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Research



Camera angles and movement
This section is where we focus on camera angles and movement, the research I’ve done looks into camera angles, shot length with framing and camera movements. I have also used various examples to illustrate the difference in shots.
Shot length and framing
Extreme long shot
·         This can be taken from as long as a quarter of a mile away, and is generally used as a scene-setting, establishing shot.
·         It normally shows an exterior, for example the outside of a building, or a landscape.
·         There will be very little detail visible in the shot, it's meant to give a general impression rather than giving away specific information.
·         Usually used at the beginning or near the beginning of a film so that an audience can understand immediately where the main footage will be filmed.
Example taken from ‘The Lord of the Rings’.
Long shot
·         This includes a full shot showing the entire human body, with the head near the top of the frame and the feet near the bottom.
·         While the focus is on characters, plenty of background detail and mise-en-scene is still visible. But the visuals fixate on the detail within a character rather than the scenery.

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                      
Example taken from 'Forest Gump'.



Mid Shot

·         Shows an audience no more than the knee/waist upwards or downwards of a character

·         Can be used in scenes that include a conversation and vary into other shots, for example ‘over the shoulder shot’.

·         Background detail is minimal, usually because the location has been established earlier in the scene - the audience already know where the characters are and now want to focus on dialogue and the character themselves.
Example taken from 'The Bone Collector'.



Close up



·         This shows very little background, and concentrates entirely on either a face, or a specific detail of mise en scène. Everything else is just a blur in the background.

·          This shot magnifies the object or character and shows the importance of the visual.

·         A film-maker may use this to make an audience feel extra comfortable or extremely uncomfortable about a character, and usually uses a zoom lens in order to get the required framing.
Example taken from 'The Longest Yard'.



Extreme close up



·         This shot usually magnifies beyond what the human eye would experience in reality.

·         An extreme close-up of a face, for instance, would show only the mouth or eyes, with no background or minimal background detail.

·         This is a very artificial shot, and can be used for dramatic effect.
Example taken from 'Dead Pool'.



Camera angles

Birds eye view shot



·         This shows a scene from directly overhead, and is a very unnatural angle. This shot puts the audience in a godlike position, looking down on the action.

·         People can be made to look insignificant, part of a wider scheme of things. Hitchcock (and his admirers, like Brian de Palma) is fond of this style of shot.
Example taken from 'Fast and Furious 7'.



High Angle

·         High angles make the object/character photographed seem smaller, and less significant (in a weaker position).

·         The object or character often gets swallowed up by their setting - they become part of a wider picture.
Example taken from 'Order of the Phoenix'.



Eye Level

·         The camera is positioned as though it is a human actually observing a scene or looking directly at a character, so that for example the actors' heads are on a level with the focus.

·         The camera will be placed approximately five to six feet from the ground.
Example taken from 'Psycho'.


Low Angle


·         These increase height and give a sense of speeded motion or power.



·         Low angles help give a sense of confusion to a viewer, of powerlessness within the action of a scene.
·         The added height of the object may make it inspire fear and insecurity in the viewer, who is psychologically dominated by the figure on the screen.
Example taken from 'The Dark Knight'.
Camera movement

Pans
A movement which scans the scene horizontally and follows the movement of an object/character across the frame, usually kept in the centre and filmed on a tripod.

Tilt
Movement which scans vertically and has the same movement as a pan

Here is a short Youtube clip I found that clearly shows the movement involved in a pan and a tilt:


Zoom shots

Zoom shots are where the depth of the camera moves either towards or away from an object/character, the subject will move horizontally from left to right or right to left.
Here is another youtube video explaining all three shots in a little more detail: 
 
Hand held shots

Hand held shots are shots taken from the point of view of a person and usually follow the movement of someone hands or eye. Hand held shots can display a sense of gritty realism (as if the audience are the character or are in the situation) therefore the audience are able to empathise with the character and their situation.  










 Advertising and Marketing




Some major film studios have an internal department deviated to promotions and
distributing the film. They ensure the advertisement design and campaign is effective
and publicise the film over many different media platforms. Some of these
communications may include newspapers, television, trailer at the cinemas, the internet
and public posters.



Furthermore the word of mouth is one of the best ways to promoting a film.
When releasing a film, the promoters take the release date into much consideration, they
desire to release it at a certain specific time in the year at which they will gain the most
viewings. Most major, high-profile films are related during summer and Christmas due to
these being the seasons that most people are having a break off work/school. However
as this has proven to be a popular time of year, many major film companies are in
competition against each other. They aim to be unique and gain more attention. As well
as release timing, the marketing and promotion department need to evaluate the most
effective way of gathering their target audiences attention. They require researching the
trends of the target audience and promotion to achieve their aim.

     The outcome of this decides the amount of their budget spent on each media platform. For huge blockbuster movies, a vast amount of money goes into marketing campaigns. This can be up to £40 million and is currently soaring. The expensive marketing will, hopefully, be paid back through ticket sales and hopefully be enough to earn profit. In the first opening weekend of the films release, it usually is the peak of ticket sales and the films success is reflected through the gross box office sales. The reason behind this is the promotional campaign building up to the films release. On occasion a film may make most of their gross after the opening weekend although this is rare.


Some of the marketing strategies include:

    Theatrical trailer - this is the first impression on the audience and chance to promote the film to its target audience. Trailers are edited and test them to research audiences. Trailers are the studios chance to give the audience a feel of the atmosphere of the movie and have them to desire to want more.

    Official website for the film - allow people to view additional information and more previews of the film.

    Press junket - journalists, entertainment reporters and film critics interview the stars and craters of the films. These are highly controlled environment.

    Publicity blitz - ads on buses, billboards, TV ads, talk shows, major newspapers and mainly the internet.

    Corporate partnerships - advertising on other products or brands.



  •  Publicity stunt - media event to draw further attention to the opening of the movie.
On the other hand there are some issues with film marketing due to it being so risky. There is always a chance that the marketing campaign will fail as much as the film. This would mean they would have wasted a huge amount of money. Many are willing to risk this to promote the film more and can sometimes predict how successful the film will be. Furthermore some big-budget movies are marketed to the widest audience possible where there is no specific focus. Demographic marketing is a solution to this as they are marketing types that produce and market films that are for specific audiences and don't sell films according to traditional genres like action, thriller etc. Even though marketing companies use the power of internet to promote their film, this isn't always reliable to bring in views for the film. Many people rely and rust other peoples opinions than TV presenters talking about the film.






Audience research


Target audience and demographic is of massive importance when making and producing a film, lowering the age rating of the film will then widen the possible audience, and therefore create the potential for more viewings and revenue for the film.





The British Board of Film Classification is an independent, non-governmental body which has classified cinema films since it was set up in 1912 and videos/ DVDs since the Video Recordings Act was passed in 1984.

The organisation regulates media into different age categories consisting of the basic and well-  known (U, PG, 12A, 12, 15, 18 and R18), based on the content within the film. The rating is loosely based on the discrimination, horror, drugs, imitable behaviour, nudity, language, sex and violence that may be seen in the film. The BBFC also looks at the tone, context and emotional impact of the media being examined, so, even if there is no actual nudity in the film, if something comes across as still reasonably sexual, they may have to leave the film at an 18, where most people would consider it a 15. 



    The main aim of the BBFC is to ensure that children, and all filmgoers, are protected from harm and illegal material, and that they can make informed decisions about their viewing choices. They provide BBFC insight on all cinema films. They would also recognise and respect adult freedom of choice within the law.
 For our thriller we decided to keep the age rating at fifteen. Twelve would be more of an ideal age category as it allows the possibility of a higher number of people to view your film in cinema and bring in higher revenue, however we feel the content in our thriller is more suitable to those higher than the age of twelve. The age category of fifteen is most likely what we would compromise with as it allows for more expressing of frighteningly enticing factors which is ideal for building fear and engaging the audience.

Here's the criteria for the '15' category which we would have to follow:

  • ·                Discriminatory language is acceptable but as a whole must not be endorsed

  • ·                During the film consumption of drugs is allowed but the film should not promote/endorse drugs to the audience


  • ·                Strong humour unless sadistic or sexualised
  • ·                Dangerous behaviour should be dwelled on in order to prevent viewers from imitating
  • ·                Sexual activity may be portrayed without a large amount of detail. Productions whose primary focus is arousal or stimulation will probably not be acceptable
  • ·                Nudity is allowed in a sexual context as long as it's with light detail
  • ·                Any theme may be permitted if the product is suitable for the person above the age of fifteen years old
  • ·                Strong violence is acceptable but infliction of pain should not be dwelled on in great detail
  • ·                Extremely gory images are unlikely to be acceptable in a 15 rated production








Sound and editing
Sound:
Music in films generate the mood of the atmosphere between characters and hint at a significant part of the film. For thrillers music adds and builds suspense and tension to the action one screen to make it dramatic and engaging for the audience. High-pitched sound is sometimes used to make the audience uncomfortable and develop an unpleasant, unexpected ambience, this is used in the famous Alfred Hitchcock thriller, Psycho. An often diegetic dialogue used in thrillers are screams that make the audience experience fright and disturbance. Types of sound:
Diegetic sound - sound that can be heard by characters within a scene
Non-Diegetic sound - sound characters cannot hear 
Sound effects - sounds that are added to a film during the post-production stage to match the action on screen.
Editing:
Usually the director includes jump cuts to show the tension and dramatic elements of a film which is vital for a thriller. Editing in thrillers is focused on making the atmosphere uncomfortable for the audience. Additionally cross cutting build suspense which is also essential for a thriller film. Furthermore continuous editing helps the audience understand the plot and order of the film to make it clearer for them. Editing usually leads to a dramatic conclusion of action that may surprise the audience. The most common used sounds in thrillers are dark and eerie which usually starts in a slow pace at first whilst gradually speeding up the pace to create tension and build a climax. 
Here are some examples of editing:
Continuity editing - cutting shots tell a story with narrative continuity and helps the view make sense of the action as this type of editing is smooth. It also creates realism as the action appears real rather than constructed. Some continuity techniques include: establishing shot, eyeliner match, match on action and shot reverse shot. 
Transitions - this is the process of cutting from one shot to another. Some examples of these are: fading to black, dissolve, cross fade and wipe. Transitions also imply a passage of time or change of location or emphasise a connection.
Shot duration - this reflects the narrative context as it can convey action  or intensity 
Parallel editing - cross cutting between different location can convey the implication  that two or more events are occurring at the same time. This is used to build tension.
Split screen - the frame slips into sections so we can see different events occurring at the same time. This is often used in thrillers.
Jump cut - cut between two similar shots
Credits - the information of the start or end of a film to give details of cast and crew (which is what we will be showing).

Here are some YouTube clips that helped me to understand how important sound and editing really are:

https://youtu.be/UKRiVyJRtnI

https://youtu.be/srFOmrlMDq4





The opening credits






In a film the opening credits/opening titles are shown at the very beginning and list the most important members of the production. They are now usually shown as text on a blank screen or static pictures; however they can be sometimes on top of action in the show to intrigue an audience. There may be accompanying music. When opening credits are built into a separate sequence of their own, the correct term is title sequence.
Opening credits since the early 1980s identify the major actors and crew, while the closing credits list an extensive cast and production crew. Historically, however, opening credits have been the only source of crew/cast credits.  The ascendancy of television movies after 1964 and the increasingly short "shelf-life" of films in theatres has largely contributed to the credits convention which came with television programs from the beginning, of holding the vast majority of cast and crew information for display at the end of the show.
In movies and television, the title and opening credits may be preceded by a "cold open," or teaser (in other words, a brief scene before the opening credits), that helps to set the stage for the episode or film.
Common opening credits order:
While there are numerous variations most opening credits use some variation of the basic order. In the absence of opening credits, these roles will often be credited in reverse order at the beginning of the closing credits.
·         (NAME OF THE STUDIO) or (NAME OF THE STUDIO) PRESENTS
Name of the studio that is distributing the film (Walt Disney Pictures, Columbia, Lions Gate, Universal, Marvel Entertainment, Dimension, Miramax, Palmetto Moon Studios etc.).
·         (NAME OF THE PRODUCTION COMPANY)
Name of the production company that actually made the film or name of the investment groups or companies that financed a large part of the film (usually credited as "in association with" or "A (studio name) production.").
·         POSSESSORY CREDIT/S
The primary artistic credit for the film. Generally the film director, but sometimes the producer or writer. Normally stylized "A film by (name)" or "A (name) film". Sometimes placed before a title. (E.g. "Alfred Hitchcock's Psycho").
·         STARRING
Principal actors (sometimes the stars' and director's credits will be reversed, depending on the star's deal with the studio; in other cases, as in the Rodgers and Hammerstein films, or as in all three film versions of Show Boat, or, as in many Disney films, the title of the film will be shown before the names of its actors; sometimes, as in many of Cannon's films, the name(s) of the principal actor(s) will be shown before the name(s) of the producer(s), i.e. "The Cannon Group presents X in a Golan-Globus production of a Y film").
·         (FILM'S TITLE)
·         FEATURING or WITH or ALSO STARRING
As a variation some of the below may be noted:
·         GOWNS (older movies)
·         SOUND RECORDING (older movies)
·         CASTING or CASTING BY  (Casting director).
·         MUSIC or MUSIC COMPOSED BY or ORIGINAL SCORE BY
·         VISUAL EFFECTS PRODUCER or VISUAL EFFECTS SUPERVISOR
·         COSTUME DESIGN or COSTUME DESIGNER
·         EDITOR or EDITED BY
·         PRODUCTION DESIGN or PRODUCTION DESIGNER
·         DIRECTOR OF PHOTOGRAPHY
·         PRODUCER or PRODUCED BY, EXECUTIVE PRODUCER
Producers, co-producers, executive producers, 'also produced by' (credited for various reasons according to contracts and personal scrutiny of the principal producer). Often, though, the name of the producer will be the second-to-last opening credit, just before the writer's name(s) are shown.(Pursuant to WGA rules, writer credits are immediately adjacent to the Director.)
·         BASED ON THE BOOK (PLAY, GRAPHIC NOVEL etc.) BY or FROM A PLAY/BOOK BY (older movies)
·         If based on a book or other literary work.
BASED ON THE CHARACTERS BY or BASED ON THE CHARACTERS CREATED BY
If based on characters from a book or other media.
·         (SCREEN) STORY or STORY BY
Person who wrote the story on which the script is based, gets "story by" credit, and the first screenplay credit, unless the script made substantial changes to the story.
·         WRITER(S) or WRITTEN BY or SCREENPLAY or SCREENPLAY BY
Screenplay writers. The Writers Guild of America allows only three writing credits on a feature film, although teams of two are credited as one, separated on the credits by an ampersand ("X & Y"). If each works independently on the script (the most common system), they are separated by an "and". If more than two persons worked on the screenplay, the credits may read something like "screenplay by X & Y and Z and W" X and Y worked as a team, but Z and W worked separately.[3]
·         DIRECTOR or DIRECTED BY
Director. The Directors Guild of America usually permits a film to list only one director, even when it is known that two or more worked on it. Exceptions are made in rare cases such as a death, and subsequent replacement of the director mid-production, and for established directing teams such as the Coen brothers.






Pursued – a media synopsis


In groups we prepared an idea for a new drama based around the same thriller type features we hoped to include in our final film opening. This allowed us to explore some of the key conventions analysed in the essay below and actually apply them to a real-life example of production.

Pursued is a new thriller drama coming soon. Set in a small town in England, a mysterious forest is the setting to this enticing new series. Our series will be broadcasted on a Thursday night at 10pm, therefore after the watershed so that we are able to use adult themes.

There has been a mysterious wanted criminal roaming and has said to be following children that soon after disappear never to return. When two girls arrange to meet up on the out skirts of a forest one remembers that this criminal is still on the run and therefore warns her friend to be extra safe.  However what the girls don’t realise is that this mysterious criminal has had her eye on them for some time and they are her next victims.

Low-key lighting would be used in order to create a dark and tense atmosphere. The scene initially opens with two friends arranging to meet over the phone, both of these characters are young girls named Erin and Caitlin. There would be quick cuts to show where the antagonist is lurking and where the protagonists are to show the close proximity between characters and this would help build suspense. There would be a point of view shot of Erin on the phone as the antagonist (Leanne) is watching her through a bush. Before Erin has the chance to express her concerns to Caitlin about this villain the phone cuts out.  There is an extreme close up of this shot so that it is clear to the viewer that the phone has cut out, provoking panic in an audience.

Erin then goes to sit at a bench nearby and looks down at her phone in confusion. This is where Leanne sneaks up behind her and grabs her by the neck pulling her away. There is a mid-shot of this so the audience can see the whole image of what is happening. Erin then falls unconscious and Leanne drags her away, whilst Leanne is dragging Erin eerie music is played in the background to add suspense as the viewer is uncertain to where Leanne is taking her. There is also an extreme close up of Erin’s phone, which is left on the bench she has been dragged from. Caitlin is tying urgently to get in contact with her as she hasn’t turned up to their meeting place. Whilst Leanne has Erin she spots an old rusty wheelbarrow and believes it would be easier to move her if she was in it. She flings Erin inside the wheelbarrow. Caitlin is worried so begins to explore the forest; she discovers the phone on the bench. Caitlin picks the phone up and looks around to see if she can spot Erin, clearly she can’t. She starts to run quickly through the forest frantically looking for her friend, fast pace editing would be used here to enhance the panic. There would also be a tracking point of view shot of the forest to show that she is in the middle of nowhere looking for her friend.

Eventually Caitlin spots Leanne with the wheelbarrow in the far distance, she screams for her and begins running. Caitlin runs after the pair and therefore peruses them both. She managed to catch up with them and grabs Leanne by the shoulder; Leanne spins around and stabs Caitlin right in the stomach, there is a close up of the knife entering the body. A slow motion effect (slow pace editing) of Caitlin falling to the ground, Leanne grabs Erin and throws her down next to Caitlin so she can look at her victims. Leanne proceeds to stab both protagonists again to make certain that they are dead. Finally there is a low angled shot of both protagonists lay dead on the floor whilst Leanne stands over them with the bloody knife in her hand. A non-diegetic soundtrack is used throughout the killing to build on the atmosphere of the scene. 

Genre

Thriller/action

Time of viewing

The first episode will be shown at 9pm until 10pm, each episode being an hour long. This enables time for the ideal demographic (Adults, teenagers16+) to get home from any commitments, they can settle down and watch our thriller, and 9pm also isn’t too late for teenagers before they should go to sleep. Furthermore, this time is after the watershed which indicates that it is unsuitable for younger viewers – the watershed offers an opportunity for the parents of younger viewers to stop them seeing something they shouldn’t. The watershed it there to protect younger viewers against bad language, violence, sex scenes and drugs being shown on television. However our thriller doesn’t include all of these aspects that would be inappropriate for a younger audience which is why ive decided to start the thriller at 9pm rather than later. The show will be shown on a Sunday as it is the most popular time for viewing as more people are not working late Sunday. Moreover I believe that because our programme is a thriller it is best suited to a Sunday as in the days of the week viewers tend to want to watch a ‘pick-me-up’ as they are most probably tired. The show will also be shown after ‘Call the Midwife’ and before the 10 o’clock news. This is because I will inherit the audience from Call the Midwife being such a popular show and pick up any more viewers who are waiting for the BBC news to begin. This maximises views on top of any viewer actually tuning in for the show.  

Length of each episode

1 hour, including adverts.



Broadcasting channel



It will be shown on BBC following their ethos to 'entertain, educate and inform’- BBC are well recognised  for famous and popular series’ so this will instantly improve viewing figures and the reputation of the channel will enhance the positivity facing the new show. I feel this thriller is best suited to a larger demographic rather than a channel such as E4 which is aimed at younger viewers but has much more of a niche audience and I want to attract as many viewers as possible. 

I believe the thriller should be potentially entertaining for any age provided they enjoy a thriller, however, the watershed indicates this is not suitable for younger viewers. The audience is specifically male as following standard stereotypes that male viewers enjoy destruction and gory thrillers. However, it should be noted women are more than welcome to watch the show it is simply a tactic to increase and maximise viewing figures.

BBC is well known as a broadcaster being the oldest and biggest broadcaster in the world, this reputation offers broadcast in a variety of countries further increasing viewing figures and the distinctive features offered by the BBC is more likely going to make people watch my opening episode. 




Thriller poster research

As part of our research I looked at a variety of print Thriller film adverts so that as part of my production I could create my own. I have analysed two in total one from the 1940s and one from present day so that I could distinguish what was different and similar between the two. I have also had a go at designing my own poster as practise for the one I will produce for my final product.






With reference to Hitchcocks ‘Psycho’(1960) and at least two other films you have studied, as well as your wider research, discuss the thriller genre and its forms and conventions.
Overall, the thriller genre is known to be a more extensive adaptation of practical and cinematic production. The genres main aims are to interact, promote intense excitement and to build anticipation for an audience, consequently by implying suspense and nerve wracking tension. Thriller and suspense films are virtually synonymous and interchangeable categorizations, with similar characteristics and features. The thriller genre pursues a single-minded goal- to provide thrills and keep the audience on the ‘edge of their seats’ as the plot builds towards a climax. This in turn contrasts with other genres such as romance or comedy; these films seek to involve the audience throughout on a basic level. The tension usually arises when the main character(s) is placed in a menacing or difficult situation (dangerous mission) or mystery from which escape seems impossible. Usually               the characters life itself is threatened; the main protagonist is unsuspecting or unknowingly involved in a hazardous or potentially deadly situation. Plots of thrillers involve characters which come into conflict with each other- there is usually an antagonist who is portrayed as a menacing character. Furthermore to build primary affectivity, loose effects are essentially used in thrillers, this is to make sure that a certain reaction from the audience is obtained. Archetypes include using suspense, this discomforts the audience and creates uncertainty, and this can be used prior to a shock or a major plot twist. This will alleviate the tension; these emotions combined create the perfect mix of poignant emotions when watching a thriller. Clear cuts will often be used to achieve this effect. All the emotions experienced by the audience when watching a thriller will ultimately build up throughout the course of the film which will lead to the ultimate ending where an unexpected twist will be used with subsequently will let the audience’s excitement reach a climax. A major way in which suspense and tension is generated within a thriller is impending soundtracks, usually used within the title sequence to initially set the mood of the film. Foreboding non-diegetic soundtracks or sounds surround the title sequence to aid suspense before the visual imagery has even begun. This sound usually creates a sound bridge to help determine a certain atmosphere and setting.
Another straight-forward convention that is evident in thriller films is the characters. Typical characteristics that come with protagonists and antagonists are as recognised and typical as they are in any genre. However there are other key features added like atonement or aspects of a psychotic nature to link in with and create the thriller genre. Protagonists are usually the prime role, the set portrayed as a role model, they are aspirational characters; their motive is to conquer the antagonist and in some incidences make them look foolish. These characters are often knowledgeable or skilful and have masses of bravery, the protagonists main aim is to remove injustice and to in theory, ‘save the day’. The antagonist on the other hand is the complete opposite, these type of character are usually treacherous and threatening. These characters can be portrayed in any shape or form, women or male, child or adult. This helps the audience to come to the conclusion that this character is not to be trusted and often comes across as a cagey sort of person. Despite the differences of antagonist from film to film, they all share the same motive; they aim to cease the day and commit evil acts or crimes. More often than not their motivation for doing this is usually for revenge or out of anger and spite of the protagonist. Dress code/costumes for these characters tend to convey their characteristics, the costumes may vary to match the plot of the movie. For example a film set in the past will have to match their costumes to fit this time period, for a medieval film you would see armour. Furthermore in the 21st century you would probably see maybe typical up to date clothing or unusual eccentric costumes depending on the plot, they would have higher technology now than in historic days. For male characters their costume usually reinforces their physique making them look strong and empowered. Women are most often shown in seductive or revealing clothing to show their vulnerability.
There are many diverse themes following thrillers, some that aren’t identified easily. Many ideas can be adapted to fit the thriller genre which is why there is a vast array of different films. Typically the main themes demonstrated in thrillers are political conspiracy, psychotic engagement, terrorism finally love struggles which in turn leads the person to having to commit murder. Alfred Hitchcock has helped to shape today’s modern thrillers as his intuitive ideas have been adapted over many years. He has influenced many changes in modern directing and is acknowledged as the ‘master’ of the thriller genre. He emphasises heavily on mise-en-scene and editing in his work creating suspense. He is particularly good at manipulating his audience by making them fear and empathise with his characters. Hitchcock uses mise-en-scene and editing to help to display one theme throughout a scene. For example Hitchcock deals with the theme and problem of alcohol in many of his films including Number Seventeen and North by Northwest, this in turn educates the reader as they realise that the characters in Hitchcock’s films are just ordinary people like the ones in the audience. It is when Hitchcock adds a plot twist and shocks the audience that the excitement builds. The character Marion from Hitchcock’s ‘Psycho’ is a normal middle class woman she isn’t in any way out of the ordinary. Marion discusses with her boyfriend, Sam Loomis, how they cannot afford to get married because of Sam's debts. Due to this Marion decides to steal some money, after doing so she decides to change her car so that she can’t be recognised and flees to a hotel just outside of town to sleep for the night. The audience know that Marion is in the wrong but can emphasise with her situation and understands her reasons for her actions. The audience grows an emotional attachment to her character and is shocked when she is brutally murdered near the begging of the film. It was unusual for a film director to do this but that is what made the film so memorable. Usually the murder would come at the end of the film, Hitchcock decided to kill Marion off towards the begging. This baffles the audience and makes them wonder what the rest of the film will be about. This murder only stages the base for the final dramatic twist at the end of the film which shocks the audience even more.

The film psycho (1960) is based around a true story written by Ed Gino Bloch in a newspaper of that era; Hitchcock adapted the main features and turned it into a novel. Once Hitchcock received praise and positive feedback from his novel he decided to adapt the novel into film and bought film rights in order to do so. He then decided to copy this process for the rest of his films so that he was positive that they would be an ultimate success. He knew the story off by heart so he was able to make the camera angles, editing, mise en scene and sound effects just right in order to receive the responses from the audience that he wanted.
In the film, Marion is portrayed as the heroin and is hoping to run away with lover and get away from her home town of phoenix with her stolen money. However this heroin is murdered by what seems to be a crazy and psychotic old woman. This storyline would press on many of the audience’s emotions as it hinders on a lot of moral, socially driven views within American society at that time and this is what ultimately makes the novel so gripping. Mothers are typically shown to be loving and would sacrifice anything for their children, Hitchcock takes that ideas and turns it around and exaggerates these details into a psychotic level. The mother is presented as being extremely over protective and this is her motive to kill people to protect her son, this would transfix the audience as they would be intrigued with her bizarre and overdramatic behaviour. Nevertheless when the audience finally discover that the character is in fact Norman, the son and motel manager dressing up and pretending to be his dead mother. This conclusively means that the audience sympathise with the real mother as Norman is portraying her as being a mad, murderous woman when she may not have been.  Hitchcock creates Normans character on the basis that his mother died a long time ago and he has had difficulty coming to terms with this bereavement, this has aided his insanity and he becomes her as a way of comforting himself. This extreme behaviour will intrigue the audience and make them feel slightly uneasy which was one of Hitchcock’s aims. This distinctive and dramatic plot hooks the audience from the beginning and consequently is why ‘Psycho’ is such an influential thriller.

Mise-en-scene is arguably the most important factor in films, especially in thrillers as the tiniest details can create various emotions and reactions. This leaves the audience In a state of inconclusiveness, for example when tension builds essentially dark low-key lighting would be used rather than bright. Mise-en-scene in fact sets a thriller, it makes sure that the audience is aware and keeping up with the storyline, use of location, low-key lighting etc. All these aspects form together to create a thriller and help to add to the suspense and atmosphere intended. Props are used in films mainly to display characteristics; the props used in the framing of a scene can indicate to what the character themselves are like. This is evident in ‘Psycho’ when Marion is eating in Norman’s office. The office is covered in stuffed birds; Marion is clearly uncomfortable with this as most people would be. Some of the bigger birds have their wings spread and loom as if they are ready to catch their prey, this could be Hitchcock trying to foreshadow Normans personality as he kills other humans as if they are his ‘prey’. On the walls behind in the office there are portraits of a couple of women being attacked, this again is portraying Norman’s violence and cold hearted behaviour. This is a subconscious tip-off of what the audience should suspect. There is chiaroscuro lighting on Norman to show his split personality, this may convey that he has a menacing side and that Marion should be aware of him. The stuffing of the birds may display that he has an unusual hobby where he isn’t fazed by dead beings being in his presence.  
Sound is another major factor of thriller films; this is dramatically used in the shower murder scene and the scene beforehand. Non-diegetic soundtrack is used, which creates a gloomy atmosphere, the audience has sympathy for Marion, she is sat completely alone and rips up a piece of paper with figures on as she sighs. The music then stops and the only sounds are ones that are synchronous and match the visuals in the scene for example when she flushes the piece of ripped paper down the toilet also the shower. The audience then can see Norman creeping up on Marian through the shower curtain, the non-diegetic sounds then start again when Norman pulls back the curtain to reveal Marion and he begins to stab her. There is also a high pitched diegetic scream, dramatic music is used for this section of the scene as the excitement of the audience has reached a climax. When she falls out the bath there is silence to add to the dramatic nature of the scene. Marion is conforming to a naïve and vulnerable female stereotype who is punished in a brutal way.
 ‘Se7en’ is a 1995 American neo-noir crime thriller film directed by David Fincher, and stars Brad Pitt and Morgan Freeman. The film begins with many birds eye view shots and close ups which are slightly cantered, the visuals show cuts almost like quick flashes of an investigation. Behind these visuals an eerie and slightly uncomfortable sound track is used. This non diegetic sound compliments the series of visuals as they build tension and suspense. This use of music and visuals can give the audience a good clue of what the film will be about, the audience become aware of the themes and context, they are aware it is a crime thriller where they should expect lots of suspense. The nature of the thriller is also exhibited to the audience, ominous forces are surveying the evidence and work presented from an investigation, this shows that the nature of these crimes are serious. Afterwards an establishing shot is displayed; close enough to hint as to where they are. In the bottom left corner of the shot the word ‘Monday’ is shown, this reminds the audience that the investigation is taking place over a prolonged period of time.

Fincher leaves little hints written in blood, this is a typical convention of a thriller as it creates apprehension and again hints at the idea of criminals. The thriller is based around a mystery where the murderer leaves a note for the investigators which is usually written in the victim’s blood. Detective mills and Somerset (Brad Pitt and Morgan Freeman) are unfortunately two steps behind the criminal so initially they struggle to conclude the investigation. This adds an edge to the criminal as the audience are now aware that he is clever and calculating. This puts the audience on edge because it reminds them that there are criminals out in the world that haven’t been caught out yet and may be plotting another attack. The audience is fixated on the two detectives as they want them to find the murderer out, it becomes extremely gripping when finally Somerset realizes what is happening but unfortunately it is too late.  The series of events in this film become a game as it’s not about the murderers are but who they are planning to attack next. This crime of the century is loosely based on the bible, a Christian caught up in an idea bigger than himself. Fincher surrounds the basis of the film around these messages, the audience forget what is really happening, and this technique is very common in thrillers. The audience aren’t aware of just how involved detective mills is until the end when his wife is killed, he was a big factor in the plan for the murderer from the beginning. The audience are so involved with trying to catch the criminal they don’t work out what is about to come. This is also a very common technique used as it’s as if the criminal has played the audience as well as the detectives as the audience have no idea of the outcome and are shocked when it is revealed. The audience develop an emotional connection with Mills the audience are then wanting detective Mills to kill the criminal but don’t want him to risk his own life.
Furthermore low-key lighting is used throughout the thriller, this is to emphasise the bleak atmosphere and to suggest that bad things are about the happen in the plot, also the nature of the crimes are very dark and severe. The use of low-key lighting adds more so to the tension as the audience aren’t sure what is going to happen next and feel very apprehensive. During the murder scenes there is emphasis on the low-key lighting this again is so the audience have a feel of what the characters are feeling and the situation they are in. Fincher in turn tricks the audience in to believing a theory that isn’t correct before the end when they discover what has actually happened which adds to how surprised and shocked the audience end up being. When learning the difference between high key and low key lighting I found this YouTube clip very informative https://www.youtube.com/watch?v=FXfrbNExdek.
Another main convention that Fincher uses is there is clear conflict between the two main protagonists Mills and Somerset. This can create an edgy tension as there is an obvious repellent atmosphere. Anger between two people who are meant to be working together only ends difficulty and bitterness. The fact that they aren’t getting along when they are meant to be working on a murder case together makes the audience feel anxious as they can’t verify the safety of the individual characters if they aren’t working together efficiently. When the detectives are getting along there is slight hope that the series of events that occur won’t end in tragedy, however when there is tension between the two characters the audience worry if they are going to be able to crack the case. Throughout the course of the film Fincher allows the relationship between Mills and Somerset to form and grow, this is why the ending of the film is again so devastating. Fincher doesn’t want the whole films focus to be based on the two characters but on the final scene of the film.
In this film I believe the convention that mainly stood out was the use of creating tension through the abstract elements. All scenes oozed with suspense and uncertainty. All aspects complimented each other such as low-key lighting, foreboding music, various props used and most importantly the characters themselves and their body language. I think this mixture of conventions means that Fincher creates everlasting tension and therefore created a memorable thriller.
A more modern thriller is No Country for Old Men which is an American neo-western neo-noir thriller film directed and written by Joel and Ethan Coen. Like ‘Psycho’ No country for old men uses the idea of abnormal psychotic behaviour and heavily emphasises the crime of murderer. The sequence starts with a voice over of an American man; the visuals show picturesque views of deserted areas. The voice over is the man talking about crime, this voice over in turn acts as a sound bridge as the audience then sees a man (the murderer and hit man) being arrested and there is a close up camera shot of the weapon. This adds tension and an eerie feel to the start of the film as there is no soundtrack just a voice over. This also intrigues the audience as they want to find out who the man being arrested is. There is no distinctive soundtrack used in the entirety of the thriller, this could be a technique used to create more suspense and also so the audience can hear every sound effect (diegetic sound). The audience experience the first murder three minutes into the film when the criminal strangles the police officer in his office. There is a close up shot used to show the murderer has a crazed look on his face and slight smirk when he knows that the officer is dead, again there is no so untrack used so the audience can sense how the police officer is struggling for his life. There is a time ellipses, the audience is aware that time has moved on and there is a bird’s eye view of the murderer washing the blood off his hands and picking up his weapon again, this adds tension as the audience are now aware that he’s planning to kill again.
The setting of this film isn’t in the usual urban area where typically most thrillers are set, it is set in a rural area where it is quiet and there isn’t much going on. However this just adds to the audience’s anticipation and anxiety when watching the film as the setting is so silent it becomes eerie as the audience is aware that the murderer is still out killing innocent people. Stereotypically however the antagonist is wearing dark clothing to allude the darkness of his personality, he is wearing boots which make a louder sound whilst walking so the audience know he is approaching. As the murderer kills many innocent people it becomes clear to the audience that he doesn’t do it for revenge like most antagonists but for pure pleasure and enjoyment, this again emphasises how he is psychotic and deadly. There is a clear contrast in clothing and body language between the antagonist and protagonist. The protagonist is dressed in brighter colours; he doesn’t act suspicious and doesn’t act heroic. However the antagonist has a menacing smile and carries himself in a very suspicious and unpredicted way, the audience don’t know what he’s planning to do next as he doesn’t give anything away by his facial expressions. The same weapon is used to kill most of the murderers’ victims, this is another well-known thriller convention as it emphasises the importance and deadliness of that weapon.

The use of mirrors is also another convention often used in thrillers, the use of the reflection can reflect someone’s soul and inner self. It can also cause an effect of claustrophobia within an audience; this would make the audience feel uneasy. Mirrors can also be used to represent a darkness and evilness of a character, this is evident a couple of times in the thriller. One that stands out is when the murderer is sitting in a trailer staring at his own reflection in the television, the TV is switched off and shows a black blank screen to emphasise the darkness of this character. Soon after the police officers trying to hunt him down they visit this trailer and stare at the same TV, this is ironic because if they had only gone slightly earlier they would have caught him. This makes the audience feel uneasy and maybe slightly stressed as they want the police to find him before he attacks again. Obtrusive editing is also commonly used, quit cuts between shots increase the feeling of suspense, these cuts increase gradually or are suddenly used in a more relevant or ‘thrilling’ scene in the film. This sometimes creates disorientation of time and space for an audience by the use of montage editing. The pace of this film is quite slow to build tension however more fast paste editing is used when the visuals switch (cut) between the antagonist and protagonist. This is when the protagonist is hiding the suitcase full of money in the vent and the antagonist is searching a room to make sure its empty before picking up his deadly weapon. This creates suspense as the antagonist and protagonist are both in the same place and the audience are hoping the murderer doesn’t find the protagonist. There is low-key lighting used to add to the hesitancy of the scene.

Sometimes in thrillers the main villain’s identity is kept hidden until the end or crucial moment in the film, this will keep the audience hooked and adds to the mystery of the film. However in No Country for Old Men the audience are introduced to the villain at the very beginning of the thriller, this is so the audience can follow his every move and can see how severe his actions are. When we first meet the villain we aren’t aware of just how deadly he is, this only becomes apparent as he kills more and more people, resulting in the death of the protagonist and his wife.
Revisiting mise-en-scene, the use of costume and make up tell an audience what a character is like. In this thriller it is a western theme so the protagonist and the other heroic like figures in the film are dressed in shirts, trousers, boots and often wearing a hat, they are wearing fairly light clothing which are bright colours. The antagonist on the other hand is dressed in black and doesn’t look western at all; he has longer hair and an unusually pale face to emphasise his individuality which makes him distinctive. The darkness of his clothing subconsciously reveals to an audience that he shouldn’t be trusted. Props and objects are used by the actors in the film; depending on the props used it can determine the identity of a character or genre of a film. In this thriller there are incorporate weapons, mainly guns.
The characters in a thriller can vary, there is usually a killer (antagonist) this would be present in psychological thrillers. The protagonist is usually trying to uncover the crime or stop the antagonist from committing crimes. In this case the protagonist has some money that he found after a drug deal went wrong that the antagonist is after. The antagonist (Chigurh) tells the protagonist (Moss) that he will kill Carla Jean (Moss’ wife) unless Moss gives up the money; he remarks that he will kill Moss regardless of whether he receives the money. The antagonist ends up killing the protagonist and his wife regardless of whether he has the money.



Conventions of the thriller genre

Usually in a thriller you would see a battle between the protagonist and the antagonist characters. Furthermore the story would then show a chain of mysterious and bad events which in turn would build up suspense and tension and then reach a climax. The antagonist is usually plotting against the protagonist. The protagonist is usually a brave male who seeks to restore the equilibrium. The antagonist wants to destroy this, they will usually have a hidden identity which is uncovered as the film goes on. The antagonist is usually seeking revenge on the protagonist. Usually in a thriller low key lighting would be used to add to the suspense as the viewer isn’t certain of what is going to happen next but can predict that it won’t have a good outcome due to the lighting chosen. Quick cuts between shots are normally used to either demonstrate chaos or to make the viewer jump and to scare them or to make them panic. A lot of non-diegetic sound is usually used; this would include music that builds up tension and uncertainty. A change and variation in angle of shots would be used so that the audience can get a clear and good view of what is going on in the narrative. Diegetic noises of heavy breathing may be used to add again to the suspense of the narrative. The protagonist is usually in the mercy of the Antagonist.

The narrative will usually be realistic so that the audience believe that these events could potentially happen to them which make them more scared, as the genre is designed to be a pulse raiser. Lots of camera angles are used in thrillers, there will be lots of close ups and extreme close ups of the protagonist as this will show their emotions in certain situations, this can also be used to focus on props to aid the narrative. The shots of the antagonist will cut quickly as the aim is to hide their identity for a certain amount of time. Chiaroscuro lighting is also used to make the antagonist looks menacing and mysterious. The editing also plays a big role in the thriller genre. The director will use lots of cuts between shots as there will be things happening that the audience is unaware of but is essential for the film to make sense. Cross cutting is a key point in editing as is used to build tension. Continuous editing will be used so that the audience can understand what is exactly happening in the film.

Mise en scene also plays a big role in the thriller genre. The location is important as that can reflect the genre of the film well, for thriller lots of locations could be used but usually somewhere dark and dirty is typical. The lighting used is usually low key, the protagonist is normally in everyday clothing for their costume whereas the antagonist is usually wearing dark clothing. Makeup and hair is also key in this genre as the characters have to look effective to the audience, make up can determine whether someone looks like a hero or a villain. Body language and the acting itself is essential too so that the viewer can believe the actors/actresses performance and therefore can understand and enjoy the film more.

Conspiracy thriller - In which the hero/heroine confronts a large, powerful group of enemies whose true extent only he/she recognizes.

•Crime thriller - This particular genre is a hybrid type of both crime films and thrillers that offers a suspenseful account of a successful or failed crime or crimes. These films often focus on the criminal(s) rather than a policeman. Crime thrillers usually emphasise action over psychological aspects. Central topics of these films include serial killers/murders, robberies, chases, shootouts, heists and double crosses.

 •Disaster thriller - In which the main conflict is due to some sort of natural or artificial disaster, such as floods, earthquakes, hurricanes, volcanoes, etc, or nuclear disasters as an artificial disaster.

•Erotic thriller-  A type of thriller that has an emphasis on eroticism and where a sexual relationship plays an important role in the plot. It has become popular since the 1980s and the rise of VCR market penetration

•Legal thriller - In which the lawyer-heroes/heroines confront enemies outside, as well as inside, the courtroom and are in danger of losing not only their cases but their lives.

•Medical thriller - In which the hero/heroine are medical doctors/personnel working to solve an expanding medical problem. e.g Contagion.

•Mystery thriller - Suspense films where characters attempt solving, or involved in, a mystery.

•Political thriller - In which the hero/heroine must ensure the stability of the government that employs him.

•Religious thriller - In which the plot is closely connected to religious objects, institutions and questions. 

•Psychological thriller - In which (until the often violent resolution) the conflict between the main characters is mental and emotional, rather than physical. e.g Shutter Island/ Inception.




Director/film Research  - Alfred Hitchcock

 
Alfred Joseph Hitchcock was born on the 13th of August 1899 in England and died 29 April 1980, Bel Air, Los Angeles, California, USA . Hitchcock had huge success within the thriller genre and was even known as 'The master of suspense'. His love of films and filmography came about when he would go to the cinema and read US trade journals in his spare time from work as an estimator for the Henley Telegraph and Cable Company in 1915. 
It was only after the director for Always Tell Your Wife (1923) fell ill and Hitchcock was made director to complete the film that he and Reville began to collaborate. Hitchcock had his first real go at directing a film, beginning to end, in 1923 when he was hired to direct the film Number 13 (1922),  however the production wasn't completed due to the studio's closure (he later remade it as a sound film). He directed The Pleasure Garden (1925), a British/German production, which was very popular. By 1930 Hitchcock was one of the most famous and respected directors in the United Kingdom
 Alfred Hitchcock's younger years and childhood often had influences on many of his films. During his childhood he was sent to the local police station by his father to be locked away for 10 minutes on several occasions of mis-behaviour. The idea of being treated harshly or unjust and being wrongly accused is represented frequently within many of Hitchcock's films. His mother also played a part in his childhood that led to having influence on one of his most successful and famous films; 'Psycho'. She would often make him stand at the foot of her bed addressing her for up to three hours at times, these experiences led to the portrayal of Norman Bates within the film.

 Some of Hitchcock's most notable thrillers include:











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