Thriller Short Film Analysis 2

Guilt

Guilt is unlike Knowing Too Much because the subject matter makes this short film fall into a sub-genre of thriller categorised as a psychological thriller. These are where the narrative focuses on the changing psychology of a character to provide suspense, because the lack of predictability means that the audience cannot determine how a character will react. 

Guilt follows a protagonist who is haunted by a guilty conscience. He is driving along, a blood smear on his windscreen, and he pulls into an underground car park to hide the damage. We see empty bottles of beer on the passenger seat, implying that he has been drinking and accidentally killed a pedestrian. The protagonist is unstable, and as he climbs out of his car he starts to wipe off the blood in a panic. To further remove the evidence, he takes out the glass bottles and starts to walk away, but is frozen by the haunting hallucination of his victim. His guilt causes him to follow this ghostly vision, and he becomes apologetic, confessing his regret. The hallucination draws a pen knife and walks towards the protagonist, about to stab him, but then vanishes. We heard the smash of a glass bottle, and as the protagonist drops to the floor we realise that he has become suicidal, unable to cope with the responsibility of his actions. He has cuts his wrists, and the film ends with him lying on the floor, bleeding out. 

Dialogue

There is very little dialogue in this short film because there is only really one character for the majority of the action. When he encounters his victim's ghost the dialogue is apologetic and desperate, highlighting the fact that he is unable to live with his crime. The victim's dialogue understandably depicts himself as frustrated, tormented by the fact that he is gone forever. In the protagonist we see that he is blaming himself, and in the victim we see only anger and blame, which serves to emphasise the guilt that the protagonist, or antagonist, is facing.

Camera Shots/ Angles

• Tilt Shot: I think that the tilt down from the driver to the empty beer bottles in the passenger seat is a very revealing shot. It clarifies the scene and gives us a sense of implication to both what happened and why it happened, as well as what will happen. For example it suggests that the driver hit someone because he was drunk, and this drunk state could contribute to his hallucinations later on. 
• Canted Angle: In my opinion the canted angle that frames the character as he drives mimics his delusion, it reflects his uneasy mental state and intoxication, showing instability and almost a dazed, trance-like state. 
• Tracking Shot: The tracking shot follows the car as it drives in and parks. This shot is slow and lingering, capturing the caution and apprehension of the driver since he has just killed somebody. The slow camera and the slow speed of the car assist in establishing a sense of regret, a physical display of guilt through the driver's nervousness to drive quickly. 
• Low Angle Shot: I feel like the low angle shot serves a similar purpose to that of the canted angle shot. It gives the viewer a distorted view that replicates the confused emotional state of the protagonist. Alternatively it could be that the low angle shot encourages the viewer to focus on the beer bottles as they drop out of the car, to emphasise that there are more than we initially saw. This symbolically represents how he is struggling to outrun his guilt, even as he exits the car the bottles are falling out as a reminder of his recklessness. 
• Over the Shoulder: In normal situations an over the shoulder shot is used to establish continuity and intimacy within a character interaction. However in Guilt the over the shoulder shot is used as a sense of foreboding. The camera is positioned behind the shoulder of the deceased motorcyclist as he stands intensely still nearby the protagonist.  This shot is used to convey suspense and intimacy; the ghostly projection is very close to the protagonist in the frame and this makes it seem as though he is being haunted and pursued. 
• Long Shot: The long shots display an uneasy distance between the protagonist and his spectral vision as he is led away.  It creates suspense because we aren't sure how either character will react and whether the long distance is a sign of apprehension or restraint. In the case of the motorcyclist, his stillness is a display of restraint, whereas the protagonist is apprehensive about approaching. Therefore the long shot creates a spacial barrier between the two that reflects their conflict. 
• Zoom: As the camera slowly zooms inside the car's passenger seat and onto the beer bottles, we once again witness the recurring catalyst for the current disaster. At the end of the film, the camera zooms in on the traces of blood dropping on the floor as the protagonist collapses, a visual clarification that he has self-harmed. In both cases the zoom subtly draws our attention to the details of the narrative. 

Editing

Although it doesn't use fast-cutting to establish a fast pace and suspense, this short film opts for the reverse approach. The slow-cutting doesn't rush the sequence, instead suspense is equally created by the lingering shots which show the character coming to terms with his actions and consequences. The slow-cutting sustains the physicality of the protagonist as he saunters along, but also elicits a sense of foreboding through how the motorcyclist is not in a hurry either. The slow build up complements the sub genre of psychological thriller because it replaces the intense urgency in favour of exposing the stillness of the setting and the haunting memory of the accident. When the characters finally do engage with one another, the editor uses shot reverse shot to cut back and forth between them, rather than using over the shoulder shots. I think this is a practical choice: the characters are positioned too far away from each another to use over the shoulder shot reverse shot editing, because this would fail to capture the emotional expression in their faces. 

And finally, the transition between the vision and the reality at the end of the short film effectively distorts our view of what's happening. As the motorcyclist is about to stab the protagonist he becomes erased, deleted from the external world.  

Diegetic/ Non-Diegetic Sound

Diegetic noises like the bottles rolling and smashing contribute to the theme of alcoholism and the dangers associated with it. The sound of the heavy footsteps continues to show the drained energy of the protagonist, dragging himself along in a lumbering manner. These prolonged sounds of movement are replicated in the slow speed of the car; the wheels slowly rolling to demonstrate the creeping motion in which it is moving along.  A non-diegetic score looms over the film, adopting a slow but tense tone. This builds to a crescendo as the motorcyclist raises his knife and then returns to a more subtle, eerie theme as the protagonist drops to the floor. It mirrors the haunting aspect of the film, as if foreboding an impending threat. 

Mise-en-Scene

Firstly, let's talk about the most obvious and least interesting element of the mise-en-scene: the bottles. They serve to give context to the narrative and direct blame towards the protagonist rather than characterise him as someone who can be sympathised with. It asserts that the protagonist is responsible and even though it may have been an accident, it is something that is unforgivable considering that he wasn't sober. Another dominant feature of mise-en-scene is the blood. At first it appears on the windscreen and not only hints to the audience about what happened but also symbolically shows how the murder is stained into the driver's memory. The blood then stains his clothes as he tries to wash it off, embodying how he cannot escape the psychological trauma, a symbol reminiscent of Macbeth. It is also apparent on the victim's face; by showing the motorcyclist in his deformed, injured state rather than as a whole human being it adds to the idea that the harm he has caused is engraved into the protagonist's mind. Our final, most subtle display of blood shows the perpetrator self-harming, accepting his fate. 
The all black gear of the biker supports his spectral appearance. At first he is a haunting vision, shrouded in darkness before he removes his helmet. It helps to establish him as a dark memory and as something peculiar to the real setting. The setting itself is a dull and dirty area, dimly lit and with little visual appeal. This grimy atmosphere supports the ever present, bleak tone of the film and emphasises the dark psyche that is dominating both the protagonist and his projected vision. 

Review

As a psychological thriller, it definitely works. I think that the narrative is given away too quickly and could have worked better if it explored how a sober person would react in that situation, because that way the audience can relate better and be more sympathetic with the character. It successfully employs the setting as an eerie environment and the post-production contrast and brightness establishes the tonal darkness of the subject matter and the atmospheric intensity.

Thriller Short Film Analysis 1

I am going to return to analysing 3 thriller short films, because unlike the action genre thrillers are often considerably different and so I expect to find a lot of variation. 

Knowing Too Much

The first of my selected thrillers is an amateur, low-budget film, and reminds me a lot of the product me and my friend made at GCSE level. The narrative takes place at night, where a young man is walking outside in a brisk, nervous manner. He is on the phone and holding some documents, which are implied to be incriminating evidence. While on the phone the character keeps looking behind him, suggesting that the documents are important and hold dangerous content in the wrong hands. He spots an official looking man tailing him and starts to run. The chase ends in a multi-storey car park when the character reaches his car. There is no sign of the pursuer, so he picks up the phone again to continue his conversation. While doing this the smartly-dressed man emerges from the staircase, adjusting his jacket and striding casually towards the protagonist. The protagonist remains unaware of the incoming threat, and the antagonist gets close enough to slam the man's head into the car and knock him unconscious. The antagonist takes the documents from the floor and walks off. His phone rings, and he confirms to his employer that he has dealt with the problem. 

Dialogue

There is very little dialogue and I feel as though there didn't really need to be any. It doesn't particularly harm the short film but even without it the premise was successfully conveyed through the props and the body language of the characters. The dialogue that is included tends to confirm the viewer's interpretation of the events; so the final line 'yeah, I took care of it' establishes that the antagonist was working for someone who needed to acquire the documents before they could be used against him. Therefore I would say that the dialogue didn't aid any character development but established the narrative more firmly. 

Camera Shots/Angles

• Long Shots: The purpose of long shots here is to emphasise the desolation of the protagonist and to build suspense through how we can't tell where the man will come from. However more so than this I think that the long shots demonstrate the emotional detachment of the pursuer. We never see a close up of him and so it adds to the harrowing loneliness and lack of empathy conveyed. 
• Tracking Shot: Initially I would say that the tracking shots add to the pacing, and because we are normally following the protagonist from behind I think that this resembles the imminence of the pursuer, always close. The dynamic movement of the camera is synchronous with the film, because the protagonist always has to keep moving in order to stay ahead. So when the protagonist stops by his car and the camera stops tracking, it foreshadows how this gives the pursuer time to catch up. However the final tracking shot of the pursuer has a different effect. It evokes the idea that he is getting away, almost insignificantly. Before when we tracked the protagonist from behind there was a sense of pursuit, here its as if both the protagonist and the viewer are being left behind by the antagonist. 
• Zoom: The camera zooms in because it symbolises the antagonist closing in. At first we zoom in on the staircase at the end of the car park to try and spot the antagonist, and then secondly we zoom in on the protagonist from behind, which is supposed to mirror the movement of the pursuer getting nearer.
• Close Up: With the close up of the protagonist on the phone, the filmmakers hope to achieve the effect of claustrophobia. Even though the setting is openly vast, focusing on the character's face effectively depicts his personal worry as well as the impending consequences. It presents him as trapped and surrounded. 
• Shaky Cam: The shaky camera motion complements the film very nicely. It almost mimics the sense of panic and carelessness of the protagonist, like when he fumbles and drops his car keys. With the camera in a constant state of movement the viewer is never able to fully focus on the action, which is successful in creating suspense. It leaves us with the impression of exposure, that there isn't time to stop and capture the subject with clarity, contributing to the build up of uncertainty. 

Editing

Although I would say it is more relevant to the camera shots, I think that by employing a hand held camera movement the editing comes across as rushed and unfocused, which plays to their advantage. The fast-cutting of the chase scene is complemented by the shaky cam technique, because it comes across as frantic and spontaneous rather than rehearsed, which is more immersive for the viewer. The editor uses match cuts as well so that although the visual style seems distorted, the action on screen is in fact continuous. One thing I'd like to point out is how the scenes have been cut together to shroud the visual details of the pursuer. We never see the antagonist up close or in detail and this omission helps to dehumanise his character and establish him as heartless. 

Diegetic/ Non-Diegetic Sound

I love how the emptiness of a location like the car park helps to enhance the diegetic noises. For example the gunshots, footsteps and phone ringing at the end all have an eerie effect through how they vibrate across the setting, aiding the atmosphere. It reminds me of Michael Mann's shootout in Heat and the alley shooting in Collateral, which both use sound in a way that this short film successfully recreates. I also like the way that the dialogue is muffled and almost incomprehensible, because it makes the action seem out of reach and keeps the audience at a distance, refusing to reveal everything to us. This is closely related to the use of dialogue; although it is evident, we infer that we don't need to be able to understand it in order to understand the narrative. The non-diegetic soundtrack complements the action with thoughtful precision. You'll notice that as the protagonist starts running the soundtrack suddenly becomes fast-paced, and as the antagonist walks towards the man while he's on the phone the score builds up a suspenseful anticipation. This suggests that the soundtrack had already been selected before the production of the short film, and the action was edited together to correspond cohesively with the score. The end sequence of The Lone Ranger 2013 was similarly choreographed to match the pacing of the original William Tell Overture. I thoroughly like the use of sound in this short film.

Mise-en-Scene

Clothing is important again here. The casual outfit and backpack of the protagonist are suggestive of someone with a normal life, while the black suit of the pursuer conveys a sense of professionalism, an attire associated with wealth and control. Displaying the folder complements this because it relies on quite an archetypal plot of how an innocent civilian proves to be a threat to a powerful organisation, and so we instantly assume the folder contains incriminating evidence based on this pre-conceived and often conventional storyline. To an extent this links to John Fiske's genre theory about how we relate events to things we have already seen. I instantly associated this short film with the TV shows Damages and Person of Interest, which have used similar plot elements.  
I would also say that the emptiness of the car park successfully expresses the isolation of the protagonist. There are no cars and no one else around which establishes that he is on his own against this threat. The overhead lights further contribute to the eerie atmosphere because even though the protagonist has run from the darkness outside to a place that is illuminated, this still doesn't prevent him from being able to detect the antagonist's presence. 

Review

For a low-budget first attempt, I would say that the filmmakers have made some very smart decisions and not been too ambitious, and instead they have tried to do the best they can with an already familiar concept. The lack of lighting equipment, the handheld camera and the sound are reminiscent of techniques used by Michael Mann, preferring to use the less is more approach to make the film seem gritty and realistic. My only complaint is regarding the soundtrack, and although I like how it matches the action on screen, I think that the volume is too overwhelming and would have been better with a more subtle beat. However overall I really like the attempt, it is lacking originality but demonstrates a clear understanding of technical features. 

Action Short Film Analysis 2

Onslaught

Onslaught is an amateur production and will provide a useful contrast to the professional one I analysed in my last post. 
Even though the film unfolds out of sequence, I am going to summarise it chronologically for the sake of clarity. A man and his partner are having a day out at the beach. They are having a picnic, during which he proposes. As this happens, several attackers approach and the man is forced to fight them off. While the protagonist defeats two of the thugs, the others hold his girlfriend hostage. As he goes to rescue her, he is shot. At this point the thugs drag his body through the sand as both he and his girlfriend are carried off. However the protagonist breaks free of their grasp and continues to fight, eventually resulting in victory. The film ends with his girlfriend cradling his body, but remains ambiguous as to whether he survives the gunshot wound or not. 

Dialogue

This short film uses no dialogue, so the explanation behind the fight is completely speculative. I am not sure how I feel about this, because it is hard to relate to the story in any way and so leaves the viewer feeling as if they've only seen half of the narrative. The emotional connection is established visually through the proposal, but the thugs emerge out of the blue so the blend of romance and action isn't an effective hybridisation of genre, more of an abrupt transition from one genre to the next. 

Camera Shots/Angles

• Tracking Shot: The two tracking shots in this film have different impacts. The first, where we follow the protagonist while he is dragged through the sand, has a lethargic impression. We, like the character, feel somewhat dazed by what is going on and are uncertain as to where he is being led. The second tracking shot, which follows the protagonist as he defeats each thug individually, evokes an impression of magnificence. We are supposed to feel like he is an unstoppable warrior fighting to protect his love. 
• Establishing Shot: I would classify the establishing shot here as the shot where the couple are wandering along the shore, and we view them from a distance. This is important because the wide angle introduces us to the setting as well as the characters we need to care about at the same time. In addition it subverts our expectations about what the film will be about by creating an idyllic equilibrium. 
• High Angle Shot: The high angle shots are used to provide a more cinematic scope to the fight. As the thug jumps down from the rock it makes the protagonist look small and overwhelmed, which raises the stakes by depicting him as surrounded, as if the thugs are closing in. The other high angle shot takes place when the protagonist does a spin kick off of the rock and knocks the thug unconscious, which shows a reversal of fortune. It mirrors the earlier example but the characters have switched place, so now the protagonist looks in control. 
• Tilt Shot: The tilt shot is done for the same reason as the high angle shots, but this time it is dynamic rather than static. The tilt shot captures the thug's movement as he leaps off of the rock and punches the protagonist to the floor. It frames the antagonist in a way that threatens our confidence in the hero. The motion of his attack as he jumps down helps to establish the intensity of the scene. From a cinematographic point of view the shot helps to intersperse the action on the ground by raising the camera to new heights. 
• Close Up: Towards the end we see a close up of the protagonist as he clutches his wound, which enables us to get a sense of character and a moment of reflection in his facial expression. A brief close up like this brings us a more human side to the skilled fighter they want to portray. Choosing to do a close up shot of the ring further contributes to the emotional stakes of the short film and reminds us of the equilibrium that had been set up previously.  
• Two Shot: The two shots during the picnic capture the partnership of the couple. Framing them together emphasises their intimacy and symbolises their contentment. This emphasis becomes more apparent when the thugs take them apart, because the separation is the cause of the protagonist's anger. 
• Long Shot: The long shot has practical purposes during a fight sequence, especially when more than two characters are involved in the conflict. A long shot helps to alert us where all of the characters are and keeps them in view. It can also be used for clarity so that we can see full body movements, which makes the choreography stand out and seem more continuous. 

Editing

I have to admit I am not fond of the non-linear time-jumping employed here, because even though it is done for suspense and mystery, it leaves the viewer more confused as a result. With such a basic narrative, editing the scenes out of chronological sequence wasn't necessary and consequently feels as though the filmmaker is trying to do too many things at once. Due to this the action appears choppy and hard to follow. 

Another editing technique used here is slow-motion. Again I am not sure it works within the context of the film. Usually slow-motion in a fight scene is used to exaggerate the ferocity of the warrior and give us time to appreciate the skill in his abilities (300 and the Spartacus tv series are two main examples). Clearly a similar intention is present in this short film but it comes across as unrealistic. It seems to completely reverse the effect of humanising him at the start, because we see the character as an ordinary man, not a god-like force. 

That being said I like the cutaway shot towards the beginning where we see him reach out to something in the sand, and the camera cuts away to the ring being left behind. I think that this has significance in motivating the character to fight back. But overall I would say that the film would be much more watchable if the narrative was depicted simply, and focused on the gritty side of the brawl rather than using slow motion to make the protagonist seem epic. 

Diegetic/Non-Diegetic Sound

The film is accompanied by a non-diegetic score, which serves as the main piece of sound in the movie. Like I found in the drama shorts, the soundtrack tends to replace dialogue because it is a simpler way of building an emotional arc. It is easier to resonate with the musical tone. I think that the tone of this score works well and doesn't seem contrapuntal to what we are watching. 
One flaw I would point out is the lack of volume with the diegetic sounds, because they seem to be undermined in favour of the soundtrack. The punches and groans of the characters are muffled and so it reduces the impact and intensity of the brawl. 

Mise-en-Scene

Although I keep coming back to it, the important object in the mise-en-scene is the ring, because it represents the motives of the character and tells us what he is fighting to reclaim. The picnic basket, blanket and bottle of wine all serve to enforce the romanticised, domestic lifestyle the characters are enjoying. I mentioned the importance of clothing in my previous analysis and how it juxtaposes the characters, and it is the same in this example. The protagonist is dressed for a day on the beach, not a fight, just like how the office worker was dressed for his everyday job, not a brawl. This demonstrates how the protagonist is being forced out of his comfort zone and doesn't want to fight. Moreover the dark clothing of the thugs makes them appear rather stereotyped as villains and this creates ease for the viewer in identifying who is who. 

Review

Personally I don't like this film. I respect what they were trying to achieve, but I feel like it could be better both narratively and technically. My main fault with Onslaught is the way it has been edited, because in trying to subvert traditional, linear storytelling all they have succeeded in doing is complicating what should be a basic narrative. I am quite unconfident about creating a short film in the action genre because anything less than professional can come across as quite naff. It is the riskiest genre out of the three I am considering, because even though they should be narratively basic, the choreography tends to be how an action film is judged. 

Action Short Film Analysis 1

I am going to analyse the action short films a little differently. I still intend to analyse Dialogue, Camera Shots/Angles, Editing, Sound and Mise-en-Scene, but I don't think I need to look at ideologies. Action short films are done for more aesthetic pleasure than philosophical, thematic depth and so I think I will be stretching my analysis too far if I try and apply ideologies to them. The action films are ones I would like to analyse from a more technical perspective. In addition because the action films I have looked at are all relatively similar, I think I will waste valuable time by choosing to analyse 3, and so for this genre I only want to look at 2, one professional and one amateur example. This first film is a professional construction made by filmmakers who specialise in producing action clips. 

Bar Brawl: A Short Action Scene

Bar Brawl is simply that; an action sequence taking place in a bar. The narrative follows a drunk man who seems to be drowning his grief in alcohol. However when talking to the barman he reveals that he's in debt to a wealthy individual who is looking for his money back. While explaining this, some thugs enter the bar to kill the man, and we learn that they have been sent by the 'psychopathic lone shark'. Even though he is drunk, the man manages to clumsily fight off the attackers and still manage to find some time to drink during the brawl. As he emerges victorious, he has one last swig of his drink and passes out from the volume of alcohol he has consumed. This fight sequence is depicted rather comically, but is nonetheless constructed as a slick and seamless action scene. 

Dialogue

I would say that the dialogue in this scene is for the purpose of exposition. In other words, to give some context to the fight and make us side with the protagonist. However, dialogue is also used for humour and to establish a personal flair in the character. This is evident in his sarcastic quip 'why all the hostility?' and 'oh, come on' to add a sense of humour that is asynchronous with the action. We expect the protagonist to be afraid and at least defensive but the dialogue helps to portray the character as drunk and carefree throughout the brawl. Addressing the alcohol with 'hello beautiful' suggests that the end goal is to continue drinking, not to survive, thus creating a comic scene of violence. One notable line occurs when he puts a twist on the common idiom 'speak of the devil and he shall appear' and so subverts our expectations by saying instead: 'speak of the devil and he grabs you by the shoulder and spins you round.'  
One other effect of the dialogue is that it humanises the character. We learn that the protagonist's name is John and this instantly makes him more relatable because all of the other characters remain nameless and so are conveyed as less important. 

Camera Shots/Angles

• Over The Shoulder Shot: As we have already established, the over-the-shoulder shot is fairly standard during scenes of conversation, and here is no exception. It is identifiable when the drunkard is conversing with the barman as well as when he converses with the thug. It is particularly effective in a confrontation because it creates a claustrophobic dynamic, since the opposing forces are in close proximity it almost foreshadows a clash. 
• Tilt Shot: When thrown to the floor, the tilt shot can be seen following the drunk as he regains his stance. Similarly the tilt shot follows John as he is kicked down the stairs, and in both instances the camera is adopting shaky cam to mirror the effect of his drunk swaying and also mirror the stunted bounces of his body down the steps.   These dynamic movements enable the camera to guide us through the action, showing us where to follow and look. 
• Tracking Shot: Between the duration of 1:33 and 2:03 you'll notice that the camera does not cutaway from the protagonist and opts for a single tracking shot. This is always seen as an immersive shot because of the technical skill it requires and the rehearsal for everything to be perfect. We are viscerally thrown from one piece of action to the next without a break or a new perspective, and this long take has the effect of being relentless. In this case, we can see that John is not having time to recover. Alejandro Inarritu, director of Birdman and The Revenant, frequently uses these single take shots, his most famous being the bear sequence in The Revenant.
• Zoom: Cleverly contained within the tracking shot mentioned above, the camera uses a variety of zooms to provide some aesthetic changes in the single take. Firstly, as John crawls across the floor, the camera zooms out to reveal that he is in fact crawling towards a bottle of beer. Then, as the thugs grab him by the legs and pull him away, the camera zooms in to his face. And finally, as they haul him to his feet, the camera zooms out again so that we can see all the thugs in the frame and watch the action ensue. This creates the illusion of editing because the camera frames the action at different levels of intimacy but never actually cuts away from it. The zoom out as he is pulled to his feet is especially important because it allows us to easily watch the fight continue from a distance. If it was still zoomed in it would be harder to follow the punches and movements.
• Mid Shot: During a lot of the tracking shots the camera is framing the action through a mid shot. This is to create an intense intimacy to the fight and follow John more closely. While the wide angle framing is done so that the audience can see where the thugs are coming from, the mid shots allow us to centralise our focus on John and his actions rather than follow everything at once. Like the zoom shot, it helps to vary the way that we perceive the action unfolding on screen. 

Editing

As expected in an action sequence, there is a lot of fast-cutting to create an atmosphere of speed and continuity in the pace. However, perhaps less conventional in an action film is the slow-cutting also implemented here. We see that the intense outbursts of conflict are juxtaposed by moments of lethargic recovery in between. This takes place when John is thrown down the stairs. What comes before is an example of fast-cutting to create an energetic brawl, but once he is thrown down the stairs the pace subsides due to the single-take that doesn't involve quickly cutting back and forth between the punches thrown and received. I think this is done for comedic purposes and so wouldn't likely be seen in other action films. Rather than display a non-stop action extravaganza the action is halted by John as he sluggishly crawls across the floor or pursues the beer rather than the thugs. These intervals help to remind the audience of the comedic tone the filmmakers are trying to set and also gives us some level of character development, making John a likeable fool. 
But there is also an instance of a cutaway thrown into the scene. Once John is lying at the bottom of the stairs, the camera cuts away to a table with alcohol on it. Though it strays from the main sequence, it continues the subplot of indulging in alcohol whilst trying to survive. 

Diegetic/ Non-Diegetic Sound

The diegetic sound in an action sequence is pivotal in making the violence sound brutally realistic. The glass bottles smashing and the punches landing are necessary for making the fight believable. The non-diegetic score is very synchronous with the character because it sounds quite energetic and light-hearted which supports the tone of the film, whereas it is quite contrapuntal regarding the actual violence itself. The non-diegetic score is a clear indication that we are supposed to engage with the fight for entertainment, not for suspense. A similar sequence can be found in the church fight in Kingsman: The Secret Service. 

Mise-en-Scene

The alcohol is clearly an important and recurring prop in the action film. It is used as the main objective for the protagonist (what he seeks to win), but also becomes a weapon and unsurprisingly part of the bar brawl. The rough, ragged appearance of the drunk helps to evoke the mood and manner we find him in, while his slouching body language emphasises his lack of sobriety. 
Clothing helps to provide a contrast between the protagonist and antagonists. John is wearing a shirt and tie, which instantly associates him with an honest profession, whereas the antagonists are wearing hoodies, hats and unbuttoned shirts which distinguishes them as clearly from a different environment. 
I would also like to give a special mention to the lighting of this film, which I think is astonishing. The lighting is very minimal, by setting a blue and orange glow over the sequence it evokes familiarities with a nightclub. The eerie, blueish overtones also bring a gritty realism to the fight as we follow it into the darker depths of the bar. 


Review

This is more of a hybrid between a comedy and action, but the action is the most dominant genre here. I think the fluidity of the fight itself is professional and well choreographed, staging a progressive conflict which moves throughout the bar and makes use of different areas. I particularly enjoyed the single-take tracking shot as it shows confidence in filmmaking but simultaneously immerses us in the setting. The crew behind Bar Brawl have made another short, Hall Fight, which can be found on YouTube. Again this demonstrates a high level of professional skill. 

Drama Short Film Analysis 3

Detention Breakout

For my final short film analysis in the drama genre, I opted for a product that had been made by a student as part of their coursework. This is so that I can get a well informed understanding of different levels of expertise as well as a look into how a fellow student constructed their work. Although this film is done for the effect of comedy, the way it is put together depicts the story dramatically. 
The film is about two friends who meet in the corridor and discuss a new videogame being released the following day. This conversation makes the student late for class, and consequently earns him a detention. He persuades his friend to help him come up with a plan to get out of detention so that they can both go home and buy the game. This involves a montage showing them come up with different ideas on how to disrupt the school, but in the end they settle with lowering the school's legal temperature to force the head teacher to close the institution for the day. In order to gain access to the boiler room, they distract the caretaker and sneak into his office to get the keys. Having broken the boiler, the friends watch the temperature decrease and go to the headmaster to complain. Unfortunately the plan doesn't have the desired effect, and the student is forced to go back to class and await his detention. When the bell rings and all the other students leave, so does the teacher. The student looks confused, and realises that the teacher has completely forgotten about the  detention. 

Dialogue

There is a lot more dialogue in this short film than in the previous two, and I think this is because the context of what they're doing needs explaining. For example we wouldn't be able to understand that there is a legal obligation to maintain a certain temperature in school if it wasn't explained in the dialogue. So overall I would say that the dialogue is included for the audience's clarity, and so sometimes it comes across as necessary rather than natural. 

Camera Shots/Angles

• Two Shot: The importance of the two shot in this short film is that the narrative follows two protagonists on a mission to rebel. Therefore by using shots of them both in the frame it creates the sense that they are partners in crime, looking out for each other.
• Pan: In instances where the two boys are on the move, the camera pans to follow them. For example as they go into the boiler house and as they run away from the flooded toilets; it has the effect of a tracking shot but adheres to the motion of a pan. 
• Close Ups: I actually think that this short film uses too many close ups. They are identifiable mostly during scenes of conversation, where the film cuts to and from both of the characters. However I think that an over the shoulder shot would have been put to better use here, since it would help to establish some continuity with the two shots. That way the interaction would look more natural, rather than the shot reverse shot editing being used here. 
• Mid Shots: The mid shots are most notable because they can show us more body language and also expose some of the context of the scene. This can be noticed during the P.E lesson, where the camera uses mid shots rather than close ups so that we can watch them pass the ball to one another. 
• Low Angle: This short film uses a low angle shot to act as an establishing shot in the opening scene. It is a shot of the floor in the school corridor as the student runs along it. The action seems more immersive from below since we cannot tell where he is running to and it also gives the student an imposing frame. 
• Extreme Close Ups: There is a frequent use of extreme close ups to draw our focus onto a very specific thing. In this short film the toilet flush, the overflowing toilet, the caretaker's door, the caretaker's keys, the boiler dial, and the thermometer are all captured using extreme close ups. This is done to remind the audience that what they're doing isn't allowed, so the focus on the 'Caretaker' sign on the door hints towards the rebelliousness of their actions. 

Editing

This short has a distinctly faster pace due to the use of a montage sequence that watches their plan unfold. Although it is not officially a montage, the clips all play in a fluid chronology, using time jumps and playing to an upbeat song to maintain the pace. The headings of the school day for the different periods and 'lunchtime' clarify the temporal context, for which the result is a slick and well constructed sequence with an energetic feel. A less effective use of editing present here (as I've mentioned earlier) is the use of shot reverse shot to cut the conversations together, because it makes the scene seem more rehearsed and emotionally detached. 
Regarding transitions, the short film uses lots of wipes from one scene to the next. Like in the cyclist, this is achieved by doing a really fast pan in one direction, and continuing this when filming the following scene, so that when edited together the two shots look seamless. 

Diegetic/Non-Diegetic Sound

Detention Breakout continues the trend I have found in the other two short films, and has a non-diegetic score which is crucial to the tone of the narrative. To accompany the boy running at the start, there is a fast beat which establishes a sense of urgency and speed. Then as the narrative picks up pace when they come up with a plan and put it into action, a non-diegetic song plays across the entire sequence, which adds a jolly but energetic pace to it. This is the reason we know not to take the story too seriously, because the song downplays the rule-breaking and contributes a sense of fun to the rebelliousness of the content. 
I think that the most relevant piece of diegetic sound is the lesson bell, which plays as the opening titles roll. This is also done in parallel with a non-diegetic, intense score as the teacher says 'detention, after school' which is melodramatic and is brought back to reality by the sound of the school bell ringing over the titles that follow. 

Mise-en-Scene

The mise-en-scene establishes the school setting well. The corridors, school uniforms, classrooms, offices and playing fields create an immersive scope, allowing us to follow the students on a routinely day and getting a feel for what they are used to. By using so many different settings, I think that the fast-paced montage works well to keep the story simple and chronological. 

Ideologies/Themes

These will be less apparent in a short film like this because the tone is less serious and it's subject matter is played for fun rather than to send a message. Nevertheless I think that the film attempts to portray the youthful creativity of students in an institutional environment. By defying the discipline and rules of the school, the students are indulging in their own interpretation of their surroundings and making choices which are bound to have consequences. 

Review

Even for an amateur, I am impressed with the editing and pacing of the short film. It utilises setting well and condenses what seem to be quite an elaborate conspiracy into an easy plot, made easier by the light-hearted tone of the film. I also think that the twist at the end is an amusingly effective tweak; by having the teacher forget about the detention anyway it makes all of the student's efforts seem pointless, undermining the desperation they had to get out of it. It thrives on exaggerating a rather simple scenario, and the effects of this provide entertainment and humour rather than provoking thoughts. It is a light-hearted drama whereas the other two held deeper meanings. 

Drama Short Film Analysis 2

The Cyclist

Again The Cyclist looks like a professional piece of work, and even won the Cineworld 'Dream to Screen' initiative. I have chosen to analyse it due to it's narrative simplicity but thought-provoking depth. There is a distinct arc that the protagonist follows, and by the end of the short film he has undergone a profound change. 

To sum up, the film explores the life of a routinely office worker. Everyday he wakes up, has breakfast, cycles to work and doesn't enjoy his job. We get the impression he has become detached from his partner and isn't content with his lifestyle. However one day he arrives at work, hesitates, and cycles off in a hurry. He cycles into the countryside, appreciating the idyllic scenery and racing a child on her own bicycle. After this he arrives at a vast lake and sits down, thoughtfully. The trip has given him a new outlook on life. While his partner frets about him and goes out to see where he is, the cyclist returns, dismounts his bike and kisses her. A car then carelessly reverses over the bike, and the cyclist goes inside, thinking his day had gone so well until then. The next morning he gets up and realises he has to walk to work. As he wanders outside his partner is waiting with two new bikes, ready to go. The Cyclist is overjoyed. 

Dialogue

It seems to be a recurring convention that drama short films use minimal dialogue, instead relying on the visuals and the continuous soundtrack to establish the mood. There is background chatter while The Cyclist is at work, which serves to demonstrate how he is more of an outcast and not as socially involved as his colleagues are. The only other time we hear dialogue is when he is cycling in the countryside, as two hikers shout encouragement and the little girl shouts 'bye'. This short film is an example where less is more. Because the narrative is quite basic, there is no need for elaborate explanations. Instead the filmmakers have relied on the visuals and the score to tell the story. 

Camera Shots/Angles

• Wide Angle: While cycling in the countryside we can identify a lot of wide angles being used to display the colour and emphasise the pastoral setting. It presents the idea that the cyclist is out exploring and having an adventure into self-discovery. 
• Low Angle: There is a shot whilst the cyclist is in the countryside that frames him from below, giving him an imposing figure. The low angle shot acts as a way of varying the montage-like sequence of him cycling along, capturing him from an unusual position. 
• Tilt Shot: As the cyclist sits and admires the lake, the camera tilts upwards from his bike to reveal him sitting and looking outwards. From starting with an image of the bike to tilting up and exposing the beautiful natural world, it connotes that the bike has enabled him to discover all of this, creating a relationship between the character as a human and the character as a cyclist. 
• Pull Focus: The start of the cyclist's routine involves him waking up to the sound of his alarm. During these shots the camera uses pull focus; the alarm clock is clear in the foreground and the cyclist is out of focus in the background. It helps to emphasise how his daily life is predetermined, everything he does is the same. 
• Zoom: At the start of the film when the cyclist is sat eating his breakfast, the camera slowly zooms outwards to give us a wider look into his domesticity. It feels empty and largely predictable. The zoom out may also be an allusion to the emotion of the character. He is slowly fading away, the zoom could be embodying how he feels further and further out of touch with who he is. 
• Mid Shot: The best example of the mid shot in this film is where the cyclist is stood in his workplace over the photocopier. He is in the centre of the frame, while all around him the workers are talking and throwing paper planes at each other. This shot serves to establish the isolation of the character, and by framing him directly in the middle, it presents him as surrounded by the pressures of work life. 
• Wipe: This isn't a shot or an angle, more of a transition. At the point of 1:10-1:11 in the short film, the camera creates an illusion of a pan. The cyclist rides out of shot and appears to ride onto the next shot, moving from a setting of urban industry to a setting of rural nature. However these are two separate shots which cleverly create a cohesive transition. It has the effect of showing how the cyclist has leapt from one reality into another. I particularly like the effect of this editing, and will be something I keep in mind for my own short film. 
• Pan: As the cyclist approaches the two campers, our expectations are subverted as the soundtrack stops and the cyclist comes past at a very slow speed, contrasting the vibrant energy he seemed to have moments before. This is done for comedic effect, and a pan is used to follow his slow, dragged out ride past the campers. 
• Although not a shot in itself, I think that it is important to acknowledge how there are a series of shots that are repeated throughout. Waking up to the alarm clock, sitting at the kitchen table and reaching for his bike gear as he leaves all frequently recur. This has the effect of tedious repetition, mirroring the cyclist's feelings about his job and routine.

Editing

I would say that the editing varies at different points. It appears relatively slow at first to match the repetitiveness of his daily routine, but switches from slow cutting to fast cutting as the momentum builds while he cycles. There are very few cutaways inserted into the story, apart from when focusing on his partner waiting curiously for his return. This serves the purpose of presenting the dynamic of their relationship. By not including many cutaways the audience are drawn into the cyclist's journey, and this reflects how for once in his life he is feeling carefree and doesn't need to think about anything else. 

Diegetic/ Non-Diegetic Sound

As I found in the first short film I analysed, there is a significant importance placed on the non-diegetic score. The light-hearted yet emotional tone of the soundtrack is played continuously and evokes the emotions that complement the visuals. Worthy of note is that the moment when the cyclist rides past the campers, the soundtrack stops. Although done for comedic effect, it represents how in his head the cyclist is on an epic adventure whereas in reality he is just having a slow cycle in the countryside. Diegetic sounds like the background conversation, the alarm and the toothbrush are all used as a way of juxtaposing the natural world. On top of this I believe that the bike bell is an essential part of the diegetic sounds. The first time we hear it is when the cyclist decides not to go to work, and so it symbolises the start of the epiphany he is having. 

Mise-en-Scene

The most notable feature of mise-en-scene here is the immersive landscapes. The green and vibrant outdoors are used in juxtaposition to the dullness of his everyday life. I think that the brightness has been lowered in the post-production to make his house seem dark and uninteresting, and so his trip into the country hills are like a metaphorical transition of emerging from the darkness into the light. I also like how the film ends with his partner dressed in the same visibility jacket and helmet, because it shows cohesion and the strength of their relationship. 

Ideologies/Themes

This film is clearly about self-discovery and being yourself. The character arc of the cyclist demonstrates the change he undergoes from conforming to the pressures of society to reclaiming his identity. It conveys the impression that identity is constantly at risk of being crushed under the pressures of domestic or professional life, but the film subverts this and chooses to focus on the cyclist's willpower to change that. Work life, and in particular office jobs, are stereotypically portrayed as stressful and unenjoyable environments. I think that this helps the audience to resonate with the film because many people would have been through a similar situation, and The Cyclist personifies the belief that we all have the power to change who we are, we just need to take a leap of faith. 

Review

I like The Cyclist because it focuses on the everyman. The protagonist is nothing special by the standards of society, but he has a revelatory experience that makes him realise that he is special, a bit like the film The Secret Life of Walter Mitty. The soundtrack perfectly mimics the tone of the film, and I like the simplicity of the bike alluding to a much more complex psychological shift. Again the effect of minimal dialogue makes the short film more visually engaging because it allows us to take our own unique meanings from it. 

Drama Short Film Analysis 1

Starting with the drama genre, I shall use Youtube to find some short films from both award-winning filmmakers and other students in order to see the varying quality of production. This will help me to determine how a drama film is either a success or a failure. My goal is to evaluate the short films according to their specific features, these will be Dialogue, Camera Shots/Angles, Editing, Sound, Mise-en-scene, and Ideology/Themes.
 

PASSING

This is a very professional example, and I am impressed with how the story is both simple yet emotionally complex. It juxtaposes the two main characters (an old man and a young man) on their approaches to love but concludes with a sense of understanding between the two. 

In summary, an older man is buying his wife a small plant and a card for their anniversary, when in comes a younger and far more upbeat man, who charms the shopkeepers as well as some of the customers. The old man feels undermined as he watches the gentleman purchase a big balloon, a large boquet of flowers and a card. Under his breath he mutters 'just wait thirty years buddy' since he believes that the young man is being overly sentimental. Both men buy their gifts and leave the store. On his way back the old man stops suddenly, clearly spotting something. The camera moves along and reveals that the younger man is a widower, buying those items to take to the cemetry where his partner lies in peace. The old man feels guilty for judging him and upon reflection thinks about how lucky he is to have shared a long life with the person he loves. This is enough to make him turn around, implying that he is going back to the shops.

Dialogue

In terms of dialogue, there is very little. There is basic small talk between the young man and the other customers of the shop, as well as a brief sub plot of the women at the kiosk swooning over the younger gentleman and his sentimental affection. The young man is depicted as polite by wishing the shopkeepers a good day and also kind-hearted when he asks a young child for her opinion on the balloon. In contrast the older man is only given one line, 'just wait thirty years buddy,' which makes him comes across as sarcastic and cynical, implying that he is tired of over the top gestures of affection.

Camera Shots/Angles

Although the short film is quite basic, the camera shots and angles are quite dynamic. I found that many of the shots were trying to frame both of the main characters in opposing ways.  

• Focus Pulls:A frequent camera technique noticeable in this film is the use of pull or push focus. The very first shot is a close up of some of the boquets in the florist shop, which then uses push focus to bring the background of the frame into focus, showing how busy it is and establishing the colourful atmosphere. The second time this occurs is when both men are in the shop; the old man is in the foreground holding his plantpot and then there is another push focus to juxtapose him with the young man and his more vibrant bunch of flowers in the background. In the next shot there is a pull focus back to the older man. The final time this occurs is towards the end when the old man spots the younger man in the cemetery. The shot is a pull focus from the old man in the background to the young man in the foreground.  The significance of these focus pulls is that is helps to contrast both of the men at the same time, demonstrating that they are two sides of the same coin.
• Panning Shot:Another shot worth mentioning is the closing panning shot. As the old man walks off it pans to the right, showing the young man stood firmly by his partner's grave. I find this memorable because it captures how the old man has undergone a change (personified by him walking back to the shop) but also captures how the young man remains fixated in his beleifs (personified by his unchanging stance in the graveyard).
• Tilt Shot:Closing the short film with an upwards tilt is fairly conventional in a drama film because it acts as a slow drift away from the characters, often focusing on a blank sky which then fades into the credits. It also occurs earlier in the shop, when the camera tilts upwards from behind the card shelf to reveal the young man sorting through them.
• High Angle Shot: The shot where the younger man picks a balloon is done from a high angle, which provides both a clever bit of editing as well as an immersive shot. At first the screen is purple, but then it moves to reveal that the purple screen was simply a close up of a balloon. From an editing perspective, this transition enables the viewer to identify that the story has moved forward from when he was picking a card. And from a cinematographic perspective it provides engagement and a change from the grounded shots that had been used previously.
• Over the shoulder Shot: In order to establish a sense of intimacy and interactivity, the over the shoulder shot is used to highlight how two individuals are communicating. The camera focuses on one of the characters but is positioned behind the shoulder of the other so that interaction is implied. It can be seen here when the young man is talking to the shopkeeper.

Editing

The editing here is fairly straightforward, since the drama is slow paced. Slow cutting is used to establish a domestic situation where everyday life is taking place, which helps to create an atmosphere of tranquility. I think you could also point out that the short film uses match cuts, such as where the old man is walking past the graveyard. There is a mid-shot of him contemplating returning to the store, and as he turns around there is a match cut to a longer shot showing him walk off.

I would say that there is evidence of parallel editing here. Even though both characters are in the same location the film cuts to them at different times to show their contrasting approaches.

Diegetic/Non-Diegetic Sound

The non-diegetic sound is evident in the jovial soundtrack. However the score it used to signify the change in emotion. You'll notice the piano keys go higher when the young man is shown in the cemetery, which evokes a melancholy connection. This short film is much more reliant on the use of non-diegetic sound than diegetic sound, because the soundtrack is noticeable from the start until the very end of the film. Background chatter, dialogue, and natural sounds are all included to emphasise the civilised atmosphere of the neighbourhood, while the soundtrack determines how the viewer should be feeling. 

Mise-en-Scene

I think the brightness of the film is something that has been edited heavily in post-production. The gradient and the colour scheme are very evocative, contributing to the scenery of the botanists. The flowers, the balloons and the cards are synchronised in conveying a bright, busy tone. It immediately sets a vibrant and engaging tone for the scene. Worthy of note is the contrast in the two character's t-shirts. The young man wears orange, which is quite a neutral and harmless colour, whereas the older man wears purple, a colour associated with envy. These distinctive contrasts (not only in brightness but in colour connotation) help to assert the juxtaposition of the two men. 

Probably the most important element of mise-en-scene is the cemetery. There is no dialogue or exchange of any sort to tell us, but by visualising the graveyard it helps us to put together the context from what we've seen before. It clarifies the purpose of the story. 

Ideologies/Themes

This short film is an exploration of love, in my opinion. It explores love from three very individual perspectives. Firstly, there is the older man. His beliefs on love are that less is more, when you've been together a long time materialistic gifts are unnecessary. The second perspective is our initial interpretation of the young man. Charming and over the top, we look at love as an expressive emotion, conveyed through the purchase of excessive materialism. But then both ours and the older man's judgement are subverted with the twist at the end, which brings us to the third perspective. It looks at love as an immortal concept not to be taken for granted. The short film ends with both men and the viewer having a clear and compelling understanding that love should never be undermined. 

I also believe that the film is about judgment. As the viewers we are led to follow the old man's beliefs, thinking that the younger man is just showing off with unnecessary displays of affection and making us pity the minimalist approach of the older man. However by the end of the narrative we reflect on this change of perspective, and like the old man have a somewhat guilty conscience for making a premature judgement. 

Review

When I watched this short film I had to write about it. It is under four minutes long and yet cleverly presents a complex drama with a twist, using minimal dialogue and settings. Very little actually occurs on screen, a lot of the story is conveyed in the subtext and how we as the audience respond. I love how the colour scheme establishes a warm and welcoming atmosphere, and I feel that even though the two characters don't meet, their is a sense of foreshadowing and understanding between the two. I think that this example is very professional and an inspirational piece of filmmaking. 

Genre

Having done my theoretical and conventional research, understanding the different genres is now what I want to look at. Before I even begin to consider the plot or the characters of my short film, the first pivotal step is to determine a genre because it will give me a fixed point from which I can expand upon when doing my planning. The way I intend to do this is to provide a concise description of each genre as well as the possible benefits/setbacks that I would encounter if I were to make a product from that genre. After doing this I will conclude by narrowing down my list of genres to a potential 3 or four, and analyse some examples of short films in each of these genres to improve my understanding of their traits. 

1. Sci-Fi 

Science Fiction is concerned mainly with futuristic concepts or extraterrestrial life. It can vary considerably from space opera films like Star Wars, post-apocalyptic films like Oblivion, all the way to dystopians like Minority Report, Equilibrium and I, Robot. 

Advantages:

• Visually appealing
• Thought-provoking from a societal and capitalist viewpoint
• Imaginative/Not necessarily limited by realism

Disadvantages:

• Hard to visually create on a small budget
• Not enough time to establish an immersive futuristic world in a short film
• Difficult to come up with an original idea

2. Romance

A romance centers around two separate characters who eventually become romantically involved with one another. Typically it explores love, passion and emotion or the search to find these attributes. More often than not the characters have two very different lifestyles or have two very different personalities that at first repulses them, but is later what makes them compatible. 

Advantages:

• Simple premise
• Focuses on realism 
• Fairly stereotypical stories

Disadvantages:

• Again, not enough time to build an engaging love story for a short film
• Predictable

3. Action
Action films are another very broad genre. They can refer to the loud blockbusters like The Expendables, the slickly choreographed John Wick, or the international market with films like The Raid. Narratively, action films tend to be fairly basic, with their standout sequences being the action sets, typically involving shootouts, chases, fights etc. Even the most narratively simple plot like John Wick can gain critical success through it's action choreography or fluid editing.

Advantages:

• Basic narrative (most of the time)
• Focuses on visual feats
• Instantly engages viewer with excitement
• Offers the chance to improve my editing skills by creating a consistent action sequence

Disadvantages:

• Basic narrative, too reliant on action to carry the films
• Not enough available resources to choreograph a realistic fight
• Again, hard to come up with an original proposition

4. Thriller
Thriller films are sometimes interchangeable with action, however they are far more concerned with the structural build up and the consequent suspense rather than just the action. The tone and emotions they evoke are often anxiety and anticipation instead of excitement, as would be found with action. I have also found that thrillers appear far more realistic than action films, which is why they are successful in eliciting suspense. Some examples include Sicario, Prisoners and Black Mass. 

Advantages:

• Lots of ambiguity in story
• More opportunity to be creative
• Often a combination of character drama as well as action
• Can be psychological, mystery, conspiracy (lots of experimental sub-genres)

Disadvantages:

• Time constraints to build up anticipation
• Possible confusion with action or horror genres (too much variety)

5. Comedy

Comedy, when done right, can be hugely successful. They have the intention of being funny and humorous, though more often than not they fall short, which makes comedy probably the riskiest genre on the list. Some rely on practical humour like slapstick, whereas the memorable comedy movies prefer to find humour through witty dialogue, or even making fun of controversial topics. Some of my favourites include The Guard, What We Do in the Shadows, In Bruges and The World's End. 

Advantages:

• Allows me to have a clear aim in my script, tests my screenwriting ability

Disadvantages:

• Very difficult to master humour
• Do not have the locations or the resources to produce practical humour without someone getting badly injured

6. Horror

Horror is quickly becoming one of the most popular genres among the younger generations. The idea of a film being fear-inducing is an appealing prospect to many. Some horrors aim to shock the audience with their excessive gore, others maintain psychological tension, while the most popular theme in contemporary films seems to explore the supernatural. The Human Centipede aims to visually repulse viewers, The Gift and Don't Breathe are more psychological horror, and films like The Blair Witch focus on supernatural fears. 

Advantages:

• Can get substantial success on a small budget (The Blair Witch Project)
• Tension is evoked through camera angle, editing, sound, all of which would improve my skills in the production process
• Simple focus

Disadvantages:

• Overused
• Rarely have an engaging story
• Not memorable

7. Fantasy

It's probably relatively easy to predict that I will not be opting to make a fantasy short film, since I do not have the budget or the special effects knowledge to create something mythological and fantastical. World building is often essential to fantasy films, with Narnia, The Hobbit and Sorcerer's Apprentice all introducing protagonists to a new and unfamiliar world within their own.

Advantages: 

• Some successful fantasy films focus on mystical locations, I have access to many idyllic landscapes for filming
• Simple plots often involving quests and adventure

Disadvantages:

• Require budget
• Need longer running time to build a mystical setting, five minutes won't be enough
• Inhibits the capacity for character development through its focus on mythology

8. Drama

Deceptively simple, drama revolves around human interaction, character development. It is a realistic genre that is often slow paced and tells its story by establishing relatable or plausible situations. Creed, Beasts of No Nation and Calvary explore very different contemporary issues but all of them adopt a dramatic tone. 

Advantages:

• No special effects 
• Grounded, realistic locations and characters
• Can combine it with many other genres to make story more sympathisable
• Most variety

Disadvantages:

• Could be seen as too unambitious

Although I admit that there are many more genres out there, I feel as though these are the most prominent. Some sub-genres derived from these often include crime, adventure, historical and the recent popularity of superheroes. The reason that they have not been mentioned with their own headline is because I believe that they come under the brackets already highlighted. A historical film merely highlights a particular era, but it can still be an action or a drama. Just like a superhero film only alerts us to the topic, but it can still be an action, adventure, a thriller or even a comedy like Deadpool and Kickass. So the classifications are really only guidelines that help us to distinguish between the general topic of the films. 

Now that I have researched the types of genres on offer and analysed whether they would be suitable, I will select the few that are most appealing to this project. These are:

1. Drama
2. Thriller
3. Action

This is because at the core of all these genres is a human element that grounds the narrative. It will test my ability to write and structure a plausible plot as well as create engaging characters with memorable personality traits.

With these 3 genres as my area of focus, I want to start breaking down some actual short films and analysing them critically and technically. Hopefully at the end of my analysis I will have an awareness of the specific conventional traits identifiable with each genre as well as what works or needs improving.