“The Painter” is a short film telling the fictional story of the life of the painter before he was illustrated by Gustave Courbet in the “The Desperate Man.” The story begins with the painter in his art studio trying to find inspiration for his next painting. He gets very frustrated with his drawing of a forest, that he soon find himself stuck in that very forest. After searching for a place to get out of the forest, he becomes desperate walking and running throughout the forest for an exit. The more time he spends in the forest the more insane he becomes: putting leaves in his hair, hanging upside down, rolling around on the ground, and even talking to a dream. The final pose is his most frustrated, desperate, and insane look, which is also the painting.
Throughout our film, we used a variety of camera shots and moves. We used wide shots, over-the-shoulder shots, a high angle shot, close-ups, a low angle shot, and a dutch angle shot. The very first shot of the film is an establishing shot which is a wide shot of the art studio (0:00-0:03). We use wide angles a few other times throughout the film as well when he is climbing and running through the forest (1:37; 1:20-1:24). Next, we use a high angle shot of the painter working on his next piece to give a different perspective of his painting (0:12-0:14). We also used an over-the-shoulder shot twice to show the painting from the painter’s point of view (0:08-0:10; 0:14-0:20). An extreme close-up is used to change the scene from the art studio to the forest, featuring the painter open his eye in the forest, which is new to him (0:33-0:35). We use close-ups a few other times throughout the film to focus on the paint and brushes he is using and to focus on his face when he is laughing, crying, and talking as he is going insane (0:05-0:06; 0:20; 0:50-1:01; 1:12-1:18; 1:53-1:58). We feature a low angle shot of the tops of the tree and the sky multiple times in the film to add an eerie vibe to the film, and highlight the idea that the painter is trapped, and he cannot reach the light (0:51, 0:57, 1:19, 1:24, 1:32, 1:36, 1:44, 2:04). Lastly, we used a dutch angle to add to the uneasy feeling of the film when she is crawling toward the camera on the log (1:25-1:31). We are used a variety of camera moves. We use tracking, trucking, panning, push in, and push out throughout the film. Trucking is used to follow him running through the forest and then tripping (1:20-1:24). We used tracking to follow him as he is searching and wandering in the forest looking for a way out of the forest (1:02-1:12). We used panning to follow him running after he got to the top of the hill (1:39-1:44). A push-out is used at the beginning of the forest scene to focus on her waking up first, and then show her surroundings, the forest (0:33-0:36). A push-out is used at the end of the forest scene to show her final panic, and then create the image of the painting (2:13-2:18).
Our deliberate Mise En Scene was keeping leaves and branches from the forest in the production design and costumes. The actor playing the desperate man had leaves in her hair the entire to foreshadow and then keep the theme of the forest throughout the entire film. Branches and leaves were placed around the painter’s canvas and paint to foreshadow the forest scene. The branches and the leaves throughout the film were our deliberate choice to keep the insanity of the first symbolized and embodied throughout the entire film. Also, we purposefully broke the 180 line during the crazy conversation between the painter and the tree to emphasize the insanity and uneasiness of the situation. (1:44-1:52). It completely and directly crosses the 180 line with no close-up or signal to the audience, to throw the audience off, and make the scene appear even more eerie.