‘Soft’ versus ‘Wasp’ - Analytical comparison By: Unknown No comments

Soft is a short film directed by Simon Ellis which follows the story of a teenage boy who is pushed to his breaking point when delinquent neighborhood youths show up at his house and harass him and dad. The film is of the drama, crime, but most of all, social realism genres and covers many themes including; courage; bravery; confidence; trust/distrust; growing up; keeping up appearances; relationships; family; struggle, status; respect/disrespect; youths, pain; cruelty; persecution and violence.

Wasp is also a short film, however it is directed by Andrea Arnold and is the strugglesome story of a young mother, mired in poverty, who desperately wants more for herself than the limitations of being a under class, single-mother of four. Despite the responsibility she bears, when an old crush returns unexpectedly and asks her out on a date, she can’t refuse, which opens an opportunity to regrettable consequences. The genre of this film, like ‘Soft’, is also social realism and it covers many of the same themes as well as some others including; family, social class, poverty, children, struggle, deprivation, romance, neglect.

Both set in contemporary London, they contain a number of similarities. To begin with, the themes of ‘parenthood’ and ‘responsibility’ are  evident throughout the narratives of both films.

For example, the emphasis on parenthood within Soft  lies within the relationship that is depicted between the two main characters: the father and son. Likewise, the theme of responsibility is shown through the father’s obligation to protect his son, regardless of the fact that he seems to fail at this.

Similarly, in Wasp the themes of parenthood are clear as the narrative centres around the life of a mother and her children. The theme of responsibility is explored in a number of ways: firstly, the mother’s lack of responsibility in caring for her children and, secondly, the responsibility that the eldest of the children (who is still in her primary years) takes in caring for her siblings.

As well as possessing some of the same themes, both narratives also follow a “versus” structure. Within Soft, the versus presents itself as a struggle between the “bullies” and the father and son. This is a clear scenario in which two groups or people are fighting against each other. Although this structure is perhaps less evident within Wasp, the inner-struggle that the mother experiences in choosing between her love interest and her children also presents a versus. Likewise, the final scene in which the youngest child is latched onto by a wasp conveys a less abstract versus: one physically between the child and the wasp.

In regards to cinematography and editing, both films use sequences that are filmed by a hand-held camera. This creates negative connotations regarding the mood of the film. For example, In Soft, the handheld parts are when the teenagers are on screen as these teenagers are negative characters within the film and the cameras help to show their rowdy, disruptive movements which makes watching the film even more intense. Likewise, in wasp handheld movements are used to express the distress and suspenseful atmosphere of the film. it is also used during the more tense parts of the film as hand held camera movement can often make the audience feel like they are experiencing the action first hand.

Likewise, both films use a variety of different editing techniques, including high-speed editing to create high-tension scenes. For example, soft is constantly being interjected with raw, handheld footage throughout which enhances the experience as it conveys the unsettling, disturbing mood of the film.

Furthermore this mood is also reflected by the high-speed editing in the most tense parts of the film as this mood is then portrayed successfully to the audience, creating further suspense and tension. Unlike soft, wasp uses mainly low speed editing. Other editing aspects include blurring in and out of focus, and the contrast in speed and colouring between the ‘good’ and ‘bad’ clips. Like soft, these moments, and the overall mood of the film are made evident due to the use of lighting, music and editing.

Near the beginning of ‘Soft’ we can hear loud, diegetic music from son’s room which shows him shutting himself away/blocking out the world and the bullies. This audial barrier also shows his broken/stilted relationship between him and his father.  On the other hand however, the diegetic music used in ‘Wasp’, for example in the pub and in the car, are used to portray happy moments and show the mother try to get herself back into the outside world, rather than trying to shut herself out of it like the son in Soft.

Later on in Soft  we also hear the non diegetic sound of a heartbeat when the father is walking away from the crowd of youths. This is successful as it shows the characters nervous emotion and builds tension for the audience. In contrast to this, the upbeat non diegetic music in Wasp which is played as the credits begin to roll is used at the very end of the film after the touching moment between the mother and her four children and is the same song that they all sang together earlier on in the film, one of the few happy parts, therefore this use of non diegetic music brings happy connotations.

At the end of Soft we then hear the piercing car alarm which is extremely unpleasant, therefore creating tense and unsettling atmosphere to sit through; much like the subject matter of the film. It also symbolises the pain and violence of the film as it is a harsh, piercing sound. (Something which could also be related to a police siren which links to the crime genre and the seriousness of the situation.) Likewise in Wasp we can hear the overly loud sound of traffic which also creates a strange, uncomfortable atmosphere for the audience, again, linking to the equally disconcerting subject matter of the narrative. It also connotes danger as whilst watching it I was scared that something bad was going to happen to one of the children as the sound had such a negative mood.

Furthermore, this alarm sound only comes to an end when the father uses his car keys to silence it, giving him a small sort of power and status which he didn’t have before. This could be seen as a metaphor for the power that he and his son gained/stole from the act of defeating the oppressors.

Unlike soft however, in Wasp we can also hear a lot of sounds created by the children. For example, the children singing and the baby crying and in Wasp there is even some scary music at times to help accentuate the mood.

Both soft and wasp include a range of shots and angles to engage the audience and follow the fast moving pace of the film. For example, in wasp, they make good use of the close up, as in just 24 minutes we see a close up on the wheels of the buggy, a close up of the mums legs and thighs, a close up of Dave’s mouth as he is speaking and not to mention, the repeated close up on the wasp which is essential for this particular film. This is because, like the title of the film, by constantly being shown repeated close ups of the wasp, it helps to make this image stick in the audience's mind so that at the end when we see the wasp on the baby’s mouth we know something bad is about to happen

An interesting use of camera angles in Soft which contrasts to that in Wasp is during the kitchen scene when the son is only shot from one angle of his face so we can’t see the bruises. This is effective as this withheld information creates suspense for the audience. Wasp also uses a few more different types of innovative camera shots and angles, for example, where the camera pans through all the people in the pub before stopping focusing on Dave. This could symbolise how much he stands out from the crowd to Zoe, and subsequently, how much she is willing to risk for him, whether this is a right or not choice. There is also an effective use of an over the shoulder shot of the Zoe looking out of the window as opposed to a P.O.V shot where we wouldn’t be able to see her expression, here the use of the angle and her facial expression helps to show her longing to rejoin the everyday outside world again.

Another interesting shot used in Soft is the from above/crane, establishing shot which introduces the audience to the setting. This same shot is also shown again at the end of the film, giving it a circular structure.

Soft has moderately high-key lighting throughout, however the handheld footage, it has a darker, more grainy filter. Similarly, for the most part of Wasp, the lighting is high key however during the night scenes, it switches to low key, especially when they are outdoors. This is effective because in soft the hand held parts are the most tense and negative parts, and in Wasp the most tense and negative parts are set at night.

The performance in both films’ is extremely successful as the characters are realistic and believable, for example; in soft the father and son’s relationship seems real which can’t necessarily be said for a lot of similar relationships in TV dramas today. Likewise, in wasp the relationship between Zoe and her children and the four siblings themselves is very believable which is sometimes hard to find in such young actresses. The fact that they are so believable help to make the film itself seem more realistic and relatable and also helps you emphasise with the troubles and dilemmas of the characters more. For example, if Zoe wasn't so convincing we might come to dislike her for the choices she made. However, as the actress is so honest and true in her performance, her true intentions and love for her children shine through her irresponsible outer shell.

Through the use of their facial expression, body language, voice, movement, and paralinguistic devices, the characters are also able to convey a range of emotions such as anger, fear and bemusement.

An example of this would be in soft when the bullies are outside their house, sitting on their car and shouting abuse through the door. Here we can sense the sons fear as the conversation between him and his father gets more and more tense, with the son constantly repeating “Do something dad!” after every line of abuse and the father holding him back. We can also see the father’s fear in this scene as his eye focus grows more shifty and uneasy and he continues to swallow more and more often, both of which are clear signs of nervousness which show that he too is just as, if not more, afraid than his son.

In wasp there are any many aspects of performance that are successful, for example, the fight at the very beginning of the film between Zoe and the other mother, had the opportunity to look ridiculously rehearsed, however it actually really looked as though Zoe was fighting for her child’s pride. Furthermore Zoe shouting at the children is very effective as when we see the children crying it makes the audience feel empathetic towards them. This could also be said for Soft when the father continues to shout and curse at his son, even going as far as to push him back inside the room, clearly conveys his heightened anger and fear and we feel empathetic towards the son as all he is trying to do is live a normal life, just like the children in wasp.

The evident differentiation between the “good” characters and the “bad” characters in soft is shown through their contrasting behaviour. For example, the audience are made to feel sympathetic towards the father and son as their more timid, innocent body language and behaviour towards the beginning of the film and the fact that they are being ridiculed and abused so cruelly by the oppressors, evokes sympathy in the audience, who therefore label them as the ‘victims’ or ‘the good guys’.

On the other hand, they are made to feel hatred towards the bullies because of their crude, offensive behaviour which go against the expected norms and values of today’s society.

This contrast is also shown through other visual elements such as the difference in physical appearance, costume and props. For example; the bully’s informal hat and tracksuit set which are stereotypically associated with lower class, delinquent youths, compared to the father’s formal shirt and tie attire which are usually associated with well respected, well - off gentlemen.

In contrast to this there aren’t really any ‘all good’ or ‘all bad’ characters, just bad decisions and scary moments.

Props are also very important in ‘Soft’ and also fairly important in Wasp, too.  An effective example of this is at the end of the film when the boy uses the baseball bat to fight back to the bullies as it represents his change in heart which is a pivotal and shocking moment in the film. Likewise, in wasp the constant sight of buggies helps to reinforce the theme of childhood and innocence which is somewhat juxtaposed within Wasp and with Soft.

The setting in soft simply ranges from in and around their house and local shops which is similar to wasp as wasp is only set in and around their council estate and the local pub.

In conclusion, therefore it is clear to see that there are many differences, but also many similarities between the two films in terms of cinematography, sound, editing, mise en scene and performance. Furthermore, although the narrative is slightly more advanced in wasp, the themes of parenthood and family are evidently present in both.

"The Impossible" Tsunami scene - Analysis (first draft) By: Unknown 5 comments

The Impossible is based on true life events, and just as real life can’t adhere solely to one genre, neither can the film. Therefore, it is made up of a hybrid of genres and includes conventions of a drama, thriller, action and a true story, as well as just a disaster movie.

Written by Sergio G. Sánchez and María Belón and directed by J.A. Bayona, it has won twenty-seven awards since it’s release in 2012, and has been nominated for a further sixty-one including an Oscar academy and golden globe.

The film is set in late 2004, where Henry (Ewan McGregor) and Maria Bennett (Naomi Watts) and their three sons Lucas, Thomas, and Simon have just arrived at their beach resort in Khao Lak, Thailand, for their Christmas vacation. The story begins when, without warning, a gigantic tsunami hits, taking the whole city and half the Bennett family with it. The tsunami's aftermath results in a landscape full of carnage and destruction and the family, some with life-threatening injuries, are torn apart.

Within the tsunami scene of The Impossible, a variety of different micro-features are used to create a tense and dramatic atmosphere and drive forward an extreme ‘man versus nature’ narrative without relying primarily on the use of dialogue. The micro-features I will be looking at in particular are cinematography and sound and I will be analysing the ways in which these features present the themes of the film.

For example, when Lucas is shown diving underwater as the tsunami washes over him, the theme of “destruction’’ is portrayed through the evident change in the colour palette. The vibrant blue of the water turns to a muddy brown, representing the shift in mood. This change, which shows a less saturated colour palette, is also evident in the contrast between the use of lighting from the beginning of the scene compared to the end. For example, the scene starts with high-key lighting which accentuates the bright blue and green tones and represents the intended concept of an “idyllic family holiday”, however, after the tsunami hits, particularly when shot from underwater, the lighting switches to low-key, and the bright colours are replaced with a dull brown. In some parts the imagery is entirely black with only occasional flashes of brown interjected.

I believe the beginning of the scene was purposely made brighter in order to show an even bigger contrast between the “perfect day at the pool” in comparison to the utter devastation of the same landscape, post tsunami.

This theme of destruction is also evident from the two consecutive shots of the wave smashing through windows, shot first from the right then the left. This, alongside the the sound of the glass and various other buildings and belongings smashing and breaking, shows the destruction caused by the tsunami and foreshadows later events.

Not only does the tsunami show destruction but it also shows devastation; destruction on an even larger scale. In order to show this, an aerial shot is used which allows the audience to see the approaching wave and the devastation it causes with each second that it continues to devour the land. However, instead of simply shooting this from a bird's eye view, the camera slowly zooms outwards, from a single palm tree, until we can see the huge expanse of land that it has consumed. As it reveals more and more, the audience grow continuously more amazed; every time that they think they’ve seen it all they are exposed to even more devastation.

Likewise, the theme of disaster is shown by a fast zoom forwards across the body of water to show the audience that it seems almost ‘never ending.’ This is accompanied by the constant crashing of waves and wailing of the wind which are loud and harsh, all common conventions of such a large-scale natural disaster.

Another prominent set of themes in this scene, which are presented effectively with the use of sound and cinematography, are that of fear and terror. From my additional contextual research of real tsunami footage, it is clear to see the types of camera shots, angles and movements and the skills and  techniques used to film this scene are extremely effective; as they really capture the terror of a tsunami by conveying to the audience how sudden, extreme and terrifyingly traumatic it would be to experience such a disaster.

An example of this would be the use of close-ups to show the characters terrified expressions, as by watching this it makes seem more intense and scary for the audience. Likewise, as the second wave hits, tense, suspenseful music kicks in. The music consists of what sounds like primarily orchestral strings, which create a very dramatic effect that connotes danger and evil. This haunting and synchronous music therefore reflects the terrifying mood of the scene and how the characters would be feeling at this point in time.

Additionally, the theme of fear is presented when the camera pans a full 360-degrees whilst underwater as this makes the audience feel as if they, too, are underwater, being made as disoriented and terrified as the characters themselves.

Another theme, perhaps expected within a film that follows such a distressing narrative, is tragedy. Through the use of many blood-curdling, tear-jerking cries and effective moments such as the medium close-up of Maria, clearly showing her distraught facial expression and the rapid water surrounding her, this choice of shot is successful. The audience is able to see the panic on her face as she cries and screams in despair and the water acts as a reminder of her horrific situation.

Undoubtedly, the use of sound is always key in creating a sense of mood and, in this scene, there is no exception. The use of muffled sound when the characters are beneath the water, particularly when they are  screaming, creates a sense of suffocation which subsequently connotes the theme of “death”. When we see the characters flailing in the water, gasping for air, drowning, an obvious connotation is death.

Like fear, this theme is effectively supported by the use of sinister music as the kind of instruments and deathly mood created by the music are common conventions of the horror genre; a genre which often revolves around the theme of death.

In contrast to this, a more heartwarming theme which is presented in this scene is ‘family’. This theme is evident from the very beginning of the scene when we see Henry playing with the children in the pool and then again as soon as the tsunami comes into sight and Maria’s maternal instincts kick in with her dialogue: “Henry! The boys!”. This shouting element, which isn’t particularly common in many films, is also continued throughout the scene and is therefore a notable audial observation in the scene. For example, just a few seconds afterwards, we hear Henry shouting “Lucas!” and then later on in the scene Lucas shouting “Mum, I'm scared!” and “I want to go home!” which show a clear theme of family.

This theme is also evident when Maria and Lucas are reaching over the mattress, trying to grab each others hands. This is effective as it uses P.O.V shots which make the audience feel like it's their own family member they’re reaching for, causing them to empathise with the characters and their family predicament.  

This scene where Lucas and Maria are reaching for each other also touches on the themes of ‘hope’ ‘determination’ and ‘survival’ as there is a close-up of their hands, showing the hope of how close they are to reaching each other before they are torn apart. Furthermore, the mattress that they are clutching for is bright blue, much like the colour palette at the beginning of the scene, as if this bit of blue within the sea of brown is their saving grace, which could therefore be symbolising the hope of returning to normality; they are being reunited again.

The theme of survival is also shown from the high-angle shot of Maria bursting out of the water, gasping for air which  portrays her will to survive, rather than succumbing to defeat. However, one could also say that the sounds of glass breaking and the destruction at the beginning of the scene could act as a metaphor for their family  breaking.

Furthermore, the themes of loss and separation are shown through the use of a dolly/crab/tracking shot from Lucas’ point of view which show Maria being dragged in the opposite direction to him and just as their hands are almost touching, we see a wide-shot of the tree preventing them from holding on to the mattress or each other any longer. It is also interesting to note from watching ‘behind the scenes footage’ of the making of this film, how often dolly/crab/tracking shots are used to track the character's whilst they’re in the moving water.

Similarly, the close-up of their hands also presents the themes of ‘struggle; and ‘desperation’ as, as camera gets closer to them, their hands gets closer to each other. These themes are also demonstrated through both the audio and visual of them splashing in the water; struggling to survive. Their screaming also presents the theme of ‘panic’ which is supported by the shaky handheld camera movements used to create the illusion that the character themselves is shaking, and the high speed editing that flicks left and right whilst pieces of debris fly past the camera, making the audience feel as though they are under attack. Similarly, having the camera switch between shooting beneath the water and above it allows the audience to feel as if the visuals are describing their own experience.

Another theme evident within this scene is of pain and suffering. Firstly, this is shown through the sound of Lucas’ ear ringing from an injury as this is disorientating for the audience and makes them feel like the ringing is in their own ear, therefore making them feel very uncomfortable. Secondly, this is shown by the sound of a branch snapping into Maria’s leg and injuring her. This is because the harsh sound makes you wince from imagining it happening to you, and therefore empathise with her as you do with Lucas when you hear bits of debris smashing into him.

Furthermore, various techniques are used throughout the scene to portray ‘tension’, ‘suspense’ and ‘ The unknown’ . For example, an entire thirty seconds of pure, silent darkness is effective because not knowing what's happened creates anticipation regarding Maria’s survival. As is the, unnervingly realistic, length that it remains for, which makes the audience feel more included. Likewise, the rumble of the approaching wave creates similar tension as the audience are waiting to discover the sound’s source. In fact almost everything in this scene, from the sound of fast rushing water and high speed editing which connote how fast it all happened, to the fast-paced, clashy, hexachordal music that sounds like a swarm of buzzing bees, leaves the audience wondering ‘What’s going to happen next?’

Similarly, when the tsunami hits and the characters are filmed standing up slowly to create suspense, it is eerily quiet. The previously loud, energetic mood disappears; everyone stops speaking and all you can hear is a shaking sound which links to the slightly shaky camera. The camera zooms in on the character's’ facial expressions in order to show their reactions to the tsunami. Therefore, the audience discovers what’s about to happen from the characters reactions rather than the action itself. Likewise, at the beginning of the scene when the audience can’t see what Maria is looking at, and then camera follows her gaze upwards to reveal a weather shot, further tension is built as we don’t know what's creating the silence and terror.

Also, if you look very closely you will notice that the first glimpse of the tsunami we actually see is through the reflection of the glass, which is both unusual and effective as it helps to support that idea of mystery, suspense and ‘the unknown.’

Foreshadowing is also an effective way of building suspense and tension and is used when we watch Maria through the water-covered glass which could therefore foreshadow the water to come.

Furthermore, the worm's eye shot of the sky ensures that the audience can’t see what’s going on on land and therefore don’t know what's about to happen. All they are shown is the trees blowing in the wind,  birds flying overhead, a universally known code for ‘warning’, and, perhaps most obviously, the screams in the distance which all foreshadow ‘danger.’

In conclusion, the range of audial and cinematographic techniques which proved effective, include everything from the dull colouring being juxtaposed with the blue sky, to the white noise used to represent Lucas’ ear injury, to parts being dolly shot though a car window or from behind trees as though from a third point of view. Therefore, it is clear to see that there were many elements in this scene that proved both successful, and effective, in presenting the themes of the film.

‘Soft’ - Analytical notes By: Unknown No comments

Genre: Drama, Crime

Themes: Courage; bravery; confidence; trust/distrust; growing up; keeping up appearances; relationships; family; status; respect/disrespect; pain; cruelty; persecution; violence

Near the beginning of the film we can hear loud, diegetic music from son’s room which shows him shutting himself away/blocking out the world and the bullies. This audial barrier also shows his broken/stilted relationship between him and his father.

Later on in the film we also hear the non diegetic sound of a heartbeat when the father is walking away from the crowd of youths. This is successful as it shows the characters nervous emotion and builds tension for the audience.

At the end of the film we then hear the piercing car alarm which is extremely unpleasant, therefore creating tense and unsettling atmosphere to sit through; much like the subject matter of the film. It also symbolises the pain and violence of the film as it is a harsh, piercing sound. (Something which could also be related to a police siren which links to the crime genre and the seriousness of the situation.)

Furthermore, this alarm sound only comes to an end when the father uses his car keys to silence it, giving him a small sort of power and status which he didn’t have before. This could be seen as a metaphor for the power that he and his son gained/stole from the act of defeating the oppressors.

The film begins with a from above/crane establishing shot which introduces the audience to the setting. The same shot is shown again at the end of the film, giving it a circular structure.

Hand - held camera shots are used in ‘Soft’ to show movement and make watching the film even more intense as it makes the audience feel like they’re experiencing the action first hand.

The film includes a range of shots and angles to engage the audience and follow the fast moving pace of the film.

In the kitchen scene, the son is only shot from one angle of his face so we can’t see the bruises. This is effective as this withheld information creates suspense for the audience.

The film has moderately high-key lighting throughout, however the handheld footage, has a darker, more grainy filter.

The film is interjected with raw footage throughout which enhances the experience as it conveys the unsettling, disturbing mood of the film.

Likewise, this mood is also reflected by the high-speed editing in the most tense parts of the film as this mood is then portrayed successfully to the audience, creating further suspense and tension.

The performance in ‘Soft’ is extremely successful as the characters are realistic and believable, for example; the father and son’s relationship seems real which can’t necessarily be said for a lot of similar relationships in TV dramas today.

Through the use of their facial expression, body language, voice, movement, and paralinguistic devices, the characters convey a range of emotions such as anger, fear and bemusement.

An example of this would be when the bullies are outside their house, sitting on their car and shouting abuse through the door. Here we can sense the sons fear as the conversation between him and his father gets more and more tense, with the son constantly repeating “Do something dad!” after every line of abuse and the father holding him back. We can also see the father’s fear in this scene as his eye focus grows more shifty and uneasy and he continues to swallow more and more often, both of which are clear signs of nervousness which show that he too is just as, if not more, afraid than his son.

The father then continues to shout and curse at his son, even going as far as to push him back inside the room, which also clearly conveys his heightened anger and fear.

The evident differentiation between the “good” characters and the “bad” characters is shown through their contrasting behaviour. For example, the audience are made to feel sympathetic towards the father and son as their more timid, innocent body language and behaviour towards the beginning of the film and the fact that they are being ridiculed and abused so cruelly by the oppressors, evokes sympathy in the audience, who therefore label them as the ‘victims’ or ‘the good guys’.

On the other hand, they are made to feel hatred towards the bullies because of their crude, offensive behaviour which go against the expected norms and values of today’s society.

This contrast is also shown through other visual elements such as the difference in physical appearance, costume and props. For example; the bully’s informal hat and tracksuit set which are stereotypically associated with lower class, delinquent youths, compared to the father’s formal shirt and tie attire which are usually associated with well respected, well - off gentlemen.

Props are also very important in ‘Soft’. An effective example being at the end of the film when the boy uses the baseball bat to fight back to the bullies.

The setting simply ranges from in and around the house and shops.

‘Get off my land’ - Analysis By: Unknown No comments

Get off my land is a short suspense-filled drama of the crime genre by Douglas Ray.  The basic narrative follows a young couple who find themselves faced with a deadly conflict, when they fail to follow a public footpath.

 

The first thing I notice about the mise en scene of ‘Get off my land’ is the setting, as the entire film is set in the open countryside. This is effective because it is quite unusual and the outdoor setting enforces the idea of ‘journeys’ ‘adventure’ and ‘mystery’.

Another theme which I believe is key throughout this particular film is ‘death’ as many elements of the film such as the sound and editing help to create a chilling, deathly feel.

For example, low speed editing is used throughout the film which is quite unusual for the crime genre which often uses high speed editing for effect. However, in this case it is rather effective as it helps to build suspense and tension. This low speed editing is particularly effective towards the end of the film where the audience can hear the sound of a gunshot and birds fleeing the scene however, the writer uses withheld information here as he only allows the audience to see this scene of dense forestation and leaves them guessing who the gun was shot by and what has happened as a result of it.

The use of sound, or lack thereof, is also effective throughout the film because it too, is able to build a great deal of tension in the audience. Unlike a lot of shot films this piece uses no music and limited sound effects.

Silence is often used in this film to build an effect; awkward silence as they are walking, tense silence during the conflict with the landowner and deadly silence once the couple have been shot. Furthermore, the only sounds we really hear in this piece apart from the minimal dialogue, are the sound of a truck pulling up, the sound of gunshots and the sound of crying. Everything else is usually only accompanied by the eerie whistle of the wind.  

The performance in this film is extremely shocking and disturbing, however it is not over exaggerated. This is effective because the realistic style of drama makes the film feel more believable; as though it could happen to anyone one of us, which makes the narrative even more chilling.

The film also uses juxtapositions, for example, it being set in a beautiful brightly coloured countryside, with quite high key lighting, however the subject matter and events of the film are the exact opposite; dark, daunting and deathly.

I believe that another theme in this short film is that of ‘desolation’. A desolate outdoor place, filled with tense silences, a mere three actors and minimal props. In fact, one of the only props used in ‘Get off my land’ is a gun, which again reinforces the theme of ‘death’. Desolation is also shown through the use of extreme long shots such as the one shown of the forestation above. This helps to create the idea that the couple are in the middle of nowhere, too far away from everyone and everything  to be seen, or more appropriately; heard.

Something else which is interesting within the film, is the fact that names are never mentioned which adds to the idea of ‘suspense’ and withheld information, creating a strangely desolate feel.

There are also several different types of camera shots and movements used during the film for effect. For example when the camera pans upwards slowly at the very beginning of the film to show the couple’s shoes, as they, unknowingly, continue along their journey to their death. A downwards pan shot is also used further on in the film when the camera tilts downwards to reveal the object of their demise. This is effective because it creates more suspense than a straight cut edit which wouldn’t allow the audience enough time to wonder, and subsequently be shocked, by what is at the hand of the landowner.

'Who Am I?' Video By: Unknown No comments

'Ralph' - Analysis By: Unknown No comments

‘Ralph’ - Analysis

Ralph is a short short film set in Marseille, France that follows the story of a teenage boy who travels to the south of france to pursue his first love ‘Claire’. Unfortunately however, his feelings for Claire are only one - sided, for Claire sees Ralph merely as a friend, or worse still, a ‘younger brother’.

Naturally, the first themes which spring to mind are that of love, relationships, and more specifically, one sided, unrequited love and the idea that ‘love hurts’, especially your first.

However, this film is not just your same old, simple ‘unrequited love’ narrative, that you’ve seen regurgitated a thousands times before; ‘Ralph’ is about so much more than just ‘what happens’ on the surface.

For example, even though the film is only twelve minutes long, there are loads of themes evident throughout the piece, which, when added together, help to create a complex, multi-faceted picture.

One of the many themes which can be noted include isolation and loneliness. In the opening scene, Ralph is standing completely alone as he gets off the train at the station, a place which is usually buzzing with people. This foreshadows the long, lonely journey, both physical and emotional, that he has ahead of him.

The dramatic emptiness of the train station is also representative of the fact that he is in an unknown place, alone without anyone he knows, all of which follow the themes of ‘Foreign places’ and ‘The Unknown’. This is also emphasised by the use of a long shot, which helps to show the vast, empty expanse of the station and his aloneness within it.

The fact that the film starts by showing a mode of transportation, in this case being the train pulling up, also supports the theme of a ‘journey’, ‘quest’ or ‘search’, which is a common narrative outline, that can be found in almost every genre.

After arriving in Marseille and realising Claire gave him the wrong phone number, Ralph feels desperate, and hopeless, both of which are significant themes in the film and are supported by his failed attempts at reaching her, which could also come under the themes of miscommunication, unreciprocation or unsuccessfulness, and his complete and utter isolation in such a new and unknown place.

The scene on the left also emphasises this, due to the number of people who are passing him by as though he isn’t even there.

As he stands alone in the centre of the frame, which forces the audience to focus all of their attention on him, the use of a crane shot is extremely effective as it allows the audience to see these people passing him by without even noticing him, which wouldn’t be as easily noticeable, if this was shot from a closer or lower angle.

Furthermore, in this scene he is wearing a bright red T - Shirt, which makes him stand out from the crowd of predominantly black and white commuters; an outsider. This is then reinforced again shortly afterwards once the dialogue begins, by the disadvantage that the language barrier brings.

In the scene in which Ralph is writing out all of Claire’s possible phone numbers, the themes of struggle, turmoil and overcoming obstacles is evident, as by watching him dial every single combination of numbers, the audience are able to relate to his pain. This is also reinforced by the close up shots of the paper and pen which force the viewer to focus on nothing but the tiresome task at hand.

After hours of unsuccessful phone calls, Ralph is nearing the end of all hope and ends up seeking refuge in a café outside the station. Here he meets Julie, a waitress with whom he strikes up an immediate relationship. It is interesting to note that other than Ralph, Julie is the only character who wears a bright coloured T - shirt, automatically linking the two characters together in the audience’s subconscious through the use of visual psychology.

The story climaxes when Claire appears unexpectedly, accompanied by her new boyfriend ‘Lorenzo’ and suddenly Ralph realises how naive and stupid he was to have believed that a relationship with a girl who sees him as a ‘younger brother’ would have ever been a good idea. POV shots/close up’s of his face are used effectively here in order to show this realisation.

This also introduces the themes of innocence, naivety and misjudgement, (of Claire and their non - existent future together) epiphanies and realisation, (that he was wrong about them both) and emotional freedom, liberation and relief (that he can be finally be free of his infatuation and desperation for her, which would have inevitably ended up leading to disappointment sooner or later.)

He is then faced with the decision of choosing between the girl whom up until five minutes ago, he thought he was ‘in love with’, and a stranger who holds the opportunity of a new beginning.

This part of the story focuses on the themes of dilemmas, life choices or ‘crossroads’. This idea of the two different options or outcomes (Claire or Julie, a life of a lie or an opportunity for a new beginning) is also supported by the physical setting of the scene which is in the middle of an intersection; a ‘crossroad’. This suggests that the setting itself is a metaphor for the choice that Ralph has to make at this point in time; which road will he take?

Interestingly, the use of props throughout the film, in particular, the huge suitcase of luggage that Ralph can be seen lugging around with him everywhere he goes, slowing and dragging him down, could also be seen as a metaphor for his emotional baggage and the weight of the burden of being so hung up on Claire. So when he  realises his naivety and is freed emotionally, it’s like that weight is lifted. This is also shown by the fact that in the final scene when Ralph walks after Julie, he does it with ease, unlike at any other point in the film so far, as though the suitcase is no longer a burden to him.

This final scene also touches on the themes of ‘seizing the moment’ and ‘grasping opportunities’ when you are lucky enough to find them, which is appropriate for the relationship between Ralph and Julie. Likewise, this scene is also about Ralph having ‘faith’ in his intuition and taking a ‘chance’ on Julie, therefore letting ‘fate’ lead the way and having ‘hope’ that he made the right decision.

Another theme I noted in ‘Ralph’ was ‘loss’, not only loss in terms of Claire, but also ‘loss of innocence’; the classic ‘coming of age’, or in this case, ‘wake up call’ story for the Ralph. In short, this narrative usually portrays a young protagonist who is introduced to the complexity of the adult world. Sometimes the protagonist is eager to step into this new world and sometimes they are thrown into it by an incident that may or may not have been in their control. In this case, Ralph chooses to delve into the chaos which we all know as  ‘today’s society’, however, by doing so he was therefore forced to face the reality that his fantasy of a ‘happily ever after’ with Claire would simply never become reality and that in the real world everything doesn’t always happen as planned, sometimes you just have to learn to appreciate the opportunities that arise.

Finally, it is key to note the use of lighting and saturation throughout the film. For example, at the beginning, the lighting is low key and uses a dark colour palette, however, by the end, the lightning is much brighter and uses warm colours and tones. To conclude, Alex Winkler uses mise en scene, cinematography, sound, performance and editing to build, strengthen and develop the narrative of the film both successfully and effectively from beginning to end.