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.