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
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