Thursday, 5 April 2012
Monday, 26 March 2012
Task 10: Evaluation
1. In what ways does your media product use, develop or challenge forms and conventions of real media products?
3. What kind of media institution might distribute your media product and why?
4. Who would be the audience for your media product?
5. How did you attract/address your audience?
In terms of marketing and distribution there are several techniques which we felt would be more appropriate. Both traditional and viral marketing shall be used, viral predominantly being more common as it is much more popular being cheaper and quicker also. As our target market is specifically the male audience we would have to appeal more to them perhaps using typical ‘Lads Mags’ like Nuts and FHM, to compose advertisements an interviews with cast members. For viral marketing we felt that pop up campaigns, youtube clips and online interviews would be applicable and appropriate. Even billboards and posters could be placed with a slogan or mysterious phrase.
There were several ways in which we decided to attract our audiences, the first being the instant recognisable black and white effect, which is rarely used within modern films. Another aspect of our audience being attracted is the fact that our antagonist’s identity is not revealed, as it is a definite that his identity is revealed later on. Our title music also adds a state of excitement, with its quick tempo and its distressed feel. The background of our characters would also draw the audience further into the plotline as there are references to past ventures, yet little is revealed; therefore a revelation would be created later on most likely during the same time as ‘his’ identity is unconcealed.
6. What have you learnt about technologies from the process of constructing this product?
7. Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the full product?
From our three characters within our production we felt that each character should hold their own persona, in both appearance and attitude. Our first example being that of main protagonist Locke, portrayed by our close friend and class mate Edward Shiers. Locke being a strong and powerful name contrasts directly with his own appearance, being a young adult, with long ginger hair, of Caucasian race and holding a seemingly innocent façade. Despite his appearance opposing to the typical association of the Thriller genre and handsome back alley men, Locke’s personality can be likened to theirs. Behind the harmless appearance the young Locke being an intense and sincere character, who does not back down when challenged by larger, more threatening characters. Not only this, but Locke is primarily the only character of a different national identity (Locke being Scottish and our other two characters being English) as we felt that it made him appear more mysterious as little is known about his background. The second character which the audience are introduced to is that of Puds, the villain’s henchman. Puds is portrayed by another close friend of ours Joseph Amsden whom we believed could convincingly be identified as an older male. Broadening from this, Puds is a Caucasian male, in his early twenties with distinct facial hair and is of a lower class than our opposing cast. However, although he is but the villain’s adversary, Puds is in fact a more kind hearted persona than the other pair addressing Locke with courtesy and caution. Finally, our last social group can be found from our antagonist known as ‘Him’ dramatized from a school assistant Carl Cross. Little is known about ‘his’ appearance due to his hidden facial features, however he can be identified as a Caucasian male, in his forties of the upper class, we felt that as he was an older character the audience could familiarise with his menacing demeanour, denoting that he is an experienced businessman.
For our final film sequence ‘Locke’ both Abiee and I incorporated the typical conventions from the Thriller genre. To begin with, the opening credit rolls were simple black and white frames which flashed between each other vigorously; these frames were also accompanied by an almost urgent soundtrack, which was quick paced in tempo and produced by an orchestra. Another, aspect towards our film’s genre is that of the city location which was in fact filmed at Landau Forte Academy. The use of the large office facilities gave us the perfect inner city appearance, which also complimented our featured ambient sound of street traffic. As well as this, another of our Thriller stereotypes can be seen with our male antagonist, whom remains unidentified throughout the sequence. Our final Thriller convention came from the plot itself, with the characters discussing the plot of a mysterious mission which is set to hold a great importance for both protagonist and antagonist (each character having had a troubled relationship beforehand).
Furthermore, in an effort to develop the Thriller genre, our entire opening sequence was edited so that it were visually set in black and white tones, adding an extra hint of perplexity. We also wanted to develop the Thriller influence throughout using our unidentified antagonist as a representative of tension and secrecy, leading the audience to anticipation his eventual exposure. To further challenge the typical Thriller conventions we used an apparently younger and more innocent looking actor to portray our protagonist Locke. With his younger and seemingly gentle appearance it challenges the typical depictions of a ‘tough guy’ gangster lead. All of our three characters were portrayed by males and therefore represent the common portrayal of city street men, whom work in the black market agencies. This can be recognised mostly through our opposing characters older personas, with their much more mature demeanours.
2. How does your media product represent particular social groups?
From our three characters within our production we felt that each character should hold their own persona, in both appearance and attitude. Our first example being that of main protagonist Locke, portrayed by our close friend and class mate Edward Shiers. Locke being a strong and powerful name contrasts directly with his own appearance, being a young adult, with long ginger hair, of Caucasian race and holding a seemingly innocent façade. Despite his appearance opposing to the typical association of the Thriller genre and handsome back alley men, Locke’s personality can be likened to theirs. Behind the harmless appearance the young Locke being an intense and sincere character, who does not back down when challenged by larger, more threatening characters. The second character which the audience are introduced to is that of Puds, the villain’s henchman. Puds is portrayed by another close friend of ours Joseph Amsden whom we believed could convincingly be identified as an older male. Broadening from this, Puds is a Caucasian male, in his early twenties with distinct facial hair and is of a lower class than our opposing cast. However, although he is but the villain’s adversary, Puds is in fact a more kind hearted persona than the other pair, addressing Locke with courtesy and caution. Finally, our last social group can be found from our antagonist known as ‘Him’ dramatized from a school assistant Carl Cross. Little is known about ‘his’ appearance due to his hidden facial features, however he can be identified as a Caucasian male, in his forties of the upper class, we felt that as he was an older character the audience could familiarise with his menacing demeanour, denoting that he is an experienced businessman.
3. What kind of media institution might distribute your media product and why?
Upon selecting a media institution we felt that it was most necessary and fitting to select a larger studio which specialised in creating big budget action films. So after researching various companies we came across Village Roadshow Pictures, one of the world’s largest co-producers, which is well known to produce such thrillers as: Ocean’s Eleven, The Matrix and Sherlock Holmes. As well as this, Village Roadshow Pictures is often associated with Warner Brothers studios, the world’s second largest filming conglomerate. Overall, we selected these companies as due to their popularity and high reputation for blockbuster hits we felt that they could help us develop our franchise. As our production is of the Thriller genre, including a mission of mysterious circumstances we may have later required high tension car chases, explosions and CGI effects, something which the companies could be guaranteed to require.
4. Who would be the audience for your media product?
In terms of target audiences, we felt that our final product hits several demographics whom would be likely to view our film. As we selected the age certificate of a 15 for ‘Locke’ only this age an above would be able to view, therefore a younger audience would not be applicable. The Thriller genre most likely appeals to the male audiences, preferably those from the ages of 15-49, meaning that we would appeal to these people through our advertisements etc. Social class is not really applicable as thrillers of high speed and tension can create a sense of excitement for someone of any class. As thrillers generally do appeal to males we felt that the use of a male cast could in some ways, would attract the female audiences, as a female myself I would be attracted in case of any ‘eye candy’ which is popular within the Thriller genre. Ethnicity is also not applicable as much due to the lack of a diverse casting and the little restrictions within our genre.
5. How did you attract/address your audience?
In terms of marketing and distribution there are several techniques which we felt would be more appropriate. Both traditional and viral marketing shall be used, viral predominantly being more common as it is much more popular being cheaper and quicker also. As our target market is specifically the male audience we would have to appeal more to them perhaps using typical ‘Lads Mags’ like Nuts and FHM, to compose advertisements an interviews with cast members. For viral marketing we felt that pop up campaigns, youtube clips and online interviews would be applicable and appropriate. Even billboards and posters could be placed with a slogan or mysterious phrase.
There were several ways in which we decided to attract our audiences, the first being the instant recognisable black and white effect, which is rarely used within modern films. Another aspect of our audience being attracted is the fact that our antagonist’s identity is not revealed, as it is a definite that his identity is revealed later on. Our title music also adds a state of excitement, with its quick tempo and its distressed feel. The background of our characters would also draw the audience further into the plotline as there are references to past ventures, yet little is revealed; therefore a revelation would be created later on most likely during the same time as ‘his’ identity is unconcealed.
6. What have you learnt about technologies from the process of constructing this product?
Throughout the filming process and over our general media studies course there are many technologies which I have learnt about and developed my skills with. Firstly, when our blogs were created on Blogspot I knew very little about the blogging process, as I myself have never actually owned a personal blog. However, over the past year my knowledge of the website in particular has grown, with my blog being easier to handle, as over time I have discovered how to have videos and images as well as text. Another technology which I have developed with is with that of using the Sony HD touchscreen cameras, as beforehand I had never used a video camera. Upon creating our film it was a daunting task to use the camera with the correct skills to the best of my ability and I feel that overtime I have slowly adapted to the ways of filming. Our selected camera angles and use of tripod also helped me familiarise with the equipment. And upon comparing my previous work with our final film project much of a difference can be noticed. The final piece of equipment which I developed my skills with was that of Adobe Premiere Pro when editing our final piece. Initially I was completely clueless about everything on the channel. However upon having to edit several scenes myself I evolved to adapt to the controls. Eventually, the process became much easier and we learnt how to use controls specifically and effectively, for example adding in ambient sound and incidental music. After using all of these techniques and various programmes I feel that I would be much more confident in the future to use them.
7. Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the full product?
Looking back at the preliminary task I have progressed very much so with filming technique and knowledge of the media subject. When it comes to working in a group my preliminary task was originally filmed with Becky, Abiee and I, however our final piece downsized our group to just me and Abiee. We felt that with our smaller group it would help us concentrate more on our specialist subjects, however it was incredibly problematic as we both had much absence due to illness and personal issues. Despite this in the end of our project we managed to pull together and film our piece within two weeks. When operating the cameras initially we had a problem in deciding who was the control the cameras, in the end we equally shared time playing the roles of camera person and director. As well as this, we did some trial runs with our equipment during every use to help us practise with them, such as the tripod and zooming in and out on the cameras. We both made sure that we were to involve our previous methods of match on actions, eye line matches and 180 degree rules, using several match on actions in particular. Our filming all seemed to flow a lot better than it did within the preliminary task as we were much more confident with filming and its methods. In conclusion we both felt that as we based our main filming idea around our preliminary task (due to timing issues) that our final project flowed much more easily, with more advanced camera angles, editing effects and sound effects. Also, as of both of our absences we felt that this would affect our filming so we in fact had to change our plot line last minute. Yet in the end we felt that our overall result was a success for what little time we had.
From our three characters within our production we felt that each character should hold their own persona, in both appearance and attitude. Our first example being that of main protagonist Locke, portrayed by our close friend and class mate Edward Shiers. Locke being a strong and powerful name contrasts directly with his own appearance, being a young adult, with long ginger hair, of Caucasian race and holding a seemingly innocent façade. Despite his appearance opposing to the typical association of the Thriller genre and handsome back alley men, Locke’s personality can be likened to theirs. Behind the harmless appearance the young Locke being an intense and sincere character, who does not back down when challenged by larger, more threatening characters. Not only this, but Locke is primarily the only character of a different national identity (Locke being Scottish and our other two characters being English) as we felt that it made him appear more mysterious as little is known about his background. The second character which the audience are introduced to is that of Puds, the villain’s henchman. Puds is portrayed by another close friend of ours Joseph Amsden whom we believed could convincingly be identified as an older male. Broadening from this, Puds is a Caucasian male, in his early twenties with distinct facial hair and is of a lower class than our opposing cast. However, although he is but the villain’s adversary, Puds is in fact a more kind hearted persona than the other pair addressing Locke with courtesy and caution. Finally, our last social group can be found from our antagonist known as ‘Him’ dramatized from a school assistant Carl Cross. Little is known about ‘his’ appearance due to his hidden facial features, however he can be identified as a Caucasian male, in his forties of the upper class, we felt that as he was an older character the audience could familiarise with his menacing demeanour, denoting that he is an experienced businessman.
Monday, 6 February 2012
Company Logo Designs
As part of our opening film sequence we had to consider our company logo which would flash at the beginning of our sequence.
Upon looking at other famous film logos such as Paramount, Universal, Warner Bros and Walt Disney we noticed the typical qualities which film logos had. The majority of logos contained a colour scheme of blue, yellow, black and white, contained both an image and text and were most likely to display a circular, square or triangular appearence.
For our logo we decided to incorperate the popular colour of blue, with the typical triangular shapes. Within this we also decided to name our production company 'Reel films' a combination of both the idea of a film reel and an intended twist of the 'real' and realistic qualities that a film can comprehend.
Upon looking at other famous film logos such as Paramount, Universal, Warner Bros and Walt Disney we noticed the typical qualities which film logos had. The majority of logos contained a colour scheme of blue, yellow, black and white, contained both an image and text and were most likely to display a circular, square or triangular appearence.
For our logo we decided to incorperate the popular colour of blue, with the typical triangular shapes. Within this we also decided to name our production company 'Reel films' a combination of both the idea of a film reel and an intended twist of the 'real' and realistic qualities that a film can comprehend.
Thursday, 2 February 2012
Task 8: Casting
For our three main protagonists we felt that we found our three ideal actors to portay them.
Locke- for Locke we felt that our protagonist should have an innocent and naive look, preferably a younger male. We then allocated our friend Ed Shiers with the role, we felt that he had a convincing naive look with his ginger hair adding to this perfectly. As Ed was also in our preliminary we also knew that he could convincingly play a mysterious role.
Puds- when it came to the role of Puds (the henchmen) we felt that the actoor must have a strong appearence, with a slightly rugged edge preferably with stubble or a beard. Our friend Joe Amsden was then asked to portray this role, as he previously ha also been in our preliminary.
'Him'- because 'him' was our opening sequences key antagonist we felt that an older, mature adult would be best to play the role. With the older character we thought that he would be much better in playing the angry, boss-like figure. In the end we casted Landau Forte's very own Mr Cross from the LRC as he shown interest in the role beforehand and we also felt that he suited the authoritive figure that we were looking for.
Locke- for Locke we felt that our protagonist should have an innocent and naive look, preferably a younger male. We then allocated our friend Ed Shiers with the role, we felt that he had a convincing naive look with his ginger hair adding to this perfectly. As Ed was also in our preliminary we also knew that he could convincingly play a mysterious role.
Puds- when it came to the role of Puds (the henchmen) we felt that the actoor must have a strong appearence, with a slightly rugged edge preferably with stubble or a beard. Our friend Joe Amsden was then asked to portray this role, as he previously ha also been in our preliminary.
'Him'- because 'him' was our opening sequences key antagonist we felt that an older, mature adult would be best to play the role. With the older character we thought that he would be much better in playing the angry, boss-like figure. In the end we casted Landau Forte's very own Mr Cross from the LRC as he shown interest in the role beforehand and we also felt that he suited the authoritive figure that we were looking for.
Task 9: Filming
To help us plan the days in which we were to film, I created a filming schedule including the key points as to what, where, who and how we were filming specific films.
Task 7: Role Allocation
Between the two of us, both me and Abiee decided to share the key roles during our filming, taking it in turns to switch roles. Whilst one of us is participating in the role of camerawoman the other will help guide the actors in which positions to stand, how to react and remind them on what their lines are (the director). We both evenly contributed to the script, Abiee coming up with the basic outline and myself proof reading and changing specific lines to fit better. Both of us would like to share the job of editing also, however as Abiee is much more skilled and knowledgable in the field it will most likely be that she does this.
Wednesday, 1 February 2012
Task 5: The Script
Ed Shiers- Locke/Man#1
Joe Amsden- Puds/ Man#2
Nigel Lucas- 'Him'/ Man#3
Establishing shot of a large office room, a young ginger haired male is sat at a table looking pensive, this is Locke, the films protagonist. He anxiously gazed down at his phone waiting for it to ring.
(Phone rings 'unknown' number)
Locke answers the phone, there is a long anticipated pause (match on action).
Locke: I'm ready (pause) I'm in.
Fade Out. TITLE is shown. Fades into the doorstep of a mysterious location. Henchmen Puds and Locke walk into view.
Puds: Before we go in, I just want to warn you, he means business. You know what happened last time, if that happens again there'll be trouble. Big trouble.
Locke: I know, I won't be making that mistake again.
Cuts to an over the shoulder shot of a mysterious male- 'Him' who remains hidden in the shadows. Both Locke and Puds enter, Locke is evidently nervous.
'Him': Ah Locke, so you've finally decided to return to me.
Locke: The sooner we get this finished the better.
'Him': We have unfinished business to settle, remember. (Hand motions to Puds) The Key.
Puds: Right here boss. (reveals a small key and hands it over to Locke)
'Him: You'll go in there, you'll get it, you'll give it to me, it's over.
Locke: Trust me, it's done.
Locke stands up to leave the building, Puds stares menacingly at him.
'Him': One more thing. You screw this up and you're finished.
Locke turns to look at his adversary, stares confidently, and leaves the room. The final shot is of Locke walking down a dark alleyway (preferably in slow motion). A voice over can be heard.
Locke: That was the beginning of the end. Nothing could prepare me for what I'd experience, but it was a price I was willing to pay.
(screen fades to black)
Joe Amsden- Puds/ Man#2
Nigel Lucas- 'Him'/ Man#3
Establishing shot of a large office room, a young ginger haired male is sat at a table looking pensive, this is Locke, the films protagonist. He anxiously gazed down at his phone waiting for it to ring.
(Phone rings 'unknown' number)
Locke answers the phone, there is a long anticipated pause (match on action).
Locke: I'm ready (pause) I'm in.
Fade Out. TITLE is shown. Fades into the doorstep of a mysterious location. Henchmen Puds and Locke walk into view.
Puds: Before we go in, I just want to warn you, he means business. You know what happened last time, if that happens again there'll be trouble. Big trouble.
Locke: I know, I won't be making that mistake again.
Cuts to an over the shoulder shot of a mysterious male- 'Him' who remains hidden in the shadows. Both Locke and Puds enter, Locke is evidently nervous.
'Him': Ah Locke, so you've finally decided to return to me.
Locke: The sooner we get this finished the better.
'Him': We have unfinished business to settle, remember. (Hand motions to Puds) The Key.
Puds: Right here boss. (reveals a small key and hands it over to Locke)
'Him: You'll go in there, you'll get it, you'll give it to me, it's over.
Locke: Trust me, it's done.
Locke stands up to leave the building, Puds stares menacingly at him.
'Him': One more thing. You screw this up and you're finished.
Locke turns to look at his adversary, stares confidently, and leaves the room. The final shot is of Locke walking down a dark alleyway (preferably in slow motion). A voice over can be heard.
Locke: That was the beginning of the end. Nothing could prepare me for what I'd experience, but it was a price I was willing to pay.
(screen fades to black)
Thursday, 26 January 2012
Task 4.3: Character profiles
On the subject of
Idea 1:
Name: Rose Savage/
Age: 18-25
Gender: Female
Occupation: Gang leader/ Femme Fatale
Appearance/ Costume: Black fitted attire, long red hair, red lips, constantly smirking face, blue eyes and cat-like movements
Characteristics: Flirtacious, manipulative, scheming, unemotive, aggressive
Idea 2:
Name: 'Puds'
Age: 20
Gender: Male
Occupation: Hench man/ undercover gangster
Appearence/ Costume: Black casual attire, cheap clothing, spiked brown hair, clumsy movements
Characteristics: Foolish, pushover, gullible, ruthless, discriminated
Idea 3:
Name: Unknown
Age: 17
Gender: male
Occupation: student/ stalker/ hidden man
Appearence/ Costume: casual brown or dark attire, low hat covering face, ginger long hair, seemingly innocent body language
Characteristics: seemingly shy, obsessive, quiet, threatening, psychopath
Idea 1:
Age: 18-25
Gender: Female
Occupation: Gang leader/ Femme Fatale
Appearance/ Costume: Black fitted attire, long red hair, red lips, constantly smirking face, blue eyes and cat-like movements
Characteristics: Flirtacious, manipulative, scheming, unemotive, aggressive
Idea 2:
Name: 'Puds'
Age: 20
Gender: Male
Occupation: Hench man/ undercover gangster
Appearence/ Costume: Black casual attire, cheap clothing, spiked brown hair, clumsy movements
Characteristics: Foolish, pushover, gullible, ruthless, discriminated
Idea 3:
Name: Unknown
Age: 17
Gender: male
Occupation: student/ stalker/ hidden man
Appearence/ Costume: casual brown or dark attire, low hat covering face, ginger long hair, seemingly innocent body language
Characteristics: seemingly shy, obsessive, quiet, threatening, psychopath
Task 4.2: Outline the basic plotline
For our plotline we decided to go down a root which was inspired by our preliminary task. Our thriller consists of a secret mission being arranged between characters. Our protagonist reluctantly accepts the challenge via mobile phone, with the antagonists henchman commissioned to escort him into their lair. Once there our antagonist reveals of the plot to collect 'it', (requiring the protagonist to complete a dangerous mission) we also learn that the protagonist and antagonist have worked together previously, ending with unfinished business. The protagonist receives a key and leaves the building accompanied with a voiceover stating his thoughts and feelings.
Wednesday, 25 January 2012
Task 4.1: Mind Map of Film Ideas
For our general theme we decided to choose Thriller as we liked the concept of anticipation and tension for the audience. After several general concepts we slowly developed our theme into a few ideas.
Idea 1: For our first idea we chose to go down the route of gangster thriller. Our main characters would congregate within a secret room (even garage) to discuss their latest schemes. A money making scheme is decided, but it would be dangerous and could have serious consequences on their lifestyles. The gang led by femme fatale Rose Savage are manipulated into taking the mission and when all is revealed the characters turn on eachother.
Idea 2: Our second idea was similar to that of the first but with a male lead. The male is a plucky character who enters a small back alley room and sits opposite his male colleague whose intentions are unknown. After the discussion of a past dilemma the men turn on eachother and eventually the male colleague is shot and killed, a voiceover then reveals that the protagonist has done wrong and is now in trouble for it; now after answers from other gangsters/ black alley workers.
Idea 3: Our third and final idea was a completely different forte of thriller, our lead once again is a male, but portays himself as a shy and conniving natured protagonist. Through a series of various shots of a young female it can be made clear that the male is in love with her and spends his time stalking and photographing her, despite her unknowing of his existence. Hand held camera shots woud also be used as the main character films the female unbeknowst to her. Video diaries are also created with the lead glaring spookily into the camera. At the end of the opening sequence the male would enter a hidden room containing hundreds of images of the female and items in which he has possessed from her, at the end of the sequence we hear the protagonist speak for the first time, proclaiming that the girl will "one day be mine, and nothing will come between that".
Idea 1: For our first idea we chose to go down the route of gangster thriller. Our main characters would congregate within a secret room (even garage) to discuss their latest schemes. A money making scheme is decided, but it would be dangerous and could have serious consequences on their lifestyles. The gang led by femme fatale Rose Savage are manipulated into taking the mission and when all is revealed the characters turn on eachother.
Idea 2: Our second idea was similar to that of the first but with a male lead. The male is a plucky character who enters a small back alley room and sits opposite his male colleague whose intentions are unknown. After the discussion of a past dilemma the men turn on eachother and eventually the male colleague is shot and killed, a voiceover then reveals that the protagonist has done wrong and is now in trouble for it; now after answers from other gangsters/ black alley workers.
Idea 3: Our third and final idea was a completely different forte of thriller, our lead once again is a male, but portays himself as a shy and conniving natured protagonist. Through a series of various shots of a young female it can be made clear that the male is in love with her and spends his time stalking and photographing her, despite her unknowing of his existence. Hand held camera shots woud also be used as the main character films the female unbeknowst to her. Video diaries are also created with the lead glaring spookily into the camera. At the end of the opening sequence the male would enter a hidden room containing hundreds of images of the female and items in which he has possessed from her, at the end of the sequence we hear the protagonist speak for the first time, proclaiming that the girl will "one day be mine, and nothing will come between that".
Understanding your target audience
What rating will our film be and why?
For our film we have decided to rate its certificate as a 15, for several reasons. Firstly, as our film is of the thriller genre it can be typically stereotyped into including various items such as violence, sexual references and verbal abuse. The other reason is that we felt that our plotline is much too sophisticated for a younger audience as it may be too complex for someone younger than the age of 15 to understand.
Universal age limit (U):
Films rated with 'U' are suitable for people of any age group, there is nothing unsuitable for people under the age of four.
Parental Guidance (PG):
All ages are admitted to watch a 'PG' film, however, certain scenes may be seen as unsuitable for children under the ages of eight. For example, minor sexual references and moderate violence
12A:The certificate of 12A is used only within cinemas and was introduced in 2002. The content is considered often as being unsuitable for very young children. Those under the age of twelve are permitted to be accompanied by an adult.
15:Only those over the ages of 15 are permitted to view the film. Films cannot be rented by those under the age of 15 also as the films convey adult content such as, hard drugs, strong language and sexual scenes.
18:
The 18 rating is the highest rating within all of the certificates, with only adults being permitted to view the film. These films do not have a limitation as to what bad language is used within their project. Hard drugs, strong sexual references and sexual scenes are permitted depending on their context.
Tuesday, 24 January 2012
Task 3.4: Further researching of genres
Our three selected genres of Thriller, Rom-Com and Horror can be defined much further.
Thriller: Thriller is a broad genre with both tension and excitement as the main elements, they also keep the audience's attention through anticipation and anxiety. The aim of a thriller is to keep the audience on the edge of their seats, often the protagonist being set a problem: an escape, a mission or a mystery. Alfred Hitchcock is a director well-known for his thriller works. Also, Thriller can be seperated into various sub-themes, for example: Conspiracy thriller, Erotic thriller, Psychological thriller, Spy thriller and Supernatural thriller.
Romantic Comedy: Rom-Coms can be identified through their light hearted and humerous plotline with elements of romantic ideals (often with the characters love having obstacles). The basic plotline of a typical Rom-Com would be two main protagonists (most likely to be a male and a female) who meet, part ways due to an obstacle and then eventually reunite. Romantic Comedy tv series are also popular amongst the audiences with famous series such as: Friends, Will and Grace and Desperate Housewives.
Horror: Horror films are probably the most easily defined genre, as they seek a negative emotion from the audience using typical primal fears. A good deal of horror films are based around the slasher or paranormal route, slasher films containing graphic scenes of blood and murder, paranormal often dealing with the 'unseen' and a lot of the time are jumpy. Horror was a popular genre in the 1920s, (earlier discussed within the Metz Theory). Other sub-genres include: zombie horror, gothic horror, comedy horror and psychological horror.
Thriller: Thriller is a broad genre with both tension and excitement as the main elements, they also keep the audience's attention through anticipation and anxiety. The aim of a thriller is to keep the audience on the edge of their seats, often the protagonist being set a problem: an escape, a mission or a mystery. Alfred Hitchcock is a director well-known for his thriller works. Also, Thriller can be seperated into various sub-themes, for example: Conspiracy thriller, Erotic thriller, Psychological thriller, Spy thriller and Supernatural thriller.
Romantic Comedy: Rom-Coms can be identified through their light hearted and humerous plotline with elements of romantic ideals (often with the characters love having obstacles). The basic plotline of a typical Rom-Com would be two main protagonists (most likely to be a male and a female) who meet, part ways due to an obstacle and then eventually reunite. Romantic Comedy tv series are also popular amongst the audiences with famous series such as: Friends, Will and Grace and Desperate Housewives.
Horror: Horror films are probably the most easily defined genre, as they seek a negative emotion from the audience using typical primal fears. A good deal of horror films are based around the slasher or paranormal route, slasher films containing graphic scenes of blood and murder, paranormal often dealing with the 'unseen' and a lot of the time are jumpy. Horror was a popular genre in the 1920s, (earlier discussed within the Metz Theory). Other sub-genres include: zombie horror, gothic horror, comedy horror and psychological horror.
Saturday, 21 January 2012
Task 3.3 Target Audiences: Film Council Data
For our task we visited the website http://statisticalyearbook11.ry.com/?id=82792 to show the popularities of our chosen target audiences (Horror, Thriller and Rom-Com). This table shows that Romance films achieved the most money in 2010 at the box office with $58.4 million compared to Thrillers $19.3 and Horrors $54.1. However, as Twilight: Eclipse is classed as the highest earner for romance it affects the statistics greatly despite it being a fantasy (rendering the table somewhat incorrect).
As well as this both Twilight: Eclipse for romance and Paranormal Activity 2 are sequels, which are suspected to earn more than the originals, for example Shutter Island was the the highest grossing Thriller of 2010 and earnt much less than the sequels.
Thursday, 19 January 2012
Task 3.1/2: Questionnaire results
Questionnaires
Me and Abiee based the questions of our media questionnaire on the genres of Horror and Thriller, as we were uncertain on which genre to base our film opening on.
1. Do you prefer paranormal or slasher horror films?
In our survey, 70% of participants said that they preferred Slasher to paranormal horror films, as they enjoyed the thrill of the chase and exhilerating action.
2. Do you feel that any horror theme has been exploited? For example, vampires.
3. Do you like horror films? and why?
4. Do you prefer mystery and tension to be held within the plotline?
5. Who do you find to be the scariest horror antagonist?
6. Who would be your ideal protagonist within a thriller movie?
7. Do you like the typical chronological layout of a film?
90% of participants answered that they enjoyed the typical chronological layout of a film as they often found it 'less confusing. The remaining 10% said that they enjoyed a mixed timeline as it adds mystery to the plotline.
8. Do you prefer a film to involve a young or old cast?
9. Do you enjoy elements of other genres within a film?
100% of all participants expressed that they preferred a film to convey a variety of aspects of other genres within it. The most popular amongst these were action, romance and comedy.
10. How would you define the thriller genre?
And finally, our final question was received with mixed answers. 40% of participants said that they defined the thriller genre through action, 20% stated that it was due to the mystery of the plot and 40% answered with other. Other answers included: tension, murder, excitement, suspense, a gripping nature and a twist within the past.
Monday, 21 November 2011
Task 2.2: Genre Analysis
Mood Boards
-A mood board is a type of poster design that may consist of images, text and samples of objects in a composition of the choice of the mood board creator.
-Designers use mood boards to develop their design concepts and communicate to other members of the design team.
-Used often by graphic designers to enable a person to illustrate the direction of style.
Horror Mood Board:
Horror is one of the easiest film genres to define, with it's stereotypical connection with darkness and basic fears. In my mood board I have included several factors which I consider most recognisable:
- Blood
- Childhood fears
- Darkness
- Ghosts/ Supernatural
- Graveyards
- Haunted Houses
- Threatening villain
Rom-Com Board:
Romantic Comedies are another film genre which can be identified easily through their uses of specific characterisations. In my mood board I have included:
- Love
- Typical Rom-Com actors/actresses e.g Jennifer Aniston and Colin Firth
- Humour
- Capital City Setting
- Marriage
- Fine Dining
- Kiss/ Embrace
Thriller Board:
The thriller genre is the hardest to distinguish out of our three selections. However, its characteristics can be identified through certain elements, in my mood board I have included:
- A Femme-Fatale
- Back Alley dealings
- Criminals
- Weapons
- Detectives
- Sleazy areas
- Forthcoming Danger
-A mood board is a type of poster design that may consist of images, text and samples of objects in a composition of the choice of the mood board creator.
-Designers use mood boards to develop their design concepts and communicate to other members of the design team.
-Used often by graphic designers to enable a person to illustrate the direction of style.
Horror Mood Board:
Horror is one of the easiest film genres to define, with it's stereotypical connection with darkness and basic fears. In my mood board I have included several factors which I consider most recognisable:
- Blood
- Childhood fears
- Darkness
- Ghosts/ Supernatural
- Graveyards
- Haunted Houses
- Threatening villain
Rom-Com Board:
- Love
- Typical Rom-Com actors/actresses e.g Jennifer Aniston and Colin Firth
- Humour
- Capital City Setting
- Marriage
- Fine Dining
- Kiss/ Embrace
Thriller Board:
- A Femme-Fatale
- Back Alley dealings
- Criminals
- Weapons
- Detectives
- Sleazy areas
- Forthcoming Danger
Sunday, 20 November 2011
Task 2.1: Analyse Rom-Com opening
When it came to analysing a Rom-Com I decided to choose the little known Teenage Rom-Com 'Lovewrecked' directed by Randall Kleiser and starring Amanda Bynes and Chris Carmack. Even the title of the movie relates directly to the theme of romane, hence 'love' (the 'wrecked' depicted to be the fact that the lead characters become trapped upon a 'deserted' island.
Soon after, the character of Jason proceeds to romantically perform a passionate ballad, coming under a spotlight and exciting the crowd even further. It is during this that the excitable Jenny leaps in the crowd to surf towards the stage and her idol. However, a visibly irritated Alexis pushes her to the floor and makes it on stage her self, receiving Jason's shirt and being escorted away. The scene ends with Jenny sat angrily on the concert floor, comically covered in spilt drinks, a much disheartening (yet predicatable) failure.
Once Jenny's love rival enters the scene, it is shown with her point of view, as Alexis taunts her, so that the audience feel an immediate dislike for the character. As the band music builds up, diverse long shots of the band, the audience and the stadium are quickly used, creating for the audience too a sense of excitement. Next, a close up is used of Jason romantically playing his love ballad, as the room falls into silence listening it is almost as if it were a figment of Jenny's imagination. High angle shots are used during the characters crowd surf of both Alexis and Jenny as it signifies their rivalry between their race towards the stage. As Jenny draws closer forward tracking is used displaying the prospect of their meeting and the sheer exhileration of the situation. However as soon as Jenny hits the concert floor, high angle shots are used to show her futile effort of happiness.
Sound:
There are in fact very few sound effects in which I could make out in this scene. However, throughout the entire opening sequence similarly sang rock/pop music is played (sang by Jason Masters). During the virtual scrapbook opening the music is non-diegetic and could be said to be incidental as it is typical music of the teenage boyband genre. On the other hand, once we are transported into the live concert hall this music then becomes diegetic, as the band plays for the entire audience to hear. Ambient sound it also included with the screaming and cheering of the fans.
Editing:
Very little is evident when it comes to editing. The most obvious being that of the animated scrapbook, which in some ways is rather cartoonistic. As the first song played by the band comes to a dramatic climax the cuts quicken, between the crowd and the stage. Various match-on-actions are also used of the performers on stage. The quickness of the shots almost resembles the excitement around them.
Mise En Scene:
Our film begins with the typical aspects of a female aimed romantic comedy, the colour scheme being that of pinks, purples and blues. From this is are introduced to what is apptly titled 'Jenny's Scrapbook' (Jenny Taylor being portrayed by Amanda Bynes) displaying various items of memorabilia which is expected of a female teenage fan; it is also evident that the object of the female's (Jennys) affection is that of rock star Jason Masters. Throughout the virtual scrapbook concert tickets, CDs and general music memorabilia can be seen along with photographs of the lead protagonist herself. Even the captions are written in colourful bubble lettering, lightheartedly silouhetted with white.
We are then transported inside a grand concert hall, which is compacted with thousands of excitable and cheering fans. As it would have most likely been filmed on a set artificial lighting is evidently used with strobe lights and disco lights being flashed around the room. Instantly we are shown the rock musician on the stage, which can then be recognised as Jason Masters brandishing an electric guitar, the film's key love interest. Wearing an open shirt and vest top, with blonde teased hair and a defiant stage presense Jason is a typical teenage heartthrob. Next, the camera introduces our main protagonist inside the crowd of masses of people. Seemingly ecstatic the young female leaps and screams, completely the opposite attitude to the bemused male sat beside her (best friend Ryan, portrayed by Jonathan Bennett). Jenny Taylor, wears casual white and pink clothing, with her shirt embarking a 'Jason Masters' logo. Later on, we are introduced to the female love rival who is known as Alexis (played by Jamie-Lee Sigler) who expresses a bitter and arrogant attitude especially towards that of her enemy Jenny; Alexis being dressed in a white flowing dress embraces her upper class background.
Soon after, the character of Jason proceeds to romantically perform a passionate ballad, coming under a spotlight and exciting the crowd even further. It is during this that the excitable Jenny leaps in the crowd to surf towards the stage and her idol. However, a visibly irritated Alexis pushes her to the floor and makes it on stage her self, receiving Jason's shirt and being escorted away. The scene ends with Jenny sat angrily on the concert floor, comically covered in spilt drinks, a much disheartening (yet predicatable) failure.
Camera Angles:
Kleiser uses a variety of camera angles during the opening sequence of 'Lovewrecked'. As the beginning of the film, opens with a virtual scrapbook Kleiser uses various zoom ins and quick horizontal tracking to highlight, our protagonist's collected memorabilia, concert tickets for example. Due to the animated scene then transforming into real life, we are then given an establishing shot of the large concert hall in which all of our main protagonists are located. A medium shot is given of Jason performing on stage, this shot could also be inferred as the audience's point of view. Our lead female protagonist is introduced through a high angle zoom, singling her and her male friend out from the ecstatic crowd. Several two shots are used of these two characters as both display disimilar attitudes; Jenny being entranced by the music, whilst her friend stands bemused and clearly uninterested.
Kleiser uses a variety of camera angles during the opening sequence of 'Lovewrecked'. As the beginning of the film, opens with a virtual scrapbook Kleiser uses various zoom ins and quick horizontal tracking to highlight, our protagonist's collected memorabilia, concert tickets for example. Due to the animated scene then transforming into real life, we are then given an establishing shot of the large concert hall in which all of our main protagonists are located. A medium shot is given of Jason performing on stage, this shot could also be inferred as the audience's point of view. Our lead female protagonist is introduced through a high angle zoom, singling her and her male friend out from the ecstatic crowd. Several two shots are used of these two characters as both display disimilar attitudes; Jenny being entranced by the music, whilst her friend stands bemused and clearly uninterested.
Once Jenny's love rival enters the scene, it is shown with her point of view, as Alexis taunts her, so that the audience feel an immediate dislike for the character. As the band music builds up, diverse long shots of the band, the audience and the stadium are quickly used, creating for the audience too a sense of excitement. Next, a close up is used of Jason romantically playing his love ballad, as the room falls into silence listening it is almost as if it were a figment of Jenny's imagination. High angle shots are used during the characters crowd surf of both Alexis and Jenny as it signifies their rivalry between their race towards the stage. As Jenny draws closer forward tracking is used displaying the prospect of their meeting and the sheer exhileration of the situation. However as soon as Jenny hits the concert floor, high angle shots are used to show her futile effort of happiness.
Sound:
There are in fact very few sound effects in which I could make out in this scene. However, throughout the entire opening sequence similarly sang rock/pop music is played (sang by Jason Masters). During the virtual scrapbook opening the music is non-diegetic and could be said to be incidental as it is typical music of the teenage boyband genre. On the other hand, once we are transported into the live concert hall this music then becomes diegetic, as the band plays for the entire audience to hear. Ambient sound it also included with the screaming and cheering of the fans.
Editing:
Very little is evident when it comes to editing. The most obvious being that of the animated scrapbook, which in some ways is rather cartoonistic. As the first song played by the band comes to a dramatic climax the cuts quicken, between the crowd and the stage. Various match-on-actions are also used of the performers on stage. The quickness of the shots almost resembles the excitement around them.
Wednesday, 16 November 2011
Task 2.1: Analyse a Thriller title sequence- 'Se7en' by David Fincher
As I was absent during the time in which the class analysed the opening sequence to the thriller 'Red Dragon' (by Brett Ratner) I was given the chance to analyse instead the opening sequence to David Fincher's 'Se7en'
Mise En Scene:
The film itself is set within a large city, most likely to be that of New York. Our opening scene begins inside a small, quiet city apartment which is inhabited by one of our main protagonists (Detective William Somerset played by Morgan Freeman). Inside the apartment, artificial lighting is used to give the home a more realistic appearence. As well as this, Somerset is shown to be a rather withdrawn, organised character, living alone and keeping his items in an orderly fashion (props of a pocket watch, detective's badge and pen are used to show this). He is African American and in his late 50s.
We are then transported into another apartment, this time with a darker, more cramped appearence, which is revealed to be the scene of a murder. Artificial lighting is used once again, as this would've been filmed in a built in set. Later on in this scene we are introduced to out second main protagonist, Detective David Mills (played by Brad Pitt) whose body language and appearence is polar opposite to that of Somerset's; Mills being a Caucasian male in his mid thirties.
Next the characters are shot down a typical street, (under natural lighting) and under close inspection hints at the character's personas can be noticed. For example, Somerset is wearing a smart grey suit, bowler hat and beige mac, indicating that he is an older and almost experienced detective. Whereas Mills is scruffily dressed in a white shirt, mismatched tie and leather jacket, implying that he is somewhat rebellious and inexperienced. Their body language also matches up to this, Somerset being a calm and almost shy character, and Mills being loud, aggressive and very arrogant.
As we once again return to Somerset's apartment (the bedroom to be precise) the prop of a metronome is used as Somerset's loneliness and emotional detachment become evident.
(Left: David Mills portrayed by Brad Pitt. Right: William Somerset played by Morgan Freeman)
After we are introduced to the characters themselves the title sequence begins, which in itself indicates that the film's theme is a Thriller with elements of Horror. Various shots of turning book pages, horrific photography and sharp objects are used to shock the audience, contrasting to the earlier more relaxed shots of Mills and Somerset. An array of fonts are used during the credits all of which are harshly spiked and white, often the fonts jump and flash around the screen, depicting the Thriller genre once more.
Camera Angles:
Fincher uses a variety of camera angles in his opening sequence, the film itself beginning with a medium shot of Somerset in his city apartment, establishing the location and main protagonist. We then get a close up of Somerset's belongings indicating his organised attitude.
As we transport to the second apartment (one of which the murder has taken place) the scene opens with a high angle shot of the victim's dead body, showing the man's helplessness.
A two shot is used as the two main protagonists first meet, their visual and personal differences therefore become more obvious to the audience. The two shot is also filmed at a low angle therefore giving the men superiority.
Once again inside Somerset's apartment, shot-reverse-shots are used between Somerset himself and a ticking metronome. The camera seems to zoom into both of these shots, closer and closer until eventually the title scene begins.
The title sequence is shot as close up of various objects,occasionally there being a high angle shot as if it were the Point of View of the anonymous character.
(Screenshots of the title sequence)
Sound Effects:
During all of our scenes in our opening sequence Fincher uses Ambient sounds such as traffic, depicting that the location is within New York. Dialogue is used between various characters also, for example, Mills and Somerset's conversation in the street. Diegetic sound can also be heard with the metronome in which
Somerset uses in his bedroom.
The title sequence itself contains a non diegetic them tune, which is rather frightening music in itself; giving a scratched and distorted sound. As the close up shots quicken as does the tempo and frequency of the non diegetic sound, until it all finally comes to a close.
Editing:
The majority of the scenes in 'Se7en' use seamless editing so that the scenes flow. However, a cut is used to first sho the audience a glimpse of a dead body, mking it seem slightly more harsh. The title sequence, holds more evidence of editing than any other scene, using an assortment of techniques: for example, Dissolves are used between close ups, as is superimposition with certain shots; some shots have even been quickened and slowed down (slow motion) to compliment botht the sound and action.
Mise En Scene:
The film itself is set within a large city, most likely to be that of New York. Our opening scene begins inside a small, quiet city apartment which is inhabited by one of our main protagonists (Detective William Somerset played by Morgan Freeman). Inside the apartment, artificial lighting is used to give the home a more realistic appearence. As well as this, Somerset is shown to be a rather withdrawn, organised character, living alone and keeping his items in an orderly fashion (props of a pocket watch, detective's badge and pen are used to show this). He is African American and in his late 50s.
We are then transported into another apartment, this time with a darker, more cramped appearence, which is revealed to be the scene of a murder. Artificial lighting is used once again, as this would've been filmed in a built in set. Later on in this scene we are introduced to out second main protagonist, Detective David Mills (played by Brad Pitt) whose body language and appearence is polar opposite to that of Somerset's; Mills being a Caucasian male in his mid thirties.
Next the characters are shot down a typical street, (under natural lighting) and under close inspection hints at the character's personas can be noticed. For example, Somerset is wearing a smart grey suit, bowler hat and beige mac, indicating that he is an older and almost experienced detective. Whereas Mills is scruffily dressed in a white shirt, mismatched tie and leather jacket, implying that he is somewhat rebellious and inexperienced. Their body language also matches up to this, Somerset being a calm and almost shy character, and Mills being loud, aggressive and very arrogant.
As we once again return to Somerset's apartment (the bedroom to be precise) the prop of a metronome is used as Somerset's loneliness and emotional detachment become evident.
After we are introduced to the characters themselves the title sequence begins, which in itself indicates that the film's theme is a Thriller with elements of Horror. Various shots of turning book pages, horrific photography and sharp objects are used to shock the audience, contrasting to the earlier more relaxed shots of Mills and Somerset. An array of fonts are used during the credits all of which are harshly spiked and white, often the fonts jump and flash around the screen, depicting the Thriller genre once more.
Camera Angles:
Fincher uses a variety of camera angles in his opening sequence, the film itself beginning with a medium shot of Somerset in his city apartment, establishing the location and main protagonist. We then get a close up of Somerset's belongings indicating his organised attitude.
As we transport to the second apartment (one of which the murder has taken place) the scene opens with a high angle shot of the victim's dead body, showing the man's helplessness.
A two shot is used as the two main protagonists first meet, their visual and personal differences therefore become more obvious to the audience. The two shot is also filmed at a low angle therefore giving the men superiority.
Once again inside Somerset's apartment, shot-reverse-shots are used between Somerset himself and a ticking metronome. The camera seems to zoom into both of these shots, closer and closer until eventually the title scene begins.
The title sequence is shot as close up of various objects,occasionally there being a high angle shot as if it were the Point of View of the anonymous character.
(Screenshots of the title sequence)
Sound Effects:
During all of our scenes in our opening sequence Fincher uses Ambient sounds such as traffic, depicting that the location is within New York. Dialogue is used between various characters also, for example, Mills and Somerset's conversation in the street. Diegetic sound can also be heard with the metronome in which
Somerset uses in his bedroom.
The title sequence itself contains a non diegetic them tune, which is rather frightening music in itself; giving a scratched and distorted sound. As the close up shots quicken as does the tempo and frequency of the non diegetic sound, until it all finally comes to a close.
Editing:
The majority of the scenes in 'Se7en' use seamless editing so that the scenes flow. However, a cut is used to first sho the audience a glimpse of a dead body, mking it seem slightly more harsh. The title sequence, holds more evidence of editing than any other scene, using an assortment of techniques: for example, Dissolves are used between close ups, as is superimposition with certain shots; some shots have even been quickened and slowed down (slow motion) to compliment botht the sound and action.
Task 2.1: Analyse the opening of a horror sequence: The Grudge
For this task I selected the well-known horror film 'the Grudge' to analyse, as I felt that it displayed several aspects of a typical horror film. 'The Grudge' is a remake of the well known Japanese 'Ju-On' franchise and was directed by Takashi Shimizu.
During the title sequence of 'the Grudge' typical aspects of a horror film can also be recognised easily, throught the use of only the colours black, white and red (red being the colour of blood). The background consists of black hairs which appear to be floating in red water (relating to the murder of the main antagonist as she is drowned and subsequently also has black hair). The black text also appears to float away like smoke, adding to the ghostly illusion.
Mise En Scene:
Our sequence begins in a location of a middle class seaside Japanese city, which typically is very crowded and full of roadworks (in natural lighting as it is filmed in a real location). Next we are taken onto the balcony of a city apartment, where stands a middle aged male dressed in grey casual sleepwear (Professor Peter Kirk played by Bill Pullman). The man shows a rather troubled expression as he gazes over the balcony and onto the urban landscape. Behind him a younger female lies in bed, dressed also in casual sleepwear; from her affectionate dialogue, she can be recognised as his partner (Maria Kirk portrayed by Rosa Blasi). As the male remains mute and somewhat disturbed, he then goes on to throw himself over the balcony and onto the crowded streets of Japan. Crowds gather round and whisper in shock at the apparent suicide which took place.
During the title sequence of 'the Grudge' typical aspects of a horror film can also be recognised easily, throught the use of only the colours black, white and red (red being the colour of blood). The background consists of black hairs which appear to be floating in red water (relating to the murder of the main antagonist as she is drowned and subsequently also has black hair). The black text also appears to float away like smoke, adding to the ghostly illusion.
After the title sequence we are then transported to another crowded Japanese street scene, this time concentrating on a young Japanese female who is riding a bike. Once the female reaches her destination, the building resembles a stereotypically spooky house, with creeky gates and small wooden windows. When inside the house, artificial lighting is evidentally used and the interior of the building itself consists of muted, greys, creams, yellows and browns. Inside the seemingly unkempt living area sits an elderly caucasian female, who displays a muted and dazed attitude, obviously uncomfortable within her surroundings (the younger Japanese female is the revealed to be her carer). Later on in the scene, the Japanese female goes into an upstairs room, taking with her the house phone. And upon hearing unusual footsteps coming from the attic above, she cautiously investigates. In the dusty, cobweb filled attic, our female proceeds to use a lighter in aid of lighting the dark room. As the character peers around the room, unsuspectingly a frightening female ghost appears, attacking the young lady. The ghost is shown only quickly but her whitish blue features and long black hair are visible. Our scene concludes with the Japanese female's screams being heard and her struggling legs being lifted into the attic above.
Camera Angles:
Shimizu uses a variety of camera angles to compliment the spooky intentions of his typical horror film. Our film opening with a classic establishing shot of the Japanese sea scape, then zooming into the apartment balcony to reveal the crucial character who is Peter Kirk. Various shot-reverse-shots are used as his wife attempts to converse with him unsucessfully, leading onto a two-shot of the two. As Peter throws himself over the balcony a subjective point of view shot is used with quick forward tracking from the balcony and to the streets below, this in itself gives the audience an almost adrenaline rush. This scene concludes with a high angle shot of Peter's lifeless body sprawled in the street.
A long shot then introduces us into the next section as the female character draws closer on her bicycle. Inside the house various cose ups are used to show the confusion of the elderly female character who is in an obviously bad mental state. Later on, as the female proceeds into the upstairs room a tilt is used whilst the female looks up at the ceiling (footsteps can be heard). When the female is stood within the attic a medium shot is used as half of her body is inside the room itself, horizontal tracking is also used whilst the female surveys the room. An extreme close up is then used on the ghost's face to give the audience a shock, due to the sheer speed of the revelation. This scene concludes with vertical tracking of the female's legs being lifted into the attic.
Sound:
Throughout the opening sequence of 'The Grudge' eery incidental music is used, particularly that on the piano, in an almost echoey fashion. As the film begins in a crowded harbour town, ambient sounds of seagulls, water ripples and roadworks are used denoting the location. Dialogue is sparsely used due to the silence of the key male character. Also, the non diegetic incidental music appears to lower in frequency after the suicide, as the silence adds to the tension. During the title sequence, whispers appear to louden in frequency and tempo, along with the faint orchestral piano music. Japnese dialogue is also apparent as the female carer speaks on the phone. As the audience are shown the ghost also, the non diegetic music appears to slow and quieten up until the female characters legs are shown struggling (the music then climaxes).
Editing:
There is very little editing which is evident to the audience as the majority of it flows with seamless edits. However, fade in and outs are used at the beginning and end of crucial scenes, the suicide for example. A slight dissolve is also used too, as the female carer cleans around the house and enters the upstairs bedroom. Cuts seem almost slow and methodical during the attic scene, most likely to prolong the tension held within the situation.
Camera Angles:
Shimizu uses a variety of camera angles to compliment the spooky intentions of his typical horror film. Our film opening with a classic establishing shot of the Japanese sea scape, then zooming into the apartment balcony to reveal the crucial character who is Peter Kirk. Various shot-reverse-shots are used as his wife attempts to converse with him unsucessfully, leading onto a two-shot of the two. As Peter throws himself over the balcony a subjective point of view shot is used with quick forward tracking from the balcony and to the streets below, this in itself gives the audience an almost adrenaline rush. This scene concludes with a high angle shot of Peter's lifeless body sprawled in the street.
A long shot then introduces us into the next section as the female character draws closer on her bicycle. Inside the house various cose ups are used to show the confusion of the elderly female character who is in an obviously bad mental state. Later on, as the female proceeds into the upstairs room a tilt is used whilst the female looks up at the ceiling (footsteps can be heard). When the female is stood within the attic a medium shot is used as half of her body is inside the room itself, horizontal tracking is also used whilst the female surveys the room. An extreme close up is then used on the ghost's face to give the audience a shock, due to the sheer speed of the revelation. This scene concludes with vertical tracking of the female's legs being lifted into the attic.
Sound:
Throughout the opening sequence of 'The Grudge' eery incidental music is used, particularly that on the piano, in an almost echoey fashion. As the film begins in a crowded harbour town, ambient sounds of seagulls, water ripples and roadworks are used denoting the location. Dialogue is sparsely used due to the silence of the key male character. Also, the non diegetic incidental music appears to lower in frequency after the suicide, as the silence adds to the tension. During the title sequence, whispers appear to louden in frequency and tempo, along with the faint orchestral piano music. Japnese dialogue is also apparent as the female carer speaks on the phone. As the audience are shown the ghost also, the non diegetic music appears to slow and quieten up until the female characters legs are shown struggling (the music then climaxes).
Editing:
There is very little editing which is evident to the audience as the majority of it flows with seamless edits. However, fade in and outs are used at the beginning and end of crucial scenes, the suicide for example. A slight dissolve is also used too, as the female carer cleans around the house and enters the upstairs bedroom. Cuts seem almost slow and methodical during the attic scene, most likely to prolong the tension held within the situation.
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