Fiction Adaptation - Evaluation

 Evaluation

The task for this unit was to adapt a sonnet into a short experimental film, which was a maximum of five minutes in length (Rymer, 2021). 

As this was a primarily individual unit, I took on the roles of Producer, Director, Editor, Camera Operator, and Covid-19 Supervisor. Directing is out of my comfort zone, so this was a challenge for me. I tried my best to communicate my vision with the cast and crew through a powerpoint presentation and verbal conversations. 

I wanted this whole process to be collaborative and wanted to gain different perspectives with regards to how I could achieve the finished product. The cast and crew communicated their ideas with myself both before and throughout filming. Due to the sensitive nature of the topic being covered within the film (sexual assault), I also continually checked in with the cast and crew throughout to make sure that they were okay. 

As this unit was about experimenting, I found it hard to fully envision the whole sequence of the film and how I was going to put it together before I had filmed and edited it. This meant that creating a storyboard was a bit trickier. Despite this, I created an incredibly basic storyboard with some shots that I wanted to include.  As a result of this, I will aim to practice storyboarding or at least have a completed shot list so that I have a clearer idea of what I want/the shots I’m going to get when going into future projects. A storyboard will also allow me to clearly convey my ideas to the cast and crew and allow them to have a clear visualisation (Elemental Media, 2021) of the film. 

In terms of lighting, I used both artificial and natural lighting. When it came to the shots outside, I used the natural lighting of the sun to light the shots. We filmed outside at 12pm in the afternoon as this is the point when the sun is at its brightest point in the day (Elliott, 2017), meaning we could get a higher level of contrast within our shots. We had to work quite quickly outside due to the amount of hours of daylight in the winter being shorter. 

Figure. 1 Diagram of Natural Lighting Used for Fiction Adaptation (2021)

Figure. 2 Diagram of Artificial Lighting Used for Fiction Adaptation (2021)

When filming indoors in the bedroom, I had initially set up two lights either side of the bed, pointing diagonally at it, but I discovered that one light was enough to get the level of lighting that we wanted. I had the blinds over the window shut, the door to the bedroom shut, and a tungsten light to the right of the bed in the corner of the room. Having one tungsten light as a key light (low-key lighting), it enabled for the shots and photographs to hold a higher level of contrast and convey the character’s emotions (Hellerman, 2019) and the impact that the sexual assault had on them to the audience. 

A major problem that I encountered when filming was the fact that the actor, Charlotte Sparkes, texted me saying that she was unwell right as we were about to start our second day of filming.  In order to combat this issue, I remained calm and had a discussion with the crew as to what we wanted to do. We decided to go out and film some shots on Tooting Bec Common and see what we could get without Charlotte being there. 

I also came up with the idea of including drawings and/or animations within the film to create a  story that flowed and to bulk it out in place of the missing footage. Through doing this, I was able to overcome the fact that I hadn’t gathered all of the footage that I initially wanted and learnt how to work with what I already had and improvise. In addition to this, through exploring the use of the unconventional method of combining moving images, still images, and illustrations I was able to push the boundaries of conventional cinema and create an experimental film as a result (Kench, 2021).

After the first day of filming, I came to the conclusion that we would only need to film in three out of the six locations I had done risk assessments for as we had quite a lot of footage that I felt I could fit together already. 

One example of an illustration that I made for the film was a brain, which I drew and then cut out using a scalpel. I scanned it into my laptop and phone, using picsart to refine the edges. From there, I put the image into Adobe After Effects, keyed it, put it into black and white, and placed it onto a solid black background. After I had finished with it in Adobe After Effects, I then transferred it into Premiere Pro and placed text over the solid background.

Figure. 3 Hand Drawn Brain

Figure. 4 Hand Drawn Brain in Premiere Pro

In relation to the scale of the images within the film, I wanted to scale them down so that they had a solid black outline and were not taking up the whole screen. By creating a solid black frame/border around the image, it allows for the viewer to view the image without being too overwhelmed and struggling to know where to focus their attention (Kefalopoulos, 2018). In addition to this reasoning, I also drew inspiration on the sizing/framing of the still images from the “Wellow Project” (Waterman, 2020). I liked the way that Waterman had used black frame around the images within the films and wanted to incorporate this into my work. The border within my film also could be seen as a metaphor for separating the character’s memories from reality. When inputting the images into the sequence, I reduced their scale using the effects control panel. 

Figure. 5 Film Still of the actor standing in a street

Initially I wasn’t going to have any dialogue in the short film however, as I was editing, I felt that it could use some sort of dialogue to make the footage and shots that I had more effective. I decided to do a voice over for the film. When coming up with the script for the voice over, I wrote a notes page of all the potential things that I could say and the thoughts I had and tried to formulate them into a script. After editing each sequence, arranging and rearranging the footage in Premiere Pro, I recorded the voice over for each sequence. 

When editing the film, I became stuck in terms of how I could develop it so that it was at a point where I was happy with it and it was complete. In order to develop my film further, I received feedback from both peers and two lecturers. 

The feedback I received from my peers was that the white noise and static within the film felt wrong and displaced. In addition to this, they suggested that upon the line “Sometimes, I feel like he’s so close to me, I can feel his breath on my neck again and again and again” I could have the word “again” appear on screen every time it is said within that line. As a result of this feedback, I added this over the top of the shot that I had decided to use for this line. 

The feedback that I received from the lecturers was to change the white noise and static that appears on screen to a more glitch like effect as the static is rather repetitive and “amateurish”. A couple of suggestions that were made in response to this were to have a glitch effect between the static and the clips, maybe have an image underneath the static, an ice effect could be overlaid on top of the clip/still image. In response to this feedback, I changed the static clip I used so that it looked more realistic and added some glitches in. 

Kat Sengstaken also suggested that I incorporate the number 45 that I had used in an earlier sequence into the still image that I had used for the line “Everyday things aren’t so normal anymore/ordinary anymore. I can be walking and he’s there”, which acts as though the person that assaulted the character is still with her in everything she does. Following this, I copied the sequence of 45s over the still image of the leaves, making them smaller and appear within the different areas of the leaves within the image. 

With regards to sound, I struggled with the consistency of the voice over and ensuring that there was no hum of the microphone within the voice over. Initially, I had recorded part of the voice over in my living room at home, which produced an audio quality that I liked however, as I didn’t record all of the voice over at home due to me going back to university and the fact that I hadn’t written all of the script at that point, the sound quality was inconsistent. I attempted recording the rest of the script in my bedroom at university, but as it had carpeted floors instead of the wooden one I have in my living room at home, the audio was vastly different. I also attempted recording the audio in the sound booth at university, but as the microphone I had used was omnidirectional (Merriam-Webster, 2021), the sound of people speaking in the background was picked up. As I have seen musical artists record music within their bathrooms, I tried this out. However, I found that it made the voice over echoey even with a denoise effect on Adobe Premiere Pro. Programme Director, Mike Rymer, and Lecturer, Sam Creamer, explained to me that when recording audio in a bathroom, the usual practice is to put things like blankets and towels up around the room to dampen the echo. They then advised that I use a directional mic as it only tends to pick up sound from one direction (Fox, 2021) and re-record the voice over in the sound booth to help dampen external noise (Creamer and Rymer, 2021). After re-recording the voice over using the finished script with a directional mic within the sound booth, I found the audio quality to be much better and more consistent than that of those I had previously recorded. Even though the sound quality was much better, I could still hear a slight hum, which I fixed using the noise reduction effect within Adobe Premiere Pro. Here is an example of what the audio sounded like before I re-recorded the voice over: https://youtu.be/xMIzQpT2TGs

 

In addition to the voice over, I received the feedback from Programme Director, Mike Rymer, that the film felt quite silent with solely just the voice over. We came to the collaborative conclusion that it would be best to input some ambient sound such as rain or wind, alongside the voice over. I looked online for some royalty free ambient sounds and decided upon wind, which I then put into the second audio channel on Adobe Premiere Pro. I decreased the gain of the wind so that it wasn’t taking over the sound of the voice over. 

Upon the line “but I know that my story isn’t done” (Impact, 2021), it was suggested by a peer that I have the wind fade out as the ending of the film holds some sense of positivity in terms of the character moving forward with their life and learning to trust again.

When further reflecting back upon my edit of the film, it is clear that it has a thematic/rhythmic montage (Matrix Education, 2021). I have cut the footage, still images, illustrations, and text together based on the words within the voice over, so that each visual displayed on screen matches with what is being said. Through doing this, it creates a clearer narrative within the film and connects what is going on visually with the message that is trying to be conveyed about the impact that sexual assault can have on people. 

In order to conduct final checks on my film, I decided to screen it on a bigger scale using a projector in order to check that it was adaptable for screenings. I got lecturer Sam Creamer, to watch the film and provide me with any feedback. The feedback that I received from Sam was to input more of the glitch effect so that it is consistent and shows the commitment to an idea, and to add some sound effects with the still images so that there isn’t such a lull and the audiences’ attention is maintained. In response to this, I rewatched the film and added more of the glitch effect throughout the film, particularly when it came to the still images. By doing this, it gave a greater sense of fluidity throughout and helped make it seem as though I hadn’t just put the glitches in randomly without thinking about it. I also added sound effects like traffic, footsteps, and rustling leaves during the sequences with the still images. I tried to select sound effects that matched up with the words being said and the visuals on screen. One thing that Sam had suggested that didn’t work out after trying it, was to have the final still image slowly zooming in on screen. I keyframed and rescaled the still image and then played it to see how it looked. Sam and I both agreed that it worked better as a still image with a border around it. After replaying it again after making the changes, I also decided that the static visual lasted for too long a time period so, decreased the length of those clips. 

As soon as I had finished editing the film, I sent it over to the crew to see what they thought of it and whether there were any changes that they thought I could make. They expressed that they felt it was complete and that there were no more changes to be made. After receiving this feedback, I then exported the final video and uploaded it online. 

In the future, I will aim to carefully think about how I go about recording the audio so that it is consistent and I avoid external sounds.

Link to the fine cut:

https://youtu.be/Pwq0TgTdxa8

Bibliography:

Creamer, S. and Rymer, M. (2021) Fiction Adaptation Lecture Series. [Kent: University for the Creative Arts 10/12/2021]. 

Elliott, G. (2017) What is the Hottest Time of the Day?. At: https://sciencing.com/what-is-the-hottest-time-of-the-day-12572821.html (Accessed 04/12/2021)

Elemental Media. (2021) The Importance of Using Storyboards. At: https://www.elementalmedia.co.uk/the-importance-of-using-storyboards-video-production-malvern/ (Accessed 14/12/2021)

Fig.1 Diagram of Natural Lighting Used for Fiction Adaptation (2021) [Shot Designer, Screenshot] (Accessed 04/12/2021)

Fig. 2 Diagram of Artificial Lighting Used for Fiction Adaptation (2021) [Shot Designer, Screenshot] (Accessed 04/12/2021)

Fig. 3 Potter, E. (2021) Hand Drawn Brain. [Illustration] In possession of: the author: Rochester

Fig. 4 Hand Drawn Brain in Premiere Pro (2021) [Premier Pro, screen shot] (Accessed 04/12/2021)

Fig. 5 Film Still of the actor standing in a street (2021) [Premier Pro 

Fox, A. (2021) A Complete Guide to Directional Microphones (With Pictures). At: https://mynewmicrophone.com/a-complete-guide-to-directional-microphones-with-pictures/ (Accessed 11/12/2021)

Hellerman, J. (2019) Types of Film Lights (and How to Use Them). At: https://nofilmschool.com/types-of-film-lights (Accessed 12/12/2021)

Kefalopoulos, T. (2018) The philosophy behind image borders. At: https://www.teokefalopoulos.com/post/2018/08/09/the-philosophy-behind-image-borders (Accessed 11/12/2021)

Impact (2021) Directed by Niles-Ewen, G. , Parker, S. ,Potter, E. (2021) [Youtube] At: 

(Accessed 14/12/2021)

Kench, S. (2021) What is Experimental Film - History, Examples & Movements. At: https://www.studiobinder.com/blog/what-is-experimental-film-definition/ (Accessed 11/12/2021)

Matrix Education. (2021) Film Techniques: Montage | How to Analyse Film Step-by-Step. At: https://www.matrix.edu.au/film-techniques-montage/ (Accessed 12/12/2021)

Merriam-Webster. (2021) Merriam-Webster Dictionary: Definition of Omnidirectional. At: https://www.merriam-webster.com/dictionary/omnidirectional (Accessed 11/12/2021)

Rymer, M. (2021) Fiction Adaptation Lecture Series. [Kent: University for the Creative Arts 25/10/2021]. 

Waterman, S. (2020) From our mothers’s arms (2020) From the ‘Wellow’ project (2020) [Online Video] At: https://vimeo.com/445881835?embedded=true&source=video_title&owner=6704742 (Accessed 11/12/2021)

Waterman, S. (2020) Wellow (2020) From the ‘Wellow’ project (2020) [Online Video] At: https://vimeo.com/441845713# (Accessed 11/12/2021)

Fiction Adaptation: Script

 Script

Initially, going into the project, I decided that I wasn’t going to have any dialogue. However, when editing the film, I felt as though it would benefit from some dialogue. As a result of this, I decided to do a voice over. 

I thought carefully about the footage I had and how I could create a voice over that matched up with the footage and still images.

I drew upon my own experiences of being sexually assaulted and looked at the impact it has had upon both myself and others. I wanted to bring to light that being sexually assaulted often has both short- and long-term effects upon victims/survivors (Boyd, 2011). 

I made an initial notes page of potential dialogue that I could include within the film. From this, I then looked at the footage I had and selected the dialogue from the rough script that I had written and put it into the final voice over script. Within the script, I also wanted to link it back to the sonnet that I had chosen, “Time Does not Bring Relief” (St. Vincent Millay, 1917, cited in Rymer, 2021). I decided to put the title of the sonnet at the very beginning of the film as I felt that that was where it was best suited due to the sequence of the film being about the impact that being sexually assaulted has had on her. 

Figure. 1 Initial Voice Over Script for Fiction Adaptation

Figure. 2 Initial Voice Over Script for Fiction Adaptation

Figure. 3 Initial Voice Over Script for Fiction Adaptation

Figure. 4 Final Voice Over Script for Fiction Adaptation

Figure. 5 Final Voice Over Script for Fiction Adaptation

Bibliography:

Boyd, C. (2011) The impacts of sexual assault on women (ACSSA Resource Sheet). At: https://aifs.gov.au/publications/impacts-sexual-assault-women (Accessed 12/12/2021)

Fig.1 Initial Voice Over Script for Fiction Adaptation (2021) [Notes, Screenshot] (Accessed 11/12/2021)

Fig. 2 Initial Voice Over Script for Fiction Adaptation (2021) [Notes, Screenshot] (Accessed 11/12/2021)

Fig. 3 Initial Voice Over Script for Fiction Adaptation (2021) [Notes, Screenshot] (Accessed 11/12/2021)

Fig. 4 Final Voice Over Script for Fiction Adaptation (2021) [Notes, Screenshot] (Accessed 11/12/2021)

Fig. 5 Final Voice Over Script for Fiction Adaptation (2021) [Notes, Screenshot] (Accessed 11/12/2021)

Rymer, M. (2021) Fiction Adaptation Lecture Series. [Kent: University for the Creative Arts 25/10/2021].

Fiction Adaptation: Equipment Used

 Equipment Used

For my shoot this unit, I used two tungsten lights, a Canon 7D, a GoPro, a selfie stick, and a shoulder rig.

I chose to shoot on a DSLR camera (Canon 7D) over a Panasonic AG DVX200 as I felt that I could get more up close and personal with the actor using a DSLR and achieve a more intimate feel than I could with a Panasonic primarily due to the size of the camera, with the Canon 7D’s dimensions being 148.2mm x 110.7mm x 73.5mm (The Digital Picture.Com, 2021)  and the Panasonic AG DVX200’s dimensions being 181mm x 216mm x 374mm (Panasonic, 2021). With the subject matter being the sensitive topic of sexual assault, intimacy was of great importance within my shoot. 

Figure. 1 Canon 7D (2021)

The shoulder rig was an important selection for my film as I wanted the shots within the film to be entirely handheld and the shoulder rig would allow for both the stabilisation of camera whilst still maintaining the handheld element. The film is about the impact sexual assault can have therefore,  so having my shots handheld helped to create a sense of intimacy (Deguzman, 2020). I wanted the audience to be able to really try and experience what the character is experiencing with regards to the impact that sexual assault has had on them. 

I also wanted to do some 360 degree circular pan shots (The Columbia Film Language Glossary, 2021), which the shoulder rig would allow me to do easier than that of a tripod or dolly. With the circular pan shots being filmed in the street, it made more sense  to use a shoulder rig due to the surface of the floor. 

Figure. 2 Shoulder Rig (2021)

In addition to the DSLR, I used a GoPro to try and achieve a distorted look. Through using an extremely wide lens, it created a distorted look and aims to create a sense of discomfort within the audience. It also creates the feel of the audience looking into the character’s life (The Columbia Film Language Glossary, 2021). I used a selfie stick to hold the camera. Through using the selfie stick, I was able to film the actor from a distance, whilst still getting close-ups of the actor. With the selfie stick, we were able to get both high angle shots and low angle shots amongst others as well as try and keep the camera somewhat steadier than it would’ve been if it was to be held without any aids. When using the GoPro, I was able to download the GoPro app and look at the footage being shot through my phone. Throughout shooting with the GoPro, I used my phone as a monitor. 

Figure. 3 GoPro Hero 7

Throughout the shoot, photographs were taken as I wanted to include still images within the short film. I took photographs using both the DSLR and the GoPro, so that I could play around with the different looks of the camera with the lens of the GoPro having more of a distorted look than that of the lens that I was using for the DSLR. 

As I wanted the film to be in black and white and it is about a raw and challenging subject, I thought that a higher level of contrast would be best. In order to achieve this, I asked lecturer and technical tutor, Sam Creamer, how I would go about doing this through the use of lighting. We both agreed that tungsten lights would be best suited to create a greater level of contrast than that of LED light panels. Through using the tungsten lights to create a high contrast effect, it allows the film to have a sense of grit and creates an atmosphere. 

By removing the colour, it also allows the audience to focus on the story at hand and stops them from getting overwhelmed by colour, which would take away from the story (Rymer, 2021). This was another reason behind having the film in black and white. 

Figure. 4 Arri Tungsten Light (2021)

As Tungsten lights get extremely hot and take up more electricity than LED light panels do (Toyo LED Electronics LTD., 2016), I ensured that I switched off the tungsten lights when they were not in use and handled them with gloves so that neither the cast, crew nor myself burnt ourselves on them. 

Bibliography:

Deguzman. (2021) The Handheld Shot in Film - Definition and Examples. At: https://www.studiobinder.com/blog/handheld-shot-in-film-definition-examples/ (Accessed 10/12/2021)

Fig. 1 Canon (2021) Canon 7D. [Photograph]  At: https://www.canon.co.uk/for_home/product_finder/cameras/digital_slr/eos_7d_mark_ii/ (Accessed 10/12/2021)

Fig. 2 Shoulder Rig (2021) [Amazon, Screenshot] At: https://www.amazon.co.uk/Neewer%C2%AE-Camcorder-Fujifilm-Panasonic-Include/dp/B019W91U7G/ref=asc_df_B019W91U7G/?tag=googshopuk-21&linkCode=df0&hvadid=309924713643&hvpos=&hvnetw=g&hvrand=15347567969159381432&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9045025&hvtargid=pla-440005396699&psc=1 (Accessed 10/12/2021)

Fig.3 GoPro (2021) GoPro Hero 7. [Photograph] At: https://gopro.com/en/gb/update/hero7-black (Accessed 10/12/2021)

Fig.4 Greenkit (2021) Arri Tungsten Light. [Photograph] At: https://www.greenkit.london/product/tungsten-fresnels (Accessed 10/12/2021)

Panasonic. (2021) AG DVX200 Specifications. At: https://pro-av.panasonic.net/en/products/ag-dvx200/spec.html (Accessed 10/12/2021)

Rymer, M. (2021) Fiction Adaptation Verbal Feedback. [Kent: University for the Creative Arts 10/12/2021] 

The Digital Picture.Com. (2021) Canon EOS 7D Specifications. At: https://www.the-digital-picture.com/Reviews/Camera-Specifications.aspx?Camera=673 (Accessed 10/12/2021)

The Columbia Film Language Glossary. (2021) Circular Pan. At: https://filmglossary.ccnmtl.columbia.edu/term/circular-pan/#:~:text=Term%3A%20Circular%20Pan,degrees%20around%20a%20fixed%20axis. (Accessed 10/12/2021)

Toyo LED Electronics LTD. (2016) Light Emitting Diodes (LED) VS Tungsten Light Bulb. At: https://www.toyo-led.com/en/light-emitting-diodes-led-vs-tungsten-light-bulb/ (Accessed 10/12/2021)

Fiction Adaptation - Content Research

 Content Research

Link to presentation: 

https://docs.google.com/presentation/d/1ufoJgmnFIgebGFKVmYcPERnKtRNsCW3_Nwdirq0NJJM/edit#slide=id.p

I created a presentation in order to get my ideas into a hard copy rather than just having them in my head. Through creating a presentation, it helped me communicate my ideas visually. 

The presentation I created contained the sonnet that I have chosen to adapt, an analysis of the chosen sonnet, a moodboard, video inspiration, possible locations, possible shot ideas, and possible audio/sounds that I can use. I sent this presentation over to my cast and crew so that they had an idea of the sort of thing I wanted.

I looked on Pinterest for inspiration. I wanted a black and white look for my film as I felt like it meant that the audience could focus on the story at hand without being overwhelmed by colour as well as the fact that black and white film often creates a distinct dramatic effect (Britannica, 2021). Through exploring images on Pinterest, I was given ideas for some shots that I could do in relation to the impact that sexual assault can have on victims/survivors. By creating a moodboard, I was also able to visually communicate the emotions I wanted to convey throughout the film, with the use of various shot sizes, colour and lighting. 

Figure. 1 First Moodboard Slide for Fiction Adaptation (2021) 

Figure. 2 Second Moodboard Slide for Fiction Adaptation (2021)

When thinking about the black and white colouring of my film, I looked at multiple films that used coloured/shot in black and white. 

One I came across that I really liked was the film La Jetée (Marker, 1962). La Jetée (Marker, 1962) is a science fiction film that explores a man’s memories after World War III (IMDB, 2021). The film consists primarily of still images, with one shot out of the whole film being a moving image. The film was shot in black and white. It is narrated throughout. I liked how a story was told through a combination of images and narration. The high contrast images within the film were something that I want to try out within my film using both still images and moving images. The film has also encouraged me to try and colour my film in black and white as I liked how it appeared on screen and the emotional impact it had on me as an audience. I wasn’t overwhelmed with colour, was able to easily focus on the narrative, and was struck with emotion through the use of powerful images. Within the film, close-ups are used, which I felt, alongside the black and white colouring, was incredibly powerful and forced you to confront the man’s memories head on. 

Figure. 3 Film Still from La Jetée (1962)

I used the presentation I had made to pitch my idea to lecturer, Katarina Sengstaken. 

Figure. 4 Fiction Adaptation Pitch Feedback

In response to Kat’s feedback on my pitch, I created a storyboard, incorporating some of the possible shot ideas I had used within the presentation/pitch I had made. With the film being about the impact of sexual assault and the senses, I wanted to experiment with a variety of shots. With experimentation in mind, I wasn’t entirely sure of all the shots I wanted to do, so made a preliminary storyboard with some of the clear shot ideas that I had. I felt as though the sequence of shots and types of shots would become clearer during filming and in the editing process. Some examples of the types of shots that I included within the storyboard are a close up of the female actor sleeping in bed and a tracking shot of the female actor walking down a road. Close-ups allow for the audience to gain an insight into the character’s world and adds emotion to the scene (Masterclass, 2021). 

For future projects, I would try to have more of a clear idea of all the shots I want to achieve and aim to create a clearer storyboard. 

Figure. 5 Fiction Adaptation Storyboard

I looked at shots with higher contrast lighting and inputted them into my moodboard. In order to figure out how I would achieve this, I spoke to Sam Creamer (Lecturer and Technical Tutor), whereby we both agreed that tungsten lights would be best to achieve a high contrast look. 

When thinking about the ending of my film, I have been researching short films that deal with the topic of sexual assault as well as short films that deal with other sensitive topics and looking at how they end. For example, the short film, (BLOOM, 2020), ends with two individuals crying with a voice over of people saying “It was not your fault” (BLOOM, 2020) in unison. Another example I looked at for an ending was the short film, (Sexual Assault Short Film by Andrew Parnell. . PSA, 2017), which ends with the victim crying and statistics about sexual assault and the lack of justice for those who have experienced it. When it comes to the ending of my film, I am going to choose the message that is left with the audience during the editing process so I can see what feels right when I have all the footage and know how the piece is going to be edited together. As this is a sensitive topic, I want to ensure that care is taken and the ending fits the footage and story. 

In addition to watching short films about sexual assault, I researched sexual assault and the impact it can have on people, as well as drawing from my own experience of being sexually assaulted. Flashbacks, anxiety, and paranoia often occur within those who have experienced sexual violence (The Survivors Trust, 2021), and these were some of the impacts that I wanted to convey within the film. 

During the shooting of the film, I will think carefully about the shot sizes, particularly in terms of the emotions that they can convey. The main type of shots that I want my film to consist of are close-ups as they will allow for the audience to be drawn into the emotions and experience that the character is feeling within the film (Masterclass, 2021). 

In future presentations, I will think about referencing the materials used within it so that the cast and crew are able to easily refer back to the inspiration and seek out similar research materials from the ones that I have provided. 

Bibliography:

“BLOOM” - A sexual assault short film (2020) [Online Video] At: https://www.youtube.com/watch?v=kHAEo0ypspQ&ab_channel=EllaFields (Accessed 04/12/2021) 

Britannica. (2021) Film - Colour and black and white. At: https://www.britannica.com/art/motion-picture/Colour-and-black-and-white (Accessed 12/12/2021)

Fig. 1 First Moodboard Slide for Fiction Adaptation (2021) [Google Slides, Screenshot] At: https://docs.google.com/presentation/d/1ufoJgmnFIgebGFKVmYcPERnKtRNsCW3_Nwdirq0NJJM/edit#slide=id.gfbfcd89b35_0_103 (Accessed 12/12/2021)

Fig. 2 Second Moodboard Slide for Fiction Adaptation (2021) [Google Slides, Screenshot] At: https://docs.google.com/presentation/d/1ufoJgmnFIgebGFKVmYcPERnKtRNsCW3_Nwdirq0NJJM/edit#slide=id.gfbfcd89b35_0_103 (Accessed 12/12/2021)

Fig. 3 Film Still from La Jetée (1962) [Film Still, Online] In: La Jetée. France: Chris Marker

Fig. 4 Fiction Adaptation Pitch Feedback (2021) [MyUCA Tutorial Log] At: https://myuca.uca.ac.uk/webapps/lobj-campuspack-BB5d11c85256e5e/launch/setupForm.form?course_id=_17926_1&contentId=_370398_1 (Accessed 04/12/2021)

Fig. 5 Fiction Adaptation Storyboard (2021) [Storyboard, Screenshot] At: https://app.milanote.com/1MPTj416l3E00o/fiction-adaptation (Accessed 12/12/2021)

IMDB. (2021) La Jetée Film Description. At: https://www.imdb.com/title/tt0056119/ (Accessed 12/12/2021)

La Jetée (La Jetée, 1962) Full Film (1962) [Online Video] At: https://www.youtube.com/watch?v=fU99W-ZrIHQ&ab_channel=MatineeShow (Accessed 03/12/2021)

Masterclass. (2021) Film 101: What is a Close-Up Shot? How to Creatively Use a Close-Up Camera Angle to Convey Emotion. At: https://www.masterclass.com/articles/film-101-what-is-a-close-up-shot-how-to-creatively-use-a-close-up-camera-angle-to-convey-emotion#what-is-a-closeup-shot (Accessed 12/12/2021)

Sexual Assault Short Film by Andrew Parnell. . PSA (2017) [Online Video] At: https://www.youtube.com/watch?v=5HkyrUFlkV8&ab_channel=CreativeDrew (Accessed 04/12/2021)

The Survivors Trust. (2021) The Effects of Sexual Violence. At: https://www.thesurvivorstrust.org/the-effects-of-sexual-violence-how-to-support-a-survivor (Accessed 04/12/2021)