To conclude, through the practice-based research undertaken in the creation of Under the Water, I have interrogated the use of filmmaking techniques to craft a sense of subjectivity and emotion in  the representation of a protagonist. Through creating this work, I have explored, I have experimented, I have reworked ideas, I have failed, I have made breakthroughs and I have learnt a lot. Ultimately, I have created something that reflects my initial creative and theoretical aims. As an articulation of my creative identity, this work reflects my interest in exploring character, place and personal journeys through the use of Subjective Realist filmmaking techniques. 

I have discovered that through the cohesive use of directing, writing, performance, design, cinematography, editing, sound and music, there is great possibility for subjective representation.  As in The Babadook (2014), Sharp Objects (2018) and Three Colours: Blue (1993), Under the Water enacts emotional states of grief and loss through filmic techniques. Through close reference to the theories of Mathew Campora, David Bordwell, Adrian Martin, Eleftheria Thanouli and Bruce Kawin, I have explored the theoretical context of this mode of filmmaking. Within my work the expression Olivia’s inner world and complex feelings are reflected through the use of filmic techniques including visual metaphor, symbolism in the set dressing, distinct colour palettes to convey mood, ‘embodied’ camera, temporal affectations (slow-motion), non-linear depictions of time, sound used to heighten representation, and music to suggest emotional states. 

My work highlights the experiences of women, exploring the dark and insidious undercurrent of misogyny that sits just below the surface in our society, and the way women deal with this in everyday life. Given the limited scope of this exegesis, I’d also like to say that there are further issues related to ethnicity, gender identity, inclusivity, body positivity and neurodiversity among many others, that also suffer under the dominant modes of the industry. In a male-dominated field, I hope that this project acts as a small step towards levelling the balance. In a world where #metoo is real, and where #notallmen is also real, I have attempted to create something that promotes empathy and understanding.