Sunday, 31 January 2010
(Pre-Production) Thriller Codes & Conventions
Understanding key codes and conventions will be key when I begin producing the opening sequence to my thriller. Here are the six different conventions we were introduced to, and what codes are used to portray them.
Flashback/Flash forward
This is used with a non-linear narrative. It can foreshadowing events to come or explain an event that happened in the past, therefore it is used to extend the narrative. For this convention we focused on the a scene from Fight Club (David Fincher, 1999);
This specific scene uses many of the conventional codes to convey the flashback. The quick editing emphasizes the blurred effect that results from memory, showing that it is in the past. Furthermore, to show a clear transition, they start the first flashback with shot of the actor closing his eyes and the next image after the flashback is the same shot of the actor closing his eyes. What's more, the music plays a huge part in the flashback, the sharp music emphasizes the importance of the flashback.
Red Herring
This is often a technique that seems to be set up through the narrative. However, various other codes can still be used. A perfect example of how a red herring is developed through narrative is the ending of Saw (James Wan, 2004). Throughout the plot the audience has been led to believe that the man is dead. The red herring is in the make up and the characters inability to ask questions about the dead man.
Dramatic Irony
This is when the audience know more than the characters, it allows the audience to guess what will happen but leaves the powerless as there is nothing they can do to stop it. For this, we focused on the previous students work of 'Frame Of Mind';
The fact that the male is wearing gloves whilst on the computer and whilst driving hints that he is trying to hide his identity. It is dramatic irony as we know that this person cannot be trusted, whilst the girl in naive and visits him. This subtle addition, hooks the audience and links the next convention of...
Foreshadowing
This is key to the thriller genre, it allows the audience to anticipate whats going to happen which is key to the thriller genre, as Alfred Hitchcock supports, “There is no terror in a bang, only in the anticipation of it”. The example that we were show was the music in Jaws (Steven Spielberg, 1975)
Music is key when foreshadowing danger, it subtly makes the audience sit on the edge of their seat and build the 'anticipation'. It is clear from this example that the music slowly builds up, building tension and excitement. However, many other codes could be used to portray this convention including; Dialogue (i.e 'Don't go in there'). Editing (i.e Lots of close ups, not much is revealed) Narrative.
Pathetic Fallacy
This is simply to do with mise-en-scene. This is when the lighting reflects/foreshadows the mood of the scene. We looked at a conventional use of pathetic fallacy; where it was raining and and night, foreshadowing danger. However, when watching One-Hour Photo (Mark Romanek, 2002), there is a scene that doesn't use pathetic fallacy;
The scenes lighting is extremely unconventional, low-key lighting is not used and the shocking imagery is not foreshadowed. However, it is a technique that I feel works very well as it catches the audience off guard.
Twist
A twist is often shown through the code of narrative. It is build up throughout the plot and normally towards the conclusion, the twist is revealed. For this we focused on multiple twists from different films to understand the variety of techniques.
To conclude, by focusing on these different conventions it has given me a greater understanding of what I might wish to include in my thriller.
Flashback/Flash forward
This is used with a non-linear narrative. It can foreshadowing events to come or explain an event that happened in the past, therefore it is used to extend the narrative. For this convention we focused on the a scene from Fight Club (David Fincher, 1999);
This specific scene uses many of the conventional codes to convey the flashback. The quick editing emphasizes the blurred effect that results from memory, showing that it is in the past. Furthermore, to show a clear transition, they start the first flashback with shot of the actor closing his eyes and the next image after the flashback is the same shot of the actor closing his eyes. What's more, the music plays a huge part in the flashback, the sharp music emphasizes the importance of the flashback.
Red Herring
This is often a technique that seems to be set up through the narrative. However, various other codes can still be used. A perfect example of how a red herring is developed through narrative is the ending of Saw (James Wan, 2004). Throughout the plot the audience has been led to believe that the man is dead. The red herring is in the make up and the characters inability to ask questions about the dead man.
Dramatic Irony
This is when the audience know more than the characters, it allows the audience to guess what will happen but leaves the powerless as there is nothing they can do to stop it. For this, we focused on the previous students work of 'Frame Of Mind';
The fact that the male is wearing gloves whilst on the computer and whilst driving hints that he is trying to hide his identity. It is dramatic irony as we know that this person cannot be trusted, whilst the girl in naive and visits him. This subtle addition, hooks the audience and links the next convention of...
Foreshadowing
This is key to the thriller genre, it allows the audience to anticipate whats going to happen which is key to the thriller genre, as Alfred Hitchcock supports, “There is no terror in a bang, only in the anticipation of it”. The example that we were show was the music in Jaws (Steven Spielberg, 1975)
Music is key when foreshadowing danger, it subtly makes the audience sit on the edge of their seat and build the 'anticipation'. It is clear from this example that the music slowly builds up, building tension and excitement. However, many other codes could be used to portray this convention including; Dialogue (i.e 'Don't go in there'). Editing (i.e Lots of close ups, not much is revealed) Narrative.
Pathetic Fallacy
This is simply to do with mise-en-scene. This is when the lighting reflects/foreshadows the mood of the scene. We looked at a conventional use of pathetic fallacy; where it was raining and and night, foreshadowing danger. However, when watching One-Hour Photo (Mark Romanek, 2002), there is a scene that doesn't use pathetic fallacy;
The scenes lighting is extremely unconventional, low-key lighting is not used and the shocking imagery is not foreshadowed. However, it is a technique that I feel works very well as it catches the audience off guard.
Twist
A twist is often shown through the code of narrative. It is build up throughout the plot and normally towards the conclusion, the twist is revealed. For this we focused on multiple twists from different films to understand the variety of techniques.
To conclude, by focusing on these different conventions it has given me a greater understanding of what I might wish to include in my thriller.
Sunday, 24 January 2010
(Pre-Production) Evaluation of past students productions
Analysing and marking previous worked has given me a better understanding of the requirements. In this process I was extremely picky with mistakes and elements that could be improved so that i could understand what they did right and wrong in relation to the grades that they received. Below is the format that I used to analyses the three productions.
Evaluation of Past Students productions
Evaluation of Past Students productions
(Pre-Production) The Gardener
The first example of previous work that we were given was 'The Gardener'. My previous conception of a thriller was slow music, slow moving characters and sudden scary moments that catch you off guard. Yet, these piece was extremely unconventional; the music was extreme asynchronous. The music was upbeat and lively which was in complete contrast to the footage of a scared girl running through the forest being chased by a man with a pitchfork. However, i found this extremely effective and for me worked very well as it took a more sadistic, physiological approach to what a thriller was. Although I will probably not be using the same technique in my thriller, the piece has encouraged me to be creative and imaginative as it can still work (this is apparent due to its 58/60 on the previous mark scheme).
(Pre-Production) Mark Scheme
Analysing the mark scheme helped me to understand the extreme detail that will be needed in my production. For example, the 'construction' stage being broken down into eight, specific areas shows me that each aspect of the thriller needs to be analysed. As a result, before making decisions of my thriller i will question why this needs to be included or why i edited footage in this way.
As F Portfolio Assessment Criteria
As F Portfolio Assessment Criteria
Monday, 18 January 2010
(Continuity Exercise) Strengths and Weaknesses from my preliminary exercise.
Good points
- Different variety of camera shots created greater understanding.
- The idea was clear and creative, making the narrative humourous.
- Match on action was used effectively.
- Editing was good, invisible editing was in practice.
- The clown music suited the content of the scene.
- Motivated cuts to hide the clowns face was used efficiently as it created suspence.
- The wavy motion of the title, suited the media text.
- The lighting noticably varied between shots.
- Music had a slightly quicker rythme that the scene, this unintentional use of asynchronous sound could have been confusing.
- Personally, I realised that on some mid-shots of the clown contained other objects (large hat & papers on desk) that may have distracted the audience.
- I would change made the lighting consistent throughout all frames, through editing techniques.
- I would have located music with a similar clown theme, but that had a slower rythme to match the content of the footage.
- I could have used a more related typography that just plain white.
- I would remove all distracting objects from the shoe, to create a more professional look.
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