Evaluation

In what ways does your media product use, develop or challenge forms and conventions of real media products?

In my thriller form I used many of the typical forms and conventions. However, I also developed them to make the expected things different and interesting and also suit our own indivdual film.

The beginning of our film shows an event from the main character's past. To signify that it is a flashback we edited the film to make those particular scenes black and white. Though flashbacks in thriller films are quite common I feel that we developed the technique by editing the clips to make them black and white. This not only clearly shows the audience that it is a flashback but also puts across feelings of rememberance and nostalgia. Black and white can also show how the event is a negative event as the absence of colour sometimes represents sadness or fear, both of which are feelings relevant to the scene and film as a whole.

In the flashback, the "baddie" is the father - a man in a position of power. Having a man in a position of power as the villian is a common convention in thrillers. However, as he is the father of the eventual killer (Mikey), he can be seen as the role model or cause of what his son later does and this is what we wanted to put across - that a person's past can have a great effect on them in later life.

Mikey is also a stereotypical character. He is a schitzophrenic - killer's with mental problems are a common convention in thrillers - and a male. However, he is different from the usual schitzophrenics portrayed in thrillers as we had another actor play his multiple personality (Gabriel) and showed them both in the same scene at the same time. By doing this, the audience do not know that Mikey is the one doing the killings as Gabriel until right at the very end. This builds suspense, tension and keeps the audience interested, gripped and guessing all the way through the film.

Gabriel himself is also a clear stereotype. He's the main villain of the story - dark haired, dressed in smart, black clothes and menacingly charming to get what he wants. We developed this commonly used character by having him as a part of someone else's character. We felt this would not only keep the audience interested but help keep the character himself fresh and exciting.

The type of music we used is also a common convention in Thriller movies. It is high-pitched and mainly stringed and placed to build tension, suspense and fear. However, the music we chose for our opening is slower then the music commonly used by Thrillers. We did this to show the tragic element of our story - a young boy losing his sanity and the breakdown of a family - to evoke a range of emotions in our audience. We feel that by doing this the audience would feel more emotionally attached to the characters and become more involved in the film as a whole, making it more interesting and engaging.

We also used a very typical setting - a big, creepy, old house - for our film and used a common low angle shot looking up at the building to establish that the place has power but not in a good way. By doing this twice at different points in our film - once in black and white as part as the flash back and once in colour in the present - we allow the audience to make their own connections between the two clips and come to their own conclusion.

What kind of media institution might distribute your media product and why?

After researching various UK production companies, my group and I feel that our media product would be produced and distributed by DNA Films in partnership with Fox Searchlight Pictures.

DNA Films is a fairly recent company and was set up in 2007 by Duncan Kenworthy and Andrew MacDonald, though Kenworthy opted out in 2002. In 2003, DNA Films went into partnership with Fox Searchlight Pictures.

Fox Searchlight Pictures is led by President Peter Rice and Chief Operating Officers Stephen Gilula and Nancy Utley. It is “a filmmaker-oriented company that focuses on distinctive films helmed by world-class auteurs and exciting newcomers.” It was founded in 1994 as an independent arm of 20th Century Fox. It has it’s own marketing and distribution operations and it’s films are also distributed worldwide by 20th Century Fox.

Both companies have produced and distributed many successful films including Slumdog Millionaire, The Wrestler and Juno as well as thrillers Notes On A Scandal, The Clearing, One Hour Photo, 28 Days Later and Best Laid Plans.

These thrillers films are mostly psychological – as ours is – and certified either 15 or 18. This means that our thriller film, we feel, would fit into their general target audience but may also attract a few younger viewers that may watch their other films such as Juno and The Wrestler. Most of these companies’ films have been very successful in the box office and we would obviously like this to be the case for our film if it were to be made.

Who would be the audidnce for your media product? How did you attract/address your audience?

The target audience of our film, Missing, is males and females aged 15 – 30. It is a fairly large audience meaning our film would reach many people.

We attracted and addressed our target audience by making the plot of our film something they, to some extent, could relate to. Our characters are in their late teens – around the same age as our audience or an age they can, at least, clearly remember being – and are going on their first holiday alone, something common to the age group of our target audience. This makes it easier for our audience to put themselves in our character’s position and imagine what they’d be doing in their place, making the film more engaging, interesting and frightening.

We also made our characters common teenage stereotypes that are easily recognisable to our target audience. For example, Robbie was the typical “jock”, dressing in tracksuit tops and trainers. From this, our audience can guess what sort of character he is likely to be – popular, funny – and feel that they know him better and can also relate him to people of the same clique or stereotype that they may know, again adding to the films realism.

So that our target audience could understand and be entertained by our film, we were also careful with the language we used. As our characters were mostly 17 – 18 they spoke informally as people of that age would amongst each other. However, we didn’t use any “street slang” and this allowed the audience to make assumptions about what sort of people our characters are, what kind of background they have and what they do. We also felt that Gabriel should speak slightly more formally than the others to show his higher level of power and control, especially over Mikey.

Overall, we did these things so that the film directly addressed and appealed to our target audience and so that they could understand it. The way it relates to their own lives and the level of realism that we created also makes the film more frightening and, therefore, entertaining.

What have you learnt about technologies from the process of constructing this product?

During the process of making my media product, I learnt a lot about the technologies and techniques used when creating a film and how important they are to make the finished product look polished and professional.

I learnt how to use continuity editing to ensure that the plot line could be followed easily and logically with no plot holes or inconsistencies. It signals to the audience the chronological order of the plot, the relationships between characters and is also used to add more realism. This includes using diagetic sound, the 180 degree rule and establishing shots. We were careful to make sure that, while shooting, we used the same light and noise levels for the same scene and, if appropriate, the same location. When editing, we ensured all our clips were in the right order and edited to run cleanly from one shot to the next.

We also used editing for effect. For example, the black and white flashbacks. We used editing like this to signal something about the plot to our audience – to tell them the event was in the past – or to draw out a certain emotion or range of emotions in connection to a scene or shot, such as nostalgia, fear, sadness and pity.

I learnt how to use music to create an effect. We learnt where it is best to use music for the effect we wanted – suspense and fear -, what sort of music to use and whether to fade it in and out or have it sudden and loud for the best effect. We mainly developed this skill through watching films in the same genre with a similar target audience and making a note of how they used music to create a certain emotion.

We also learnt how to use the camera and other equipment for the best results. We always used a tripod for a steady shot, learnt how to zoom, pan and crab well, used large, bright torches for lighting when needed and tried to minimise noise when necessary to ensure that our film looked and sounded as professional as it could.

Looking back at your preliminary task what do you feel you have learnt in the progression from it to the full product?

Looking back at my preliminary task, I feel that I have learnt a lot while progressing to my final product.

While planning my preliminary task, I didn’t think about how I would find the sort of setting I wanted. This caused problems when it came to filming. Therefore, when choosing a setting for our thriller film, my group and I thought ahead about what locations were realistically accessible to us. This made filming and planning a lot easier and quicker.

With my preliminary task I also had problems with background noise. To try and avoid this with our final product, we chose places at our location where we knew we would be least likely to be interrupted. To help with this, we also kept the number of people we had around to a minimum. This helped a lot. It made the process of filming less chaotic, we didn’t have to film as many takes, everyone knew where they were meant to be and when and it significantly reduced the amount of unwanted background noise.

Finding reliable actors was also a problem so, learning from my preliminary, we asked well in advance for our thriller film and kept our actors updated often to ensure they wouldn’t forget or arrange anything else. Unfortunately, this didn’t work very well as two of our actors still didn’t show to film but, in the run up to filming, knowing we had planned in advance did make everything easier.

While editing our thriller film we further developed our skills using the iMacs and iMovie. This made the editing process quicker, easier and less stressful then it had been with my preliminary task as I knew where to find things, what to do and how to achieve the effect that we wanted.

How does your media product represent particular social groups?

We used many different typical teenage stereotypes in our film. We did this so our audience can easily identify and relate to our characters and know what to expect from them.

Mikey's parents are the stereotypical charming, possessive, agressive alcoholic father and weak, bullied mother. Though they're not in the film for long, the audience can quickly identify these stereotypes in them and it instantly tells them something about the family. These stereotypes do not represent parents or families in a positive way. Our representation of a family shows them as arguing, bullied, scared and controlling. It also shows how the man in the relationship is more dominant and powerful then the woman, another common stereotype.

Gabriel is also a stereotypical villian - charming, subtley powerful, controlling and agressive. He dresses in dark colours and only appears to watch or cause trouble. We used this stereotype as we felt it wasn't too unrealistic - not the stereotypical supernatural villian - and most people woould be able to relate to some of the aspects of his personality, adding to the realism and fear.

Other stereotypes we used were jock, plastic, popular girl and the innocent girl next door. These are common teenage stereotypes and we used them so are characters could be easily identified and related to.

Thriller Film Planning

Storyboard







Opening Summary – Missing.

Our opening will start with a long shot, in black and white, of an old car driving up a country lane. This is a younger Mikey, his alcoholic father and depressed mother making their way to their annual stay at an old country hotel. The car comes round the corner of the lane, showing the audience who’s inside it, and then drives up to the hotel where it parks. Mikey’s father drags him from the car and the family go into the hotel. It is obvious all the time that mother and father don’t get on; they are constantly digging at each other. Once the family get to their room, mother and father quickly get into a big argument. The father is swigging from a bottle of vodka from his pocket. Finally, he storms out, leaving the mother crying on the bed. Awkwardly, Mikey leaves the room. Later, he comes back and finds his mother has hung herself and his father is nowhere to be seen. The last black and white shot is a close-up of young Mikey’s face into which Gabriel will come, resting his chin on Mikey’s shoulder.

There will be no dialogue heard throughout this part of the opening but the actors will be seen to be talking. It will have a soundtrack of high pitched, string music, varying from fast and slow.We will then cut back to colour shots. The first will be the same as the last shot – a close up of Mikey and Gabriel – only this time Mikey will be older and a lot happier. In the background, you’ll be able to hear his friends laughing, joking and talking as they unpack the car. They are staying at the same hotel Mikey and his parents did but Mikey doesn’t seem to remember. The shot will cut to his friends then back to a medium shot of Mikey getting out with his bags. Gabriel isn’t there. Our last shot will be a long shot looking down at the group coming into the hotel from one of the top floor windows.

Our titles will fade in to the screen with letters missing. These letters will then drop in before the titles fade back out.

Character Profiles

Name: Michael Tipler
Nicknames: Mike, Mikey.
Age: 17
D.O.B: 06/06/1992
Stereotype: None.

Physical appearance/mannerisms/dress: Mikey is small and thin for his age. He looks very innocent and harmless – the last person you’d pick out from a crowd or suspect of any wrongdoing. He isn’t incredibly good-looking or ugly; everything about him is very average and normal.

Mikey doesn’t spend a lot of time on his appearance. He usually wears baggy jeans and plain t-shirts and has no set attitude towards fashion. He doesn’t fit in with any of the teenaged stereotypes – Chav, Emo, Jock etc whereas his friends all appear to fit into specific clichés.
He’s also quiet and shy, preferring to blend into the background then to have the spotlight and this comes across in the way he holds himself and moves. He doesn’t stride or swing his arms confidently but walks steadily and tucked in, hands in pockets and arms held close to his sides or fidgeting nervously with his hair or clothes. He rarely seems fully relaxed, especially when on his own.

Psychological:
Shy - Mikey has always been shy when meeting new people and finds it difficult to make friends easily. He has known his current group of friends since he was young and they are very close.

Polite - Mikey has always been bought up to be polite and treat people with respect and with all the traditional morals and values - a proper gentleman. This is obvious in the way he talks and acts, even towards his friends.

Loyal - Mikey has known his friends for a long time and would stick by them no matter what. He'd do anything they asked him to if it meant enough to them. He'd never dream of intentionally hurting anyone of them.

Naive - Mikey’s very trusting of the people close to him and will believe practically anything they say.

Easily pressured - Mikey isn't a very stubborn or strong willed person and is easily pressured into things he doesn't really want to.

Scared of confrontation - Mikey has never liked arguing and will always back down, wrong or right, just to avoid one.

Name:- Caroline Tipler
Age:- 43
D.O.B:- 07/05/1965
Stereotype: Frail, weak mother.

Physical appearance/mannerisms/dress:- At first look Caroline is a tall, thin women who looks very unsure of herself and appears as though she couldn’t and wouldn’t hurt a fly. She is the stereotypical caring mother who would do anything for her son, so she is constantly fussing over Mickey much to the annoyance of her husband who see it as her smothering him and making him less of the man he wants him to be. Caroline is also a clear sufferer of domestic violence. She tends to hide behind her husband or those around her, for fear of doing or saying the wrong thing, and she prefers not to be noticed in almost any situation.

Caroline’s dress is strictly what her husband will allow so she tends to wear things that are unlikely to of cost much, often from a charity shop or are hand me down clothes, she is also unlikely to wear anything that will make her stand out in anyway. Caroline is only allowed to ‘dress up’ in social situations in which her husbands feels it would benefit him.

Caroline is very quiet and often shies away from social situations. She often stands, sits or walks tucked into her self and never uses big elaborated gestures for fear of attracting attention. Caroline is never fully relaxed and appears to flinch a lot, especially around her husband. She likes to keep busy whether with house work or looking after her family as this distracts her from thinking about her life.

Psychological:-

Loyal - Caroline is very loyal to her husband and her son and never speaks about there problems to anyone.

Proud - Caroline is very proud of her family and her home and very often is to proud to ask for help for fear of ruining the perfect family image she feels she has.

Insecure - after years of abuse from her husband Caroline has a very low self-esteem and often can’t stand to look at herself.

Nervous - Caroline is often very nervous in social situation for fear of saying or doing the wrong thing. Caroline is also often extremely nervous near her husband and often feels she creates an argument through being so scared.

Timid - Caroline is easily pushed into things by her husband and is often pushed into things by people around her just to save confrontation.

Depressed - Caroline suffers from depression due to her husbands violence but has never asked for help due to her pride.


Relationship to other characters:-

Caroline is Mikey’s mother. Caroline loves her little boy more than anything and feels by taking his dad beating and living a lie she is protecting him.

Caroline is the wife of peter. Caroline is a victim of domestic violence but stays with her husband as she truly believes he will change, but also as she is so low she feels she needs him and could not make it on her own.

Name:- Peter Tipler.
Nicknames:- Pete.
Age:- 43.
D.O.B:- 30/09/1965
Stereotype: Bullying, alcoholic father.

Physical appearance/mannerisms/dress:- Peter is a large man, well groomed with a good job and a ‘loving’ family on appearance. He is the stereotypical proud dad who likes to show off and is always pushing his son into ’Boy stuff’ and things he feels he should be doing e.g. football. He acts bold, out going and is always prepared to be the talk of the party, but never in a bad way, he likes to show off his family and his son especially.

He often dresses formally, in suits or shirts, which normally looks odd against his wife’s dreary appearance. Peter appears to look after himself appearance wise and always looks clean from his well groomed hair to his squeaky clean shoes.

Peter is loud and loves social activity as he sees it as a chance to show off his ‘perfect’ life. Peter walks very tall and big using elaborate gestures to make sure people notice him and often swings his arms or makes some sort of noise, e.g. whistling, as he goes along as to casually get peoples attention.

Psychological:-
Controlling - Peter likes to feel like he’s in charge of everything around from his job to the way his house is run.

Alcoholic - Peter relies on drink to help him keep control in his day to day life. This addiction came around when peter lost his former job and felt like he’d lost control of his life and so turned to drink.

Insecure - Peter is secretly insecure about his drinking addiction and knows that sooner or later he will lose everything but he hides it behind more drink.

Violent - Peter has a very bad temper and often beats his wife when she does not complete tasks to his high standards or sometimes just to feel in control.

Proud - Peter is too proud to admit he has an addiction and receive help as he feels it will ruin his image.

Social - peter enjoys social situations for two reasons one is that while surrounded by people Peter is very unlikely to lose his temper and the other is while surrounded by people Peter can play the perfect family man and may even be able to kid himself into believing this disguise is real.


Relationship to other characters:-

Peter is Mikey’s father. Mikey very rarely is on the receiving end of his father’s violence, this is because before the addiction really kicked in peter used to spend time with Mikey and deep down he still loves him very much he just struggles to show it and prefers to use tough love.

Peter is the husband to Caroline. Peter tries hard not to attack Caroline but finds that she is often the only person around when he comes home after work and so she receives it the most. Peter still loves Carol just as with Mikey he struggles to show it to her.


Name: Gabrielle.
Nicknames: He doesn’t have any.
Age: 17.
D.O.B: N/A.
Stereotype: Charming, powerful, loner.

Physical appearance/dress/mannerisms: Gabrielle is almost the exact opposite of Mikey. He is sturdy and muscled and tall, making him look intimidating. He has dark hair, dark eyes and there is always a certain sinister charm to him. Unlike Mikey, he is the sort of person who would stand out.

He is always dressed in dark, semi-formal clothes. Black trousers or jeans with a black shirt that has the sleeves rolled up and the top button always undone. He never wears bright colours or just t-shirts and jeans. Gabrielle is very obviously confident bordering on arrogant. He walks with a slight, easy swagger, head held high. He isn’t afraid of showing his emotions – he’ll sigh and finger tap when bored, grit his teeth and snap, even shout, when angry – and doesn’t seem to care what other people think of his behaviour or attitudes. There is almost always a smug little smirk lingering on his mouth.

Psychological: Gabrielle is the other side of Mikey’s split personality. He’s confident, slightly arrogant and very bossy. He expects everyone to do everything he says just because he says so and he wants it done in the way he has told them to do it. There is no compromising with Gabrielle. He doesn’t understand things like pity and compassion and thinks they are weak and useless. He also has a very bad temper. It doesn’t take much to get Gabrielle worked up into a fit of rage so bad that he will shout and get violent. He can be frightening when he wants to be but also knows how to be dangerously charming and use it to his advantage. He is not stupid.

Gabrielle calls no one a friend and, though he denies it and tries to hide it, is really very lonely. This could explain why he is so possessive over Mikey and why he gets so furious whenever anyone gets close to him.

Relationships: . Mikey – Mikey is the only one who knows of Gabrielle’s existence and, though he is frightened of it, he doesn’t really understand. He is never sure if Gabrielle is a real person or a figment of his own imagination but does what he says not only out of fear but because he feels he should.

Gabrielle hates all of Mikey’s friends and his girlfriend as he sees them as a threat and they don’t know he even exists.

Name: Jennifer Swan.
Age: 17.
Mikey's longterm girlfriend.
Stereotype - Innocent victim. Girl-next-door.

Name: Robbie Coles.
Age: 17.
Mikey's best friend.
Stereotype - Popular Jock. Outgoing, funny, leader.

Name: Scarlett Davies.
Age: 17.
Robbie's girlfriend. Clingy, needy, attention seeking.
Stereotype - Popular, plastic girl.



Script.

(In the car/outside the hotel.)

Scene starts with a long shot of the car coming towards the camera. In the car are MIkey and his parents. It is obvious Peter is talking a lot and his manner is agressive. Next to him, Caroline is drawn into herself, staring ahead with very little expression. Mikey is in the back, staring blankly out of the window.

The car stops outside the hotel. Peter gets out first, followed by his wife. He slams the car door shut while Caroline gently closes hers.

Peter: [to Caroline] ...can never get anything right, can you? You're a waste of bloody space.

He opens Mikey's door while Caroline stands off to one side, looking ashamed. He grabs Mikey by the collar and drags him out.

Peter: [to Mikey] Hurry up! You're just like your mother!

As the bags are unloaded from the car, Peter continues to argue with Caroline and ignore Mikey all the way to the doors of the hotel.

Caroline: Please, Pete, not in front of Mikey...

Peter: Don't you tell me what to do, you stupid slag! I'll do what I want, when I want to do it!

Caroline: ...I'm sorry...I just...I don't want him to have to -

Peter: Shut up!



(Black scene)

Peter is shouting while Caroline is sobbing in the background.

Peter: It's your fault that boy is such an outcast! A loser! You! You with your mollycoddling and lack - of - discipline! Who are you to bring up my son!? He'd be better off without you.

Sound of a hard slap and a muffled scream.


(In the hotel)

Caroline and Peter are still arguing with Peter getting more and more angry and agressive. Mikey is standing in the doorway, watching. He's scared but used to this type of scene.

Caroline: I'm sorry! I'm s-so sorry! I don't mean to upset you, I don't mean to...

Peter: Don't give me that rubbish, woman. Giving me the wrong directions, looking at that bit of eyecandy of yours in reception...You think you can fool me!?

Caroline: I wasn't - I wasn't looking at anyone! I promise, Peter. I wouldn't...I would never...

Peter: Don't lie to me! You good for nothing, waste of space! What I believe that you'd keep your promises?

Caroline: ...I'm not like you...

Peter: What the hell is that supposed to mean!?

Caroline: ...The drinking, Peter. You promised me...You promised Mikey! You don't need it...

Peter: Who are you to tell me what I need!?

Peter punches Caroline and she falls to the floor. He takes a hipflask from his pocket, taking a long swig as he leaves the room, pushing past Mikey and knocking him to the floor. Mikey staggers to his feet and backs out of the room.


(Later)


Mikey: Mum? ...Mum?

Mikey slowly opens the door to their room. He see's Caroline's feet dangling above the ground. She has hung herself. The camera switches to show Mikey with Gabriel standing behind him.

Gabriel: Don't worry, Mikey. I'm here now.


(Outside the hotel - Mikey & Friends.)

Mikey, Jennifer, Scarlet and Robbie are all in the car. The radio is on and they are chatting happily. There is a happy, excited atmosphere. This carries on as they unload and leave the car. No one notices Gabriel.




Filming Schedule.

Long shot of the Tiplker's car driving down the lane, camera follows the car round - 8 seconds.

Close-up zooming into an extreme close-up of Peter dragging Mikey from the car - 1 - 2 seconds.

Low angle shot of the hotel, the camera slowly tilts back - 1 - 2 seconds.

Long shot of Mr&Mrs Tipler walking in to the hotel. The camera zooms out to show Mikey running after them - 9 seconds.

Black scene - 2 seconds.

Over-the-shoulder mid-shot of Mr&Mrs Tipler arguing with Mikey watching. Zooms in to a close-up of the arguing parents. - 4 - 5 seconds.

Low angle, mid-shot, tracking shot of Peter Tipler. The camera tilts to the side as Mikey is pushed over then straightens to watch as Peter walks out of the room - 9 seconds.

High angle shot of Caroline Tipler crying on the floor . Zooms out to an over-the-shoulder shot including Mikey - 6 seconds.

Over-the-shoulder shot of Mikey opening the door to the family's room - 1 - 2 seconds.

Mid-shot of Mikey's reaction. Camera zooms out to another over-the-shoulder shot from behind Mikey to show Caroline's feet dangling in the air - 5 - 6 seconds.

Close-up two-shot of Mikey and Gabriel - 2 seconds.

Close-up two-shot of older Mikey and Gabriel - 2 seconds.

Low angle long shot of the hotel - 2 seconds.

Long shot of Mikey and the group getting out of the car - 2- 3 seconds.

Long, high angle shot from hotel window of the group - 2 - 3 seconds.



Prop List.

2 cars.

Vodka bottle/hipflask.

Costumes:
Peter Tipler - Suit, shirt, tie.
Caroline Tipler - Skirt/Dress.
Little Mikey - Jeans, shirt.
Gabriel - Dark jeans, dark shirt.
Mikey - plain jeans and t-shirt.
Robbie - jeans, tracksuit top, trainers.
Scarlett - short skirt, top, heels.
Jennifer - Jeans, t-shirt, pastel colours.

Suitcases.

Genre Textual Analysis

Kiss The Girls Analysis.

Meaning: The man comes across as mentally unstable. He stalked and killed at least one girl one summer. However, the audience is not told this directly but are left to figure it out.

A fast cutting rhythm creates the impression that the deaths were quick and that a lot has gone on in a short space of time. The fast flashes of film and images could also reflect the killer’s mental state as being confused, disorientated, panicked or just abnormal. It creates tension and makes the audience feel lost and disorientated as they are trying to make sense of images and narrative at the same time.

Flash Frames are used to show newspaper headlines and images. This shows that the killer is well known and what happened was bad enough to make the front page news. It also saves film time while still telling the story and creating a history for the character, making him seem more realistic so that the audience can relate to the situation. Negative images are used to indicate memories. They also show harm and pain – what happened was a negative event – and can also portray the killer himself as other worldly or ghostly.

Voiceover – The story is narrated by the killer himself. His voice is slow, deep, almost calming, and sounds normal yet he is talking about murders he has committed. This contrast is both shocking and scary to the audience. Once again, it also reflects his state of mind as it clearly shows he does not regret what he's done or that he doesn't see why it is wrong, something that is also shocking and frightening to the film's audience.

Camera angles – Close-up and extreme close-ups are used on the victim’s faces to show the pain and fear while at the same time hiding what the killer is doing to cause that, creating mystery and tension. The use of close ups also represents how close the killer always was to the girls while he stalked them as well as how personal the attacks were. The camera is also always moving to represent the way the killer stalked the girls, creeping about and watching them. This makes the film even creepier.

Mise-en-scene – Most scenes are set in a bedroom, showing the killer is a sexual predator. It also makes it more intimate and frightening as it shows an invasion of privacy. It also shows vulnerability of the victim as she was being watched without knowing it. This relates to the reader as they feel as though it could easily happen to them. The candles show he was trying to establish romance, which is both shocking and slightly disgusting to the audience. It contrasts with events to make it more frightening and shocking.

Lighting – Lighting is usually kept dark to contrast with the white used, the fire and the shot of the bright outdoors. Darkness reflects the tone of the film, the events, the state of the killer’s mind and that the attacks happened at night. Darkness is also a thing people are typicaly frightened of or associate with fear. The fire represents passion, pain, danger and desire – his feelings for the women and what he does to them.

Sound – All music is stringed (a Thriller convention) and slow and melodious which is unusual for the genre. It could reflect the calmness that the killer feels. It also creates more tension at the sharper, contrasting sounds such as the screech to represent pain as the camera is showing the woman’s face. The women make noises that could be taken as noises of either pain or passion. This shows the audience both sides of the story – how the woman sees it (pain) and how the killer does (passion). It also shows what type of killer he is and why he does it.

SFX – Black and white and negative shots show that the shot on screen is a memory or flashback. Photos showing the bodies tell the audience that the women are dead without showing blood and gore (Thriller convention). These effects help the audience understand the narrative better.


Psycho Shower Scene Analysis.

Camera Angles – The scene uses an Over-The-Shoulder shot to build tension and suspense as the audience can see the killer coming before Marion can, creating dramatic irony. It also creates tension as the audience are just waiting for it to happen.

An extreme close-up of Marion’s eye and the plughole after the murder is used as it reflects life being washed away and also represents that half of the story being over. The camera then pans up from eye, representing the soul rising. The action is much slower, giving the time audience to think and reflect over what has happened.

A low angle mid-shot of the killer is also used just after Marion realises he is there. This shows who has the power in that situation. This then switches to a high angle shot of Marion, who is in the bottom of the screen. Again, this shows the power the killer has over her as well as how vulnerable Marion is.

A birds eye view shot is used to show the position that Marion and the killer are in. It allows the audience to get a clearer picture of what is happening while, as it is quite a close shot, still keeping them near to the action which reflects the intimate nature of the attack (it was done in the shower).

Setting - Shower – This represents Marion washing away her sin. Her murder is like a punishment for her crime. The shower curtains hides the killers identity to create suspension, tension and mystery as the audience don't know who is killing Marion, keeping them guessing. Marion checks the bathroom door is shut to emphasise her safety, she’s on her own and unprotected. This also lulls the audience into a false sense of security - the door is locked so no one can get in - and the fact that the killer could open the locked door is also a clue as to who is the murderer.

Sound - Stringed, fast music is used to put audience on edge. The speed of the music shows panic, fear and violence. The exaggerated shower noise is used to muffle the noise of the door opening and show the audience that something is wrong. After the murder, it represents the cleansing Marion tried to do and the cleansing the killer thinks they have done. The high string switching to low bass drags out her death.

Camera angles and editing in the shower - Medium shots of the knife going down are used but they then switch to Close Ups to show Marion’s reaction and expression and her struggling. Shot reverse shot, low angle shots are also used to show the relationship between Marion and the killer, representing that the killer has all the power in the situation while Marion is helpless. Also uses subjective shots to put the audience in both Marion and the killer’s place. It uses very quick editing to disorientate the audience and to put across how quickly the murder happened as well as portraying emotions such as panic or fear. When Marion is dead the camera crabs to show how the world is wrong and something’s not right. Marion is not the centre of the shot any more and this shows that the story is not all about her anymore.

Analysis of the opening of Alfred Hitchcock’s Rear Window.

Titles.
The writing is white with a red outline. These contrasting colours make it stand out. However, the colours can also represent innocence (white) and blood, danger, and/or passion (red). This could suggest a loss of innocence and purity within the film.The writing fades slowly in and out. This could be representative of stealth or sneaking around as the change, like someone stealthy, is barely noticeable.Behind the titles is a long shot of a neighbourhood of flats and small houses through a window. At the beginning the window is completely covered by three, slightly see through, wooden blinds. As the titles progress the blinds slowly lift, one by one. This could be representative of opening your eyes and seeing things clearly, being more aware of what is going on around you.

Camera Angles.
Establishing Shot – This is a long shot and perspective shot through a window. This makes the audience feel as though they are a part of the story and the one actually looking through that window. It also signifies that looking out of a window may play an important part in the film.The camera then zooms forward into the setting, as though the audience is stepping out into the neighbourhood.
There are then a few shots of what is happening inside some of the homes. This shows how, although so many people live in such a small amount of space, they all live different lives. These shots are mostly long shots to keep the audience detached from these characters and to show that they are of no real importance. These shots also serve as a “tour” of the neighbourhood to establish a setting for the film and to hint to the audience what sort of characters the film may feature. They also show how easy it is to watch and be watched.
The camera then pans in through the original window by turning to the left, as though the audience has been the one looking through the window the whole time and has merely turned around.
Extreme Close Up of a man’s face. He is asleep and sweating. The audience immediately want to know who he is. There is then a close up of a thermometer and, again, this helps establish the setting.
The camera then pans back to watching people through the window. This time the shots are closer then before, more personal and involved – glimpses of other people’s lives. This could show that these characters are more important to the story or that the watcher is just becoming more and more involved and interested in what the other people in their area are doing and is therefore watching more closely and carefully.
There is then a mid-shot of the man. This shows he is obviously an important character and it is his window the audience has been looking through. The camera pans down to his wheelchair and the cast on his leg. This instantly tells the audience something about his character. There is a close up of the writing on the cast – “Here lie the broken bones of L.B.Jeffries.” This not only tells the audience the character’s name and what is wrong with him but could also be foreshadowing of a death.
The camera then pans to close-ups of a broken camera and photo’s of accidents, crashes and fires. This suggests to the audience that he is a photographer and that he was in an accident, which is how he broke his leg.

Lighting.
Natural (Ambient) lighting is used throughout to add realism. Realism is important in thrillers as it tells the audience that the plot isn’t impossible and could happen, making it seem much more frightening.

Sound.
The music is fast-paced, high pitched and stringed. This immediately puts the audience on edge. The speed could also suggest a fast-paced style of life. The lower pitched instruments within the music sound like a heartbeat, representing panic and fear and, again, this creates tension.There is no real dialogue, only snatches of sound from the lives of the people being watched – alarm clocks, radios, etc – and from outside – children playing, cars, dogs. This shows that the neighbourhood is quite a busy place as well as making the watching more personal and, as the people are unaware of being watched, creepier.

Setting.
The neighbourhood the film is set in seems quite cramped, with a lot of people living in a small amount of space. It also looks quite rundown and not like an area with a lot of money. It is obviously a hot place and the audience can see that many different types of people live. This tells the audience about the type of place the film is set in and, therefore, what type of characters to expect.

Mise-En-Scene.
The street seems quite busy – cars going up and down in the background, people moving about, dogs barking – and this could reflect the type of life the people lead. The colours used are typically quite bright – green, pink, blue – and the weather is hot and sunny. This is not usual in thriller films and could be to lull the audience into a false sense of security.Props are also used to show something about character. E.g. Jeffries’ cameras show he is a photographer and a woman’s pink underwear and blonde hair suggest she is quite bubbly, flirty and girly.

Editing.
Not many cuts are used during the opening. The camera mainly pans or zooms from one shot to another. It is all also done as though the audience themselves are in the film and just turning to look around them. This immediately involves the audience, capturing their interest.

Audience Research.

Our Audience Questionaire

Age:
15-18
18-20
20-25
25-30

Gender:
Male
Female

Favourite type of thriller film:
Action Thriller
Psychological Thriller
Technological Thriller
Serial Killer Thriller
Sci-fi Thriller
Other _____________________

What type of characters do you expect in a thriller film?



Do you prefer a male or female baddy? And Why?



Do you like unpredictable endings? And why?



What tense to you prefer your film to be in? And why?



Do you prefer stereotypical or unique characters? And why?



Do you prefer 15 or 18 certificate? And why?



Target Audience

As a group we decided that we didn't want the certificate of our film to be lower then a 15. We also decided that we wanted a thriller that targeted mainly young adults. Therefore, we set our target audience at 15 - 30 and gave our questionnaire to a range of people within this age range.

Completed Questionnaire

Results Of The Questionaire

Using our audience research we found that most people (male and female) aged 15-20 preferred psychological thrillers. This is useful as we now know what subgenre of thriller we should use to appeal to our audience. However this also subjects that there are already lots of psychological thrillers made for this age group. To avoid this we could make a less popular sci-fi, serial killer or technological thriller to ensure there is a gap in the market.

Most people aged 15-20 preferred a male ‘bad Guy’ to a female ‘Baddie’.
Reasons why included;
They come across as more dominant.
Seen as more controlling.
Seems more realistic and believable.
Seems scarier.
They are stronger, less vulnerable.
Seen as more superior.
Typically seen as more violent than women.
However, some would also rather a female victim as it is more unsuspected and shocking.

Everyone who took part in our questionnaire agreed that they wanted an unpredictable ending. This is because it makes the film more interesting, shocks the audience and builds suspense. As they said predictable films are boring and so our film will have an unpredictable ending.

Almost an equal number of people like flashbacks and present tense. People liked flash backs as they give the story depth and are creepier. They also liked present tense as it involves the audience more and is more scary. Based on these results we decided to use a mixture of present tense with some flash backs so to please all our audience.

Most people preferred mix of stereotypical and unique characters. This is because the unique characters keep the film different and interesting while the stereotypical characters are easy for the audience to relate to. Based on these results we have decided to use a mix of unique and stereotypical characters.

Though the results are almost even, most people preferred a 15 certificate. Reasons given where;
Less violence means more focus on the storyline
Less scary
More people can watch it.

However, others preferred an 18 as it would have darker storylines and an 18 certificate makes it seem more exciting and scary.

Action Points

* 18 certificate.
* A mix of stereotypical and unique characters.
* Unpredictable ending.
* Include flashbacks.
* Psychological thriller.
* Male "baddie".

Continuity Task.

Storyboard



Plot Summary.

A man – Danny – goes round to his girlfriend’s house to see her. Opening the door to her bedroom, he sees another man – Jack - pinning her violently against a wall. He has a gun to her temple.Later that night, Danny sneaks into Jack’s house without being noticed. He finds Jack sitting at his table, eating his dinner. He sits opposite Jack, trapping him in. They argue and then Danny pulls a gun.






Script

Establishing shot of a normal looking house during the day. Camera zooms up to one of the upper windows.

Quick cut to a close up of a man’s – Danny - hand on a door handle. He opens the door. Camera zooms out to an over-the-shoulder shot. Another man – Jack – has a young woman – Danny’s girlfriend, Mel – pinned to the wall of the room and is obviously threatening her. She is trembling and visibly frightened. Jack has a gun held against her temple.
Match On Action.
Quick cut to an over-the-shoulder shot of Danny again, in the same position. This time, he is in a different house. He is looking in at Jack who is sat casually at his dining room table, eating dinner. Danny isn’t noticed until he speaks.

Danny : [low, threatening] Alright, Jack?

Quick cut to a close up of Jack’s face. He looks up, fork halfway to his mouth, obviously shocked and scared. He tries to cover it up.

Quick cut to over-the-shoulder shot from behind Jack. Danny is standing in the doorway, glaring at Jack and very tense.

Jack: [nervous] Yuh-Yeah. Good, thanks...You a-alright, Danny, mate?

Without saying anything, Danny walks slowly towards Jack until he is sitting opposite him.
Shot Reverse Shot.

Danny: [threatening, calm] No. No, Jack, I’m not alright. Do you know why I’m not alright?

Jack: [trying to act casual but obviously worried] No...I mean, why wouldn’t you be alright? Great house, great car, lots of money, great girl -

Low angle shot. Mid-shot.

Danny: [leaning over the table, in Jack’s face. He gradually gets louder, more angry] Yeah. Yeah, you’re right. I have got a great girl. So, naturally, I’d worry about her. Especially when there are creeps like you about. What the hell were you doing at my house!?

Shot Reverse Shot.

Jack: [fidgety, twitchy] I – I dunno what you mean, mate! I wasn’t anywhere near...

Danny: [shouting] I saw you! I saw you, you lying scumbag!

Jack: Okay, okay! I – It wasn’t me! I didn’t want to! He made me, Danny, I swear he made me...!

Hear the click of a gun being loaded.

Extreme close up of the barrel of a handgun.


Shooting Schedule.

Location: Girlfriends house.

Establishing shot of house, camera pans up to close up of upper window – 4 seconds.

Close up of Danny’s hand on a door handle, the door opens – 1 – 2 seconds.

Over-the-shoulder shot from behind Danny – 1 second.

Location: Jack’s house.
Over-the-shoulder shot from behind Danny – 3 seconds.

Close-up of Jack’s face – 1 second.

Over-the-shoulder shot from behind Jack – 8 seconds.

Close-up of Danny’s face – 3 seconds.

Close-up of Jack’s face – 3 seconds.

Low angle mid-shot of Danny leaning over the table – 4-5 seconds.

Close-up of Jack’s face – 2 seconds.

Close-up of Danny’s face – 2 seconds.

Close-up of Jack’s face – 2 seconds.

Close-up of the barrel of a gun – 1 second.



Prop List

Toy Gun.
Table.
Chairs.
Plate.
Cutlery.
Glass.
Food.


Reflection

What went well during filming?
I feel that planning my continuity task really helped when it came to filming. It meant that I know what I was doing and when I was doing most, if not all, of the time. It made the process of filming much smoother and easier. Knowing how to work the camera beforehand also helped a lot as it saved time that we could use to film. I think that the positioning of the camera for different shots went well while I filmed and that I worked really well with the actors I used.

What did you struggle with or find more difficult than you anticipated? Did any unexpected problems occur?
I found that getting rid of any unwanted background noise was hard and sometimes impossible to do completely. Lighting was also a problem as we didn't have any technical lighting equipment and had to rely on what we could find. This meant that some of the scenes were darker then wanted. Finding the right setting that was available for me to use was also difficult as there were only a limited number of places in which I could film.

What would you do differently next time?
Next time I would think ahead more about my location to ensure that a location that matches my plot is available to me. I would also think more carefully about the lighting within the location and how light/dark I wanted the scene so that I could plan ahead about trying to find a way to lighten/darken a room. I will also keep the number of people around to a minimum to avoid unnecessary chaos, confusion and noise.

Genre Research

Thriller Definition.

A thriller is a genre of film designed specifically to keep it's audience tense and on the edge of their seats. Though it is a large area of film with many sub genres (mystery thriller, spy thriller, psychological thriller etc.) all feature the same basic concepts; plot twists, red herrings, a fast pace and action, a resourceful protagonist and twisted antagonist. Thrillers are usually certified a 15 or 18 due to plots, language or scenes of violence though actual blood and gore is rarely shown (differentiating thrillers from horrors).

What is genre?

Genre is when a type of media – film, text, radio etc – uses repetition and variation to tell a familiar type of story with characters and situations stereotypical to the story and situation. It helps to limit the scope of the film for not only the audience but also writer and director. It also makes it easier for audiences to select which type of films they want to watch and this is good for the industry as a whole as audiences will often go to see a film at the cinema purely because of it’s genre. This, in turn, makes it easier to promote as the target audience is easier to identify. It also makes it easier for the audience to relate to and identify the film as they know what to expect and, consciously or unconsciously, expect a certain type of ending that they expect to enjoy which is why they go to see the film in the first place. Audiences enjoy watching a certain genre as unexpected twists and turns are added to basic storylines, bringing about a conclusion that is both expected and surprising.

What is a thriller?

A film designed to keep the audience on edge using techniques to create suspense and tension. Thrillers have also been made for other media texts such as radio or books. It is a very large genre often sorted into sub-genres or over lapping with other genres such as mysteries or dark comedies. Thrillers are often fast paced with complex twists and turns throughout the plot.There are several characteristics – codes and conventions – that define the thriller genre. They have lots of plots twists and red herrings, a strong, sometimes mentally disturbed and typically male “villain”, a weak, vulnerable victim who is often a woman and portrayed as a sex object and a creepy, isolated setting.

Sub-Genres:

Psychological.
Sci-fi.
Serial Killer.
Spy.
Action.
Crime.
Supernatural.



Top 5 Thriller Films

1) The Da Vinci Code Made by Columbia Pictures. (Sony)
Made $217,536,138 at the Box Office worldwide.
Target Audience – Educated adults, people who have read/are interested in the book. Rated as a 12A by the BBFC.

Why was it successful?

There was a lot of hype surrounding the film and everyone knew about it. The book was a best seller so the film appealed to it’s millions of fans. It stared famous, successful actors such as Tom Hanks and sir Ian McKellen. Well known director – Ron Howard – who had already won an Oscar. It was advertised a lot. It was controversial and caused religious people to speak up and make a scene, drawing more attention to the film and making people curious. Debuted at the Cannes Film Festival which gave it a lot of publicity.“The wide appeal of The Da Vinci Code book coated the film in critic-proof armour long before it was even made.
With 50 million copies of the book sold worldwide, it is virtually guaranteed to be a commercial hit.” - BBC

2) The Sixth Sense
Made by Spyglass Entertainment. Distributed by Buena Vista.
Rated a 15 by BBFC.
Made $661,500,000 at Box Office’s worldwide.
Target Audience of men and women over the age of fifteen.

Why was it successful?
It stared a well-known actor – Bruce Willis. Unexpected twist at the end. Good storyline and acting.
“...let me say that the coolest thing about The Sixth Sense is how this twisty ghost story, about a child who sees dead people all around him, circumvents all such instincts. It's a psychological thriller that actually thrills.” – Entertainment Weekly.

3) Jaws
Made by Universal Pictures.
Made $470,700,000 at Box Office’s worldwide.
Rated a PG by the BBFC.
Target Audience of teenagers and adults – 15 and above.

Why was it successful?
Relies on tension and suspense – the shark has limited screen time. Good score by well known composer – John Williams. Original idea. Shocks unexpectedly. Famous director – Stephen Steilberg. “John Williams' memorable score is used sparingly but its tone of impending terror is more responsible for the power of the film than the sightings of the beast itself.”“Confident direction combined with clever editing, lulls you into relaxing at precisely the wrong moments to great effect. Being able to calm the viewer only to wrench into their most primeval fears when least expected is the essence that lies behind the ability of "Jaws" to shock and entertain.” – BBC.

4) Mission:Impossible
Made by Paramount Pictures.
Made $457,696,359 at Box Office’s worldwide.
Rated a PG by the BBFC.
Target Audience – People who had watched the TV series. Mainly men, aged 14 – thirties.

Why was it successful?
Special effects and stunts. Well known star – Tom Cruise. Catchy theme tune. Use of twists. Lots of action.
“Bursting into action with that unmistakable theme tune...” - Film.U-net“...succeeds in offering up several exciting and suspenseful sequences...” - RottenTomatoes

5) The Bourne Ultimatum
Made by Universal Pictures.
Made $442,817,159 at Box Office’s worldwide.
Rated a 12A by the BBFC.
Target audience – Fans on the books. Ages 14 and up.

Why was it successful?
Part of a well known franchise. Surrounded by a lot of hype. Well advertised. Good, involving plot.
“...a blockbuster with brains as well as brawn.” – Channel 4



Codes And Conventions Of Thriller Films.

Motif - A motif is something that is repeated throughout the film. It is used to put an idea in the audience's mind. E.g. The use of stuffed birds in Psycho.

Plot Twists - Every thriller has plot twists. They are used t keep the audience guessing and in suspense.

Quick Cuts - This is a form of editing. It builds suspense and speed and can be used to disorientate the audience and/or build tension as well as causing suspense.

Background Music - It is usually instrumental, stringed and high pitched. It is used to indicate to the audience that something is about to happen and build a tense atmosphere.

Over-The-Shoulder/Perspective Shot - These camera angles can be used to make the audience feel as though they are in the movie, a good way to build tension and make the audience more involved. It also can be used to show character's emotions and create mystery.

Stereotypical Characters (killer with mental problems, the innocent, sweet victim) - Stereotypical characters are often easy to relate to, make plot twists easier to create and means the audience can usually figure out who is who.

Close-ups - A camera angle used to show emotion. Can also be used to create mystery. E.g. focusing on the victim's face while the killer is there without showing the audience what the killer is doing.

Low Angle Shots - Used to give a character power and make them seem more intimidating. It can also put the audience in the place of a character, typically the victim, building fear and tension.

Dull/Dark Lighting - By keeping the lighting low it creates a creepy, tense atmosphere as, typically in films, nothing bad happens in bright light. The dark also allows hidden things to happen.

Isolated Settings - By using an isolated setting the audience knows no one will be around to help the victims, creating a scarier atmosphere.

Iconography - An icon is something that represents something else. These are used to subtley tell the audience something.

Costume - Costume is often used to represent a characters personality. White is often used to represent innocence while black is representative for the bad characters. Masks are often used to represent mystery.




Representation In Thrillers.

Men are stereotypically the killer. They are represented as powerful and intimidating. If thrillers do feature a male victim they are usually the leader of a group - the stereotypical "hero".

Women are usually the victims and represented as vulnerable and sexual. If the killer is a woman, she is often shown as manipulative and crazy.

Children are usually represented in two ways. They are either the vulnerable victim (the little girl in Hide And Seek) or creepy and evil (Damien in The Omen).

Old people are usually represented as ugly, devious, creepy and, typically, evil.



Advanced Film Making Techniques.

Cutting Rhythm - Where the cuts in the film are and how fast or slow the film is cut.

Montage - The assembly of shots and the portrayal of action or ideas through the use of many short shots. This creates a relationship between the shots and subjects.

Jump Cut - An instantaneous transition between two scenes that have identical subjects in slightly different screen locations which makes subjects appear to jump within the scene. Indicates that time has passed.

Clock Wipe - Sweeps a radius around the centre point of a scene to reveal a new scene. Indicates time passing.

Negative Image - And image with colour reversed from positive to negative, making white seem black etc. The effect of this is that it makes the scene and/or character seem ghostly and creates a surreal/other worldly atmosphere.

Flash Frame - A very short shot (usually one frame, sometimes several) that appears in a sequence of images. This can emphasise an important plot point.

Fast Motion - Movements on screen appear faster then in real life. This can show speed but also represent the character feeling out of control.

Flash Back - A segment of film that breaks chronological order showing thoughts and/or memories of characters. Can help to create a background for a character, make the audience feel more emotion for a character and to tell the story.

Auteur - A film maker who has an individual style and complete control over all elements of production, giving film a personal and unique stamp. E.g. Tim Burton.

Cinema Verite - A technique of documentary film making that records actual people and events as if they don't know they are being filmed. This adds more realism to the film.

Sound Effects (SFX) - Sounds placed over the top of a scene in a film that aren't there when filming. These add more emotion, drama and understanding.

Talk To Camera - When a character looks and talks directly at the camera. This can show authority and expert status. E.g. The beginning of I Am Legend shows a newsreader talking directly to camera.

Zoom Shot - This is when the director magnifies a part of the image, creating a difference in perspective. This can draw attention to a particular detail or important plot point.

Zoom Freeze - A zoom shot ending in a freeze frame. This can create a stop in time as well as drawing attention to a particular detail.

Crab Left/Right - When the camera moves left or right but the subject stays still. This creates the effect of the scene being viewed by an outsider.

Cross Cutting - A cut from one line of action to another. Like a montage, this creates a relationship between scenes.

Freeze Frame Shots - When one shot is printed in a still frame several times to create the illusion of a still photo.

Selective Focus - Blurring out one part of the shot like the background and having the foreground in focus. This draws attention to a particualr detail of a scene.

Tilt Shot - When the camera looks up and down at an object. This makes it seem more dramatic and shows power levels within the scene.

Tracking Shot - Action of moving the camera along a path parallel to the path of the object being filmed.

High Key Lighting - This is used in film, TV and photography. It reduces the light ratio within a scene and this reduces the image of any skin imprefections and makes skin look light. Everything else within the scene has to be darker for the scene to appear normal. It is often used in romances and comedies as it sets a tone of happiness and perfection.

Back Lighting - When the subject is lit from behind while everything else is darker. This creates a glow around the subject. The subject can also be lit from the front and back so they can hardly be seen. This is used to create a sense of mystery.

Ambient Lighting - This is used to create a natural effect in a scene. It includes light not provided by the crew and creates more realism.

Cameo Lighting - A spotlight that accentuates a single subkect in a scene, drawing attention to that and nothing else. It can lead to color distortion in the darkest areas.

Diegetic Sound (Actual Sound) - This is any sound where the source is visible on the screen or is implied to be present by the action in the film. This includes voices of characters, sounds made by objects in the story, music coming from stereos, instruments etc in the story. Diegetic sound is sound that is in the world in which the story of the film is set and can add realism, set a scene and help to create an atmosphere.

Non-diegetic Sound (Commentary Sound) - This is sound that is represented as coming from outside of the story. The source is not on screen or implied to be there and this includes a narrator's commentary, the voice of God, a sound effect added for dramatic effect, basic sound effects, mood music and film scores. It is often used to create atmosphere and mood, such as suspense and tension.

Synchronous Sound - These are sounds that are matched with what is viewed. If a character is talking, the words are heard as their lips move. It can be recorded while shooting or dubbed and added in later and any unwanted sounds can be dubbed over. Sound and visual perspective must match for this to seem real. This is the distance from which a sound is heard and how it effects the sound.

Non-synchronous Sound - This is any nosie whose origin is not seen. Eg; a gunshot in the dark, a train whistle, a rush of air.


Film Classification.

BBFC's Guidelines For Certificate Films

1. What certificates are usually used for thriller films?
15, 18

2. What is the definition of these certificates?

15

Theme - no theme is prohibited, provided the treatment is appropriate to 15 year olds.
Language – there maybe frequent use of strong language (e.g. fuck) but the strongest terms will be acceptable only where justified by context. Continued use of the aggressive language will not be acceptable.

Nudity – nudity maybe allowed in a sexual context but without strong detail. There are no constraints on nudity in a non-sexual or educational context.

Sex – sexual activity maybe portrayed but without strong detail. There maybe strong verbal references to sexual behaviour.

Violence - violence maybe strong but may not dwell on the infliction of pain or injury. Scenes of sexual violence must be brief or discreet.

Imitable techniques – dangerous techniques (e.g. hanging, suicide and self harming) should not dwell on imitable detail. Easily assessable should not be glamorised.

Horror – strong threat and menace are permitted. The strongest gory images are unlikely to be acceptable.

Drugs – drugs taken maybe shown but the film as a whole must not promote or encourage drug misuse.



18

In line with the consistent findings of BBFC’s public consultations, at ‘18’ the BBFC’s guidelines concerns will not normally override the wish that adults should be free to choose there own entertainment, within the law. Exceptions are in mostly the following areas:·
Where material or treatment appears to the board to risk harm to individuals or, through their behaviour, to society e. g. any detailed portrayals of violence or dangerous acts, or of illegal drug use, whish is likely to promote the activity. The board may also intervene with scene of sexual violence which might, e.g. eroticise or endorse sexual assault.· The more explicit images of sexual activity – unless they can be exceptionally justified by context and the work is not a ‘sex work’ as defined below.

In the case of videos and DVD’s, which may be more accessible to young viewers, intervention may be more frequent. For the same reason, and because of the different way they are experienced, the board may take a more precautionary approach in the case of those digital games which is covered by the Visual Recording Act.

Sex Education - where sex material genuinely seeks to inform and educate in matters such as human sexuality, safe sex and health, exceptions to the normal constraints on explicit images may be made in the public interest. Such explicit detail must be kept to the minimum necessary to illustrate the educational or instructional points being made.

Sex Works – sex works are works, normally on video or DVD, whose primary purpose is sexually arousing or stimulation. Sex works which contains material which maybe stimulating would normally be passed as an ‘18’, while sex works containing clear images of real sex are confined to the ‘R18’ category.

Action Points

Based on my research into the Thriller genre, in my own film I will:

* Make it an 18. This is because people are more likely to watch an 18 as they expect it to contain more violence/sex/disturbing ideas etc and to be more controversial and interesting.

* Have a male killer and female victim. This is a convention of thrillers that audiences, mostly, expect to see.

* Use a variety of editing techniques and camera angles. This will not only create a sutiable atmosphere but will keep the film fresh and interesting throughout so that the audience will remain interested.