Fruit Bowl Films Presentation (Group 3B)

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A presentation on the film proposal by Fruit Bowl Films, entitled 'Turning Pages', a proposal by Emily Lawson, Sharlene Gandhi and Anna Rawe

Published in: Entertainment & Humor
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Fruit Bowl Films Presentation (Group 3B)

  1. 1. G r o u p 3B : A n n a ,S h a r l e n e a n d E mi l y
  2. 2. The conventions of coming-of-age films - T e e n a g e /y o u n g p r o t a g o n i s t - Wa n t s t o c h a n g e s o me t h i n g a b o u t t h e i r l i v e s /b r e a k f r e e - Pl o t f o c u s e s o n t h e i r j o u r n e y ’ - A c o m p a n i o n /f r i e n d - Si g n i f i c a n t c h a n g e t r i g g e r s j o u r n e y
  3. 3. Our Film IdeaG e n r e : C o m i n g -o f -a g eS y n o p s i s : Wh e ne i g h t e e n -y e a r -o l dL i l a ’s b r o t h e r d i e s o fa t e r mi n a l i l l n e s s , s h eg e t s a n e w o u t l o o k o nl i f e a n d s e t s o u t t oc o mp l e t e a l l o f t h et h i n g s o n t h e Bu c k e tL i s t t h a t h e l e f tb e h i n d
  4. 4. Typical characters featured in this genre Pr o t a Se c o n d a r y g o n i s c h a r a c t e r s t Ca r i n g / u n d e r s Qu i r k t a n d i n y / g k o o k y Fl i r t y Th o u g h t f u l /d e e p t h i n k e r sSeeking independencebut still too naïve L a t e r a l t h i n k e r s
  5. 5. Our characters and character representationsJ e s s i c a L o At t i c u s• 18 Wa l s h• I n t e l l i g • 19 e n t , p r a c • I n d i v i d u t i c a l a l ,• Ho l d s t h e b i z a r r e g r o u p • A f r i e n d t o g e t h e r o f L i l a ’s• A f r i e n d wh o o f L i l a ’s L i l a Ki n g a c c o mp a n wh o • 18 i e s h e r a c c o mp a n • J u s t l e f t s c h o o l / a s s h e i e s h e r g a p y e a r f u l f i l s a s s h e • Impulsive, excitable, naïve, a r t i n t h e f u l f i l s y , a s p i r a t i o n a l , w Bu c k e t i n t h e i t t y , f e i s t y L i s t Bu c k e t • Ol d e r b r o t h e r L i s t d i e d o f l e u k a e mi a a n d l e a v i n g b e h i n d a
  6. 6. Propp’s Character Theory• Th e He r o - L i l a• Th e Vi l l a i n - He r Pa r e n t s• Th e Do n o r - De a d b r o t h e r wh o s t a r t e d b u c k e t l i s t• Th e He l p e r - He r t wo f r i e n d s At t i c u s a n d J e s s• Th e Pr i n c e s s - L i v i n g h e r l i f e t o t h e f u l l a n d i n d e p e n d e n c e
  7. 7. Chosen Target Audience Co r e Se c o n d a r y Au d i e n c Au d i e n c e s e M a l e s , 16 – 24• F e ma l e s Ad u l t s• 16 – 24 (30+) –• St u d e n t s n o s t a l• Mi d d l e c l a s s g i c• I n t e r e s t i n a b o u t p h o t o g r a p h y , t e e n a g l i t e r a t u r e , e d a y s c u l t u r e (m a l e
  8. 8. PotentialDistributors
  9. 9. We s p e c i a l i s e i n t h e p r o d u c t i o n o f l o w b u d g e t , ‘i n d i e ’ f i l ms Fr u i t Bo wl Ou r Pr o d u c t i o n F i l ms C o mp a n y i s a ni n d e p e n Fruit Bowl Films O u r a i m i s d e n t , t o p r o d u c eBr i t i s h h i g h -p r o d u c t q u a l i t y , i o n Br i t i s hc o mp a n y f i l ms w i t h b a s e d me s s a g e s i n a b o u t L o n d o n s o c i e t y Fo u n d e d i n
  10. 10. Style and Form of Coming of Age Opening Sequences- Th e f i r s t s h o t i s l o n g i n d u r a t i o n- Th e r e a r e l o t s o f CUs- St a r t wi t h s i l e n c e t o a c c e n t u a t e t h e v i s u a l s (s e t t i n g /m i s e -e n - s c e n e )- Di a g e t i c s o u n d e f f e c t s : b i r d s , wi n d , d i s t a n t c i t y- A s o f t , s l o w -p a c e d s o u n d t r a c k- Us u a l l y c u t s a r e u s e d , w i t h s o me f a d e s- Na t u r a l , e x t e r i o r
  11. 11. Our Opening Sequence• L i l a l o o k i n g a t s u n r i s e• S h e v l o g s f r o m t h e t o p o f t h e h i l l• T a k e s o u t b u c k e t l i s t a n d p h o t o o f h e r b r o t h e r f a l l s o u t , a n d s h e t i c k s o f f t h e f i r s t t h i n g f r o m h e r l i s t• S h e wa l k s o v e r t o
  12. 12. Location P r i mr o s e Hi l l i nC a md e n , L o n d o n
  13. 13. Some Of Our Shots• VL S o f s u n r i s e• C a n t e d a n g l e /s i d e o n CU o f b r e a t h• CU s h a k y c a m o f L i l a r e c o r d i n g t h e s u n r i s e• H A O T S /P O V o f h e r l o o k i n g a t p h o t o• L A CU o f h e r l o o k i n g d o wn a t p h o t o t h e n a t l i s t• V L S (f r o m b o t t o m o f h i l l ) o f h e r p u t t i n g o n r u c k s a c k• ML S o f h e r w a l k i n g /c y c l i n g f r o m t h e f r o n t• St a t i c L S o f L i l a wa l k i n g d o wn s i d e , wi t h f i l m t i t l e a p p e a r i n g b e h i n d h e r
  14. 14. Barthes and Levi Strauss’ TheoriesBART HES ENI G MA C O D E S :• Wh o i s t h e b o y i n t h e p h o t o g r a p h ?• Wh y d o e s s h e h a v e a b u c k e t l i s t ?• Wh y i s s h e g o i n g o n t h i s j o u r n e y ?• Wh a t s h e r r e l a t i o n s h i p wi t h J e s s a n d At t i c u s ?L EV I ST RAUSS’ BI NARYOP P OS I T E S :• Yo u n g v s . Ol d• Fe ma l e v s . Ma l e• Ad v e n t u r e v s . N o r ma l l i f e
  15. 15. Titles
  16. 16. Thank You ForWatching

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