Short FilmCodes

Lighting

Where the lighting is mostly natural in social realist films to give an authentic everyday look it becomes more stylised in segments of ‘Bagdad Express’ which breaks its linear narrative to reveal flashbacks. These show a younger Maya with textile machinery that is illuminated in dark, orange light to give a sense of dreaminess (Maya dreaming about her passion and inspiration) and warmth (the memory of her Mother). In such a limited space of time, the viewer becomes aware that it is her Mother who taught Maya and encouraged her talents. I have noticed this is the key of a short film narrative; information does not have to be explicit even though there is less time. Again, the lighting in ’Bro’ has a realism effect but there are moments when natural light gives a dramatic atmosphere such as in the frame above. Blazing sunlight is shut out from the tunnel which almost silhouettes the brothers enhancing the distressed, frustrated body language that is so important in this film. It symbolically emphasises that Simon does not want to be seen with Mark anymore, he would rather close himself off in the dark than go out and experience the humiliation.

In ‘Smashed’, changing light is used to illuminate the crowd in a wash of one colour. In a club, this gives the impression that teenagers are all the same, one group of socially irresponsible hedonists. It also adds significantly to the energetic, almost euphoric club atmosphere. In terms of representation and ideology, the media theorist Dick Hedbidge claimed that ‘subcultures are a form of resistance in which experienced contradictions and objections to this ruling ideology are represented in style’. Here, the style of lighting goes against the natural light of ‘normality’ of adult life.

Camera Range

Extreme Close-upAbove, action cuts to the surrounding busy London streets and then to an extreme close-up showing Maya apply some last minute mascara before she enters her interview. It is one of the devices that provokes the audience to become immersed in this character’s world.

Close-up

These extreme close-up shots appear at the beginning of ‘Baghdad Express’ and it is the first time we see the textile equipment. Filmed at this camera range, the viewer can focus on the small details which created an atmosphere which is quite magical. The auteur theory can be applied here as the director instantly sets up a unique style that will blend with the social realist approach throughout the short film.

These close-ups in ‘Bro’ depict the character’s facial expressions and behavior which is so integral to the success of the social realist short film. Above, a close-up shows Mark sitting on a bus and the close-up reveals how he is confused, lost and distressed which provokes audience sympathy. Because Mark is bullied, but he is largely unaware of it; he is presented as the narrative’s ‘victim’ if we are to follow Propp’s theory of stock characters. In the second image, a contrasted emotion is shown as Gemma’s face caught in close-up almost lights up the screen and the bleak world in which other characters exist.

Medium Shot

Long Shot

Establishing Shot

The conversations in ‘Smashed’ are typical of most films; medium range over the shoulder shots that switch to show each character.

The establishing shot sets the scene and shows the key location. The restaurant is shown across a busy urban street. It is also a clever method of showing the title on screen as the neon light is switched on. The ideology is expressed here; multicultural Britain with many countries and cultures colliding in a city space.

This long shot of the park emphasises Simon’s isolation as he walks alone to the fence in search of other young people. I am interested in how these expansive open spaces are used to isolate characters and symbolise their feelings; Stuart Hall’s concept of audiences encoding and decoding meaning is always relevant in media texts and here, the long shot is just one technical code used in conjunction with conventions to make sense of the film.

Camera Movement

Tracking

Examples above show tracking shots used in contrasting ways. In ‘Bro’, the camera tracks the character’s hands as she strokes the wall when the two teenagers take a walk together. This movement adds to the sense of freedom, as the camera movement conveys her carelessness and then shows the two walking side by side chatting. The boy-girl relationship is not clichéd, but portrayed with sensitivity and realism. Mark and Gemma do not kiss or engage in any sexual act, an emotional bond is formed and we get the hint they like each other but nothing happens. In ‘Bagdad Express’, a two-shot shows Maya and her father eat breakfast as the camera slowly tracks forward past the father and eventually just on Maya’s face before cutting back to a mid-shot. In a familiar kitchen setting, the unfriendly silence and awkwardness of the scene is so simply achieved.  

A ‘Snorri-cam’ is used here in ‘Smashed’ where the camera is attached to the actor so only the background moves. This experimental technique gives an intoxicated feel and disorientated angles which link to the characters state of drunkenness. This is an example of the short film challenging codes and conventions.

Panning

Handheld

An effective panning shot in ‘Smashed’ starts with the male characters walking down a street with the camera panning round to a group of youths entering the chip shop continuing round to the window where the girls eat. The enigma code can be applied here as the audience draws a connection between the two couples.

Kinetic camera work is nearly always shot hand-held in short films to heighten the sense of realism giving films a documentarian feel and a voyeuristic look into normal lives. This is not just in fast movement but also when characters are still or in conversation which really ensures that the viewer is emotionally close to the action. For example, in this the camera is at a fixed point but it is handheld which enhances the emotional energy of the scene as an angry Maya confronts her dad.

Camera Angle

High Angle

Low AngleShort Film-makers often experiment with unusual angles and viewpoints (challenging codes and conventions) finding the unfamiliar in the familiar. The auteur theory can be applied here as the directors style of making urban places look spectacular is noticeable. This extreme low angle shot of an industrial building is used when Simon looks down to see how far away he is. This kind of effect can be achieved on a low-budget as that is needed is a fresh take on something.

As discussed in the camera range section, this shot makes the girl appear extremely vulnerable and the high angle accentuates this as it is looking down on her causing the viewer to feel she is weak and helpless.

Point of View

Canted Angle

This links to the use a snorri-cam device in camera movement as the POV is of the same, alcohol intoxicated character. The disoriented approach shows a distorted view of staircases, sometimes pointing at the floor as if dangling in the air. This immerses the audience into the world of youth on drunken night out; perhaps the passive audience described in the hypodermic needle theory would be encouraged to think that this is the social norm. The ideology of delinquent, irresponsible youth is communicated and their representation can be explained using identity theorist Charles Acland’s notion of ‘youth gone wild’ and ‘youth in crisis’ where the youth sub-culture is constructed from the adult gaze and it therefore teenagers need surveillance.

The canted angle is where the camera is titled to give a disorientated feel like the POV above. Here, the camera looks out of a window in a car and the unnatural angle creates a sense of panic and disturbance which heightens the tension of the scene.

Editing

Titles/Graphics

Opening titles in short films are often simplistic because of the time limit. In ‘Bro’, the title card appears after a very short opening sequence of young people drinking which then goes to black with the title in handwriting font in lower case and small size. This connotes childhood relating to the film’s childish behavior, innocence of disabled teenagers. In ‘Baghdad Express’ when Maya is talking to her father, subtitles appear on screen as he speaks in Arabic. This links to the film’s ideology; the clash of cultures, identity and family values as the two languages are spoken at once.

In ‘Smashed’, rapid editing is used when drinks are bought, cutting close-ups of spending money, pulling pints and serving. It reflects addiction and how quickly the night can take a turn for the worse. The film raises a social issue about looking out for others and was partly funded by the local police in production. The use of rapid editing is frequent in the short as the teenage audience appreciate this device because it keeps action energetic and due to its associations with other texts such as music videos.

Composition

Film Stock

The composition in this shot shows the relationship between the two characters. They are both at opposite ends on the frame which provokes the audience to think there is a connection between them. Barthes audience reading theory is useful here as this would be a negotiated meaning; is this is a sexual attraction, a friendship or just escapism for Simon?

Short film-makers will most likely record in digital format on something cheaper such as DV tapes as they are independently funded. They might even use a SLR camera or other unconventional methods to capture footage.

Sound

These are a few points I have noticed in shorts:

·Non-diegetic music does not interfere with dialogue or overpower a scene but rather quietly accompany the action. For example, in ‘Bro’ composed piano music provides a soft undertone to the film. Characters have their own simple themes which give emotion and also cleverly foreshadow when they appear such as when we see Simon’s expression change and hear music associated with Gemma so the audience knows it is her.

·Diegetic dialogue is natural; un-dramatic voices are used. It is quite likely that characters ad-lib dialogue and improvise sections in a short film for heightened social realism.

·Language is colloquial; teenagers are not just stereotypically represented as swearing or crude in the short films I have viewed. They are portrayed with sensitivity and often have a point to make.

·Most importantly in short films, scenes are rarely dominated by dialogue - especially conversational - as they tend to make the piece seem longer; audience attention/interest needs to be sustained and so scenes or action must change and not ‘drag on’! Body language is crucial in the films I have seen and so it is not unusual to have episodes of silence.

Mise-en-scene

This shot in ‘Bro’ shows Simon when he has to comfort Mark. He leaves his vulnerable brother on the bus telling him to find his own way home while spending time without him. The setting of the bus is a public space so he is exposed to people who are constantly judging. The director uses composition effectively at eye level angle to convey this judging of his peers who are visible in the background slightly off-focus. Mark’s face is buried as Simon shamefully realises he has been selfish but still refuses to look at the youths at the back of the bus. Outside it is bright sunshine to suggest the teens are on summer vacation; a time to socialise, have fun and relax. Their costumes reflect this, but Simon covers up as he does not feel the same way having to look after his disabled brother.