Whilst watching 'The Magic of Editing', I collated notes that would help build towards my understanding of what the main objective of editing within film is, how editing was established and what my group and I should consider when editing our virus sub-genre teaser trailer.
Originally, individuals would photograph or film whatever interested or amused them. They would hold a shot of something or someone until there was nothing more to film or the film ran out.
Lumier - 'cinema was an invention without a future'
Edwin Porter (One of Thomas Edison's employees) - Established the idea of cutting separate shots to create a story or sequence of events. This process allowed the spectator to be transported to different environments, bridge vast time scales, slow or quicken the speed of action and create relationships with the individuals onscreen. His first production was 'Life of an American fireman' (1903).
Timing is the key to startling audiences or amusing them.
D.W. Griffith understood the psychological importance of editing. His first production was silent film 'Unseen Enemy' (1912) which was released one decade after Porter's discovery of editing clips together. Griffiths production popularise melodramas by allowing the audience to have an insight into the emotional world of the characters.
Griffith's main objective was to make the audience emotionally invested in the story.
The original way of editing film consisted of holding film up to a source of light then checking where the film has been cut by running it through a project to then make the necessary adjustments.
An Editor is the key collaborator to the Director. No other crew member spends as much time with the Director. No other crew member spends as much time with the director then the editor.
The Russian revolution was one of the main catalyst of film editing due to film being the perfect medium to persuade the nation to join the revolution.
Dziga Vertor - a documentary film maker who took his camera into the streets of Moscow, Russia to present to an audience a 'typical day'. His first production was 'Man with a Movie Camera' (1920). This production celebrated revolution as well as the role of the cameraman.
Kuleshov effect allowed the audience to create a third meaning and established the power of montage and juxtaposition; the meaning wasn't in each individual shot, it was amongst the combination of shots. Many orthodox techniques have had an effect on productions that are exhibited nowadays.
To accentuate suspense and action within a scene, the rhythm of shots must be considered. Our ancestors were survivors therefore we can relate to the feeling of being pursued and escaping from danger whether this being someone or something.
F.W. Murnau 'Nosferatu' (1922) played upon the idea of fearing the unknown.
30 December 2014
Virus Victim Make-up - First Attempt
After being presented with a variety of horror make-up techniques, I was given the opportunity to independently attempt to either recreate a look demonstrated by the professional make-up artist (vampire, zombie or virus victim) or establish my own look using the equipment available (i.e. bruise wheel, latex, prosthetics, a range of fake bloods etc.) whilst taking into consideration methods needed in order to create the look (buffering, gluing, pressing, blending etc.). My main objective was to build towards the look of someone whose face shows signs of feeling unwell. In order to achieve this, I had to concentrate on the colouring of the eye area (on top and underneath), the colouring of lips (warm pink/red to cold white/grey), the prominence of the cheekbones to suggest weight loss and the overall complexion of the face to show general ill health.
Up until the tutorial, I had never before attempted this type of special make-up so I was slightly sceptical as to whether my attempt to create the virus victim look would be successful.
On the left is a medium close-up image of Lulu normally without any product on her face. Even though the image is in black and white, you are able to see freckles and the healthy colouring of her lips.
Firstly, I washed my hands! (This is vital as you don't want to spread any bacteria). Then, I tied Lulu’s hair back and used a cotton wool pad and a non-alcoholic toner to clear any excess oils and dirt from Lulu’s face. After her face had dried, I applied a foundation (Shade 1 IVORY) that was one shade lighter then Lulu’s own skin tone in order to neutralise any colour, freckles or blemishes.
I applied a pea sized amount on the back of my hand and used a foundation brush to blend the product onto Lulu’s face. This was to ensure no foundation was wasted as if I were to need any more, I could just empty some from the bottle.I applied a clear lip balm to the lips to ensure that when I applied foundation, Lulu's lips would dry.
Here on the left, is the image of a bruise wheel. I have numbered the bruise wheel in order for easier reference when explaining what shades were used when creating Lulu's final look.
After, I began to apply a small amount of shades 1,2,3,4 and 5 from the bruise wheel provided on the back of my hand with the end of eye shadow brush. Similarly to when I applied foundation to the back of my hand, applying colours from the bruise wheel meant that I could choose to either use each colour separately or to blend to create a new shade. Bruise wheels are great as they offer six different bruise shades that give a nice sheer shine that give a realistic appeal.
I gradually began to build around the eye area using colours 2 and 3, ensuring that no product went into the eye itself. I initially started applying the product with an eye shadow pad then, I went onto blending the product into the skin with my finger.
I used Lulu's natural under eye shadowing to guide me where to apply the darker bruise colouring; I wanted to exaggerate what was already there without making it look just like a face paint (the whole objective with film make-up is to add to the realism of what the spectator sees).
After I finished with the eyes, I began to slightly contour the cheekbones with the remainder of bruise wheel product I had on my finger. Because Lulu is only young, she doesn't yet have full cheekbone structure so I just focussed on darkening the tops of the cheekbone near the ear area and the temples of the head to make them seem more prominent.
Overall, taking into consideration that this was my first time trying to recreate the virus victim look without any guidance, the process took around 15/20 minutes. Now that I have an understanding into how long the process takes, my group and I can allow preparation time for make-up and costume within our filming schedule.
Here is Lulu with make-up applied to her face. I had to take an extreme close-up of Lulu in order to show the finer details such as the colouring under her eyes and the pale complexion of her skin.
On the left is a medium close-up image of Lulu normally without any product on her face. Even though the image is in black and white, you are able to see freckles and the healthy colouring of her lips.
Firstly, I washed my hands! (This is vital as you don't want to spread any bacteria). Then, I tied Lulu’s hair back and used a cotton wool pad and a non-alcoholic toner to clear any excess oils and dirt from Lulu’s face. After her face had dried, I applied a foundation (Shade 1 IVORY) that was one shade lighter then Lulu’s own skin tone in order to neutralise any colour, freckles or blemishes.
I applied a pea sized amount on the back of my hand and used a foundation brush to blend the product onto Lulu’s face. This was to ensure no foundation was wasted as if I were to need any more, I could just empty some from the bottle.I applied a clear lip balm to the lips to ensure that when I applied foundation, Lulu's lips would dry.
Here on the left, is the image of a bruise wheel. I have numbered the bruise wheel in order for easier reference when explaining what shades were used when creating Lulu's final look.
After, I began to apply a small amount of shades 1,2,3,4 and 5 from the bruise wheel provided on the back of my hand with the end of eye shadow brush. Similarly to when I applied foundation to the back of my hand, applying colours from the bruise wheel meant that I could choose to either use each colour separately or to blend to create a new shade. Bruise wheels are great as they offer six different bruise shades that give a nice sheer shine that give a realistic appeal.
I gradually began to build around the eye area using colours 2 and 3, ensuring that no product went into the eye itself. I initially started applying the product with an eye shadow pad then, I went onto blending the product into the skin with my finger.
I used Lulu's natural under eye shadowing to guide me where to apply the darker bruise colouring; I wanted to exaggerate what was already there without making it look just like a face paint (the whole objective with film make-up is to add to the realism of what the spectator sees).
Overall, taking into consideration that this was my first time trying to recreate the virus victim look without any guidance, the process took around 15/20 minutes. Now that I have an understanding into how long the process takes, my group and I can allow preparation time for make-up and costume within our filming schedule.
Here is Lulu with make-up applied to her face. I had to take an extreme close-up of Lulu in order to show the finer details such as the colouring under her eyes and the pale complexion of her skin.
28 December 2014
Horror Genre Film Soundtrack Analysis
'28 Days Later' - 'In the house - In a heartbeat'
Release Date - 17th June 2003
Track length - 4 minutes 19 seconds
Artist - John Murphy
'In the house - In a heartbeat' is an instrumental track by composer John Murphy which was released on June 17 2003 as part of Danny Boyle's Virus sub-genre film '28 Days Later' soundtrack. This track was featured over the climatic confrontation of the film and recurs in several scenes in the sequel '28 Weeks Later'. What I like about this particular soundtrack is the use of overlapping string instruments with ambient guitar chords. John Murphy's composition of the song slowly builds from an isolated single guitar chord to the introduction of a different instrument every moment onwards; this heightens the sense of threat faced by the protagonist. Moreover, the repetition of guitar chords is similar to the pace of a ticking clock therefore, as the pace quickens it could be interpreted that time is running out for the chance of survival. This ultimately evokes the same emotions felt by Jim (protagonist) for the audience as well.
‘The Crazies’ - ‘Mad World’
Release Date - 23rd February 2010
Track Length - 3 minutes 21 seconds
Artist - Gary Jules
'Mad World’ made a popular resurgence when it was re-released in a much slower and sombre minimalist tempo by composers Michael Andrews and Gary Jules for the soundtrack to the movie ‘Donnie Darko’ (2001). This version reached number 1 in the UK in December 2003. It was later in 2010 that ‘Mad World’ was used as the soundtrack to Eisner’s virus sub-genre film ‘The Crazies’.
‘Contagion’ Official Soundtrack
Release Date - Unknown
Track Length - 3 minutes 2 seconds
Artist – Cliff Martinez
‘Contagion’ Official Soundtrack
Release Date - Unknown
Track Length - 3 minutes 2 seconds
Artist – Cliff Martinez
Cliff Martinez composed the film’s soundtrack which was his first score since director’s Soderburgh previous film ‘Solaris’ (2002). Given that the pacing of the music was one of Soderburgh’s biggest concerns, Martinez needed to maintain a brisk pace throughout the soundtrack, whilst also conveying fear and hope within the music. Martinez commented during the creation of the film’s soundtrack that ‘(I) tried to use the music to conjure up the sense of tragedy and loss’. What I like about this soundtrack is the atmospheric and abrasive synthesiser sound. ' They're calling my flight' uses piano and synth effect which helps to generate tension through what is know as a music loop. A loop is a repeating section of sound material; short sections of sound can be repeated to create ostinato patterns. Ostinato can be defined as a motif or phase that persistently repeats the same pitch. The use of repetition relates to the film events; for example, when health services in the film feel as though they have the virus under control, a new case is reported and the process of eliminating the virus begins all over again.
‘I Am Legend’ Official Soundtrack
Release Date - Unknown
Track Length - 2 minutes 55 seconds
Artist – James Newton Howard
‘I am Legend’ Official Soundtrack was released on 15th January 2008 and composed by James Newton Howard.
12 December 2014
7 December 2014
Potential Institution - Vertigo Films
Vertigo Films is a UK Film and Distribution company founded
in 2002 by Allan Niblo and James Richardson. The following year Rupert Preston
and Nick Love joined and became partners. The company’s mission is to create
and distribute commercially driven independent cinema and since inception it
has produced 28 films and distributed a further 35. Vertigo also owns a
successful post production company in Berlin, The Post Republic and is a
partner in sales company Protagonist Pictures along with Film 4 and Ingenious.Previous Horror genre Vertigo Films include -
'The Facility'
Release Date - 6th May 2013
This production revolved around seven complete strangers who all begin a clinical trial for an experimental new drug 'Pro-9'. But as the untested drug enters their bodies, unexpected side effects start to take over and several of the medical research volunteers are placed into an uncomfortable murderous rage.
'Retreat'
Release Date - 14th October 2011
Martin (Cillian Murphy) and Kate (Thandie Newton) are taking an relaxed and isolated break on an uninhabited island until a blood soaked stranger (Jamie Bell) stumbles through their door informing them about an apocalyptic virus sweeping across Europe.
Potential Institutions - Hammer Films, Vertigo Films, Blum House and Twisted Pictures
Founded in November 1934, Hammer is one of the oldest film production companies in the world. Hammer specialises in the production of film within the Horror genre and has helped to define the genre's success in Britain over 80 years with classics such as Dracula, The Curse of Frankenstein and The Mummy, which spawned numerous sequels. Hammer has a back catalogue of nearly 300 titles (since 1934 to 2014)
1930's
Hammer Productions was established on November 5th 1934. In the pre-war period Hammer's output ranged from comedy 'The Public Life of Henry the Ninth' and slave drama 'The Song of Freedom'. Due to the outbreak of World War II, and with its executives seeing active service, production ground to a halt.
1940's
Growing Demand following the Second World War, Hammer Films re-formed and began to produce crime capers and Adventure films.
1950's
1960's
The staggering success of 'The Curse of Frankenstein' was followed by the even greater box office haul of 'Horror of Dracula' just one year later. With these two films alone Hammer had cemented the company name amongst audiences, film critics and censors alike. The monster movie was back, and Hammer jumped at the opportunity to reinvent other characters including 'The Abominable Snowman' (1957) and 'The Mummy' (1959).
1970's
By 1970, British Film Industry was beginning to suffer financially as the arrival of colour television contributed to a sharp decline in box office revenues. The financial climate forced Hammer to seek other approaches of film production. Gothic horror eventually came out of fashion and Hammer couldn't find backers (financers) for film production.
1980's
Although Hammer no longer had involvement within cinema , another outlet for horror production was discovered - television. 'Hammer House of Horror' contained tales of horror with hints of dark humour.
2010's
Hammer marked its return to film with the release of critically acclaimed 'Let Me In' an adaptation of the highly praised Swedish Film 'Lat Den Ratte Komma In'. This production was written and directed by Matt Reeves (Cloverfield) and stars Chloe Grace Moretz ('500 Days of Summer' and 'Kick Ass') and Kodi Smit-McPhee (The Road).In 2011, Hammer released Anitti Jokinen's 'The residents' starring two-time Academy Award winning actress Hilary Swank ('Boys Don't Cry' and 'Million Dollar Baby') and Hammer legend Christopher Lee.
As well as critically lauded 'Wakewood' directed by David Keating starring Timothy Spall. February 2012 saw the theatrical release of Hammer's first ever feature ghost story 'The Woman in Black' directed by James Watkins, adapted by Jane Goldman from Susan Hill's novel.
Vertigo Films is a UK Film and Distribution company founded in 2002 by Allan Niblo and James Richardson. The following year Rupert Preston and Nick Love joined and became partners. The company’s mission is to create and distribute commercially driven independent cinema and since inception it has produced 28 films and distributed a further 35. Vertigo also owns a successful post production company in Berlin, The Post Republic and is a partner in sales company Protagonist Pictures along with Film 4 and Ingenious.
Previous Horror genre Vertigo Films include -
'Retreat'
Hammer Productions was established on November 5th 1934. In the pre-war period Hammer's output ranged from comedy 'The Public Life of Henry the Ninth' and slave drama 'The Song of Freedom'. Due to the outbreak of World War II, and with its executives seeing active service, production ground to a halt.
1940's
Growing Demand following the Second World War, Hammer Films re-formed and began to produce crime capers and Adventure films.
1950's
Hammer was producing a steady supply of support drama and documentaries intended to play alongside feature films in cinemas. In 1951, Hammer began to co-produce their films with the United States of America and fellow producer Robert Lippert; this enabled the company to develop a business relationship with a North American market and cast American stars/crew. Hammer largely focused on crime thrillers and films noir.
'The Quatermass Xperiment' (1955) changed the course of Hammer's film output almost overnight. A commercial and critical hit, the film posed the question what might happen if an alien virus really was brought back to Earth?. Audiences flocked to witness the ensuing chaos and gruesome special effects.
Following the success of 'The Quatermass Xperiment', Hammer began to focus from the struggling crime thriller pictures of the early fifties to horror. The company made history with its first full colour creature feature 'The Curse of Frankenstein' (1957). Blood, gore, extravagant costumes and sets were presented in vibrant colour, enraging censors, but delighting audiences in equal measure.
'The Quatermass Xperiment' (1955) changed the course of Hammer's film output almost overnight. A commercial and critical hit, the film posed the question what might happen if an alien virus really was brought back to Earth?. Audiences flocked to witness the ensuing chaos and gruesome special effects.
Following the success of 'The Quatermass Xperiment', Hammer began to focus from the struggling crime thriller pictures of the early fifties to horror. The company made history with its first full colour creature feature 'The Curse of Frankenstein' (1957). Blood, gore, extravagant costumes and sets were presented in vibrant colour, enraging censors, but delighting audiences in equal measure.
'The Quatermass Xperiment' film poster (1955)
1960's
The staggering success of 'The Curse of Frankenstein' was followed by the even greater box office haul of 'Horror of Dracula' just one year later. With these two films alone Hammer had cemented the company name amongst audiences, film critics and censors alike. The monster movie was back, and Hammer jumped at the opportunity to reinvent other characters including 'The Abominable Snowman' (1957) and 'The Mummy' (1959).
1970's
By 1970, British Film Industry was beginning to suffer financially as the arrival of colour television contributed to a sharp decline in box office revenues. The financial climate forced Hammer to seek other approaches of film production. Gothic horror eventually came out of fashion and Hammer couldn't find backers (financers) for film production.
1980's
Although Hammer no longer had involvement within cinema , another outlet for horror production was discovered - television. 'Hammer House of Horror' contained tales of horror with hints of dark humour.
2010's
Hammer marked its return to film with the release of critically acclaimed 'Let Me In' an adaptation of the highly praised Swedish Film 'Lat Den Ratte Komma In'. This production was written and directed by Matt Reeves (Cloverfield) and stars Chloe Grace Moretz ('500 Days of Summer' and 'Kick Ass') and Kodi Smit-McPhee (The Road).In 2011, Hammer released Anitti Jokinen's 'The residents' starring two-time Academy Award winning actress Hilary Swank ('Boys Don't Cry' and 'Million Dollar Baby') and Hammer legend Christopher Lee.
As well as critically lauded 'Wakewood' directed by David Keating starring Timothy Spall. February 2012 saw the theatrical release of Hammer's first ever feature ghost story 'The Woman in Black' directed by James Watkins, adapted by Jane Goldman from Susan Hill's novel.
Vertigo Films is a UK Film and Distribution company founded in 2002 by Allan Niblo and James Richardson. The following year Rupert Preston and Nick Love joined and became partners. The company’s mission is to create and distribute commercially driven independent cinema and since inception it has produced 28 films and distributed a further 35. Vertigo also owns a successful post production company in Berlin, The Post Republic and is a partner in sales company Protagonist Pictures along with Film 4 and Ingenious.
Previous Horror genre Vertigo Films include -
'The Facility'
Release Date - 6th May 2013
This production revolved around seven complete strangers who all begin a clinical trial for an experimental new drug 'Pro-9'. But as the untested drug enters their bodies, unexpected side effects start to take over and several of the medical research volunteers are placed into an uncomfortable murderous rage.
'Retreat'
Release Date - 14th October 2011
Martin (Cillian Murphy) and Kate (Thandie Newton) are taking an relaxed and isolated break on an uninhabited island until a blood soaked stranger (Jamie Bell) stumbles through their door informing them about an apocalyptic virus sweeping across Europe.
2 December 2014
BBFC - Classification of Film
What does the 18 symbol mean?
Films rated 18 are for adults. No-one under 18 is allowed to see an 18 film at the cinema or buy / rent an 18 rated video. No 18 rated works are suitable for children.
Are there any limits on what sort of theme a work can have at 18?
No theme is prohibited at 18. Adults are free to choose their own entertainment provided the material is not illegal or potentially harmful, so it is possible some themes tackled at 18 may be offensive even to some adult viewers.
18 works are for adults and can contain strong issues such as very strong violence, frequent strong language (e.g. 'f***') and / or very strong language (e.g. ‘c***’), strong portrayals of sexual activity, scenes of sexual violence, strong horror, strong blood and gore, real sex (in some circumstances) and discriminatory language and behaviour.
How much strong language can there be in an 18?
There is no limit on the number of uses of strong (e.g. 'f***') or even very strong language (e.g. ‘c***’) which can be passed at 18. Uses could be aggressive, directed, frequent or accompanied by strong violence.
What about discriminatory terms?
There may be racist, homophobic or other discriminatory language at 18, and the work could explore themes relating to discrimination.Though a work as a whole must not be in breach of any relevant legislation, it is possible for discriminatory language or themes to be the main focus of the work, and for main characters to engage in discriminatory behaviour.
How much sex and nudity is allowed at 18?
There can be strong and detailed portrayals of sex at 18, including full nudity. There are no constraints on nudity in a non-sexual or educational context.Very strong, crude and explicit sex references are permitted at 18.An 18 film or video might also contain depictions of real sex, as long as the film or video is not a sex work.
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. Those 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.
Can there be strong violence?Yes, at 18 violence can be strong and be portrayed with strong detail. There may even be dwelling on the infliction of pain or injury, or scenes of strong sadistic or sexual violence.
The strongest gory images are permitted at this category. What about horror films?
At 18, horror films may contain very strong horror, gore or sustained threat.
Can you see drugs in an 18?
Yes. At 18 drug taking may be shown but the work as a whole must not promote or encourage drug misuse.If adults can watch what they want, what might be cut from an 18 work?In line with the consistent findings of the BBFC’s public consultations and The Human Rights Act 1998, the BBFC will not normally override the principle that adults should be free to choose their own entertainment. However, cuts are occasionally made to 18 rated films and DVDs. Intervention is 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 us to risks 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 violence which might, for example, make rape look appealing, reinforce the suggestion that victims enjoy sexual violence or which invite viewer complicity in sexual violence where there are more explicit images of sexual activity which cannot be justified by context. Such images may be appropriate in R18 works and, in ‘sex works’, would normally be confined to that category. In the case of video works, which may be more accessible to younger viewers, intervention may be more frequent than for cinema films.
What does the 15 symbol mean?
No-one under 15 is allowed to see a 15 film at the cinema or buy/rent a 15 rated video. 15 rated works are not suitable for children under 15 years of age.
Are there any limits on what sort of theme a work can have at 15?
No theme is prohibited, provided the treatment is appropriate for 15 year olds.
What might I see in a 15 rated film or video?
Strong violence, frequent strong language (e.g. 'f***'), portrayals of sexual activity, strong verbal references to sex, sexual nudity, brief scenes of sexual violence or verbal references to sexual violence, discriminatory language or behaviour and drug taking.
How much strong language is allowed in a 15?
There could potentially be a great deal. At 15 the
re is no upper limit on the number of uses of strong language (e.g. ‘f***’).Occasionally there may be uses of the strongest terms (e.g. 'c***'), depending on the manner in which they are used, who is using the language, its frequency and any special contextual justification. However, continued or aggressive use will not normally be passed 15.
What about discriminatory or offensive terms?
There may be racist, homophobic or other discriminatory language, and the work could explore themes relating to this. However, at 15 the work as a whole must not endorse discriminatory language or behaviour.re is no upper limit on the number of uses of strong language (e.g. ‘f***’).Occasionally there may be uses of the strongest terms (e.g. 'c***'), depending on the manner in which they are used, who is using the language, its frequency and any special contextual justification. However, continued or aggressive use will not normally be passed 15.
What about discriminatory or offensive terms?
Can there be strong violence?Yes, at 15 violence may be strong. It should not dwell on the infliction of pain or injury, however, and the strongest gory images are unlikely to be acceptable. Strong sadistic violence is also unlikely to be acceptable.
What about horror works?
At 15 there can be strong threat and horror as long as there is no sustained focus on sadistic or sexualised threat.
What about horror works?
At 15 there can be strong threat and horror as long as there is no sustained focus on sadistic or sexualised threat.
Can you see drugs in a 15 rated film or video?
At 15 drug taking may be shown but the work as a whole must not promote or encourage drug misuse (for example, through instructional detail).The misuse of easily accessible and highly dangerous substances like aerosols or solvents is unlikely to be acceptable at 15.
What about dangerous behaviour or things teens might copy?e consider the risk of potential harm to impressionable teenagers. For example, dangerous behaviour such as hanging, suicide and self-harming should not dwell on detail which could be copied.Whether the depiction of easily accessible weapons is acceptable will depend on factors such as realism, context and setting.
24 November 2014
Target Audience Research
Audience Profiling
When producing a film or any media product, a target audience must be considered and how they would respond to the media product; in this case, a target audience should be identified for our virus sub-genre film. Like all media products, our horror genre film has no meaning until it is decoded by an audience. Therefore, by understanding the demographic or audience profile for our teaser trailer. My group and I can focus on advertising effectively and creating a film that individuals would consume.
Audience Research
Audience research is a major part for any production company. They use questionnaires, focus groups and comparisons to existing media texts in order of gaining an understanding into who would be interested.
Normally, production companies want to know the basics such as income bracket/status, age, gender, race/ethnicity and location and the categorisation of individuals; this is known as 'demographics'. My group and I know we can begin to shape our film to appeal to spectators if we take into consideration these factors.
ABC Scale
I have predicted that the following categories within the ABC scale will be included within my target audience - C2 includes skilled working class individuals such as manual workers (electricians, mechanics, plumbers etc.) D includes working class individuals such as semi-skilled and unskilled manual workers ( bus drivers, factory line workers, retail employees etc.) E includes subsistence individuals (pensioners, casual workers, students)
Ranging from C2 to E entails students still within the education system, apprentices, employed individuals and audience members between the ages of 15 - 25. The reason as to why I have chosen to gather my information through a questionnaire is due to the fact that, when compared to other ways of evaluating information, they have many advantages.
Advantages
They provide questions to large numbers of people simultaneously and in a variety of locations. Each person that participates receives the same set of identical questions with closed-form standardised responses. Moreover, those that participate remain anonymous therefore, the chances that questions are answered truthfully increases.
Disadvantages
It may be difficult to obtain a good response rate. Often there is no strong motivation for those that participate to respond to the questions asked. As well as this, the quality of data is probably not as high as with alternative methods of data collection such as interviewing in person.
Initially, I had to consider what my questionnaire's objective was. But, more specifically, I had to identify what kind of information I wanted to obtain. After this, I began to take notes on what I could potentially ask within the questionnaire. Below, is a print screen of questions I am considering on asking individuals that participate in the questionnaire. If this is to change, I will post a newer and more useful improvement on my blog.
When producing a film or any media product, a target audience must be considered and how they would respond to the media product; in this case, a target audience should be identified for our virus sub-genre film. Like all media products, our horror genre film has no meaning until it is decoded by an audience. Therefore, by understanding the demographic or audience profile for our teaser trailer. My group and I can focus on advertising effectively and creating a film that individuals would consume.
Audience Research
Audience research is a major part for any production company. They use questionnaires, focus groups and comparisons to existing media texts in order of gaining an understanding into who would be interested.
Normally, production companies want to know the basics such as income bracket/status, age, gender, race/ethnicity and location and the categorisation of individuals; this is known as 'demographics'. My group and I know we can begin to shape our film to appeal to spectators if we take into consideration these factors.
ABC Scale
I have predicted that the following categories within the ABC scale will be included within my target audience - C2 includes skilled working class individuals such as manual workers (electricians, mechanics, plumbers etc.) D includes working class individuals such as semi-skilled and unskilled manual workers ( bus drivers, factory line workers, retail employees etc.) E includes subsistence individuals (pensioners, casual workers, students)
Ranging from C2 to E entails students still within the education system, apprentices, employed individuals and audience members between the ages of 15 - 25. The reason as to why I have chosen to gather my information through a questionnaire is due to the fact that, when compared to other ways of evaluating information, they have many advantages.
Advantages
They provide questions to large numbers of people simultaneously and in a variety of locations. Each person that participates receives the same set of identical questions with closed-form standardised responses. Moreover, those that participate remain anonymous therefore, the chances that questions are answered truthfully increases.
Disadvantages
It may be difficult to obtain a good response rate. Often there is no strong motivation for those that participate to respond to the questions asked. As well as this, the quality of data is probably not as high as with alternative methods of data collection such as interviewing in person.
Initially, I had to consider what my questionnaire's objective was. But, more specifically, I had to identify what kind of information I wanted to obtain. After this, I began to take notes on what I could potentially ask within the questionnaire. Below, is a print screen of questions I am considering on asking individuals that participate in the questionnaire. If this is to change, I will post a newer and more useful improvement on my blog.
17 November 2014
'Gone' Script Treatment - Entire Film
Act 1 - Equilibrium
Fade-in. Setting = protagonist's bedroom. Alarm sounds. Protagonist sits up with his back to the camera. He opens curtains abruptly in order to wake himself up. Protagonist prepares for the day ahead by having a shower and getting dressed. Before he leaves his home, he looks in the mirror in order to make sure that everything is in its right place. Walks down his street heading towards train station. He commutes to work via train. Enters work environment. Sits at an office desk. Carries out usual mundane activities; e-mailing, making phone calls etc. Begins to daydream leaving him to lose his focus whilst employee makes conversation about nothing overly important. Gets invited to an after work drink but makes some excuse as to why he won't be going. Protagonist doesn't try hard to talk to those around him. Audience see the protagonist on his journey home; enters train station, gets onto train, gets off train, walks down his street and enters home (told in discourse time). Sequence shot of him listening to a answer phone message from his mother whilst taking coat and shoes off followed by him entering the kitchen to get a glass of water. His Mother states that she hasn't seen much of him since his brother died. Protagonist doesn't pay too much attention to the message (background noise). Possible crab shot of protagonist looking in fridge. Begins to prepare himself for a jog. Tracking shot located besides protagonist. Whilst jogging along the seafront, he sees families, couples and children walking (possible point of view shot). Begins to sprint as if to run away from the truth; the protagonist is in denial (presumably) about his brothers death (possible enigma). Act one purpose is to allow the audience to be introduced to the film's protagonist and narrative locations. Moreover, the audience can establish the usual everyday equilibrium the protagonist lives within; as the movie progresses, the viewer unconsciously forms a frame for the story, and their suspension of disbelief narrows, limiting what they will accept as correct.
Act 2 - Disequilibrium
An event must happen by the midpoint of the script in order to make the protagonist's objective clear. In this case, the protagonist must come to terms with dying after becoming a victim to the virus therefore, he appreciates life and the acceptance of loss. Similarly to act ones acknowledgement of everyday routine, act two presents how normality is broken. (Tracking shot from side of protagonist). Overcast weather sets the tone through pathetic fallacy. Whilst protagonist is jogging along his usual route after work, he begins to have a nose bleed. Initially, he thinks that it might be nasal fluid so he thinks nothing of it and just sniffs. Whilst the blood continues to drip, passers-by start to stare (possible point-of-view shot). Eventually, protagonist starts to feel blood touching his lips; sudden realisation that it was blood all along. Tracking shot stops abruptly much like the protagonist. This helps to convey across to the audience how the protagonist is confused about what has happened (the normality in his world has stopped). Protagonist starts to wipe nose with the back of his hand unable to stop the bleeding. Tracking shot facing protagonist begins to move away whilst he is stood centre. Straight cut to black. Straight cut showing protagonist back in his home. Crab shot showing protagonist looking through fridge picking out many items; sudden feeling of hunger begins to dominates protagonists actions. After making a large sandwich, protagonist sits on sofa and flicks through television channels. Most, if not all, of the five major channels are reporting breaking news. 'News Network' reports the symptoms of the virus. Various shot are shown of riots, conflict and anarchy (reference to Danny Boyle's '28 Days Later' opening scene; INTERTEXTUALITY) Protagonist realises that he is suffering from two of the symptoms; sudden hunger and nose bleeds. Door bell rings. Next door's sons ask if they can have their football back as it is in protagonist's garden. Protagonist goes to fetch football. As he picks up the ball, he has a sudden flashback of when him and his brother used to play. Tears appear in Protagonists eyes but before he can cry, next doors sons call out for help; their dad is in a fit of rage and is unable to correspond with his young sons. Moreover, the boys' father is bleeding from the nose, eyes and ears. It is made clear he had become a victim to the virus. Protagonist tells the boys to call for an ambulance whilst trying to restrain the Father. Whilst holding down the Father, he sees that he is wearing a Saint Christopher around his neck like his Brother use to. This brings back the memory of when Protagonist was given the Saint Christopher after his Brother passed away after doctor's tried to save him (enigmas are created 'how did the brother die?' and 'why couldn't he be saved?'. Next door neighbour is taken away in an ambulance. When going back into the house, spectator is shown a flashback of Protagonist and his brother.
Act 3 - New Equilibrium
Senses start to deteriorate. Firstly, the ability to smell and taste, followed by hearing then sight. The protagonist first realises that smell and taste are going when he cannot taste anything within his kitchen (coffee, mustard, onion). Eventually, the protagonist is just existing rather than living which is similar to the state the protagonist was in anyway when the audience were introduced to him. The main theme within this chapter is self discovery. Protagonist decides that he must make amends with his Mother and Father and finally confront them after feeling to blame regarding the car crash that killed his brother (he was driving on the night of the incident). His father can no longer hear or see his son but he can feel his son's hand in his. When his Mother is seen waving goodbye to protagonist through the window, her nose begins to bleed. Eventually, protagonist finds his Mother and Father dead in their home (again, reference to Danny Boyle's '28 Days Later' when Jim finds his parents dead). Protagonist's surrounding environment enters a dystopian state; individuals begin to vandalise property, looting from shops. Government begin to intervene by placing military personnel out in public to organise those who are infected; quarantining begins.
Fade-in. Setting = protagonist's bedroom. Alarm sounds. Protagonist sits up with his back to the camera. He opens curtains abruptly in order to wake himself up. Protagonist prepares for the day ahead by having a shower and getting dressed. Before he leaves his home, he looks in the mirror in order to make sure that everything is in its right place. Walks down his street heading towards train station. He commutes to work via train. Enters work environment. Sits at an office desk. Carries out usual mundane activities; e-mailing, making phone calls etc. Begins to daydream leaving him to lose his focus whilst employee makes conversation about nothing overly important. Gets invited to an after work drink but makes some excuse as to why he won't be going. Protagonist doesn't try hard to talk to those around him. Audience see the protagonist on his journey home; enters train station, gets onto train, gets off train, walks down his street and enters home (told in discourse time). Sequence shot of him listening to a answer phone message from his mother whilst taking coat and shoes off followed by him entering the kitchen to get a glass of water. His Mother states that she hasn't seen much of him since his brother died. Protagonist doesn't pay too much attention to the message (background noise). Possible crab shot of protagonist looking in fridge. Begins to prepare himself for a jog. Tracking shot located besides protagonist. Whilst jogging along the seafront, he sees families, couples and children walking (possible point of view shot). Begins to sprint as if to run away from the truth; the protagonist is in denial (presumably) about his brothers death (possible enigma). Act one purpose is to allow the audience to be introduced to the film's protagonist and narrative locations. Moreover, the audience can establish the usual everyday equilibrium the protagonist lives within; as the movie progresses, the viewer unconsciously forms a frame for the story, and their suspension of disbelief narrows, limiting what they will accept as correct.
Act 2 - Disequilibrium
An event must happen by the midpoint of the script in order to make the protagonist's objective clear. In this case, the protagonist must come to terms with dying after becoming a victim to the virus therefore, he appreciates life and the acceptance of loss. Similarly to act ones acknowledgement of everyday routine, act two presents how normality is broken. (Tracking shot from side of protagonist). Overcast weather sets the tone through pathetic fallacy. Whilst protagonist is jogging along his usual route after work, he begins to have a nose bleed. Initially, he thinks that it might be nasal fluid so he thinks nothing of it and just sniffs. Whilst the blood continues to drip, passers-by start to stare (possible point-of-view shot). Eventually, protagonist starts to feel blood touching his lips; sudden realisation that it was blood all along. Tracking shot stops abruptly much like the protagonist. This helps to convey across to the audience how the protagonist is confused about what has happened (the normality in his world has stopped). Protagonist starts to wipe nose with the back of his hand unable to stop the bleeding. Tracking shot facing protagonist begins to move away whilst he is stood centre. Straight cut to black. Straight cut showing protagonist back in his home. Crab shot showing protagonist looking through fridge picking out many items; sudden feeling of hunger begins to dominates protagonists actions. After making a large sandwich, protagonist sits on sofa and flicks through television channels. Most, if not all, of the five major channels are reporting breaking news. 'News Network' reports the symptoms of the virus. Various shot are shown of riots, conflict and anarchy (reference to Danny Boyle's '28 Days Later' opening scene; INTERTEXTUALITY) Protagonist realises that he is suffering from two of the symptoms; sudden hunger and nose bleeds. Door bell rings. Next door's sons ask if they can have their football back as it is in protagonist's garden. Protagonist goes to fetch football. As he picks up the ball, he has a sudden flashback of when him and his brother used to play. Tears appear in Protagonists eyes but before he can cry, next doors sons call out for help; their dad is in a fit of rage and is unable to correspond with his young sons. Moreover, the boys' father is bleeding from the nose, eyes and ears. It is made clear he had become a victim to the virus. Protagonist tells the boys to call for an ambulance whilst trying to restrain the Father. Whilst holding down the Father, he sees that he is wearing a Saint Christopher around his neck like his Brother use to. This brings back the memory of when Protagonist was given the Saint Christopher after his Brother passed away after doctor's tried to save him (enigmas are created 'how did the brother die?' and 'why couldn't he be saved?'. Next door neighbour is taken away in an ambulance. When going back into the house, spectator is shown a flashback of Protagonist and his brother.
Act 3 - New Equilibrium
Senses start to deteriorate. Firstly, the ability to smell and taste, followed by hearing then sight. The protagonist first realises that smell and taste are going when he cannot taste anything within his kitchen (coffee, mustard, onion). Eventually, the protagonist is just existing rather than living which is similar to the state the protagonist was in anyway when the audience were introduced to him. The main theme within this chapter is self discovery. Protagonist decides that he must make amends with his Mother and Father and finally confront them after feeling to blame regarding the car crash that killed his brother (he was driving on the night of the incident). His father can no longer hear or see his son but he can feel his son's hand in his. When his Mother is seen waving goodbye to protagonist through the window, her nose begins to bleed. Eventually, protagonist finds his Mother and Father dead in their home (again, reference to Danny Boyle's '28 Days Later' when Jim finds his parents dead). Protagonist's surrounding environment enters a dystopian state; individuals begin to vandalise property, looting from shops. Government begin to intervene by placing military personnel out in public to organise those who are infected; quarantining begins.
16 November 2014
Potential Film Idea Pitches
Today my group and I discussed what individual film ideas we have produced over the October half-term following codes and conventions of horror genre and virus sub-genre. Each group member was required to produce a script treatment that covered the three part narrative structure (set-up, conflict and resolution) within each of our narratives as well as to give an overall understanding to the group into events, themes, characters and locations. To accompany the script treatment, a storyboard was created allowing each group member to see a basic visual translation into the order of events within each of our virus sub-genre films.
Dean Fisher's 'Town Of The Dead'
Dean was the first group member to pitch his film idea. 'Town Of The Dead' revolves around 'Amy' who wakes within the comfort of her own home to find that she has no recollection of the night before. After preparing herself for the day ahead, she leaves the house only to find that her environment has changed overnight; blood spatters on the pavement and rubbish/debris lying in the road adds to the audiences understanding of the disorder and disorganisation Amy faces. Whilst Amy is trying to locate any injured victims, she hears screams/cries for help in the distance. Amy runs towards the source of screaming.
Eventually, she finds herself at the town's petrol station; this location is where Amy witnesses her first infected victim. The victim is aged around 9 to 12 years of age and is seen feasting on the corpse of a middle-aged man. Amy screams in reaction to what she has scene which gains the infected girl's attention. Amy begins to run away from the infected individual and finds sanctuary in a treehouse after losing the infected individuals attention. Introduce 'Jessica'. Amy begins to ask Jessica questions about the events that have happened and the town's sudden overnight deterioration. Jessica is reserved within conversation.
Eventually, Amy befriends Jessica and convinces her to leave the tree house in order to find help. Along the way, Jessica and Amy meet a group of mainly male individuals all uninfected. Introduce Dan. Amy and Dan make a connection. Amy, Jessica and Dan along with the other uninfected individuals search for potential transportation. They come across an operational boat big enough to carry the entire group. Possible discourse time to show group repair and improvement of boat. When all individuals feel satisfied with their project, they push the boat out to sea. Unfortunately, there was a part of the boat unrepaired. This means that the group gain the infected individuals attention. Fortunately, Protagonist Amy, Jessica and Dan escape the attack.
When all three individuals think they have escaped, Amy gets bitten. Amy self-sacrifices herself to save Jessica and Dan. Jessica and Dan live on to start their own journey.
The application of traditional code and conventions of the horror genre within the narrative. The everyday locations within the narrative means filming locations would be easily accessible to my group and I. Moreover, realistic locations (small seaside town, petrol station etc.) imply that this could easily happen in an environment near us (the audience).
What I think I would consider altering would be the presentation of initial equilibrium as I would want the audience to understand the normal state of affairs Amy is used to living by. As well as this, a clear transformation between everyday life and life involving the infected would give the audience a greater understanding into the chaotic situation the protagonist finds herself in. Also consideration of the deterioration period the infection takes to gain control over individuals.
Jasmine Rosser's 'Silence'
Jasmine's narrative idea revolves around student 'Lisa’. A new day begins and Lisa prepares herself for the day ahead (equilibrium is established and protagonist is introduced to the audience). No other family members are in the house. Lisa searches for an explanation (note, voice message, text) as to why she is alone; she comes to the conclusion that her Mother and Father have headed to work early. Unable to carry out the usual daily tasks (due to no power), Lisa heads to school.
She notices that her parent’s cars are still parked outside with no sign of ever leaving. Lisa goes to call her Mother but her phone is receiving no signal. Bins haven't been collected and skid marks on the roads can be seen in her street suggesting a car has made efforts to swerve away from someone or something. Located at the top of her hill, two figures can be seen. She begins to walk towards the school. Lisa confronts the individuals thinking that they possibly are fellow class mates. They are not. They show signs of an accident; grazed knees, bleeding foreheads, cut cheekbones etc. Lisa asks if they require help. They do not answer. Lisa notices that both their eyes are dilated and they seem to be struggling to walk.
Lisa changes course of direction. Collides with classmate. Introduce Jim. Jim explains the situation. Town residents have become infected with a virus due to a contaminated water supply. Dan has knowledge about the situation due to his Father informing him who is an employee for the water supplier.
Lisa and Jim decided to still continue heading towards an environment they are familiar with (the school). A few dozen infected individuals are seen roaming the school grounds. Signs are placed around the school stating that those uninfected can find supplies and sanctuary at the local castle. Lisa and Jim head towards there. Upon arrival, Lisa sees her Aunt. Lisa’s Aunt explains that Lisa’s Mother, Father and Sister have all become infected. Jasmine is still undecided when it comes to resolution to her three part narrative therefore, there is no definite conclusion to her narrative.
Similarly to Dean’s ‘Town Of The Dead’, the virus’s domination of the town and the transformation from everyday equilibrium to disruption (disequilibrium) happens overnight. What I like about this is the fact that the protagonist is left seeking the same answers the audience do; this supports Barthes’ Enigma theory.
Jasmine's narrative idea revolves around student 'Lisa’. A new day begins and Lisa prepares herself for the day ahead (equilibrium is established and protagonist is introduced to the audience). No other family members are in the house. Lisa searches for an explanation (note, voice message, text) as to why she is alone; she comes to the conclusion that her Mother and Father have headed to work early. Unable to carry out the usual daily tasks (due to no power), Lisa heads to school.
She notices that her parent’s cars are still parked outside with no sign of ever leaving. Lisa goes to call her Mother but her phone is receiving no signal. Bins haven't been collected and skid marks on the roads can be seen in her street suggesting a car has made efforts to swerve away from someone or something. Located at the top of her hill, two figures can be seen. She begins to walk towards the school. Lisa confronts the individuals thinking that they possibly are fellow class mates. They are not. They show signs of an accident; grazed knees, bleeding foreheads, cut cheekbones etc. Lisa asks if they require help. They do not answer. Lisa notices that both their eyes are dilated and they seem to be struggling to walk.
Lisa changes course of direction. Collides with classmate. Introduce Jim. Jim explains the situation. Town residents have become infected with a virus due to a contaminated water supply. Dan has knowledge about the situation due to his Father informing him who is an employee for the water supplier.
Lisa and Jim decided to still continue heading towards an environment they are familiar with (the school). A few dozen infected individuals are seen roaming the school grounds. Signs are placed around the school stating that those uninfected can find supplies and sanctuary at the local castle. Lisa and Jim head towards there. Upon arrival, Lisa sees her Aunt. Lisa’s Aunt explains that Lisa’s Mother, Father and Sister have all become infected. Jasmine is still undecided when it comes to resolution to her three part narrative therefore, there is no definite conclusion to her narrative.
Similarly to Dean’s ‘Town Of The Dead’, the virus’s domination of the town and the transformation from everyday equilibrium to disruption (disequilibrium) happens overnight. What I like about this is the fact that the protagonist is left seeking the same answers the audience do; this supports Barthes’ Enigma theory.
Inspirational Film Stimuli
Above, is an inspiration film stills collage I have collated that has helped to me to visualise what potential cinematography, camera angles, camera composition, lighting and mise-en-scene I am considering on using within my virus-sub genre film teaser trailer 'Gone'. Moreover, this collage has helped to convey across to individuals within my group what I hope to achieve visually using references to other contemporary films. The following film stills have been taken from Steve McQueen's 'Shame', David Mackenzie's 'Perfect Sense' and Terrance Malick's 'To The Wonder'.
This page was taken from a article discussing Halloween themed events happening all around the city of London.
This is a sketch I've drawn which has helped me to see what my ideas look like on paper.
10 November 2014
Teaser Trailer Research
'28 Days Later' Teaser Trailer
Director - Danny Boyle
Writer - Alex Garland
Production Companies - DNA Films and British Film Council
Distribution Company - 20th Century Fox
Cast - Cillian Murphy, Naomie Harris, Brendan Gleeson and Christopher Ecclestone
Budget - $8,000,000 (estimated)
Opening Weekend - £1,500,079 (UK) (3rd November 2002)
Gross - £6,140,420 (UK) (15th December 2002)
Distribution Size - Saturated release as the film was exhibited in over 500 screens nationally.
IMDb Rating - 7.6 out of 10
Teaser Trailer Duration - 1 minute and 29 Seconds
Use of Graphics - The graphics establish the virus's progression of contamination through discourse time. Discourse time avoids unnecessary information and instead focuses on the highlights / key events within the narrative. The graphic transitions consist of gradual fading in and out much like the motion of a warning light. Lower case is used within the first line of each sentence yet when the graphics state each stage of virus, upper case is used to heighten audience awareness of virus's presence. The white colouring of graphics connotes hope and innocence therefore, this foreshadows the remainder of the teaser trailer as the spectator presumes that a resolution will be made to the disequilibrium shown.
Links - 'From the director of 'Shallow Grave', 'Trainspotting' and 'The Beach' presents to the audience previous successful and well-known productions from the director of '28 Days Later'. This suggests that individuals that admire Danny Boyle's work or enjoy films within the Horror Genre (specifically Virus sub-genre) will enjoy watching this production.
Logos - The introduction of the distributors logo (20th Century Fox) is shown within the opening 5 seconds of the teaser trailer. Furthermore, adding to the codes and conventions of the horror genre, the traditional 20th Century Fox logo which is usually seen with spotlights shining towards it is instead shown with the spotlights turning off one by one. This adds to the theme of loss of normality that is shown within the teaser trailer.
'The Crazies' Teaser Trailer
Director - Breck Eisner
Writers - Scott Kosar (Screenplay), Ray Wright (Screenplay) and George .A. Romero
Production Companies - Overture Films, Participant Media and Imagenation Abu Dhabi
Distribution Companies - Paramount Pictures, Momentum Pictures and Overture films
Cast - Radha Mitchell, Timothy Olyphant and Danielle Panabaker
Budget - $20,000,000 (estimated)
Opening Weekend - £1,194,207 (UK) (26 February 2010)
Gross - $39,103,378 (USA) (14 May 2010)
Distribution Size - Saturated release as the film was exhibited in over 500 screens nationally.
IMDb Rating - 6.6 out of 10
Teaser Trailer Duration - 0 minutes 44 seconds
Use of Graphics - The graphic transitions consist of gradual fading in and out similar to the motion of a warning light. Much like '28 Days Later', the white colouring of graphics connotes hope and innocence therefore, this foreshadows the remainder of the teaser trailer as the spectator presumes that a resolution will be made to the disequilibrium shown. What is stated within the graphics juxtaposes the visuals that appear after. For example the line 'before our cities are taken over' is followed by a birds eye shot presenting groups of individuals with authority (i.e. military) quarantining residents of towns and cities; statements make the spectator consider the
Links - www.ogdenmarsh.com and www.the-crazies.com
Logos - The introduction of the production company logo (Overture Films and Participant Media ) is shown within the opening 3 seconds of the teaser trailer.
'Contagion' Teaser Trailer
Director - Steven Soderbergh
Writer - Scott Z. Burns
Production Companies - Warner Bros., Participant Media and Imagenation Abu Dhabi FZ
Distribution Company - Warner Brothers
Cast - Jude Law, Matt Damon, Bryan Cranson and Kate Winslet
Budget - $60,000,000 (estimated)
Opening Weekend - $22,403,596 (USA) (11 September 2011)
Gross - $75,658,097 (USA) (15 December 2011)
Distribution Size - Saturated release as the film was exhibited in over 500 screens nationally and in over 3,200 Screens in the United State alone.
IMDb Rating - 6.7 out of 10
Teaser Trailer Duration - 0 minutes and 33 Seconds
Use of Graphics - The graphics break the fourth wall by directly addressing the audience. For example 'PLEASE...REMAIN...CALM' commands the audience to act a specific way within a chaotic situation. Upper case is used to heighten audience awareness of virus's presence and the sense of urgency. The red colouring of graphics connotes danger, anger and blood and the yellow colouring of cast names implies that their characters are in danger
Links - List of cast names increases the production appeal as individuals are more likely to watch a film containing well-known artists (bankers). www.contagion.co.uk
Logos - The introduction of the distributors logo (Warner Bros., Participant Media and Imagenation Abu Dhabi FZ) is shown within the opening 3 seconds of the teaser trailer. Furthermore, adding to the codes and conventions of the horror genre, the traditional Century Fox logo which is usually seen with spotlights shining towards it is instead shown with the spotlights turning off one by one. This adds to the theme of loss of normality that is shown within the teaser trailer.
28 October 2014
Photography Workshop
This workshop was organised by our Media Studies teacher (Miss.Macdonald) to allow my class and I to understand and familiarise ourselves with using a digital camera (specifically a Canon EOS 1100D) and applying techniques that help to achieve a professional look for our product; in this case, my product being a virus sub-genre teaser trailer.
Within this workshop, skills that were developed were -
- Applying the use of composition, framing and depth of field which all help to hold the audience's attention and create suspense.
- Mastering handheld techniques so that I become prepared when having to shoot on the go, in low light and other challenging situations (especially outside).
Composition
The way people or objects are framed within a shot help within the process of storytelling. I had to make sure that within my stills photography, framing only gave a sense of movement whereas, within filming, room must be left for actual movement to happen. For example, applying the rule of thirds. Rule of thirds require you to split the frame into thirds, both vertically and horizontally making the main intersections (lines crossing over one another) give four points.
Within this workshop, skills that were developed were -
- Applying the use of composition, framing and depth of field which all help to hold the audience's attention and create suspense.
- Mastering handheld techniques so that I become prepared when having to shoot on the go, in low light and other challenging situations (especially outside).
Composition
The way people or objects are framed within a shot help within the process of storytelling. I had to make sure that within my stills photography, framing only gave a sense of movement whereas, within filming, room must be left for actual movement to happen. For example, applying the rule of thirds. Rule of thirds require you to split the frame into thirds, both vertically and horizontally making the main intersections (lines crossing over one another) give four points.
Audience Theory
The learning objective within this sector was to understand the concept of a media audiences and to apply this knowledge to media texts specifically our final product; virus sub-genre teaser trailer. Within the consideration of target audience my class and I reviewed -
- Institutions and Ideology
- Representations
- Narrative Structure
- Genre
Audience
An audience can be defined as a group of individuals that consume and interact with a media text. Essentially, without an audience, there would be no media. By identifying our target audience during pre-production, my group and I have a greater understanding into how we will construct our narrative as well as who our product will appeal to.
Audience Theories
Hypodermic Needle Theory - This theory was put into place to demonstrate the effects mass media has on audiences by injecting passive audiences with ideologies. One particular example of this is the Iraq war. During the Iraq war, the only reporting of the conflict on Iraqi television was from the Iraq State News Agency; surprisingly, their version of events somewhat conflicted with what news agencies outside of Iraq reported. Saddam Hussein's (previous Middle Eastern Dictator) objective was to inform the people of Iraq with the information he wanted them to acknowledge and believe. Ultimately, he injected his ideologies in order for majority of individuals (if not all) to agree with his points of view.
Therefore, the audience are seen as a passive audience who will immediately accept whatever version of events is provided through how the media is presented.
Two-Step Flow Theory - Within this theory, an active audience will discuss media texts with one another (for example, last nights episode of 'Eastenders'). If the media text is discussed with someone we respect (an opinion leader) then, we as individuals, may be passive enough to accept their views. Ultimately, our opinions could change as a result. Television critics and film critics are examples of influencing choses.
Uses and Gratifications Theory - During the 1960s, as the first generation to grow up with television became grown ups, it became increasingly apparent to media theorists that audiences made choices about what they did when consuming texts. Far from being a passive mass, audiences were made up of individuals who actively consumed texts for different reasons and in different ways. In 1948 Lasswell suggested that media texts had the following functions for individuals and society: surveillance, correlation, entertainment and cultural transmission.
Researchers Blulmer and Katz
expanded this theory and published their own in 1974, stating that individuals
might choose and use a text for the following purposes (i.e. uses and
gratifications):
Diversion -
escape from everyday problems and routine.
Personal
Relationships - using the media for emotional and other interaction. For example, substituting
soap operas for family life.
Personal
Identity - finding yourself reflected in texts, learning behaviour and values from texts. For example, 'Educating Essex'. This documentary revolves the day-to-day life of pupils and teaching staff within a Essex secondary school. Those who attens school or work within the education system, may see themselves reflected in the text through opinions expressed and issues highlighted.
Surveillance - Information which could be useful for living such as weather reports, financial news and holiday bargains. Since then, the list of Uses and Gratifications has been extended, particularly as new media forms have come along (e.g. video games, the internet etc.)
Cultivation Theory - Repeated exposure of a particular text will make the audience desensitised as they know what to expect. In the past, theorists have exhibited previously banned films to audiences in the modern day to see if they would have an effect.
Reception Theory - Extending the idea of an active audience research in the 1980's and 1990's was carried out to acknowledge how individuals received and interpreted a text and how their own factors and circumstances (gender, class, ethnicity, age etc.) affected the reader/spectator.
Majority of the work carried out was based on Stuart Hall's encoding/decoding model of the relationship between text and audience. The text is encoded by the producer and decoded by the reader.
Narrative Theory
Barthes' Enigma Codes
My group and I have come to the conclusion that we want to produce a teaser trailer. One way of a presenting a teaser trailer is through the narrative theory of Barthes' enigma codes; an enigma is a hook or a mystery that is to be resolved by the spectator/audience in order to have a full understanding of narrative. Ultimately, we want our target audience to be left wanting to know more information about the characters and narrative within our film after watching the teaser trailer. For example, what is making innocent individuals act in a certain way? who is responsible for the damage caused? why has it happened? when did it start? etc.
Todorov
Another narrative theory my group and I are considering is Todorov's five stage narrative. This is the idea that everyday life is established (equilibrium), a disruption or problem occurs (disequilibrium), there is recognition from the character that disruption has taken place (realisation), efforts are then made to mend (repair), ultimately resulting to the protagonist gaining greater knowledge into the situation allowing them to grow from their experience (new equilibrium).
Todorov within Advertisements
Within advertisements, Todorov's narrative theory is used to establish that the product being advertised is the solution to the potential customers problem. For example, the 2014 'Relentless' energy drink commercial (https://www.youtube.com/watch?v=pYLKm5Svk-E). The audience see a young man between the ages of 18-25 in his bedroom attempting to create new music. He begins to lose concentration and struggles to complete the task. After deliberation, he drinks from a can of original 'Relentless' energy drink; this (conveniently) provides him with the much needed energy to finish the completion of his new song. As a result, he is given a record deal to produce songs for another artist and starts a journey of pursuing a career in the music industry.
From this advertisement, the target audience is established (18 - 25 year olds) and 'Relentless' energy drink is seen to be the solution to the dilemma faced. Because a product such as 'Relentless' is largely consumed by individuals within our target audience range , it would be an idea to challenge the conventions of this particular narrative theory and turn the idea of a popular product being the saviour of a problem on its head. The idea of an ingredient used in the making of an energy drink causing the problem could become a potential reason as to how individuals become infected.
Propp's Character Types
Propp studied folk tales and legends from many different countries and noticed similarities. He acknowledged that majority of the stories being told revolved around the same character types facing the same problems. He identified 32 basic categories of action which he called 'functions'. As well as this, Propp focussed on the way characters within folk tales tended to be types rather than individuals. Overall, there are eight different character types.
Hero - Protagonist/ Wants to succeed/ On a quest.
Villain - Antagonist/ Can be a situation or person.
Donor - Gives the protagonist something in order for them to succeed.
Dispatcher - Starts the Protagonist on their journey.
False Hero - Pretends to be good/ Tempts the hero away from quest/ Dramatic Irony = Protagonist is unaware that the false hero pretends to be good.
Helper - Hero's companion
Princess - The reward for the Hero's hard work/ Competition for the Hero and Villain.
Father - Rewards the Hero for his efforts.
Levi - Strauss' Binary Opposites
Levi - Strauss ( a structuralist philosopher) noticed that the world is made up of opposites especially within a structure texts such as stories,plays and films as well as news reports and advertisements.
Washing powder adverts rely on 'before and after' contrast to convince the potential customer to buy the product. News reports tend to show good versus the bad because then the story is presented very simply.
My group and I have come to the conclusion that we want to produce a teaser trailer. One way of a presenting a teaser trailer is through the narrative theory of Barthes' enigma codes; an enigma is a hook or a mystery that is to be resolved by the spectator/audience in order to have a full understanding of narrative. Ultimately, we want our target audience to be left wanting to know more information about the characters and narrative within our film after watching the teaser trailer. For example, what is making innocent individuals act in a certain way? who is responsible for the damage caused? why has it happened? when did it start? etc.
Todorov
Another narrative theory my group and I are considering is Todorov's five stage narrative. This is the idea that everyday life is established (equilibrium), a disruption or problem occurs (disequilibrium), there is recognition from the character that disruption has taken place (realisation), efforts are then made to mend (repair), ultimately resulting to the protagonist gaining greater knowledge into the situation allowing them to grow from their experience (new equilibrium).
Todorov within Advertisements
Within advertisements, Todorov's narrative theory is used to establish that the product being advertised is the solution to the potential customers problem. For example, the 2014 'Relentless' energy drink commercial (https://www.youtube.com/watch?v=pYLKm5Svk-E). The audience see a young man between the ages of 18-25 in his bedroom attempting to create new music. He begins to lose concentration and struggles to complete the task. After deliberation, he drinks from a can of original 'Relentless' energy drink; this (conveniently) provides him with the much needed energy to finish the completion of his new song. As a result, he is given a record deal to produce songs for another artist and starts a journey of pursuing a career in the music industry.
From this advertisement, the target audience is established (18 - 25 year olds) and 'Relentless' energy drink is seen to be the solution to the dilemma faced. Because a product such as 'Relentless' is largely consumed by individuals within our target audience range , it would be an idea to challenge the conventions of this particular narrative theory and turn the idea of a popular product being the saviour of a problem on its head. The idea of an ingredient used in the making of an energy drink causing the problem could become a potential reason as to how individuals become infected.
Propp's Character Types
Propp studied folk tales and legends from many different countries and noticed similarities. He acknowledged that majority of the stories being told revolved around the same character types facing the same problems. He identified 32 basic categories of action which he called 'functions'. As well as this, Propp focussed on the way characters within folk tales tended to be types rather than individuals. Overall, there are eight different character types.
Hero - Protagonist/ Wants to succeed/ On a quest.
Villain - Antagonist/ Can be a situation or person.
Donor - Gives the protagonist something in order for them to succeed.
Dispatcher - Starts the Protagonist on their journey.
False Hero - Pretends to be good/ Tempts the hero away from quest/ Dramatic Irony = Protagonist is unaware that the false hero pretends to be good.
Helper - Hero's companion
Princess - The reward for the Hero's hard work/ Competition for the Hero and Villain.
Father - Rewards the Hero for his efforts.
Levi - Strauss' Binary Opposites
Levi - Strauss ( a structuralist philosopher) noticed that the world is made up of opposites especially within a structure texts such as stories,plays and films as well as news reports and advertisements.
Washing powder adverts rely on 'before and after' contrast to convince the potential customer to buy the product. News reports tend to show good versus the bad because then the story is presented very simply.
27 October 2014
Virus Sub-Genre Trailer Codes and Conventions
Teaser Trailer - Teases the audience. They do not reveal any plot details and only give minor details.
Theatrical Trailer - Reveals equilibrium, disequilibrium and potential resolution. Also establishes characters and settings.
Codes and conventions are used in two ways. Firstly, they permit an audience to recognise a particular style of film. They create shortcuts through familiar plots, characters and mise-en-scene therefore the audience already have knowledge on what is going on leaving them to explore the finer details. Secondly, for film producers, codes and conventions don't necessarily guarantee success but they build towards developing a film production.
Ultimately, films within the horror genre have an audience that already have know the codes and conventions backwards that it has become self-referential (making reference to itself, its author or creator, or their works). and postmodern in their approach.
Early horror films were mostly male dominated ones; women tended to be the victims or objects of desire. This supports Laura Mulvey's theory of 'Male Gaze'; the idea that women are presented as an image for the dominant male to be bearer of the look. Therefore, the predominantly male audience within late 1920's/ early 1930's sat and watched as women were threatened and killed but at the same time may have had a woman accompanying them.
The masculinisation of female characters in the horror genre has eventually happened over time. This is evident within films such as Danny Boyle's '28 Days Later'. Naomie Harris's character 'Selena' is a great example of this. Selena's main priority within the film is to remain alive in a time of desolation and anarchy. Moreover, she insists on being unsentimental at all times in order to show no form of weakness as this could convey vulnerability which could lead to death. As well as this, little femininity is shown through costume; majority of clothing consists of long overcoats, khaki trousers and work boots (typically worn by men).
Naomie Harris as 'Selena' within Danny Boyle's '28 Days Later'.
In order to gain greater knowledge and a clearer understanding of the codes and conventions of the Horror Genre, I have decided to independently analyse the following categories within theatrical trailers -
Narrative Structure - Narrative structure is about two things: the content of a story and the form used to tell the story. Two common ways to describe these two parts of narrative structure are story and plot. Story refers to the actions that are told in chronological order.
Audience - A group of individuals the film production is aimed at.
Characters - Individuals that help to tell the factual or fictional story.
Setting - The place or type of surroundings where something is positioned or where an event takes place.
Narrative Elements - Characters are the people or animals a story is about. Setting is the time and place in which a story takes place. The plot tells the events that happen in a story. Often a plot includes a problem and a solution.
Mise-en-Scene - Mise-en-Scene encompasses the most recognisable attributes of a film (the setting and the actors; it includes costumes and make-up, props, and all the other natural and artificial details that characterise the spaces filmed. French theatrical expression, meaning roughly 'put into the scene'. Mise-en-scene broken into four general areas: setting, lighting, costume and staging.
Camerawork - The way in how angles, composition and framing is achieved to show something or someone in a particular way.
Sound - Diegetic and non-diegetic sound, sound motifs, soundtrack and scores as well as sound effects.
Editing - The work of selecting and joining together shots to create a finished film either in chronological order, storytime, discourse time. The way a film is edited can alter the way an audience is made to feel emotionally. This supports the Kuleshov effect (see image below).In his experiment, Kuleshov cut an actor with shots of three different subjects: a bowl of hot soup, a young girl in a coffin, and an attractive woman lying in a couch. The footage of the actor was the same expressionless gaze. Yet the audience raved his performance, saying first he looked hungry, then sad, then lustful.
First Trailer Analysis - 'The Ring' (2002)
Linear narrative containing flashbacks. Singles stranded narrative but from different character perspectives. No use of graphics or titles until stating where the spectator can find out more information regarding the film online (i.e. website) at the end. Creates enigmas - 'whose voice can be heard?', 'who is responsible for the creation of the tape?', 'Does the protagonist die?'. Follow Propp's character types i.e. the hero, the enemy, the helper, the princess etc. Supports Levi-Strauss's binary opposites idea - young versus old and good versus bad. An ideology that children should be kept away from harm is presented within the trailer as we see the protagonist's son becoming influenced by the danger that surrounds them. Camerawork consists of many long shots to show the narrative setting as well as the individuals within the scene. Moreover, the use of medium close-ups and close-ups give the audience understanding into emotions felt by the characters at specific times as we can read their facial expressions clearly. For example, Naomie Watt's character lives in constant fear within the film as we see her either screaming, crying, looking worried or confused by either her environment or individuals around her.
Second Trailer Analysis - 'Haunt' (2013)
Single stranded narrative that follows Hollywood three-act theory; equilibrium, disequilibrium and new equilibrium. Creates enigmas - 'whose voice can we hear?', 'who is the mysterious girl that keeps reappearing?'. Strobe and flickering of shots makes the spectator struggle to see the enemy much like the protagonist is unable to find the enemy. No graphic or titles are used which connote that what the audience see isn't fictional which supports the idea of realism. Narrative setting is within protagonists home; this juxtaposes the idea that home is a place of comfort and security as the victim is seen being threatened in an familiar environment.
Third Trailer Analysis - 'The Purge - Anarchy' (2014)Enigmas are created - 'Do the couple survive?' 'If so, how do they escape?'. Levi-Strauss' binary opposites mainly consists of good individuals fighting against those that are bad (the enemy). Juxtaposition between the visuals and the soundtrack is shown throughout; America's national anthem plays which connotes unity and patriotism yet the spectator can see anarchy and chaotic behaviour from American individuals fighting against one another. Mise-en-scene entails gas masks, guns, make-shift weapons and fire/vandalism. Gas masks and guns are stereotypicaly associated with conflict and war that has changed the course of history. Therefore, it could be perceived that 'The Purge' is something that could change the lives we live now. Rhetorical questioned is asked near the end of the trailer 'How would you purge?'. This makes the audience consider the ideology they stand by as they begin to think about how they would react to the situation if they were to find themselves in it. Narrative is told following the Hollywood three-act theory with flashforward.
26 October 2014
Western Shoot-out Workshop
As part of introduction into film production, my group and I had to gain understanding into the principles of film making and practice applying them to create effect within our filming. The composition rules that were put in place were -
Head Room - position of the subject within the frame of the image. Headroom refers o the distance between the top of the subject's head and the top of the frame to include the sense of space on both sides of the image.
Rule of Thirds - a concept in video and film production in which the alignment of a subject with the guide lines is divided into nine imaginary sections. Miss. Macdonald wanted my group and I to apply this rule and break it when necessary to see what is achieved. One example of this being broken was through the use of a cowboy shot. This is a shot framed from mid thigh up to ultimately focus on the weapon; the antagonists/protagonists gun.
Looking Room - the space in front, and in the direction, of a moving or stationary subject.
Eye Level - a shot that has very little to no psychological effect on the viewer. This shot is when the camera is level or looking straight on with the subject.
30 Degree Rule - a guideline that states the camera should move at least 30 degrees between shots of the same subject occurring within a sequence. If this rule isn't followed a jump cut occurs and there is a risk that the audience become disorientated.
Here is the link to our final edit -
Our final production was edited through Final Cut Pro. I have never used this editing software before but watching online Youtube tutorials helped give step-by-step advice on how to upload,save,add SFX and VFX and alter the length of video clips during the process.
For example, https://www.youtube.com/watch?v=BTGR3FjWU4A (Final Cut Pro X - The Basics for Beginners) and https://www.youtube.com/watch?v=4UET7QptHtc (Final Cut Pro X Tutorial Beginners) was great for anyone (like myself) who was unsure how to approach film production in the correct way. Overall the length of our shoot-out was 1 minute, 19 seconds. Unfortunately, my group and I didn't have enough time to film the final shooting between each antagonist. Therefore, this has encouraged my group and I to be more organised when it comes to arranging and applying a shooting schedule as well as being efficient with the amount of filming time given.
One way of doing this is within pre-production. By holding a group meeting, my group and I will be able to select times, dates and locations that all three of us are available.
Subscribe to:
Posts (Atom)