Short film Analysis work

1: Slap / Ellington Kid / Echo / tight jeans

 How do these films conform to the short film three act structure?

In a traditional three act structure to a short film, it's typical that we meet the main characters, and are introduced to the inciting incident or conflict in the first half of the film. In the short film, Slap, the protagonist, Connor, his friend Archie and his girlfriend Lola are all introduced in the opening scene, as their close relationship is established in one short scene of them talking. Their most important character traits are shown here as this is when we find out that Archie is bisexual, Lola acts unintentionally homophobic in some of the references she makes towards Archie's sexuality, and Connor's boxing hobby as well as his feminine personality is established as we first meet him hiding from his dad wearing makeup before getting ready for Boxing training with his, presumably unsupportive, father. This effectively establishes the basis for the plot, and it foreshadows many of the actions that the main characters will take by quickly showcasing their personality traits. Setting is effectively introduced in Slap, as it's evident that this area is not only violent, but also unaccepting of queer people, which is evident in the scene where Archie is getting beaten up by thugs, implied to be due to his sexuality. This also establishes are dark and intense tone, as the characters are constantly in danger of rejection and prejudice. The third act for this film starts when Connor walks through his neighbourhood towards the party as people stare at him while wearing feminine clothes and makeup. This is intense, as we wonder what his friends and family will think, as it helps us root for Connor as a character because we want to see him succeed and find acceptance from the ones closest to him. This internal conflict is paid off in the film's finale when he loses his friends, as they all treat each other disrespectfully, due to being a product of the environment they grew up in, as their masculine and violent features are shown, symbolized in the last scene when Connor channels his anger and frustration to injure someone he was boxing with. 

The Ellington Kid has a unique three act structure, as the first act sets the the two main characters, eating at a kabab place, talking about a rumoured incident before being introduced to a second set of characters as the main characters are telling their stories, which breaks the convention of character introduction by providing a story within a story. The Ellington Kid is similar to Slap in how violence is presented in this particular area of Britain, London, which is presented as dark, scary and mysterious, which is effectively communicated in the lighting of some of the scenes, like when the Ellington kid is running down a tunnel with a harsh lighting, symbolizing the character's pain as he tries to walk, or with the bright lighting of the kebab place, which evokes emotions of safety and relief.  As the Ellington Kid makes his way towards the same kabab shop that the other main characters are presently sitting at, we also enter the third act, as the kitchen staff, faced with the situation, close the doors of the restaurant, and prepare to fight with their knives.  The last shot zooms in on one of the suspicious looking kitchen staff as he scrapes his knives together, which creates a cyclical structure as it links back to the first shot of the film, where the kitchen staff is doing the same thing. 

Echo's three act structure is used to build up to a twist which explains and is foreshadowed by the actions of its protagonist, Sarah, and why she behaves the way she does after learning about her father's death. We're introduced to her character as she experiences a seemingly heart-breaking situation as she learns of her father's death. However, as we go to act 2, her mood completely changes as she walks to her house and talks to her younger brother and mother. The mystery of what Sarah was really doing in the opening scene comes to a head when we observe the family dynamic, and the fact that Sarah doesn't mention what she heard on the phone, meaning that there must be something else going on with Sarah's father and her family. As we head into act 2, the relationship with Sarah and her brother, Oliver is developed as he is wondering the same things as the audience in this point in the story is wondering. Why is she claiming that her father is sick to people over the city over the course of multiple days? The three-act structure presents more questions as the film goes on, which builds up more and more mystery, which constructs a more intense and interesting experience for the viewer. In the second act of the film, it's implied that Oliver may potentially die soon, foreshadowed in the shot of him biking away as a car approaches from his left. The way the music and sound come to a halt, and how the footage is slowed down, it implies that he will get into a car accident, just like Sarah's father, and even though we don't see this happen, the possibility is enough to engage the audience. The third act provides some explanation for why Sarah acts the way she does, or rather it provides multiple possible reasons why. The interpretation of the ending is up to the viewer, as if can be seen that she is reliving the moment she learned of her father's death subconsciously as a PTSD episode, or she's re-enacting the things she said and the emotions she felt on that day to gain the same sympathy she got from people walking past her, either to simply get attention or for someone to pay for her taxi. The last scene also links back to the first scene of the film, as it's the same character performing the same scene in the same place, which gives the film a cyclical structure. 

Tight Jeans has a unique structure, as it chooses to subvert the three acts for a continuous and increasingly comedic conversation between three friends that seemingly has no typical direction for a short film, aside from an inciting incident when a white man wearing tight jeans walks past, and an ending when their conversation comes to a close. While there's no clear middle, the beginning effectively sets up the three main characters as a group of friends who argue, and who don't always see eye to eye, which sets up the plot of these friends teaching each other about history of black people, and the contributions they've made to society. The conversation about men wearing tight jeans is structured to be more and more historical, thoughtful and needlessly intelligent and specific as the film goes on, which gives the film a light-hearted and comedic tone, despite the serious subject matter they're discussing, such as black and white mixed relationships, and then black slavery and how black people helped populate many other races on the planet. The ending provides a cyclical structure as a white man wearing a tight shirt walks past, moments before engaging in another conversation with potential to be just as strange and humorous as the last.

Why is genre important in these films?

The genre of a film is an important aspect of production, as it was likely the first decision that was made for these shorts. A drama genre was chosen for a realistic and serious tone for Slap, which adds to the relatable and intense story. Conventions of short dramas include long scenes of mostly dialogue or monologues, which are used to highlight and explain the character's emotions and the motivations that drive their actions that cause the lot to progress in a realistic and entertaining way. An example of this in 'Slap' is when Archie confronts Connor about why he's dressing how he is, which is used mostly for exposition, but the scene also foreshadows their kiss at the end, as the use of performance is used to convey that Archie has hidden feelings for Connor. The argument at the end of act three is also a staple of the drama genre, as the dialogue is used to enhance the characters emotions and anger towards each other. Emotions and conflict usually drive the story of a drama, which is evident in 'Slap' as the insecurities of the three main characters are what determine their choices, and where they end up at the end of the film. 

In The Ellington Kid, the film showcases an external conflict of the protagonist getting stabbed and running away from thugs. It could be argued that this is subversive of the drama genre, as the drama isn't about character motivations and ideologies, like with Slap, but instead it's about bleeding out "like a tap" and escaping from criminals. The third act of The Ellington Kid also subverts the typical thriller genre, as we never actually get to see the conclusion, but are instead given disturbing implications that the criminals that were trying to kill The Ellington kid were killed, and their flesh was put into the burger meat that the two main characters are eating.

Echo’s genre is drama, due to its focus on character interactions and emotions. There are multiple scenes in the film of Sarah taking part in emotionally heavy conversations with her family, as well as random people she encounters in the street, both of which are used to convey how this character communicates with others, as well as the obvious trauma she’s struggling to overcome, making the twist at the end more realistic and believable. It’s unclear if the scene at the end of the Echo is chronologically the first time Sarah acting her reaction of her father’s death, or the last time or if this is the real phone call of her dad's passing, but the fact that the timeline of the film is completely up to the viewers makes this a very subversive take on the drama genre of short film, as the story gives us an ambiguous and abrupt ending. 

Tight Jeans is a comedy short film, which uses relatable and realistic interactions between three friends with and absurd conversation, spanning the history of the divide between white people and black people, which started when seeing a white man wearing tight jeans. The film is almost a hybrid between comedy, satire and drama, as important racial and cultural issues in our society and from history are referenced in a random and mundane context. Unlike most drama short films, nothing personal or emotional happens to any of the characters, and they don't find themselves in a different situation as they were at the beginning. The film also subverts the comedy genre, since most of the humorous moments come from the actor's delivery of their lines, and the sudden dark turns the conversation takes, which adds an element of unpredictability to the film's style of humour.  

What representations are used in these films?

Representation plays a key part in this short film, as many groups and identities are used to define certain characters. For example: Connor represents young males with feminine personalities and interests, Archie represents homosexual people, Connor's dad represents stereotypically hyper-masculine male people, and Lola represents the stereotypical teenage female. Representation is important in a story, as it helps us get a grasp on the many different people who live in our world, and media is an opportunity to explore and show the many different minority and majority groups. In Slap, representation is used to tell a story from the perspective people who feel unaccepted in the place, he lives in. The two main leads, Connor and Archie, are presented as minorities in an unaccepting environment, as the film tells the story of how they come to terms with who they are and attempt to overcome the prejudice they are given by their family, friends and neighbours. The fact that multiple minorities are shown in the male characters, this could present the director's ideology of that the expectation of males being masculine, violent and stoic, which is subverted by the identity of the male leads.  

The way crime is represented in the film 'The Ellington Kid' could show director's, Dan Sully's, ideology and attitude towards the state of London, and the crime that happens in it, most commonly, knife crimes. The fact that the criminals in the film were implied to have been eaten shows Sully's views on crime as something that needs to be stopped, and as something that can be turned on you, as the criminals must face clearly more experienced knife users and fighters at the end of the story as an example of irony and karma. 

A major theme of Tight Jeans is culture and race, as it depicts three black teenagers discussing the history of their race, and how it has contributed to various cultures and ideas in our society. The representation of teenagers is also shown here, as the characters are shown to be a bit immature in how they're discussing these subjects, which is shown in performance, as the character's informal dialect implies that they aren't thinking through what they are saying thoroughly, shown in the words they use like "D*cks" among other uses of swearing, as well as "bruv", "when they get with" and using "like" in the middle of their sentences. This representation of black, male teens is used to showcase a unique perspective on the history of racial divide, and how it effects our society today. 

2: Over / Fly / The arrival / The operator

The short film, 'Over', effectively uses the mise en scene of flowers in the first shot on the road, connoting that a tragic car accident happened there recently, even without dialogue or a conventional set up for the film's unconventional story. This sombre tone is emphasized with performance, as a couple walk up towards the flower to pay their respects as they kneel to it, highlighting how perhaps the couple knew the person who was involved in the accident. The film's use of wide shots is made to make the audience feel distant and separate from the events of the film, making the situation feel unpreventable. The mise en scene of the plane flying in the background of this scene could potentially serve as foreshadowing for the film's twist at the end, as we abruptly find out that a man fell from a plane at the end, however the audience is given clues as to what happened with the format of a nonlinear narrative. In the next scene, the mise en scene of traffic cones and an ambulance, mixed with the time written on the screen shows that the film is moving back in time after each scene, showing that the film's timeline is moving closer and closer to the event that took place, building suspense as to what really happened. The event is hinted with the mise en scene of the subjects' dirty and damaged clothes, showing that whoever was killed first went through something dangerous, getting the audience to piece together what could have happened, therefore engaging the audience into the film.

In 'The Fly', follows a getaway driver waiting for his allies in a car, and his increasingly absurd attempts to swat a fly away. One of the reasons why the comedy is so effective is with the protagonist, who at the beginning of the film is presented as an intimidating character. The mise en scene of the toothpick in his mouth connotes seriousness and sets the character up as strong and capable, this representation of a getaway driver is contrasted with the humiliation he experiences later in the film, creating a binary opposition between how he's introduced, and how the film's story plays out. At the beginning, there is a close up pan shot of the driver looking at watch, implying that he is waiting for something, which effectively intrigues the audience and building up suspense and tension, reinforced with the mid shot of the mise en scene of the large door, implying that something will leave or enter it. The iconography of the mise en scene of a realistic face mask shows the audience that the driver is a criminal and a bank robber, effectively showing the audience key information about the protagonist without dialogue. When the driver fights the fly, the mise en scene of the mirror breaking as he punches it highlights the comedy of driver's strength and anger, reinforced with the performance, as he moves in fast, cartoonish and over the top ways. The film's comedy is also effectively shown with editing, as quick cuts between shots of him fighting the fly in his car and the exterior wide shots which show the car shaking, creating a binary opposition of a shot where we're placed with the protagonist with a shot that distances us from the conflict, as if the camera is a passer-by viewing the events with no context. 

Cinematography is used in 'The Arrival' to reflect the protagonist's thoughts about whether she wants to keep her baby or if she wants an abortion, which is shown to be one continuous shot that slowly zooms in from a wide shot to a close shot as she contemplates, symbolising her slow realisation that she wants to keep the baby. The mise en scene of the film's aspect ratio slowly closes in on the protagonist, creating a claustrophobic atmosphere and an intense tone. Halfway into the film, the protagonist inner monologue pauses for a few seconds, before the pause she was thinking about the problems with having a baby and after, she starts wondering what the baby will look like, the pause effectively draws attention to the significance of the moment. Colour is also used to reflect the protagonist's thoughts, as near the end of the film the colour palette changes to show darker lighting, symbolising her realisation that she wants to keep the baby, this mixed with the mise en scene of train in the window symbolising the time limit the protagonist must make her decision before the father arrives.

In 'The Operator', the film opens with a dolly shot that, depicting the mise en scene of multiple first responders working on computers wearing headphones, setting the tone for the film, presenting a realistic and serious setting. The fact that there are so many communications and calls happening at the same time shows that there are so many things happening in one day compared to one phone call, which presents the events in this film is insignificant, which is further emphasized by the ending where the protagonist moves on to another call. Sound is used to make the audience feel danger for the caller, further emphasized by how we can't see the caller, creating an uncertain and uncomfortable mode of address. This is emphasized with the film's use of close-up shots, making the scene feel intense, concentrated and claustrophobic. The performances in this film effectively immerse the audience into the film, as the protagonist's and caller's conversation is presented as natural and realistic, the caller panics and interrupts the operator, due to the burning building they are in, and when the caller manages to get to a safe place, the caller and operator's conversation reflects that and becomes more friendly and safe, helping the audiences feel the same emotions as the characters do, as the friendly conversation eases the audience, letting them know that the caller will be safe. This use of performance helps the audience feel the same emotions that the operator is feeling.

3. Short film influences

• The structure of Slap could influence my short film, as it's important for a story to intensely build up to a satisfying third act and climax by showcasing the protagonist's inner conflict and force them to face it externally by the end in a conclusive way. 

• Representation, seen in Slap, may impact my short film, as the plot may be determined by who the characters are, and how their personality and identity effects their worldview and motivations. 

• I may want to utilize aspects of the drama genre in my short film, as emotion driven dialogue may help the viewer connect to the struggles of the characters easier, and a more serious and realistic story will be more relatable, and therefore more intense to watch.

• The Ellington Kid has an interesting tone that mixes disturbing and intense imagery with funny dialogue, which is something I want to do with my short film. I'm planning for my film to have intense scenes, but with some moments of levity and humour. 

• The way in which The Ellington Kid manages to hide the action of the story, despite providing a satisfying third act (likely due to the film's low budget) is very creative and clever, and if something I want to record isn't possible to do with a low budget, then the implication of what happened and the reactions towards what happened can be more effective than showing the action.