Below is the finished product 'Alec'. This is the first 2 minutes opening of 'Alec' including opening titles, the distribution company and our production company.
Construction: Test edit- Audience Screening
We have completed our first draft of the opening to our film "Alec" including titles. As a group we held a private screening involving our target audience to critique our opening two minutes so we can see what we need to improve on.
After screening several time we were told our opening felt more like a trailer as all of our titles were at the end rather than spread amongst our opening. After having a look at many other movie openings online we found that most of them also had their titles more separated that the ones we had done so we are going to change that. Also they found that the beginning of our opening started way to fast and needed more of a slow introduction so that they were not bombarded with information all at once. We placed them between shots we had already taken so that the audience can take in little bits of information so they can focus on the actual movie opening. Other than these minor corrections our audience feedback was rather good. It provided the right atmosphere and challenged horror movie conventions by not having somebody die within the first 2 minutes but also stayed true to the genera by being in a secluded location.
After screening several time we were told our opening felt more like a trailer as all of our titles were at the end rather than spread amongst our opening. After having a look at many other movie openings online we found that most of them also had their titles more separated that the ones we had done so we are going to change that. Also they found that the beginning of our opening started way to fast and needed more of a slow introduction so that they were not bombarded with information all at once. We placed them between shots we had already taken so that the audience can take in little bits of information so they can focus on the actual movie opening. Other than these minor corrections our audience feedback was rather good. It provided the right atmosphere and challenged horror movie conventions by not having somebody die within the first 2 minutes but also stayed true to the genera by being in a secluded location.
Construction: Filming and experimental edit
By Ashley
During filming we shot each scene multiple times to make sure we had enough footage to edit with: if a shot wasn't good enough at least we had back up footage. Problems we came into were that the candles we used were less luminecient than we initially thought they we're going to be so to combat this we altered the position of Alec (Olly) to be in front of the candles so you can clearly see his silloette.
During filming we shot each scene multiple times to make sure we had enough footage to edit with: if a shot wasn't good enough at least we had back up footage. Problems we came into were that the candles we used were less luminecient than we initially thought they we're going to be so to combat this we altered the position of Alec (Olly) to be in front of the candles so you can clearly see his silloette.
Here you can clearly see the candles not emitting enough light for the setting. This is where the beginning shots were taken.
Also the location we went to had been littered since we had last been there to scout for location planning. It took us considerably more time to set up and make sure the location was dressed to our liking. In contradiction to my last statement the location looked more rustic and abandoned so the audience watching can clearly seen this is a secluded location one of the key conventions in horror films. The graffiti added to the spooky and mysterious feel we were looking for within our opening.
In these photo's you can see the graffiti and how it makes the setting more spooking. You can also see us altering the alter for some of the scenes.
Construction: Evidence of Editing
Written by Sam
Construction: Titles
I created the titles in photoshop.
First, I took a copyright free rust texture from google.
After that, I clicked on the 'Text outline' tool.
I type out the desired text.
Next, I right click and press 'Select Inverse'.
I then press delete, removing all of the texture (bar what I selected).
Finally, I delete the white background, leaving it transparent. I save the image as a PNG, in order to retain the transparency, and send it to Sam to be edited into the film.
Construction: Development of the logo
After deciding on the name of the production company, Dimension Productions, we then had to design a logo. On account of my experience with photoshop and graphic design in the past, I decided to do this task. The original idea was to have the company name in-front of a galaxy; however, we scrapped this idea rather quickly; we realised that the majority of logos are fairly minimalistic, and that the planned logo would not fit well onto the screen. I then decided to design a logo that was both minimalistic, yet fairly obviously related to our company name.
The first thing I did was draw the guide-lines, around which all the planets were to be centred. I did remove them at one point, however keeping them in makes the logo look better.
The logo is, in my opinion, good- it looks both professional yet stylish, and matches the name of our production company.
When added to the main film, the text shall slide out from the vertical guide line, and underneath the horizontal one. The 'Dimension' will be slightly higher than the 'productions', and in the font 'Phosphorus'. Sam will handle this in the editing.
Planning: Filming schedule
AS Media Studies: Planning: Filming schedule: We have created a filming schedule so we know what time we are all available to go out and film our horror teen movie (Alec). So when it com...
Planning: Shot List
AS Media Studies: Planning: Shot List: Horror Opening Planning : Shot List Number of Shot Storyboard Number Shot description Time allowance ( seconds) Shot ...
Planning: Casting
After much deliberation, we decided on the candidate below. This is because his delivery was the most impressive and clear- he seemed to understand the character of Alec, and be able to get into character. This is important- unless they understand how Alec thinks, acts, and talks, then they cannot figure out the more minor details we will use in our main performance- his facial expressions, the way he carries himself, etc. As mentioned, the most impressive demonstration of this was in the audition below, and we will be moving forward using this man as our lead actor.
Planning: Considering Mise-en-Scene For Your Opening - costume and props
Written by Ashley.
After writing the synopsis for our film "Alec" and considering the location of the movie opening, we had to style our location to match our preference. The abandoned hallway at Grafton Underwood needed to represent Alec's sanctuary. The hallway is bare with broken bricks and pipes along the walls with old slabs of concrete resting on the floor. We need to add several props to the location for it to give of the effect of an abandoned yet lived in place, in which Alec will come to pray to god. The props we are adding to the location are rusted chains along the concrete slabs which we can zoom into to create tension. Church pillar candles as they remind people of a religious place, a place in which people feel safe or uncomfortable depending on the scenery around it. We'll also add a large cross at the end of the hallway chipped and a bit withered to enhance the tension in then scene. We'll make this from two one meter length bit of wood. The candles will create an atmospheric mood lighting for the hallway which will give an easy feel.
In the room next to the hallway there will be an alter Alec will prey to, communicating with god his intentions and why he is doing it. This is in a hall within Grafton underwood next to our first location of the abandoned hall. The location comes with a giant concrete slab table which we will use for the alter. On the alter we will put a worn out bible to show it has been there for a while, a bowl of an unknown red liquid which is probably blood. The blood will be made out of water mixed with a teaspoon of flower and red food colouring. The alter will also have a worn our table cloth over it with tears in it. Some small but relevant items on the table will be rosary beads and a crucifix all lit up with some candles. There will also be a cloth for Alec to kneel on. The bible will be worn out but look in a newer state to the rest of the props which shows how Alec takes care of his religious totems.
Last of all we were thinking of the clothing of Alec and the dead body. The dead body will be wearing a worn and torn grey shirt to show struggle and simple jeans with some trainers with a little blood and bruising. Alec on the other hand will be wearing a very smart trench coat with a black shirt and a vicars collar. Round his right hand and shoulder there will be a wrapped chain with comes out of his coat sleeve without seeing his hand. The pockets of the trench coat will have rosary beads in which he will take out and hold in his left hand. He will wear some black loose jeans with a brown belt around his waist. The shoes he wears will be black booted shoes with no laces. This outfit makes Alec seem very intellectually but with the chain and rosary beads, psychotically religious as well.
Pictured is the cross we had produced by the woodwork department in school. We gave them the dimensions we desired and it was produced by the end of the week.
After writing the synopsis for our film "Alec" and considering the location of the movie opening, we had to style our location to match our preference. The abandoned hallway at Grafton Underwood needed to represent Alec's sanctuary. The hallway is bare with broken bricks and pipes along the walls with old slabs of concrete resting on the floor. We need to add several props to the location for it to give of the effect of an abandoned yet lived in place, in which Alec will come to pray to god. The props we are adding to the location are rusted chains along the concrete slabs which we can zoom into to create tension. Church pillar candles as they remind people of a religious place, a place in which people feel safe or uncomfortable depending on the scenery around it. We'll also add a large cross at the end of the hallway chipped and a bit withered to enhance the tension in then scene. We'll make this from two one meter length bit of wood. The candles will create an atmospheric mood lighting for the hallway which will give an easy feel.
Pictured is the cross we had produced by the woodwork department in school. We gave them the dimensions we desired and it was produced by the end of the week.
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| The completed cross, with a black background. |
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| The cross, with Ashley for scale. |
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| Ashley posing with the cross. |
Planning: Location planning
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.
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.
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