The technique which most fascinated me this semester (and which I subsequently decided to focus my final piece on) was continuity editing. I used various shots to narrate Olivia’s movements. A scene from the film The Lion, the Witch and the Wardrobe (2005) had resonated with me for some time. When I viewed it more recently, I noticed the cleverness of the continuity edits and thus decided to replicate that scene for my project. The director, Andrew Adamson, used a combination of temporal and spatial frame connections in conveying his protagonist’s exploration of the wardrobe, in particular removing the sheet which draped it.
Creative geography is also implemented effectively in the Adamson’s film, which I strove to replicate in my own work. His editing made it seem like his character walked out the back of a wardrobe and into a magic land. This is a technique I have noticed in other fantasy films, such as Harry Potter and the Goblet of Fire (2005), when Harry and his friends enter a tent which, from the outside, seems tiny, but is a magnificent suite inside. Given that this technique seems to be associated with magic, adventure and surprise, it seemed legitimate to adopt.
I used a variety of external sound effects on top of the film, in addition to the sounds which were present when I created the film. I also edited several songs to create a background track which would create tension, excitement and fit with the fantasy theme.
With my decision to create a child-like, imagination-provoking piece, I turned to another children’s classic, The Wizard of Oz (1939), for inspiration. Fleming implemented colour in an unusual way; Dorothy’s initial story was told in sepia, but the screen was splashed with colour when she arrived in the magical land of Oz. I used this technique to draw the audience’s attention to the final frame: is she in a new land? Is she dreaming? Why couldn’t she see the colour before?