Conventions of Short Films

I was going to do a blog post on the narrative theories associated with short films, however I am yet to find anything substantial. It would seem that most short films conform to the principal theorists I mentioned in my last post, but on a more condensed running time. So I am going to proceed with looking at the conventions of short films, because I think that this will definitely be more insightful as to how narratives are made concisely and technically constructed. 

I will use Internet sources to do some research, but then I also intend to watch some short films myself to establish some conventions that I find and that others may have missed. Obviously short films are characterised by their shortened length so I do not feel the need to explore that, but here is what I have found:

Character

The main points to be identified regarding  character (and sometimes narrative) are that there should only be a limited cast. This is because a short film's duration, which is five minutes in my case, doesn't provide the length to establish backstories and character development. This is also done as a way of simplifying the narrative, since audiences do not want to be bombarded with characters they are expected to connect with in a short space of time. In relation to narrative theory, I would therefore need to select only the essential archetypes from Propp's list. 

Narrative

In terms of plot and story, most short films will follow a linear pattern with an easily accessible narrative. That means that there should be no overly complicated political conspiracy or murder mystery to solve over the course of five minutes. Instead I find that the complexities of the story come not in the events, but in the subtext. The subtext refers to the elements that aren't overtly expressed, and often come in the form of a moral dilemma or emotional depth. I have found that many short films (my reference point here is the short film 'Passing') use a basic plot that often forces the characters to undertake a new perspective, creating a simplistic but impactful story told with nuance. 

Setting

Settings closely relate to narrative and also provide the main component of the mise-en-scene. Short films tend to use minimal locations in order to keep the context contained and establish a less confusing journey for the audience to follow. Although it doesn't matter where the film takes place, the location is more or less maintained throughout. This would put me off making an adventure short film since they rely on the immersive journey into uncharted locations. But the short film '2 + 2 = 5' or the afore mentioned 'Passing' demonstrate the importance of simple locations. Many short films operating on a low budget tend to craft their narrative around offices or forests, and tend to stick to one unique location. Even when looking at feature length films, this is a strategy that has often worked well in narratives such as 127 Hours, Room or Locke. 

Dialogue

I have to admit I was surprised upon watching a few short films to notice that dialogue is quite infrequent. The majority of the narrative is conveyed almost wholly through visual and musical means like the mise-en-scene and the score.  Since we aren't allowed to take other music it would mean making our own, which is not an area of expertise for me and additionally time-consuming. Therefore I think I will need to use more dialogue than is conventional in order to account for the fact that I won't have an instrumental soundtrack guiding the viewer's emotions. 'Passing' again is an example where there is almost no dialogue, and 'The Desk' follows a similar pattern. 

Twist

Depending on the genre, a twist can act as a way of not necessarily shocking the reader, but of making them reflect on how their expectations were subverted. This would be most likely to occur in a horror or thriller short film since they are conventions of those genres, but a subtle twist occurs in 'Passing,' which is done for emotional empathy rather than shock value. I believe that a twist enables the viewer to feel that a short film has more depth and complexity, so it will be a convention that I am more likely to adopt than subvert. 


Budget

Short films are often the solution for filmmakers working on a budget, since it is more affordable and less time-consuming. It is clearly a factor that affects elements like the cast, the locations and the genre, since the financing or sponsorship may not offer enough freedom to create the scope or scale that the director had originally envisioned. The size of my budget is going to significantly affect how I craft my story, so I shan't be opting to make something which involves heavy special effects or explosions. 


Niche Audience

Although short films are often classifiable in terms of genre, their subject matter largely focuses on abstract ideas and relates to the diverse creativity found in independent films, tailoring the product to niche audiences. For example the short film 'Identity' constructs an abstract meaning around conformity and self-acceptance, as does the short film '2 + 2 = 5'. Short films are renowned for appealing to niche audiences due to their unique topics. I shall certainly be considering this when I start to do market research into potential audiences.

  
Digital Distribution

Again relating to the niche market, short films are largely isolated from mainstream companies and as a result are far more accessible and likely to be watched on digital platforms like YouTube. That isn't to say that short films can't get acclaim since many institutions run short film competitions, with winners having their work shown in cinemas or at festivals. I know this from watching 'The Cyclist' last year; it was shown in Cineworld cinemas during the adverts as a result of winning a competition. Furthermore there are also short film festivals dedicated to screening acclaimed works, such as Glasgow Short Film Festival. But although there are multiple ways to promote short films, the Internet appears to be the most accessible in terms of reaching an audience. 


In my opinion these are the crucial conventions of short films. They are largely personalised and adapted creatively when applied, but the stereotypes are ones that are followed the most. This research will help me to think in terms of the creative aspects of my short film as well as the marketing of it through the poster and review page. The links to the short films I have mentioned in this post are below:

• Passing: https://www.youtube.com/watch?v=Pg_1Pn9YcKg
• 2 + 2 = 5: https://www.youtube.com/watch?v=EHAuGA7gqFU
• The Desk: https://www.youtube.com/watch?v=k_kIyihNd-A
• Identity: https://www.youtube.com/watch?v=ikGVWEvUzNM
• The Cyclist: https://www.youtube.com/watch?v=Bt4rwTBm6pE

Narrative Theory - Wide Study

Narrative structure is concerned with both the the story itself and the technical styles used to tell that story. But one thing to remember is that narrative is not fixed. There is no right or wrong to how a story should be told. More often than not most films are told through a linear format, notably Quentin Tarantino and his very traditional use of 'chapters' to divide the acts in his films. However, critical acclaim can be gained by subverting the linear style and adopting a non-linear timeline, which also occurs in Tarantino's films and frequently in Guy Ritchie's films. I would say nowadays it is a technique more commonly found in television shows than in film, with flashbacks/flash-forwards providing suspenseful cliffhangers at the end of episodes.

The point of mentioning this is to point out that all the theorists I am about to refer to only offer perspectives on storytelling, not the definitive answer. They have found ways of categorising certain features which are common conventions in the majority of narratives, but do not promote a singular and correct form of narrative. 

Levi Strauss - Binary Oppositions

Binary Opposites are a pair of terms which function as antonyms of each other. Strauss believed that our understanding of a word originated not from it's direct meaning, but from our understanding of the differences between the word and its opposite. In their basic form, these include Good and Evil, Light and Dark, On and Off, Up and Down. 

With specific relation to narrative, binary opposites can be seen in terms of 'good vs evil', 'peace vs chaos', 'protagonist vs antagonist'. When we think of the hero and the villain, they can involve secondary binaries which derive from them. For example the hero can be handsome whereas the villain can be ugly, the hero can be liked and the villain is disliked, the hero can be content whereas the villain can be envious. These simple distinctions form the way we understand stories and are guided to sympathising with one side.

Batman and the Joker are a traditional binary opposite whereas the more contemporary Captain America: Civil War is centred around the exploration of two 'good' protagonists with conflicting philosophies, demonstrating the contemporary trend to show alternatives to the definitive understanding of good and evil to offer a more morally ambiguous story. 

Tzvetan Todorov - 5 Act Structure

Todorov's theory is directly associated with narrative. 

The main three stages (Equilibrium, Disequilibrium, Restoring equilibrium) can be closely compared with Syd Field's three acts. However Todorov proposed a more in-depth structure which includes two other points that give the story more exposition. 

1. Equilibrium- A state of stability; the story begins where everything is content.
2. Disequilibrium- An event occurs which disrupts the balance.
3. Realisation- The characters acknowledge the problem and become aware of the change.
4. Restoration-  The characters now face the problem in order to restore the balance in their lives.
5. Equilibrium- This stage demonstrates a cycle. With the disorder stopped, characters now settle back into their restored equilibrium, which would have likely changed the characters at a psychological level.

I'll demonstrate their relevance by applying these stages to the film 'The Last Samurai' with Tom Cruise. 

1. Equilibrium- Military captain Nathan Algren is an alcoholic suffering from PTSD after his atrocities in the American Indian War. 
2. Disequilibrium- During a battle Algren is outnumbered and ambushed by Samurai warriors. He is the only survivor and taken captive. 
3. Realisation- As Algren becomes more aware of his 'enemies' and their lifestyle Algren comes to the understanding that they are being oppressed by colonial expansion. 
4. Restoration- Algren's loyalties change and he takes up arms against the very army he once commanded.  
5. Equilibrium- Algren shows the politicians how the Samurai lived honourably and sought only to protect what is theirs. He returns to the Samurai village having left his former lifestyle behind. 

Roland Barthes - Narrative Codes

Barthes' studies on semiotics and how meaning is constructed can be applied to film. Barthes argues that every narrative is woven around codes. He states that there are five different codes and that when a film uses only one, the narrative is 'closed' (meaning only one intended meaning can be denoted from it) but when the narrative uses more than one, it is known as 'open' (allowing for multiple interpretations). 

The five codes are as follows:

• The Hermeneutic Code (HER): Using ambiguity and implication to build suspense. Audiences are intrigued to see how loose ends will be tied up. This code is most commonly implemented in police procedural dramas, where the audience's suspicions are frequently toyed with. 
• The Enigma/Proairetic Code (ACT): Another code of suspense, but this time through actions rather than implications. The audience are in anticipation of how the action will be resolved, not in a state of mystery.  
• The Symbolic Code (SYM): Often where semantic meanings are conveyed through a visual motif or symbol appearing, like the use of colour in 'Breaking Bad'. 
• The Cultural Code (REF): Points to the shared knowledge of the audience. The contexts bear resemblance to relatable cultural factors. 
• The Semantic Code (SEM): Underlying meanings and interpretations beyond the literal explanation.

Vladimir Propp - Character Archetypes

Propp is very similar to Todorov in his examination of narrative conflict (hero and villain, hero is branded, villain is overcome) but he also focused on archetypal character traits. 

1. Hero- character driven and motivated to restore the equilibrium
2. Villain- antagonist who initiates the disequilibrium and creates conflict against the hero.
3. Dispatcher- character who sends the hero on his quest, often a noble or an elder giving great responsibility to the protagonist. 
4. Donor- at some point in the narrative the hero is given an object or talisman to help them on their quest. The donor is the character who offers this aid.
5. Helper- a loyal and stereotypically comical character, the helper follows the hero on his quest to offer assistance. 
6. Princess- a love interest or character the hero attempts to win over who eventually recognises the hero's qualities. 
7. False Hero- A usurper or praised character that is built up to be a hero, but his qualities are diminished by the hero's modesty. 

Joseph Campbell - Hero's Journey

In 1949 Campbell proposed the idea of the monomyth, or the hero's journey, which is the protagonist's arc over the course of the narrative. The three main stages he comes up with also tie into Syd Field's 3 Acts as well as Todorov's Equilibrium. They are called the Departure, Initiation, and Return. 

He lists many different events within each of the three stages, but in summary the Departure act is the 'Call to Action,' the Initiation is the 'Road of Trials' and the Return is 'Freedom to Live.'

Although I have mentioned Syd Field a lot, I do not feel that his 3 Act structure needs explaining, since we have seen it among these theorists in different forms. For example Todorov and Campbell both implement his structure but with more depth. 

When looking at the theories I would like to use in my own narrative, I think short films will be incredibly different to apply certain structure to. Therefore until I have examined the conventions of short films I do not want to select any of the above structures.

Structuring the Coursework

This year it will be a lot more difficult to organise the work, not only because we have 3 separate tasks to complete, but also because there isn't a logical order to approaching each of the tasks. Do I research the theories behind narrative and structure? Do I research the conventions of a short film? Do I analyse specific examples? I know I need to complete all of the above, but in what order? Can I analyse specific examples without knowing the conventions? Can I find the conventions without analysing specific examples? 

I have decided that the best way for me to structure the main task (the short film), is as follows:

1. Research on narrative theory

This will enable me to gain a broad understanding of story/structure/character. I shall look at the famous theorists but then try to find some who specifically explore short films as oppose to feature films.

2. Conventions of short films
 This is probably the most important bit of research, because my own product will have to reflect how I both conformed to and subverted conventional expectation. 

3. List of Camera Shots/Angles

From a technical perspective knowing the types of camera shots early on should play an advantage when critically evaluating other work, as well as when planning my own.

4. Types of Editing

Similar to knowing the camera shots, the editing is an area in which my understanding is needed, but at the moment quite uninformed. Learning about it early on should help me to get ahead when planning how to edit my work in a way that is engaging.

5. Researching genre

I do not like the idea of genre. It is far too categorical, labelling a product as one thing or another. However I think that it will help me to come to terms with how conventions are also different depending on the genre. At this point I will not choose a genre of my own because I would not have reviewed the successes and failures of other short films. 

6. Analysing specific examples

This is where I intend to start to shape my own ideas. I will critically look at the works of professional award-winning short films as well as other A-level students to get a broad sense of what works well and what doesn't.

7. Choosing a genre

Having looked at specific examples I feel like selecting a genre of my own will be the best step forward. Although I will not have a fixed idea on story and the characters, I hope to have seen enough variety from other sources to be able to decide which genre will be the right fit for me. 

8. Finding the story

At this stage my creativity will take hold. I shall think in terms of what I can use and what locations I have on offer in order to help suit my story to my surroundings, but ultimately I need to find a compelling narrative. 

9. Audience Research

When looking at audience we are analysing the product through a financial and industrial perspective rather than a creative one. It will help to give a clearer sense of direction when constructing my product and ancillary tasks since I will know who I'm tailoring it to. 

10. Writing the script

I already know a little bit about screenwriting, however I will need to look at how short fi ms are shaped through dialogue, since they will be dramatically different from a short film. Once this is done I will have a strong overview of the narrative and the journey of the characters.

11. Location scouting

With the script completed, I will have written the scenes in relation to a setting, but I should now find accessible locations that mirror the requirements of my story. Of course I will already be considering this when writing my script, so these planning stages are largely interchangeable. 

12. Storyboarding 

Camera shots, camera angles and mise-en-scene all need to be considered here. Even though I have done research into these areas in the past, I may do a quick post showing my knowledge of the variety of technical ways to capture a shot. Here I will apply this knowledge by drawing up a visual display of my narrative in the form of a storyboard, which shows what shots I hope to use. 

Choosing the Brief

The first thing that surprised me this year was the freedom of choice we have been given. There are many tasks which specialise on different focus areas from film, radio, print and television, offering students the chance to personalise their course with an area of interest. My main reason for selecting Media Studies as an A-level came from my love for film and television, so my decision will definitely be informed by that enthusiasm.

A short film in its entirety, lasting approximately five minutes, which may be live action or animated or a combination of both, together with two of the following three options:

• A poster for the film
• A radio trailer for the film
• A film magazine review page featuring the film

Without doubt, this is the ideal brief for me. When I looked at the others, I found myself liking either the main task or the ancillary tasks, but not both. This option leapt off the page because it is perfectly engineered for me to put my creativity to the test.

A short film shall provide me with the means to build on areas of the film industry I would love to work in. For example, storytelling, screenwriting, cinematography, acting and editing. All of these are essential to determine how effective any film, short film or TV show is, and by choosing this brief I will get the opportunity to try out all of the above.

Not only this, but the secondary tasks engage some of my other hobbies. I love to read film magazines like Empire or Total Film for their reviews and updates in the film industry, so the last bullet point sounds incredibly engaging. Being critical of films is something that could be associated with journalism and the larger industry of print, so writing from a critical perspective will allow me to indulge my enjoyment of analysing cinematic products.

I wouldn't choose a radio trailer, because for starters I don't believe that it is an appropriate way to promote a visual product. Furthermore I do not want to be confined to the limits of the audio platform, since I feel that in the film industry promotional strategies like posters, TV spots and trailers are far more successful. The reason being that when promoting a visual product, the audience need to be able to see it in order to obtain a general understanding of what they will be watching.

Which brings me to my final choice. I will definitely be opting to make a poster for my film because this shall require me to put into practise what I have learnt from Photoshop over the last year but also allow me to apply that knowledge to a different form of promotion. Unlike making a magazine cover, this should enable me to create an intense, exciting and ambiguous poster to hook an audience without exposing too much information. So essentially I shall be using the same tools for a different purpose.

Having decided on my coursework brief for this year, my next post will set out a general plan for the coming months and how I intend to organise the tasks. 

Reflection

Considering that my A2 Media Studies exam will include questions about both the first and second year of coursework, I think that the best way for me to start my new blog would be to reflect on last year's project. Much like a new season of a television show would begin with the infamous line of 'previously on...(insert show here)' this is an important way to recap what I achieved or didn't achieve so that I have a clear approach as I begin the next stage.

Our coursework study area last year was 'print', an area in which I was neither familiar nor experienced. The task to produce the cover, contents and double page spread of  a music magazine forced me out of my comfort zone and pushed me to explore a media industry that had never really interested me before. This helped me to improve my research skills since I needed a broad understanding of how magazines functioned as a product and as a text in order to successfully construct something of similar quality. The actual construction of my magazine allowed me to experiment with photography which involved learning about lighting, angle, mise en scene etc. Not only this but I also improved my ability to use digital software like Photoshop and all the tools it offers. I believe that this has helped me to develop an awareness of different media technologies and their uses when applied as an example of cross media convergence.

However one thing I felt like I failed to accomplish was my confidence on Photoshop. Although my knowledge of the tools is now significantly more concrete, I still believe that since I was only a beginner it restricted some of my ambitions and this resulted in not exploiting the software to its full potential. Despite this I substantially improved over the course of the year (all you have to do is compare my preliminary product and my main product to see that there is a notable difference in the quality and level of experience shown). 

In terms of the coursework as a whole, I was very happy with my marks and it was reassuring to know that the way I approached the tasks and the blog were informative and engaging. With that in mind, I feel as though I should aim to adopt a similar outlook as I did last year. Using the blog enabled me to organise my work in a consistent and progressive way, and this structure established a clear sense of direction for the reader. Additionally it helped to maintain a balance between what I had learnt in the research and planning section and then how I applied it in the construction of my product. Upon reflection this format played to my strengths. I think that the detail and chronology of my plan will be something I try to replicate going into the A2 work.