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: