Serious Stuff For the Runners
Team: Jo-Jo the Dog Films & Tokem
Period Piece
Mise en scene: Lots of close-ups.The colours are pale and dull - perhaps a reflection of the time and their lack of freedom. The runners return to the same area and in the stocks, whilst other locations only appear only once. This indicates it's importance in the lives of the main characters and how the others' opinion on them is not altered. A hierarchy has been clearly established; with the runners lowest in line (the boy because of his age and the fool despite this.) They form an alliance at the end, indicating strength in numbers.
Lighting: Even in the day clips, the lighting is dull and cold. The characters tend to wear pale shades of cream or white, or black. The characters dressed in hats and dark suits in the beginning, can be seen as more dominant or authoritative members of the hierarchy. This could be representational of equality and the prejudice that we see towards the runners.
Sound: Heavy, atmospheric wind and church bells. During the night a dog can be heard barking, suggesting to the audience that something bad is going to happen. The dramatic music adds to the suspense of the situation. We know this as the boy quickly becomes in danger.
Camera angles and shots: Shaky cam is used as well as steady shots using a tripod. The clip pauses at points during the scene when the character is removed - this helps to slow the pace of the film and create smoother cuts. It also makes the exit of the characters (e.g. when the man drags the child from the room) more dramatic. The camera is faced head-on at the runners, but a low-angled shot is used on the more dominant roles, showing the characters' higher position in society.
Editing: At one point transitions from black; taking the scene to another place and time.
Traffic Warden
Written and directed by: Donald Rice
Clockwork Pictures
Romantic Comedy
Mise en scene: Straight away we can see that it is a bright, sunny day - from here we can presume that the film will be uplifting. Much of the humour of the film is from text rather than speech. Words are used to suggest the movement of the short (e.g. 'Romeo' and 'Juliet') and these are clearly placed within the frame. The warden looses his hat and cigarette when the car horn takes him by surprise; lowering the authority of his position.
Lighting: Lighting is regular for the day and season of the film.
Sound: The music used is very light-hearted and creates a positive curiosity. As different characters appear in the frame at separate times, the music changes rhythm to reflect the characters own frame of mind (e.g. the woman with the cake is in a rush, and the music picks up speed.) There are lots of sounds of people working or around the street, in a lively and welcoming way (fits in to the image of lots of families and the bright, sunny day.) The steps of the main character are loud and clear, making him dominant in the scene. The main character rarely speaks; most meaning is given by the expression on his face.
Camera angles and shots: There are lots of close-ups of characters reacting to the traffic warden, and as they interact with each other. When the main character spots the girl, this framing is used to capture his look of awe. There are lots of cut aways to items within the street. The film also moves to other characters that are established as important roles, and keep reappearing, but not directly related to the main story. This gives it a broader plot and builds on the resolution of the film.
Editing: There are lots of short shots, cutting to different areas of the set. Shots tend to be cut longer when there is movement - such as when characters are walking. This helps keep movements and transitions clear as the story develops. This is particularly clear as David Tennant's character follows the girl; and the shots are cut from one to the other.
Vincent
By Tim Burton
Animation
Mise en scene: The child has two identities: the regular boy with the stripy tee shirt and the horror legend with the lab coat and gloves. In the introduction, the animation appears 2D, and takes on a third dimension as the audience enters in to the story.
Lighting: When the boy is living as Vincent Price, the setting is dark and mysterious. Shadows are cast over scarce patches of light, making figures more threatening. When he is taken back to real life, the light is 'switched on' in regular black and white. This could indicate the dark and light of his two personalities. When his 'beautiful wife had been buried alive' he is placed under a limelight; focusing on his expression of shock and fear.
Sound: The narrator can be heard individually. As there are often only few items within the frame, this helps to create a heavy tone and statement. Between the narration, action is supported with noises and music that give it a creepy atmosphere.
Camera angles and shots: The child remains the main point of the frame. Additional characters (apart from animals) are hidden partially off the screen, suggesting that they are less important or valuable to the storyline - they are distractions from the boy's aim. No close-ups are used, which gives the audience a clear sight of the set around the child. This makes the child seem more detached from the world and reality; most of the settings are almost empty, making him appear lost in an area that could look more like a lab than a house.
Editing: Some action or movement is seen in each shot. No cut aways are used; focus remains on the main character.
How are the short films similar?
They are all focused on a particular storyline, but Serious Stuff for the Runners and Traffic Warden introduce a number of other characters that become involved in the lives of the main characters.
A variety of shots are used; including establishing areas and close-ups.
Lighting is used to indicate genre. Vincent is in black and white and often switches to darker shades, a clear indicator of Tim Burton's iconic style.
What are key differences?
Vincent is the shortest film and remains within its restrictions of set, working well with the horror theme. Alternatively, Traffic Warden, in the centre of a town, is much busier and draws in lots of additional characters. It is much more traditional to a real life setting.
In addition, Vincent is less focused on emotion than the other two shorts. Serious Stuff for the Runners and Traffic Warden vary much more by shot and camera angle; bringing emphasis to the characters' changing expressions and states.
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