Thanks, I Just Threw It On! is a rom com short film which explores the struggles a woman can go throw whilst preparing herself for a date. The title in itself signals the phrase commonly said when perhaps not telling the exact truth behind how much effort goes into getting ready. This film also has a mash up of time element which was interesting to look at; with modern day, significant items mixed with older elements - a new take on a simple narrative.
The title sequence is also very typical of an older film, as it cuts to an establishing close up of the woman so a face can be linked to the voice, and the title pauses the action of the shot, and types out on screen in an eccentric colour the title, and then continues the action as it cuts away, indicating it is a comedy also with very harsh cuts.
Further on, the shots emphasise the comedic feel to the film as it shows her leave the frame as the camera stays a second longer to show she is an active, excitable, typical female, then cuts to a blocking shot of her putting on music on a record player which connote the 80's or an older era, and the vintage furniture and rollers in her hair accentuate this, and tracks her moving towards her bed in which a sudden cut sees in a mid shot her jumping on the bed with the new on screen diegetic music. Cuts then follow to a comedic zoom out through the mirror from a close up to long shot, slowly on her face as she gets ready, through the iconic blue mirror which is central to the shot and hints the accepted unnatural mise en scene as it is seen as a set yet is still effective as it represents a mirror. It then shows the merge of different technologies as she picks up an iPhone, a typical 2016 item, and then switches to an 80's telephone. A fast zoom in on her panicked face then shows the disequilibrium of the piece.
The transition is very smart editing wise, as soon as she walks past the panel her outfit changes to show an ellipsis and links to the overall story, and the unnatural and unrealistic values of the scene are overlooked as comedic factors instead which also makes it effective as it creates a smoothness to the film. She is seen in a very typical and uniform to the title sequence pink, which makes the film and character seem very 'out there'.
There are also many cuts after the disequilibrium to add pace and show panic among the character as she is unhappy with the outfit she has worn, which has led to editing cut very fast with comedic outbursts of short, funny, snappy lines, and almost seems like the character is aware of the audience yet in interpretation can be seen as her talking to herself in a nervous state. The sound is parallel to this as the music speeds up as her state does.
The transition is then repeated as she changes outfits and sees her make a grand entrance, yet again her facial expression and body language shows she hates the outfit and the mirror is back as that is what she centres herself around. The cuts also explore movement and makes up for the lack of scenery as the audience are too buys following the main character as she moves from right to left of the screen. Pan follow her walk from her drawers to her mirror which make it very fluid.
The transition is again repeated as she flings her arms in a mid shot, to lift them down in disappointment and then disappears from shot, which conveys to the audience the importance of her looking nice for her date and the whole build up to this significant point as she 'gives up'.
These shots emphasise her movement in a set that doesn't move, and is extremely effective comedic wise as it shows her drastically moving in her annoyance as she doesn't believe she has anything to wear - hyperbole is used a lot in this film. It shows her bang her head against the wall, slide down the chest of drawers and even cry on the phone to her mum.
The pan is much slower and the music then slows down for the pinnacle moment as she slowly drags herself to look at another outfit, and walks with less enthusiasm through the panel, and immediately cuts to a close up to show her facial expression of shock as the new equilibrium begins.
The cut then pulls out to a long shot to have a better idea of what she is wearing and how her confidence slowly reappears, and cuts to a close up with her mirror out of focus as she reapplies lipstick and is seen smiling, seen in a repetitive birds eye shot to show she has forgotten about her clothing mishap like it never happened, and therefore refers back to the beginning of the film.
The rom com genre conventions make another appearance as the unrealistic pointing through the window and handing flowers happens, half to make it comedic and also to compare the frantic to the calm, all the while seeming quirky and upbeat again.
As she leaves she is heard to speak off screen, and the music is still playing in what we believe to be non diegtic off screen, and the shot is left in a standstill long shot of her mirror, and the title appears; as it can be thought to be believed this is the end of the film. It lasts a little too long and confuses the audience, to which the main and only character runs back across the screen and the titles disappear as she does, and the music stops as we realise it was non diegetic - a comedic twist on the film ending.
The end credits are light and bright which follow the stereotypical, girly rom com measures.
MEDIA LANGUAGE:
- comedic zooms
- set in an actual set, no change of mise en scene
- quirky, new twist of use of old and old props to add new convention and uniqueness
- fake mirror to add perspective
- bright colours such as pink. yellow/orange and blue to make eccentric
- unnatural introduction of minor character; don't see his face, quirky and comedic
REPRESENTED:
- Arden is represented as a carefree, retro, happy girl who is very well in tune with herself - she likes old, retro values and her whole room screams that (mise en scene), she also wears very eccentric outfits which convey her personality
- she also is seen as carefree as she gets worked up over small issues, as the whole film is issued over what she is to wear for a date; she is a very typical, young woman who has relatable issues to the presumable audience
- Will isn't seen, apart from to fit the quirky, comedic role, and is seen to hand flowers and speak momentarily and is very much the secondary character as the film is supposed to be innocently self indulged by Arden
GENRE:
- the genre is a clear hybrid of romantic comedy as the film has deliberate, funny one liners and also comedic zooms, with over dramatic cuts and facial expressions, along with clothing and bright mise en scene
- the topic is also all about a date and what to wear; it's extremely non serious and therefore its genre is obvious
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