The film starts with the woman who has been captured, tied to a chair in a derelict room. Her mouth duct taped and she is surrounded by burnt and trashed items. There is writing on the wall in blood that reads 'ONE DOWN'. This is a close up that then zooms out, to give a more full picture. IT will be low-key lighting if it is sustainable at this location. The props used here are a chair, rope and duct tape. There will be no change from normality with the make-up and costume, as the idea is that she has been kidnapped straight from getting ready for a night out.
The villain then enters the room, and slowly strokes her face, and speaks to her in a gentle, slightly psychotic voice. He makes it apparent that he has been clearly chasing her for some time. The villain then proceeds out of the room, to look at a board of past victims. Each of which have their pictures on a board, with crosses either on them or next to them. he then pulls a lighter from his pocket, and burns the picture of the current victim. Again there will be low key lighting as the lighter will then create a contrast when the flame lit picture is present. Props used will be pictures and a lighter.
With the captor unaware, the victim escapes the ropes she is tied to the chair with, and quietly leaves the premises and immediately proceeds to run into the forest. The villain then returns from burning the photo, and finds the chair empty and that she has escaped. The victim runs throughtout the forest, screaming for help to anyone that can hear. She then stops, out of breath and energy to continue, she hears something behind her and slowly turns her head. We see the villain standing closely behind her, as the screen then blacks out and a loud shriek can be heard. There will be high key lighting here, but the cloud coverage will hopefully make the scene darker, and more distressing.
Friday, 30 November 2012
Friday, 23 November 2012
What is a Thriller?
- The themes
The themes of this opening sequence in Saw 1 is a thriller/horror. The mood is set straight from the start of the clip, as it starts of dark, and underwater, with a glowing key being the only light source. The man then awakes from under the water to find himself in a dark and grimy place. This is a convention of a thriller, because it creates a sense of mystery. The audience also hears another voice from across the room before we see his face, creating once again mystery, and possibly fear within the audiences reactions. The lights are then turned on by the only character that has been introduced yet. this differs slightly to normal codes and conventions of a thriller as High Key Lighting is not usually seen in parts when things are meant to puzzle us. Once the light is turned on, the audience can see a dead body on the floor, covered in gruesome blood and gore. This is conventional to some of the more graphic thrillers, and this leaves the audience in suspense.
- Narrative
The narrative in this scene is very conventional to the thriller genre as there are characters that are introduced before they have been identified. Also, the suspense created by the dead body lying on the floor is also very conventional.
- Representation of characters
The characters represented are clearly ordinary everyday men. The first man we come across is in a bath, laying unconscious under water. He then wakes up in a panic and falls out of the bath onto the floor. His movements throughout this entire scene seem very representable of a realistic reaction. He then starts to cry for help, again very realistic, but maybe something with less of a real tone to it, is the calm monatone voice of Dr. Gordon. Dr. Gordon seems far to calm, no matter how long he may have been trapped there, he was in the dark the whole time, and he finally has someone to be scared with, yet he shows no sign of emoiton. He is however sweating a lot we realise once he turns the lights on. They then both see what is lying in the centre of the room, a dead body with a tape player in one hand, and a gun in the other. Again the first man we see,who we find out to be named Adam, has a very realistic reaction, and starts to gag at the sight of this bloody body.Dr. Gordon once again contrasts Adam, as he moves forward to take a closer look, and then simply reclines back to his original position. Adam eventually ends up screaming and sitting on the floor, trying to free himself from the chain by pulling it.
- Audience expectations
The audience would expect the most realistic reactions which they do get from Adam, but not from Dr. Gordon. Once you the first part of this scene is shown, an audience can expect the men to panic, as it would be a very traumatic thing.
- Target audience
This film is rated 18. So the target audience for this would be anywhere from 18-30. It's designed to shock the audiences, and leave you feeling sick. Will often make the audience think or say 'I don't know what I'd do if that was me'. This is a genre that people maybe a little over 30 may find slightly immature, or just something they would not be interested in.
- Shock, surprise and suspense.
The audience is left in complete suspense from the moment the film starts. As it starts with Adam unconscious underwater in the dark. Straight away what we can see from his surroundings, is the bathroom is filthy. We then notice once he has regained consciousness that his leg is chained to a pole, again creating suspense for the audience as they do not yet understand why this is. Shock then comes along once the lights have been turned on, and the dead body is viewable on the floor.
In 'The Book of Eli' the tone is set straight away as the setting is a dimly lit, hallowing old forest. The camera then pans to show a dead body just infront of the camera. Death being a key convention of thrillers, allows us to understand the genre of the film within the opening scene. Then on screen, an small cat appears on screen; something very unconventional to codes and conventions of a thriller, as animals are considered 'cute' and this would not be something expected to be seen in a thriller. The screen then turns to a solitary gas mask, and then in slow motion, and arrow is shot, which then kills the cat. Again using death as a thriller convention.
The character representation in this opening scene is not clear. It differs very greatly from Saw as this has no dialogue whatsoever, and character profile is not developed, so the audience understands very little about the character appearing on screen.
Its hard to decipher exactly what audience expectations should be within this film, but it certainly shows very strong conventions of a thriller, and therefore the audience should possibly expect the film to be dark, and gloomy throughout.
The shock and surprise in this clip may come from the start, when we immediately see a dead body lying on the forest floor, but it is more likely to come upon the death of the innocent cat. This is something completely different to most thrillers, and most likely would not be expected by the audience, therefore creating the element of surprise.
The themes of this opening sequence in Saw 1 is a thriller/horror. The mood is set straight from the start of the clip, as it starts of dark, and underwater, with a glowing key being the only light source. The man then awakes from under the water to find himself in a dark and grimy place. This is a convention of a thriller, because it creates a sense of mystery. The audience also hears another voice from across the room before we see his face, creating once again mystery, and possibly fear within the audiences reactions. The lights are then turned on by the only character that has been introduced yet. this differs slightly to normal codes and conventions of a thriller as High Key Lighting is not usually seen in parts when things are meant to puzzle us. Once the light is turned on, the audience can see a dead body on the floor, covered in gruesome blood and gore. This is conventional to some of the more graphic thrillers, and this leaves the audience in suspense.
- Narrative
The narrative in this scene is very conventional to the thriller genre as there are characters that are introduced before they have been identified. Also, the suspense created by the dead body lying on the floor is also very conventional.
- Representation of characters
The characters represented are clearly ordinary everyday men. The first man we come across is in a bath, laying unconscious under water. He then wakes up in a panic and falls out of the bath onto the floor. His movements throughout this entire scene seem very representable of a realistic reaction. He then starts to cry for help, again very realistic, but maybe something with less of a real tone to it, is the calm monatone voice of Dr. Gordon. Dr. Gordon seems far to calm, no matter how long he may have been trapped there, he was in the dark the whole time, and he finally has someone to be scared with, yet he shows no sign of emoiton. He is however sweating a lot we realise once he turns the lights on. They then both see what is lying in the centre of the room, a dead body with a tape player in one hand, and a gun in the other. Again the first man we see,who we find out to be named Adam, has a very realistic reaction, and starts to gag at the sight of this bloody body.Dr. Gordon once again contrasts Adam, as he moves forward to take a closer look, and then simply reclines back to his original position. Adam eventually ends up screaming and sitting on the floor, trying to free himself from the chain by pulling it.
- Audience expectations
The audience would expect the most realistic reactions which they do get from Adam, but not from Dr. Gordon. Once you the first part of this scene is shown, an audience can expect the men to panic, as it would be a very traumatic thing.
- Target audience
This film is rated 18. So the target audience for this would be anywhere from 18-30. It's designed to shock the audiences, and leave you feeling sick. Will often make the audience think or say 'I don't know what I'd do if that was me'. This is a genre that people maybe a little over 30 may find slightly immature, or just something they would not be interested in.
- Shock, surprise and suspense.
In 'The Book of Eli' the tone is set straight away as the setting is a dimly lit, hallowing old forest. The camera then pans to show a dead body just infront of the camera. Death being a key convention of thrillers, allows us to understand the genre of the film within the opening scene. Then on screen, an small cat appears on screen; something very unconventional to codes and conventions of a thriller, as animals are considered 'cute' and this would not be something expected to be seen in a thriller. The screen then turns to a solitary gas mask, and then in slow motion, and arrow is shot, which then kills the cat. Again using death as a thriller convention.
The character representation in this opening scene is not clear. It differs very greatly from Saw as this has no dialogue whatsoever, and character profile is not developed, so the audience understands very little about the character appearing on screen.
Its hard to decipher exactly what audience expectations should be within this film, but it certainly shows very strong conventions of a thriller, and therefore the audience should possibly expect the film to be dark, and gloomy throughout.
The shock and surprise in this clip may come from the start, when we immediately see a dead body lying on the forest floor, but it is more likely to come upon the death of the innocent cat. This is something completely different to most thrillers, and most likely would not be expected by the audience, therefore creating the element of surprise.
Thursday, 15 November 2012
Preliminary Task
- Recording someone walking through a door, using continuity editing, different camera angles, and a few lines of dialogue.
In this task, I were to record someone walking through a doorway, from different camera angles, and it was then followed by a few lines of dialogue. The idea was to make this scene flow when using different camera angles, so that you could almost not notice where it jumped. I used continuity editing to make this process happen, and it appeared to work well.
- What did you learn from doing this task?
From this task, I learnt the importance of different camera angles, and when they should be used for different effectiveness. I also learnt different ways in which things can be edited, and how to use different audio tracks to different videos.
- Whats one of my strengths when using the equipment?
One of my strengths when doing this task was being able to hold the camera steady when not using the tripod. We were short on time, and there was not enough time left to put the tripod back down, and set the camera on top of it, so in the clip when Devante walks out of the building, I filmed it by hand.
- What do you think you can improve on?
I think I could improve on my editing skills. I am not too confident on how to use the software well enough to be able to help edit the whole 2 minute opening. I feel the main thing I need to learn is how to cut clips, so I can edit them together seamlessly so I understand further the effects of continuity editing.
- How is this task gonna help me with my thriller?
This task will help with my thriller opening as I will have some idea of the editing skills needed to create a good piece of drama, rather than just jumping straight into things with no clue on how to adjust things that we recorded.
In this task, I were to record someone walking through a doorway, from different camera angles, and it was then followed by a few lines of dialogue. The idea was to make this scene flow when using different camera angles, so that you could almost not notice where it jumped. I used continuity editing to make this process happen, and it appeared to work well.
- What did you learn from doing this task?
From this task, I learnt the importance of different camera angles, and when they should be used for different effectiveness. I also learnt different ways in which things can be edited, and how to use different audio tracks to different videos.
- Whats one of my strengths when using the equipment?
One of my strengths when doing this task was being able to hold the camera steady when not using the tripod. We were short on time, and there was not enough time left to put the tripod back down, and set the camera on top of it, so in the clip when Devante walks out of the building, I filmed it by hand.
- What do you think you can improve on?
I think I could improve on my editing skills. I am not too confident on how to use the software well enough to be able to help edit the whole 2 minute opening. I feel the main thing I need to learn is how to cut clips, so I can edit them together seamlessly so I understand further the effects of continuity editing.
- How is this task gonna help me with my thriller?
Monday, 12 November 2012
Thriller Credits - Miss Frisenda
Opening credits in a thriller film play a much more key role than people may think or notice. Credits are worked seamlessly into almost every film ever made, and a great example is the film 'Seven'. Now although the credits in this film are not discrete, this is what creates the genius of them. This is possibly the best thriller example on how the credit sequence can be used to set the tone of the film straight away:
Sound - The sound that goes over the top of these credits is a screaming sound that has been cut and repeated again and again to create such an atmosphere that may make the audience feel slightly on edge or uncomfortable.
Font - The font in these credits are a key part to the opening of the film. The images we see on screen almost explain the reason for the 'scratched-in' font. The first images we see are hands, scraping off the fingertips to remove fingerprints, this is then followed by 'Morgan Freeman' in a horrible scratchy looking text, creating the link between the images and what we can see with the font.
Transitions - Although the transition is simply writing on a black screen, and then back to the images. The black screen does create a sense of mystery, whether it be linked to the on-screen images or not.
The other thriller credits that I am comparing this to is: The Village. The credits in the village are very conventional of a thriller. They start simply with a black screen, that gets lighter slightly and still only shows a foggy tree in the background, whilst outstanding letters sit in the middle of the screen.
Sound - The sound over the opening credits is very strong and haunting. The sound of animal whistles, and organs getting louder become a very dominant, daunting sound over the course of the titles. This contrasts to 'Sevens' opening because the sound in 'The Village' increases in intensity. It also differs because 'The Village's' opening credits simmer down to a more peaceful kind of music once the images of actors at a funeral appear on screen.
Font - The font in 'The Village' does not have as much characteristic's as the titles in 'Seven' but it does show complete dominance on the screen, as it sits in the centre, in bold white writing.
Transitions - Transitions do not appear in this until late on in the opening credits, but they are slow moving, and lead almost straight into the start of the film. The difference is that the on-screen images of 'happenings' in 'Seven' are viewable from the start, whereas in 'The Village' it is not until the end of the credits, do we see images of any relevance to the start of the film.
Sound - The sound that goes over the top of these credits is a screaming sound that has been cut and repeated again and again to create such an atmosphere that may make the audience feel slightly on edge or uncomfortable.
Font - The font in these credits are a key part to the opening of the film. The images we see on screen almost explain the reason for the 'scratched-in' font. The first images we see are hands, scraping off the fingertips to remove fingerprints, this is then followed by 'Morgan Freeman' in a horrible scratchy looking text, creating the link between the images and what we can see with the font.
Transitions - Although the transition is simply writing on a black screen, and then back to the images. The black screen does create a sense of mystery, whether it be linked to the on-screen images or not.
The other thriller credits that I am comparing this to is: The Village. The credits in the village are very conventional of a thriller. They start simply with a black screen, that gets lighter slightly and still only shows a foggy tree in the background, whilst outstanding letters sit in the middle of the screen.
Sound - The sound over the opening credits is very strong and haunting. The sound of animal whistles, and organs getting louder become a very dominant, daunting sound over the course of the titles. This contrasts to 'Sevens' opening because the sound in 'The Village' increases in intensity. It also differs because 'The Village's' opening credits simmer down to a more peaceful kind of music once the images of actors at a funeral appear on screen.
Font - The font in 'The Village' does not have as much characteristic's as the titles in 'Seven' but it does show complete dominance on the screen, as it sits in the centre, in bold white writing.
Transitions - Transitions do not appear in this until late on in the opening credits, but they are slow moving, and lead almost straight into the start of the film. The difference is that the on-screen images of 'happenings' in 'Seven' are viewable from the start, whereas in 'The Village' it is not until the end of the credits, do we see images of any relevance to the start of the film.
BBFC Age certficate
The British Board of Film Classification (BBFC), originally British Board of Film Censors, is a non-governmental organisation, funded by the film industry and responsible for the national classification and censorship of films within the United Kingdom. It has a statutory requirement to classify videos, DVDs and some video games under the Video Recordings Act 2010.
The BBFC was established in 1912 as the British Board of Film Censors by the film industry. It began operating on 1 January 1913. Their primary function is to rate films and games.
They agreed that it would be right that each motion picture be given a certain age certificate designed to show its intended target audience. Also it would refrain people who may not be of an age where they are ready to watch a film from watching it. The certificates are given as follows :
The film industry benefits very much from having the BBFC, because it may also help people decide what films they would like to watch, before knowing very much about it at all. For example, if someone was to suggest seeing an 18 rated horror film, and you saw the general description of an 18 movie, it may put you off because of some of its generalised criteria.
One of the main films that impacted the BBFC's rating scheme was 'Spiderman' in 2002. The scenes such as the fight scene in 'Spiderman' were deemed too disturbing for it to be rated a 12. But by making this film a 15, they would lose a lot of their children target audience, especially as this is a comic book character film. In order to avoid this problem, the BBFC created a new film classification - 12A.
12A allows young people with a parent/guardian to be admitted into the cinema to see this film. Therefore creating a lot more profit in sales, as children would often go to see it with their parents. Many films would then catch on and follow immediately. Big film franchises such as the Harry Potter films contain many 12A's to allow content that may be a bit risque for a 12, into their production, creating a more entertaining piece of imagery.
This is the possible prime scene that awarded 'Spiderman' the first 12A:
The BBFC was established in 1912 as the British Board of Film Censors by the film industry. It began operating on 1 January 1913. Their primary function is to rate films and games.
They agreed that it would be right that each motion picture be given a certain age certificate designed to show its intended target audience. Also it would refrain people who may not be of an age where they are ready to watch a film from watching it. The certificates are given as follows :
| Symbol | Name | Definition/Notes |
|---|---|---|
 | Universal | All ages admitted, there is nothing unsuitable for children. |
 | Parental Guidance | All ages admitted, but certain scenes may be unsuitable for young children. May contain mild language and sex/drugs references. May contain moderate violence if justified by context (e.g. fantasy). |
 | 12A | Cinema only. Introduced in 2002.
Films under this category are considered to be unsuitable for very young people. Those aged under 12 years are only admitted if accompanied by an adult, aged at least 18 years, at all times during the motion picture. However, it is generally not recommended that children under 12 years should watch the film. Films under this category can contain mature themes, discrimination, soft drugs, moderate swear words, infrequent strong language and moderate violence, sex references and nudity. Sexual activity may be briefly and discreetly portrayed. Sexual violence may be implied or briefly indicated.
|
 | 12 | Home media only since 2002. 12A-rated films are usually given a 12 certificate for the VHS/DVD version unless extra material has been added that requires a higher rating.
Nobody younger than 12 can rent or buy a 12-rated VHS, DVD, Blu-ray Disc, UMD or game. The content guidelines are identical to those used for the 12A certificate.
|
 | 15 | Only those over 15 years are admitted.
Nobody younger than 15 can rent or buy a 15-rated VHS, DVD, Blu-ray Disc, UMD or game, or watch a film in the cinema with this rating. Films under this category can contain adult themes, hard drugs, frequent strong language and limited use of very strong language, strong violence and strong sex references, and nudity without graphic detail. Sexual activity may be portrayed but without any strong detail. Sexual violence may be shown if discreet and justified by context.
|
 | 18 | Only adults are admitted.
Nobody younger than 18 can rent or buy an 18-rated VHS, DVD, Blu-ray Disc, UMD or game, or watch a film in the cinema with this rating. Films under this category do not have limitation on the bad language that is used. Hard drugs are generally allowed, and explicit sex references along with detailed sexual activity are also allowed. Scenes of strong real sex may be permitted if justified by the context. Very strong, gory, and/or sadistic violence is usually permitted. Strong sexual violence is permitted unless it is eroticised or excessively graphic.
|
 | Restricted 18 |
Can only be shown at licensed adult cinemas or sold at licensed sex shops, and only to adults, those aged 18 or over. Films under this category are always hard-core pornography, defined as material intended for sexual stimulation and containing clear images of real sexual activity, strong fetish material, explicit animated images, or sight of certain acts such as triple simultaneous penetration and snowballing. There remains a range of material that is often cut from the R18 rating: strong images of injury in BDSM or spanking works, urolagnia, scenes suggesting incest even if staged, references to underage sex or childhood sexual development and aggressive behaviour such as hair-pulling or spitting on a performer are not permitted. More cuts are demanded in this category than any other category.
|
12A allows young people with a parent/guardian to be admitted into the cinema to see this film. Therefore creating a lot more profit in sales, as children would often go to see it with their parents. Many films would then catch on and follow immediately. Big film franchises such as the Harry Potter films contain many 12A's to allow content that may be a bit risque for a 12, into their production, creating a more entertaining piece of imagery.
This is the possible prime scene that awarded 'Spiderman' the first 12A:
Subscribe to:
Posts (Atom)