I hope my artefact engages the audience by combining humor with social commentary, using satire to reveal the absurdities of comical objects. By juxtaposing a 1960s protagonist with modern-day elements like TikTok and vaping, the film invites viewers to reflect on how much culture has changed, often in bizarre ways. It aligns with the studio’s key concern to embed comic events in the “non-comedy” genre like drama or documentary, allowing for more suspenseful intersections of comedy. At the start of the semester, my comedy was framed in an independent genre. I opposed genre hybridization because I was not confident combining aesthetic formats that compensate for the dominant comedy vibe. However, I acknowledge that the comic frame is built on the role of context we access and constitutes variable meanings tailored to each person (Voth 2014). Therefore, I took the last major projects as an opportunity to challenge the hybridization of spy themes and comedy modes.

If I continued working on my short spy film, I would focus on refining several key elements to enhance the overall quality and impact. Firstly, I would delve deeper into the genre hybridization by balancing the comedic and satirical tones more effectively. Following Meikle’s (2012) analysis of the fake news TV series Brass Eyes, satire is more than calling out the framed subjects and justifying views. Each subject should be treated differently based on our perspectives and distances from the satirical subjects. As our format is not live TV shows, we speculate our method to communicate views of satirical subjects in a short film format that our character, Agent Whyte, exaggerates her expression when confronting the subjects. What still needs to be worked on is more research into how the typical ’60s comedy movie is portrayed contrasting to the modern look. Logically, our character is from 1964; thus, her expression and social perception differ from the contemporary generation. Spending time editing and rewatching the 1964 scenes, I realized we needed the 1964s context – how people interpret meanings through social languages (narratives, gestures, and so on). However, I am satisfied with our investing efforts in portraying a clumsy and insensible Agent Whollie and reimagining how her character would survive in 2024.

Furthermore, I suggest modifying and extending the script. Since this is our first film-making experience, we will unlikely avoid the unforeseeable plotholes. Most events spin around Agent Whyte in the large time length that we neglect to discuss the depth of other important characters. One technique I learned from sketching the story is identify the goals of your comic characters to expose their stagnant characteristics and their action in the pursuit of goals should match their traits (Toplyn 2014). We neglect the drive of Boss to hunt down Agent Wollie for the file and the schemings of Wollie against the Boss. As a result, we tend to resolve the plotholes by Wollie breaking down the situation through her few lines. It lacks the condensed background to build up the character’s motives, leaving the film a simple run-and-chase between spy and bad guy.

Improving logistics and technical execution is another priority. My initial lack of experience with shot lists and storyboards was a hurdle, but I’ve discovered valuable resources that can guide me in creating more detailed planning documents. This YouTube tutorial has given me different ways to compile visual guides for the shot, such as How To Storyboard Even if You Can’t Draw. I used specifically the Shot Design App to create a 2D model of how the shot will be played out from the director’s view. I would love to excel more in shot list organization. I realized the success of a shot list depends on good logistic execution, including but not limited to location scouting and reviews, and technical capability. One example is the scene when Whoyte is looking for clues to find Wollie and her face is a bit underexposed on camera. Our initial plan was to shoot at midday but it was pushed back to late afternoon after we finished other priority shots. However, if I were more delicate, I would plan alternate options to bring more light kits or choose proper locations.

Lastly, I would love to excel in camera proficiency, especially in focal lengths and movements. Two helpful resources will help me prosper in creating unique visual ideas: https://eyecannndy.com/search/ and Frame Set. There were a few scenes when I rewatched again during the edit, I was thinking of shooting different ways. For instance, I would love to try the wide shot (imitating the look from an anamorphic lens) to create the look of Agent Whyte when she was standing outside the Flinder Station as an outsider in this world.

I am satisfied with the experience of working with different groups throughout this semester. The drive to change the groups occasionally would help me find suitable teammates for the last project. I was in groups with people whose working styles were contradictory. I am proud of my final project group as the majority put concentrated effort into getting the best result. Moreover, I feel that my opinion can be easily transmitted and teammates validate my slight vision from my experiences of producing and editing. For instance, I suggested using a shot list and slate that helped us cut short editing time. I also learned to validate others’ contributions to the output. Before this class, I did not have experience working in a production group because I enjoyed taking charge of every element in the artifact to fulfill my visual desires. Also, scheduling conflicts and differing opinions sometimes slowed decision-making, especially during the strenuous final week before the deadline. I understand that variations of shot placement change meaning and though an individual shot has a different meaning; when it is combined with other shots, the meanings change (Dharmendra 2023). Therefore, it is substantial that everyone will have a different view of which edit cuts work. These challenges, though frustrating, taught me the importance of clear communication, flexibility, and compromise. I am proud that after all, we have a mutual vision to foster a positive teamwork environment and allow each person’s strength to thrive in the project.

Reference List

Dharmendra C (2024) ‘Image comprehension and the emotional response to film editing’, AIP Conference Proceedings, doi: 10.1063/5.0179615.

Meikle, G. (2012), “‘Find Out Exactly What to Think—Next!’: Chris Morris, Brass Eye, and Journalistic Authority”, Popular Communication, 10(1–2), pp. 14–26.

Toplyn, J. (2014), “Story Sketches” in Comedy Writing for Late-Night TV, New York: Twenty Lane Media, pp. 221–238.

Voth, B. (2014), “Comic Frame” in The Encyclopedia of Humor Studies, Thousand Oaks: SAGE Publications, pp. 148–150.