Ideas and Story Concepts
Brainstorming ideas for my stop motion project involved exploring a wide range of genres and narratives to find concepts that would be engaging, visually interesting, and feasible to execute. One idea I considered was a horror-themed animation about an intruder trying to break into the home of a middle-aged woman. The tension would build as she fights him off using whatever objects are at hand, creating suspense and danger. This concept appealed to me because it could rely on simple props and set pieces while using lighting, angles, and pacing to create a strong sense of fear and urgency. However, I realised that depicting realistic violence and maintaining tension without dialogue would be challenging, particularly in stop motion, which is time intensive.
Another concept I explored was based on a superhero narrative, featuring Captain America fighting enemies while experiencing symptoms of PTSD. This idea was interesting because it combines action with psychological depth, allowing the story to explore trauma and heroism simultaneously. The animation could incorporate dynamic fight sequences, stylised effects, and flashbacks to represent the character’s mental state. Despite its appeal, this idea posed practical challenges, including the need to animate complex action sequences and manage character movement convincingly, which may be difficult given the time and technical skills I currently have.
A third idea drew inspiration from mythology, focusing on the biblical sea monster, the Leviathan. The story would follow Captain McCracken, the sole survivor of a platoon who narrowly escapes death at the hands of the creature. This concept was compelling because it combines suspense, survival, and the awe-inspiring scale of the Leviathan, which could be creatively interpreted through object or clay stop motion. While visually striking, I recognised that representing a massive creature and large scale action with stop motion might be difficult to achieve realistically, particularly on a low budget and with limited resources.
The final idea I considered explored psychological tension in a minimal setting, featuring two men trapped in an empty room where social exclusion and isolation drive them towards madness. This narrative would focus on character behaviour, expressions, and subtle visual cues to communicate tension, rather than relying on large-scale action or elaborate sets. It appealed to me because it is achievable with simple materials and props, while still offering an opportunity to explore complex themes such as isolation, conflict, and mental instability. This project also allows for experimentation with camera angles, lighting, and timing to build suspense, making it a strong candidate for a stop motion FMP.
Finalising Ideas
After considering all of my initial ideas, I ultimately decided to focus on the superhero concept but adapted it to a more realistic and personal story. The idea evolved from Captain America experiencing PTSD into a narrative about an ex-soldier turned mercenary who struggles with trauma from his deployment in the Yugoslav war. While completing a mission for a client working for British intelligence, he discovers that the government had declared him dead and redacted his files to cover up war crimes that occurred after the war. The turning point comes when the person he was sent to kill and retrieve documents from reveals the truth to him and allows him to look at the files he was explicitly told not to access.
The story explores the psychological consequences of his experiences, showing how PTSD affects his perception, decisions, and interactions. By focusing on his internal struggle, I can maintain a strong emotional core while using stop motion techniques to convey tension and memory sequences. The non linear elements, such as flashbacks to his deployment and moments of trauma, allow the narrative to reflect the fragmented way trauma is experienced. This also adds depth to the character, making the story more than just a standard action narrative.
The plot gradually reveals the corruption and manipulation behind his mission. As he pieces together the information from the classified documents, it becomes clear that the intelligence agency orchestrated events and intentionally erased his identity to portray him as a rogue soldier. This creates a sense of betrayal and moral ambiguity, which is central to the story. The narrative structure is designed to mirror his psychological state, with suspense building as the audience uncovers the truth alongside him.
By adapting the Captain America concept into this more grounded and complex story, the animation allows me to explore themes of trauma, government corruption, and moral conflict. It also provides opportunities for creative visual storytelling through flashbacks, dossier style sequences, and atmospheric lighting. Ultimately, this idea balances narrative depth with practical feasibility for stop motion, giving me a clear direction for my FMP while remaining emotionally and visually compelling.
Refining the Ideas
Authenticity for the Military
Understanding the how it functions:
I began my research by developing a clear understanding of how a military unit functions on a daily basis, as this forms the foundation for creating a believable and grounded film. Rather than relying on exaggerated portrayals often seen in mainstream media, I aim to understand the structure and routine that guide real soldiers. This includes learning about ranks, the chain of command, and the way authority is communicated and maintained. I study how orders are delivered in high pressure situations and how they are interpreted and executed by those receiving them. I also pay close attention to who would realistically take control in different scenarios, ensuring that leadership roles are portrayed accurately. In addition, I explore how soldiers address one another, both in formal situations and in more relaxed moments, as this reveals a lot about hierarchy and relationships within a unit. Discipline, rapid decision making, and the potential for confusion or miscommunication under stress are all important aspects that influence behaviour. By understanding these elements, I can avoid unrealistic storytelling and instead create characters whose actions feel authentic and consistent with real military dynamics.
To deepen this understanding further, I also consider how routine and repetition shape a soldier’s mindset over time. Daily drills, briefings, and standard procedures are designed to build instinctive responses, which become especially important in moments of chaos. I think about how familiarity with these routines can create a sense of control, even in unpredictable situations. At the same time, I recognise that no plan works perfectly in practice, which means that adaptability becomes just as important as discipline. This balance between structure and improvisation is something I want to reflect in my film, as it adds realism and complexity to each character’s behaviour.
Fighting and Combat Styles:
I then move on to studying how soldiers behave in combat, since movement and reaction are especially important for stop motion animation. I analyse real footage and training materials to observe how soldiers position themselves, take cover, and move as a coordinated group. One of the most noticeable aspects is that movement tends to be careful and deliberate rather than overly dramatic. Soldiers often rely on subtle gestures and quiet communication instead of shouting, particularly when trying to remain undetected. I pay attention to the pacing of these actions, noting that there are moments of stillness, hesitation, and anticipation that build tension. I also examine how quickly situations can escalate and how individuals react to sudden threats or unexpected changes. This research helps me design animation that carries a sense of weight and realism, avoiding exaggerated action in favour of more believable and immersive sequences.
In addition to this, I reflect on how physical and mental fatigue can influence movement during combat. Soldiers are not always operating at peak performance, especially during prolonged engagements, which can lead to slower reactions or small mistakes. I consider how breathing, posture, and body language might subtly change as tension increases. These details are important for animation because they help convey emotion without relying solely on dialogue. By incorporating these quieter, more human elements, I can create scenes that feel tense and authentic rather than overly stylised or unrealistic.
Realism for the action props:
Next, I focus on equipment and how it is used in real situations, as these details play a significant role in visual authenticity. I research what soldiers typically carry, how their gear is arranged, and how it affects their mobility and posture. This includes studying how helmets sit on the head, how straps and fabric fall naturally, and how weapons are held when not actively in use. I also observe how soldiers interact with their equipment, such as adjusting gear or shifting weight during movement. Another important aspect is wear and tear, since real equipment is rarely in perfect condition. Dirt, scratches, and signs of use all contribute to a more believable appearance. By understanding how equipment looks and functions in reality, I can design models and props that feel convincing even within a stylised stop motion format.
To build on this, I also think about how equipment can influence character identity and storytelling. The way a soldier organises their gear or maintains their equipment can reveal aspects of their personality, such as discipline, experience, or carelessness. Small visual differences can help distinguish characters without needing explicit explanation. I also consider how the weight and restriction of equipment might affect movement, adding another layer of realism to animation. These subtle choices help ensure that every visual detail contributes meaningfully to the overall narrative.
Set Environment and Achieving realism:
After that, I explore the environments in which soldiers operate, since surroundings have a strong impact on behaviour and atmosphere. I research the terrain, weather conditions, and overall setting that I plan to depict, considering how each factor influences visibility, movement, and mood. For example, confined spaces create different challenges compared to open areas, affecting how soldiers position themselves and respond to threats. I also look at how buildings, natural cover, and obstacles are used strategically. Sound is another important element, as it behaves differently depending on the environment and can either heighten or reduce tension. By carefully studying these aspects, I can create scenes that feel immersive and specific rather than generic or disconnected from reality.
Expanding on this idea, I also consider how environmental conditions can shape the emotional tone of a scene. Harsh weather, limited visibility, or unfamiliar terrain can increase stress and uncertainty, influencing how characters react and interact with one another. I think about how lighting, texture, and spatial layout can be used visually to reinforce these feelings. This allows me to design environments that do more than serve as a backdrop, instead becoming an active part of the storytelling that influences both action and emotion.
What can give me an accurate concept:
Finally, I focus on personal accounts from soldiers to better understand the human experience behind everything I am depicting. I read memoirs, watch interviews, and listen to firsthand stories to gain insight into emotions, reactions, and small details that are often overlooked in fictional portrayals. These sources reveal how soldiers experience fear, maintain focus, and develop strong bonds with one another. I pay particular attention to how individuals describe specific moments, as these memories often highlight subtle but powerful details. This research allows me to create characters who feel genuine and respectful, ensuring that the emotional aspects of the film are just as compelling as the visual ones.
To deepen this perspective, I also reflect on how memory and storytelling shape the way these experiences are shared. Different individuals may recall the same type of event in unique ways, influenced by their personality and perspective. This reminds me to avoid presenting a single, simplified version of reality. Instead, I aim to capture a range of emotions and responses, showing that there is no one way to experience or process intense situations. By incorporating this complexity, I can create a film that resonates more deeply with audiences while remaining grounded in authenticity.
Psychological and Flashback Symptoms, causes and effects
Accurate Tension:
I begin by researching how trauma affects the mind, because I want my flashbacks to feel believable rather than overly cinematic. I look into post traumatic stress disorder and focus on how memories are not always recalled in a clear or logical way. I learn that flashbacks can feel immediate and overwhelming, almost as if the person is reliving the moment instead of remembering it. This helps me understand that my scenes should not feel like neat transitions into the past, but instead feel sudden and emotionally intense, as though the present is being interrupted without warning. I also realise that sensory details play an important role, as certain sounds, smells, or visual cues can trigger these moments without any conscious control, making the experience feel intrusive and disorienting for the character.
To develop this further, I consider how the character’s perception of time and space might shift during a flashback. Rather than presenting a full and structured memory, I focus on fragments such as brief images, distorted sounds, or partial conversations that reflect how the mind processes trauma. This allows the scene to feel more authentic, as it mirrors the confusion and lack of control experienced in real situations. I also think about how the character reacts physically and emotionally in these moments, including increased heart rate, panic, or an inability to respond to their surroundings. By incorporating these elements, I can create flashbacks that are not only realistic but also deeply immersive, helping the audience understand the lasting impact of trauma on the individual.
Triggers and Reminders:
I then explore what actually triggers a flashback, since this is important for structuring my scenes. I research how certain sounds, sights, or even small details can bring memories back unexpectedly. I focus on sensory triggers such as loud noises, specific lighting, or familiar environments. For example, I might create a moment where a simple sound in the present, like a door slamming, causes the character to suddenly relive a moment from combat. This allows me to connect the present and the past in a way that feels natural and grounded, making the transition feel unplanned rather than staged.
After that, I study how flashbacks feel from the inside, so I can represent them more accurately. I learn that they are often fragmented, meaning they do not play out like a complete scene with a beginning and end. Instead, they can be made up of quick images, sounds, and emotions that do not fully connect. I plan to show this by using brief, disjointed shots rather than long continuous sequences. This could include flashes of movement, partial actions, or repeated moments that reflect how memory can loop or break apart, giving the audience a sense of disorientation.
Connecting the Audience:
I also focus on the emotional experience during a flashback, because this is what will connect the audience to the character. I research how people experiencing trauma may feel fear, confusion, panic, or even detachment from reality. I consider how the character might react physically, such as freezing, breathing heavily, or struggling to focus. By including these reactions, I can show that the flashback is not just a visual moment but something that affects the whole body and mind, making it feel more immersive and personal. I also think about how these emotions might not always be consistent, as the character could shift quickly between panic and numbness, which reflects the instability of traumatic memory.
To develop this further, I explore how internal thoughts and emotional conflict can be conveyed alongside physical reactions. I consider using close ups or restricted framing to show how trapped the character feels within the moment, as well as limiting their awareness of the surrounding environment. I also think about how the character might try to regain control, such as grounding themselves or attempting to focus on something in the present, only for the flashback to interrupt again. This creates a stronger sense of struggle and highlights the lack of control that often comes with trauma, making the experience feel more authentic and intense for the audience.
Distinction from Flashbacks and present time:
Next, I think about how to visually separate the past from the present while still keeping them connected. I explore techniques used in films such as Saving Private Ryan and The Hurt Locker, where changes in colour, lighting, and sound help signal shifts in time. I also plan to use a dossier style of editing for some flashbacks, where moments appear like fragments of recorded evidence rather than smooth scenes. This could include adding on screen text such as dates, locations, or unit names, using a slightly desaturated or archival look, and framing shots as if they are being documented. By doing this, I can present certain memories as if they are official records, which contrasts with more chaotic and emotional flashbacks.
To build on this idea, I consider how the transition between present and past can remain subtle rather than clearly marked. Instead of obvious cuts, I might allow elements from the past to appear within the present frame, such as a shift in lighting or a sound that carries across both moments. I also think about how the dossier style could gradually break down, starting as something structured and controlled but becoming more fragmented as the emotional intensity increases. This would reflect how the character’s attempt to organise or contain their memories begins to fail, allowing the past to feel more intrusive and less controlled over time.
Sound design and usage:
Finally, I focus on sound as a key part of portraying flashbacks, since it plays a major role in how memories are experienced. I research how hearing can change during stressful moments, such as sounds becoming muffled or replaced by ringing. I plan to use this in my film by layering audio in a way that reflects the character’s mental state. For example, I might reduce background noise and focus on a single sound, or gradually distort audio as the flashback takes over. I can also combine this with the dossier style approach by briefly cutting to silence or adding subtle static, as if the memory is being replayed or accessed, which strengthens the idea that the past is both recorded and emotionally experienced at the same time.
To expand on this further, I think about how sound can be used to link different moments together and create continuity between past and present. A specific sound, such as a distant bang or a voice, could begin in the present and then carry into the flashback, acting as a trigger. I also consider how silence can be just as powerful as sound, especially when it creates a sense of isolation or detachment. By carefully controlling when sound is present and when it is removed, I can guide the audience through the character’s experience in a more subtle and immersive way, reinforcing the emotional weight of each flashback.
Stop Motion Techniques
I begin by focusing on how I will animate movement in my stop motion film, because realism in motion is what will make everything feel convincing. I study how weight and balance work in the human body so that my characters do not appear light or unnatural. I pay attention to how soldiers shift their weight when standing, crouching, or turning, and how even small actions like raising a weapon require effort. I plan my animation so that movements are slightly uneven and deliberate rather than perfectly smooth, because real human motion includes small imperfections. I also connect this to my visual style by keeping the present scenes in cold tones, which makes movements feel more controlled and tense, while any movement shown in flashbacks under harsh white lighting feels more exposed and abrupt, as if every action is being forced into clarity.
I then concentrate on timing and pacing, since stop motion relies heavily on how fast or slow actions are presented. I research how tension is built through pauses and controlled movement, especially in military situations where hesitation can be just as important as action. I plan to include moments where characters remain still, breathe, or slowly react before moving again. This helps create a sense of anticipation and realism. In the cold coloured present, I use slower pacing and longer pauses to reflect emotional distance and control, while in the harsh white flashbacks I make movements slightly quicker and more sudden, suggesting a lack of control and the overwhelming nature of memory.
Next, I explore lighting and how it can shape the tone of my film. I experiment with using cold colours such as blue and desaturated tones in the present to create a feeling of isolation and emotional numbness. In contrast, I use harsh white lighting in flashbacks to remove comfort and create a stark, almost clinical atmosphere. This strong contrast allows the audience to instantly recognise when time is shifting. I also think about how shadows behave differently in each style, with softer, more blended shadows in the present and sharper, more defined shadows in the past, making the flashbacks feel more intense and unforgiving.
After that, I focus on how I will physically build and stage my scenes, because the environment plays a major role in stop motion. I design my sets so that they respond to the lighting choices I have made. In the present, I include surfaces and textures that absorb light, helping the cold colour palette feel muted and controlled. In flashbacks, I use lighter surfaces and reflective elements so that the harsh white lighting spreads more aggressively across the scene. This makes the past feel more overwhelming and less contained. I also think about how objects in each setting interact with light, which helps reinforce the contrast between memory and reality.
Eventually, I place strong emphasis on sound design, since it will enhance everything the audience sees. I plan to match the cold visual tone of the present with more subdued and distant audio, creating a sense of detachment. Sounds may feel slightly muted or controlled, reflecting the character’s attempt to stay grounded. In contrast, the harsh white flashbacks are paired with sharper and more intrusive sounds, which feel closer and more intense. I also consider moments where sound cuts out or becomes distorted as the lighting shifts, linking the visual transition directly with the audio experience. This combination helps unify the style and makes the contrast between present and past more powerful.
Using realism and accuracy
I begin by researching how real military environments affect behaviour, because I want my setting to feel like something that actively shapes the characters rather than just a backdrop. I look at how soldiers operate in different conditions such as urban warfare, forests, or ruined buildings, and how each environment changes movement and decision making. I pay attention to how visibility, cover, and space influence tension. For example, I might design a scene in a collapsed urban area where narrow sightlines force characters to move carefully and rely on sound more than vision. This helps me build environments that feel like part of the story rather than static locations.
I then focus on how terrain affects movement and pacing, since I want the physical space to control the rhythm of my scenes. I study how uneven ground, debris, and obstacles slow movement and create unpredictability. I consider how soldiers would naturally adjust their posture when moving through tight or unstable spaces. For example, I might include a sequence where a character struggles to maintain balance while stepping over rubble, which increases tension without any dialogue. By making the environment physically demanding, I can make every action feel more meaningful and realistic.
Next, I explore how weather and atmospheric conditions influence mood and visibility. I research how rain, fog, dust, or smoke can limit sight and change how characters interact with their surroundings. I think about how harsh weather conditions can increase discomfort and stress, which will support the emotional tone of my film. For example, I might use heavy fog to partially obscure characters in the distance, making it unclear what threats are present. This allows me to create uncertainty and tension while also reinforcing the themes of confusion and memory.
After that, I focus on how I can use environmental storytelling to add depth to each scene. I plan to place objects and damage in the environment that suggest what has happened there before the characters arrive. This could include abandoned equipment, bullet damage, or signs of previous movement through the area. I also consider how different environments reflect different emotional states, such as chaotic destroyed spaces representing trauma or emptier, quieter spaces representing isolation. By doing this, I can make the world feel lived in and meaningful without relying on exposition.
Finally, I think about sound and how it interacts with environment to increase immersion. I study how sound behaves differently depending on space, such as echoes in corridors or muffled noise in open or obstructed areas. I plan to use this in my film by adjusting sound design based on location, making some scenes feel tight and enclosed while others feel distant and exposed. For example, footsteps in a narrow hallway might echo sharply, while movement in an open field might feel distant and exposed. This helps me connect the physical environment directly to the emotional experience of the character.
Dissertation - The Effects of War and PTSD: Media Representation of British Conflicts and Modern Warfare
Introduction
War has played a significant role in shaping British national identity throughout the 20th and 21st centuries. From the Korean War to the Falklands conflict and the prolonged wars in Afghanistan and Iraq, British military involvement has been consistently mediated through news, film, and popular culture. These representations influence how the public understands not only the political purpose of war but also its human cost. One of the most significant and long-lasting consequences of warfare is Post-Traumatic Stress Disorder (PTSD), a mental health condition experienced by some service personnel following exposure to traumatic events.
The media is central in constructing narratives around PTSD, often simplifying complex psychological experiences into familiar stereotypes. Through an analysis of British war coverage and film representations, this dissertation explores how PTSD has been portrayed and how these portrayals shape public perception. By examining UK conflicts alongside Western and British films such as Rambo (1982), Jarhead (2005), Resurrected (1989), Kajaki (2014), and The Mark of Cain (2007), this essay argues that while media coverage has increased awareness of PTSD, it frequently reinforces limited and sometimes misleading representations of veterans and warfare.
Understanding PTSD in a Media Context
Post-Traumatic Stress Disorder is a recognised mental health condition that can develop after exposure to traumatic events, including combat. Symptoms may include intrusive memories, emotional numbness, hypervigilance, and difficulties reintegrating into civilian life (American Psychiatric Association, 2013). From a media studies perspective, PTSD is often used as a narrative tool to symbolise the emotional cost of war rather than being explored in its full complexity.
Media representations frequently rely on visible or dramatic symptoms to communicate trauma quickly to audiences. This can lead to a narrow portrayal of veterans as emotionally unstable or permanently damaged. While such portrayals may raise awareness, they can also create stigma and reduce understanding of recovery and resilience. This issue is particularly relevant when analysing British war media, which has historically balanced emotional restraint with emerging discussions of mental health.
Regarding recovery and resilience, it isn't always good. Many returning soldiers indulge in self medicating like alcohol abuse, drug use and other forms of misconduct which can usher the likelihood of broken homes, severed bonds and neglect. The different forms of addiction can vary from something as minuscule as nicotine to the rushing high of adrenaline. For example, after the Vietnam war, many soldiers came back with opium and heroin addictions which ultimately led to them being neglected and homeless with many suffering from untreated PTSD and long-term health issues from the agent orange and chemicals used in the war. They were the country's forgotten men.
In contrast a lot seek therapeutic schemes that keep them grounded in life like therapy, mind and body practices, maintaining strong relationships with family, friends and loved ones, self care and mean making. For many vets, life gets too hard to stand on so they kneel, turning to God in hardship. In the catholic faith suffering is seen as something you can mould into a strength. Data from the National Longitudinal Study of Adolescent and Adult Health (NLSAAH) suggests that combat service can increase the likelihood of attending religious services weekly by 7.9 percentage points and engaging in private prayer by 8.6 percentage points compared to non-combat roles. Recovery is a process and takes time. The beginning can be overwhelming as buried feelings can surface, many forget struggle is normal and a part of the day to day life no matter how small or big.
Media Representation of UK Wars
The Korean War
British involvement in the Korean War (1950–1953) has received limited attention in both historical and media narratives. Often described as “the forgotten war,” it lacked the extensive media coverage seen during the Second World War. Reporting at the time focused heavily on duty and Cold War ideology rather than individual experience (Headrick, 2010).
As PTSD was not formally recognised, the psychological effects on returning British soldiers were rarely discussed in the media. This absence of representation contributed to limited public awareness and reinforces how media silence can marginalise veterans’ experiences.
The Falklands War
The Falklands War (1982) marked a shift in British war reporting due to the influence of television news. Media coverage largely supported government narratives, presenting the conflict as a justified defence of British sovereignty (Hammond, 2007). Images of patriotism and heroism dominated, while psychological consequences were largely excluded from immediate coverage.
In later years, documentaries and films began to challenge this narrative by focusing on the personal aftermath of the war. These retrospective portrayals reveal how media framing can change over time, allowing space for discussions of trauma once political urgency has passed.
The Afghanistan Wars
British involvement in Afghanistan occurred within a highly mediatised environment. Embedded journalism, 24 hour news, and social media allowed for more personal stories about soldiers’ experiences. PTSD became a visible part of the narrative, often framed as evidence of the human cost of modern warfare (Hoskins and O’Loughlin, 2015).
However, this increased visibility sometimes led to simplification. Media stories often focused on extreme cases, reinforcing the idea that PTSD defines all veterans. This highlights the tension between raising awareness and reinforcing stereotypes.
Changes in Media Technology Influenced the Public on War
Newspapers were the primary source, allowing for in depth analysis but often relying on government supplied information. During WWI, propaganda was crucial to maintaining high home front morale, with atrocities often exaggerated to create hatred for the enemy. Radios Allowed for real time dispatches from the front lines, bringing the immediacy of war closer to home but still heavily censored by the state. This was the age of controlled information however television drastically changed public perception by bringing graphic, unfiltered footage into homes, which, during the Vietnam War, helped turn public opinion against the conflict.
Social media has dismantled the traditional media gatekeeper role, allowing individuals in conflict zones like the Ukraine and Gaza to share raw, firsthand accounts though it could be disinformation. Social media has now become a primary tool for propaganda, with AI driven automation allowing for the rapid spread of disinformation and deepfakes that manipulate public perception in said topics. The graphic nature of TV, followed by social media, has made it harder to sanitise war, often leading to public skepticism of official narratives, Constant exposure to high definition footage of suffering also leads to desensitisation, where the public feels blame without understanding. The sheer speed of social media makes it difficult to distinguish fact from fiction, leading to confusion and, in some cases, the mobilisation of hatred
War Films and the Representation of PTSD
Rambo: First Blood (1982)
Although an American film, Rambo remains influential in British popular culture. The film presents PTSD as violent and explosive, using trauma to justify extreme behaviour. While it criticises the treatment of veterans, it ultimately reinforces the stereotype of the traumatised soldier as dangerous (Tasker, 1993).
For British audiences, this portrayal contrasts with national narratives that emphasise emotional restraint. The film demonstrates how Hollywood conventions can overshadow more realistic depictions of trauma.
Jarhead (2005)
Jarhead presents a more subdued depiction of modern warfare, focusing on boredom, alienation, and emotional disconnection. PTSD is implied through the characters’ inability to find purpose rather than through overt breakdowns. This approach aligns more closely with contemporary British media narratives surrounding Afghanistan and Iraq (Burgoyne, 2010).
UK-Specific Film Representations
Resurrected (1989)
Resurrected offers a critical response to Falklands War media narratives. The film focuses on a British soldier struggling to reintegrate after being presumed dead. PTSD is represented through isolation and emotional distance rather than violence.
This understated portrayal reflects British cultural attitudes and challenges the heroic framing promoted during the war, encouraging audiences to reconsider official narratives.
The Mark of Cain (2007)
This British television film explicitly addresses PTSD following the Iraq War. It depicts psychological trauma as gradual and internal, emphasising institutional failure and lack of support. The film encourages empathy and presents PTSD as a systemic issue rather than an individual flaw.
Kajaki (2014)
Based on real events in Afghanistan, Kajaki prioritises realism and emotional authenticity. Although PTSD is not directly addressed, the film’s portrayal of fear and vulnerability reflects the psychological pressures faced by British soldiers. Its restrained style contrasts with Hollywood spectacle and reinforces British media values of realism.
’71 (2014)
’71, set during the Troubles in Northern Ireland, portrays confusion and moral ambiguity rather than heroism. Trauma is implied through disorientation and survival, reinforcing the idea that British war films often represent PTSD indirectly.
Britain VS Hollywood
British cinema often highlights the veteran's isolation and struggle with civilian society, which either forgets or misunderstands the war experience like the Falklands War films. They tend to offer an exaggerated critique of military institutions and historical narratives, using veterans as alternative storytellers however A lot of recent British work explicitly shows trauma as a long term, present day issue allowing the audience to feel the experience with the character, showing their day to day struggle, the strong cultural thread of expressing psychological trauma from World War 1s Shell shock, a further demented form of PTSD from the German shell bombs used, is used t describe the PTSD as an umbrella term. Although the soldiers of today don't experience or may experience true sights of terror, the behavioural emotions normally consist of anger, outbursts or antisocial behaviour. Some would have an OCD trait as it may but their nerves at rest or the anxiety and trauma can come out in another way. While I'm saying it's exaggerated it isn't impossible to have men who came back from deployment behave erratically.
In Contrast, Hollywood focused more on physical ailments like paralysis or traditional heroism, downplaying subtle psychological damage, films like First Blood Rambo provided an iconic, yet sometimes cliched, depiction of a traumatised vet struggling to integrate with the world. Movies like Saving Private Ryan use graphic detail and archive footage to immerse viewers in battle, presenting suffering as central to the experience, though often from a specific, heroic perspective, some american films portray both sides of a conflict as victims of the war machine, breaking down traditional good vs. evil narratives like The Thin Red Line.
Media Impact and Audience Perception
Media representations of war play a crucial role in shaping how audiences understand both the conflict itself and its long-term psychological consequences. According to cultivation theory, repeated exposure to similar representations shapes audience beliefs about reality (Gerbner et al., 2002). When audiences are consistently exposed to images of war that emphasise violence, heroism, or sacrifice without equal attention to aftermath and recovery, these portrayals can normalise trauma and desensitise viewers to its severity. Conversely, when veterans are repeatedly depicted as emotionally unstable, dangerous, or irreparably damaged, media risks creating a narrow and stigmatising public perception of those living with post-traumatic stress disorder (PTSD).
PTSD is a complex and debilitating condition that affects many veterans long after combat ends. Individuals may experience flashbacks, hypervigilance, emotional numbness, depression, and difficulty maintaining relationships or employment. Media representations often simplify these experiences for dramatic effect, reducing PTSD to violent outbursts or emotional breakdowns. While such portrayals may raise awareness, they can also misinform audiences by failing to show the less visible, daily struggles of living with trauma or the possibility of recovery with adequate support. This can lead to public misunderstanding, reinforcing fear or pity rather than empathy and informed awareness.
Furthermore, media narratives frequently expose the horrors of war; death, destruction, and moral injury yet often disconnect these realities from political responsibility. Governments are sometimes portrayed as distant decision-makers, while soldiers are framed as disposable tools of conflict, effectively used as cannon fodder in pursuit of political or economic interests. This framing can influence audience perceptions by fostering either unquestioning patriotism or deep cynicism, depending on how the narrative is constructed. In both cases, the human cost of war risks being overshadowed by spectacle or ideology.
A significant challenge highlighted in media discourse is the inadequate support many veterans receive upon returning home. Despite increased visibility of mental health issues in the UK, veterans often face long waiting times, underfunded services, or a lack of specialised PTSD treatment. Media coverage that briefly acknowledges these failures without sustained scrutiny can create the illusion that sufficient systems are in place, discouraging deeper public engagement or policy reform. When veterans are shown struggling alone, it reinforces a narrative of abandonment, suggesting that society and the state are willing to honour soldiers in war but neglect them in peace.
In the UK context, media narratives have contributed to reducing stigma around mental health by encouraging open discussion and normalising help-seeking behaviours. However, they have also contributed to limiting stereotypes by repeatedly framing veterans within a narrow identity defined solely by trauma. This demonstrates the significant responsibility media producers hold when representing war and its consequences. Balanced portrayals that acknowledge both the horrors of war and the resilience of veterans, while critically examining governmental accountability, are essential to fostering a more informed, empathetic, and socially responsible audience understanding.
Conducting Research:
I had interviewed Both Ishwar and Ali, my classmates, to get different views on how they view the military and being a service man.
Would you join your country's military?
1 No, probably not
2 maybe
Does it seem ethical to defend your country by any means necessary even if it means killing someone?
1 yes I think so. as you are technically "fighting for you're country" with isn't aways ethical and most of the time ends in fatalities.
2 yes I think that everyone would fight for their country's even if the government doesn't't care about them because they defending their houses, their family.
Does the thought of potentially not making it back home if deployed scare you?
1 Yes as I feel sorry for the soldiers families who may have passed away fighting for their country and having to live with that for the rest of. their life.
2 No because if you fighting for you country even if you pass away for defending your country, it deserves to die for your country
What would it take for you to join the military and why?
1 I probably would not try to join the military due to how much stress it can have on you in the long run, also not just that but if I were to continue living on with that memory I think it would just break you down.
2 if they need people to join them I will join it might break me down and I might get killed but I'm fighting for my country so I don't mind
Do you think the army would be for a good cause if no or yes why?
1 In some circumstances yes as I think it must feel good and a soldier must feel proud to fight for this country and stand up as a person when joining the army.
2 sometimes yes because they fight for their country
If someone you knew had PTSD do you know what the first steps to help would be?
1 probably tell them that I am here for them and try to keep their mind of it and occupy them with something else such as being with family or doing something to keep the mind occupied.
2 I will probably try my best to help them
Does the thought of PTSD worry you?
1 yeah I think it should for everyone due to soldiers and veterans having to live with that memory forever.
2 sometimes yes
If you were to re-intergrate back into society what problems do you think you'd would face?
1 Maybe finding it hard to ave a normal conversation with people or interacting with anyone at all.
2 it's hard and it can't be like how it used to be
If you had PTSD do you think you could recover well?
1 to be honest its not for me to really guess Orsay how I would act if I had ptsd because I doubt everyone takes it the same way some people may take it as always having it on their mind and there is no escape etc and. another person may be fine with it or keeps them selves occupied with other things to think about maybe.
2 I don't know because I never went through PTSD so I don't know how I will act
Do you know what PTSD looks like?
1 I imagine it's having one constant loop of a memory cycling in your head and no matter what you do. you can't escape it.
2 no
Lastly, Would you let your child join the military?
1 Maybe but I would let him decide whether he wants to or not when he is old enough to make his won decision.
2 yes if he wanted to join
Recently I had asked my grandfather who's seen war first hand and endured 3 years as an infantry soldier, having served his deployment in Northern Ireland against the IRA. I ask him a few question about army life, does he feel he's been neglected by the government etc.
Conclusion
In conclusion, media representations of war and PTSD across conflicts such as the Yugoslav Wars, Iraq, Afghanistan, and Korea show how powerful media is in shaping public understanding. In many of these wars, governments have been presented as justified or heroic, while the darker realities are pushed aside. However, these conflicts also show how governments can act as villains, using soldiers to fight wars that later appear controversial or unnecessary. As history is often written by the victors, media coverage tends to favour those in power, which reduces credibility and hides the full truth behind conflict.
Across these wars, propaganda and bias have played a major role. In Iraq and Afghanistan, media framing often focused on fighting terrorism and protecting freedom, while ignoring civilian deaths and the long-term damage done to soldiers. In the Yugoslav Wars, selective reporting and ethnic bias shaped global opinions, sometimes oversimplifying complex conflicts. This framing and selective reporting causes an erosion of context, making war seem clearer and more justified than it really is.
Misinformation and disinformation also affect how audiences understand modern warfare, especially through government-led narratives and controlled media access. These practices reduce public trust and limit critical thinking. At the same time, harmful narratives around mental health continue to exist. PTSD is rarely treated as a serious, long-term condition, and is often shown in a shallow or dramatic way. Veterans from conflicts such as Korea, Iraq, and Afghanistan are remembered for bravery but forgotten when they return home needing support.
To improve how war and PTSD are shown on screen, filmmakers should move past the violent veteran stereotype. This starts by giving veterans a real voice in the creative process, not just as advisors on weapons, but as writers and directors who can control their own stories. This shift requires trauma informed storytelling that values real psychological accuracy over dramatic body horror. Instead of using the cliché of a sudden, violent snap, films should show the real symptoms of PTSD, such as feeling emotionally numb, being constantly on edge, or the long struggle of adjusting to normal life. By using expert resources like the National Center for PTSD’s Production Toolkit, creators can show that therapy actually works and that asking for help is a sign of strength. Ultimately, the best strategy is to show more diverse stories, focusing on the difficult reality of coming home rather than just the battlefield so that veterans are seen as complex people instead of just broken victims.
Overall, media has failed to fully represent the true effects of war and PTSD. By protecting government narratives and downplaying trauma, media contributes to public misunderstanding and the continued neglect of veterans. More honest and balanced reporting is needed to show the real cost of war, both on the battlefield and long after the fighting ends.
Harvard Reference List
American Psychiatric Association (2013) Diagnostic and Statistical Manual of Mental Disorders. 5th edn. Washington, DC: American Psychiatric Publishing.
Burgoyne, R. (2010) The Hollywood Historical Film. Oxford: Blackwell.
Gerbner, G., Gross, L., Morgan, M., Signorielli, N. and Shanahan, J. (2002) ‘Growing up with television: Cultivation processes’, in Bryant, J. and Zillmann, D. (eds.) Media Effects: Advances in Theory and Research. 2nd edn. Mahwah, NJ: Lawrence Erlbaum Associates, pp. 43–67.
Hammond, P. (2007) Media, War and Postmodernity. London: Routledge.
Headrick, D.R. (2010) The Tools of Empire: Technology and European Imperialism in the Nineteenth Century. Oxford: Oxford University Press.
Hoskins, A. and O’Loughlin, B. (2015) Arrested War: The Third Phase of Mediatization. Oxford: Oxford University Press.
Tasker, Y. (1993) Spectacular Bodies: Gender, Genre and the Action Cinema. London: Routledge.
Film and Television References
’71 (2014) Directed by Y. Demange. UK: Film4 / Warp Films.
First Blood (1982) Directed by T. Kotcheff. USA: Orion Pictures.
Jarhead (2005) Directed by S. Mendes. USA: Universal Pictures.
Kajaki (2014) Directed by P. Katis. UK: Kajaki Ltd / Embankment Films.
Resurrected (1989) Directed by P. Greengrass. UK: BBC Films.
The Mark of Cain (2007) Directed by M. Nighy. UK: Channel 4 Television.
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Exploring Stop motion styles
I researched a range of stop motion animation styles to decide which would be most suitable for my skills, resources, and time constraints. Stop motion includes several different techniques, such as claymation, object motion, pixilation, and 3D animation, all of which have their own advantages and challenges. By exploring these different styles, I was able to compare how practical each one would be for me to create, as well as how effective they might be visually.
Claymation
Claymation was one of the first styles I considered because it is well known and can produce very expressive characters. However, after looking into it further, I realised it would be too difficult for me to do successfully. It requires strong sculpting skills and a lot of patience to keep the characters consistent across every frame. The clay can easily lose its shape when handled, which would make the animation look messy or uneven. Because of these difficulties, I decided that claymation was not the right choice for my project.
Claymation is a fascinating animation technique that I explored by looking into the work of Lee Hardcastle and Aardman Studios. Studying their projects helped me understand the level of skill and patience required, but it also made me realise how difficult the process can be. Claymation is very high maintenance because you have to keep the clay at the right consistency so it does not harden or crack under hot studio lights. It also requires careful attention to detail, such as keeping characters the same size and shape in every frame, avoiding fingerprints or marks on the models, and making sure the lighting stays consistent to prevent flickering. The process is extremely time consuming as each movement has to be adjusted slightly and photographed, which can take hours just for a few seconds of footage. It can also be expensive due to the need for materials, sets, equipment, and a lot of manual work.
However, claymation also encourages creativity because everything is made from scratch. Sculpting characters and environments allows complete freedom, meaning you can create anything you imagine. The versatility of clay makes it easy to reshape and experiment with different designs, textures, and expressions. This hands on approach makes the process both challenging and rewarding, as it combines creativity with practical skills. Even though it is difficult and demanding, claymation gives creators full control over their work and allows them to produce unique and imaginative animations.
Pixilation
I also looked at pixilation, which is a stop motion technique that uses real people as part of the animation rather than models or puppets. This technique has been used in experimental films and by studios such as Aardman Studios. Pixilation works by asking people to move in very small, controlled steps while each frame is photographed, which creates unusual and sometimes surreal movement when played back. I found this style very creative because it allows effects that are not possible in normal filming, such as people appearing to glide, freeze, or move in unnatural ways. It combines live action with animation, making it visually interesting and unique.
However, when I considered using pixilation myself, I realised there are several practical difficulties. One major issue is access to people who can regularly take part in filming. Unlike other animation techniques where I could work independently, pixilation depends on others being available and committed. Organising schedules would be challenging, especially if filming takes place over multiple sessions, as continuity must be maintained. There are also performance difficulties, as participants need to stay very still, follow precise instructions, and repeat movements accurately, which can be tiring and lead to mistakes.
There are also logistical and financial challenges to consider. Filming in different locations may require permission and planning, which adds extra time and effort. Equipment such as cameras, tripods, and lighting would still be needed, and keeping lighting consistent can be difficult, especially when filming outside. There is also a higher risk of continuity errors, such as changes in lighting, weather, or positioning, which could affect the final result and require reshooting. Because of these limitations, pixilation would be time consuming and potentially expensive. For these reasons, although it is a creative technique, I decided it was not a realistic option for me.
3D Animation
Another style I explored was 3D animation, which is widely used in films, television, and video games. It is used by major companies such as Pixar and DreamWorks Animation to create highly detailed and realistic worlds. One of the main advantages of 3D animation is its professional quality, as it allows for smooth movement, realistic lighting, and detailed textures. It also offers flexibility because once models and environments are created, they can be reused, adjusted, and animated in different ways. This makes it a powerful and efficient tool in professional industries, especially for large scale productions.
However, 3D animation also has several disadvantages, particularly for beginners. It requires a strong understanding of complex software such as Blender, which can be difficult to learn. When I explored Blender, I found the interface overwhelming, with many tools, settings, and technical features that take time to understand. Creating even a simple animation involves multiple steps, including modelling, rigging, texturing, lighting, and rendering. Each of these stages requires specific skills, making the process challenging and time consuming for someone with limited experience.
Another drawback of 3D animation is the amount of time and effort required to produce high quality work. Even short animations can take hours or days to complete, especially when rendering, which is the process of generating the final images. Rendering can be slow and requires a powerful computer to run efficiently. Without the right equipment, the process can become frustrating and limit what can be achieved. In addition, achieving a professional standard often requires practice and experience, which I currently do not have.
Despite these challenges, 3D animation does have strong creative potential. It allows for the creation of detailed characters, environments, and effects that would be difficult to achieve in other styles. However, considering the time constraints and my current skill level, the disadvantages outweigh the advantages for this project. Learning how to use the software properly would take too long, and I would not be able to produce work to a high standard. For these reasons, I decided that 3D animation was not a suitable option for me.
Object Stop Motion
One of the biggest advantages of object stop motion is that it is very affordable. I can use items I already own, such as stationery, household objects, or toys, which removes the need to buy materials like clay or invest in high end digital software. This makes it a cost effective option, especially compared to techniques like claymation or 3D animation, which can become expensive. By keeping costs low, I am able to focus more on developing ideas and experimenting creatively rather than worrying about budget limitations.
Another key benefit is that it does not require actors or additional people. Techniques such as pixilation depend heavily on others being available, which can create scheduling issues and slow down production. With object stop motion, I can work entirely independently, which gives me much more control over the process. This independence makes the workflow smoother and more reliable, as I do not need to coordinate with anyone else or rely on their availability.
The flexibility in scheduling is also a major advantage. I can film whenever it is convenient for me, whether that is short sessions or longer periods of time. This is especially useful because stop motion can be time consuming, and having the freedom to pause and continue at any time makes the process more manageable. It also allows me to take my time to improve each frame and make adjustments without feeling rushed, which can lead to a better final outcome.
Finally, object stop motion still allows for a high level of creativity despite its simplicity. Almost any object can be transformed into a character or part of a story, which encourages imaginative thinking. I can experiment with different ideas, movements, and compositions without strict limitations. Overall, this technique balances creativity with practicality, making it the most effective choice for me. It meets my needs in terms of cost, resources, independence, and flexibility, while still allowing me to produce an engaging and creative animation.
Conclusion
In the end, I chose to focus on object stop motion, as it is the most practical technique for my situation. This style involves animating everyday objects by moving them slightly between each frame, which creates the illusion of movement when played back. Unlike other forms of animation, it does not require specialist materials or advanced software, making it much more accessible. This immediately made it appealing to me because it fits within my available resources and allows me to start creating without needing expensive equipment or tools.
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Visual style and aesthetics
Introduction:
The visual aesthetic of my stop motion animation is significantly shaped by its nocturnal setting, with blue serving as the predominant hue throughout. This decision is deliberate, as blue is frequently linked to feelings of coldness, isolation, and emotional detachment, mirroring the psychological state of the protagonist. By employing dark, muted blues, I intend to cultivate a tense and subdued atmosphere that reflects his emotional disconnection and internal conflict following his experiences during the Yugoslav Wars. The consistent application of this colour palette also aids in visually unifying the narrative, ensuring that the tone remains coherent and controlled.
Lighting and shades:
Lighting plays a crucial role in reinforcing this aesthetic. I plan to utilise low key lighting to create pronounced contrasts between light and shadow, producing a cinematic, noir inspired effect. This approach not only enhances the visual quality but also symbolises the concealed truths within the narrative, particularly as the character begins to uncover details about his past. The incorporation of practical light sources, such as lamps or streetlights within the set, will help to justify areas of illumination while preserving realism. This controlled lighting strategy is particularly vital in stop motion, as it guarantees consistency across frames while contributing to the overall mood.
In contrast to the blue toned present day scenes, the flashbacks and PTSD episodes will introduce a distinct visual language. These sequences will blend cinematic imagery with a dossier style aesthetic, creating a layered and fragmented presentation. The cinematic components will feature more variation in tone and lighting, potentially incorporating warmer or more neutral colours to represent moments from the past. This contrast aids in differentiating memory from reality while also suggesting that these recollections are emotionally charged and not entirely stable.
Editing style and template:
The dossier style is particularly significant in articulating themes of government secrecy and manipulation. Visual elements such as redacted text, document textures, and official formatting will be integrated to mimic the appearance of classified files. This technique reinforces the narrative that the character has been erased and concealed by the system he once served. By weaving these graphic elements into the animation, I can convey key information in a visually engaging manner while also transcending the physical limitations of object stop motion.
The PTSD sequences will amalgamate both cinematic and dossier styles to reflect the character’s unstable mental state. Rather than presenting memories in a clear and linear fashion, these moments will appear fragmented and disjointed. This may involve rapid transitions, overlapping visuals, or distortions in movement and timing. Such techniques aim to replicate the confusion and intensity of traumatic memory, allowing the audience to gain a deeper understanding of the character’s experience. The combination of styles fosters a more immersive and psychologically driven aesthetic.
Set design:
Set design will remain minimal yet purposeful, supporting both practicality and narrative clarity. In the present-day scenes, environments will be straightforward and controlled, allowing lighting and colour to dominate the visual impact. Subtle details such as worn textures or confined spaces can imply a harsh and restricted environment without necessitating overly complex constructions. For flashbacks, minor adjustments in texture or composition can signify shifts in time or location, maintaining efficiency while still conveying change.
Use of angles and shots:
Camera work will further enhance the visual style by reflecting the distinctions between reality and memory. In present day scenes, shots will be more stable and deliberate, reinforcing a sense of control and tension. Conversely, the flashbacks and PTSD episodes may include closer framing, abrupt cuts, or slight inconsistencies in movement to evoke unease. This variation in camera technique aids in visually differentiating various segments of the narrative while also supporting the emotional tone of each sequence.
Conclusion:
In summary, the visual style and aesthetics of the animation are meticulously crafted to bolster both the narrative and its psychological depth. The consistent use of blue tones establishes a profound emotional atmosphere, while the contrast between cinematic and dossier style visuals adds complexity and significance. These choices not only render the animation visually captivating but also reinforce fundamental themes such as trauma, identity, and concealed truths. By aligning the aesthetic with the story, the final product will feel cohesive, purposeful, and impactful.
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Narrative structure
How will I show the narrative:
The narrative structure of the animation is intentionally non linear, allowing the story to unfold in a fragmented and psychologically driven manner. Instead of presenting events in a straightforward chronological sequence, I will employ a structure that oscillates between present day actions and past experiences. This approach mirrors the mental state of the protagonist, whose memories of the Yugoslav Wars continue to influence him. By disrupting the timeline, the audience is invited to actively piece together the narrative, resulting in a more engaging and immersive experience.
The present day storyline serves as the central thread that unifies the narrative. It follows the protagonist as he undertakes a mercenary job for British intelligence, depicted in a relatively controlled and linear fashion. This provides the audience with a sense of direction and clarity, ensuring that the story remains comprehensible despite its non linear elements. Key moments within this timeline, such as interactions with objects or environments, will act as triggers for flashbacks, meaningfully linking the past and present.
Placement and use of the flashbacks:
Flashbacks will be employed to gradually unveil the character’s history and the trauma he endured during the war. These sequences will not adhere to a structured or predictable order but will instead emerge in fragments, reflecting the nature of memory in relation to PTSD. Some flashbacks may be brief and unclear, while others will be more detailed and emotionally intense. This variation allows the narrative to develop depth over time, slowly revealing the truth behind the character’s condition and his past involvement in concealed events.
The use of non linear storytelling also reinforces the themes of uncertainty and hidden truths. At the outset of the animation, the audience will possess limited information about the protagonist and his circumstances. As the story unfolds, additional details will be disclosed through flashbacks and visual cues, creating a gradual sense of discovery. This mirrors the protagonist’s own journey as he becomes increasingly aware of the reality surrounding his past and the actions of the government. Thus, the structure aligns the audience’s understanding with the character’s perspective.
How the narrative complements the climax:
A pivotal moment in the narrative will occur when the protagonist completes his mission and gains access to classified documents. This moment serves as both a climax and a point of narrative convergence, where the fragmented elements of the story begin to coalesce. The information within the dossier confirms that he has been declared dead and erased from official records to obscure war crimes. At this juncture, the non linear structure becomes more focused, enabling the audience to connect previous flashbacks and hints to this central revelation.
Following this climax, the narrative may briefly revert to a more linear structure to underscore the impact of the discovery. This allows the audience to fully grasp the significance of what has been unveiled while also highlighting the emotional and psychological repercussions for the character. However, elements of fragmentation may persist, suggesting that his trauma and confusion remain unresolved. This consistency aligns with the themes of PTSD and instability.
In summary, the integration of flashbacks and a non linear structure is essential in shaping both the narrative and the audience’s experience. It enables the story to unfold in a manner that reflects the protagonist’s mental state rather than merely presenting events in sequence. By carefully balancing clarity with fragmentation, the narrative remains engaging while effectively communicating complex themes such as trauma, identity, and hidden truths. This approach not only enriches the storytelling but also ensures that the structure itself contributes meaningfully to the overall impact of the animation.
Utilising a Visual narrative:
The PTSD sequences will blend both cinematic and dossier styles to reflect the character’s unstable mental state. Rather than presenting memories in a clear and linear fashion, these moments will appear fragmented and disjointed. Techniques such as rapid transitions, overlapping visuals, or distortions in movement and timing will replicate the confusion and intensity of traumatic memory, allowing the audience to better comprehend the character’s experience. The combination of styles fosters a more immersive and psychologically driven aesthetic.
Set design will remain minimal yet purposeful, supporting both practicality and narrative clarity. In the present day scenes, environments will be simple and controlled, allowing lighting and colour to dominate the visual impact. Subtle details such as worn textures or confined spaces can suggest a harsh and restricted environment without necessitating overly complex builds. For flashbacks, small adjustments in texture or composition can indicate shifts in time or location, maintaining efficiency while effectively communicating change.
Camera work will further enhance the visual style by reflecting the distinctions between reality and memory. In present day scenes, shots will be stable and deliberate, reinforcing a sense of control and tension. Conversely, the flashbacks and PTSD episodes may include closer framing, abrupt cuts, or slight inconsistencies in movement to evoke unease. This variation in camera technique visually separates different parts of the narrative while supporting the emotional tone of each sequence.
Conclusion:
Overall, the visual style and aesthetics of the animation are meticulously designed to support both the narrative and its psychological depth. The consistent use of blue tones establishes a strong emotional atmosphere, while the contrast between cinematic and dossier-style visuals adds complexity and meaning. These choices not only render the animation visually engaging but also reinforce key themes such as trauma, identity, and hidden truths. By aligning the aesthetic with the story, the final outcome will feel cohesive, purposeful, and impactful.
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Materials and resources
Introduction:
The materials, budgeting, and resources for my stop motion project have been carefully considered in order to remain within a very low budget while still producing a visually effective outcome, it is important that I demonstrate an ability to work resourcefully and make practical decisions. Rather than relying on expensive or specialist materials, I have chosen to focus on accessible and low cost options. This approach reflects an understanding of production constraints and highlights my ability to adapt creatively within limitations.
Being cost effective with Constructing the set:
A significant aspect of my material choices is the use of cardboard as the primary construction material. Cardboard is highly versatile, as it can be easily cut, shaped, and assembled into a variety of forms, making it suitable for building environments such as walls, floors, and structural elements. In addition, it can be painted or layered to create texture, allowing it to appear more realistic on camera. This makes it an ideal material for stop motion, as it balances practicality with visual effectiveness.
Alongside cardboard, I will also use plastic materials, particularly found or recycled pieces such as packaging. These materials can be repurposed to add detail and variation to the set, helping to break up flat surfaces and create a more convincing environment. The combination of cardboard and plastic allows for a wider range of textures and forms, enhancing the overall aesthetic without increasing costs. This also demonstrates an experimental approach to materials, as I will be adapting everyday objects for creative use.
The Production Budget:
In terms of budgeting, my aim is to keep spending to an absolute minimum, only purchasing items that are essential to the narrative. The main exception to this is the inclusion of toy guns, which are important props for establishing the protagonist’s role as a mercenary. Purchasing these items, rather than constructing them from scratch, ensures a higher level of realism and saves time during production. However, this will still be done within a low budget, ensuring that costs remain controlled and appropriate for a student project.
The use of existing resources is another key factor in keeping the project affordable. I will be using equipment that I already have access to, such as a camera, tripod, and basic lighting setup. This eliminates the need for additional spending on technical equipment while still allowing me to achieve a consistent and stable result. Where necessary, I can also adapt lighting using simple methods to suit the blue toned aesthetic, further demonstrating resourcefulness.
The use of recycled and found materials also adds another layer of practicality and creativity to the project. By reusing materials, I can expand my available resources without increasing costs, while also demonstrating an awareness of sustainability. This approach encourages experimentation, as I can test different materials and adapt them to suit the needs of the animation. It reflects a problem solving mindset, which is important in both creative and technical aspects of production.
Managing the deadline:
Time management is also closely linked to materials and budgeting. Stop motion is a time intensive process, so using simple and easy to manipulate materials such as cardboard allows me to reduce construction time and focus more on animation. This is important in ensuring that the project is completed within the given timeframe. By avoiding overly complex builds, I can maintain a balance between quality and efficiency, which is essential for a successful outcome.
Conclusion:
Overall, my approach to materials, budgeting, and resources is both practical and purposeful. By primarily using cardboard and plastic, limiting purchases to essential items such as toy guns, and making use of existing equipment, I am able to maintain a very low budget without compromising the quality of the project. This demonstrates an understanding of how to work effectively within constraints, while still producing a visually engaging and well considered stop motion animation.
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Technical research
Introduction:
For my stop motion project, I’ve had to figure out how to get good results while sticking to a really small budget. Since this is an FMP, it’s important that I show I understand the technical side of things, even without access to fancy equipment. Instead of spending a lot on cameras or studio setups, I’ve been exploring how I can make everyday tools work for me. This has actually been useful, as it pushes me to think creatively and problem solve, which is exactly what low budget animation is all about.
What do I use for the Recording device:
I’ll be using my phone as the main camera for the project. Phones nowadays can take pretty high quality photos and videos, so they’re perfect for stop motion. From my tests, I found that consistency is way more important than having a professional camera. As long as the focus, exposure, and position stay the same between shots, the animation looks smooth. Controlling these settings helps prevent flickering or uneven frames, which is crucial for a polished final piece.
Keeping the camera steady is another big thing to think about. I’ve been looking at using an octopus leg tripod, which is really flexible and lets me get low angles or unusual shots. If I don’t have that, I can make a simple stand using books or boxes to hold the phone still. Either way, the key is making sure the camera doesn’t move at all between frames, which is really important in stop motion. These solutions are cheap but effective, which fits my budget perfectly.
Figuring out the best lighting:
Lighting has been a bit of a challenge too, especially because I want the blue toned nighttime aesthetic. I can’t afford professional gels, so I experimented with alternatives. I discovered that Quality Street wrappers actually work really well as filters. They’re translucent and come in different colours, so I can tint the light without spending any extra money. It’s a simple trick, but it gives a really cool look that suits the mood of the animation.
Another important part is keeping the lighting consistent. In stop motion, even small changes can make frames look off, so I’ll avoid natural light and stick to fixed artificial lights. That way, the lighting won’t shift between sessions, which keeps the animation looking smooth. It’s a small detail, but it makes a big difference to the final quality.
Conclusion:
Overall, the research has shown me that you don’t need expensive gear to make stop motion work. Using my phone, stabilising it with a tripod or DIY stand, and making tinted lights with wrappers are all simple, low cost solutions. Working with a tight budget has forced me to get creative and think practically, but it also means I can still achieve a professional looking final animation without spending much at all.
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Software research
Introduction:
Software research is a crucial part of planning my stop motion project, as editing and compiling the footage effectively is essential for creating a polished final animation. I am aware that editing is a technical skill that I am not yet very confident with, which initially made me apprehensive about this stage of production. I understand that errors in editing, such as inconsistent timing or frame issues, could affect the flow and quality of the animation. Despite this, I am committed to persevering and improving my skills, recognising that persistence and experimentation are essential to achieving a professional result.
Editing Software I've came across:
I have explored a range of software options to determine which would best suit my needs and skill level. Capcut is one option I have considered, as it is intuitive and allows for basic timeline editing, trimming, and playback speed adjustment. While it may not have the advanced capabilities of professional software, it is sufficient for arranging frames, adjusting timing, and incorporating audio however this also wouldn't have been allowed. I looked at DaVinci Resolve and Adobe Premiere Pro, which offer greater flexibility and control but are more complex. Given my current experience, I decided that starting with simpler software will allow me to focus on mastering the fundamentals before attempting more advanced editing techniques.
What would help pull of the realism:
Part of my research involved understanding how to manage essential technical elements such as frame rate, transitions, and audio synchronization. Stop motion animation requires precise timing, and even minor inconsistencies can make sequences appear unnatural or jerky. To address this, I plan to edit in small sections and regularly review each sequence, allowing me to identify and correct errors before proceeding further. I also intend to use tutorials and online guides to enhance my understanding of the software and ensure I am applying features efficiently and correctly.
Conclusion:
Overall, my software research has highlighted that editing, while challenging, is an opportunity to develop a critical technical skill. I am determined to persevere and dedicate time to learning how to use the software effectively, balancing patience with practical experimentation. By gradually building confidence and refining my techniques, I can ensure that my stop motion animation is visually coherent and professionally presented. This process will not only support the success of this project but also enhance my future competence and confidence in animation editing. I'll also be using Adobe premiere pro as it is a very versatile application.
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Practical Research
Introduction:
Stop motion animation appeals to me because it will allow complete control over every movement and detail, especially when working with objects. Unlike digital animation, object stop motion feels tangible and hands on, giving personality to everyday items. I am choosing this style because it will encourage creativity through physical manipulation, allowing me to transform simple materials into something expressive and cinematic. It will also challenge me to think carefully about timing, spacing, and storytelling frame by frame, helping me to better understand the fundamentals of animation.
Learning to construct different Environments and terrain:
Creating different environments will be an important part of developing my practical skills, as it will allow me to experiment with a wide range of techniques and materials. I plan to learn how to build a variety of terrains, such as snowy landscapes and forest scenes, using simple and accessible resources. For snow, I aim to use soft white materials like cotton, tissue, or powder to create a sense of texture and depth, carefully layering them to reflect how snow naturally gathers and forms uneven surfaces. In contrast, sand or other fine grains can be shaped and moulded to form realistic desert environments, with attention given to how dunes curve and flow to make them appear more natural.
For forest scenes, I will use small sticks, paper, and layered materials to give the impression of trees, foliage, and natural surroundings, focusing on building depth through overlapping elements. These environments will require careful attention to detail so they look believable on camera, meaning I will need to consider how each component works together within the scene. I will think carefully about scale to ensure everything appears proportionate, as well as texture and colour to match each setting effectively. I will also explore how lighting can enhance these environments by creating mood, highlighting details, and improving the overall realism of the scene.
Overall, developing these environment building skills will help me become more confident and adaptable in my practical work. By experimenting with different materials and techniques, I will gain a deeper understanding of how to solve creative problems and refine my ideas. This process will also strengthen my ability to plan and evaluate my work, as I consider how successful each environment is and identify areas for improvement. In the long term, these skills will provide a strong foundation for producing more detailed and professional-looking sets that effectively support visual storytelling.
Understanding the depth of Camera activity:
Camera movement and angles will play a crucial role in creating a sense of realism in my stop motion work, as they directly influence how the audience experiences each scene. By carefully adjusting the camera position between frames, I will be able to simulate smooth movements such as pans, tilts, and tracking shots, even though the animation is created frame by frame. This will help make the final sequence feel more fluid and engaging, rather than static. Achieving this effect will require precision and consistency, as even small, uneven movements can disrupt the illusion and make the animation appear less natural.
In addition to movement, I will use a range of camera angles and shot types to enhance the visual storytelling. Low angles can be used to make objects or characters appear more powerful or dramatic, while high angles can suggest vulnerability or give a clearer sense of scale within the environment. Close ups will allow me to highlight small details and create a stronger emotional connection, while wider shots will help establish the full scene and provide context. By combining these techniques with careful framing and positioning, I aim to guide the viewer’s attention and ensure that each shot contributes effectively to the overall sequence.
Overall, I view camera movement and angles as essential elements in stop motion because they significantly strengthen the illusion of life and realism. Without thoughtful camera work, even well constructed models and environments can feel flat or unconvincing. By developing these skills, I will be able to create more immersive and visually interesting animations that capture the audience’s attention. This makes camera techniques not just an added feature, but a fundamental part of producing successful and believable stop motion work.
Looking at lighting and what it could do for my project:
Lighting will be another important aspect of my stop motion work, as it can completely change how a scene feels and how believable it looks. I plan to explore different ways to create coloured lighting using everyday materials such as coloured gels, paper, or translucent plastic. By experimenting with these materials, I can introduce a specific mood and atmosphere into each scene, from warm, soft tones to cooler, more dramatic effects. Direct lighting will be useful for clearly illuminating the main subject, ensuring that the key details are visible and easy to follow. Paying attention to how light interacts with the models and sets will also help me highlight textures and shapes, making the animation appear more three dimensional.
Moreover, I will experiment with different positions and techniques to shape each scene more effectively. Using a key light, fill light, and backlight in combination can create depth, contrast, and a sense of space within the set. Side lighting will allow me to cast shadows and define forms, while backlighting can produce silhouettes or dramatic highlights that add visual interest. By testing these setups and balancing the different light sources, I aim to create a well lit environment that enhances the clarity of the action, supports the mood of the scene, and reinforces the realism of the animation. Careful control of light will also help maintain consistency between frames, which is essential for smooth, believable motion.
Overall, lighting is a necessity in stop motion because it can make or break the realism and visual impact of a scene. Even with detailed models and well constructed sets, poor lighting can make the animation look flat, unclear, or unconvincing. Developing strong lighting skills will allow me to control the atmosphere, draw attention to important elements, and support the story I want to tell. Mastering lighting is therefore an essential part of producing professional and engaging stop motion work.
Building the set and finding suitable material:
Constructing sets using customised cardboard will be both cost effective and creatively flexible, making it an ideal material for my stop motion work. I plan to paint, carve, and decorate the cardboard to create a wide variety of environments, from urban streets and interior rooms to more abstract or imaginative settings. By shaping the cardboard, layering pieces, and adding textures, I can build depth and dimension within the scene, making it feel more three dimensional and realistic. This approach allows me to adapt the sets to the needs of each scene, giving me the freedom to experiment with scale, perspective, and layout without the limitations of pre-made materials.
Furthermore, incorporating small details into the cardboard sets will enhance the overall believability of the environment. I can use cut outs, relief elements, or painted textures to suggest windows, furniture, or natural features, helping to immerse the audience in the world of the animation. Layering different pieces of cardboard can also create the illusion of distance and space, allowing me to establish foregrounds, middlegrounds, and backgrounds effectively. By exploring different techniques and treatments, I can ensure that each set feels thoughtfully designed and visually engaging, supporting the narrative and action of the animation.
Overall, using customised cardboard for set construction is an essential technique in stop motion because it balances practicality with creative freedom. It is affordable, adaptable, and easy to manipulate, making it possible to build detailed and immersive worlds even on a limited budget. Mastering cardboard construction will allow me to bring imaginative scenes to life, giving my animations a professional and polished look while maintaining flexibility to experiment and innovate.
My Final Verdict:
I am planning to use all of these techniques in my stop motion project because they will allow me to achieve a high level of realism while working with simple, accessible materials. Each method, from camera movement to lighting and practical effects, will contribute to making the final animation more engaging and believable. By combining these approaches, I aim to create a cohesive and visually interesting piece that demonstrates both creativity and technical skill. This will also show my ability to problem solve and adapt, using what I have available to produce professional looking results.
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Perfectly executing tension and Certain themes
Throughout my projects, I have found that slightly zooming in on the scene helps establish a stronger sense of observation for the viewer. This closer framing creates a more intimate and direct camera perspective, allowing the audience to feel as though they are witnessing the action rather than observing it from a distance. In stop-motion animation, where movements are often subtle and carefully constructed, this technique also helps emphasise detail and draw attention to the subject within the frame. As a result, the animation appears more engaging and vivid, strengthening the viewer’s connection to the scene and enhancing the overall visual impact of the production.
A zoomed-in camera angle can also help create tension within a stop-motion scene. By reducing the amount of space visible in the frame, the viewer’s attention becomes focused on a limited area, which can heighten anticipation and uncertainty about what may occur next. This restricted perspective can make movements or changes within the scene feel more significant and intense. In stop-motion animation, where actions unfold frame by frame, a closer camera angle can therefore amplify dramatic moments and contribute to a stronger sense of suspense for the audience.
Because stop motion uses physical models rather than real actors, camera positioning and framing can be controlled with a high level of freedom. The set, characters, and camera can be adjusted in very small increments, making it relatively easy to achieve close or zoomed-in shots that emphasise detail or tension within a scene. Unlike filming with real people, there are fewer practical limitations related to actor movement, timing, or physical space. This flexibility allows the animator to carefully plan each frame and experiment with different camera angles to achieve the desired visual effect.
In my animation, I can use lighting to create tension and make the scene feel more dramatic. I'll use dark lighting with only small areas of light so that some parts of the set are hidden. This makes the audience wonder what might appear next. I also use light from the side or below to create strong shadows, which can make the characters and objects look more mysterious. By controlling the lighting carefully, I can make the scene feel more intense and keep the audience interested.
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The Recipe for a good fight scene
Creating a compelling stop motion fight scene requires careful planning and the use of practical techniques to make the action appear dynamic and fluid. One of the most important aspects is the positioning of the characters and props. By planning out each frame and choreographing the movements in advance, I can ensure that the actions are believable and have a sense of weight and impact. Practicing the sequence with the figurine with simple markers before animating the actual figures helps prevent mistakes and but eats up time during production.
Camera movement is another key tool for enhancing a fight scene. Using techniques like slow zooms or subtle tracking shots can create a sense of motion and intensity without needing complex animation. For example, slightly moving the camera closer during a punch or kick can make the moment feel more dramatic. I can also use low angle shots to make the characters appear more imposing or high angle shots to emphasise vulnerability. Even small, controlled adjustments of the camera between frames can add energy and variation to the scene.
Lighting and shadows play a critical role in creating atmosphere and highlighting movement. By adjusting the position of the lights or changing their intensity, I can create contrast that emphasises key moments, such as a strike connecting or a character being thrown back. Shadows can also be used to exaggerate movement and make the scene appear more dynamic. Using practical lighting adjustments instead of relying on post production allows me to maintain a consistent look while adding visual excitement.
Another technique is the use of partial props or creative substitutions to enhance the illusion of movement. For example, using stretchable or detachable parts like arms or legs can create the appearance of rapid strikes or acrobatic moves. Similarly, employing simple rigging to support jumping or flying movements which can later be hidden in editing adds realism without overcomplicating the animation. Combining these practical tricks with careful frame by frame adjustments helps maintain the fluidity and believability of the fight.
Finally, editing plays a major role in making a fight scene feel impactful. By sequencing frames to create rhythm, adding quick cuts, or repeating key moments, I can control the pacing and tension of the action. Sound effects, even if added simply in post production, also enhance the perceived intensity of punches, impacts, and falls. By integrating these techniques such as camera movement, lighting, practical props, and careful editing, I can create a stop motion fight scene that feels dynamic, engaging, and visually exciting despite the inherent limitations of the medium.
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Different Productions I've looked at for help
When creating my stop motion animation, I research and analyse different creators to gain inspiration and improve the quality of my work. By studying how other animators construct their scenes, use camera movement, and animate complex actions, I can learn techniques that I may not have considered before. If I struggle with a particular scene, such as choreographing a fight or animating detailed movement, looking at the work of other creators helps me understand how similar challenges can be solved. This process allows me to develop my own ideas while also improving my technical skills and confidence as an animator.
TheLeoLegendary10
When developing my fight scenes, I watched stop motion videos created by TheLeoLegendary10 to analyse how he creates a fast paced and engaging tempo. By observing the way his fight sequences are structured, I was able to see how quick camera cuts, varied angles, and short movements between frames help the action feel more intense and energetic. I carefully studied the individual frames of his animation to understand how each movement flows into the next. This allowed me to apply similar techniques in my own work, helping me create smoother action and a faster pace during my fight scenes.
Dang It Productions
I also watched stop motion videos by DangItProductions to learn how he creates pace and movement in his scenes. I noticed that he often moves the camera to track the action, which helps the audience follow the characters motions and makes the animation feel more alive. He also uses really strong camera angles, such as low, high, and over the shoulder shots, to emphasise the action and make the scenes more dynamic. By studying how he frames and times each shot, I was able to experiment with similar techniques in my own work, improving the flow, pace, and overall impact of my fight sequences.
Claymation - Lee Hardcastle's
Creating the snowy environment
Trying to animate a convincing snowy environment in stop motion forces me to rethink how I approach perspective and scale. Real snow behaves in complex ways such as light diffusion uneven textures and subtle depressions that are hard to replicate convincingly at a small scale without it quickly looking artificial or overly cartoonish. Instead of attempting to simulate a full outdoor set I can bend perspective by focusing only on what the camera actually sees. That means designing tighter compositions using shallow depth of field and building just enough of the environment to sell the illusion. By limiting the frame and controlling angles I can make a small detailed foreground feel like part of a much larger believable snowy landscape.
To support that illusion building a diorama becomes a practical and creative solution. Studying YouTube tutorials on miniature environments can give me insight into layering textures and using lighting to enhance realism. A snowy diorama does not need to be perfect it just needs to mimic how snow gathers and reflects light. Using ripped tissue pieces can help create organic uneven snow drifts since their torn edges naturally avoid the smooth artificial look that often gives away miniatures. Layering these pieces allows me to build subtle elevation changes suggesting footprints mounds or wind shaped patterns. This approach gives me physical control over the terrain while keeping materials simple and adaptable.
From there experimenting with a flour baking soda and water mixture introduces a more tactile cohesive surface. This paste can be spread over the tissue base to unify the textures and add weight helping the snow look less like loose material and more like a settled environment. The key is balancing the softness of the tissue with the density of the paste so it does not become too smooth or flat. By ultimately combining the diorama structure with layered tissue and a light coating of the flour mixture I can create a surface that catches light realistically and avoids that overly stylized look. This hybrid method gives me both structure and texture making the snowy flashback scene feel grounded and visually convincing within the constraints of stop motion.
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