COMPONENT 3 NEA

NARRATIVE STRUCTURE OF THE SHORT FILM

- An analysis of how the narrative features and dramatic qualities of all short films studied are constructed, including through dialogue, highlighting key ideas which informed learners own production 

• Regarding the narrative features of the short film Wasp, the linear structure of the film was incredibly effective as it sustains the attention of spectators, there is no interruption that can distract formed opinions, ultimately creating a visceral response as I would question what may happen next instead of considering what may have happened before. This inspired my own method of production by chronologically ordering sequences, instead of including a restricted narrative, the purpose of having a linear form would be to influence understanding within the spectator. Including a similar simple structure is beneficial for my own short film as the content of the sequences are emotionally intense, having a restricted narrative or flashbacks may be confusing and interrupt the intelligent response of a spectator. 
• The short film Wasp focuses on British realism, highlighting lower class struggles. The dynamic of the family itself suffers from a collective struggle, that leads to internal difficulties within each character. For example the lack of dialogue between family members suggests how external struggles effects their ability to communicate. This approach of realism was effective in projecting a believable performance. Therefore I was inspired by this and went with the same approach in my own production. The idea of "harsh reality" was something I wanted to portray, though my narrative is inherently different to Wasp, it forms a thin line of connection as my main character suffers from external struggles - such as the lack of understanding from others or the hostility of their parents - that ultimately effects their own internal constraints. 
• Wasp includes a selection of dramatic qualities that subliminally provide meaning and atmosphere in order to influence an emotion from spectators, such as the handheld shaky camera. In moments of intensity, a handheld shaky camera is used to suggest "chaos" or "instability", it provides feelings of discomfort and tension within the spectator. I wanted to adopt this technical quality for my production, so in moments of high intensity, a handheld camera is effective in drawing out emotions and forming the deliberate aesthetic of secrecy and shame or even invasion. 

NARRATIVE STRUCTURE

CINEMATIC INFLUENCES

CREATING MEANING AND EFFECT

My short film "Baguettes and pillow cases" portrays a visual interpretation of what is truly a very internal struggle, gender dysphoria. The narrative (a narrative which establishes and develops a single character) follows a young male teen (Noah) who is suffering severely from his own confusion over his gender, contemplating if they are a transgender woman. The use of montage is particularly important in my short film, displaying mundane tasks of the day while explicitly suggesting Noah's confusion through their character interchanging with a female performing the same tasks. Ultimately creating the meaning of Noah being both people yet struggling to find the "in-between" to settle his turmoil. The film itself is a demonstration of expressionism and abstract film techniques, I chose to follow this film approach because the feeling of not being yourself is in fact abstract and uncomfortable. 

From the selection of short films we watched as a class, Wasp had a significant impact on my own content creation. Regarding the narrative features of the short film Wasp, the linear structure of the film was incredibly effective - following the equilibrium/disruption then re-equilibrium - as it sustains the attention of spectators, there is no interruption that can distract formed opinions, ultimately creating a visceral response as I would question what may happen next instead. Wasp follows a formula that is common in its genre of realism. This inspired my own method of production by chronologically ordering sequences, instead of including a restricted narrative, the purpose of having a linear form would be to influence understanding within the spectator. Including a similar simple structure is beneficial for my own short film as the content of the sequences are emotionally intense, for example Noah asking for help from their girlfriend yet being dismissed completely. Having a restricted narrative or flashbacks may be confusing and interrupt the reaction of a spectator. Though the role of the mother in Wasp clearly suffers with internal problems, certainly caused by external factors, as an audience we don't necessarily align with her because of the risky actions she part takes in - for example, leaving her children outside an unsafe pub. In my own short film, I did not intend for an audience to align with Noah, but instead to understand their predicament; after all, it is very difficult to understand gender dysphoria without experiencing it, therefore the visual implication of the disorder is effective. Another short film regarding narrative structure that influenced by own production was High Maintenance. Enigma codes are very relevant in High Maintenance, for example the moment where the protagonist simply switches her partner off and then begins to research for a replacement. The short film demands an intelligent response from spectators, I certainly was surprised once the action had been done as we were led to believe the man was a human being. This idea of presenting the mundane and then shocking spectators was something I greatly enjoyed and wanted to incorporate in my own film. Therefore I implemented enigma codes by using symbolism - for example, the interchanging of gender of the same role. This narrative technique derives questions from the spectator. 

There were many cinematic influences from the short films that we watched, particularly film form and sound has an impact on my own production. 'Grandmother" was an excellent example of experimental film and using abstract techniques to form a distorted and uncomfortable atmosphere. For example, sound was majorly impactful in the short film, the use of high pitches and low tones were effective in mimicking a feeling into something audible - like stress. I appreciated how this use of sound caused a visceral reaction from spectators, therefore decided to adopt a similar method in my own short film. Near the ending of my short film where Noah reaches out towards the mirror, interchanging with their female self I used the use of a heartbeat an an increasing crescendo. The heart beat reflects the tense moment in which the spectators can relate too, feelings of anxiety are certain to be manifested. Once the heartbeat stops, the screen goes to black, the sound is now a deafening silence, also used in Grandmother, it projects an awkwardness and allows spectators to question the next moment. The final scene is both Noah and they're female self in the same shot, sitting together on their knees. This is where I utilised the high pitch frequency that is common in Grandmother, the sound is abstract and shocking. Though I interpret the use of the high pitch sound differently in this moment rather than for the purpose of uncomfortability in Grandmother. I believe the high pitch suggests a different reality, almost like a dream, where Noah can actually be connected with his true self instead of being unable to have self-expression because of their circumstances. Perhaps this is a form of hyper-reality, where the spectators are taken out of the narrative of the short film whereby it is replaced with a symbolic presentation of the peace that may be found within Noah once they can finally be free from their suffering. 

Regarding the use of camera, I found that "Gunfighter" used interesting methods with camera movement to enhance the pace and comedic elements of the short film. Though my short film does not contain humour, I strongly believe that Gunfighter influenced my cinematic intentions. The pace in Gunfighter is extremely fast and hectic, there are frequent occurrences that seem to be happening within a very close time frame from one another, such as the number of characters increasing rapidly within the scenes. The camera emphasis this rapid pace as the use of panning left and right while also being handheld projects a high intensity and lack of stability, after all the short film is certainly an exposé of secrets and lies. Regarding my own short film, Noah is also living a lie, their true gender, therefore the use of handheld camera and rapid panning is excellent in portraying this similar instability, yet not in a comedic way. For example, Noah is applying lipstick and wearing a dress, the scene is calm, with little camera movement to suggest the comfort they feel when experimenting with new ways to express themselves. Natasha then barges through the door unexpectedly, shocked at what she is witnessing. This is where I adopted the fast pace panning from Gunfighter. The camera switches to handheld instead of on a tripod, the shaky position represents the tension and feeling of being exposed. As the two argue I filmed the scene with extremely fast back and forth pans within each character that are on opposite sides of the room. The unstable pans increase the magnitude of the situation and emphasise the severity of the situation, Natasha screams this verbal abuse that is upsetting to witness.