Comparason of two film reviews

Both reviews I will be comparing are from The Guardian, so therefore aimed at similar audiences; high brow film enthusiasts. However, they both vary in structure. Both starting with elements of humour; “there were moments when I thought I would not just need to change my trousers…” (from the ‘Paranormal Activity’ review) and “and claw the bejeepers out of her” (from the ‘New Moon’ review.) Each review gives us an instant idea of how the critic feels about the film. It is clear that the ‘New Moon’ reviewer found it laughable, and the ‘Paranormal Activity’ reviewer found it petrifying.
The ‘Paranormal Activity’ review begins with a personal reference and then goes on to generalise the horror genre, and comment on how the film successfully breaks away from the repetitive clichés, managing to scare the critic therefore achieving its aim. In the second paragraph, the critic makes comparisons to existing films, and uses film and media lexis to place the film in a category (“digital mocu-real nightmare”). They then go on to comment on how ‘Paranormal Activity’ was successful where the two box-office hits were feeble; “wouldn’t they just drop the camera and run?”

In the following paragraph, is the first mention of the characters in the film along with a brief synopsis. Here, the critic makes use of technical language; “fixed spotlight,” “restricted light,” “harsh light halo…middle of the frame.” They then make another reference to the Blair Witch Project, and comment on both films similarities in terms of lighting.
The critic continues to talk about specific moments in the film, using technical language such as “fast-forward effect” and “superimpose.” It isn’t until the final paragraph when the writer-director is first mentioned, and the critic praises him highly, and concludes with a theory on the metaphorical value of the film. The reviewer’s final words are a warning to the reader, making the review personal.

The ‘New Moon review’, similarly to the to the ‘Paranormal Activity’’ review instantly makes the reader aware of the critics opinion on the film, and in this review, unlike in the other, the great use of sarcasm is the critics way of portraying his views on the film. The opening lines are an extremely brief reminder of the first of the saga, and then a similarly brief overview of the current film itself. There is a great use of humour and puns in the opening paragraph more-so than in the ‘Paranormal’…review.
The critic continues with reference to the plot of the saga, negatively critiquing it to have become “somewhat predictable” and he then comments on the metaphorical value of the film, as did the ‘Paranormal…’ reviewer. Unlike in the review of ‘Paranormal…’ this critic mentions the director within the first two paragraphs and then proceeds to mention the actors names, which the ‘Paranormal…’ reviewer didn’t do at all. In the same second paragraph, the critic gives a synopsis of the film, keeping with the element of humour to his tone; “not-sex-activities.” This review is obviously far more humorous than the former, and is almost constantly comical. The final paragraph does what the previous review did not, which is comment on the actors’ performances. The sarcasm continues as he refers to particular scenes and ends with a negative and sarcastic pun on the physical appearance of the characters. Unlike in the ‘Paranormal…’ review, the ‘New Moon’ critic makes no use of technical language, and fails to refer to technicalities within the film, regarding for example, lighting. Where the ‘Paranormal…’ review had a serious tone, and looked at the conventions of the film, the ‘New Moon’ reviewer just went into further detail of the synopsis and sarcastically criticised the story, appearances, and actors.

Changes made to our project and my Mise-en-Scene choices

After some deliberation, we decided to neglect our original idea for our short film project. The initial idea was to present the issue of young children growing up too fast, and we were going to place a young girl of eight years old, within a social group of troublesome teenagers. However, our decision to abandon this idea was made when we were having trouble with the script, as we felt the language we were using for the teenagers dialect was unnatural, as we found it difficult to relate to the characters in the film. We also had trouble trying to get the actual theme across, and we found that the message wasn't getting across as strongly as we would have liked.

So, we decided to take a new approach, with an issue that tends to go rather unnoticed in the group of general issues within teenage society. We also have decided to represent a class that also is un-popular within short films, and hardly ever represented. Rather than going with the generic lower class characters, we are taking a different edge with a higher class of characters; more so middle class.
Our new idea is to represent a girl going through one of the most difficult stages in her life. The stage in which school, A-levels, choosing Universities, work and relationships all mound on top of the eighteen year old, causing an almost unbearable amount of pressure. Our aim is to provide a realistic insight into the life of a middle class student, dealing with the pressures this stage in life brings. The whole point in this film, is to portray, realistically, how particularly hard-working students cope with life, all in an attempt to do well in school, to do what is expected of them, and to get into the university they want. It faces the issues of real life teenage pressure, and how it is realistically dealt with, with a few dramatic breaking points, but in the end, just getting back up and dealing with it all.

As director of Mise-en-Scene I want to portray, through costume and set, a bleakness surrounding our protagonist, with dark clothes, a lack of make-up, and dark features and props in her bedroom, for example, a black duvet cover. An example of a short film which possesses similar elements in regards to the bleakness I aim to portray through costume and set is Lynne Ramsay's Gas Man;

These elements will convey to the audience a sense of dullness and sadness about the girls life and her frame of mind. Through the set of Amelia's bedroom, I want to convey elements of her life before schoolwork took over. I want to allow the audience to see, through posters, pictures, props etc, around her room, that she is an ordinary teenage girl, with similar interests to a vast majority of teenage girls in this day and age, (i.e. I will place evidence of her interest in the popular female teen film Twilight around her room via posters and books). I also want to allow the audience to understand Amelia's character more, through the things around her, especially in her bedroom. For example, I want to highlight the fact that she is ambitious, with magazine/brochure cutouts of exotic destinations, university campus's, and preferred living locations. I want to also show the fact that she's from a family of encouragement and pride, with a few occasion cards placed in her room, of the 'congratualations on passing your test' nature. This will convey the idea that she is a hardworker, and her efforts don't go unnoticed, however unhappy she may be.
Outside of her bedroom, for example in the kitchen which is the first place we see after her bedroom, I want the set to be bright and cheerful with a contrasting colour scheme of white, and other characters' clothing to contrast with Amelia's, in colour, complexity and pleasantness. For example, Amelia's mother, the first other character we see, I would like to be clad in bright, stylish clothing, with attention to detail, contrary to Amelia's plain and dull attire.

What makes a good short film script?

Following research into short film scripts, we found an article in The Times Online about how to make a short film script the best it can be. We took information from this to create questions on our own short film which will help with the creation of our script.

Who is the main character?
– a ten year old girl living with her older brother, whose mother has just walked out on them, (the audience are unaware of this at first). She’s in want of attention and affection, and is seeking a parental figure in older people. She is socially awkward, and uneducated about the dangers she faces by spending time with these teenagers.

What is their problem?
She’s lonely, uncared for, going unnoticed. She’s neglected by her mother and father, and until the end of the film, her brother. She’s in need of a parental figure and attention, and seeks this in a group of rebellious teenagers. She is trying to fit in with them to feel accepted and is desperate for compassion, but is too young to understand their ways.

How will the audience recognise the problem?
It is obvious from the beginning she is trying to look older than she is, and is making a strong effort to imitate the other girls around her. This is clear through the clothes she puts on at the beginning, and the fact she’s wearing make-up. The audience will see that Ashleigh is lonely, through her attempts for physical contact with the teenagers. This will also make evident her young age, as, for example, holding hands is something children do with their parents. Visually, Ashleigh is trying to be older than she is, yet her mentality is still searching for a figure to guide and protect her, take care of her and love her. This is shown through her blatant awkwardness and quietness around the teenagers, and at times, bewildered expressions at what they are talking about.

Are the stakes high enough?
It is insinuated that - could be in a great amount of danger before her older brother’s entrance, as the boy she is with subtly slips something in her drink, and offers it to her, along with a subtle amount of physical compassion; (his arm around her). Her brother, then takes on the role of her saviour, and intervenes before any further danger can take place. This will make the audience feel very ucomfortable, as she is so young and the danger of loss of innocence is introduced.

Am I telling the story from the best point of view?
The story being from Ashleigh’s point of view, allows the audience to see what her family do not see. As she is a character living with lack of compassion, love, attention and guidance, the audience can therefore see what is an unusual everyday occurrence for the child. Being from - point of view, the audience can also see what danger she’s in, and her desperate need for attention.

What is driving your character?
Her desperate want for attention, guidance, and love. She is trying to fit in with this older group of friends, and tries her best to imitate them, but really, it is evident she’s too young for this crowd, and just requires the attention of a parental figure. She is driven by her instinct for love and protection.

What is making it hard for them to pursue? “A want” A need” “An obligation”
Her parents neglect and the group of teenager’s ignorance to her subtle attention seeking advances, and unawareness of what she’s going though – the fact that she’s so alone and uncared for. The teenagers don’t comprehend her age or her needs and don’t bend their ways to suit her age.

What is the theme/meaning?
The idea that children in today’s society are growing up too fast, due to a lack of parental compassion, attention, and guidance. Our film also explores the idea of child neglect, leaving them to fend for themselves which requires them to grow up ahead of their time.

What is the genre/tone of the film?
The genre is cathartic, with solemn undertones beneath the upbeat atmosphere created by the teenager’s discussions and happy expressions. The atmosphere is slightly uncomfortable, as the child is blatantly ill at ease around the group of youths, whilst they are just having fun. It is evident through the child’s body language and expressions that she is unhappy beneath her attempt to imitate the others around her.

Advance Production Techniques

Jump Cut - A cut in film editing where the middle section of a continuous shot is removed, and the beginning and end are therefore joined together. This is a technique used to create a shocking effect, and breaks continuity concerning time, as an object in the shot may have moved during the cut from the beginning and the end.

Rule of Thirds - This is when the frame is divided into thirds to create reference points for good framing.

Depth of Field - Depth of Field is the amount of focus in a shot. A shallow depth of Field is where only the foreground is in focus, and the background is out of focus. A deep depth of field is where both the background and foreground are in focus.

Focus Pulling - This is a technique which allows you to change focus during a shot. This is the process of adjusting the focus from one subject to another.

White Balance - Through a camera lens, white is undetectable, and so now most cameras come with automatic white balance correction abilities. Getting the correct white balance means matching the correct colour temperature to the primary light source. A light source with a low temperature (for example a light bulb) will appear more red on screen. High temperature lights, for example flourescents, appear more blue. To adjust the white balance manualy, you have to focus the camera on a white surface, and the camera will eventualy adjust.

Exposure - This is the intensity of light on film.

Analysis of Short Films

Cubs - Tom Harper
This short film directed by Tom Harper, explores an aging message, placed in modern day context. The aging message is that of fox hunting, and this film was created around the time when fox hunting was first banned. By placing the film in modern day context, it also is able to comment on the issues of peer pressure and gang crime, as the protagonist does something he is clearly not comfortable doing, for the benefit of his reputation within the gang.
The film is set amongst the backdrop of lower class urban Britain, to reflect the theme of gang crime and street violence within this country. The mise en scene is gritty; the setting being the streets, embellished with graffiti, the lighting during the first half dim and dreary, and then in the second half being lit up by fire light to portray the excitement and danger of the gangs “sport.”
This film is a disturbing and hard hitting look at what is typically known as a sport, commonly associated with royalty and the rich, which has been placed on the streets to convey the similarities between the sport itself and street violence.
Cubs won the Best Short at this year's Rushes Soho Shorts festival in London and has also screened at prestigious festivals around the world including Edinburgh, London and New York.

About a Girl - Brian Percival
Directed by Brain Percival, this short film comments on the neglect of teenagers in society by parents, domestic violence being seen as the social norm, and the ever-common issue of teenage pregnancy.
The film is made up of short and abrupt cuts with fast paced dialogue, the intention being to reflect a teenager’s typically fast paced life. The fast paced shots filled with dialogue are intertwined with longer, quieter slow paced shots, for example of her sitting alone on a bench outside a pub where her dad is. This highlights the issue of neglect and the underlying sense of loneliness. The film has the gritty realism of a documentary, making it seem all the more real.

The film uses intertextuality to convey the irony of the piece. The protagonist begins singing ‘Stronger’ by Brittany Spears, and the film ends with her singing the same song as she walks off. Both times we hear her sing this, are in very different situations with different atmospheres.
About a Girl won a BAFTA, and was shown at the Edinburgh film festival, where it won best British short, London film festival, Manchester international short film festival where it won best north west short film, and at the Raindance film festival.

About a Girl uses short and snappy shots filled with dialogue, a technique we will use in our own short film, to portray the teenager’s fast-paced life, and also to depict a sense of the young girl, Ashleigh, in our film, being thrown into this hectic, fast life when she’s not mentally, nor physically ready. Also, the fast pace will represent how fast young children are growing up.
Similarly to About a Girl, we will supply the audience with a sense of reality and normality within the dialogue we create. In Percival’s film, the impression of typicality and realism is created in the protagonists dialogue, as she talks as any thirteen year old would. We want to create that same impact of the essence of every day life, as in About a Girl.

Gas man - Lynne Ramsay
Directed and written by Lynne Ramsay. This is shot from a children’s perspective, and this is evident throughout the opening, as the audience do not see the parent’s faces at first, and only their bottom halves are seen. The theme of the film is introduced via an image; the young boy is playing with a toy car in the opening of the film, and he crashes it into a bowl of sugar – this insinuates his knowledge of the adult world as violent and adverse.
This short film also uses intertextuality to convey the theme, as the little girl taps her shoes together and repeats “there’s no place like home.” This reflects the theme of a child’s innocence and naivety concerning home, when they are blind to what is around them – as the young girl in Gas man is unaware and confused about the situation her family is really in. Ramsay uses the image of old train-tracks as a continuous motif of a journey – the journey of which a family travels. Throughout the film, Ramsay uses close ups of certain objects and actions to highlight particular things that children notice; for example, the small physical contact between their dad and an unknown woman. This accentuates the fact that the film is from a child’s perspective, and how it comments on the effect and confusion that a situation can have on a child.
Gas man was shown at Cannes film festival.

Gas Man uses the technique of using close ups of certain objects, to portray the idea that the film is shot from a child’s perspective, and the close ups are objects, actions, expressions, insignificant to an adult, yet noticeable to a child. We will use this same technique in our short film, especially in the scene where the characters are placed in a busy social situation, (like the party in Gas Man) to depict the idea that the young child may appear completely comfortable, yet is still noticing things any young child would, which are peculiar or new to them. This highlights the girls age, even though she does not show it.


Home - Morag Mckinnon
Home is directed by Morag McKinnon, written by Colin McLaren, and is a comment on an unconventional collection of people, unnoticed situations, and looks at the hidden depths of a person. The director used non-actors to portray the characters, with the intention of the film seeming as realistic and as honest as possible. The director said her intention was to make the film be a “hymn to the world we are looking at,” and a beautiful and cheerful insight into the homes of the unconventional, rather than visiting peoples misery. The film uses bright colours and Jewish wedding music, giving the film an almost Middle Eastern feel to it.
The mise en scene of the film is gritty, as the setting is unclean and uncared for, as shown through cracks in the paintwork and litter on the ground; however, the bright colours and upbeat music give the film a cheerful and positive effect rather than a typical negative one.
McKinnon’s Home also won a BAFTA, and was shown at Aspen Short fest, Edinborogh Internation Film Festival where it won best British short, Oberhausen International short film festival, Palm Springs International Short Fest, where it won best live action under fifteen minutes, and at the Uppsala International Short Film Festival where it won the Grand Prix.

This short film has been slightly influential regarding the production of our film. It uses natural lighting, for example, upon the council worker's entrance into the blind twins home, there is natural sunlight streaming in though the gaps in the curtains. I, personaly liked this idea, as it conveyed a sense of realism. We will use this method of lighting in our short film, to similarily portray a sense of realism, and give the audience an idea about time of day.

Institution and Audience Research.

Why are short films made? How are they used? What is their role within the industry?
Short films are known to be "calling cards" for directors, as they are a way to promote their work through small tasters and samples of their style. Short films generally have a message to convey. Their role in the industry is to promote directors, and to communicate a particular message; generally and commonly reflecting upon society.

Who are short films normally targeted at?
Generally, film producers at film festivals, film enthusiasts and niche audiences.

Where do short films get exhibited? How do they reach their target audience?
Film festivals screen short films, to name a few; Cannes, Sundance, Brighton, and London. Their target audience's are reached through film festivals and independent cinemas.

What production difficulties do short films face?
Producers and creators of short films inevitably face issues regarding budgeting and funding. As short films do not have the sizable budget that feature length films have, they do not have the funding for production or marketing, and so they have to be creative with their marketing spending as little money as possible. Actors also must be willing to work for no pay, and location, set, and costumes, must require as little expenditure as possible.

Where can you get help to make a short film?
The national lottery often aids regarding funding, as does Channel four, who also help with promoting short films as they air them occasionally as well. The BBC also helps funding, as does the MET film school. Although, of course the companies must approve of the short first.