Stephen- The Device Analysis

Directed by Claude Lee Sadik
A mysterious device is about to shake a young man's life...

In the opening shot we are met with an ordinary looking character drinking coffee; this is supposed to represent us- the spectator. His costume consists of a coat that many people wear on cloudy days (the lighting suggests that this is the case), he's also wearing glasses to show that he's, again, just like us. His hair is a bit messy: showing that he's just woken up; and the coffee also reinforces that, as it's typically used as a 'wake up' drink. From this introduction to the character we know what type of person will be represented: an ordinary (male) human being.  We can also see that this is the audience being targeted as well to make the film a more socially realistic piece; making the viewer believe that this scenario could happen to them.At this point and from henceforth it is unclear whether this character is a protagonist or antagonist; he's nonetheless the 'hero' of the plot as defined by Vladmir Propp.

There's then a diegetic off-screen sound of a device 'beeping' which gets the man's (and our) attention. This contributes to the restricted narration that we are in, creating an enigma that we want answered. Furthermore, due to the sound being an enigma we're led to one of Rick Altman's syntactic code for a thriller, leading us to believe that this will be an emotionally dark film. We're tracking the shot as the character moves his head; showing to us the pathway so we can see the setting. The pathway looks like any back alley you'd see in a built up city building up a feeling of social realism; as this could happen to anyone. It's at this point we can see a perfectly normal world; in Todorov's terms this is the equilibrium. We cut to a new camera position which shows the characters facial expression as he turns around the corner; showing curiosity to what is causing the sound.

We get a low angle as the character walks around a corner whilst the diegetic sound grows louder; the very low angle gives the character a powerful stance; done so we can tell he will not be in danger in this alleyway (taking away some mystery in order to set the later scenes.) It can also be seen as he has power over his decisions: he's decided to investigate the sound.This shows representation of a man and one of his age; curious and incautious. This representation is both a good and a bad thing; it shows that men are curious people- a good thing- but lack any caution when it comes to acting upon something- a bad thing. This representation also makes the film more engaging for the audience; whom will be of the same spirit as the character.

As there's another fade between the shots, a transition which is often used to convey time passage,  the character approaches the device that was causing the 'beeping' diegetic sound, now on-screen. The transition could convey that the character has spent time looking around for whatever was making the beeping sound, and has put effort into actually finding it. There's also a bright white light emitted whenever the sound plays. This is a semantic code for a sci-fi; a device that emits light and sound at the same time often conveys an alien artifact. Because of this semantic code we can define this as a science fiction short film as well as a thriller- due to the enigma that the device is. Additionally, as the character picks the device up there's a beam of light that shoots up his arm; an extraordinary experience often associated with science fiction. This is Todorov's disruption in the film; as he knowingly picks up the strange device.

We get an over the shoulder shot of the character observing the device; the OTS shot makes it feel like the spectator of the film is judging the character based on the decisions he has made in picking the device up. At this point the diegetic noise has stopped and all that is heard is the ambient noise along the road as cars drive by; perhaps the beeping was a homing beacon? This sudden stop in sound might go unnoticed, however it connotes the semantic science fiction genre; as if this man is actually the owner of the device and it responds to his touch. As we cut to a different shot again we're at a low angle- the device has given the character power; though from his facial expressions he doesn't know it as he is still confused and uninterested. This, again, is a representation of the early 20s male being indifferent to things that others may feel are exceptional things.

////////The scene then fades again to the title; italic writing with boldness applied to the "device"- giving it emphasis. The background is that of the galaxy- a semantic code for sci-fi again, to further convey the idea of the device being out of the ordinary. /////

As we fade out from the title sequence we are shown a new setting; that of a home. The décor is bland, with whites being the stand-out colour; perhaps telling us that this character is bored of his ordinary life. The sofa prop is clearly planned; as it shows that he's been sitting there frequently due to the creases in the pillows.We cut back to the character in the doorway as he picks up a letter that has gained his attention; the words "check this out" come into focus while the rest of his body and the background has been focus pulled out of focus.

The camera tracks and tilts following the character's movements as he sits down. His body language suggests that this is a common routine that he follows so we're further shown the boredom that surrounds this characters life. As a diegetic sound of the device beeping occurs again there's a match-on-action to show him pulling it out his coat pocket. As the camera tilts up again we hear the diegetic sound of rustling keys; as well as seeing them in the frame when the tilt is complete. This further represents the male gender to not care about items that are likely of value. 

The next cut takes us to an eye-line view in front of the character; we see him touch the device before a stereotypical blue translucent display appears- a semantic post production effect for science fiction films. We now know that this device is not of this world as previous shots established technology like this doesn't exist yet. This shot and post production effect is definitely something I'd like to try in the short film we create; as it's not only professional but it wows the spectator as well making them enjoy the film more. Seamlessly the shot flows to reveal that the character has disappeared- and we now know the device is a teleporter. 

We then see a shot covering the garage where cars are parked- presumably the character's apartment's garage. Suddenly, there's a shock as the character appears in the frame with the blue glow surrounding him for a half second. The shock on the spectator is that of the same shock the character surely felt, and still feels, as evidenced by the body language he shows: lying, cowering, on the floor. 

As the character begins to get up from the floor there are jump cuts to enforce the uneasiness and discomfort the character feels:

There's also a break in continuity editing as the 180 degree rule is broken; with the camera panning and jumping back a few degrees with jump cuts. This further shows the discomfort and shock of what has happened- as well as the quick pace between transitions. 

The GIF shows as much as it could record of the above sequence:

 The character then proceeds to push his unlock door key on the car keys; causing the car behind him to unlock: shocking both us (the diegetic alarm sound) and him. His body language clearly shows he wasn't expecting to be in his own garage. As he walks around he puts the keys back in his pocket (shown via match on action) and pushes the button on the device again- only this time he doesn't teleport, much to his confusion (facial expression.)

As we change settings to the outside of the car park we see the character nervously bite on a train ticket- a representation that men do get nervous. As he studies the ticket he pulls the device out of his pocket and presses the button: causing the semantic blue glow to appear again. We now know what makes the device teleport.

As we change settings to a train station we witness another change in facial expressions and body language. This time we see him stare in wonder and amazement at his surroundings; finally sensing that he's free from his previous life of boredom. This is almost a socially realistic piece, delving into the spectators own thoughts on what would happen given this situation- instead of a far out theory. In doing this it make the entire piece flow fluently and effectively; making the spectator question what the character will do with his new found device and if they'd do the same thing if they were in his situation. It's at this point that we begin to see that the director was telling us about the human condition; how we all want things and will go to extreme lengths to get them- only to have it thrown out of reach at the last hurdle. 

His next change in scenery is definitely something we'd all wish to happen- from the city station to a beach. The pan that takes place not only shows the setting but also the character's twisting emotions: he's overjoyed. The change in lighting is also evident, from a dark dreary and boring place to a much more bright place with non-saturated colours. 

As the character is overjoyed he goes back to his apartment, jumping in a show of happiness. He tosses the device onto the sofa. Here we are, again, shown the representation of the male not caring where he puts his things- no matter how precious they are.

The protagonist (we can call him that now seeing as he's in a much lighter emotional state, he's shown happiness as opposed to anger and hate) retrieves map and travel brochures; something that the audience would all relate to having in the dreams of going to those places. There's montage editing showing all the different locations that he dreams to go to; alike to the audiences own dreams. This makes the audience wish they were in his position. 

The protagonist then notices the note from earlier: his curiosity evident on his facial expression. The soundtrack is still fast paced, as it was during the montage, often used as an action code- so we know something is going to go wrong.

From the back of the paper we can see what looks like a picture of a galaxy; so we begin to see where this is going to end. He sits on the device; clearly not paying attention to what he was doing in all his excitement- as anyone in the audience would understand. His facial expression is almost comical as he realises what he has done; as the blue glow starts to form around him. It is now that the resolution occurs; as the conflict is taken away.

The soundtrack suddenly goes eerie; reflecting the mood perfectly. As the paper floats to the table, we pan to see what was on it: as expected, it was in outer space. This, overall, represents the average human: we get so excited about something we throw all logic and sense out the window: in his case he threw it on a sofa chair. It makes the audience evaluate their own thoughts during the short film, something i'd like to make happen in our short film, and it hopefully makes them question whether they'd do the right thing with the device. The new equilibrium opens now; in a world without an alien device. 

The end credits are flashy and well edited, intended to keep the directors name vividly in our heads. Both the opening and end credits are in the same format, but nonetheless they're both extremely well edited and the post production effects were in good taste.