Wednesday, 16 December 2015
Monday, 14 December 2015
Wednesday, 9 December 2015
Monday, 7 December 2015
Wednesday, 2 December 2015
Monday, 30 November 2015
Wednesday, 25 November 2015
First Group Meeting: Production Planning
Group Members: Klinta, Luke, Jaymie and Scott
Room: Arden 203 (Media Room)
Date: 23/11/15
Time: 11:45am
In our first group meeting we discussed potential concepts for our Horror trailer and we discussed potential conventions e.g. which camera shots, setting and sounds we would use. The roles of the group were also discussed.
Wednesday, 11 November 2015
Thursday, 5 November 2015
Trailer Analysis - The Woman In Black (2012)
The Woman In Black (2012) Trailer Analysis
The opening sequence of the trailer begins with a long shot of the interior location of the haunted house. The décor captured within the shot corresponds to the context of the narrative being set in the Edwardian era. The mis-en-scene of dated furniture, wooden toys and stained glass windows helps reinforce this message towards audiences. The diegetic soundtrack of wind blowing throughout the house creates an eerie atmosphere as despite the vast amount of possessions, there are no conventional sounds to state that someone is currently living there. The sound throughout the house therefore links to the inanimate nature of the wooden toys being hollow. The camera then cuts to a variety of close-up shots of the dolls each showing some form of movement; this identifies the classic use of iconography within horror as it includes a supernatural element into the narrative through the wooden toys, turning an object used to generate happiness into one which generates fear and suspense within audiences. The mixture of ambient lighting and low key lighting is effective in delivering realism towards audiences due to the house being lit from the natural lighting coming from the window common within the Edwardian era e.g. light within homes would either be natural or from candle light. The low key lighting is effective also in increasing the fear factor through the use of primal fears.
A following exterior location of the outside of the haunted house captured through a long shot again reinforces generic conventions of horror settings through the unattended and abandoned nature of the location. The over-grown flora and the house being surrounded by marsh indicate this towards audiences. The non-diegetic soundtrack of chimes stereotypically found in wind up jewellery boxes is played throughout the scene adding elements of suspense and anticipation within audiences e.g. the tune will end at some point, opening a gateway for a jump scare. The exterior location adds to the haunted portrayal of the house due to the foggy and overcast weather conditions captured within the shot. Stereotypical messages are depicted through this inclusion as a lack of light symbolises the bleak surrounding environment and unfavourable situation the characters might find themselves in. The iron gates being unhinged and out of position again reinforce the messages of it being abandoned but could also resemble the inviting nature of the antagonist, taking advantage of the interest of victims and the protagonist. The overall impression of the house is gothic due to the dark colour scheme and style, again corresponding to the horror genre and generic image of a haunted house.
A mid-shot of a clown ornament/Edwardian toy again reinforces elements of horror included within this trailer due to the icons being included, for example a clown and a toy being combined into one. A paranormal element is included within the narrative through this inanimate icon moving on its own. The blurring of the background provides more focus onto the icon in the foreground, exaggerating it being the main focus during this segment of the trailer and drawing the attention of the audience to be solely on the toy. Combinations of two non-diegetic sounds are used to deliver a frightening atmosphere towards audiences. The consistent chimes from a wind-up toy and the monologue being delivered from a child with an eerie tone of voice create this within audiences. The mixture of hard back and high key lighting again provides further focus to the icon in the foreground due to the surrounding hard back lighting magnifying the use of high key lighting on the clown toy.
The use of a mid-shot within a following segment provides audiences with the opportunity to identify the use of iconography common to the horror genre. For example, a blood written message on the walls of the setting “You could have save him” suggests that innocent blood has been spilled and that the antagonist being a meta-physical being is communicating with the protagonist through this. This suggests the importance of both the protagonist and antagonist in dictating the narrative and progressing it further. The message being discovered from the peeling wallpaper again suggests this as the antagonist is once again taking advantage of the curiosity of the protagonist leading him and the audience further into the narrative by uncovering what she has left for him to find. The blurring of the toy within the foreground of the shot suggests how audiences should pay more attention to what’s happening in the background. The non-diegetic sound of the monologue continues, alongside an atmospheric non-diegetic soundtrack to build tension and expectation within audiences. The scene then cuts to a contrasting sequence where the protagonist is shown to be running and the tempo of the soundtrack has increased suggesting to audiences possible development within the narrative of the film and suspense within audiences.
The use of a low angle medium shot within the climaxing sequence of the trailer captures the characters obliviousness to the looming danger behind him. This creates a sense of dramatic irony as the audience are aware of the danger before the protagonist is in. The use of the characters looking outside the window frames them and therefore presents them towards audiences within the centre of the shot suggesting their attention be on them at this point within the sequence. The use of binary opposites could again be portrayed towards audiences through the use of the window as the characters are on either side of the window sight lines depicting the differences between them e.g. good and evil, the living and the dead. Here the audience are able to see the appearance of the protagonist for the first time e.g. her dress code relating to the title of the film and her identity, the woman in black being dressed in black and her menacing and supernatural nature. The non-diegetic soundtrack and monologue have both disappeared from the trailer at this point and the hollowing sound of wind blowing takes over the scene. This is followed by the use of a cutting edit to the title sequence leaving audiences questioning the fate of the protagonist.
The opening sequence of the trailer begins with a long shot of the interior location of the haunted house. The décor captured within the shot corresponds to the context of the narrative being set in the Edwardian era. The mis-en-scene of dated furniture, wooden toys and stained glass windows helps reinforce this message towards audiences. The diegetic soundtrack of wind blowing throughout the house creates an eerie atmosphere as despite the vast amount of possessions, there are no conventional sounds to state that someone is currently living there. The sound throughout the house therefore links to the inanimate nature of the wooden toys being hollow. The camera then cuts to a variety of close-up shots of the dolls each showing some form of movement; this identifies the classic use of iconography within horror as it includes a supernatural element into the narrative through the wooden toys, turning an object used to generate happiness into one which generates fear and suspense within audiences. The mixture of ambient lighting and low key lighting is effective in delivering realism towards audiences due to the house being lit from the natural lighting coming from the window common within the Edwardian era e.g. light within homes would either be natural or from candle light. The low key lighting is effective also in increasing the fear factor through the use of primal fears.
A following exterior location of the outside of the haunted house captured through a long shot again reinforces generic conventions of horror settings through the unattended and abandoned nature of the location. The over-grown flora and the house being surrounded by marsh indicate this towards audiences. The non-diegetic soundtrack of chimes stereotypically found in wind up jewellery boxes is played throughout the scene adding elements of suspense and anticipation within audiences e.g. the tune will end at some point, opening a gateway for a jump scare. The exterior location adds to the haunted portrayal of the house due to the foggy and overcast weather conditions captured within the shot. Stereotypical messages are depicted through this inclusion as a lack of light symbolises the bleak surrounding environment and unfavourable situation the characters might find themselves in. The iron gates being unhinged and out of position again reinforce the messages of it being abandoned but could also resemble the inviting nature of the antagonist, taking advantage of the interest of victims and the protagonist. The overall impression of the house is gothic due to the dark colour scheme and style, again corresponding to the horror genre and generic image of a haunted house.
A mid-shot of a clown ornament/Edwardian toy again reinforces elements of horror included within this trailer due to the icons being included, for example a clown and a toy being combined into one. A paranormal element is included within the narrative through this inanimate icon moving on its own. The blurring of the background provides more focus onto the icon in the foreground, exaggerating it being the main focus during this segment of the trailer and drawing the attention of the audience to be solely on the toy. Combinations of two non-diegetic sounds are used to deliver a frightening atmosphere towards audiences. The consistent chimes from a wind-up toy and the monologue being delivered from a child with an eerie tone of voice create this within audiences. The mixture of hard back and high key lighting again provides further focus to the icon in the foreground due to the surrounding hard back lighting magnifying the use of high key lighting on the clown toy.
The use of a mid-shot within a following segment provides audiences with the opportunity to identify the use of iconography common to the horror genre. For example, a blood written message on the walls of the setting “You could have save him” suggests that innocent blood has been spilled and that the antagonist being a meta-physical being is communicating with the protagonist through this. This suggests the importance of both the protagonist and antagonist in dictating the narrative and progressing it further. The message being discovered from the peeling wallpaper again suggests this as the antagonist is once again taking advantage of the curiosity of the protagonist leading him and the audience further into the narrative by uncovering what she has left for him to find. The blurring of the toy within the foreground of the shot suggests how audiences should pay more attention to what’s happening in the background. The non-diegetic sound of the monologue continues, alongside an atmospheric non-diegetic soundtrack to build tension and expectation within audiences. The scene then cuts to a contrasting sequence where the protagonist is shown to be running and the tempo of the soundtrack has increased suggesting to audiences possible development within the narrative of the film and suspense within audiences.
The use of a low angle medium shot within the climaxing sequence of the trailer captures the characters obliviousness to the looming danger behind him. This creates a sense of dramatic irony as the audience are aware of the danger before the protagonist is in. The use of the characters looking outside the window frames them and therefore presents them towards audiences within the centre of the shot suggesting their attention be on them at this point within the sequence. The use of binary opposites could again be portrayed towards audiences through the use of the window as the characters are on either side of the window sight lines depicting the differences between them e.g. good and evil, the living and the dead. Here the audience are able to see the appearance of the protagonist for the first time e.g. her dress code relating to the title of the film and her identity, the woman in black being dressed in black and her menacing and supernatural nature. The non-diegetic soundtrack and monologue have both disappeared from the trailer at this point and the hollowing sound of wind blowing takes over the scene. This is followed by the use of a cutting edit to the title sequence leaving audiences questioning the fate of the protagonist.
Wednesday, 4 November 2015
Friday, 23 October 2015
Creep Analysis
Creep Analysis
Creep is a 2004 British-German horror film written and directed by Christopher Smith. The film follows the protagonist Kate, locked in the London Underground (Charing Cross) overnight who finds herself being stalked by a hideously deformed killer living in the sewers below. The setting used of Charing Cross station is a typically overused and busy location. The use of it being abandoned and locked turns a familiar location for Kate into a dangerous one due to her being isolated, trapped and confined in a place people spend short periods of time in. This adds an eerie feel to the current atmosphere within the narrative creating early instances of tension and suspense within audiences as anticipation begins to build towards what she will face. A reoccurring atmospheric non-diegetic soundtrack is used to indicate suspenseful moments towards audiences also.
The protagonist and the antagonist reinforce common conventions within Horror films due to their representations e.g. the binary opposites between the two of Kate being human and the antagonist, Craig being made to resemble a creature rather than man. This representation is delivered towards audiences through the use makeup techniques used on Craig e.g. pale skin; cuts and scars and his misshapen facial and bodily features. This increases the fear factor within audiences due to the antagonist having an unnatural appearance and nature. The protagonist being a female and the antagonist being male again complies with classic conventions of Horror due to the sympathetic effect of having a female protagonist and the reoccurring stereotype of males being menacing. Kate being the protagonist will again indicate to audiences how she will dictate the narrative and will therefore also be the final girl, providing some form of resolution towards audiences.
The use of lighting within the underground setting reinforces conventions of horror. For example, the high-key lighting in the background corresponds with the low key lighting in foreground of the long shot. This creates a silhouette of an unknown figure within the shot reinforcing conventions of horror as his identity is hidden towards audiences and therefore they are not familiar with this characters input into the narrative, building apprehension within audiences. The low key lighting consuming the shot increases the fear factor within audiences also due to the inclusion of primal fears developed through the surrounding darkness.
The scene where Mandy is shown to be tortured by the antagonist within the narrative is a key scene in reinforcing images and cinematography common to the horror genre. The close up shot captures the performance of both the characters, Mandy (the Victim) and Craig (The antagonist) e.g. the calm, collected facial expressions of Craig and the terrified and distressed facial expressions of Mandy. The body language of the antagonist relates to the title of the film “Creep” due to him stroking Mandy as if she was a pet. This creates an uncomfortable feeling within audiences due to the juxtaposition between his actions and the current atmosphere e.g. stroking being associated with comfort and the inhumane activities being displayed. The close up shot again captures the use of iconography within the scene through the blood on the faces of both the characters. The dialogue within the scene complies with conventions of horror also through the tone of voice coming from Mandy, “Jimmy!! Jimmy!!” her frantic calls for help reinforce her presentation towards audiences as being a helpless victim and exaggerates the menacing nature of the antagonist.
Whilst fleeing in panic, Kate falls into the sewer system below the station, and from there she ends up in a storage facility where she finally meets and is captured by the killer, whilst running the diegetic sound of heavy breathing adds realism within the scene and the adrenaline her character would be feeling. Once captured, she is kept in a semi-submerged, rat-infested cage along with other captives. A high angle shot is used during this scene to deliver the sense of power the antagonist has over his trapped victims. The victims are therefore forced to subdue any treatment they may face on the behalf of the antagonist and are presented as powerless. This reinforces classic conventions of Horror as it not only shows the sinister motives and intentions of the antagonist but suggests that the protagonist will overcome this threatening situation not by being strong but through their desperation to live and escape this nightmare.
The
following scene enables audiences the insight into the lair of the killer.
Within this setting audiences are open to develop a better understanding of the
antagonist. The non-diegetic sound of babies crying is used when the camera
pans over preserved foetus’/new-born babies contained in jars. This combined
with children’s beds with names at the front of each of them, the variety of
medical equipment and a photograph of a younger looking Craig with a Doctor
creates the impression of him being an experiment adding unsettling feelings
within audiences. This adds to the representation of the antagonist not being
human due to his possible story of origin. A sympathetic view may therefore
emerge within audiences as his psychotic behaviour may be due to the experiences
he had with the Doctor. The scene where the killer imitates the health and
safety procedure before a surgery may again correspond to this insight within
this scene e.g. he is inflicting on his victims what was inflicted on him.
Wednesday, 21 October 2015
Wednesday, 14 October 2015
Wednesday, 7 October 2015
Tuesday, 6 October 2015
Comparing Scream and Halloween
Comparing Scream (1996) and Halloween (1978)
In this essay I will be comparing the film Halloween (1978)
directed by John Carpenter and Scream (1996) directed by Wes Craven and how the
horror genre was fading after the release of Halloween. For example, the
generic conventions of horror used in Halloween were copied within various
other Horror films this led to the narrative and plot within horror films
becoming too repetitive and predictable. The unrealistic nature of horror was
also present within Halloween as it did not relate to real life e.g. parents
were always absent from the narrative within Halloween. This differs from
Scream as parents make a reoccurring appearance e.g. Kasey’s parents within the
opening scene and Sydney’s Father. The absence of parents within Halloween allowed
the violence on behalf of the killer to be without consequence also. E.g. the
murders may have been stopped sooner if parents had been around. Both Scream
and Halloween are independent slasher films e.g. the antagonists both wear
masks and use knives. However, the violence within Halloween was done without
good reason and therefore added hardly anything to the narrative of the film. The target audience for
both films seems to come to an average of 16+ and would aim to target audiences
who enjoy the adrenaline and fear which comes with horror films. However,
Halloween being set in the 70’s and Scream being a more modern horror film, suggests the directors/producers would aim to appeal to the teenagers of their times e.g. by including modern fashion and technology.
Wes Craven, the director of Scream was eager to change the dated conventions consistently used in previous existing horror films. He achieved this by avoiding ordinary conventions and features which made up horror films. The non-existent use of a Steadicam throughout the narrative and less voyeurism enables audiences to see through the perspective of the victims and the killers, allowing audiences to receive the point of view of both. This therefore creates a more sympathetic view towards the victims from audiences and has a greater effect of immersing audiences within the narrative. Fast moving camerawork and editing was used instead of the constant voyeuristic stalking in Halloween showing the difference in technology used between the two films and budget also.
There is a constant use of pastiche within Scream as the characters make constant references to Halloween and the generic conventions of Horror. E.g. the character of Randy refers to Jamie Lee Curtis, the protagonist within Halloween and the ‘rules’ within horror films. The budgets within the films vary also as Halloween had a small budget of 300,000 whereas Scream had a budget of 15 million and therefore enabled them to use a greater amount of technology then within Halloween. The use of stars was also influenced by this as Drew Barrymore (Kasey), Courtney Cox (Gayle) and Neve Campbell (Sydney) were present within the film. The poster for the film included these stars also. However, Drew Barrymore was one of the first victims within the narrative to die, this being unusual for a big name star to die so early in the film.
Scream used atmospheric music and also varying tunes for different scenes. This music was also carefully timed and constructed in synchronisation with the action within the narrative leading to the build-up of tension within audiences and expectations for what’s to come. Scream countered the sexist view towards women within Horror films e.g. within Halloween the females were highly sexualised and reinforced the use of the male gaze within films. These females were also powerless towards the antagonist but within Scream the victims are shown to fight back, this defeats existing stereotypes as usually it is only the final girl who challenges the killer. The antagonists again differ from Halloween as there are two of them and they are shown to be ordinary boys and not inhuman as Michael Myers is in Halloween e.g. constantly surviving his death. This presents more of equality between the fighting between victims and killer(s) as victims have more of a chance to inflict injuries on the killers and is therefore a drastic change to the typical conventions within Halloween and following Horror films.
Wes Craven, the director of Scream was eager to change the dated conventions consistently used in previous existing horror films. He achieved this by avoiding ordinary conventions and features which made up horror films. The non-existent use of a Steadicam throughout the narrative and less voyeurism enables audiences to see through the perspective of the victims and the killers, allowing audiences to receive the point of view of both. This therefore creates a more sympathetic view towards the victims from audiences and has a greater effect of immersing audiences within the narrative. Fast moving camerawork and editing was used instead of the constant voyeuristic stalking in Halloween showing the difference in technology used between the two films and budget also.
There is a constant use of pastiche within Scream as the characters make constant references to Halloween and the generic conventions of Horror. E.g. the character of Randy refers to Jamie Lee Curtis, the protagonist within Halloween and the ‘rules’ within horror films. The budgets within the films vary also as Halloween had a small budget of 300,000 whereas Scream had a budget of 15 million and therefore enabled them to use a greater amount of technology then within Halloween. The use of stars was also influenced by this as Drew Barrymore (Kasey), Courtney Cox (Gayle) and Neve Campbell (Sydney) were present within the film. The poster for the film included these stars also. However, Drew Barrymore was one of the first victims within the narrative to die, this being unusual for a big name star to die so early in the film.
Scream used atmospheric music and also varying tunes for different scenes. This music was also carefully timed and constructed in synchronisation with the action within the narrative leading to the build-up of tension within audiences and expectations for what’s to come. Scream countered the sexist view towards women within Horror films e.g. within Halloween the females were highly sexualised and reinforced the use of the male gaze within films. These females were also powerless towards the antagonist but within Scream the victims are shown to fight back, this defeats existing stereotypes as usually it is only the final girl who challenges the killer. The antagonists again differ from Halloween as there are two of them and they are shown to be ordinary boys and not inhuman as Michael Myers is in Halloween e.g. constantly surviving his death. This presents more of equality between the fighting between victims and killer(s) as victims have more of a chance to inflict injuries on the killers and is therefore a drastic change to the typical conventions within Halloween and following Horror films.
Wednesday, 23 September 2015
Wednesday, 16 September 2015
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