SHORT FILM: THE INVISIBLE DOG:

Evaluations:

Here are my Evaluations:

Q.1) In what ways does your media products use, develop, or challenge forms and conventions of real media products?




Q.2) How effective is the combination of your main products and ancillary tasks?



Q.3) What have you learnt from your audience feedback?



Q.4) How do you use media technology in the construction, research, planning and evaluation stages?

Production Diary: 25/03/15:

Ancillary Tasks:

The Invisible Dog Article

The Invisible Dog: Short Film:

Production Diary: 21/03/15:

Audience Feedback:

StoryBoard:

Storyboard/ Discussion:

The first shot had always been planned in my head, consisting of a mid shot of my character 'the man' opening his front door to find the lonesome box containing the invisible dog. Seeing the door actually open would signify the initial constraints of the man being absorbed by his isolation and his hermit-like characteristics- hence the invisible dog being recognised as his saviour. I had always intended the word 'puppy' scrawled on the box. This may have played with a viewers heart-strings, but my main intention for doing this was to establish both man and dogs relationship and how this unusual relationship has time to blossom and grow through the narrative of the film. This would allow the tragedy of the dogs death to have more of an impact on the viewer, whereas I suspect not so much if I had not acted by allowing the viewer to see the beginning of such a relationship.

The P.O.V shot would be seen as vice versa, as I had imagined the next shot would be taken through the perspective of the dog. This would once again reinforce the almost instant tight bond between these two characters in the fond. The close up shots of these particular shots would also help to signify the fondness each have for one another.

A comical scene where the man decides to give his newly adopted pet a wash. the specific use of bubble bath would reinforce the idea of slapstick and how the dog, although interacting with the scenery is still invisible.

A scene where I attempt to teach the dog how to sit. Notice how the dog does what I tell it to?

A scene that has the introduction to the lead. This would hopefuly further extend my intention to create both hilarity and absurdity within my short. The plain and average background of a simple brick wall would further illuminate the dichotomy between the once normal and sad man with the abnormal concept of an invisible dog, allowing an audience to question whether this animal is real or not.

Further shots of slapstick. Although there are many comical moments, I purposefully wanted to lure my audience within a false sense of security so that they are initially unprepared for the sudden change in tone, when the death of the invisible dog is finally revealed

The confrontation between the man and his invisible dog and the a lady and her real dog is incontrovertibly my favourite scene within my short. Not only is it very comical (and if I do say so myself, with appropriate comic timing) the whole meeting between the four characters appears rather awkward and challenges what some viewers at the initial screening of my short disliked about the film. Some viewers where irritated by the fact that they did not know if the invisible dog was real or just invisible. I wanted to make the film ambiguous so that each individual viewer had the choice to believing if the existence of the dog was true, or just a false sense of reality- this relating back to my belief that all form of art is subjective and dependant of the person, and cannot be tied down to one particular view. Therefore, this is my way of playfully toying with such narrow minded critics!

The actual illness of the dog. Later on I decided to have this cut, as I thought such a crude image was not needed, I not wanting to insult the viewers intelligence, and spoon-feed them the plot.

The montage of awards would help to highlight the pain of the man regarding the loss of such a talented and wonderful dog.

The burial of the dog, leaving the man once more alone. In my belief this is a sad yet appropriate ending. It reveals my intention for the film to show the importance of loving and living life. I knew the ending was always to be very dark and sad, thus supporting my decisions to apply many humorous moments within my short, so as to gain an equal balance of comedy and tragedy within my story.

Film Micro Analysis:

Greeting and salutations!

By understanding the micro features found within the medium of film (including Short films) I have decided to write a micro analysis regarding a distinguished scene from one of my favourite scenes; 'The Silence of the Lambs'.

Mirco-features are a series of codes and conventions that are found within the moving image based medium of film. These include; Mese-en-scene, editing, camera, and sound. All of these aspects are used to establish an atmosphere, as well as present the intentions and relationships between characters- for this particular analyses I shall be concentrating primarily on Mese-en-Scene, sound, and camera. The scene that I have selected embodies these micro features, applying dark lighting, eerie music, and an oppressive menacing character being seen through Anthony Hopkins’s performance.

The scene begins with soft digetic music of a classical piano symphony (Barenboim - Bach Goldberg Variations – Aria) being played from a retro-style tape recorder. This immediately establishes Lectors cold calculating persona, as well as perhaps misleading audience members into thinking that the film offers a calm and tranquil tone, of which it does its opposite. As the camera continues its tilted pan across Hannibal’s desk, the viewer sees a sketch of Clarice (Jodi Foster) pictured in a cemetery, cradling a lamb. Not only does this relate to the actual title of the film ‘lambs’, but also hints at Hannibal’s ungraspable attentiveness and fascination with both his pray, and how death is always a result of this- this being seen through the initial signs of tombstones connoting death. The tracking shot continues, until moving up to reveal Lector’s silhouette placed against a Curtin. Here, the director highlights Lectors menacing broodiness, this making the audience feel intimidated by such an imposing presence.

The scene follows a mid-shot capturing two American guards, the director having placed the camera behind the bars that confine Hannibal. This is done to stress the danger and threat that Hannibal possess, as well as conveying the police officers are seen as the protagonists. This is achieved through mese-en-scene as their black uniforms are clearly illuminated against the white walls of the room, conveying, at first, how the police officers withhold a sense of authority and power. This is further seen through the close-ups of the police officers set of keys and their batons, further conveying their ruthlessness and apparent dominance.  One of the officers remarks on the dinner he is about to serve Lector ‘Lamb chops... extra rare’. The use of this diagetic dialog not only alludes to the title once more, but may foreshadow the tragic fate that awaits the two officers, the pieces of animal flesh about to be served being dead and bloodied.

A close-sup shot reveals Lectors face, this being the first time it seen within the clip. As the eyes bore in toward the camera, allowing viewers to feel a further sense of intimidation, Lector produces a small metal rod from within his mouth. Here, the audience is now in further knowledge, in comparison of the other two characters- this being effective as it helps to gravitate suspense. Furthermore, as Lector reveals himself from the curtain, he greets the officers with the dialog ‘good evening gentlemen’. This, at once contradicts as to what the officers had previously said about Lector, calling him a ‘son-of-a-bitch’. This allows the viewer to be conscious of Lectors good manners, once again allowing the audience to be mislead into a false sense of security, as maybe they may doubt Hannibal being entirely evil. This is further emphasised by how Lector wears complete white, whereas the officers were complete black, ironically connoting opposite moralities to one another.

Additionally, the clip continues; as Hannibal is chained to the bars of his cell, as the officers enter the cell carrying the food- all of this previously having been done in one take, creating a relaxed calm atmosphere. However, this abruptly changes with the sudden zoom of the police officer suddenly being handcuffed. At this point, the relaxing music from the recorder changes, only to be replaced with a non-digetic dramatic piece, fast in rhythm, connoting the climax of the scene. As the attack commences between the now enraged Hannibal and the two officers, the majority of the remaining clip is distributed through quick jump cuts. This helps to create a frantic tone that suits the dangerous rushed situation. A series of P.OV shots are also seen, through the eyes of both Hannibal and a police officer, as Hannibal is about to eat him, the audience feeling both petrified and  uncomfortable at the jerky personalized experience.

 The fight scene concludes with Hannibal relishing in his dealing with the remaining living officer tied to the bars, by slowly beating him to death with his own baton. The camera zooms on the smiling Hannibal, illustrating the madness that surrounds this character, small bloodstains are flung unto his white shirt. This may be seen as a metaphorical image of the sins he is committing, and how they penetrate the first established impression that the character of Hannibal maybe not being so bad, as he is perceived to be.

Finally, the clip ends with a titled Ariel shot, panning outwards as the blood-stained Hannibal stands eerily beside the recorder, returning to his classical music. This encapsulates the demented essence of the character, as well as allowing how psychotic Lector is to enjoy music, after his brutal murders, only moments ago.

Production Diary: 01/03/15:

Postmodernism:

I had always intended for my Short to be classed as Postmodern.

POMO has greatly influenced and exited me and can be seen within mywork. Magic realism is present through an invisible dog actually exising within our universe

Here, I dissuss the dichotomy between Modernism and Postmodernism.

Enjoy.

Ancillary Tasks: FINAL DRAFT:

The Invisible Dog: Final Draft:

Pitch for 'The Invisible Dog':

Production Diary: 14/02/15:

Script:

'THE INVISIBLE DOG' By Zak Labiad

ext a wooden back-door,belonging to a house, is focused, with the title 'The invisible dog' illuminated against the wood. the title fades.

A young man widely opens the door, only to find nothing. He looks down and finds an old cardboard box plonked on his doorstep. He picks it up to inspect.

POV:the man sees scrawled handwriting on the face of the box, entitled 'puppy'

PAN:to the man holding the box, a bewildered delight dancing upon his face.

int  hallway of a house

The young man carries the box as he excitedly runs up the stairs.

INT. bathroom

The young man (shower cap and rubber gloves on) carefully tips the box in a bathtub. He runs the bath and begins to clean his pet.

ext garden

The young man is teaching his pet basic commands, getting angry when he disobeys, but rewarding him a 'Bonio' from a bright red tin, if he is obident.

quickly cuts

ext  the runnign track

The young man is bieng pulled flamoboyantly, a he attemtps tot take his 'tame' do out for a walk. However, he grows to enjoy this wild sense of freedom.

EXT GARDEN

Cuts quicly to the young man comically wrestling with a chew toy with his invisible dog.

int kitchen

Ariel shot: done through quick snapping of photos: The dog is happily eating and drinking form his bowls of dog foood.

ext a woodlen pathway

The young man is seen pulling his dog away from a passing dog owner with a very angry dog, that barks angrily.

EXT  THE RUNNIGN TRACK

The young man prepares for the job of picking up a steaming pile of poo. He has one hand of his nose, another outstrectehd, drapped in a poo bag. sheepishly, he crouches down to collect.

fades

INT KITCHEN

The young man wakes up, slippers and dressing gown, to discover a pile of sick on the floor.

ext  a high-street

The young man stands very still, holding the 'puppy' box. he seems nervous.

PAN:toward the sing 'vets', the young man and his pet, begin to walk through the door.

Fades

int the young mans bedroom

MONTAGE: a multitude of photos and trophies are seen proudly presented on a alrge shelf. these are all to o with the young man, and his pet dog.

ext lido woods, a blanket of trees

The young man is seen walking through dense woods. We do not see his face. He dressed in balck, carrying a shovel and an elongated parcel. The man digs for a bit, next to a tree, alone. Satisfied, he takes of his hat, and unravels the package, revealing it to be the dogs lead. He places his hat and his lead in the hole, and burries them both. He slwoly sits next to the grave,lying down next to his past companion.

Pan out letting the figure of the young man at the grave become smaller and smaller.

The film fades for the last time...

THE END

Shot-list:

Zak Labiad: ‘The Invisible Dog’ Shot-List:

 

Shot 1: Mid-shot of puppy box on doorstep, camera moving up to capture a disgruntled man in grey.

 

Shot 2: Close-up P.O.V’s from both the man and the dog looking at one another

 

Shot 2: Close up toward the side of the man looking puzzled at his discovery.

 

Shot 3: Mid angle Mid-shot of the man deciding to keep the box, returning to his sanctuary from the outside world, presumably his house.

 

Shot 4: Deep Close up of camera on dolly as it captures B-roll footage of blossoming green leaves, flourishing in bright sunlight.

 

Shot 5: High-angle shot of the man placing a lead onto the invisible dog.

 

Shot 6: Mid shot of the man wrestling with a chew toy with his newly adopted invisible pet. The man’s head is purposefully cut from the shot so as to intertextualsie and parody the humans featured in carton ‘Tom and Jerry’ this being having a profound influence on the director, as well as evoking the dogs importance toward the viewers of the film.

 

Shot 7: titled mid shot capturing the back of the man existing through the main door of the house, accompanied with the invisible dog ties with a lead, as the two prepare the outings.

 

Shot 8: High-angle P.O.V shot of the man’s perspective a she takes the dog out for a walk. The audience will be able to see the lead as it ventures toward a lamppost comically preparing to urinate.

 

Shot 9: Wide-angle establishing shot of a grassy pathway and plain white wall, as the man continues to take his dog out for a walk.

 

Shot 10: Wide-angle establishing shot of the man taking his walk with the dog in a gusty field.

 

Shot 11: Deep close-up of a bird house

 

Shot 12: Wide shot of the man walking own the street with the invisible dog only to be met with a woman and her real life dog. These seems to be signs of a confrontations however both the master and mistress of their dogs depart their separate ways.

 

Shot 13: Far-away shot of the man walking from street to street. Gets closer through each quick and sped up shot, almost like a montage. The altering of speed is crucial here in order to gain hilarity within an audience.

 

Shot 14: Deep close-up of a dead plant in a basket, captured with low key lighting so as to signify a sombre mood.

Shot 15: Close-up that trails the walking of the man from inside the house, following his journey from his room, down the stairs, and into the kitchen only to be followed with an abrupt halt.

 

Shot 16: Close up of the man’s face as he witness the slump body of his companion. The face of the mans engulfed by shadows so as to signify his later mourning of the animal.

 

Shot 17: Deep close-up pull focus of an empty basket.

 

Shot 18: Deep close-up of the man’s eye.

 

Shot 19: Mid shot of the man looking in the mirror, unbuttoning his grey shirt to reveal a scarlet red jumper underneath.

 

Shot 20: Mid shot trailing the man now dressed in bright primary colours a she walks into the woods, a shovel in hand.

 

Shot 21: High angle shot of the man digging a grave for the invisible dog.

 

Shot 22: Mid-shot, having finished digging the grave and burring the dog in the woods, the man exists the woods through a very leafy pathway.

 

Shot 23: Close-up B-roll footage of a lilly.

 

Shot 24: wide angle establishing shot of the man thinking of his time with the dog, as he cast against the sublime background of a lake.

 

Shot 25: Close-up of a painting illustrating a dog that eventually pans toward the face of the animal.

 

Shot 26: Close-up B-roll footage focus pull of a small golden statue of a dog.

 

Shot 27: Close-up, handheld capturing the shrine that the man has made for his deceased pet.

 

Shot 28: Deep close-up of a flaming candle of wax.

 

Shot 29: close-up of well-lit outdoor surrounding capturing a real life dog, alluding toward how the man perceived his invisible pet.

Research into Equipment: