Saturday, 24 December 2011
The Preliminary Task
Here, we had to participate a task where between us, we came up with a storyline, acted out, filmed and edited within 2 Media lessons. This was a very challenging yet a rewarding experience and will hopefully give me a platform to build on for the rest of this year.
I believe this experience will help me a lot, as I learnt a lot about the directing side of production, attempting to portray our ideas on screen. I also learnt a lot about editing, as we had to sequence all our shots in order, and pick out which will reflect the story best, and what did not work. Furthermore, we had a better understanding of how to implement sound, as I appreciated the way in which sound can enhance the film, and help illustrate the story better
Friday, 9 December 2011
The Banning of Clockwork Orange
In 1972, the release of Clockwork Orange, ignited a serious controversy that penetrated all sections of society in a way that was unprecedented in the history of cinema in Britain. Its portrayal of a young gang of anarchist hooligans raping, mugging and vandalising their way through a futuristic dystopian Britain caused outrage and significant attention. It preoccupied the attention of politicians, the media, the church, the police and local authorities of towns up and down the country, before its own director, Stanley Kubrick, in the face of this pressure, finally banned the film from public exhibition.
John Trevelyan, Chairman of The British Board of Film Classification (1956-71), who passed the film with an "X" certificate said it was "...an important social document of outstanding brilliance and quality". On the other hand according to the spokesperson of the so-called "silent moral majority", Mary Whitehouse, it was "sickening and disgusting...I had to come out after twenty minutes". To MPs such as Maurice Edelman, A Clockwork Orange was an incitement to violent crime -- "...the adventures of the psychotic Alix[sic] rampaging to music, are likely to have a more sinister effect on those who see for the first time see a fantasy realised on the screen. -- a fantasy of exciting violence." But for the young themselves it was "a subversive tribute to the glory of youth"
http://www.visual-memory.co.uk/amk/doc/0012.html
The British authorities considered the sexual violence extreme, furthermore, there occurred legal claims that the movie A Clockwork Orange had inspired true copycat crimes, as per press cuttings at the British Film Institute. In March 1972, at trial, the prosecutor accusing the fourteen-year-old-boy defendant of the manslaughter of a classmate, referred to A Clockwork Orange, telling the judge that the case had a macabre relevance to the film. The attacker, a Bletchley boy of sixteen, pleaded guilty after telling police that friends had told him of the film "and the beating up of an old boy like this one"; defence counsel told the trial "the link between this crime and sensational literature, particularly A Clockwork Orange, is established beyond reasonable doubt".
The press also blamed the film for a rape in which the attackers sang "Singin' in the Rain". Christiane Kubrick, the director's wife, has said that the family received threats and had protesters outside their home.
Subsequently, Kubrick asked Warner Brothers to withdraw the film from British distribution, disliking the allegation that the film was responsible for copycat violence in real life. Quoting Kubrick: "To try and fasten any responsibility on art as the cause of life seems to me to put the case the wrong way around. Art consists of reshaping life but it does not create life, nor cause life. Furthermore, to attribute powerful suggestive qualities to a film is at odds with the scientifically accepted view that, even after deep hypnosis, in a posthypnotic state, people cannot be made to do things which are at odds with their natures." The Scala Cinema Club went into receivership in 1993 after losing a legal battle following an unauthorized screening of the film.
Whatever the reason for the film's withdrawal, for some 27 years, it was difficult to see the film in the United Kingdom. It reappeared in cinemas, and the first VHS and DVD releases followed soon after Kubrick's death. On 4 July 2001, the uncut A Clockwork Orange had its premiere broadcast on Sky TV's Sky Box Office; the run was until mid-September.
http://en.wikipedia.org/wiki/A_Clockwork_Orange_(film)#British_withdrawal
John Trevelyan, Chairman of The British Board of Film Classification (1956-71), who passed the film with an "X" certificate said it was "...an important social document of outstanding brilliance and quality". On the other hand according to the spokesperson of the so-called "silent moral majority", Mary Whitehouse, it was "sickening and disgusting...I had to come out after twenty minutes". To MPs such as Maurice Edelman, A Clockwork Orange was an incitement to violent crime -- "...the adventures of the psychotic Alix[sic] rampaging to music, are likely to have a more sinister effect on those who see for the first time see a fantasy realised on the screen. -- a fantasy of exciting violence." But for the young themselves it was "a subversive tribute to the glory of youth"
http://www.visual-memory.co.uk/amk/doc/0012.html
The British authorities considered the sexual violence extreme, furthermore, there occurred legal claims that the movie A Clockwork Orange had inspired true copycat crimes, as per press cuttings at the British Film Institute. In March 1972, at trial, the prosecutor accusing the fourteen-year-old-boy defendant of the manslaughter of a classmate, referred to A Clockwork Orange, telling the judge that the case had a macabre relevance to the film. The attacker, a Bletchley boy of sixteen, pleaded guilty after telling police that friends had told him of the film "and the beating up of an old boy like this one"; defence counsel told the trial "the link between this crime and sensational literature, particularly A Clockwork Orange, is established beyond reasonable doubt".
The press also blamed the film for a rape in which the attackers sang "Singin' in the Rain". Christiane Kubrick, the director's wife, has said that the family received threats and had protesters outside their home.
Subsequently, Kubrick asked Warner Brothers to withdraw the film from British distribution, disliking the allegation that the film was responsible for copycat violence in real life. Quoting Kubrick: "To try and fasten any responsibility on art as the cause of life seems to me to put the case the wrong way around. Art consists of reshaping life but it does not create life, nor cause life. Furthermore, to attribute powerful suggestive qualities to a film is at odds with the scientifically accepted view that, even after deep hypnosis, in a posthypnotic state, people cannot be made to do things which are at odds with their natures." The Scala Cinema Club went into receivership in 1993 after losing a legal battle following an unauthorized screening of the film.
Whatever the reason for the film's withdrawal, for some 27 years, it was difficult to see the film in the United Kingdom. It reappeared in cinemas, and the first VHS and DVD releases followed soon after Kubrick's death. On 4 July 2001, the uncut A Clockwork Orange had its premiere broadcast on Sky TV's Sky Box Office; the run was until mid-September.
http://en.wikipedia.org/wiki/A_Clockwork_Orange_(film)#British_withdrawal
Sunday, 27 November 2011
British Board of Film Classification
U - Universal - Suitable for all
"U" film should be suitable for audiences aged four years and over, should be set within a positive moral framework and should offer reassuring counterbalances to any violence, threat or horror
"U" films can have infrequent use of mild bad language, discrimatory behaviour (both which have to be clearly disapproved of), violence (threats/menace only), or horror where the outcome is reassuring. There should be only mild sexual content (EG: Kissing), or reference to it, and no nudity can be shown. Problematic themes can be shown, as long as, again, the outcome is reassuring. No dangerous imitable behaviour should be evident. Furthermore, No drug (use) content, unless it is infrequent, and for educational purposes
PG - Parental Guidance
A ‘PG’ film should not disturb a child aged around eight or older. However, parents are advised to consider whether the content may upset younger or more sensetive children.
Discriminatory language or behaviour is unlikely to be acceptable unless clearly disapproved of or in an educational or historical context. Discrimination by a character with which children can readily identify is unlikely to be acceptable. In addition, Frightening sequences should not be prolonged or intense (Altho fantasy settings may be a mitigating factor) and no glamorisation of realistic or easily accessible weapons. Natural nudity will be allowed, with no sexual context, and sexual activity may be implied but should be discreet. More serious themes (Like domestic violence), mild bad language and moderate violence (without detail unless justified through history/comedy/fantasy) could feature, but the bahaviour cannot be condoned. References to illegal drugs or drug misuse must be innocuous or carry a suitable anti-drug message
12A/12 - Suitable for 12 and over
The ‘12A’ category exists only for cinema films. No one younger than 12 may see a ‘12A’ film in a cinema unless accompanied by an adult, and films classified ‘12A’ are not recommended for a child below 12. An adult may take a younger child if, in their judgement, the film is suitable for that particular child. In such circumstances, responsibility for allowing a child under 12 to view lies with the accompanying adult.
The ‘12’ category exists only for video works. No one younger than 12 may rent or buy a ‘12’ rated video work.
Aggressive discriminatory language or behaviour is unlikely to be acceptable unless clearly condemned. Moderate physical and psychological threat may be permitted, provided disturbing sequences are not frequent or sustained. Mature themes are acceptable, but they should be suitable for youn teenagers. Moreover, Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied, or appear pain or harm free and asily accessible weapons should not be glamorised. Nudity is allowed, but in a sexual context that must be brief and discreet. Sexual activity may be briefly and discreetly portrayed. Sex references should not go beyond what is suitable for young teenagers. Frequent crude references are unlikely to be acceptable. Moderate violence is allowed but should not dwell on detail. There should be no emphasis on injuries or blood, but occasional gory moments may be permitted if justified by the context. Sexual violence may only be implied or briefly and discreetly indicated, and must have a strong contextual justification.
Moderate language is allowed, but strong language, will not be
"15" - Suitable for 15 and over
No one younger than 15 may see a ‘15’ film in a cinema. No one younger than 15 may rent or buy a ‘15’ rated video work.
The work as a whole cannot be endorse discriminatory language or behaviour. Drug taking may be shown but the film must not promote or encourage drug misuse. The misuse of easily accessible and highly dangerous substances (for example, aerosols or solvents) is unlikely to be acceptable. 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. 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. 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 unless justified by context. Works whose primary purpose is sexual arousal or stimulation are unlikely to be acceptable. Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied and easily accessible weapons should not be glamorised. There may be frequent use of strong language, but aggresssive and repeated use will not be accpetable. Strong threat and menace are permitted unless sadistic or sexualised. No theme is prohibited, provided the treatment is appropriate for 15 year olds.
"18" - Suitable for Adults
No-one younger than 18 may see an ‘18’ film in a cinema.
No-one younger than 18 may rent or buy an ‘18’ rated video.
In line with the consistent findings of the BBFC’s public consultations and The Human Rights Act 1998, at ‘18’ the BBFC’s guideline concerns will not normally override the principle that adults should be free to choose their own entertainment. Exceptions are most likely in the following areas:
■ Where the material is in breach of the criminal law, or has been created through the commission of a criminal offence
■ Where material or treatment appears to the BBFC to risk harm to individuals or, through their behaviour, to society – for example, any detailed portrayal of violent or dangerous acts, or of illegal drug use, which may cause harm to public health or morals. This may include portrayals of sexual or sexualised violence which might, for example, eroticise or endorse sexual assault
■ Where there are more explicit images of sexual activity which cannot be justified by context.
Sex education at ‘18’
Where sex material genuinely seeks to inform and educate in matters such as human sexuality, safer sex and health, explicit images of sexual activity may be permitted.
Sex works at ‘18’
Sex works are works whose primary purpose is sexual arousal or stimulation. Sex works containing only material which may be simulated are generally passed ‘18’. Sex works containing clear images of real sex, strong fetish material, sexually explicit animated images, or other very strong sexual images will be confined to the ‘R18’ category. Material which is unacceptable in a sex work at ‘R18’ is also unacceptable in a sex work at ‘18’.
http://www.bbfc.co.uk/classification/guidelines/
"U" film should be suitable for audiences aged four years and over, should be set within a positive moral framework and should offer reassuring counterbalances to any violence, threat or horror
"U" films can have infrequent use of mild bad language, discrimatory behaviour (both which have to be clearly disapproved of), violence (threats/menace only), or horror where the outcome is reassuring. There should be only mild sexual content (EG: Kissing), or reference to it, and no nudity can be shown. Problematic themes can be shown, as long as, again, the outcome is reassuring. No dangerous imitable behaviour should be evident. Furthermore, No drug (use) content, unless it is infrequent, and for educational purposes
PG - Parental Guidance
A ‘PG’ film should not disturb a child aged around eight or older. However, parents are advised to consider whether the content may upset younger or more sensetive children.
Discriminatory language or behaviour is unlikely to be acceptable unless clearly disapproved of or in an educational or historical context. Discrimination by a character with which children can readily identify is unlikely to be acceptable. In addition, Frightening sequences should not be prolonged or intense (Altho fantasy settings may be a mitigating factor) and no glamorisation of realistic or easily accessible weapons. Natural nudity will be allowed, with no sexual context, and sexual activity may be implied but should be discreet. More serious themes (Like domestic violence), mild bad language and moderate violence (without detail unless justified through history/comedy/fantasy) could feature, but the bahaviour cannot be condoned. References to illegal drugs or drug misuse must be innocuous or carry a suitable anti-drug message
12A/12 - Suitable for 12 and over
The ‘12A’ category exists only for cinema films. No one younger than 12 may see a ‘12A’ film in a cinema unless accompanied by an adult, and films classified ‘12A’ are not recommended for a child below 12. An adult may take a younger child if, in their judgement, the film is suitable for that particular child. In such circumstances, responsibility for allowing a child under 12 to view lies with the accompanying adult.
The ‘12’ category exists only for video works. No one younger than 12 may rent or buy a ‘12’ rated video work.
Aggressive discriminatory language or behaviour is unlikely to be acceptable unless clearly condemned. Moderate physical and psychological threat may be permitted, provided disturbing sequences are not frequent or sustained. Mature themes are acceptable, but they should be suitable for youn teenagers. Moreover, Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied, or appear pain or harm free and asily accessible weapons should not be glamorised. Nudity is allowed, but in a sexual context that must be brief and discreet. Sexual activity may be briefly and discreetly portrayed. Sex references should not go beyond what is suitable for young teenagers. Frequent crude references are unlikely to be acceptable. Moderate violence is allowed but should not dwell on detail. There should be no emphasis on injuries or blood, but occasional gory moments may be permitted if justified by the context. Sexual violence may only be implied or briefly and discreetly indicated, and must have a strong contextual justification.
Moderate language is allowed, but strong language, will not be
"15" - Suitable for 15 and over
No one younger than 15 may see a ‘15’ film in a cinema. No one younger than 15 may rent or buy a ‘15’ rated video work.
The work as a whole cannot be endorse discriminatory language or behaviour. Drug taking may be shown but the film must not promote or encourage drug misuse. The misuse of easily accessible and highly dangerous substances (for example, aerosols or solvents) is unlikely to be acceptable. 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. 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. 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 unless justified by context. Works whose primary purpose is sexual arousal or stimulation are unlikely to be acceptable. Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied and easily accessible weapons should not be glamorised. There may be frequent use of strong language, but aggresssive and repeated use will not be accpetable. Strong threat and menace are permitted unless sadistic or sexualised. No theme is prohibited, provided the treatment is appropriate for 15 year olds.
"18" - Suitable for Adults
No-one younger than 18 may see an ‘18’ film in a cinema.
No-one younger than 18 may rent or buy an ‘18’ rated video.
In line with the consistent findings of the BBFC’s public consultations and The Human Rights Act 1998, at ‘18’ the BBFC’s guideline concerns will not normally override the principle that adults should be free to choose their own entertainment. Exceptions are most likely in the following areas:
■ Where the material is in breach of the criminal law, or has been created through the commission of a criminal offence
■ Where material or treatment appears to the BBFC to risk harm to individuals or, through their behaviour, to society – for example, any detailed portrayal of violent or dangerous acts, or of illegal drug use, which may cause harm to public health or morals. This may include portrayals of sexual or sexualised violence which might, for example, eroticise or endorse sexual assault
■ Where there are more explicit images of sexual activity which cannot be justified by context.
Sex education at ‘18’
Where sex material genuinely seeks to inform and educate in matters such as human sexuality, safer sex and health, explicit images of sexual activity may be permitted.
Sex works at ‘18’
Sex works are works whose primary purpose is sexual arousal or stimulation. Sex works containing only material which may be simulated are generally passed ‘18’. Sex works containing clear images of real sex, strong fetish material, sexually explicit animated images, or other very strong sexual images will be confined to the ‘R18’ category. Material which is unacceptable in a sex work at ‘R18’ is also unacceptable in a sex work at ‘18’.
http://www.bbfc.co.uk/classification/guidelines/
Thursday, 24 November 2011
Our Film Pitch
In this film pitch it illustrates the planning stages of pre-production, and the work we are undertaking
Our Film Pitch by user6878139
Tuesday, 15 November 2011
Textual Analysis 2 - Midnight Roadkill
This is a textual analysis piece of a short horror film called Midnight Roadkill
The film starts with a long-shot of an isolated road in the middle of nowhere, at night time, as a pair of car lights enter the frame. This is a typical mis en scene of a horror film, as time of day foreshadows darkness to come. The whole film takes place in darkness. In addition, if things go wrong, there is no help for the victim. The quiet, windy, eerie non-diegetic sound, emphasises the isolation, and infers danger to come.
Next, the title of the film comes up, in big bold red letter, of which - along with the font - indicates gore. This is happening as the car lights, behind the fonts, are coming closer and closer.
Inside the car, a mid-shot shows us, two bickering young couple. The girl seems bored and fustrated at the long drive, as she is trying to find signal for radio sound, and looking inside her phone. The man driving, demands her to turn the radio off and tells her to "shut up for a while", when she asks "when are we gonna get there? It's midnight already!". The girl replies back "You never change", intimates that these troubles have been there in the relationship for a while. The man comes across as a aggressive character, while the woman comes across like a naive, helpless character, and is seen as the most likely victim, in a conventional horror film
The woman then ends up lighting up a ciggarette to smoke, another thing the man objects to. She replies back "What do you wants me to do Gerry? Play dead like a good little corpse?!". This emphasises to the audience that this is a horror film, and symbolises danger to come.
The mid-shot returns to Gerry as he whispers "Oh my god, You've gotta be kidding", staring ahead of him. The woman also dazes at what she is seeing ahead of her "What the hell is that thing". Tense, eerie, non-diegetic sound is being played at this moment, creating suspense.
A point-of-view, long-shot is then shown through the window, into the road, to show the audience what is in front of them. The car is still travelling forward, as a white creature, in front of them, gets closer and closer, before eventually stopping. The creature's body shape is of a human, who is leaning down (like and animal) onto the road, eating. The eerie windy non-diegetic sound implies danger and emphasises isolation from help.
Gerry tells the woman to put on her seatbelt, as he is going to "Kill the fucking thing". The woman prefers to just "get outta here", but he argues otherwise, until she confers. Gerry's insistance on aggravating the situation, rather than leaving it alone, infers that he's asking for trouble. A mid-shot of the back of the car is shown, as Gerry drives towards the creature and hits it. As he hits it, we can see the creature flying into the bushes at the side of the road, from the view behind the car.
A mid-shot back inside the car, shows the woman asking sarcastically "You happy now Gerry? Your car probably now has nice dent in it?". He replies, "Yeah, I'm happy, now give me that flash light?", as he wants to see what the creature is. Now becoming very fustrated, she says "You know what Gerry?! Get it yourself!". Gerry leans over to get the flashlights, and gestures aggresively towards her with the back of his hand/arm, insinuating violence, and shouts "You're asking for it!". This illustrates that Gerry is a volatile and controlling character. Morover, his persistance to further react to the situation, signifies that he is walking into a perilous situation. In contrast, the woman is more concern over her safety. She gestures her annoyance at the situation, after he leaves the car and slams the door.
A points-of-view, long-shot, shows Gerry walking towards the dead white creature with his flashlight, as a tense, frightening non-diegetic sound being played, which increases the audience's anticipation. A mid-shot shows the woman looking upon at Gerry anxiously, before abruptively, looking at the other end of the road, with shock. A quiet sharp piercing non-diegetic sound, changes to a rattling sound, as the shot moves in a long range shot of the whole road, through the window of the car, to show another white creature facing Gerry. The sound effectively signifies, the presence of another being
As Gerry turns around, the camera cuts back inside the car, to the woman. She looks down, and a close-up and point-of-view shot shows the car key still inside the car. The camera cuts back to the woman, as she takes her seat belt off, getting into Gerry's driving seat. The windy eerie non-diegetic sound returns. The camera cut to a long, high angle view from behind the car, as Gerry sees the creature, and scuttle back to his car, and fails to open his car door. The car lights flash on, as the woman drive off, with Gerry screaming her name. The screeching diegetic sound, when the car is driving off, is amplified. The windy eerie sound continues, to symbolise the isolation Gerry is in, when facing this dangerous creature.
The shot switched to a handheld camera in mid-shot, of the white creature, as white flashing lighting is used on the creature, to suggest danger. The creature leaps up. The handheld mid-shot changes to a close-up shot of Gerry's face, to show his frightened facial expressions. The camera reverse shots back to the creature, for an extreme close-up of it's teeth. Those 3 shots, got closer wih every editing cut, representing the idea that the creature is getting closer to the victim. The diegetic sound of growling from the creature - in that final extreme close-up shot - is also amplified. Ths screen turn blank for a few seconds.
The screen reappears to a mid-shot of the woman, inside the car driving. She is laughing and smoking, showing no remorse, for her killed partner. She ends up being villain, as she leaves her partner in a perilous situation, when it was possible for her to let him come with her inside the car, to leave. This is unconventional for a horror film, as the assumed sterotypical naive and helpless female character ends up being the cunning and wicked character. On the other hand, Gerry came across as the brave, controlling and powerful character, but ended up as the powerless and damned character, as his impulsive nature led him to his fate. The credits come up.
The film starts with a long-shot of an isolated road in the middle of nowhere, at night time, as a pair of car lights enter the frame. This is a typical mis en scene of a horror film, as time of day foreshadows darkness to come. The whole film takes place in darkness. In addition, if things go wrong, there is no help for the victim. The quiet, windy, eerie non-diegetic sound, emphasises the isolation, and infers danger to come.
Next, the title of the film comes up, in big bold red letter, of which - along with the font - indicates gore. This is happening as the car lights, behind the fonts, are coming closer and closer.
Inside the car, a mid-shot shows us, two bickering young couple. The girl seems bored and fustrated at the long drive, as she is trying to find signal for radio sound, and looking inside her phone. The man driving, demands her to turn the radio off and tells her to "shut up for a while", when she asks "when are we gonna get there? It's midnight already!". The girl replies back "You never change", intimates that these troubles have been there in the relationship for a while. The man comes across as a aggressive character, while the woman comes across like a naive, helpless character, and is seen as the most likely victim, in a conventional horror film
The woman then ends up lighting up a ciggarette to smoke, another thing the man objects to. She replies back "What do you wants me to do Gerry? Play dead like a good little corpse?!". This emphasises to the audience that this is a horror film, and symbolises danger to come.
The mid-shot returns to Gerry as he whispers "Oh my god, You've gotta be kidding", staring ahead of him. The woman also dazes at what she is seeing ahead of her "What the hell is that thing". Tense, eerie, non-diegetic sound is being played at this moment, creating suspense.
A point-of-view, long-shot is then shown through the window, into the road, to show the audience what is in front of them. The car is still travelling forward, as a white creature, in front of them, gets closer and closer, before eventually stopping. The creature's body shape is of a human, who is leaning down (like and animal) onto the road, eating. The eerie windy non-diegetic sound implies danger and emphasises isolation from help.
Gerry tells the woman to put on her seatbelt, as he is going to "Kill the fucking thing". The woman prefers to just "get outta here", but he argues otherwise, until she confers. Gerry's insistance on aggravating the situation, rather than leaving it alone, infers that he's asking for trouble. A mid-shot of the back of the car is shown, as Gerry drives towards the creature and hits it. As he hits it, we can see the creature flying into the bushes at the side of the road, from the view behind the car.
A mid-shot back inside the car, shows the woman asking sarcastically "You happy now Gerry? Your car probably now has nice dent in it?". He replies, "Yeah, I'm happy, now give me that flash light?", as he wants to see what the creature is. Now becoming very fustrated, she says "You know what Gerry?! Get it yourself!". Gerry leans over to get the flashlights, and gestures aggresively towards her with the back of his hand/arm, insinuating violence, and shouts "You're asking for it!". This illustrates that Gerry is a volatile and controlling character. Morover, his persistance to further react to the situation, signifies that he is walking into a perilous situation. In contrast, the woman is more concern over her safety. She gestures her annoyance at the situation, after he leaves the car and slams the door.
A points-of-view, long-shot, shows Gerry walking towards the dead white creature with his flashlight, as a tense, frightening non-diegetic sound being played, which increases the audience's anticipation. A mid-shot shows the woman looking upon at Gerry anxiously, before abruptively, looking at the other end of the road, with shock. A quiet sharp piercing non-diegetic sound, changes to a rattling sound, as the shot moves in a long range shot of the whole road, through the window of the car, to show another white creature facing Gerry. The sound effectively signifies, the presence of another being
As Gerry turns around, the camera cuts back inside the car, to the woman. She looks down, and a close-up and point-of-view shot shows the car key still inside the car. The camera cuts back to the woman, as she takes her seat belt off, getting into Gerry's driving seat. The windy eerie non-diegetic sound returns. The camera cut to a long, high angle view from behind the car, as Gerry sees the creature, and scuttle back to his car, and fails to open his car door. The car lights flash on, as the woman drive off, with Gerry screaming her name. The screeching diegetic sound, when the car is driving off, is amplified. The windy eerie sound continues, to symbolise the isolation Gerry is in, when facing this dangerous creature.
The shot switched to a handheld camera in mid-shot, of the white creature, as white flashing lighting is used on the creature, to suggest danger. The creature leaps up. The handheld mid-shot changes to a close-up shot of Gerry's face, to show his frightened facial expressions. The camera reverse shots back to the creature, for an extreme close-up of it's teeth. Those 3 shots, got closer wih every editing cut, representing the idea that the creature is getting closer to the victim. The diegetic sound of growling from the creature - in that final extreme close-up shot - is also amplified. Ths screen turn blank for a few seconds.
The screen reappears to a mid-shot of the woman, inside the car driving. She is laughing and smoking, showing no remorse, for her killed partner. She ends up being villain, as she leaves her partner in a perilous situation, when it was possible for her to let him come with her inside the car, to leave. This is unconventional for a horror film, as the assumed sterotypical naive and helpless female character ends up being the cunning and wicked character. On the other hand, Gerry came across as the brave, controlling and powerful character, but ended up as the powerless and damned character, as his impulsive nature led him to his fate. The credits come up.
Sunday, 13 November 2011
Textual Analysis 1 - Hooked
Here is a Textual analysis piece about a short horror film called hooked
The film starts off with eerie music, which is a non-diegetic sound. However, diegetic sounds of the waves splashing and boot scraping through the sand is amplified.
There is a typical scary villain type figure - he is a fisherman. To introduce the character, there are close up shots of him wearing heavy-leathered boots, a fishing hook in his hands (which is deemed as a weapon), and the first close up up shot is exhibits him grinning. This presents the fisherman as dangerous character. These close-up shots were a way to show the audience things that will portray him negatively.
In addition, he is wearing dark colours, which is a typical mis en scene for a villain in a horror film. In contrast, the location setting is slightly unconventional - a deserted beach. The location is confirmed by an establishing shot right at the beginning. The nuetral lighting is maintained througout the whole film - which is also unconventional for a horror film.
A low angle, is then shown of the fherman's body, as he is looking upon the open sea. This infers that the fisheman has status, power and is in control of what he is doing. It also makes him look terifying, emphasising the idea, that he is the villain
Next, we see a blonde woman, swimming in the open sea. This makes the audience assume that she is vulnerable victim, as she epitomises a sterotypical image of an innocent character. However, by the end of the film, she ends up being the villain, which is unconventional of horror film.
The fisherman, makes his way into the sea. Close up shots are then used to display facial expressions. There are editing cuts, to show a clip of the fisherman smiling, then a shot showing the blonde girl turning around, and reverse shot back to the fisherman as his smile vanishes. This moment, implies that things are not gonna go according to plan.
The shot goes back to the blonde girl, as special effects is used to illustrate her transformation from a normal girl, into an unknown creature. Special effects is used to show her teeth growing bigger, as he jump toward the fisherman. Diegetic screeching sound is heard, from the girl - sound which is also amplified. The film finsihes with a clip of waves splashing, as the fishermna and the girl are off screen. Then the credit come on
The film starts off with eerie music, which is a non-diegetic sound. However, diegetic sounds of the waves splashing and boot scraping through the sand is amplified.
There is a typical scary villain type figure - he is a fisherman. To introduce the character, there are close up shots of him wearing heavy-leathered boots, a fishing hook in his hands (which is deemed as a weapon), and the first close up up shot is exhibits him grinning. This presents the fisherman as dangerous character. These close-up shots were a way to show the audience things that will portray him negatively.
In addition, he is wearing dark colours, which is a typical mis en scene for a villain in a horror film. In contrast, the location setting is slightly unconventional - a deserted beach. The location is confirmed by an establishing shot right at the beginning. The nuetral lighting is maintained througout the whole film - which is also unconventional for a horror film.
A low angle, is then shown of the fherman's body, as he is looking upon the open sea. This infers that the fisheman has status, power and is in control of what he is doing. It also makes him look terifying, emphasising the idea, that he is the villain
Next, we see a blonde woman, swimming in the open sea. This makes the audience assume that she is vulnerable victim, as she epitomises a sterotypical image of an innocent character. However, by the end of the film, she ends up being the villain, which is unconventional of horror film.
The fisherman, makes his way into the sea. Close up shots are then used to display facial expressions. There are editing cuts, to show a clip of the fisherman smiling, then a shot showing the blonde girl turning around, and reverse shot back to the fisherman as his smile vanishes. This moment, implies that things are not gonna go according to plan.
The shot goes back to the blonde girl, as special effects is used to illustrate her transformation from a normal girl, into an unknown creature. Special effects is used to show her teeth growing bigger, as he jump toward the fisherman. Diegetic screeching sound is heard, from the girl - sound which is also amplified. The film finsihes with a clip of waves splashing, as the fishermna and the girl are off screen. Then the credit come on
Thursday, 10 November 2011
Audience Research: The Survey Monkey Result
Question 1: The answers showed us that Horror Movies are something that people will love or dislike, as majority of the participants rated their preference for the genre, for either a "2" or a "5". This made us believe that, more than anything, we had to stamp our own ideas for the film.
Question 3: The audience wanted us to start the film with a mystery, complying withe ideas we already had, so we plan to follow the audiences wishes. We wanted the narrative structure to follow the Enigma Code Theory, as we felt it would best portray our ideas... especially with it being a short film, so we wanted the film to start in the middle of the drama.
Question 4: 75% of the audience want us to end the film with a cliff hanger, and we want to adhere to what the audience want.
Question 5: The majority want us to add non-diegetic music to the film. This is something we already plan to do, and we will stick with it.
Question 6: 100% of our participants want us to include special effects in the film. This correlates with out original plans, so we will adhere to the audience wishes.
Question 7: We hope to use a variety of effects when needed. However, we will attempt to try and add a flash effect in there, as 100% of our participant will prefer to witness this in the film.
Question 8: Our storyline consists of various locations. However, 100% of our participants have said they'd like to see a scene in the film located in the basement. Therefore, we have decided that we will change the location of the last scene, from a bedroom, into a basement
Question 10: 87.5% of our audience want our film's narrative structure to follow the Enigma Code Theory. This fits in with our original plans.
Question 3: The audience wanted us to start the film with a mystery, complying withe ideas we already had, so we plan to follow the audiences wishes. We wanted the narrative structure to follow the Enigma Code Theory, as we felt it would best portray our ideas... especially with it being a short film, so we wanted the film to start in the middle of the drama.
Question 4: 75% of the audience want us to end the film with a cliff hanger, and we want to adhere to what the audience want.
Question 5: The majority want us to add non-diegetic music to the film. This is something we already plan to do, and we will stick with it.
Question 6: 100% of our participants want us to include special effects in the film. This correlates with out original plans, so we will adhere to the audience wishes.
Question 7: We hope to use a variety of effects when needed. However, we will attempt to try and add a flash effect in there, as 100% of our participant will prefer to witness this in the film.
Question 8: Our storyline consists of various locations. However, 100% of our participants have said they'd like to see a scene in the film located in the basement. Therefore, we have decided that we will change the location of the last scene, from a bedroom, into a basement
Question 10: 87.5% of our audience want our film's narrative structure to follow the Enigma Code Theory. This fits in with our original plans.
Tuesday, 8 November 2011
Film Technology
The current technology used for the production of 3D video is based around stereoscopic cameras and projectors. The cameras capture two images simultaneously which simulate the perspectives of the left and right eyes. “Active Shutter” 3D glasses are currently the most popular choice for companies to have viewers watch 3D films and TV. Each eye piece incorporates liquid crystals and a polarization filter which, when an electrical current is passed through, the lens turns dark and prevents light from coming through, but only for a split second each time
Every year technology gets twice as small and the software gets twice as fast. This means that very quickly we are able to fit much more intp technology which couldn’t possibly have fitted before. 3D software/hardware of high quality is now readily available for consumer purchase.
The future for 3D without glasses could be really useful for many applications, from navigation in cars to everyday smartphones. Toshiba have invented a laptop which can play regular media files but in 3D. The drawback of this though is that only one person at a time can watch. Their 3D TV, however, can have multiple viewers but the image is fuzzy at the edges and is unwatchable for long periods of time (Something which is talked about the "Future of 3D" video).
ViewSonic Corporation have designed a photo frame that plays 3D video, 3D photos and converts 2D stills to 3D. Kodak have invented a printer which, although very primitive, prints out 3D photos. You still, however, need to wear retro 3D glasses to see them properly. They are thinking about covering the prints with the sort of plastic covering that is on 3D cards from cereal boxes.
The prediction for the future of film/cinema is 4D and 5D holograms. 4D film would be a system, integrating a 3-D film with physical effects in the theatre, which occur in synchronization with the film. 5D holograms, would be three-dimensional images formed by the interference of light beams from a laser or other coherent light source. This would create an illusion to make the audience feel like they are within the environment of the film.
http://benmayfield.wordpress.com/2011/03/05/the-future-of-3d-tv-and-film-technology-a-report/
New technology has been changing face in all media. The most visible change is in consumer behaviour. In modern times, consumers have gained ocntrol through the internet and from Web 2.0. The film industry use internet to create a buzz for the film to tie in with the release. The generation coming through want to be their own individual, want to have their own voice, and share it. Nevertheless, according to the general manager of MSN ,Geoffe Sutton, "they can also be very tribal". This means that an individual voice over the internet can become very tribal, and the buzz created can die out.
It is crucial now, that in the future,the film idustry create web content that includes user-generated aspect, as it is critical to have dialogue between film-makers and comsumers, and also comsumer to consumer (an important factor in trying to create a buzz for films).
The film industry has evolved to be highly concentrated with regulations that benfitted large owners of film networks, which provided limited range of films. However, the internet now becomes the medium to meeting interests of groups of narrow segment. It's quite possible, that in the future, meeting diverse interest will take place, throught various intenet distribution models, in the future. The main source of distribution of films, will be rentals online
Finances coming in from advertising will be important to the film industry in the future, due to the costs of making films. Geoff Sutton has also said, when it comes to advertising "Brand companies want a huge experience to match their brands", so it is a great opportunity for film makers. Due to the numerous advertisements that is constantly in the consumer's face, it will be essential that commercial messages are integrated into media products, like film, and be inherent in the material. Advertiser's will also be looking more for targeted audience, as they can't waste money on audiences not suited for products anymore. These factors will make the internet the ideal vehicle, for them to be very specific in who they reach and in what context they reach them
Every year technology gets twice as small and the software gets twice as fast. This means that very quickly we are able to fit much more intp technology which couldn’t possibly have fitted before. 3D software/hardware of high quality is now readily available for consumer purchase.
The future for 3D without glasses could be really useful for many applications, from navigation in cars to everyday smartphones. Toshiba have invented a laptop which can play regular media files but in 3D. The drawback of this though is that only one person at a time can watch. Their 3D TV, however, can have multiple viewers but the image is fuzzy at the edges and is unwatchable for long periods of time (Something which is talked about the "Future of 3D" video).
ViewSonic Corporation have designed a photo frame that plays 3D video, 3D photos and converts 2D stills to 3D. Kodak have invented a printer which, although very primitive, prints out 3D photos. You still, however, need to wear retro 3D glasses to see them properly. They are thinking about covering the prints with the sort of plastic covering that is on 3D cards from cereal boxes.
The prediction for the future of film/cinema is 4D and 5D holograms. 4D film would be a system, integrating a 3-D film with physical effects in the theatre, which occur in synchronization with the film. 5D holograms, would be three-dimensional images formed by the interference of light beams from a laser or other coherent light source. This would create an illusion to make the audience feel like they are within the environment of the film.
http://benmayfield.wordpress.com/2011/03/05/the-future-of-3d-tv-and-film-technology-a-report/
New technology has been changing face in all media. The most visible change is in consumer behaviour. In modern times, consumers have gained ocntrol through the internet and from Web 2.0. The film industry use internet to create a buzz for the film to tie in with the release. The generation coming through want to be their own individual, want to have their own voice, and share it. Nevertheless, according to the general manager of MSN ,Geoffe Sutton, "they can also be very tribal". This means that an individual voice over the internet can become very tribal, and the buzz created can die out.
It is crucial now, that in the future,the film idustry create web content that includes user-generated aspect, as it is critical to have dialogue between film-makers and comsumers, and also comsumer to consumer (an important factor in trying to create a buzz for films).
The film industry has evolved to be highly concentrated with regulations that benfitted large owners of film networks, which provided limited range of films. However, the internet now becomes the medium to meeting interests of groups of narrow segment. It's quite possible, that in the future, meeting diverse interest will take place, throught various intenet distribution models, in the future. The main source of distribution of films, will be rentals online
Finances coming in from advertising will be important to the film industry in the future, due to the costs of making films. Geoff Sutton has also said, when it comes to advertising "Brand companies want a huge experience to match their brands", so it is a great opportunity for film makers. Due to the numerous advertisements that is constantly in the consumer's face, it will be essential that commercial messages are integrated into media products, like film, and be inherent in the material. Advertiser's will also be looking more for targeted audience, as they can't waste money on audiences not suited for products anymore. These factors will make the internet the ideal vehicle, for them to be very specific in who they reach and in what context they reach them
Tuesday, 1 November 2011
Audience Research: Survey Monkey
We conducted audience research through Survey Monkey
http://www.surveymonkey.com/s/X38Z6JL
http://www.surveymonkey.com/s/X38Z6JL
Saturday, 29 October 2011
Roles in the Film Industry
Art director: Act as project managers for the biggest department on any film - the Art Department. They facilitate the Production Designer's creative vision for all the locations and sets that eventually give the film its unique visual identity.
Director of Photography: DoPs must discover the photographic heart of a screenplay, using a variety of source material including stills photography, painting, other films, etc. They realise the desired look using lighting, framing, camera movement, etc. DoPs collaborate closely with the camera crew
Camera Operator: Perform a vital role within the camera department on feature films. They support the DoPs, and the Director, by accurately carrying out their instructions regarding shot composition and development. I think it’s a key role, as this is what the audience visually watch
Film Directors: Responsible for creatively translating the film's written script into actual images and sounds on the screen - he or she must visualise and define the style and structure of the film, then act as both a storyteller and team leader to bring this vision to reality. A famous British director is David Yates. Kathryn Bigelow is the first woman to become best director at the Oscars
Producers: Highly self-motivated individuals, who have the final responsibility for all aspects of a film's production. He or she is frequently the first person to become involved in a project; they participate directly in all the main producing phases; and see the project through production, to post-production, marketing and distribution. The Producer's is role to turn story ideas into profitable cinematic entertainment, and to persuade others to share in his or her commercial and creative vision. James Cameron is a wonderful and brilliant film producer, having been involved in successful film productions such as Titanic and Avatar
Production Accountant: Responsible for calculating finances, costing productions, liaising with financiers, and controlling the cash flow to ensure that payments are made on time, and in accordance with agreements and approved budgets. I think they are important, as they make sure that finances are available for the whole production work to be complete.
Script Editors: Provide critical overview of screenwriting process, and liaise between the Producer or Development Executive and the Screenwriter.
Screenwriters: Responsible for researching the story, developing the narrative, writing the screen-play, and delivering it, in the required format, to Development Executives. I think screen writers are crucial because they have great influence over the creative direction and emotional impact of the screenplay
Actors: Interpret others' words in order to bring a script to life and put flesh and blood on characters they portray.
Costume Designer: They start working on costumes for TV, theatre and films at the beginning of pre-production. They are in charge of designing, creating, acquiring and hiring all costumes for Actors and extras.
The Location Managers's primary role is to identify and find ideal locations for a film shoot, reporting to the Producer, Director and Production Designer.
Production Sound Mixers: Responsible for the difficult job of ensuring that dialogue recorded during production is suitably clear
Sound Effects Editors: Responsible for providing any required sounds to accompany screen action – usually in post production.
Film Editor: They influence the way a story unfolds and grabs the attention of the audience is one of the most. They also ensure that the story flows effortlessly from beginning to end; each shot is carefully chosen and edited into a series of scenes, which are in turn assembled to create the finished film. They work closely with the director throughout the whole process. I believe they are important, because it is a creative post-production process and ultimately create the final motion picture
Film Distributors: Acquire a slate of films via deals with studios, and production companies, and/or through film sales agents who represent filmmakers. These deals specify the Distributors' overall rights for a set period of time.
Director of Photography: DoPs must discover the photographic heart of a screenplay, using a variety of source material including stills photography, painting, other films, etc. They realise the desired look using lighting, framing, camera movement, etc. DoPs collaborate closely with the camera crew
Camera Operator: Perform a vital role within the camera department on feature films. They support the DoPs, and the Director, by accurately carrying out their instructions regarding shot composition and development. I think it’s a key role, as this is what the audience visually watch
Film Directors: Responsible for creatively translating the film's written script into actual images and sounds on the screen - he or she must visualise and define the style and structure of the film, then act as both a storyteller and team leader to bring this vision to reality. A famous British director is David Yates. Kathryn Bigelow is the first woman to become best director at the Oscars
Producers: Highly self-motivated individuals, who have the final responsibility for all aspects of a film's production. He or she is frequently the first person to become involved in a project; they participate directly in all the main producing phases; and see the project through production, to post-production, marketing and distribution. The Producer's is role to turn story ideas into profitable cinematic entertainment, and to persuade others to share in his or her commercial and creative vision. James Cameron is a wonderful and brilliant film producer, having been involved in successful film productions such as Titanic and Avatar
Production Accountant: Responsible for calculating finances, costing productions, liaising with financiers, and controlling the cash flow to ensure that payments are made on time, and in accordance with agreements and approved budgets. I think they are important, as they make sure that finances are available for the whole production work to be complete.
Script Editors: Provide critical overview of screenwriting process, and liaise between the Producer or Development Executive and the Screenwriter.
Screenwriters: Responsible for researching the story, developing the narrative, writing the screen-play, and delivering it, in the required format, to Development Executives. I think screen writers are crucial because they have great influence over the creative direction and emotional impact of the screenplay
Actors: Interpret others' words in order to bring a script to life and put flesh and blood on characters they portray.
Costume Designer: They start working on costumes for TV, theatre and films at the beginning of pre-production. They are in charge of designing, creating, acquiring and hiring all costumes for Actors and extras.
The Location Managers's primary role is to identify and find ideal locations for a film shoot, reporting to the Producer, Director and Production Designer.
Production Sound Mixers: Responsible for the difficult job of ensuring that dialogue recorded during production is suitably clear
Sound Effects Editors: Responsible for providing any required sounds to accompany screen action – usually in post production.
Film Editor: They influence the way a story unfolds and grabs the attention of the audience is one of the most. They also ensure that the story flows effortlessly from beginning to end; each shot is carefully chosen and edited into a series of scenes, which are in turn assembled to create the finished film. They work closely with the director throughout the whole process. I believe they are important, because it is a creative post-production process and ultimately create the final motion picture
Film Distributors: Acquire a slate of films via deals with studios, and production companies, and/or through film sales agents who represent filmmakers. These deals specify the Distributors' overall rights for a set period of time.
Thursday, 27 October 2011
Hammer Film Productions
Hammer Film Productions is a london-based film production company founded in 1934. The company is best known for a series of Gothic "Hammer Horror" films made from the mid-1950s until the 1970s. During its most successful years, Hammer dominated the horror film market, enjoying worldwide distribution and considerable financial success. This success was due, in part, to distribution partnerships with major United States studios, such as Warner Bros.
The new company's first colour film was "The Men Of Sherwood Forest" in 1954, and in 1955 the success of "The Quatermass Xperiment" led to Hammer's move into horror films including "The Curse Of Frankenstein" in 1957 and "Dracula" in 1958.A hugely successful run of Gothic monster movies cemented the company's reputation as 'Hammer House of Horror', dealing with Universal Studios, and Columbia kept the production base at Bray Studios, busy with an incredible volume of films produced during this period.
Half-way through the 1960s deals were struck with Seven Arts and Twentieth Century Fox, which led to further horror classics including "The Plague Of The Zombies", "Quatermass And The Pit", and "The Devil Rides Out" in addition to successful adventure films including "One Million Years B.C." The 1960s also saw Hammer's first move into television production with Journey To The Unknown and in 1968 the company received the Queen's Award for Industry.
The 1970s saw a clutch of vampire movies and some lucrative movie spin-offs from British sitcoms. "To The Devil A Daughter" was the last Hammer horror feature in 1976, but production continued into the 1980s with two influential and well-loved TV anthology series: "Hammer House Of Horror" and "Hammer House Of Mystery And Suspense".
Hammer's return to horror was heralded by interactive web serial Beyond The Rave, which was broadcast by MySpace in 13 territories in 2008. "Let Me In", Hammer's first theatrical feature of the millennium, was released worldwide late 2010, to widespread critical acclaim. "The Resident" and "Wake Wood" followed early 2011. "The Woman In Black" (starring Daniel Radcliffe) will be released in the UK and US in February 2012. Today, Hammer has an active development slate across diverse genres sourced out of both Europe and the United States.
http://www.hammerfilms.com/history
Hammer Film Productions, produce predominantly Horror films, due to it's reputation and success, in it's early years, as well as it's domination of the horror market in the 1960s and 1970s. It now has a brand identity, of creating great horror films, and therefore commits itself to live up to the reputation.
The new company's first colour film was "The Men Of Sherwood Forest" in 1954, and in 1955 the success of "The Quatermass Xperiment" led to Hammer's move into horror films including "The Curse Of Frankenstein" in 1957 and "Dracula" in 1958.A hugely successful run of Gothic monster movies cemented the company's reputation as 'Hammer House of Horror', dealing with Universal Studios, and Columbia kept the production base at Bray Studios, busy with an incredible volume of films produced during this period.
Half-way through the 1960s deals were struck with Seven Arts and Twentieth Century Fox, which led to further horror classics including "The Plague Of The Zombies", "Quatermass And The Pit", and "The Devil Rides Out" in addition to successful adventure films including "One Million Years B.C." The 1960s also saw Hammer's first move into television production with Journey To The Unknown and in 1968 the company received the Queen's Award for Industry.
The 1970s saw a clutch of vampire movies and some lucrative movie spin-offs from British sitcoms. "To The Devil A Daughter" was the last Hammer horror feature in 1976, but production continued into the 1980s with two influential and well-loved TV anthology series: "Hammer House Of Horror" and "Hammer House Of Mystery And Suspense".
Hammer's return to horror was heralded by interactive web serial Beyond The Rave, which was broadcast by MySpace in 13 territories in 2008. "Let Me In", Hammer's first theatrical feature of the millennium, was released worldwide late 2010, to widespread critical acclaim. "The Resident" and "Wake Wood" followed early 2011. "The Woman In Black" (starring Daniel Radcliffe) will be released in the UK and US in February 2012. Today, Hammer has an active development slate across diverse genres sourced out of both Europe and the United States.
http://www.hammerfilms.com/history
Hammer Film Productions, produce predominantly Horror films, due to it's reputation and success, in it's early years, as well as it's domination of the horror market in the 1960s and 1970s. It now has a brand identity, of creating great horror films, and therefore commits itself to live up to the reputation.
Tuesday, 4 October 2011
Conventions and Codes on Horror Genre
Coventions:
- An element of darkness connoting mystery and uncertainty
- Complex narrative structure
- Extra-ordinary event taking place
- Includes a antagonist and Protagonist
- Themes includes: Good vs Evil, depression, childhood issues; the supernatural; beyond death; nightmares; madness; and insanity
Codes:
- Isolated setting suggesting vulnerability
- Camerawork is very expressive and not natural
- Disturbing and Eerie sound which creates unsettling tension and suspense
- The visual style includes dark colours and significant props
Monday, 26 September 2011
Creative Contribution
26-09-11
As a group, we brainstormed creative ideas for the plot of the story. We agreed that we wanted to produce a short horror film. We juggled various ideas, about the main characters profile, and the themes/ideas within the story (telepathic nature, premonitions, dreams, nightmares, villain...). We wrote a paragraph of how the basic story was gonna be.
I offered the ideas, that the film should be based on either Horror or Thriller. I also wanted the main character to be a female. Furthermore, I contributed to the profile of the character, such as, her age, her dark hair and clothings, for her to have dreams...!
29-09-11
As a class, we told each other our stories, and advised each other on how to improve it. To see how clear the structure of the story was, how developed the characters were, and how mature the plot of the story was. Throughout our discussions, we improved element of the story of the film. Here, we were finding creative ways in which we could deliver the story.
07-10-11
I contributed to the idea that we should have montages of clips, during the dream, to add dramatic effect, as well as the scene when the character is in the library, to show time passing by.
17-10-11
Here I contributed to how sound was going to be implemented into the film - parallel sounds, contrpuntal sounds, and bridging scenes. Here we were forming links within a film, that creates a moment, that is exciting aswell.
Parrallel Sound: When the ghost enters the room, where the main character is, in the final scene, dark/sinister sound is being being played in the background. This will help dramatise the moment
Contrapuntal sound: I thought of the idea to integrate this into the beginning of the film, where a dream is taking place, in a positive light - the main character is in a good mood. However, there is an eerie/dark non-diegetic sound in the background.
Sound Bridge: I thought of the idea to use this outside, on the streets, where the main character is walking, she hears scraping footsteps behind her. However, a similar sound is being made, by a dustbin man who is sweeping the streets
Visual Bridge: In her dream, the main character, is in a panic state. She comes to a situation, where she has to grab onto a ledge. The next clip shows, her in her bedroom, sleeping, and grabbing onto her pillow
03-11-11
We looked at our results from the survey on surveymonkey. Looking at the popularity of "Basement", as preferred location to be integrated into the film, I suggested the idea that we should change the location of the penultimate scene from a bedroom or basement.
12-01-12 Some of my creative/Technical decisions
Panning and Establishing Shot: I decided that this shot would be the best way to start the film - first showing the school then panning it onto the street which Jasmine (our main character) is walking down. This is to introduce the setting of the film, and to introduce the main character
Extreme close-up shot: I thought it would be great for this shot to be used after Jasmine has woken up from her nightmare. We are going to use extreme close-up on her eyes and/or lips Sound: We plan on using non-diegetic sinister sound in the beginning of the film, where Jasmine is walking down the street. Visually, the scene will look very normal, and positive. We hope to use warm-colour effect to emphasise this. However, it was my idea to use contrapuntal sound for this scene - with this sinister sound
Transition: We hope to use a blur effect. We aim to use this during a compilation os clip to visualise the nightmare Jasmine is having. This blur effect will illustrate the confusion Jasmine is feeling as the dream is taking place.
Change of pace: During the last scene, we may use aslow-motion effect. This might happen as the ghost is entering the room. This will help dramatise that moment as the film heads onto the climax of the scene
20-01-12 Creative ideas using lighting techniques
Silhouette Effect: I offered up the idea to use this effect during the final scene. This will take place as the ghost is standing outside the room (before entering the room). This will help emphasise a sinister and frightening atmosphere we are trying to create, as the film heads onto the climax of the film
Low-key Lighting: I believed that this would be a great to use, when we create a pre-recorded video of the ghost. This video will be used when Jasmine is in the library, and her screen goes blank, before the ghost appears on the screen. This will help create a dark sinister feel to the ghostly character.
Coloured Effect: During the compilation of clips for the dream, we will hope to use black and white effects. This is to make this stand out, and to help evoke tension and anxiety
As a group, we brainstormed creative ideas for the plot of the story. We agreed that we wanted to produce a short horror film. We juggled various ideas, about the main characters profile, and the themes/ideas within the story (telepathic nature, premonitions, dreams, nightmares, villain...). We wrote a paragraph of how the basic story was gonna be.
I offered the ideas, that the film should be based on either Horror or Thriller. I also wanted the main character to be a female. Furthermore, I contributed to the profile of the character, such as, her age, her dark hair and clothings, for her to have dreams...!
29-09-11
As a class, we told each other our stories, and advised each other on how to improve it. To see how clear the structure of the story was, how developed the characters were, and how mature the plot of the story was. Throughout our discussions, we improved element of the story of the film. Here, we were finding creative ways in which we could deliver the story.
07-10-11
I contributed to the idea that we should have montages of clips, during the dream, to add dramatic effect, as well as the scene when the character is in the library, to show time passing by.
17-10-11
Here I contributed to how sound was going to be implemented into the film - parallel sounds, contrpuntal sounds, and bridging scenes. Here we were forming links within a film, that creates a moment, that is exciting aswell.
Parrallel Sound: When the ghost enters the room, where the main character is, in the final scene, dark/sinister sound is being being played in the background. This will help dramatise the moment
Contrapuntal sound: I thought of the idea to integrate this into the beginning of the film, where a dream is taking place, in a positive light - the main character is in a good mood. However, there is an eerie/dark non-diegetic sound in the background.
Sound Bridge: I thought of the idea to use this outside, on the streets, where the main character is walking, she hears scraping footsteps behind her. However, a similar sound is being made, by a dustbin man who is sweeping the streets
Visual Bridge: In her dream, the main character, is in a panic state. She comes to a situation, where she has to grab onto a ledge. The next clip shows, her in her bedroom, sleeping, and grabbing onto her pillow
03-11-11
We looked at our results from the survey on surveymonkey. Looking at the popularity of "Basement", as preferred location to be integrated into the film, I suggested the idea that we should change the location of the penultimate scene from a bedroom or basement.
12-01-12 Some of my creative/Technical decisions
Panning and Establishing Shot: I decided that this shot would be the best way to start the film - first showing the school then panning it onto the street which Jasmine (our main character) is walking down. This is to introduce the setting of the film, and to introduce the main character
Extreme close-up shot: I thought it would be great for this shot to be used after Jasmine has woken up from her nightmare. We are going to use extreme close-up on her eyes and/or lips Sound: We plan on using non-diegetic sinister sound in the beginning of the film, where Jasmine is walking down the street. Visually, the scene will look very normal, and positive. We hope to use warm-colour effect to emphasise this. However, it was my idea to use contrapuntal sound for this scene - with this sinister sound
Transition: We hope to use a blur effect. We aim to use this during a compilation os clip to visualise the nightmare Jasmine is having. This blur effect will illustrate the confusion Jasmine is feeling as the dream is taking place.
Change of pace: During the last scene, we may use aslow-motion effect. This might happen as the ghost is entering the room. This will help dramatise that moment as the film heads onto the climax of the scene
20-01-12 Creative ideas using lighting techniques
Silhouette Effect: I offered up the idea to use this effect during the final scene. This will take place as the ghost is standing outside the room (before entering the room). This will help emphasise a sinister and frightening atmosphere we are trying to create, as the film heads onto the climax of the film
Low-key Lighting: I believed that this would be a great to use, when we create a pre-recorded video of the ghost. This video will be used when Jasmine is in the library, and her screen goes blank, before the ghost appears on the screen. This will help create a dark sinister feel to the ghostly character.
Coloured Effect: During the compilation of clips for the dream, we will hope to use black and white effects. This is to make this stand out, and to help evoke tension and anxiety
Subscribe to:
Posts (Atom)