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Transcript

COMPARISON TO EXISTING TEXT

CAMERAWORK

EDITING

The conventional camerawork in horror and thriller films are shots that are low angle to connote power and dominance as you almost have to look up at them and with high angle shots for victims so you are almost looking down on them as though they are weak and powerless. We tried to move away from the conventional horror genre in terms of the type of camera shots we used as the more conventional shots such as the use of angles didn't really work as a lot of our production was shot on a computer. Instead we wanted to create a more modern film whilst at the same time connoting the traditional convention of an invasion of privacy. To do this rather than the typical P.O.V antagonist looking through the window shot we tried to develop this and experimented with CCTV footage and webcam videoing which makes it much more sinister in terms of the access he has to every element of her private life. We also used screen recording to record conversations on the online world, this was influenced by the film 'unfriended' which is solely filmed through a computer screen which may even become an intertextual reference which helps the audience identify the genre and would reinforce their likelihood to watch the film if they liked 'Unfriended'. We did this because of the recent increase in films of the horror/thriller genre that are becoming more focused on the online world, so here we adhere to the new and upcoming conventions rather than those from older films.

We also wanted to experiment more with shots to create higher production value. We did this by looking at angles and depth of field. For example using a low level shot under the car looking at the protagonist's feet when she dropped something, this is common in many films as it can be used to show a protagonist either running away or an antagonist creeping up on someone without showing their identity, it can also be used (as in our case) as almost a set up for the audience as they may expect the antagonist to be there when it shows her face again - as it does in our case. We also worked with depth of field with a shot with the protagonist in the foreground and the antagonist lurking in the background, connoting his ever present stalking within her life. This difference in depth of field could also create binary opposites as the shallow depth of field of the victim shows her whole face - she isn't hiding anything- whereas in the background the antagonist become a mysterious (black coloured coat) and sinister presence.

In terms of editing we adhered to the format of the trailer increasing in pace as it goes on. We did this by using shorter shots as it continued. For the equilibrium (Todorov's theory) the takes are longer to connote a sense of ease and normality but when the disruption is recognised the cuts are significantly more frequent to connote the sense of unease, an almost binary opposite to the equilibrium. We decided to adhere to these conventions so the audience would see the format and immediately recognise the product as a film trailer rather than a short film for example which would have longer shots and slower paced editing. We also had more close editing in terms of splitting clips to add different effects to each shot, to create a glitch. Another conventional editing technique we used was cross cutting from the protagonist to the antagonist. The cross cutting signified the creation of binary opposites of the characters in terms of the difference of their environments, dark and gloomy for the antagonist and the traditional home environment for the protagonist. We did this because we wanted to show the differences in characters clearly and create a separation of the two so even without context the mise-en-scene would show which was the victim and which was the villain.

The trailer we have created can be compared to that of 'unfriended' through a number of conventions and the fact that both films centrally focus on the use of social media as a platform for a villain to antagonise the victim. For example the use of the victimisation of the protagonist through messaging is present in both our own product and the exisitng product and these messages signify a turning point in the trailer (expressing the conventional narrative structure). They also begin in a similar way in terms of showing a normal online experience. In 'Unfriended' the audience is shown funny videos and in our own 'Glitch' the protagonist, scrolls through videos and posts on her news feed both used to almost signify 'the calm before the storm' or the equilibrium as previously mentioned. These happy videos are used as a direct contrast to the rest of the trailer which then goes on to show people being tormented in various ways - again helping the audience to recognise the genre of the film. The use of the static and glitches throughout the trailer are also conventional of both our trailer and 'unfriended' thus creating the impression that the act of being online is not all 'smooth sailing' and can pose a threat as the glitches connote a disruption. The idea of the sustained threat throughout the trailer also being conventional in terms of portraying the trials and tribulations the victim will face and therefore the audience pleasures (Uses and gratifications) that will be received by watching the film. This is also reinforced in terms of the idea that the threat online in both trailers becomes very real, in 'Unfriended' the users on the internet are killed one by one after being contacted online, and the protagonist in our production begins to be followed and watched in her own home by the antagonist showing the transition from simply an online threat to a danger that is present in your everyday life. This therefore has connotations that the online world is not as distant from their real life as they may think. Perhaps a unique selling point to our film is the idea that rather than in 'Unfirended' which uses the internet as the technique for killing the victims, in our film the antagonist uses the internet to target the victim but then becomes present in her life - following her around. Our film also adheres to the BBFC guidelines pertaining to violence as in our trailer there is no actual physical violence unlike that of 'Unfriended' explaining why our own film is a 15 compared to an 18 as 'Unfriended' shows blood and violence.

GENRE

LIGHTING

The conventioal lighting in horror and thriller films is generally dim so the villain cannot be seen, dark lighting can be used to set dark and tense atmospheres and connote a sense of missing something. Throughout the trailer we wanted to adhere to lighting conventions we typically see in existing media products. For example we usually see filming at night with low key lighting which is conventional as night time is seen as the time that antagonists 'strike' so to speak and are at their most dangerous because they have the advantage of the dark to hide them. However this can sometimes cause issues with the quality of the footage. So we decided to compromise and shoot some of the scenes in a darker environment - such as those that feature the antagonist - as the low key lighting connotes an unsettling and dull atmosphere. Also when the protagonist is shown walking outside alone, the dark time of day, connotes that she is in danger, moreso than if it were day time. This use of the light for the protagonist and dark for the antagonist can be used to signify good vs evil almost as the dark connotes something evil and sisnister and light can connote hope and something pure which are typical characterictics of both character types (according to Propps character types).

However of course due to the fact that the trailer shows clips throughout the film we wanted to show different times of day to express the passing of time - again very conventional of trailers in general as it connotes realism. So another scene when the protagonist walks outside it is lighter than in the previous shot helping to connote this passing of time. realism is important for the thriller and horror genre as it acts to almost bring the audience closer to the action and can make them feel more unsettled and have more of an impact on them causing them to be more scared for example.

As previously mentioned the genre we have chosen is a hybrid in terms of being psychological thriller/horror. The way this is suggested through the poster and the magazine is predominantly through the main image. The hooded antagonist and the dark coloured jumper connote the hidden identity and a sense of mystery. The colour scheme is also rather dark with the use of the almost black background which is extremely conventional of the horror genre. However to avoid our poster becoming overly cliche we decided to add a glitch that included different colours, this not only has connections to the psychological side of the trailer but also stops it being too bland and overly dark. The magazine whilst suggesting the conventional genre again through the main image, we conformed more to the typical colour scheme of 'Total film' magazines by included the colour yellow alongside the red and black. We did this because yellow is a pleasant and bright colour that would draw attention from the audience and increase the chance of them buying it. The trailer however in terms of suggesting the genre is fairly obvious through the use of the frequent cinematic booms to create a tense and unsettling environment. The use of the frequent glitches throughout the trailer also connote a disruption, again extremely conventional for a film of the thriller/horror genre.

Alex Burton

NARRATIVE

The conventional format of a trailer is very similar to that of a film but of course in a much more condensed way, following Todorov's five stages of narrative, which i feel we did very successfully. According to Todorov a film will go through stages in the narrative, but as this is only a trailer and the objective is not to give away the whole narrative we attempted to show an 'equilibrium', 'disruption' and 'recognition of disruption' which are conventionally shown in that order as it also helps the audience immediately recognise the film format and helps avoid any confusion.

For the equilibrium we wanted to feature this on the girl's online life, to do this we recorded a short scene of her simply scrolling through her news feed and profile, something very mundane and natural to express to current normality to the girls life. To then establish the disruption we wanted a dramatic change in the trailer as is conventional usually this is highlighted by a change in sound/camera angle. In our production we decided that we wanted the screen to glitch and disrupt accompanied by the high and piercing non-diegetic sound of technological static and some edited lyrics from a song which were slowed down and had effects layered upon it which immediately changed the tone of the trailer making it more ominous that would indicate to the audience that the action is now beginning (we used the word 'madness' and slowed it down and cut it so it simply repeated an 'm' almost like a CD skipping) . The girl then blocks the boy - 'recognition of disruption' and from there the trailer features more footage of the girl who is seemingly being watched in her own home. Again this is a convention of thriller/horror films due to the themes of invasion of privacy and deception which we expressed through high angled shots from the corner of rooms almost like CCTV, this may make the audience uncomfortable perhaps at the thought of this happening to them. The scenes of the girl in her bathroom and bedroom are also intended to represent the lack of boundaries of the antagonist and his perverse and unpleasant character. Binary opposites were also created in the trailer between the villain and victim which is extremely conventioanl as the audience can immediately recognise the narrative strand of good vs evil. These binary opposites were created in a number of ways firstly by the fact that during the trailer we see the whole of the victims profile including photos, statuses etc and for the villain he doesn't even have a profile picture and he has no mututal friends to the victim. The characters are alos shown in different lighting's, for example the girl will be shown in high-key lighting where the villain is seen in low key lighting that casts shadows that connote secrecy. The use of this is so that the audeince can distinguish the villain even before the victim came - again very common of films as it makes the audience appear dominant,

TITLE

MAIN IMAGES

SETTING

The title of our production is 'Glitch' initially we did this because of the link to technology within our production which heavily features the idea of the dangers of the online world. However another reason for this choice lies in the fact that when researching thriller/psychological thriller and horror film titles we found that a convention is the use of a one word title.

We decided that for the location of our trailer we wanted it to be extremely conventional in the sense that it would be set mainly in the protagonists home. The setting of the home is heavily used in both thriller and horror films as it perhaps becomes more scary and in some cases 'real' in terms of it seeming like it could happen to anyone at anytime simply due to how mundane it appears, amplifying the fear of the unknown. The house can also be a setting of isolation and seclusion, for example the protagonist appears to be in the house alone throughout the trailer, the home connotes ideas of privacy in which people outside of the house would not know what is happening within it. Also as homes are supposed to be somewhere private it furthers the unpleasant undertones when the antagonist begins to watch her. Examples of such films set in the home with the protagonist being 'spied' upon include 'the landlord' and 'the resident'. The home also becomes an almost sanctuary for many people so perhaps by having something dangerous here we are affecting peoples basic needs (Maslows hierachy of needs') in terms of the fact we have effected their safety, this could make our film more impacting and scary for the audience which is the ultimate goal for any horror/thriller film. Although it is conventional for horror and thriller films to be held in the home, in the past it has been more conventional for more isolated settings such as mansions and forests and so on, this is because they are such big areas and it seems less likely for help to be provided by anyone. However we decided we wanted to avoid such conventions because it seems more cliched in modern films and is used much less. It could even appear more boring now to have a victim running through a secluded forest away from a chainsaw wielding victim which could cause the audience to lose interest in our film and make it less likely for them to actually watch the film, which is something we want to avoid.

For both the magazine and the film poster we decided that we would use the same image, as this is also a convention for some films as it creates brand identity. The creation of a strong brand identity was important for us as not only does it look more professional but would also mean that the audience may see all the advertisements and immediately link them together and reinforce them wanting to see something as it sticks in their mind. The image itself adheres to conventions as commonly the image is a medium shot/mid shot of either the protagonist of antagonist which shows the upper torso of the person featured. Initially we had the magazine cover with the antagonist and the poster with the protagonist. However we decided to improve the cohesion of the marketing we would keep the same image, and also because the protagonist's image did not adhere to conventions particularly well as it was difficult to convey fear meaning the audience would not be able to immediately look at the image and identify the genre of the film which is something we wanted as it is found on existing media products and avoids confusion.

For the image we took a fairly simple picture of the antagonist in a dark coloured hoody looking down. The dark coloured jacket is used due to the conventional connotations of mystery and power, we decided to have the antagonist look down rather than the normal direct mode of address because we wanted the antagonist to be distanced from the audience and to indicate that he is hiding something We then edited this image on Photoshop; we lowered the brightness of the photo, re-coloured the jacket to make it darker and added several layers of the same image to make it appear almost blurry. We also then made the background very dark to further connote a sense of danger, unpleasantness and really set the dark tone for the film.

The use of the hood covering the antagonist's face and the blur of the image is to keep the identity of the antagonist a secret and leave the audience questioning who it is which adheres to the conventional antagonist who remains a mystery until the end of the film for the long awaited reveal which commonly results in many deaths. The idea that the audience don't know the identity of the antagonist also adds to the fear in some ways as it could be anyone and if it were to happen in real life it could be someone you know and you would not know and not have the ability to do anything about it.

I also feel the title fits conventions as it not only connotes a technological connection but also a disruption in line with Todorov's theory of film narrative, revealing perhaps a dangerous nature whilst also leaving the audience wondering what comes next. This idea also could relate to Barthes enigma code as the audience question what is going happen which increases their appeal and likelihood of watching the actual film. The design of the title perhaps fits conventions due to the colour of red that connotes typical elements of warning.,blood, danger etc, but also perhaps is a development upon the convention as it goes further than the simple title fonts typically seen on films. Our idea to use social media and technology has become more conventional in the past years rather than the more traditional horror genres of slasher and so on. The idea of the use of social media has increased because as Thwaites theory suggests that media changes with social conditions so as social media becomes more important to their target audience film institutions must cater to this which explains films like 'unfriended', 'hacked' and 'friend request' that focus on the threat of the online world.

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