Trailer Analysis - Ill Manors

 

 

 

 

Selling our film - Basics

Do you have the means to distribute directly? 

In todays society of film making, a film distributor will rarely take on a film makers first film. But with todays modern technology films can find success for almost free, such a Paranormal Activity, posted on YouTube and picked up by a director, turning over a major profit. Our film however is incredibly low funded and worth the money we ask for compared to other films as we are only asking for 50,000pounds of which would go mainly towards staff, actors, equipment and renting out locations, we feel although it is a small budget, it can still make a lot of profit.









Is there a market?

From research we have found that social realism is a lot more popular than may of been first thought, with all ages available for selling to. We then looked further into what the story lines of the films were and found that the majority is something is either 'normal' at the begin, only to go wrong and be solved again, working along with Todorov's theory as well as having Propp's character roles, or there is something wrong, it is tried to be solved, and ends up still being wrong or worse. We then realised there was a space in the market and worked our storyline around that gap.










How do you structure the release?


We plan to release our film mainly through digital technology, being the most common used thing on the internet with millions of views per day, social networking sites such as Facebook, YouTube and Twitter, and best of all they are free. Other than social networking we will take our film to film festivals such as Sundance and small independent ones around the UK. We can also sell our film through trailers, teaser trailers, posters, billboards and public transport posters, all making our film available to the public.

Social Realism through the ages

Keanu Reves on "The future of Cinema"

This article shows how cinema is every changing and how digital technology is completely changing and affecting the face of cinema and film making worldwide.

http://www.theguardian.com/film/2013/feb/14/keanu-reeves-future-of-cinema

Our film and Propp's character roles

Our film again subverts the stereotypes of characters, the audience is not given anyone that they could call a 'hero', they are instead shown to depress and sad individuals who they follow the lives of. There is no villain, donor, dispatcher, father, princess, helper, red herring or anything of the kind, other than themselves, again showing how this stereotype has been completely subverted.

Our film and Todorov's theory

Our film does not completely subside with the typical narrative by Todorov which was ;

1. Equilibrium             A state of normality
2. Disruption               An event disrupts the normality
3. Recognition             The hero recognises the disruption
4. Complications          The hero meets problems in trying to restore the equilibrium
5. New Equilibrium     The hero restores a new state of normality

The only part of this theory that our film goes along with would be 'The Hero' meeting his problems in trying to restore the equilibrium, and even this is vague. Our films starts out with sadness and depression and focuses on it throughout, eventually ending in a state of happiness, but at no point is there a level of society that the audience could call 'normal'.

Our Genre

British social realism is a genre that concentrates on issues that are alive in todays society which is represented by different beliefs. We are presented with common themes such as money, drugs, reakups, sex and prostitution, social standing, religion and politics. These themes are now incredibly popular in the genre today, but were no all involved in earlier social realism story lines.

Social realism target audiences depends upon the films forms and conventions, because of the fact that social realism often uses young main characters, the film now appeals to a young/teen audience, ages 13-20, because the film concentrates and follows modern youth. Older British social realism films such as 'Happy Breed' (1944) and 'Spare Time' (1939) would appeal to an over 50 audience, although this is now a rare genre for the over 50 audience, but this does however also show that social realism has a very broad audience, as it can appeal to all audiences. 'Billy Elliot' however was a film that appeals to everyone, and families especially. Trainspotting on the contrary would only appeal to an audience 18-30.

History of social realism - Britain's contribution to cinema in the 1930s lay in a state sponsored documentary tradition that would feed into the 1940s mainstream. Producer Michael Balcon revived the social distinction when he referred to the British industry's longstanding rivalry with Hollywood in terms of 'realism and tinsel'. Balcon, in his position as head of Ealing Studios, would become a key figure in the emergence of a national cinema characterised by stoicism and verisimilitude.

Combining the objective temper and aesthetics of the documentary movement with the stars and resources of studio filmmaking, 1940s British cinema made a stirring appeal to a mass audience. The New Wave was symptomatic of a worldwide emergence of art cinemas challenging mainstream aesthetics and attitudes. identified with their directors rather than with the industry, the New Wave films tended to address issues around masculinity that would become common in British social realism.

 

                                   

Our film poster

Our Pitch - Utopia

Utopia pitch from Morgan-R

Promoting and Advertising our film

We will promote our film through a variety of technology and public advertisement -

- Social media - We will aim to use websites such as Facebook, Twitter and YouTube

- Film festivals - We will aim to show and promote our film via various film festivals such as the East End Film Festival, Sundance and the International Film Festival Rotterdam.

- Public Advertisement - We aim to catch the publics eye through advertisement such as our posters on billboards, on TV breaks, and adverts at cinemas.

We also hope to receive more publicity through our distributor, Lionsgate, we feel that we will be able to gain more audience as they are a high ranking company, releasing high grossing films such as The Hunger Games, Kick-ass and Saw. Having such a variety of films makes it seem as if our British Social Realism film would be a great addition to there films, even though it is not a British company.

Codes and Conventions

The codes and conventions of British Social Realism;

- Real life and relateable topics that an audience can understand and empathise with the characters on.
- Believable topics and storylines - if the audience loses belief in the film, it will lose authenticity and they will lose interest and word of mouth will be negative.
- The plot will often involve a lower class/working class people
- The plot should be realistic to a lower/working class perspective
- A hand held shot or point-of-view shot will often be used to give the film a documentary feel and to show the characters feeling in a visual way.
- It should contain minimal amount of editing to give a more realistic effect
- Minimal amount of non-diagetic sound if not none. Should only to be put in a social realism film for effect.
- Establishing shot so the audience always know where the scene is being taken place.


Whats expected in a British Social Realism film;

- Shooting on locations and not studios, rarely any special effects.
- The use of wide shots
- Not always highly proffesional blockbuster actor - can be small time British actors not A-List
- Semi-improvised scripts - a lot of social realism films rely closely on improvisation
- an element of both comedy and drama
- The destruction of regional identities
- A long list of social issues - makes relateable and believable topics for an audience to relatable

 

 

Locations

For our locations we aim to pick out places that directly link to the genre of British Social Realism. We aim to also represent the characters backgrounds and hobbies through the scenery, as well as connoting different situations to an audience.









Council House -                                                    

Using a council house is for Perry. Through using the scenery of a council house is connotes his background, upbringing and family income. It is sadly a place that is judged by higher classes and is are stereotyped. It is also somewhere that is a good link to Britain and will help to outline our films genre.









Middle Class Area/House -

The use of a middle class house in a suburban area helps the audience to link Charles to his family background and the families income. Although it is not a direct stereotype to Britain, it will however help to give the audience and idea about his situation.











The Escape -

The use of an out of the way and quite place gives an idea of an escape to the audience, a place that we come to realise both characters need. This is also the best way for them both to meet each other for the first time as it will instantly give them a place to connect on.