefgwieyf

ECHO - Lewis Arnold




Cinematrography:

Begins with wide shot and diegetic sound but spectator doesn't know whose phone is ringing - enticing 

Many close ups of Caroline's face - allows us to see her emotions and really symphathise with her

Editing:

Many cuts when Caroline is on the phone and finding out about her father - emphasise the chaos and reflect how panicked she feels 

Places with lack of editing emphasise seriousness/turning point in the film

Sound:

All diegetic - realistic as you can't hear the phone conversation

Mine - contrast between movement and tracking shots or people moving to static front on shots to emphasise changed in tone. opposite - mostly non diegetic to take you away from the memory - suggest they are distant  
editing pace of editing increases in memory montage 

OPERATOR - Caroline Bartleet


Sound:

Diegetic off-screen sound similar to 'The Fly' - clever use to create image of woman son stuck in fire without having to actually film that

wait for confirmation through the sound : silence causes tension - we rely on sound to know what is happening

Editing:

Minmal edits - realistic and shows most tension created by sound 

Cinematography:

Close ups of operator - emotion and controlled panic to build tension 
Focus on only the operator shows the film's focus on the operator's job and not the fire (as much) - shows operator's ability tasty calm in such a stressful situation

CW situated with this one character as well as learning someone else's story but from a certain perspective 
THE ARRIVAL - Daniel Montanarini


Cinematography:

The camera zooms into Anna - entering Anna's 'world' - introduce and establish where story begins - with Anna 

Anna in centre of the frame - we are situated with her from the beginning 

Lighting - half in light half in dark could symbolise how she has different paths or choices she could take or make 

Part when she is in dark -symbolise how she IS actually 'in dark' about what decision to make about her baby 

Performance:

Voice but she doesn't physically speak so we know it's her internal private thoughts 
She is unsure and cannot make decisions showing inner turmoil and conflict 

Spills coffe/over pours drink shows she's distracted 

At end she makes a decision - symbolises her change of heart and start of something new possibly

Dark to light- surreal moment of going through tunnel on train. 

Same with mine - begins with Ma - situated with her
Much slower, transparent zoom whereas mine are blunt and clear. Zooming into Mia and her memories
lighting dark to light - same journey Kalu takes in going through shadows - changing state - ( alive o dead)
Mia from bright in memeories to pale colours and dark lit with shadows - backlit by window as going through something - changing states./ mind state. coping

THE FLY - Jack Doolan



Sound:

Diegetic off-screen sound similar to 'Operator' 
Very hard to watch - tension and suspense
Also the gore
Not anyway similar to mine apart from sound.
Use of only non diegetic/offscreen in memroeis distances you from memory