Sound Task

The following sound clip is a study on omnidirectional and unidirectional microphones. I learned beforehand that omnidirectional microphones are capable of picking up sound from a wider range than a unidirectional microphone, which can only pick up sound from the direction it is being pointed in.

For this task, both of the microphones I used were unidirectional, although I was still able to see and compare the difference between them. I used a stereo microphone built into a voice recorder, and a shotgun microphone in which I added to the voice recorder as an external piece of equipment. 

This way, I was able to learn how to add external microphones to build on my technical skills. The following clip shares five sounds recorded with both the stereo mic and the shotgun mic. The clips of the same sound play back to back to show the difference, with the stereo mic recording playing first, and then the shotgun mic recording right after.

The first sound that I recorded was of a door handle in use. The first clip sounds a bit higher in pitch than the second one. In my opinion, the second clip, recorded with the shotgun microphone gives a more accurate representation of what I could hear. 

The second sound is of a code lock being used. In the stereo microphone recording, there is sound picked up from the background, of voices. However, in the shotgun microphone the sound of the lock seems much more isolated because of the lack of background noise. 

The third sound is of a locker door closing and opening. Similarly to the previous clip, the sound recorded through the voice recorder's internal microphone seems to sound more muffled than the sound recorded through the shotgun microphone, which makes it sound much clearer.

The fourth sound is of a person clapping. Unlike the previous sounds, the internal mic on the voice recorder picked the clapping up much easier than the shot gun microphone could. This may have been due to several factors, such as being outside, or having held the shotgun microphone at an angle that was not optimum for picking up the sound.

The fifth sound is of a person talking. Likewise with this clip, the stereo microphone picked up the surrounding sound, including the wind. It is fairly clear, although the shotgun microphone only picks up the voice of the person speaking and is therefore more so than the internal mic.

Overall, the shotgun microphone is much more successful in capturing singular sounds that need to be heard clearly. However, it is largely dependent on whether the mic is angled correctly on how well it is recorded. The internal stereo microphone, on the other hand, is good for recording multiple sounds coming from the same direction.

Short Film Audience Research Survey

The following images are screenshots from my online based quantitative audience research survey. I used the same screen shots to turn it into a paper based survey as well, in order to reach the largest and most diverse audience possible.

Short Film Audience Research 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:

• have completed AS levels or higher
• fall into the age group 16 to 24
• prefer to use either Facebook or Twitter
• prefer to see young adults being represented in media texts
• say that they are somewhat or completely film literate

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

Primary Quantitative Research Brainstorm

The following mind map states my initial thoughts on carrying out primary quantitative target audience research.

Textual Analysis and Milgrom Theory Application: Unleaded (2015)

Short Film #3: Unleaded

Director: Luke Davies

Issues: Drug Abuse, Crime, Poverty, Working Class

Themes:  Theft, Misinterpretation,

Parallel editing has been used to create comedic effect in this short, which also helps the audience to better understand the narrative. This suggests to the audience that the switch to and from the two scenes is creating meaning by implying they are connected and that the drug addicts will meet the thugs as the narrative of the film progresses. This links the characters together, and being in the same place may emphasise the result of them both practicing illegal activity. This therefore, supports the issue of crime.

Furthermore, the editing style may exaggerate the protagonist’s point of view within the short. Long takes justify the use of ellipsis in the narrative, to keep the audience from getting bored, as well as to mimic the effect that drugs have on the mind of the protagonist. Long takes might emphasise delayed reactions and lack of awareness in his surroundings, whilst ellipsis may make clear his inability to recall recent events or understanding of time. This ties in with the issue of drug abuse.

The non-diegetic sound creates verisimilitude, which allows the audience to see the issues and themes surrounding poverty and low economic status, specifically the dialogue. The scene inside the shops allows audiences to hear the vulgar language and tone of voice used, which may be associated with working class social groups. Whilst the protagonist uses this language and angry manner too, as it creates an arguably more effective opposition between him and the thugs, the companions that he drove to the petrol station with take on a contrasting tone of voice. When cutting from a scene in their car to a scene in the shop, the pair in the car seem very relaxed and somewhat spaced out compared to the angry men in the shop. Levi Strauss’ ‘binary opposition’ theory may be applied here, as their accents also appear to be different to those trying to rob the shop, which might create an opposition between regionalities. This is supported by the fact that their friend, who speaks in similar tone to the thugs, also argues with them whilst he’s in the shop.

Camerawork creates contrast between the two groups that have pulled up at the petrol station and the mood that is created because of it. The woman in the car on her own is portrayed using much closer shots as compared to the two men in the car. This emphasises her contemplation and worry as she waits for the other two antagonists to finish thieving the shop and to leave. The two men in the car are often seen in a two shot, which requires a wider shot to fit them into. This helps to exaggerate their body language and the fact that they are under the influence of drugs. This creates a lighter mood compared to the female in the neighbouring car, especially as one shot shows her face through the interior mirror, which may emphasise how aware she has to be to stay out of trouble, which conflicts with the two males laid back appearance and mood. Furthermore, the influence of drugs and lack of awareness is shown through the male protagonist’s close up in the shop, in which the main thug holding a gun is depicted in the shallow focus in the background. This highlights his lack of awareness and supports the issue of drug use.

The binary opposition between low key and high key lighting may represent the confidence and independence that each of the characters have. Inside the shop is portrayed as having high key lighting, and as being visible to those outside in the dark. This is an exposed area and seems that only some are willing to enter it. This might exaggerate the confidence that these individuals bear to be able to walk inside. The dark area might represent the unknown and perhaps even foreshadows the shooting of the woman towards the end. This is because she spends most of the film hidden in the outside area of the petrol station, yet decides to walk in, perhaps based on what she sees from the car pulled up next to hers, which might not have been clear to her and led her to misunderstanding. The low key lighting outside therefore draws attention to the obscurity of the events happening inside. This supports the theme of misinterpretation.

Marilyn Milgrom’s The Script may be applied to Unleaded, as it has a world, a character, and a problem. The world for this short is the petrol station. The character is the protagonist who has entered the petrol station shop in search for food. His problem is that his friends are unsympathetic and force him into the petrol station to buy them food. Little does he know, he is also being held at gunpoint. Milgrom also states that one of three things must drive the character through the narrative; a want, a need, or an obligation. In this case, the man’s want to find something to eat is what drives the narrative forward. She also makes a point that it is important to make the end of the film meaningful by choosing the best point of view to tell the story from. This short film portrays the protagonist as the best point of view, as he creates the comedic effect through the way that he talks to his friends and supposedly the thug, and his lack of awareness of the whole event. 

Textual Analysis and Milgrom Theory Application: Jam Today (2011)

Short Film #2: Jam Today (2011)

Director: Simon Ellis

Issues: Coming of age, Sexuality, Masculinity

Themes: Innocence, Maturity, Pride, Curiosity

At the very beginning of the short film, the boy and his father are looking over to the boat adjacent to it, with a woman sunbathing on top. Long takes are used to create a relaxed mood to reflect the fact that they are on holiday. These long takes also emphasise the silent conversation that the two men are having with the woman, in which she acknowledges the boy and not the man.  Whilst the takes are long for all three characters, they are somewhat longer when the camera is on the woman. Laura Mulvey’s ‘Male Gaze’ Theory can be applied to this scene, especially considering that the woman is sunbathing in front of the men. The long takes suggest that the men are more concerned with her than she is with them. This supports the issues and themes surrounding sexuality, masculinity and coming of age.

Sound has created meaning in this short to support the themes of curiosity, maturity, boredom and coming of age. The dialogue between the mother and son towards the end creates the effect of a little discomfort, as she is using a sweet and patronising tone, and simple language as she would with a child, although the boy is using more colloquial and grown up language, such as ‘hammered’, to show his understanding of more mature topics like alcohol. This creates the effect of confusion between the mother and son in terms of what they understand and what is appropriate for him, as the film explores coming of age.

There is not much sound to be heard at the beginning, although the non-diegetic sound picks up as the narrative continues. This may represent the boy’s understanding of more adult topics as his holiday proceeds. This supports the issue of coming of age, and the themes surrounding maturity and curiosity. It may also be argued that the lack of non-diegetic sound emphasises his boredom and deficiency in entertainment, which exaggerates such themes.

Camera shots, angles and movements are used to create meaning within the short to exaggerate and make clear the themes of coming of age and curiosity. It might be noticed that the camera shots are closer when the boy is feeling like a child, such as when he is talking to his parents. Close ups are more common in this situation to suggest that he is growing up and his parents are unsure as to how to treat him. Wider, longer shots are used when the boy is exhibiting signs of curiosity and preoccupation, which may suggest that he is exploring something new in which there is a lot of space to learn and grow, represented by the literal space surrounding him in the frame. This contrast of situations and shots to resemble the confusion to be had, firstly by the boy, who is in his early stages of puberty, and also to his parents, who are unsure of how much understanding he has for adult themes.

The mise en scene further emphasises the in between stage in which the boy lies, from child to adolescent. In the beginning scene, he waves to the woman, who acknowledges him as opposed to his father, who just smiles at her. His body language here is childish, as he uses an enthusiastic gesture to capture her attention. Moreover, his life jacket is large on him, which makes him appear small and gives him a sense of youth and innocence overall. However, in this scene, he is holding hand grips, which are used to build muscle in the arms. This may support Lacan’s ‘Mirror Stage’ theory, in which he believes that from a young age, children are able to recognise themselves in a mirror and change their appearance to suit them. This displays the pressure he may feel to ‘grow up’ into his ideology of a man, which in his view, appears to be that of a stereotypical hegemonic male. To support this view of a stereotypical male, the tilt of the camera over the woman’s body to imitate where he is looking. This supports the issues and themes surrounding sexuality, masculinity and maturity.

Jam Today can be applied to Marilyn Milgrom’s The Script, as it has a world, a character, and a problem. The world for this short is the body of water in which the family are travelling on in their boat, and the village they’ve stopped at. The character is the protagonist exploring aspects of the adult world. His problem is that he wants to grow up, and build muscle to seem like a man. Milgrom also states that one of three things must drive the character through the narrative; a want, a need, or an obligation. In this case, the boy’s curiosity and want to grow up is what allows the story to progress. She also makes a point that it is important to make the end of the film meaningful by choosing the best point of view to tell the story from. This short film portrays the protagonist as the best point of view, as he has a realisation toward the end that he isn’t as keen to mature as he thought he was.

Textual Analysis and Milgrom Theory Application: The Ball (2010)

Short Film #1: The Ball (2010)

Director: Katja Roberts

Issues; Poverty, Disability

Themes; Friendship, Communication, Aspirations, Innocence, Confidence

At the very beginning of the short, there is parallel editing that occurs between the girl playing football and the boy playing with his figurines, which creates the effect that the two different scenarios create a connection between the two characters. This style of editing already implies that the two children will meet as the future of the narrative proceeds. This may also be interpreted through the graphic match of the ball in both the shot of the boy playing inside and the girl playing out.

Alternatively, the parallel editing and graphics match might represent the pair’s hopes and dreams of pursuing a future in the field of sports, as it emphasises to the audience that they have a shared interest. This supports the theme of aspirations.

The form of the film created through the editing is conventional to social realism, because the characters are set in tight spaces from the beginning. It somewhat varies from what is conventional however, as the spaces in which are filmed are consistently closed off and cramped. It may be suggested that the form reflects the low economic status of the characters in the film and therefore their lack of opportunity in the future. This editing supports the theme of poverty.

The incidental music, which is downbeat, is mixed with the sounds of cheering and diegetic sound. These almost contrast with each other and serves to give the effect that the children are pretending and imagining their goals and the reaction that it receives, and the music serves as the reality of their dreams, which makes the scene a little less joyful. The children’s optimism reflects the themes of innocence and aspirations.

The issue of low economic status and poverty is emphasised in the dialect used in the little conversation that is had throughout the film. The language used within the passing comments made by the girls is extremely colloquial, although in a harsh way. The tone in each of their voices suggests coldness and lack of respect for one another. This supports the issues and themes surrounding poverty because the deficiency in opportunities is evident in the rest of the film, and conventions of such economic status include youth rivalry. The lack of dialogue also suggests how antisocial the age group is represented to be also.

When the girl is playing football behind the houses, the composition of the frame made through the camera work shows a closed space. Towards the end of the path, there is a white space in which the path may continue, where it is a little misty. This might represent a goal that is far away, perhaps in a football sense but also in an aspirational sense. White connotes innocence, and to the girl, this goal could be interpreted as an exciting unknown. However, the more pessimistic view of more matured people may see this as a representation of her clouded chances, as a result of where she is from. This, again supports the issue of poverty, and the themes of aspiration and innocence.

Moreover, some may interpret the girl as viewed through a high angle as being from the boy’s point of view from his window, although meaning can be inferred from it otherwise. The high angle may support the closed spaces that she is portrayed in in that she is restricted in her room to improve and grow as a sportsperson, largely due to where she is growing up.

The low key lighting, which is frequent throughout the film, bears cold and negative connotations, such as isolation and further supporting the feel of an area with low economic status. This supports the scene in which the protagonist is being called names by the girls passing by. The cool colours emphasise the cold feel which is given to allow the audience to emphasise the hurt and loneliness in which the girl is capable of experiencing living in such deprived areas as hers.

The costumes that each of the characters wear are conventional to those of people in poverty, as they are casual sporting clothes which are inexpensive and easy to access. These clothes are often associated with lower, working classes, who are of lower economic statuses. This links with the setting of the back of the houses, as it appears to be a somewhat rundown area in which it may be realistic for someone in poverty to be living, which therefore supports such an issue.

The Ball can be applied to Marilyn Milgrom’s The Script, as it has a world, a character, and a problem. The world for this short is the backstreets of a row of houses, whilst the character is the protagonist playing outside with her football. Her problem is that she wants to contact the boy she keeps seeing in the window, but has to work out how. Milgrom also states that one of three things must drive the character through the narrative; a want, a need, or an obligation. In this case, the girl’s want to talk to the boy is what allows the story to progress. She also makes a point that it is important to make the end of the film meaningful by choosing the best point of view to tell the story from. In this case, the female protagonist shows the best point of view, as she overcomes her problem to acquire a new friendship at the end.