A presentation on the film proposal by Fruit Bowl Films, entitled 'Turning Pages', a proposal by Emily Lawson, Sharlene Gandhi and Anna Rawe

1. G r o u p 3B : A n n a ,
S h a r l e n e a n d E mi l y

2. The conventions of coming-of-age films
- T e e n a g e /y o u n g
p r o t a g o n i s t
- Wa n t s t o c h a n g e
s o me t h i n g a b o u t
t h e i r l i v e s /b r e a k
f r e e
- Pl o t f o c u s e s o n
t h e i r 'j o u r n e y ’
- A c o m p a n i o n /f r i e n d
- Si g n i f i c a n t c h a n g e
t r i g g e r s j o u r n e y

3. Our Film Idea
G e n r e : C o m i n g -o f -a g e
S y n o p s i s : Wh e n
e i g h t e e n -y e a r -o l d
L i l a ’s b r o t h e r d i e s o f
a t e r mi n a l i l l n e s s , s h e
g e t s a n e w o u t l o o k o n
l i f e a n d s e t s o u t t o
c o mp l e t e a l l o f t h e
t h i n g s o n t h e Bu c k e t
L i s t t h a t h e l e f t
b e h i n d

4. Typical characters featured in this genre
Pr o t a Se c o n d a r y
g o n i s c h a r a c t e r s
t
Ca r i n g /
u n d e r s
Qu i r k t a n d i n
y / g
k o o k y
Fl i r t
y
Th o u g h t f
u l /d e e p
t h i n k e r s
Seeking independence
but still too naïve L a t e r a l
t h i n k e r
s

5. Our characters and character representations
J e s s i c a L o At t i c u s
• 18 Wa l s h
• I n t e l l i g • 19
e n t , p r a c • I n d i v i d u
t i c a l a l ,
• Ho l d s t h e b i z a r r e
g r o u p • A f r i e n d
t o g e t h e r o f L i l a ’s
• A f r i e n d wh o
o f L i l a ’s L i l a Ki n g a c c o mp a n
wh o • 18 i e s h e r
a c c o mp a n • J u s t l e f t s c h o o l / a s s h e
i e s h e r g a p y e a r f u l f i l s
a s s h e • Impulsive, excitable, naïve, a r t i n t h e
f u l f i l s y , a s p i r a t i o n a l , w Bu c k e t
i n t h e i t t y , f e i s t y L i s t
Bu c k e t • Ol d e r b r o t h e r
L i s t d i e d o f
l e u k a e mi a a n d
l e a v i n g b e h i n d a

6. Propp’s Character Theory
• Th e He r o - L i l a
• Th e Vi l l a i n - He r
Pa r e n t s
• Th e Do n o r - De a d
b r o t h e r wh o s t a r t e d
b u c k e t l i s t
• Th e He l p e r - He r t wo
f r i e n d s At t i c u s a n d
J e s s
• Th e Pr i n c e s s - L i v i n g
h e r l i f e t o t h e f u l l
a n d i n d e p e n d e n c e

7. Chosen Target Audience
Co r e Se c o n d a r y
Au d i e n c Au d i e n c e s
e
M a l e s , 16
– 24
• F e ma l e s Ad u l t s
• 16 – 24 (30+) –
• St u d e n t s n o s t a l
• Mi d d l e c l a s s g i c
• I n t e r e s t i n a b o u t
p h o t o g r a p h y , t e e n a g
l i t e r a t u r e , e d a y s
c u l t u r e (m a l e

8. Potential
Distributors

9. We
s p e c i a l i s e
i n t h e
p r o d u c t i o n
o f l o w
b u d g e t , ‘i n d
i e ’ f i l ms
Fr u i t
Bo wl Ou r Pr o d u c t i o n
F i l ms C o mp a n y
i s a n
i n d e p e n Fruit Bowl Films O u r a i m i s
d e n t , t o p r o d u c e
Br i t i s h h i g h -
p r o d u c t q u a l i t y ,
i o n Br i t i s h
c o mp a n y f i l ms w i t h
b a s e d me s s a g e s
i n a b o u t
L o n d o n s o c i e t y
Fo u
n d e
d i n

10. Style and Form of Coming of Age Opening
Sequences
- Th e f i r s t s h o t i s
l o n g i n d u r a t i o n
- Th e r e a r e l o t s o f
CUs
- St a r t wi t h s i l e n c e
t o a c c e n t u a t e t h e
v i s u a l s
(s e t t i n g /m i s e -e n -
s c e n e )
- Di a g e t i c s o u n d
e f f e c t s :
b i r d s , wi n d , d i s t a n
t c i t y
- A s o f t , s l o w -p a c e d
s o u n d t r a c k
- Us u a l l y c u t s a r e
u s e d , w i t h s o me
f a d e s
- Na t u r a l , e x t e r i o r

11. Our Opening Sequence
• L i l a l o o k i n g a t
s u n r i s e
• S h e v l o g s f r o m t h e
t o p o f t h e h i l l
• T a k e s o u t b u c k e t
l i s t a n d p h o t o o f h e r
b r o t h e r f a l l s o u t ,
a n d s h e t i c k s o f f t h e
f i r s t t h i n g f r o m h e r
l i s t
• S h e wa l k s o v e r t o

12. Location
P r i mr o s e
Hi l l
i n
C a md e n , L o n d o
n

13. Some Of Our Shots
• VL S o f s u n r i s e
• C a n t e d a n g l e /s i d e o n
CU o f b r e a t h
• CU s h a k y c a m o f L i l a
r e c o r d i n g t h e
s u n r i s e
• H A O T S /P O V o f h e r
l o o k i n g a t p h o t o
• L A CU o f h e r l o o k i n g
d o wn a t p h o t o t h e n a t
l i s t
• V L S (f r o m b o t t o m o f
h i l l ) o f h e r p u t t i n g
o n r u c k s a c k
• ML S o f h e r
w a l k i n g /c y c l i n g f r o m
t h e f r o n t
• St a t i c L S o f L i l a
wa l k i n g d o wn s i d e ,
wi t h f i l m t i t l e
a p p e a r i n g b e h i n d h e r

14. Barthes and Levi Strauss’ Theories
BART HES ENI G MA C O D E S :
• Wh o i s t h e b o y i n t h e
p h o t o g r a p h ?
• Wh y d o e s s h e h a v e a b u c k e t
l i s t ?
• Wh y i s s h e g o i n g o n t h i s
j o u r n e y ?
• Wh a t 's h e r r e l a t i o n s h i p
wi t h J e s s a n d At t i c u s ?
L EV I ST RAUSS’ BI NARY
OP P OS I T E S :
• Yo u n g v s . Ol d
• Fe ma l e v s . Ma l e
• Ad v e n t u r e v s . N o r ma l l i f e

15. Titles

16. Thank
You
For
Watching