We have completed the production brief, call sheet, cast notes, location contract, risk assessment and release form.
We booked dates for filming and now preparing to film, booking camera and equipment, getting props together, making sure actors are still available to film ect. By the end of this week we shall have finished filming and can start the editing process.
Wednesday, 17 November 2010
Location Release Form (Patsy Jones)
This is the release form myself Patsy Jones (director) and the head of the mechanice department at my college both signed. It states similar conditions in this release form than the location contract. These two document have helped with organising the production, because it ensured our filming dates.
Location Contract (Patsy Jones)
Risk Assesment (Patsy Jones)
Cast Notes (Patsy Jones)
This is Ben Kitto from Emerson Park; he is a student at Havering College of Higher and Further Education. Ben has previously been an AS media student and was happy to act in out film, he acted as the main villain.
This is myself Patsy Jones; I am from Romford, Essex. I am a student at Havering College of Further and Higher Education. Originally, someone else was planned to act as the female in out film, but as complications arrose, I had to step in and act.
Tuesday, 16 November 2010
Monday, 15 November 2010
Weekly update (4)
Week 4
We have assigned roles and responsibilities between each other in the group. By each person knowing what they have to do, it is helping us keep good time management.
We have completed the props, software description, location pictures and the story board. A group meeting was held and we discussed how the blog work is going, we decided to start planning to film our production. In order to do this we need certain things completed, this week we are hoping to get the production brief, production logo, location contract, location release form and cast notes, risk assessment and call sheet completed.
We have assigned roles and responsibilities between each other in the group. By each person knowing what they have to do, it is helping us keep good time management.
We have completed the props, software description, location pictures and the story board. A group meeting was held and we discussed how the blog work is going, we decided to start planning to film our production. In order to do this we need certain things completed, this week we are hoping to get the production brief, production logo, location contract, location release form and cast notes, risk assessment and call sheet completed.
Allocated Roles & Responsibilities (plus date completed by)
Pitch - Patsy 6/02/11
Script - Patsy 16/11/10
Treatment - Catherine 17/11/10
Opening Sequence - Patsy 18/11/10
Features film synopsis - Patsy and Catherine -10/02/11
Preliminary task and evaluation - Catherine & Patsy - 14/11/10
Preliminary shot list - Patsy & Catherine 14/11/10
Different thriller sub genres - Patsy 28/02/11
Thriller codes & conventions - Patsy 21/02/11
Audience Research - Patsy 23/02/1
180 degree rule - Catherine 20/11/10
Narrative Codes - Patsy 7/01/11
BBFC research - Catherine 21/11/10
Barthes Code- Patsy 24/2/11
Production Logo- Catherine and Patsy 17/03/11
Location notes- Catherine- 18/03/2011
Cast notes- Patsy
Brainstorm- Catherine-18/03/2011
Script - Patsy 16/11/10
Treatment - Catherine 17/11/10
Opening Sequence - Patsy 18/11/10
Features film synopsis - Patsy and Catherine -10/02/11
Preliminary task and evaluation - Catherine & Patsy - 14/11/10
Preliminary shot list - Patsy & Catherine 14/11/10
Different thriller sub genres - Patsy 28/02/11
Thriller codes & conventions - Patsy 21/02/11
Audience Research - Patsy 23/02/1
180 degree rule - Catherine 20/11/10
Narrative Codes - Patsy 7/01/11
BBFC research - Catherine 21/11/10
Barthes Code- Patsy 24/2/11
Production Logo- Catherine and Patsy 17/03/11
Location notes- Catherine- 18/03/2011
Cast notes- Patsy
Brainstorm- Catherine-18/03/2011
Story Board (Patsy Jones)
There is a mid shot of a boot of car; in the film you will see the female character Rose's feet kick the top of the boot in the attempt to pop it open
Rose unties her feet but cannot untie her hands.
A mid shot of Rose trying to push the escape button in used.
A worms view shot is used, in this you can see a mans feet walking.
Theres an over the shoulder shot of Rose looking to see where the noise is coming from at this point the tension rises.
A shot is used and you catch a glimps of the character Colin. A long shot is used for this.
A mid-long shot used to show 'Colin' walking through a door.
Rose goes to the door and waits behind it, she holds her high-heel as a weapon.
Rose quickly attacks Colin with her shoes, this is also a mid long shot.
Colins hand is shown spread across the floor, in the production blood will places underneath his hand. This is a connotation that Colin is seriously injured.
A long shot is shown of 'Rose' running towards a door.
An OTS mid-shot is used to show 'Rose' getting close to the door.
As Rose reaches what looks like an escape, an unknown character places a gun to her head.
Location notes/pictures (Catherine Seiersen)
Unfortunatly i had to take outer pictures of a different garage as the day I shot the pictures the garage we intended to use was being used as storage for the rest of the garage block.Audience Reserch (Patsy Jones)
This is a vox pop which we put together to gather information from our target audience. We generally asked males aged 16-19, but asked some older people who enjoy watching thrillers. We wanted to find out what parts of thrillers they enjoyed, what characters they liked to find and other things they enjoy within thriller movies.
From this research we found that our target audience likes to see a vulnerable female as the victim, as well as conflict with another character. Tension and action was found to very favorable with boys aged 16-19 which had helped us to decide to include them in our production.
Weekly update (3)
Week 3
We completed the bbfc research and the brainstorm has been posted but at the moment we are experiencing technical difficulties. The treatment was completed and we are happy with the end result.
Next week are goal is to sort out the Brainstorm so it can be viewed on the blog. We have set each other tasks to complete larger amounts of work and research to prevent falling behind. Hopefully next week, the Barthes code and audience research will be completed, the prop list, software description and location photographs to be completed by Catherine and Patsy to do the storyboard.
We completed the bbfc research and the brainstorm has been posted but at the moment we are experiencing technical difficulties. The treatment was completed and we are happy with the end result.
Next week are goal is to sort out the Brainstorm so it can be viewed on the blog. We have set each other tasks to complete larger amounts of work and research to prevent falling behind. Hopefully next week, the Barthes code and audience research will be completed, the prop list, software description and location photographs to be completed by Catherine and Patsy to do the storyboard.
Sunday, 14 November 2010
Production Logo (Catherine Seiersen + Patsy Jones)
This is our Production logo which we created to signify that we are the creators of the film. We used 'CPN' as our production name as it represents the first letters of our names. I used the colour red as it represents blood and our thriller film. Also i used a black background for the logo as it creates a dark and gloomy atmosphere at the beginning of the film. I used photoshop to create our logo as it has user friendly specifications and it creates a clear picture that we will be able to use in our two minute opening sequence.
BBFC Research (Catherine Seiersen)
The British Board of film classification is the ungovernmental body that makes decisions on who can watch what type of film using ratings and the backing of the government passing laws on film, DVD, and video game ratings (15,18,U). The British Board of film censors was created in 1912 when local authorities to enforce there own censorship standards. It started in only cinemas but in 1984 they branched to censoring DVDs and video games. Although the local authorities still had the power to show films that have been banned by the bbfc and vice versa they all resign to following the bbfc's choices.
They look at discrimination, drugs, horror, imitable behaviour, language, nudity, sex, theme and violence within a film when deciding the classification for it.
We decided that our film is best suited in the classification of '15'. This decision was reached when we looked at the factors in which the bbfc look at when deciding the film classification:
Discrimination:The work as a whole must not endorse discriminatory language or behaviour.
Our work does not involve any discrimination
Drugs:Drug taking may be shown but the film as a whole must not promote or encourage drug misuse. The misuse of easily accessible and highly dangerous substances (for example, aerols or solvents) is unlikely to be acceptable.
No drugs or dangerous substances will be used within the opening sequence, but there will be reference to drugs in the film.
Horror:Strong threat and menace are permitted unless sadistic or sexualised.
Our work will not include any horror elements as it is a thriller.
Imitable behaviour:Dangerous behaviour(for example, hanging, suicide, selfharming) should not dwell on detail which could be copied. Easily accessible weapons should not be glamorised.
No imitable behaviour will not be in the film at all.
Language:There may be frequent use of strong language (for example, 'fuck'). the strongest terms (for example, 'cunt') may be acceptable if justified by the context. Aggressive or repeated use of strong language is unlikely to be acceptable.
There will be no dialogue within the opening sequence but there will be a mild use of strong language.
Nudity:Nudity may be allowed in a sexual context but without strong detail. There are no constraints on nudity in a non-sexual or educational context.
No nudity will shown within the whole film.
Sex:Sexual activity may be portrayed without strong detail. There may be strong verbal references to sexual behaviour, but the strongest references are unlikely to be acceptable to be unless justified by context. Works whose primary purpose is sexual arousal or stimulation are unlikely to be acceptable.
Sexual references will be used within the film but not the opening sequence.
Theme:No theme is prohibited, provided the treatment is appropriate for 15 year olds.
All our themes are appropriate to 15 year olds.
Violence:Violence may be strong but should not dwell on the infliction of pain or injury. The strongest gory images are unlikely to be acceptable. Strong sadistic or sexualised violence is also unlikely to be acceptable. There may be detailed verbal references to sexual violence but any portrayal of sexual violence must be discreet and have a strong contextual justification.
There will be certain strong violence shown in the film but only implication of violence in the opening sequence.
All this information given e.g. the age reating guidelines can be found on the bbfc website- www.bbfc.co.uk
They look at discrimination, drugs, horror, imitable behaviour, language, nudity, sex, theme and violence within a film when deciding the classification for it.
We decided that our film is best suited in the classification of '15'. This decision was reached when we looked at the factors in which the bbfc look at when deciding the film classification:
Discrimination:The work as a whole must not endorse discriminatory language or behaviour.
Our work does not involve any discrimination
Drugs:Drug taking may be shown but the film as a whole must not promote or encourage drug misuse. The misuse of easily accessible and highly dangerous substances (for example, aerols or solvents) is unlikely to be acceptable.
No drugs or dangerous substances will be used within the opening sequence, but there will be reference to drugs in the film.
Horror:Strong threat and menace are permitted unless sadistic or sexualised.
Our work will not include any horror elements as it is a thriller.
Imitable behaviour:Dangerous behaviour(for example, hanging, suicide, selfharming) should not dwell on detail which could be copied. Easily accessible weapons should not be glamorised.
No imitable behaviour will not be in the film at all.
Language:There may be frequent use of strong language (for example, 'fuck'). the strongest terms (for example, 'cunt') may be acceptable if justified by the context. Aggressive or repeated use of strong language is unlikely to be acceptable.
There will be no dialogue within the opening sequence but there will be a mild use of strong language.
Nudity:Nudity may be allowed in a sexual context but without strong detail. There are no constraints on nudity in a non-sexual or educational context.
No nudity will shown within the whole film.
Sex:Sexual activity may be portrayed without strong detail. There may be strong verbal references to sexual behaviour, but the strongest references are unlikely to be acceptable to be unless justified by context. Works whose primary purpose is sexual arousal or stimulation are unlikely to be acceptable.
Sexual references will be used within the film but not the opening sequence.
Theme:No theme is prohibited, provided the treatment is appropriate for 15 year olds.
All our themes are appropriate to 15 year olds.
Violence:Violence may be strong but should not dwell on the infliction of pain or injury. The strongest gory images are unlikely to be acceptable. Strong sadistic or sexualised violence is also unlikely to be acceptable. There may be detailed verbal references to sexual violence but any portrayal of sexual violence must be discreet and have a strong contextual justification.
There will be certain strong violence shown in the film but only implication of violence in the opening sequence.
All this information given e.g. the age reating guidelines can be found on the bbfc website- www.bbfc.co.uk
'A Night To Remember Pitch' (Patsy Jones)
Pitch for a Night to Remember
Our film is a psychological thriller about one man’s unrequited love for a young girl. He has built up an idea in his head over the years that he has a relationship with the girl, when they are just neighbours with very little contact. After not returning the mutual feelings to ‘Colin’ he plots to abduct the girl ‘Rose’. Throughout the film it becomes clear that Colin is far from mentally stable, and is convinced that Rose belongs to him.
Our unique selling point of the film is that the main female character plays a very non-stereotypical role. The female, who is also the victim in our film, is a very strong character. This goes against the audience’s expectations of females in thriller movies, as they are normally venerable and helpless characters. Another unique selling point of our film is that it’s an entirely British produced film.
Our target audience is both male and females aged 16-25. The socio-economic groups that we are targeting are C1, C2, D and E.
We are planning to use low key lighting to create a gloomy atmosphere. Close-up’s and POV shots will be used to show emotions in the characters face.
Our film is a psychological thriller about one man’s unrequited love for a young girl. He has built up an idea in his head over the years that he has a relationship with the girl, when they are just neighbours with very little contact. After not returning the mutual feelings to ‘Colin’ he plots to abduct the girl ‘Rose’. Throughout the film it becomes clear that Colin is far from mentally stable, and is convinced that Rose belongs to him.
Our unique selling point of the film is that the main female character plays a very non-stereotypical role. The female, who is also the victim in our film, is a very strong character. This goes against the audience’s expectations of females in thriller movies, as they are normally venerable and helpless characters. Another unique selling point of our film is that it’s an entirely British produced film.
Our target audience is both male and females aged 16-25. The socio-economic groups that we are targeting are C1, C2, D and E.
We are planning to use low key lighting to create a gloomy atmosphere. Close-up’s and POV shots will be used to show emotions in the characters face.
Treatment (Catherine Seiersen)
Product: Our product is a 2 minute opening sequence for a film called 'A night to remember'. We will be marketing our product on many media instituions like the internet, television and newspapers. The use of marketing our product on the internet creates an easy access for our target audience giving it more of a chance of having exposer. Similiar consequences for marketing on television. Our distribution would be wide spread creating more consumption therefore more profit.
Target audience: Our target audience is 15 year olds and older. The set age for our target audience would be 15 to 25 so mainly youths but will be appropriate for anyone over the age of 15. The film would be appropriate for male and females as long as they are interested in our chosen genre, thriller. It would be aimed at people who in the socioeconomic groups of C1 to E as most youths are ethier still students our starting on a low income with there career/job. We plan on inticing our target audiences with twists in the storyline and the plot to not be so clear cut. this will hopefully draw the audience in as it will keep their minds active like a intricate riddle.
Context: The more our product is advertised the more our audience will become more aware that our product is being realised in the cinema and eventually TV channels such as channel 5 which is well known for playing movies. Our product will start by being shown in the cinema and then after the required 12 weeks of being the cinema, it would be brought out on DVD. Using mediums like newspapers, internet and radio the product would be exposed as much as possible which gives a great amount of publicity for the film and giving more chance for a high success rate.
Media Language (media concepts): The opening sequence will consist of a varity of shots and angles given a broad overlook on cinematography. Long shots will be used to create a isolated atmosphere as it will show an out of the ordinary location and how the character Rose is alone. Close up shots will be used to show the characters facial expressions which will give the audience a better understanding of 'Rose's' emotions at the time e.g. when she is in the boot, she will be scared and dis-oreintated. Extreme close ups will be used to establish a point such as the character pushing the realise button and it doesn't work. This causes panic for the character and the audience will be fixed on what will happen next for her to escape or not.
Dim lighting will be used to create dis-orientation for the audience as everything will be un-clear and sinicle. This creates a connection to the audience and the character as they sympathise with her, as they are none the wiser then she is with her situation.
Although dialogue will not be used in the opening sequence it will be used through out the film but only to give snipets of an explantion to the storyline like background information. Incidental music will be used throughout wether it be popular music or score music, this will set the mood of the scene a lot more then just the acting alone. With this in mind Sound is a key part in creating the right atmosphere for this film.
Institutions (media concepts): We will target consumers globally with the use of our logo PC production and film being advertised through the use of such medium such as the internet, television and radio broadcasting.
Representations (media concepts): We will be keeping to stereotypes within this film in a sense that our protagonist, Rose, will be seen as defenceless, weak but relentless of not being held captive. It is the same as our other character, the antagonist, who is portrayed as cunning, sinister and mysteriousas to what his motives are. Keeping with stereotypes will give the audience a comfort zone in a film that intends to make them feel out of the loop.
Genre (media concepts): We intend on keeping to the basic thriller conventions such as the twists in the plot and a not so clear cut storyline which is easily predictable. The opening sequence will keep much to the Thriller conventions as the location will seem sinister and the character will look out of place within that location. The thriller genre will become more clear to the audience throughout the film as the plot will thicken and twists will be revealed keeping to the thriller guidelines and creating a intricate storyline that usally consists in thrillers.
Target audience: Our target audience is 15 year olds and older. The set age for our target audience would be 15 to 25 so mainly youths but will be appropriate for anyone over the age of 15. The film would be appropriate for male and females as long as they are interested in our chosen genre, thriller. It would be aimed at people who in the socioeconomic groups of C1 to E as most youths are ethier still students our starting on a low income with there career/job. We plan on inticing our target audiences with twists in the storyline and the plot to not be so clear cut. this will hopefully draw the audience in as it will keep their minds active like a intricate riddle.
Context: The more our product is advertised the more our audience will become more aware that our product is being realised in the cinema and eventually TV channels such as channel 5 which is well known for playing movies. Our product will start by being shown in the cinema and then after the required 12 weeks of being the cinema, it would be brought out on DVD. Using mediums like newspapers, internet and radio the product would be exposed as much as possible which gives a great amount of publicity for the film and giving more chance for a high success rate.
Media Language (media concepts): The opening sequence will consist of a varity of shots and angles given a broad overlook on cinematography. Long shots will be used to create a isolated atmosphere as it will show an out of the ordinary location and how the character Rose is alone. Close up shots will be used to show the characters facial expressions which will give the audience a better understanding of 'Rose's' emotions at the time e.g. when she is in the boot, she will be scared and dis-oreintated. Extreme close ups will be used to establish a point such as the character pushing the realise button and it doesn't work. This causes panic for the character and the audience will be fixed on what will happen next for her to escape or not.
Dim lighting will be used to create dis-orientation for the audience as everything will be un-clear and sinicle. This creates a connection to the audience and the character as they sympathise with her, as they are none the wiser then she is with her situation.
Although dialogue will not be used in the opening sequence it will be used through out the film but only to give snipets of an explantion to the storyline like background information. Incidental music will be used throughout wether it be popular music or score music, this will set the mood of the scene a lot more then just the acting alone. With this in mind Sound is a key part in creating the right atmosphere for this film.
Institutions (media concepts): We will target consumers globally with the use of our logo PC production and film being advertised through the use of such medium such as the internet, television and radio broadcasting.
Representations (media concepts): We will be keeping to stereotypes within this film in a sense that our protagonist, Rose, will be seen as defenceless, weak but relentless of not being held captive. It is the same as our other character, the antagonist, who is portrayed as cunning, sinister and mysteriousas to what his motives are. Keeping with stereotypes will give the audience a comfort zone in a film that intends to make them feel out of the loop.
Genre (media concepts): We intend on keeping to the basic thriller conventions such as the twists in the plot and a not so clear cut storyline which is easily predictable. The opening sequence will keep much to the Thriller conventions as the location will seem sinister and the character will look out of place within that location. The thriller genre will become more clear to the audience throughout the film as the plot will thicken and twists will be revealed keeping to the thriller guidelines and creating a intricate storyline that usally consists in thrillers.
Weekly update (2)
Week 2
We managed to get our genre research done which helped with our ideas as we know the guidelines which state what makes a thriller. We researched into the 180 degree rule and the 30 degree rule has it will and has given us a helpful outlook and how to film when the time comes for us to do start filming.
The synopsis was completed and we considered it to be helpful as it gave us a better idea on how our opening sequence will need to end so it will make a connection for the rest of the film.
Next week will set out to complete our bbfc research and will be posting our brainstorm as well. We will be starting and hopefully completing our Treatment for the opening sequence as well as the pitch for our film.
We managed to get our genre research done which helped with our ideas as we know the guidelines which state what makes a thriller. We researched into the 180 degree rule and the 30 degree rule has it will and has given us a helpful outlook and how to film when the time comes for us to do start filming.
The synopsis was completed and we considered it to be helpful as it gave us a better idea on how our opening sequence will need to end so it will make a connection for the rest of the film.
Next week will set out to complete our bbfc research and will be posting our brainstorm as well. We will be starting and hopefully completing our Treatment for the opening sequence as well as the pitch for our film.
The Hermeneutic Code - (Patsy Jones)
The hermeneutic code – the parts of a story that are not fully explained. They exist as enigmas or questions that the audience wishes to be resolved. A detective story, for example, is a narrative that operates mainly by the hermeneutic code. A criminal act is shown and the remainder of the narrative is devoted to answering questions raised by the initial event.
In order to maintain interest, the final truth is not revealed typically until the end of the story and some devices are used to conceal it:
The snare – a deliberate avoidance of the truth – a tease or an implication that sends the audience down a wrong path.
Partial answers – revealing some of the final truth(s) – this is used to actually increase suspense.
Equivocation – a mixture of truth and snare – usually further muddying the water!
Jamming – Suggesting that the problem may be unsolvable.
In order to maintain interest, the final truth is not revealed typically until the end of the story and some devices are used to conceal it:
The snare – a deliberate avoidance of the truth – a tease or an implication that sends the audience down a wrong path.
Partial answers – revealing some of the final truth(s) – this is used to actually increase suspense.
Equivocation – a mixture of truth and snare – usually further muddying the water!
Jamming – Suggesting that the problem may be unsolvable.
The Proairetic Code (Patsy Jones)
The proairetic code – actions that imply further action/reaction. E.g. a character has an argument and the reader wonders what the resolution or outcome of this argument will be. This creates suspense/tension as the audience wonder what the outcome will be and begin to make guesses.
All of these conventions haave been used in previous thriller opening sequences within films such as 'Panic room' and 'Saw'
All of these conventions haave been used in previous thriller opening sequences within films such as 'Panic room' and 'Saw'
Roland Barthes Code (Patsy Jones)
Influential French Literary Theorist.
Developed a theory that there are 5 major codes within a story that are interwoven in order to create meaning.
For our purposes, i.e. to aid our understanding of opening sequences, we’re going to consider just 2 of the 5 codes.
Developed a theory that there are 5 major codes within a story that are interwoven in order to create meaning.
For our purposes, i.e. to aid our understanding of opening sequences, we’re going to consider just 2 of the 5 codes.
Different Types Of Thrillers (Patsy Jones)
Within the ‘Thriller’ film genre there exists many sub-genres or ‘hybrids’:
• Action thriller - In which the work often features a race against the clock, contains lots of violence, and an obvious antagonist. These films usually contain large amounts of guns, explosions, and large elaborate set pieces for the action to take place. These films often have elements of mystery films and crime films but these elements take a backseat to action. Notable examples are the James Bond films, The Transporter, and the Jason Bourne novels and films.
• Conspiracy thriller - In which the hero/heroine confronts a large, powerful group of enemies whose true extent only he/she recognizes. The Chancellor Manuscript and The Aquitane Progression by Robert Ludlum fall into this category, as do films such as Three Days of the Condor and JFK.
• Crime thriller - This particular genre is a hybrid type of both crime films and thrillers that offers a suspenseful account of a successful or failed crime or crimes. These films often focus on the criminal(s) rather than a policeman. Crime thrillers usually emphasize action over psychological aspects. Central topics of these films include murders, robberies, chases, shootouts, and double-crosses are central ingredients. Some examples include The Killing, Seven, The Godfather, Reservoir Dogs, Inside Man, and The Asphalt Jungle.
• Disaster thriller - In which the main conflict is due to some sort of natural or artificial disaster, such as floods, earthquakes, hurricanes, volcanoes, etc., or nuclear disasters as an artificial disaster. Examples include Stormy Weather by Carl Hiaasen, Tremor by Winston Graham, and the 1974 film Earthquake.
• Drama thriller - In which the story consists of the elements of a thriller and drama film. These films are usually slower paced and involves a great deal of character development along with plot twists. Examples include The Illusionist, The Interpreter and The Prestige.
• Eco-thriller - In which the protagonist must avert or rectify an environmental or biological calamity - often in addition to dealing with the usual types of enemies or obstacles present in other thriller genres. This environmental component often forms a central message or theme of the story. Examples include Nicholas Evans's The Loop, C. George Muller's Echoes in the Blue, and Wilbur Smith's Elephant Song, all of which highlight real-life environmental issues. Futuristic Eco-thrillers are of the Science Fiction genre that propose ideas that will or may occur and include such works as Kim Stanley Robinson's Mars Trilogy and Ian Irvine's Human Rites Trilogy and Dasavathaaram.
• Erotic thriller - In which it consists of erotica and thriller. It has become popular since the 1980s and the rise of VCR market penetration. The genre includes such films as Basic Instinct, Fatal Attraction, Looking for Mr. Goodbar, and In the Cut.
• Horror thriller - In which conflict between the main characters are mental, emotional, and physical. Two recent examples of this include the Saw series of films and the Danny Boyle's 28 Days Later. What sets the horror thriller apart is the main element of fear throughout the story. The main character(s) is not only up against a superior force, but they are or will soon become the victims themselves and directly feel the fear that comes by attracting the monster's attention. Other well-known examples are Alfred Hitchcock's Psycho and Thomas Harris's The Silence of the Lambs.
• Legal thriller - In which the lawyer-heroes/heroines confront enemies outside, as well as inside, the courtroom and are in danger of losing not only their cases but their lives. The Innocent Man by John Grisham is a well known example of the type.
• Medical thriller - In which the hero/heroine are doctors or medical personnels working to solve an expanding medical problem. Robin Cook, Tess Gerritsen, Michael Crichton, and Gary Braver are well-known authors of this subgenre. Nonfiction medical thrillers are also a subcategory, comprising works like The Hot Zone by Richard Preston. Films such as Awake are other examples of medical thrillers.
• Political thriller - In which the hero/heroine must ensure the stability of the government that employs him. The success of Seven Days in May (1962) by Fletcher Knebel, The Day of the Jackal (1971) by Frederick Forsyth, and The Manchurian Candidate (1959) by Richard Condon established this subgenre. A more recent example is the 1980 film "Agency".
• Psychological thriller - In which (until the often violent resolution) the conflict between the main characters is mental and emotional, rather than physical. The Alfred Hitchcock films Suspicion, Shadow of a Doubt, and Strangers on a Train and David Lynch's bizarre and influential Blue Velvet are notable examples of the type, as is The Sixth Sense by M. Night Shyamalan and The Talented Mr. Ripley by Patricia Highsmith (who also wrote Strangers).
• Spy thriller (also a subgenre of spy fiction) - In which the hero is generally a government agent who must take violent action against agents of a rival government or (in recent years) terrorists. Examples include From Russia with Love by Ian Fleming, The Bourne Identity by Robert Ludlum, and television series such as Mission: Impossible and 24 (the latter demonstrating a break from the norm by Robert Ludlum, as it is as much a psychological thriller as a spy thriller.)
• Supernatural thriller - In which the conflict is between main characters, usually one of which has supernatural powers. Carrie by Stephen King and Unbreakable by M. Night Shyamalan and Torchwood are notable examples of this genre. This type of thriller combines tension of the regular thriller with such basic horror oriented ingredients as ghosts, the occult, and psychic phenomenon; the supernatural thriller combines these with a frightening but often restrained film. They also generally eschew the more graphic elements of the horror film in favor of sustaining a mood of menace and unpredictability; supernatural thrillers often find the protagonists either battling a malevolent paranormal force or trapped in a situation seemingly influenced or controlled by an other-worldly entity beyond their comprehension.
• Techno-thriller - A work that usually focuses upon military action, in which technology (usually military technology) is described in detail and made essential to the reader's/viewer's understanding of the plot. Tom Clancy defined and popularized the genre with his The Hunt for Red October, and is considered to be the "Father of the Technothriller."
• Action thriller - In which the work often features a race against the clock, contains lots of violence, and an obvious antagonist. These films usually contain large amounts of guns, explosions, and large elaborate set pieces for the action to take place. These films often have elements of mystery films and crime films but these elements take a backseat to action. Notable examples are the James Bond films, The Transporter, and the Jason Bourne novels and films.
• Conspiracy thriller - In which the hero/heroine confronts a large, powerful group of enemies whose true extent only he/she recognizes. The Chancellor Manuscript and The Aquitane Progression by Robert Ludlum fall into this category, as do films such as Three Days of the Condor and JFK.
• Crime thriller - This particular genre is a hybrid type of both crime films and thrillers that offers a suspenseful account of a successful or failed crime or crimes. These films often focus on the criminal(s) rather than a policeman. Crime thrillers usually emphasize action over psychological aspects. Central topics of these films include murders, robberies, chases, shootouts, and double-crosses are central ingredients. Some examples include The Killing, Seven, The Godfather, Reservoir Dogs, Inside Man, and The Asphalt Jungle.
• Disaster thriller - In which the main conflict is due to some sort of natural or artificial disaster, such as floods, earthquakes, hurricanes, volcanoes, etc., or nuclear disasters as an artificial disaster. Examples include Stormy Weather by Carl Hiaasen, Tremor by Winston Graham, and the 1974 film Earthquake.
• Drama thriller - In which the story consists of the elements of a thriller and drama film. These films are usually slower paced and involves a great deal of character development along with plot twists. Examples include The Illusionist, The Interpreter and The Prestige.
• Eco-thriller - In which the protagonist must avert or rectify an environmental or biological calamity - often in addition to dealing with the usual types of enemies or obstacles present in other thriller genres. This environmental component often forms a central message or theme of the story. Examples include Nicholas Evans's The Loop, C. George Muller's Echoes in the Blue, and Wilbur Smith's Elephant Song, all of which highlight real-life environmental issues. Futuristic Eco-thrillers are of the Science Fiction genre that propose ideas that will or may occur and include such works as Kim Stanley Robinson's Mars Trilogy and Ian Irvine's Human Rites Trilogy and Dasavathaaram.
• Erotic thriller - In which it consists of erotica and thriller. It has become popular since the 1980s and the rise of VCR market penetration. The genre includes such films as Basic Instinct, Fatal Attraction, Looking for Mr. Goodbar, and In the Cut.
• Horror thriller - In which conflict between the main characters are mental, emotional, and physical. Two recent examples of this include the Saw series of films and the Danny Boyle's 28 Days Later. What sets the horror thriller apart is the main element of fear throughout the story. The main character(s) is not only up against a superior force, but they are or will soon become the victims themselves and directly feel the fear that comes by attracting the monster's attention. Other well-known examples are Alfred Hitchcock's Psycho and Thomas Harris's The Silence of the Lambs.
• Legal thriller - In which the lawyer-heroes/heroines confront enemies outside, as well as inside, the courtroom and are in danger of losing not only their cases but their lives. The Innocent Man by John Grisham is a well known example of the type.
• Medical thriller - In which the hero/heroine are doctors or medical personnels working to solve an expanding medical problem. Robin Cook, Tess Gerritsen, Michael Crichton, and Gary Braver are well-known authors of this subgenre. Nonfiction medical thrillers are also a subcategory, comprising works like The Hot Zone by Richard Preston. Films such as Awake are other examples of medical thrillers.
• Political thriller - In which the hero/heroine must ensure the stability of the government that employs him. The success of Seven Days in May (1962) by Fletcher Knebel, The Day of the Jackal (1971) by Frederick Forsyth, and The Manchurian Candidate (1959) by Richard Condon established this subgenre. A more recent example is the 1980 film "Agency".
• Psychological thriller - In which (until the often violent resolution) the conflict between the main characters is mental and emotional, rather than physical. The Alfred Hitchcock films Suspicion, Shadow of a Doubt, and Strangers on a Train and David Lynch's bizarre and influential Blue Velvet are notable examples of the type, as is The Sixth Sense by M. Night Shyamalan and The Talented Mr. Ripley by Patricia Highsmith (who also wrote Strangers).
• Spy thriller (also a subgenre of spy fiction) - In which the hero is generally a government agent who must take violent action against agents of a rival government or (in recent years) terrorists. Examples include From Russia with Love by Ian Fleming, The Bourne Identity by Robert Ludlum, and television series such as Mission: Impossible and 24 (the latter demonstrating a break from the norm by Robert Ludlum, as it is as much a psychological thriller as a spy thriller.)
• Supernatural thriller - In which the conflict is between main characters, usually one of which has supernatural powers. Carrie by Stephen King and Unbreakable by M. Night Shyamalan and Torchwood are notable examples of this genre. This type of thriller combines tension of the regular thriller with such basic horror oriented ingredients as ghosts, the occult, and psychic phenomenon; the supernatural thriller combines these with a frightening but often restrained film. They also generally eschew the more graphic elements of the horror film in favor of sustaining a mood of menace and unpredictability; supernatural thrillers often find the protagonists either battling a malevolent paranormal force or trapped in a situation seemingly influenced or controlled by an other-worldly entity beyond their comprehension.
• Techno-thriller - A work that usually focuses upon military action, in which technology (usually military technology) is described in detail and made essential to the reader's/viewer's understanding of the plot. Tom Clancy defined and popularized the genre with his The Hunt for Red October, and is considered to be the "Father of the Technothriller."
Thriller Codes & Conventions-Patsy Jones
Thriller conventions
Obviously, many thrillers these days are hybrids ie. they draw from more than 1 set of conventions.
Thriller Generic Characteristics
The narrative centres around a crime eg. a theft or a murder.
The protagonist is fallible and has an 'Achilles heel' that is exploited by the antagonist. The title of the thriller may relate to this weakness eg Vertigo and Insomnia.
The protagonist will be seen 'in peril' in one or more scenes before the resolution.
The antagonist ensnares the protagonist in an increasingly complex web, until the protagonist feels isolated and helpless.
The narrative presents ordinary situations in which extraordinary things happen.
Micro elements combine in a build up of suspense.
Themes of identity are common: mistaken identity, doubling/doppelgangers, amnesia.
Themes of seeing, reflection and mirroring. Manipulation of perspectives, visual McGuffins, and optical illusions are common.
The audience of a thriller is placed in the ambiguous position of voyeur. Voyeurism can also be a theme and the objectification of female characters is common especially in earlier thrillers.
A series of/ one important enigma(s) are/is set up in the opening sequence of the film, is further complicated during the first part of the film and only resolved at the very end.
A crime at the core of the narrative (often murder, but not necessarily).
A complex narrative structure, with false paths, clues and resolutions.
A narrative pattern of establishing enigmas which the viewer expects to be resolved.
A protagonist who is systematically dis-empowered and drawn into a complex web of intrigue by the antagonist.
Extraordinary events happening in ordinary situations.
Themes of identity.
Themes of mirroring.
Themes of voyeurism.
Protagonist with a ‘flaw’ which is exploited by the antagonist.
Titles often reflect an aspect of the pro/antagonist’s psychological state.
There is often a scene near the end of the film in which the protagonist is in peril.
Mise en scene which echoes/ mirrors the protagonist’s plight.
Obviously, many thrillers these days are hybrids ie. they draw from more than 1 set of conventions.
Thriller Generic Characteristics
The narrative centres around a crime eg. a theft or a murder.
The protagonist is fallible and has an 'Achilles heel' that is exploited by the antagonist. The title of the thriller may relate to this weakness eg Vertigo and Insomnia.
The protagonist will be seen 'in peril' in one or more scenes before the resolution.
The antagonist ensnares the protagonist in an increasingly complex web, until the protagonist feels isolated and helpless.
The narrative presents ordinary situations in which extraordinary things happen.
Micro elements combine in a build up of suspense.
Themes of identity are common: mistaken identity, doubling/doppelgangers, amnesia.
Themes of seeing, reflection and mirroring. Manipulation of perspectives, visual McGuffins, and optical illusions are common.
The audience of a thriller is placed in the ambiguous position of voyeur. Voyeurism can also be a theme and the objectification of female characters is common especially in earlier thrillers.
A series of/ one important enigma(s) are/is set up in the opening sequence of the film, is further complicated during the first part of the film and only resolved at the very end.
A crime at the core of the narrative (often murder, but not necessarily).
A complex narrative structure, with false paths, clues and resolutions.
A narrative pattern of establishing enigmas which the viewer expects to be resolved.
A protagonist who is systematically dis-empowered and drawn into a complex web of intrigue by the antagonist.
Extraordinary events happening in ordinary situations.
Themes of identity.
Themes of mirroring.
Themes of voyeurism.
Protagonist with a ‘flaw’ which is exploited by the antagonist.
Titles often reflect an aspect of the pro/antagonist’s psychological state.
There is often a scene near the end of the film in which the protagonist is in peril.
Mise en scene which echoes/ mirrors the protagonist’s plight.
30 degree rule (Catherine Seiersen)
The 30 degree rule refers to film editing, the rule stats that the camera should be at least 30 degrees between shots of the same subject this causes enough change in perspictive in the shots that there is no need to 'jump cut'which makes the subject appear to jump on screen. this rule is not to go against the 180 degree rule unless intended.
180 degree rule (Catherine Seiersen)
The 180 degree rule states that two characters/elements are to have the same left to right relationship in any one scene. With this rule the filmer is to imagine there is a line which is the line of vision. This line is not to be crossed as the left to right relationship would be broken causing confusion amongst the audience. Although it is a well followed rule some directors choose not to follow this rule only if the intented reaction the Director wants from the audience is to be confusion.
Featured Film Synopsis
' A Night to Remember'
The central antagonist 'Rose Holloway' wakes up in the boot of a car, tied, handcuffed and badly cut and bruised. She successfully kicks the boot of the car open and falls on to the floor of what seems to be a car garage. She manages to untie her feet, but cannot get out of the handcuffs. Rose searches round the garage for a way out and spots the garage door, she frantically pushed the release button, but nothing happens. Realizing that it won’t be that easy to escape, Rose starts looking for another way out. She hears the echo of footsteps and takes off her high heel shoe, ready to attack, before ducking behind a vehicle. Peeking round the car to try and catch a glimpse of something, she spots a man walking into the opposite room. With the unknown character out of sight she creeps to the door where he was walking into, suddenly she is grabbed from behind and dragged into another room. Rose struggles with the man, hitting him where she can. The man gets her to the opening of the door; Rose takes her chance and hits the man over the head with her stiletto. Realizing what she has done, she runs through the door, past the corridor, and see's an open door to the outside world. She makes a run for the door, and just as she reaches the exit another unknown male character grabs her by the shoulder and pushes a gun in to the side of her head.
As the gun is pressed against Rose's head, she has a flash back of before her abduction. The audience see's Rose walking out of her house towards the bus stop, on her way she stops and exchanges pleasantries with an elderly neighbor called 'Colin'. The audience then follows Colin back into his house, and into the first door he reaches. The room is bombarded with pictures, drawing, and paintings of rose, also there is a delicate golden cup which contains old cigarette butts with lipstick round the edge. It is obvious to the audience that these were previously smoked by Rose. Colin picks up a used cigarette butts and licks the lipstick stuck to it, before peering out the window at Rose again.
Several shots are shown on Colin recording dates and times of Rose's arrivals and departures from her house; this is evident that Colin had some sort of obsession with the young girl.
Later in the day, the camera shows Rose arriving home from work, and Colin is waiting at his window for her. As she goes to the door of her house, she searches through her bag before realizing that she has left her keys in doors. She bangs on her front door for several minutes, and catches on that there is no one home. She sits down on her front step, looking frustrated. Across the road, Colin pretends to let his many cats outside and starts to walk over to Rose, asking her if she'd like to wait inside his house until her parents arrive home. Rose accepted Colin’s' offer.
A creepy atmosphere is set as they walk into Colin’s' house. The door of Rose's shrine has been left open, Colin see's this and slams it shut immediately, leaving Rose curious and anxious to know what is inside the room. Colin asks her if she'd like a cup of tea before she has a chance to question him. He leads her into his living room. Whilst the kettle boils, he dims the lights in the room and plays a romantic song on his stereo. He collects the drinks and sits uncomfortably close to Rose for her liking. They make conversation between themselves and the topic of Rose being single arises, once she states that she has not got a boyfriend, Colin takes the opportunity to start sweet talking her. He places his hand on her knee and his tells her that she is a beautiful young girl; he then starts to play with her hair. At this point Rose see's her parents arrive home, she uses this as an excuse to get leave immediately. Colin watches Rose walk home from his doorstep and goes back into his house. Furious at his failed attempt to seduce the young girl Colin kicks one of his cats, and smashes one of her pictures. To show his unstable state of mind he picks up some broken glass and squeezes it in the palm of his hand, blood trickles from his hand.
A cross cutting technique is used to show Rose going about her daily life, going to work, college, jogging ect. In contradiction to this, Colin is shown building up to his plan for Rose, purchases date rape drugs, cleaning his weapons, ect.
A week later, Rose and her friends are shown walking to her house discussing their plans to go to a local nightclub that evening. Colin witnesses the girls discussion and rings somebody on his mobile telephone, 'we're on' are the only words you hear him say, which sets up an enigma to the audience of what is going to happen next.
The girls are shown to be dancing and laughing in the night club, whilst Colin lingers in the corner of the room. Rose goes to the bar to buy a round of drinks, she takes the drinks back to her friends, but one is left unattended at the bar. Colin takes his chance and slips a date rape drug into her drink. The audience then sees, Rose becoming unstable in her activities and can tell that the drugs are working. She heads outside for fresh air and Colin shadows her movements. He alarms her when he touches her shoulder and explains to her that he can take her home safely. The audience gathers that she is heavily sedated and isn’t in her right state of mind so has no control of what is happening. We see a close up of Colin's mobile which he then uses to call an unknown character and tells them to drive outside the club.
A black jeep pulls up thirty seconds later, with blacked out windows. Colin drags her into the back of the car, and she passes out before she knows what is going on. The men look at each other and smile cunningly.
We then go back to the opening sequence and out of the flashback, the unknown character drags Rose to the room in which she hit the other man with her stiletto by her hair, and thrusts her head into the pool of blood coming from his head. He calls her a bad girl and kicks her in the stomach. He then puts the gun down and starts to unzip his trousers ready to rape her; he explains to her in a nasty manner what he is going to do to her with her back to him. Suddenly, Rose grabs the gun that is lying on the floor; however, she is overpowered by the strength of the man who twists her arm around which forces her to drop it. He then whispers something in her ear and rapes her forcefully. When he is lying on the floor in exhaustion, Rose spots a crow bar to the left of her and grabs it. She repeatedly hits him round the head with it until it is obvious that she has killed him. She stares at the dead body for a few seconds before grabbing his car keys from his pocket and runs to the open door, gets in the car and drives off to safety.
THE END.
The central antagonist 'Rose Holloway' wakes up in the boot of a car, tied, handcuffed and badly cut and bruised. She successfully kicks the boot of the car open and falls on to the floor of what seems to be a car garage. She manages to untie her feet, but cannot get out of the handcuffs. Rose searches round the garage for a way out and spots the garage door, she frantically pushed the release button, but nothing happens. Realizing that it won’t be that easy to escape, Rose starts looking for another way out. She hears the echo of footsteps and takes off her high heel shoe, ready to attack, before ducking behind a vehicle. Peeking round the car to try and catch a glimpse of something, she spots a man walking into the opposite room. With the unknown character out of sight she creeps to the door where he was walking into, suddenly she is grabbed from behind and dragged into another room. Rose struggles with the man, hitting him where she can. The man gets her to the opening of the door; Rose takes her chance and hits the man over the head with her stiletto. Realizing what she has done, she runs through the door, past the corridor, and see's an open door to the outside world. She makes a run for the door, and just as she reaches the exit another unknown male character grabs her by the shoulder and pushes a gun in to the side of her head.
As the gun is pressed against Rose's head, she has a flash back of before her abduction. The audience see's Rose walking out of her house towards the bus stop, on her way she stops and exchanges pleasantries with an elderly neighbor called 'Colin'. The audience then follows Colin back into his house, and into the first door he reaches. The room is bombarded with pictures, drawing, and paintings of rose, also there is a delicate golden cup which contains old cigarette butts with lipstick round the edge. It is obvious to the audience that these were previously smoked by Rose. Colin picks up a used cigarette butts and licks the lipstick stuck to it, before peering out the window at Rose again.
Several shots are shown on Colin recording dates and times of Rose's arrivals and departures from her house; this is evident that Colin had some sort of obsession with the young girl.
Later in the day, the camera shows Rose arriving home from work, and Colin is waiting at his window for her. As she goes to the door of her house, she searches through her bag before realizing that she has left her keys in doors. She bangs on her front door for several minutes, and catches on that there is no one home. She sits down on her front step, looking frustrated. Across the road, Colin pretends to let his many cats outside and starts to walk over to Rose, asking her if she'd like to wait inside his house until her parents arrive home. Rose accepted Colin’s' offer.
A creepy atmosphere is set as they walk into Colin’s' house. The door of Rose's shrine has been left open, Colin see's this and slams it shut immediately, leaving Rose curious and anxious to know what is inside the room. Colin asks her if she'd like a cup of tea before she has a chance to question him. He leads her into his living room. Whilst the kettle boils, he dims the lights in the room and plays a romantic song on his stereo. He collects the drinks and sits uncomfortably close to Rose for her liking. They make conversation between themselves and the topic of Rose being single arises, once she states that she has not got a boyfriend, Colin takes the opportunity to start sweet talking her. He places his hand on her knee and his tells her that she is a beautiful young girl; he then starts to play with her hair. At this point Rose see's her parents arrive home, she uses this as an excuse to get leave immediately. Colin watches Rose walk home from his doorstep and goes back into his house. Furious at his failed attempt to seduce the young girl Colin kicks one of his cats, and smashes one of her pictures. To show his unstable state of mind he picks up some broken glass and squeezes it in the palm of his hand, blood trickles from his hand.
A cross cutting technique is used to show Rose going about her daily life, going to work, college, jogging ect. In contradiction to this, Colin is shown building up to his plan for Rose, purchases date rape drugs, cleaning his weapons, ect.
A week later, Rose and her friends are shown walking to her house discussing their plans to go to a local nightclub that evening. Colin witnesses the girls discussion and rings somebody on his mobile telephone, 'we're on' are the only words you hear him say, which sets up an enigma to the audience of what is going to happen next.
The girls are shown to be dancing and laughing in the night club, whilst Colin lingers in the corner of the room. Rose goes to the bar to buy a round of drinks, she takes the drinks back to her friends, but one is left unattended at the bar. Colin takes his chance and slips a date rape drug into her drink. The audience then sees, Rose becoming unstable in her activities and can tell that the drugs are working. She heads outside for fresh air and Colin shadows her movements. He alarms her when he touches her shoulder and explains to her that he can take her home safely. The audience gathers that she is heavily sedated and isn’t in her right state of mind so has no control of what is happening. We see a close up of Colin's mobile which he then uses to call an unknown character and tells them to drive outside the club.
A black jeep pulls up thirty seconds later, with blacked out windows. Colin drags her into the back of the car, and she passes out before she knows what is going on. The men look at each other and smile cunningly.
We then go back to the opening sequence and out of the flashback, the unknown character drags Rose to the room in which she hit the other man with her stiletto by her hair, and thrusts her head into the pool of blood coming from his head. He calls her a bad girl and kicks her in the stomach. He then puts the gun down and starts to unzip his trousers ready to rape her; he explains to her in a nasty manner what he is going to do to her with her back to him. Suddenly, Rose grabs the gun that is lying on the floor; however, she is overpowered by the strength of the man who twists her arm around which forces her to drop it. He then whispers something in her ear and rapes her forcefully. When he is lying on the floor in exhaustion, Rose spots a crow bar to the left of her and grabs it. She repeatedly hits him round the head with it until it is obvious that she has killed him. She stares at the dead body for a few seconds before grabbing his car keys from his pocket and runs to the open door, gets in the car and drives off to safety.
THE END.
Weekly update (1)
week 1
This week we created our group blog site and our individual blogs. We then posted our introductions to our individual blogs. We knew our idea for our opening sequence task pretty quickly but we still brainstormed to see if we had any better ideas.
We decided to keep with the original idea and set about creating a script and researching into our audience/genre.
Whilst we were planning our opening sequence we filmed our preliminary task.
The preliminary task consisted of learning how to use the camera e.g. putting the recording tape in it and how to handle it without damaging it. We also learnt how to use a tripod and how to put the camera on it correctly.
We posted our preliminary on the group blog and discussed what roles we were to have in making the opening sequence. it was agreed that Patsy jones was to be camera person,Catherine Seiersen to be editor and Natasha Bessex to the director.
Next week we hope to have the genre research, 180 degree rule and the 30 degree rule research completed and posted on the group blog. Our Synopsis will also be completed and posted.
This week we created our group blog site and our individual blogs. We then posted our introductions to our individual blogs. We knew our idea for our opening sequence task pretty quickly but we still brainstormed to see if we had any better ideas.
We decided to keep with the original idea and set about creating a script and researching into our audience/genre.
Whilst we were planning our opening sequence we filmed our preliminary task.
The preliminary task consisted of learning how to use the camera e.g. putting the recording tape in it and how to handle it without damaging it. We also learnt how to use a tripod and how to put the camera on it correctly.
We posted our preliminary on the group blog and discussed what roles we were to have in making the opening sequence. it was agreed that Patsy jones was to be camera person,Catherine Seiersen to be editor and Natasha Bessex to the director.
Next week we hope to have the genre research, 180 degree rule and the 30 degree rule research completed and posted on the group blog. Our Synopsis will also be completed and posted.
Opening Sequence (Patsy Jones)
A night to remember
She looks around the garage that she is stuck, instantly she spots an open button to the exit, she jumps to her feet and pushed the release button she but nothing happens, she tries again, but the shutter wont open. Resigning to the fact that she can't escape that way she scopes her surroundings for another exit. She hears someone walking close by, she takes off her shoe and ducks behind a car. Peaking over it she spots a man walking past her. With the person out of site she creeps to a door where the man walked into and waits behind the wall for him to come out. Rose grips her stiletto shoe as a weapon.
As the man walks out the room, Rose hits him in the head with the heel of the shoe. She takes a moment to look at the man lying on the floor, blood pours from his head down to his arm. Rose hesitates for a moment, before running to the next door she sees, it is signposted exit. As Rose opens the door to her chance to escape, a man’s hand appears with a gun and places it to the side of her head.
Premliminary task evaluation (Catherine Seiersen and Patsy Jones)
Our Preliminary task involved us filming a character walking through a hallway and sitting down opposite another character. The characters exchange three lines of dialogue each and then the character gets up and walks away into another corridor. We mainly used over the shoulder shots, long shots and medium shots to record the action but we did involve other shots like close up and shot reverse shot to add a better effect to the task. All shots were planned beforehand as well as the dialogue spoken.
We decided to film at Havering College in the B block as it's layout connected well for our shots, making it easier to keep to the 180 degree rule and keep a continuity to the shots. The only problems we came across was getting the right height of the camera so it lined up with the characters height but we soon got used to how to change the height on the tripod.
Doing this task taught us how to use the camera and the tripod correctly as well as loading the tape into the camera. We learnt how to film and edit a short sequence which gave us better knowledge for our opening sequence task. This gave us a good introduction and practice on being a director, camera person and editor. Having this knowledge has given us the knowledge and confidence to film action for our opening sequence well.
We decided to film at Havering College in the B block as it's layout connected well for our shots, making it easier to keep to the 180 degree rule and keep a continuity to the shots. The only problems we came across was getting the right height of the camera so it lined up with the characters height but we soon got used to how to change the height on the tripod.
Doing this task taught us how to use the camera and the tripod correctly as well as loading the tape into the camera. We learnt how to film and edit a short sequence which gave us better knowledge for our opening sequence task. This gave us a good introduction and practice on being a director, camera person and editor. Having this knowledge has given us the knowledge and confidence to film action for our opening sequence well.
Wednesday, 10 November 2010
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