Research Task: Bro by Freya

Bro-18 minutes-by Chris Dundon produced in 2009
All though it was longer than our short film is supposed to be I found 'Bro' very inspiring; both in its narrative and use of mise en scene:

• This story is shown in chronological order, which adds to this effect of realism: life unraveling as it goes. The genre here is one of a realism mixed with drama or 'kitchen sink dramas'.  I love this genre, I feel like it shows emotion in a more raw way, and its realistic storylines are more relate-able. 

Conventions of a kitchen sink drama:

1. Negative outlook, all though poinant at times
2. Relate-able
3. Captures social situation of characters
4. Realistic
5. Lacks Hollywood conventions

• I enjoyed the structure of the narrative, how it's more of an extract, or a ‘vignette’ than a perfectly concluded story.  The way the audience is just put straight into the middle of the story and left to make their own assumptions is done so well, and the subtle change in Simon and Mark's life is more touching delivered in this manner.  

• Opening: We see Simon watching other teens having fun, doing normal things; specifically the boys playing basketball.
• Ending: Simon ties Mark's shoes, throws a basket ball at him and says “Ready?” The basketball is such a useful prop, bringing us back to the beginning of the film when we saw 'normal' teens taking part in this sport.  This connotes that Simon's now ready to join the the real teen world, with Mark by his side.

• Use of certain shots help the audience understand elements of Simon's life.  A wonderful shot that really conveys his dilemma is the one on the bus (see left), showing him, Gemma and Mark all in one shot.  Gemma is in focus, showing what Simon is interested in, but he's looking past at her, at an out of focus Mark-closest to the camera.  This emphasizes how Mark takes up Simon's life, but the fact he's out of focus could suggest that Simon is only half interested in him, only worrying on behalf of his mother. 

• In the shot on the right we see Mark take over Simon's world again.  Shallow depth of field reflects this:  Mark and Simon dominating the frame whilst Simon's peers are blurred in the background.
• Another shot that really expresses Simon's struggle is the silhouettes of Mark and Simon in the tunnel (see below).  Showing them as mere dark outlines reflect them as base, simple creatures and in these moments, when Simon is feeling most impulsive he lets his anger rise, despite him knowing that none of this is Marks fault. 

• The way the boys are positioned shows Mark in the foreground again, holding his head-the real one in pain, but Simon in in the background with his hands on his head, looking on in frustration at the situation.  Because Simon is a sillouhette  we can't tell if he's looking towards or away from Mark, which suggests that he is on the tip of making a decision; whether to help his disabled brother, or leave to be with Gemma and move on with a 'normal' life.  But we see light ahead, behind Simon, which could reflect the 'light at the end of the tunnel'-that things are going to get better for the both of them.
• This story is about disability and the struggle for those affected by it.  It shows the main characters working through problems and coming to terms with them, mainly Mark coming to terms with his brothers disability. Close up shots are used a lot, straying so close to the characters faces and actions, making the audience feel attached to the characters and more involved in their actions.  

Examples of these close up shots: 

-Freya