Reflection
The production of this film consists of several layers. It uses multiple filming and editing technique; this ranges from the narrative, editing transitions, sound and visuals.
An essential part of this film is its temporal framework it is situated. I choose not to use a linear sequence, as I wanted the narrative to be ambiguous and not evident at first. By juxtaposing the events that happen before April 15th fading to a black screen and then counting backwards to April 15th, I hoped that the narrative grounds the audience before taking the audience on a journey that explores the effects of sexual assault. By keeping the film ambiguous and without specific names and localities, I wanted the film to reflect the statistic that 90% of those affected by sexual violence, knows their attacker (Rapecrisis.org.uk, 2019). Another important feature that I worked on for this film was the use of sound. Throughout the whole film, there is a soundscape taken from the forest which has birds singing. I decided to have this run from start to end to ensure there is a sense of continuity within the film although it is moving between different time frames and abstract clips. However, also creating a sense of familiarity throughout the film.
The second soundscape used throughout the film was the soundscape recorded from the beach. I choose to bring this soundscape in once the film starts counting back as a representation of the emotional states experienced, it starts soft towards the start of the film and increases the closer it gets to April 15th. By doing this, I aimed to have built tension but also a sense off immersion and loose of control as the sounds of the waves intensify and engulf the audience. In terms of the narrative used, I wanted to make sure I gave it enough time to be understood and digested. However, I also made a conscious effort to make sure the space between the dialogue was shorter towards the end as a representation of the panic and lack of understanding that victims experience during the early months of the attack. The shoots that I choose to use although random and abstract have a meaningful purpose. The use of natural shots (i.e., flowers) presents a sense of delicacy and vulnerability. The choose of having figurative shoots at the start was vital for me to reflect the notion of losing your self and identity, being disconnected from your body and unable to control it. By shooting everything in tight crops, I was able to create a sense of intimacy for the audience. Including a few shots that showed figurative movement ensured that the film was not too similar as the majority of the clips used had little movement. By including the figure it also anchored the context of the story and gave it depth, so It was just a series of beautiful clips.
Although this film may not be distinctly ethnographic, it was produced within ethnographic methodologies of understanding, and I do believe this was the best way to tackle such a sensitive topic like sexual assault. This film has been an emotional process, and a personal one, which has challenged me but also allowed me to explore these emotions. Although difficult and challenging it is something I have enjoyed creating.