Set Short Films

 The Ellington Kid (2012):

Micro element - Editing 

The use of flashbacks, that convey a serious, dramatic aesthetic, intertwined with the ‘present day’ humorous retelling, creates an engaging back and forth between two timelines, that creates and rhythm and heightens the suspense. Furthermore, in tandem with other micro-elements such as sound and mise-en-scene, there is a continuity between the timelines that clearly shows the audience that these two separate timelines are set in the same location, such as the costumes of the workers and the sound of their knives sharpening. 

Macro element - Narrative 

As a result, the narrative of the film is intuitive and interesting, with the plot being jumbled up in a way that keeps the audience wanting to continue watching, rather than simply portraying it in a linear, chronological order.

The Arrival (2016):

Micro element – Cinematography and Lighting 

The camera’s movement throughout the film is restricted entirely to a very slow dolly, that goes almost unnoticed until the shot becomes a close-up. The gradual dolly reflects the character’s progression deeper and deeper into her thought, with the dolly pausing when she spills her drink and is brought back to reality. Then as the scene progresses, the background turns black, with passing lights that reflect on the characters face. This, in tandem with the sound, emulates the metaphor of a train, arriving at a station just as the baby will arrive into her life as her decision shifts to keeping the child. 

Macro element - Spectatorship 

Starting in a mid/wide shot, the camera sets the scene of the café, and it’s stationary, long take seemingly makes us as spectators feel like we are peering into this world through a window. As spectators we are also forced to focus on the minute details since the shot is so cantered on the characters, a passing couple or pram with a baby stick out in the otherwise stationary setting.

Tight Jeans (2008):

Micro element – Performance 

The three main characters, Theo, Marcus and Joseph, all speak in vernacular English, with distinct, South London MLE accent. This immediately gives a sense of place and time, immediately immersing spectators into the world. Furthermore, through each actor’s non-verbal performance, we can identify the personalities of each character. Marcus’ slouched posture shows his laid-back personality and is reflected in the fact he is willing to wait to be driven, since he thinks the bus will be too long. In addition, Tyrone’s physical and verbal performance shows his position in their ‘hierarchy’, since he is the one with the car.

Macro element – Representation 

With the main characters all being black, the experience being portrayed is clearly that of an Afro-Caribbean experience in London. Furthermore, the film tackles several introspective, racial question, even is briefly touched on. For example, the idea of a black person not being attracted to white people being considered racist, or preference.

Operator (2015):

Micro element – Mise-en-scene 

The use of the back of large PC monitors, forces the focus of the spectator onto the performance of the character; in this short film centred entirely around a performance, with the narrative quite literally never leaving her side, this use of mise-en-scene simply amplifies the other micro-elements of the film. Furthermore, details such as her uniform, the screens in the background, etc. set the scene, and make it clear that we’re in the operating room of the London Fire Brigade. 

Macro element – Gender 

The film has got an underlying sense of sisterhood, between the female operator and the woman she is trying to assist. This is also amplified when the operator finds out the lady has a child. It does make sense this relationship is portrayed by the female director Caroline Bartleet.

Over (2015):

Micro element- Cinematography 

The use of tight framing on the character’s belongings signifies their importance. It contrast the rest of the film where wide shots that capture the whole neighbourhood are used almost strictly, in turn making  the small collection of close ups that connect each shot more impactful on the spectator, increasing the emotional weight that the items hold. 

Macro element- Narrative 

The order in which the story is revealed is reversed from the true chronological progression. As a result, the story which starts with an intense climax that slowly dissipates, is transformed into a film with a rising tension that reaches the climax at the end of the film.

Slap (2015):

Micro element- Cinematography

To create chaos, the 180-degree rule is deliberately broken. Between the time of Elliot fighting off the second and third attacker, the blocking of the shot changes. Elliot’s position in relation to the new attacker is reversed form the previous, emphasising the chaos of the scene.

Standby (2017):

Micro element - Performance  

The male officer’s performance from the start of the film towards the middle, shows perfectly how his character progresses, from quiet and condescending, to a talkative and humorous partner to the new policewoman. In addition, the female officer’s performance in the second half of the film, portrays to the audience what she is experiencing in life, through just a few brief moments e.g. smiling after a successful date, crying after ending things with the same date etc.

Echo (2011):

Micro element - Cinematography

Throughout the film, objects are often out of focus in the foreground, in front of the characters who are the subject of the shot, such as on the tram or in the garden as Caroline is smoking. As a result, it gives the spectator the impression that they are staring directly into this story from within it's narrative space, immersing them. This enhances the naturalistic aesthetic and as a result, amplifies the emotional impact.