Storyboard Analysis

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Storyboarded Analysis First I would like to state that my storyboarded is based like a montage, showing different clips from different aspects in a short storyboard, I thought the addition of text would make it seem more realistic, to properly get the idea where the credits would actually come in through an actual film. The opening shot (see Fig 1) was to give the sense of wonder to the audience, as they did not know why the paper is burning, it is daytime but all the blinds are closed and the lights are off to give the audience maximum effect, (see fig 2) this is virtually the same shot with the same piece of burning paper so as you can see I will be showing the whole piece of paper burn away, letting the audience wonder what is going on for a longer period of time, this part of the burning will have a credit showing who the film is by. (See fig 3) this shot is an establishing shot which pans to the left, showing the audience where she is and what she is doing (see fig 4) this is still the same establishing shot but it is tracking the woman, (see fig 4) this once again is part of the same shot this shot is still showing where she is which is St Andrews park this gives the audience the exact location of the woman.

Fig 1

Fig 2

Fig 3

Fig 4

(See fig 6) this shot is more of a basic shot, it shows a mother pushing her baby on the swing, it then zooms in with a slight shallow focus on the babys face making the audience wonder if he is Fig 5 imaginary, it then fades into (see fig7) this is a medium shot this shows exactly the same as the fig 6 it just gives a different variation of angles (see fig 8) this is exactly the same shot as fig 7 just further on within it this shot will have a credit saying who it starrs.

Fig 6

Fig 7

Fig 8

(See fig 9) this is a medium shot showing a mother holding her baby on the roundabout, this shot will then cross fade into the next (see fig 10) this is a high angle Alana Stephenson 1

shot from on the roundabout so it is going round seeing the womans point of view. I think these two shots will be very effective because of the way the two motions will mesh in together.

Fig 9

Fig 10

(see fig 11) this is a long shot, it shows the woman getting up once she has realised her baby is gone this will be apart of (see) fig 12 because I will be using a quick left pan this will contain a credit saying who starrs again this will also be apart of (see) fig 13 showing the mother kneeling next to a tipped buggy, this will make the audience feel sad and compassion for the woman.

Fig 11

Fig 12

Fig 13

(See fig 14) this is a flashback showing the audience the past, she is receiving a note saying hush little baby dont you cry this makes the audience believe that the baby has been harmed or kidnapped, this now makes the audience understand why she was burning a note earlier on, (see fig 15) this is a close up of the womans face, showing her shocked facial expression, (see fig 16) this is an over the shoulder shot showing the womans point of view, showing a person running down the street, this makes the audience think that this is the person who posted the letter, it then fades into (see) fig 17 the shot of burning paper to once again reinforce what is happening it then fades back out to the woman in the park kneeling at the side of the buggy (see fig18)

Fig 18

After this it then Fig 16 Fig 17 fades out and changes scene (see fig 19) it shows the person posting the note who has a hood up so that you cant see their face in that particular shot, after this I will do a slow motion shot this shows the person turning around, in this shot everything becomes clear, the woman posted the note to herself, hushh will then appear on the screen (see fig 20) the picture will fade out and then hushh will still stayFig 14 Fig 15

Alana Stephenson

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on the screen for a few seconds (see fig 21)

Fig 19

Fig 20

Fig 21

The storyboard that I have created is a montage; the point of it is to have the audience wondering for the whole of the sequence, until the end where it is not at all what they think (paradigm).

Alana Stephenson

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