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Planning: Final Sub Genre Decision

Planning: Initial Target Audience Ideas

Planning: Film Idea Mindmap

Jess Fisher and I created a mind map whilst planning and brainstorming ideas for our film opening idea. With a rough plot in mind, we now had to consider where we would film, what sounds and editing techniques we could potentially use and how we will arrange lighting for it to look like a conventional thriller film. We also came up with a rough plot idea too, carefully incorporating an enigma within it so as to ensure our film will be entertaining to watch. This mind map was just for ideas and to know roughly what we plan to achieve with our 2 minute thriller film opening. 

Planning: Choosing an idea

When thinking of an idea for our film, Jess Fisher and I sat down and discussed possible ideas. We thought about thriller films we've watched and The Woman In Black was mentioned, and we discussed how creepy the dolls within the film made it. From then on, we decided that we would definitely use dolls in our film, which gave Jess another idea - to base our film off the true story of Isla de las Muñecas. Isla de las Muñecas (Island of the Dolls) is in Mexico, just south of Mexico City.  

The Legend - 

"Don Julian Santana Barrera was the caretaker of the island. The story goes that Julian found a little girl drowned in mysterious circumstances while he was not able to save her life. Shortly thereafter, Julian saw a floating doll near the canals. Most probably, the doll belonged to the girl. He picked up the doll and hung it to a tree, as a way of showing respect and support the spirit of the girl. Julian was apparently haunted by the spirit of the girl and started hanging more dolls in an attempt to please her spirit. Apparently he was very marked by the fact that he was not able to save the little girl’s life. After 50 years of collecting dolls and hanging them on the island, Julian was found dead, drowned in the same spot where the girl did." - this legend information is from the Isla de las Muñecas website http://www.isladelasmunecas.com/

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So using this legend, Jess and I will create a film which has aspects of this story within it, such as the dolls in the tree and the drowning girl. 

Research: Narratives

Narratives play an important role in film making. They are about things happening in a specific order, allowing the audience to clearly understand the content of the film and comprehend the meanings intended by the director. For a film to be successful in this way, it needs to be structured correctly. 

Most commonly, narratives develop in a linear way, chronologically, where a set of events links into one another throughout the movie, developing a simple plot line. However, some movies, such as Pulp Fiction, follow a non-linear path. These types of films often use flashbacks in order to purposely interrupt the chronology. 

There are many different theories behind narratives.

The Three Tvetzan Todorov Stages:

• Equilibrium (introductions)
• Disruption (introduces a problem)
• Resolution (all issues are resolved)

PROPP:

Vladimir Propp was a Russian critic in the 1920's. As more and more films were being produced, he became increasing interested in the narrative of folk tales. Via research, he identified a theory about different characters and actions as narrative functions within film.

The Seven Archetypes -

1. Overcoming the monster 
2. Rags to riches
3. The Quest 
4. Voyage and Return
5. Comedy
6. Tragedy
7. Rebirth

Character theories -

1. The Hero - a character that seeks something
2. The Villain - who opposes or actively blocks the hero's quest
3. The Donor - who provides an object with magical properties
4. The Dispatcher - who sends the hero on their quest
5. The False Hero - who disrupts the hero's success by making false claims
6. The Helper - who aids the hero
7. The Princess - acts as the reward for the hero and the object of the villains plots
8. Her Father - who acts to reward the hero for their effort 

There can also be a parallel narrative which includes two stories going on within film.

Research: 180 Degree Rule

The 180 degree rule is a common basic guideline regarding the communication of the character relationships on-screen during filming. An imaginary axis line, or line of action, connects the two characters or objects together. This rule is most commonly used to allow the audience to visually connect with the movement occurring behind the subject of the shot. It's most often used within eye-line match shots. If this rule is broken, then this will be on purpose by the director in order to represent something within the film, such as a disruption. 

Research - Sound

Research: Editing

Match Cutting (graphic match)

The match cut, also called a graphic match, is a cut in film editing between wither two different objects, two different spaces, or two different compositions in which objects in the two shots graphically match, often helping to establish a strong continuity of action and linking the two different comparisons.

They form the basis of continuity editing, which aims to create a sense of reality, allowing the audience to not draw attention to the editing taken place. In the film, Lawrence of Arabia, we see a very famous editing scene, demonstrating match cutting, when as the candle is blown out, it cuts to a completely different scene, however, it is still linking the two shots together - continuing the action within the scene. 

Continuity Editing

Continuity editing is the principle form of film editing. The main purpose of using continuity editing is to allow the discontinuity of post-production editing to be smoothed over in order to establish a logical coherence between shots. Continuity editing can introduce a theme of realism and can be used to communicate the narrative of the film.

It can also be referred to as invisible editing, implying how the technique does not draw attention to the editing process. In this video, we can clearly see the man walking towards his destination, with different cuts of him opening doors and walking as he goes. This continuous follow up of the man with differentiating shots prevents the audience from becoming bored of simply just watching him move from one place to the other. 

Dissolve

Dissolve editing is a transition editing technique which is a gradual change from one shot to the other. Fade-ins and Fade-outs are types of dissolving transitions, which are often used at the beginning or end of scenes. This is different to cutting as there is no such transition. 

A dissolve overlaps two shots for the extent of the effect and can also be used for montage sequences, such as within this video. It can also sometimes be used to symbolise the passing of a long period of time and the change of that object throughout the time. 

Eyeline Match

An eyeline match is a type of edit which cuts from one character to what they have been focussing on and can be associated with continuity editing. The eyeline match will begin with a character looking at something/someone off screen closely followed by a cut to the object/person that character had been looking at. 

There's a lot of eyeline match used within this video scene. It has mainly been used to build an intense atmosphere. As the woman is smaller than the man, when there's a shot of the woman, the camera is angled at a low angle, and vise versa for when the man is in shot. 

 

Jump Cut

A jump cut is an abrupt, disorienting transitional device in the middle of a continuous shot. Two sequential shots of the same subject are taken at different angles or camera positions which vary only slightly. This style of editing gives the film an effect of jumping forwards in time, keeping the audience engaged. 

The abrupt editing prevents them from becoming bored of watching something and keeps the film interesting. Sometimes, jump cuts are considered as a violation of classic, simple continuity editing.  

Montage Editing

The style of montage editing is commonly used to show the passing of a long time period over just a few minutes of film time. It's the juxtaposition of seemingly unconnected images in order to create meaning. Montage's convey a lot of information within a relatively short period. 

Within this montage clip of the 1985 Rocky IV film, it's apparent through the montage editing that he is going through a lot of training to be a boxer. However, via the use of the montage the audience can see the juxtaposition between how Rocky is training, and how other boxer's are training.

Cross Cutting

Cross cutting is the editing technique of alternating, interweaving, or interspersing one narrative action with another. The narratives are usually in different locations or places, thus combining the two: this editing technique usually suggests parallel action. This editing style is commonly used to dramatically build tension and suspense in chase scenes or to compare two different scenes. 

For example, within this short clip of Interception, there are two different narratives occurring and the editing is cutting back and forth from these clips to show that these events are happening within the film at the same time. One narrative is of a car chase and the other is of men fighting in a hallway. 

Shot Reverse Shot Cutting

A shot reverse shot is a type of edit which switches back and forth between two characters interacting directly with each other in the shot. It's often used during a conversation, where the characters are both looking at one another as they speak. It helps to incorporate a sense of reality within the shot, as a style of a continuity editing technique. It keeps the conversation and the scene flowing smoothly. 

Research: British Board of Film Classification

The British Film Board of Classification controls and decides on the age rating on films before they are released. This ensures the highest level of protection and empowerment in order to protect children from unsuitable or stressing contents in films. The ratings allow people to receive information they may need to know about a film before they view it. The BBFC look at matters within films such as discrimination, drugs, horror, dangerous behaviour, sex, nudity, language, and violence when making decisions on what the rating for a film should be.  

There are 5 ratings overall:

1.

This U symbol stands for Universal, meaning that it's suitable for all audiences aged 4 and over (they give films for audiences under 4 special BBFC insight stating they are ‘particularly suitable for pre-school children’). 

The only bad language allowed to be used within a U rated film will be mild words such as 'damn' and 'hell', which is used infrequently and violence will also be very mild. The only sexual behaviour permitted to be shown would be kissing and hugging. 


2.

 

PG stands for Parental Guidance, which means that any age from 8 to 11 can watch it, however if they are under the age of 8, it's recommended that they must have a parent or adult present with them whilst they watch it. These films are mainly suitable for general viewing however, it's down to the parents to consider whether it's suitable for their children or not as there may be scenes of fairly mild violence however, it's unlikely that there will be sexual references, drug references. There may however be mild swear words used such as "crap" or innuendos. 

3. 

 

Films classified 12A  contain material that is not generally suitable for children aged under 12. It's not recommended that someone younger than 12 may see a 12A film in a cinema unless accompanied by an adult. Adults planning to take a child under 12 to view a 12A film should consider whether the film is suitable for that child. A 12 rated film means that anyone above the age of 12 can watch that film unaccompanied by an adult. 

12 rated films may include:

> Brief sexual behaviour 

> Strong language

> Moderate violence

> Brief nudity

> Moderate physical and psychological threats in horror/thriller films

> Some dangerous behaviour

> Infrequent sight of drugs

4.

This rating simply means that no-one under the age of 15 is allowed to watch a 15 rated film in the cinema. This is because a 15 rated film can contain the following:

> Strong violence 

> Frequent strong language (e.g 'f***')

> Portrayals of sexual activity 

> Strong verbal references to sex 

> Sexual nudity

> Brief scenes of sexual violence or verbal references to sexual violence 

> Discriminatory language or behaviour

> Drug taking

Sexual activity can be portrayed in a 15, but usually it's without strong detail. 

Strong violence can also be shown however, the shots must not dwell too long on injury and gory images are likely to be unacceptable. 

5.

An 18 rated film means that it is for adults to watch in cinemas only. No 18 rated film is at all suitable for children to watch. Issues shown in 18 films are similar to those shown in 15's however they are more detailed and dwelled upon, such as:

> Real sex (in some circumstances)

> Strong horror, blood and gore

> Very strong language and violence

At 18 drug taking may be shown but the work as a whole must not promote or encourage drug misuse.

References to: www.bbfc.co.uk

Research - Thriller genre (sub-genre: Religious): The Exorcist (1973)

Research - Thriller genre (sub-genre: Physiological): Se7en (1995) Intro

Research - Thriller genre (sub-genre: Conspiracy): The Bourne Identity (2002) Intro

The Bourne Identity (2002) is a conspiracy thriller, based on the story of a young man salvaged near death out in the ocean by Italian fishermen. When he becomes conscious again, he suffers from complete amnesia without knowing his identity or background. This incorporates the genre of conspiracy, particularly considering he's trying to be lethally pursued by assassins and doesn't know why. Due to his lack of knowledge about himself, the audience also has a lack of knowledge and therefore is enticed by the possibility of an expected surprise or plot twist.

Narrative

The narrative of this opening scene is fairly conventional to a thriller conspiracy in that cross cutting is used to show a parallel narrative, showing the two different contexts occurring, giving the scene texture and creates tension within the audience. Parallel narrative is often used in conspiracy thrillers so that the audience has more background knowledge, allowing them to understand what is going on within the film at the same time as being intrigued as to find out what happens next. The parallel narratives occurring are fairly contrasted in that the fishermen are laughing, having a good time playing Poker, however, outside on the water, a man is floating unconsciously amongst the rain and thunder and lightning. It is not until 1:23 when the two narratives collide, one of the fishermen goes outside on the boat and sees this figure floating on the water. After he sees this, he immediately starts to help save this floating body. This leaves the audience wondering what a man's body was doing in the middle of the ocean, and also entices them to question whether the body is alive or dead and what happened to him. Therefore, this opening scene builds the atmosphere of tension within the audience, right at the beginning of the film. 

Mise en Scene

Beginning with a blackout, the scene fades into the first scene. The quality is blurred, signifying the uncertainty of what is going on and the dark lighting of the dark blue contrasts clearly with the bright light flashing, communicating that it is night time and there is a storm occurring. Storms can often be associated with conspiracies, such as there may be a storm just before something bad is about to happen. This stereotypical notion is therefore inflicted upon the audience - to believe that something bad is about to happen. Although the image is blurred, the lightning contrasts with the dark blue of what appears to be the ocean, illuminating the eerie image of the dark silhouette of what looks like a man's body, floating on the surface of the ocean water. 

It then cuts to an establishing shot of a fishing boat out on the water during the same storm. We then are shown a shot of the fishermen inside. On the table, it is communicated that they are playing cards around the table together, ignoring the storm outside and drinking alcohol. This shows that they are completely oblivious as to what is about to happen, therefore reflecting on how the audience is feeling at this moment in time within the scene. The camera action is shaking slightly so as to imply that the boat is rocking a lot due to the heavy storm outside. However, we can see from their facial expressions that they are unphased by the ocean storm, and the audience can assume that this is simply because they are fishermen so they are used to it. 

After this shot, it cuts back to the parallel narrative of what is happening outside in the ocean amongst the strong storm. It shows the downfall of rain and the dark, blurry horizon, signifying how no-one knows what is going to happen next, not even the audience. It quickly cuts back to the fishermen inside their boat, only this time there is a close up shot of the objects on the table. Here we can clearly see they are having an interesting, fun game of poker, suggested via them laughing and talking loudly and excitedly. Their facial expressions also suggest this, and they are smoking cigarettes which can often be associated to signify relaxation and casualness. This notion emphasises on the fact that these emotions the men are portraying are conflicting with the audiences tense emotions and the suspense within the atmosphere of the scene, creating two very different collisions of emotions. 

The next shot draws the audience into the reality of what is going on. The camera zooms further in to the body floating on the water, communicating to the audience that this body is the main subject of the entire scene. The lighting is very low-key, connoting that danger has struck or something serious has happened. The lightning is still flashing, creating the pathetic fallacy of danger too and suspense, as this is often what lightning connotes. 

This is followed by the scene of one of the fishermen walking outside onto the boat in the pouring rain and lightning. He stumbles around, perhaps from being slightly intoxicated however mainly from the rocking of the boat on the stormy waves. Due to the dark lighting outside because it's night, when the camera tracks him walking down towards the edge of the boat, all the audience can see is the fishermen's silhouette. This immediately encourages the audience to link this back to the mysterious body floating on the surface of the water, therefore implying that the two characters are soon about to meet, finally interacting the two parallel narratives. There is a mid shot of this fisherman suddenly looking up and out to sea after he chucks something over the edge of the boat (the reason why he went outside on the boat in the first place). Here is the exact point where the audience knows what he is looking at - the floating body. There are further close up shots of the fisherman's face as he squints and moves his head to get a better look at what is out in the water. The close up shot is used to express the emotions of the character, which in this case, is curiosity and also confusion. 

After this shot, it cuts to the first clear shot of this mysterious body in the ocean. This midlength shot is taken from underneath the waters surface, and now, due to the camera being closer to the subject, the audience can properly confirm that this is an unconscious body. However, they still do not know who it is or how they came into this state. The idea that the fisherman has seen this body implies that perhaps he will try and save this body, therefore, helping the audience to reveal more about who this man is - which throughout the film, the character doesn't even know himself as he suffers with amnesia when he recuperates.

Research: Codes and Conventions of a THRILLER film

For our media AS, my class will be creating in small groups a 2 minute opening to a thriller film. Before doing any more research into thriller films, I thought it would be useful for me to understand the codes and conventions typically shown within one so I will be able to easily identify and use these conventions within my own research and production. 

A thriller consists of these conventions:

• Low key lighting
• Quick cuts
• Shadows
• Tension music
• Different angle shots
• Black and white shots

The characters in a thriller are often a protagonist whose aim is to restore the equilibrium. However, due to a plot twist as a surprise, an antagonist mysteriously reveals themselves as the film progresses. They usually seek revenge from past events. 

Thrillers are so powerful and engage the audience so well because their motive and theme is to make the audience think there is a chance that the events happening in the film could potentially happen to them, therefore scaring them more. 

Conventional shots and angles in a thriller: there will classically be a lot of close up and extreme close up shots of the protagonist character displayed in order to portray their emotions and can be used to focus on the narrative. 

Shots of the antagonist character however are quick so as to hide their identity, keeping the audience engaged and interested, giving them a 'thrill'. In some thriller films, the antagonists character sometimes isn't even shot or shown throughout the film, or is only shown towards the very end. This is used for a tense effect in order to surprise and excite the audience watching. Producers of thriller films will often hold back on revealing who the antagonist actually is for cinematic effect. 

In terms of editing a thriller film, jump cuts, cross cutting and continuity editing are the most common conventions due to their ambiguous characterisations, which create a suspense within the audience and atmosphere of the film. This is essential within a thriller film as its aim is to build suspense. 

Sound in thrillers also feature an essential role in a thriller because it can help to set a tense and dramatic atmosphere. The effect of sound in a thriller, or any film, is that it can help hint to the audience that something is going to happen during a significant part of the film.

Some examples of thriller films:

• Vanilla Sky
• Hannibal
• The Bourne Identity
• Black Swan
• Inception

Research - Comparison of Genres

Tarzan & The Possession from bethantaylor99