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.

Initial Ideas for a Short Film Synopsis

For my short film, I potentially want to cover the themes and issues surrounding coming of age and independence.

I find it interesting that from birth we spend each moment of our infant lives with a parent or a guardian, and there is no such thing as being alone or unattended. Essentially, we live the same day as our mothers or fathers in that us, as young children are always by their side.

However, as we grow up, freedom and independence grows to become more so; the details of our lives compared to our parents and guardians become dissimilar in ways that they'd never know what we were doing for the majority of our lives from young adulthood and beyond. 

Even amongst the closest of childhood relationships, parents will never fully understand some of the situations that their children experience from their daily lives as details are often skimmed or forgotten. 

Young adults can often hide things from the parents regarding the details in which they are not around for, as a result of trust and independence. 

This idea is open to covering a variety of different issues faced by young adults such as; bullying/abuse, substance abuse, relationships, mental health and crime. 

This idea is also sure to cover themes of independence, freedom and trust. 

The Short Film Context Part VI: Exhibition: Online Streaming, Forums and Reviews

Bibliography:

Laurence Boyce. 2012. Joy of Six Sees Short Films Get Theatrical Release. [ONLINE] Available at: http://www.moviemail.com/blog/news/1046-Joy-of-Six-sees-short-films-get-theatrical-release [Accessed 4th July 2016]

Tim Appelo. 2015. Oscar Nominated Short Films to Get Limited Theatrical Release. [ONLINE] Available at: http://www.hollywoodreporter.com/news/oscar-nominated-short-films-get-764718
[Accessed 4th July 2016]

2013. BAFTA Announces First Ever 'Theatrical' Release for Nominated Short Films. [ONLNE] Available at: http://www.bafta.org/press/press-releases/bafta-announces-first-ever-theatrical-release-for-nominated-short-films [Accessed 4th July 2016]

(n.d) Amazon Prime Video [ONLINE] https://www.amazon.co.uk/Amazon-Video/b/ref=sv_uk_7?ie=UTF8&node=3010085031 [Accessed 7th July 2016]

(n.d) MUBI [ONLINE] https://mubi.com/ [Accessed 17th August]

Mike Gruszynski. 2015. YouTube vs. Vimeo, What’s the Difference? [ONLINE] http://blogs.techsmith.com/tips-how-tos/youtube-vs-vimeo-whats-the-difference/ [Accessed 17th August]

(n.d) YouTube [ONLINE] https://www.youtube.com/?gl=GB [Accessed 20th August]

(n.d) Vimeo [ONLINE] https://vimeo.com/ [Accessed 20th August]

(n.d) Shorts TV [ONLINE] http://eu.shorts.tv/ [Accessed 20th August]

(n.d) Short of the Week [ONLINE] https://www.shortoftheweek.com/ [Accessed 20th August]

(n.d) Film of the Month [ONLINE] https://shootingpeople.org/filmofthemonth/ [Accessed 20th August]

(n.d) The Film Network [ONLINE] http://www.thefilmnetwork.co.uk/ [Accessed 20th August]

Notes: Soft in Relation to Marilyn Milgrom's 'The Script'

These notes explore Simon Ellis' Soft, and applies theory from Marilyn Milgrom's 'The Script'.

Unity

Milgrom states that each new scene should reveal something to the audience that they didn't know before.

Causality

If each new scene moves the narrative forwards, then the filmmaker can ensure that the end couldn't have happened any earlier.

Soft (2006)

Written and Directed by Simon Ellis 

Issues: Gangs, Bullying, Crime/Violence, Anti Social Behaviour,  Youth Rivalry/Influence, Lack of things to do/ Boredom, Neglect, Poverty, Masculinity- Pride and Communication, Example/ Role modelling, Power (shifts and coming of age)  

Themes: 'Fight or flight', 'Nature/Nurture', 'Apperance vs Reality', 'Violence/ Peace'

Unity and Causality

First scene: running/ from a camera's POV

Second scene: Car pulling into parking space outside of home - street does not suggest poverty and contrasts in nature from previous scene

Third scene: Links previous two scenes together, as the man is coming into the house in which the boy is playing loud music. The boy is withdrawn, and having issues communicating with his father.

Crosscutting between the man's journey and the people outside the corner shop: First visible sign of intimidation after the initial phone footage, this time on the public.

Scene with father and son: 'Do as I say not what I do'- dilemma for son and father

Next scene: Power of father is diminishing whilst the gang outside are becoming more powerful.

By the end of the film, the power has been shifted from the father to the son.

Want/Need/ Obligation

Fathers POV

Want: pride and power over his house/son etc

Need: to eradicate teen gang from his area

Obligation: to bring up his son and keep him safe

In the media in 2006, a long standing focus on young people and violence began circulating the UK. This includes anti social behaviour, youth attire and the creation of stereotypes.

Notes: The Girl in the Lay By in Relation to Marilyn Milgrom's 'The Script'

These notes looks at Sarah Gavron's 'The Girl in the Lay By', and relates it back to Marilyn Milgrom's 'The Script', by applying her 10 point plan to the narrative.

Milgrom's 10 point plan:

If the filmmaker is able to pitch their script in under a minute using the ten point plan, it suggests a good spine for the story.

-Title
-Genre/Tone
-Setting
-Main Character
-Want/Need/Obligation
-Opposition
-Catalyst for Change
-Climax
-Resolution
-Themes

'The Girl in the Lay By' 
Directed by Sarah Gavron
Title is a metaphor. It has literal meaning, but it suggests that her life isn't going anywhere.
Genre- Drama; straight and sincere with a sombre, melancholic tone
Setting- Middle of nowhere- stasis Made in around 2002, set in early 90s
Main Character- Girl
Want/Need/Obligation- Wants to get away from job and travel to New York, Needs someone to help her gain confidence, Obliged to work
Opposition- Her boss
Catalyst for Change- Old man
Climax-
Resolution- Some things are often resolved, but others are left open to question. Some narratives are cyclical, which is a resolution of some sorts, as the problems are still there, but are adjusted.
Audience Thinks and Feels - Not an issue to have them asking questions at the end, but they need to be able to understand some aspects of it. The audience should be thinking and feeling.

Notes: Gasman in Relation to Marilyn Milgrom's 'The Script'

The following notes looks at Lynne Ramsay's Gasman, and uses it as an example to think about the 'problem' section of Marilyn Milgrom's 'The Script'.

Making the problem manifest to the audience

You need to make them see it, as they are not in the protagonists head

Gasman (1998)

Wizard of Oz reference- 'no place like home', is ironic when her idea of home is somewhat distorted 

Mother is seen as antagonist, she is not the girl's favourite parent

The girl definitely favours her father

The silence and facial expression shows the first moment in which something doesn't feel right

Narrative is fairly long. The problem is introduced at 5:02, and so a 5 minute narrative will have to be introduced much sooner

Seen as an ideal Christmas party for the little girl

Neglect seen from adults whilst children are misbehaving and fighting

The colour palette and camera movement tells audience that something bad is about to happen

The girl thinks about throwing the rock in the direction of the girl and her mother, but doesn't; the audience isn't told all the answers so they can guess what she is thinking

This is the end of the journey; literal and metaphorical

The girl has come to the realisation that the world isn't a perfect place

Are the Stakes High Enough?

When the filmmaker sets up the narrative to show what the character has to lose, the audience can understand why they need to resolve this issue.

The Best Point of View
A different point of view changes the meaning of a story, as each character has a different ending.
Many short scripts fall down when the point of view switches to someone else half way through, as the audience can't connect with either.

What Does My Story Mean?
Awareness of the meaning of the story is important when refining and developing the script.

The Tone of the Film
Tone is intimately connected to genre, which can cause implications as genre isn't seen to be as important to classify short films. It also causes implications because the audience are not expecting the tone for a cynical narrative to be set up in comical way, for example.

Tone emerges from the way each narrative element supports the underlying meaning fo a story.

Summary:
There needs to be a change in protagonist. The audience will feel underwhelmed if the change isn't great enough.

The change in character/event must be:

*Universally significant- make sure it expands what you are passionate about to others too, must effect other people

- a moment that is of significance to the protagonist - whether they know it or not

- are the stakes high enough?