Evaluation- Thriller Opening Production

http://prezi.com/bdahyzicbrft/thriller-film-opening-/

Creating characters through composition, shots and audience interpretation

As our protagonist, we aimed to create Grace ( portrayed by Charlotte) as a likeable character to the audience for her noticeably cautious traits and innocence. Firstly, her composure supports the idea of trustworthiness towards her surroundings; unfortunately a influencing factor into her fate. This included:


- Little consideration given to the route through the marshes she decides to follow, indicating confidence in her general sense of direction and also suggests that she regularly uses the environment for photography purposes. This shows good independence abilities.

- Her professional camera gives attention to her age- possibility, in her late teens as Charlotte's face was natural in the shots and she generally holds a youthful appearance. It may be presumed that if she were to be interpreted as an older character, perhaps in her early twenties, photography is her profession.

-In relation to her body language, she seems to analyse her photographs carefully, demonstrated through the slight creasing of her eyes and what appears to be some repetitive shots.

However, these features are challenged nearing the end of our film opening with Grace's evident shock over discovering the corpse of Fred. Her hand falling slowly to her side ( edited for effect) makes insinuations towards the realization she isn't alone as she expected, immediately proposing fear.


To effectively convey our antagonist figure, Lizzy ( played by Ellie) features less on screen but still possesses threatening, secretive qualities. The physical differences between the pair also brings attention to gender representation in thrillers, proposing either kindness or aggression.

- Lizzy's clothing is purely black with only red hints of nail varnish and lipstick-this proposes classical film noir conventions whilst summarizing the character as a cold and unloving individual.

- As she stands over Fred's body, a shadowing effect could show that the killer hasn't yet finished, imposing harm towards the victim. She also seems alarmingly casual over her actions, to the extent where moral standards are not applicable.

- A shot of Lizzy tensely clenching her hands supports the idea of a physiological defect. This single action captures the storyline effectively in regard to the physical damage she is willing to impose on strangers. In conjunction, it hints towards the possibility she was witnessing the whole scene of Grace's discovery from the beginning.



Although he is only viewed purely as a visual aspect and there is no scene of resilience to Lizzy's attack, Fred ( Joe's character) is presented as the victim of a crime by the use of high and low angles in the production.

- A drawn out, dramatic fall in almost a broken up lighting effect emphasizes the weakness Fred suddenly experiences due to an unknown physical injury ( most likely, a stabbing infliction), making him all the more vulnerable. In relation, it is surprising how easily Lizzy is able to drag Fred's corpse, considering their gender differences. This may again present the character as redundant of all previous strength.

- Fred's perspective from he ground as he views Lizzy from his position creates a sense of mercy in which the killer will almost certainly not show, adding to the fear of attacks from others.

Lighting effects and camera movements

Our group varied our camera shots in order to maintain interest and show a development within the film opening, working  to develop of the first event. In conjunction, lighting alteration was essential to show transitions between characters.

Low shots were key to determining Lizzy's capability of inflicting harm onto anyone who may have become aware of her crime. To show vulnerability, a shot of her hand ( our first scene) clenching in anger or defense suggests the possibility she is aware of Grace's presence-immediately putting the main character's life at risk in addition to transferring fear towards the audience. Also, Grace drops the sheet slowly after discovering Fred's body, indicating overwhelming shock. These details of physical composure lead to the cliffhanger, in which Grace's fate is uncertain. We deliberately placed the two scenes as both the beginning and ending shots to emphasize this.

A long shot allowed us to demonstrate the significance of one introducing themselves to danger with Grace making her way into the marshes ( an effective purpose of a tracking shot). Likewise, the bright sunlight contrasted against the looming shadow of her silhouette; we achieved this by filming from behind her route. This allowed us to define the character's significance as key to the murder, in respect of her personality combined with the dark, unsettling scenario. In relation, it is noticeable that during all of Lizzy's appearances, the lighting is generally darker in opposition to Grace's bright

Close ups were a consistent feature in the film opening. In particular, the scene of Grace standing directly over Fred's corpse demonstrates, through a quick shot of her footwear, ignorance of reality. The shot also introduces a human aspect to the scene, in consideration of the zoom shot of Fred's trainers- this may identify both individuals as victims, whether living or dead.

Using props in our thriller film- creating significance

To further establish the cold, isolated setting in which 'Flashpoint' takes place, we used props that signify either comfort ( for instance, from the perspective of Grace) or the dismissal of sympathy or understanding of loss ( what could be interpreted as a  representation of Lizzy's mind set).

Following his murder, Fred's character is wrapped hastily in an open, plastic tent liner. The material is cheap and thin, showing Lizzy's lack of concern over how she deposits the body. In some cases of murder depicted in thriller films, a body is treated without respect due to the need to leave the site immediately  ( for example, 'Sorority Row', a horror/thriller production, shows a group of friends dispose of their friend's corpse in a mineshaft out of panic instead of guilt). Also, this submits the antagonist's differentiation to the grass and trees that surround the scenes; natural, purposeful features. The prop creates a  contrast between the characters in regard to how the event has left a physiological, permanent mark- black against the greenery of the trees and grass.

Grace's camera however shows an interest of personal field- we used a professional, more technical device to personify the character. Without this type of object, there would be little to indicate the age of the protagonist, their hobbies or explanation of why they found themselves in this threatening situation; a simple route through the marshes doesn't provide any significance to the first scene. In relation, a camera conveys effectively their innocence and possibly, a portal through to their unwilling involvement of crime and danger through being a witness alone. Additionally, The thriller 'Disturbia'  shows a young adult act as an eyewitness to serial murders whilst in house confinement, becoming deeply involved in the development of the thriller film.

Creating Labels

Independent case study on The Happening - the use of imagery and soundtracks in thrillers

Set in modern day American cities ( for example, New York's Central Park and Philadelphia), The Happening, directed by M.Night Shayamalan, 2008, documents the fear of an uncontrollable natural event and the possibility that humans are indefinitely a target of the environment itself. The film follows the attempts of a science teacher who, with his wife, best friend and his daughter, learn that what was a presumed terrorist attack in New York was in fact the result of the transmission of  a fatal neurotoxin from plants which causes any individual exposed to the chemical to commit suicide, especially in more rural areas where the event is inescapable. Whilst the production received incredibly poor ratings and was deemed ' incoherent' and 'unconvincing', I feel that the film was excellent in conveying a sense of terror within director M.Night Shyamalan's use of imagery, close ups and character development and progression through the acknowledgement that humanity could be destroyed through the horrifying concept of human intent to purposefully end one's life, without the wish to before the attacks.

An early scene which highlights the undeniable theme of overwhelming mass suicide occurs at a construction site in New York, showing various builders purposefully throwing themselves off the scaffolding. Because the shot is performed in slow motion, within the audience the image appears as tragic and surreal, almost as if the figures falling to their deaths represents a loss of rationality. Also,  as the faces of the builders cannot be seen from such a height, it contributes significantly to the disregard of what was their life, their family and the importance of human will. What makes the scene disturbing in this respect is that the motive seen through the high angle was so sudden, but so simple to cause an indefinite effect on the witnesses below- including the viewers.

In relation, more close ups emphasize the sudden realization that there is an endangerment of life, or that in this case, clear insinuation that a known character has met their fate. Elliot's friend, math teacher Jullion ( portrayed by John Leguizamo) has just emerged from the remains of a deliberately induced car crash, whilst the other four passengers have been killed. However, his escape only provokes an alternative method of bringing about his own death as he sits helplessly in the shards of glass, before using a piece to inflict wounds upon himself - it is apparent to the audience that whilst he hasn't been killed, he is infected with the virus and will soon die, which creates a contrast between the fast, violent car accident and his single death. This also emphasizes the loss the disaster would bring to the whole population, in particular his daughter, who would have lost both of her parents.

Additionally, other scenes that deceit the aftermath of suicide in The Happening aim to evoke a similar sense of terror that the characters feel upon understanding that mass suicide is occurring in the same cities and towns many people have fled to in an attempt for safety. An accomplice of the pair, the nursery owner's facial expression documents clearly fear and confusion as to why the army officer leading them away from the affected roads has started to walk backwards to his group and shout military orders. This brings about the awful assumption that the vast number of individuals ( shown below) have met their fate and consequently, even though such a scene is never shot, everyone in this area committed suicide using the officer's handgun.

 

As in the case of other thriller productions such as Seven and Signs ( also a Shyamalan film that presents the theme of threat towards humanity), the opening credits create a chilling, eerie atmosphere by using a soundtrack composition that compliments the imagery used to introduce the film. One shot of moving clouds across the sky appears innocent , but in respect of the themes, emerges as both moving and threatening. Also, James Newton Howard's instrumental score is disturbing for it's simplicity and fluency in contrast against the deadly, unsettling storyline. The simple rhythm motif gradually becomes heavier and increases in pace, potentially representing an inescapable situation.

 

                                       

 

Costume for the characters

Ideally, the character of Grace is going to wear clothing which may insinuate ignorance, but overall, normality. Charlotte ( our main actor) wears green slim fit trousers, a cream jacket and hiking boots, which are suitable for her photographer career ( it is apparent that this is her profession during the shots). Also, such practical items could suggest she intentionally ventured to the marshes in order to take new photographs. In addition, the jacket defines the season as winter which supports the idea of coldness and shock. Above all however, these pieces signify youth, as they are costume pieces a young adult would wear- adding to the fear of what Grace's outcome will be in relation to her age, and therefore, innocence.

 

In comparison, the antagonist ( Lizzie) will wear dark, haunting clothing pieces which emphasize danger. In fact, the items could be similar but only vary within their colour, which insinuates other storyline elements or as an act of dramatic symbolism between their differences. Using red lipstick would too introduce a subtle reference to Film Noir.

Film locations/shooting schedule

Last week, our group decided on the shooting schedule we think would be best to follow. The days were decided for Sunday 12th and Sunday 19th January in the early morning. Yesterday, our group and Charlotte ( the actor who portrays the protagonist) met and we spent several hours filming at least the first half of the scenes. This included experimenting with different angles and settings within the Norwich marshes, our location, as well as each member contributing considerate, alternative ideas.

As a contrast against the crackling, icy frost, it was found that the bright sunlight which lasted throughout our filming time created an effective, realistic contrast. Also, we were able to follow Charlotte with the camera as she crossed bridges, tracks and underneath looming trees easily, due to the generous space quantity consisting of open fields and frozen ponds. Lars even managed to capture a convincing high angle from climbing ( successfully) up one of the trees. I feel that the light was a  convenient asset during the close up shot of Charlotte just at the moment she realizes the image ( the murder concluding) she has just witnessed, and furthermore, our last scene of the day appeared  professional within its lighting. We are planning to meet slightly earlier next time in order to film during the morning again, and in hopes to catch the frost in time for a similar dewy atmosphere.

How does Carol Reed use, develop and challenge thriller conventions in The Third Man?

'Film Noir' is a reference to a film period that began in the 1940s, continuing respectably until the 1950s. The genre in particular relates to Hollywood crime movies and uses minimalist black and white shots, shadowing to create a feeling of menace and clear establishment of the " bad" characters. Carol Reed's The Third Man shows many thriller conventions throughout the storyline, rightfully earning it's place as the best box office hit of the year and title as " one of the greatest films of all time".

Supporting classical thriller conventions- shadowing
against the building indicates suspense and threat.

The Third Man ( 1949) is in fact a British film, which, considering that Film Noir was viewed as primarily American cinema, introduces audiences to a new setting that potentially allows locations to be an influencing factor in regard of surroundings, history and culture. In addition, the film is memorable in particular for it's significant praise involving performances and musical score. In regard to the importance of soundtracks, the musical composition ' Harry Line Theme' presents a cheerful, uplifting contrast to the noticeably sinister themes. Such a difference in mood and tone is effective at representing generally " good" characters, because we are instantly aware of their intentions. If, for example, the piece was uninviting and heavy, the audience would assume the character had the role of a threatening antagonist and would no doubt later plot actions against another person or group. Generally, a soundtrack is always used in most thriller films to indicate events which are to follow; for instance, 'panic or 'attack'' could be demonstrated by jumpy, high pitched music, whereas soft, fluent pieces are easily recognizable as assurance of kindness . As the composition slowly comes to an end, the innocent humming of Holly Martin abruptly replaces it, which takes us back to the story and away from the intensity of the previous music.  In relation to the importance of a soundtrack, some films which are not actually included in the thriller genre use similar methods to create an identical effect. Some Like It Hot ( 1959, starring Marilyn Monroe, Tony Curtis and Jack Lemmon) focuses on the situation two jazz band players find themselves in after accidentally witnessing the St Valentines Massacre in Chicago- just the name of the city makes links to Al Capone, who resided here during 1920s America and is a well-known gangster figure. Despite it's classification as the " greatest American comedy of all time", there are various scenes which depict similar tension as The Third Man. Upon the arrival of Spat's group at a Florida hotel the two characters have visited, sinister music begins to compliment the imagery of his polished shoes. Instantly, the light hearted comedic style is eliminated.




 

The end graveyard scene suggests closure in a sentimental fashion
through a distant figure, scattering leaves
( a peaceful asset) and a long shot.
.

 Equally as influential to the thriller formation,    the graveyard scene featured in the Third  Man  demonstrates how the natural rustling of  trees in   turn, create noticeable light  alternation. This single shot adds an emphasis  of a purposefully caused death, and secrecy.  Another scene ( the approaching train) again  perfectly captures a Film Noir type shot,  complete with intense block black for a close  up of the  machine and smoky mist as fumes.
             



                                   


Soundtrack research for our thriller film

Soundtracks which may be of a good use towards our thriller film. These are pieces of music which I feel are either haunting ( potentially, this could create an eerie, dark atmosphere) or suspenseful ( more direct, unsettling compositions).  In addition, they may be particularly helpful in scenes which represent terror from the protagonist's perspective or as a concluding cut that involves the killer; for example, the music finishes just as the antagonist faces the camera. Although our film will already result in, we hope, a powerful ending, the music conclusion would emphasize the shock revelation to the audience.  I think that this would be an effective music placement. These tracks were found on Youtube.


Outro- The Prestige
Dark Suspense Music Instrumental- Original Composition
Fight Till The End- Royalty Free Epic Suspense Music
Emotional Dark Music- The Eternal Forest

The purpose of " Humming Chorus" in Heavenly Creatures, 1994

Directed by Peter Jackson, Heavenly Creatures documents the relationship of two teenagers in the early 1950s, whilst highlighting issues such as childhood illness and social dilemmas. It should be considered how, as the film was met with strong critical acclaim and brought attention to the previously unknown actresses, film soundtrack pieces are both dramatic and significant contributors to film recognition.

The classical composition of " Humming Chorus" ( originally created by Italian composer Giacomo Puccini, 1904) suits well the ideal scene of a peaceful gathering. Oblivious to the girls intent, Mrs Parker enjoys slices of cake as the pair encourage her, somewhat awkwardly, to enjoy the beverages  and sip tea silently. To the audience, this demonstrates dramatic irony- an unpleasant event which follows on from another usual occurrence, and is known by the audience. After, the pair lead Pauline's mother through grassy footpaths and rocky steps as the music continues to play. Because no character can be heard speaking and the sunlight sets calmly, the piece feels empowering as an indication of what is to happen. Furthermore, noticeably to the low angled camera, we can see the shoes of each character as the notes of the Humming Chorus increase in pitch. Aside from suggesting tragedy, the imagery that reveals childish shoes and socks ( perhaps, a true loss of innocence) and smart high heels ( ignorance) is an effective contrast. This is supported by the gradual expression on Juliet's face in particular increasingly becoming more anxious; presumably she is more concerned over the consequences of the murder. The music slowly fades to a halt as the friends begin to glance at one another, almost as confirmation. In general, the scene may be summarised as bittersweet- neither characters seem to hold confidence in what they have decided, yet they are oblivious to the reality of the situation and what it will ultimately bring.

In relation, the opera 'Madam Butterfly' links strongly to the theme of tragedy. A section of the filmed production shows an honour suicide; whilst this happens the lyrics ( sung in Chinese by Ying Huang) state " Let there be honour in death, where there is no honour in life". In the case of Heavenly Creatures, the fantasy idea of murder as an act of revenge only provided some cold comfort as a thought process.I feel that in the Madam Butterfly, however, this refers to a tragedy sometimes being seen as beautiful or precious, especially when the person lacked anything valuable during their lifetime.

 

How Terry Winsor establishes and develops the thriller genre in the opening to Essex Boys

In the opening of the 2000 crime production, there are noticeable traits within a considerably short space of time that introduce us to the themes and concept of thrillers. This involves the use of lighting to create relaxed or suspenseful settings, language vocabulary to suggest the lifestyles of characters and bleak environments that emphasize location style.

Significantly important characters are introduced by Billy Reynolds, the narrator- his casual persona and what appears as limited perspective suggests in the beginning his lack of free-will, emotion and confidence. In addition, he seems accepting of Jason Locke's (who is neither defined as either a friend or an enemy),actions. An example of this is the brutality Locke demonstrates when the pair arrive at a seafood preparation factory and almost instantly, the character shows an extremely violent side as he attacks one of the workers in charge. Aside from the obvious assumption that something has clearly happened to make Locke lash out in such a way, which presumably links to another storyline in the film, there is still no justification as to why he should assault another person in such an aggressive conduct. Aside from repeatedly punching the character known to us only as "geezer", acid is poured onto his face as he screams in agony. Again, Billy just witnesses the situation and makes no attempts to intervene whilst other members of the institute use the confrontation as an opportunity to form a crowd, also showing no remorse or human compassion. It could even be said that he looks up to him.

Similarly, as the characters drive away in a white van ( classically, symbolism of menace and threat), the pleads of the victim are overhead from the inside as the two engage in normal conversation. One of these phrases that stands out is " Please, my face is burning off", yet the vehicle doesn't halt until it's arrival at a cold cold marsh landscape, where the injured character is thrown out of the van, stumbling ( further confirming the seriousness of his wounds) face down into the water to try and soothe the damage. The fact the two were willing to leave him in such a desperate, cruel situation shows a complete unawareness to their extreme actions, and Billy remarks simply that whilst Jason needed a " new shirt", the man needed a " new face". The tone and expression over how this was said is shockingly casual and one sided. Still, we do not know why the character was abandoned after the ordeal. From the event, we understand who the main antagonist of the film is.

Lastly, the opening credits are effectively put together to represent the theme of tension even further. Scratching as a sound effect, followed shortly by high pitched music, introduces a tough, gritty atmosphere. In relation, the first scene where Billy lifts up his garage door literally ends the credits
by "pulling" the screen out of  black into a murky, dusky blue. As he settles into his car, the dusty screen reveals Jason Locke. From this point, the narrator refers to the character even more than himself.

Generic Conventions in Quentin Tarantino's 'Jackie Brown'

This presentation focuses mainly on the use of camera angles and character distinction. For example, a confrontation that takes place symbolises vulnerability and weakness, determining an 'order' amongst acquaintances. Also, two characters the audience may anticipate to be lazy, unintelligent and slow act in a shockingly casual, cruel manner when they both commit murders to people they were previously had known, which isn't expected ( demonstrating a subversion- leading the audience away from a particular social stereotype). I thought that this point was relevant to the idea of character development.