Film Synopsis

An aspirational artist, moves to Britain to pursue his dream career. After just a week, he is disheartened by his struggle for recognition in his new environment. A recent overseas arrival, the language barrier is tough enough for him, but what affects him most is the lack of community he now experiences. He tries hard to integrate, but is bemused when he finds himself being constantly ignored and overlooked. His latest art project becomes more complex, more symbolic of his repressive and reclusive lifestyle, but his talent continues to be undiscovered. In a final attempt to resurrect his dream, he enters an art competition for a presitigious college - will this be the break he's been craving for so long?

Commentary:
In terms of theme, our film will be exploring ideas of identity within a multicultural society. The idea that you're not fully recognised as British until you win something is explored here, in that there is a contrast between his treatment as a new arrival where no-one wants to talk to him to when he is the focus of attention following his win.

With regard to technical conventions, it follows a circular narrative and there is the motif of the artwork used as a reflection of his feelings of frustration.

By Daryl Finch

Audiences and Purpose (Film Magazines)

A magazine film review generally acts as an third party endorsement for a film. Magazine reviews are a clever way of advertising films through their use of synergy as well as cross promoting products that may interest certain audiences. They recommend viewing to readers and introduce new types genres, exposing readers to material they may or may not have viewed before. The main distinction to be made between a film review and an advert is that film reviews are not always favourable. Currently, the main film magazines in the UK are:

Prevue (In house)

Empire

Total Film

                                                                                                                 

Sight And Sound

Screen International (trade magazine)

Uncut (Consumer - film and music)

Little White Lies (consumer - independent )

Vertigo (consumer - independent cinema )

Movie Scope (film industry)         

Depending on the institution which has produced the film magazine, it may be biased in favour of all films, while others may analyse in an academic and critical way. In the majority of film reviews, there is a synopsis on the film as well as opinion and analysis. The level of analysis and opinion varies depending on the institution producing it. They often make assumptions about its readers. The audiences for these various film magazines can vary to a large extent.

Empire and Total Film are the most popular film magazines in the UK. They differ, however, to Sight and Sound which is a British Film Institute publication which approaches reviews in a more serious and academic manner. It is much more formal and is much more in depth, with noticeably smaller writing, and more columns. Its aim isn't to try to sell cinema tickets, but simply to review all films released during the month. This is unlike Prevue which aims to promote film sales rather than give any substantial viewpoint. It will be viewed only by people who are visiting a Vue cinema. It's less academic than Sight and Sound, as signified by the lack of byline and the small amount of writing used.

Though Total Film and Empire are independent, they are more similar to Prevue in style, as they are broken up into boxes, have less writing, but their sole purpose isn't to attract viewers. Instead, they are recommending for a very precise audience that reads their publication. Their choice of film and the style which they adopt shows they are for a mainstream audience which will have knowledge on Hollywood films and actors, rather than on the French nouvelle vague which writers at Sight and Sound will assume their readers have knowledge of.

By Jason Grandison

Conventions (Magazine Review)

When analysing existing magazine reviews, there are certain textual conventions which consistently appear throughout. These are:

• a section title
• a headline
• a byline
• a strapline
• columns
• graphics and logos
• pictures (with image sublines)
• pull-out paragraphs/boxes
• a call to action
• and issue information.

Font and typography is also something that needs to be considered; generally varied according to which body of text it is applied to. Certain magazines may have a 'house style,' in which the font and typography will be consistantly the same from issue to issue.

(Click on image for full-size)

Taken from Prevue, the above magazine review meets the majority of conventions, apart from a tagline. There is a section title, issue information and a call to action, but these have been cropped out. As an in-house publication, it wants to promote film sales, rather than give any particular, individual viewpoint. This review hasn't tried to be clever in any way; being very formulaic. The fact that there isn't a byline shows that it isn't an academic review; probably being from a combination of writers/press releases.

(Click on image for full-size)

Sight and Sound gives a much more academic viewpoint on film, and this more serious approach is reflected in the number of columns and amount of writing. This review contains all of the expected conventions as it doesn't have a direct promotional aim, unlike Prevue. The level of detail reflects on the expected target audience and the fact that there is a piece from the director shows the credibility that the magazine has.

(Click on image for full-size)

This review from Empire also complies to all of the technical codes of a magazine review. However, something important to notice is the inclusion of a star rating, and the humourous image subheading which gives an indication as to the audience. There is less text than Sight and Sound, and it is broken up by boxes which contain simple, concise information.

By Daryl Finch

Research (Film Posters)

A film poster is essentially an advert, designed to encourage its target audience to view a film. They aim to indicate the genre of the film and attract audiences in doing so. An example of this is Elizabeth (1998) which was portrayed as a thriller in the UK, whereas it was advertised as a passionate romance film in the US.

Another example of a variation in film poster, targetting different audiences, is Romeo + Juliet (1999). As shown below, the poster on the left portrays the film as a much more romantic tale, compared to the gangster story on the right.

Film posters are also supposed to give an indication towards themes and plot/events. Alerting audiences to stars, especially genre specific stars, is a crucial element of a film poster which will attract audiences. However, what is important to note is the fact that these posters most frequently appear on bus stops, the sides of buses, in tube stations, on billboards and in magazines/newspapers. This means that a lot of the information given by these posters needs to be visual. The semiotics involved need to ensure that the information given out can be easily taken in within the few seconds people spend looking at film posters.

Consequently, there are many conventions associated with the film poster. There are very few film posters which are exceptions to the norm as it has always proved a successful formula. Typically, film posters need to include the name(s) of the key star(s), a pictures of star or iconic image of the film, the film title, a tagline, background images, and the billing block.

With regard to taglines, there are trends which frequently appear. Literary techniques such as alliteration, repetition, rhyme and the rule of three often go hand in hand in certain taglines whereas others might carefully select a balance of clauses, use contrast, or pose rhetorical questions.

A good example of the first kind that I outlined comes from Terminator 2 (1991): "Same make. Same model. New mission." The rule of 3 is not only catchy, but it is visually pleasing. The repetition of 'same' also makes it more memorable.

"What if someone you never met, someone you never knew, was the only someone for you?" (Sleepless in Seattle [1993]) also utilises the rule of 3, but also poses a rhetorical question, designed to provoke thought from the reader.

An example of balance and contrast comes from Schindler's List (1993): "Whoever saves one life, saves the entire world." While this is thought provoking, the way it is structured is likely to make it remain on the mind.

Changes over time:

Wizard of Oz (1939) - Here, there is no tagline, and the billing block comprises of hardly anything. All of the actors who play a main character get a mention, rather than there being a focus solely on the main star. The images are a montage of all of the main characters, with the main setting in the background. From this you get a good idea of the genre.

Bedknobs and Broomsticks (1971) - Here, there are two taglines, both of which are rather long winded. Again, all of the main characters are shown, this time in a scene from the film. Star actors are all mentioned, but here there is a emphasis on their status/importance. There is a billing block, though it is unsubstantial.

 

Nine to Five (1980) - This poster is different in that the actors have posed for the image, but it still has close relation to the film. All three females are relatively big stars so they get recognition, but the male character doesn't. The film poster has developed here in that there is a shorter tagline, a more substantial billing block, and fewer actors recognised.

 

Vantage Point (2008) - This is a much more sophisticated and carefully crafted visual image, incorporating the actors into the main image. The billing block is more substantial, in the typeface we are accustomed to seeing, and actors are recognised recognised. The tagline also takes on a typical form by today's standards, in that it is not original; following standard conventions - being short and to the point.

By Daryl Finch

A few examples of existing film posters:

I, Robot (2004) - This poster features a large image of the star of the film (Will Smith) with his name printed next to it, suggesting that he will be the biggest attraction to view the film. The star is dressed in black and looks serious which implies its an adventurous and perhaps sad film. The tagline "one man saw it coming" gives an ominous undertone. The fact that it is Will Smith playing the role would suggest to viewers familiar with his works that there will be an element of action in the film. The background image, full of robots, implies the the film also has elements of sci-fi which could suggest an invasion of robots onto earth.

Platoon (1989) - There are creative technical codes used in the title. The title is in bold, all in uppercase, in white, with red outlines. Two letters are replaced with dog tags which immediately has war connotations, but the fact that they are attached to a peace symbol perhaps suggests a personal, inner conflict. As dog tags are generally associated with war, the attached peace sign suggests the soldiers were conscripted and are there against their own will. The foreground image of the man is picked out, set against the background of destruction. He appears to be dying in great pain, perhaps praying to God. The background of palm trees, normally associated with paradise, are alight. This suggests a napalm attack, immediately associating the film with the Vietnam war. The image in itself suggests a paradise lost... hell on earth.

Shaun of the Dead (2004) - The prodominant colour of the poster is red; perhaps signifying death or the blood associated with a zombie film. However, what the poster shows is a 'normalisation' of these zombies. They are on a London train, in a normal, everyday situation. This links to the poster tagline "ever felt like you were surrounded by zombies?" - a humourous comparison to commuters. The genre of the film is easily identified as spoof horror. The fact that there are zombies represent the horror element, but the flowers represent the romantic aspect described in the second tagline: "a romantic comedy with zombies." The main character is picked out by the use of colour contrasted the zombies' washed out grey colour. The white font is bold with chapped edges which could represent gravestones, in a sense linking to the zombies.

By Jason Grandison

Purpose (Short Film)

There are many possible purposes of a short film but the primary ones are to educate, promote awareness and to experiment with new techniques etc.

They could also be used to showcase talent through film festivals, hoping to attract the attention of film companies/directors.

Another purpose is to raise awareness of issues in society, exposing the audience to them. They can often be public information videos which are screened to audiences such as schools or youth groups. Short films generally aim to make a point about something, highlighting issues or themes such as racism or gun crime.

The difference between short films and full length feature films is that short films are made to inform and educate the audience while feature length Hollywood mainstream films are purely there to entertain and to make a profit.

By Jason Grandison

Themes

Since the turn of the 20th century, there have been many distinct styles to appear in British cinema which can be defined as typically British. The 'heritage' film is an example in which pride in British history is upheld. Though they often have a contemporary slanting, they tended to focus on periods of glory or 'great' historical figures. These include The Private Life of Henry VIII (1933), The Iron Duke (1935), Victoria The Great (1937), and more recently Elizabeth (1998), which aimed to rebrand Britain during the period known as Cool Britannia. A 'heritage' film is most likely to be a genre which is extremely difficult to recreate in a short film, but it is important to bear in mind the way in which audiences' negotiated readings can craft meaning, and also the way in which national myths are challenged.

The Private Life of Henry VIII (1933)

Class is also another issue often portrayed in early British film. Films such as Convoy, and Ships With Wings (1941), show non-inclusive cinema, with very much a focus on the middle classes. However, during WWII, the government deemed it wise to commission examples of inclusive cinema, including In Which We Serve (1942), Millions Like Us, and Fires Were Started (1943). What they wanted was for it to become a 'People's War,' making it a much more concerted war effort. Though class is no longer such a divisive issue in today's society, it's important to note characteristics that are 'British,' displayed particularly in the inclusivist cinema, particularly the idea of pulling together for a universal cause, showing great courage and determination, making sacrifices for one another and your country. These are typically British values, but in modern society can be considered outdated and nostalgic.

In Which We Serve (1942)

Following the war period came a period of great nostalgia for the sense of national community and solidarity which existed during the war. Britain was close to bankruptcy and rationing continued for many years after the war had finished so these war time motifs seen in Passport to Pimlico (1949) shows a longing for 'the good old days.' The people were fed up of being promised luxury items in the future; they wanted them now. British values demonstrated here include a heightened sense of 'pluck' and intuition, flouting the rules.

Scene from Passport to Pimlico (1949)

Another film which demonstrates typical British values is Brief Encounter (1945), in which the main characters show great emotional restraint, a stiff upper lip. This is a recurring theme, appearing also in Bridge on the River Kwai (1957).

The 1960s was a time of great social change, with the deteriorisation of the class system, and increased freedom and rights for people. Britain's search for a new identity in an ever changing world was to a certain extent defined by Bond. From Russia With Love (1963) is an example of Britain struggling with its post-Imperial identity, particularly after the Suez Crisis, forging its way into a new period for Britain which was dominated by immigration, social unrest, economic change, and gross unemployment; not to mention another war.

Sean Connery as James Bond

My Beautiful Launderette (1985), Bhaji on the Beach (1993), East is East (1999) and Bend It Like Beckham (2002) all show the increasing influence of immigration on modern society. Examples of multiculturalism are probably the most easily found and is a likely theme for our film. Searching for an identity of one's own is perhaps an issue that affects a large number of people in British society nowadays.

Bend It Like Beckham (2002)

Equally, reality is something one would hope people have much contact with! 'Social realism' is a style of film which can be described very much as being British. A key example of this is This Is England (2006). It is filmed in a much grittier style, portraying life blunty; as it was during the early 1980s - following the Falklands War and privatisation of many industries. There are elements of this style in Trainspotting (1996), and on the whole, the filming style is perhaps suited to what resources we have available to us. However, showing life as being 'grim' might prove a difficulty, given the sheltered lives we live!

Equally, however, making an 'urban fairytale' could prove equally, if not more difficult; without Hugh Grant, or access to any elegant settings, nor equipment of high enough quality. Notting Hill (1999) and Bridget Jones' Diary (2001) is, in effect, a backward step in terms of racial integration, showing only white, middle classes - designed to sell abroad. This came during the period of Cool Britannia, an initiative driven by Tony Blair to promote Britain as a vibrant, forward thinking nation. As a result, it is meant to look ideal - snow at Christmas, 'tourist' London, with white characters. Getting things to be 'ideal' will be more or less impossible without a budget to spend.

Bridget Jones' Diary (2001)

To conclude, it therefore seems most plausible to incorporate elements of social realism into a plot involving a search for identity within such a diverse and multicultural society.

By Daryl Finch

Audiences

It had generally become the case that short films were increasingly hard to come by. This was due to the fact that they are generally used for showcasing talent, with its sole purpose not for making profit. They were either promoting a cause or theme, or present a chance for up-and-coming actors and directors.

However, in modern times, the Internet has made the short film a lot more easily accessible than previously. The Internet is where short films can get most airing as video/file sharing sites such as Youtube and Limewire make it easier for filmmakers to get their product out. It is also possible on iTunes to purchase and download short films.

When making a short film, you have to appreciate the fact that it is an audience that you will have to look for, rather than expect to attract. Specific targetting is a process that will have to be looked at as it cannot be assumed that viewers will normally be attracted to view a short film, especially when there are not shown in cinemas, and only very infrequently on television as schedule 'fillers'. Where this film could be showcased is at film festivals in the hope that it will be liked, and taken further by a larger corporation which could turn it into a feature length production to give it any chance of making money.

The British Board Of Film Classification, or BBFC, rates films which are shown theatrically. The BBFC give each film a specific rating. These are U (universal), PG (parental guidance necessary), 12a (any person under the age of 12 must be accompanied by an adult), 15 (viewers must be 15 or older), 18 (18 or older) and R18 (restricted). These ratings are the official and legal film classifications. Local authorities can overrule the BBFC but choose to follow their advice as the BBFC has currently been designated as the authority for certifying video releases.

Each of the classifications would give restrictions to our film and affect the content of it. In order not to marginalise our audience even further, it would perhaps be most wise to target a 15+ audience. Consequently, we will have to abide by the 15 certificate guidelines. This will mean that our film may include reference to sex and violence as long as the film does not dwell on the infliction of pain.

A lower rating of 12a is not out of the question, though it would eliminate most possibilities of references to sex and violence, making it more difficult for tougher, more hard-hitting themes to be dealt with. Similarly, an 18 certificate risks cutting out all those aged 15, 16, and 17.

Our target audience will be older than 15, but be accessible to older viewers as well. For fear of excluding any potential viewers, and with it only being a short film, our target audience can therefore be the average, general cinema-going population; between 15 and 25. This would allow contemporary issues to be tackled that the audience will be able to empathise with.

By Daryl Finch

Research (Short Film)

At the birth of cinema, all films were short. Short films often comprise of twisted, or controversial themes that are observed in our society. Such themes may be displayed in a surrealistic nature. For instance, themes such as consumerism, unemployment, crime, and justice are commonplace. They are usually focused on contemporary British society and engage the audience with confrontational issues that many would rather remain oblivious to.

An example of a short film I analysed was "Sold," shot in linear, realtime with a circular narrative. In terms of British culture and identity, social realism and lack of community, as well as dreams and aspirations were themes that came up. It consisted of British characteristics that explored society and confronted the audience with these issues. There were only two characters within the short film, involving short burst of dialogue. There is also an element of voyeurism involved. The setting was in a dark small studio flat but in a short space of time, we discover that the main character is uninspired, wants a girlfriend, his mother to baby him, and a record deal. The message from this film reflects the consumerist attitude of society and the overall attitute brought about by programmes such as "X-Factor" and "Big Brother" which give people a claim to fame. Nowadays, people aim to become famous as a result of these shows, rather than to have a professional career in law etc. The audience is also shown a lack of community which is a very current issue in society as everyone very much does their own thing, even within households.

Another short film that I analysed was "Double Take," directed by Toa Stappard. It discusses and explores difficult issues of antisocial behaviour, vigilantism, crime and justice. It shows how there is a lack of community and the idea that you're never safe nowadays. For me, it was a reflection on society as I noticed that the film was shot in a way that the man was being watched. This links to society today with our every move caught on CCTV, limiting our privacy. It's almost a 'big brother' effect. The film is shot with a lot of kinetic movements and is gritty, with low key lighting with elements of voyeurism. There is a title shown briefly at the beginning, however, there is no dialogue and no score throughout which is not unusual in terms of short films.

The films I have analysed illustrate the conventions of a short film. They are short, shot in digital real time, and set out both to inform and educate, confronting the audience with issues to increase awareness. The style and genre of short films differ to a mainstream ones. They often play upon elements of surrealism but they use realism in terms of the situation. They are often gritty and shot kinetically with elements of voyeurism. There is often no dialogue, sometimes with a score, but often without. Little editing is done, even though its surrealistic. They usually follow linear and circular narratives. They have three part structures - a beginning, a middle and an end, as seen in Todorov's theory where there is a recognition of a problem, an attempt to resolve the problem and a resolution to the problem. However, they also can differ to mainstream films which tend to have a happy ending, as short films can end in suspense or on cliffhangers. Consequently, short films comprise of usually one or a small number of characters as it is hard to introduce and develop characters in so little time. The locations don't often change but they do not distract the audience from fundamentally confronting issues within society. Additionally, titles are usually left to the end.

Main full-length feature films are very different. They are interested in making money and entertaining the audience, not necessarily to educate them. However, some feature length films like Danny Boyle's Trainspotting do raise awareness of social issues.

By Jason Grandison