Synopsis Draft 2

Synopsis Draft 2

"Funding and Support" notetaking

• What was the UK Film Council?
• UKFC (UK Film Council)
• A non-departmental public body
• Set up in 2000 by the Labour Government
• Aimed to develop and promote the film industry in the UK.
• Use Lottery funds to support film development, production and distribution in the UK.
• Governed by a board of 15 directors.
• It was funded by the National Lottery, and other various sources.

• What did it do to support short filmmakers and short film making?
• They welcome applications for film projects in all genres, and are committed to promoting diversity in the filmmakers they support.
• There were three funds offering around 17 million Lotteries funding per year for the production and development of films.
• The Development Fund
• Aimed to broaden the quality, range and ambition of film projects being developed in the UK.
• The fund of 12 million aimed to build a talent-driven home for writers, directors and producers.
• The First Feature Programme
• Aimed to identify and support emerging filmmakers who had not yet made, released, or broadcasted a feature film
• Awards were made up to 25,000
• The Feature Film Development Programme
• Funded programme for producers, production companies and filmmakers with a demonstrable track record of success in either feature filmmaking or in production in the audio-visual arena, looking for financing and funding partnerships.
• This fund offered Signature Awards to help further encourage ambitious and original filmmakers and projects.
• Such films funded by this scheme include:
• Bright Star by Jane Campion
• Fish Tank by Andrea Arnold (Oscar-winning filmmaker)
• In The Loop by Armando Iannucci
• Nowhere Boy written by Matt Greenhalgh

• The New Cinema Fund
• Supported emerging talent and established filmmakers, focusing on the most gifted and most innovative writing directors, who worked outside the mainstream.
• Over three years, this fund had 15 million of Lottery money to invest, and funded eight to ten feature films each year.
• Ethnic minority filmmakers from nations and regions such as black and Asian, were committed too by this fund, and supported their work. They encouraged the use of digital technology in the production, distribution and exhibition of films.
• Supported over 100 short films each year through its short film schemes.
• Four flagship short film schemes operated nationwide: Cinema Extreme, the Completion Fund, The Magic Hour and Blank Slate.
• Remaining short film funding offered by the UK Film Council was administered by the regional screen agencies and the national screen agencies via the Digital Shorts Scheme and Digital Nation.
• Notable films supported by the fund include:
• Adulthood by Noel Clarke
• London to Brighton by Paul Andrew Williams
• Man on Wire by James Marsh
• The Wind That Shakes the Barley by Ken Loach

• The Premiere Fund
• Invested £8 million of Lottery funding per year into mainstream, commercially-driven films encouraging the involvement of British creative talent. This was done in a range of films to attract audiences the world over.
• Funded films included:
• Happy-Go-Lucky by Mike Leigh
• Triangle by Christopher Smith
• St Trinian’s by Barnaby Thompson
• Faintheart by Vito Rocco

• The Office of the British Film Commissioner
• Worked to ensure that the UK remained an attractive production base for international films.
• Activities included: encouraging and supporting international films being made in the UK; strengthening the UK’s production infrastructure; promoting UK talent and product around the world; working with the UK’s Government to ensure that film friendly policies were in place; and reviewing and developing international co-production treaties, allowing the UK to collaborate with other countries to make films.

• What was the position and role of the BFI prior to the creation of the Film Council?
• The BFI is a charity governed by a Royal Charter.
• It was previously a private company, though it has received public money throughout its history from the Privy Council and Treasury until 1965, and the various culture departments since then.
• The BFI award Lottery funding to film production, distribution, education, audience development and market intelligence and research.
• A strategic plan named Film Forever is to support UK film, throughout 2012-17. The plan covers all activities and is based around three priorities – education and audiences, support for the UK film industry and unlocking film heritage.

·       How has the position and role of the BFI changed since the recent government decision to dismantle the UK Film Council?

• The distribution of Lottery funds to potential filmmakers now lie in the hands of the BFI, since the abolition of the UK Film Council. This cultural body is pulling the money into film and culture.
• Chairman, Greg Dyke, and the BFI themselves, found themselves back in the pre-2000 era of having government funding, rather than in pay to the UKFC.
• The BFI can now concentrate more on their love for film culture, due to having more freedom with their spending.

• What is the role and remit of the BFI?
• The BFI combine cultural, creative and industrial roles, bringing together the BFI National Archive and BFI Reuben Library, film distribution, exhibition and education at BFI Southbank and BFI IMAX, publishing and festivals.
• The BFI’s remit was to ‘maintain a national repository of films of permanent value’.
• The BFI outline their am for the film industry – “The BFI aims to support a flourishing film culture and a prosperous film industry by investing in film development, production, talent and skills.”

·       In what respects and to what extent does the UK Film Council continue to exist as an institutional and cultural film body?

• Actors and professionals such as James McAvoy, Pete Postlewaite, Ian Holm and Emily Blunt campaigned against the Council’s abolition.
• The King’s Speech was one of the UKFC’s last films, and was estimated to have cost $15 million to make, and grossed $235 million, besides winning several Academy Awards.
• UKFC invested $1.6 million for a 34% share of net profits, a valuable stake which will pass to the British Film Institute.
• The UKFC’s continues to function, to a certain extent, as much of its responsibilities and actions have been taken over by the BFI. This means that lottery funding is still being given to short and feature filmmakers who need it. Thus cultural aspects of cinema are still being preserved and promoted to cinema audiences.

• What were the Regional Screen Agencies (RSAs) that Film Council funding was delivered through?
• The UK Film council funded nine regional screen agencies through it’s Regional Investment Fund for England. These nine were:
• EM Media
• South West Screen
• Film London
• Screen Yorkshire
• North West Vision and Media
• Screen West Midlands
• Northern Film and Media
• Screen South
• Screen East

• How is funding for shorts handled now by the BFI?
• BFI’s funds for short films run through their new talent network “BFI NET.WORK. This helps new and emerging filmmakers reach their full potential, and has been available since Spring 2014.
• Individuals with a film idea can submit an application online; funding decisions will then be made by the Film Fund as part of the BFI. However, this only applies to feature film at the moment.

·       Has funding and support for shorts altered since the government’s changes to the power structures of the national film agencies?

• Schemes supporting short filmmakers are still available, for example, Screen East’s Digital Shorts Scheme helps support short film. Therefore, regional funding is still available to a certain event.
• As a short filmmaker, what funds could you apply yourself for?
• By searching on websites such as Film Network, I could apply to funding schemes, such as B3 Media: Blank Slate. This offers funding up to £9000), whilst Maya Vision: The Short Film Completion Fund (offers funding up to £50000), and others from the BFI.

"Eat My Shorts" - Sight and Sound Article - notetaking

• DV came and made privileged few short films makers into potential film-makers.
• On one hand, artistic film-makers follow a tradition of seeing the short as an art form in its own right
• On the other hand, the media and the film industry look upon shorts as personal ads for would-be feature film-makers, which are observed closely, in case a director of stand-out talent, such as Lynne Ramsey, should show up.
• Short films are of little importance to everyone else, as they no longer have regular slots in commercial cinemas, and are not considered to even be broadcasted on television, except at 3am, when the broadcasters rarely take interest.
• Aside from the film-makers close audience (friends, relatives, etc.), there would hardly be anybody left watching the short films.
• D
• Why do people go and make short films?
• The person can gain experience.
• Learn further techniques that can be used later on in their career.
• Show off your skills to raise your profile.
• Enable yourself to get to higher level productions.
• Creating a short film gives you a lot of artistic freedom over it.
• You can be creative and put what you want in it
• Unique and risky ideas can be tried out in short films, whereas these ideas wouldn’t be allowed if they were to make a feature length film.

• Key changes over the past decade
• A lot has changed over the past decades to short films.
• Music videos and MTV came around in the early 80s and had an impact on short films.
• Fast paced editing and short narratives spilled into how people create short films.

"Creative Skillset" notetaking

Creative Skillset

• Creative Skillset empowers the Creative Industries to develop skills and talent; they do so by influencing and shaping policy, ensuring quality and by securing the vital investment for individuals to become the best in their field and for businesses to grow.
• They work across:
• Film
• Television
• Radio
• Fashion
• Animation
• Games
• Visual Effects
• Textiles
• Publishing
• Advertising
• Marketing Communications

"Raindance" notetaking

RAINDANCE

• Raindance filmmaking courses have inspired a whole generation of filmmakers, including:
• Christopher Nolan
• Julian Fellowes
• Guy Ritchie
• They combine the best filmmaking traditions with new digital technology
• Over 3,000 filmmakers have attended their courses in the last 12 months
• Their tutors are all working industry professionals, who teach you how films are really made
• They are dedicated to fostering and promoting independent film in London and around the world
• They combine the Raindance Film Festival, Training Courses and Raindance.tv.
• They span the full spectrum of the art, craft and business of independent movies.
• Their film training courses aim to give individuals the tools to start shooting their film.
• Courses offered include:
• Directing Courses
• Producing Courses
• Screenwriting Courses
• Technical Courses

"Lighthouse" notetaking

• Lighthouse
• A digital culture agency based in Brighton.
• Support, commission and exhibit work by artists and filmmakers
• Create “vibrant, inspirational programmes that show how important artists and filmmakers are in a changing media landscape.
• Work with digital art and moving image, which they present in their own venue in Brighton and beyond, nationally and internationally.
• Demonstrate that digital culture is about more than technology and tools; it is about ideas, emotion, learning, and aesthetics.
• In recent years, they have presented/co-produced solo shows by:
• “Semiconductor”
• “Iain Forsyth and Jane Pollard”
• “Lynette Wallworth”
• “David Blandy”
• “The Otolith Group”
• “Kutleg Ataman”
• “Trevor Paglen”
• They have also shown work by:
• Blast Theory
• Invisible Flock
• Rafael Lozano Hemmer
• And over two dozen other artists
• They manage the high-level production scheme, BFI Shorts, in collaboration with the British Film Institute, which has produced 17 major short films over the past two years.
• They also run the UK’s leading mentoring programme for filmmakers – “Guiding Lights”, which supports rising film talent by connecting them with some of the industry’s greatest names, including:
• Sam Mendes
• Alex Garland
• Kenneth Branagh
• Barbara Broccoli
• They are a vibrant venue for events in central Brighton.
• As well as hosting their own events, they provide spaces for commercial hire.

Target Audience Research - Qualitative Research Questions Ideas - "Soft"

1) Did the opening of the film engage you and make you want to watch more?

• Yes, because...
• No, because...

2) What indicates to you that this film is within the short form context?

3) Do you find the character(s) interesting?

• Yes, because...
• No, because...

4) Do you feel the character(s) create a stereotypical image of their respective age group(s)?

• Yes, because...
• No, because...

5) Can you detect any issues/themes in this film? Please list them.

6) Which character do you believe is the main protagonist? Why is this?

7) Do you feel the director wants us to feel sympathy for the protagonist?

• Yes, because...
• No, because...

8) Do you think that tension is created within this film?

• Yes, because...
• No, because...

9) What advantages might the short form have over longer form films?

10) Which part of the UK do you believe this film is based in?

11) What indicate to you that this film is based in this certain part of the UK?

12) What do you think the main problem is within this film?

13) Do you think is it easy to identify the main problem within this film?

• Yes, because...
• No, because...

14) Do you believe this film has a clear structure? (A beginning, a middle, and an end)

• Yes, because...
• No, because...

Target Audience Research: Quantitative Research Questions

Demographics

1. Are you male or female?

• Male
• Female
• Other (please specify)
• Prefer not to say

2. Which age category do you currently belong too?

• Under 10
• 11-14
• 15-20
• 21-30
• 31-40
• 41-50
• 51-60
• 61+

3. What is your ethnic background?

• White
• Gypsy/Traveller/Irish Traveller
• Asian/Asian British
• Black/Black British
• Mixed
• Other (please specify)

4. Which part of the UK do you live in?

• Northern England
• Southern England
• Eastern England
• Western England
• Central England
• Other (please specify)

5. What is your current occupation?

• Full-time job
• Part-time job
• Student
• Other (please specify)

Knowledge of the Genre

1. Have you ever viewed a short film?

• Yes
• No

2. What do you think a short film's run time should be?

• Under 5 minutes
• Between 5 and 10 minutes
• Between 11 and 15 minutes
• Between 16 and 20 minutes
• 20 minutes or over

3. Out of the three selected, which do you think best represents short form?

• Mainstream
• Niche
• Artistic

4. Have you ever seen any of these short films? (If so, please tick as many as you have)

• About a Girl
• Antonio's Breakfast
• September
• Soft
• Stripes
• The Most Beautiful Man In The World
• Two Cars One Night
• Vincent
• Youth

5. Are you familiar with any of these short film screening sites?

• Youtube
• Vimeo
• Shorts of the week
• Future Shorts

Viewing Habits

 

1. How regularly do you watch feature-length films?

• Daily
• Weekly
• Monthly
• Quarterly
• Yearly
• Never

2. How regularly to you watch short films?

• Daily
• Weekly
• Monthly
• Quarterly
• Yearly
• Never

3. How do you consume films?

• DVD
• Blu-Ray
• Television Channels
• Phone/Tablet
• Online
• On Demand
• Other (please specify)

4. Which genre is of your most general interest?

• Horror
• Comedy
• Thriller
• Social Realism
• Action
• Adventure
• Romance
• Other (please specify)

5. Do you find it easy to find shorts to watch?

• Yes
• No

Content

1. Select any themes/issues you consider to be underexplored in film from:

Themes:

• Neglect
• Revenge
• Rebellion
• Nature and Nurture
• Jealousy

Issues:

• Child Abuse
• Bullying (physically)
• Bullying (mentally)
• Class and Status
• Adultery
• Abortion
• Poverty
• Sexism
• Racism
• Discrimination
• Unemployment
• Alcohol Abuse
• Drug Abuse

2. Select any types/groups you consider to be underrepresented in film from:

• Working Class Citizens
• Lower Class Citizens
• Males
• Females
• Youth
• Elderly
• Black Ethnic Groups
• Caucasian Ethnic Groups
• Asian Ethnic Groups
• Mentally Ill
• Physically Ill

3. Select any aspects of stereotypical British social culture that you feel could be effectively explored in a short form film from:

• Aristocracy
• Poverty
• Gangsters
• Alcohol abuse/binge drinking
• Substance abuse
• Smoking
• Bad weather

4. Select any characteristics of British social culture that you feel are underrepresented in short form film from:

• Countryside
• City
• Architecture
• Food Consumption (e.g. fish and chips)
• Drink Consumption (e.g. tea)

5. What do you consider to be the most important about films?

• Storyline
• Cinematography (camera)
• Sound
• Mise-en-Scene
• Editing
• Actor(s)
• Director(s)
• Other (please specify)

Synopsis Draft 1 Feedback

Media Synopsis Draft 1 Feedback

His dilemma is not clear enough (what is happening in the frame?)

Show moment of non-isolation

At beginning he sees couples around him

E.g. maybe an older woman who isn't lonely, is sophisticated

What is it that brings them into contact - he gets a contact he never has - and loses it - the audience then emphasises his situation.

Make it more one person's story, and work with that storyline

Work with visual ways of introducing the audience to that interior situation

Lack of clear dilemma/predicament

Maybe she's beautiful but an alcoholic

There is something that builds up hope, but also builds tension in his situation with this woman

Want/need/obligation

Synopsis Draft 1

Example Synopsis Analysis

Comparative Analysis Notes

Example Paragraph 1: Genre

Refer to PEEA (Point Evidence Example Analysis)

Talk about format, list the films, what is the recurring theme?, all reflect the coming of age reflected in youth (become wiser human being) - through love relationship, etc.

Try to find connections between the films

E.g. 2 Cars 1 Night - Soft = element of risk (in car)

2 Cars 1 Night - September = fantasy vs. reality

Loosely connect the films, but investigate them in their own right

What are the themes they all have?

They all have an element of neglect (e.g. Stripes - teachers do nothing against the violence).

Showing/withholding of human emotion (emotional openness)

Boredom (e.g. Stripes - bully because they're not learning

Imprisonment (all prisoners in one situation or another)

Youth

Isolation (loneliness)

Relationship breakdowns

Perhaps structure each element between paragraphs

Compare and Contrast similarities and differences

"Soft" Brief Analysis

Soft

Production titles/film title show on black screen/white writing, dialogue interludes with it

Teenagers running across a field, girl gestures to camera – suggests film is from POV shot/the audience is the protagonist, see people arguing, punching victim, others filming on their phones

Quiet street, car pulling up, man gets out (looks business like)

Loud music playing, young boy runs up stairs when man comes in, shouts his name, orders him about, man goes into kitchen, makes tea, opens fridge, no milk, asks boy to get milk, no answer, man kicks the boys bag by the front door (showing disregard),

Man goes out door, acts friendly with neighbour, walks down street, camera follows him

Crosscuts to other scene, beat-boxing through a cone, using slang,

Man walking down path, church bell ringing

Hooded gangsters loiter, verbally abuse a passing woman

Man walks down pavement, continuous bell ring, man walks into the scene with the hooded gangsters, taunts the gangsters after they try to scare him, they verbally threaten him, slams shop door in their faces, gangsters banging on window, man buys milk, asks gangster to move out of the doorway, does so, camera reverts back to low quality (is it a phone recording?), gangster scares him, drops milk, gangster physically kicks him, man walks off, gangsters spit/swear, start dancing, begin to follow him, man clearly annoyed, crosscuts to what the gangsters did to him, expression of anger intensifies

Man arrives back home, boy is on the sofa, looks agitated, man goes in kitchen, boy tries to strike up conversation, boy begins to use milk, puts it away as he is told too, tries to ask when his mum is coming back, man changes subject, man notices bruising on boy’s face, says he got into a fight, begins to try to clean the boy up, tells boy he must stand up for himself, boy leaves room, sits on sofa

Man apologises to boy, boy notices gangsters outside, points him out to the man, doesn’t react to the gangster abusing his car, seems distressed himself, gangsters verbally abuse an onlooker, gangster throws stones at the window, tries to intimidate the man, man refrains boy from standing up, boy repeatedly urging his father to do something, car alarm begins to beep, closes blinds, takes his tie off and tries to muster courage to walk out of the door, boy tries to persuade dad to go out (“tell them to fuck off”) – shows language barriers low between father and son, man physically pushes the boy into the other room, says “fuck” also, gangster puts his dick through the letter box, boy opens the door, man hides away, boy walks out into the driveway, man looks on, man ushers the boy inside, man then walks out towards the gangsters, pushes the POV camera out of his face (confirms the low quality camera quality was a gangster filming), man asks gangster to get off his car, pulls his leg, gangster gets off car, man raises his hands in apology, gangster pushes man twice, punches him, gangster begins to dance to a different POV camera again, boy comes out of house and hits gangster in the head (who has his back turned) with a baseball bat, boy violently swings it towards the other gangsters until they run away, the gangster gets up, bleeding, and runs off, man turns off car bleeping, boy offers man the bat, man drops it before he can grasp it, boy walks off into the house with angry expression, slams the door, the man picks up the bat, walks to the front door, goes in and door closes. Credits appear scrolling upwards on screen in white writing, people begin to walk around the street (civilization appears again), they socialise, bike rider goes by, fades to black.

Boy maybe avoided going out to get the milk to avoid the gang?

"Youth" Brief Analysis

Youth

Directors’ Lab 2008 – scheme to help writers

UK Film Council Lottery Funded

Writer/Director: Jane Linfoot

1)

Brief analysis:

Fade in to man sleeping – given tea – someone else open blinds for him – clearly in need of sleep – stretches – has a look of being hungover – sits up – drinks tea – stands up – slow camera movement – long takes – editorial pace quickens as his mood intensifies – pulls out old record – puts it on – shows the time zone is 20^th century – music intensity matches intensity he is getting dressed – stylish – dancing/bopping to music – rapid camera movement/short takes – camera moves all over his body showing different movements – turns music up – enjoying himself – takes pictures of himself (SELFIE!) – prints them out immediately from camera – stores them in an album – after five odd minutes begins to play with belt – acts like he is chained, whipped – very sexual movements – like a dog/like he is hanging himself – kisses the mirror – makes out with the mirror of himself – mirrors loneliness/love of himself – music stops/mood changes as man comes in

Micro to Macro: Costume/sexuality - shows his stereotype – explores his sexuality/who are they? Am I attractive? How am I seen by others?

Form/Structure: Starts off slow – continues in slow movements but light and colour increases – pace quickens, with the camera moving at the same quick pace, but the cutting becoming faster -  the pace slows down/ pauses as the man walks into the room – parameter of editing – gives shape to the film

Mood: Emotional/intellectual gap between generations

Message: Questioning whether we change our opinions

2)

Rudeness towards young girl from other woman, young girl is clearly insecure about her body, hides behind the pool, and doesn’t want to be seen – long takes,

Boy washing hands, drinking, jumps in pool by girl, clearly emotionally attached, splashing, making out in the pool – clearly a feeling of insecurity and jealousy

Young girl showering, continuously turning on the shower

Editorial pace slows showing boy and woman in water

Young girl feels enclosed

Does handstand – girl feels endangered by boy as he taunts her

Young girl is dressed, eating crisps, clearly does not mind what she does when she is alone, but she feels insecure around others

Message/Meaning: Young girl feels secure around herself, doing what she enjoys, but the minute insecure around others, who she feels intimidated by (e.g. girl with a more fashionable body,

Class and status – earrings

Colours are bright/ light and sound – suggest a pleasant place - should be a happy environment?

Security/insecurity/confidence of youth

Long takes – mid-shots – body shots; do not show the entire characters/not showing faces – pressure on young people/women to look fashionable is huge

Sympathy is felt through dialogue/rudeness towards young girl – boredom clearly felt in a pleasant place – two contrasting elements

3)

Mood:

Gangsters – swearing on a bus towards people outside the bus – white man has a knife – arguing amongst themselves – asking for knife – threatens him – all have earrings, one has a hat – wearing school clothes – three girls enter the picture – young boys feel pressured/embarrassed – accused of being gay – engage in physical combat, speech muffled – boy needs asthma pump after being head-locked – black leader argues with other black boy about his mum phoning him – tries to act tough - rude to man in front – boy with knife listens to black leader  - pressured to do him – throws can at him – blames white boy – white boy put plastic bag over his head – gets his knife out – clearly a threatened/ desperate movement

Message: Peer pressure, live two lives – gangster like, and also trying to stay a youth – do we reflect ourselves through this film? Can we see ourselves?

Stereotypical – youths irritating everyone else, fashionable clothing – defying authority being loud and disrespectful, vandalises the bus, pressures other people – adoption of black youth culture by the white youths – huge sense of Hiatus – cliff-hanger (what happens next?)

Shouting – knife – who should have it?

Panning of the camera on all three boys – who has the power? Who is the alpha-male? Who is the one that is vulnerable? – Exploiting others weaknesses – selfishness of youth – absence of empathy – self orientation of youth – “It’s all about me”

"Stripes" Brief Analysis

Stripes

Hybrid film

Introduced to protagonist (white origin) and his kettle, as if he is waiting for something, door buzzes, kettle buzzing leads up to what happens, kettle is the antagonist (bubbling, heated building up until it finally blows (diegetic sound))

Next scene, protagonist is tied up, bleeding, in his own house by another man (black origin), very abusive language exchanged towards each other, knows a lot about the protagonist, clear antagonist knows protagonist from somewhere,  antagonist reminisces, protagonist begins to remember, when younger protagonist bullied antagonist excessively fifteen years ago, antagonist goes from angry to wanting to socialise with protagonist, begins conversations, continuous repetition (punching, “answer the question”), antagonist tells him why he’s here (can’t forget what happened), hates him in and out, antagonist shows his scar he received from protagonist, antagonist reveals knife, protagonist begs for forgiveness, but other begins to knife him

Editorial pacing, quick changes

Hook for the audience: who are these two people? Why are they behaving in this manner? Is the antagonist really the antagonist, and not vice versa?

Many close-ups

Light lighting (high contrast

"Two Cars, One Night" Brief Analysis

Two Cars, One Night

Camera flying fast through dark clouds, low-key lighting sped-up action, car pulls up next to first car, protagonist introduced when sitting in his car, children playing in their car, pretend driving, put seats back, first dialogue three minutes in, woman is in other car, protagonist abusive towards woman, swearing, calling her “ugly”, girl responds with abusive language and gestures,

 Different scene (same place): girl playing with ring, man on his bike outside talking to both cars, action sped-up again, girl clearly tired, protagonist gets out car, acts like a policemen pulling her over, tell each other names, other child in protagonist’s car untroubled, short unresponsive answers, new car comes by, man driving the car, exchanges look with protagonist, protagonist and girl tell each other ages

New scene, protagonist is now in girls car, girl still playing with ring, looks at it, touches it, trustworthy

Girl is now closer to the protagonist, protagonist gets out car, girl gives ring to him so he will remember her, girl’s driver gets in car, protagonist and girl exchange looks, girl leaves in car, boy left standing next to car

"The Most Beautiful Man in the World" Brief Analysis

The Most Beautiful Man in the World

Titles fade in and out quickly, with black screen/white writing

Diegetic sound of loud noises/banging – man’s voice apologising

Cut to next scene, girl sleeping with dog next to her

Fade to another scene, girl sitting, chewing her hand, whilst we hear the adults speaking about hair

Cut to title of film

Sound of telephone fades in with the cut back to earlier scene, of girl sleeping, girl wakes up, lying on her back; dog moves away, childlike voice is heard when talking on the phone, yet we see an adult walking in frame; gives very short answers on the phone, girl looks out the window

Scene outside, girl is riding in circles on her bike, dog is watching her, rings her bell, insects chirping, looks towards the bridge, goes past the fence (her barrier?) and into the field, sways playfully through the field, picks at flowers, repetitive editorial hand brushing the flowers, girl poking stick in the river (common rural environment sounds), girl notices a man stroking her dog, make eye contact, she smiles, tells him it’s her dog, they keep eye contact, man removes a bug from her shoulder, puts it into her hand, man bends down, smiles back at the girl, cars heard in distance, man and girl notice a woman watching them, man looks away, girl runs back towards the house

Woman and girl inside, woman slams door and walks away, girl stays by doorway

Man stands in the field, with the bridge, vehicles moving, and a tower in the background

Girl sitting on stairs, looking to her left then forward, then down

Actor credits appear on black screen in white writing

Happy diegetic sound heard (cheering, gratitude), girl’s expression is blank, church bell ringing, ticking

Full credits appear/scroll down the screen

Criteria for my Short Film

Evaluation

A World

A Character

A Problem

Is there a clear protagonist?

Is there a clear message?

Manageability (small budget, not too many drastic effects)

Is there something to lose (are the stakes high enough)?

How will the audience recognise the problem?

Whose Point of View (POV) is it from?

Criteria	Evidence
Unity of Time, Place & Action	Happens in the space of a morning, it happens outside a school within the park, and within the school grounds/classrooms itself, the act of bullying/loneliness/discrimination occurs
Identifiable main character/POV	First-person POV (camera is the protagonist eyes)
Theme (s)	Bullying, Loneliness, Discrimination
Location	Park, School Grounds, School Classrooms
Predicament
Dilemma
Stakes
Conflict (internal/external)
Mood
Tension
Suspense
Message
Recognising the problem