Initial Idea for Cinematography

From the brainstorming session at our first meeting, we tried to come up with ideas for cinematography.  We focused on how we were going to present an hour in the space of 5 minutes.  I thought that we could film the scene in Sarah's bedroom as if it were being filmed by a CCTV camera.  We could then "fast forward" through the moments when she is sat thinking. 

I started researching films that use the CCTV style of filming.  Andrea Arnold's 'Red Road' was one of the few that I discovered.

Here are a couple of stills from the film:

The CCTV footage suggests that someone is constantly looking at the characters.  I want the audience to be the immediate "viewer" of the action.  I feel that this will make Sarah's story more personal to them, and therefore they will connect more effectively with the character.

This long shot shows the character looking at the CCTV footage.  The darkness around her makes the scene mysterious and sinister.  It creates an eerie, tense atmosphere.  We didn't feel that this created the right mood for our piece.

I don't think that this style filming is an effective style.  It would allow the audience to over look the action, rather than become involved with the characters.  It also does not created the right mood for the audience.

Looking back on my AS work, we created a sense of time passing by using long duration shots, smooth, slow pans and tracking shots, and slow transitions in our editing.  However, we wanted to challenge ourselves, and take time in deciding what style would be best for our film.  I felt that if I use handheld camera movements, this would create a sense of realism, and will therefore make the audience feel that they are there witnessing the event. 

We further researched Andrea Arnold's work, and whilst watching 'Fish Tank' we saw a short sequence where Arnold suggests a movement in time.  Here is the sequence below (starts at 1:40 and ends at 3:50)

This 2 minute sequence shows the long journey from the characters estate to a different neighbourhood.  Arnold portrays the long journey by using long duration shots.  She then creates realism by using handheld camera shots to involve the audience into the story further.  I think this style will be more effective for our film, because we want to create the same type of anxious atmosphere that Arnold creates. 

Film Classification

 

 After looking at the criteria posted on the BBFI website, we felt that the classification of 12 fits our film.  Here is the criteria below....... I have highlighted in red the criteria which we felt fitted our film.

"....the material is suitable, in general, only for those aged 12 and over. Works...may upset children under 12 or contain material which many parents will find unsuitable for them.
The ‘12A’ category exists only for cinema films.  No one younger than 12 may see a ‘12A’ film in a cinema unless accompanied by an adult, and films classified ‘12A’ are not recommended for a child below 12.  An adult may take a younger child if, in their judgement, the film is suitable for that particular child. 
The ‘12’ category exists only for video works. No one younger than 12 may rent or buy a ‘12’ rated video work."

Discriminatory language or behaviour must not be endorsed by the work as a whole.  Aggressive discriminatory language or behaviour is unlikely to be acceptable unless clearly condemned.
Any misuse of drugs must be infrequent and should not be glamourised or give instructional detail.
Horror - Moderate physical and psychological threat may be permitted, provided disturbing sequences are not frequent or sustained.
Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied, or appear pain or harm free.  Easily accessible weapons should not be glamourised.
Moderate language is allowed.  The use of strong language (for example, fuck) must be infrequent.
Nuditiy is allowed, but in a sexual context must be brief and discreet.
Sexual activity may be brief and discreetly portrayed.  Sex references should not go beyond what is suitable for young teenagers.  Frequent crude references are unlikely to be acceptable.
Mature themes are acceptable, but their treatment must be suitable for young teenagers.
Moderate violence is allowed, but should not dwell on detail.  There should be no emphasis on injuries or blood, but occasional gory moments may be permitted if justified by the context.  Sexual violence may only be implied or briefly and discreetly indicated, and must have a strong contextual justification.

Cast

Richards - Simon Oxley

Brett Mallard - Heath Woodward

Sarah Mallard - Nicola Stewart

Prop List

Collection of photoframes with photos of Brett, Sarah and Richards at different stages of their life - Photo frames are on set (need to take actors on a photo shoot to collect images)

Briefcase and a Newspaper for Richards (can use the same case for Brett)

Pot of Pills

Kettle/Coffee/Tea spoon/Tea cups - In Location already

2 kitchen chairs/One Table/Arm Chair - In location already 

Casting Calls/Auditions

We want to create a realistic adaptation of The Story of an Hour.  After talking to our tutor, we felt that some of the characters needed adapting.

We felt that all of our characters needed to be older.  In the story, Sarah is in her late 20s.  We felt that to make a realistic impact on the audience, we needed to convey that Sarah had been suffering for years.  We therefore decided to set the playing age at 30-40.  Jess' dad offered to play the part of either Richards or Brett.

This left us with 2 more parts to fill.  Obviously, no actors/actresses in our school were old enough to fit the playing age.  Because I am involved in amateur productions, I decided to advertise the roles on facebook, and on a local blog website dedicated to casting calls.

Directors from Genre

Andrea Arnold:
She is a British filmmaker, former actress, who made her debut in 2006 with Red Road.  She favours filming in a 4:3 ratio.

Known Titles:
Wasp (2003) - Short
Milk (1998) - Short
Red Road (2006) - Feature Film
Fish Tank (2009) - Feature Film

Awards:
2004 - Academy Award for Best Live Action Short Film - Wasp
2007 - BAFTA Award for Best Newcomer in Directing - Red Road
2009 - British Independent Film Award for Best Director of a British Independent Film - Fish Tank
2010 - BAFTA Award for Outstanding British Film - Fish Tank

I especially like the way Arnold uses light in her work.  She often uses natural flares.

(Fish Tank)

I like how the light covers the character, and acts as a shield between the audience and the scene.  It "blinds the audience", and creates a second of unknown.  I want to use a shot like this for when Brett comes home.  I want to create a sense of mystery for the audience as the door opens, and they see a flare, followed by a silhouette.  I think it will be more effective if the camera shots are as basic as possible, so that Sarah's vision, which we will create in the editing stage, will have more of a contrast and therefore, a bigger impact on our audience.  

Developing Skills from AS Year

Within our AS year, Jess and I found that much of our films were filmed on tripods and tracking.  We wanted to try filming with only a handheld camera.   We also wanted to try filming with a mobile phone, to see what effect this would have on our audience.

Below is the end product.  The story follows a young girl, who has a unstable relationship with her mother.  She is alone and isolated from society, and has only herself for entertainment.  She takes a trip to the arcade to have some fun, and then goes back home to meet her high tempered mother waiting for her return.

8mm iPhone App

We found an app called '8mm'.  This is a film app which allows users to film in different effects.  The effect we used was 'Noir'.

Research on Genre/Adaptations

Genre:
Dramas are serious, plot-driven films that portray realistic characters, settings, events and stories involving intense character development and interaction.  They do not usually focus on special-effects, comedy or action sequences.

Film adaptations: 
A film adaptation is transformation of written texts into the form of a film.  Novels are frequently used in film adaptations.  They usually try to appeal to a existing commercial target audience. 

Most recent film adaptations would be...
The Harry Potter series - Originally a series of novels written by British author, J.K. Rowling - first film released in 2001
The Twilight Saga - Originally a series of novels written by American author Stephenie Meyer - first film released in 2008
The Time Traveller's Wife - Originally a novel written by American author Audrey Niffenegger - released as a film in 2009
The Adventure of TinTin - Originally a comic book created by Belgian artist Georges Remi - released as a film in 2011
Wuthering Heights - Originally a novel written by English author Emily Bronte - most famous adaption was in 1939.
Water For Elephants - Originally a historical novel written by Sara Gruen released as a film in 2011

New Moon

New Moon:

New Moon is the second film within the Twilight Saga, which are adaptations of the book series written by Stephanie Meyer.
There is a particular selection of chapters that skip over 4 months within the book.  We watched New Moon to see how the director decided to portray this movement in time. 



We liked how smoothly the camera movements were, and how the change in time was suggested through nature, and the different seasons.  The slow movement suggests a long period of waiting and thought.  We also liked how the use of desaturated colours suggested the characters mood.

Target Audience/Questionaire

After researching films within our genre, we felt that teenagers, young adults and middle aged women would be our perfect target audience. 
Many adaptations, such as Pride and Prejudice, are used within A Level and Degree coursework and study.  Kate Chopin's work would fall under this category.  We will therefore aim at this target audience.

We created a questionaire, and interviewed people within our target audience.  Here are the interviews below....

How old are you?

What is your favourite film genre?

How often do you watch films?

Why do you watch films?

We are producing an adaptation of Kate Chopin's 'The Story of an Hour'. We will know ask you a series of questions based on this.

How close to the original novel/text do film adaptations need to be?

Do you use film adaptations within your studies at school/uni/work? If so, do you find them a useful tool?

Character Development

Sarah Mallard:
Sarah Mallard is a fragile, insecure woman, who is abused by her husband Brett.  It has been 19 years since Sarah was been able to enjoy her life.  She is desperate for an escape, and she see's her husbands death as just that. 
Initially, Sarah did love Brett.  She was hopelessly in love with him when she married him at 17, and from that moment, she became his slave.  Because of the characters weakness, Sarah failed to stand up for herself, and so was submissive to Brett's strong demands.  Because of this life-long struggle, and hard-work, Sarah's appearance is haggard, and drained. 
When she is told the news of Brett's death, naturally the character does feel some heartbreak, however, after some thought, she begins to realise that she is free.  She now has no one there to tell her what to do, or to stop her from enjoying herself. 
From the characters severe heart disorder, when she finds out that Brett is alive, she suffers from a heart attack 'from the joys that kill'.

Richards:
From his costume, we know that Richards is in a well paid, office job.  His suitcase implies his high position within the company he works for.  He is a genuinly nice, family man.  He lives within his detached house, with his wife and 2 children.  He has known Brett since university, where they both studied Business, and met Sarah on a double date one New Years Eve.  Richards doesn't understand why Sarah is always depressed, but accepts who she is.  He has become so used to how down she is, that when she is excited and happy at the end, he doesn't understand.

We feel that the audience are represented by Richards.  His emotions are the emotions that we want our audience to feel.  We will therefore need the audience to connect with Richards from the beginning of the film.

Brett Mallard:
Brett lives for his work, which is all consuming, and he regrettably forgets his love for his wife.  He turns to alcohol for comfort, and leaves Sarah alone at home most evenings whilst he is out drinking with his friends in the local bar.  He comes home, violently drunk, and takes the rest of his anger out on Sarah.  He is controlling and manipulative, and makes Sarah's life very difficult.

Location Ideas

We wanted to create an idealic, family home environment for our film.  We want to confuse our audience about why Sarah is depressed about her life. 

We knew that we wanted the scene between Richards and Sarah to be in a kitchen.  We therefore needed enough space for Richards to sit down at a table, and Sarah to move around, making tea.  When Sarah leaves the kitchen, she leaves to go to her bedroom.  The chair by the window was a key moment within the original story, so we wanted to keep this element within our film.  We also wanted to film a shot with Sarah looking out of the window and looking at the birds in the tree, creating a symbol of freedom. 

We didn't feel that our houses fitted this specification.  Jess suggested her aunty's house. 

Jess went around and took a  few shots of the location, and a few still shots of various close ups and long shots we are planning to use in the final piece.

This shot is the most important shot of the film.  This is the moment that Brett comes home, and shocks Sarah into a heart attack.  We will need to work on the darkness of the shadow on the characters face, so that it is a mysterious figure.  We will need to make more light behind the character and less light in front to achieve this.

Sarah opens the door to find Richards outside.

I really like the lighting in this shot, the light comes from under the cupboards, keeping the character looking slightly dull but we can see what she is doing with her hands. 

Sarah Walking upstairs after talking to Richards, and being informed of Brett's death.

Angle 2

There was a choice of three rooms for the bedroom scene. Each room has a chair by the window but decorated differently. I like the simplicity and neutrality of this room. I want to keep the lighting to a minimum and use as much natural light as possible, throughout every sequence.  The only articifial light will be when Sarah is having a heart attack, and this will be done within Jess' editing role. 

Sarah looking outside - longing for freedom.

The lighting in this room is perfect, there is no orange glow, everything is simple and easy to see. 

 There is a shot of a a bird in a tree that Sarah stares at for a while. This is particularly important as it shows her want of freedom. The three different rooms offer different views of trees. I decided to show the view from this window as there was a bird sat in the tree. 

Angle 1

I liked the barred windows.  This shows the characters captivity

Sarah longing for freedom

Shot of door - sound of Richards calling through door

This is the second room, it would need a little clearing up, but the view from the window is slightly different. The colours of the room are darker than the last, and personally i prefer the simplicity of the last.

Surrounding environment - trees, naturalistic - English heritage

Artificial light has been used here to light this shot. There is a slight orange glow, so we would have to experiment with the lighting. The stairs are in perfect distance from the front door and the kitchen. 

At the beginning of the film the camera pans across a sideboard with pictures and other items on it. There is a sideboard just to the right of the door that we can use. 

Costume Ideas

Sarah Mallard

We wanted to dress Sarah in a costume that represents her personality.
An over sized plain cardigan allows Sarah to almost hide behind it. The bagginess hides her figure, she is quite insecure and isn't happy with her relationship. This has an impact on her sense of style, she isn't keen to give much away. Teaming this up with a simple plain white top and a pair of boot cut jeans. Again, the jeans are baggy and don't complement her figure. She lacks confidence and her clothing supports this. I think make up wise- she should have little to none. Sarah is a tired, run down, unhappy character. Hairstyles need to be simplistic, a loose pony tail or loose waves in the hair. I don't think she needs anything extravagant, i don't want it to look as though she has made too much of an effort.

Richards

I always imagined Richards as a well presented character. He has a sense of success about his character and this is obvious due to his costume. Although he has this sense of style, when he appears at Sarah's door he appears distressed and this could be shown through him having his top button undone and his tie loose. The lock on his briefcase will be used to show his awkwardness as he begins to play and pick at it.

Brett Mallard

Brett and Richards both work in an office environment.  Therefore, their clothes will be similar.  We wanted Brett to look like a dominating character.  Instead of a colourful tie, we put Brett in a dull, black/grey tie. 

Other Roles in Production

Jess has taken all of the post production roles.  She will be editing the footage, creating and adding a soundtrack, and adding any effects to the film.


Role of an editor:


Filming editing is the process of selecting shots, arranging and modifying them in order to clarify and refine their form and content.  The editor works closely with the director to maintain the image and vision that the cinematographer has tried to capture.


Film editing is part of the creative post production process of filmmaking. It involves slecting shots and combining them into sequences, and ultimately creating a finished motion picture. Editing is the art to story making, it is the ony art that is unique to cinema, althought there are close similarities to the editing process in other art forms such as; poetry or novel writing. Film editing is often referred to as the ''invisibe art'' because although it is well practiced, the viewer can become so engaged that he or she is not even aware of the editor's work. 
The job of an editor isn't simply to mechanically put pieces of a film together. A film editor must creatively work with the layers of images, story, dialogue, music, pacing, as well as the actors performances to effectively ''re-imagine' and even rewrite the film to craft a cihesive whole. Editors usually play a damatic role in the making of a film.

My Role within the Production

I have taken on the role of cinematographer and directing within our production.

Role of a cinematographer:

The cinematographer is responsible for the technical aspects of the images (lighting, lens choices, composition, exposure, filtration, film selection), but works with the director to ensure that the artistic aesthetics are supporting the director's vision of the story being told.  They are often called directors of photography.

Role of director:

A film director is the person who directs the actors and film crew in filmmaking.  They control the films artistic and dramatic aspects, while guiding the technical crew and actors.

Storyboard

After completing our storyboard, myself and Jess questioned whether the audience would know that Sarah has a heart problem.  This is a key fact that we need to introduce to the audience, because when she see's Brett after she has been told the news of his death, she suffers from a heart attack.  We researched different medicines that she could be taking, and saw that people take Nitroglycerin when a heart attack is suspected.  When Sarah is making Richards a cup of tea, we will have a medium close up of Sarah rubbing her chest, as if in pain, cut to a close up of the tablet bottle, and then a medium close-up of Sarah secretly taking a couple of tablets.

We also wanted to establish that Richards and Brett both commute to their work in London.  Instead of beginning with the long shot of the tree, we will instead shoot a sequence showing Richard's journey home from London.  (We will put this in our shot list).

Plot Summary

'Story of an Hour' shows the rollercoaster of emotions that Sarah Mallard goes through at the discovery of her husbands death.  A modern, film adaptation of Kate Chopin's 18th Century short story. 

A woman in a modern world, yet still in the chains of pre-suffragette Britain.  She struggles to come to terms with her loss, yet realises the freedom that this will bring her.  But will she suffer from the joys that kill?

Final Script

Story of an Hour

Scene 1

We see a man, Richards walking down a street. He stops at the house he is looking for, looks up at the window and then walks to the door. He rings the door bell and waits. He backs away from the door and looks around the surrounding environment. Cut to a figure making her way down the last few steps of the staircase. She walks towards the door. She stops. On the table next to the front door there is a picture frame turned down. She picks it up and puts it upright on the table. It is a picture of Sarah and her husband Brett on their honeymoon. Brett is smiling and enjoying his holiday, Sarah's smile is forced. She reaches for the door handle. She faces the figure before her. He's dressed in a black suit, and is holding a briefcase in one hand and a newspaper in the other. Sarah is confused by his visit.

Sarah: Richards?

Richards turns round to see Sarah Mallard at the door. His face is grave. He struggles to greet her with a warm smile. Instead it looks forced and fake.

Richards: Can I come in?

Sarah doesn't answer. She stands back away from the door, letting Richards walk through. She closes the door, and follows him through to the kitchen. She puts the kettle on and then sits opposite him.

Richards is fiddling with the lock on his briefcase, picking at the lock. Sarah is holding her shaky hands in her lap, turning her wedding ring around her finger. Richards looks up at Sarah every few seconds, hoping that she will start the conversation. He sighs, takes a deep breath, and pulls his hands away from his briefcase, shifting his body so that his whole attention is on Sarah. He leans forward to address her.

Richards: How are you?

Sarah notices that he has started a conversation, and pulls her gaze away from her wedding ring. She looks up at Richards, yet finds it hard to hold his gaze.

Sarah: Okay.

She pulls away from his worried, searching gaze and looks back at her wedding ring. Richards sighs as she does, concerned about her well-being.

Richards: Good. (He nods once and turns back to his briefcase, and continues to pick at the lock.)

There is a silent pause. Richards looks around the room awkwardly. All the audience hears is Sarah tapping her finger nails on the table, Richards picking at his lock and the kettle boiling. The three sounds climax until the kettle boils. Sarah goes to make the tea. Richards, now that he doesn't have to deliver the news to her face, builds the confidence to break the news.

Richards: I'm sorry. I went to wait for Brett's train. I waited for an hour. Sarah... Sarah, the train never arrived. Brett never arrived.

Richards waits for a reaction. Sarah doesn't react, and continues to make the tea. Her actions are shaky and quick paced. Once she has got everything ready (milk, sugar), she orders them on the counter.

Apparently some kids were playing a game, Some sick game. They put a log on the tracks. The train collided and... I'm sorry.

Long pause. Sarah's movements have become more shaky and quick. Whilst pouring the water she overflows the pot, and spills the water on her hand. Sarah curses under her breath. Richards gets up quickly to help her.

Richards: Let me help you.

Sarah pulls away from Richards help, backing away from him.

Sarah: No. I'm fine.

Sarah makes her way from the hall way, and up the stairs.

Scene 2

Sarah makes her way up the stairs. She walks into her room, and slowly shuts the door. There is a large armchair placed in front of the window. She stands in front of it and then sinks slowly into it. She sits, staring outside the window. A tear slowly rolls down her face. She quickly wipes it away. Her expression shows her exhaustion, her stress. She has aged and looks years older than her actual age. She sits motionless. We see two birds flying past her window. They sit on the nearest tree by the window. Sarah looks at them in envy, jealousy. After some time she throws her head back, resting on the top of the chair.

She lifts her head again, slowly. A sudden realisation comes across her face. Looking out the window at the birds again. She slowly rises, and walks over to look out the window, and rests her head against the glass. She continues to watch the birds. She smiles, a gleam of life coming back to her eyes.

Sarah: Free. Mind, body and soul. Free.

A knock from her bedroom door. We hear Richards, call from the other side of the door.

Richard: Sarah? Sarah, open the door! Please, open the door – you're going to make yourself ill. What are you doing? Sarah? (To himself) For fuck sake. Open the door!

Sarah: I'm not making myself ill.

Richards keeps on shouting through the door. Sarah stays at the window. Smiles. A tear comes to her eye. She looks excited. “Drinking in a very elixir of life through that open window. She turns away from the window, and opens the door to find Richards on his knees. She grabs Richards' arm and starts to drag her down the stairs.

Sarah: Pub?

Sarah has reached the bottom of the stairs. She goes into the kitchen, grabs her coat from the back of the stairs, and goes to the table at the side of the front door. She grabs her keys.

Richards: What? Sarah...

Sarah: Come on.

Richards: Sarah, wait....

At that moment Richards is interrupted by the sound of a key entering a lock. All freeze. They turn to face the front door. Sarah backs away towards the staircase to support herself. She looks scared, shocked. Fear overwhelms her.

We see a figure step through the door, we do not see his face yet. Richards looks happy, overjoyed.

Sarah: (screams) No!

We now see Brett walk through the doorway, shocked, confused at the outburst.

Condensing the Text

Because we need to condense an hour into 5 minutes, we cut down the text, and left only the important visuals/ideas that we want to create. 

Purple - Visual/action

Green - Dialogue

Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband's death.........

She wept at once, with sudden, wild abandonment, in her sister's arms. When the storm of grief had spent itself she went away to her room alone. She would have no one follow her.

There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul.

She could see in the open square before her house the tops of trees that were all aquiver with the new spring life....

There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west facing her window.

She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a sob came up into her throat and shook her, as a child who has cried itself to sleep continues to sob in its dreams.

She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky. It was not a glance of reflection, but rather indicated a suspension of intelligent thought.

There was something coming to her and she was waiting for it, fearfully....she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air.

Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was approaching to possess her, and she was striving to beat it back with her will--as powerless as her two white slender hands would have been. When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under her breath: "free, free, free!" The vacant stare and the look of terror that had followed it went from her eyes. They stayed keen and bright. Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body.

She did not stop to ask if it were or were not a monstrous joy that held her. A clear and exalted perception enabled her to dismiss the suggestion as trivial. She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had never looked save with love upon her, fixed and grey and dead. But she saw beyond that bitter moment a long procession of years to come that would belong to her absolutely. And she opened and spread her arms out to them in welcome.

"Free! Body and soul free!" she kept whispering.

Josephine was kneeling before the closed door with her lips to the keyhold, imploring for admission. "Louise, open the door! I beg; open the door--you will make yourself ill. What are you doing, Louise? For heaven's sake open the door."

"Go away. I am not making myself ill." No; she was drinking in a very elixir of life through that open window.

Her fancy was running riot along those days ahead of her. Spring days, and summer days, and all sorts of days that would be her own. She breathed a quick prayer that life might be long. It was only yesterday she had thought with a shudder that life might be long.

She arose at length and opened the door to her sister's importunities. There was a feverish triumph in her eyes, and she carried herself unwittingly like a goddess of Victory. She clasped her sister's waist, and together they descended the stairs.

 

Some one was opening the front door with a latchkey. It was Brently Mallard who entered, a little travel-stained, composedly carrying his grip-sack and umbrella. He had been far from the scene of the accident, and did not even know there had been one. He stood amazed at Josephine's piercing cry; at Richards' quick motion to screen him from the view of his wife.

When the doctors came they said she had died of heart disease--of the joy that kills.

Short Film Analysis

Enzy

by Sam Hendi

2007

Drama

(4 minutes)

"Envy is a short documentary-styled piece of cinema that deals with relationships and jealousy between friends.

The film is structured as a narrative story by two friends who discuss their feelings and love for the same man. As viewers, we are captivated by the characters unravelling their dark secrets and desires that leave them both puzzled in a twisted climax."

I thought the documentary style of filming made the film more engaging for the audience.  The characters directly told the audience their emotions.  The characters look directly into the camera as if they are having an interview, or making a vlog.  This would appeal to the "Big Brother" generation, who are used to listening and seeing peoples opinions through this style.  I feel this is a quick way of informing the audience of the characters emotions, however, for our project, I feel that we need to push the audience into contemplating how our character came to be in this state, and understand the reasons behind.  For our film, we will show the journey of different, developing emotions, without directly stating them.

There was also a blue tint when the characters were being interviewed.  This isolated the interview visually from the real time/flashback action.  It also created a chilling atmosphere for when the characters were describing their true emotions.  This made it more tense for the audience, and made the characters emotions of enzy more shocking.  We could incorporate this into our film, and it could link to our previous idea of CCTV footage.  From many of the films we researched, that used CCTV footage, their was usually a blue tint.  This would, like 'Envy' create a chilled, isolated atmosphere from the rest of the film.  

Throughout the character interviews the camera zooms in to extreme close-ups of the characters eyes.  This is a visual metaphor.  "The eyes are the gateway to the soul."  I feel this was effective because the dialogue that the characters are saying does not fit the flashback visual.  Having a close-up of the eyes means the audience will see the characters true emotions within their eyes.  For example, Rebecca informs the audience within her interview that everything will be ok with her boyfriend, Adam.  However, the camera zooms in on her eyes, and the fury and anger can be seen within.  

The camera also focuses on the characters mouths.  The directer uses extreme close-ups of their mouths so that the audience focus on what is being said.  For instance when Sophie says "what she doesn't know is that Adam and myself relationship", it is a extreme close-up of her mouth.  The dialogue is important because the connection and relationship between Adam and Sophie is made here, and the reason for Rebecca to be enzious is uncovered. We planned to use close-ups of our characters eyes, and mouth for the same reason Hendi has.  We want to focus the audiences attention on important pieces of dialogue and facial expressions, which will give them clues to the ending of our film.

The tension of the interviews is then enhanced with flashback scenes.  Rebecca's silhouette is used more within the flashbacks.  Within these sections the audience do not emotionally connect with Rebecca.  She becomes an image of danger and death.  Her silhouette creates a sense of mystery and the unknown.  People are generally afraid of the unknown, so using her silhouette will add tension to the scene.  I like the idea of using silhouettes, and the atmosphere they can create.  There is a moment in our film where the husband comes home, and shocks our protagonist.  I think that silhouettes would be an effective way of developing the atmosphere.

One-To-One

by Isabel Anderton

2004

(5 minutes)

"Two schoolgirls jump on the bus to go home. Monique texts a boy they met at the weekend. Being best friends, the girls do everything together... up until this moment. Monique gets her first proper date and Shaya isn't invited. I overheard bits of this conversation on the top deck of the Number 38. I used this as the basis of the script and then workshopped it with teenage girls to see what fitted and what didn't."

This film mainly represents the stereotype of teenage school girls.  The stereotype is established from when one girl rolls her skirt up so that its higher, aiming to make herself more appealing to boys.  The audience is introduced to the girl's main aim.  Attracting boys and gaining a relationship.  This is then enhanced when one girl asks "aren't you cold?".  The older generation are always questioning youth's choice in clothing and how they wear it.  Looks of annoyance from the public as the two girls loudly enter the bus establishes the fact that people are prejudiced against the stereotype.  The Directer has chosen to show teenage girls in this way for comic/mocking effect.  As audience members we become prejudiced against the stereotype.  We (the audience) look at the girls the same way the members of the public on the bus do.  The directer is implying that we are the members of the public. I liked how much detail and thought has been placed on representing this stereotype.  I liked the initial hints of the skirt being pulled up, and the expressions of the public, and how that made the audience prejudiced against the two girls.  Within our film, their is a strong 1900's woman role of a house wife.  I think we need to brainstorm ideas for the establishment of our character, and how we can use subtle hints to show her role in society and at home. 

When the two girls disagree, slow motion editing is used to show an awkward passing of time.  A long shot of the pair sat in their seats, angled down at their hands, shows a common awkward gesture.  I thought this was an effective way of passing time.  Within our film, we will need to condense an hour into 5 minutes.  Slow motion may be an effective way of showing the audience that time is passing.

The View

by Neil Neeman

2009

(4 minutes)

"The View is a short poetic film that centres around a bench overlooking the British coastline. During the film we are witness to poignant moments in the lives of the location's fictionalised frequent visitors, who each have a different reason for being there. A poem written for the film carries the narrative through from start to finish."


I liked the use of poetry within this film.  I liked how it was a continual narrator, and how the narration set the tone for the different events within the film.  I would still prefer to visually portray our protagonists emotions, without informing the audience verbally.  I think this will be a more effective, and engaging way for our audience to connect with our character.

Kate Chopin

Kate Chopin (1851-1904)

Kate Chopin was an American author of short stories and novels. She is now considered by some to have been a forerunner of feminist authors of the 20th century.

From 1892 to 1895, she wrote short stories for both children and adults.  These were published in magazines such as Atlantic Monthly, Vogue, the Century, and Harper's Youth's Companion. Her major works were two short story collections, Bayou Folk (1894) and A Night in Acadie (1897). Her important short stories included "Desiree's Baby" (published in 1893); "The Story of an Hour" (1894), and "The Storm "(1898).

Writing Style

Chopin's different lifestyles throughout her life provided her with insights, understanding and also allowed her to 

analyse 

the late 19th century American society.  Many of her stories were based on her life in Louisiana, and her portrayals of individual women

. 

Her writing style 

emerged from Guy de Maupassant.

"...I read his stories and marveled at them. Here was life, not fiction; for where were the plots, the old fashioned mechanism and stage trapping that in a vague, unthinkable way I had fancied were essential to the art of story making. Here was a man who had escaped from tradition and authority, who had entered into himself and looked out upon life through his own being an with his own eyes; and who, in a direct and simple way, told us what he saw..."

However, Chopin went beyond Maupassant's technique, 

and gave her writing a flavor of its own.  She put much focus on women's lives and their continual struggle to create an identity of their own within the boundaries of the patriarchy.  In The Story of an Hour, Mrs. Mallard allows herself time to reflect upon learning of her husband's death. Instead of dreading the lonely years ahead of her, she stumbles upon another realization all together. "She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had never looked save with love upon her, fixed and gray and dead. But she saw beyond that bitter moment a long procession of years to come that would belong to her absolutely. And she opened and spread her arms out to them in welcome"

Not many writers were bold enough to address such subjects during the mid to late 19th century.