FINAL BLOG POST

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Overall, my time in the studio was wonderfully explorative. I have been challenging myself to write a screen play for quite some time,  an activity in which I have always had interest but never the courage. Consequently, over the last two years of studying film I have positioned myself in producer roles, finding comfort in administration’s linear format. However, over the last 4 months, and specifically 3 weeks, I have seen my creativity transform in imagination and confidence. Awone. is deeply auto-biographical, yet in attempt to harness the ‘audio-visual’ element of the course I’ve succeeded in its manifestation as a story not only relatable to me, but its reader. As screenplays will ‘always first and foremost exist in order to communicate the potential of a film’ (Bordwell, p43) Awone. heavily invites its reader to interpret their own visuals that are encouraged through the experience of music.

The initial aim of the piece was to attempt to defy convention through parody and satire. However, as I self-reflected on my  own experiences of the text, I decided to use the liberation of fictionalisation to provoke. Thus, Awone. illustrates through its compartmentalisation, the progression of mental health and its omens. Focusing on the investigation and portrayal of commonly felt experiences, as oppose to the deconstruction and delegitimising of them. For this reason, the screenplay is episodic as a metaphor for the temporary and temperamental ways of which emotions live. Using contemporary themes such as technology and travel, a metaphor for excess,  loneliness and suffering.

Ultimately, the formula invites for an array of directors to collaborate within the project. The benefit of this is that a multi-dimensional voice will tell a singular story that is relatable to all. Surrealism is used within the piece to demonstrate humanity’s potential to disengage whilst still seemingly ‘present’. More importantly however, is this pieces’ acceptance and encouragement of multiple voices. It’s ambition to encourage women identifying or non-binary directors and crews to construct their version and understanding of the screenplay. Touching on the fundaments of my previous assignment, that highlighted the innate construction of reality that surrounds us without any awareness of such. Thus,  Awone. attempts in every aspect of the script to be as neutral as possible in hope for everyone to feel included in its production. Setting forth a stark difference to the experience we see of GIRL.

PICTURE THIS! ASSIGNMENT 3 PART C

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Overall, I am under the impression that my presentation went quite well. No doubt, a large portion of this success was due to the trusty chair I was able to sit on whilst speaking (I don’t know why this gave me so much comfort but it really did). Nevertheless, I felt confident in my pitch’s delivery and equally in its response.

Initially, the idea of presenting daunted me due to my screenplay’s comedic kick and tonality. Fearful mostly of my jokes falling flat, and that the general vision of my screenplay would not be properly communicated, I was in absolute delight when the class laughed at my planned moments of comedic tension and song choice. Further, the practice of having to ‘pitch’ was beneficial as it allowed for my idea to become simplified in its communication to both my audience and myself. Whilst writing, a technical I struggle with most is the translation from inner vision to literature. Concerned with illustrating every aspect of my imagination, (the color of the baby’s eyes, the books my protagonist reads etc.), the three-minute pitch refocused me on my screenplay’s fundamental intent: originality, simplicity and entertainment. Thus, the pitch enabled to test my script first the first time on an audience, whilst simultaneously reminding me of my core values and objectives.

Interestingly, the feedback given to me by Smiljana Glisovi and Dylan Murphy both regarded the practicality of my screenplay. I interpret this as a good sign, as it meant that my concept was delivered strong enough that Smiljana and Dylan could already see imagery within their minds, and add to it what they thought would be visually beneficial. Coincidently, Smiljana feedback centered on my approach to scene transitions, which happened to be the area I was most skeptical of in my script. Due to the compartmentalized nature of my screenplay, I have always been dubious of how to achieve transitional flow. Thus, I drew a lot of inspiration from director Edgar Wright (Shaun of the Dead, Hot Fuzz), due to Wright’s utilization of cinema’s constraints that push the very nature of its boundaries. Wright is famous for his quick cuts and hyperbolic infused actions that instead of simply telling us about his characters and their arc; show us. Ultimately, embodying a notion given by Claudia Sternberg in her text ‘Written for the Screen: The American Motion-Picture Screenplay as Text’ (1997) where she states that ‘screenplay imagery generally assumes the form of simple, easily decodable constructions’ (Sternberg, p81).

Smilljana ultimately suggested that my emphasis on scene transitions could take away from the concept of my protagonist ‘being’, both emotionally and physically, in transit. This was a really solid point to hear, as it meant that my overlying theme of transition and flux was successfully communicated in my pitch. Further, Dylan’s suggestion made conceptual sense meaning that my screenplay was able to become more developed in its practice. In retrospect, Dylan’s advice was quite coincidental as a large part of ‘part a’ within this assignment focused on my approach to scene transition. Considering now I am tempted to throw out the entirety of scene transitions, it really demonstrates the serendipitous and progressive way a creative practice works. Where, one minute you’re putting effort into what you think is one of the most significant aspects of the text, and the next minute that element is thrown out the window due to the nature creativity and its liberalism.

Further, Dylan introduced me to the notion of ‘worldship’ in his feedback. Addressing the nature of my protagonist’s internal surroundings and her relationship to the world outside of her own experience. This granted me a form on insight as I had previously been so concentrated on my protagonist and her specific story that I rejected to acknowledge the realities of her surrounding, and thus overall narrative. As a significant theme within my script is the idea of isolation, stagnation, and transformation, it focused heavily on the inner turmoil of the protagonist, failing to see that her content was – like it is in life – a consequent of her context.

 

WORD COUNT: 809

BIBLIOGRAPHY

Sternberg, C (1997) ‘Written for the Screen: The American Motion Picture Screenplay as Text’, Tübingen: Stauffenburg, p81

PICTURE THIS! ASSIGNMENT 3 PART A

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As part of preparing for your presentation, you will upload a piece of work-in-progress that demonstrates your explorations toward creating scenes on the page through visual storytelling. The work-in-progress will be accompanied by a reflective statement (or statements, interwoven through the post) about the process of developing your idea so far.

Attached below is a screen shot of a working scene with annotations and criticisms. The scene’s objective is a result of the slides also attached to this post, which I used within my presentation to convey my cinematic ambition. All of the slides cover subject matter that I am interested in investigating, and relevant to my working screen text.

Overall, my Work-In-Progress highlights my current and main ambition; successful communication. As comedy and tone are achieved by communicating ‘fine print’ – reflected in my Top Secret reference on Slide 5 – this assignment concentrated on the legitimate visual translation of my text. Discussed in week 7’s tutorial, where we annotated screenplays from students in the UK, a screenplay’s content and worth is subjective. However, what is paramount is the text’s ability to communicate from the writer’s internal imagination to the external reader. Thus, my exploration for this assessment aims to successfully translate my internal vision to my audience and the panel of judges (eeep!).

The Picture This! studio focuses on audio-visual techniques and the relationship audio and visuals have on one another. Conceptually, my screenplay aims to address the isolation one can feel whilst in the context of our overly-connected society. Semi-autobiographical, the screenplay follows the unidentified ‘GIRL’ as she travels from Melbourne to Canberra, and spends the most of her 24 hours in complete solitude. The screenplay’s catalyst came about from a similar experience of my own, where whilst completing a intermediate trip within Australia I was shocked at what I could achieve without the transmission of help from anyone at all. Exposing through my ability to just ‘glide’ from state to state, the way our society has recently been constructed; prioritising real life communication for electronic validation and order. Online bookings, check-ins, payment and food delivery – it became apparent to me the very real possibility of our culture’s demise of communication and interaction into solitude and isolation. Thus, my screenplay, with its focus practical audio-visual techniques, attempts to provoke this subtle conformity Western society has become growingly dependant on.

In conclusion, my objective for Wednesday is to successfully translate concept to reality. Ultimately, touching on Dzialo’s understanding that ‘screenplays should be experienced […] as a form of cinema itself’ whereby ‘both, although via opposite polarities, are audio-visual (the screenplay cueing the images and sounds in our mind’ (Dzialo, p109)’. Thus, illustrating a creative visual in my audiences’ mind, that through its very being, will allow me to further my screenplay as a practise and thus be experienced not only like a film, but are their own enunciating subject (Branigan, p87).

BRANIGAN, E (1992) ‘NARRATIVE COMPREHENSION AND FILM’ ROUTLEDGE, LONDON P.87

DZIALO, C (2009) ‘FRUSTRATED TIME’ NARRATION: THE SCREENPLAYS OF CHARLIE KAUFMAN’, IN W BUCKLAND (ED.), PUZZLE FILMS: COMPLEX STORY TELLING IN CONTEMPORARY CINEMA, WILEY-BLACKWELL, CHICHESTER, P109

 

 

 

 

 

 

 

Understanding Edgar

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Now that I’ve finalised on my script its time to start understanding its aesthetic. As what makes a screenplay, by definition, different to other pieces of literature is its visual cues. Thus, this week I have started mentally workshopping directors I am a fan of and imaging their writing practises and styles.

As my script is compartmentalised into 6 different scenes, one of the things I am most hesitant about is the transition process. Confident in the material of each scene, it was their ‘flow’ that made me uncomfortable in their cinematic delivery. Thus, I took a specific interest in directors whom use the constraints of cinema to surpass the ‘realities’ of it. The first directors that came to mind were Wes Anderson, Christopher Nolan, Tim Burton and Edgar Wright. Edgar Wright especially uses cinema to convey emotion and subject matter to his audience. This concept was explored really well in a youtube I found – How To Do Visual Comedy / Edgar Wright – https://www.youtube.com/watch?v=3FOzD4Sfgag&t=2s . 

Every Frame A Painting dissects Wright’s work, and demonstrate his reinterpretation of convention on screen. This was super beneficial to watch as it verbalised the techniques Wright uses on screen. Ultimately, exposing me to different perceptions of cliches and how to tackle them. Wright demonstrates a pioneer in filmmaking through his very transitions. Giving my inspiration and focus not just on the story, but the creation of cinema itself.

Briefing for my brief

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It has come to the point where the final assignment is starting to become talk about in class discussions. This terrifies me, as I don’t really have any idea what I am going to write about, nor do I have any past experience in screen writing that I can pray will get me through. I spoke in my previous blog post about my desire to morph and provoke convention. However, the reality of satire is upon me, and although I’d love to be able to complete it I am too nervous to start.

Obviously, this is a test within itself. As I am already critically analysing work which I have no yet produced, but only thought about and qualm in self doubt with. So, with this awareness I downloaded Final Draft and clicked the right buttons to get me into its portal without having to pay (currently on a free trial). This, I know is the first step in completing the scary final assignment. If I was to write a screen play about myself in this moment, it would be something like this

 

Joss, 20, clicks open Final Draft on her computer. Computer wears one environmentally
active sticker.

Joss, types words ‘the blue sky’, before backspacing to the word ‘the’. The mouse curser slowly,
very slowly, moves up into the right hand side of the computer screen. Then, clicks on the search
key. Joss types in ‘dictionary’ and clicks on the app. The app appears in the computer screen
and Joss searches the word ‘blue’.

Joss finds the synonyms for blue ‘aqua’. The mouse then proceeds to click on Safari and enter word
‘aqua’. The mouse taps the ‘images’ icon and scrolls meaninglessly before clicking a ‘blue’ and
setting it as the computer’s background, which currently houses a photo of a Koala.

Or something like that…

Assessing Assignment 2 and Interpreting Assignment 3

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I am happy with my mark for assignment 2, and hope to translate the comments and criticism into Assignment 3. Assignment 3 is constructed into three parts; blog post, presentation, blog post.

This will be one of my first times ‘pitching’ an idea to an audience of people. Thus, I have decided to have as much visual material as possible in order to make sure my project is executed smoothly and knowable. Due to the ‘pitch’ nature of the presentation, I have decided to stay clear of palm cards and reading devices. As this is a way to replicate the ‘real life’ experience of screen play writing and marketing.

WENTWORTH: THE VR EXPERIENCE

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This script was super interesting to read due to its format. Throughout the semester I’ve wrestled with the ideas of what makes a good scripts, as what some aspects of a script make them ‘not the best’, the same qualities of another script become advocated. Claudia Sternberg in ‘Written for Screen’ really elaborates on the at times hypocritical nature of screen writing, as she states that ‘the use of screenplay modes is functionally determined’ and ‘works within the syntagmatic requirements of the text type’. This however, I find problematic.

The point of this studio is to re-interpret the ways in which we view screen plays in general. Re-imaging them as an introduction to a movie as oppose to just its singular nature of a ‘script’. Thus, in the same way we look at literature in general, we should look at scripts. Not being concerned with the ‘dos’ and ‘don’ts’ of script writing, but instead its communication and visualisation of story. Thus, Wentworth: The VR Experience was a great script to read due to its compartmentalisation of fictional facts in its beginning. Reading through the ambitions of VR, Synopsis and Interaction initially allowed for my mind to be coloured with the opportunities of the coming pages. If you think about it, every film has a synopsis, whether it be a trailer, article or even general knowledge about the time period or world in which its based in e.g. World War II, countries, etc. Thus, the same notion should be granted for screen plays.

The Guilty Feminist Review

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‘The Wheeler Centre is Melbourne’s home for smart, passionate, and entertaining public talks on every topic’. Or, so the website says. In 2008, Melbourne was designated a UNESCO City of Literature, instigating the establishment of the Centre for Books, Writing and Ideas. Sponsored by Maureen and Tony Wheeler of Lonely Planet, the Centre gained international recognition as well as a contemporary name change to The Wheeler Centre. Since 2010, the Centre has had more than 2200 speakers participate in more than 1616 public conversations. Located in a dedicated wing of the State Library of Victoria, its architecture sits on the edge of Old and New. Lining Little Lonsdale St, it divides the buzz of a contemporary city with the tranquility of a State library’s grandness and manicured lawn. This conjunction of culture manifests itself inside, as well, as discussions raised focus on issues prevalent not only to our modern day, but humanity’s habits and ways, past and present.

 

This month, The Wheeler Centre held The Festival of Questions. An annual one-day event, which over the course of four discussions, debate contemporary society’s philosophical truths. Deborah Francis White’s UK comedy show The Guilty Feminist concluded this year’s session, selling out weeks prior to her performance. The podcast has gained international recognition since starting in 2015, winning the 2016 Writer’s Guild Award for Best Radio Comedy at BBC Radio 4. Demonstrating through its success, a turn in culture as the podcast ‘discusses the atrocities and insecurities that underline us as 21st century women’.

 

The topic for the show titled What The Hell? was Hulu’s 2017 adaptation of Margaret Atwood’s 1985 novel The Handmaid’s Tale. It featured Lauren Duca (a US freelance journalist), Krissy Kneen (author of Swallow the Sound), Celeste Liddle (current National Indigenous Organizer for the National Treasury of Education Union), Jamilia Rizvi (online columnist and commentator), and Quinn Eades (lecturer in Interdisciplinary Studies at La Trobe University). Evidently, White’s panel was thoughtfully diverse. The show packed out Melbourne’s Town Hall, and included a diverse audience no doubt attracted by its provoking panel. Sitting among peoples of all ages and identities, it was hard to ignore the shared energy one gets when hoping a moment of better. Sitting together, rubbing shoulders, I felt snug in the security blanket one feels when about to share a laugh and insights with strangers. However, as giddy this experience was, examples of the world around us kept seeping in, with audience members attempting to go to the bathroom mid-session, ushered through noisy locked doors, waited on by security guards – delegated to either keep us safe from the world outside or keep us locked in from a disabling escape.

 

Hulu’s adaptation of Atwood’s novel was generally successful due to its loyalty to the book. However, issues surrounding ‘color-blind casting’ (when a show disregards race in casting despite a text’s original truths) were debated as creator Bruce Miller decided to cast Samira Wiley for the character of Moira despite Atwood’s original separating of race. Sending those of color to the Children of Ham, Miller’s objective, as discussed by the panel, was to make a show that was ‘more about race, then it was racist’. Eager to fulfill Atwood’s initial modernity with current contextual issues, Liddle’s response was interesting, stating that dismissing Atwood’s previous truth didn’t liberate women of color from their confines, but instead white washed their problems into submission. Liddle spoke honestly about this injustice, raising points about how the show seemed like a ‘prophecy’ for future America, was actually the reality and history for women of color.

 

This is undeniably true, and in this instance, exemplifying white feminists’ fight against injustice felt by many but not recognized or heard before. Accompanied by a panel of Caucasians, Liddle’s point was heard and discussed, taking appropriate time to investigate her point without making it seems tokenistic or redundant. However, as I sat and listened to the conversation continue, inevitably ending with Duca’s discussion about Trump and his atrocities to come, I couldn’t help feel that once again the discussion had travelled to mainstream topics. Characteristically falling short of my expectations, and for so many of the people that surrounded me. Moments like these in public speaking, is when you feel that blanket previously so snug, tighten around you in a suffocating manner.

 

As Liddle sat mostly silent for the rest of the session, listening to theories of a Trump future, her elimination from the conversation was not malicious or intended, but circumstantial. Not having another person of color on the panel, seemed to disable her voice as race issues became less central than the ones on topic with three or four panel members. Exposing the harsh truth of so many circumstances when it comes to the being marginalized, as attempted solutions fall through the cracks of a still rickety floor. What the Handmaid’s Tale taught us was the importance of allies. Offred’s relationship with Serena Joy Waterford, most commonly referred to as ‘The Commander’s Wife’, demonstrated the desperation one feels when in the orbit of someone that can help, but doesn’t. Similarly, as we sit in a national climate that has purposefully disrupted any illusion of acceptance of difference by an ill-fated plebiscite, it’s hard to continue to ignore the prevailing injustices that previously went unnoticed or unacknowledged. Calling to attention our perhaps unintentional submission, as ‘ordinary… is what you are used to. This may not seem ordinary to you now, but after a time it will. It will become ordinary’.

 

Word count: 915

https://www.wheelercentre.com/

https://www.wheelercentre.com/events/series/the-festival-of-questions

http://guiltyfeminist.com/

http://www.bbc.com/news/entertainment-arts-38517384

http://www.imdb.com/title/tt5834204/episodes

http://www.imdb.com/name/nm2088803/?ref_=tt_cl_t2

https://en.wikipedia.org/wiki/White_feminism

Transparent Review

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We’ve been through gender transitions, divorce, intersectionality debates, religious beliefs, s&m, and at times, the crippling politics of family dynamics, but I am not talking about The Kardashains. Instead, for once, I am talking about something else – Transparent. The Stan produced show created by Jill Soloway in 2014, explores humanity’s timeless themes through the contemporary complex of an LA family. Following the life of the Morty Pferfferman, a 60 something year old husband and father of three, as she transitions into Maura after coming out to family and friends. Exploring the language and nature of identity to an unprecedented scale, the show has received a BAFTA award for Best International, eight Emmy’s and one Golden Globe award. Soloway’s previous work on Six Feet Under and Afternoon Delight has also received recognition at Sundance, as their attention to minute details enrich scenes of typically mundane moments. Characteristic of its nostalgic tone that questions the longevity of life, which only recently by Maura has been lived, Transparent explores the difficulties surrounding the affirmation of self.

 

Entering into the world of the Pfefferman family this season has been more cluttered than anything we’ve seen before. Finishing last season on the iconic statement ‘I am not your adventure’, delivered by Maura’s transgender friend, actress Trace Lysette, the family goes on exactly that, to Israel, to find both their spiritual and biological roots.

 

Themes that were once portrayed through sensual relationships and nuanced idiosyncrasies have been substituted with loud scenes and an exploration of the world. Consequently disabling the ability for the Pfefferman’s to properly grow in this season, as their interactions are limited to their relationship with their newfound external environment. The opening scene of episode 1 shows the Pfefferman clan at a chaotic lunch filled with alcohol, and dismissed and ignored comments, encapsulates this season’s change from its previously less is more attitude. Creating instead the paradox with this season where more is less. The script is dependent on telling as opposed to showing, causing the Pfefferman’s to lose their sense of authenticity. Audiences aren’t given a chance to understand but instead are told; contradicting contemporary cinematic ambitions that aim to destabilize misrepresentation by humanizing characters through their relate-ability, as opposed to structure-ability.

 

As inclusion grows and becomes more prominent on our screens, it’s strange to see a show so previously filled with authenticity become trivialized by itself. Living in a world post Oscar winning Moonlight, which gained acclaim due its realistic portrayal of personal struggle and lack of Hollywood dramatics, Transparent has shifted from intimate to tokenistic. Relying on a new setting, family member, sexual partner and transitioning character, to give the life of what was previously given through passive scenes and reflective characters. What would have taken seasons of progression has been exploded too quickly in the combustion of Season 4. Consequently, our intimate glimpse into the magnitude of a family portrait has become overshadowed by the demonstrative performance of ‘life’. As narrative timeframe jumps ahead, we are exposed to the show’s new lack of subtle creativity and loyalty to previous credential truths.

 

Focusing less on transgender issues, and more on the politics of family and friends, I can’t help but feel that the show has digressed from its previous explorative intentions. Perhaps, this decision was an attempt to progress Maura from being a trans representative, and instead focus more on her humanity, as a member of society. Yet, the show’s lack of regarding the LGBTQ community has done it a disservice. As it has raised awareness about the authenticity of Trans and other minorities, Transparent’s divergence from its usual discussions have left me feeling under satisfied: acknowledging my dependence on Maura to be a trans activist, a breakout character, as opposed to simply a character that lives within the narrow prisms and conventions, like everyone else. However, let me just tell you this Maura, watching you break down those prisms was much more fun, inspiring, and if you’re able to surpass them, I think you should.

 

Sadly, Transparent has succumbed to a familiar reality, lived by most fiction on screens, where genuine narratives are replaced with tropes. In a climate where shows are able to extend themselves for their audiences, usually reaching up to 4 – 8 seasons, too often we see the repercussions of mass-audience demand over creative pursuit. As audience ratings grow along with the shows noticeability, it’s hard to determine if the show’s progression into ‘convention’ is reactive to ‘responsibility’ or a short-fall in creativity. Whichever is the case, the silver lining is that Transparent has given future content precedence to be more challenging and a success. Proving through its commodification, ironically, that there’s a growing demand for inclusionary narratives in what was thought to be a previously niche market.

 

Word count: 801

Sources

http://www.imdb.com/title/tt3502262/?ref_=fn_al_tt_1

http://www.imdb.com/name/nm0813561/?ref_=nv_sr_1

http://awards.bafta.org/award/2017/television/international

https://www.emmys.com/awards/nominees-winners

http://www.goldenglobes.com/winners-nominees

http://www.imdb.com/title/tt0248654/?ref_=nv_sr_1

http://www.imdb.com/title/tt2312890/?ref_=nv_sr_1

http://www.imdb.com/name/nm6006903/?ref_=nv_sr_1

To The Bone Review

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Netflix’s new original teen-drama, To The Bone, is another example of the commercial platform’s attempt to open up a large-scale dialogue focusing on teen angst and wellbeing. The feature film focuses on Ellen – a twenty something year old artist played by Lily Collins – as she questions her life choices and self-worth through the prism of her anorexia nervosa. Mental health as a ‘teen topic’ is not unusual or unprecedented. Youth audiences are regularly exposed to a reflection of their own image on screen, progressing from Jim Stark’s (James Dean) longing for patriarchal domesticity in Rebel Without A Cause (1955), to Effie Stonem’s (Kaya Scodelario) drug taking, ‘born backwards’ ways in Skins (2007). However, although all significant in their contribution to our current conversation, what differs from previous teen narratives today is the rawness and portrayal of mental health itself. Following on from previous rebellious images, usually provoked from the exterior, it is now becomingly increasingly internalized. Moving away from dilution of a ‘teen-gleam’ effect and into the realm of more realist media, surpassing tropes of reckless behavior and existentialism to create realistic narrative arcs, including the actual effects of disorders and illnesses. Consequent to the rise of the Internet and surge of ‘real narratives’ on our private screens, production companies have attempted to replicate what is being seen and experienced by young people themselves and people they know.

 

Giving catalyst to Netflix’s new mode of production that shows ‘real’ stories, more often than not, with very real consequences that follow. Thirteen Reason’s Why was Netflix’s first mass watched teen-drama. A 13-part series narrated by Hannah Baker’s pre-recorded tapes that followed the moral and emotional aftermath of her suicide. According to Fizziology’s report, the show led to 3.5 million social volume impressions in its first week of release, as audiences from teenagers to government officials published warnings regarding its triggering content and portrayal of mental health. This overwhelming reaction however, contrasts with the lack of response to To The Bones’, raising flags regarding the sincerity of mental illness both on and off our screens. Admittedly, Ellen’s story is less fierce in its portrayal than her predecessor Hannah, consequential no doubt to Netflix’s acknowledgement of responsibility when providing entertainment to an audience of 93.8 million. Yet with a subscriber base of so many and reaction from so little, To The Bone demonstrates how dialogue surrounding mental illness is not necessarily continuous, and is in danger of quickly becoming an out dated contribution to last month’s conversation.

 

Similar to Ellen’s troubles with food, binge watching Netflix has created an audience culture distracted by quantity over quality. Reflective of the spike in television over cinema in the last 5 years, what audiences once sought from the traditional narrative arcs in cinema has been substituted for 8 season shows on an automatic continuous play. This culture of binging has resulted in a dependence on a singular source provider, whether it be commercial companies like Stan or Netflix, or government initiatives such as iView or SBS on Demand. Issues surrounding the responsibility of cinema have become hazy, as providers now supply for mass audiences as opposed to niches; raising questions about the sincerity and complexity of mental health whilst appealing to a mass audience. Evident by the reaction of Hannah Baker’s story, the stigma of mental health is still as alive as Hannah seemed to be within her tapes. Providers are placed between a rock and a hard place, as they respond to audience desire for ‘real’ content while satisfying a mass audience, and being scrutinized when presenting it. This places us, the audience, in a position of acute hypocrisy as our desire for ‘real’ is now haunted by the controversy of Hannah Baker’s past.

 

Consequently, Netflix rigorously censored Ellen’s story, filtering her anorexia once again through that teen-gleam lens and inadvertently trivializing her story. As lead doctor, Keanu Reeves projects ideals of simplicity by instructing Ellen to simply tell the voice inside her head to ‘get lost’ in times of strife. The film exposes the dangers and restrictions of commercializing such an intimately complex issue that can have such profound effects on people’s lives. Both audiences and providers are despairing, as Netflix’s initial exploration has ironically enforced future regulation. Witnessing Hannah’s controversy and Ellen’s censoring, dealing with the problematic paradox of representing mental health in our society has led us to pretend to ‘fix’ issues by sugar-coating them away.

 

Word Count: 754

Sources

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http://www.refinery29.com/2017/04/149755/13-reasons-why-most-tweets-netflix-streaming

http://www.imdb.com/name/nm0000206/