In Class Student Films (a short overview)

Through the process of viewing and commenting on the short films that were made previously in film studies classes I have further learnt the importance of a few key features such as ambient sound, mise-en-scene and having complexity within a film as well as ensuring that there is a coherent 3 act structure and narrative. 

For example, in the short film ‘Ivory’ the cinematography was employed very efficiently with a variety of shots and angles as well as edited cross fades which were complemented by the use of mise-en-scene and specifically reflective surfaces. Sound was also used effectively to reflect shits in key moments of the short film and reflecting the characters own issues. Additionally, the use of a sound bridge at the beginning of the film also presented the importance of sound in the film as well as creating an effective transition. However, ambient sound was needed in the park sequence as the sound was fuzzy, consequently displaying the importance of ambient sound in our own short films. All together, as we discussed in class, this was very cohesive and dynamic and definitely reflective of the mark that it received.

A dynamic short film which used editing and mise-en-scene incredibly effectively, consequently showing the importance of having an element of complexity and vibrancy in our own films was ‘The Lottery’. This film contained a plethora of dynamic transitions, editing features and use of depths of field. As a whole, it was technically incredibly good whilst also following a clear and comedic 3 act structure. An aspirational example, technically, of what we could do within our own student films. The complication of this film and use of editing was exceptional, with most of us in class being left in awe. Even if stylistically not what we would consider doing in our own short films, it was nonetheless highly useful to see the extent to which we can take our own films.

Another student film which expertly used the cinematography was ‘Call’ which contained a dynamic use of angels as well as use of editing in the scene where the background was dark and there were cuts between close up and mid shots of the character learning the unfortunate use. Consequently, there was an expressive use of camera work, however the film lacked clarity and cohesive dialogue at some point, with there being a sense of lacking clarity surrounding what the actual plot was as there were only two acts, including a third act would have been benefited the film as a clear conclusion could have been drawn surrounding their character and his well being. Aside from this, the use of colour within the film was also very effective, with some moment seven reminding me of the editing in Vertigo in the dream sequence, consequently i do understand why it got the mark it did as although there was room for improvement, there were also many well executed elements.

Essentially, this process of analysing and watching the student short films in class has demonstrated the value of key features to include in our own films whilst also pointing out areas of improvement and what we should watch out for during the filming and editing process. Through this i have learnt about features such as ambient sound which i would previously maybe have not fully understood the value of, as well as just taking inspiration in terms of, how different we can go stylistically within our own short films, whether serious or comedic, dynamic or more simple, there's a lot of freedom and micro-elements to employ to achieve the final narrative and aesthetic look that we desire.

The Arrival (2016)

'Caffeine or decaf?'

 Produced by Zen Studios and directed by Daniel Montanarini, The Arrival is a short film inspired by a documentary which explores the relationship between mothers and their children (All About Mothers), focusing on a single defining moment for all pregnant women. The dialogue within the film is through a verbatim script, consequently adding that further touch of intimacy, fragility and reality to the production. 

The film begins with Anna contemplating whether to have caffeine or decaf, a question which in normal circumstances appears normal, however acts as a cue towards the situation in which the character has found herself, what she wishes to do about her pregnancy. In terms of cinematography, the majority of the film is conducted through a slow centre zoom in which the spectator feels as though they are being drawn into Anna's thoughts, travelling towards her as she contemplates her uncertainty, almost trying to convince herself of the most reasonable outcome. However, once she spills her coffee, it's almost as if the reality of what she truly wants to do sets in, there being a moment of editing where it appears as though she is on a train, advancing closer to her choice.  

In this scene, the lighting is utilised very effectively, using warmer colour grading, further softening the moment as the character accepts that she's keeping the baby. This is further reflected through the use of sound where the special effects of the sound of the train moving almost reflect her mental journey, yet once she has accepted her choice, a silence coming over the moment. Throughout the short film, the use of the narrators inner monologue is also incredibly effective as it acts as insight into what the film is about before anything is truly revealed through indicators in terms of mise-en-scene. 

 

The use of mise-en-scene in The Arrival is employed in a variety of ways and forms the film both aesthetically however also in terms of indicators into the head space of the protagonist Anna. In terms of the set, the coffee shop appears refined with a more simplistic ambience and slightly exposed colour grading consequently creating a colder and more muted environment. This is complemented through the use of costume and props in which the waiters appear to wear blue uniforms and the door is initially frosted. Additionally, the placement of characters in the film is also employed very effectively as whenever Anna contemplates certain element of the pregnancy and her future, the choreography makes it so that these related characters/props appear/are placed in the frame, eg the couple and the clock. These are all intentional decisions as through these the protagonists fears and desires manifest in the confined space of the coffee shop, allowing the spectator to observer her inner journey as the film builds up to the conversation with the baby's father.  

 

A conversation which never happens within frame, as a consequence showing that all that truly every mattered was that she reached the conclusion of what she wanted.  

 

The Fly (2014)

The Fly, directed by Olly Williams, is a dark humour short film about the journey of a getaway driver and a fly stuck within the car during his wait for his friends to finish robbing a bank whilst simultaneously being caught within his own conflict with the fly. 

The use of cinematography within the film elevates this sense of insanity that the driver is consumed by as his agitation persists throughout the sequences, unable to defeat the fly. The close ups of the fly as well as the shallow focus used in the initial moments establishes this interaction between the characters, almost making it so that the spectator also feels as though they are fixated in the moment, unable to ignore the presence of the fly. This is further emphasised through the use of sound, specifically diegetic which perfectly accompanies this sense of growing tensions, the helicopter sounds, buzzing and car engine all reinforcing the hypervigilance the driver is experiencing in the moment. However, there's also a comedic dimension to their interaction as presented through the mid shot where the diver and fly are in the car which portrays how insignificant a situation they're actually in in comparison to the robbery going on however how trapped they are within it due to the driver's confinement to the car. 

The use of mise-en-scene, especially props and costume, further reiterates the characters position as a getaway driver and acts as a reminder of the reality that in the story the main conflict, one could argue, is actually happening within the bank. Consequently, this use of the mask in an attempt to kill the fly reminds the spectator of the drivers 'gangster’ disposition which is further elevated by his leather costume and the tonality and colder more ‘vintage; colour grading of the film. Once again, there's comedic value found between the driver and fly’s cat and mouse game, as the apprehension and agitation of the character reaches excess levels. The cuts to the bank door where the robbery is going on further heightens the intensity and build up of the scenes as the cuts get closer each time with the sound and screams from the bank appearing louder. 

The use of the rear view mirror as a reflection of the further deteriorating state and vexation of the driver also acts as a tool in which to foreshadow future dynamics between the fly and driver, inferring that the driver will not achieve his intention of killing the fly and will actually be the more damaged party. The intensity of the buzzing and diegetic sound whilst in close up additionally fixates the attention of the spectator on the insanity of the interaction and the relentlessness of the fly. 

After deploying and cutting the airbag, slamming on the horn multiple times, in his final attempt within the car to get rid of the fly, the driver ultimately ends up stabbing himself with the toothpick in his lip, a prop employed since the beginning of the film consequently discreetly having shown its significance. This close up of the driver’s wound consequently almost acts as the climax and ‘boiling point’ of the conflict between the fly and the driver, the last moment of partial sanity before his complete segue into insanity. The silence surrounding the scene other than the buzzing of he fly accompanies this feeling, the gun consequently not only cutting the silence within the sequence however also acting as a cue for madness of the character and the break in terms of mise-en-scene from within the car to the exterior, his insanity spilling onto the streets. 

The natural lighting and more mundane colour grading once again draw the spectators attention towards the fly and man and their game of catch, the camera shots covering all angles consequently presenting the exposure of their conflict and contrasting the distinctive noise of the gun with the silent streets. The sirens of the police cars and helicopters bleeding into the screams of the man almost create a moment of realisation where the the mid shot of him, exasperated, clasping his head on the hood of the car once again presents the reality that everything is because of the agitation and insanity that once small harmless fly caused an apprehensive getaway driver.

This edited, slightly slow motion shot of the bank robbers exiting the bank only to be greeted by the  sounds of the sirens, helicopters, and their driver resting across a shot up car almost acts as a moment of acceptance and reality setting in as the shot essentially displays the consequences and cost of the petty drama between fly and man, how the robbery has gone. After the camera cuts to the nonchalant yet apologetic shrug of the driver, the soundtrack begins and cuts to the title of the film, once again reminding the spectator of who the star of the film truly is, ‘The Fly’. 

The Ellington Kid

The Ellington Kid is a short film by Vice Productions directed by Dan Sully which explores the story of the Ellington Kid through the stories of Nathan and Beefy who are in a kebab shop in South London. It successfully follows a 3 act structure where Nathan recollects the stabbing that occurred a month before, supposedly continuing into the kebab shop, a confrontation unfolding between the workers and stabbers.  

 

The film begins with a mid shot of the two characters, their proximity combined with the use of oppositional framing creating a sense of engagement and establishing the close relationship between the characters. The flat angle of the camera acts as a medium through which the spectator feels like an observer to their conversation, a dynamic which shifts at moments further in the film. The familiar setting of a kebab shop provides a layer of familiarity to the spectator, engaging them in the story the characters tell even more. The underlying concentration of the tones of red/burgundy within the scene also contain value, as when considered with the initial sharpening of knives by the shop worker character suggest significance. 

The use of artificial white lighting and the washed walls of the tunnel emphasise the composure and facial expressions of the Ellington Kid, pain radiating from his movement as he attempts to escape his stabbers. The use of lighting adds additional layers of discomfort, emphasising his central position within the frame and the cold, artificial tones contributing to the tension building in the moment, the spectator aware of his every move. The slight low angle accentuates the presence of the ceiling, consequently confining the character to the bare conditions of the tunnel, as well as further reinforcing his desperation to seek shelter and hide as his eye-line roams above the camera urgently looking for his way out. 

The dark background and lighting in the following shot reinforces this previous tension, guiding the spectator along with the Ellington Kid to a safer setting. The dark lighting alongside the yellow streetlights adds a sickly element, building up the menacing environment which is already present through the mid shot where the character appears to be looking back over his shoulder, his figure lost between shadows. The spectator being unable to see what the character is looking at only further intensifies the moment, building the scene further.

This flat angle close up shot of the kebab shop worker presents a clear display of his calm and grounded composure, the use of the micro-expression of his slight smirk highlighting his confidence in his position even when the stabbers enter the shop following the Ellington Kid who is bleeding on the floor. His confidence foreshadows the way in which the situation will progress, an inference being made that the stabber will appear more vulnerable compared to the workers. This is reinforced by the delicate pan of the camera to the other worker in the shop, this unspoken interaction between the two characters portraying their cohesion and unity. 

The workers' red uniforms/shirts contrasted with the stabber black attire intensify the opposition between them, presenting them as separate forces. Additionally, once again this repetition of the colour red, which also contrasts with the dull background, raises connotations of blood and danger, adding to the building tension and darker tone of the scene.  This also presents them as the more domineering side, a force not to be reckoned with. 

This close up of one of the stabbers unmasking himself further embeds their vulnerable position in the situation, shifting their internal dynamics from attacker to possible victim. Although there is a shallow depth of field which allows the spectator to focus on the expression and slowly build distress of the stabber, the impending presence of the worker is not neglected, acting as a reminder of what is yet to come. Within itself, through the act of unmasking himself, the stabber renders himself defenceless and appears powerless as they are locked inside the kebab shop. Consequently their previous bravado and confidence appears to break down, presenting them as who they essentially are, young men. The colder colour grading reinforces this sense of distress as the walls become (in terms of colour) aligned with the stabber's paler skin tone which only further presents the act of realisation settling in. 

In this long shot of the Ellington Kid, he is on the floor, his composure weak, reminding the spectator of his powerless condition. The camera being at an equal level as the character enables the previous dynamic of the spectator as the observer to shift, drawing them into the scene almost as if they were hiding behind the counter themselves. The similarity of the greyish, pale colour of the characters costume and the wall almost blends them in together, fading the Ellington Kid further away. The climactic essence of this shot emphasises that this is the ultimate confrontation, suggesting that the stabbers have been 'dealt with'. Through this, in the most tense moment, the spectator is in a way reunited with the origin of all the tension, the Ellington Kid.

The playful nature of this moment acts as the resolution, somewhat, of the film as the character discloses to the other that it was a joke all along, ‘why do you think i'm only having chips?’. However, the plot is not fully resolved as there's a blurring of the line between myth and reality, teasing the spectator on whether the happenings of the Ellington Kid were true or not.

The over the shoulder shot allows for a clear presentation of the character's reaction, spitting out his food in horror, only to realise he's been messed with. However, as the camera moves into a wide shot where it is from the POV of the kebab store worker, the reality of the story is once again questioned. 

The film ends in a cyclical manner, with the camera panning to the worker sharpening the cutting tools, only now with entirely different connotations associated with the knife. This last mid shot of the worker in his red shirt moving the knives reinforces the comedic nature of the film and the significance of the props and colours used in creating and layering meaning. Nonetheless with the previous tension and questions not fully leaving the spectator, allowing the spectator an active viewing experience which is in an unconventional way, quite satisfactory.