WELCOME MODERATOR!

HARVEY GILLETT

CANDIDATE NUMBER: 1225

CLAREMONT FAN COURT SCHOOL: 64680

I worked with Frederick Howe 1230, Tamara Rudd 1258 and Oliver Macnaughton 1243. 

I hope you enjoy my blog, which contains my work on my G324 Advanced Portfolio. 

I chose brief 2: construction of a film trailer for Welcome To Eden including two ancillary products promoting the film: a film magazine front cover and a film poster. 

My evaluation questions are above.

My research, planning and construction process for my two ancillaries is above in MY MAGAZINE COVER and MY FILM POSTER. 

The research, planning and construction for my film trailer is below. 

FINAL FILM TRAILER - 'WELCOME TO EDEN'

Magazine Cover

When deciding the font for my magazine cover, I found it difficult deciding which one I liked most. Therefore, I decided to get some feedback from my peers and where it says 'yes' is one of the options my friends chose and where it says 'hi' is another one another friends choosing which one they like most. This made it easier for me to eliminate certain fonts. 

As a result, I chose to font type: Wawati SC Regular where it says 'yes hi' as both my peers liked that one, and so did I so it felt like the right choice. 






The image below shows my peer looking through the different fonts and having her input. 

The concept and aim of my magazine cover will be to portray Ular Kadir as a puppet master, holding and controlling the lives of Adam and Eve. I feel like it is an effective way to convey the manipulative character and his sinister personality. 

Furthermore, I will capture Ular Kadir holding the puppet frames in each hand, whilst Adam and Eve will be tied to the strings and will be under his control and power. 

Magazine Cover

Evaluation: Facebook

Construction: Lampost Scene

For this scene, my group and I shot the scene in which Adam and Eve find the flyer advertising the room for a bedroom within Ular's house. We didn't use a tripod for this scene as we decided to use a handheld camera instead. This was to get a sense of movement, as though the audience are moving alongside the characters. We reshot the scene on a few occasions as we didn't get the sense of excitement from the main characters, however it was only a quick shot that is crucial in our trailer.

We managed our time well, and fortunately had enough time to spare to squeeze in extra filming. There was a graveyard nearby that we utilised with consent. These shots were filler shots but allowed us to express the religious connotations that have become such a fundamental part of our trailer.

Furthermore, whilst travelling back from filming. After carrying out safety precautions, we did extra filming. Whilst Eve was depicted as the driver, Adam filmed her in a mesmerizing manner displaying how much he adores her. This will be used as a point-of-view shot.

BRICK LANE

In today's lesson we watched a screening of Brick Lane, directed by Sarah Gavron.

• Nazneen appears uncomfortable in her new home that is Brick flats located in Brick Lane. This is juxtaposed with the opening scene of rural Bangladesh life amid flowing rivers and green fields, accompanied by haunting lyrical music. 
• Nazneen refuses to accept her adopted country and she isolates herself until she takes on sewing, which happens to be her first step in her development as an independent woman. 
• The identities located in Brick Lane are represented as being inward-looking as there is a closed Bangladeshi community that protects itself from the outside British world. 
• The film crunch comes into place in Brick Lane post attacks on the World Trade Centre. This results in the backlash against Britain's Muslim community as they are all generalised as terrorists. 
• Karim's involvement in anti-racism and local protest meetings triggers Nazneen's political awareness, which strengthens her personal development and voice. 
• In the film, identity is hybrid and dynamic, shaped by outside influences. 

Research: Magazine Cover