Title: Benched
Narrative: Benched follows the story of teenaged ghost Anna that is stuck to her local parks bench after being killed there a year prior. Many different people come and sit on the bench each day, some she knows well and others she hardly knows at all, but when a depressed woman begins visiting daily Anna begins to find herself becoming invested in her life.
Genre: Comedy/drama
Characters:
Anna - The ghostly protagonist of our tale. She's sarcastic and witty, often finding time to make humorous remarks on other people's lives even if the comment is falling on deaf ears. Gradually Anna becomes invested in the lives of the people that visit the bench, and tries to find a way to change their outlook for the better.
Louise - The woman that starts visiting the bench daily- she is obviously depressed and feels like her life is no longer worth living because of the bad luck that has befallen her in the past.
Marjory - The 'crazy old woman' that comes to the bench every so often and talks to her dead husband Humphrey. Through the dialogue she has with him Anna finds out more about her life and tries to advise her even though she can't be heard.
Nick - The 'chavvy' man that visits the bench on occasion and seems to always be on dating websites. Anna tries to involve herself in his romantic life as the film goes on.
Synopsis: The day begins as any other, with Anna welcoming her first guest of the day, Nick- the man that seems to always be looking for love on a dating website. After dialogue directed at Nick he eventually leaves and is later replaced by Marjory, whom natters on to her dead husband for a while before also leaving. This is repeated to several times to leave the impression of time having passed, until eventually somebody new sits at the bench- Louise. After a few visits Anna notices Louise is quite obviously depressed and begins to do simple things such as putting flowers on the bench and leading animals to the bench in order to cheer her up. As Anna sees Louise gradually improving, she realises she has the ability to help people even from beyond the grave and decides the place she's been stuck in isn't so bad after all.
Required crew: When filming it would be useful to have at least 2 crew members so that one person could be checking the script/storyboard whilst the other filmed. Since it is a single location shoot it would be unnecessary to have a lot of people as we would not need to move equipment around.
Required equipment: Two 650 DSLR cameras and two tripods for the filming process. Other than this we shouldn't need any other equipment as the film is relatively simple.
Production schedule: We would need to film in the day over a couple of different days, probably in June as this is the time the weather will be best since the shoot is entirely outdoors. It should take less than a week for us to get all the necessary footage.
Suggested locations: Hillsborough park, Oughtibridge park and the Peace gardens.
Monday, 27 June 2016
Wednesday, 15 June 2016
LO1 - Short film analysis
The Forever Train - Fantasy
Camera work
When first introducing new characters the camera tends to be a medium shot facing directly towards them- it may even pan from one character to another if there are two in close proximity. Medium shots show the characters in relation to their surroundings so the decorative interior of the train gets the chance to be shown off in each scene. This gives the viewer a sense of just being another passenger on the train drinking in the weird and wonderful sights, you begin to feel like you're a part of the action. From the moment the train conductor first steps onto screen there are a multitude of close ups on his face, both to establish that he is the dominating force on the train and also allow the watcher to become familiar with him as he is a particularly iconic character. When he asks the passengers for their tickets the camera is focused on him at a low angle to connote he is the one with all the power- likewise the person he is asking is shown from a high angle so they are depicted as submissive and weak when faced with the conductors intimidating demeanour.
The camera majorly seems to be handheld and unsteady which connotes the bizarre and confusing nature of the film. It cuts between each character conversing quickly which makes the train carriage seem smaller and more intimate and creates a (still fantastical) but more realistic depiction of the train. A dolly is used once throughout the film to show the movement of the caped thief as she runs away from the fly-like man chasing her down the halls- even this aids to connote a cramped feel to the train as you see the tight space of the hallway she runs down, it's as though you can never quite escape the other passengers.
Narrative
As it fits into the fantasy/comedy genre, 'The Forever Train' is both very absurd and strange. It follows the story of a young man on the 'forever train', trying to transport a suitcase with unknown contents. It's not long before the suitcase goes missing and the protagonist is forced to walk the carriages in an attempt to find the thief whilst simultaneously dodging the train conductor as he does not have a ticket. The mystery of 'what's in the suitcase' creates an element of intrigue that keeps the viewer interested for the duration of the short film, and when it is eventually found the contents are so valuable that the conductor decides to let the main character go without a hassle. The fact you never find out what's in the suitcase connotes the idea that whatever it is is too important to be discussed, and too precious for the secret to be shared with the viewer.
Editing and Visual Effects
As it would've been difficult for the creators to film an actual train they used a toy one and shot it from a wide angle to denote scene transitions (for instance to move from one carriage's activities to anothers). They cast colourful lights over the trains to add a fantasy elements and in the editing stage put filters over the top so it became brighter and more visually pleasing. The general lighting of the train carriage was also edited to make it seem more magical but moody.
The music being played over the top of the short film is non-diegetic but the noises made by the passengers, e.g. the robots beeping or the chickens clucking, are diegetic as they exist within the world even if they have been edited in.
Characterisation
The characters of the short film are thoroughly bizarre. Majorly, 'The Forever Train' follows the story of the protagonist trying to protect his bag but he is essentially reduced to this singular role throughout the film. As an audience we feel we can relate to him little except for his fear of having lost his only possession aboard the train, this scenario can be translated to many other situations in which we can recognise the fear and panic he is experiencing. So many crazy characters are denoted as jumping in and out of the film that we don't really get the time to know any of them but we appreciate them as the comical elements they are supposed to be. They help the weird world feel more natural as it is populated by so many similarly odd characters- in this sense perhaps the setting itself is the most important character. As a child everyone has imagined a fantasy world at least alike to the one we are met with here, and so it connotes (and preys on) the childish desire within everyone to roam in such a place.
Post It - Drama
Camera work
For the first portion of the film the camera switches between a wide shot and close up shots of the individual characters sat on the bench. The wide shot denotes the distance between Elroy and Clare, showing that they are strangers who not only know very little about one another but are also very different personality wise. For this section every frame is a still shot on a tripod from these angles, but when the pair change location the camera appears to be handheld and tracks them as they walk around the town. The unsteady camera connotes the more outgoing and less sheltered change of location, reflecting the emotions Elroy is feeling as he is probably tentative and nervous to participate in something he has never done before. At the end the shots are all on tripods again which connotes the change back to the new equilibrium. The camera cuts between a similar 3 angles but this time the two characters are denoted standing closer together- they have grown throughout the day and become closer and it is shown through their physical intimacy.
When the post it notes are used the camera does a close up so the viewer can read the writing- by zooming in and thus making the post its look bigger the camera also manages to make what is on them look more important. Possibly trying to depict that even simple things such as this can have a positive effect on someones day.
Narrative
The narrative follows a man named Elroy that is questioned by a girl called Clare about the contents of a box he is carrying. After telling her that it's the stationary his dead mother left behind at her office she is sympathetic and they gradually grow on each other as they interact. One of the main points that Elroy makes about he and his mother is how different they both were, how she was kind and 'loved people' whereas he hates them, which is ironic considering those appear to be the same contrasts noticeable between him and Clare. The blank, unused post-it notes among the rest of the stationary connote that something is lacking in Elroy's life, which may be the qualities his mother had. Clare decides to take him to town to use up the post-its; where he is denoted as simply sticking them onto strangers the connotations of the situation are much deeper, by doing this he is making up for everything he believed he lacked and filling the part of him he decided he was missing.
Editing and Visual Effects
The non-diegetic music played when significant events take place in 'Post it' are supposed to elicit empathy in the audience, as well as reflect the pity Clare feels or the sparks of joy Elroy feels as the events of the day take place.
The end of the short film is edited differently as it is instead a montage of the duo going around town and offering strangers post-it notes with their positive traits written across them. It denotes the idea that Elroy and Clare gave post it notes to a lot of different strangers that day and that this montage was just a summation.
Characterisation
The dialogue in 'post-it' aids the characterisation brilliantly; through the way the two talk and how much they divulge about their lives it is easy to see they're polar opposites from one another (which may be why they are drawn together). Even small gestures show us something new about their personality e.g. the handshake.
It is easy for the audience to relate to at least one of the two characters as they are just everyday people experiencing something every person will have to go through- loss. They are characters with as many flaws as positives which is why they are so believable; Elroy's pain is genuine and Clare's sympathy is acted upon in a way that many would not have the courage to- yet is still not out of the bounds of believability.
The Passenger - Horror
Camera work
At the beginning of 'The Passenger' the camera is on the front of the car so the audience is allowed a first person perspective of the vehicle's movement as it drives along the road. The steady camera connotes the current equilibrium; so far nothing has gone wrong and the protagonist is satisfied with her evening. Similarly the first shot of Jess in the car is a steady shot from the dashboard, which soon changes to a handheld from the passenger seat as the equilibrium begins to be disrupted (starting with the car wheel popping). This may also connote the actual movement of the car as the journey is much bumpier once the tyre has gone. After Jess leaves the vehicle there are a lot of long shots of the car and her stood beside it- this denotes her looking small which connotes that she is weak and powerless to stop the upcoming incidents from occurring.
When events truly begin to spin out of control and the boot of the car emits loud banging noises, the camera becomes handheld again and unstable- connoting the fear the character feels when trapped in this situation. The temporary peace whilst she was trying to use the jack has suddenly been broken once again and we are met with this being denoted by the camera's instability. There are lots of close ups of Jess's face to show her reaction to events in greater detail so the audience develops more empathy towards her situation.
Narrative
This short film is a horror in which a girl's car breaks down and whilst waiting for her friend to arrive she experiences supernatural hauntings that shake her. In a variety of ways it is a stereotypical horror film- the foolish teenager, the car breaking down, the brainless actions that lead to the characters eventual death. Not that this makes it any less enjoyable for most viewers- the predictability of it often makes it interesting to see how the creators decide to get from A to B. Even the demise of the character creates some initial intrigue and moral questions for the watcher: did the character deserve to die? Did they put themselves into a difficult situation through their own stupidity or were they selfish enough to deserve death?
Editing and Visual Effects
As in most horrors, there are a lot of non-diegetic eerie sounds edited in to make the scenario seem more terrifying. When there is a jump scare or the monster appears these noises accentuate the horror by reflecting the current nature of the situation with it's pitch. There are other noises that have been added in such as: the noise of the tyre popping, the breathing of the supernatural entity and the sounds of the motorway, but these are diegetic as we can see them taking place within the narrative. These help to make the world more convincing to the viewer.
Characterisation
As an audience we learn about the character gradually from the manner in which she responds to the situation- but there is no particular depth to her as she follows the stereotype of most horror film protagonists. The viewer feels a level of empathy for her and also relates as they are experiencing the same terror as she is- although on a much lower level. Jess responds to the situation as best as she can but acts selfishly by getting her ex-boyfriend involved and then allowing him to drive away in the car she assumes is haunted; this may make her more relatable to some viewers as she is an obviously flawed character.
The only other character except the 'passenger' that we are faced with is the male we assume is her ex-boyfriend, and he is only in the short film for a brief period of time. Although, the fact that he comes to her aid and is willing to let her drive his car suggests some kinder character traits of his own- although since they have not been through the same situation it is difficult to tell how he would've acted otherwise.
Mech: Human Trials - Sci-fi
Camera work
At the beginning and end of the short film the camera is denoted tracking the motorbike as it is thrown into the air, as well as tracking the protagonist as he walks about the town- it more clearly highlights the movement of the subject and connotes the importance of the act taking place. The speed of the camera even manages to connote the physical change in the character because of the drug; he is suddenly faster and much more powerful so can commit these inhuman acts. It even pans across the city from a wide shot at the start which creates verisimilitude as we know the location of the action and thus can more clearly relate to it.
There is an extreme close up of the drugs being taken by the main character, connoting it is the focus of the film as the actual size of the vials are enlarged to make them seem more important. The fact they are blue connotes depression and reflects the reason that the character has probably decided to turn to drugs in his life. Also by showing an extreme close up the viewer gets the chance to see the finer details of the drug so we can admire the spectacle they create.
At the section where the protagonist is in the gym becoming stronger the camera is handheld and unstable to denote movement but also to connote distress of thought as this is the period where he begins to realise something is wrong with him. He is fearful of the changes happening to his body as he does not understand them; the trembling camera reinforces his horror.
Narrative
The film starts as the protagonist begins taking a new drug; as the narrative develops he realises the drugs main side effect is that it gradually turns the user into a cyborg. His supplier warns him that unspecified groups of people will be coming after him now the drug has taken full effect- which is the premise of the latter half of the film. It is a stereotypical sci-fi short in a lot of ways, but the constant unknowing (and open end) of who exactly is chasing the protagonist adds to the drama of the movie and creates a more tense scenario for the hero to deal with.
Editing and Visual Effects
There are a lot of visual effects in this short film which are used to show off the futuristic technology being used by the characters. Quite obviously, the mechanical arms the main character is forced to adjust to have been created using SFX, without this editing the narrative would not be as believable as we would not be offered realistic visual proof of the drug's side effects. There are other moments when visual effects are used to enhance the short film: when the unknown assailants are tracking the protagonist they use technology (which we see from a first person view) to find him in a crowd, as well as when the motorbike is tossed into the air. Each of these things highlight the futuristic nature of 'Mech: Human trails'.
Non-diegetic music has been edited in at the beginning and the end of the film which sets a tense mood that reflects the narrative. There are also other noises that have been edited in such as the sound of the mechanical arms moving around and the diegetic sounds of traffic and otherwise city-like noises when the protagonist is walking around.
Characterisation
The character in 'Mech' is not a particularly likeable or relatable one. We as a viewer learn very little about him apart from the fact that he is a drug addict; in fact he stands as a particularly stereotypical white male sci-fi protagonist. He has little to no obvious personality, which is perhaps not too important as the narrative and effects are the most important aspect of the short film. Although, he helps in aiding the story by being a physically powerful man of which it is believable to think would manage to fight off his attackers- especially with the drug's enhancements. The only other noticeable character is the dealer of whom we only learn about through the main characters monologues and acts as more of a plot device if anything.
Dust Buddies - Animated short
Camera work
Often when the maid is on screen the camera shows her from a low angle, which not only offers you a perspective similar to that of the dust bunnies, but also connotes that she is powerful. Comparatively the camera films the dust bunnies from a higher angle to show that they are weak and powerless in their current situation. As well as this the bunnies are occasionally presented from a long shot (like when the main character is trying to reach the hoover) as it proves how small they are in relation to the rest of the room and the maid, which offers us a sense of scale as well as further connoting how weak and insignificant they are. However, when the maid topples over at the end the camera tracks her movement, possibly to show that she has quite literally fallen from her powerful status. Other camera work includes the fact that the camera zooms in on both the hoover being plugged in and the bunnies sat on top of the hoover as it draws your attention to the importance of the act.
Narrative
A couple of anamorphic dust bunnies face trouble when they are hoovered up by the house maid and must rely on their friend to save them. It is an animated short film which allows this narrative to be more easily produced. As the protagonists of the story are adorable dust bunnies that are struggling against the house keeper 'overlord' they are much easier to feel sympathetic for as they are so small and innocent in appearance. Since it is a cartoon it is very easy to distinguish the 'heroes' from the 'villains' and so the audience quickly falls into supporting the dust bunnies' cause.
Editing and Special Effects
The short film is completely animated using CGI to invent each character and the habitat they exist within. Throughout the film non-diegetic music is constantly playing in the background which reflects the situation the protagonists are in- whether it be cheerful and light notes to connote the dust bunnies are at peace or low and sudden notes to connote distress. Other noises have been edited over the top such as the bunnies squeaking as the sound replaces any dialogue between them: it helps offer the audience a better idea of what they are thinking without solely relying on facial expressions. The noise of them eating and the hoover noise are also diegetic sounds that have been added over the top.
Characterisation
Even though the bunnies never actually speak the audience can understand easily what they are thinking and feel we can relate to them in a basic way because of their squeaking and their facial expressions depicting their mood. The innocence of the main character helps to drive the narrative forward as there is a clear distinction between him and the antagonist; the main dust bunny is a sensible but brave hero and when the other bunnies mock him for fearing to leave the table they are the ones that suffer for it. As cartoons are often targeted towards children the kids are supposed to believe these are desirable traits and thus sympathise more with the characters.
Camera work
When first introducing new characters the camera tends to be a medium shot facing directly towards them- it may even pan from one character to another if there are two in close proximity. Medium shots show the characters in relation to their surroundings so the decorative interior of the train gets the chance to be shown off in each scene. This gives the viewer a sense of just being another passenger on the train drinking in the weird and wonderful sights, you begin to feel like you're a part of the action. From the moment the train conductor first steps onto screen there are a multitude of close ups on his face, both to establish that he is the dominating force on the train and also allow the watcher to become familiar with him as he is a particularly iconic character. When he asks the passengers for their tickets the camera is focused on him at a low angle to connote he is the one with all the power- likewise the person he is asking is shown from a high angle so they are depicted as submissive and weak when faced with the conductors intimidating demeanour.
The camera majorly seems to be handheld and unsteady which connotes the bizarre and confusing nature of the film. It cuts between each character conversing quickly which makes the train carriage seem smaller and more intimate and creates a (still fantastical) but more realistic depiction of the train. A dolly is used once throughout the film to show the movement of the caped thief as she runs away from the fly-like man chasing her down the halls- even this aids to connote a cramped feel to the train as you see the tight space of the hallway she runs down, it's as though you can never quite escape the other passengers.
Narrative
As it fits into the fantasy/comedy genre, 'The Forever Train' is both very absurd and strange. It follows the story of a young man on the 'forever train', trying to transport a suitcase with unknown contents. It's not long before the suitcase goes missing and the protagonist is forced to walk the carriages in an attempt to find the thief whilst simultaneously dodging the train conductor as he does not have a ticket. The mystery of 'what's in the suitcase' creates an element of intrigue that keeps the viewer interested for the duration of the short film, and when it is eventually found the contents are so valuable that the conductor decides to let the main character go without a hassle. The fact you never find out what's in the suitcase connotes the idea that whatever it is is too important to be discussed, and too precious for the secret to be shared with the viewer.
Editing and Visual Effects
As it would've been difficult for the creators to film an actual train they used a toy one and shot it from a wide angle to denote scene transitions (for instance to move from one carriage's activities to anothers). They cast colourful lights over the trains to add a fantasy elements and in the editing stage put filters over the top so it became brighter and more visually pleasing. The general lighting of the train carriage was also edited to make it seem more magical but moody.
The music being played over the top of the short film is non-diegetic but the noises made by the passengers, e.g. the robots beeping or the chickens clucking, are diegetic as they exist within the world even if they have been edited in.
Characterisation
The characters of the short film are thoroughly bizarre. Majorly, 'The Forever Train' follows the story of the protagonist trying to protect his bag but he is essentially reduced to this singular role throughout the film. As an audience we feel we can relate to him little except for his fear of having lost his only possession aboard the train, this scenario can be translated to many other situations in which we can recognise the fear and panic he is experiencing. So many crazy characters are denoted as jumping in and out of the film that we don't really get the time to know any of them but we appreciate them as the comical elements they are supposed to be. They help the weird world feel more natural as it is populated by so many similarly odd characters- in this sense perhaps the setting itself is the most important character. As a child everyone has imagined a fantasy world at least alike to the one we are met with here, and so it connotes (and preys on) the childish desire within everyone to roam in such a place.
Post It - Drama
Camera work
For the first portion of the film the camera switches between a wide shot and close up shots of the individual characters sat on the bench. The wide shot denotes the distance between Elroy and Clare, showing that they are strangers who not only know very little about one another but are also very different personality wise. For this section every frame is a still shot on a tripod from these angles, but when the pair change location the camera appears to be handheld and tracks them as they walk around the town. The unsteady camera connotes the more outgoing and less sheltered change of location, reflecting the emotions Elroy is feeling as he is probably tentative and nervous to participate in something he has never done before. At the end the shots are all on tripods again which connotes the change back to the new equilibrium. The camera cuts between a similar 3 angles but this time the two characters are denoted standing closer together- they have grown throughout the day and become closer and it is shown through their physical intimacy.
When the post it notes are used the camera does a close up so the viewer can read the writing- by zooming in and thus making the post its look bigger the camera also manages to make what is on them look more important. Possibly trying to depict that even simple things such as this can have a positive effect on someones day.
Narrative
The narrative follows a man named Elroy that is questioned by a girl called Clare about the contents of a box he is carrying. After telling her that it's the stationary his dead mother left behind at her office she is sympathetic and they gradually grow on each other as they interact. One of the main points that Elroy makes about he and his mother is how different they both were, how she was kind and 'loved people' whereas he hates them, which is ironic considering those appear to be the same contrasts noticeable between him and Clare. The blank, unused post-it notes among the rest of the stationary connote that something is lacking in Elroy's life, which may be the qualities his mother had. Clare decides to take him to town to use up the post-its; where he is denoted as simply sticking them onto strangers the connotations of the situation are much deeper, by doing this he is making up for everything he believed he lacked and filling the part of him he decided he was missing.
Editing and Visual Effects
The non-diegetic music played when significant events take place in 'Post it' are supposed to elicit empathy in the audience, as well as reflect the pity Clare feels or the sparks of joy Elroy feels as the events of the day take place.
The end of the short film is edited differently as it is instead a montage of the duo going around town and offering strangers post-it notes with their positive traits written across them. It denotes the idea that Elroy and Clare gave post it notes to a lot of different strangers that day and that this montage was just a summation.
Characterisation
The dialogue in 'post-it' aids the characterisation brilliantly; through the way the two talk and how much they divulge about their lives it is easy to see they're polar opposites from one another (which may be why they are drawn together). Even small gestures show us something new about their personality e.g. the handshake.
It is easy for the audience to relate to at least one of the two characters as they are just everyday people experiencing something every person will have to go through- loss. They are characters with as many flaws as positives which is why they are so believable; Elroy's pain is genuine and Clare's sympathy is acted upon in a way that many would not have the courage to- yet is still not out of the bounds of believability.
The Passenger - Horror
Camera work
At the beginning of 'The Passenger' the camera is on the front of the car so the audience is allowed a first person perspective of the vehicle's movement as it drives along the road. The steady camera connotes the current equilibrium; so far nothing has gone wrong and the protagonist is satisfied with her evening. Similarly the first shot of Jess in the car is a steady shot from the dashboard, which soon changes to a handheld from the passenger seat as the equilibrium begins to be disrupted (starting with the car wheel popping). This may also connote the actual movement of the car as the journey is much bumpier once the tyre has gone. After Jess leaves the vehicle there are a lot of long shots of the car and her stood beside it- this denotes her looking small which connotes that she is weak and powerless to stop the upcoming incidents from occurring.
When events truly begin to spin out of control and the boot of the car emits loud banging noises, the camera becomes handheld again and unstable- connoting the fear the character feels when trapped in this situation. The temporary peace whilst she was trying to use the jack has suddenly been broken once again and we are met with this being denoted by the camera's instability. There are lots of close ups of Jess's face to show her reaction to events in greater detail so the audience develops more empathy towards her situation.
Narrative
This short film is a horror in which a girl's car breaks down and whilst waiting for her friend to arrive she experiences supernatural hauntings that shake her. In a variety of ways it is a stereotypical horror film- the foolish teenager, the car breaking down, the brainless actions that lead to the characters eventual death. Not that this makes it any less enjoyable for most viewers- the predictability of it often makes it interesting to see how the creators decide to get from A to B. Even the demise of the character creates some initial intrigue and moral questions for the watcher: did the character deserve to die? Did they put themselves into a difficult situation through their own stupidity or were they selfish enough to deserve death?
Editing and Visual Effects
As in most horrors, there are a lot of non-diegetic eerie sounds edited in to make the scenario seem more terrifying. When there is a jump scare or the monster appears these noises accentuate the horror by reflecting the current nature of the situation with it's pitch. There are other noises that have been added in such as: the noise of the tyre popping, the breathing of the supernatural entity and the sounds of the motorway, but these are diegetic as we can see them taking place within the narrative. These help to make the world more convincing to the viewer.
Characterisation
As an audience we learn about the character gradually from the manner in which she responds to the situation- but there is no particular depth to her as she follows the stereotype of most horror film protagonists. The viewer feels a level of empathy for her and also relates as they are experiencing the same terror as she is- although on a much lower level. Jess responds to the situation as best as she can but acts selfishly by getting her ex-boyfriend involved and then allowing him to drive away in the car she assumes is haunted; this may make her more relatable to some viewers as she is an obviously flawed character.
The only other character except the 'passenger' that we are faced with is the male we assume is her ex-boyfriend, and he is only in the short film for a brief period of time. Although, the fact that he comes to her aid and is willing to let her drive his car suggests some kinder character traits of his own- although since they have not been through the same situation it is difficult to tell how he would've acted otherwise.
Mech: Human Trials - Sci-fi
Camera work
At the beginning and end of the short film the camera is denoted tracking the motorbike as it is thrown into the air, as well as tracking the protagonist as he walks about the town- it more clearly highlights the movement of the subject and connotes the importance of the act taking place. The speed of the camera even manages to connote the physical change in the character because of the drug; he is suddenly faster and much more powerful so can commit these inhuman acts. It even pans across the city from a wide shot at the start which creates verisimilitude as we know the location of the action and thus can more clearly relate to it.
There is an extreme close up of the drugs being taken by the main character, connoting it is the focus of the film as the actual size of the vials are enlarged to make them seem more important. The fact they are blue connotes depression and reflects the reason that the character has probably decided to turn to drugs in his life. Also by showing an extreme close up the viewer gets the chance to see the finer details of the drug so we can admire the spectacle they create.
At the section where the protagonist is in the gym becoming stronger the camera is handheld and unstable to denote movement but also to connote distress of thought as this is the period where he begins to realise something is wrong with him. He is fearful of the changes happening to his body as he does not understand them; the trembling camera reinforces his horror.
Narrative
The film starts as the protagonist begins taking a new drug; as the narrative develops he realises the drugs main side effect is that it gradually turns the user into a cyborg. His supplier warns him that unspecified groups of people will be coming after him now the drug has taken full effect- which is the premise of the latter half of the film. It is a stereotypical sci-fi short in a lot of ways, but the constant unknowing (and open end) of who exactly is chasing the protagonist adds to the drama of the movie and creates a more tense scenario for the hero to deal with.
Editing and Visual Effects
There are a lot of visual effects in this short film which are used to show off the futuristic technology being used by the characters. Quite obviously, the mechanical arms the main character is forced to adjust to have been created using SFX, without this editing the narrative would not be as believable as we would not be offered realistic visual proof of the drug's side effects. There are other moments when visual effects are used to enhance the short film: when the unknown assailants are tracking the protagonist they use technology (which we see from a first person view) to find him in a crowd, as well as when the motorbike is tossed into the air. Each of these things highlight the futuristic nature of 'Mech: Human trails'.
Non-diegetic music has been edited in at the beginning and the end of the film which sets a tense mood that reflects the narrative. There are also other noises that have been edited in such as the sound of the mechanical arms moving around and the diegetic sounds of traffic and otherwise city-like noises when the protagonist is walking around.
Characterisation
The character in 'Mech' is not a particularly likeable or relatable one. We as a viewer learn very little about him apart from the fact that he is a drug addict; in fact he stands as a particularly stereotypical white male sci-fi protagonist. He has little to no obvious personality, which is perhaps not too important as the narrative and effects are the most important aspect of the short film. Although, he helps in aiding the story by being a physically powerful man of which it is believable to think would manage to fight off his attackers- especially with the drug's enhancements. The only other noticeable character is the dealer of whom we only learn about through the main characters monologues and acts as more of a plot device if anything.
Dust Buddies - Animated short
Camera work
Often when the maid is on screen the camera shows her from a low angle, which not only offers you a perspective similar to that of the dust bunnies, but also connotes that she is powerful. Comparatively the camera films the dust bunnies from a higher angle to show that they are weak and powerless in their current situation. As well as this the bunnies are occasionally presented from a long shot (like when the main character is trying to reach the hoover) as it proves how small they are in relation to the rest of the room and the maid, which offers us a sense of scale as well as further connoting how weak and insignificant they are. However, when the maid topples over at the end the camera tracks her movement, possibly to show that she has quite literally fallen from her powerful status. Other camera work includes the fact that the camera zooms in on both the hoover being plugged in and the bunnies sat on top of the hoover as it draws your attention to the importance of the act.
Narrative
A couple of anamorphic dust bunnies face trouble when they are hoovered up by the house maid and must rely on their friend to save them. It is an animated short film which allows this narrative to be more easily produced. As the protagonists of the story are adorable dust bunnies that are struggling against the house keeper 'overlord' they are much easier to feel sympathetic for as they are so small and innocent in appearance. Since it is a cartoon it is very easy to distinguish the 'heroes' from the 'villains' and so the audience quickly falls into supporting the dust bunnies' cause.
Editing and Special Effects
The short film is completely animated using CGI to invent each character and the habitat they exist within. Throughout the film non-diegetic music is constantly playing in the background which reflects the situation the protagonists are in- whether it be cheerful and light notes to connote the dust bunnies are at peace or low and sudden notes to connote distress. Other noises have been edited over the top such as the bunnies squeaking as the sound replaces any dialogue between them: it helps offer the audience a better idea of what they are thinking without solely relying on facial expressions. The noise of them eating and the hoover noise are also diegetic sounds that have been added over the top.
Characterisation
Even though the bunnies never actually speak the audience can understand easily what they are thinking and feel we can relate to them in a basic way because of their squeaking and their facial expressions depicting their mood. The innocence of the main character helps to drive the narrative forward as there is a clear distinction between him and the antagonist; the main dust bunny is a sensible but brave hero and when the other bunnies mock him for fearing to leave the table they are the ones that suffer for it. As cartoons are often targeted towards children the kids are supposed to believe these are desirable traits and thus sympathise more with the characters.
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