Short Film Analysis...
Tuesday, 26 October 2010
Sunday, 4 July 2010
Initial Short Film Research - All On One Page
These are the eight sections I followed in my initial short film research...
Part 1
Context
There are many reasons why people originally go to the trouble of making short films.
Some directors, such as Derek Jarman and Peter Greenaway, simply see them as a tradition of artistic film-making. Andy Warhol became famous in the 1990s for using shorts as an experimental platform. The majority of short filmmakers however, see shorts simply as a stepping stone up towards feature films. These ‘would-be-feature-film-makers’ make shorts to gain recognition with a view to hit the big screens. Lynne Ramsay and Asif Kapadia have most recently been lucky enough to do this.
There were many problems and difficult situations when short filmmaking was still being shot on celluloid. They had often been classed as of little importance as they did not have a regular slot in television advertising or in commercial cinema. Broadcasters were only be interested in televising short films in the early hours of the morning, when nothing else was on and not many people were watching. It was also difficult to for someone who have not previously made a short film to secure public funding, as there was very little investment in discovering new talent. The budget for celluloid became increasingly more expensive. Films made under Film4’s short cost between £60,000 and £90,000. These high costs seemed difficult to justify for films that produced such a small audience. It was said that a lot of investment could have been used to support the more emerging filmmakers who were working with digital equipment.
“Short films were once the preserve of a privileged few. Then DV came and made us all into potential film-makers.” – James Bell
As James Bells quotes, there has been a huge impact on short filmmaking that has come from Digital Video technology. Following celluloid’s decline, many upcoming short film makers could not afford to shoot on the new upcoming DV equipment. In 2001 this lead the UK Film Council to launch a three-year plan to help digital short films, giving £1.5 million to create100 films each year as part of its Digital Shorts Program. The DV had been opened up to many more potential film makers and not just the privileged.
It is considered however, that there is a danger with digital filmmaking and that ‘you do not make any real decisions about your film until you are on set, and then you assume that any problems can be sorted in post-production.’ Gatti-Pascual from the Production Company Bureau argued that this could in fact also be a positive factor. She said, "The most successful digital shorts are those that work with the format rather than pretending to be shooting 16mm on the cheap."
Digital Technology has changed the way that short filmmaking is created and produced. The new technologies enables us to film on an extremely low budget, or even occasionally ‘no-budget,’ and simply upload our films onto the internet using the incredible methods of Web2.0.
There is always a need for ways in which distribution and exhibition possibilities can be used for short films made in the UK. It has been said that the best distribution process is to have your short film programmed with a feature; however this unfortunately remains very rare because it is a very expensive process. Short Circuit Films, the UK-based organization which distributes the films made by the Digital Shorts scheme, has tried funding distributors to attach a short to a feature. This proved to be difficult so they instead found ways to persuade multiplexes to add the shorts in between feature films rather than asking the film company itself to include the shorts into their feature films. The shorter the film, the better chance it has of making it into the cinema. Underground film events in free locations such as squats, town halls and church halls are screening films and quickly expanding the distribution possibilities for short films. Many new DVD, purely for short films, are also helping to give short films needed recognition.
There will always be an ongoing argument towards the limitations that short films have in their format in comparison to smaller limitations that features films face. One of the biggest problems is funding, as filmmakers simply cannot find the necessary support to make their films. Also, from a filmmaker’s point of view, the shorts can sometimes not give them enough breathing space in creation and the filmmaker’s fundamental intention to simply gain recognition is overlooking the fact that they actually need to learn and experiment their beliefs.
At the time of the articles publication, the conclusion that the writer had reached about the then current situation of short films in the UK was that the short film industry had defiantly boomed due to the fact that there are literally no obstacles in making short films. Thanks to many recent schemes that encourage, provide assistance and most importantly funding for short films, a huge range of people are more inspired to become filmmakers.
At the time of the articles publication the UK Film Council had recently been bright enough to use the cheapness of Digital Video technology to help empower hundreds of would-be film-makers. The adds that this could only be a good thing, though it does have its drawbacks. Caroline Cooper Charles, one of England leading producers, admitted to having to read around one thousand scripts a year for the various regional and national elements of the Digital Shorts scheme, the average quality of which cannot be high.
In a final conclusion the writer does add that unfortunately the UK has found it hard to discover new great talent in the UK in previous years; however that should not necessarily be blamed on the government schemes; “Talent will out is the theory, and hundreds of films the practice.”
I personally believe that this article is still quite up-to-date in its factual beliefs. It is true that DV technology continues to help the making of short films and that filmmakers are finding it increasingly easier to create film. However, the problem is still there today in the fact that the UK has still found a small amount of truly talented filmmakers in recent year, compared to the legendary world renowned British directors from the past, such as Sir Alfred Hitchcock, Michael Winner and Baron Richard Attenborough.
‘Short films represent the way that many if not most filmmakers get recognised initially. Done superbly well, they can become a new director’s ticket onto the restricted access ladder that leads to making a feature film. Yet so many obstacles still stand in the way of short filmmakers and the all important “airplay” of the short films they make.’
I believe that this article answers this paradox effectively. It explains the different obstacles in the way of short filmmakers and the difficulties of distribution. However, also focusing on the positives, the article states that short films are ‘personal ads for would-be-filmmakers’ which reminds us that short films are still the way that most filmmakers get recognized initially.
Two other articles which examine the importance of short films and their effectiveness as stepping stones to longer format films for emerging filmmakers are...
http://www.moviemaker.com/directing/article/back_on_the_mainscreen_3088/
http://en.wikipedia.org/wiki/Short_subject
I believe that these two articles both address the challenges faced for short filmmakers correctly and give an agreeable view on the paradox of short filmmaking.
Part 2
Funding & Support
There are now many ways in which the UK Film Council is supporting short filmmakers and short film making. In 2008 they created the ‘Short Film Completion Fund.’ The money raised is used to provide finance and support for short films that cannot find the support and finance that they need however show outstanding potential.
They also have their ‘Digital Shorts Program’ which has linked with their ‘New Cinema Fund,’ and many other organizations from many regions of the UK, to enable filmmakers to make shorts using digital technology. One of the organisations is B3 Media, a black minority group whose ethnic filmmakers explore the new generation of Britain.
In 2002 ‘New Cinema Fund’ teamed with Film4 to creation, Cinema Extreme, which up until 2004 supported filmmakers with, what they called, ‘a distinctive directional voice.’
The nine Regional Screen Agencies (RSAs) that Film Council funding is delivered through are...
1. EM Media
2. Film London
3. Northern Film & Media
4. North West Vision & Media
5. Screen East
6. Screen South
7. Screen West Midlands
8. Screen Yorkshire
9. South West Screen
If I was to apply for a fund for a short film from the UK film council, I would go for their Short Film Completion Fund. This is because I believe as a filmmaker my films show good outstanding potential and with just some backing of a small budget, I could bring them to life.
Part 3
Other Funding Sources
This is a list of a few other schemes, outside of the UK Film Council, that exist to help fund short films.....
· The British Council.
‘The British Council Film Department’ promotes contemporary and innovative UK film to audiences around the world, working in both lead and supporting roles on showcases, workshops, festivals, conferences, tours, residences and virtual projects.’
· First Light Movies
First Light is supported by the UK Film Council and funds films for inexperienced young and upcoming filmmakers.
· Film4 – Get Your Short Film Distributed.
· BBC New Music Shorts.
Many companies often run competitions for young and upcoming filmmakers. Virgin Media is an example of this. As thousands of hopefuls send their films up, they dream of winning whatever grand price is being given away, while Virgin benefits enormously as it places every hopeful film on its internet webpage and gains recognition for the national help it is giving. www.virginmediashorts.co.uk/.
Part 4
Festivals
An essential part of making your short film is to have it screened at a festival. A festival could be the filmmaker’s ticket to success and the breakthrough they need into feature film making. There are countless festivals in Britain and many more around the world which offer a chance for filmmakers films to be seen...
‘Encounters Short Film Festival’ is one of the longest running short film festivals. Based in Bristol England, in 2001 it joined ‘Animated Encounters’ and now showcases creative productions, using cutting edge animated technology that helps to make animation such a popular and successful form of film worldwide.
Encounters is supported by many different sponsors, which in return are advertised on their webpage. Some of these companies are the National Lottery, HP, Films@59, Watershed, South West Screen and the Bristol City Council.
Based in London, ‘the Soho Short Film Festival’ is not only a stage for films to be seen, but has an activities centre around the festival which has become a way that professional filmmakers and upcoming film enthusiasts can work alongside one another. This provides experience for the both. The actual film award system is spilt into different categories; the International Award, the Long Form Award, the Broadcast Design Award and the Newcomer Award are some of these.
Much like Encounters, the Soho Short Film Festivals are also supported by different sponsors. Universal, Facebook, Rushes, Daily Motion and Sony are just some of these.
The ‘Leeds International Film Festival’ is the largest film festival in England outside of London. Held in November at various venues around the city of Leeds, it shows over 200 films from around the world, both commercial and independent. Much like the ‘Soho Festival,’ Leeds has many different categories for aspiring filmmakers to win.
The festival also plays host to the ‘Leeds Young People's Film Festival,’ an event which is now in its tenth year and it has now become so popular that it has shown premieres of big blockbuster movies, such as The Butterfly Effect, Finding Nemo and Finding Neverland.
The ‘Kino Film Festival’ also recognised as the ‘Manchester European Short Film Festival, is another platform for talented filmmakers from the UK. Following the success of many winners from this festival making the leap to feature filmaking, the Manchester International Film Festival will now support the recognition of low budget and independent new feature films. This festival is funded by many different companies, some of which are, The Lottery, The Arts Council England, Manchester City Council, Parcel Force, Baby Cow, Northwest Vision Media, the BBC Film Network and the Cultural Diversity Network.
Other key national festivals for short films are...
· The Times BFI London Film Festival, sponsored by the Daily Times Newspaper.
· The Telluride Film Festival, where each year tributes are paid to directors and actors who have fundamentally changed the world of film.
· The BBC British Short Film Festival.
· There are also many more.....
Key international festivals for short films are...
· The Cannes Film Festival, a private festival founded in 1946 and based in France, which is one of the world's oldest and most prestigious film festivals.
· The National Screen Institute based in Canada, which is an organization that provides a continuum of career-long professional development for Canadian film and television industry professionals.
· The Over The Fence Short Film Festival, an Australian based festival which primarily focuses on comedy – As their website states, “A film that is driven by or ultimately concludes with an excellent sense of humour.”
· The Cleveland International Short Film Festival, the largest film festivals in Ohio, USA which was first held in 1977, currently screens over 300 films each year.
· The Edinburgh International Film Festival based in Scotland, is an annual fortnight event held each June. Since it begun in 1947 has now become the world's oldest continually running film festival.
· Moscow International Film Festival
· Cyprus International Short Film Festival
· L.A. Comedy Shorts Film Festival
· San Sebastián International Film Festival
· Strawberry Shorts
Key international festivals for short films which include categories, or are primarily run for young students are...
· Fresh Film Festival
· City University Film Festival
· Sacramento Film and Music Festival
Part 5
Online Screening
Following the bloom of Web2.0, the internet offers a range of sites that enable us to watch many short films.
The BBC http://www.bbc.co.uk/dna/filmnetwork/
Film4 http://www.film4.com/videos/film4-shorts
Virgin Media http://www.virginmediashorts.co.uk/
Atom.com http://www.atom.com/
TriggerStreet.com http://www.triggerstreet.com/gbase/Trigger/Homepage
Vimeo.com http://www.vimeo.com/
YouTube.com http://www.youtube.com
There are a range of films are being exhibited at these sites. Web2.0 instructs that the users of the internet can become the internet itself and they now have the power to become a part of the media. The videos on these sites are often uploaded by the people who are also an audience to the other videos on them. Many different genres are being uploaded from dramas, comedies, documentaries, animated, experimental and musical shorts.
The audience for each of the different websites varies. Millions of worldwide internet users view videos on YouTube, while many also upload. This is much like Vimeo.com and TigerStreet.com. The audiences for these sites are people that have submitted the films themselves, but who are also interested in watching these entertaining short films from around the globe. The more professional websites, run by leading media companies, such as BBC and Film4, would be considered an entertainment platform rather than a show point for the average viewers. Aspiring producers with little finance backing might look to these sites for writers and directors to collaborate with who are in the same position.
Depending on the site it can be easy or more difficult to submit a short film. For example, on YouTube, TiggerStreet.com, Atom.com and Vimeo.com you just have to create an account, a ten minuet job, before uploading your film. In contrast to these easy methods, to submit onto the BBC website you would have to be an online member first. Even them, a filmmaker has to complete many submission forms before supplying the company with a hard copy of their film.
There can be countless benefits of having your film screened on one of these sites. If you are lucky enough to get onto the BBC page, you get your own dedicated film page with links to your casts and crews profile page. This enables viewers to give you feedback on your film. Even on sites such as YouTube, people have uploaded videos which have appealed to a wide range of people from all over the nation and they have found over night success. Although this is a rear and unlikely occasion, if the film works just right and receives the right viewers, it could open new doors.
There is a very similar presentation in the way all of the internet sites are structured to present the videos and material. The only differences on each site are how they reach their intended target audience. For example, Atom.com is very colourful and flamboyant to appeal to its intended young teenage audience. The BBC has a more mature and dramatic feel which is created with its dark background and regimented structure. YouTube is extremely versatile and can appeal to all ages with its layout.
I personally believe that each site is effective in how they expose the films and their makers to the audience. Each site offers a nice platform for the film. The BBC and Virgin Media offer a respectful higher crust platform for the makers to show their films. Their mature feel is perfect for the people who upload their films onto the site. In contrast, to my knowledge and experience, every video that I have ever seen on YouTube is perfect for that type of site. Under each video there is comment board which enables views to comment and discuss the video with each other. Sometimes the videos caules controversial discussions between the audiences, which I believe is a healthy and fundamental part of film making; film should be created to make us think and by having an argument about the film, proves that YouTube can represent mediated issues and make us think about them. All of the sites show us clearly who the maker is which allows us to give them respect is their film is good.
Part 6
Short Screenplay Writing
I have been investigating the advice given to support new short film writers.
http://www.screenonline.org.uk/tours/shortfilm/tour1.html
http://www.netribution.co.uk/features/howto/scriptwriting_5_short_film.html
https://www.shootingpeople.org
http://www.scriptfactory.co.uk/
“The short film is often looked on with a certain amount of disdain. The attitude which often prevails is that there is no point in writing a short and that you ought to be working on a feature instead. Frankly, I think that’s rubbish. Writing a short film is a tricky thing to get right. But the process of doing it is invaluable if you have any hope of becoming a screenwriter.” – Andrew Lowes
From researching other writer’s opinions on the matter of short film writing, I begin to see that Andrew Lowes statement is correct. The things you learn from creating a short film, through research all the way up to production, give you so much necessary experience. As Marilyn Milgrom, a script consultant has written in her article, The Script, the most important thing of making a short is to keep it simple. BFI’s Screenonline article seconds this and suggests that the shorter a short film is, the easier it is on the writer and director and for an audience to appreciate. Do not cram too much into the short, but instead allow for ‘the steady rise of story-driven narratives, and the increasing attention placed on the screenplay.’
Seven questions show the simple, but crucial steps that a writer must consider when creating their short film...
- Who is the protagonist?
- What is the active question, which is the basis of the action in film?
- Who or what opposes the protagonist? Or, What is the dilemma that he/she will have to face?
- From whose point of view is the audience being shown the story?
- What is it about? Or, What is the theme?
- Who is the target audience?
- What is the style of the film?
Many short films feature minimal dialogue and use narrative film language to guide the audience through the film. This should be considered when writing the short as you must ask yourself, ‘is every word necessary?’ If not, could the writer’s script give the stories meaning to the director, while guiding him a little, but also allowing him to communicate the message of the film through directional techniques rather than the written word?
Part 7
Training & Development
These are a few different agencies and organizations that offer support to filmmakers and offer ways of training them to develop their projects.....
Lighthouse is a company which offers a variety of training courses and mentoring opportunities for filmmakers and artists. They have many workshops including a script development workshops and introductory courses for screenwriters. They also run schemes for upcoming filmmakers such as post graduate diplomas in digital media arts.
http://www.lighthouse.org.uk/
The Raindance Film Festival offers a number of courses for a wide range of areas in filmmaking. It has writing, camera, editing, software and directional courses. The writing courses which are taught by professionals, teach techniques such as various methods used in the industry today. The director courses include director’s foundation certificates, short film projects and different training along the way.
http://www.raindance.co.uk/site/
Skillset offers many interesting ways in which trainees can make their films. They run competitions in association with The Independent and Sky Movies, which enable filmmakers to create their films and learn at the same time.
Script Factory, which has been established since 1996, has become one of Europe’s leading filmmaking organisations which finds and develops new screenwriting talent. It supports the people who work with screenwriters and screenplay material and stages live filmmaking events with some of cinema’s top creative talents.
http://www.scriptfactory.co.uk/
Part 8
Distribution & Exhibition
I believe that the reason why the ratio of short films that make money through more conventional channels of distribution and exhibition to those that do not, is diminutive because they are better off sticking to the methods of distribution that they know. Short film producing is to delicate to attempt to try anything cleave.
These are some examples of collections, copulations and anthologies of short films for DVD sales and internet downloads.....
http://www.cinema16.org/home.php
http://www.bfi.org.uk/education/teaching/movingshorts/
http://www.futureshorts.com/htmlViewer.php?id=15
http://www.raindance.co.uk/site/index.php?aid=720
http://shootingpeoplefilms.com/content/bvb1and2
Most of these anthologies, compilation and collections have been put together in the same way. They take the top British or sometimes International short films of the present year and place them on the internet or one DVD for audiences to buy. This is popular thought for short filmmakers as it enables them to get their film onto disk, an achievement that only a few privileged filmmakers can share. It also proves a good method of distributing and making money from selling short films, as audiences do not mind paying out money if they are getting longer viewing pleasure in return. The filmmakers do not mind giving their films to these companies as they are simply advantaged to have their film on a good platform.
On websites like Mubi, there is an obvious implication for shorts being offered alongside feature films for direct download. It is widely considered that short films are not even half as popular as features and so by placing them on a feature film website, it gives them the recognition that they would not necessarily get from the viewers, who would spend their time going onto a short film website such as the BBC or Film4. The implication is that the short films need to be near feature films in order to be recognised, seen and viewed. The company can use the shorts as freebies to their features, as they do many deals such as this American one; “Free Short Films + the Best of What’s in Theatres and Online!” Once again, the short filmmakers do not mind giving their films away for free, as this is not much different to any other website. This one however, gives their films away free on a much higher class platform, another great advantage.
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