The Long Lens
The Long Lens Issue 3 Editorial
Featured Articles
Childhood Cinematic Memories
by Jane Conrad
Coming of Age Films
by Rhiannon Hanlon
Reviews
The Secret Life of Walter Mitty
by Jaz Soltani
Birds of Prey by
Marianna Kouznetsov
Jumanji: The Next Level by
Ollie Devine
Staff Picks: Top 10 Escapist
Films
Welcome to Issue number 3 of The Long Lens!
Spring is well and truly on its way, the evenings are getting lighter and optimism seems possible again. It seems only fitting that our theme for this issue is film as escapism.
It’s been another tough few months and although we are still unable to visit cinemas many of us are finding comfort in the familiarity of film, or stimulation in the newness of an as yet undiscovered film. It is one of the purest forms of escapism and one that can bring us together even when we are not physically in the same space, it can bring the warmth of nostalgia or the sparkle of inspiration.
We are extremely proud of the number and quality of contributions to this issue from both first and second year film studies students, as well as staff members too. Thank you to you all for the hard work you put into your articles
We hope everyone enjoys these various takes on the theme of film as Escapism and that it introduces you to some new films that become new favourites. Happy Reading and happy viewing.
Andrea and The Long Lens Team.
Watersprite Round-up by
Dounia Abdessaid
Music on Film by Sian Mort The Hero's Journey by Andrea Joyce
Featured Articles
Escape into a brand new world
Jane Conrad remembers going to the cinema as a child and how it brought her and her family closer together
BY JANE CONRAD
My first film I remember seeing aged 8 was the Hindi movie Hathi Mari Sathee (1971) We watched the film in a makeshift crowded Puri cinema and were magically transported by the dramatic story, the songs and the majestic elephants The film was directed by M A Thirumugam and starred Rajesh Khanna who played the hero Raju and Tanuja who played his wife I can still strongly visualise the lifelong friendship between the elephants and the orphaned Raju. My love for cinema began with this experience flamed by the excitement of being out at night surrounded by the hustle and bustle of candle lit food carts and an excited audience.
Being the oldest of five I rarely got to be on my own with my mother As a treat she took me to my first Australian movie Picnic at Hanging Rock (1975) directed by Peter Weir. This began my love of the quirkiness of new wave Australian movies. The cinematography was dreamy and the film had me sitting on the edge of my seat. Before the film Mum had taken me to eat my first MacDonalds
burger and milkshake in Croydon (3rd one to be opened in the UK) Today I realise the film would have transported my mother back to her first teaching job in the Australian outback
Seeing a new James Bond movie in the cinema conjures up the thrill of going to the cinema with my Dad to see the newly released James Bond 007 film. My Dad had to host a work party for the cast of The Man with the Golden Gun (1974) directed by Guy Hamilton. My sister and I were thrilled when we were asked to serve short eats to Roger Moore the guest of honour.
My Aunt Sally who was visiting from Sri Lanka loved dancing so insisted on taking my sister and I to Leicester Square to see Saturday Night Fever (1977), starring John Travolta and Karen Lynn Gorney The film was R rated in spite of it being a disco movie which appealed mostly to teenagers My sister and I were thrilled at the chance to dress up as 18 year olds and to watch the blockbuster of the year That thrill was short lived as my aunt was so shocked by the intimate scenes she made us leave early
She swooned a much to our acu
Ironically, my co underage at th summer of 1982 who was the yo smuggle drugs was directed by Saturdays throu the afternoon likes of Ginge Monroe, Betty night horror dou Mia Farrow and my mind the mo rat scratching u My mother igno in response to t It is amazing ho such an impres film but where a seen too many with satellite TV hard to rememb the whole expe to me todaybest seen in cin
After lockdown take my time a and around me. again!
Why do we relate to coming of age films so much?
BY RHIANNON HANLAN
From well-known classics such as Rebel without a Cause, Stand By Me and Mean Girls, to more obscure gems like Rocks and Fan Chan. These films, from different generations, and across different cultures, all share one endearing element. Coming of Age.
This genre focuses and reflects on the growth from youth to adulthood. As someone who uses film as a means of escapism, I often find myself leaning towards the Coming of Age genre, partly to escape but mostly to anchor myself back to reality. Is it because of the experience of growing with a character as they go through their life experiences, or is it because we reflect on our own rite of passage? Or both?
To me, the Coming of Age genre realizes everything a film can achieve. These types of movies can help us escape, they can teach us lessons by intensifying aspects of the human experience, whilst still being entertaining. The genre can also act as a time capsule, enabling us to relive memories as well as experiencing what our parents and grandparents went through, enabling comparisons but also revealing differences.
Even though time has changed and the films have aged, the cars are old fashion, the clothes are no longer trendy and the dialogue has become dated, the sentiment and experience that the characters go through has not. We align ourselves with the main characters as they go through a series of experiences...
...and decisions that are relevant to everyone, no matter which generation or culture they are from. For example, when Jim rebels against his parents in Rebel Without a Cause we all understand and sympathise, because we, or someone we know has had a similar experience even if the circumstances and the outcomes were different.
A fundamental element of this genre is that it must demonstrate a life-altering test, resulting in development and growth;, which I will demonstrate in the three Coming of Age films that I have selected; Stand By Me, Fan Chan and Rocks, all from different eras and cultures. This common element allows us to gain a perspective to different groups of people whose lives we wouldn’t normally have an insight into; despite the decades between the eras they depict, the essence of the films are still relatable because of the common thread that ties adolescents together, no matter when or where they were born.
Stand By Me
an American classic set in 1950’s Oregon, directed by Rob Reiner, is an adaptation of a Stephen King novel, The Body I chose this film because it communicates the theme of life, and was one of the first films I felt like I could relate to. Each character depicted fulfils a stereotype associated with boyhood, as Relevant today as it was then. The theme of friendship is present throughout the film, however, this isn’t a film about enduring friendship, instead it challenges our belief in childhood friendship and uses our presumptions to reveal something more raw. in the real world, things don’t last. people change and grow, relationships can flourish or die, and if we try strenuously to hold on to the past, we’ll be dragged down and not move forward into the future
“I never had any friends later on like the ones I had when I was 12. Jesus, does anyone?”
This famous quote perfectly sums up the film’s message, while defining the coming of age by capturing the naivety of childhood. Even though going to search for a dead body is not necessarily something we would all do, the adventure that they go on, and the choices they make along the way ultimately gives birth to the adults they individually become. The metaphor of their journey mirrors the obstacle course of growing up.
Fan Chan (My Girl)
is one of the most successful and heart capturing Thai Coming of Age films. The film was directed by six directors; Vitcha Gojiew, Songyos Sugmakanan, Nithiwat Tharathorn, Witthaya Thongyooyong, Anusorn Trisirikasem and Komgrit Triwimol. The film beautifully captures and reminisces around the childhood friendship of a boy and a girl in a small town in Thailand in the 1980s. I chose this film because of the impact and importance it had on myself and other Thai kids I grew up with. The film made us feel like we were a part of the group of friends; it felt like we were growing with them, or more so
...that they were growing with us. It gave us a dire and picture of what childhood should look like; car and joyful. It showed an alternative choice to wha were experiencing, a different perspective, partic around gender roles
Fan Chan also contains elements captured by coming of age films. The idea of being lost confused as a child, and not knowing what pa take, this is demonstrated through aspects of masculinity, as the main boy (Jeab) has to prov manliness to be allowed to play with the other y They view him as “feminine” and “soft” from having spent so much time with his best friend, a girl. This leads to bullying, then to him having to prove himself by participating in dangerous acts to demonstrate his masculinity. Messages like these reflect what we thought was normal while growing up, to realize later that it was the social construct of our embedded culture that was at fault. Jeab felt he needed to fit into a category to become recognized and accepted, forcing him to limit his true personality
in Primary school, and no one was able to quite unlock the meaning behind it Yet when we went back and watched it in Secondary school, the lock had been opened, and the key to the lock was “ age ” , “growth”, “maturity”, the “bitter sweetness of life”. The older we got, the more sense it made; which reflects life too, as sometimes, only with time do we find the answers, whether we like them or not For me, Fan Chan has one of the best endings because it left me questioning, then understanding and then understanding it so much more I wish I hadn’t.
Rocks
The ending however, left a lot of confused faces on the young audience, including myself. It was the hot topic
a British Coming of Age Film is centred on the representation of teenage girls of colour living and surviving in London, released in 2019. The film was directed by Sarah Gavron, alongside a mainly female crew including the writer Theresa Ikoko. It draws a realistic screen reflection of brown and black girls in London Rocks is one of the most recent Coming of Age films I have seen, although the backbone of the film is gritty and tragic, it still rings a loud and clear message of empowerment and hope. I have chosen to talk about this film because of its hard hitting realism, and the diversity
that the film captures. Many of the its predecessors follow the coming of age of young white male adolescents, and while their experiences are valid and fitting for an audience, this film explores a more diverse experience by choosing a cast of non-professional girls of colour from local schools, allowing them to use their own words to voice the sentiment of their characters, creating a raw edginess and platform for people in similar situations, and an awareness for those who are not.
Coming of Age films are popular recreate our experiences of grow allowing us to escape from our p lives and relive a “simpler” time reflect upon our own experien
The journey takes us through mental health focusing on girls of colour with an overall th thin thread between adolescence and adu how a lot of young people are forced to tak with little to no choice or support The film story of Shola, nicknamed Rocks, a fiftee black girl, after her mother has abandoned young brother, Emmanuel. She struggles under the radar of the authorities, who wou both in social care. She fights to maintain normality for her and her brother while part school life and within her close group Eventually she loses the battle, and both s brother are taken into care, but we adm strength and determination to do what is be both. The conflict between these two worl decisions that she makes contain a strong message that appeals to all, especially thos had similar struggles.
This is an engaging form of entertainment and valuable in that it allows us to reassess ourselves, our world, and what could we have done differently? There is a Coming of Age film for every generation and culture and The genre will continue to thrive as the films that are made today will be watched and continue to have an impact on generations to come.
Reviews/ Reflections Escape
into a brand new world
The Secret Life of Walter Mitty (2013)
by Jaz Soltani
turnedtofilmandmediaforentertainmentEsca suddenlybecomethefoundationofourroutine,as tofindwaysofdistractionfromableakreality.Noo conveysthisdesirebetterthan2013’s“TheSecre WalterMitty”,anadaptationtotheclassicfanat shortstory,writtenbyJamesThurber.
Thefirstfilmadaptationwasin1947,directedbyN McLeod,committedtoitsoriginalstory:Walter outlandishaveragemiddle-classmanwithafascin theimpossible.ThestoryfollowstheagingWalter intotownwithhisoverbearingwifeIntheadaptation, walter
Walter Mitty is given the task of finding a final photograph that will be the last cover of the first film adaptation in 1947 directed by Norman Z McLeod, committed to its original story: Walter Mitty, an outlandish average middle-class man with a fascination for the impossible The story follows the aging Walter on a trip into town with his overbearing wife In the adaptation, Walter Mitty is given the task of finding a final photograph that will be the last cover of the magazine firm he works at before the company becomes online. We see in both films an attempt at portraying this mockery but also an embrace of escapism.
I will be focusing on the 2013 adaptation, directed by Ben Stiller, who also takes on the titular role, as a daydreaming negative assets manager. We start the film with the diegetic sound of a ticking clock, symbolizing how time is passing him by. The first mid shot presents Walter Mitty, dressed in a plain suit and tie, amongst a specifically chosen muted color palette of desaturated colours Paired with this ambient atmosphere, the first thing we notice is his concern for his finances and his job as he checks his cheque book at his recent expenses The film showcases many visual hints that signify Walter’s desires and restrictions For example, shots which narrate Walters real life are still and lifeless, whereas shots of fantasy are handheld, filmed with kinetic energy.
Another example would be Walter Mitty’s job at Life Magazine, a fitting responsibility for his character, as we see the interior of the building covered with lively pictures of tactile adventure Walter’s desire engulfs him, and yet no matter how much
He wants this “Life”, the mundane safe mentality swallows him every day at working this 9 to 5 office job. When asked how long he has worked there, he says for ‘15 years ’ ,
putting into perspective how much he places work above anything else, including his well being We see him use these outdoor pictures to escape to another world, comically using a picture of Everest to imagine himself as a mountain climber. This moment foreshadows the climax of the movie, in which Walter meets his objective and reaches closure by climbing down the snowy mountains. Shaun O’Connell, the photographer who was supposed to send him the photograph he has been looking for, is the reason Walter sets off on this journey in the first place, searching for Shaun. In the film, he is a metaphor for Walter’s dream life, seeming to be the only one who value’s Walter’s job as
a negative assets manager Opposing Shaun is the new boss of Life Magazine, a man who teases Walter’s vulnerable demeanor and “zoning out”. These juxtaposing characters sit on Walter’s shoulder throughout the film as he relies on his fantasies..
On his way to work, the film’s soundtrack fills the ambient ticking, as diegetic flickers from the atmosphere work its way to harmonize with the music; a mellow choir humming that builds alongside Walter Mitty’s descent to work, establishes this orderly calm world he travels through. With a variety of extreme long shots, his size seems miniature amongst the public, who are also dressed similarly in formal work attire Compared to the other walkers, he moves at a slower pace with his posture hunching over as people pass him by This is where the muted pallet really starts to bring out standardized routines, washing out the whole city as birds eye view shots are used to evoke a sense of futility and systematic order At the train station, he is sitting whilst everyone is standing, further pushing the belief that Walter is physically and emotionally drained. When he gets to work, visual compositions of him being placed lower than his colleagues make him seem like the underdog. Even where he works requires an underground warehouse type facility.
In 2002 professor Eli Somer published a paper describing something known as Maladaptive Daydreaming Disorder (MDD). It is described as daydreaming to the point where it may become harmful or counterproductive to someone ’ s everyday life
The Secret Life of Walter Mitty is one of the best films to portray this mental illness in a beatable and light hearted way.
Maladaptive daydreaming is harmful, as it usually eats away at time, and is used as a coping mechanism to avoid the serious reality. Much like Covid-19, a detrimental experience inclines people with this disorder to further sink into a world of escapism, usually as a response to trauma Walter’s father's death could have brought him
thedepressionandanxietythatmayhavebeenthesource forhisescapistmentality;hepresentsitasaharmful addiction where the enjoyment of daydreaming is a deflectionofadeeperissue.Laterinthefilm,welearnof Walter’sbackpackingdreamthatwasputonholdafterthe deathofhisfather,furtherprovingthepotentialWalterhad before this traumatic event. In an interview with The Guardian,BenStillersays“fantasyisanimportantpartof whoweare”and“Walter’simaginationfuelshimtotakea stepintoreality”;so,whileStillerneverspecificallyrefersto this film being based off MDD or any other serious dissociativedisorders,ithasbeenarecognizedasoneof thebestrepresentationsofMDD
Fromthestartofthefilmtotheend,wesee thefrequencyofhisdaydreamingreducing, Walterfindshedoesn’texactlyhaveaneed forthemanymore.
Hehasalreadyfinishedthequestheplannedtodobefore hisfatherdied,andcanfinallymoveonafterheisletgoof hisjob.WhenhedoesfindShaunattheend,theyseea snowleopard,inwhichShaunexplainssometimesit'sbest to‘liveinthemoment’andrefusestotakeapicture.This closesthestory,endingWalter'sfamishedimagination,and
nowfinally,Waltercan‘liveinthemoment’ratherthan imagine the moment. This transition throughout the narrative of his character leaves with him completely indifferenttohispastself.Hispostureismorerelaxed anddynamic,hewalksfasterthanthepeoplearound him,runningpastthematsomepoints
ThelastissueofLifeMagazine,photographedbyShaun O’Connell,isfinallyrevealedtobeapictureofWalter himself.Heisfinallybeingappreciatedforhis15years ofhardwork,finallyseen Bytheendhehasbecomelike ShaunO’Connell,themanheadmiredtobe Thisfilm doesafantasticwayofportrayingescapismasbotha good and bad thing, as it may leave us empty and dissociatedfromreality,butcanalsopushustofuelour desires.
'KIND HEARTS AND CORONETS' (1949)
By Tom Hammond, Student Admissions Officer
Like others, when looking for escapism I turn both to comedy and to films which evoke the past, and my choice (if I really am allowed only one…) reflects this.
With all due respect to the Star Wars devotees, I’d contend that Alec Guinness gave his greatest performance when he portrayed nine roles in the 1949 black comedy Kind Hearts and Coronets. Dennis Price plays the disaffected son of an aristocratic woman disowned by her family for marrying beneath her who plots to succeed to the dukedom to which he is a distant heir by any means necessary. Guinness plays most of the family who stand in his way. The satire is subtle but all the more caustic for that, the performances are charming, and it transports me as surely as it must have transported its original audience in drab postwar Britain to a picaresque world in which wit, guile and daring find their reward.
Reading all these suggestions has made me the miss the rituals of cinema-going, and I hope you will enjoy that first trip back as much as I will.
Birds of Prey (2020)
By Marianna Kouznetsov
Agirlpowermoviethatdidn'tsuck. Afterwhathasfeltlikemillenniaofsloggingthroughthe DCEU’sendlessattemptstopopularizethegrimdark superherogenre,recentbreakthroughshaverevitalizedits reputation:‘WonderWoman’?Stunning.‘Aquaman’?A classicalepic‘BirdsofPrey’?Acolorful,neon,excitingfilm thatforthefirsttimeinalongtime,actuallymademefeel likeIwaswatchinganactualcomicbookstorycometolife. Andignoringthefilm’smajorcomicinaccuracies,‘Birdsof Prey’isonparwith‘Deadpool’asaridiculousR-rated superheroevent.
HarleyQuinnhasjustbrokenuphertoxicrelationshipwith theJoker.Andifyoudon’tknowwhotheJokeris,whythe authorship
hell are you even watching a superhero movie? Harley’s narration is the first thing we hear; her agency and authorship of the story is abundantly PRIORITIZED, the full name of the film scrawled on the title card in her own handwriting: Birds of Prey ‘and The Fantabulous Emancipation of one Harley Quinn ’ It’s her movie, all right: the pacing, dialogue, framing and heavy use of the rule of thirds in the film are incoherent and quirky, reminiscent of ‘Mad Max: Fury Road,’ in which the characters are pretty much insane and past breaking point. Her character is still villainous... but charismatic, unstable, interesting, and morally grey. She even reclaims her character through wardrobe: in ‘Suicide Squad,’ her tight-fitting shirt has these words printed across it: “Daddy’s Little Monster.”
In’ Birds of Prey,’ one of her shirts has her own name splashed across it. Reclaiming it, owning herself.
Being “Joker’s girl” has earned her security throughout the years, but without his protection, she has to fight for herself The villain is interesting, too – starting out as a run-of-the-mill Batman villain, almost likeable, and surprisingly stylish, but over the course of the movie he gets sleazier and sleazier until, by the end, you ’ re sort of actively hoping someone kicks him in the nuts.
The main cast of female characters have just enough backstory to give the audience an understanding to who..
overkill or locking them into an archetypal ‘superhero ’ The relationships between the girls aren’t saccharinely sweet or sisterly, and they don’t pretend to be an ass-kicking group of women whose aim is simplified to ‘destroying the patriarchy,’ because this movie was directed and written by women who understand the complexities of female relationships.
They are just five girls who all have different agendas and interests which just so happen to align at one particular moment - saving the youngest of the gang from capture.
As they team up for the final fight in the funhouse against an army of male mercenaries, they shout to each other, “Who’s got the kid?!” I realize they are protecting her from the trauma that they themselves faced at the hands of men. And the abuse and suffering of women in the movie is not glorified at all In a moment when the villain snaps, he forces a woman to strip in his club Her humiliation is clear, but we never see even halfway undressed Instead, we primarily see the reactions of Black Canary, a member of the gang who wishes she could step in and save the woman
who in that moment, is her sister-in-arms The moment is purely about his spiral into rage and insanity, not an opportunity for a graphic depiction of female degradation. Another moment of subtle empowerment is when Harley goes to order an egg sandwich, with a long, slow-mo shot of her gazing lovingly at it as it cooks. Very rarely in film are women allowed to express hunger, seen as selfish, as they represent a very individual need for satiation. Yet Harley does this, again reclaiming herself and her own desires, not simply the object of male heterosexuality.
But it wasn’t until I checked online reviews that I realized what was happening, and why ‘Birds of Prey’ felt so revolutionary: men weren’t being catered to in this movie Clearly, DC dude-bros showed up to this movie with the idea that Harley was going to wear the sexy shirt again and masked their disappointment behind complaints that the movie was “badly written and jumpy.” Yet they seemed to relish ‘Joker’ for its ambiguous and complex pacing and ending. I can only wonder.
‘Birds of Prey’ starts as a break-up movie, but as the psyche of Harley unravels and she reaches her point of sudden clarity.
We can see that it’s a movie about breaking up with the mentality of needing someone to stand behind and instead, owning who YOU are A fantasy escapism for many women But even simpler than that, it’s just FUN And after years of subpar action movies targeted towards men, surely women deserve one hokey, silly movie with explosions and Ewan McGregor in eyeliner?
Jumanji: The Next Level
By Ollie Devine
Jumanjiisafilmfranchisewhichstartedin1995,loosely basedonthe1981children'sbookbyChrisVan Allsburg.
Inthefirstinstallment,theboardgametheyareplaying calledJumanjicomestolife,takingovertheirworldasthey knowitandtheonlywaytofinishistofinishtheboard gameIthadarebootin2017,withJumanji:WelcomeTo TheJunglewhichgaveitamoderntwist,turningitintoa possessedvideogamecartridgewhichsuckedtheminto thegameaftertheychosetheircharacters,andin2019 Jumanji:TheNextLevelcameout,followingthelastJumanji butthistimetherearemorecharacters,andtheycan’t choosethem.Fromateaserattheendofthesecond Jumanjifilmandquotesfrominterviews,itisbelievedthere willbeanotherJumanjicomingout
In times like this we are all wish we could escape through the screen and get out of the world we are in, whether it be to jump into a film, tv show, or even a video game, but his may not be the best idea as we find out throughout this film Having already gone through the trauma of being inside a video game without consent once, beating the game and escaping the group all vowed never to go back Cut to three years later, the group all want to meet together to catch up and talk about their exciting lives now, but despite Spencer coming all the way home from New York to see all his old friends again, he felt he would fail to meet their expectations and decides to escape into one place where he felt like a true hero – Jumanji.
With Spencer escaped through a busted machine, his friends go to his father's house to try and find their beloved friend, and are horrified when they discover his disappearance, and when trying to go back find that the state of the machine sucked up his father, Eddie (Danny DeVito) and ‘Milo‘, leaving one of the friends alone in the real world When entering the game again, they realise who everyone was playing was completely switched and they had no choice at who they wanted to play as this time, and had Spencer’s Father taking over the role of Dr d h h d ld d h d ’
Throughout the film we discover a lot of different and important messages, after eventually finding Spencer playing as a newly discovered thief character, and explains his reasons for wanting to escape his world to try and feel a sense of importance and heroism again, but learns that to find his true sense of importance it only involves being around his friends The bickering from Milo and Eddie stops as they learn to apologize to each other and work together in order to find their true self and grant better teamwork to try and finish the game. We also see a cameo from the pilot from the first Jumanji, who had been trapped in the game for decades and when finally escaped started a family. They also come in with a new character, Bethany in the form of a black Pegasus. Once eventually finishing the level, the group finally gets to escape back to their home, we find Milo (who is now the Pegasus) decide he wants to stay in an attempt to escape death, to let his mind explore the world, flying around in his new form.
One of the key messages displayed throughout the film is the fact that it doesn’t matter where you go, who you are or what you ’ re doing, it’s the friends and family you ’ re with and the memories you make along the way that matters.
The fact that all the friends from the first movie were able to come back and make jokes about the disadvantages of each character , and how Eddie and Milo got to experience a whole new life once again through new eyes. Not only that but they finally managed to put their year long row behind them and work their way through the world together, enjoying every moment like it was their last, which is another important factor which helps them all to enjoy their time, as they all need to realise that they could lose all 3 lives at any point so looking out for each other and just overall enjoying each other company was crucial , as well as to boost morale and bond together as a team to conqeour Jumanji: the next level.
This movie does an amazing job to show that no matter how bad you think you ’ re life can get, and where ever it is that you want to escape to, the truest way to escape your mind is to create new memories with friends and family, ones that last forever and you can escape to in your mind at any time
'ALIENS' (1986)
By Michael Collins, CTL Media A-level
My feel good film is Aliens (1986). Yes, it doesn’t seem too cheery on the surface, given that it’s about a group of tough space marines stranded in an enormous metal dungeon, slowly being eaten alive by an unimaginably horrible threat. In particular I favor the director’s cut version, which is close to three hours long, and is described by director James Cameron as like driving down "40 miles of bad road". So why is this my go-to feel good film? It has nothing to do with characterization, or even the aliens themselves. It’s all down to the world design. As horrible and claustrophobic as it is, the level of loving detail that has gone in to every crumbing wall, sparking electrical cable or dribble of water is mind-blowing. Cameron (who later went on to direct Titanic and Avatar) started his career as a carpenter, building sets for low budget science-fiction films, and the love and attention that has gone in to every surface and texture is phenomenal. There’s only a handful of science-fiction films that can truly claim to have created a believable, selfcontained world, and this is one of them. Although to be frank, it’s one you hope to goodness you’ll never visit yourself.
''STAR WARS: A NEW HOPE' (1977)
By Steve Dann Vice Principal
While I was on my walk around a (mostly) empty college yesterday I paused in front of the Media and Film wall display of staff picks. I wasn’t sure whether it told me about their personality, or just their age! Which is why mine is probably Star Wars ( A New Hope) – not necessarily because it’s my favourite film, but seeing it brings back being 11 years old and seeing it in the cinema literally open mouthed as the opening credits rolled and the space battle kicked in
STAFF PICKS
The staff at Long Road
elght
"My first choice for feel good- escapis would be Back to the Future 1. Someon above mentioned it. Who doesn’t love a b time travel paradoxes and it’s go details. And yes, great music
Adriana Gonzalez, Maths Teacher
It’s hard to believe no one has yet mentione (or did I miss it somewhere?) Pretty dumb s
Alan Rickman with the catchphrase “Nev surrender!”…seems appropriate th
Simon Colebrook, Chemistry Teac
For me anything with a zombie in it. I’m slightly obsessed now and think I’ve watched them all. 28 Days Later is a good one to start with. The escapism comes in the form of making your plan for escape and survival which of course I have.
Julie White, Student Support
Labyrinth (David Bowie in leggings; Sir Didymus refusal to see anything but the hopeful possible, despite ALL evidence to the contrary; the songs… oh the songs!) The final scene will speak to us all in this time of isolation….. We need e be together aga
Emma Harpley, CTL En
The film that is a favourite in our house and always brings a smile is … Go go go go-go-go-go-go-go-go-go Go GREASEd Lightnin'! The songs, the energy and gets everyone up and dancing!! Brilliant!!
Gareth Adams, CTL Computing
I think one of my favourite films is Millions, with the great Richard A nice bit of escapism!
Jason Dear, IT Service Manager
ous fantasy, you can’t beat, Hocus Pocu ah Jessica-Parker and Kathy Najimy as t sad Sanderson Sisters along with Binks the cat w appearance every Halloween in my house when my kids were little.
Sue Walker-Mitchell, ICT Teacher
For me the film I love to watch that makes me laugh and cry is The hunt for the wilderpeople. It has beautiful scenery set in NZ and some really funny characters – Ricki Baker is a legend ! It has some famous faces ( Sam Neill) in it and is a great family film for older kids . If I described it to you it would sound dark and depressing it’s a roller coaster with a happy ending
Nicole Tampin, Head of Social Sciences
m. It has a lot of great s very believable with also like a film called Jane Austin period
Bernie Ray, Receptionist
Definitely Big fish for me as I love the mixture of fantasy in real life. It is such a beautiful and poetic film that requires use of plenty of tissues!
Lydia Lapaz, Languages Teacher
ON FILMMAKING
Articles to help you make your own world
The Festival Experience
Dounia Abdessaid recounts her experience working with the Watersprite Film Festival over the last year
By Dounia Abdessaid
WaterspriteFilmFestival2021-ThisisthelargestUK internationalfilmfestival,startedin2008andrisingin popularityandsuccesseshavingnowhosted38 studentnomineesfromaroundtheglobeincluding1,100 submissionsfromover90countriesthisyear.
TheWaterspriteFilmFestivalwascreatedtoshowcaseand encourageyoungfilmmakersfromallwalksoflifeby providingthemwithaplatformtopresenttheirwork.The highlysuccessfulfestival,thathasbeenrunningforthe12th yearinarow,aimstobothinspireandempoweryoung peopleinthefilmindustrybyprovidingawelcomingspace thatencouragesfutureaward-winningtalent
IplayedapartinjudgingtheWaterspriteshort-film awardwithanarticulategroupofotherfilmstudentsWe discussed,ratedandreviewedshortfilmsacrossarangeof genresfromfiction,documentaryandanimation We comprehensivelydiscussedthetechnicalitiesofeachfilm from the performances, cinematography, editing, productiondesignandsounddesignEventually,rating eachfilm1-10starsandconsideringifitwasworthyofa social
social impact award. I gained valuable understanding of the technical elements of film as well as have a deep admiration at just how much work goes into all aspects of film from production to the final outcome
In addition to judging the short film award I also participated in judging the Watersprite screenplay competition. This consisted of being sent an assortment of scripts ranging from topics based on racial inequality (Race of Life), the illusion that women are non-harmful (Fair and Tender Ladies) and a cleverly written piece on the 7 deadly sins (‘Going Down’) The task was daunting at first but became exceedingly fun, as I was aided with a concise mark scheme with the general judging criteria focusing on the 'excellence in executing its creative function’, this being to tell a story. It was challenging to be impartial as the analysis was in terms of how well it achieved the intentions of the writer, not whether I liked or disliked that element in isolation. Having to consider how well they would translate to the screen in terms of whether the narrative and dialogue is both strong and
interesting enough to be shown to audiences.
This year ' s festival had to be presented virtually due to these unprecedented times. In spite of these circumstances Watersprite still continued to provide a brilliant experience through the power of technology. This year ’ s festival featured an admirable line up of speakers from the industry in a range of sectors from production designers, film critics, documentarians and actors The festival included important talks such as tackling institutional racism in the screen industries with The British Blacklist The opening ceremony featured Asif Kapadia, director of Amy, Senna and Diego Maradona in which he talked about his experiences at school, motivators and words of advice He wanted to ensure that his documentaries were as interesting as possible stating that this was established by being persistent when wanting to uncover more information about his subjects. The awards ceremony was hosted by Alistair Petrie (Mr Groff, Sex education). The closing ceremony featured BAFTA breakthroughs: Ben Sharrock and Irune Gurtubai (director and producer of Limbo) who talked through the creative process, importance of collaborations and the significance of language in film. Sharrock stated that he looks at films from a linguistic point of view which I found both striking and profound as he communicated a real sense of passion on the importance of language in film with a huge emphasis on foreign language Learning from this linguistic POV enables you to comprehend the significance of language form, meaning and context which have an influence over cultural, social, historical and political factors that make up a film
Overall, my experiences with Watersprite have been really beneficial in inspiring and helping me feel productive. It provided a sense of escapism and comfort considering the current times. It allowed me to feel a sense of accomplishment and purpose at having been a part of these activities. It has been a pleasure to judge both short films and screenplays as well as attend the festival. I highly recommend people attend next year ' s festival to further their passion for film.
THE HERO IN US ALL
Analysing the heroes journey and why we respond to it so much.
By Andrea Joyce
When I emailed all staff on a cold friday morning in early February I was unprepared for the onslaught of emails about their favourite go to feel good films, something struck a chord and the enjoyment that came from sharing stories about why these films resonate with us was palpable.
Something I noticed was just how many people’s films were science fiction or fantasy/adventure films and it got me wondering, what is it about these films that appeals to us?
Star Wars, Indiana Jones, Superhero films, Lord of the Rings and of course, Harry Potter. These are all stories of triumph over adversity, of the central character fulfilling their mission against all odds, of finding something in themselves they never knew they had
Over half term I heard a talk from a brilliant human called David
David Brown who spent 20 minutes outlining the Hero’s Journey and how it relates to the Harry Potter story What struck me in his talk was his opening gambit which I will paraphrase here:
Have you ever felt bored, uninspired, frustrated by the ordinary world and like there must be more to life than this? I think that feeling is especially true of late when we have all been suffering from environment fatigue, where we are feeling bored of the same place. The ability to enter a magical, mythical, fantastical world is even more appealing to use when lockdown has made it virtually impossible for us to have even the smallest change of scenery. We are even more in need of the wonder that a science fiction or fantasy/adventure film can bring
But what about the hero, what is it about the hero’s journey that appeals to us, and is there something about
our current situation that enhances its appeal even further?
The tale of the hero is so familiar to us and that’s because it is literally a tale as old as time, from the Bible to folk tales, from fairy stories to Shakespeare, from Dickens to Disney, and from Spielberg to Cameron.
A seemingly ordinary person receives a call to adventure, they may try to refuse that call but eventually they pass through the threshold and along the way they go through a series of challenges and/or temptations. They navigate these with the help and guidance of mentors, helpers and guides - friends who share their wisdom and expertise with the hero. This part of the journey is where I think we can all relate, facing our fears, overcoming adversity, the need to rely on others for support and assistance but most of all, reaching inside ourselves to find the strength we never knew we had
If you think about some of the films I mentioned before like superhero movies in particular, it’s easy to imagine a hero as someone with superhuman strength, or abilities that are not imaginable for you or I to possess. These heroes feel otherworldy.
other worldly and although we may aspire to be like them we know that it is impossible for us to be the same as them
However, what is interesting about a hero like Frodo Baggins from the Lord of the Rings stories is that he is a simple Hobbit, with no magical powers as such. But he has a mission that only he can fulfil, to take the Ring to Mordor. The idea that the hero is someone who has a uniqueness to them rather than a special gift, or super power makes them a figure we can all relate to.
In fact, it then becomes possible that we are all the hero in our own hero’s journey.
The ability to put ourselves in the hero’s shoes and consider how we might respond in that situation, but from the safety of our living room or the cinema, is another part of the appeal of these types of films.
My personal favourite go to feel good film is The Goonies, I have lost count of the times I have watched this film and it is most definitely a film that uses the hero’s journey as part of its narrative framework The Goonies is a 1985 American adventure comedy film coproduced and directed by Richard Donner from a screenplay by Chris Columbus, based on a story by executive producer Steven Spielberg. Donner, Columbus and Spielberg have all worked on some of the biggest ‘hero’ movies out there. Donner worked on Superman films and the X-Men franchise, Columbus worked on Home Alone, Harry Potter and Night at the Museum, Spielberg - where do we start - worked on ET, Indiana Jones, and Jurassic Park, to name just a few. The Hero’s Journey is in their filmmaking DNA and so the involvement of all three is indication enough that The Goonies is a very special film
For those of you who’ve not seen it, the plot essentially revolves around a group of seven kids whose homes are
THE PRINCIPALS PERSONAL FAVOURITES
..my absolute favourite film is ‘It’s a Matter of Life and Death.’ (1946) Despite the rather melodramatic title, it’s a gloriously colourful celebration of love and the wonders of life on earth. It’s clever, witty, romantic and a little strange It never fails to lift my spirits
.. can I have another one? GREASE.. 1978.. me and my sister feeling oh so grown up in the cinema alone + killer songs too.
under threat by a property development company Their parents have lost all hope of being able to fight the sale of their homes when the kids stumble across a treasure map They decide to go on one last adventure together to try and find the treasure, in the hope it will be enough to buy their way out of their current problem. Bad guys in the form of The Fratelli’s and a raft of unlikely pirate style booby traps make their journey a treacherous one. But this film is about the strength of friendship, about facing your fears, learning about the strength we have inside ourselves and about believing in the impossible and making your dreams a reality. I won’t give any major plot spoilers because you should absolutely watch this film, but Mikey (our hero) transforms on that journey to become less of a child and a better, stronger version of himself, as do all the other Goonies
Ultimately this is the power of the hero’s journey, it inspires us, it gives us hope and in our current difficult times it gives us a safe place to escape to where anything and everything is possible. And maybe when we can return to the ‘ordinary world’ we will all be transformed and able to recommence our own hero’s journey to find a way to bring our uniqueness to the rest of the world.
By Sian Mort
It has been a crazy year, something that couldn’t be predicted, (making me wonder if there were any psychics working on the ‘Contagion’ crew.) Speaking for myself I’ve spent the majority of this year dodging the news, blocking out government speeches and immersing myself in anything that can help me escape from this pandemic. Throughout the various waves and lockdowns, I’ve been reading about the astrology signs, learning pointless skills, playing the same piano piece over and over until my family would rather listen to Boris than me, and watching films Films have become a staple source of entertainment for many households, so much so that the famous “ba dum” of Netflix opening has been eternally ingrained in me, and I’m sure many others Watching so many films means that I’ve come to wonder what makes them such a perfect escape, the conclusion? The narrative- people living their exciting lives whilst we sit locked in our houses, the setting- again, people in places we want to be and the music. Whether an iconic soundtrack or mesmerising score, the backdrop to what we see adds an unseen layer that tells us what to emote and transports us further into the narrative.
Music itself has an essence that is transportive, for example whenever I hear “Cheerleader” by OMI, which thankfully isn’t too often, I’m immediately reminded of year 7 and watching the Vevo music channel. And recently “Supalonely” by Benee has such a zeitgeist of the first lockdown, that when someone plays it, I can immediately taste the whipped dalgona coffee, the smell of banana bread, and if I’m going to go all out with lockdown number one cliches, then the sound of tiger king playing in the background It’s the same for music in films, and as this is a film magazine I’ll be touching on some films with a soundtrack or score that takes me back to a moment in time and the escapism it gave me
Amongst the vast library of films I watched during this pandemic perhaps a majority percentage (a shameful amount) of movies were rom coms, spanning from Notting Hill to Mamma Mia. Something about the light-hearted and simple narrative, one that can easily be predicted unlike the real world, and the cheery space that is created was a pleasant change and one that I revisited
one too many times The soundtracks in these films, for example, High School Musical, was a definite source of escapism for me Admittedly, High School Musical is not in the higher echelon of Hollywood films, but it would be a lie to say that the soundtrack is not iconic and reminiscent of childhood;a worry-free time that I’m happy to be reminded of. Perhaps in today’s day and age the song “We’re all in this together” resonates slightly deeper than it did back when the films came out. Another rom com series that got me through this time was Bridget Jones, the all too real end credit scene of Bridget miming to “All by Myself” by Celine Dion is perhaps one of the most iconic in the movie. The hair swinging orchestral tune and hard-hitting lyrics matched with Renee Zellweger performance was comedic, real, and relatable, the perfect escape.
However, I didn’t just watch rom coms Sometimes, I needed a deep and meaningful film to fully immerse myself in and forget about the current world troubles One that stuck with me is “The Pianist” This war-time drama based on a true story has an opening scene that might just be one of my all-time favourites I’ve seen thus far It begins with the melodramatic chords of Chopin’s nocturne in C-sharp minor accompanying speckled black and white videos of Warsaw in 1939, the beginning of a dark and doomed period of history, one that is reflected in those opening chords. As the film and nocturne progresses the audience are introduced to a male playing the piano, panning from his hands to a wide shot, creating an enigmatic atmosphere that is further embodied by the minor tune.
While focused on the piano playing the sounds of dropping bombs and shattering glass begin, but amidst the chaos Chopin’s haunting melody continues In fact, it only stops when the pianist, the character Wladyslaw Szpilman played by Adrien Brody, is blasted off his stool by the impact of a bomb, taking the war time idiom, “Keep Calm and Carry On” to the next level. The setting and music of Chopin creates an atmosphere that is so poignant and haunting, working as a poetically creative reminder of this real-life horror story. Therefore, from those first few chords I was encapsulated in the film (so much so that I went on to learn the nocturne which is the aforementioned piece that is forever stuck in my family’s head).
Now something that feels imperative to mention is the soundtrack of “The Theory of Everything”, not only because of its magical composure but also because why not give Cambridge a little mention This orchestral and neo-classical score composed by Johann Johannsson is one of the most immersive I’ve heard, radiating main character energy The poignancy is unmatched, and its evocativeness is powerful both with the movie and without, and perhaps being from Cambridge, audiences from here feel it a little more. Personal favourites in this soundtrack are “Cambridge, 1963” and “A game of croquet”, the latter particularly so, as those first hums of string instruments sounds like an orchestra warming up, taking me back to listening to the buzz of music before a performance, something I have so greatly missed during this past year. And “Cambridge, 1963” was a favourite amongst many YouTube listeners and, to quote some comments, “This is one of the most beautiful things I’ve ever listened to in my entire life” and “I wish I could ride a bike in Cambridge listening to this” s another And to that I say as someone who rides a bike in Cambridge, it can get quite stressful and is not as joyous as this track
So, there you go, a few of my favourite moments in film where the music has shone through and has let me escape from this covid infected world we live in. For in times like these we must find a place that lets us escape and revel in it, for escapism can be few and far between, especially when life and news can feel so heavy.
By Sam Gamble
Creating a world for a story is just as integral to the creation of a story as characters and plot Having a world that feels plausible, lived-in and realistic brings your audience in and helps cement them in the reality you are trying to create.
But what do we mean by world-building? The first films that come to mind are things like Lord of the Rings, Star Wars, Game of Thrones etc. These are extreme examples of world-building, where part of the appeal of the media is seeing the world expanded and the lore deepened. Some, such as Lord of the Rings, even have entire languages created to further the environment However, worldbuilding is just as prevalent in films with a much smaller scope.
Even comedies have dynamic world-building. Take a look at Pitch Perfect, a fairly standard comedy in my opinion, but actually creates a whole world around it's central concept of acapella singers, pushing it much further into the limelight than it would be perceived in our reality. But, in the reality of the film, you accept it. And this is largely due to our first point.
1) Your Characters Place in the World
When I give screenplay workshops, I talk constantly about tying everything back to a certain theme The message at the core of your film should be what dictates everything that is created Let's take Pitch Perfect We accept this reality of acapella being a global phenomenon because our central characters are so invested in succeeding in this world The concept begins to mirror the characters investment into the world itself, and so we accept it.
Going to a larger scale, the original Star Wars features a great deal of completely unrealistic events. Strangely humanoid aliens, desert covered planets, and a magical force that allows you to move things and control peoples minds. And yet somehow, we still accept this. This is because everything links back to how our protagonist, Luke Skywalker, is feeling. Tatooine, our desert planet, reflects his state of mind. He's an outcast, and doesn't really feel like he fits in. Therefore, his home is populated with a largely alien population. As the story moves on, we meet more characters that Luke feels a kindred spirit with. Han Solo represents and ideology of what Luke wishes he was like, a dangerous rebel who lives by his own rules Kenobi symbolises a further aspiration, a wise and collected man who has everything figured out These two are what starts our hero's journey to then explore the galaxy far far away
2) The World As A Vehicle for Creating Conflict
You've probably heard this analogy in reviews of films like 'Sin City' or pretty much any 'Batman' film, where Gotham City is described as ' an additional character in the film' Really, this just means it feels lived-in and populated You might think es a little deeper than that analysis of the Steven Spielberg film 'Minority ety that the film creates ultimately ends up too much, because it's an under-rated classic ets, but the basic concept of the film revolves that can be predicted and prevented, and the Protagonist, John Anderton, is an agent of the r, his world and ideologies are brought into a murder. He then goes on the run, and the will and whether or not it exists. Through this and this character's own beliefs become the
l, but to summarise, the film is able to weave nd conflict. We are introduced to this world ghout the entire film, however their ideologies
3) Obey the laws... Even if they're made up
rule In any Time Travel story, you first have to decide what the rules of time travel are Back to the Future operates on the idea that changing the past effects the future, but 'Avengers: Endgame' opts for a splintered reality approach 'Interstellar' posits that time dilation (gravity distorts time with a stronger force) means that you can only accelerate your time, and not go back, wheras 'Tenet' allows you to go back and forth, but you completely lack free will and everything is pre-determined and going to happen. What do all of these films, with maybe the exception of Interstellar, do? They stick to these rules. 'Back to the Future' sticks to it's Butterfly Effect mentality, Tenet removes the idea of free will, and 'Terminator' flip flops back and forth as to whether or not the future can be changed or if it's set in stone, and can only be delayed. All of this goes to say, that there are some rules that can't be broken, even if you are the one that made them up. Superheroes have to have some sort of power limit to be believable, Superman can be rendered virtually useless with a little green rock, and explosions don't hurt people in 'Die Hard'. My point being, you can create anything, but the world needs to be believable and anchored with set rules. Any action film completely breaks the physical laws of the amount of pain one person can take because it looks cool and fills you with adrenaline, heck, 'Face/Off' allows you to swap a persons face completely, but even this film is anchored by specific rules that stop you doing anything. For example, the procedure to swap faces is highly experimental, so that not every single person in the world can do it, creating a unique situation for these two
Make your own rules, and stick to them
Always have a little nugget of Kryptonite in your back pocket to anchor your world in whatever version of reality you ' re trying to create
Hopefully these tips go a bit of a way to helping you understand the rules and regulations of world-building The caviat being, as with all rules around creative undertakings, is that rules can be broken, if you have a reason to Having your world reflect your character's mindset might not work, the opposite might be true Your character conflict might come from your character's entirely, rather than a summarising of your theme. Go out there, keep writing, and keep creating.
