Ancillary Tasks: Magazine Preview: First Draft

All analysis of the post shall be displayed in red. This can show the reasoning behind each sentence and paragraph and how it is constructed to covey the overall effect.

Before Spielberg’s creation of the Blockbuster with ‘Jaws’, before Lucas redefined Science fiction with ‘Star Wars’ and Nolan reinvigorated the ‘Batman’ Franchise. Before these pillars in cinema history, they all started their careers with various projects largely forgotten. These lost gems are lost for the same reason – they were short films.

We believe this introduction gives short-films a perspective compared to the feature film extravaganzas of today. It also inadvertently perks the interest of the peoople who have enjoyed these projects (which would include the majority of readers reading a review of films.

This paragraph is designed to build to expectation making it sound like a potential event viewing.

Short films have made little to no impact upon popular culture, the makers of the unusually titled ‘The Quintessential Guide: To Dispose of A Body’ hope this will be a turning point. Considering it’s release being released at the turn of the decade and with the internet making the perfect forum, there has never been a better time.

This paragraph shifts the emphasis unto the film itself, giving a general opinion and a very brief synopsis.

With this heavy expectation upon it this piece holds up rather impressively. It sets up the interesting plot device of an innocent being forced into a situation where they have to dispose of a corpse.

Although never intentionally, our film crosses many genres and this in fact a USP and this paragraph is to push that forward. It would be interesting for a critic as they are often watching films heavily moulded into a particular genre.

As with many a Independent film (now commonly referred to as Indie Films) the genre is hard to pin down. It has elements of a drama, with the story focusing on singular character. Simultaneously it’s dark subject matter of dealing with a human corpse, lends itself to horror elements, specifically in the grave digging sequence. Most prominent of all are the thriller elements as the films builds enigma around various questions culminating in the viewer’s mind.

We believe that as a viewer you would view our project to a very different way you would for the filmmakers or someone who has watched it extensively. The way the view the character's circumstance is often changed by seeing another enact it at the end. For this reason we felt it important to address the issue of how the story deliberately answers some questions definitively whereas leaves others open for debate.

This short film raises some intriguing issues on what is expected of a filmmaker in terms of enigma. In particular, what questions have to be answered? This film, without a word off dialogue, makes the story consistent and offers the viewer enough information to speculate elements left unknown. Questions such as ‘Who is behind this?’ may be pressing on a viewer’s mind but, fortunately, doesn’t make for frustrated viewing.

The central character works much better as a plot device then as a viewpoint character. Though to be fair the protagonist is not allowed character moments, specifically within the time limits and constrains of the plot. That said Peter McLaughlin’s performance at least allows for sympathy for the character, he depicts the madness of a man who is in a desperate situation.

The style works intriguingly well, with the structure of a guide. The cuts, to the step by step instructions, allow for the story to skip any moments of mundaneness and get to the heart of the tale, which is essential for a short film. Additionally it is as if the film is instructing viewers, meaning they are directly addressed, it subtly makes the viewer consider what they would do in that situation.

The paragraph below is influenced by Russell T. Davies (Writer and Executive Producer of 'Casanova') who described that the use of panning wide shots and music can lead to an filmic effect.

The moments this film really shines are in the moments it goes from being standard to ineffably filmic. The shot of the box being dragged over a golden field is stunning and captivating.

It also works on an extremely relatable level, taking images of suburbia and converting them onto iconic images. These include the cardboard box, being used as a coffin. The garage becoming a claustrophobic holding cell. Most of all turning fields and woods into these alien landscapes through cantered angles and a discombobulating editorial style.

We believe it was right to be truthful and honest of niggling doubts of our finished product. Whereas they are subjective, critics will always offer a comment that is personal to their preferences.

The music is a double edged sword; it fights the obvious instinct of being thriller typical with predictable build ups. Alternatively it focuses of the tragedy of death and of the gruelling task laid out. On the other hand it can be a little jarring to have the soundtrack suddenly cease, whilst it shows shock it also makes the viewer very self aware that they are simply watching a fiction.

The conclusion summarises the major tones of the review, it also has a brief reference to the introduction to help the review feel complete and an absolute journey folowing the piece. It also has an alluding reference to the end to work as a hook to lure potential viewers.

This story is told confidently and unapologetically pulling at both the hearts strings and the brain cells. If ‘The Quintessential Guide to: Dispose of a Body’ does become another lost gem, than it should be one that is cherished. With an ending that will truly shock people this is well worth watching.

By Tim McNiven, Peter McLaughlin, Oliver Fitch & Joe Lawrence