Question 1 - In what ways does the media product use, develop or challenge forms and conventions of real media products?
At a technical level, how well did you observe the conventions of continuity, and the language of film and editing?
The problem we mainly faced with the conventions of continuity is keeping the props in the right place. We had many problems at a technical level where the items were naturally in a different place when we re-filmed some parts of the scenes. This ranges from having the door open when it’s closed in the cut before that, to having items in the wrong place, such as the phone being slightly angled compared to the last cut. This is because of the way, as actors, they act, they don’t exactly consider the items around them and the separate cuts that need to be taken in order for it to work correctly.
The filming process was quite tactical in that we had little space to move the camera about with the tripod. Because the tripod was quite big, we didn’t have much choice as to how to approach this problem. We decided to use Callum’s brother’s shoulder rig, which was difficult to use because of the way that you had to hold it for long periods of time. This made our arms ache and in reality it probably made the film shakier than it would be if we just held the camera with the strap attached to it.
Editing was also a problem. Because the new editor, Premiere Pro, wasn’t under the same fluidity as the previous one we used, Final Cut Pro. Final Cut Pro was user friendly, it automatically snapped clips together when it needed to be done, which allowed the film to have none of them single blank frame inserts that we accidentally put in. It also knew what format the video was so that we didn’t have to encode it in something higher, with Premiere Pro, we had to guess the resolution of the video that we was intending on uploading.
In terms of the content, how much does your film reflect or challenge the conventions of the genre you’re working in? Does it fulfil the nature of the film genre or will it subvert expectations deliberately?
We wasn’t sure on how to pursue the genre, this was because our film was originally intended to be a Thriller because we decided we should do a Thriller film before we did anything else. Instead we wrote the storyline and we decided in the end that the film should end up being a Drama. The reason for it being a drama was because it wasn’t ‘thrilling’ or ‘action-packed’ enough for it to be something along that concept. It was a good shout to move the movie into a drama because then our micro-features would have been easier to build into the boundaries of. If the film was a thriller, it wouldn’t be natural for the film to be set inside a typical house.
I talked about this in a separate blog post
Drama doesn’t have a specific nature, as I described in one of my first posts, figuring out how the codes and conventions of a typical drama film work. The drama genre mainly relies on the acting and the film did perform and support the drama genre. We didn’t want to subvert the genre because anything but a Drama would cause it to be inserted into the different category such as an action.
The film did have a little bit of an action scene though, which the group debated as it being a part of a drama, just with a little bit more intensity. I agreed with this because of the way that the action genre works. It works in that there’s action-packed movement and props in every scene, this film simply took a household item to put Luke into a coma.
In terms of the context and the content of the film, it didn’t produce a subversion from the agreed genre, Drama.
Are there any elements of deliberate pastiche or parody, where you play with the genre’s codes and history? are there any intertextual moments where you hint at a reference to another film?
We didn’t really try and implement any parodies from any other films. This is because our storyline is quite unique. However, with deeper analysis; I found that there is a couple of intertextual references in the film. One major clip being the montage at the start when Steve is getting ready. Steve is getting ready for a day ahead of him and this is used in one of the references to Shaun of The Dead, when he’s explaining the plan of how to move around the town. This scene includes some witty content, however our film. I wouldn’t directly relate this intertextual reference between the two movies but we did use part of the parody in collaboration with the montage that we did, which turned out to set Steve’s person as just being generic.
After we had the party scene, we decided to use an intertextual reference to Pulp Fiction, where we decided to define Pot Luck. Just like Pulp Fiction decided to define Pulp and Fiction. We thought this was a clever move because it re-establishes the title of the film, making sure the viewer know why everything is happening. Because so far before the definition, it’s the scene of buying a ticket, going to a party and then waking up in the morning. We thought it was a good way of re-establishing the storyline. It was also a part of our title sequence of the movie. Simple in both editorial ways and referencing to the title way.
The credits part of the movie is also a massive influence on many different kinds of films. Sherlock Holmes (BBC version) uses motion tracking for text, which influences the audience in such a way that it’s a modern movie. I decided to take upon that approach, by using text tracking and movement in the credits scene, having objects go over the text. We used this to our advantage on the credits scene, because it keeps the flow of the montage of Ellis getting ready for the day.
The last intertextual reference was one relating to Marvel Movies at the end when they give a cut-scene of something to come in the next film. Legendary endings are used in movies, games & sometimes TV-shows. We decided to do the same at the end of our movie, using Callum, who was in the main part of the film, to be shown at the end with the winning ticket saying “I’ve won, I’ve f***ing won!”. This was one of the comedic elements of the film, only to make the film slightly happier at the end, rather than keeping the audience on a sad state of mind, in that a lottery ticket can ruin peoples lives more than they think.
What kind of audience pleasure are you trying to provide & how confident that you have achieved this?
We’re trying to create a mix of three worlds with this film. One being a thriller, one being a drama and the other being comedic.
We achieve all three at the right time. The first moment where it is truly a hybrid of both a thriller and a drama. This one being when the party scene happens. This entices the audience in because of the way we edited it. We edited it in such a way that the music and the cuts between one clip and another work together. The party atmosphere also makes you feel like you’re there rather than watching it, because as a party is usually a blur the next day, this part of the movie makes you feel that way.
The second moment is where it becomes a thriller through the act of the fight scene. The fight scene is really intense with the non-diegetic sound achieving an action-packed/tense moment. The camera was moving at such a pace because of the way that Steve was punching Jack, and how they were both knocking about the living room. This scene was a vital part of the film to establish how the two character went from being best buddies to hating each other, to one being dead. Through audience reviews people had stated that they enjoyed this scene the most because of how intense it got in such a short space of time, said in the post-production feedback.
The last moment is where it becomes a comedy. We wanted to add a comedic element into our film because it would lighten the mood after the thriller derived moment of the fight, where it becomes intense. We want to contrast the two, because of the way it’s even more comedic so.
Richard Dyer was one of the theorists that of utopian pleasure was one of the major aspects that we had to implement into our film. We wanted to literally make sure that we had every aspect of emotional pleasure that the characters would towards a 'winning' ticket. This begins to become surreal, and as such, people enjoy watching surreal content so that they can attempt to relate themselves to it.