Sound Task II

In order to understand how sound is used, and how it is added in within the post production stage, I used the Panasonic AVCCAM AG-HMC41E, which doesn't record sound. This meant that I needed to rely on the external microphone that I was going to use to add realism to my recordings. I used the Tascam DR-40 Voice Recorder, with a Sennheiser shotgun microphone attached to a boom pole. 

This activity was carried out as a part of a group exercise. My peers and I each took a turn playing the role of; camera operator, sound operator/director, boom operator, using the clapper board and being part of the action. The person carrying out the action also took the role of First Assistant Director, in which they called out signs and directions for the other team in the production.

The set task to improve the knowledge of my peers and I was as follows. We needed to record two sounds, using the sound and camera equipment, along with the clapper board so that it would make it easier to match the video and audio tracks in editing. Each person was to take on each role once, and we were to practice answering to the calls of the First Assistant Director.

Evaluation

To start with, it was quite challenging to match the audio with the video, although I now understand how useful the clapper board is in providing the editor with an aid to get sound and video running together.

I chose to use the sounds of a pencil scribbling on a  piece of paper, and that of a set of keys being shaken about. These were both quite continuous sounds, which I think would have been easier to have got away without synchronising the tracks perfectly, as opposed to an indivdula sound, such as a door slamming. However. I did find with the pencil, particularly at the end of take three when the actor makes an individual mark, that the sound reflects this, meaning that it was synced quite well. Meanwhile, it is difficult to see where exactly the keys are making sound, and so this was easier to match to the action as it is likely that the jingling would look and sound realistic, even with a difference of a few frames between the two tracks.

The sound is much clearer than if I would have used an internal microphone, as the external microphone can be pointed straight at the source of sound, without impacting the camerawork. Therefore, I will be using the external microphone where necessary in my short film.

Script Draft Five

After my fourth feedback session with my teacher, we both agreed that we were happy that my script was almost ready for a final draft. 

Following a few notes on spelling and grammar, which I have corrected in the fifth draft, we discussed a few slight changes to make to the latest version.

To continue with keeping the caretaker anonymous until the last scene, my teacher and I considered leaving the description out of the playground scene, and emphasising the sound in order for his identity to remain a secret. The rationale for this was to increase what is left to the audience's imagination, retaining their attention to the very end of the film. 

To give the caretaker reason for giving the girl his phone, my teacher and I also explored the idea her having her phone on her at the end, but signifying to the audience that it has run out of battery.

In conclusion, I am now happy that my script drives the narrative forward in each scene, providing a visual idea of what it will look like, whilst leaving directions and large amounts of dialogue out. After this feedback session, I am also confident that I can apply Marilyn Milgrom's Ten Point Plan to my script.

Script Draft Five from aimeelee12

Lighting Task

Prior to the lighting workshop, I needed to take some notes to better my understanding of lights, and their purpose, and what makes them effective:

After learning of all the different types of light, I began to set up the lights in a basic set up, and experimented with brightness of each light whilst the actor was rehearsing. This allowed me to consider lighting ratios and the shadows being cast.

After trialing different positions of the lights, and the brightness, I was happy, and began to shoot the medium close up. From here on I encountered a few issues:

• As I followed my actor round the room in a close up, she blocked the light and cast a harsh shadow on the wall behind her. This wasn't an effective lighting set up, and so I needed to change this around to make it more so. I decided to start the scene in the dark, with just the back light tilted towards the ceiling to bounce light onto the actor whilst still looking natural. The lights operator that I had followed the path of the actor with the back light, still keeping it pointed towards the ceiling. As I was filming in a closeup, and the actor was taller than the key light, I was able to film her walking past it without it being in the shot.
• I then faced the issue of turning the key and fill light on gradually so that the lighting still looks realistic, so I added a lamp to try and mask the increase in light. I first tried this without the source of the lamp, but this cast a shadow on the actor's face, and so we plugged it in to eradicate the shadow. This worked fairly well, although it was difficult to synchronise the turning on of the lamp, with the turning up of the lighting switch.
• Due to the low light in the beginning, the camera's performance was not as high as it would have been in brighter lighting conditions. Therefore, it lost focus as my actor walked towards the desk. To resolve this, I filmed an insert shot to cover this up. 

Lighting and Camera Evaluations

After I had set the lights and directed the action around it, I was happy to shoot. In the take shown above, the lights operators managed the mask the brightening of the lights behind the actor turning on the lamp. I was also content with the back light operator's use of movement to trace the actor and highlight elements in the background a little as well.

Through selecting the strength of both the key and the fill light, I established a lighting ratio that is clear and can be seen on the actor's face.

As my actor moves closer and further away from the camera whilst she is being covered in the frame, the shot sizes began to vary as she moves. There are points in which her head is almost completely cut off, and points where there is. However, at the beginning of the movement, and at the end, I am satisfied with the framing and amount of head room and nose room in the shot. I was also quite pleased with the use of anticipatory framing, as I don't think that I cut off the actor as a result of panning/tilting too slow or too fast.

Overall, this was quite a successful technical exercise in showing the amount of thought put into lighting, despite the aim being to look natural. I will be using lighting in my film as it creates meaning for the audience to decode, and this task was certainly helpful in furthering my knowledge on aspects behind the camera.

White Balance Task

White Balance Task from aimeelee12

Script Draft Four

After receiving feedback from my teacher about my third draft of my script, I was able to understand that my writing was able to show clearly to the reader what would be seen in the actual film, as well as raise tension through including symbols that carry negative and dangerous connotations, evoking a response from the audience.

I was advised that my slug lines needed to be clearer and that I needed to add more, such as when Hannah enters and exits the cupboard. 

The idea was raised to hold back introducing the caretaker. To increase the tension further, I want the audience to infer from less clear imagery until the end. I've edited the script so that the first instance of the audience being sure that they've seen the caretaker is when Hannah has to run and hide in the playground. I think that this will be more effective, as it creates aural and visual enigmas for the audience to keep decoding until the very end scene.

Finally, I was also pointed out on several grammar mistakes that I have now corrected in this draft.

Script Draft Four from aimeelee12

Script Draft Three

Upon receiving feedback from my teacher, I found out that my script had several moments that had the potential to create a cinematic experience, and created much more tension than the previous, initial draft.

However, within the areas in which the girl plays with dangerous objects, such as the jigs in the design tech room and the knives in the food tech room, I was told I could raise the tension by developing the description so that WYSIWYG is evident, and is successful in creating a more visual scene for the audience to understand and respond to.

I was also told that I could add to the ending in order to emphasise the role of carer, if temporary, for the girl, who I would be able to show as needing it. I decided to do this by introducing the representation of the girl as being middle class through the use of mise en scene. I will add the prop of a phone, that is broken or has run out of battery, to show that the girl cannot contact anyone. I added this in subtly as to not make a great deal out of it, so that I could get the caretaker to readdress her lack of contact at the end by offering her his phone.

Script Draft Three from aimeelee12

An Introduction to the Cameras

To film my short film, I will be using one or both of the following cameras:

• Canon AVCHD Legria HF G40
• Panasonic AVCCAM AG-HMC41E

I have taken notes on these cameras as an introduction before using them, to see what features they have, and what they are capable of doing.

An Introduction to Editing and Using Avid

As a part of A2, I will be using a different editing software to last year's AS coursework. Avid is much more advanced than iMovie, which only offers basic features of an editing programme. The following are steps and tips on how to use the basic elements of Avid. 

Script Draft Two

In my feedback session with my teacher, he firstly suggested ways in which I could fix the punctuation errors that I made in the first draft.

I was told that the average page of a script was around a minute in a short film, and as mine was only two pages long, I needed to extend it.

In order to do this, my teacher suggested that I cut out the dining room scene in which she eats dinner, so that she becomes hungry and it makes sense that she would accept the caretaker's sandwich at the end of the film.

To build tension and extend the film, I have added in extra scenes in places around the school that perhaps pose danger to a young girl on her own, such as design technology and food technology. My teacher also suggested that I introduce the caretaker, yet hide his identity until the end, where the conventional caretaker stereotype is subverted. 

The following is my improved draft of my script:

Script Draft Two from aimeelee12

Script Draft One

Script Draft One from aimeelee12

An Introduction to Script Writing

The following image is the notes I have taken in order to gain further understanding towards the format of a script. 

I also found out about the strict margin rules for 

Headings and Description - 1.5" left, 1" right.  Headings and descriptions should be approximately 6" in width.

Dialogue - 3" left, 2" right.  Dialogue should stay around 3.5" wide

Character Names - 4" from left (up to 4.25" is acceptable)

Wrylies - 3.5" from left (up to 3.75" is acceptable)

Top/Bottom Margins - 1" top, 1" bottom

Page Numbers - upper right, usually .25"-.5" from top and 1"-1.25" from left

The screenplay and title page must be printed in 12 point courier typeface.

Description and dialogue blocks are printed using single line spacing.  Scene headings, description, and dialogue blocks are separated using double line spacing.

Synopsis Draft Four

Home time at a local Surrey primary school on a bright, winter's day. A young girl bursts out of the doors of her classroom clutching a sheet of paper with her masterpiece on it. Her face drops as her eyes, unfocused, scan the crowd of parent figures. After a short while, she ceases her search and fixes her gaze onto her classroom door. Still holding onto her picture, she heads back inside with reluctance. As she enters the classroom, she immediately drops her things in search for something else to preoccupy herself with. Striding over to the other side of the room, she picks out a box from a cupboard, and pulls out a plethora of fancy dress costumes. Out of the abundance of princess dresses and other colourful outfits, she settles for a woollen jumper, a scarf, and a handbag. Immersed in her own thoughts, she wonders the classroom looking at the walls plastered in childish scrawl, and occasionally stops to admire her own. Still carrying her hand bag, she proceeds on her journey through the school until she ends up at the kitchen. She potters around until she finds something to eat. She continues with her pretend game by pressing buttons and twisting dials. She manages toast, and with pride, she takes her meal and sits in the school's dining room to eat it. 

                       

Oblivious to her surroundings, the girl finishes her home made dinner, and leaves the messy plate where it is, neglecting the washing up. Meanwhile, the caretaker of the school begins to lock up the classrooms as the light outside is fading. The girl walks to the end of the hall, and exits through the door at the end. She steps outside on to the cold, hard concrete playground, and heads towards the classroom in which she started her school day, and her journey earlier on in the evening. Still in her grown up persona, she walks with purpose until she spots the caretaker locking the adjacent classroom to the one she’s walking into. Frozen in her tracks, she hesitates, and breaks into a run, she forgets her adult character and returns to her child self. Reaching the classroom door as the caretaker is still around the other side, she hesitates once more, and walks inside before being seen. Out of breath, the girl hides from view and listens for the lock of the door. Instead, from her corner, she hears the door open. The caretaker strides across the room with heavy footsteps, and sits down. The girl quivers in the corner. Pulling out a small parcel wrapped in brown paper, the elderly man places it on the table and opens it up. From the paper he pulls his sandwiches. He takes a bite, completely unaware that he is being watched. Meanwhile, the girl doubtfully moves out from her corner, making the man twist round to see the source of rustling. Startled, the man's face quickly changes from shocked to confused. Silently, he beckons the girl to sit with him, using gentle hand movements. She walks over, gaining confidence in her walk, and takes a seat opposite him. Holding one sandwich in one hand, and one in the other, he reaches across the table and gestures towards the girl to take it. She takes his offer as they exchange smiles.

Synopsis Ending Research Conclusions

Overall, the participants of my short qualitative research task all agree that my synopsis should end with the challenging of the stereotypical horror genre caretaker character. I also like this idea because he would then begin to fulfil the needs of the girl, and takes the narrative almost back to the start, when she is looking for a grown up to take her home and become responsible for her, making it almost cyclical. It would therefore emphasise the journey she's been on and the experiences she's had, but would also re-address the issue of the girl needing adult support.

Based off of this feedback that I have received, I will redraft my synopsis to cater for the endings that my peers and I have agreed on through the research that I have carried out.

Synopsis Ending Research Results

Synopsis Ending Research

Following feedback from my teacher about my third draft of my synopsis, I found that the first half created enough atmosphere to carry the story through to the bit that I added in the latest draft. The second bit required an ending that created a clearer meaning and was perhaps a little less dull. The main aspect of the new part of this synopsis that I thought was important was the return back to the dress up outfit and the grown up personality that the girl took on as a part of it, in which my teacher agreed on.

However, my teacher suggested that I should bring the caretaker character that I introduced to my latest synopsis into a more central role, and also to challenge the horror genre stereotypes of these types of characters, which would bring the social realism aspect of the film back into the narrative.

I have decided to carry out a small primary qualitative research task in order to gather ideas on how to end my synopsis. I altered it slightly from the third draft so that it ends very open, for people to give a wider range of ideas. I will give each participant in my research the following:

Initial Poster Idea

Synopsis Draft Three

As a result of my feedback session with my teacher, and the qualitative research that I carried out, I have decided to continue drafting my third synopsis, in which the young girl stays at school alone and creates an adventure out of it. The main thing that I was advised to do was to raise the stakes for the protagonist, as they were not as high as what could be to create an interesting short film. Therefore, I have redrafted this synopsis, keeping the first half, and adding an encounter/ experience for the girl towards the end:

Home time at a local Surrey primary school on a bright, winter's day. A young girl bursts out of the doors of her classroom clutching a sheet of paper with her masterpiece on it. Her face drops as her eyes, unfocused, scan the crowd of parent figures. After a short while, she ceases her search and fixes her gaze onto her classroom door. Still holding onto her picture, she heads back inside with reluctance. As she enters the classroom, she immediately drops her things in search for something else to preoccupy herself with. Striding over to the other side of the room, she picks out a box from a cupboard, and pulls out a plethora of fancy dress costumes. Out of the abundance of princess dresses and other colourful outfits, she settles for a woollen jumper, a scarf, and a handbag. Immersed in her own thoughts, she wonders the classroom looking at the walls plastered in childish scrawl, and occasionally stops to admire her own. Still carrying her hand bag, she proceeds on her journey through the school until she ends up at the kitchen. She potters around until she finds something to eat. She continues with her pretend game by pressing buttons and twisting dials. She manages toast, and with pride, she takes her meal and sits in the school's dining room to eat it. 

Oblivious to her surroundings, the girl finishes her home made dinner, and leaves the messy plate where it is, neglecting the washing up. Meanwhile, the caretaker of the school begins to lock up the classrooms as the light outside is fading. The girl walks to the end of the hall, and exits through the door at the end. She steps outside on to the cold, hard concrete playground, and heads towards the classroom in which she started her school day, and her journey earlier on in the evening. Still in her grown up persona, she walks with purpose until she spots the caretaker locking the adjacent classroom to the one shes walking into. Frozen in her tracks, she hesitates, and breaks into a run, she forgets her adult character and returns to her child self. Reaching the classroom door as the caretaker is still around the other side, she hesitates once more, and walks inside before being seen. Out of breath, the girl hides from view and listens to the door being locked. With great effort, she removes her costume and tires to a corner of cushions and blankets. She lies onto her bedding, and falls asleep almost instantly.

Magazine Review Draft One

Poster and Review Audience Survey Results Analysis

The following diagrams help to visualise the results I got back from my survey. The pie charts and bar graphs have helped me to analyse the statistics that I received from this piece of research, and to grasp a better understanding of my audience for posters and magazine reviews. Overall, 10 people took my survey.

The majority of my audience are between the ages of 16 and 24, which suggests I'm aiming towards a young audience that are usually up to date with current trends and are therefore attracted to these things.

Most participants of my survey were female, and therefore this implies that I'm aiming towards a predominantly female audience with my posters and reviews. Stereotypically, females are neat and tidy, and so I may consider this when drafting my poster and review page.

All of my participants were white, which suggests that reference to racial issues or other wider context within my posters and/or review may not seem as relevant to this audience.

The 'other' options were chosen by three other people. They specified that they lived in Woodmansterne and Lower Kingswood. These are all within local vicinity and therefore this might help me when thinking about the context in which my poster may be placed.

Most of the participants in this survey stated that they were educated to at least AS level or equivalent. This implies that my audience are mostly educated to a high level, and are likely to still be in education and completing A levels. This might help me when thinking about the register within my review and poster, as this audience appears to be intelligent.

My target audience for my poster and magazine review mostly agree that they are at least somewhat media literate. This means that I will be able to give thought to technical codes and other conventional elements of my ancillary tasks, knowing that my audience will be reading these.

Most of the people who answered said that social media was their favourite way to consume mediated content, followed by other online websites, such as news sites, and TV. This implies that my audience would understand references made to these areas, and will help to decide which context I should create my poster in.

My audience are mostly appreciative of posters, as they feel that it is an important part in the viewing of the film overall. This may hint that they are looking for posters that hint at events in the narrative, to raise questions and entice them to watch it.

Just under half of my audience view posters at bus stops on on the busses themselves. This was the most popular option and may imply that this were to be the best and most effective place to place a poster, and therefore suggests the purpose for which I should draft it.

Most of my participants aren't familiar with Sight & Sound magazine, which suggests that they would not understand the conventions of the magazine review page. Therefore, this might imply that I could experiment with the page structure of my review without endangering the audience that I draw in from it, as they are not aware of Sight & Sound review page conventions.

Again, my audience are not familiar with the magazine, and therefore have never read it. This might make it more challenging me to draw them to read my magazine review.

My audience mostly find reviews helpful when deciding to watch a film, as they get a better idea for what other people think. 

Most of the participants of the survey read reviews elsewhere online, such as on sites like IMDb.com, where mostly intelligent, film literate individuals go to share their opinions on film. Only one person views reviews from film magazines, and so I may have to adapt my review slightly to cater for the predominantly online audience.

Overall, my audience are likely to be young white females that are educated as well as film literate. They're not often familiar with Sight & Sound magazine, but read and view posters and reviews elsewhere, and understand the importance of both.

To compare my real results to my predictions, I was accurate in thinking that the majority of my target audience:

• do fall into the 16 to 24 age group
• do say they are somewhat film literate
• do prefer to consume media through social networking platforms 
• do think that posters are important in the viewing of a film
• are not necessarily be familiar with Sight & Sound magazine
• do think that reviews are important in making them more likely to watch a film

Poster and Review Audience Survey

The following is a paper based questionnaire that I designed to give out to my peers and other surrounding people in order to find out which context in which my poster would be best placed, as well as the audience I need to cater for for my magazine review page. The responses to these will be useful in gathering the knowledge to do so.

Poster and Review Audience Predictions

I was interested to see what my understanding of my target audience was like prior to the survey, so I made a few predictions based on the questions and answer choices that I included. Here are the following hypotheses:

I think that the majority of my target audience will:

• fall into the age group 16 to 24
• say they are somewhat film literate
• prefer to consume media through social networking platforms 
• think that posters are important in the viewing of a film
• not necessarily be familiar with Sight & Sound magazine
• think that reviews are important in making them more likely to watch a film

Once I receive responses from both my paper surveys, I will collate the data and analyse it along with these predictions.

Synopses Research Conclusions

Overall, my media literate peers gave positive feedback in the responses to my paper based survey. They all discussed the familiarity in the subject matter, the problem, issues and themes. 

I am happy with the familiar rituals used within the synopses, in that it is home time for the girl, and this can be related to by many.

Moreover, issues and themes were clear in portraying a meaning, and the problem was said to be the heart of the film, although I'd like to introduce the idea of internal problems as well as external. For example, the girl faces the external problem of being isolated by her parent figures, although she may encounter more personal issues, such as having the knowledge and understanding to care for herself, and the journey she will partake in to gain a greater independence and responsibility throughout the narrative.

As a result of this, I may need to raise the stakes to ensure the audience retention is as high as possible. 

To conclude, my most popular and effective synopsis is the third option, and so it is clear to me that this might be the best one to continue redrafting.

Synopses Research Results

Sight and Sound Review Page Structure Analysis

The following image shows an example of a typical double page spread of reviews in a Sight and Sound magazine. I made some notes below regarding the page architecture, page elements, and stylistic features.

Page architecture

There is clear grid structure that clearly divides the different reviews, as well as the pictures and the synopses with credits. There are margins that go across the top to separate the title and main information from the blocks of writing. Viewers will be able to easily identify which review they are reading, along with the main information for the film, such as the country, the year, the director, age certificate and the run time. Furthermore, the page is split into three columns, which fits enough writing so that a single line isn't too short or too long to be able to read easily. Each review spans roughly three columns, and so the three column structure is useful in terms of accessibility and clarity. In the cases of cast and crew credits, three smaller columns are used within one regular column to keep the grid effect and three column structure consistent. Graphics are often included at least once for each review, and fit into the grid structure by lining up with the dimensions of the first, second, or third column, depending on how big it is.

Page elements

In a typical review page, there is includes the title of the film with basic information, followed by the main bulk of the review. At least one graphic is also included, which may take any place on the page as long as it fits in with the divided grid style of the overall page. To accompany each graphic, there is always a caption that anchors a tagline or a meaning to the image, and vice versa. Followed by the review and its imagery, is the credits and synopsis section, which gives a brief summary of the film and states the full cast and crew credits. 

Stylistic Features

Despite the overall lack of colour, the hints of red ensure that the review pages are clearly coded and are made easy to differentiate from the other sections of the magazine, as its main purpose isn't just to review, but also to cover other film related topics. The credits and the synopsis are also colour coded in red, as they share the same page as the reviews. However, this section of the page is placed onto a grey background, to keep the minimal colour palette consistent, but also makes it easier to read and see that it is a different writing style to the review. The editor of the magazine has chosen the title of the film being reviewed to be larger and bolder than the main body of the text. Also in bold, is the name of the reviewer, and further down in the credits columns, the job titles of each person being credited. The synopsis itself also shows a difference in darkness and boldness compared to the review. The writing is fairly small to fit all of the elements across roughly one page, with the title being larger and the credits being smaller in size. The font is fairly basic in order to be accessible, and it remains consistent throughout the different pieces of writing within the page.

Synopsis

The synopses featured within Sight & Sound are often concise, as they are not the main element of the page, yet explain clearly the narrative of the film. As this is a review for a feature film, the events within the narrative are condensed to just a sentence. Overall, the language used is fairly easy to understand, with fairly accessible language which still clearly portrays the nature of the film. 

Compared with the synopsis that I have begun to draft, it is a lot less detailed, with less evidence of WYSIWYG, especially in the case of reference to specific technical codes. Furthermore, there is more focus on more characters considering that feature can afford to. 

A Comparison of Short Film Posters with Feature Film Posters

Whilst analysing both feature film posters, and that of short films, I recognised some conventions of each, and how the two types of films made their posters similarly and differently. 

I noticed that in the imagery of a feature film, the stills used for the poster often feature wider shots which create a larger amount of negative space for text. This may create more of a scene or perhaps introduce more characters to the narrative than the conventional short poster, which usually features closeups as opposed to wider, longer shots which establish the nature of the film a little more. The short films challenge this convention of leaving vast amounts of negative space, usually with just solid colour, and instead use a still image that comes in the format of a closeup that fills more space than what is needed for the text in the space. Therefore, the text found on a short film poster is conventionally superimposed on top of the main image, compared to a feature, in which there is a solid area of negative space to place the text. 

A further convention I identified within the short film poster that differed to the feature film poster was the billing block. Traditionally, the billing block for a feature film poster features the same or similar compressed text in order to fit the credits for the main cast and crew onto the front. This is usually hard to read from even a fairly close distance, and therefore doesn't allow the creators a lot of credit on the poster. On the other hand, I recognised that some short film posters subvert the convention of using a commonly used, compressed font, and instead remain consistent in the font they are using throughout. Usually these fonts are more spaced out and are larger, perhaps to show higher respect for the cast and crew by giving them a credit that is easier to read, which therefore raises recognition of their work.

I noticed also, that feature film posters often include a more clear and vibrant colour palette as a part of their list of conventions. It tends to vary a bit more than short films, which usually keep to a neutral colour scheme where the colours do not vary and contrast quite so much. This may perhaps be because of the profit involved in feature films, and the potential they have to entice an audience through an eye catching poster. Meanwhile, short films don't earn quite so much money, and perhaps only seek to attract audiences that are educated and media literate, and so quite often look past the aesthetic choices of a poster, and instead more towards the information. It is also likely that short and feature film posters both differ in what their main purpose is and where they are likely to be found. For example, the feature film posters I analysed are mainly landscape and therefore suit a billboard more than a magazine, whilst the short film posters I analysed are mainly portrait in page orientation, which may suggest a magazine, or an electronic press kit ready for the film's release.

Overall, there are many shared conventions between film posters, although the difference in the feature film and short film formats comes with differences in the conventions used by each type of film's poster. 

Short Poster Analysis: Smafuglar/Two Birds (2008)

The first feature that is seen as a part of this film poster is the closeup over the shoulder shot of the boy. The amount of space left around him, especially as he is within close proximity to the girl, may imply themes of entrapment and/or protection and innocence. The overall colour scheme is quite pale and neutral, which may further support the implication of themes surround purity and innocence. The large amount of skin tone seen throughout the poster might suggest coming of age issues and themes also, especially as the two characters are pictured within close proximity. Already from the poster, the reader may be able to tell the protagonist as the shallow focus excludes the girl and draws focus towards the male character instead. It may also be interpreted through the similarity in appearance of both characters, that it is a reflection in a mirror. This might support Lacan's mirror stage theory of the child becoming aware of their appearance, thus connoting further issues surrounding coming of age. From the poster alone, the reader may be able to infer that the producer has chosen to represent age and perhaps sexuality and gender, through the characters, issues and themes that are implied through the image.

The poster leaves some negative space, in which feature film posters usually use to place text. This example uses the girl's shoulder, in which there is a solid background which allows the information about the film to be seen without the overall page looking cluttered. Furthermore, there is a border left around the edge of the image, in which there is no text or other graphics. This almost detaches the audience from the moment captured by the still, allowing them to look at it and attach different meaning to it, perhaps in a nostalgic sense, as it almost looks like a framed photograph.

The varying sizes and colouring of the text implies a hierarchy or an order in which the reader is likely to consume. The title is the largest and takes up the entire width of the image, and touches the border, so that it looks like it has been cut off, as it is the same colour. This may emphasise the closeup of the boy in the image, and serves a purpose to support the themes connoted earlier on by the image, of incarceration and/or protection. The title is the palest colour, which might imply innocence as well. The director's credit is the next largest and is grey in colour. This contrasts to the white title, and gives those who know the director by their name a reason for wanting to see the film. This might suggest that short film directors are interested in being recognised for their name, style and work as a collective as opposed to one well known text. The smallest writing in the poster is that of he billing block. It is unconventional because it challenges the stereotypical billing block used in feature film posters, in that the font used is larger and more spaced out. This possibly holds the purpose of giving the cast and crew a bigger credit as a whole, as it is easier to read and recognise amongst the other writing.

Considering what is placed on the poster helps to identify the context it which it was created. The absence of a tag line might prompt readers to ask questions about the narrative. Meanwhile, the lack of film festival laurel leaves suggests that the poster was used whilst attending such events, as a first release of the poster. Therefore, it may have been included in the electronic press kit for the release of the film overall. Furthermore, the dimensions suggest a portrait orientation within a magazine, or perhaps on a wall as an advertisement, or poster spaces that cater for portrait dimensions, such as at a bus stop.

Short Poster Analysis: Slap (2014)

The medium shot of the male character serves as the main basis of the poster. This takes up the largest area of the poster and therefore suggests that the character is very important to the narrative. The medium shot has perhaps been used instead of a closer one in order to show the props and to hint at the issues and themes to come with the narrative. The main colour of the image is very dull and grey, which suggests the protagonist's view on his life. He is carrying out a stereotypically masculine sport, as suggested by the mise en scene of boxing gloves. The composition of the frame and the body language almost suggests discomfort in the character, as his arms are bent, which suggests there is not much room to move. This might connote themes surrounding that of entrapment. The colour scheme is almost broken up a little by the bright pink writing, which distracts from the image, yet creates an association between the title and the imagery. Pink connotes femininity and may therefore suggest issues and themes that challenge sexuality and/or gender, considering that the protagonist is a male portrayed as being masculine.

The shallow focus of the background in the shot creates some negative space, although it is not a solid colour and therefore may still need to be seen to add to the meaning of the poster. Some of it has been filled by laurel leaves and for a small line of credits. The rest has been superimposed on top of the lower half of the male character, which still allows the reader to see the main aspects of the image. It may be a convention to short film posters that there is less negative space left by an image compared their feature film counterparts.

The text placed on the poster varies in font, colour and size, which suggests the order and importance of what the reader is consuming. The largest and most eye catching text within the image is certainly the pink title, which makes the poster successful in creating communication between the name of the film and the image in which it is superimposed on top of. The only other element of text on the image is the credits, which are conventional in the way that the font is compressed in order to fit as many in as possible, and is hard to read at a distance. This is kept with the dull colour scheme as it is white in colour. Also on this poster is a row of laurel leaves, which suggests that the film has been to several film festivals and made it to the official selection for some, which,with the absence of star ratings and reviews, may reassure the audience that the film is somewhat successful and is appreciated by others. The absence of star ratings and reviews as mentioned by intermedial companies may be a convention of short film posters, as short films are less often reviewed by magazines and newspapers.

The actual font used for the title carries the effect of a scratched paint texture. This may connote an aggressive action, which further communicates and associates with the image. Furthermore, the title is Slap, which implies anger and/or violence. It is an onomatopoeic word which further connotes a narrative surrounding conflict. However, the word choice and colour suggests femininity and an implication of binary opposition. 

Considering what is placed on the poster helps to identify the context it which it was created. The hints towards attending film festivals not only suggests that the film is successful, but also that it has been circulating such events since being released, and therefore that this is likely to be a newer version of the film poster. Furthermore, the dimensions suggest a portrait view within a magazine, or perhaps on a wall as an advertisement, or poster spaces that cater for portrait dimensions, such as at a bus stop.

Short Film Poster Analysis: This is Vanity (2013)

The close up of the woman on the poster is the first thing to be seen as a whole. This definitely suggests that her character is perhaps the most important to the narrative. Furthermore, it exaggerates her facial expression, which looks worried, and gives little space around the edge of the poster. This, therefore, is successful in hinting at issues and themes, particularly that or entrapment/incarceration, and perhaps also mental health given the woman's facial expression and the mood set in the poster by the cool, melancholic colour palette.

There is almost a lack of shape within the image itself, as the woman is close up, and the image looks to have been taken whilst playing around with focus and objects close to lens of the camera. This creates a sort of blurred image, which might further connote the issue of mental health and therefore representing ability/disability by suggesting the protagonist's ability to see and/or think clearly. The still for the poster doesn't leave much negative space, which may be a convention that sets it apart from a feature film poster.

The text placed on the poster is fairly minimal, with it all being centred on the page, with plenty of space between each line. The colours used stand out from the image, yet continue to add to the lugubrious colour theme. The text that is the easiest to spot is the title, which is the largest and is in the centre. Therefore, this makes the poster successful in anchoring the name of the film to an image, giving the audience something visual to associate with the title. Meanwhile, there is evidence of a tag line, which raises questions about the content of the film, thus drawing in an audience. Furthermore, there is likely to be audiences interested in the film based on the claim that it has made it to the official selection at film festivals, as suggested by the laurel leaves below the tag line. This is an example of an intermedial reference, as it mentions different media-related events in which media literate people would be able to recognise. These are fairly large compared to the rest of the text, which may suggest the poster's aim in showing its success. However, there is an absence of reviews and references to intermedial companies, and so this may not be the main aim. There are four larger credits at the top, and a credits block at the bottom. This poster challenges the traditional feature film poster conventions in the credits block, as it does not use the stereotypical font, which looks crammed and is barely easy to read unless standing very close. Instead, the poster uses the same type of font as the rest of the poster, with regular spacing between each letter an word, which provides an easier to read block of writing, and therefore provides mainly the crew, with a bigger credit than what is typical. This helps to make the poster look neater and adds to the minimalism in the continued use of the same font. The font is a basic san serif typeface that further adds to the simple look of the poster.

Considering what is placed on the poster helps to identify the context it which it was created. The hints towards attending film festivals not only suggests that the film is successful, but also that it has been circulating such events since being released, and therefore that this is likely to be a newer version of the film poster. Furthermore, the dimensions suggest a portrait view within a magazine, or perhaps on a wall as an advertisement, or poster spaces that cater for portrait dimensions, such as at a bus stop.

Synopsis Research Survey

To evaluate and help decide out of the three synopses, which one to continue with, I created a survey to carry out by asking my media literate peers what their views were. I have asked several questions based on Milgrom's theory, and overall which was their favourite. This may help in narrowing down which synopsis I decide to continue with. The questions I have asked are as follows:

Review Analysis: My Brother the Devil (2012)

Review Analysis: Tyrannosaur (2011)

Review Analysis: Fish Tank (2009)

An Introduction to Sight and Sound and its Reviews

Sight and Sound belongs to the BFI, and is a monthly publication that covers all UK releases of that month, despite the extent to which they are released.

The review is meant to enthuse the reader- persuasive writing is used.

They are kept short, the pages offers a review, full cast and crew credits, essential film information and a synopsis.

There are parts of the magazine that are intensely academic, however, it covers every UK release that falls within in the time period, whether it is arthouse or mainstream.

It mentions events, including festivals, in detail with write-ups, reviews and appraisals. These are events in which dedicated fans, students and academics are likely to visit. It covers all major art festivals, as opposed to just the main ones.

Feature articles include a variance of film topics.

Feature Poster Analysis: The Selfish Giant (2013)

The two most predominant features of this poster are the title text and the image of the boy with the horse. This may be successful in portraying the name of the film, and giving it imagery to associate with it.  Intertextuality is seen here in the title, as it is a reference to an Oscar Wilde story of the same name. This may suggest that the short story serves as a basis for the film. The red writing stands out against the neutral grey background. This colour connotes danger, which may suggest some themes and events in the narrative. The grey may also represent a dull and boring background in which the protagonist has emerged from. Overall, the colour palette is quite cool and therefore suggests a more melancholy mood to the film. Meanwhile, the protagonist is portrayed with a horse in this version of the poster. The choice of subject matter might suggest a setting within a rural area, or that of a working class nature. The clothes that the boy is wearing further supports this suggested connotation as they are casual and therefore suggest working class representation.

The shapes in this poster serve for negative space all around the superimposed image of the boy and horse. This means that there is room for all of the text around them, as well as one extra added graphic of the electricity pylons behind the title. This hints at events in the narrative as they are an important part to the story, as well as to the setting. 

The title of the film is most definitely implied to be the most important piece of text on the poster, as it is the largest and most brightly coloured out of the whole composition. The text that follows within the clear hierarchy created, is the star ratings along with their reviews. There is one that fills the width of the poster, with two smaller ones underneath. These are easily accessible for all types of media audiences, and so creates a higher chance of more mainstream audiences seeing this film. Along with the reviews and ratings at the top, there are also more ratings below, which may emphasise the positive feedback that the film has received from the mentioned inter medial companies that reviewed it. Following this is the director credit, which appeals to only those who know the director by name, instead of by film name. This may only appeal to the more media literate and appreciative, as they are likely to analyse a poster for longer than the average audience member, and recognise a director by their name without reference to their previous films. Finally, and conventionally, the credits in the bottom of the poster are the smallest and less easy to see.

The font itself is a basic san serif typeface, which might emphasise the issues and themes surrounding working class representations, and lack of opportunities for such social groups.

There isn't a tag line for this poster, which may suggest the context of it. Considering the dimensions of the poster, this may have been designed with the purpose of advertising the film on billboards or similar, as it would only fill up half a page, or sideways within a film magazine like Sight & Sound. 

Feature Poster Analysis: Somers Town (2008)

The first feature of the poster that is noticed is the striking yellow text against the black and white format of the image. The colour yellow carries connotations of happiness and joy, whilst black and white may prompt a more emotional response. The lack of colour might connote a lack of something within the film, in a figurative sense, or to strip down and take away things from the image that might interfere with the directors intended message. The yellow on the grey background might imply that the protagonists begin with a dull scenario, and throughout the narrative, find something that makes them happier. Meanwhile, the mise en scene within the poster, specifically costume and location strongly suggests issues and themes surrounding the working class and poverty. 

The shapes in the poster allow for positive space to fill the bottom half, whilst there is negative space left for text and graphics in the upper half. The main focus of the two characters are shown at the front, whilst their background is shown in shallow focus. This might imply that the characters are breaking away from their background, and not letting it restrict them. This may suggest themes of determination and perhaps youth activity, as the boy has a camera around his neck, therefore hinting at a hobby.

Whilst leaving the photograph the main aspect of the poster, the text fills the negative space which is the sky above the flats in the background. This works well as it has almost been designated to text from when the still was taken, which shows thought being put into what was going to be written. Other than the title, the text matches the monochromatic colour palette of the photo, which allows the title to be effective in clearly being identified as the name of the film, and easy to associate with the image. It  seems the same or a similar font has been used throughout all of the text, although there is a mixture of upper and lower case and wording of different sizes. This definitely suggests a hierarchy and the statements in which the producers of the poster would want the consumers to read the most. The director has been recognised for his other film, which has been referenced, which shows example of intertextuality. Along with the credits from intermedial companies, these are the largest pieces of text on the poster following the title. This might suggest that the producers want to draw in an audience that is likely to recognise the director from his previous work as opposed to his name, which is shown in smaller font, or those that like to watch based off of others opinions. Meanwhile, the billing block and the references to film festivals are much smaller, which helps in making the poster look cleaner and neater. The laurel leaves suggest that this is a further release of a poster, after attending several festivals and being nominated for awards. 

The font itself is a basic sans serif typeface, which might lend itself to the connotation that the characters lead quite dull, basic lives.

The reviews and the star ratings are a conventional feature of a film poster, in which even less media literate audiences will understand and will be able to access. The adjectives used are also quite accessible to those of a younger reading age, which immediately gives the consumers the influence of a shared positive viewpoint amongst the intermedial companies mentioned below in a smaller font.

There is no tagline for this poster, which might suggest the context. It raises more questions about the content of the film considering there is no hints given. This poster has already suggested that it was making its rounds of various film festivals, and has been rereleased. Considering the dimensions of the poster, this may have been used as a traditional poster to advertise on billboards or similar, as it would only fill up half a page, or sideways in print format.

Feature Poster Analysis: Tyrannosaur (2011)

The main focus of the poster is the illustration, which predominantly shows a dinosaur buried underground. Above it, is a man holding some sort of weapon. Connotations carried might include history, past issues resurfacing and death, as well as violence and destruction. The variance of colours is low, with a neutral colour palette being used. Deeper colours, particularly brown, may be associated with cold and dark connotations. This might further support the suggested issue of death, and set up a bleak mood for the film. 

The divided shape to the poster that has used in this poster two divide the living and the dead might suggest binary opposition within the film. It also carries the aforementioned connotations in a simple, yet contrasting way.

The text for the poster fills the negative spaces left by the illustration, especially with the reviews, as they formulate a triangle shape around the houses and trees. This shows that thought has been given to leaving enough room for the other conventions needed for it. The title takes up the largest part of the poster, going across the middle, making it clear in its aim to present the film to the audience. A similar font is used for the reviews and the credits, which makes the poster look neater and less cluttered, also in the way that similar colours have been used to match the illustration in the background, keeping in the same colour palette. Meanwhile, intermedial reference is made in the laurel leaf image in the bottom right hand corner, in that the poster has been created to show that it has won an award at the Sundance Film Festival. Also in the bottom is the billing block, which cannot be read clearly by just looking at the poster at this size, which is a positive aspect of the poster, because it emphasises the larger credits, such as the actors and director.

The font itself is fairly basic in that a similar serif typeface might be found on several computer programmes as one of the default fonts. This however, might be effective in creating a more serious tone to the film's poster, and therefore maintaining the correct mood considering the content.

The reviews use a dark, and bold font to clearly state the thoughts of several different magazines and newspaper film reviewers. The mention of the media text it has come from employs a wider media context for the audience to understand. The star ratings are displayed, which is a common convention of posters, and is easy to read for all types of audience, as a simple 'out-of-five' mark gives a good idea of general opinion of the film. The star rating for the top review has not been included, but instead has been made bigger and bolder than the other two. The adjective 'best' used in the review might suggest the highest rating for it, and also gives the poster an easy to read quote to place at the top of their reviews, possibly to draw in an audience. 

There is a tag line missing from the poster, which might suggest the context of it. It also includes the festival award laurel leaves, and so it might imply that this is not the first version of the poster, and that it has circulated several festivals before re-releasing another poster specifying its accomplishments. Given the dimensions of this poster, it looks as if it was designed for a billboard or other types of wall hanging or advertisement, as opposed to a page in a magazine for example. 

Synopsis Draft Two

Upon my feedback session, I was told some positives and some point to improve on from my first draft of the synopsis. My tutor told me that according to Milgrom's theory, I needed to make my problem clearer, and increase the stakes. 

I agreed to stay with the initial set up of the girl running out of her classroom into a crowd of parents, although I have now edited the rest to set the story up without the mother figure being there. I thought of several diverse scenarios in which the girl runs out in order to find her, to see that she has not turned up:

1. The girl attempts to walk home by herself, seeing several different social issues, and visualising them in an imaginative, exaggerated and childlike way
2. She goes back to her classroom and plays with the role play whilst waiting for her mum
3. She goes back to her classroom and finds the dressing up- she role plays her mother in dressing and acting like her in her attempt to care for herself in her absence

I have written these out as potential endings for the first half of my synopsis:

1. Home time at a local Surrey primary school on a bright, winter's day. A young girl bursts out of the doors of her classroom clutching a sheet of paper with her masterpiece on it. Her face drops as her eyes, unfocused, scan the crowd of parent figures. After a short while, she ceases her search and fixes her gaze onto her classroom door. The girl, young and alone, makes in the opposite direction towards the gate. She sheepishly walks around the corner and out of the sight of adults. On her walk, she passes a group of young adults smoking cigarettes. Fear fills her face as she moves on, leaving plenty of clearance as she walks around them. The girl proceeds on her journey into the park, which she finds to be desolate. Moments after she reaches the other side, she stops in her tracks and stares up towards the tall, dark trees looming over her. Shutting her eyes and blocking her ears, she runs through the short stretch and ends up on a road. She smiles to herself as she acquaints herself with the pavement, and walks more confidently towards the houses in front of her. Her calm facial expression soon fades as a car slows next to her, barely passing as she continues walking. She reaches a driveway. She rings on the doorbell, and the door opens.                                                                                                                                                                                                                                                * I plan to envision the girl's imagination as she reaches each landmark in her journey, in a way that shows the real thing compared with what she makes of it, almost giving the effect of a double take.                                                                                                                                                                                                                                                                                                                          
2. Home time at a local Surrey primary school on a bright, winter's day. A young girl bursts out of the doors of her classroom clutching a sheet of paper with her masterpiece on it. Her face drops as her eyes, unfocused, scan the crowd of parent figures. After a short while, she ceases her search and fixes her gaze onto her classroom door. Still holding onto her picture, she moves back into the warm, dragging her feet as she goes. The girl sits on a basic reception chair in wait for someone to get her. Despite reassurance from her teachers, she tires from sitting tight and begins to wonder. Showing no sense of urgency or worry, the girl passes from classroom to classroom. She enters her own, and walks into the role play area. It has been decorated to look like a room of a house. She sits and plays and pretends and chatters to herself, uninterrupted, immersed in her own game. As time passes and no one shows up, the girl shows no sign of stopping. Meanwhile, two children are playing with a dolls house, one of them complaining about the whereabouts of the mum figurine.                                                                                                                                                                                                                       
3. Home time at a local Surrey primary school on a bright, winter's day. A young girl bursts out of the doors of her classroom clutching a sheet of paper with her masterpiece on it. Her face drops as her eyes, unfocused, scan the crowd of parent figures. After a short while, she ceases her search and fixes her gaze onto her classroom door. Still holding onto her picture, she heads back inside with reluctance. As she enters the classroom, she immediately drops her things in search for something else to preoccupy herself with. Striding over to the other side of the room, she picks out a box from a cupboard, and pulls out a plethora of fancy dress costumes. Out of the abundance of princess dresses and other colourful outfits, she settles for a woolen jumper, a scarf, and a handbag. Immersed in her own thoughts, she wonders the classroom looking at the walls plastered in childish scrawl, and occasionally stops to admire her own. Still carrying her hand bag, she proceeds on her journey through the school until she ends up at the kitchen. She potters around until she finds something to eat. She continues with her pretend game by pressing buttons and twisting dials. She manages toast, and with pride, she takes her meal and sits in the school's dining room to eat it.