Conventions of Film Production - The Guilt (La Culpa)

Codes and Conventions of Fictional Film Production

Narrative filmmaking - purposes, formats, narrative structures and visual storytelling

> Formats and purposes:

Short Film Conventions

Short film refers to any film not considered a feature film in terms of length. Although length is the most obvious characterisation of a short film, films of this type will share codes and conventions which separate them from other forms of film.

Length

A short film will most commonly last between 3 to 20 minutes, however the length varies greatly and can last as little as a minute and up to 40. Newcastle Film Festival will not showcase short films that exceed their 10 minute time limit, and competitions such as DepicT! specifically ask for films lasting 90 seconds, playing on the idea that feature films will usually last 90 minutes.

Storylines

Storylines are generally kept simple and easy to follow and will be based over a short period of time. The narrative is usually condensed and there will be limited dialogue. Instead characters will be developed through images and actions rather than extended and lengthy dialogue sequences.

Character

Due to the length and simplicity in storyline, a short film will usually introduce between 1 and 3 main characters as creating back stories and developing characters is again limited. This is also done in order to keep the audience engaged and be able to follow the storyline without being bombarded with information and new people. Short films will usually last only long enough to connect the audience to few characters and will not have a developed enough storyline to hold a large cast.

Twist

Including a twist is a common convention in short film although this is not a general rule and not all short films will use this format. However, a twist allows the film maker to tell a short story in an interesting way and they are able to do this as the short storyline gives less clues to the ending.

Creativity

Overall short films allow for much more creativity and abstraction. They will often be made up of a number of creative shots and soundtrack making up an artistic and sometimes quirky piece. The director or film maker are able to use more creative flair placing their own signature look on the piece as there is less pressure to make a profitable film for a large audience. Well established directors such as Martin Scorsese, Spike Jones and Tim Burton, make short film despite their popularity and success in mainstream for these reasons. Although the downside to being independent is that funding will usually be quite low, resulting in a lot of restrictions depending on the type of film you want to make

Budget

As mentioned before, budgets for short film are usually quite low. Short films are unlikely to make any money which affects the amount that people are willing to spend on their short films. Another issue is distribution, a usually costly process that allows film publishers to get their film to the mass market. Usually short films are not supported by internal or external publishers. You can pay to have the film distributed via DVD for example, but the cost would be exponentially larger than that spent on the short film itself. The only real way to make money from short films is online revenue via sites such as YouTube for example or interest from larger film publishers that wish to develop your idea (for example one of my favourite films, Neill Blomkamp's 2009 feature sci-fi District 9 is based of one of Blomkamp's earlier short films Alive in Joburg (2005), which runs at approximately 6 minutes long featuring the themes and elements the subsequent feature film would expand upon, including have the same actor (Sharlto Copley) the main lead

Niche Audience

Short films have a lot smaller and niche audience than mainstream due to the creative nature, length and simple storyline. Although largely accessible, many are not aware of short films. This is largely due to popularity decreasing through the 30’s onwards, and the limited access in mainstream forms such as prime time television and cinema. Short film also varies in genre and style and will appeal to a much more specific audience who are actively seeking content such as this. Film festivals are a great way your short film to gain exposure should you meet the specific criteria for a festival.

Emotion

Short films are used to convey a strong emotion to the viewer whether this is laughter, pleasure, sadness or anger, sometimes making comments on morals or society in the process. A much shorter running time usually results in a lot more thought and careful positioning and use of shots, characters and dialogue, as to not waste precious screen time. Short films can often have a deeper impact, as a 10 minute film for example can retain an audiences full interest, rather than an audience subjected to a 90 minute-120 minute journey.

Online distribution

Unlike mainstream film, short films are largely accessible for free through the internet. There are many sites who distribute short films online from independent sites such as FILMS short to established sites such as the BBC. This is the easiest and most effective way for short film to reach audiences as they are very rarely shown at cinemas or on television. DVDs can be brought with selections of short films on, however, they are most widely accessed over the web. As short film is based much more on creativity and expression rather than mainstream and profit, it is much more important for the film maker to reach a wide audience and distribute films to them for free.

Opposition to mainstream

All of these codes and conventions largely make short film in opposition to mainstream. They hold a very different format and style to each other and short film will usually try to give audiences a different outlet of film to the mainstream. These films do not care about budget, nor do they care about profit and sub sequential sequels, for these filmmakers, it's about the art of film, a rare commodity among Hollywood films, as directors there are usually strong armed by their film companies into appealing to a mass market. Although their has been a recent surge in independent feature films interested in receiving awards as a way to multiply their box office revenue.

Feature Film Conventions

Feature films are what general audiences go to see at the cinema or watch on TV. It's made to reach out to mass audiences with exceptions such as independent films that, whilst made with profit in mind, are also creating to be showcased at award events such as the Oscars or the Academy Awards.

Setting

Settings in film can be used for a number of purposes, it might be used for realism (time and place of setting is made unknown), it might be atmospheric to reinforce desired mood e.g. horror movies, it may used symbolism conveyed through the setting e.g. a storm can represent inner turmoil.

Characterisation

Characterisation is an important part of film and story building, for example a narrative might use sympathetic characters, with whom the audience strongly identifies with. They may share qualities and values. You may use unsympathetic characters designed to increase sympathy towards main character, the audience usually dislikes (or is supposed to dislike) this character. You also have stereotypes, that can reinforce existing ways of thinking about certain groups - this appeal to the prejudices of the audience. However sometimes stereotypes are deliberately broken.

Plot

There are many different directions films can take with narrative, this is usually dependent on the genre in which the film falls under, but that is not a certified rule. For example Duncan Jones' Moon (2009) is considered a Sci-Fi film, although thee film focuses more on the heartbreak of family and relationships as well as what it means to be human, the only real Sci-Fi element is that this takes place on the moon, so there's no law in film stating that if your film falls under a certain category, then your plot must follow suit. A film may use a linear plot, in which the events we see on screen would occur in the same way they would occur in real life, we have suspenseful narratives in which something I hinted to, usually meaning something dramatic is going to happen. You have the tried and tested climax and resolution narrative, in which a problem occurs, comes to a head and is sorted out. There's a few less commonly used plot drives like a "sting in the tail" where the ending to a film is a complete surprise and unexpected, you have open endings which allude to the story not being over, allowing for some audience discussion/interpretation on what happened with the films unresolved loose ends (the most recent example I can think of is the ending to 2017's Three Billboards Outside of Ebbing, Missouri). You also have narratives that use the manipulation of time as a it's selling point, e.g. X-Men, Inception, Interstellar etc.

Casting

The appearance of actors is often associated with personality, prior knowledge of the actor can influence our response. When casting in films there are many reasons why a specific actor is chosen, the studios need to think to themselves "Why this person?", "What image do they represent?", "What is the show about?" and "Who is the target audience". Casting is a very important process as it can usually be the one of the major factors in a films success, if the audience doesn't respond well to the cast, then no one will care to sit through the film.

Performance

This is another factor that will also effect the way an audience responds, this is the cherry on top of the cake that can mean your film is a critical success or certified rotten (No amount of good direction can save an awful performance (I still love you Keanu Reeves).

Elements of performance include facial expressions, body language and delivery of lines. Let's take for example the Oscar winning performance of the late Heath Ledger in The Dark Knight with his crazy eyes, his eccentric style, his unsettled mannerisms and the D.I.Y paint job on his face, it all adds together (throw in the fact Ledger was an phenomenal actor who had his life and career cut tragically short) to equal an amazing performance. Many actors do a lot of research and preparation before a role, Heath Ledger locked himself away for 6 weeks - sealing him within the realm off a psychopath with zero empathy.

Costuming

Costuming can affect our interpretation of the on-screen characters. For example it at make a character glamorous and attractive or it may make them come across as intimidating and untrustworthy. Costuming is an integral part of filmmaking, and also vital to portraying the period of the time that the film is set in e.g. Classical, War, Future etc.

Props, Sets and Locations

These can influence our interpretation of a character as it contributes to the atmosphere of the film, take for example Hurt Locker (2008) which was shot in Jordan just a few miles away from the Iraq border, this realism was conveyed throughout the film itself an influenced my impressions of war. Location is vital you wish to make a story believable.

Camera Work

Cinematography is extremely important in filmmaking, it's a layer of story telling all on it's own. One of the most beautiful films I've ever seen is Denis Villeneuve's Blade Runner 2049 thanks to the help of Oscar nominated cinematographer Roger Deakins.

Frequent use of close-ups can encourage  the audience to identify with a character.

Wide shots can emphasise the beauty of a scene or give a sense of the location e.g. emptiness. Different angles can make characters appear powerful or weak, e.g. if the shot is looking down on someone this usually means they are weaker and of no authority, where as shots taken from below of a character imply a status about the character, usually power.

Lighting

Soft and harsh lighting can manipulate a viewer's attitude towards a setting or a character.

The way light is used can make objects, people and environments look beautiful or ugly, soft or harsh, artificial or real. Light may be used expressively or realistically.

Sound

Sound is used to build up atmosphere, it can range from the use of a specifically created score or a soundtrack of licenced songs (2011's Drive is famous for the latter.)

A scary scene may use creepy, unnatural music in the background, and digetic and non-digetic sound such s creaking doors, footsteps etc.

A sad scene may use slow and emotive music, a happy scene will usually use more upbeat music and serious scenes tend to eliminate sound, or include tracks designed to increase the viewers expectations of a sudden plot development.

Editing

Editing can convey a sense of excitement or pace, the most famous filmmaker noted for his clever camerawork and editing is Edgar Wright (Shaun of the Dead, Hot Fuzz, The World's End, Baby Driver.) His 2017 film Baby Driver received attention worldwide for it's brilliant sound syncing with visual shots via editing that had the audiences feeling like they were a part of the film, the film is currently up for an Oscar for editing. It's safe to say editing is very important. 

TV Dramas

Now there are four main sub genres in which TV drama falls under, these are as follows:

> Crime drama

> Medical drama

> Costume drama

> Soap Opera (serial TV drama)

There's a typical narrative to be found within TV dramas, a break down of this is given to us by renown narrative theorists.

Todorov's Narrative Theory

Tvetzan Todorov came up with the theory that narratives have a clear, step by step structure.

1. Equilibrium - Everything is calm, peaceful and normal (in balance)

2. Disruption -  Something bad happens, that disrupts the equilibrium

3. Recognition of disruption (disequilibrium) - The problem is diagnosed

4. Attempt to repair disruption - The process of repair begins, towards the end of the story

5. A reinstatement of equilibrium

This can be thought of more simply as a "beginning, middle and end" but as we are media students it helps to just call it a 'linear narrative' which basically means 'a story that happens in chronological order'.

Propp's Character Theory

Propp viewed hundreds of folk and fairy tale stories in order to analyse the use of characters and roles in narrative. He found all narratives share the same structure with the same characters, believing the characters and actions shaped the narrative.

This can be divided into individual roles:

1. Villain - The antagonist in the narrative, who struggles against the hero.

2. Hero - The protagonist in the narrative, who is usually in search of something.

3. Dispatcher - Sends the hero in the right direction

4. Princess - Damsel in dstress/reward, usually the prize of the hero's quest.

5. Helper - Aids the hero, usually in their quest.

6. Mentor - Prepares/provides the hero with an agent/object.

Of course these are based of old folk tales and fairy tales but the fundamental basics are still used within TV today.

The Guilt (La Culpa): Short Film Analysis

My chosen short film for this analysis is the engaging Spanish thriller The Guilt (La Culpa), It won the 2012 Your Film Festival and it's easy to see why. It begins with the murder of a man's pregnant girlfriend and follows his quest for revenge. During this quest he learns that murder will leave you in an inescapable spiral of guilt...

Narrative Structure

We start with the murder of a man's pregnant girlfriend (the cause), in what seems to be a street robbery which sends the man on a downwards spiral consisting of revenge (the effect). The motivation of the protagonist is his fuel for revenge, for both his girlfriend and his unborn child, his been pushed to a point where he believes killing the culprit is the only way he can begin to feel human again. The order of story telling for this film is mostly linear excluding a flashback we see at the beginning of the film, everything after happens as we see it, although there is no real resolution and the ending is left open ended.

As this is a thriller, we aren't subjected to the usual stereotypes associated with the characters and story telling. We have a casket for a main character, in which we (the audience) experience through, there's little dialogue, instead replaced by the visual depiction of the main characters guilt. The entire premise of the film is based on 'guilt', our main character as a result of this, does not kill the culprit, letting him go. This goes against typical narrative structures that usually deliver a more concrete ending that can properly close the story.

The premise of the film is realistic and the narrative can be perceived as both realist and anti-realist, with the main character succumbing to images of the crime he's about to commit, but the situation itself is realist as it could happen. The guilt side of the narrative is up to interpretation.

The film ends with the murderer being trapped in the same spiral of guilt as the main character was at the beginning of the film, things have come full circle but the ending is open, left to interpretation by the audience.

The Visual Storytelling

The mise en scene consists of spiral stairways (alluding to the main characters spiral into depression and guilt) and dark hallways representing the never ending journey of revenge. We never have a light scene in this film, all principal photography is done within dark locations. The apartment block is an analogy for the protagonists mental state, it is dark, worn down and lonely. The main character holds himself in a manner that suggests he is not prepared for what he is about to do, and has evidently never even thought about killing a man until this day, never mind actually carrying out the act. The costumes used convey a sense of normality that help ground the film, the protagonist is dressed like anyone you'd meet in the street or t a place of work, nothing in these costumes suggest either of these men are capable of murder, and that is the point it seems, that a series of events can turn anyone into a killer.

The camera angling remains pretty neutral throughout, there is no dominant or regressive angles to convey a sense of power or weakness, the camera simply documents our character's journey. There's a couple of particular shots though that are used to give se more insight into our protagonists mental well-being, for example at the beginning of the film, the camera pans over the edge of a spiral staircase in which we see our character at the bottom making his way up. This is used to represent how deep his desperateness for revenge has gotten. We are also subjected to a camera angle that does a full 180 degree turn on our character as it follows him from behind, this represents his world being turned upside turn and his mental state being brought into question after he shoots the murderer.

The lighting is dark and foreboding, the only real light we see is used on the exit from the apartments, perhaps lighting the way for our character should he seek to cope with this another way? perhaps. What's strange is that our character remains within the shadows for most of the film, which goes against the generic conventions of lighting in narrative, where in most cases, the good characters are represented in light where as the bad are shrouded in darkness. Our antagonist, is actually the one we find with some form of light above him, perhaps used to convey his "normal life" in which he can continue with every day life knowing he has taken a life, where as our main character, is but a shadow of his former self after the event. Even the colours are de-saturated to a point where the greys become the most vibrant colour on the pallet - our main character has entered a very dark world and way of thinking, and the director wants us to know and feel this.

Sound

We hear the use of a non-digetic score used in the film, used to subtly build up tension and suspense. This film refrains from any real use of non-digetic sounds as the uncomfortable silence that stays with us throughout the film is enough to have us on the edge of our seats. The lack of sound has us direct our attention to the visuals and colours, allowing the audience to fully dive into the main character's mental well-being. The silence also helps us appreciate the quite score used in the background, that would otherwise be missed.