Lovefield

‘Lovefield’ – Narrative.

The beginning of the short film introduces the title immediately over a corn field which as the title suggests is the setting for this film, the lighting is dull and simplistic using natural lighting to allow realism throughout the film. The camera set on a crane in an extreme long shot moves down into the field as the non-diegetic soundtrack begins to play; it builds up in tension which is contrapuntal to the view of the audience. The shots dissolve into each other again confusing the audience and building unknown tension along with showing the audience the vast landscape the film is set in, as the camera pans up a creaking foley sound is introduced as the soundtrack builds showing conventions to a horror or thriller by putting the audience on edge. Including the use of a rural corn field, intense soundtrack and a crow which is a typical thriller prop.

 Equilibrium is achieved by the calm but intense environment however it is short lived once the camera searches through the field down towards the sound of a mobile phone out of service. The audience is given a close up of the phone deserted in this corn field, this further building tension as the camera moves back revealing a bag with money all around it. To this point the audience is unaware of what may be happening and where the narrative will go but the use of enigma codes and conventions allow their imaginations to fit the story together even though restricted narration stops theories from being confirmed until the end.

The equilibrium is suddenly broken with the disruption of off screen diegetic sound of a woman moaning in pain. The camera gradually moves further back giving restricted narration for the audience, only seeing a bloody hand grab the fallen plants around. As the soundtrack builds more a foot comes into view and the camera stops producing restricted narration. It tenses and strains as the woman is assumingly being attacked the music building in response until it relaxes, the woman falls silent and the music drops. In a close up a knife is plunged into the ground by a bloody hand.

The soundtrack peaks rapidly as the camera moves up the side of a male character, highlighting his rugged costume and tattoos. As the anticipation builds his face is hidden from the camera as he turns his head to the crow placed on the sign, the only witness in this scenario. A medium long shot reveals him to the audience looking around with a confused facial expression, still creating restricted narration because the audience does not know what he is looking for.

Using a low tracking shot the view of the male character backing up and running from the female is restricted keeping the viewer away from the assumed dead female. As the male runs for the car the crow continues with the rising tension in the soundtrack as he goes for the boot, using classic thriller conventions we can assume he is going to take the body and dispose of it. He stops and returns to the front of the car for the keys and does not know which key opens the boot suggesting it is not his car this is further shown as we see in various close ups he is looking in the boot for something but the restricted narration stops us from understanding his intentions implying he is unprepared for what has occurred. A medium close up shows he takes a black bag out of the boot, at this point the viewer is expecting the worse outcome, this is interrupted by the sound of the crow landing on the roof showing the male character its presence and almost presenting itself as a witness. The character re-evaluates and takes an old rag/towel out of the boot instead slightly confusing the audience.

The camera changes to a low angle of the male character approaching the still body however only the feet are in the shot, he reaches down covering the camera placing us in the females position as the music cuts out. The side view of the male in a close up reveals him lifting a new born from the ground completely changing the situation and creating equilibrium in the story. As the camera cranes up showing a view of the field we see a tractor stopped close to the scene resolving all questions as it shows he is a farmer who helped the woman followed by an small ambulance or police car arriving explaining the phone and bag.

This short film uses restricted narration and thriller conventions to create a false outcome in the audiences mind. It displays how even though it is a linear (chronological) order of events mise en scene, sound and camera use can dramatically impact a narrative.