Experimental Short Films
Meshes Of The Afternoon X The Grandmother X Pitch Black Heist
Both Meshes Of The Afternoon by Maya Deren, 1943 and The Grandmother by David Lynch,1970 can definitely be characterised as "experimental" films. Both short films share a dream-like quality accompanied by an uneasy feel, yet The Grandmother seemingly takes this further by adding an explicitly sinister and chilling atmosphere. It's as if Maya Deren has recreated a light and airy dream with ominous undertones and Lynch has recreated a surreal nightmare. Both films break the rules of traditional editing by using jump cuts. They also both dabble with certain horror conventions. Additionally, unlike mainstream films nowadays there is little to no dialogue in both. Finally, they both explore an enigma and social theme.
Pitch Black Heist shares some of these qualities yet ultimately it is quite different. Director John MacClean explores experimental aspects through use of film form rather than an ambiguous and perplexing narrative. Pitch Black heist explores more of an emotional theme rather than a social one and finally it is quite a heavy dialogue short film.
Meshes Of The Afternoon was made in the very early stages of Maya Deren’s marriage to already accomplished filmmaker Alexander Hammid. Originally released as a silent film, It was a true visual experience. Deren re released the film with a soundtrack in 1959. Meshes Of The Afternoon is definitely equivocal in terms of meaning. It follows a circular narrative and is often referred to as a "trance film". In the opening scene there is abstract use of shadow - a direct influence from film noir which was very popular at the time. Deren also utilises a jump cut, establishing her experimental style from very early on. It was quite an unusual viewing experience for me because, although there was essentially no consistent and clear-cut storyline, the film still managed to display and explore various topics and social themes through use of symbolism. Additionally, I found that the repetition aided in understanding the deeper layers as it allowed the audience to make connections between certain objects. The first symbol of importance I noticed was the flower, said to represent life or perhaps peace. Secondly the knife, which is displayed as having pernicious qualities. We know this is significant as it receives a close up in multiple shots of the circular narrative. Perhaps this symbolises the threat to a woman's independence in a male-dominated society in which Deren has apparently struggled with her whole working life. And finally the key. It may be quite presumptuous and pretentious of me to assume this symbolises the key to independence. Moreover the key to escape this "man's world".
It was made clear to me that Meshes is displayed as a feminist film attempting to portray the struggle of women in the industry and women attempting to find their identity seperate to the conforms of societal roles for women. Although in itself this holds depth to it, Deren delves another layer deeper to explore this connection between the subconscious and conscious mind by depicting this journey through the realms of reality and the mind's psyche- a dream. This is why when the protagonists chases the faceless robed enigma, she can never catch up to it; a frustration often felt in dreams. In the scene where she is awoken by her partner, she seems to be almost comforted by him. The audience also feels as if they have been awoken back into the realm reality yet it is actually quite ironic. Although Deren's character feels as if she has to run from this cloaked figure it is actually her partner she must run from to achieve a true sense of self and independence; to no longer play the damsel in distress saved by a man.
Although perhaps this is not clear to her yet. Perhaps, due to this commentary displayed through her dream which is ultimately the subconscious, this is the first time she has felt these restrains.
After the short film was re-released with a soundtrack, genre conventions such as typical non-diegetic horror sounds used to build tension are evident. The tempo ultimately picks up and lower, more sinister tones are introduced as the volume also increases. In "The Grandmother" which is more explicitly a horror short film, non-diegetic drone notes are often utilised to add tension in this same way. The Grandmother is also experimental and it also explores the lines between the realm of reality and the mind's psyche, yet The Grandmother has taken on a more surreal approach. Because Lynch started as a visual artist, he drew inspiration from his painting and the desire to "see them move". This is why this short contains scenes that are animated, resulting in a very stark contrast between a very dull, stripped back colour palette that is often either black and white with a very heavy use of grain or utilising only one colour (such as scenes at the kitchen table where the only colour is an orange tint to the lampshade or the green in the mother's dress, or the bright yellow patch when the protagonist wets the bed), and a vivid and lively colour palette. This strange use of cinematography emphasises the surreal elements that are important when disecting the narrative. Just like Deren's "Meshes of The Afternoon", Lynch seeks to exhibit a psychological feeling as well as just an experience, however instead of representing the social theme of women's societal roles, Lynch depicts child abuse as well as the fate of everyone: death. The mind's psyche is effectively explored when the little boy grows a grandmother from a seed. I took this to mean he created her as a figment of his imagination to create a nurturing, caring and affectionate figure in which he lacks from his parents.
The sound used in The Grandmother, both diegetic and non-diegetic is harrowing to say the least. Similar to Meshes Of The Afternoon, there is very little dialogue, yet the few words/ animal barks that are spoken evoke a sense of uneasiness or apprehensiveness. Moreover, the non-diegetic soundtrack does an excellent job at adding to the ominous and disturbingly enveloping narrative. It is quite consistent; Lynch also uses repetition through use of sound. The opening scene is accompanied by a low drone note- a genre convention often used in horror due to the effect. This drone note can be heard later on at a point of tension. Typically the melody is very low with very little ornamentation played in a minor key, yet in scenes with the Grandmother the music transforms into a more upbeat note played in a major key - an ornamented folk melody played on the guitar. This is a simple yet effective way to communicate to the audience the relationship between the two characters, as well as having them framed very close together. This may have been taken too far in the scene where the two share a kiss- a freudian reading suggests due to the emotional rejection from his mother, the little boy projects his oedipal fantasies onto his grandmother. However this film is very cryptic and open to interpretation.
Additionally, many jump cuts are used in the opening sequence to create a very jagged and disturbing effect. This is later used in the scene when the grandmother inevitably dies. one wonders whether or not the boys grandmother- just a figment of his imagination- dies because the boy is deeply scarred as a result of the relationship he has with his parents that he subconsciously thinks he isn't worthy of a healthy relationship? or moreover doesn't know how to maintain one?
It is a very ambiguous ending containing multiple readings, yet we do know in terms of character development the boy has not come far, since he now has to return to the same equilibrium from the start. The enigma in this case is piecing together each scene and concluding your own opinion. I liked this short film because i feel that each person will take away something different depending on their own life experiences. Similar to the way a woman would view and relate to Meshes Of The Afternoon.
Finally, Pitch Black Heist by John MacClean. This film revolves around the theme of revenge, yet this is not revealed until the end. It's also filmed in black and white yet from the offset it is very different to the others since it opens with a panning shot inwards towards the safe- the other two films did not use as much movement and didn't feel as lively. Additionally, due to use of dialogue the characters are much more easily characterised personality-wise. In terms of the character's relationship, we can see by the end Michael and Liam have come a long way. In the opening Michael is very cold and reserved- yet we do not know why at this stage. Liam is more cheery and upbeat which results in an interesting dynamic. In the bar scene, the two seem to connect and enjoy each others company- the calm before the storm. This scene exhibits quite a shift in tone. In this scene a diegetic song is used and the characters lip-sync along. The camera is dolly-panning Michael before it lands on Liam. There is then a hand-held shot. The cinematography is very dark yet there is light leaking in from a window which is shimmering and the pair stand in silence- almost entranced. I personally thought this was a very beautiful shot and shows that they have become comfortable enough to be quiet and pensive- the element of small talk which Liam clung to in the opening scene has been eliminated. Additionally, Pitch Black Heist offers some character insight to the characters lives unlike the other films. We learn that Liam used to steal "real jewels", and seems to be almost at a mid-life crisis. we learn that Michael was abandoned by his father which becomes quite central to the narrative.
After the pair stumble out of the bar looking like they are returning from a night out rather than about to carry out an intricate and high-risk heist, the audience are now aware that something will go wrong. We have been clued in as the film is about to reach it's climax.
The experimental aspect is introduced when for two whole minutes all visual elements are taken away not only from the characters but the audience too. This helps to not only put the audience in the characters shoes but also to add an element of apprehension. Although cinema is supposed to be a visual experience, I found this technique to be quite interesting and refreshing. Pitch Black heist is a movie depending on it's script to convey meaning; it's not cryptic in the way the other films are. It follows a linear narrative with no surreal elements. This is why relying on solely dialogue for this sequence works. The plot twist- the alarm set off by Michaels lighter, the big reveal that Liam is Micheal's dad and Liam left for his past mistakes to finally catch up to him- is only amplified by the pitch black screen. It only makes the audience more engaged. To end, there is a symmetrical shot, intensified by the wide angle lens and enriched by the use of black and white combined with the shadowy cinematography was a beautiful shot to follow up with. The film ends with a more grey-toned asymmetrical shot of the empty streets which adds a "what now?" thought which we can only imagine Michael is thinking.
Overall, there were elements in all three films which i really liked that will heavily inspire my own short film. I liked the intentional use of jump cuts, the black and white element which all three movies shared and finally the portrayal of character's relationships and their dynamics.
Although perhaps this is not clear to her yet. Perhaps, due to this commentary displayed through her dream which is ultimately the subconscious, this is the first time she has felt these restrains.
After the short film was re-released with a soundtrack, genre conventions such as typical non-diegetic horror sounds used to build tension are evident. The tempo ultimately picks up and lower, more sinister tones are introduced as the volume also increases. In "The Grandmother" which is more explicitly a horror short film, non-diegetic drone notes are often utilised to add tension in this same way. The Grandmother is also experimental and it also explores the lines between the realm of reality and the mind's psyche, yet The Grandmother has taken on a more surreal approach. Because Lynch started as a visual artist, he drew inspiration from his painting and the desire to "see them move". This is why this short contains scenes that are animated, resulting in a very stark contrast between a very dull, stripped back colour palette that is often either black and white with a very heavy use of grain or utilising only one colour (such as scenes at the kitchen table where the only colour is an orange tint to the lampshade or the green in the mother's dress, or the bright yellow patch when the protagonist wets the bed), and a vivid and lively colour palette. This strange use of cinematography emphasises the surreal elements that are important when disecting the narrative. Just like Deren's "Meshes of The Afternoon", Lynch seeks to exhibit a psychological feeling as well as just an experience, however instead of representing the social theme of women's societal roles, Lynch depicts child abuse as well as the fate of everyone: death. The mind's psyche is effectively explored when the little boy grows a grandmother from a seed. I took this to mean he created her as a figment of his imagination to create a nurturing, caring and affectionate figure in which he lacks from his parents.
The sound used in The Grandmother, both diegetic and non-diegetic is harrowing to say the least. Similar to Meshes Of The Afternoon, there is very little dialogue, yet the few words/ animal barks that are spoken evoke a sense of uneasiness or apprehensiveness. Moreover, the non-diegetic soundtrack does an excellent job at adding to the ominous and disturbingly enveloping narrative. It is quite consistent; Lynch also uses repetition through use of sound. The opening scene is accompanied by a low drone note- a genre convention often used in horror due to the effect. This drone note can be heard later on at a point of tension. Typically the melody is very low with very little ornamentation played in a minor key, yet in scenes with the Grandmother the music transforms into a more upbeat note played in a major key - an ornamented folk melody played on the guitar. This is a simple yet effective way to communicate to the audience the relationship between the two characters, as well as having them framed very close together. This may have been taken too far in the scene where the two share a kiss- a freudian reading suggests due to the emotional rejection from his mother, the little boy projects his oedipal fantasies onto his grandmother. However this film is very cryptic and open to interpretation.
Additionally, many jump cuts are used in the opening sequence to create a very jagged and disturbing effect. This is later used in the scene when the grandmother inevitably dies. one wonders whether or not the boys grandmother- just a figment of his imagination- dies because the boy is deeply scarred as a result of the relationship he has with his parents that he subconsciously thinks he isn't worthy of a healthy relationship? or moreover doesn't know how to maintain one?
It is a very ambiguous ending containing multiple readings, yet we do know in terms of character development the boy has not come far, since he now has to return to the same equilibrium from the start. The enigma in this case is piecing together each scene and concluding your own opinion. I liked this short film because i feel that each person will take away something different depending on their own life experiences. Similar to the way a woman would view and relate to Meshes Of The Afternoon.
Finally, Pitch Black Heist by John MacClean. This film revolves around the theme of revenge, yet this is not revealed until the end. It's also filmed in black and white yet from the offset it is very different to the others since it opens with a panning shot inwards towards the safe- the other two films did not use as much movement and didn't feel as lively. Additionally, due to use of dialogue the characters are much more easily characterised personality-wise. In terms of the character's relationship, we can see by the end Michael and Liam have come a long way. In the opening Michael is very cold and reserved- yet we do not know why at this stage. Liam is more cheery and upbeat which results in an interesting dynamic. In the bar scene, the two seem to connect and enjoy each others company- the calm before the storm. This scene exhibits quite a shift in tone. In this scene a diegetic song is used and the characters lip-sync along. The camera is dolly-panning Michael before it lands on Liam. There is then a hand-held shot. The cinematography is very dark yet there is light leaking in from a window which is shimmering and the pair stand in silence- almost entranced. I personally thought this was a very beautiful shot and shows that they have become comfortable enough to be quiet and pensive- the element of small talk which Liam clung to in the opening scene has been eliminated. Additionally, Pitch Black Heist offers some character insight to the characters lives unlike the other films. We learn that Liam used to steal "real jewels", and seems to be almost at a mid-life crisis. we learn that Michael was abandoned by his father which becomes quite central to the narrative.
After the pair stumble out of the bar looking like they are returning from a night out rather than about to carry out an intricate and high-risk heist, the audience are now aware that something will go wrong. We have been clued in as the film is about to reach it's climax.
The experimental aspect is introduced when for two whole minutes all visual elements are taken away not only from the characters but the audience too. This helps to not only put the audience in the characters shoes but also to add an element of apprehension. Although cinema is supposed to be a visual experience, I found this technique to be quite interesting and refreshing. Pitch Black heist is a movie depending on it's script to convey meaning; it's not cryptic in the way the other films are. It follows a linear narrative with no surreal elements. This is why relying on solely dialogue for this sequence works. The plot twist- the alarm set off by Michaels lighter, the big reveal that Liam is Micheal's dad and Liam left for his past mistakes to finally catch up to him- is only amplified by the pitch black screen. It only makes the audience more engaged. To end, there is a symmetrical shot, intensified by the wide angle lens and enriched by the use of black and white combined with the shadowy cinematography was a beautiful shot to follow up with. The film ends with a more grey-toned asymmetrical shot of the empty streets which adds a "what now?" thought which we can only imagine Michael is thinking.
Overall, there were elements in all three films which i really liked that will heavily inspire my own short film. I liked the intentional use of jump cuts, the black and white element which all three movies shared and finally the portrayal of character's relationships and their dynamics.
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