Quality Erosion In The Short Film Making

Monday 30 March 2009

Introduction

When we look at the long history of the short film, we see hat it dates back to the technical invention of the cinema because the cinema started with the short film. Appearing as a type of movie as a result of short news and document films' being shown before the film on the performance in 1940s, started to change and became more mature in 1960s. All over the world, particularly in European continent, cinema affected by the impacts of free thinking and societal changes which had a great impact in the era, started to be reshaped as a means of expressing ideas, resistance and controversial opinions. A new cinema generation who were opposing, anarchist and radical and attempting to express what they could not write, draw and say through the outstanding power of the cinema emerged. Experimental cinema, underground cinema were come into being in this era as a type of cinema.

What made the people who were involved in cinema business look for this new understanding of cinema was big changes seen in political and cultural fields and restrictions imposed on the production of the movie makers by the technical restrictions of the era. 16 mm 8mm formats emerged as alternative to 35 mm format causing big costs during the production and after the production of the film alleviated demanding technical conditions and decreased the high costs. Nevertheless, these formats required a particular pre-budget for the purchase of the raw film. Moreover, It imposed restrictions on the short film maker with regards to the time of the project, repetition of the plan, and the number of the places to be used. This brought about the care and attention together with the demanding technical conditions. The short film maker had to pay special attention to details such as a conducting a serious project, work planning, and pre-search.

Short film genre developed under these conditions generated several very important creative director in 1980s. In addition, directors such as pioneer of the pop-art, experimental film maker Andy Warhol, German short film maker Werner Nekes, who never give up making short films have sustained their existence.

In the not very bright past of the Turkish short film making, there were very few short film makers who did great jobs and caused lasting impact, and very few short-film related activities. The short film-related activities that can be remembered from the past include Hisar short film competition held by Boğaziçi University in 60s, short film category involvrd in Antalya cinema festival until 1983, İfsak short film activities, Adana Altın Koza, Arıburun awards and competitions organized in Ankara film festival in 80s. Ali Özgentürk, Yavuz Özkan, Muammer Özer, Ersin Pertan, who started to make long films later, started their careers with short films.

Everybody is making short films..

Having been existent until 90s, 16mm and 8 mm formats were replaced by magnetic band and completely became obsolete for the short film maker. A new era began first with betamax and Hi8 and its derivatives and more recently with DV and its derivatives. Being cheap, easily available and not needing developing, DV format has become an indispensable part of this era. Making a short film is not expensive any more. The prices of film cameras are easily affordable. If it is not possible to buy them, they can be rented or borrowed. Another advantage of DV format is its rendering fast and easy assembly and editing possible. A computer with required software and hardware, and an interface to catch the view will make assembly and editing quite easy. Assembly and editing in a computer can be done through Apple Mac and PC based applications. Assembly and editing software programs such as Final Cut Pro, Adobe Premiere Pro, Edius result in time saved and quality in assembling and editing process with their rich transitions, Real Time, correction features and visual effects. All the expenses needed for all these things are not something which can not be borne by a cinema student having cinema education and expected to produce project films or by a short film maker. When the tradition of working in cooperation in short film sector is combined with these technical opportunities ....


Although DV format is considerably new, its superior version, High Definition, is a new candidate for the leading position in showing images. HD and its derivatives are about the give the sense of realness which was converged in standart films. Distribution, being on performance in cinemas, finding saloons, taxing, and legal procedures are concepts outside the universe of the short film maker. The main target is to participate in festivals, mass display, competitions and make their voices heard.

WHAT ABOUT CREATIVITY

This is the real problem... how is the state of expression, creativity and having lasting effect in an environment where a lot of short films are made, the number of festivals and competitions has increased ? In 60s, while the short film makers (including ours) grounded their films on a perspective of cinema, today, short films seem to be made with concerning haste and carelessness. A few examples should be given about this boom of short film production:

When we review the sources and past films produced since 1981, the production by year is as follows: in 1981, only one film was made. From 1981 to 1990 112 short films were recorded. Most of them are 16 mm and 8 mm standart film format. From 1991 0n, the dominance of video format was felt. Most of the short films produced since 1991 are videos. And most of the 187 short films made between 1991 and 1993 are videos. The general increase in the number of the short films and their having video format can easily be recognised between 1994-2004. When we add those which are not registered in these lists, we get a huge sum of short films.

There are quality films among these produced with haste and carelessness. However, when compared to the total, the number of these quality products is very small. Those who are trying hard to make short films are usually young students who have cinema education and planning to have a place in the sector. The starting point of these students in their endeavour to make a short film is its being a reference in the future rather than their preferring short film as a type of cinema. The main target and desire here is to be transferred into long film or advertisement sectors.

Other short film makers also share the same perspective as students. their main purpose is somehow to be a professional and make a cinema film. For them short film is also a springboard a preparation period. Some well-known examples can be given here. Mustafa Altıoklar, Yeşim Ustaoğlu, , whose name we heard of by means of short film festivals in 90s, series director Taner Akvardar, Serdar Akar, Kudret Sabancı, who finished their cinema education in 90s are first to remember.

Most of the short films made are devoid of the basic technical rules, aesthetic, expression opportunities of the cinema, they are produced without much creativity and care. The shortcomings in thematic plot, story, depicting, characterisation, directing actors or actresses, and putting on performance are clearly seen. The short film maker attempts to express something with a short film, but he finds himself in the trap of not telling anything. The real purpose of the film, taking part in a festival or organisation and having one more reference for future career, can clearly be seen in the short film.

All these judgements can be seen a bit merciless and tough. Of course there are quality films in the sector. But they are not enough. However, praising every short film can make the short film makers very proud of themselves, and this may pose a threat to the development of short films. The opinion like the more short films are made, the better it will be for the short film sector may undermine the short film.

RESULT

In the light of all these, we can say that the short film is viewed as an area of freedom for some and stepping stone for others. In any case it is an important cinema attempt. There are differences between its mission and state thirty years ago and now. The most important determinant of this differentiation is outstanding improvements in the image technology. There is a quantity boom in the short films. However, the quality of content and aesthetic has not increased parallel to the number. Now, the organisers of festival, competition and similar organisations encouraging short film production has important role. They should have certain requirements considering depiction, aesthetic, and cinemagrofic values so hat quality products are encouraged. Over time, elimination system treating each product equally, organisations with high budgets, encouraging prizes, and serious organisations will improve the total quality.

As long as the gap between quantitative boom and qualitative deterioration does not close, the future seems to be not bright for the short film. Technology used carelessly, as in every field, will continue to improve by harming the field of art

Dr.Serdar Karakaya-Mugla University / TURKEY

www.kisafilm.org

http://film.ilef.net

http://www.kameraarkasi.org

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