- In what ways does your media product use, develop or challenge forms and conventions of real media products?
Sugarcoated
Shot 1. The close up shot, consisting of a key in a keyhole, is taken at a slight higher angle on the right hand side whilst the key leans towards the left as if locked. There follows a shadow with a silhouette shape, slightly misshapen, in opposition to the key below. This is made through camerawork and lighting. This stylised idea is very similar to The Omen (1976), the main body of the boy followed with a dominating silhouette of the religious cross. Although the shadow (of Sugarcoated) is not a specific symbol there is a significance to the shape. The original object (the key) is clearly seen as a metal material locking the door. The opposition (the shadow) is a copy of the key however misshapen and has less of a stiff edging in comparison to the original object. This is shown equally in The Omen. However, the dominance of the shadow may represent the exaggeration of realism, which is very much set in our narrative. The idea of metal or iron symbolises dictatorship, the shadow may be the alternating dystopia, a reflection. The Omen has a different kind of shadow reflection with a cross symbol, seen as a representation of the instrument of the crucifixion of Jesus, is the best-known symbol of Christianity. The circle (in Sugarcoated) is a universal symbol with extensive meaning. It represents the notions of original perfection, the Self, the infinite or God ('God is a circle whose centre is everywhere and whose circumference is nowhere' -Voltaire). The idea of different symbols from a circle is however the spectator may perceive the shape of the object. The Omen however creates a binary opposition between an upside down cross symbolising evil, in reflection to innocence, the silhouette of a young boy. In consideration of binary opposition, a misshapen circle (the shadow) symbolises imperfection and damage, in reflection the original circle representing original perfection, the idea of utopia. Although the shape from the angle is quite similar, this can suggest a thin line between perfection and imperfection.
Shot 2. The second is a medium shot of the outside of an open cupboard with two feet inside. The lighting is specifically in a position to reveal the two feet and blacken beyond into the cupboard. This is also shown in the opening sequence of Seconds (1966), the detailed lighting is specifically shaping the features of a face, which goes with the themes within the narrative of new identity. The second shot is very significant compared to the rest of the shots (in Sugarcoated) as there is an edge creating a thriller genre, along with the idea of playing with fears. The shot is very cryptic, especially in how spectators may perceive the image. This type of thriller genre can be considered in the opening of Seconds, the editing of disfigurement in the facial detail makes a very obscure representation to the film. The narrative about identity is similar to the order of how the footage in Sugarcoated is put together. The change of identity within the characters as well as editing of colourisation, location and sound. The movement however flows more and has a slower pace as the facial features disfigure in a stretching motion. This could represent modern day society of how appearance is important as well as the extent in being able to change your natural face structure. Although not a theme within Sugarcoated, there is similarity of how the narrative exaggerates certain areas that reflect to our developing society. Furthermore the framing is different as there is the difference in medium shots, establishing where the main object is, and close ups showing main focuses of key themes. The movement in how the second shot (in Sugarcoated) is made is still and concentrates more on what is in the frame of the scene. It also makes a clear understanding towards the narrative within the representation of the opening, a suggestion of entering into something dark. Although not welcoming in image, the non diegetic sound is in opposition to the image as light high pitched tones of a music box coats the uncertain entrance to blackness. Seconds has deeper tones enhancing the unsettling visuals creating more agitation to the audience. There are (non diegetic sounds) of violins leading up to sudden organs, a gothic tone that adds to the thriller genre.
Shot 3. This shot is of a one piece tea cup set in a medium shot at a slight higher angle in the composition of the right hand side of the frame. The prop is surrounded by elements of glitter/paint stains and fluorescent colour tones. This shot also includes sharp shadowing that overpowers and creates vulnerability. The movement is dominating and gives a symbol of conversion into dystopia, a clear link to the narrative. This foreshadows the further change in footage and sound. The similarity to this shot is with Crimson Peak (2015), there is a vintage style to the prop that is similar to the entire theme within Crimson Peaks opening. The detail of richness and sophistication however sharpened by the deeper tones of a gritty contrast suggest a dark history within the heritage of the objects. An opposite of the narrative going into the past themes rather than a more contemporary representation focusing onto the future (a theme within Sugarcoated). This shot also opens up the theme and main body narrative through the edited colours and lighting, a change from the previous monochrome shots. There is also a femininity to the visuals of both Crimson Peak and Sugarcoated. The detail of gold pieces of jewellery and other delicate Victorian era pieces accentuated with rich darker colour tones. Sugarcoated however has a more modern detail of delicacies covered with a kitsch tone.
Shot 4. A close up shot frames in a side position to present the character. It gives a side view of the structure of the face with highlighted pigments on certain areas to create innocence within the character through visual colourisation. Marvel's Daredevil (2015), although an animation, has a shot within its opening of a similar side view of what looks like a Greek goddess holding up a balancing scale. The melting of a wax type material shapes the face, a little like the character in Sugarcoated, the shimmer running down her cheeks exaggerated by the lighting. However the colour theme differ as Marvel's Daredevil is more heated and steamy. Sugarcoated has more of a cold damp tone. Although Marvel's Daredevil has a main role of a male, the opening has the silhouette of females as a non stereotype. Holding a sword in one hand they are presented as strong symbols representing balance. An opposition to Sugarcoated as it represents the exaggeration between good and bad. However the women is blindfolded revealing weakness, a binary opposition to the held sword. Weakness (in Sugarcoated) is expressed through the visual of the presented character, she seems vulnerable in the close up shot which is a more stereotypical introduction of females.
Shot 5. This is another close up shot however introduces the character with more power yet sinister look. This is shown through the characters facial expression and eyes that are complimented by the damp blue tones. This is also evident in The Forbidden Room (2015), a montage of different stylistic credits underwater with burning transitions. The opening shares the same shot framing of a close up of a characters face. The binary opposition of water and fire is another symbol of innocence vs evil as shown in The Omen (1978). The water representing purity and the fire representing an underworld, a link to Sugarcoated's represented narrative in visuals. This is especially shown through the dramatic change into the next shot.
This is actually a little research from The Forbidden Rooms inspiration to their film opening and credits. "I had seen loads of silent films by the time I started work on The Forbidden Room, and I spent hours combing through YouTube and the Prelinger archives, trying to find films with their original intertitles. Films in really bad condition, with lots of dirt and murkiness, weird cropping and missing frames and reels." Sugarcoated's representing opening is a little like a mini silent film, the concentration is mainly on the visuals and characters telling a story. The editing is made to create disturbances and confusion, to challenge an audience to think about the narrative.
Shot 6. The shot switches to a medium close up into a black and white effect with doubled shadowing behind the character. The shadowing is a reflected silhouette in a higher position. This can be perceived as dominance towards the character that is made vulnerable. A similar character placement is within the opening of The Big Knife (1955). The positioning is very similar however slower in movement. The darker background is another similar arrangement blending into the characters head, as well as the same hand position. Yet, the difference in gender is significant as the character in Sugarcoated is presented vulnerable so is the male in The Big Knife, which is ironic to the name of the title. Towards the end of the opening in The Big Knife there is a breakage of the image, a similarity to how the editing of the specific scene in shot 6 is as there is a visual breakage through, lighting, pace, colourisation and sudden change in sound. This suggests a sudden switch through the thin line between utopia and dystopia.
Shot 7. and 9. The shot is very simple with a black background centred on the credits that carries on the kitsch theme of Sugarcoated. The credits remind me of a 90s chick flick that are centred around groups of girls. This type of genre is mainly where females take the main role. Beyond Clueless (2014) goes through the classic 90s - 2000s chick flicks with an opening credits very similar to Sugarcoated.
This could be seen as a stereotype having the designed credits in the theme of a stereotypical high school girl film. However, the idea of a worldwide classic being of a film orientated around females is the qualities of what Sugarcoated has. Furthermore, Sugarcoated's narrative may have the iconic credits but has a turn of narrative that differs from the stereotype. A difference that makes the film independent and part of Film 4 and Studiocanal.
The ending title of Sugarcoated differs with the thick liquid running down the title. This introduces spectators and challenges spectators to understand the representation from the juxtaposing visuals and credit designs.
Shot 8. Another medium close up reveals an underground cellar with more sharp shadowing lined across the character of the hanging light shade. The light shade, upside down, reminds me of Alice in Wonderland, another link to the idea of how the narrative goes down and under into a dystopia. However the scene is similar to the opening of American Horror Story Asylum (2012). The constant deep silhouettes and shadows create mystery and a slight psychological thriller genre theme. There is also a constant disturbance in pace which is very similar to the editing within AHS Asylum. There are also many religious themes in AHS Asylum that follows on with the ideologies to the Sugarcoated narrative of innocence vs evil.
How does your media product represent particular social groups?
The film Under the Skin (2013) is about a mysterious women that seduces men into the empty mirrored unknown with what looks like a pool of thick black tar. Later it is revealed that the skin of the men is removed and floats around with a fluorescent blue light shining on the empty naked skin.
The main character, Laura played by Scarlett Johansson, is revealed to be an alien on a discovery taking peoples skin. She is trying to understand people, but mainly what it is like to be a woman in society.
Researching analysis of the character Laura (Under the Skin), there was many in-depth analysis of how she is represented as a female, "it definitely got me thinking about how disenfranchised and alien-like woman can be in different portrayals of themselves as women. The alien Laura is, confounds audiences, it makes them question why we have not had female characters like her before. While her existence might astonish some, for some women, we find ourselves in her. While laws, without question, are continually placed on how women should use and make themselves, very rarely do we find women combatting laws that place these same restricting laws on men’s bodies. Woman find themselves often as a delicacy to society’s standards."
She creates a representation of what it is like to be a female, there is also a gap that leaves spectators to their own perception. This gap is definitely seen in our characters. However, Sugarcoated has similarity through having an insight on what it might be like for a female in a society of excess eventually turning into a fiasco. The similarities are also within the ideology of what is inside, under the skin of a female, the character is presented in an attractive form like a coat. This further represents that just from the skin or coating, it makes a difference of treatment from other people. In Under the Skin it is shown when the character Laura reveals herself by removing the coating of her female body (the skin) to a metallic black alien. In Sugarcoated, this is shown through the editing and cinematography as the structure creates the utopian coating followed by the under layer of innocence descending into impurity.
3. What kind of media institution might distribute your media product and why?
The audience would be cut down due to genre, narrative and visual preference. The film however would possibly be shown in the contemporary section of the BFI Southbank cinema. "A four-screen cinema venue showing over 2,000 classic and contemporary films each year, with film seasons, director and actor retrospectives, and extended runs of cinema classics. View over 1000 hours of free film and TV in the Mediatheque, visit the library and film shop, and enjoy two of the South Bank’s best restaurant bars."
For BFI members, Sugarcoated would be on the list as an experimental film to watch along with other independent and critically acclaimed films. However, in the BFI Southbank there are mostly classics and old film playing. But, there is an alternative of monthly experimental cinema. Here they show experimental film LUX, the centre for the promotion and distribution of experimental film and video works in the UK. This breaks down an audience who would want to watch our film for purposes of interest in experimental art-house film.
Crowd funding would be another optional way of funding for Sugarcoated. This can be done via internet, but the concept can also be executed through mail-order subscriptions, benefit events, and other methods. Indigogo is a crowdfunding website where they help in pre-launch, crowdfunding and marketplace. This could be a good method for funding and making an audience that would want to see the film adapted.
5. How did you attract/address the audience?
- Upload to Youtube, add notes, speech bubbles and links to the video
- Annotations will highlight the ways in which the Film Opening links to other similar films in order to attract the particular audience that was previously identified
- Annotations will refer to genre conventions, use of music, similarities with other movies and what was identified as the Unique Selling Point of your imaginary film
6. What have you learnt about technologies from the process of constructing this product?
I began with the experimental photographs of different locations to shoot in, I wanted the scenes to be in some kind of dining room. So I took a range of photographs in a lighter area with a more modern style of open windows and creme tones but it didn't seem right for the genre and themes. So whilst using the camera (some kind of Nikon) I changed to a darker setting of red walls, candles, Persian style rugs, thick Victorian style curtains, paintings and wooden furniture. The lighting was also darker which enabled us to use a range of lighting effects that would stand out to the camera. I wanted the scenery to have a heritage with layered contrasting edited colours, this made the idea of Sugarcoating. Exaggerating everything to seem unreal layering over something that would be normal and relatable as an average room.
Using my phone I began to take 'mini' footage of the kind of editing, narrative and cinematography I wanted. They were made with vintage effects and distortion to create the style of dystopia. I further played around with lighting from my phone and where I wanted it to be placed when taking footage. To change the speed around and create the reverse effect I used Snapchat, I then made the effect layer on top to make the gritty old film look.
The second round when we placed the props and created the room I took pictures (using the proper camera, Nikon) with different styles of lighting and edited the warm, saturation and tone to see what went best with the cold fluorescent editing.
I used the same camera to take the footage with a tripod and realised moving pictures are very different to stills. This did make it a little difficult as the pictures were not exactly portrayed into the footage due to the lighting and camera. With the photographs the camera did the job of the lighting, which meant taking footage you needed a proper light source rather than a phone torch. However, the phone did work with the shadow movement and highlighting the main focus areas we wanted.
Using my phone I began to take 'mini' footage of the kind of editing, narrative and cinematography I wanted. They were made with vintage effects and distortion to create the style of dystopia. I further played around with lighting from my phone and where I wanted it to be placed when taking footage. To change the speed around and create the reverse effect I used Snapchat, I then made the effect layer on top to make the gritty old film look.
This is the editing app on my phone.
The second round when we placed the props and created the room I took pictures (using the proper camera, Nikon) with different styles of lighting and edited the warm, saturation and tone to see what went best with the cold fluorescent editing.
I used the same camera to take the footage with a tripod and realised moving pictures are very different to stills. This did make it a little difficult as the pictures were not exactly portrayed into the footage due to the lighting and camera. With the photographs the camera did the job of the lighting, which meant taking footage you needed a proper light source rather than a phone torch. However, the phone did work with the shadow movement and highlighting the main focus areas we wanted.
For editing we used the Adobe Premiere, cutting the footage into sections and organisation. We then began manipulating the time of the footage to create a distortion that mixed in with the sound. The sound was from FreeSound.org, we picked out the pieces we thought synced into the theme and placed into the editing software to section and structure the footage into a beginning, middle and ending. Colourisation was portrayed with the blue, greens and reds enhancements to make a fluorescent tone.
7. Looking back at your preliminary task (the continuity editing task), what do you feel you have learnt in the progression from it to full product?
It makes the surroundings and intimacy between characters visually comfortable as there isn't any noticeable editing to a spectator. However, our opening is made to be noticed as the constant jumping of shots with distorted timing makes spectators uncomfortable being able to see the obvious change.
