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This short film implements various codes and conventions of the drama genre, in order to exemplify a tense atmosphere, thus immersing the audience into the experience. The film’s evident theme is the death of a loved one, which is denoted through the 4 technical aspects incorporated within the plot.  Throughout the narrative, a man is exemplified to be reminiscing on the time he spent with his son, however there is an enigma thread, because it is not apparent how his son passed. This exemplifies Barthes enigma code, and leaves the audience questioning how the son died, therefore evoking an ambiguity to the plot. The poignant motifs of death and depression create a “bleak natured’ environment, thus allowing the audience to realise the overall mood of the scene. [1] The short film, ‘Alone’, epitomizes the main protagonist to be in a state of isolation and sadness, depicting him as lonely, therefore allowing him to be a character that the audience can relate to. The protagonist losing his son is a convention of a drama, because it distinguishes a clear journey the character has gone through; this shapes his current persona. The short film begins with a shot of two hands gripping onto an umbrella. The umbrella connotes bad weather, which further symbolises a negative atmosphere due to rain being associated with sadness. This exemplifies to the audience that the protagonist is going through depressive emotions and isn’t in the best circumstances. The two hands are seen to be tightly gripping to the umbrella denoting desperation and exemplifying to the audience that the character is in a state of unease. The camera then shifts upwards so we can see the back of an individuals had. This further aids Barthes enigma code, because we are unaware as to who this man is and what his intentions are. At the start of the film, the lighting epitomizes a white form of lighting which is mildly high key. The white colouring produces connotations of purity, symbolising the innocence of the child that has passed. The term, ‘white light’, also refers to the concept of death, demonstrating the son being in a better place. Non-diegetic music can be heard of a soft piano instrumental which is synchronous to the scene. The music creates a depressive and melancholy atmosphere, emphasising the fact that the protagonist isn’t expressing any form of happiness. The protagonist is also wearing a black suit which is attire for a funeral, demonstrating to the audience what is going on within the scene. The man is then shot at the side of the frame, with grave stones taking up the main area of the shot, symbolising his unimportance and the idea that he is surrounded by death.

The depth of field shot is used frequently within the piece to reiterate the reoccurring motif of loss and faded memories. The camera isn’t in focus to connote the shifts between the protagonists past and his isolated present. Throughout the film’s progression, the camera is constantly moving, rather than exemplifying stationary shots. This could connote the father’s restlessness when thing about his son and how his agitation internally is affecting him externally. As well as this, when the man enters his house, there are no cuts in the action, symbolising he idea that this means pain is forever lasting. Throughout the film, flashbacks occur and high key lighting is distinguished, juxtaposed to the present-day shots. This high key lighting produces connotations of happiness, exemplifying to the audience a tone when the protagonist was most happy (with his son) vs his darkest times without his son. Within the flashbacks, the mise en scene is used depicting the protagonist and his son to be wearing bright colours, for example oranges and reds, therefore connoting contentment. This parallel reinstates the journey the protagonist has gone through from having everything he ever wanted to nothing. Throughout the flashbacks, the camera keeps transitioning from out of focus to in focus. This could symbolise the father trying to forget about his son, in order to move on but his memory being too strong. A prime convention of a drama is for the audience to go on an emotional journey with the protagonist, therefore the audience will be able to empathise with the protagonist due to the death of his son taking an immense toll on his physically and emotionally. On top of this when one of the flashback ends, the non-diegetic sound of the football becomes diegetic exemplifying the father to be in a hallucinating state. He his scene in a long shot reacting to the diegetic sound, exemplifying his son’s death causing him to hallucinate. After he hears this sound he runs downstairs and picks up the ball we see in the flashbacks. A low angle shot is presented, connoting the protagonist’s dominance. This puts the audience in a position as if they are looking up at the father from the child’s point of view, further epitomizing the idea that the presence of the child will always be with the father.

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The final scene demonstrates the father walking away from the graveyard. He is at the centre of the frame, which is followed by a loose frame being presented to connote his isolation, and the fact that he is alone without is son. Throughout the film, there is an enigma thread as to who the man is grieving over, because although we assume it is his child due to the flashbacks, it is not confirmed. At the end of the film, the shot pans to a picture of his son with a flower next to it confirming he is the one who the man is grieving over.

[1]https://www.slideshare.net/coopermatt62/codes-and-conventions-of-drama

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