6/FPPHCS

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Film cover sheet: production portfolio
Subrnit to: Moderator Arrival date: 20 Oct / 20 Oct Session:

School number:

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' Wf ile legibþ, u.sing hlac'k Ìnk atul relain Q cop)! of lhis form.
' Contplele one copy ofthis-þrm.for eqch cunclieletle.
Sub.iect: Film Level: f-Iioher

Candidate name: Asrlr¡-V C-æ@

C andidate session number:

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Details of production

Production title:
Principal role: (cilcle one role only' Datc of'production:
Director
Wf 'q - FF,ß'q
Wliter

Sor.rnd designer /recordist/rnixer

For completion by the candidate

Candidate's contribution to film production:
l'ou ntcyn,ish lo ntenlion such issues us onctl¡,tic'al, Íechniuil. c' re utìve, cot tt ut tut ic ctt i o n/f ecm nv o r k,

Please tum over

Ilu nd boo k of proce tl t r re s 2 009 Tlrc orts. filnt
O International Baccalaurcate C)rganization, 2008
 lnternationa I Baccalaureate 6/FPPHCS (page 2)
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Trailer
Date of production:

For completion by the candiclate

Candidate declaration: I col irm that this lvork is lny olvll rvork and is the final version. I have
acknowledged cach use of thc sorr another persol'r, '"vhether rvritten, oral or visual.

Candidate's signature: Out", . /

For completion by the

comments (please add further colnrrents o@

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I confirm that' to the best ol rny knorvledge, the material submitted is the authentic work
olthe candidate.
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feacher''s name: ......lì..:.............. Dare; . .. ..1.1.1..s.
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'feacher's signature:
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Pleasc tLrrn ovc-r

The urls, Jilnt

Handbook of prcceútres 2009
'O International Baccalaur.eate Organizarion, 200g
lnternational Baccalaureate 6/FPPHCS (page 3)
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For completion by the moderator
D E 'l'otal

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For completion by the senior moderator

For completion by the candidate

I confirm that I have intbmred everyone who has been involved in the production of this tìlm that it may
be used by the IB for assessment, educational, training and/or promotional purposes in relation to the
tB's activities or those related activities of r.vhich it approves. I have also infonned thenr that they and
thc school may be identified on the fìlm and that, becausc of the nature of the rnatcrial, it rvill not bc
possible for the IB to later relnove identifiers.

I contìrm that all roduction of this tìlm took part in it on this understandìng.

Candidate's si fta"l
ln tlrc u4likel¡, erenl íhci ctn inelivicluul 's ohjection 1o lhi.s stulemenl would huve pretented the
sttccessfulxcontpletion of tlis contponent csf the com'se, the c:ctnclidale rncry, ¿¡.re fornr ts1I Ír¡ claint
exclusive cop¡t'ight ancl so allow lhat indivicluql Ío toke parl in the protluction.

If lhis i.ç fhe c'qse, pleuse ¿/i.çc¿rs.s iÍ.first .u,ilh your teqcher oncl nole lhe nalm'e o.f the inclividuul'.s
r e s ett ct Í i o ns h el o'¡r'.

Ha ncl boo k of proce d ures 2 009 Tlrc arts, filnt

Cc) lnternati onal Bacca la ureate Organization, 200 8
DOUBLE I GLIMPSE _ RATIONALES

Film:
Double Glimpse is a 'slice of life' frlm that aims to create a public awareness about
the negative effects covert surveillance can cause on a cosmopolitan society. It
explores the journey of one man who tries to cope with social anxiety whilst being
engrossed in his obsession for discovering the surveillance systems throughout Hong
Kong. It is this obsession that leads to his tragic breakdown where a brutal discovery
causes him to escape from himself in search of a solace. The audience is persistently
placed in a voyeuristic position to impose a sense of discomfort as they observe his
downfall.

Trailer:
The trailer I've created was designed to give a short insight into the films plot.
Alternatively, it establishes the central themes in which the film circulates - but does
not follow the full conventions and techniques that are apparent in our movie. In that,
the trailer has slow editing, with all of the content being vamped down, applying a
weighted feeling of duration that contrasts with our MTV-styled editing in the full
feature. The use of subliminal messaging was used in the CCTV timecode to further
generate the audiences understand of the film, and because I wanted to aoid from
using voiceovers, as this is heavily used in our film,
 ASHLEY COOPER
003258-034

DOUBLE I GLTMPSE
COMMENTARY
DOUBLE I GLIMPSE - FILM coMMENTARY
In the process of producing our group's film for our final IB production, I took on the role of the
cinematographer. I chose this role as, out of the five, it is the one I am most familiar with and allows
me to convey my creativity through film. I find it easy to quickly envision a given narrative and can
effectively apply a unique style of filming to a given concept. I feel this became apparent during
both the creation of the filming and our hnal product.

Dosble Glimpse is a 'slice of life' film targete d at amid-range audience (15-40 years old), and aims
to reveal a journey of a man suffering from social anxiety and a fear of being watched, with specific
reference to covert surveillance within the city of Hong Kong. Ironically, he video blogs his
thoughts to his own personal camera, and documents his discoveries accordingly' However, he is
unaware that he is not only being watched from the outside, but is in fact being watched within his
room where he feels most safe. He later hnds this out at the end when he is presented with an
unknown DVD appearing that contains the footage from inside his room - which forces him to
escape from his solace.
The director and I had a shared vision for this film, as we wanted to produce a contemporary film
that addressed the social implications of coverl surveillance, whilst showcasing modern
technologies involving film, and following meetings with our teachers, they suggested to address
the topics of video blogging and the YouTube generation of today. However, all the while, I gave
my narrative suggestions to primarily help further my vision cinema-graphically, instead of
inhabiting a writers role. I found it imperative to contribute and be involved early on in order to
further my understanding in the overall concept, resulting in a more accurate cinemagrphic
interpretation.
- B¡mñU nofcfie
:,!
ÆEDBACI;

To the right is notes from our ''Slf,c oflifc'

' P¡nrob cùld da'.lq os ¡lls Nm hñÞÉ ù hß os\
session v'ith our teachers - rôro bß 6rneE ¡n
sFe loul of bù srdosi hit o"¡ cmPþr) cold (al. ù*¡ j¡lo hL Ræll
h CItr
valuable feedback in v,hich we frcn)

o Drotð ¡îblL Nm outs þnr.ò¡4 b bBd hsdc òe'åÈñ?

took and added to our film in
order to increase the qualÌ4, of
on'fnal product.
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- IIos qouE 6cal6. n¡mÚle N lb &dbe?
- Synrp¿ù) lor h .þ6c¡.r (- ¡f hct bcbg ds*d) rd a5 ù nÌ¡ PqÉs*3'
ùc edioÉ 9ùcß úil tlE sluslgór ñ obgrrú
SùBgðr. 'ùß D¡Eht h¡Fe_ ño cúclúNc odhg bãw ùe
'd¡cßc
ùiìlÆ.bur n
ô Poì.nú¡l [drys?

During the process of pre-production, I met up with the director and assisted her in devising a
simple narrative for our film. This process was helpful as it allowed me to also envision the
proãuction before we even started filming, and let me put forth ideas early in the process' We found
it easier to construct a narrative as we were taught the conventions of short films, and shown
plentiful examples from the Chacun Son Cinema DVD within classes - a DVD dedicated to short
:
films. ,.¿fì| f---,--.. ¡. ' ,f .. ' .' '.

As our film was based upon conte-potàty isiues in siròiety, circulating around themes and ideas of
technology, I decided to use the house-style from the tv show 24 as a major influengupon my
filming technique. This is because through its techniques such as quick navigational;*fots panning
across the screen, maneuvering between characters faces, as well as concealing any production of
a
,complete shots'1, it really places the audience.into the action of the narrative. This contributed to
the cinematic journey I'm trying to cìeate. ,,

I Complete Shot A complete shot is when we see a whole character within a shot, frotn waste or feet up, instead of
-
concentrating on half the character by only fihning a poftion or half of their face for example.
 CIXT FRO}: SÎNEET CROSSING EA(IT TO COINCIDIITG VOICEOVER

The shots dìrectl¡t above are screen prints ft'ont

an episode of24, and shov' the close-trp VIDEO3LOGS}IOIsTII.LIHËTTLEO?24_!IO\TVERI'{ORECI'ÐSE gY
'incontplete actors faces - a UP IS I{EEDED TO RB.E¡FORCE lEE IROITT OF '3EING AVOIDED
techniqtre I lming, and is disPlaY TtrE c RÀs' I

¡rv As sr,rra n, *,!,""u

above'and t ¿t¿'
Ed¡und
To the right is a section of the script that
coincides u,ith the action on screen, explaining
hoyt to create the shot. EII't IN EIE OFFICE
CU:T 10 RÀ¡{PSD UP SE('TS OF WORßI}TG

I also discovered Danen Aronofsky's

contemporary approach in the 1998 film
pi, which similarly follows one mans obsession and anxiety whilst being surrounded by technology.
our production elements, such as cay)era shots,
in adding to the technologicaltheÉe, which is
o used techniques or ramping uy'and down the
g of time. This is another technique I was keen to
use, as this was a 'slice of life' short film, which meant that it
had to effectively show enough plot and events in seven
minutes for the audience to understand, Ramping up the speed
also gives the effect that the film is being fast forwarded or
controlled by someone else, which is a similar technique used
in the 2005 Michael Haneke f/rm 'Cache'(Hìdden)'

To the teft are shots taken ft.ottr cache (Hidden) dn'ing one of the forwarding of the tape
sce,es.'Belott are screen shots taken front Double Glintpse dm"ing the rantpittg Ltp
scenes.
scene and style
One v,as faken f"om lhe openit'rg nroifog", which was ramped Ltp to set the
ll¡
of otu'fi!m, the other from a nxonlage of the character vorking'
Through my f,rlming, I really wanted to express the juxtaposition between the cameras following
or
watching him, and the camera he used to video blog his thoughts. By applying intense chaotic
camer.a novement to the shots watching him from extreme distances (much like 24),
the mise en
scene not only immediately began to resemble that of CCTV cameras, but also directly
fulfrlled my
objective of placing the audience in an uncomfoftable voyeuristic position. This technique was
dominantly influenced by Pi. \

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statically at a distance
ln the above shots to the left are screenshots taken florn Pl, showing the observant cameras that sit
Double Glitttpse on the right, it's evident that I became
always watching him. Similarly from the screenshots taken îrom
rnassively into placing our audience into a voyeuristic position.
inspìied by this"style of fihn - ás again, it contributes

we
As you can also see in the screenshots taken from Double Glimpse, I insisted to the director that
edit and generate a timecode to be placed into the ftame, as it makes it more realistic and
acknowledgeable. There was also a contrast blinking effect on the CCTV shots too, as
it made the
shots even more distinctively recognizable when creating video interference.

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RI,INK ON BLINK ON

5
 Similarly, we were also heavily influenced by the idea of using voiceovers (as used in Pl) in our
film to not only develop and push the narrative forward, but to also create the enigmatic character
we were afteL, as voiceovers insinuate a hidden identity. So as a result, I decided to film and create a
lot of montages in which the voiceover could accompany, so it comes across as if the voices were in
his head, as well as disclosing part of his identity.

ËEE!É,i¡'j (ó¡dú
E¡ El EWE
hEñ hldrgEÉ À--

ffi"i' ? Yi iif"'H 3ffiTå*''*"""

PÀNNTNG 3E*:II+
EdDuÀd Ivolcævor]
'covert surveillalce it's catlcd-.did you kros rc
.rát-,
havc
thc...'

*""uo uP suor oF cRoh'D À3our m ENTER/EXII I

ffirfl
Bdnuod Ivolcmvorl
'.the. Lcchnology to scan and idcrtify..-'

EdDuaal Ivolcævor]
'itdixiqualÞ faccs fron a crosd?'
CU! 1O SIСrED DONN t{rR CCI\/ SIIOT IN FRONI OF rgE OCTOPUS \
YÂC¡IINES

EdDund fvolcævorl
'4.2 bil-U,oa cæras.-'
CUT 10 RAY¡ED UP SI¡OT OF t'}.I [À"\¡DING OUT I,IÀFLEIS ON T¡IE
3RTDGE +
EdDuDd fvolcoovor)
'ua¡i¡g you theÍr acxL vicLir'
¡{UEIC CRE6CXEDOA À8 SE T O(I{EA 1O ÀT IIO{BDIåÎE CEATOE
IlfIO N¡¡{PSD UP SA(yf OF EDII'ÑD T'ÍDBR TEE ITIR CIÆCK

In this mornent in the shots of hirn within the city are being shown. The
fi¡n, Edrnund (our actor) is talking throughout whilst
tìmelines above and the edited script with screenshots above can see evidence of this.
,,/
I was very keen to be filming different montages that would accompany the voiceover, but for my
main feature,
trailer, I decided not to use any voiceover as I felt we had already used enough in the
generators in all
and instead decided to use the voiceover script and disguise it within the timecode
the shots. (Seen Below)

WATCHING+OI:00:05;06

However, the director was always keen to conclude the voiceover by cutting back to
static shots
between Edmund and his handheld camera, where he is in fact speaking into
it. So I decided to
challenge pi b convention, in that instead of never breaking the 4th wall with direct mode
of address,
I chose to include talking head shots and close up shots, as I drew direct influence having seen the
Dr. Who series where they often include this technique to allow the audience to establish the
character, as well as initiate a relationship with the him. These sequences were a
reflection of the
short film entitled "Movie Night" by ZhangYimou, as he too uses close up shots to
expose and
reveal a character effectivelY.

shots became immediately

Above are shots from both Dr. who (left) and Double Glimpse (right). These talking head
oi throughout - contributing to that juxtaposition
identifiable in the film as they are the oity ttrott with direct rnoã" uãdress
between both the talking heaá shots, and íoyeuristic shots that place the audience
in an awkward position'

Because these shots were massively identifiable, and broke that 4lh wall into the
audience, I felt it
head shot in my
became a very signihcant trademark for our piece. I decided to only use one talking
giving a
trailer, which i used at the end, because it followed the typical trailer convention of only
small insight into what the film is about as a whole.

5
 to think of
Unlike most conventional movies, the director and I didn't want to tell the audience what
this character through close up shots, i.e. evoke sympatþ from the audience for him'
Ultimately,
we wanted to produce a film that relied largely on the audience creating their own interpretation'
Having been inspired by directors Deepa Metha and Michael Haneke, I wanted to follow
their
convention in not constructing a film based on genre, but by basing it upon meaning and
messages
you must stick
that they want you to acknowledge from the film. Being tied down to a genre means
in
to specific rules within that geffe, whereas breaking from that convention allows more freedom
the idea of
what and how you are trying to convey yoü message. In this f,rlm we wanted to suggest
,is it right that covert surveillance invades the privacy of an innocent public through excessive
monitoring? ' - but of course, how the audience interpreted the film, is entirely up to them'

Throughout the production, we created our narrative with a specific soundtrack in

mind, which had
become largely influenced by the 1998 German film: Run Lola Run, Pi and Requiem
For A Dream '
All of these hlms shared the use of electronic music, generated by keyboards and computers -
music we
which is ultimately how I went about composing the music for the film. The electronic
created became essential as it re-enforced our theme on technology, as well as our
contemporary
become edited,
approach. By having designed the sound - I already knew the way my shots would
and therefore enhanced my overall view and concept for the film. Due to the
tempos of the music,
and pace of the hlm, I had already strongly requested we took an 'MTV' editing
style, and cut a lot
of our shots in time with the music.

For my trailer I had decided to create a juxtaposition from the film and create one
with very slow
pace. It is accompanied by one of the tracks from the film, and is
just ambient noise with a synth,
trailer
whilst the screen runs through a series of cut clips from the film. The mood created from the
want to watch the
is very mysterious, and evokes curiosity, which will ultimately make the audience
film. I felt if I had copied the beginning of my film for the trailer, there would have been no element
of surprise and the audience may lose interest.

However, I do not feel there is a lot I would like to change within this piece, as I feel
it is very much
narrative in a
similar to that of our original ideas and narrative, and successfully conveys a simple
shorl time. The cinematography was experimental, and because of this - it was aesthetically
appealing and different to others. I am pleased we were able to use an original soundtrack
for our
piece.

Furthermore, because there were only 2 people in our team, we managed to escape any
conflict that
would otherwise arise in a latger group. V/e worked well together, and because we had a concise
and managed
and focus idea (of which we both contributed to), we were pleased with out outcome
to include both our ideas sufficiently - henceforth avoiding conflict.

I feel our film successfully follows the conventions of a short film, in that it was simple and
narrative,
effective, and succeeds in entertaining and engaging the audience into a well-focused
with the assistance of aesthetic cinematography and an interesting plot'

Ashley Cooper

WORD COUNT: 1735