Write a logline and a one page synopsis on the short narrative that you have chosen from above

Part II (The Pitch)
Choose ONE short film from the list below.
Film Choices:
Required Reading: Chapter One

Field in the Woods

Saturday

REYKO/Spinning over You

STOP

Date: Monday, May 8 9:00am-11:50am.
Assignment: Write a logline and a one page synopsis on the short narrative that
you have chosen from above. Remember when you are writing your synopsis you
13069 Final Instructions
want to base your discussion of the short film using terminology from one of the
chapters from the textbook. You may structure your synopsis with technical terms
from Narrative, Cinematography, Mise-en-scène, Editing, OR Sound.
______________________________________________________________________________
Example:
Aftermath
The one sentence synopsis (Logline)
Battling between adolescence and manhood the protagonist Jem is forced to defend
himself in a cold dystopian society.
One page synopsis (Brief example using cinematography)
The audience enters a bleak and inhospitable world with a disorienting low angle
shot of trees blowing in the wind. A subsequent dolly shot reveals silhouettes of trees
and characters lawlessly entering the home of another. Their only mission is to
eliminate any threat to their survival, killing the inhabitant and stealing their food and
supplies. Through cinematography the audience connects with the visceral desire of
the protagonist Jem to remain a carefree boy while his brother assumes all
responsibilities of manhood.
Static wide angle (long) shots provide the viewer with an understanding of the cold
wintry setting. The setting implies that the world is unforgiving, barren, and
disconnected. The use of a low angle shot is used again to establish the relationship
between Jem and his brother, Cody. Through a high angle shot the hierarchy is
established as Cody looks down upon his younger brother and admonishes him.
TERMINOLOGY REVIEW SHEET
Chapter 1 (Narrative)
Antagonist Non-Diegetic Setting
Causality Static Character Classical Narrative Structure
Spatial Relationships Internal Conflict Protagonist
Chronology Dynamic Character External Conflict
Diegesis Theme Motif
Story Plot Disordering Events
Chapter 2 (Cinematography)
Eadweard Muybridge Camera Distance Camera Angles
Crosscutting/Parallel Action Depth of Field/Deep Focus Scene
Shallow Depth of Field Racking Focus Camera Movements
Chapter 3 (Mise-en-Scène)
Sets Alienation/A-effect Properties/Props
Locations Figure Three-Point Lighting
Casting Costumes High/Low-Key Lighting