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                                     Design

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                                     Design

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The design work on the poster was not important as our sole intention was to keep it minimalist as possible.

The credit strip at the bottom of the poster was not important for its design but rather an addition which allowed ourselves to be recognised as independent filmmakers, and showcase the film based on its art rather than our names. As one-time student producers, we are not popular names in the film industry and neither are our additional cast members. For this reason, we kept the copy at the bottom of the page and only clearly readable at a fairly close distance -for those who may be interested. The credits were created in the Sans Serif font Calibri, in size(s) 8 and 12.

Likewise, by recreating a real film festival logo - 'BFI Lndon Film Festival'- allowed us to give an accolade to the film which is an institutionalized incentive for the audience of the poster to watch the film. It has been validated for them through this logo.

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                                                                         Language used within the Poster

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                                                                         Language used within the Poster

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The title of our film is of course prominent in the film poster. ‘RED’ was chosen in order express the colours' connotative state- just applied on a wider scale. For instance, when put into the context of real-world application, generic connotations of the colour red evoke promiscuity; danger; anger; love and even so bloodshed. However, when we were deciding on a title for our short film, we wanted to incorporate something short, simple yet effective and something which offered value and meaning , that we could use to tie our whole narrative together. 'RED' for us epitomizes the element of passion and scorn felt throughout by our protagonist. In several scenes you will notice that our protagonist was largely associated with this colour; signified by the red dress she is wearing; red streaks in her hair; the red nail polish. Our intention behind these actions were to reinstate her emotions of anger but also of brief remorse: she encounters an emotional realization towards the end- where she briefly strokes her lover's cheek- but is overcome with hatred/scorn, as she continues to place a black bin bag over his face- out of disgust.

The concept of our protagonist ever revealing her true identity - opposed to her contrasting emotions- is very slim and uncertain.  For this reason alone we decided to mirror her 'broken' self through use of forced spaces between each letter. The font used for our title was a Sans Serif, narrow/thin version of Century Gothic for the title which includes the letters being forced apart by deliberate use of gaps .  This moreover stresses the unsettling reality in which the protagonist is living in.

Furthermore, we decided not to include a tagline in our film poster. This decision was made based on the fact that we wanted to entice our audience with the image rather than spark curiosity in them through words.This film is not straightforward and deals with complex issues, any tagline would either romanticise something which isn’t prominent in the film, or destroy the effect of our abstract image. We therefore decided against including a tagline . I do not believe absence of a tagline hinders anything whatsoever, if anything I believe that absence of the tagline helps make our product more appealing to the audience. This is because the younger half of our intended audience are likely to be students and active film-goers themselves; and given the format of our poster, it is less likely to be displayed on billboards, sides of buses etc, but instead more likely to be found in magazines and art-houses.

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                                                    Image  for the Poster

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                                                    Image  for the Poster

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For our poster image we had decided collectively - as a group - that we wanted the poster to be as spacious and minimalist as possible.  We believed doing so would enable us to touch on the protagonist's personality and mental state, a bit more, than we had done within the film.  Thus, we utilized framing and composition advantageously to reflect knowledge of spacial awareness and how the black surroundings manifest emptiness and void she feels within herself. It is almost as if she is consumed entirely by her mind: she is made a product of her own mindset and is now oblivious to every other thing.

Manipulation of the low-key lighting was intentionally done to reinforce the character's ‘sinister’ side which is always present within her, as she is desensitized from the world around her and remains a prisoner to her mind. Drawing contrasts between two dark entities allowed us to convey this message to our audience, through use of stylish and visual imagery.

Equally, our protagonist's body language was key in promoting the main product due to the vacant look in her eyes'. Using only half of the subject’s face allowed us to create the impression that this is not her complete identity, but rather the side of her which has proved dominant. As you can see by the image,either halves of the protagonist's face are equally weighted; suggestive that she is unable to differentiate from her 'masked' self- which comprises of septic compulsions and her natural state, which judging from the image indicates underlying vulnerability. Though that idea is blurred by her distinct red lips; possibly connoting danger or authority over men. The facial expression made by the subject is very neutral which gives audiences the idea that she is an introverted, private character who wished not to express too much of herself. This allows us to shock the audience when they see her during the heightened climax of the film where she is dragging the dead body out of the bedroom and down the staircase, as they would not have believed she was capable of such.

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             How do the ancillary texts work together to promote the main product?

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             How do the ancillary texts work together to promote the main product?

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                                          Poster

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                                          Poster

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One form of ancillary text which has worked in synergy with my short film, is that of the print poster. The poster has been effective in driving the entire campaign, as this form of text is what would garner interests of potential viewers as well as 'hype'- founded on 'word of mouth' between friends

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How does the main product appeal to a specific audience?

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How does the main product appeal to a specific audience?

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RED fuses together elements found in Psychological-Thrillers, with that of Mystery and Suspense. Thus, our intended audience - concerning age - would vary immensely between 18-65.

We decided as a whole to create a product which could resonate with minds alike- on either end of the 'age spectrum'. For instance with our dependence on suspense and anticipation, there are scenes within the film which lack resolution and may therefore confuse younger viewers; opposed to the more mature viewers who would be able to use their initiatives to make detailed inferences.

Similarly, RED is not gender specific. We have created a product which is perfectly aimed at either sex, as the genre chosen is not largely dominated by one particular sex . Hence, this makes our product more accessible to potential viewers - on a much larger scale; anyone and everyone is encouraged to watch, follow the narrative and conclude what they believed the plot was about and whether or not the narrative was complex?

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                          Evaluation Question 2:

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                          Evaluation Question 2:

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How effective is  the combination of your main product and ancillary texts?

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The main product that I have created for my Advanced Media Portfolio, is that of a short film entitled RED.

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RED - Credits Director/Editor - Divine Layokun Cinematography - Jessica Thrower Female Protagonist/Screenplay - Divine Layokun Male 'lover'- Afeez Akintoye