AICE Media Studies

  After weeks of searching, I finally found the perfect location to film—Hampton Pines Park. The struggle to secure a spot had been exhausting, but standing there, surrounded by towering trees and open space, I knew it was worth it. I had worried about getting permission, especially after so many rejections elsewhere, but this time, things worked in my favor. I reached out to the park officials, half-expecting another roadblock. Instead, they were open to the idea, asking only for a permit application and a few guidelines to follow. Relief washed over me as I filled out the paperwork, hoping nothing would go wrong. When the official approval came through, I could barely contain my excitement. Scouting the location in person made everything feel real. The sunlight filtering through the trees created the perfect natural lighting. The quiet atmosphere meant clean audio with minimal disruptions. I could already picture the scenes coming to life in this space. I walked along the trails,...

  n Finding a new location for my group has been one of the biggest struggles I’ve faced. I had a space that felt like home, a place where we could meet, plan, and create. Then, out of nowhere, we were denied access. No explanation, no warning—just a locked door and a firm “no.” I stood there, trying to process what had just happened. My group looked at me, waiting for answers I didn’t have. I scrambled to find an alternative, calling every contact I could think of. Each response was the same: unavailable, too expensive, or simply not interested. My frustration grew as each dead-end piled on top of the last. I met with my group, hoping someone had a solution. I  brainstormed, threw out ideas, and searched online for places that could work. Nothing felt right. Days turned into weeks, and my group’s patience began to wear thin. I couldn’t blame them—I felt it too. The uncertainty made me restless, wondering if I’d ever find a new space. I drove around town, stopping at buildings...

  Our early scenes depicting “implied” trust and then the following betrayal. Not perfect by any means, but we’re always willing to improve ourselves to bring forth the best short movie possible.

  As I began the final task, I need to be organized and create my plan.  First I would like to establish the schedule. After speaking to my highly anticipated cast, an agreed date was the second week of February. The day will begin as follows:  -Breakfast at eleven a.m. for all cast and those on the team contributing to the media piece. -Filming from twelve p.m. to three p.m. -Dinner from three p.m. to four p.m. -Cast is released and clean up by camera crew. The following day will contain the same schedule to clean up and perfect scenes. Next is the transition to the confirmed locations: -Many scenes will be at a local park in Fort Lauderdale, FL. -Some scenes will be at a warehouse if granted permission by owner.(Still in communication with owner) -Lastly, a couple scenes will be at Broward mall. To continue, here is the list of confirmed participants: -Ayannah Alincy -Stanley Michel -Julissa Saint-Remy -Tyson Alincy Possible participants are: Alisha L.,  Aliya B., ...

Drago is a short film that blends fantasy, adventure, and surrealism, focusing on themes like heroism, myth, and emotional growth. In this genre, common camera techniques include wide shots to showcase expansive landscapes or grand creatures, and close-ups to highlight emotional moments in the protagonist’s journey. Tracking shots follow the action, while low-angle shots are used to emphasize the power of dragons or heroic figures. High-angle shots convey vulnerability, often portraying characters as small within a vast world. The sound in fantasy films like Drago typically includes epic orchestral music to amplify grandeur and diegetic sounds like dragon roars or sword clashes. Non-diegetic sound effects add a layer of magic, and silence is strategically used to heighten tension. Background ambience, like nature sounds, helps immerse the viewer in the fantastical setting. In terms of mis-en-scene, costumes are designed to reflect characters’ roles, with elaborate, adventure-ready at...

Canard is a short film that blends surrealism and dark comedy, focusing on the absurd and disorienting. In its genre, common camera techniques include close-ups to capture intense emotions, medium shots to establish context, and tracking shots to follow characters through moments of transition. Wide shots are often used to convey isolation or emptiness, creating a sense of disconnect. The sound in surreal films, like Canard , often relies on non-diegetic music and eerie sound effects to heighten tension, with occasional moments of silence to build unease. Mis-en-scene (CLAMPS) plays a vital role in this genre. Characters are often dressed in simple, unremarkable clothing to reflect their psychological states. Lighting in surreal films is typically harsh or high-contrast, contributing to an uncanny atmosphere, while props may have symbolic or disorienting roles. Settings are usually ordinary but subtly strange, creating a disjointed sense of reality. Makeup and special effects can be u...

  To fulfill my genre of mystery, I need to conduct research of what that truly looks like. This short film is named "Sahar" that is created by Alexander Farah. I picked up on visuals and notes, so I will analyze the conventions of this short film. To provide a short summary, this short film is about a disappearance of a daughter after being kicked out by her religious family for repeating mistakes. First I would like to draw attention to the sound. There are a lot of dialogue and diegetic sound placed into the short film as the family is focused on the sister and her recent actions. The Mis-En-Scene was family simple as it was only four family characters and one detective. The setting was the family house, the outside view, and detective's office. Low lighting as expected for this religious family to pray and the night-like environment.  Lastly,  the editing in this particular film of mystery had the usual shot reverse shot, action match, and eye-line match.  I foun...

  To fulfill my genre of mystery, I need to conduct research of what that truly looks like. This short film is named "Prosopagnosia" created by Hugo Keijzer. A short summary of this film is about a man who suffers from the condition of prosopagnosia. In more simple terms, he does not have the ability to recognize faces. This is a case where his best friend was murdered and all traces point back to him. The sound is simply  diegetic with dialogue to evoke a suspenseful feeling.  Common Mis-en-Scene I witnessed were the main characters, the setting of the best friend's house, and the interrogation room. The lighting was low only to create that imagined blurred vision from the main character to mimic his condition. The editing consisted of the usual shot reverse shot, over the shoulder, eye-line level, and jump cut.  Along my research, I found other example films such as Death on the nile, Rear window, and Psycho. Now I want to dive into the genre elements that I like a...

  Before I began filming, there is a few things I need to know. Most importantly, how do I even make a short film? With research I can successfully overcome that challenge.  This is not my first time recording a piece of media, but I aim for it to be the best. First step is casting. I need to find cast members that is willing to act in depths to what I need. Of course, it will not go as far as making them uncomfortable or go against their wishes. A good cast enhances the quality of them film.  I will evaluate their strengths and weakness to best proceed. Next is the commitment. I need both the cast and I to commit to our work efforts. Other film makers display this with the proud confidence of their work. I believe as a viewer myself, it is evident when the cast is not committed to their part. Furthermore it is important that I look into sound. Resources advise that I use to right gear depending on my dialogue in the script.  Now to post production, I have to focus o...

  From the short film of Le Jetee, it began with a black and white setting displaying a French man directed by Chris Marker. The character reflects on the one woman and scars from the past as machines creep by and select Parisians of the past to aid the future. For my film, I envision the black and white effect of the past being used to demonstrate past memories with my teammate. This would show that there was once a period in time where trust was unbreakable and we have experience with each other's company. Just how the audience could not predict the next scene in Le Jetee, I aim to create the same effect with the editing.  Jumping to the 12 monkeys full movie, a shallow yet colorful  setting is present directed by Terry Gilliam. A virus takes over in 1996, to which the underground prisoners are sent on tasks or experiments to find out the cause. James Cole, the main character takes on the experiment. In my film, I have the goal of adopting that technique of manipulating...