2. All films back in the day were short films. The one
standard that distinguished short films back then is still
relevant today since short films are defined by their
length, even after more than a century of technical
and aesthetic advancements. Since short films are not
a genre description or category but rather a general
term to represent all conceivable forms and genres of
film, there are no clear criteria or unambiguous
qualities that apply to all short films other from the
running length. However, there are several traits that
have permeated short film culture up to this point.
What is a short film?
3. Short films
Independent filmmakers typically produce short
films without regard to financial gain. They are
produced on a tight budget or with no funding at all.
Typically, sponsors, non-profit organisations, film
grants, and personal finances are used to finance
short films. Filmmakers typically use short films as a
learning tool. They are also employed to establish
their talent in order to secure finance for upcoming
productions. They hope to draw in individual
investors, entertainment businesses, or movie
studios. The majority of film festivals not only screen
features but also short films. A few short films are
screened before a feature film.
5. As most short films are only 5 to 10 minutes long, with a 35-minute
maximum(depending on who you ask, many short films are longer or up
to an hour long), it is crucial to limit the cast to a couple characters only.
It's crucial to be able to sum up each character's backstory in a few
minutes. As a result, the viewer can quickly relate to and comprehend
the character. Short films frequently rely significantly on stereotypical
representations because they help viewers identify and infer meaning.
Length
6. Due to the limited funds directors have, short films sometimes have modest
budgets. Using as few filming locations and as few characters as feasible will
help you save money without sacrificing the quality of the finished product.
A little budget can nevertheless result in a quality film.
Budget
7. Most short films have a twist in them. As a result, viewers are
considerably more interested in the movie and occasionally even
more anxious to see how the plot develops. The twist could occur at
any point in the movie's duration, whether it's in the middle or at the
finish.
For your story to have a satisfying (and unexpected) finish, your
plot must be well-thought-out. It frequently serves to disclose
unspoken details about persons or relationships or to dramatically
change the protagonist's fortunes.
Twists
8. In order to keep the audience guessing about the story's premise until the
middle or finish, narrative enigmas are frequently used. We can
categorise narrative enigmas as follows:
Hermeneutic code
Prairetic code
Narrative Theory
Narrative Enigmas
9. Hermeneutic codes frequently arise at the start of
the narrative, raising questions that go
unanswered and generating tension that draws
the audience in. All mysteries have their roots in
hermeneutic codes. All these loose ends will
eventually be explained and tied together in a
coherent plot. We make an effort to shed some
light on the riddle while carefully observing to see
if our theory holds up.
Hermeneutic code
According to google, the term "hermeneutic
code" (HER.) refers to any aspect of a story that
is left mysterious to the reader and raises
inquiries that call for an explanation. In order to
enhance the impact of the ultimate revelation of
all diegetic facts, most stories withhold certain
information.
10. Proairetic coding describes simple activities—plot
developments that merely trigger more actions.
Therefore, action rather than a viewer's need for
answers to questions creates suspense.
Proairetic Code
Accordning to google, the other
significant organising component that
increases reader or spectator interest
or suspense is known as the proairetic
code (ACT.). Any action that suggests
a subsequent narrative action is
subject to the proairetic code.
12. Narrative Theory
According to Izetan Todorov, conventional tales are divided into five stages:
1. the initial equilibrium state
2. A change in the equilibrium caused by an action.
3. An acknowledgement of the disruption.
4. An effort to fix the problem.
5. The restoration of equilibrium.
We are all quite familiar with this kind of narrative framework, which may be
used in a variety of short film scenarios.
13. Vladimir Popov’s Character
Theory
Due to the characters' well defined roles and functions, Vladmir Propp created a
system of categorising the characters and their actions. In the 100 stories he
examined, he came to the conclusion that all the characters could be summed up into
the following seven character functions:
1. The bad guy
2. The operator
3. The enchantress
4. The prize-winning princess and her father
5. The giver
6. A victim/seeker hero or a hero
7.The phoney hero
14. The Crush
The short film The Crush, which tells the tale
of a youngster who kills his primary school
teacher's fiancé out of love, is an excellent
illustration of a short film with a twist. The
fiance is shot with gum balls while he is on
the ground pleading for his life and
confessing that he never loved the teacher.
The teacher and the boy stay together in
the end.
15. ACT 1 ACT 2 ACT 3
3 Act Story Structure for Short Films
The greatest technique to maintain interest in the movie is to develop the plot in a regular setting. This makes it
easier for viewers to identify with the story and makes them eagerly anticipate the conflict's resolution or climax.
The typical, three-act story structure is used in the majority of short films and screenplays overall. Simply said, this
means that they are set up to tell a story with a beginning, middle, and end.
16. Act 1 of a short film can either merely serve as the film's start or can
perform the standard storytelling functions (introducing the protagonist
and setting). In short films, Act 1 typically draws the audience's attention
and establishes the essential information before Act 2 begins. Act 1 may
consist of several scenes, a single scene, a few lines of dialogue, or even
a single moment, depending on how long the short film is.
ACT 1
17. ACT 2
Middle - In short films, Act 2 can either serve the typical purposes
associated with the storytelling structure (Protagonist pursues a goal,
typically with assistance from an Influencing Character and impediments
from an Opponent), or it can just serve as the short film's middle. In
short films, Act 2 is typically the larger section of the narrative that
resolves the central theme and genre.
18. End - In short movies, Act 3 can either fulfil the typical functions
connected with the storytelling structure (the protagonist fights the
antagonist to accomplish the goal) or it can just serve as the conclusion
of your short movie. Act 3 of short films typically contains a climactic or
"big" payout of the central notion introduced in Act 2.
Setup, expansion, and payoff is another way to conceive of this
framework for short films. This serves as an analogy to the definitions of
Acts 1, 2, and 3 of short film story structure, whether this be a single
idea or a more intricate story.
ACT 3
