This is the final draft of my thriller evaluation.
Thriller Evaluation
1. Our thriller film, “Faye”, uses a variety of different references to other thriller films. The first shot you see is of our main character, a femme fatale, Faye, putting on some heavy makeup. This identifies her as a femme fatale, and is inspired by Marion Crane in Psycho by Hitchcock. She is an easily recognisable femme fatale, as she has lots short skirts, quite heavy makeup, and a beret. These mask her identity and make her harder to recognise.. We have used a lot of close ups or Faye’s makeup being put on in our thriller to emphasise her deviance as a femme fatale. This is similar to Marion Crane putting her make up on before running away at the start of Psycho. Faye seems to be a character that doesn’t care what happens, or who she hurts as long as she looks nice. She is quite laid back and casual about everything. Some similar femmes fatales in film noir such as Greta Garbo in ‘Mata Hari’ and Lauren Bacall in ‘The Big Sleep’ act and dress like this. This may be because they want to hide their identity, whilst their glamorous appearance and independence makes them into iconic characters who scorn convention.
2. We set our thriller mainly in the narrow streets behind Bryony’s house. This was empty and provided us with a lot of interesting and threatening shadows, which were emphasised by some chiaroscuro lighting, provided by hand lamps and mobile phone lights. This was meant to create large distorted shadows, similar to the Third Man, though this didn’t really work as our lighting wasn’t near powerful enough and we didn’t have the space to create shadows that climb up large buildings.
3. In the end we only really used non diagetic sound from our soundtrack, Basin Street Blues by Ella Fitzgerald. We used this soundtrack as it is jazzy and sounds like the kind of lifestyle Faye would live. It’s also called Basin Street Blues, which sounds glamorous and slightly sleazy injecting the mise-en-scene with a seductive quality. We can also imagine Faye listening to this as she is applying her makeup, almost as if she hasn’t a care in the world. Our diagetic sound didn’t seem necessary as you can only hear a few taps and footsteps. These sounded far too contrived and unimportant. We did have some powerful heavy breathing noises and screaming sounds, although they didn’t fit in with our final cut.
4. In our film we have 3 characters, in which 2 are femme fatales. The “victim” character is a man, thus subverting the strong man stereotype and almost reversing the roles of men and women. All our characters are meant to be the same sort of age, young adults. We wanted this age as young adults are young and energetic, but still have enough sense to plan a crime well. Our male character is represented as vulnerable as he seems dead at the start of the film, an idea inspired by “The Third Man” as Harry Lime is said to be dead but has just lied to escape the law, though we never see this.
5. I think our thriller would only be a YouTube film. It hasn’t got any special CGI’s or effects, so it wouldn’t attract many technology craving film fans. It would probably be given the classification of 15. It has some quite horrific images like Faye being suffocated by a bag, and there is some blood. It has no famous actors and little CGI’s. This is because we haven’t got any funding for this film. If we had a grant for this film, we could use many special effects and buy more actors. This would create a much larger audience. Though, as the film “Slumdog Millionaire” had no famous actors in and didn’t rely on special effects but still won 8 Oscars, this proves that actors and CGI’s don’t make a film popular all the time.
6. This sort of film, according to our questionnaires and film research generally should appeal to younger men, but not particularly teenagers. These people are old enough to understand the seriousness and dramatics of the film, such as thinking about the enigma at the end of our film, though they aren’t young enough to demand incredible high technologies. Generally men watch thriller films more than women. This may be because there is often a lot of violence and crime, which women don’t seem to enjoy as much, though we have to female characters as lead roles in our film, so female audience members may be attracted to that. Older men and women will probably enjoy this film too; many thriller films were set or made in the mid 20th century. They are often black and white, and have similar characters and plots. The older generations may be more used to seeing thriller films like this, and wouldn’t demand special effects as much.
7. We have attracted our audience by studying the results of our questionnaire. We found out that most of the people we surveyed preferred crime thrillers to anything else. We had already decided this was what we wanted to do, so these results almost confirmed that. Our audience had overall preferred a male lead role in thrillers. Our idea wouldn’t have worked without the classic Femmes Fatales as lead roles, so we had to overlook this result. When asked which thriller films our audience liked in the past, the same 2 kept coming up, “Psycho” and “the Third Man”. So we regularly tried to refer back to them in Faye.
8. From using the technologies we have, we’ve learned to use more powerful lighting to shoot our film; we had some great shots that had to be discarded due to the lack of lighting. We learned about camera techniques and options, such as black and white picture, just by playing around with different camera modes and functions. Black and white I believe is quite a prominent feature in a thriller film, it makes the film look more surreal and distorted. In many we’ve studied, such as the Third Man and Psycho, there has been black and white picture. In our thriller, we really wanted to emphasise the bold colours of Faye’s makeup, so we kept the colour in. When using our editing software we have not only learned how to primarily edit a film, but new effects such as a cross fade, which we repeatedly used in our final cut, as it makes our shots look more sequential. Our experimentation with the camera and editing software was purely using trial and error, at first we were beginners to this sort of technology, and so didn’t know anything about them, but after seeing what our options were, we soon worked out what effects worked best. My favourite aspect of the editing effects we’ve used is a technique called ghosting. It basically leaves an opaque version of the last few frames in the shot as something moves, making everything look distorted. We used this in a close up of Faye’s eyes, and the effect really emphasises how nervously she is looking round. I’ve also learnt how to use a blog. As all of our coursework had to be put on a blog, which none of us had done before. Weve learnt to create the blog, edit posts and add labels, which has been very useful for the organisation of our thriller.
9. When looking back at our preliminary task, we have learnt that it’s not always best to have dialogue, as it can often go wrong and waste time, so we’ve decided to have no speech in our thriller. We believe that having no speech would make the audience concentrate more on the visual elements, such as the close ups of expressions on our actors’ faces. We learnt how important it is to have clean cut shots, and have the right transitions between them. I think all of our shots have worked very well, though as our idea changed a day before filming had to be finished. This forced us to experiment more and use less obvious lighting. In the future, we’ve learnt that we would spend more time getting everything planned and set.
Showing posts with label Coursework. Show all posts
Showing posts with label Coursework. Show all posts
Thursday, 2 April 2009
Friday, 27 March 2009
Thursday, 26 March 2009
Mock Essay
This is my mock essay for media. I know i could have done better in this exam. I didnt prepare for it well enough.
Wednesday, 11 February 2009
The Third Man
There is strong focus on lighting, sound and camera angles.
The opening scene starts with non-diagetic sound, a voiceover. There is a medium close-up, tilt shot of the open suitcase which shows that things aren't quite how they should be.
The next shot we saw was a close up of the black market which shows the viewers of the unglamorous location. This is all in noir lighting. The audience then see a body in the river and a sinking boat, which shows that the city is dangerous.
We are then introduced to the main character, Holly Martons, who is dressed in generic thriller costume - a trilby hat and suits.
Non-ambient lighting as he walks up the stairs to Harry Limes apartment. His shadow is on the wall. This adds a sense of mystery to the mise-en-scene.
There is juxtaposition in this scene as there is cheery music against the dull and dreary mise-en-scene.
There are no subtitles for what the German caretaker is saying. This helps us to feel like we are in the same position as Martons.
At the funeral, there is Harry Limes' mistress, a femme fatale, which is generic for a thriller.
The next scene shown to us in class included the iconic introduction of Harry Lime in the doorway. He is standing in shadow, but with a cat by his feet. This is ironic as a cat is generally friendly, contrasting with the suspicious Harry Lime. This is a tilt low angle shot of the empty Vienna streets which makes the city look small and vulnerable, as if the city in coming down on top of Martons. The noir lighting in this scene adds to the sense of nightmare which is also generic in a thriller. The tilt shot also emphasises Martons disorientation.
The opening scene starts with non-diagetic sound, a voiceover. There is a medium close-up, tilt shot of the open suitcase which shows that things aren't quite how they should be.
The next shot we saw was a close up of the black market which shows the viewers of the unglamorous location. This is all in noir lighting. The audience then see a body in the river and a sinking boat, which shows that the city is dangerous.
We are then introduced to the main character, Holly Martons, who is dressed in generic thriller costume - a trilby hat and suits.
Non-ambient lighting as he walks up the stairs to Harry Limes apartment. His shadow is on the wall. This adds a sense of mystery to the mise-en-scene.
There is juxtaposition in this scene as there is cheery music against the dull and dreary mise-en-scene.
There are no subtitles for what the German caretaker is saying. This helps us to feel like we are in the same position as Martons.
At the funeral, there is Harry Limes' mistress, a femme fatale, which is generic for a thriller.
The next scene shown to us in class included the iconic introduction of Harry Lime in the doorway. He is standing in shadow, but with a cat by his feet. This is ironic as a cat is generally friendly, contrasting with the suspicious Harry Lime. This is a tilt low angle shot of the empty Vienna streets which makes the city look small and vulnerable, as if the city in coming down on top of Martons. The noir lighting in this scene adds to the sense of nightmare which is also generic in a thriller. The tilt shot also emphasises Martons disorientation.
Kill Bill volume 2
Here are some notes I made when watching the opening of Kill Bill Volume 2.
How does Tarantino use thriller signifiers in this action adventure, martial arts film?
The Brides Burial
Tarantino uses two intertextual references to Hitchcock’s 'Psycho' (1960)
Reference 1 - The soundtrack
Reference 2 - Close up of the bride driving her car - refers to Marion Crane leaving town with the stolen money.
Why?
To intensify the suspense To indicate the bride's danger To flatter the audience - like a tribute to Hitchcock. The scene includes a lot of generic thriller conventions. The scene is set in an unglamorous, isolated location at night time - noir lighting. This makes the scene shadowy. The camera is at a low angle, meaning that the viewers are seeing things from the bride’s point of view. This also makes Bill's brother look more superior.
In the scene where she is trapped in a coffin, there is diagetic sound, of nails being hammered and of the bride's heavy breathing.
Non diagetic sound added in edit. Intertextually referancing Morriconi's music in Leoni's "the Good the Bad and the Ugly"
The coffin is a powerful utilisation of genre to heighten the sense of doom and claustrophobia.
Noir lighting with chiaroscuro lighting gives the impression of impending doom, nightmare and illusion.
camera is close up, at the same level as her. we feel like we are in the same situation as her.
How does Tarantino use thriller signifiers in this action adventure, martial arts film?
The Brides Burial
Tarantino uses two intertextual references to Hitchcock’s 'Psycho' (1960)
Reference 1 - The soundtrack
Reference 2 - Close up of the bride driving her car - refers to Marion Crane leaving town with the stolen money.
Why?
To intensify the suspense To indicate the bride's danger To flatter the audience - like a tribute to Hitchcock. The scene includes a lot of generic thriller conventions. The scene is set in an unglamorous, isolated location at night time - noir lighting. This makes the scene shadowy. The camera is at a low angle, meaning that the viewers are seeing things from the bride’s point of view. This also makes Bill's brother look more superior.
In the scene where she is trapped in a coffin, there is diagetic sound, of nails being hammered and of the bride's heavy breathing.
Non diagetic sound added in edit. Intertextually referancing Morriconi's music in Leoni's "the Good the Bad and the Ugly"
The coffin is a powerful utilisation of genre to heighten the sense of doom and claustrophobia.
Noir lighting with chiaroscuro lighting gives the impression of impending doom, nightmare and illusion.
camera is close up, at the same level as her. we feel like we are in the same situation as her.
Psycho
The basic plot for Psycho, or as much of it as I've seen, is that Marion Crane has stolen money from her boss, is running away, and stays at a motel. In this motel she meets Norman Bates, the motel owner, who lives with his mother and loves taxidermy. When showering, Marion is repeatedly stabbed and dies.
There are some amazing generic thriller aspects in this film.
Bates love taxidermy -stuffing animals - but especially birds. He thinks they look the most beautiful out of all animals. His name is Bates, and he is almost like bait, to draw people in. Crane is known as a beautiful bird, and so it is like she is the bird, taking the bait, which is soon to be stuffed. It connotes that Marion is going to have the same fate as the birds, which adds to the constant tension.
Bates even says, "You eat like a bird." Birds, like her, are passive.
At the start of the film, when Marion is still innocent, and hasn't done anything wrong, she wears white underwear. After commiting the crime, she wears black underwear. This shows how she has changed as a person, and her moral code has plunged. Shes been tempted by the money which she thinks can buy her love.
There are frequently low angle, tilt shots of Bates, his hotel and its déco. This makes everything seem more threatening, and more surreal. They also have lit from a low angle, making the shadows bigger, more surreal and threatening.
It has a suspensive soundtrack.
Its shot in black and white, film noir, making it darker and more nightmarish
Cinema is voyeuristic - the zoom into the hotel, makes us feel as though we are watching and imposing. Bedroom window shot connotes this.
It has the deviant femme fatale.
The cheap motel is an unglamerous location - where many people cheat secretly from their wives etc.
The music mirrors a heartbeat.
Regular use of close ups - mainly of the money, Marions face and hands and car mirrors.
Almost silent, use of diagetic sound.
In our thriller, we used Psycho's idea of wrapping the money in newspaper. Also we have tried to use low lighting, to get similar distorted shadows.
There are some amazing generic thriller aspects in this film.
Bates love taxidermy -stuffing animals - but especially birds. He thinks they look the most beautiful out of all animals. His name is Bates, and he is almost like bait, to draw people in. Crane is known as a beautiful bird, and so it is like she is the bird, taking the bait, which is soon to be stuffed. It connotes that Marion is going to have the same fate as the birds, which adds to the constant tension.
Bates even says, "You eat like a bird." Birds, like her, are passive.
At the start of the film, when Marion is still innocent, and hasn't done anything wrong, she wears white underwear. After commiting the crime, she wears black underwear. This shows how she has changed as a person, and her moral code has plunged. Shes been tempted by the money which she thinks can buy her love.
There are frequently low angle, tilt shots of Bates, his hotel and its déco. This makes everything seem more threatening, and more surreal. They also have lit from a low angle, making the shadows bigger, more surreal and threatening.It has a suspensive soundtrack.
Its shot in black and white, film noir, making it darker and more nightmarish
Cinema is voyeuristic - the zoom into the hotel, makes us feel as though we are watching and imposing. Bedroom window shot connotes this.
It has the deviant femme fatale.
The cheap motel is an unglamerous location - where many people cheat secretly from their wives etc.
The music mirrors a heartbeat.
Regular use of close ups - mainly of the money, Marions face and hands and car mirrors.
Almost silent, use of diagetic sound.
In our thriller, we used Psycho's idea of wrapping the money in newspaper. Also we have tried to use low lighting, to get similar distorted shadows.
Monday, 9 February 2009
Whitechapel
These are some brief notes I wrote down whilst watching the start of crime/ drama/ thriller Whitechapel on BBC1.
Camera angles: Lots of tilt shots, making everything seem more surreal.
Close Ups, show you detail of the action/ emphasising areas
Shots from low on the street. - These shots make the action look more threatening, and could be from the point of view of someone whos just been attacked.
Lighting: Chiarascura - emphasises areas and makes threatening/ distorted shadows.
Set at night - street lamps give more authentic lighting. Strong light reflected from puddles and wet street pavements. Making everything more menacing or unglamourous.
This lighting and the colours are significant to the thriller genre as they are unglamerous, unnatural and dark. This makes everything more distoreted, tense and scary.
Music - non diagetic tense.
Sound - other than music - lots of shouting/ talking/ sounds of people in pain.
Costumes: hints of Victorian style clothing contrasting against police uniform and hoodies.
Setting/background - East end of London. Shows street name. Tower of London, Tower Bridge, dark narrow alleys (not well lit residential areas) Steps, cobbles, old buildings.
Titles- typography - jerky, flickering. Old typewriter font, but not neat, makes it more authentic to the period set, but also makes it more menacing.
How is it significant to to drama/ thriller?: The first written word scene, and opening shot, is an old newspaper clip (Murder) so immediately sets the mood. Links historical flashbacks with modern day life. They make everything more tense and dramatic.
Realistic: flashes of modern day realism (police versus youths) along with Victorian newspaper clippings and photos.
Shots of newpaper clips and photos - distorted + flickering type, similar to old fashioned typewriter typing. Covered in blood and roughly torn out.
Shadows/ chiaroscura lighting/ silhouettes are prominant.
Distorted, jumpy, silhouette shots
shot of street name / london/ landmarks (Towerbridge) easily lets you identify where its set.
First word - "Murder" - shocking.
Blood and knife keep repeating - emphasising danger
Man stepping in puddle with reflections of old fashioned lamps - tilted camera angles from high and low. Contrast of low life and high life - along with upper and lower classes.
Dogs barking in background makes a shot more menacing.
Tilt shot - shoes behind a doorway - manacing, secretive.
Camera angles: Lots of tilt shots, making everything seem more surreal.
Close Ups, show you detail of the action/ emphasising areas
Shots from low on the street. - These shots make the action look more threatening, and could be from the point of view of someone whos just been attacked.
Lighting: Chiarascura - emphasises areas and makes threatening/ distorted shadows.
Set at night - street lamps give more authentic lighting. Strong light reflected from puddles and wet street pavements. Making everything more menacing or unglamourous.
This lighting and the colours are significant to the thriller genre as they are unglamerous, unnatural and dark. This makes everything more distoreted, tense and scary.
Music - non diagetic tense.
Sound - other than music - lots of shouting/ talking/ sounds of people in pain.
Costumes: hints of Victorian style clothing contrasting against police uniform and hoodies.
Setting/background - East end of London. Shows street name. Tower of London, Tower Bridge, dark narrow alleys (not well lit residential areas) Steps, cobbles, old buildings.
Titles- typography - jerky, flickering. Old typewriter font, but not neat, makes it more authentic to the period set, but also makes it more menacing.
How is it significant to to drama/ thriller?: The first written word scene, and opening shot, is an old newspaper clip (Murder) so immediately sets the mood. Links historical flashbacks with modern day life. They make everything more tense and dramatic.
Realistic: flashes of modern day realism (police versus youths) along with Victorian newspaper clippings and photos.
Shots of newpaper clips and photos - distorted + flickering type, similar to old fashioned typewriter typing. Covered in blood and roughly torn out.
Shadows/ chiaroscura lighting/ silhouettes are prominant.
Distorted, jumpy, silhouette shots
shot of street name / london/ landmarks (Towerbridge) easily lets you identify where its set.
First word - "Murder" - shocking.
Blood and knife keep repeating - emphasising danger
Man stepping in puddle with reflections of old fashioned lamps - tilted camera angles from high and low. Contrast of low life and high life - along with upper and lower classes.
Dogs barking in background makes a shot more menacing.
Tilt shot - shoes behind a doorway - manacing, secretive.
Sunday, 8 February 2009
quick summary of the match on action technique
The match on action technique shows you a variety of different angles and views of the same piece of action. This can show things that are hidden in one shot, make something look more threatening, from a lower angle, and a variety of different effects.
I will try and take some pictures showing how these work, and what the effect is/ what they mean.
I will try and take some pictures showing how these work, and what the effect is/ what they mean.
Wednesday, 4 February 2009
Thriller codes and conventions
Crime at the core of the narrative.
- False paths, false clues, red herrings, enigmas (Anna in "The Third Man" is enigmatic/unreadable. Questions asked why she is still in love with Harry Lime who committed henious crimes against children by watering down penicillin.)
- Resolutions to the crime often ambiguous. (For example "Se7en" - the villain/psychopath has been hunted down but the detective's wife is murdered/beheaded, thus a dark ending.)
- Protagonist/main character is disempowered and drawn into a web of intrigue by antagonist (the person or persons opposing him or her. Holly Martens in "The Third Man" is drawn into a web of intrigue in post war Vienna and is mostly out of his depth.)
- Protagonist is often flawed (For example Holly Martens crashes into Vienna like an innocent and refuses to accept his limitations.)
- Extraordinary events occur in ordinary situations (In "Heavenly Creatures" two girls murder their mother on a walk in park land. Also, In "The Godfather part 1" where a mafia rival wakes up in bed with the bloodied head of his horse on the pillow beside him. In "Psycho" Marion Crane is knifed to death whilst taking a shower in an isolated motel.)
- Themes of voyeurism, (For example the point of view shot in the opening of "Psycho", the camera takes the audience through the window of a cheap hotel room where Marion Crane is having a rendezvous with a married man.)
- Elements of mise-en-scene frequently reflect the protagonist's emotional state. Shadows, lift shafts, alley ways, car parks, car bots, spiralling star cases all redlect the entrapment of the hero and the suggestion there is no way out. Wet streets and narrow roads indicate a fall into a world that is confusing. In "The Third Man" the tilt shots, noir lighting, spiralling stair cases, the sequence on the ferris wheel all connote the web of confusion Holly finds himself in. In Peter Weir's "Withness", after the child witnesses the mirder in the toilet John Book takes the child and his Amish mother, Rachel Lapp, into the unglamorous streets of New York, thus indicating her sense of horror and the murky unforgiving workd John Book exists in.
- The hero is often in peril towards the end of the film thus building up suspense.
- Deviant women/femme fatale is a convention of classic noir thrillers. This woman is usually unglamorous and seductive and draws the hero/protagonist into further peril.
- Themes of identity - who is the protagonist/antagonist.
- Line between good and evil often blurred. (For example "Blade Runner", a sci-fi film with thriller conventions. The replicant and Deckard, blade runner - roles are reversed at the end of the film.
- False paths, false clues, red herrings, enigmas (Anna in "The Third Man" is enigmatic/unreadable. Questions asked why she is still in love with Harry Lime who committed henious crimes against children by watering down penicillin.)
- Resolutions to the crime often ambiguous. (For example "Se7en" - the villain/psychopath has been hunted down but the detective's wife is murdered/beheaded, thus a dark ending.)
- Protagonist/main character is disempowered and drawn into a web of intrigue by antagonist (the person or persons opposing him or her. Holly Martens in "The Third Man" is drawn into a web of intrigue in post war Vienna and is mostly out of his depth.)
- Protagonist is often flawed (For example Holly Martens crashes into Vienna like an innocent and refuses to accept his limitations.)
- Extraordinary events occur in ordinary situations (In "Heavenly Creatures" two girls murder their mother on a walk in park land. Also, In "The Godfather part 1" where a mafia rival wakes up in bed with the bloodied head of his horse on the pillow beside him. In "Psycho" Marion Crane is knifed to death whilst taking a shower in an isolated motel.)
- Themes of voyeurism, (For example the point of view shot in the opening of "Psycho", the camera takes the audience through the window of a cheap hotel room where Marion Crane is having a rendezvous with a married man.)
- Elements of mise-en-scene frequently reflect the protagonist's emotional state. Shadows, lift shafts, alley ways, car parks, car bots, spiralling star cases all redlect the entrapment of the hero and the suggestion there is no way out. Wet streets and narrow roads indicate a fall into a world that is confusing. In "The Third Man" the tilt shots, noir lighting, spiralling stair cases, the sequence on the ferris wheel all connote the web of confusion Holly finds himself in. In Peter Weir's "Withness", after the child witnesses the mirder in the toilet John Book takes the child and his Amish mother, Rachel Lapp, into the unglamorous streets of New York, thus indicating her sense of horror and the murky unforgiving workd John Book exists in.
- The hero is often in peril towards the end of the film thus building up suspense.
- Deviant women/femme fatale is a convention of classic noir thrillers. This woman is usually unglamorous and seductive and draws the hero/protagonist into further peril.
- Themes of identity - who is the protagonist/antagonist.
- Line between good and evil often blurred. (For example "Blade Runner", a sci-fi film with thriller conventions. The replicant and Deckard, blade runner - roles are reversed at the end of the film.
Narrative Sequence
This is how our first idea for our thriller film would have been cut.
1: Pan of Adalia sitting on bed in front of mirror. Cut to
2: Extreme close up, stationary, Adalia applying lipstick
3: Fade to black and white flashback (medium shot & pan of Rob & Faye)
4: High angle shot, Adalia walking up stairs
5: Long shot, Adalia sees Rob & Faye through door. Cut to
6: Extreme close up, stationary, Adalia applying mascara
7: Fade to flasback, medium shot and pan of Rob & Faye, focus on blood
8: Cut to high angle shot, Adalia walking down stairs
9: Medium close up, Adalia walks through door and past camera
10: Cut to close up of wine glass as Adalia picks up
11: Close up of sink as wine spilt down drain whilst taps running
12: Fade to black and white flashback, close up of knife as blood is washed off it.
13: Cut to close up of wad of money
14: Camera pans as money is rolled up in newspaper & placed inside handbag.
15: Close up of handbag
16: High angle shot Adalia walking downstairs
17: Medium close -up Adalia walking down last few stairs
18: Cut to extreme close-up, Adalia opening front door handle
19: Cut to outside, Adalia opens and slams front door
20: Camera follows Adalia down front path
21: Tilt shot Adalia walking down street
22: Cut to high angle shot, Adalia walking down ouside stairs
23: Cut to close up, Adalia's anxious face as she walks past camera
24: Low angle shot, focus on high-heeled shoes as Adalia walks past
25: Point of view shot, Adalia walks to car
26: Pan of car as Adalia steps in and slams door
27: Camera inside car, pan from Adalia's head to her opening mirror
28: Focus and zoom into mirror as Rob seen in background.
We have now changed our idea.
1: Pan of Adalia sitting on bed in front of mirror. Cut to
2: Extreme close up, stationary, Adalia applying lipstick
3: Fade to black and white flashback (medium shot & pan of Rob & Faye)
4: High angle shot, Adalia walking up stairs
5: Long shot, Adalia sees Rob & Faye through door. Cut to
6: Extreme close up, stationary, Adalia applying mascara
7: Fade to flasback, medium shot and pan of Rob & Faye, focus on blood
8: Cut to high angle shot, Adalia walking down stairs
9: Medium close up, Adalia walks through door and past camera
10: Cut to close up of wine glass as Adalia picks up
11: Close up of sink as wine spilt down drain whilst taps running
12: Fade to black and white flashback, close up of knife as blood is washed off it.
13: Cut to close up of wad of money
14: Camera pans as money is rolled up in newspaper & placed inside handbag.
15: Close up of handbag
16: High angle shot Adalia walking downstairs
17: Medium close -up Adalia walking down last few stairs
18: Cut to extreme close-up, Adalia opening front door handle
19: Cut to outside, Adalia opens and slams front door
20: Camera follows Adalia down front path
21: Tilt shot Adalia walking down street
22: Cut to high angle shot, Adalia walking down ouside stairs
23: Cut to close up, Adalia's anxious face as she walks past camera
24: Low angle shot, focus on high-heeled shoes as Adalia walks past
25: Point of view shot, Adalia walks to car
26: Pan of car as Adalia steps in and slams door
27: Camera inside car, pan from Adalia's head to her opening mirror
28: Focus and zoom into mirror as Rob seen in background.
We have now changed our idea.
Push & Pull Media
Push & Pull Media
There are a number of ways in which media can be advertised.
These include,
-Trailers in cinemas.
-Trailers on television.
-Billboards.
-Film Reviews.
-Websites.
-Newspaper Advertisements.
-Positive word of mouth.
-Interviews with actors.
-Personal appearances by actors.
-Press Junctions.
-Tekevision Programmes.
-Adverts on social networking sites.
-Merchandising (e.g Mcdonalds).
Some of these adverts can seem as though they have been 'pushed' onto an audience, so some audiences create a sort of 'pull' in the media.
This is done by audiences
- Visiting websites.
- Choosing to watch a certain televison programme.
- Buying film magazines/reading reviews.
- Browsing in a store.
- Browsing online.
- Browsing films on film subscription sites.
There are a number of ways in which media can be advertised.
These include,
-Trailers in cinemas.
-Trailers on television.
-Billboards.
-Film Reviews.
-Websites.
-Newspaper Advertisements.
-Positive word of mouth.
-Interviews with actors.
-Personal appearances by actors.
-Press Junctions.
-Tekevision Programmes.
-Adverts on social networking sites.
-Merchandising (e.g Mcdonalds).
Some of these adverts can seem as though they have been 'pushed' onto an audience, so some audiences create a sort of 'pull' in the media.
This is done by audiences
- Visiting websites.
- Choosing to watch a certain televison programme.
- Buying film magazines/reading reviews.
- Browsing in a store.
- Browsing online.
- Browsing films on film subscription sites.
The Mass manipulation model
The Mass Manipulation Model
-The idea that the media might be a powerful social and political force momentum in the 1920's and 30's. (Shown in the political propaganda of Soviet Russia and Nazi Germany semed able to seduce and persude citizens in ways not possible prior to mass media.)
-Audiences seen as a mass of individuals that could be persuaded and influenced ("The Hidden Persuaders" book (1957) attempted to uncover some subliminal advertising techniques.)
-Media has been accused of corrupting young audiences. (1950's rock and roll, mysogynism, glorifying of guns and gangs through rap and hiphop.)
-Action from the BBFC. (This was particularly evident when the murder of James Bulger was linked to "Childs Play 3").
-Bendure and Walters. (The 'Bobo doll' experiments suggest children might imitate violent behaviour after being exposed to it. However this was criticised for not reflecting normal viewing conditions, also now children can distinguish between real and stimulated violence.)
-Drug Metaphors. (Marie Winn's book "The Plug In Drug" (1997), suggests that children watch television in a 'trance' having a 'glazed, vacous look'.
The relevance of the Mass Manipulation Model is limited in today's age of advanced media technology. Audiences are now more active rather than passive and more 'media savvy'. Audiences are aware of media manipulation and have more choice and control over how they consume media. However we should still not underestimate the power of media!
-The idea that the media might be a powerful social and political force momentum in the 1920's and 30's. (Shown in the political propaganda of Soviet Russia and Nazi Germany semed able to seduce and persude citizens in ways not possible prior to mass media.)
-Audiences seen as a mass of individuals that could be persuaded and influenced ("The Hidden Persuaders" book (1957) attempted to uncover some subliminal advertising techniques.)
-Media has been accused of corrupting young audiences. (1950's rock and roll, mysogynism, glorifying of guns and gangs through rap and hiphop.)
-Action from the BBFC. (This was particularly evident when the murder of James Bulger was linked to "Childs Play 3").
-Bendure and Walters. (The 'Bobo doll' experiments suggest children might imitate violent behaviour after being exposed to it. However this was criticised for not reflecting normal viewing conditions, also now children can distinguish between real and stimulated violence.)
-Drug Metaphors. (Marie Winn's book "The Plug In Drug" (1997), suggests that children watch television in a 'trance' having a 'glazed, vacous look'.
The relevance of the Mass Manipulation Model is limited in today's age of advanced media technology. Audiences are now more active rather than passive and more 'media savvy'. Audiences are aware of media manipulation and have more choice and control over how they consume media. However we should still not underestimate the power of media!
The 180 Degree Rule
A basic film editing guideline that states that two characters in the same scene should always have the same left/right relationship to eachother. If the camera passes over the imaginary axis connecting the two subject, it is called crossing the line. The new shot, from the opposite side, is known as a reverse angle.
This diagram shows the 180 degree rule.
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