Monday, 30 November 2009
Tuesday, 24 November 2009
Call Sheet 28th or 29th November
Date: 28th or 29th November
Time: 1pm
Shots: 1 - 12, 21, 23, 25, 33 - 55
Cast: Sarah, Sid, The Friend, stranger
Crew: Director, Camera Person
Wrap Time:
Contact Details: Email all involved
Monday, 16 November 2009
Call Sheet- 21st November
Date: Saturday 21st November
Time: 12.00pm
Shots: 13-20, 24, 26-32
Cast: Sarah
Crew: Camera, director
Wrap time: 5.00pm
Contact details: email all for details
Call Sheet- 17th November
Date: Tuesday 17th November 2009
Time: 3.20pm
Shots: 56-60
Cast: Sarah, Man/Woman
Crew: Camera, director
Wrap time: 4.30pm
Contact details: email all involved for details
Tuesday, 10 November 2009
Cast List
Sarah: Charlie Rushworth
Sid: Benjamin Stockton
Stranger in park: Karl Swales
Doctor: Simon Casken
Sid: Benjamin Stockton
Stranger in park: Karl Swales
Doctor: Simon Casken
Costume List
Scene 1:
-Sarah and friend: nice clothes, dressed up as if coming home from a night out, heels and a handbag, make up done, etc.
-Sid: Head to foot in dark clothing so as to blend into the shadows.
Scene 2:
-Sarah: Same clothing as in last scene, but not so neat, sort of ragged, make up streaked.
Scene 3:
-Sarah: Plain, day to day clothes. T-shirt, jeans and a jacket.
-Police officer: dressed as a police officer, uniform if possible, if not then best that can be managed.
Scene 4:
-Sarah: Pyjamas, with a dressing gown maybe.
Scene 5:
-Sarah: Dressed as though to go to work, white shirt/t-shirt/blouse, black trousers, black shoes, handbag.
-Stranger: Dark clothes, similar but not identical to what Sid wears in Scene 1.
-Sid: Same clothing as in Scene 1.
Scene 6:
-Sarah: White clothes from head to foot or just pale clothing, bare feet.
-Man/Woman: White coat, black trousers, simple footwear.
-Sarah and friend: nice clothes, dressed up as if coming home from a night out, heels and a handbag, make up done, etc.
-Sid: Head to foot in dark clothing so as to blend into the shadows.
Scene 2:
-Sarah: Same clothing as in last scene, but not so neat, sort of ragged, make up streaked.
Scene 3:
-Sarah: Plain, day to day clothes. T-shirt, jeans and a jacket.
-Police officer: dressed as a police officer, uniform if possible, if not then best that can be managed.
Scene 4:
-Sarah: Pyjamas, with a dressing gown maybe.
Scene 5:
-Sarah: Dressed as though to go to work, white shirt/t-shirt/blouse, black trousers, black shoes, handbag.
-Stranger: Dark clothes, similar but not identical to what Sid wears in Scene 1.
-Sid: Same clothing as in Scene 1.
Scene 6:
-Sarah: White clothes from head to foot or just pale clothing, bare feet.
-Man/Woman: White coat, black trousers, simple footwear.
Props list
Scene 1:
-Mobile Phone
-Mobile Phone
Scene 2:
-Mobile Phone (see above)
-Bed
Scene 3:
-Desk
-Chairs
-Photograph
Scene 4:
-Envelope and letter
-Table/Sideboard
Scene 5:
-No props
Scene 6:
-Bed
Monday, 2 November 2009
Shooting Script
Shooting Script
Shot 1: Long Shot of Sarah and friend walking down street. Duration- a few seconds.
Shot 2: Medium shot of the two as they walk further down the street, camera fixed position as they walk past.
Shot 3: Long shot as they walk towards the camera. Stop in front of camera in medium shot and run through dialogue. Friend carries on towards and past the camera and Sarah turns left into an alleyway.
Shot 4: Shot from within alley of Sarah walking in, medium long shot.
Shot 5: POV of rapist Sid in night vision watching Sarah as she walks past.
Shot 6: Close up of Sarah walking down the alley, Sid's shadow barely visible over her shoulder.
Shot 7: POV of Sid in night vision as he walks towards Sarah from behind, slightly higher angle than last POV.
Shot 8: Medium shot of Sarah, walking then getting grabbed around the waist by Sid.
Shot 9: Medium close up from the front as Sarah screams, moving all the way around them with the camera trained on them and Sid covers her mouth with his hand.
Shot 10: Low angle shot as Sid forces her to the ground.
Shot 11: High angle Sid POV as he forces her down.
Shot 12: A low to the ground long shot of them both on the ground, fading out to end the scene, with Sarah's dialogue.
Shot 13: A long shot of Sarah sat cross legged on a bed, head down and phone in both hands.
Shot 14: Shot 13 zooms in slowly to shot 14, a close up of her looking at the phone.
Shot 15: Over the shoulder extreme close up of her dialing 999 on her phone.
Shot 16: Frontal medium shot as she speaks, with a pause beforehand to allow for the voice of the operator editing in.
Shot 17: Close up of Sarah with her next line of dialogue, again with pause for voice of operator editing in.
Shot 18: A shot of Sarah from the side in medium close up, moving round to a frontal shot and zooming out on the way round. Last dialogue of the scene and again allowing pauses as the operator speaks.
Shot 19: Medium shot from the front where shot 18 finished of Sarah hanging up on the phone and letting it drop from her hand onto the bed then drawing her legs in towards her body and wrapping her legs around them.
Shot 20: medium close up of Sarah curled up and crying.
Shot 21: Flashback image of Sid's face.
Shot 22: Close up shot of Sarah's face with her eyes closed and tears rolling down her face, sobbing.
Shot 23: Flashback POV from Sarah as she fell to the ground, turing around and looking up at Sid standing over her.
Shot 24: Medium close up of Sarah taking her hands from around her and holding her head either side, her eyes scrunched shut.
Shot 25: Another Sarah POV from the ground looking up at Sid as he walks towards her and crouches, smiling lecherously.
Shot 26: A close up of Sarah's face, as she holds her head in her hands, sobbing hard. It zooms out as she rolls on to her side on the bed and curls up tightly, zooming out to a long shot.
Shot 27: An over the shoulder shot of an official looking letter addressed to Sarah, which she is holding tightly in both hands.
Shot 28: Frontal medium shot of Sarah opening the envelope, taking out the letter and starting to read it.
Shot 29: A close up of her face showing her reaction change as she reads the letter.
Shot 30: A medium shot of Sarah getting angry and slamming the letter on the side in the kitchen, zooming in on the letter to clearly show the phrase "released on bail".
Shot 31: A continuation on shot 30, showing Sarah turn around so her back is to the letter, slumping down with her back sliding against the side.
Shot 32: Shot 31 zooms in to this shot, showing her finish her slump and sit on the floor with her head in her hands.
Shot 33: A longshot of Sarah walking down an empty street towards the camera.
Shot 34: A Sarah POV shot of what she's looking at as she walks down the street.
Shot 35: A close up of Sarah's face as she walks down the street, her head swinging in all directions as she looks around her.
Shot 36: Another Sarah POV as a stranger walks around the corner, camera swinging around then coming to a rest on the man.
Shot 37: Shot 36 continued, edited so the man in shot 36 fades to become Sid in Sarah's eyes.
Shot 38: A close up of Sarah's face, flashing through fear before resting on anger.
Shot 39: A Sarah POV as she starts to walk towards "Sid" then breaking into a run.
Shot 40: A long shot from across the street showing Sarah running towards the stranger.
Shot 41: Another Sarah POV as she gets closer to the man who she sees as Sid, still running.
Shot 42: A medium shot of the stranger with a confused look on his face, panning around to show Sarah running towards him.
Shot 43: A shot from behind Sarah in medium shot as she runs towards the stranger and goes to hit him.
Shot 44: A Sarah POV of Sid reacting to her blow.
Shot 45: A medium shot from the side of the stranger trying to reason with Sarah, backing away as she swings her hand at him again.
Shot 46: A Sarah POV of Sid backing away with his hands raised.
Shot 47: A medium shot as Sarah keeps swinging her hands/fists at the stranger, showing her eventually force him to the ground.
Shot 48: A Sarah POV showing Sid fall to the ground and the camera going towards him.
Shot 49: A long shot from across the road showing Sarah dive towards the stranger.
Shot 50: A medium close up showing Sarah put her hands around the stranger's neck.
Shot 51: A Sarah POV/over the shoulder shot of her hands around Sid's neck (whichever is easier to manage, probably over the shoulder shot)
Shot 52: A long shot from across the street of Sarah strangling the stranger, slowing to a stop, then taking her hands away and backing off.
Shot 53: A Sarah POV of her backing away from Sid's body as it fades back to the body of the stranger that she has killed.
Shot 54: A close up of Sarah's horrified reaction plus her dialogue.
Shot 54: A close up of Sarah's horrified reaction plus her dialogue.
Shot 55: A medium shot of her slumping to the ground silently before tilting her head skywards and screaming, which then fades out.
Shot 56: A medium shot of Sarah dressed in plain white clothes on a plain bed in a non-descript room, Sarah sat with her legs drawn in to her and holding them rocking back and forth.
Shot 57: A shot through a window in the door/as if through the window of the door, showing Sarah on the bed rocking.
Shot 58: A close up of Sarah's face rocking, showing her eyes look to the side at the sound of the door opening.
Shot 59: A shot from the corner of the room showing a man/woman in a white coat entering the room. White coated person says their dialogue.
Shot 60: Medium shot of Sarah stopping her rocking motion, standing slowly from her bed then pans to follow her as she follows the doctor from the room.
End film, credits run.
Contacting the police
We have decided to get in touch with the police in order to assist our media project, finding out about the process that reporting rape follows, what the victim undergoes, and the facilities that are used. Here we are going to post records of all communication with the police.
Initial email sent to the police on 20th October
To: centralsntpublicinfo@southyorks.pnn.police.uk
From: Archerbod@aol.com
Date: 10/20/2009 06:06PM
Subject: Message for Inspector Mark Spooner
This message has been forwarded to South Yorkshire Police on behalf of the author because Barnsley College has a restricted emails policy which interrupts the sending of this email. Replies should ideally be addressed as directed in the message below but can be routed via the address listed in the sender information above.
Dear Inspector Spooner
My name is Charlie Rushworth and I am a second year student at Barnsley College, currently studying A Levels at A2, one of which is Media Studies. As part of our coursework it is necessary to create a 5 minute short film on a subject of our choosing. Another student and I have chosen to do a short film about the consequences of rape. I am contacting you to request a meeting with you or someone on your team to discuss the process that follows a report of rape. To ensure accuracy and authenticity in our project we would like to be clear about the way in which the initial complaint is handled and how a victim makes a formal identification of the suspect where the rapist is not known to the victim. I will ring you in a few days to discuss it in further detail unless you wish to contact me first.
You can contact me on my mobile at 07546107765, or by sending me an email to charlierushworth@hotmail.com
Yours sincerely,
Miss Charlie Rushworth
From: Archerbod@aol.com
Date: 10/20/2009 06:06PM
Subject: Message for Inspector Mark Spooner
This message has been forwarded to South Yorkshire Police on behalf of the author because Barnsley College has a restricted emails policy which interrupts the sending of this email. Replies should ideally be addressed as directed in the message below but can be routed via the address listed in the sender information above.
Dear Inspector Spooner
My name is Charlie Rushworth and I am a second year student at Barnsley College, currently studying A Levels at A2, one of which is Media Studies. As part of our coursework it is necessary to create a 5 minute short film on a subject of our choosing. Another student and I have chosen to do a short film about the consequences of rape. I am contacting you to request a meeting with you or someone on your team to discuss the process that follows a report of rape. To ensure accuracy and authenticity in our project we would like to be clear about the way in which the initial complaint is handled and how a victim makes a formal identification of the suspect where the rapist is not known to the victim. I will ring you in a few days to discuss it in further detail unless you wish to contact me first.
You can contact me on my mobile at 07546107765, or by sending me an email to charlierushworth@hotmail.com
Yours sincerely,
Miss Charlie Rushworth
Email from from police showing reference of initial email.
Fw: Message for Inspector Mark Spooner
| From: | |
 You may not know this sender.Mark as safeMark as junk | |
| Sent: | 21 October 2009 16:52:05 |
| To: | Deborah.Mahmood@southyorks.pnn.police.uk |
| Cc: | charlierushworth@hotmail.com |
Thursday, 8 October 2009
Script
1. EXT EMPTY LIT STREET
Sarah and her friend are walking down an empty lit street towards home when Sarah's friend turns off onto another street to go home whilst Sarah takes a shortcut down a dark dimly lit alley.
Sarah and her friend are walking down an empty lit street towards home when Sarah's friend turns off onto another street to go home whilst Sarah takes a shortcut down a dark dimly lit alley.
SARAH
(To friend) I'll see you later then, call me when you get home.
FRIEND
Ok no worries, talk to you later hun, bye
Sarah heads towards the alley where her friend is out of sight and Sarah sees a man lurking in the shadows smoking. She ignores him and continues to walk. His eyes follow her as she walks past he drops his cigarette to the floor and starts to follow her. He approaches her quietly and grabs her tightly restricting her movement as she lets out a startled scream. He quickly covers her mouth and pushes her to the ground. The shot fades away as she cries out for help.
SARAH
Stop! Please! Help somebody!
2. INT SARAH'S BEDROOM
Sarah is sat on her bed shaking, with the phone in front of her, she picks it up and dials a number, the phone starts to ring and an operator answers the phone.
OPERATOR
Which service do you require?
SARAH
Police
Sarah waits hanging on the line for a police officer to talk to, while she waits the clock beside her ticks louder and louder in her ears.
POLICE OFFICER
Hello, what is the nature of your emergency?
SARAH
I've just been raped!
POLICE OFFICER
Okay i need you to remain calm, could you please tell me when this happened?
SARAH
About and hour ago
POLICE OFFICER
Okay, we need you to come down to the station, don't wash or change your clothes as we need to take evidence. Come down as soon as possible
SARAH
Okay
POLICE OFFICER
Could you please tell me your name?
SARAH
Sarah Williamson
POLICE OFFICER
Thank you sarah, you're doing a very brave thing, come down to the station and we will see you soon.
Sarah hangs up the phone and lets it fall out of her hand, dropping onto her bed. Tears rolling down her cheeks she draws her legs towards her and wraps her arms around herself. Images flash through her head of the attack; she closes her eyes and tries to block them out. The shot ends on the expression on her face.
3. INT POLICE LINE UP ROOM
The next scene shows Sarah sat in an office with a police officer. There is a photograph on the desk between them.
POLICE OFFICER
We ID'ed this man. Do you recognize him at all?
SARAH
Yes. It was him.I remember now.
POLICE OFFICER
Thank you miss, could you please follow me
The shot fades out as she walks out the room looking back at the picture of her attacker, which is left laying on the desk. She smiles bravely then turns and walks out of the room.
4. INT SARAH'S KITCHEN
This scene shows Sarah opening a letter in her kitchen; she pulls it out of the envelope and starts to read. It says that her attacker Sid Peter has been released on bail and will not be charged at this moment in time. Tears start to fall down her cheeks as she slams the letter to the table and slumps to the floor with her head in her hands.
5. EXT QUIET STREET
This scene starts with Sarah walking down a small, quiet street. She is hugging herself as she walks, looking everywhere around her. She then sees who appears to be her attacker walking around the corner. She launches on him and attacks him, eventually strangling him down to the ground. As she backs away, she realises that it wasn't actually her attacker and was in fact, just a stranger. She also realises that she has killed this man.
SARAH
I... I've killed him. I killed him. I killed him...
She tails off into silence before slumping to the floor and screaming. The scene fades out to her screams.
6.INT PLAIN ROOM
The scene shows Sarah sat alone on a bed in a little plain room, rocking back and forth with her legs drawn in close to her body. She should be wearing plain, non-descript clothes. The shot zooms out to show a man in a white coat enter the room. He closes the door and stands in front of it.
MAN
It's time for your pills now Sarah.
This scene ends with the man in the white coat leading Sarah out of the room by the hand. The shot fades and the credits run.
Thursday, 1 October 2009
Chacter profile - rapee
Age: 20
Occupation: Bar maid
Appearance:
Personality: Bubbly sociable young woman, usually doesn't get angry at much but goes into fits of blind rage when it all gets too much for her.
Interests/Hobbies: Enjoys nights out on the town with her friends, but also likes a nice relaxing night in with her boyfriend watching films. In her spare time she plays badminton and likes to go swimming.
Likes/Dislikes: Likes loud music and a good laugh but finds it annoying when people talk too loud and are generally depressing, her motto is to keep on smiling.
Family/Relationships: Lives on her own, her mum and dad are divorced, she has a boyfriend named ryan who currently doesn't live with her but is planning to move in with her shortly.
Role in the film: Main character, victim of a rape by a man named Sid Peters. She reports the rape and receives a letter informing her that Peters has not been charged and she slowly turns mentally unstable.
Character Profile- Rapist
Character Profile
Name: Sid Peters
Age: 23
Occupation: Businessman
Appearance:
Personality: Usually quite calm and logical, apart from when his anger gets the better of him. Likes to act like the business man he is.
Likes and Dislikes: Likes playing sport occasionally with people from work and quiet nights in, dislikes noisy people being in a crowd, drinking too much and people that drink too much.
Hobbies and Interests: Enjoys artistic pursuits and playing squash in his spare time.
Family and Relationships: Isolated from his family, has a girlfriend who is on the verge of walking out on him. Bad with relationships and always goes for the wrong woman.
Role in short film: In the film, he rapes the victim, Sarah Williamson, on the night his girlfriend tells him she’s cheated on him. He tries to hide from what he does but witnesses on the night mean he is arrested as a suspect. In a line up, he is picked out by the victim but later is released on bail. At the end of the film what happens to him remains unknown.
Name: Sid Peters
Age: 23
Occupation: Businessman
Appearance:
Personality: Usually quite calm and logical, apart from when his anger gets the better of him. Likes to act like the business man he is.
Likes and Dislikes: Likes playing sport occasionally with people from work and quiet nights in, dislikes noisy people being in a crowd, drinking too much and people that drink too much.
Hobbies and Interests: Enjoys artistic pursuits and playing squash in his spare time.
Family and Relationships: Isolated from his family, has a girlfriend who is on the verge of walking out on him. Bad with relationships and always goes for the wrong woman.
Role in short film: In the film, he rapes the victim, Sarah Williamson, on the night his girlfriend tells him she’s cheated on him. He tries to hide from what he does but witnesses on the night mean he is arrested as a suspect. In a line up, he is picked out by the victim but later is released on bail. At the end of the film what happens to him remains unknown.
Monday, 28 September 2009
Questionnaire Results
Question 1-What is your age?
16-20= 13 people
21-30= 3 people
31-40= 1 person
41-50= 2 people
50+= 1 person
Question 2-What is your gender?
Male=7 people
Female=13 people
Question 3-Have you ever watched a short film?
Yes=8 people
No=12 people
Question 4-Would you be interested in watching a short film about the consequences of rape?
Yes=14 people
No=6 people
Question 5-Have you ever seen a short film/feature length film/television show that touches on the subject 0f rape?
Yes=17 people
No=3 people
Question 6-What sort of age rating do you think would be suitable for such a film?
12A=1 person
12=3 people
15=12 people
18=4 people
Question 7-Do you think a short film about rape would be suitable for viewing on TV?
Yes=11 people
No=9 people
Question 8-Should a short film about rape include rape statistics?
Yes=13 people
No=7 people
Question 9-Do you think a short film about rape should include at the end the phone number of a rape helpline?
Yes=14 people
No=6 people
Question 10-Do you think a short film about rape would be useful in reducing the number of incidents of rape?
Yes=10 people
No=4 people
Maybe=6 people
16-20= 13 people
21-30= 3 people
31-40= 1 person
41-50= 2 people
50+= 1 person
Question 2-What is your gender?
Male=7 people
Female=13 people
Question 3-Have you ever watched a short film?
Yes=8 people
No=12 people
Question 4-Would you be interested in watching a short film about the consequences of rape?
Yes=14 people
No=6 people
Question 5-Have you ever seen a short film/feature length film/television show that touches on the subject 0f rape?
Yes=17 people
No=3 people
Question 6-What sort of age rating do you think would be suitable for such a film?
12A=1 person
12=3 people
15=12 people
18=4 people
Question 7-Do you think a short film about rape would be suitable for viewing on TV?
Yes=11 people
No=9 people
Question 8-Should a short film about rape include rape statistics?
Yes=13 people
No=7 people
Question 9-Do you think a short film about rape should include at the end the phone number of a rape helpline?
Yes=14 people
No=6 people
Question 10-Do you think a short film about rape would be useful in reducing the number of incidents of rape?
Yes=10 people
No=4 people
Maybe=6 people
Thursday, 24 September 2009
Audience Questionnaire
Questionnaire
1. What is your age?
16-20□ 21-30□ 31-40□ 41-50□ 50+□
2. What is your gender?
Male□ Female□
3. Have you ever watched a short film?
Yes□ No□
4. Would you be interested in watching a short film about the consequences of rape?
Yes□ No□
5. Have you ever seen a short film/feature length film/television show that touches on the issue of rape?
Yes□ No□
6. What sort of age rating do you think would be suitable for such a film?
12A□ 12□ 15□ 18□
7. Do you think a short film about rape would be suitable for viewing on TV?
Yes□ No□
8. Should a short film about rape include rape statistics?
Yes□ No□
9. Do you think a short film about rape should include at the end the phone number of a rape helpline?
Yes□ No□
10. Do you think a short film about rape would be useful in reducing the number of incidents of rape?
Yes□ No□ Maybe□
1. What is your age?
16-20□ 21-30□ 31-40□ 41-50□ 50+□
2. What is your gender?
Male□ Female□
3. Have you ever watched a short film?
Yes□ No□
4. Would you be interested in watching a short film about the consequences of rape?
Yes□ No□
5. Have you ever seen a short film/feature length film/television show that touches on the issue of rape?
Yes□ No□
6. What sort of age rating do you think would be suitable for such a film?
12A□ 12□ 15□ 18□
7. Do you think a short film about rape would be suitable for viewing on TV?
Yes□ No□
8. Should a short film about rape include rape statistics?
Yes□ No□
9. Do you think a short film about rape should include at the end the phone number of a rape helpline?
Yes□ No□
10. Do you think a short film about rape would be useful in reducing the number of incidents of rape?
Yes□ No□ Maybe□
Tuesday, 22 September 2009
Charlie Rushworth- Short film analysis
Short film analysis- SPIN
The film is available for download here.
And the creator of SPIN, Jamin Winan, has his own wesite here.
SPIN is a short film about a man dressed in black with a set of portable turntables. The film starts with an establishing shot then shows him falling to the ground in a dark alley as if from the sky, accompanied by a loud heavy beat intended to startle the viewer. He lands in a round patch of light, his turntables in their cases falling to the ground around him. The alley is portrayed as a very isolated place, with 'real life' shown in the distance by way of cars passing by.
He stands and walks out of the alley, a longshot showing him walking away, then a close up showing just his feet and ankles. You then see an over the shoulder shot of a car accident. Throughout this sequence there is a continued heavy beat counterpointed with a light high-hat rhythm, almost portraying the seriousness of the situation before him and counterpointed by his light-hearted mood. The next shot shows him walking towards the accident from the front in a medium long shot and stopping, putting the cases on the ground. It then shows a series of extreme close ups as the man in black sets up the turntables on the ground. The sound of the mechanisms in the turntables being assembled merges with the backbeat and, although seemingly unintentional, works well as part of the music. The next shot is then a close up of his face, cutting quickly to a longshot of him and the turntables.
From here, the shots regularly alter between close ups or extreme close ups of the man in black using the turntables and longshots of the accident. The next shot shows the man in black stopping the disc on his turntable from spinning. As he does, it cuts to the scene of the accident, which is edited and paused, with the initial view of the accident in monochrome being adjusted for colour and brightness. It then shows the man in black spinning the disc backwards. As he does, the previous shots of the accident have been edited in in rewind. It continually cuts between the man in black turning the disc and the accident rewinding, with the scene speeding up as the disc is turned faster. The scene shows the accident in rewind and returns everything to how it was before the accident. The man in black is then shown setting the disc spinning forward again, in a series of close ups. As the disc spins forward again the accident plays out again, showing the reactions of the various people at the scene in medium long shot.
The scene is rewound and played again twice, each time with similar editing to the first rewind. The music here becomes much less intrusive than before, now with a soft brass percussions sound of a high-hat but punctuated with notably more powerful beats at the important parts of the sequence, for example, when the turntables stop, when the man on the bike hits the car windshield and when the ball almost hits the bike wheel. However, this is returned to a more realistic sequence of sounds after the first run through of the accident scene. The last time the scene is played, however, there is a long shot of a ball rolling towards the cyclist. The ball is rewound, and followed back to where it came from in a series of shots, showing that the ball had rolled out of a woman’s shopping as she dropped it. Again, there is a series of close ups of the man in black and eyeline matches as it shows the people he is looking at, the people who had the ball in the first place. The scene is played again, as the woman with the shopping drops it once more. More eyeline matches follow as the film cuts between a close up of the man in blacks face and the ball rolling along the ground. The film cuts from the rolling ball to an extreme close up of the man in black turning a knob on the turntable, then cuts back to the ball rolling as it changes direction, giving the impression that the ball was affected by the turntable. There is another close up of the man in black followed by a longshot of the ball rolling past the cyclist. There is then another close up of the man in black looking satisfied with what he has done followed by a quick montage of shots in extreme close up as the man in black packs the turntables away.
The film then shows a medium long shot of the man in black as he picks up the cases that contain the turntables and zooms in slightly then, in another eyeline match, cuts to a close up of the ball rolling. There is then a shot of an elderly man pushing an elderly woman in a wheelchair, with a businessman walking behind them. It then cuts to show, in long shot, how the ball is rolling towards them. In close up, it cuts to the businessman’s feet tripping over the ball. It then cuts to a medium shot as the businessman falls onto the elderly man. He, in turn, falls and lets go of the wheelchair. The scene cuts briefly to the wheels of the chair spinning, then eyeline matches between the woman in the wheelchair and different people in the scene. In longshot, it shows the elderly woman in the wheelchair roll into the road, only to be run over by a pick up truck.
It then cuts to a close up of the man in black to show his reaction, followed by a medium shot as he ducks the flying parts of the wheelchair. Again, the series of shots showing the turntables being set up is shown, but this time, slightly quicker. The scene again is shown in rewind as the man in black turns back the disc, with an over the shoulder shot followed by a sequence of establishing eyeline matches as the man in black checks out all of the people on the scene, and again the scene is set into motion again and the balls path altered. The shots showing the turntables being packed away is shown again and, like the unpacking shots, is shown quicker.
The man in black is then shown again in medium shot. It then cuts to the ball rolling towards the feet of a breakdancer. In close up, he trips, and this singular trip sets off a whole chain of events, with the ball being shown flying through the air. The ball is shown, in medium close up, to hit a man on the back. The ball then bounces into the hands of a man stood with another, giving the first man the impression he has thrown the ball at him. The three men start to fight. The breakdancer rolls on the floor, clutching his ankle, as a woman with a dog stops talking to a man on a phone and runs towards breakdancer (long shot), leaving the man with the phone alone. The woman with the dog knocks into a druggie, whose needle flies through the air. It lands near the little girl, who picks it up. The little girl’s mother, the woman with the shopping, screams, causing the elderly mans hearing aid to malfunction and give him what seems to be a heart attack. The businessman catches the elderly man, only to be sprayed in the face with pepper spray by the elderly woman in the wheelchair, who thinks the businessman is mugging her husband due to the ketchup stains the businessman has mashed onto the elderly man’s chest. The businessman steps backwards and walks into one of the men who was fighting, who now has a gun in his hand, with the impact causing him to fire the gun into the air. From the eyeline match shown from the man in black looking skywards and the soundtrack in the background, it seems implied that the gunshot has brought down a helicopter. The majority of these shots are done in close up or medium shots.
The film cuts to a close up of the man in black, then another medium shot of him ducking to avoid the debris from an explosion. The shots showing the turntables being unpacked follows once more, even quicker this time, and again, the scene rewinds as it cuts between this and the man in black, mostly in close ups, shown frantically rewinding the turntables. Here the man in black is shown at a normal speed with a determined look upon his face, almost static whilst clouds are shown racing in the background. A series of shots follow showing each of the people at the scene, edited for them to spin around, with what appear to be pictures from the lives edited in behind them. After that, there is an extreme close up of the man in black’s eyes scanning the scene, then cuts to him setting the disc back into motion. The ball rolls and is followed by the camera as once again it changes direction.
With a quick cut back to the man in black, the film then cuts to a low angle shot of the elderly man, at whose feet the ball has stopped with the sky shown behind him. The sun is shining through the clouds in this shot, giving a warm and cosy feeling, implying hope and contentment spreading through the scene as the sunshine spreads through the scene. The shot shows him pick the ball up and start bouncing it, all in the same low angle shot. The film then shows the breakdancer in a longshot, with the ball bouncing down the middle of the shot in front of him. The ball stops bouncing as he starts to dance to its beat, which is jaunty, upbeat and happy. The film then has an eyeline match from the little girl, who sees the man breakdancing. The girl walks towards the breakdancer, walking between the three men who were fighting in the last scenario. They watch as the girl walks between them and avert their confrontation (girl walking always shown in longshot, once form above, men’s reactions shown in close up and medium close up).
It then cuts to a longshot as the cyclist swerves around one man and crashes into the businessman. The businessman’s food flies through the air (shown in a medium/medium close up shot) and with help from the turntables lands on a man on his own. The woman’s dog runs after the food and the woman runs after the dog (long shot). The dog and the man in black have an eyeline match with the flying food to establish the dog’s interest and the man in black’s control. The two (the man and the woman) get talking as the man in black turns a knob, almost as if he’s turning up the mood of interest between them. This is all shown interspersed with eyeline matches from the man in black as he approves the new line of action that is taking place.
The shot moves to long shot of the elderly man still playing with the ball, the breakdancer in the background, and the elderly woman in the wheelchair. There is then a point of view shot from the elderly woman, looking over the elderly mans shoulder towards the sky. The shot changes to an extreme close up of the man in black pushing a slider on the turntables as though improving her health, then cuts back to the elderly woman in a medium long shot as she stands. In long shot the elderly man helps her up and in medium close up they start to dance. It then cuts to the druggie, with an eyeline match between him and all of the other people in the scenario. It cuts back to him in a medium shot, with a cut to an over the shoulder shot of him leafing through his money, to a medium close up of him followed by a close up of him putting all of his money in the breakdancer’s pot. Throughout the scenario, it cuts back regularly to the man in black, all in close up. At the end of the scene, it shows him once more in close up, followed by the packing up the turntables montage.
In longshot, it shows him walk away from the scene, all the people in the background. It cuts to the woman with the shopping and the little girl, cutting to a close up of the little girl throwing her doll into the air and dropping it, with a close up of it breaking on the ground. There is then a medium close up of the man in black from behind as he turns around. It cuts back to the doll broken on the ground, to the little girls face, to the man in black, and back to the girl (all close ups). It then cuts to a medium close up of the man in black, then a close up of the girl, back to medium close up of the man in black to a close up of the man in black. He is then shown in a medium shot starting to walk away from the scene before the unpacking the turntables shots are shown. The doll in shown in rewind fixing and landing in the girls arms then followed by the packing set of shots, all within the space of a couple of seconds. The film ends with a shot from ground level of the man in black running away.
This short film uses very little in the way of editing the shots together, with the majority simply cut together and with a very rare pan here and there. Eyeline matches seem to be overused but it is necessary to give meaning to the actions of the film without having to explain through dialogue, and gives the film a certain charm and quality that makes you feel involved in the scene. As far as editing goes, I particularly enjoyed how the speed with which the turntables were packed and unpacked increased with each showing, almost illustrating the man of black losing his patience each time he had to correct something again.
The lighting throughout all seems to be naturally lit, asides from at the very beginning of the film when the alley is lit with a circle of light. The film also plays with lighting cleverly near the beginning, as when the man in black turns a knob on his turntable the scene brightens and changes from monochrome to colour, though this is a product of editing rather than lighting at the location.
I myself found the storyline to be very engaging as, although no names are given for any of the characters in the film, you find yourself forming an opinion on them based on their personality, which for each character is shown brilliantly despite the lack of verbal sound. However, the fact that no character names are given makes it difficult for me to analyse the film, having had to give each character their own reference i.e. man in black.
The titles are very quick and cutting, in keeping with the overall feel of the film, kicking it off with a brief show of the company behind the film and the film's name. The credits are similar, sharp and snappy, each set of names briefly shown before being torn from the screen quickly. Generally, they follow the whole pace and mood of the rest of the film. I especially like the way that although the opening titles are indeed short, they set the pace for the rest of the film, a fact that may evade most people until they watch it again.
Overall, the almost 'mouse-trap' like individual scenarios where one thing leads to another, each time growing longer and more complex, makes this short film a thrill to watch and, despite the apparent simplicity in the shots and edits, achieves something that many short films fail with the greatest and most complicated of edits.
Monday, 21 September 2009
Treatment
Treatment
Title- Invaded
Duration- 5 minutes
Audience- BBFC Rating 15 due to strong reference to sexual violence at the start and strong violence towards the end. This short film is intended for a general audience of the ages of 15-40, intended for viewing by both genders but perhaps will draw more of a female audience.
Synopsis- Film starts on a woman walking down a lit street with a friend. Her friend waves goodbye and carries on down the lit street. The woman turns into a dark alley. A man, hiding in the shadows, steps out and grabs her. She screams, and he places a hand over her mouth. The shot fades into darkness as she sobs and pleas with the man, begging him not to. Her sobs fade out.
A new shot fades in from the dark screen. The woman is sat on her bed with a mobile in her hand. She calls the police telling them she has been raped. She gives a description of the man. A montage of shots follows showing the aftermath of the event. The montage ends on a shot of her receiving a phone call. The shot ends on the expression on her face.
It then cuts to her examining a police line up. She picks out her attacker from the line up. Happy, she leaves the room convinced that he will be charged.
It then fades to a shot of her receiving a letter. The letter says that her attacker has been released on bail. She sobs and tears fall onto the letter. She leaves the house to get some air.
Since her attacker has been released, she is deeply paranoid. Walking down a quiet street, she seems to see her attacker walking towards her, waving at her. She leaps on the man, beating him, and eventually strangling him to death. Pulling away from the body, she is horrified to see it isn't actually the man who attacked her but her friend that she has killed.
The shot fades into another shot of her on a plain bed in a non-descript room. Dressed in plain clothes, she rocks back and forth, her arms wrapped around her. The shot moves out to include a person in a white coat, telling her it is time for her pills. The film fades to credits and ends.
Suggested Elements - Unexpected twist in the ending.
-Especially focuses on the aftermath and the character’s conflicting emotions.
-Touches on how few men are convicted of rape when accused.
-Shows how rape may lead to problems within a victim's life i.e. paranoia.
Research
Research-
Similar Film-
The Accused (1988)
IMDB
Trailer for The Accused on Youtube
All Movie
Research- Rape statistics, law, etc.
Rape Crisis - Rape statistics
Rape Crisis-
Offenders have been getting away with it..
Similar Film-
The Accused (1988)
IMDB
Trailer for The Accused on Youtube
All Movie
Research- Rape statistics, law, etc.
Rape Crisis - Rape statistics
Rape Crisis-
Offenders have been getting away with it..
Only 15% of serious sexual offences against people 16 and over are reported to the police and of the rape offences that are reported, fewer than 6% result in an offender being convicted of this offence. This means that those who commit these very serious crimes may continue to pose a risk to the public.
Rape Crisis- Definition of rape in law
Campaign to End Rape- Rape statistics
Genre Research
Personally, I find that the film fits best into the genre of a psychological drama, fitting with the following description, taken from starpulse.com;
In Hollywood, psychological drama is usually used as an approach, merging with other larger genres that stress mental struggles over the physical.
The film I have researched that is similar to ours, The Accused, is classed as a drama by uk.rottentomatoes.com, showing that I am on the right track in classing the project as a psychological drama.
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