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.