'Wasp': Short Film Analysis

26 Minutes | Directed by Andrea Arnold | Social Realist Drama | 2003

'Wasp'

This film was directed by Andrea Arnold in 2003 and works to offer the audience a valuable insight into the lives of the underclass within modern day society. The film passes very little judgement on the difficulties of this supposed social underclass referenced to in the movie, and instead places spectators in a position that allows them to understand explicitly the economic and social oppression that is experienced by the main characters who feature, and encourage them to form a conclusion of their own in regards to the issues put forth. The film has a distinct three act structure that reflects the straightforward and unaccommodating reality in which the protagonists live whilst also working to escalate the sense of threat that is unfulfilled until the end of the short film. However, this ominous sense of foreboding is foreshadowed through the initial opening sequence wherein the tile of the film I first presented.

'High Maintenance': Short Film Analysis

9 Minutes | Directed by Phillip Van | Science fiction | 2006

'High Maintenance'

This short film was directed by Phillip Van in 2006 and offers an exploration into dating within the modern world through the utilisation of scientific elements utilised within the narrative, with this being most notably acknowledged through all of the main characters (supposedly) being robots. The film has a clearly open-ended three act structure that can be found to add to the overall simplicity and elegance of the setting and the plot line itself, which also helps to dramatise the high standards the protagonist has in regards to her romantic/marital relationships. Once again, the opening frame of the film is the title of the movie, adhering to typical genre conventions and implementing a subtle insight into the narrative before it even begins. It is additionally interesting to analyse the title of the film as being reflective of not only the expectations that the female main character has of her partner, but also adds to the concept of artificial intelligence, or in the case of this short film, artificial love which is presented as something that needs to be 'maintained' through equally artificial means.

At the beginning of the short film, we as spectators immediately assume that the voyeuristic perspective being offered to us through the intrusive camera angles and quick-paced editing is made to be a viewpoint into the dynamics of an ordinarily human marriage. The close-ups of the female protagonist not only work to align us with how she wants her relationship to be, but also intensifies her frustration at the 'mechanical' nature of her husband. It is important to consider, however, that the camera never shows the back of her neck - this adds an element of surprise to the plot line that shocks the audience and makes them suddenly aware of the slight clues referencing the narrative twist that had been carefully interweaved throughout the unfolding of the story. The way in which the camera has been made to pan in and out from the action happening within key sequences helps to make the relationship, predominantly the woman's role within it, the focal point of the film. Also, the way in which the screen fades to black at the end of every act in this short film gives the impression of time passing and a new problem/resolution occurring. The most significant of these would be after her character is depicted in a medium wide shot ordering a replacement model from the robotics company due to her lack of satisfaction for her original.

'High Maintenance'

The way that the proxemics between the main character and her first robotic husband are only ever breached during her creepy apology and the subsequent deactivation, and then finally when she says goodbye to his lifeless self with an even creepier kiss on the lips, can in some ways be interpreted as putting forth a message in regards to dating in the modern age. The advanced technologies that have been created and are a mainstream attribute to the world in which the main characters live are symbols of a not-too distant future. Already, we are using dating apps and are beginning to form fantasies about having relationships with robots made for the pure intention of pleasure - hence why it can be argued that the film acts as a warning for the way of life we are currently on our way to creating. This reality is quite clearly shown to be a dystopia that is nowhere near as lovely as once expected; this suggest that, ultimately, no false counterfeit of love can ever quite beat the real thing. 

The utilisation of sound within the short film is another interesting component of film-making that has been adapted to this movie as a means of enhancing the intensity of the narrative. The leit-motif music that plays in the background during the title sequence and at the end of every act is technological and stilted which once again signposts that this is a science fiction film, whilst additionally conjuring typical images associated with fairy tales and child-like nursery rhymes. The lack of dialogue and the presence of long silences within the plot work to reinforce the idea of a mechanical romance that is absent of the feeling and passion that should thrive between them. The way that the dialogue is repeated, once with her former partner and then again with her replacement partner illuminates the repetitive and fragmented nature of the relationships that she has, all of which lack true emotion - presented here as the most valuable and important feature of every human romance.

'High Maintenance'

The mise-en-scene found within the short film is generic of any home shared by young couples in modern day society, making them easily recognisable for the audience and inconstant sources of alignment for the spectators to follow. These typical tropes and conventions may have been adopted to propel the seemingly innocent story along and make the twist both shocking and completely unexpected. The conclusive part of the narrative, when the female character herself is deactivated by her new partner is incredibly ironic and encourages the audience to question whether or not it was justified. On the one side of the argument, she is simply a product of the artificial society in which she lives (both physically as well as psychologically) and therefore cannot be blamed for her actions; on the other side she was cruel to deactivate her former partner and replace him with another model so that she alone could have a better experience in regards to her relationships, this being an argument that is utterly subjective to the individual viewpoints of the audience members themselves.

'The Gunfighter': Short Film Analysis

2. 9 Minutes | Directed by Eric Kissack | Comedy/Western | 2014
   
   
   

   

   'The Gunfighter'

   This short film was directed by Eric Kissack in 2014 and utilises comedic effect to challenge and disregard the typical genre conventions of a traditional Western movie. This is primarily done through the way that the narrator of the events that unfold is diegetic to the characters who feature throughout the movie, and speaks aloud the internal secrets and thoughts of those within the scene, most of which are highly personal and embarrassing in content. The highly prevalent theme of hypocrisy works to not only embody the plot line that ensues, but additionally works to make the audience indecisive as to whom they align with - none of the characters are good people and therefore the spectators' sense of moral judgement is faced with an abundance of contradictions that make them as indecisive and unbiased as the narrator himself. The sadist nature of the narration is also important to consider as acting as a valid reflection of the short film's plot line and the concealed sins of those whose life it exposes.
   
   The way in which one of the first frames of the movie is the title works to emphasise Kissack's conformity to the typical conventions of a short movie, however, it is important to note that during the opening sequence the audience do not expect to witness the sudden transition from stereotype to unorthodox. This brings about a certain element of surprise that highlights the loss of such concepts - after all, the two brothers went into the saloon with the secret intention of shooting the Gunfighter dead. This only highlights further the idea of the narrator giving the audience a voyeuristic perspective into the events that are about to unfold, with this not only working to implement humour into the story, but also adding to the disruption and uneasiness of those within the scene.
   
   

   

   'The Gunfighter'

   The narrator is unseen and is not a visual character and hence he acts as a unique selling point that adapts the narrative to his own subjective tastes as a method of making the plot seem more exciting. This challenges typical movie conventions because the narrator of any film is never supposed to change or interpret the things that occur and the characters involved. This is made to seem ironic because of the way that the setting and costumes all match the typical conventions of a western movie, with the lighting constantly being dark and enigmatic to add to the supposed mystery trying to be created. 
   
   The use of music can also be found to break the conventions of mainstream film productions because those in the scene can hear it just as they listen to the narrator's viewpoint of the things unfolding/about to unfold. The fast-paced dialogue between the actual main character's within the scene quickly emphasises the scale of their involvement within the injustices they have caused, as well as the palindromic structure that the consequences of wrongdoings have upon those around you. Silence is additionally utilised for comedic effect as opposed to dramatic effect, with the brief interlude of quiet only working to stress the power and authority the narrator has over the characters and the plot line itself.
   
   

   

   'The Gunfighter'

   The way in which all of the main characters apart from Sally 'The Whore' have committed an act of evil, be it infidelity, theft, bestiality, deception or murder also works to place an emphasis upon the idea that within film, just as it is within real life, the lines that work to separate the protagonists from the antagonists are not so easy to distinguish. There is an equal amount of good and bad within everyone and therefore true alignment is impossible.
   
   

'Pitch Black Heist': Short Film Analysis

13 Minutes | Directed by John Maclean | Crime Drama/Film Noir/Heist Movie | 2012

'Pitch Black Heist'

This short film was directed by John Maclean in the year 2012 which focuses upon the fragmented and tense relationship between father and son - although this is only revealed at the conclusive part of the movie, when the son, as played by Michael Fassbender, frames his father Liam, as played by Liam Cunningham, as the criminal behind a heist. Working closely together throughout the narrative, several hints are filtered through to the audience in regards to the nature of the main characters' relationship, and, upon watching the film a second time, it becomes obvious to the spectators what was concealed all along.

At the very start of the movie, both Michael and Liam meet for what is supposedly 'the first time', with their performance working to present the character dynamics between them as reserved and secretive - particularly Michael, who, with the knowledge that Liam is actually the father that abandoned him and his mother as a child, resulting in her psychological breakdown and his absence of father figure growing up, is clearly intensely driven by getting his revenge. When the two men first interact, Liam is surprised to find Michael's willingness to use his real name - something that we are unaware of whether or not is actually true. This suggestion of false identities and meeting for the first time as stranger's is a point of irony within the narrative - going to show just how absent Liam was in his own child's life, leaving his son alone to deal with the breakdown of his mother and the unsettled home life that must have been bred as a result, so much so that he is unable to recognise Michael as his own.

'Pitch Black Heist'

The lack of leadership and security that Michael must have experienced growing up is quite clearly symbolised during their training, when Liam attempts to lead Michael blindfolded and fails miserably, leading them to switch roles. This careful performance goes to highlight how Liam has failed in leading his son and acting as a positive role model, resulting in Michael bring completely independent and s young man who does not rely on his father for either physical or metaphorical guidance. This fragmented relationship is also seen through the representation of each of the characters. The way that Michael begins the short film wearing all black and Liam is seen to wear lighter shades, with this switching as the movie progresses, goes to enforce the idea of the audience's first assumptions being wrong; with the character of Liam who was found to act as a source of comedic relief and the protagonist the spectators felt more aligned to, turning out to be the 'bad guy' of the narrative. As the film reaches it's conclusion, we as an audience come to finally understand why Michael did what he did, although the ethical implications of his revenge are never forgotten or disregarded. 

'Pitch black Heist'

This transition in terms of alignment is most notable when looking at the camera angles and movements that work to present the characters to us. The medium long shots of Michael in a black hoodie during the film's opening reinforces the idea that he poses a threat to Liam, making it somewhat impossible for the spectators to be able to sympathise with him. The lighting additionally gets progressively darker as the narrative continues on, with the crisp film-noir conventions that have been utilised being made to not only reflect the idea of a pitch black heist, but also to draw attention to the increasing amount of shadow and the ominous atmosphere that hangs about the characters interactions. The setting also adds to the general conventions of the heist-movie genre, with it starting in an isolated and open warehouse during the planning stages, and it ending with Liam being trapped within a claustrophobic and intense environment that he is unable to escape from. The theme of betrayal is also used within the narrative, particularly when we find out that Liam neglected his son, and when Michael frames his father for the heist.

'Pitch Black Heist'

The lack of colour works to dramatise the enigmas being put forth to the audience snd make it feel for the audience as though they are watching a traditional heist film. The use of soundtrack and music adds to this idea, although the exciting and relatively upbeat musical score does not match the content of the movie itself. It is important to note that music is only used within the opening scene of the film, working to show the aim of the main characters heist - little do the audience know that for Michael, the heist has a much more personal meaning. The typography seen within the opening sequence makes the title of the short film appear quite official and imposing, with the screen dramatically fading to black at the end of each act to heighten the intensity and foreboding elements of the narrative and engage the spectators in the action that unfolds.

'Connect': Short Film Analysis

5 Minutes | Directed by Samuel Abrahams | Magical Realism | 2010

'Connect'

This short film was directed by Samuel Abrahams in 2010, with the narrative following a young woman’s bus journey home from work one evening that takes a magical turn when she uses her imagination to conjure images that make her experience of public transport more exciting. This is mainly shown through the lack of dialogue and presence of music within the key sequences; particularly when she imagines a passenger gunning down an older woman so that he can have her seat, as well as when her fellow commuters burst out into a dance routine at the conclusion of the film. Utilising a subtle use of props, most notably the headphones that work to separate her from the reality unfolding on the bus, presenting her as a somewhat mystical character; and a striking colour scheme that works to enhance the simple beauty of life - 'Connect' goes to highlight that it is important to forge relationships with others regardless of the social barriers that may arise to prevent it.

'Connect'

It is important to note the way that the magical elements of this short film are most obvious when the main character herself seems to be completely immersed within the most tedious and generic repetitions of daily life; something that all audience members would have experienced at some point. This not only places a stress upon the idea that there is joy and wonder to be found in the world if one looks hard enough to see it, but also offers a source of character development for the spectators to acknowledge - allowing them to align more clearly with the protagonist herself. The way in which the main character is the only passenger on the bus (supposedly) that is able to interpret her surroundings in such a way as to bring excitement to her life, additionally encourages the audience themselves to view the world as she does. It can therefore be said that her presence throughout the short film is where the magic seen in the movie truly comes from; with the connection that she makes with the man on the bus enabling him to share in the same perspective that she has - thus putting forth the concept that it is a simple act of human kindness that is more magical than anything else.

The choices of cinematography found in the movie can also be found to support this idea, with the extreme close-ups of the main character once again working to align her with the audience and present her as the key focal point within the narrative. As well as this, the cinematography can be regarded as observational, being possibly made to reflect the gradual changes in the main character's life and her constant awareness of them. This short film successfully offers the audience a collection of 'What If?' moments that encourage them to ponder upon how their own lives would have turned out had they chosen a different path - linking once again to the overwhelming allure of simply existing. 

'Connect'

The use of the main characters vibrant red jacket that she wears throughout the short film is also another source of separation from the rest of the passengers on the bus, making her stand out against the the more muted colour palettes found in the costumes of the other characters. Her breach in character proxemics when she takes up the stranger's hand is highlighted by the use of brighter high-key lighting - giving the impression that everything the main character touches in a frame is immediately revived in it's brilliance, from the vibrant yellow pole she holds onto to the way she is able to bring a small piece of happiness to the stranger's life and make him smile. The evident use of communication through body language, with this short film lacking in any dialogue, is yet another point of significance in the analysis of the narrative - with all of the sequences being supported by the gentle thrum of the bus as it carries these characters to their destination, or the music that the main character listen to through her headphones; all of which work to challenge typical film conventions.

The clever use of editing within the short film additionally works to implement a sense of contrast between fantasy and reality - with the constant jump cuts from her to the other characters creating a distancing effect that distinctly segregates the perspective of the protagonist from the rest of the passengers. Even the close-up of the main character and the stranger holding hands is important in understanding the effects that having a connection has upon the individuals involved. They are never shown in a two shot, and are therefore only ever depicted in over-the-shoulder shots that enable spectators to know what the other character is feeling, but never see them together. Within this short film, there is more of a focus upon subjective feelings despite these said feelings being predominantly shared - both the main character and the stranger are equally happy and comfortable with the unorthodox connection that they have made, and both are equally disappointed when their connection is disrupted by their sudden return to reality. However, the audience are only ever able to take in their responses separately - showing that, because of social constraints and the modern day inability to relate to the feelings of others, they were never truly together. This inevitable separation can be seen to have been first hinted at within the opening of the movie, when the main character is pushed to the back of the queue when waiting to get onto the bus. This shows the reserved and uncaring nature of those around her; with all of the other passengers being too engrossed within their own problems and lives to be curious about anyone else's.

In conclusion, 'Connect' is a largely uplifting short film that not only goes to emphasise the importance of connecting with others around us, but also spread the positive message that the journey to where one needs to go is not about the destination, but who you meet along the way.

'Connect' Short Film

'About A Girl': Short Film Analysis

9 Minutes | Directed by Brian Percival | Social Realist Drama | 2001

'About A Girl'

This short film directed by Brian Percival in 2001 adopts a fractured narrative structure as a method of aligning spectators with the focal character of the plot; a thirteen year old girl who goes unnamed for the entire nine minutes of the movie's duration. Throughout the film the audience witnesses the protagonist delivering a dramatic monologue about her life; with witty remarks and light-hearted jokes about her family being carefully intertwined with the leit-motif of the Britney Spears' song' 'Stronger' and clips of her happily interacting with her friends - all of which work to construct a deceptive foreground made to conceal the intense and uncomfortable nature of the situation she is actually in. With subtle references to key themes such as domestic violence, material deprivation, poverty and family troubles hinted at through seemingly innocent memories and symbols such as her favourite ice cream flavour and her naivety in wanting to become a famous singer, 'About A Girl' successfully conveys the difficulties of growing up in a poor and disadvantaged community as well as the bleak outcomes of doing so.

The genre of this short film works to enforce the comments being made to the supposed underclass of society; those who are unemployed and seek support from the state in order to maintain their lifestyle, with the social realist elements of the short film being most notably reflected in the depiction of social class - a concept that all audiences are able to easily recognise and, upon watching the film, question. It can be said, however, that the stereotypical approach within the portrayal of this underclass in society only works to allow spectators to sympathise with the main character more - putting forth the idea that her predicament within the movie is not as a result of her deviancy or desire, but more as a consequence of her lack of appropriate role models and the social oppression she has experienced. This idea is further supported by the way in which she remains nameless; placing perspective upon the events that unfold to highlight the overwhelming scale of the issues explored - this young girl could be any young girl in the UK and that is what makes the messages of the short film so poignant. Her problems and experiences, despite how awful they are, could belong to anybody; thus making her a rounded and relatable focal point of study for spectators to consider.

'About A Girl'

Even the utilisation of the protagonists clothing, as well as the careful hair and make-up choices that have been implemented, help to portray her character as one of complete cultural repression. The jacket that she wears throughout the short film is neutral in colour, making her almost indistinguishable from the destitute urban streets in which the narrative unfolds, with her cliché image matching that which is commonly associated with youth delinquents on council estates. It can also be inferred that this jacket is a symbol of her furtive nature and silent compliance to the trauma that she has went through, aiding in presenting her as a product of the society in which she lives. It is also relevant to consider the reasons why the narrative unfolds only on the streets; why her character is only ever seen outside walking by the canal or at the football field or sitting outside the pub or at the shops or in a cafe and never in her own house itself. This can be found to implement the theory that her home life is unpleasant, giving yet another reason for why she is incapable of forging a relationship with someone she feels she can be honest with - something that is only glimpsed at during her brief interims of silence and the short spurts of knowledge shown through flashback. As well as this, the way that Percival has distanced the character proxemics within the narrative can be found to heighten the growing intensity and destruction of the relationships between the main character and her family members. This, alongside the utilisation of a hand-held camera in the filming of her dramatic monologue allows the audience to view the things that occur throughout the movie from her subjective perspective - thus making their alignment with any of the other characters somewhat impossible and heightening the enigmas for the end of the film. The choice of soundtrack within the movie, a Britney Spears song made popular in 2000, just one year before this short film's release, can be regarded as a method of once again highlighting the marginalisation experienced by the main character and give a sense of irony for the audience to acknowledge. The lyrical content of the song itself was made to be empowering for young women at the time, greatly contradicting the seemingly profound and inescapable suffering of the protagonist despite her off-beat acceptance of it. The use of colloquial language and dialogue can be seen as a cultural link to Manchester, the place in which the film is set, and once again goes to support the concept of the main character lacking in opportunities to   change her life for the better.

As well as this, the presence of props within the film also hold a morose impression of levity for the main character; most obviously through her continuous holding of the plastic bag which carries the dead baby inside. This creates a distinct transition and development in her role within the narrative - having before been possibly labelled by spectators as a disadvantaged young person contributing to the gradual atrophy of society, as opposed to an equal human being with issues far greater than her age should accommodate. 

'About A Girl'

This saddening sense of loss at the end of the movie, propelled by the narrative twist of the girl's hidden teenage pregnancy, only works to further dramatise the isolated and lonely nature of the lifestyle that she has; which is thoroughly presented as the primary factor contributing to her lack of social mobility, and works to foreshadow her eventual self-destruction. The presence of mobile phones and technology within key scenes can additionally be regarded as a method used by Percival to show the audience that the young girl's downfall is somewhat inevitable - simply the collateral damage of how little her family understands and cares for her. Similarly to the role of music and the fantasies she conjures within her monologue, her mobile phone is depicted as a source of protection from the pressures and challenges of everyday life, as well as an object that influences her to the extent where it can be regarded as somewhat of a reprieve from the world of broken ties and false promises to which she is seemingly accustomed - her only way of feeling able to successfully connect with others; emphasising, once again, the levels of seclusion that she faithfully endures. Despite this, it is important to note the way in which the main characters earphones are identified as a more positive and uplifting symbol within this short film, and draws attention to the theory that pop culture and music are used as a coping strategy for youths in modern society; allowing them a sense of personal self-expression and giving them hope even amidst the most hopeless of circumstances.

'About A Girl' Short Film 

 'Stronger' Britney Spears