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    Fm1 creative project booklet Fm1 creative project booklet Document Transcript

    • FM1 Assessment: Analysis of a Film Extract Page | 1
    • FM1 Assessment: Analysis of a Film ExtractFM1 – Creative Project Unit 1 – FM1 20% (40%) Internal AssessmentExploring Film Form ONE Analysis of how the micro aspects of a chosen extract from a film of candidate’s choice produces meaning and responses (1,500 words) [30] ONE Creative project based on a film sequence or short film and one Reflective Analysis of the project [50] (Creative project 40 marks / Reflective Analysis 10 marks) Your FM1 Coursework must include: Page | 2
    • FM1 Assessment: Analysis of a Film Extract Aims & Context guide linesFor this assignment you are required to create a film sequence or a complete short film thatdemonstrates how the micro-features of film construct meaning and provoke response in a filmextract.This creative project will consist of three elements: Aims & context Film Sequence or short film in one of three forms Reflective analysis (50 marks in total)Aims and Context should contain the following: A clearly defined title for your project Genre of your film and how this is reflected in your sequence/film Narrative Structure – What devices will you use? Target Audience – How will your film target them specifically? How will you micro-elements in your film to generate meaning?Identify the Micro-ElementsWhat do we mean by Micro-elements? Micro-elements are aspects of cinema that can bedirectly manipulated by a filmmaker to ensure an audience is exposed to an intended meaning;there should be nothing in a shot or sequence that is there accidently, as all these elementsshould have been within the filmmakers’ control. Micro-elements to be considered: Mise-en-Scene Cinematography Editing PerformanceThe aims and context should not contain a synopsis of your sequence (brief summary of theplot/narrative) but instead, should focus on your chosen micro-concepts and detail how you, asa filmmaker, will apply each concept to your sequence in order to convey a specific meaning toyour target audience. If you are creating a film extract rather than a complete short film, youshould offer some sense of where the chosen sequence sits in the films timeline.When working in groups it is required that each student identifies a micro-concept(s) that theywill be responsible for throughout the project. For example, one student will be in charge ofdirection, another in charge of editing. It should be noted that each group member is required Page | 3
    • FM1 Assessment: Analysis of a Film Extractto create an individual set of aims and context that relate to their own micro-concepts andintentions in relation to the final sequence. Option 1 Complete Short film/Film ExtractStudents are required to shoot, edit and produce a short film sequence. The sequence can beeither a complete short film or an extract taken from a finished film. This creative project mustbe completed as part of a groups and it is essential that each group member take aresponsibility for a particular micro-element relevant to their role. For example, one groupmember should be chosen to be director, and they will focus on (shot placement &performance). Another group member will be chosen to be the editor, and they will focus onediting and post-production. Below are just some of the micro-elements your group shouldfocus on: Mise-en-Scene (Cinematographer) Performance and shot placement (Director) Sounds effects, music and dialogue (sounds operator) Editing and construction of sequence (editor)Your group must also focus on how a narrative structure is to be created and how the orderingof shots within a piece of work is of vital significance to how a spectator will make meaningfrom it. The genre of your film must also be considered; use the codes and conventions of yourparticular genre to help structure your work and ensure that the spectator views it in terms ofother, similar films.The making of a video sequence can be divided into three distinct areas: Pre-Production – Planning/Script/Storyboarding/Casting Production – Shooting of the film Post-Production – Editing & SoundPlanning this short sequence can be a very time consuming activity therefore it is essential thateach member of your group is fully aware of their role within the group.Basic Shooting Rules Page | 4
    • FM1 Assessment: Analysis of a Film Extract Always use a tripod to support the camera (unless you have a specific reason for wanting to shoot handheld (e.g. Documentary or ‘shakey’ cam chase sequence) If something goes wrong in a shot, call ‘Cut’ and retake the shot Always adhere to the 30° rule (shot that are intended to be joined should be shot from camera positions that have at least 30° between them Avoid cutting when the camera is in movement – let the shot ‘rest’ before cutting Let the camera run of approx. 5 seconds before shouting ‘Action’ and after shouting ‘Cut’ Always adhere to the 180° / ‘Fourth Wall’ Rule – the camera can travel anywhere on a 180° axis as long as it does not cross the line (do not turn the camera round more than 180° as this will cause lots of confusion in the editing process) Basic Editing Rules Dissolve – gradual appearance of a new shot as an old shot gradually disappears (one image fades out as the next fades in) Fade – gradual appearance or disappearance of a shot (often to black. The duration of the fade can suggest particular meanings to the audience) Graphic Match – Two shots can be connected through shapes within the frame Match on Action – Two shots can be connected by the replication of an action (character puts drink down in a American bar, and cuts to a drink being picked up in another bar) or a cut which splices two different views of the same action together at the same moment in the movement, making it seem to continue uninterrupted. Montage – this represents the juxtaposition (placing images side by side for comparison or contrast) of images to create ideas not presented in either shot by itself. Page | 5
    • FM1 Assessment: Analysis of a Film Extract Option 2 Digital StoryboardsDigital StoryboardsThe purpose of your digital storyboard is to photograph each and every shot of a short film orextract with a list of key information written underneath so that a director can see how thefinished film will look before shooting commences. This allows filmmakers to identify thetechnical requirements to shoot the film and also gives them the opportunity to revisesequences that seemed like a good idea initially.Your own digital storyboards must be between 10 and 25 shots in length (some of which maybe repeated) plus an additional 5 found shots. (Found shots are shots which are difficult tophotograph or where locations need to be established)You should plan your shots carefully and use the following terminology to clearly identify whattype of shot you are presenting:H/A - High angle Track/Dolly – Move Camera on a wheeled platformL/A - Low Angle Crab – Sideways movePOV – Point of View Pull Focus – Change what is focused on2-Shot – Two people in a shot Fade – Shot fades in/outOTS – Over the shoulder Dissolve – Shots fades in/out and another fades in/outELS – Extreme long shot LS - Long ShotMS- Mid Shot CU – Close upECU/BCU – Extreme or Big Close upIt may be helpful to select a 1 or 2 minute film extract and note down the types of shots,including angle, movement and positioning of the camera to give you an idea of how asequence is put together. Page | 6
    • FM1 Assessment: Analysis of a Film ExtractAll digital photographs from your storyboard should be of a ‘standard’ size with eachaccompanied by an abbreviation identifying what type of shot it represents. The individualshots must also be labelled with the following relevant information:Shot Number: Each shot must be numbered so that the shot sequence can be followed. Failingto do so can have serious consequences for shooting and editing if it is not adhered to.Action: Brief description of what is happening in the shot. This allows one storyboard torepresent a whole shot. If the shot is radically different from the beginning of the shot to theend you must use multiple storyboards to explain camera movement and label then as A, B, Cetc (Storyboard 1a, 1b etc)Camera: Indicate a shot size/type (ELS, CU etc) and clearly label what is being framedDialogue: Single lines only. If part of a longer conversation only the first line of the conversationshould be includedSound FX: Indicates specific sounds that will stand out against the sound scape of the scene.Sounds Atmos: the over background sound of the shot used to create atmosphere of afictionalised locationSounds Music: Soundtrack and non-diegetic soundsShot Duration: This is a vital piece of information as it gives the storyboard a rhythm andindicates that the filmmakers have considered the shot-to-shot relationships and the overallrelationship of individual shots. Page | 7
    • FM1 Assessment: Analysis of a Film Extract Page | 8
    • FM1 Assessment: Analysis of a Film Extract Page | 9
    • FM1 Assessment: Analysis of a Film Extract Page | 10
    • FM1 Assessment: Analysis of a Film Extract Option 3 Extended Step OutlineWhat is a ‘Step Outline’? A Step outline is a detailed telling of a story intended to be turned into a screenplay for a motion picture. The step outline is used to detail every scene and ‘beat’ ofa screenplay’s story, and often has indications of dialogue and character interactions. It issimilar to a script treatment but much more detailed.Your extended step outline can be broken down in to acts and should follow a standard three-act structure (beginning/middle/end) and be either a complete scene, or an extract from acomplete film. It must also be highlighted that your step outline should not contain anydialogue. The reason for this is to give you space to describe the setting and what is going onwithout worrying about what is being said or how it is being delivered. You must visualise thesetting and the micro-elements without reliance on dialogue carrying the scene and means youwill be focused on mise-en-scene, sound and how it may be shot and edited.The extended step outline you are required to complete must be between five and eight scenesin length and be a total of 1000 words. As a guideline, the average length of a scene should bebetween 175 and 200 words in length. (The word count for this step outline will be based onthe words of the scene description alone)Please find attached an example of an Extended Step Outline and a blank template. Page | 11
    • FM1 Assessment: Analysis of a Film ExtractExtended Step-Outline SheetTemplate:Scene No Page NoSluglineEndpoint of last sceneCharacters in scenePoint of sceneConflictEnding / central questionScene description (without dialogue) focusing on key micro aspects (mise-en-scène,camera, sound, editing, etc) Page | 12
    • FM1 Assessment: Analysis of a Film ExtractNotesThe extended step outlineScriptwriters commonly use a step outline as a planning tool for producing scripts. For AS FilmStudies, this film industry planning and visualising technique is being adapted: it is being‘extended’ to include the micro details of the scene being outlined. A further adaptation of thestep outline for AS Film Studies will be the insertion of micro details in square brackets withinthe scene description.The extended step outline will thus provide students with the opportunity to develop ideas fora series of scenes – between five and eight is required, totalling1000 words – whilst stilldeveloping visualising skills. As a guideline, the average length of a scene for this extendedstep outline is envisaged as between 175 and 200 words (excluding the context boxes abovethe scene description and excluding the micro indications in square brackets). The word countfor the extended step outline will thus be based on the words of the scene description alone.Devising an extended step outlineLooking at the Step Outline sheet above, you will see that half the page is given over for a scenedescription and it stresses ‘without dialogue’. The reason for this is to give you space todescribe the setting and what is going on without worrying about what is said or how it isdelivered. This allows you to visualise the setting, the action and the micro aspects withoutreliance on dialogue and means you will be focused on mise-en-scène, on sound, on how itmight be shot and even how it might be edited. (Although this is not directly your concern as ascriptwriter, it should be on your mind. If it is, you can more easily write a scene to suggest theway it could be shot.) Page | 13
    • FM1 Assessment: Analysis of a Film ExtractBelow is an example of an extended step outline for one scene (you will be creating about five)as is proposed for AS Film Studies:Scene No Page NoSlugline Int. Flight Deck of the space freighter ‘Pole Star’. Day Canton scrabbles desperately to reach the Failsafe lever asEndpoint of last scene the Gyroscope powers up, lighting the hull of the ship.Characters in scene Hunt, Fischer, Cruise, Rodriguez To show that Hunt is a better flight commander thanPoint of scene Fischer Hunt’s desire to see Fischer fail set against theConflict consequences for all of failure Hunt is forced to countermand Fischer to save the ship /Ending / central question Will they be able to escape before the oxygen fails?Scene description (without dialogue) focusing on key micro aspects (mise-en-scène,camera, sound, editing, performance)Console lights flicker, illuminating Cruise. [Close up of console lights, pulling back toreveal a low angle shot of Cruise illuminated by coloured lights]. He looks across to theshadowed, leather Captain’s chair where Fischer sits crouched forward. A nearby sunflares [Sound bridge – sound of flaring sun – linking shot of captains chair on long shotof sun]. The sunshields descend with a worn mechanical sound [Sound effectsaccompanied by quiet music suggesting tension]. Fischer leaps and crouches to seeCanton, his colleague trying to save crew, as the shields descend [Close up of Fischersface showing anguished expression].Bulkhead doors clang as Hunt and Rodriguez enter [Medium shot of Hunt and Rodriguez.Slow zoom to close-up of Roriguezs face]. Rodriguez, sweat covered and disheveledlooks to Cruise. The lights turn red [pan to show medium shot of lights turning to red].A pulsating siren begins [Diegetic sound of siren]. Hunt runs to Fischer, whose face is litby the red light from the console [Low angle medium shot of Fischer, expressionistic red Page | 14
    • FM1 Assessment: Analysis of a Film Extractlight cast over face]. Hunt grabs his face and lifts his wildly flicking eyes to hers, but hecannot look at her and he retreats into the shadow. Hunt turns and barks instructions[Series of rapid cuts from Hunt to Fischer]. A moment of hesitation. Cruise andRodriguez look from a red-lit Hunt, to a silhouetted Fischer.A distant rumbling explosion rocks the ship. They are thrown to the floor. TheGyroscope camera activates [Cut from close-up of gyroscope camera to point of viewshot from gyroscope camera]. Rodriguez leans over a monitor, sweating [High angle ofRodriguez looking down to gyroscope camera]. On screen an interference-strewn imageof Canton appears [Medium shot of gyroscope screen, with interference, showing figuretrapped]. Picking herself up, Hunt shouts a command, and Cruise hits a button. Aflashing light warns oxygen level is low [Close up of warning light.]. Another explosionrocks the flight deck [Sound effects of explosion] and they are thrown into darkness.Extracted in part from: Gaffney, F. (2007) On Screenwriting (Auteur) Page | 15
    • FM1 Assessment: Analysis of a Film ExtractMark Scheme Page | 16