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.
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.
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