Friday 17 September 2010

Research into similar products short film 02

Sad Anxious, and Lonely.



Sad anxious and lonely


  • The sound bridge that carries over from the black frame that fades into the diagonal close up suggests to the audience that the short film deals with issues  within the protagonists mind, and this is the concept of this film , showing emotions above story.
  • The costume throughout remains the same, in black, which connotes a darkness inside the character. It also show a carelessness about appearance, as the character is dealing with his inner opinion of himself.
  • The extreme close up of the character’s eye exposes his tension, which matches the close up of the tapping of the cigarette against the table, which suggests his uneasiness and also the passing of time.
  • Discontinuity is used as he plays with the cigarette after he is seen smoking it, to show that time is not important for him as he will always be the same; sad and lonely.
  • The high angle of the bottle in focus as the protagonist is out of focus connotes that he feels that the bottle is more important to him then he is.  
  • The long shot of the character sitting at his table suggests to the audience how alone he is, and the endless nothingness that is his life.
  • The close up of his profile connotes that he feels that he is only living “half” his life, and that he is incomplete.
  • The zoom in pause frame, followed by the fade out suggests that time seems to have stopped for him as nothing has changes and nothing ever will.
  • The film is shot in de-saturated colour, showing his life is lacking in excitement, colour and joy.


This film is shot more of a mood piece, and has little story line, but a strong concept, and connotes a great deal of emotion through the lighting, cinematography and mise-en-scene. This is the standard of emoting that we hope to accomplish in our film through these elements, and also with a silent dialogue, however our film is planned to be longer, and will a more conventional story line.  
  

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