Nov 30, 2016

Short film review - The Drough

In 'The Drought' we follow an old man struggling with his daily routine as an umbrella street salesman. The film is created by Kevin Slack and has been described by critics as "a celebration of faith and tenderness" and "gorgeously moody".

The film was aired on PBS as the winner of Short Film of the Week and was a finalist in Youtube's Your Film Festival where only 10 films are chosen out of approximately 15 000 submissions.

Jonas, an elderly Brooklyn native, is being forced to reconsider his life as an umbrella street salesman because of lack of rain. As the weather keeps being nice and sunny people stop buying umbrellas leading to financial problems for Jonas who is struggling to keep being loyal to a dying career. He is trying to find happiness in his lonely apartment and with the help of his memories, he must decide whether to give up his "family business" or try to outlast the drought.

The Drought | Short Film from Kevin Slack on Vimeo.

'Thr Drought has two primary characters. The first one is Jonas, the main character, whom the audience gets introduced to right from the beginning seeing a c.u of his face while struggling and breathing heavily. It then fades to the titles and you see him sitting alone on the street trying to sell his umbrellas. As he sits alone on the street Marco, the supporting character and fellow street vendor, comes along and you clearly see that they have some sort of friendship despite being eachothers indirect competition. Marco offers to help Jonas who's clearly struggling financially but Jonas declines and remains being committed to his umbrella passion.

Kevin Slack said in an interview that he has always been fascinated by the idea of what happens to someone when they lose their longtime spouse. A year before he wrote the script his grandfather died leaving Slack's grandmother alone. Even though Slack wanted to write a script inspired by this he didn't know how he wanted to do it, until he was watching the local news one day. "There was a rainstorm hitting Manhattan and they were interviewing an umbrella salesman on the street. The salesman said that he was probably the only the only person excited to see that much rain as the umbrellas put food on his family's table. I then thought it would be interesting to explore that man's situation."



This is one of my favourite short films as I love the way that they have captured loneliness, love, passion and stubbornness in a 10 minutes short. The cinematography in the film is beautiful and very well done, and together with Rob Gokee's music makes it almost sort of romantic in a nostalgic heart-warming sense.

What I took inspiration from for my own project was the characters bond to the umbrellas. He's not just selling his umbrellas, he's keeping the family business alive, the same was as Malcolm in my short isn't just picking up rubbish at a random beach, but continuing his daughter's work.



//Source material and images\\
Screenshots from the film 

Nov 29, 2016

Storytelling unit - Rough Cut Feedback

Before i began the edit I looked at a couple of trailers from films in the same genre as mine to get some idea and inspiration both music wise and cut wise. The traier I ended up taking the most inspiration from for the edit was the trailer for 'The Danish Girl' by Tom Hooper. I liked how they in the trailer told the story by showing bits and pieces of the scenes fading to black in between and how the music fits to the story.

The feedback I got on my rough cut didn't change the trailer much as I was more or less only told to work on the audio, slow the pace a bit down and to ad some footage at a point where I originally planned to just fade to black and having a V.O.

To fix the audio i used Adobe Audition since the dialogue was too low and therefore drowning in the music. With audition i managed to bring the dialogue up and make it cleaner by getting rid of some background noice. I had some issue with dogs barking since we were filming on a public beach. I got rid of most of it, but not where the dog is barking t the same time as the character is saying his line. I was trying to get the actor to dub the line with the dog, but didn't have enough time to do so as the actor lives in London and was being too busy.

To slow the pace down I added more stock photos in between the scenes to make it look like more time had passed between the scenes. I also color graded the footage in Davinchi Resolve to make it look slightly more cinematic.
I'm quite happy with the resoult as I feel I managed to tell what the story is about without revealing or spoiling too much. It was also nice to test out Davinchi as I haven't been able to test it out properly before now.

TV Drama review - Sherlock


Sherlock is a British-American crime drama series based on Sir Arthur Conan Doyle's 'Sherlock Holmes' detective stories. The series is a co-production between the BBC and WGBH Boston, with Elaine Cameron and Sue Vertue of Hartswood Films serving as producers, written and directed by Mark Gatiss and Stephen Moffat.

The series has been sold by BBC Worldwide to over 200 territories and is one of the few British drama series that are being broadcasted on the public broadcaster in Norway (NRK). After season 3 aired early 2014 it became the UK's most watched drama series since 2001, being nominated for several awards including BAFTAs, Emmys and a Golden Globe, and winning numerous awards for different categories.

A lot has changed in the series from how it was in  Doyle's original stories since Sherlock and Mr Watson are now placed in modern times, although they still live at 221B Baker Street. Sherlock is now equipped with a smartphone which he consults at lightning speed and sends texts rather than telegrams. Instead of publishing articles and monographs he now has a website "The Science of Deduction", same goes for John who now has his own blog instead of publishing articles in a magazine.
Both the website and the blog exists online:
Watsons blog: http://www.johnwatsonblog.co.uk
Sherlocks website: http://www.thescienceofdeduction.co.uk

Sherlock is one of my favourite series, especially season one as I found it being a great adaption of the original Sherlock-stories. I loved the fact that they cast Benedict Cumberbatch for Sherlock Holmes as he fits the traditional reading of the character plus he's a great actor. I was also impressed when I first saw the series how they could set the story to modern times and get it so right in every aspect of it.
Although I found season 1 and 2 great I was quite disappointed by season 3 and 4. The cinematic part of it was very nice and it seemed like the budget was increased, but I found the story ruining the characters.

One episode that I found very interesting was 'The Reichenbach Fall' (season 2, episode 3) which I feel beats all the other episodes in terms of drama, plot and the depth in the characters. In this episode Mr Watson is going on a difficult, emotional journey that at times was difficult to watch. The episode starts with Watson visiting a psychiatrist saying Sherlock is dead. The title 'The Reichenbach Fall' should also strike a bit of fear into the audiences hearts since Reichenback is the waterfall where Sherlock and Moriarty fell to their supposed deaths in the original story.

In this episode we follow Moriarty's plan to discredit and kill Sherlock Holmes. This is the first episode where the spotlight fully directed on Moriarty. His and Sherlock's confrontation were made very intense by Toby Haynes' still high-angels. Haynes did a great job making the episode as stylish as ever, using text-on-screen storytelling, time-lapse cityscapes and ad pans across Moriarty on the rooftop. The episode ends with Sherlock committing suicide, and was based on Doyle's story 'The Final Problem'.

Sherlock had a great influence in the making of my main character Malcolm Caine. Sherlock Holmes is a fantastic "flawed" character being funny/goofy, not caring, smart and at the same time annoying to the degree that you sort of feel sorry for Watson having to keep up with him. I like those traits as I find them making up a great character and adapted some of those traits to my character Malcolm




//Source material and pictures\\
https://www.youtube.com/watch?v=jNzeuzYPiLc
http://www.pbs.org/about/blogs/news/masterpiece-and-pbs-announce-new-sherlock-special-to-premiere-on-january-1/
http://www.radiotimes.com/news/2014-01-22/sherlock-is-most-watched-bbc-drama-series-for-over-a-decade
https://s-media-cache-ak0.pinimg.com/originals/4a/10/b9/4a10b982ff44e554b2cadd49217b2d4c.jpg
https://lh6.googleusercontent.com/-Blyg03Lv9zE/UbadTqNViHI/AAAAAAAAEE0/QTq5lohcwFo/s624/Sherlock-S02E01-A-Scandal-in-Belgravia-sherlock-on-bbc-one-28007849-624-352.jpg
https://www.timeshighereducation.com/sites/default/files/styles/the_breaking_news_image_style/public/Pictures/web/j/z/p/benedict-cumberbatch-as-sherlock-holmes.jpg?itok=CdKuiG3A
http://images5.fanpop.com/image/photos/28300000/Sherlock-S02E03-The-Reichenbach-Fall-sherlock-on-bbc-one-28354501-624-352.jpg
http://images.huffingtonpost.com/2014-01-06-benedict.png

Nov 28, 2016

Short film review - Paper Memories

Paper Memories is a multi award winning short stop motion about loneliness, hope and lost love. The film was made by filmmaker and photographer Theo Putzu and consists of more than 4000 photos.

In the film we follow an old man who has lost the love of his life and is search for happiness in old photographs of her. Through the photos she leads him on a journey around the city, visiting each location where the picture was taken. The story ends at the beach where the woman smiles at him and walks to sit by the water. The man then returns the smile and magically steps over and into the photograph to sit by her side.



Since the film is a stop motion all the sound is non diegetic, added in post, like the sound of the clock ticking, the character writing, steps, birds singing etc. There is no dialogue in the film and the use of background music is minimal.

Theo uses a lot of closeups through the movie to capture the characters expression and to direct the audience's attention towards what's important. When the character is walking around in the city Theo uses a lot of establishing shots and wide shots of the character. Through the whole film we never see any other people than the main character and the lady on the photo, this is to "underline" the loneliness the main character is feeling.


PAPER MEMORIES from Theo Putzu on Vimeo.


I like the "mood" the film has by creating an old/vintage atmosphere and the visual look/cinematography.  The way they use the sound of a clock as an important part through the whole film is also pretty cool.I'm also a big fan of the part where the character walks in the frame to sit by the side of his loved one.
I found it interesting to see how Theo could make such a powerful film without using any dialogue, and only rely on the actor's expression, actions and different sound effects and shots to tell the story.

I found the film very useful getting a good idea of the style and the mood I wanted to have in my own project, especially the visual part when the character is looking at the beach.



//All images are screenshots from the film\\

Nov 27, 2016

Storytelling unit - Screenwriter Sam Esmail


Sam Esmail is an American screenwriter, film and television producer.
He had his feature-length directional debut was in 2014 with 'Comet' which was released by IFC (Independent Film Channel) and has later been working as the writer for 'Mockingbird' and creator, executive producer and head writer of the technological thriller television series 'Mr. Robot'.

Sam is of Egyptian heritage but born in New Jersey. In a  BBC interview, he explained how his heritage influences his work, "I tend to write about alienated figures who can't connect with others and who are kind of distant from American culture. It's not something I'm consciously doing, but it's something that happens to be infused inside me because of my experience growing up in America."

Sam originally planned Mr.Robot to be a feature film but decided to turn it into a television series when the project got too long and unwieldy.
"It was weird because I didn't really change anything when I turned it into a series. When I saw it as a film I knew where I was going, I knew my ending. It wasn't before I got to page 90 and was still halfway through Act 1 that I decided that this would be a series and not a feature.

'Mr. Robot' follows Elliot Alderson who works as a part of a hacking group society trying to take  down the evil corporation named E-corp. To make the series as realistic as possible Sam decided to consult with actual hackers, some of whom have criminal records. He would ask them what they would do if they were to hack certain stuff, how they would do it at what sort of challenges they would hit along the way.



In the video Sam talks about the series, what inspired him, how the main character Elliot is a thinly-veiled version of himself and how they, when filming, used different off-kilter angles to represent the way Elliot use the world.

Sam has been nominated for then awards for Mr. Robot and has won 6 of them, including 2015 American Film Institute Awards in the category 'Television programs of the year' and 73rd Golden Globe Awards for 'Best Television Series - Drama'.

I decided to research Sam Esmail and his works as I find it admirable all he has achieved so far only being in the industry for a few years and because I really enjoy his work, especially Mr. Robot.
I took a great deal of inspiration from it for own short film 'ASHORE', both character wise (the lonely person who doesn't really like other people, doesn't feel that he fits in with the society, etc) and dialogue wise.





Nov 25, 2016

Storytelling unit - Screenwriter David Foster

David Foster is an American television writer, producer and medical doctor. He has worked on 'Scorpion' and 'Do no harm', but best known for his work as a writer and producer on Fox medical drama series 'House'.

David FosterDavid graduated from Harvard Medical School in 1995 and worked as a doctor ay Beth Israel Deaconess Medical Center nd the Harvard School of Public Health. While working as a doctor he was often listening to patient's stories and diagnosing uncommon illnesses. This was a skill he ended up putting to use as a writer on 'House'.

"We usually come up with the disease first and work the episode around it, and look for ways to hide what it is. You can have the weirdest disease in the world, but if you can stick the guy in an MRI and find the answer, you won't have an episode." 

David eventually moved into television as a writer many thanks to Neal Baer, a former classmate, who hired him to work as a freelance writer on an episode of Law & Order. He then came in contact with the producers of 'House' who were impressed by his credentials and hired him to work as a consulting producer during the first season. David has since then worked as a writer and producer for the series. In 2010 he won a Writers Guild of America Award for the 'Broken' episode of 'House' (season 6) and was at the beginning of the 7th season promoted to co-executive producer.

House is one of my favourite series as I find it very good both the cinematography, cast- and story-wise. I have been using a lot of the scripts from the series as "guidelines" to how to format my own  scripts through the past years when I've been doing filmmaking as I find them very helpful both in terms of character development, layout, build up in action and character descriptions.
I also like how the episodes in the series don't tell everything about the characters (patients) in one go, but slowly reveals bits and pieces of their personality, life situation and past.







//Source material and pictures\\



Nov 24, 2016

Contextual studies - Crime Drama


The Bill
- Longest-running UK crime drama (1983-2010)
- Set in fictional London police station
- Originally 12x60min episodes
- From 1988-2005, became year-round twice-weekly serial.
- Change from being a series to a soap and then back to series.
- Peak audiences of 11m viewers in 2005 rivalled Coronation Street 

What is the crime drama genre?
- Evolved from literary detective fiction
- In TV often police procedural sub-genre - 'realistic' investigation of a crime by law enforcement teams.

Technical conventions 
- Editing: chase scenes, montage, flashbacks
- Usually single camera, but can also be shot on multi-camera
- Camera movement - either handheld mockumentary style or Steadicam, dollies, cranes

Visual devices:
- ECUs (extreme close up) for tension or reveal
- Tilted, low and high angles
- Slow motion
- CG recreation (CSI)
- Graphical text (Sherlock)

Narrative conventions
- Episodic series format - typically 60 minutes. Usually self-contained closed narratives.
- Repetition - relies on returning central cast (team) and location (police station). Conflicts in policing methods often intrinsic to the drama.
- Resolution  the very nature of detective/crime genre demands crime is resolved by setting up a mystery. (Film and TV guidelines demanded that 'crime must not pay')

Symbolic conventions
- Lightning - low-key. Many crime dramas use light-dark contrasts in costume, setting and lightning (e.g., use of flashlights)
- Authenticity - props, costume, settings
- New conventions - detection via computer. Lighting and exposition.

Character, archetypes
- 'The rebel' (hero/anti-hero): Detective or senior cop. Usually male, jaded. Doesn't always play by rules. Sometimes corrupt.
- 'The king' (authority figure): Commanding officer or station sergeant.
- 'The innocent' (rookie): Audience surrogate and empathy.
- 'The sage': Elderly, wise. If not senior figure, often doctor or scientist. The person who gives advice and such.
- 'The villain'

Many crime dramas utilize binary opposition: light and dark, good and evil, law & order. But often the investigator has their moral boundaries challenged.
Many also use classic Freudian triangles: Hero (anti-hero) as id. Authority as super-hero, Rookie as ego that tries to balance the oppositional.

Critical approach to crime drama as a genre
- Realism - British crime dramas are often in social realist mode; many popular US crime dramas more escapist and may involve breaking with realist conventions.
- Representation - gender and diversity; issues of 'political correctness' vs empirical fact.
- Psychoanalysis - genre characters as Freudian archetypes; criminal pathology (the monster/the uncanny); crossover with horror genre ('return of the repressed').




//All images from Google.com\\

Nov 17, 2016

Contextual studies - Soap

Today we watched the first episode of BBC's EastEnders and discussed the series and the genre.

- First episode in 1985.
- Set in fictional London borough.
- Initially broadcast twice a week.
- First  episode attracted 17m viewers.
- Storylines set around Beale and Fowler families.
- First UK soap to feature culturally diverse cast from opening episode.
What is 'soap opera'
- Serial melodrama, primarily dealing with family and emotional issues.
- Originated in US, aimed at housewife demographic.
- Sponsored by detergent companies, hence the name 'soap opera'.
- All soap operas share common codes ad conventions.

Technical conventions
- Multi-camera, (saves time & makes it cheaper)
- Limited sets, (based around one place, save costs and time)
- Diegetic sound.
- Early soaps transmitted live or recorded 'as live'
(Victoria Wood's Acorn Antiques parodies 'live' U soap mistakes; Hollywood films Tootsie and Soapdish are set in US TV soap worlds)
- HD technology has required more 'realistic' sets, but also now allows shooting in natural or low-light for additional realism.

Narrative conventions
- Episodic format - typically 30 minutes. Open-ended storylines with episode cliffhangers (to sustain audience)
- Repetition - relies on stock characters and locations returns to in each episode.
- Resolution - Serial form mean constantly evolving; soap plots may take weeks, months or even years to be resolved.

Difference between serial and series:
In a serial each episode picks up the story from where the last one stopped. If you have missed the first 2 episodes of a serial you won't know what's going on. Example Game of Thrones and Walking Dead.
In the series it's like a collection of mini films so if you miss the first 2 episodes it won't matter because episode 3 will be a brand new story. Example House M.D. and Poirot.

Melodrama? Or soap?
- Pathos (overwrought emotion).
- Moral polarization.
- Coincidence and 'deus ex machina'.
- Sensationalism.

Common soap conventions
- Births, marriages and deaths
- Love triangles
Every soap opera relies on repetition of these stock plot conventions to renew their storylines and characters and make dramatically relevant to the audience.

Contemporary
Realistic settings and characters dealing with social issues - British social realism
- Drug abuse
- Mental illness
- HIV
- Sexual abuse & violence
Political intent (campaigning issues)
Representation (under-represented groups become represented. Class, gender, ethnicity, sexuality)
Secular (rationality, not religios or mystical)

Soap Opera Archetypes
- The matriarch: dramatic centre
- The lothario: sex, propels plot
- The 'victim': audience empathy
- The 'innocent': corruptible, changes
- The 'bad boy/girl': stock villain, agency

Critical approaches to genre
- Realism - are soaps realistic? Changing forms: 'teen soaps' such as Hollyoaks, soap influence on reality TV.
- Representation - challenge of diversity vs stereotypes; changing social attitudes.
- Reception theory - how audiences consume soap (uses and gratification); contract between producers and viewers.

Blumler & Katz: uses and gratification
- Diversion, escapism
- Personal relationships, social interaction, either with the fictional characters or through dialogue - with others.
- Personal identity, audience identification.
- Surveillance, program informs or challenges our world view on topical or social issues.




//All images from Google.com\\

Nov 16, 2016

Storytelling unit - Finishing shooting 'ASHORE'

Today was the last day of shooting the trailer for 'ASHORE'. The shooting period has gone very well.
For this project I got 2 actors through Casting call pro, Jerry Anderson and Andro Cowperthwaite, both lovely people to work with.

The shoot went faster than I had planned both of the days. This was due both to the actors being well prepared and the fact that I had been doing recee on the locations beforehand and sorted out possible problems. The crew was also very professional and effective when we were working on set.


Since everything was well prepared we didn't have any big issues on set. When filming on the beach we didn't have any issue with the public, only a few dogs that came to sniff around and say hi. We had one person falling over because it was hard to move some places on the set due to sand and rocks, but the person didn't get hurt.
The scenes we filmed in the B&B went without any faults. The people owning the place were both doing acting and set building on the side and were very helpful to move things around and to help keep it quiet while filming.

I'm very happy I made the storyboard as detailed as I did before filming since it helped me getting a better idea of exactly what I wanted in the frame and where I wanted the actors to be to avoid breaking the 180˚ rule.
For the next time I'm doing a project I hope to be able to use external lights since we were struggling quite a lot to get nice lighting on the indoor scenes and to have another person doing the camera so I can just focus on directing and not doing both as I did on this one.

Nov 13, 2016

Storytelling unit - Preparation before shooting

Tomorrow is the first day of shooting 'ASHORE'. We will be shooting over a period of two days each day consisting of 3-5 hours of filming. The first day we will be shooting at Tankerton Beach and the second day at a B&B in Rochester.

       
     Risk assessment                                 Call-sheet day 1                            Storyboard day 1

My crew for this project consists of three people per day, me as the director and camera operator, Gavin as sound operator and Victoria as prod.ass/photo on day and Morgan as prod.ass/photo on day 2.

Since I'm a trailer my script ended up being 3,5 pages  to make sure I have enough story and clips to edit. Close to 70% of the trailer-script will be filmed tomorrow at the beach. The shoot will last approximately 4 hours since all the scenes are on the beach and there won't be much rigging between the different cuts.

On the second day when we will be filming at the B&B the shoot will be approximately 2 hours since we will only be filming 4 short scenes and will not have any long breaks as we will on the first day.

I originally budgeted the film 150£, but ended up spending 107£ in total. 




Nov 10, 2016

Contextual studies - Sitcom

In today's Contextual studies we focused on sitcoms where we watched one episode of 'Vodka Diaries', and were asked to look out for:

Mise en scene
How many locations?
Shot in real place/studio?
Reflect characters?

Camera & Sound
Single- or multi-camera?
Audience laughter?
diegetic or non-diegetic sound?


Narrative ad genre conventions
Realistic characters or crude stereotypes?
Acting naturalistic or exaggerated?
Humor, verbal or physical?


What is genre?

  • How texts are determined by historical/social/political contexts
  • How texts emerge as commercial products from an industry
  • Genre audience contract with text. 


Codes and conventions dominant in deciding the form of a film or TV programme. 
Technical (seen)
Camera, sound, Editing = Narrative
Symbolic (Unseen)
Mise en scene, subtext = Context

What is a sitcom?

  • Sit(uation)com(edy) - sub-genre of comedy, unique to TV. 
  • Typically located within one single location, or minial numbers of settings. 
  • Characters resolve comic situatiom or series of cercomstances. 


Sitcom genre - Technical conventions. 
Traditional studio sitcoms (The Big Bang Theory)

  • Multi-camera
  • Edited 'as live'
  • Audience laugh track
  • High-key uniform lightning


Location sitcoms (Modern Family)

  • Single-camera
  • Post-edited
  • No 'live' laugh track
  • 'Mockumentary'-style



Sitcom narrative conventions

  • Episodic series format - typically 30 minutes, close narrative. 
  • Repetition - circular narrative to keep characters in comic situation at the story's resolution and feed into further episodes. 
  • Resolution - drama (tragedy) ends with change: comedy ends with order and harmony restored. 


Plot embryo circle used by Dan Harmon, creator of NBC sitcom community. 




Sitcom genre - narrative conventions

  • The comic trap
  • The running joke
  • The one-liner / sight gag
  • Innuendo & double-entendre
  • Irony & and sarcasm
  • Farce & Slapstick
  • Parody & satire


The Comic Trap

  • The basic premise of a sitcom: physical or emotional situation characters attempts to resolve or escape from. 
  • Repetition ensures further traps will be encountered. 


The Running Joke

  • Repeating visual joke or verbal line (often a catchphrase)
  • Familiarity/popularity with viewers encourage their repetition in long-running series. 

The One-Liner and Sight Gag
  • Humorousthrowaway remark, often observational of a situation or event that has just occurred. Periel's retort to Nic: "If you can't shift it, don't shag it" is a classic one-liner. 
  • The Sight Gag is the visual equivalent of the one-liner. 

Innuendo and Double Entendre (Double meaning)
  • Innuendo - inferred, but not directly obvious to the person directed at. 
  • Double entedre (Double meaning) - ap pun (play on words with more than one meaning), usually sexual. 
  • Sexual humor pre-watershed. 

Irony and Sarcasm
  • Irony - to express something different from and opposite to literal meaning. 
  • Sarcasm - When a person says one thing, but mean something else, or when a literal meaning is contrary to its intended effect. 

Farce and Slapstick
  • Farce - highly improbable narrative situations and coincidences combined with exaggerated physical humor. 'Black comedy' uses farce and taboo humor. 
  • Slapstick - physical comedy, usually incorporating props and elements of comic violence.  

Parody/Spoof
  • Parody mocks or pokes fun at an original work, its subject or author through humorous imitation. 
  • A spoof typically mocks or pokes fun at a genre or style. 

Satire
  • Similar to parody, but usually with a more angry or polemical intent. 
  • Often political and targets the elite and bureaucratic. 

Sitcom genre - Symbolic conventions 

  • Mise en scene
  • Setting/location 
  • Character (costume, makeup etc)
  • Staging (performance & interaction)


Subtext

  • Stereotypes vs Archetypes
  • Ideology and hegemony


Mise en sceneClassic sitcom sets are typically designed (or chosen) to maximize comedic interaction:

  • Multiple doors for comic entrances and exits.
  • A central focus such as sofa, kitchen table or office desk around which characters' lives revolve. 
  • Set decor will often reflect the characters personalities and social/comic situation. 


Costume, makeup and character

  • Sitcoms heavily reliant upon generic stereotypes derived from classic archetypes (the rebel, the fool, the authority figure). 
  • Often exaggerated for comic effect, through costume, makeup or performance. 
  • Clash between contrasting stereotypes provides catalyst for much humor in sitcoms. 
  • (Authority vs rebellion etc.)

Archetypes/Stereotypes
  • Nic - 'the rebel' - uses aggressive humor (sarcasm, physical comedy)
  • Alex - 'the libertine' - Can be playful or hypersexual. Typically use innuendo and double entendres. 
  • Holly - 'the authority figure' - Their thwarted attempts to control are a staple of sitcoms. Will often use the comic out-down. 
  • Periel - 'The dork/fool' - Often sees as the least self-aware, but usually says the smartest things. Uses visual humor (sight gags) and one-liners. 


Ideology and hegemony
Hegemony is a dominant ideology within society: in sitcom traditionally reflected in the 'Nuclear family'.

Many contemporary sitcoms utilize a more pluralistic and diverse family model:

  • The work family (Parks & Recreation, The Office). 
  • Co-habitees (Vodka Diaries, Friends).
  • Extended family (Modern Family).

Critical approaches to genre
  • Psychoanalysis - Jung on archetypes: Freud on humor (release of repressed energy_ and personality types. 
  • Surrealism - humor from absurd/irrational scenarios: bizarre comic juxtapositions: dreams and nightmares. 
  • Postmodernism/Alienation - reflexivity: 'mockumentary' form: POV (Peep Show): Breaking 4th wall (Fleabag).
  • Representation - gender, race, class and sexual stereotypes: societal shifts: emergence of new stereotypes. 





//All images from Google.com\\

Nov 7, 2016

Kamera workshop - Filming on Location

In our last camera workshop with Fergus we went out to film on location to learn about health and safety. We were separated into groups of four and asked to make a short story using ourself as crew and actor(s). The task was fun, but it was hard to come up with an idea for a story we could film. In the end, even after Fergus waned against running since it was easy to fall, we decided to have Ethan as running away from some some sort of "monster".


The Run from Trine Hagan on Vimeo.

We originally filmed a sequence where Ethan was falling and loosing a ring, but while editing the sequence felt a bit misplaced and i decided to cut it which made the end edit quite short.
It was interesting filming outside, but I look forward to film something that's more planned out and not as "random".

Storytelling unit - 'Soft' trailer

As part of our 'The meeting'-project we were asked to make a trailer for the short film 'Soft', directed by Simon Ellis. The task was to make a 1-2 minutes long trailer, using moment and clips that would sell the film.

I watched a lot of trailers to get inspiration and ideas for my edit, but found it hard to make an interesting trailer for a 14 minutes short film without giving too much away.

Soft - Trailer from Trine Hagan on Vimeo.

I'm quite pleased how the edit turned out, but I feel that the pace might be a bit too fast towards the end. I tried to solve it in various ways, but felt I was lacking in clips and didn't manage to find any god ways to solve the problem with the pace.

I spent a long time finding some music that would fit the trailer and I'm pretty happy how the audio turned out. In the beginning I was thinking of using music with vocals, inspired by the new trailer for 'Logan', and was thinking of using 'How you remind me' by Nickelback, but found it too fast and "loud" since I wanted to use a lot of dialogue. I therefore ended up using 'Before The Dawn' by Thomas Vo and Todd Burner as i found it more fitting.

I found this assessment harder than i thought it would be, but it was fun. It also made me a bit worried for when I'm going to edit the trailer for ASHORE as I'm not sure how I'll be able to edit a 2 minutes trailer without spoiling the entire film...


Nov 6, 2016

Storytelling unit - Roles & Locations 'ASHORE'


As the shooting is getting closer more and more pieces are falling in to place. The actors for Malcolm Caine and Rob Wescott has been decided and I've received confirmation on both of my locations.

Characters:


Rob Wescott

Andro Cowperthwaite a London based singer, songwriter and actor. He graduated from Drama Centre London in 2013 and has experience both from short film, theatre and small roles in TV.





Malcolm Caine

Jerry Anderson is an actor with over 30 years of experience in theatre and 5 years in TV and film, appearing in more than 10 feature films and several shorts. He is also an avid writer and has some of his own projects in the pipeline too.



Locations:


Beach

The beach I will be using is Tankerton Beach near Whitstable. We will be filming here in the morning 14.nov.







Malcolm's house

I managed to get in contact with the owner of Medway Little Townhouse, a B&B where I stayed when i first visited Rochester, who let me use her house as location. We will be filming here 15. nov.




Now the only think left is to decide whether or not I'm going to get a dog or drop it from the script and to find out what I will do about transportation to the beach. + Storyboard, call sheet and such...

Nov 2, 2016

Screenwriting research

As part of writing my script I went and read the pilot script of the television series 'House' and the script for some of the episodes of 'Mr Robot'. I also found a website called for Australian Short Films where you can read different scripts for short films made by other filmmakers both for inspiration and see how different screenwriters choose to layout their scripts.

I looked at the pilot of 'House' mainly to remember how the layout works since it had been over a year since I last wrote a script. I also compared the pilot for 'House' to the pilot for 'Mr Robot' to see how they introduce the characters differently. In 'House', David Foster use a lot of establishing shots before introducing the main character, Greg House. Sam Esmail does sort of the same in 'Mr Robot', but having the main character, Elliot, doing V.O from the very beginning over the establishing shots, and slowly revealing who he is.

On 'Mr Robot' I also looked at the dialogue since I took a great deal of inspiration from the dialogue in the series and adapted it to my own script.

Pilot 'House': http://leethomson.myzen.co.uk/House/House_1x01_-%20_Pilot.pdf
Pilot 'Mr Robot': http://www.zen134237.zen.co.uk/Mr_Robot_1x01_-_Pilot.pdf
'Mr Robot' ep. 1: http://genius.com/Mr-robot-eps10-hellofriendmov-annotated


//All images from Google.com\\