Evaluation of the Edale shoot
The best thing to say about the shoot is that it went well.
However I am not going to say this because it is boring and would probably not
get me any marks.
Once we arrived in Edale it was clear that the weather was
not on our side. The misty and rainy conditions did not lend themselves well to
the picturesque tourist haven picture we had originally planned to create.
Obviously we couldn’t do anything about this and we had to carry on regardless.
The weather conditions did create an extra level of atmosphere for the darker
side of the film so it was not all bad. The conditions did mean we had to be
creative with carrier bags and make a rain cover for our camera.
So firstly contrary to our original plan, we decided to
start shooting out in the fields rather than the village. The reason for this
was that we wanted to film out in the field before they became too sodden to
set up the tripod properly, as the mud can get quite bad. We took a few wide or
establishing shots. We got a lot of shots that one might expect to find in a
holiday album. Shots of the green country side, of hills and valleys. As we
were already out in the field we decided to get some of the shots for the ‘second
Edale’ once again because we wanted to shoot there before conditions made it
difficult to do so. This has taught me that you have to use problem solving and
logical thinking to get around aspects that are out of your control. So for example
we knew the weather was bad and would probably get worse making conditions out
in the fields difficult and potentially dangerous. To get around this we
decided, contrary to the schedule we would get our necessary shots while we
still could.
Next we went to get lunch and discuss what we had achieved
so far, what we needed to still do and to check the kit was all still ok and nothing
needed seeing to.
When we began filming again we went up to the train station
to begin the planned ‘film walk’. We did take all the shots we had planned to
but because we worked out that we had a little extra time we went across from
the station into an empty car park where there were disused pieces of track.
Although not planned we wanted to film these, because of the meanings we could
derive from them if we were to put them in the film. The railway is a symbol of
Britain’s past industrial strength and power. So by showing rusty tracks it can
symbolise the break down of this and therefore fit in with out theme of there
being two Edales. The idea of rust, or decay could symbolise that the ancient
ways are dying, the witchcraft is being taken over by new powers. I’ve always
loved how you experience little moments of inspiration like that from seeing an
everyday object.
We later headed through the village taking many shots in
order to create the idea of the tourist built Edale. The church, the little
quaint café etc. The only challenges this presented was directing members of
the public, who whenever they see a camera either decide to walk right in front
of a perfect shot or have a minor panic attack. To get around this we decided
that ne person film while the other held the brolly over the camera and kept a
lookout.
Later we walked through the village to a little water fall
in the woods. We were told about this place by a friend who had been able to go
out on a location scout. It was perfect for ore of the witch scenes as it was
gave exactly the creepy vibe that we are trying to capture with this film. The
most difficult part of this bit of the shot was that we were using a candle and
incense therefore it was rather important that we were careful not to set fire
to the Peak District. It also highlighted the importance of checking out
locations before a shoot. Had we not known about this little spot them the film
could potentially loose some of the atmosphere that we intend to create when we
head into the editing process.
That was our filming done. Looking back at it I feel Poppy
and I made a very good team. WE were both on the same page and were both
equally as enthusiastic about the project and our idea. We talked about shots
and ideas and how they would fit into our already discussed outlines. We
thought through things together and worked well as a team but still appreciated
that the other might come up with a really good shot idea and even if you can’t
see how it will fit into the film you let them roll with it. Film making is a
team exercise and it is important to trust the other members of the team when
it comes to the creative concepts in your films. I feel Poppy and I worked so
well together because we spent a lot of time discussing ideas beforehand and consequently
had a very similar vision of what we imagined the film to be.

All in all, I feel we had a successful day of filming and we
dealt well with any problems we encountered.
Included are some Photos of us filming, taken by Joeley
Beckett, Thankyou Joeley.

Final Plans for Edale

Final Plans.
Right, D-day approaches! As it does Poppy and I have been
putting together our ideas in order to come up with a final plan of action.
Unfortunately for several reasons it was not possible for us
to get out to Edale before the shoot. This is a sort of hindrance but we were
able to get around it. Firstly we researched the area in great detail. Looked
at maps, photos, and on the internet. Due to Edale being such a tourist
destination there are many sites where there are numerous reports of what the
area is like. Both the village and the surrounding countryside. This had been
an invaluable resource in our planning. From the many reports from online and
from friends who were able to visit beforehand we have been able to ‘pain a
picture’ of the location. From this then we have been able to come up with our
final plans.
So our final idea; every place is not entirely what is
seems. This may sound like a cliché but we shall approach it in such a way that
this is not how the final film turns out.
The main out line is really quite simple, there are two
Edales, and one is the norm, the tourist attraction, the quaint little village
seated in the beauty of the peak district attracting visitors from miles
around. The other is darker and hidden from view. It is an ancient place steeped
in the magic that runs through the hills and dales of the peaks. Our intention
s to create an experimental film that reflects this.
Our plan for tomorrow is to do the shoot in two stages.
First we film the first Edale. There images with be that of any typical holiday
photo book. The train station, where most adventures begin. The main village,
where there is the typical tourist draws, the pub, the little cafes, the grand
old church and the national trust visitors centre. Then there is the beautiful
countryside. Vast sweeping hills that draw in walkers all year round. We intend
to use a lot of wide shot for this, in order to encompass the beauty, as anyone
would taking holiday snaps. It is important to us that we show the idea of a
holiday, as the weather will most likely not be on our side we will need to
pick our shots carefully in order to reflect, those holiday memories that we
all hole dear.
The second stage is to shoot ‘the other Edale’. We will do
this handheld. There are two reasons why we have chosen to do this. The first
is that it will create even more of a noticeable difference between the two Edales
is one is obviously from a tripod and the other is not. The other reason is
that by shooting from a handheld camera, we can get closer to our props. It
will be possible to create really extreme close ups and make it feel much more
personal. Also it will be a lot more spooky, the audience will feel as if it is
from there point of view, they are taking part in it. This creates a bigger
impact on them, which in turn makes the film more powerful. In terms of
locations for this part of the shoot. We have seen a few photos on the internet
giving us ideas as well as advice from friends about the places they found when
they got out there. One place we definitely want to film is in the woods. Woods
have many connotations which will make the film more effective. They are seen as
places of magic and wonder which enforces the ideas of mysticism and witch
craft. However they are also seen as places, where things lurk in the shadow,
they are places of the unknown. After all in almost every fairy tale there is a
scene where the protagonists are threatened are scared while in a wood. They
are places of the unknown, shrouded in leave they can hide another world from
us the outsiders. These elements are essential to help create meaning in the
film. By choosing to shoot here we will be able to have a major effect on the
audience simply by playing on their preconceived ideas of place.
Playing on the audiences preconceived ideas will be a big
part of the film. We are aiming to create an atmosphere of creepiness in the film.
Therefore it is important that we draw on the ‘fears’ that the audience may
have of witch craft. Many people have misconstrued ideas about what it is, but
for the purposes of this film I could be incredibly helpful. By playing up to
these ideas, for example with the clay effigy or ‘sally’ as we have now names
her. This obviously relates to not only witchcraft but also to voodoo and many
other ancient practices. By doing this we hope to tap into that part of the audience’s
mind that see this as dangerous or scary. This will make our film more
effective.
Anyway, getting back to the actual shoot. In the second half
of the day we intend to also film in the graveyard. In terms of planning for
the film we decided on this because it is the perfect way to represent the two
Edales. We have the churchyard, a tourist spot, of beauty but also with
religious and historic connotations that stretch back for at least a thousand
years. We intend to use these and by placing ‘sally’ in this situation we will
be able to create meaning for the audience. The two Edales ‘light and dark’ in
the same shot.
So, to conclude, our plan for tomorrow is to shoot is to
shoot in two parts. Firstly we’ll shoot the tourist shots using the tripod and
do a ‘film walk’ from the station through the village and a bit of the countryside
in order to get the scenic shots. After Lunch we shall continue to film the
witch scenes through the use of hand held.
All in all we’re ready to get filming.

More Ideas!

Edale Shoot

Furthur Inspiration and Ideas.

So we've taken the idea of witchcraft as a central theme and have decided to go down the path of experimental film.

Poppy has suggested the idea f showing 'Two Edales'; one a typical tourist, peak district, 'biscuit tin' village. The other a darker side of magic and mystery. It is fair to say that this idea is influenced by folk horror such as 'The Wicca Man' or 'Blood on Satan's Claw'. These both have this idea of a double edge sword. On the one hand these settings are idyllic and beautiful. People live and work in peace but on the other hand there is a secret. A dark side.

We aim to show what can lurk beneath what appears to be a perfectly normal place.

One idea for how we aim to convey this is through camera work. The shots of 'pretty Edale' will be taken while the camera is on the tripod. This way they will be very formal, showing beautiful views and connoting the postcard image. The the 'witchy Edale' would be shot with handheld. This would convey a sense of creepiness and be more up close and personal. This can be seen in films such as 'The Blair witch Project' where it make the film more scary.

Also after continuing to research different perceptions of witchcraft from my own, inspiration has continued to come from stories, where the fear of witches is very prominent, and a fear of the unknown is a major theme. This is something we will maybe look at in the film. Ghost stories are also proving to be incredibly useful. The setting is always vital in these and finding ones from around the Edale area it is clear how the landscape has influenced the stories and also how the landscape has soaked up years of tales and legends. It is clear to us that this is now a perfect way to show both the beauty and mystery of the Peak District.

This book has been a source of information and inspiration for this project. It is not only interesting but is full of images and ideas that spark creativity in my mind. As we are going to have an element of witch craft in our film this book has been useful. Its extensive information had been incredibly helpful. Also it has helped to snowball the creativness that the pendle witch child documentary sparked.

Props

So after a little bit of a shopping trip, Poppy and I have a few props.

Firstly we have some incense and a candle. We thought these would be useful as these are objects that are used in witchcraft to this day. Therefore they have the cultural connotations that the audience will recognise.

Secondly after finding a block of air dry clay in a craft shop we have decided to make a clay effigy. (Inspiration can come from the oddest places.) This is actually a rather vital prop though. There are many connotations linked to clay dolls such as the one I've made. The link the audience is most likely to make is too a voodoo doll. These have connotations of evil and bringing harm to people. Also there is a long history of clay likenesses being used to bring harm to people with magic. This of course fits our film perfectly.

WE have decided to put her in a red gingham dress. The cultural codes that are associsted with this fabric are what makes the doll even more disturbing. The fabric is closely linked to young school girls, this then connects it to ideas of innocence and purity. By placing the connotations with those of evil that come from a clay effigy it becomes even more disturbing.

The Pendle Witch Child

This is the documentary I was talking about.

Edale Shoot...An idea!

Edale Shoot
Inspiration and conception

There was a documentary shown on the BBC a few moths ago, ‘The
Pendle Witch Child’. It told the story of Jenet Devis, a nine year old girl,
who, in the 1600s denounced her whole family as witches in the infamous Pendle
Witch Trials. It inspired me in a few different ways. I terms of documentary, I
found the story incredibly well told and engaging. How it told the story of not only a little
girl, and not only of one community that was rocked by these events but of a
much eider picture. Of a country gripped by fear of the unknown and how
dangerous it can be, Also how the events in Pendle reverberated around the
world, mirroring, most famously in Salem.
In terms of this project, the Lancashire backdrop provides
such an atmosphere to the story. It is steeped in mystery and appears haunting,
as if scarred by the events that have taken place hundreds of years ago. The
whole feel and look of the place is similar to the Peak district. This factor
has kick started an idea for the film. The brief which instructs us to ‘create
a sense of place’ had made resonance in my mind with what I had seen in the
Pendle witch documentary. From this point I have been compelled to dive deeper
down this route. Researching old legends and stories from Edale and the
surrounding area, and unsurprisingly the area is steeped in mysticism which
only makes me more enthused about this film idea.
After taking these ideas to Poppy, who liked them we have
decided to carry on down this road.

Skin Deep

The Main themes of this film are recism, mixed race marriage and self hatred. Also there is an undercurrent of the nationalsit political movement. The director's main aim appears to be showing the damage that racism causes and inparticular on mixed race children. Similarly the films focus is the internal conflict and isolation mixed race children would feel due to the racism that is so evident in the film.

The film is successful in dealing with its subject matter sd the main character of Romo is a believble and the audience is able to sympathise with him. Also by basing itself in events that really happened (the skinhead/nationalist/racist movement of the 70s/80s) the film gains an extra dimension of realism and believabilty. Therefore the film has successfully displayed its themes of racism and self hatred that a mixed race person may feel due to the awful actions of racist ignorant thugs.

One element of the film that really stood out to me was when in the final scene, shaves his head. To me this symbolises the themes of the film. He is trying to relate to the skinhead gang, but also at the same time distance himself from his roots after all his black hair is a reminder of his pakistani blood. Also the abuse that he is screaming at himself while doing this shows the self hatred he has been made to feel making the act even more poiniant.

'Steel Homes'

1. 'Steel Homes'

It seems that the aims of Eva Weber in this film are to show the way in which people are unable to let go of the past, and in doing so to display this nostalgia in a negative light. The main themes connected to the director's aims are memories, death, the human emotional connection to objects and our inability to let go.

The film takes a somewhat cynical view in its portrayal of the people using this storage space. This is made apparent by the 'cold' elements in the film. First of all the idea of steel connotes the cold and the industrial. It has no connections to the ideas of human emotion or any warm feelings that the people depicted in the film might get from keeping hold of these objects that obviously mean a great deal to them. Secondly the way in which the film is shot conveys a sense of cold and depression. For example the shots down the 'streets' of steel containers are reminiscent of a 'void', an endless corridor of metal doors housing memories that are maybe best left to lie. This idea of a void relates to the theme of the inability to let go and human emotional connection. The void is endless just as our grief will be if we are unable to let go.

The lighting is also important in how the filmmaker has created a 'cold atmosphere'. By using only thew strip lighting that was in the storage facility, an atmosphere that is almost clinical has been created which in turn adds to the idea of emotional detachment.

On the subject of emotional detachment, the voice overs that are telling the story of the steel homes, are faceless, and only snippets of the whole story which makes it feel impersonal thus adding to the idea of emotional detachment and the cold atmosphere. In addition to this, the fact that the voice overs are only snippets lends itself to the idea that the director has been very careful in the edit by choosing only snippets of a story which enforce the films aim, to show how we are unable to let go of the past.

Apart from this it is important to note the sense of voyeurism in the film. One is very aware that the viewer is made to feel like they are spying into a very private world that is not their own. This them further enforces the feelings of emotional detachment as we as viewers are not made to feel part of this world of steel homes, more as curious by passers.

In my opinion this was a successful film as it effectively portrays the idea of storing memories in a depressing light and it makes one feel as though it is a negative thing to do. However this does not mean I personally liked the film, I found it had a depressing view point, and negatively portrayed the people who are storing their belongings. That said I can appreciate its artistry as it is incredibly moving and through it's use of technical codes such as lighting and sound it effectively conveys its message.