DOLL FACE: THE FINAL CUT

ANALYSIS OF OUR FINAL CUT

DENOTATION OF THE FILM:
Shot One: Black screen and white printed font ‘Limited Productions’
FADE INTO:
Shot Two: Mid-tracking shot of girl walking up the stairs
CUT TO:
Shot Three: Wide exterior tracking shot of man walking through a forest
CUT TO:
Shot Four: Mid-shot of girl opening a door
FADE IN:
Shot Five: Black screen and white printed font ‘A Clare Dodkins Film’

PARTIAL DISSOVLE OF LETTERING INTO:
Shot Six: Exterior establishing shot of man walking through the forest
CUT TO:
Shot Seven: Black screen and white printed font ‘Sophie Wilson’
PARTIAL DISSOVLE OF LETTERING INTO:
Shot Eight: Interior low angle long shot of girl holding onto a sink
CUT TO:
Shot Nine: Interior wide-shot of a dark workshop
FADE IN:
Shot Ten: Black screen and white printed font ‘Simon Wallis’

PARTIAL DISSOLVE OF LETTERING INTO:
Shot Eleven: Over the shoulder mid-shot of girl looking into the mirror
CUT TO:
Shot Twelve: Extreme Close-up of doll’s face being painted
JUMP CUT TO:
Shot Thirteen: Over the shoulder mid-shot of girl applying makeup
JUMP CUT TO:
Shot Fourteen: ECU of a hand stroking the dolls face
JUMP CUT TO
Shot Fifteen: ECU of women applying lipstick

FADE IN:
Shot Sixteen: Black screen and white printed font ‘Original score by James Tunstil’
PARTIAL DISSOLVE OF LETTERING INTO:
Shot Seventeen: Close-up of doll being painted
CUT TO:
Shot Eighteen: Eye line shot extreme close-up of women applying mascara
CUT TO:
Shot Nineteen: Extreme Close-up of man sewing
FADE IN:
Shot Twenty: Black screen and white printed font ‘Production Designer Tom Leader’

PARTIAL DISSOLVE OF LETTERING INTO:
Shot Twenty-one: ECU of nail polish bottle being opened
CUT TO:
Shot Twenty-two: Mid/high angle mid-shot of man piercing doll’s body
CUT TO:
Shot Twenty-three: Close-up focus pull on doll and women’s face
FADE IN:
Shot Twenty-Four: Black screen and white printed font ‘Executive Producer Sinead Melloy’
PARTIAL DISSOLVE OF LETTERING INTO:
Shot Twenty-Five: Handheld close-up of the dolls from a raised angle

FADE IN:
Shot Twenty-Six: Black screen and white printed font ‘Producer Mortiz Riewoldt’
PARTIAL DISSOLVE OF LETTERING INTO:
Shot Twenty-seven: Eyeline close-up of dolls face
FADE IN:
Shot Twenty-Eight: Black screen and white printed font ‘Director Clare Dodkins’
PARTIAL DISSOLVE OF LETTERING INTO:
Shot Twenty-Nine: 120 degree pan to the right of dolls

JUMP CUT TO:
Shot Thirty: Eye-line ECU eyes lift up to the camera
JUMP CUT TO:
Black screen and white printed bold font ‘DOLL FACE’

CONNOTATIONS SUGGESTED FROM THE FILM:
· The actress used (Sophie Wilson) was small and petite with a fresh young pretty looking face, suggesting her innocence and vulnerability of a victim. Also she is dressed in a white fluffy dressing grown which greatly juxtaposes with the costume of the Scary Doll-Maker who was dressed in a big black jacket and dark trousers to suggest the predatory male.
· The use of red in the sequence (nail polish and lipstick) suggests the idea of death and blood
· The use ECU’S and close-ups of hands create phallic symbols (stroking the dolls face) and suggests how the man dominates over dolls and in-turn will dominate over women
· The use of quick jump cuts creates pace and tension within the sequence