2. Lighting
Where the lighting is mostly natural in social realist films to give an authentic everyday look it becomes more stylised in segments of ‘Bagdad
Express’ which breaks its linear narrative to reveal flashbacks. These show a younger Maya with textile machinery that is illuminated in dark, orange
light to give a sense of dreaminess (Maya dreaming about her passion and inspiration) and warmth (the memory of her Mother). In such a limited
space of time, the viewer becomes aware that it is her Mother who taught Maya and encouraged her talents. I have noticed this is the key of a short
film narrative; information does not have to be explicit even though there is less time. Again, the lighting in ’Bro’ has a realism effect but there are
moments when natural light gives a dramatic atmosphere such as in the frame above. Blazing sunlight is shut out from the tunnel which almost
silhouettes the brothers enhancing the distressed, frustrated body language that is so important in this film. It symbolically emphasises that Simon
does not want to be seen with Mark anymore, he would rather close himself off in the dark than go out and experience the humiliation.
In ‘Smashed’, changing light is used to illuminate the crowd in a wash of one colour. In a club, this gives the impression that teenagers are all the
same, one group of socially irresponsible hedonists. It also adds significantly to the energetic, almost euphoric club atmosphere. In terms of
representation and ideology, the media theorist Dick Hedbidge claimed that ‘subcultures are a form of resistance in which experienced
contradictions and objections to this ruling ideology are represented in style’. Here, the style of lighting goes against the natural light of ‘normality’
of adult life.

3. Camera Range
Extreme Close-up
Above, action cuts to the surrounding busy London streets and then to
an extreme close-up showing Maya apply some last minute mascara
before she enters her interview. It is one of the devices that provokes
the audience to become immersed in this character’s world.
These extreme close-up shots appear at the beginning of ‘Baghdad
Express’ and it is the first time we see the textile equipment. Filmed at
this camera range, the viewer can focus on the small details which
created an atmosphere which is quite magical. The auteur theory can
be applied here as the director instantly sets up a unique style that will
blend with the social realist approach throughout the short film.
Close-up
These close-ups in ‘Bro’ depict the character’s facial expressions and behavior which is so integral to the success of the social realist
short film. Above, a close-up shows Mark sitting on a bus and the close-up reveals how he is confused, lost and distressed which
provokes audience sympathy. Because Mark is bullied, but he is largely unaware of it; he is presented as the narrative’s ‘victim’ if we
are to follow Propp’s theory of stock characters. In the second image, a contrasted emotion is shown as Gemma’s face caught in close-
up almost lights up the screen and the bleak world in which other characters exist.

4. Medium Shot
The conversations in ‘Smashed’ are typical of most films; medium range
over the shoulder shots that switch to show each character.
Long Shot
This long shot of the park emphasises Simon’s isolation as he walks alone
to the fence in search of other young people. I am interested in how these
expansive open spaces are used to isolate characters and symbolise their
feelings; Stuart Hall’s concept of audiences encoding and decoding
meaning is always relevant in media texts and here, the long shot is just
one technical code used in conjunction with conventions to make sense of
the film.
Establishing Shot
The establishing shot sets the scene and shows the key location. The
restaurant is shown across a busy urban street. It is also a clever method of
showing the title on screen as the neon light is switched on.
The ideology is expressed here; multicultural Britain with many countries
and cultures colliding in a city space.

5. Camera Movement
Tracking
Examples above show tracking shots used in contrasting ways. In ‘Bro’, the camera tracks the character’s hands as she strokes the
wall when the two teenagers take a walk together. This movement adds to the sense of freedom, as the camera movement conveys
her carelessness and then shows the two walking side by side chatting. The boy-girl relationship is not clichéd, but portrayed with
sensitivity and realism. Mark and Gemma do not kiss or engage in any sexual act, an emotional bond is formed and we get the hint
they like each other but nothing happens. In ‘Bagdad Express’, a two-shot shows Maya and her father eat breakfast as the camera
slowly tracks forward past the father and eventually just on Maya’s face before cutting back to a mid-shot. In a familiar kitchen
setting, the unfriendly silence and awkwardness of the scene is so simply achieved.
A ‘Snorri-cam’ is used here in ‘Smashed’ where the
camera is attached to the actor so only the background
moves. This experimental technique gives an intoxicated
feel and disorientated angles which link to the
characters state of drunkenness. This is an example of
the short film challenging codes and conventions.

6. Panning
An effective panning shot in ‘Smashed’ starts with the male
characters walking down a street with the camera panning
round to a group of youths entering the chip shop continuing
round to the window where the girls eat. The enigma code can
be applied here as the audience draws a connection between
the two couples.
Handheld
Kinetic camera work is nearly always shot hand-held in short films to
heighten the sense of realism giving films a documentarian feel and a
voyeuristic look into normal lives. This is not just in fast movement but also
when characters are still or in conversation which really ensures that the
viewer is emotionally close to the action. For example, in this the camera is
at a fixed point but it is handheld which enhances the emotional energy of
the scene as an angry Maya confronts her dad.

7. Camera Angle
High Angle
As discussed in the camera range section, this shot makes the girl appear extremely vulnerable
and the high angle accentuates this as it is looking down on her causing the viewer to feel she is
weak and helpless.
Low Angle
Short Film-makers often experiment with unusual angles and viewpoints (challenging codes and
conventions) finding the unfamiliar in the familiar. The auteur theory can be applied here as the
directors style of making urban places look spectacular is noticeable. This extreme low
angle shot of an industrial building is used when Simon looks down to see how far away he is.
This kind of effect can be achieved on a low-budget as that is needed is a fresh take on
something.

8. Point of View
This links to the use a snorri-cam device in camera movement as the POV is of the same, alcohol intoxicated
character. The disoriented approach shows a distorted view of staircases, sometimes pointing at the floor as
if dangling in the air. This immerses the audience into the world of youth on drunken night out; perhaps the
passive audience described in the hypodermic needle theory would be encouraged to think that this is the
social norm. The ideology of delinquent, irresponsible youth is communicated and their representation can
be explained using identity theorist Charles Acland’s notion of ‘youth gone wild’ and ‘youth in crisis’ where
the youth sub-culture is constructed from the adult gaze and it therefore teenagers need surveillance.
Canted Angle
The canted angle is where the camera is titled to give a
disorientated feel like the POV above. Here, the camera
looks out of a window in a car and the unnatural angle
creates a sense of panic and disturbance which
heightens the tension of the scene.

9. Editing
In ‘Smashed’, rapid editing is used when drinks are bought, cutting close-ups of spending
money, pulling pints and serving. It reflects addiction and how quickly the night can take a turn
for the worse. The film raises a social issue about looking out for others and was partly funded by
the local police in production. The use of rapid editing is frequent in the short as the teenage
audience appreciate this device because it keeps action energetic and due to its associations with
other texts such as music videos.
Titles/Graphics
Opening titles in short films are often simplistic because of the time limit. In ‘Bro’, the title card appears after a very short opening
sequence of young people drinking which then goes to black with the title in handwriting font in lower case and small size. This
connotes childhood relating to the film’s childish behavior, innocence of disabled teenagers. In ‘Baghdad Express’ when Maya is
talking to her father, subtitles appear on screen as he speaks in Arabic. This links to the film’s ideology; the clash of
cultures, identity and family values as the two languages are spoken at once.

10. Composition
The composition in this shot shows the relationship between the two characters. They are both at opposite
ends on the frame which provokes the audience to think there is a connection between them. Barthes
audience reading theory is useful here as this would be a negotiated meaning; is this is a sexual attraction, a
friendship or just escapism for Simon?
Film Stock
Short film-makers will most likely record in digital format on something cheaper such as DV tapes as they are
independently funded. They might even use a SLR camera or other unconventional methods to capture
footage.

11. Sound
These are a few points I have noticed in shorts:
Non-diegetic music does not interfere with dialogue or overpower a scene but rather quietly accompany the
action. For example, in ‘Bro’ composed piano music provides a soft undertone to the film. Characters have their
own simple themes which give emotion and also cleverly foreshadow when they appear such as when we see
Simon’s expression change and hear music associated with Gemma so the audience knows it is her.
Diegetic dialogue is natural; un-dramatic voices are used. It is quite likely that characters ad-lib dialogue and
improvise sections in a short film for heightened social realism.
Language is colloquial; teenagers are not just stereotypically represented as swearing or crude in the short
films I have viewed. They are portrayed with sensitivity and often have a point to make.
Most importantly in short films, scenes are rarely dominated by dialogue - especially
conversational - as they tend to make the piece seem longer; audience attention/interest needs to be
sustained and so scenes or action must change and not ‘drag on’! Body language is crucial in the films I have
seen and so it is not unusual to have episodes of silence.

12. Mise-en-scene
This shot in ‘Bro’ shows Simon when he has to comfort Mark. He leaves his vulnerable brother on
the bus telling him to find his own way home while spending time without him. The setting of the
bus is a public space so he is exposed to people who are constantly judging. The director uses
composition effectively at eye level angle to convey this judging of his peers who are visible in the
background slightly off-focus. Mark’s face is buried as Simon shamefully realises he has been
selfish but still refuses to look at the youths at the back of the bus. Outside it is bright sunshine to
suggest the teens are on summer vacation; a time to socialise, have fun and relax. Their
costumes reflect this, but Simon covers up as he does not feel the same way having to look after
his disabled brother.