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Boyhood (2014), dir. Richard Linklater; overall look and aesthetic, as well as jumpy timeline of events (film does the reverse of sorts by going backwards in time, as opposed ti forwards)

Wes Anderson Films (overall aesthetic and framing)

Little Miss Sunshine (2006), dir. Jonathan Dayton & Valerie Faris; contrasting a bright aesthetic with a bleaker story

Persona 3 Reload OP (2024), Full Moon, Full Life; a sharp and bright aesthetic contrasting the darker and more depressing aspects of the games story

Erased (2026); mild influence over the story

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Filming schedule used during 'Unveiled Memories'

Dates 05/05/25 - 07/05/25

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Sony FS7 (Camera)

Samyang Lens Kit (came with camera)

Tripod (came with camera)

Zoom F4 (Soundkit)

Clapperboard and Pens

AVID (editing)

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Initial filming contact info (Portsmouth City Council, English Heritage)

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Elevator Pitch for the film

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Motif notes and initial planning

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I celebrate myself,

and sing myself

And what I assume you shall,

assume

For every atom belonging

to me

As good belongs to you

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Additional Risk Assessment for filming in Pembroke Park

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RA 2024-2025 ADDITIONAL RISK ASSESSMENT Pembroke Park

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Risk Assessment for filming in the Southsea Rock Garden (location changed to Ravelin Park during production)

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RA 2024-2025 ADDITIONAL RISK ASSESSMENT Southsea Rock Garden

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Risk Assessment for filming at Southsea Castle (later changed to Pembroke Park during production)

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RA 2024-2025 ADDITIONAL RISK ASSESSMENT Southsea Castle

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The shot list for 'Unveiled Memories'

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Initial Locations -

Southsea Castle (Scenes 1 & 4)

Southsea Rock Garden (Scene 3)

Jaya's House (Scene 2 & 5)

From the beginning, we wanted the filming locations to have both elements of nostalgia and natural beauty reflected in them. Thus, after a few location recces around Portsmouth, we landed on the Southsea Rock Garden (due to it's size and winding layout allowing for some unique shot ideas and its overall aesthetic fitting into our film's look), Southsea Castle (specifically the part by the sea with the bandstand nearby, due to it's quieter setting and layout helping with shot ideas, again), and Jaya's bedroom and hallway (due to us storing the equipment their, and the fact that it is considerably more spacious than my own home, and thus wouldn't hinder our filming).

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Pembroke Park (Scenes 1 & 4)

Ravelin Park (Scene 3)

Jaya's House (Scene 2 & 5)

Following a lack of response from the council over permission to filming in the exterior locations, we changed our plans to instead film in a Green-to-Go Zone - Pembroke Park - in place of Southsea Castle, and Ravelin Park in place of the Southsea Rock Garden.

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Out of all of the poems from the brief, 'Song of Myself' resonated with both of us a lot more due to Walt Whitman's own influences. Much of his work, but especially the one listed, was inspired by the works of the Romantics, such as Lord Byron, William Wordsworth, John Keats, William Blake, and Percy Shelley, with their themes of nature, longing, transcendentalism, and individuality

Additionally, another reason we chose 'Song of Myself' was because of how easily the poem could lend itself to other themes. Early on, we both felt their was a more depressing atmosphere to the poem, with a sense of longing for a better life being our initial inspiration when creating our first draft of the script and film itself. However, upon doing some further analysis of the poem, we felt that whilst there was a still a sense of longing within the poem, it could also be read from a much more optimistic lens, with themes of longing, nostalgia and individuality showing through a lot clearer in this reading, and greatly helped in further developing our film's concept.

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Main themes: Nostalgia, elements of grief, longing, desire, ect

Initial Plans involved more heavily around grief and loss (changed later on to be about memories and nostalgia)

Recurring Visual of nature throughout (also played a role in the film itself)

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While we use a lot of conventional lens tricks throughout the film, there is a common theme of extreme wide shots being used whenever our protagonist is back in the real world/not reminiscing, with the 14mm really helping to make it seems like she's just another part of this world, that what she's experiencing is ultimately not going to affect anyone but herself, such as with the opening shot (page 2).

Additionally, we utilised a lot of soft focus shifts whenever a key moment in the film occurred, such as when our protagonist found the radio and headphones in the second dream sequence (page 3), the cut to a flashback sequence showing how the CD came to be (page 4).

In terms of positioning, we utilised a lot of handheld tracking and other the shoulder shots, mainly to further focus on our main protagonist, and to further cement the camera as her perspective. A couple notable examples are the second shot of Scene 1 (page 5) for the handheld tracking shots, or the close ups whilst our protagonist makes their CD in the flashback during Scene 3 (page 6) and the rediscovery of the CD in Scene 4 (page 7)

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Soft Focus in Scene 3

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Soft Focus in Scene 2 Flashback

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Tracking Shot 1

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Handheld over-the-shoulder shot from the Scene 2 flashback

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Handheld over-the-shoulder shot from Scene 4

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Behind tracking shot in Scene 4

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Allen, Gay Wilson; Cowles, Malcolm; Van Doren, Mark; 'Walt Whitman's (1945); Viking Press

Arianto, Tomi; 'National Romanticism in Walt Whitman Poems' (2018); Lire Journal (Journal of Linguistics and Literature) 2 (1), Pg 14-20

Asselineau, Roger; 'The Evolution of Walt Whitman' (1999); University of Iowa Press

Bennett, Andrew; 'Romantic Perry and the Contemporary Poetry's (2008); N/A

Boren, Zachary; 'The nature of nostalgia ' (2013); Contemporary Psychotherapy 5 (1); Pg 1-3

Borges, Jorge Luis; 'Walt Whitman: Man and Myth's (1975); Critical Inquiry 1 (4), Pg 707-718

Frank, Jason; 'Aesthetic democracy: Walt Whitman and the poetry of the people ' (2007); The Review of Politics 69 (3); Pg 402-430

Gee, Malcolm; 'Art, Nature and Nostalgia' (2004); Oxford Art Journal 27 (3); Pg 428-431

Killingsworth, M Jimmie; 'Walt Whitman and the Earth: A study of ecopoetics ' (2009); University of Iowa Press

Landine, Jennifer; 'Longing for Wonderland: Nostalgia for nature in post-frontier America' (2004); Iowa Journal of Cultural Studies 5 (1)

Loving, Jerome; 'Walt Whitman: The Song of Himself' (2000); Univ of California Press

Prickett, Stephen; 'The Romantics' (2016); Routledge

Whitehead, James; 'Madness and the Romantic Poet: A critical history' (2017); Oxford University Press

Wu, Duncan; 'Romanticism: An Anthology' (2012); John Wiley & Sons

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Final draft of 'Unveiled Memories'

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Major change 1: In the initial drafts of the story, our Protagonist was instead supposed to go on a trip both back and forwards within their memories, with each stanza relating to a different period of their life (1st = Present; 2nd = Past; 3rd = Future; 4th = Enlightened Present). However, difficulties arose in trying to portray how the future could look distinct without treading back on the aesthetic we planned to utilise for the Past.

Thus, we ultimately decided to change the plot slightly so that it was instead a series of dream sequences and flashbacks to our Protagonist's life, and how they came to find their happiness in life.

Major Change 2: The ending was originally supposed to be our Protagonist walking off with the CD, but was changed to include the scene where our Protagonist instead goes home to listen to the CD.

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Storyboards for Scene 1

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Storyboards for Scene 2

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Storyboards for Scene 3

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Storyboards for Scene 4

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Additional Flashback storyboards

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Added shots, storyboarded

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As neither of us are proficient in editing, we decided on doing a simple cut in AVID, which we also used for the sound cut and later colour grading.

In regards to the colour grade, we wanted to have a slightly surreal look to half the film, and a more toned down and neutral look for the other half. The scenes set in the present utilise a cooler/greyer colour grade, to fully emphasise the monotony our protagonist is feeling.

However, the dream and flashback sequences utilise a more absurd colour scheme, with the dream sequences having a more dreamy colour scheme (mainly pale pinks and light blues, almost a bit rose tinted), and the flashbacks having a bolder colour scheme (greenish yellows and bolder pinks, and almost seem more unnatural than the dream sequences).