Evaluation (Part 4): In what ways does our film use, develop or challenge forms and conventions of real social realist films?

The narrative of the film was always at the fore fronts of our minds. Because, in our opinion, our story was quite different to the standard film fare, therefore it was imperative we got our narrative across. We noticed, from such films as "Fish Tank", how social realism films have the tendency to just drop in the action, rather than some slow, dramatic gradual build up you'd get in something like the Hollywood film "Transformers". "Fish Tank" cuts right to her panting in her dancing room; we dropped right in on Molly putting her lipstick on. Straight away, themes of dangerous beauty are established. And then we soon come to the reveal of the scars, so already in the first minute we have the introduction of the main themes of insecurity and violence.
The genre of British Social Realism has definite signs that confirm to the audience that we are watching that kind of film; they are all the gritty conventions, such as the shaky camerawork, minimal dialogue and quite mundane action on screen. We made sure to have these in our piece in order to get that feel.
With camerawork we went down the handheld route, because - while it is the go-to style these days - we wanted the invasiveness of the style. It allowed us fluid motions of the camerawork for more movement and not become boring on a tripod for long periods. It is a common method of social realism so will allow us to meet the brief. We were now given liberty to push the camera right into the faces of the characters for full emotion, and - with the close-ups of the scars - full shocking impact of the reveals.
When it comes to editing, we knew we needed long takes to establish that sense of documentary-style realism, that longer takes seem more like a natural occurrence. We had a long shot of her walking down the stairs, which adds verisimilitude. Exactly what we want social realism. We don't want escapism. And prior to that we had the shot of her setting her room up; whereas it was a long take previously, we chose to jump cut it and this gives it a quite jarring feel, creating unease which suits the uneasiness of the subject matter.
Apart from the imagery, we needed to get every ounce of impact from the audio of the film. A convention of social realism is the natural dialogue, and in most opening sequences the dialogue is kept minimal. We went this and we also left out any music. I think it worked to give a slightly eerie and cold feeling. For us that was perfect as it is supposed to be uncomfortable and for something resembling silence, it left a chilly feeling. However, of course, we did have a radio track playing in the background off a radio in the diegesis, but I think its blended to the atmosphere to not be so much of a distraction. Because of the fact we needed signs of the narrative, we dropped a phone-in segment about domestic abuse. It's comes off as forced but without it I don't think it's quite as good.
Our mise-en-scene was pretty innocuous when it comes to social realism; usually you may get the grey and dark palette of a "Kidulthood", but we tried to be different and I think the safe, standard colourful and well lit look of the film gives it that sense of surprise when it does turn out badly, and also from then on, the nice look becomes unnerving because it doesn't match the horribleness of what's on screen. The light also shines burningly on her face and scars, as if to put her on the spotlight as the protagonist of this story, and to highlight her pain clearly.
We've grown to understand during the course of school that there are plenty of iconic signs in life that hint at a message without blatantly coming right out. We've put a few in to give it the film that impressiveness that people in a film class could extract something deeper meaning. Our first shot is of the red lips, and this instantly sets out that sexual whiff and the feelings of desire towards this show of beauty, however the reluctant way she puts it on shows the uneasy and uncomfortable sense of desire, which encapsulates the relationship between Molly and her father. The fact she is uncomfortable by the feeling of beauty, almost ashamed by it, is reinforced when she wipes off the lipstick. That main image of the red is throughout the opening, when she puts on the red jacket she signifies that feeling again. She becomes the Red Riding Hood figure. Sexual, yet vulnerable. And the prize to the Wolf - the Dad.