Fonts and Their Significance

Selecting a suitable font for my short film is, perhaps surprisingly, a task that's rather important. Fonts, which are used in both the title sequence and the credits, help to reinforce or establish a short film's tone. They can have the effect of being ominous or foreboding, particularly in the thriller sub-genre. Whilst filming and putting together my short film (more of which will be posted over the coming days) the selection of a font had seemed a little inconsequential. Does a title sequence's font have any lasting effect on the audience? The path to answering this question had a surprising conclusion.

Font Iconicism

The iconicism of these films and their fonts is undeniable. You see the font and instantaneously associate such a font with the film their associated with. Fonts symboliclly connote what a film may be about. For instance, the Alien Versus Predator logo has a futuristic style, as suggested by the sloping 'P' and the way in which the 'A' appears. Therefore, the logo to the film supports the branding of a film as sci-fi, conforming to the conventions of sci-fi calligraphy (the calligraphy bears resemblance to the Star Wars lettering) helping the potential audience to find their way onto cinema seats.  

Let's take a look at three film poster's, all of which follow a similar genre to my short film, and in particular how they've used fonts to give the audience a clue as to what the film may entail. First of all, Prisoners (2013):

Prisoners isn't a film I've seen, but the film's synopsis clearly suggests a film that is serious and dark in tone. Therefore, it's unsurprising that the font for Prisoners is simple, yet serious. The simplicity of the font reinforces the seriousness of Jackman and Gyllenhaal's faces in the rest of the poster. The 'O' is what makes the lettering so interesting; the film is like a maze, which supports the idea of cat-and-mouse between detective and murderer. Also, the tagline is positioned quietly in the bottom right of the title, which, in a way, makes the tagline's words all the more shocking and compelling. The idea 'less is more' comes to mind with this font and tagline, engaging the viewer in a more subtle manner.

This is a fan poster from a Tumblr dedicated to minimalistic styles of posters. Se7en, starring Brad Pitt and Morgan Freeman, revolves around the seven deadly sins, and so the title on this poster follows a neat format, highlighting the films title amongst letters within the deadly sins. The way in which the films title is highlighted in red, set amongst the lack background, has dangerous connotations of death and danger. Furthermore, the blunt, statement-like manner of the font adds to a real sense of danger, the sins not being presented in a sugar-coated or glorified manner.

The final film I've decided to look at is another David Fincher thriller, The Girl With The Dragon Tattoo (2011). The font used is what I'd describe as sharp, looking almost knife-like, which has indexical connotations of danger, murder and mystery, all of which correspond with the film's genre. The 'Dragon Tattoo' part holds most prominence in terms of size, which could be interpreted in one of two ways; one, that dragon tattoo is iconic, appealing to readers of the book or viewers of the original Swedish film; secondly, uninitiated viewers of the poster question the significance of something on the surface appears to be trivial. Therefore, the lettering has been styled in such a way to market towards various target audiences.

I've found my research on font and lettering to be an interesting sphere of research. Creating the poster for my own thriller, I need to convey a sense of edginess and mystery that is seen in the text for the films above. This is of importance in making sure that I have carefully considered my target market, and therefore have been careful in constructing all facets of my poster so that it conforms to my target demographic. Consequently, looking at these previous texts has made me reflect on my own poster and titles, whilst at the same time giving me inspiration  as I now begin to create my poster.

Research Reflections...

For the most part, my research is complete. I set a personal goal of myself to research 10 posters, 10 reviews, and 10 Vimeo "recommended" short films, all of which I've now done. This process was surprisingly long, but continuing my research alongside the production of my short film has helped to ensure that I continue learning and, as well as this, can see more directly how my research has helped influence me. 

Poster For a Film I've Looked At, "Beasts of the Southern Wild"

From my poster reviews, I've understood how the most effective were often the most simplistic. A singular, captivating frame from the film helps engage the viewer's attention most effectively. Moreover, star ratings and quotes from critics adds to a sense of gravitas, critical acclaim reinforcing a sense of anticipation around the film. I've found that, nowadays, it's more fashionable to omit a credits list at the bottom of the poster, although actor's names are often included to sell a film's star appeal. Furthermore, an interesting, thought-provoking tagline can give a poster more of a lasting memory in the mind's of the viewers. These observations from my reviews have helped me to understand the conventions of a film poster, giving me ideas as to how to create my own.

Analysis of "The World's End" Review

The review part of my research has made me realise that review's have more rigid conventions. A set list of things-a-review-includes, such as still's from the film, star ratings as well as an area dedicated to basic information about the film (eg. running length, age classification etc.) are all apparent in review's, regardless of that film's genre. Consequently, I'm confident that if I can replicate these conventions in my own review, I'll have something that looks authentic. However, (and this applies to both review and poster), I feel as though I need to improve my Photoshop ability in order to make my tasks look more professional-looking.

A Short Film I've Looked At,  Entitled "Process"

The differences between my own short film and the short film's I've analysed have been incredibly apparent. For instance, live action short films have been much longer than the 5 minute running time. The ten that I've looked at have all been remarkably different, and of the 3 tasks I have to complete, it's by far the most diverse in terms of codes and conventions. What has been evident to me about short films is that there's often a minimalist plot, focusing more heavily on atmosphere and tone. I feel as though my own short film script is like this, which is a positive. Added to this, the cast's are small in size, often heavily focusing on one protagonist amongst an ensemble cast of three or four. This is another idea I've incorporated into my short film, and so therefore the review's of these short film's have shaped and influenced mu understanding of my own short film.

In summation, I've found the research period to be incredibly important; a lot of my musings on this research have implemented changes in the way that I've approached my own short film. As a result, I feel as though I should continue research, albeit now focusing more heavily on producing my own short film.

Short Film Analysis #10: "Process"

The final film in my series of ten film analyses' is fitting, given that it's about the pain-staking "process" of creation and ideation; coming up with the idea for my short film wasn't merely a case of an idea popping into my head, and so this film is compelling in the way's in which it looks at how creating an idea is a difficult process. The short is notable for it's use of filmic techniques and special effects: CGI, Mograph and RED Footage, as well as a clever use of sound design, make's this a short film that is a technical spectacle as opposed to a film defined by its plot, acting and narrative. Consequently, this short film an appropriate selection in terms of short films to analyse, as it explores special effects and technical aspects that contribute to making the film, "Process".



Camera: The short film is intertwined by the film's protagonist, the "creator", intercut with the man's thought process, erratic and muddled. Starting off with the shots that convey the man's thoughts, obviously the camera angles and styles of shot are incredibly eclectic and contrasting. Long-shots, low angle, mid-shot, panning, you name it. The purpose of this (along with quick editing, and diverse mise-en-scene) is to reinforce the eclectic nature of the protagonist's thought-process. In terms of the shots selected with the protagonist himself, close-ups of the man clearly have the intention of making the viewer identify with the character. At a few points in the film, the man looks directly at the camera, not-quite breaking the fourth wall but asking the viewer to understand this character's desires and frustrations, making him identifiable in his plight to come up with an idea. Low angle shots are used to convey the man's lack of self-worth and conviction in his ideas. Furthermore, longshots of the main in the empty, vacant room reinforces the notion of isolation, detached from reality yet still alone in thought. Also, as the film's protagonist becomes increasingly frustrated, the camera becomes shaky, adding to the notion that the character has lost his hold on sanity.

Cinematography: This film is shot well, with an outstanding use of special effects and animation. Shots of the man drift in and of focus, giving the film a dreamy quality. Moreover, the realism of the colours and tones of the shots counterbalance the CG animation, which is effective in ensuring the film doesn't become too surreal.

Editing:

Mise-en-Scene:

Sound:

Short Film Analysis #9: "The Bicycle"

"The Bicycle" is a unique and adept tale of hope, friendship and loss, as told, quite literally, through a bicycle. In voice-over, the bicycle offers his reflections on life as the viewer see's how the bike is passed from owner to owner, and the trials and tribulations he faces along the way. I chose to analyze this short film due to its unique story, its clever use of voice-over (a feature that is present in my own short film), and its stunning, dreamy cinematography. "The Bicycle" can be watched below:



Camera: "The Bicycle" is a clever film in regards to the variety of shots and camera angles that have been used. For instance, the film opens with a series of close-ups of the bike, its cold, metallic look juxtaposing with the human voice that emanates from the bike. Indeed,a t the beginning of the film, the viewer is uncertain as to who is providing the voice; the zooming on the bike, as well as the way the film is edited to give the bike an overriding sense of prevalence, indicates to the audience that he's our protagonist, albeit an unusual one. A juxtaposition of the bicycle and bicycle's with their owners is a way in which camera shots have been used to evoke a sense of sympathy with the protagonist. The audience's alliance with the bike is reinforced by the way humans are stripeed of their identity; sometimes their faces are shrouded amongst silhouette, or their heads are cut out of frame. There is little to no dialogue from the human's, and they all act in irresponsible or unloving ways, furthering that sense of empathy with the protagonist. The steadycam used in the final shot gives a sense of resolution to the ending- the shot captures movement, something the bike had never had throughout the mostpart of the short. Finally the bike is serving its purpose, which makes the final shot so uplifting and moving.

Cinematography: In terms of cinematography, this is the best live-action short film I've analysed. The dreaminess of the film's setting, the hazy sun casting an orange glow over the film adds to the reflectiveness of the bikes musings. A notable example of this is the zoom-out of a silhouette of the bike and one of its many temporary owners against the glow of the purple-ish skies. It's a beautiful shot that makes this film so visceral and awe-inspiring- in other words, this is a visually engaging film. Part of the reason why I think the director chose such an aesthetically-pleasing setting is its contrast with the world-weary, rusty, somewhat ugly bike. Los Angeles symbolic resonance with the notion of opportunity and youthful sin is contrasted shots of the rusted bike, which thematically connects with the film's fish-out-of-water narrative. Cinematographically, this is a short film that is truly successful, and is one of the film's greatest successes.

Editing: Foremost, the editing has had to be used to establish who it is the film's protagonist is. Ditching the nightmare-ish notion of CGI-ing a mouth onto the bike, it potentially could of been problematic to establish where the voice is actually coming from. The bike's prevalence, its central framing, and the use of dialogue to establish a sense of ostracisation from the "humans" makes the viewer gauge finally the bike is speaking in internal monologue. Clever. The film is shot in a way I would compare to novelist's technique- the film appears to be shot in first person. A lot of the film we see from the bike's point-of-view, such as a shot of a bike approaching into the foreground, where the bike lies precariously against a trash bin. Slow motion has been used in some shots, reinforcing the film's dreamy, nostalgic, reflective tone. Another visually-cool shot is the bike slowly rolling down a hill, the bike's shadow cast against the orange-brightness of the sun-kissed road. The inclusion of this shot, metaphorically, adds to the sense of isolation the bike feels: the blackness (moodiness) of the shadow contrasting with the colour of the road (sinful, youtful, Full-Of-Opportunity).

Mise-en-Scene: The short film follows a premise that is similar to the like's of Pixar's Toy Story; a unique, slightly satirical look at the human world from an unusual perspective- in this case, bikes. Bicycle's are therefore key to the film's mise-en-scene; some are shown to have owners and are happy, as can be assumed from the ringing of bike bell's as its owner rides past the protagonist. Kinda sad, but in an ending that can be seen as a bit saccharine, Poor-Goth-Girl who's also a social outcast meets her kindred spirit, the bike, so the film meets a positive resolve in the end. Another allegory in the film is the bike's rebirth- the bike transforms from its rusty state to one that can be indexically viewed as a girls bike (purple=girly, silver things=also girly, you get the picture) allow the bike another opportunity, another life. This use of mise-en-scene can be inferred as a promotion of transforming oneself to meet another's needs, which is a metaphorical message I think is quite resonant. I'm not sure I can explain this interpretation without getting too overtly philosophical, so onto sound...

Sound: The bike's voice has a massive priority in terms of the distribution of dialogue. The bike:human dialogue ratio can also be seen as symbolic of giving the bike a voice; having been 'used' quite literally by humans all his life, the musings of the bike in his monologue is his chance to have a say. I like how the bike has been portrayed as a cynical, crotchety old man; it completely suits the character, and adds to his sense of isolation. His non-diegetic rants, including a four-lettered annoyance at being painted purple. His monologue also reminds of an old man; wistful, knowledgeable, full of life lessons. Been there, done that. It's insightful, and also comic, given that this is just a bicycle. The dialogue is so on point, you almost have to remind yourself that the protagonist is an inanimate object. Has all the hallmarks of an excellent script. The also-non-diegetic music is quite, internal and reflective, and helps to convey to the audience the idea that this is a reflective, internal film. The music at the end is uplifting, adding to the emotion of the final scene. The music is still grounded in reality, and the ending (in my opinion) avoids being too over-the-top. Just.

So, conclusion time. This film is probably one of my favourites; the aesthetic look of the film, added to an excellent script, a witty use of voice-acting and a concept that felt fresh all helped to make this a short film I really admired. This short film is helpful in the sense that I can learn to perhaps an equally pleasing use of cinematography, and perhaps incorporate elements of dark humour in my own short film.