Mise-en-Scene Planning 2

 In addition to the physical elements of mise-en-scène, I have been thinking about the overall visual style and atmosphere of the film. Camera framing and composition will work closely with the set and lighting to guide the audience’s attention and emotions. For example, wider shots could make my main character appear small or isolated within her environment, while closer shots could highlight her facial expressions during moments of thought or frustration. These choices will help reinforce the theme of feeling mentally distant from the world around her.

I am also considering how color and space can influence the viewer’s perception of mood. A more limited color palette in reality scenes compared to slightly more vibrant or unusual tones in imagined moments could subtly show the contrast between the two worlds. Even simple adjustments, like changing the brightness or adding slight visual distortion, can create a surreal feeling without overwhelming the story. The goal is to maintain a cohesive look that supports the narrative rather than distracting from it.

Mise - en - Scene Planning 1

 Another major area of planning this week has been mise-en-scène, specifically how costume, set design, props, and lighting will visually communicate the tone of the film. Since the concept revolves around my character who feels bored and disconnected from her routine, I plan to use more muted or neutral colors in their clothing and surroundings. This could subtly reflect her emotional state without directly stating it. The setting will   be a typical school environment, but arranged in a way that feels repetitive or slightly dull to emphasize the routine aspect of their life. It will focus on greys and beiges to show monotony. However in dreams and alternate Jane sequences would feature pastel, dreamy colors.

Props and lighting will also play an important role in showing the difference between reality and imagination. Everyday objects like notebooks, headphones, or a phone could become symbols of distraction or escape. Lighting would shift slightly during daydream sequences, becoming softer or brighter to separate those moments from normal scenes. By carefully planning these visual elements, I can create contrast and mood without needing complicated effects, which is especially important given the limited time and resources of the project.

Character Development

 This week my planning has been heavily focused on character development, since the main character will be the emotional center of the entire film opening. Because the project is only two minutes long, I have to make sure the audience understands who the character is almost immediately. I mostly keep in mind the difference between the interactions in her real life vs the day dream sequences. My main character, Jane keeps to herself and is often fidgety and nervous. Her wardrobe and outward appearance will be discussed more in my next post. Below are reference photos for Jane in thr beginning of the project.

I am also considering how Jane changes, even slightly, within the short opening. While a full transformation is unrealistic in two minutes, I will still hint at her internal conflict or desire for something more. Small details such as her body language and expressions while looking at the alternate version of herself can make emotion more clear. Through the short arc I want to make Jane's jealousy and resentment towards the alternate more clear, almost reminiscent to 2024's The Substance. The transition will be  a from wistful and hoping to more bitter through the film. Possible mostly through acting from Jane. Below are reference photos for Jane by the end of the film. 

Ideas Summarized and My Inspirations

 One idea I am strongly considering for my coming-of-age project is centering the story around a teenager in high school who constantly has their head in the clouds and is always searching for some form of escape. The character would be surrounded by the normal routines of school, homework, and daily expectations, but internally they would feel disconnected and restless. This concept fits well within the coming-of-age genre because it focuses on identity and the desire for change, which are emotions many young people experience. By showing the contrast between the ordinary outside world and the character’s inner thoughts, the opening could immediately communicate their dissatisfaction and curiosity about something more meaningful.

The main theme would revolve around boredom with the mundane aspects of life and the habit of daydreaming as a coping mechanism. Simple actions such as sitting in class, walking through hallways, or riding the bus could become moments where the character drifts into imaginative thoughts. This approach would allow the film to stay realistic while still exploring creativity and emotion. The relatability of feeling stuck or uninspired is something that many audience members, especially teenagers, can connect with, which makes the concept strong for a short film opening that needs to establish character quickly.

I also hope to include certain surrealist elements to visually represent these daydreams and inner desires. Brief visual distortions, unusual transitions, or exaggerated imagery could show the difference between reality and imagination without needing much dialogue. I was inspired by films such as Lady Bird and Everything Everywhere All at Once, both of which explore personal growth and identity in visually distinctive ways. Another few inspirations would be Fight Club in terms of unreliable narration, and Carrie regarding an outcast main character. While my project would be much smaller in scale, these films demonstrate how emotional storytelling and creative visuals can work together to make a character’s inner world feel vivid and engaging.

Group Meeting Reflection #1

Hello and welcome back to the blog! This week as part of the planning for our film opening projects, students got together in groups to discuss ideas and share feedback on each others projects. It was helpful to hear a variety of concepts all at once because it showed how many different directions a two-minute opening can take, even within the same assignment guidelines. The discussion also made the process feel more collaborative, even though many of us are ultimately working individually on our final pieces.

I was in a group including Gustavo, Sebastian, Maia, Vitor, Ishaan, and Fernanda. We went around the group to explain our ideas, inspiration, possible obstacles, and general goals for the project. While Vitor, Ishaan, and Sebastian were specifically focusing on the comedy genre, something we all had in common was hoping to include some humor into our scripts in some way. In such a short period of time, finding comedic material that doesn’t feel forced can be a bit of a challenge. Timing, delivery, and tone all matter, and it is harder than it seems to make something genuinely funny without it feeling awkward or rushed.

Hearing everyone else’s ideas also helped me reflect on my own project and the direction I want to take it. Some group members suggested thinking more about visual humor or subtle moments rather than obvious jokes, which I found useful since my concept is not fully centered around comedy. We also talked about possible obstacles such as limited filming locations, scheduling conflicts, and keeping the story clear within only two minutes. Overall, the group conversation gave me reassurance that brainstorming is still a normal part of the process at this stage, and that refining ideas over time is expected rather than a setback.

Integrating Media Theory

 Hello and welcome back! This post will be discussing a media theory I plan to ingrate into my project. Cultivation theory, developed by George Gerbner, suggests that long-term exposure to media can shape how audiences view reality. In a coming-of-age film project, this theory is useful when considering how repeated themes, images, and character behaviors might influence viewers’ expectations about teenage life. Because these films often show school, friendships, and social pressure, the way these elements are presented can slowly build a certain version of reality in the audience’s mind. Showing honest and realistic situations can encourage viewers to see adolescence as a time of learning and growth rather than only conflict.

Applying cultivation theory to my project means being aware of the messages that are repeated in the opening. For example, if the main character faces insecurity but also finds support from friends, it can promote a balanced and positive view of growing up. Since the genre is highly relatable and often watched by younger audiences, even a short two-minute opening can influence how viewers interpret both the story and their own experiences. By emphasizing themes like friendship and self-acceptance, the film can remain entertaining while still presenting a meaningful portrayal of adolescence.

Works Cited (MLA Format)

Gerbner, George, and Larry Gross. “Living with Television: The Violence Profile.” Journal of Communication, vol. 26, no. 2, 1976, pp. 172–199.

Gerbner, George, et al. “Growing Up with Television: Cultivation Processes.” Media Effects: Advances in Theory and Research, edited by Jennings Bryant and Dolf Zillmann, Lawrence Erlbaum Associates, 1994, pp. 17–41.

Morgan, Michael, James Shanahan, and Nancy Signorielli. “Cultivation Theory in the Twenty-First Century.” The Handbook of Media and Mass Communication Theory, Wiley-Blackwell, 2014, pp. 480–497.

The Coming of Age Genre and its Demographic

 The coming-of-age genre has remained popular for decades because it tells stories that are highly relatable to its audience. These films focus on experiences that many people go through at some point in their lives, such as growing up, discovering who they are, forming friendships, and facing challenges. Teenagers and young adults are the main audience for these stories, but the themes of identity, self-discovery, and personal growth are universal, which means older viewers can also connect with the emotions on screen. Because the stories often reflect real-life experiences, audiences feel a sense of familiarity and empathy, which makes the films engaging and memorable.

    Part of the genre’s popularity comes from the way it balances realism with entertainment. Coming-of-age films often combine humor, drama, and romance to create a story that feels both genuine and enjoyable to watch. Films like Juno or Clueless show characters facing real issues, such as relationships, social pressure, or family conflict, but they present these problems in a way that is entertaining and often lighthearted. This combination allows viewers to see themselves in the characters while also enjoying the story, making the experience both emotionally satisfying and fun. By reflecting the struggles and triumphs of growing up, the genre naturally builds a strong connection between the film and its audience.

    Another reason the genre resonates so well is its focus on emotional honesty and character development. Coming-of-age films often show the protagonist learning lessons, making mistakes, and navigating life’s uncertainties. Audiences are drawn to this process because it mirrors their own experiences and emotions. The genre allows viewers to reflect on their past or anticipate their own future, which gives the films a sense of relatability and relevance. Whether through quiet introspection like in The Perks of Being a Wallflower, witty humor like in Juno, or playful exaggeration like in Clueless, coming-of-age stories create a space where audiences can see themselves grow alongside the characters, which is a key reason for the genre’s enduring popularity.