The document is an evaluation response that discusses how a short social realism film challenges and conforms to conventions of the genre. It begins with a documentary-style opening using a character monologue to introduce the protagonist and create empathy. This challenges expectations by not establishing initial equilibrium. However, it also uses conventions like realistic settings and exploring a contemporary taboo issue. Camerawork is mostly naturalistic to maintain continuity but some shots like extreme close-ups are used to convey mood. Overall, the response analyzes how the film both challenges expectations and adheres to realist conventions.

1. Kieran Morris
A2 Media Studies: Evaluation
Q1) In what ways does your media product use, develop or challenge forms and conventions
of real media products?
The short social-realism film I have created attempts to
challenge the forms and conventions of short-realism films;
engaging the target audience from the start by using a
documentary-style opening. This involved writing and asking a
cast member to perform a monologue which was non-
diegetically placed over a variety of shots of protagonist and
principal characters walking on a cold, wintery morning. The monologue
instantly provides the audience with protagonist character Jade’s
perspective on the world and her fear of being negatively judged because of
her homosexuality. This instantly provokes an empathic response from
viewers who may feel they know Jade’s ‘secret’, creating a personal
attachment between the viewer and Jade. I decided to use this
documentary-style opening to create a character that the audience could
relate to and view as a ‘normal’ person living in the ‘real world’, unlike other
films which create ‘characters’ living in un-naturalistic environments or
experiencing un-natural events. By starting with this documentary-style, I
also instantly introduce the ‘disruption’ in order to provide drama and intrigue
viewers. This challenges Todorov’s Narrative Structure theory (1969) which
implies that ‘equilibrium’ first occurs in stories and life for the characters is
introduced to the audience as normal. I felt that starting with ‘equilibrium’
was not necessary to the plot development and would cause the audience to
not engage with Jade’s feelings and emotions. I also feel that life is not
structured in the five stages Todorov suggests, and therefore believe that it would be
inaccurate to start a social-realism film with equilibrium.
Despite this, I also conform and use conventions of social-realism films. Short films that are
categorised to this particular genre often use real-life settings for filming, including streets,
schools, parks and other public places. In my short film, I use
both a school and surrounding streets in order to create a
naturalistic environment that effectively portrays the struggles
protagonist character Jade faces in her day-to-day life. The main
issue that is explored in this short film is homosexuality and the
mental struggles people face before revealing to others their ‘true
identity’. I felt that a key issue in contemporary society that is
sometimes viewed as taboo was necessary for a social-realist film due to the conventions of
this genre offering ground-breaking narratives that explore taboo themes and issues. The
characters I created were from working-class backgrounds in order to allow audience
members (mostly working-class) to develop sympathy for Jade and relate to the lifestyle she
has. These various elements were demonstrated through the mise-en-scene of the street
paths and characters casual clothing, further highlighting to the audience that Jade is a
working-class social-realist film.
I also ensured that the use of camera-angles and editing techniques in the short film were
mostly naturalistic in order to compliment the chronological narrative created and provide
continuity throughout most of the film. This was in particular evident in scene 2, in which
Jade, Olly and Carol arrive at school and a naturalistic conversation happens. The camera
angles used provide an insight into the characters daily lives. This was demonstrated
through the use of mid-shots and long-shots showing events from the perspective of
someone watching in on the conversation; thus making the audience feel they are finding out
Equilibrium
Resolution
Recognition
Disruption
New Equilibrium

2. Kieran Morris
about Jade’s life. However, I also use non-naturalistic camera shots in order to create
montage sequences. This includes at the beginning of the film in which the three characters
are walking in the street and the film switches to extreme close-ups of frosty grass. This has
been used to provide a cold and harsh nature to the film, whilst also helping the audience to
establish where the film is mostly located; in this instance being outdoors.