Keystone - No hallway for us to do it in
Abandoned Hospital - Impractical to film, hard to reach, hard to design props and get permission.
Mental Hospital- Same as above.
K.S.A- Hard to decorate, too modern, hallways bend too much.
KBA Pavillion- Too many windows/class rooms, carpeted floor, hard to decorate (and probably won't get permission).
Grafton Underwood- We have decided to choose Grafton underwood as it is an easy location to reach and has a variety of bunkers to choose from. It is run down but not to the point where we can't decorate it to look like a sanctuary for a religious icon. We have chose the big mess hall and the hallway next to it in the biggest abandoned building. Having the biggest abandoned building will give us freedom to manipulate the environment to suit us. The hallway has preset features that will help with the atmosphere of the scene which is one aspect of Mise-en-Secne. It has rusted pipes and broken concrete slabs which will add the opening. We are also using a giant mess hall for the planning/ alter scene. This is useful as it comes with a giant concrete table for the alter so that we don't have to build it. These locations are accessible by the public and therefore are easy to use. None of our props create a permanent effect on the location so therefore it is easy to set up.
Planning: Producing a Storyboard
We went through several stages of storyboarding. Initially, I drew up the shots in a rough, time-efficient manner. We did this to get a general concept of how the film will pan out, so we can draw up the storyboards in a more detailed, skilful way. Pictured is the original storyboard.
Both sides of the storyboard.
Both sides of the storyboard.
From this, we constructed a full set of storyboard panels. Ashley drew these, using the original storyboard as reference; Ashley did this as he is a much more talented artist than I am.
Planning: Screenplay
[The camera fades from black and reveals a man from behind. He is kneeling, praying at a makeshift altar.]
[The camera shows the altar from a low angle at the side, focused on a crucifix in the middle].
[The camera cuts back to behind Alec. It tracks around him over a few seconds, revealing that he is holding a small cross/rosary in his hands. After a while, he rises, and crosses himself. He pockets his cross/rosary and turns away from the altar]
[The camera follows him as he exits the room, feet splashing off of the damp floor. He enters a hallway and begins to walk down it, determination in his eyes.]
[The camera pans around the corridor, focusing on several of the props/decorations in the hallway. There is a corpse, chained to a wall. Several verses from the Bible are graffiti'd onto the wall. Candles litter the hallway, and there is a large cross hanging down.]
[Alec enters the a room, to the side of the corridor. The walls are covered in paper, graffiti and pictures- yet they are out of focus.]
[The camera focuses on Alec, yet is aimed over his shoulder.]
[It slowly pans out, and the wall comes into focus. As it continues to zoom out, the pure expanse of the room is revealed, and the viewer can see what the things say. There are pictures of people, locations, dates, etc. They are connected by lines.]
[The camera focuses on a large, black, spray-painted phrase in the middle of the room. The camera cuts to Alec, close up on his eyes, staring at the room. The camera tracks into the phrase, 'GRAND RAPTURE', and slowly fades to black.]
-Written by Sean
We will construct the storyboard from this screenplay, and from that, develop the whole opening.
[The camera shows the altar from a low angle at the side, focused on a crucifix in the middle].
[The camera cuts back to behind Alec. It tracks around him over a few seconds, revealing that he is holding a small cross/rosary in his hands. After a while, he rises, and crosses himself. He pockets his cross/rosary and turns away from the altar]
[The camera follows him as he exits the room, feet splashing off of the damp floor. He enters a hallway and begins to walk down it, determination in his eyes.]
[The camera pans around the corridor, focusing on several of the props/decorations in the hallway. There is a corpse, chained to a wall. Several verses from the Bible are graffiti'd onto the wall. Candles litter the hallway, and there is a large cross hanging down.]
[Alec enters the a room, to the side of the corridor. The walls are covered in paper, graffiti and pictures- yet they are out of focus.]
[The camera focuses on Alec, yet is aimed over his shoulder.]
[It slowly pans out, and the wall comes into focus. As it continues to zoom out, the pure expanse of the room is revealed, and the viewer can see what the things say. There are pictures of people, locations, dates, etc. They are connected by lines.]
[The camera focuses on a large, black, spray-painted phrase in the middle of the room. The camera cuts to Alec, close up on his eyes, staring at the room. The camera tracks into the phrase, 'GRAND RAPTURE', and slowly fades to black.]
-Written by Sean
We will construct the storyboard from this screenplay, and from that, develop the whole opening.
Target audience and Potential Openings
Our opening 2 minutes have gone through several phases and concepts. Our original idea was to have the filming be done inside an underground bunker. He would be in the process of torturing a victim, whilst monologuing about his motives (setting up the rest of the film). We decided against this; the torture scene would be both impractical (due to the need of props/makeup, and the difficulty involved with managing sound for the monologue), and ineffective (we would be unable to show most of the torture, due to the film being aimed at a 15 age rating. This would make the scene seem cheap and diminish it's effect). As such, we decided to adapt this idea.
Our current, and most likely final idea, is to be less focused on the victims. It will show the antagonist, Alec, making his way around the location. We will develop his character and his motives through the props and mies-en-scene. He will be praying at a makeshift altar, and then slowly rise as the camera follows him. He will slowly make his way through the bunker, and arrive at a room. The camera slowly pans out to reveal a wall, covered in paper/graffiti, detailing his plan to incite the grand rapture- victims, locations, timings, etc.
Our current, and most likely final idea, is to be less focused on the victims. It will show the antagonist, Alec, making his way around the location. We will develop his character and his motives through the props and mies-en-scene. He will be praying at a makeshift altar, and then slowly rise as the camera follows him. He will slowly make his way through the bunker, and arrive at a room. The camera slowly pans out to reveal a wall, covered in paper/graffiti, detailing his plan to incite the grand rapture- victims, locations, timings, etc.
Planning: From Production Company Name to 60 Second Pitch
Task 1: Our company name is 'Dimension Productions'. We chose this name after many previous ideas; the reason we chose it was, in the end, it's professional-sounding and catchy name. Here is a brainstorm of the production company names.
Task 3: For our working title, we decided on Alec. This is the name of the main character/antagonist; We chose it because it is easy to remember, and would highlight the fact that the villain is the main character. As a name, we decided on Alec because it is an uncommon name, with meaning that relates to the main plot; It means 'Defender of man'. This connects to the main story in a subtle, indirect way- Alec's murders are religiously motivated, and he sees himself as defending humanity.
MODEL EXAM ANSWER
Sample Extract
1. Discuss the ways in which the following extract constructs the representation of age using the following:
Exemplar Analysis
A low angle shot of tan leather shoes walking slowly but confidently across the floor suggests connotations of authority. This then cuts to a medium shot of an older teacher and two young pupils. The teacher conforms to stereotypical representations of older age through elements of the mise-en-scene including his dress code, body language but also his tone of voice. He wears an old fashioned cardigan, is standing with his hands in his pockets and is talking in a sarcastic way to the pupils who wear school uniform (signifying binary oppositions of age), stutter and lack confidence when replying. The teacher is then framed centrally between the two pupils. The camera cuts to a two shot in medium close up of him standing next to a younger teacher again promoting his stereotypical age and wisdom by patronising her for not insuring the video camera in diegetic dialogue and using his body language.
Explanation/analysis/argument:
Use of examples:
Use of Terminology:
QWC (Quality of Written Communication)
Complex issues expressed clearly and fluently, sentences and paragraphs consistently relevant and well structured with few, if any, errors of grammar, spelling and punctuation.
Mark: 46/50 (A Grade equivalent)
1. Discuss the ways in which the following extract constructs the representation of age using the following:
- Camera shots, angle, movement and composition
- Editing
- Sound
- Mise-en-scene
Exemplar Analysis
A low angle shot of tan leather shoes walking slowly but confidently across the floor suggests connotations of authority. This then cuts to a medium shot of an older teacher and two young pupils. The teacher conforms to stereotypical representations of older age through elements of the mise-en-scene including his dress code, body language but also his tone of voice. He wears an old fashioned cardigan, is standing with his hands in his pockets and is talking in a sarcastic way to the pupils who wear school uniform (signifying binary oppositions of age), stutter and lack confidence when replying. The teacher is then framed centrally between the two pupils. The camera cuts to a two shot in medium close up of him standing next to a younger teacher again promoting his stereotypical age and wisdom by patronising her for not insuring the video camera in diegetic dialogue and using his body language.
This shot then cuts to a scene where we see an older male site manager (the camera shows a close up of his door plaque) and a young male pupil in conversation. The pupil’s body language is stereotypical as he leans against a wall while the non conformist way he wears his tie (not tied up properly, big knot) has stereotypical connotations of rebellious youth culture. The older site manager sounds verbally more confident and although not a teacher is smartly dressed for the work environment with a pencil behind his ear, itself having connotations of work. This frames him in binary opposition to the boy who appears lazy and who is persuaded by the older wiser site manager to go away and write his essay. In a short period of time during these first two scenes clear stereotypes of older age signifying wisdom and youth signifying rebellion are established.
A long shot front on shows two girls and a boy walking into medium shot along a school corridor. Again, the girls’ dress code suggests rebellion while all three are discussing their parents and a problem with a fellow pupil’s parents. This furthers the connotations of their young age and emphasises their vulnerability and reliance on older adults. However, the connotations of age and wisdom are disrupted in this scene as a close up reveals a girl who describes her parents as a “dad who never comes home” and a “mum who is a ho-bag”. This burst of diegetic dialogue is important in challenging age stereotypes representing older people as more responsible, as quirky upbeat non-diegetic music starts. This music reinforces stereotypes of youth culture and the school environment they are in.
In the following scene we see a male teacher positioned higher than his pupils behind a desk in a stereotypical classroom situation. He is framed in medium shot. The mise-en-scene anchors his age, authority and status with objects and props including school desks, books, wall displays and a white board projection representing the younger pupils. In terms of dress code there is also a clear difference between the older teacher and the students as his authority is revealed by his dress code, which includes a shirt and tie but also with sleeves rolled up suggesting he is ready for some serious work. The pupils wear their uniforms casually rejecting stereotypical conformity with one girl wearing larger hooped earrings.
The non-diegetic music changes to something more fast tempo as club music (more upbeat than before) and use of hand held camera introduce two students, Amy and Stuart, in confrontation. The moving hand held camera, increased tempo of the music and framing all add to reinforce the fact that this is a stereotypical school spat between two young pupils. As the teacher rushes in the pace of the editing increases as it appears that the boy is having an asthma attack. The older teacher uses his stereotypical calmness and authority to deal with the situation while diegetic dialogue parallels the anxiety that the editing represents with phrases uttered by the teacher like “where is his inhaler?” The club music is edited into a piece of music with more hip hop connotations and is used as a sound bridge to the next scene cutting to a low angle shot of a man in front of a set of doors.
The camera tilts up to reveal an older Maths teacher looking embarrassed wearing stereotypically young person’s clothing including low slung jeans with high visible underpants, trainers and a music t-shirt. This then intercuts with a shot of a bubbly young girl in high angle standing on the stair trying to reassure him that he looks OK. The camerawork challenges the traditional meaning of low angle and high angle by representing the subject shot in low angle (the teacher) as vulnerable; he is trying to appeal more to his pupils by dressing younger. His vulnerability is reinforced by a two shot of two schoolgirls laughing at him for trying to look more fashionable even though the girl on the stairs states: “what do kids know about fashion?” In this respect the girl on the stairs challenges the stereotype of a younger person by showing stronger affiliation with someone who is older than her rather than siding with those who are closer to her own age. Finally, a medium close up of two teachers reveals one trying to persuade the other to go back to his usual dress code while the presence for the first time of only adults in the frame signifies the end of the non-diegetic music.
Explanation/analysis/argument:
- Excellent understanding of the way that technical aspects are used to construct a representation.
- Clear logical deconstruction of text linking directly to the question.
Use of examples:
- Good range of examples and appropriate sequences analysed to reveal a representation. There are some other examples that could have been referred to but this does not deter from the overall quality of the essay.
- The key focus has been on camera shots, angles, movement, composition, mise-en-scene and sound with some reference to editing, which perhaps could have been developed a little more.
Use of Terminology:
- Sophisticated use of media language and technical terminology.
QWC (Quality of Written Communication)
Complex issues expressed clearly and fluently, sentences and paragraphs consistently relevant and well structured with few, if any, errors of grammar, spelling and punctuation.
Mark: 46/50 (A Grade equivalent)
BBFC: British Board of Film Classification
The BBFC classify/rate films, assigning them a certain 'minimum age rating'. People cannot be sold/buy tickets to see a movie that is above their age rating. The coursework we are producing is aimed at a teen audience, and so we have to aim for an age classification of 15. If we were making a real film, should we miss this target, we would lose exposure to our target audience. If the film receives an age rating too low, the target audience may not want to go watch it on account of it seeming juvenile. Should it be too high, they would be unable to watch the film.
To receive an age classification of 15, we have to understand what differences films that are 12, 15 and 18 have. This gives us a lower bound, an average, and an upper bound, respectively. If any of the criteria is met for a 15, the film will be ranked 15; the rest of it does not have to be so extreme. However nothing can stray into the 18 range, or we risk being given the wrong classification.
Any illegal, immoral, or otherwise questionable behaviour is to be presented in a way that would not make it easy to replicate; I.E we cannot show the viewers how to tie a noose or roll a joint. In addition, any violence cannot focus on the infliction of pain or suffering (to a large extent). Sadistic violence cannot be shown, and neither can extreme gore/gory imagery (such as realistic torture). However, for example an action film could show someone's leg being blown off by an IED and, as long as the suffering/wound is not shown explicitly or too realistically, the film can still receive a classification of 15.
To receive an age classification of 15, we have to understand what differences films that are 12, 15 and 18 have. This gives us a lower bound, an average, and an upper bound, respectively. If any of the criteria is met for a 15, the film will be ranked 15; the rest of it does not have to be so extreme. However nothing can stray into the 18 range, or we risk being given the wrong classification.
Any illegal, immoral, or otherwise questionable behaviour is to be presented in a way that would not make it easy to replicate; I.E we cannot show the viewers how to tie a noose or roll a joint. In addition, any violence cannot focus on the infliction of pain or suffering (to a large extent). Sadistic violence cannot be shown, and neither can extreme gore/gory imagery (such as realistic torture). However, for example an action film could show someone's leg being blown off by an IED and, as long as the suffering/wound is not shown explicitly or too realistically, the film can still receive a classification of 15.
Research : Codes and Conventions of Existing Teen Horror Films
Conventions;
Isolated location/Isolation in general
Jump scare
Character dying in opening scene
Characters falling over
Nearby to escape
Technical Codes:
Ambience
Sharp, jumpy music
Shaky camera
Slow motion
POV shots
Close up
Birds-eye shot near river
Long shadows
Dark lighting
Symbolic Codes:
Woods (isolated, alone)
Blood (Death, injury, been running for a while = being hunted)
Colours (Red shirt, dark green background. Red for blood, green because it's a forest)
Red shirt, Hawaiian, may be an attempt at character development (chill guy)
The opening scene of the film 'Dead Wood' relies on the utilisation of conventions in order to set the tone/scene for the rest of the film. For starters, the entire film seems to be set in a forest (inferred from the film's title and the opening); this plays into the trope, or convention, of horror films being set in isolated locations. This is a common convention in horror films; through isolating the characters, they are typically unable to receive help, rendering them helpless and generating the same feeling in the audience.
The scene begins with some background ambiance (general forest noises, set the scene and increases realism), which is slowly overshadowed by some raising tones. The camera pans down to a puddle as the tones peak, and someone runs through the puddle. An example of a convention in this part is the jumpscare. Jumpscares are conventionally used in horror films in order to quickly scare the audience, keeping them on the edge of their seat. This jumpscare was rather ineffective as a scare, as there was no atmosphere leading up to it; as such, it is possible that it was used in an attempt to both catch the audience of guard, and to segue into the main part of the opening (chase scene).
An example of a symbolic code in the opening to Dead Wood is the blood on the character's face. This is important to note as it shows the audience that the main character has already been running for a while, and has sustained injury (from either his pursuer or the environment). The implication that he has been fleeing for an indefinite amount of time gives the audience the idea that he cannot run for much longer, and that he will inevitably be caught. In addition, the lack of clarification on the origin of the blood can also scare the audience. This is also complimented by the fact that the opening scene does not show the pursuer to the audience. They are left to imagine who/what is pursuing the man; the ambiguity causes the audience to assume 'the worst' and, as such, become potentially more scared than if the pursuer was outright revealed.
The opening scene of Dead Mary is unique in it's execution, for a horror film. As opposed to following many conventions of horror films, it is much more subtle and focuses on developing two of the main characters as opposed to the antagonist. It focuses on a woman in a car. There is an element of the isolation trope here; the two characters are on a secluded road, and one of them collected fuel from an abandoned petrol station. The most notable thing here is some of the shots of the female protagonist. In what is possibly a PoV shot, the camera shifts to within the forest at the side of the road, and focuses directly upon the character. This creates the idea that she is being watched/stalked, possibly setting up the antagonist later in the film.
In addition, the female lead can be seen holding her phone up to the sky; showing that she has no signal. This plays into the isolation trope, and may be directly linked to it - it is portraying the character as alone and helpless, as she cannot contact anyone who is not directly near her (and as such, probably in danger).
Finally, the opening scene to Wrong Turn is, in many ways, the most conventional out of all those looked at so far. It opens with an establishing shot; setting the location as a forest. This, again, plays into the isolated location convention. Two characters are shown rock climbing, and one reaches the top; he is killed offscreen (another convention; character dying in the first 5 minutes). The other character feels his blood drip onto her face, and begins being pulled up the mountain; she cuts her rope and falls. After getting up, she runs through the forest (POV shots, shaky camera), and sees her car in the distance (convention, gives the audience false hope and snatches it away). Right as she gets to it, she trips over (convention, gives antagonist chance to catch up and increases sense of urgency) some barbed wire presumably set up by the antagonist, and is dragged off and, again, killed off screen. The ambiguity as to who/what is killing the characters in the opening scene is in itself a convention; this once subtle and clever technique has been adapted and rehashed in many films by now, as people fear the unknown. It allows the individual audience members to invent their own idea of what the antagonist may be, or how the people were killed; typically, the one that the individual would find the most unsettling.
Upon the climax of the opening being reached, the camera shots become wild and frantic; at one point, there are 6 different cuts within about 1 second. This increases the speed of the film itself, making the audience experience the sense of urgency conveyed within the female character.
In addition, the female character wears rather revealing clothing (notably unsuitable for rock-climbing). This is possibly to add sex appeal. However, another interpretation is that her clothes convey how vulnerable she is. Through how much skin she is showing, she is portrayed as weak and unprotected.
Overall I think this essay could have gone better. I feel as if I struggled to focus at some parts while writing this; as such, I could have been more coherent at points (particularly the first and second paragraphs). I feel as if I could have wrote more about Dead Mary if I went into detail about the foreshadowing (flare gun) and the attention to detail (for example, the gas station sign tying in to the isolation), and the possible symbolism of the chain at the beginning (chains, trapped, etc). In addition, I should have put more effort into noting the similarities between the films, outside of the isolation convention. It feels like this essay could have been a higher quality, had I wrote it at a more appropriate time where I would be able to focus. However, I believe that what points I did develop, I developed in detail; for example, the effects/reasons of an isolated location. If I developed other conventions to the same extent that I developed this one, I feel that the essay would have been a higher quality overall, and that it would have paved the way for me to be more concise and avoid repeating myself. In addition, I should have used more detailed terminology with regards to camera shots/movements. In conclusion, this essay was not done to a particularly high standard, and I think that with correct time management/mindset I can do better.
Isolated location/Isolation in general
Jump scare
Character dying in opening scene
Characters falling over
Nearby to escape
Technical Codes:
Ambience
Sharp, jumpy music
Shaky camera
Slow motion
POV shots
Close up
Birds-eye shot near river
Long shadows
Dark lighting
Symbolic Codes:
Woods (isolated, alone)
Blood (Death, injury, been running for a while = being hunted)
Colours (Red shirt, dark green background. Red for blood, green because it's a forest)
Red shirt, Hawaiian, may be an attempt at character development (chill guy)
The opening scene of the film 'Dead Wood' relies on the utilisation of conventions in order to set the tone/scene for the rest of the film. For starters, the entire film seems to be set in a forest (inferred from the film's title and the opening); this plays into the trope, or convention, of horror films being set in isolated locations. This is a common convention in horror films; through isolating the characters, they are typically unable to receive help, rendering them helpless and generating the same feeling in the audience.
The scene begins with some background ambiance (general forest noises, set the scene and increases realism), which is slowly overshadowed by some raising tones. The camera pans down to a puddle as the tones peak, and someone runs through the puddle. An example of a convention in this part is the jumpscare. Jumpscares are conventionally used in horror films in order to quickly scare the audience, keeping them on the edge of their seat. This jumpscare was rather ineffective as a scare, as there was no atmosphere leading up to it; as such, it is possible that it was used in an attempt to both catch the audience of guard, and to segue into the main part of the opening (chase scene).
An example of a symbolic code in the opening to Dead Wood is the blood on the character's face. This is important to note as it shows the audience that the main character has already been running for a while, and has sustained injury (from either his pursuer or the environment). The implication that he has been fleeing for an indefinite amount of time gives the audience the idea that he cannot run for much longer, and that he will inevitably be caught. In addition, the lack of clarification on the origin of the blood can also scare the audience. This is also complimented by the fact that the opening scene does not show the pursuer to the audience. They are left to imagine who/what is pursuing the man; the ambiguity causes the audience to assume 'the worst' and, as such, become potentially more scared than if the pursuer was outright revealed.
The opening scene of Dead Mary is unique in it's execution, for a horror film. As opposed to following many conventions of horror films, it is much more subtle and focuses on developing two of the main characters as opposed to the antagonist. It focuses on a woman in a car. There is an element of the isolation trope here; the two characters are on a secluded road, and one of them collected fuel from an abandoned petrol station. The most notable thing here is some of the shots of the female protagonist. In what is possibly a PoV shot, the camera shifts to within the forest at the side of the road, and focuses directly upon the character. This creates the idea that she is being watched/stalked, possibly setting up the antagonist later in the film.
In addition, the female lead can be seen holding her phone up to the sky; showing that she has no signal. This plays into the isolation trope, and may be directly linked to it - it is portraying the character as alone and helpless, as she cannot contact anyone who is not directly near her (and as such, probably in danger).
Finally, the opening scene to Wrong Turn is, in many ways, the most conventional out of all those looked at so far. It opens with an establishing shot; setting the location as a forest. This, again, plays into the isolated location convention. Two characters are shown rock climbing, and one reaches the top; he is killed offscreen (another convention; character dying in the first 5 minutes). The other character feels his blood drip onto her face, and begins being pulled up the mountain; she cuts her rope and falls. After getting up, she runs through the forest (POV shots, shaky camera), and sees her car in the distance (convention, gives the audience false hope and snatches it away). Right as she gets to it, she trips over (convention, gives antagonist chance to catch up and increases sense of urgency) some barbed wire presumably set up by the antagonist, and is dragged off and, again, killed off screen. The ambiguity as to who/what is killing the characters in the opening scene is in itself a convention; this once subtle and clever technique has been adapted and rehashed in many films by now, as people fear the unknown. It allows the individual audience members to invent their own idea of what the antagonist may be, or how the people were killed; typically, the one that the individual would find the most unsettling.
Upon the climax of the opening being reached, the camera shots become wild and frantic; at one point, there are 6 different cuts within about 1 second. This increases the speed of the film itself, making the audience experience the sense of urgency conveyed within the female character.
In addition, the female character wears rather revealing clothing (notably unsuitable for rock-climbing). This is possibly to add sex appeal. However, another interpretation is that her clothes convey how vulnerable she is. Through how much skin she is showing, she is portrayed as weak and unprotected.
Overall I think this essay could have gone better. I feel as if I struggled to focus at some parts while writing this; as such, I could have been more coherent at points (particularly the first and second paragraphs). I feel as if I could have wrote more about Dead Mary if I went into detail about the foreshadowing (flare gun) and the attention to detail (for example, the gas station sign tying in to the isolation), and the possible symbolism of the chain at the beginning (chains, trapped, etc). In addition, I should have put more effort into noting the similarities between the films, outside of the isolation convention. It feels like this essay could have been a higher quality, had I wrote it at a more appropriate time where I would be able to focus. However, I believe that what points I did develop, I developed in detail; for example, the effects/reasons of an isolated location. If I developed other conventions to the same extent that I developed this one, I feel that the essay would have been a higher quality overall, and that it would have paved the way for me to be more concise and avoid repeating myself. In addition, I should have used more detailed terminology with regards to camera shots/movements. In conclusion, this essay was not done to a particularly high standard, and I think that with correct time management/mindset I can do better.
Research : The Importance of Opening Titles
Titles
Opening titles; the introduction to a film. These often crucial sequences have developed from simple text introducing the film/actors, to full-blown animated introductions. The opening titles are often used to set the tone for the film, and typically have some similarity to the film itself. For example, the opening for a horror film would typically be composed of reds and dark colours. However, if for example, the film was set inside a hospital, the colour palette in the title sequence could be more cool, harsh colours, like blues and whites. This would be an example of the title sequence illustrating the setting for the film. In title sequences, music is also used which holds some similarity to the tone of the film. An example of this is the introduction to an interview with the makers of a game called The Last of Us. The music they use echoes the tone of the game itself; melancholic and bleak.
Youtube; this is the song itself.
In a horror film intro, they could use dramatic stringy music to set the tone for a fast-paced horror film. In contrast, a film that relies more on subtlety as opposed to outright action could use ambience as opposed to music.
In opening titles, the information gives typically is;
The names of the companies who produced and distributed the film
The name of the director
The name of the producer
The name of the lead/star actor(s)
The name of the film
(^ in no particular order ^)
There are several ways a title can be presented to the audience. Back in the genesis of film, titles were often presented as 'cards', projected onto a screen. They held simply the name of the film, the director, the actors, and some miscellaneous information. Later on, title cards developed to have frames, and eventually become animated around the 1950s. Some examples of early animated title cards are 'North by Northwest' by Alfred Hitchcock.
This animation was developed by Saul Bass, a man who was revolutionary and instrumental in the progression of film titles.
Since then, film titles have only developed further. They have evolved beyond simple frames with which to introduce the film, and are now used to generate emotions and set the scene for the entire film. Some of the most memorable parts of films can be the title sequences (see; The Pink Panther, which had an opening sequence iconic enough to generate an animated cartoon, merchandise, etc.), and they have become an instrumental part of many films today.
RESEARCH: CONVENTIONS IN HORROR FILMS
A CONVENTION is a trend, such as a setting, scene or theme, that is commonly followed within a genre. For example, an action movie convention might be an explosion. In horror movies, common conventions include isolation, foreshadowing, and illogical/idiotic actions from characters (such as hiding upstairs or in a bathroom).
One example of a horror convention is a fake scare. A character can be exploring somewhere, music is building, they're slowly opening a door or a curtain, and all of a sudden, a bird flies out. The character jumps, laughs it off, then turns around and gets stabbed through the chest by the antagonist.
The character does not always get hit with a real scare after a fake scare. Fake scares are typically used to keep the audience on edge during the opening parts of a film (when the plot/characters are usually being developed), or in the build up to the climax. When used at the start, they are typically not followed by a real scare. However, later in the film, they usually are; this is because they can play off of the sense of relief that a person feels when a fake scare is over. The audience feels safe, and by following a fake scare with a real one, it can make a jumpscare even more effective and remove that sense of security for the rest of the film. They can also be used to introduce a villain; The character can be spooked by something insignificant, turn around and realise that the villain had been breathing down their neck. This gives the audience a good view of the villain, and places the character in immediate danger.
This convention is usually used in order to develop a villain, or set the scene for the next murders. The character who investigates the sound is typically used as a kind of sacrificial lamb- their death may be used to introduce the villain to the audience, or to the rest of the cast. Their death typically sets the story in motion. This can be used in conjunction with fake scares, and followed up by a real scare. This technique may require suspension of disbelief from the audience; in a realistic situation, nobody would hear heavy breathing from under their bed and decide to go investigate by jamming their arm in there.
One example of a horror convention is a fake scare. A character can be exploring somewhere, music is building, they're slowly opening a door or a curtain, and all of a sudden, a bird flies out. The character jumps, laughs it off, then turns around and gets stabbed through the chest by the antagonist.
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| In films, the character usually doesn't react as strongly. |
Another example of a convention is someone investigating a strange noise. For instance, if you hear something moving behind a curtain, a (usually minor) character will go to investigate it. The trip to said curtain will be suspenseful, and the sound may grow louder. The sound could be coming from far away, or from another floor; this would isolate the expendable character from the rest of the cast, and make them easy for the villain to pick off.
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In addition, another convention is people hiding underneath windows/behind doors from a villain. This can be a set-up for a camera shot of the antagonist walking past the window slowly. In addition, they can just smash through the window/door, grab the character, and rip them to shreds (usually while the protagonist watches on in horror).
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| Lots of horror movies rely on suspense and subtlety. However, some antagonists can take a more head-first approach to scaring the audience. |
This convention is used because it places an often unaware character in great danger. If used with a window, it allows the audience to see the villain and build tension, without the character being aware. If the character is unaware of the danger they are in, the audience can feel even more suspense and fear on behalf of them. In addition, the door variation of this convention can set up a character for a sacrificial death; upon being grabbed through the door, they may realise the error of their ways and give themselves up to the antagonist, buying time for the other characters to escape.
In conclusion, horror movies can follow a string of conventions. They are usually used because they work; most of the current conventions are used because of their tried-and-true effectiveness. However, if overused in a film, the film can become bland and predictable. The very nature of horror films means that the same tricks will not always work twice on the audience; particularly the horror savvy. While a newcomer to the genre may not always notice it, many horror movies are simply repetitive, bland copies of other films. The same can be said for conventions; many of them work in cycles, falling in and out of favour as audiences become used to them and find them predictable.
Preliminary Task: Final product
Evaluation:
The task set was to create a short film about 2 characters. One character was meant to walk into a room, sit down and talk to the other character. We were instructed to demonstrate use of match-on-action and the 180 degree rule. In addition, we had to use a variety of camera shots, angles and movements.
Before we starting filming, we wrote a script. This was easy enough; it took only a few minutes, as the film was meant to be short. This made sure the actors had something to say as opposed to ad-libbing. Then, we had to create a storyboard. We used a storyboarding website for this. This helped us pre-plan the camera shots/angles and the general way we should film the footage.In addition, it helped us comprehend the pacing of the film. Then, we had to cast our characters. This was difficult, as we had to re-cast after getting some footage (One of the actors developed tonsillitis and was off school when we had planned to film). However, it worked out as another actor was available. Finally, we had to gain permission to use the areas we planned to film in. This was easy as the music staff were cooperative after we explained out intentions to them. This meant we did not have to rearrange the filming location.
The actual filming was not without difficulty. We had originally filmed about 2/3 of the film before one of our actors became ill. Due to time constraints we could not wait for his recovery, and so we had to swap him out for another actor. This led to us re-filming most of the film in about 50 minutes. This also caused continuity problems; we were unable to reshoot some of the footage we had filmed the day earlier. As such, the priest (Max Ryan) was wearing different outfits in separate takes, damaging the continuity of the film. In addition, the tripod we had received was missing it's foot, so due again to time constraints we opted to simply steady it using other means. This meant the footage was moderately shakier than it could've been, although we were able to edit out the majority of the shaking. In addition, background noise posed a minor issue and caused us to have to perform several takes. The final issue we had with the filming was room constraints. Due to the close nature of the intended room, we were unable to move a piano around to the intended position. This caused us to relocate one of the filming locations to a larger room; as such we had to reshoot even more footage in order to preserve the integrity of the film's continuity.
Editing the film was time-consuming. Both Mr Henton and classmate/collaborator Sam Thomson assisted me with editing (Both have previous experience with using Adobe Premier Pro). The audio was not synched up originally, and as such I spent a large amount of time mixing and clipping the audio to maintain volume and continuity between several takes. In addition, the disjointed nature of the filming made the film experience several continuity errors. The most notable of these is the lighting and clothing. It was impossible to change the clothing errors, but I was able to correct some of the lighting in post-production to make it less noticeable. I was able to use photoshop to produce an image (the establishing shot), and I used chroma-keying to overlay a rain effect. Finally, the task was created in an incorrect aspect ratio/setting; unfortunately, in the original edit, the entire thing was too zoomed in and the shot size was inconsistent at best. To remedy this I had to re-edit the entire thing (however, due to experience I had previously gained editing it the first time, I completed it in a much shorter space of time). I believe the editing as a whole went pretty well, and overall it took about 90 minutes for me to complete.
In conclusion, I believe the Preliminary task was neither great nor terrible. I am unsure if we met the design brief; in some people's eyes, this would not constitute a conversation. However, we showed evidence of us using the 180 degree rule, and match-on-action. I believe the strengths lie in the acting, subject-matter (which gave us freedom to work on a project that was somewhat unique) and the sound mixing. However some of it's weaknesses include continuity and the transitions between sounds, as well as the way we were made to edit (two separate edits of the same film). However I believe the re-editing was a good thing, as it gave us a higher quality product in the long run. Overall I believe the task was reasonably good, as it met the design specification to a decent level.
Script
Priest: We are gathered here today to commemorate the loss of Harambe, the gorilla. An endangered silverback, Harambe was a good man, and an even greater meme. Like many of his generation he died, before his time.
(Priest keeps talking)
Hugh: He was so young...
Priest: In your wisdom Lord, you took him. Harambe was a simple ape, one who loved children and his family. He worked as a childminder leading up to that fateful day, where such a bright flame was stolen away from us in such a short space of time.
(Fades out on the 12th storyboard shot)
(Priest keeps talking)
Hugh: He was so young...
Priest: In your wisdom Lord, you took him. Harambe was a simple ape, one who loved children and his family. He worked as a childminder leading up to that fateful day, where such a bright flame was stolen away from us in such a short space of time.
(Fades out on the 12th storyboard shot)
Mise-En-Scene
Location:
Music practice room hallway
Music practice room
Cast:
Max Ryan as Father Patrick
Cast because:
Talented
Strong cheekbones give a kind of priestly appearance
Owns a lot of clothes, can probably provide his own outfit
Good work ethic
Oliver Newman as Hugh Mungus
Cast because:
Reliable
Physical strength
Available for filming at same time as Max/me/Sam
Looks the part
Props:
Picture of a gorilla
Costume (formal-wear)
Makeup:
None needed
Characters:
Father Patrick
Did not know Harambe personally, but is doing his best to honour his memory and is leading the funeral service. Catholic priest. His father came from Ireland.
Hugh Mungus
Close friend and confidante of the deceased gorilla. Mournful over his loss. Divorced. Has two children who he only sees on weekends, and when his ex-wife is on holiday in Spain with her new boyfriend, Enrique.
Music practice room hallway
Music practice room
Cast:
Max Ryan as Father Patrick
Cast because:
Talented
Strong cheekbones give a kind of priestly appearance
Owns a lot of clothes, can probably provide his own outfit
Good work ethic
Oliver Newman as Hugh Mungus
Cast because:
Reliable
Physical strength
Available for filming at same time as Max/me/Sam
Looks the part
Props:
Picture of a gorilla
Costume (formal-wear)
Makeup:
None needed
Characters:
Father Patrick
Did not know Harambe personally, but is doing his best to honour his memory and is leading the funeral service. Catholic priest. His father came from Ireland.
Hugh Mungus
Close friend and confidante of the deceased gorilla. Mournful over his loss. Divorced. Has two children who he only sees on weekends, and when his ex-wife is on holiday in Spain with her new boyfriend, Enrique.
Storyboard
From our initial ideas, we were asked to put together 12 storyboard panels demonstrating the idea. We were instructed to include information on the scenes, such as where it is set, what type of shot/movement/angle will be used, cast members, and any other information deemed necessary. In addition, we had to create a picture for each of the scenes. The storyboards are located below.
"Harambe's funeral"
Shot 1"Harambe's funeral"
Exterior
Location:Church
Establishing shot
Pan of Church
Low angle
No cast required
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Shot 2
Interior
Mid shot
Tracking sideways
One character
Shot 3
Interior
Close up
Match-on-action
Low angle
One character
Shot 4
Interior
Mid Shot
Static
Over the shoulder
Two characters
Shot 5
Interior
Wide shot
Static
High angle
2 Characters
Shot 6
Interior
Mid shot
Pan downwards/tilt
Low angle
1 Character
Shot 7
Interior
Close up
Static
Low angle
none
Shot 8
Interior
Long shot
Static
Over the shoulder
2 characters
Shot 9
Interior
Mid shot
Tracking in on character
Low angle
One character
Shot 10
Interior
Close up
Static
Low angle
One character
Shot 11
Interior
Mid shot
Static
Over the shoulder
2 characters
Shot 12
Interior
Wide shot
Static
High angle
2 characters
(fade to black)
END
Preliminary Task - First ideas
So for my coursework, I'm working with my boy Sam Thomson.
We were instructed to brainstorm a bunch of ideas for our first task; producing a short video, where two characters have a conversation.
After being given the design brief, we were given some freedom to come up with some possible scenarios we could implement into the video.
Below are a few pictures of us working.
That's me on the right.
Here's a picture of the completed mind-map.
The idea we're thinking of going with right now is the funeral of Harambe the gorilla. We chose this idea as it gives us some freedom to add comedy and such to the script, and because the idea is unique enough for it to be noticable. However, the logistics of this might prove a little bit difficult, so just incase, we can fall back on one of the interviews/general discussions.
Foundation Portfolio: What is it?
50% of your grade will be earned through your Foundation Portfolio. This consists of a preliminary task and a main task, the details of which can be found below.
The Preliminary Task is designed to illustrate the processes of pre-production, production and post-production that will be required, albeit in more detail, when you come to undertake the Main Task. The Preliminary Task is not marked but MUST be completed and submitted alongside the Main Task to the examiner. If it is not completed, marks are deducted from your Main Task.
The Main Task is marked out of 100. These marks are broken down as follows:
20 marks - Research into similar media products and planning of your own media product.
60 marks - Construction of your own media product including filiming and editing.
20 marks - Evaluation of your own media product.
All of your work must be posted to your blog as this will be accessed by the examiner in May of 2016.
For each of the criteria above, marks are available in 4 levels with level 4 being the highest.
The progress thermometer below shows the key words for each level of the mark scheme.
This is what you have to do:
Preliminary Exercise
The Preliminary Task is designed to illustrate the processes of pre-production, production and post-production that will be required, albeit in more detail, when you come to undertake the Main Task. The Preliminary Task is not marked but MUST be completed and submitted alongside the Main Task to the examiner. If it is not completed, marks are deducted from your Main Task.
The Main Task is marked out of 100. These marks are broken down as follows:
20 marks - Research into similar media products and planning of your own media product.
60 marks - Construction of your own media product including filiming and editing.
20 marks - Evaluation of your own media product.
All of your work must be posted to your blog as this will be accessed by the examiner in May of 2016.
For each of the criteria above, marks are available in 4 levels with level 4 being the highest.
The progress thermometer below shows the key words for each level of the mark scheme.
This is what you have to do:
Preliminary Exercise
Continuity task involving filming and editing a character opening a door, crossing a room and sitting down in a chair opposite another character, with whom she/he then exchanges a couple of lines of dialogue. This task should demonstrate match on action, shot/reverse shot and the 180-degree rule.
Main Task
The titles and opening of a new teen horror film, to last a maximum of two minutes.
All video and audio material must be original, produced by the candidate(s), with the exception of music or audio effects from a copyright-free source. Both preliminary and main tasks must be completed as a group. Maximum four members to a group.
Basic Media Terminology
1) Basic Camera Shots
-Wide shot
-Long shot
-Close up
-Extreme close up
-Establishing shot
-Two shot
-Point of view shot
2)Basic Camera Angles
-High angle
-Low angle
-Over the shoulder
3)Basic Camera Movements
-Panning
-Zoom
-Crane
-Tracking in
-Tracking out
-Tracking sideways
-Tilt
-Arc
4) The 180 degree rule is when you attempt to film two characters having dialogue. An invisible line is drew between the two, and the camera must remain on one side of the line no matter what. This is so that it seems like the characters are talking to each other. Without the 180 degree rule, it may seem like the characters are facing the same way while conversing, which would confuse the audience.
-Wide shot
-Long shot
-Close up
-Extreme close up
-Establishing shot
-Two shot
-Point of view shot
2)Basic Camera Angles
-High angle
-Low angle
-Over the shoulder
3)Basic Camera Movements
-Panning
-Zoom
-Crane
-Tracking in
-Tracking out
-Tracking sideways
-Tilt
-Arc
4) The 180 degree rule is when you attempt to film two characters having dialogue. An invisible line is drew between the two, and the camera must remain on one side of the line no matter what. This is so that it seems like the characters are talking to each other. Without the 180 degree rule, it may seem like the characters are facing the same way while conversing, which would confuse the audience.
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