This product constructs a representation of masculinity as socially conditioned and emotionally restrictive. Exploring the belief that the phrase “boys don’t cry” is internalised across generations through media elements. Although it was a deliberate choice to not represent this as aggression, so as to create some depth and variety compared to how hegemonic masculinity is shown in media. This is in agreement with Butler’s gender performativity theory, where gender expectations are sustained through repetition and the internal conflict the main character feels towards his masculinity. 

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The father figure represents a traditional form of masculinity through technical codes, for example, being often surrounded by clutter and wood and repetition of the dialogue “boys don’t cry.” His character complies with hegemonic views on dominant masculinity through embodiment, positioning the audience to believe that he caused Gary to internalise the norms in the preferred reading as Hall suggests. 

 

As a result, our protagonist, Gary, is facing an internal conflict with said beliefs and how he expresses his masculinity. Animation is used to convey this. He is visually “othered” compared to the real-world background and characters around him. This reflects how reality is often described as being “realistic” and “rational” in society’s expectations, aligning with the short story element of binary opposites. 

 

In terms of mise-en-scene, Gary is of a solid off-white colour with rough blue line art, inviting the audience to believe that he sees himself as a flawed and uneasy character. Moreover, in his life montage, he is consistently positioned in the middle of an archway in a long shot, implying the emotional restriction he feels. 

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A cohesive brand identity is established through consistent visual motifs, colour palette, and thematic focus across different products. Specifically, using mixed media imagery and specific shots like the title card in the marketing of the main product helps create a sense of thematic consistency and a recognisable visual identity. 

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The main motifs of this piece are the two artworks, the “failed” box and tears. Looking through the lens of Barthes’ semiotic theory, these motifs function as symbolic signifiers of hegemonic masculinity. Repeated throughout to reinforce the message that more emotional repression is synonymous with masculinity. The thunderstorm acts as the narrative turning point and the tears at the end signify embracing of one’s identity even within rigid societal expectations after prolonged repression. 

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Other than the opening sequence, footage was filmed in dim lighting, and beige mise-en-scene. Intentionally creating a dull and drab scene through colour grading to contrast the brightness of Gary. Visually creating a juxtaposition to allow the audience to understand his internal friction without having to spell it out through an internal monologue. 

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The products also adopt an art-house aesthetic, subverting Hesmondhalgh’s idea of companies minimising risk through reducing creativity and originality. The mixed media style becomes part of the iconography of the film. Additionally, through cross-platform branding, the postcard reinforces this identity through using the same monochromatic blue colour palette and the handwritten font title card from the short film, while the social media content uses short-form clips to maintain visual consistency and audience recognition. 

 

The promotional campaign was designed to engage with audiences via familiarity formed through conventions. The products target a young adult audience who are likely to engage in discussions surrounding masculinity and emotional repression in contemporary formats. 

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I used audio and score to appeal to the audience via evoking a sense of nostalgia and familiarity, particularly creating my own acoustic guitar score as a character motif as well as using songs such as ‘Boys Don’t Cry’ by the Cure and ‘Beautiful Boy’ by John Lennon. Using pre-existing songs acts as a bridge between the fictional work and our reality, taking a Postmodern approach of hyperreality and inter-texuality in encouraging the audience to empathise with the characters. If the product was done for commercial purposes, copyright would need to be obtained for these songs. The short pieces of dialogue serves as a guide to audiences, positioning them as active interpreters of the semiotics. 

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Building on Jenkins’ participatory theory, social media content extends the narrative world beyond the film. Short emotional clips, behind-the-scenes images and the ‘making-of’ content position audiences as participants in the creation journey while building anticipation for the film release. Furthermore, thought provoking questions encourage active audience engagement and discussion around the issues conveyed. 

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Moreover, the products serve as gratification for the audience in the affective, personal relationships and escapism aspects. Satisfying the audience's need of reinforcing personal identity through media as mentioned in Gauntlett’s identity theory. 

 

Researching short films and experimental media informed both the use and subversion of conventions within my products. I focused on feature films for thematic flow and on different (animated) short films for camerawork, pacing and visual storytelling. 

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Through research I learnt about the 3-act structure of short films: setup, midpoint, and resolution. In my own work, I left the resolution somewhat open-ended to allow for audience interpretation in the negotiated reading – audiences are encouraged to discuss whether Gary would repeat his father’s beliefs of masculinity with his own child.  

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“Genres are instances of repetition and difference” – Neale. The products align with genres like drama, but specifically melodramas, whereby it aims to be relatable to the audience through the emotional lens rather than visual effects or extravagant scores. Adhering to the convention of using non-diegetic music over title sequences and montages, to create tension and empathy.   

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I deliberately exaggerated the naturalistic colour grading of the filmed footage to strengthen the blurred lines between reality and fiction. Moreover, I chose to do a mixed media format to challenge conventions of animated short films as often seen from Pixar or Disney. 

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Primary and secondary research were done for the representation of masculinity. Focusing on the archetype ‘grumpy old man’, I chose to subvert that stereotype and made Gary a more sensitive character to show the depth and variety of how masculinity shows up in different personalities. 

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Overall, masculinity is explored in a way that feels relevant and engaging for modern audiences through the project.