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1) Research and generate an engaging narrative concept for the experimental screenplay and identify which of the 5 categories of narrative it belongs to. The Shadow Piper belongs to the category of existence religion and philosophy. This category is best suited to my experimental screenplay as it encapsulates the philosophical school of thought known as determinism. This concept suggests that the events that transpire in our lives are predetermined by prior occurrences. This notion relates to the ideology I live by. Through the film I would like to make people aware of this philosophy. I hope to show them that even though life may be predetermined by our past actions, we still have the free will to make our own decisions and begin a new chain of events. I hope that my audience leaves the film with a new sense of awareness and appreciation for the positive things in their lives.

I aim to make my audience realize that they are responsible for their own destinies. They have the power of the initial choice that gives birth to the chain of cause and effects. There is no piper to blame. We are responsible for the paving of our own road. 1.2) Provide a synopsis of your story, event by event. The story begins with a silhouetted piper sitting alone beneath a wispy tree atop a stark hill. The sky is a pale haze of grey but the pipers tune is merry and it carries resoundingly over the naked landscape. A large stately home looms in the distance. We look upon a newlywed couple as they stand hand-in-hand before their freshly purchased mansion. It towers above them almost dauntingly, the finely wrought details of its faade giving it an air of wealth and grandeur. Inside the house now, we see that the gentleman, Edmond Harrington, is a clock-smith of great prominence. The ticking of many clocks can be heard

2 over the pipers tune as Edmond tinkers away at the cogs of his new timepiece. His wife Victoria gazes over his shoulder in quiet adoration before gently pecking him on the cheek. Through the window of the workshop, the piper can be seen atop a hill in the misty distance. Victoria and Edmond stand before a cot, laughing in tandem with their newlyborn child. The faint cadence of the pipers joyful tune can be heard as Victoria leans into the cot and kisses her baby on the head. A few weeks pass and spring fades to winter. A bespectacled doctor stands before Edmond and Victoria in the ornate entrance-hall. The doctor shakes his head apologetically, placing his hand on Edmonds shoulder sympathetically before leaving. All the while, the pipers tune meanders down from the distant hill. It carries sadness now, the bubbly joy of its former self a distant memory. Edmond works on his clocks but without the same vigour and delight as before. Victoria sits in the room next-door, sewing booties for the baby whose bubbly laughter has given way to bouts of anguished coughing. The pipers mournful tune echoes down from the hill as Edmond and Victoria bury their child. The small white cross marking her grave stands alone in the short-grass against a backdrop of stormy black clouds. The betrothed quarrel ferociously in the the ballroom. The pipers cacophonic melody comes to a crescendo as Victoria hurls a vase at Edmond. It misses him, shattering against the wall. Edmond walks from clock to clock in his workshop, bringing their ticking gears to a halt. Victoria sits next door, numbly sewing clothes for a baby who no longer breathes. The pipers melody is cold and monotonous. Victoria stands at the door with her belongings at her feet. Edmond watches emotionlessly as she leaves. Edmond sits up in bed, weeping next to the cold spot where his wife once lay. A faint pattering of something against the window catches his attention. The

3 window swings open suddenly and a swarm of musical notes burst into the room, screaming their tortured dirge as they descend upon Edmond. Edmond runs desperately through the mass of musical notes. A white door appears in the black space ahead of him and he leaps inside and slams it just in time. Night falls and with it comes a brutal storm carrying rain that slashes the sky and lightning that cracks it. Edmond walks across the wilderness towards the piper, wearing a raincoat and holding a red-glowing lantern in his hand. The pipers requiem rises and falls tempestuously, proving a perfect fit for the storm. Edmond struggles up the hill, the rain thrashing at his face and the rough shrubbery scratching at his legs. Eventually, he summits and makes a dash for the piper who disappears in a swirl of fog. The flute lingers in the air before falling into Edmonds outstretched arms. Edmond rears up in rage and despair before collapsing to the ground. Dawn breaks white to a sky like snow. Edmond lies where he fell. Edmond stirs, angry at first. Finally, exhausted, he turns away and walks back towards his house. From black comes the faint ticking of a clock. Edmond sits in his workshop, a flute in his hands, playing his own melody of new beginnings. The clocks, alive now, tick like a metronome in sync with Edmonds playing. At first, the piper is seen on the hill in the distance but is gone by the time Edmonds song flourishes to a close. 1.3) Research and discuss the relevant philosophical school of thought which underpins the engaging narrative concept above, in order to help give the concept universal, general value. Human beings, vegetables, or cosmic dust, we all dance to a mysterious tune, intoned in the distance by an invisible piper. ~Albert Einstein Einstein perfectly captures the essence of the philosophical school of thought known as determinism in this quote. Determinism is fundamentally cause and

4 effect. It argues that our futures are determined by our past actions. These actions form a fluid chain of prior occurrences. Thus, we maintain free will in that we choose our own actions and are faced with their consequences. Fate is relegated from the equation. I see sense in this line of thinking because it turns to logic rather than blind faith. Instead of relying on some supernatural force to govern our lives, it posits that we are the ones paving our own road. In The Shadow Piper, I intend to illustrate this line of thought in a fantastical and visually stimulating way. The piper in my story represents life. His notes represent the cause and effect chains that shape the future. When things are going well for us, we are blind to the piper but when things get harder, we search for someone or something to blame and the pipers notes suddenly become clear. Every narrative choice made in the film is motivated by the philosophical message behind it. The visuals serve to communicate this message in an experimental style. The intellectual motivation is founded in Albert Einsteins quote mentioned above. This quote motivated me to make people aware of their blindness to life as it passes by and only once one has lost what makes them whole do they search for excuses to find reason which in turn leads to blame. In the film we see Edmond realise the effects of all the prior occurrences in his life and how they culminate into a tragic ending but in that same realisation he decides to start his own tune of life which gives him the will to live on. In conclusion I feel that this concept has come from a place deep within me. This internal stimulus coupled with the intellectual backing of the philosophical theory of determinism gives my film a strong foundation. The film uses metaphorical imagery as a tool to spread my personal ideological message, allowing the viewer not only to enjoy the film but to gain something profound from it. By visually expressing this philosophy to the audience, the message comes through far more clearly.

5 1.4) Central binary that applies to the narrative concept Gain v.s Loss is the central binary code in my narrative concept. Edmond gains a beautiful wife, Victoria, a massive mansion and soon after a baby girl. Along with these he gains love, contentment and fullfillment in his life. Soon after the baby falls ill, their marriage turns from one full of love to one of hate and resemtment. Victoria walks out leaving Edmond alone, lost in time. At the end of the film Edmond re-gains hope and control in his life. 1.5) Central binary that applies to the character Blame vs. Acceptance is the central binary of the character, Edmond. After Edmond has lost everything he lived for, he seeks for someone to blame for the loss and hardships he faces. He notices the pipers melody for the first time. The pipers tune is a metaphor for cause and effect chains as explained above in question (1.3.) Edmond runs after the piper and as soon as he reaches him, he disappears in a cloud of fog. The flute drops into Edmonds outstretched arms. Edmond finds acceptance which is shown through the film when he sits in his workshop, with the flute in his hands, while he plays his own tune. This moment shows Edmonds willingness to let go and move on in life, accepting the hardships as part of his journey through life. He learns to deal with this without seeking to blame other sources. 1.6) Look into the subculture explored and discuss how you will achieve specic relevance. Make reference to the world of your story. The subculture I would like to explore is the gentry of the Victorian era. The gentry or upper middle class often owned large estates but held a fragile social position. They held no titles and their status was subject to change. The Victorian era holds imagery of graceful women with dainty waists accented by firgure-hugging corsets, hair finely curled atop their heads and pearls ordaining their necklines. The ideal Victorian gentleman held characteristics of

6 honor, intellegence, wealth and moral integrity. The typical dresscode comprised of frock-coats, tail-coats, top-hats and waistcoats. This subculture best represents the characters in my film. They are wealthy and have just moved into a mansion in the cotswolds. The characters are only seen in silhouetted form but will still be distinguishable by their attire such as Edmonds top-hat and Victorias curled hair. The subculture is most influential in the world of the story however. From the ornate manor-house to the vast moorlands that harken to the gothic landscapes of literary works like Wuthering Heights every facet of the visual world is inspired by the Victorian era. Inside the house, the style and sensibilites of the Victorian gentry are clearly represented. From the ornate frosting on the windows, to the magnificent chandaliers in the traditional ballroom; every aspect of the visual world is aesthetically grounded in this subculture. Ultimately the elements of the narrative are bound to a specific time, place and subculture, giving the story specific relevance. 1.7) Identify the relationship you intend your experimental lm to have with your audience. Identify strategies for bringing this about by challenging both mainstream narrative design and yourself as a lmmaker. The story is firmly grounded in the philosophical foundation that I discussed earlier. I want to communicate a philosophical argument in a visually stimulating way. The story should grab the audiences attention and cause them to take something profound from the animation. Through consideration of the audience the story tells of relevant and social issues which allow the message to come through clearly. Romance, love, family, health and work are examples of visual images that are portrayed for the audience to relate to. Through the use of relatable archetypical images as well as using experimental techniques in medium and storytelling the audience will be engaged. I intend to have an extremely internal and personal relationaship

7 with my audience. I want my audience to leave the film with a new perspective on life. The film makes use of different strategies that challenge the mainstream narrative conventions. There is no traditional antagonist in the film. This draws the audiences attention to the philosophical idea rather than concentrating on the narrative of the story. The piper is a mystererious character to the audience. He is a physical character but doesnt actually exist in the world of the story. The film allows the viewers to interpret the piper in any way they choose. Who is the piper? A metaphor for god, the devil, life? Its up to the audience to decide for themselves, but their choice doesnt influence the overriding message that the film conveys. The aesthetic style of the story is entirely silhouetted forms and shapes. This brings about ideas of the unknown, invisible and unfamiliar. By dehumanising the characters I am highlighting the fact that im not simply telling a story but conveying a phisolophical thought. By having the audience relate visually, I hope to have them relate ideologically. 2.1) Generate in writing the Event Development of the Narrative using the Explosive Theme Bundling structure. If your experimental lm aims to subvert this structure, explain how you plan to do so. Discuss whether there is conict in the story and whether it escalates throughout the lm or not. Establishment Problem Solving Priority Order (EPSPO): We look upon a newlywed couple, Edmond and Victoria Harrington, as they stand hand-in-hand before their new home. First Explosion: Their baby falls ill and soon after passes away. Problem Solving Vacuum (PSV): Edmond and Victoria are distraught. Problem Solving Attraction (PSA): Instead of leaning on eachother for support they quarrel ferociously.

8 Problem Solving Digits (PSD): Edmond walks from clock to clock, bringing their ticking gears to a halt. Victoria numbly completes the booties for her child who no longer breathes. New Problem Solving Priority Order (NPSPO): Edmond sits alone in his room, as Victoria walked out, weeping anguished tears. Second Explosion: Edmond notices the pipers melody for the first time. He stands up and begins to walk towards the window when it blows open suddenly as if forced by a powerful gust of wind. A swarm of musical notes carrying a frenetic lament gush through the window and descend upon Edmond. Second PSV,A,D: Edmond runs desperately through the mass of musical notes. A white door appears in the black space ahead of him and he leaps inside and slams it just in time. Edmond looks out the window at the piper. He runs towards the hill in search of the piper. Climax: Eventually, he summits and makes a dash for the piper who vanishes instantly in a cloud of fog, leaving his flute hovering in mid-air before dropping into his outstretched arms. Final Problem Solving Priority Order (FPSPO): Edmond sits in his workshop, the flute to his lips, playing his own joyful tune. The clocks, alive now, tick like metronomes in time with Edmonds music. The piper appears briefly on the hill before fading away once and for all. 2.2) Compare the narrative structure of your lm to another lm and discuss the similarities in its handling of event progression. Identify the central concept of the reference lm and its philosophical approach. I have chosen to discuss the film Up by Pixar Studios, as the opening scene shares simalarities in its handing of the event progression. Within 4 minutes in length and almost entirely silent, the scene shows the highs and lows of Carl and Ellies relationship. The scene depicts their lives together shown as time passes from their marriage to Ellies death. It does not only show the good

9 times but also the bad, for example, they couldnt have children as well as Ellies death. This makes the world feel more real. This scene stuck in the audiences mind and grounded the character for the events to come. After analysing the montage sequence of Up it is clear to see the simalr event progression in The Shadow Piper. The film shows the passing of time from Edmond and Victorias marriage as they stand in wedding attire in front of their newly purchased mansion. It follows their lives through a montage-like sequence of their love and compassion for one another, as they dance in the ballroom with no worry in the world. They have a baby girl but soon she falls ill and passes away. From this moment Edmond and Victoria are never the same. We witness their love fade away as they fight. Victoria leaves Edmond and his world is left in disaray. The film will not only show the scope of time covered but also complex emotional issues. The central concept of Up is finding adventure in your life regardless of your past or your age. Animated films are usually dismissed for children but Pixar broke those expectations by creating commercially successful cinematic art. Pixar films contain a multifacited, philosophical essence that amplifies the message their films aim to convey.

The message hidden inside Pixars magnificent films is this: humanity does not have a monopoly on personhood. In whatever form non- or super-human intelligence takes, it will need brave souls on both sides to defend what is right. If we can live up to this burden, humanity and the world we live in will be better for it. (Pixar, 2011, 25) 3.1) Identify the central character/s in your experimental screenplay and assess whether they are people or symbols/metaphors/tropes (extended metaphors). Edmond Harrington is one of the central characters in The Shadow Piper. Edmonds silhouetted form is defined by his formal tailcoat and elegant top hat. He is a character and not a metaphor.

10 He is a young pioneer in the field of clockmaking. At age 16 his father recuted him to work at the royal clock factoy where he was employed as a junior clock engineer. At first he worked on the clocks of servants and cortsmen. Soon however it became clear that the quality of his work far exceeded that of his fathers. Within a few short years he was employed as the official clockmaker of the king. He worked on the clocks that sat atop the most influencial afluent points in england. From the kings time piece to the queens wristwatch, Edmond was without a doubt the greatest clocksmith in England. By aquiring all of this wealth and reputation he attained the freedom to do whatever he wished. A young milkmaden named Victoria soon became his wife and they moved off to the countryside into a vast manor where they could live out their fairytale in peaceor so they thought. The history of the character mentioned above is not seen in the film but I decided to share it with you in order to describe Edmond as a fully rounded character with a back-story and depth to his silhouetted form.

The piper is a symbol or metaphor for the journey of life. We all follow paths with many twists and turns. Most people around us are travelling on autopilot but the film will aim to awaken people to the reality of things. We have the power to grab the wheel and take control of our lives.

The piper sits alone atop a hill, beneath a wispy weather-beaten tree. He plays a melody that ebbs and flows in cadence with the happenings in Edmonds life. The musical notes represent the cause and effect chains that create our futures. When life is joyful and satisfying, we dont notice the piper but as soon as the tables are turned and life looses its gleam we seek for somone to blame for our problems and the melody of the piper suddenly becomes clear.

3.2) Identify the specific psychological profile of your characters and discuss how it impacts on their responses to events and desire for fulfilment. Edmond is a gentleman. A chivalrous, courteous and honourable man.

11 He is interested in security and peaceful living. He is extremely thorough, responsible and dependable. Having well developed powers of concentration he is well organised and hard working. Edmond can usually accomplish any task once he has set his mind to it. He is loyal to his loving wife. He is intuitive about people and concerned for their feelings. He is individualistic, rather than leading or following. After Edmonds baby girl falls ill and dies, he withraws to his workshop where he walks from clock to clock, bringing their ticking gears to a halt. Victoria and Edmond seem to be seperated. Edmond sits alone in his workshop and Victoria numbly completes the booties. Up until this moment, Edmond has had little hardship in his life, he does not know how to deal with all this emotion and he becomes extremely introverted. Soon after Edmond and Victoria struggle to get along, blaming eachother for the death of their child. They fight in the ballroom where once they danced. Victoria throws the heartshaped-clock given to her by Edmond and it crashes to the floor. Victoria leaves Edmond and walks out the door. This event throws Edmond into a numb coma. He lies awake in his bed and weeps anguished tears. Edmond desires for fullfilment as he wishes for things to be as they were. He once had the perfect life, it was taken away from him and now he wants it back. Throughout the film the pipers tune portrays obvious symbolism for the highs and lows of Edmonds life. He becomes aware of the pipers tune as he sits alone in his bed. He wants to blame someone for all the bad, instead of accepting reality and the cause and effect structure of life. When he gets to the piper, he disappears into a swirl of fog. Edmond collapses to the ground as if he had no will to live anymore. The struggle that Edmond faced by climbing to the top of the hill can be a representation of the Exodus and how just as moses went through the desert for 40 days and 40 nights so too does Edmond travel in seach of something, to come out as a changed man. Edmonds acceptance of the flute shows his acceptance of life and its struggles. He respones by playing his own tune representing his intention to take control of his life.

12 3.3) Decide whether there is a protagonist and antagonist in the true sense of these terms. Discuss how your characters either conform to or challenge conventional cinematic representations of character. Edmond is a protagonist in the true sense of the term. We follow his journey from the beginning until the end. He faces problems that he has to overcome as well as reaching fullfilment. Edmonds character develops through the course of the film and the audience should feel connected to him. Edmond conforms to the conventional cinematic representations of character. His sort of character has been seen in coutless films. This is because people become enaged when they feel empathy for a character. These sort of characters make people feel and open their hearts. The piper on the other hand challenges the conventional Hollywood character. In most convential films the antagonist is represented by a physical person but I have chosen an invisible piper who is just a symbol for the philosophical message. The film contains an internal antagonistic force that is represented by a piper and the melody that defines the events that happen in Edmonds life. Ultimately the protagonist and antagonist are the same character.The piper is a figment of Edmonds imagination that has always exsisted somewhere in his mind but only rises to prominace when his psyche is put under strain by the loss of his loved ones. This is the point where he desperately looks for someone to blame and the piper becomes clear as day. 3.4) Define what the characters achieve, learn or experience through the course of the film and why. Edmond experiences joy, love and fulfilment in the first part of the narrative. He has a wife whom he is deeply in love with and a house wherein he can freely master his craft. A baby is on the way too and this makes him all the happier. These positive experiences are soon shattered by the cold veil of death. Soon after being born, the baby dies. Unable to stand the sight of the man she blames for her unhealthy baby, Victoria leaves soon afterwards.

13 Edmond experiences misery, anguish and melancholy of the highest order. These experiences are what lead him towards true fulfilment. Edmond achieves a vast amount through the course of the narrative. He is so heavily impacted by losing his wife and daughter that he becomes convinced that the mysterious piper is responsible for his woes. He makes the long hike up the hill, at night and in the rain, in an attempt to destroy the piper. Upon reaching the summit, he reaches for the piper who vanishes instantly, leaving only his pipe. Edmond takes the pipe home with him and plays his own hopeful tune. The achievement here doesnt come from the physical act of reaching the summit however. Hiking up the hill and returning with the pipe is the visual representation of the inner struggle that Edmond is engaged in. Edmond achieves control over his psyche in this journey to the top of the hill. He returns with closure, acceptance and the hope to begin again. This is the greatest lesson Edmond could ever learn. 4.1.1) Discuss your use of the power of cinematic expression & poetic amplication through the Physical Environment: The film takes place on the vast moorlands, that have been inspired by the landscape seen in Wuthering Heights. Most of the events take place in Edmond and Victorias elegant manor-house. Every feature of the mansion is inspired by the Victorian era. The visual world is beautiful and fantastical but uses gothic aspects in order to amplify the mysterious qualities within the narrative. The entire physical environment is made up of silhouetted shapes and forms. The use of this aesthetic style reinforces the fact that the narrative applies to all individuals as it represents a philosophical idea. By emiting detail and using only silhouettes the audience will connect with the message of the film rather than connecting to particular characters or visual images.

14 4.1.2) Discuss your use of the power of cinematic expression & poetic amplication through the Acoustic Environment: Music plays a large role in my life. I use it as a grounding force against the relentless pressure placed upon me by my frenetic lifestyle. For this reason, I want music to play a large role in the film. I will display the fluid chain of actions referred to earlier as musical notes played by a mysterious silhouetted piper. Because music carries so much emotion, it can be easily manipulated into an audial representation of actions. The film begins by establishing the piper atop a hill. His tune is a merry one and it carries resoundingly over the windswept moors. While Edmond sits at his desk carefully adusting the cogs of his new timepiece, Victoria stands in front of him, watching him work admiringly. Through the large windows we see the outline of the piper and hear his gentle tune whispering in the wind. The melody emphasizes the respect and adoration present in their relationship. Victoria and Edmond waltz in the ballroom to the melody of the pipers nocturne. The music amplifies the intimate mood of the scene. Later they stand before their babys cot, laughing joyously with their newly-born child. The faint cadence of the pipers tune fades to silence. The silence suggests that there will be a turn of events. It sets the tone for the events to come. The pipers song is one of melancholy now. Victoria and Edmond stand with a doctor in front of the cot and the baby inside coughs meekly. The pipers tune seems louder now, its sombre melody like a deep, strained sigh. The desperate coughing of the baby echoes in from next-door. His monotunous tune continues as they bury their child. The music intensifies as they fight and Victoria leaves. Silence hangs in the air whilst Edmond sits alone in his bed. A swarm of musical notes carrying a frenetic lament gush through the window and descend upon Edmond. He runs desperately through the mass of musical notes. When Edmond runs towards the hill in search of the piper, his requiem rises and falls tempestuously, the notes accompanying it breathing down Edmonds neck. At the end of the film, Edmond sits in his workshop and plays his own joyful tune amplifying the joy of a new beginning.

15 The ticking of the clocks represents the rythmic passing of time. After his baby dies he stops his clocks and the ticking fades to silence. At the end of the film the clocks come alive and tick like metronomes in time with Edmonds music. The pipers melody drives the events that take place in the film. The mood and pace of his tune can be heard before we witness the actual event suggesting that his melody defines the happenings of Edmonds life. 4.1.3) Discuss your use of the power of cinematic expression & poetic amplication through the Absence of Dialogue: I have chosen not to use any dialogue. The narrative can be communicated clearly and powerfully without any. In my opinion using dialogue in the film would disrupt the flow of action. It is much more effective to the tell the story with physical action, leaving words out. I want the audience to follow the action through the powerful imagery on screen. The body language, expression of the characters and the use of fluid shot choices and movement in each moment will demonstrate the relationship between Edmond and Victoria. The audience will be so engaged with the world of the story that they will forget that there was no dialogue present. The music is the main focus in the film. I dont want to use dialogue as I feel as though it is unneccessary and will distract from the overall mood and feeling of the film experience. 4.1.4) Discuss your use of the power of cinematic expression & poetic amplication through Images and Signifiers: Images and signifiers play in imporatnt role in the film. Symbolic codes act as signifiers of meaning. The piper is the main signifier in the film. He is like the omnipresent force that looks down upon us all, leading the journey of our lives. The audience may experience a sens of curiosity at the piper, who is he and what are his intentions with the newly-wed couple? Our questions seem pointless and the observing presence of the piper becomes even more potent when Edmond surrenders to not knowing.

16 The clocks are another important signifier in the film. Edmond takes his job very seriously. He is a clocksmith and it defines who he really is. The first time we see Edmond and Victoria in their house, they are in Edmonds workshop. By choosing the workshop as the first location we in effect give it power as a prominent location that will play a key role in the forthcoming events. From the beginning of the film the clocks tick to reinforce the passing of time. Edmond stops the clocks after his child dies, showing his resistance to live on. His time has ended. The physical represention of Edmond stopping time amplifies his emotional state. At the end of the film when Edmond plays his own tune, the clocks come alive. This moment represents Edmond letting go, starting a new phase in his life and heading in a new direction. A great inspiration for me, with reference to stopping time, is W.H. Audens poem. Stop all the clocks, cut off the telephone, Prevent the dog from barking with a juicy bone, Silence the pianos and with muffled drum Bring out the coffin, let the mourners come. Let aeroplanes circle moaning overhead Scribbling on the sky the message He Is Dead, Put crepe bows round the white necks of the public doves, Let the traffic policemen wear black cotton gloves. He was my North, my South, my East and West, My working week and my Sunday rest, My noon, my midnight, my talk, my song; I thought that love would last for ever: I was wrong. The stars are not wanted now: put out every one; Pack up the moon and dismantle the sun; Pour away the ocean and sweep up the wood. For nothing now can ever come to any good. (W.H. Auden, 2003) 4.1.5) Discuss your use of the power of cinematic expression & poetic amplication through Editing: The beginning of the film will make use of organic, flowing editing. I will make use of quick cuts to give a sense of excitement and amplify the unrestrained joy Edmond and Victoria feel.

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The fast and upbeat rhythm of the editing in the beginning of the film will be juxtaposed with slow, mechanical editing when their baby dies until the end of the film. The slow, rhythmic editing will draw out the pain and intensity of the events.

The editing techniques play a major role in expressing my message of the film. The strong juxtaposition of fast and upbeat editing with slow and drawn out cuts will help to portray the narrative more clearly.

4.1.6) Discuss your use of the power of cinematic expression & poetic amplication through VFX: My vision of the film relies heavily on VFX to enhance the physical world with fantastical elements. VFX will be used to amplify the enchanting beauty of the film. The use of VFX will allow me to show the imporatance of particular objects or events. For example, the clocks will all glow and pulstate as if alive to amplify the importance of the concept of time in the film. The heart-shaped clock that Edmond gives to Victoria will glow brightly with a red hue, whilst their love is strong, but as they fight the clock will glow weakly so show the extreme change in emotions. The musical notes leave a trail of gleaming light as they float through the air. This shows the power and influence they have on the world. 4.1.7) Discuss your use of the power of cinematic expression & poetic amplication through Call-Backs: When Edmond and Victoria waltz in the ballroom, Edmond retrieves something from his pocket and presents in to Victoria. His gift is a small heartshaped clock that pulsates with a red glow. Edmond and Victoria fight in the ballroom where they once danced, we return to the image of Edmonds gift. The heart-shaped clock glows weakly from its

18 position atop the piano. Victoria storms over to the piano, plucks up the clock and hurls it with force at Edmond. The gift has nostalgic value to Victoria and by returning back to it while they are fighting shows the extent of the situation. The call-back amplifies the intensity of the moment.

19 References: Discovery Magazine (2012) The Hidden Message in Pixars Films. [online] Available at: http://blogs.discovermagazine.com/sciencenotfiction/2011/05/14/the-hiddenmessage-in-pixars-films/ [Accessed: 29 Feb 2012]. Film Analysis Guide (2012) Analysing Moving Image Texts: Film Language. [online] Available at: http://www.englishbiz.co.uk/downloads/filmanalysis.pdf [Accessed: 28 Feb 2012]. Los Angeles Times (2010) Scene Dissection: "Up" director Pete Docter on the film's emotional opening montage. [online] Available at: http://www.latimes.com/ [Accessed: 29 Feb 2012].

Massive (2007) Visual Effects: Affordable Fantasy. [online] Available at: http://www.massivesoftware.com/news_020207.html [Accessed: 28 Feb 2012].

Nurete Brenner (2011) Buber and Pixar: Going to the Movies with Martin Buber. [online] Available at: http://nlbrenner.wordpress.com/2011/05/12/buber-and-pixar-the-philosophyof-martin-buber-and-kids-movies/ [Accessed: 29 Feb 2012]. Unknown. (2007) Life Metaphors. Rouel, [blog] 27 Dec 2007, Available at: http://crinago1172.blogspot.com/2007/12/life-metaphors.html [Accessed: 29 Feb 2012].

Visual Writer (2005) Book: Writing The Visual Scene: for screen, plays, novels, journalism. [online] Available at: http://www.visualwriter.com/VisualWritingBook/WVSCh3.htm [Accessed: 28 Feb 2012].

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