Inspiration: Se7en's Opening Credits

I really like the opening credits of this film because although they are classical in many ways - they are in black and white, there is slight variation in the fact that they don't stay in the same place. They move position, they jump slightly and they sometimes distort into other words/jumble of letters and characters. I think this is a really nice idea because credits are normally so boring, but they've come up with something original but not too flashy or over the top.

This has inspired to try to come up with something a bit different for the credits in my thriller opening.

Past Thriller Projects

The following are examples of past thriller openings made by other groups. I have watched a few to see what worked well and what didn't in a bid to make sure that I don't make the same mistakes. I am looking at their work to see what areas are the hardest to get right so that I can pay particular attention to making sure mine don't go wrong.

2005
Group 1 - The Protégé



In this opening two men are in a car, and one of them is instructing the other how to make a hit. I think it works well because there isn't too much going on, so the audience doesn't get confused. The opening also really introduces the characters thoroughly and you understand their relationship immediately.

I feel that it really evokes the thriller genre with the dresscode - both men are wearing a black suit and tie with a shirt - they are very smartly dressed and looks like they means business.

The camera work is quite varied with lots of different angles and distances being used to keep the audience engaged and also show important shots in developing enigma and mise-en-scene. I particularly like the closeup on the man in the front seat's mouth when he is talking and the closeup of the protége's hand to show his nerves. The tracking being hand-held also adds to the sense of the person in shot - the protégé - being in a hurry and it highlights his nerves. It subsequently creates enigma and draws you in because you wonder where he is going and why he is so nervous.

The idea itself is good because it is realistic, it could happen and isn't too extreme. The actors are very convincing which adds to the overall effectiveness of the opening because you don't feel like you are watching an amateur production.

The continuity editing is very good, which I've noticed can tend to be a problem with a lot of the thriller openings made by past groups. You never jump from one place to another, it all follows very neatly on so you barely notice the editing, which allows for a more pleasent viewing and understanding of the sequence. If you were continuously jolting from place to place you would be distracted by that.

I didn't overly like the fact that their credits were so boring. I think it works well that they are simple and go with the classic feel of the opening, however it would have been more interesting for the viewer if they had been a bit more creative.

However the sound was quite poor quality. I think that the music fits well with the sequence and the changes in pace and tension. But the quality of the recording of the speech is very fuzzy which is probably due to the lack of equipment they had available. Also at the end of the opening at about 1min 54 secs the movement of lips and the sound don't quite match up.


2006
Group 6 - Exposure



In this opening a man comes home and begins to pack his bag in a rush ready to leave somewhere, but then he stops on his way out of the door to go to a room full of photos of a girl. I like the idea because it isn't overly complicated but it was executed in a fashion that keeps the audience entertained. It also raises a lot of questions about the character and the girl in the photo which would be good in a real thriller because it would keep the audience engaged.

The dresscode in this opening is similar to that used by the makers of The Protégé in 2005. It is a classic thriller dresscode of a black suit, black tie and a white shirt. He is smartly dressed, but his tie is loosened, which adds to the fact that he is flustered/in a rush.

The camera work has lots of variety in terms of angles and distances, and also in the colour used for the shot. The first half/three-quarters of the opening is in black and white giving it a classic feel, then when the protagonist enters the room full of pictures the room is in colour, showing a change of scene - this highlights a change in tone of the opening. The variety of angles and distances used helps to exaggerate how flustered and hurried the protagonist is.

I really like the idea because it is like something going on behind closed doors, from the outside he could look like a normal person, but he obviously has an obsessive streak in the form of this girl. The actor they used is also very good at his role.

The continuity editing is excellent here. Everything follows on from shot to shot perfectly and you feel as if you are literally just following him around the house.

The credits weren't that exciting, however I liked how they were in colour (orange) over a black and white shot making them stand out in a way opposite to usual (black or white text on a colour shot is normal).

The sound quality wasn't amazing, it was a bit too loud and echoey, however I think the music coming in at the point it did is perfect, because it sets the audience up for the change in mood and situation. Overall I think the sound was quite good quality for the openings I have watched.

Clockwork Orange Opening Sequence

This particular clip doesn't have the original sound with it and unfortunately I didn't manage to find a clip with the correct sound. However I am going to analyse this sequence on visuals.

This thriller opening starts with a red screen, this colour is particularly significant because it signifies passion and anger, two emotions which feature prominently. It begins focused on one man (the protagonist), then zooms out to introduce his droogs/friends and then it tracks back to introduce the setting of their meeting. I feel this works well because the language the protagonist speaks in isn't modern English so this can be a little disorientating for the audience. But by taking it slowly and introducing first the language over the blank screen, then the main character, then his friends and then their location, it gives the audience time to adjust and take in each new piece of information.

The location they are in (a nightclub) really evokes the thriller genre, the fact that they are drinking milk laced with drugs again evokes films of the thriller genre often contain drug references.

The men are all dressed in the same colour with a black hat, reinforcing the idea of them being in a gang.

The camerawork doesn't vary much in the beginning in terms of angles with the camera staying fixed in the same area but zooming out to incorporate more of the scene around the protagonist. It begins with a closeup to show the emotion of the protagonist and to introduce him - showing us he is the most important to us. Before zooming out to give us a bit more detail about his life, e.g. his friends, where he hangs out. I think this is good because it develops the mise-en-scene of him being the leader and of the seedy place they hang out. Even when the camera is very zoomed out, the group is the main feature at the end of the shot, with other people in the club up the sides, they are less important.

It doesn't have any opening credits except for the title and the director on the plain colour screens. I think this is good because the plot could be quite difficult to understand if you had other things detracting from the atmosphere which is created.

The continuity is excellent because you don't have any cuts or pans in the opening. It just tracks all the way back to the end of the room. So it all follows on from the last shot. You notice the camerawork in the sense that it gradually reveals more to you as the opening carries on.

I really like the idea of having one continuous shot without editing as the opening scene. I think that this is very original as I have never seen any film use the same technique.

Narrative Theory - Syd Field: Fatal Attraction

I applied the narrative theory of Syd Field to the film Fatal Attraction. Below are my findings.

Plot points:
- Alex slits her wrists - you begin to realise how possessive she is and how much more serious it is that you first believe.
- Alex boils Dan's daughter's (Ellen) bunny rabbit - Dan realises he has to do something to stop her.

Act 1:
- Dan is introduced as a loving family man, but when his wife and daughter go away he meets Alex and sleeps with her - having a brief affair.
- He then realises his mistake and tries to call it off.

Act 2:
- Alex begins to show up at work and she calls him constantly.
- When Dan changes his number and refuses to take her calls she finds his number and turns up at his flat after finding out where he lives.
- Alex tells Dan she is pregnant with his child (which may or may not be true) and befriends Dan's wife telling her that she wants to move into a new apartment (Dan and his family are moving to the country).

Act 3:
- Dan tells his wife about the affair and his wife warns Alex over the phone that if she doesn't leave them alone she will kill her. Alex kidnaps their daughter but she is returned safe - however Dan's wife is in a car accident.
- Dan's wife forgives him about the affair and when she comes home she runs a bath. However Alex appears in the bathroom and attacks Dan's wife (Beth) with a knife. Dan hears the screams and runs in, drowning Alex in the bath.
- However Alex isn't really dead and emerges trying to stab Dan. However his wife, Beth, has gotten a gun from downstairs and shoots Alex. The ordeal is over and they return to family life, but changed forever by the things that have happened.

Key Characteristics of Thriller Genre apparent within Clockwork Orange

The following are the key characteristics of the thriller genre which are present within the film Clockwork Orange.

Themes: Torture, uncertainty, suspense, intensity, anticipation, excitement, anxiety, loneliness, entrapment, innocence, stalking, accidental death, vulnerability, revenge, danger, reflection, memories, treachery, corruption of innocence, deception, seedy underworlds, weaponry, consequences, crime, adultery and rape.

Characters: Lowlifes, victims, criminals, thieves, protagonist, antagonist, police, villains, wives/family, henchmen, suspicious characters and corrupt police.

Iconography: Shafts of light, doorbells, country roads, countryside, hospitals, nightclubs, low lit lamps, derelict buildings, shadows, street lights, night shooting, prison, sharp lighting contrasts, water, large houses, corridors, colours - white & black, woodland, weapons, videos, camera - tilts & close ups & low angles, masks, frame within frame & extreme camerawork.

Narrative: Death - accidental, bloody fights with weapons, suspenseful music, screams, corruption in police, double cross - henchmen turn against their leader, stolen goods in draw, being chased - sequence, gun point, kidnapping, arguement, police at crime scene, torture, smokey club - drinking and drug taking, fightscene & someone being captured.

Narrative Theory: Fight Club

I applied the theories of Levi-Strauss, Propp, Todorov, Barthes and Field to the film Fight Club. Below are my findings.

Levi-Strauss - Binary Opposites
- normality vs abnormality - the idea of people going to support groups for fun and also the idea of people fighting each other for fun.
- society vs situation - within the fight club it is acceptable to beat each other up and also later in Project Mayhem it is acceptable to blow buildings up for their cause when people could get hurt.
- prisoner vs captor - in a way Jack (narrator) is a prisoner to Tyler. Tyler is dominant and turns out to be in Jack's head, he is imaginary, created by Jack to allow him to do things he wish he could do but doesn't have the confidence to.
- freedom vs entrapment - Throughout the film Jack is captive under Tyler's schemes and ideas for fight club, he doesn't have the freedom to make his own decisions because he feels like he is being left out and so wants to join in. Jack stops himself from having freedom with his desire to belong.


Todorov - Narrative structure
Equlibrium - Jack is at work living a normal life in his appartment
1st disruption - Jack's appartment is blown up
2nd disruption - When Jack goes to stay with Tyler and Tyler asks Jack to punch him and they beat each other up and Fight Club is started.
Big disruption - Fight Club turns into Project Mayhem
Thwarted attempts at resolution - When Project Mayhem gets out of hand and Robert 'Bob' Paulson gets killed, Jack tries to stop the Project but Tyler disappears. Then Jack realises Tyler is part of his mind's creation and tries to kill him but is beaten up.
Resolution - Jack puts the gun in his mouth and shoots himself through his cheek, and Tyler 'dies'.
New equilibrium - Jack and Marla Singer hold hands as the buildings explode around their building and Jack says that she met him at a very strange time in his life.


Propp - Character types
Villain/antagonist - Tyler is the villain in the end
Hero/protagonist - Jack
Helper - Tyler
Princess - Marla Singer
Donor - Tyler
Dispatcher - Tyler
Father Figure - Marla Singer
False hero - Tyler


Barthes - Action & Enigma Codes
Action:
- Jack's appartment explodes - Jack goes to stay with Tyler
- Jack stays with Tyler - Tyler asks Jack to beat him up - Fight Club is started
- Jack goes to support groups - Meets Marla Singer & Robert Parlson
- Fight club is started - Fight club turns into Project Mayhem
- Robert gets killed - Jack wants to stop Project Mayhem
- Jack tries to stop Project Mayhem and find Tyler who has disappeared - Begins to realise that Tyler is part of his imagination

Enigma:
- Jack's appartment explodes and it looks like arson- who did it? why did they do it?
- Tyler asks Jack to beat him up - why is he doing that? what does he get from it?
- Tyler disappears - why did he suddenly go in the middle of Project Mayhem?
- Jack travels around trying to find him but people start saying that he is Tyler - does Tyler now look like Jack? Why do they think Jack is the leader and recognise him when he has never been there in his life?
- Jack realises that Tyler was in his imagination and he had been doing the stuff Tyler had all along - why didn't people say anything when he was being both Tyler and himself? how did Marla not find it weird when she was having sex with Jack as Tyler then coming out and talking to Jack as himself and he was talking about Tyler as another person?


Field - 3 Act Plot Structure
Plot points:
- Jack's appartment blows up & he goes to stay with Tyler
- Fight Club is started
- Fight Club turns into Project Mayhem

Act 1:
- Main characters are identified - Jack & Tyler
- Audience given reasons to take an interest in them - Jack is just a normal guy who seeks comfort in Support Groups and then through meeting Tyler he changes his life and starts Fight Club - he finds a release
- The problem facing the hero - Tyler is taking control of Fight Club and it was something they co-founded

Act 2:
- Jack is gradually more and more secluded from Fight Club, then Fight Club evolves into Project Mayhem which Jack doesn't agree with and he tries to stop Project Mayhem but then Tyler disappears and he has to try to find him.
- Jack realises about himself being Tyler
- Jack tries to alert the police but the police are members of Fight Club and try to kill him because that is what he has told them to do as Tyler if he ever tries to stop the project.

Act 3:
- Jack finds the buildings with the bombs in and tries to deactiviate them - but Tyler tries to stop him and he beats himself up.
- Jack is beaten up and Tyler threatens to kill him before making him watch the buildings blow up. But before they explode, Jack shoots himself in the cheek and kills Tyler for good.
- The members of Project Mayhem bring Marla Singer into the building as a hostage and he tells them to leave her there, they go - worried as to why he is bleeding.
- Jack and Marla stand watching the buildings explode around them as they hold hands and Jack explains he has been in a weird place since she met him.

Narrative Theory - Syd Field

Syd Field is an American screenwriter who follows a theory containing a three act plot structure. His theory isn't just intended as a way of analysing films that have already been made but also as a theory by which new films can be made.

Plot Points
Plot points are pieces of the plot which are important because they either turn around the lives of the characters, change relationships between characters and also change the tone of the plot. Most films contain a number of plot points but Field believes the main ones are between acts with a less important one in the middle of the film.

Act One - Setup
The first act is normally about 40 minutes long. According to Field within the first ten minutes the audience will decide if they like the film and are normally unwilling to change their mind later. So as a result it is vital for the film to give a sense of what the film is going to be about, identify the main character, give the audience reasons to identify/take an interest with/in them and also expectations in term of style should be set up in the first ten minutes. In the other thirty minutes the audience should learn about the problem facing the hero (although sometimes this is left until plot point one).

(Plot point one)

Act Two - Confrontation
This is generally the longest act in the film. The protagonist (main character) is in gradually more and more extremely problematic situations where they confront the antagonist (their enemy) quite helplessly. Quite often there is a mid-point where things begin to turn around for the protagonist and they win what looked like a helpless struggle.

(Plot point two- at this point the protagonist realises the way they have been trying to go about things isn't working and so they change their tactics)

Act Three - Resolution
The protagonist finally takes control of their problems and the situation (often confronting the antagonist on their territory) and achieves a final, decisive victory.

Analysis of Memento Website

Link to Website [also source of images]: http://www.otnemem.com/

I really like the Memento website, I think it works well as a website for a thriller. Firstly the website is backwards for Memento, which I think is extremely clever as the whole story works backwards from the end to the beginning - just like the websites name.

The front page doesn't really give much away, there is a picture of a burning book in a fire and a few links as well as the release date of the film.


Going into the main website (the pop-up window) the sound of a Polaroid taking a picture sounds and then a man talking says - 'the world doesn't just disappear when you close your eyes does it?' which causes intrigue within the person viewing the website as to who is talking and what that means. Then the sound of a cry is heard before quite eerie music is played in the background. Actually on screen is a newspaper article about photographs and documents being left at a motel whilst the person who owns them disappears - the photograph includes a picture of a dead man/murder victim. The article gives a little bit of an outline of the story and also has links on specific words to sometimes text, sometimes images from within the film. All of this is to spark intrigue within the prospective audience so that they eventually watch the film.


By clicking on certain highlighted words you get extra information in the form of articles, notes and polaroids which are often cryptic. This adds to the sense of enigma and wanted your questions answered. For example when you click on the word 'local' a picture of a woman with the name Natalie underneath comes up, followed by further notes scribbled onto paper, invitations and also scraps of pieces of documentation. This raises questions of the link between the woman and the protagonist as well as the link between her and the documentation and why it has a post-it note addressed to Leonard from her on it. These questions are likely to make the person more interested in watching the film to find out these questions.



I think the website is effective in the way that not only does it do its job of advertising the film as of the thriller genre because it shows that it contains crime and the newspaper article creates suspense and enigma. You want questions raised by the article to be answered and for this to happen you have to watch the film. So I think this is a good piece of marketing.

Narrative Theory: Disturbia

I applied the theories of Levi-Strauss, Todorov, Propp and Barthes to the film Disturbia. Below is what I found within the film.

Levi-Strauss - Binary Opposites

• good vs evil
• adults vs youth
• normality vs abnormality
• prisoner vs captor - Kale & Policeman against Robert
• society vs situation - in the situation actions seem acceptable/reasonable e.g. spying on people & breaking into Robert's house
• fear vs happiness
• light vs dark - visually and metaphorically
• freedom vs entrapment
• deliberate killing (victims of murder) vs accident death (Kale's dad and self defence killing)
• family vs individual
• conviction vs casual - Kale thinks he is right about Robert so he carries on trying to prove it, he has a convicted method of investigating whilst the policeman is more casual because Kale punched his cousin
• warm vs cold - visual and metaphorical, the killing room is cold with the freezer and clinical feeling, but the family home is warm in comparison

Todorov - Narrative structure

• Equlibrium - family life, the fishing trip with his father then ringing his mum to say they were ok
• 1st disruption - death of father
• 2nd disruption - Kale punches his teacher
• Big disruption - Murderer is discovered by Kale
• Thwarted attempts at resolution - Kale tries to get people to believe him
• Resolution - He solves the mystery and actively investigates it himself
• New equilibrium - Kale is released from house arrest, he gets the girl, he gets revenge on the boys who have been picking on him throughout the film, his relationship with his mother improves and he grows more mature.

Propp - Character types

• Villain/antagonist - Robert Turner
• Hero/protagonist - Kale
• Helper - Ronny
• Princess - Ashley & Mother
• Donor - Dad - cameras/binoculars - values
  - Mum - gets rid of his Xbox etc, so makes him concentrate on others things
• Dispatcher - Ashley & Dad
• Father figure - Dead father & Mum
• False hero - policeman

Barthes - Action and enigma codes

Action:

• Car crash - led to him punching his teacher
• Kale punching his teacher - led to him being on house arrest
• Kale being on house arrest - led to him discovering the murderer
• Kale's mum taking away his xbox, computer, itunes etc - led to Kale discovering the murderer
• Ashley moving in next door - led to Kale beginning to watch people - led to voyeurism - led to discovery of murderer
• Bloody bag being dragged down the stairs - led to Ronny going inside Robert's house

Enigma:

• Blood splatter on window - What is happening inside the room? Whose blood is it?
• Girl being chased around Robert's house then leaving unharmed - Why did she look so petrified? How did she over power him/escape?
• Bloody bag being dragged down the stairs - What is inside the bag? Is it the girl from the news?
• The dent in Robert's car, just as described on the news - Was it him? Is he the murderer?
• The dent being fixed the next day and Robert say it was because of a car show - Is he telling the truth? Is it just a coincidence? Is Kale telling the truth?

Narrative Theory - Levi-Strauss, Barthes, Todorov & Propp

The following is a summary of four different theories about films. They may not all completely fit a film, however there may be aspects from each in any film.


Claude Levi-Strauss - Binary Opposites
Levi-Strauss used the idea of binary oppositions as a way of understanding the production of meaning within narratives. He argued that all constructed meaning depended on opposites, meaning that they were paired to something. Every element of a story has something meaning completely the opposite that it is paired with. Some examples of binary opposites found in moving image narratives are:

• male vs female
• good vs evil
• hero vs villain

Each genre and film contains binary opposites and some genres have binary opposites specific to them such as Westerns having wilderness vs cultivation and homesteader vs 'Red Indians'.

Roland Barthes - Action & Enigma Codes
Barthes decided that films are made up of narrative codes such as action and enigma codes. These codes are ways in which suspense is created in narrative.

Enigma codes: Are plot elements which cause the audience to ask questions about the event and why something happened.

Action codes: Are actions on screen which result in further action. These cause the audience to ask questions as to what is going to happen next. Suspense is created by the audience's wish to understand the reasons behind an action.


Tzvetan Todorov - Narrative Structure
Todorov's theory is about the way fictional narratives are structured. He believes it follows simple stages:

1. It begins with equilibrium (everything is normal)
2. There is a disruption/series of disruptions
3. Thwarted attempts at resolving disruption
4. A resolution of the disruption
5. Equilibrium is 'restored', things are 'normal' although changed forever due to events - A new equilibrium is reached

The narrative isn't in a linear structure, but a circular one. The narrative is driven forward by attempts to restore the equilibrium. The 'restored' equilibrium is never the same as the one at the beginning of the narrative.

Todorov believes that a transformation occurs within narrative. The characters or situation is distorted/transformed by the disruption/events. The disruption is normally outside of 'normal' social occurrences. E.g. Somebody disappears and people have to solve the mystery surrounding the event


Vladimir Propp - Folk Tales & Character Types
Propp identified eight different types of characters applicable to narratives:
1. The villain/antagonist
2. The hero/protagonist - doesn't have to follow normal conventions of a hero e.g. male and brave
3. The donor - someone who provides the hero with a useful means to carry out his task - sometimes inadvertently
4. The helper - aids the hero throughout the narrative
5. The princess - reward for the hero at end of narrative, sometimes object of villains scheme - not necessarily female damsel in distress, can be male
6. The father figure - rewards hero in the end, provides support and means to carry on - not always male
7. The dispatcher - makes hero start 'quest' - go on their way
8. The false hero

Propp's theories are quite often broken by film-makers, audiences might not be familiar or notice Propp's theories, however when they are broken they notice. E.g. the main character in psycho is killed within the first half an hour

Key Characteristics Of The Thriller Genre

The key characteristics of the thriller genre can be broken down into four categories: themes, characters, iconography and narrative. Below are some of the key characteristics in each of these sections of the thriller genre.

Themes:
Seduction, torture, uncertainty, expectation, suspense, intensity, anticipation, excitement, anxiety, threatened life, isolation, loneliness, entrapment, innocence, stalking, voyeurism, suicide, mysterious death, predetermined death, vulnerability, revenge, danger, relationships, chases, reflection, memories, treachery, corruption of innocence, deception, seedy underworlds, weaponry, consequences, political conspiracy, power, wealth, crime, adultery and sexuality are just a few.

Characters:
Lowlifes, psychopathic killer, sociopathic killer, private detective, victims, stalkers, criminals, murderers, assassins, confused men, protagonist, antagonist, terrorists, police, villains, mafia, fugitives, ex-cons, girlfriends/wives/family, unlikely hero, henchmen, mysterious helpers, red herrings, lawyers, informants, suspicious characters, children - good & bad, unknown bosses, corrupt police and spies are just a few.

Iconography:
Shafts of light, neon lights, low lit lamps, briefcases with money, derelict buildings, shadows, street lights, night shooting, sharp lighting contrasts, water, large houses, attics, cupboards, corridors, bridges, cellars, blood smears, colours - red & black, woodland, weapons, photos - polaroids, bars, blinds, confined spaces, camera - tilts & close ups & low angles, masks, binoculars, frame within frame, mirrors - reflection, whisky glasses, extreme camerawork, candles and running water are just a few.

Narrative:
Being watched, someone being followed, death - accidental, suicide, murder, suspenseful music, a mission, tense music, screams, corruption in police, double cross - secret phone call, red herring - false arrangement, money in briefcase - drug deal, hiring hitmen, being chased - sequence, gun point, kidnapping, discovery of body, arguement, discovery of murder weapon, police at crime scene, torture, forensic science, gunshots, smokey bar - gambling & drinking, sex scenes, fightscene, someone being captured, searching for clues and a trail to be followed are just a few.

Memento

I originally thought I wouldn't enjoy this project, but after having watched a few thrillers I have realised I was wrong. I didn't think I would enjoy the thriller genre as a whole, but some of the plots are amazing. In particular Memento has stood out to me for a number of reasons.

Firstly enigma is the key to Memento and it is why I think it is so succesful as a film. At the beginning of the film you see the ending, and so you think it will be a simple case of find out how you got to that point, you think you already know the conclusion. But you are proved wrong in your predictions time and time again. You think you can trust people and then the film shocks you and you realise that you can't.

Lenny, the main character, hasn't got anyone he can really trust because of a condition meaning he cannot make short term memories. This means he cannot identify anyone or remember situations that have occured more than ten minutes before. Due to this it ends up with the audience siding with Lenny and being against everyone, everyone has the potential to be a villain. You also realise that when you do trust someone, they normally aren't worthy of it. As a result it shocks the audience, things you aren't suspecting happen, such as Natalie's abuse of Lenny's condition for her own means (she influences him to kill Teddy and also to beat up Dodd).

Another of the films credits, is that the audience works through the story backwards. This doesn't follow the linear sequence of events that most films do, so from the beginning it has you hooked, because you have to concentrate and get into the story to totally understand. By working backwards you make assumptions and predictions about what happened to get the story to the ending, it is gratifying for the audience if they are correct, but equally thrilling at the turn of events and the twists that occur. It is also gratifying for the audience to be able to explain parts of the story to other people who have seen it if they don't understand certain areas, it makes the audience feel superior and a film specialist if they can decode something, and put two and two together and other people can't.

I think the film is very effective with its variety of characters, a cryptic sequence of events and a very surprising ending. I want to possibly use some of the techniques used by Memento in my opening sequence of a thriller. Things such as giving the ending away then backtracking into the story was very effective and kept me asking questions. Next the way in which the questions were answered was effective, gradually moving back in larger sections but as the next bit of information was given to you it would return to somewhere you have already been (the last bit of information you were given) so it leaves it to the audience to piece things together for themselves, it gives them something to do in a way, the audience has to participate and connect bits together, it isn't just done for them in a linear fashion, and this I feel stops the audience drifitng in their attention. It keeps you focused on the action.

Memento's website address is very clever too, it is backwards, just like the order of sequencing in the film: http://www.otnemem.com/

Narrative Image: The Man Who Wasn't There

The narrative image on a DVD cover can be constructed in the following ways:

(Signifiers & Signified)

Camera:

-Medium Close up: You can see his expression, but still see other things happening around him and can see the scenery he is in.

- Lit from the left, the right of his face in shadow. Also lit from behind his right shoulder (as we look at him): The light from the left could be either a street lamp or light from a window, due to the brightness of the light I think it is probably night time. Another factor that adds to this idea is the light from behind his right shoulder is in line with where the cars headlights would be, and the car wouldn't have headlights on if it was day time and light.

Mise-en-scene:

-White male, wearing a suit and a hat which is tipped slightly downwards, top button loose with a cigarette hanging from his mouth: He is wearing a suit so is probably well off or in a good job. He has a hat on, which is possibly to shadow his face and shield his identity. His top button is loose and he has a cigarette so he probably isn't just waiting quickly for someone, he has been there a long time and is trying to relax.

- He is in a car, steering wheel is at front of frame and he is leant back in his seat: The steering wheel helps to set the scene of the car. He is leant back in his seat either because he is relaxed and making himself comfortable, or trying to keep his face in shadow to hide from somebody, he isn't meant to be there. The car with his posture connotes a stake out, his outfit also adds to the idea of him possibly being a detective.

- It is a black and white picture: It is set in possibly 50s/60s, it is an old film.

- The car in the side window is blurred: That car is moving, not his car, he is parked. He also isn't touching the steering wheel which supports this idea.

- Around the picture itself is writing above it and below it: It frames the picture so the picture looks like you are looking in through the front windscreen (which you are supposed it), the writing just helps emphasise this by giving it borders.

- List of actors and directors: Having a list of directors and actors above and below would draw in the audience, it advertises not only the film but the actors and directors to help consolidate the genre.

People:

- White male, in his 30s/40s, wearing a suit: He looks like a well off man who has possibly just come from work.

- Narrowed eyes, staring intently: He is really focusing on what he is watching, he is possibly trying to figure out who someone is or is slightly shocked and intrigued by what he has seen.

- Leant back against the seat: He is relaxed, comfortable and calm.

- He is looking to our right: He is looking out of the window at something in particular, concentrating on a particular person or what they are doing.

- His head is slightly tilted, the cigarette in his mouth is drooping: He is intrigued by what he can see and is concentrating on that. His cigarette is drooping because he isn't thinking about it, he is distracted by what he has seen and is watching intently.

- He has wrinkles: He may have a stressful job such as a detective, also shows his age.

What is the narrative image of the film and how is it constructed through the DVD cover?

The narrative image of the film isn't overly apparent through the cover. It shows you that it is an old film with a possible detective theme running through it. The DVD cover is used mainly to raise questions within the audience and get them intrigued to make them watch the film. His intent stare is specifically used to make you want to see what he is looking at.

The Woman In Black

I recently went to see the theatre production of The Woman In Black. It is of the thriller genre, however it is quite unique as a theatre production in the respect that there are only two characters (three including the woman in black herself, who never speaks and rarely appears on stage for more than a few seconds). So the whole story is set out and told by these two characters.

When I first found out about the lack of characters with speaking parts (you are told of other people within the story, however they aren't played by people) I was shocked and a little bit sceptical that a whole production, lasting about two hours, could work with only two people. I found it hard to believe that suspense and the enigma that is key to a thriller could be built up in an affective way.

However I was wrong, having seen the production has made me realise that you do not need a lot of characters on the stage to be able to create this feeling. Keeping the stage simple and not cluttering it with people or props made the audience concentrate on the plot in more depth and detail and you find that you aren't constantly being distracted by what someone else is doing on stage and so you notice small details which you may not have otherwise.

The plot
Below is a summary of the plot:

Eel Marsh House stands tall, gaunt and isolated, surveying the endless flat saltmarshes beyond the Nine Lives Causeway, somewhere on England's bleak East Coast. Here Mrs Alice Drablow lived - and died - alone. Young Arthur Kipps, a junior solicitor, is ordered by his firm's senior partner to travel up from London to attend her funeral and then sort out all her papers. His task is a lonely one, and at first Kipps is quite unaware of the tragic secrets which lie behind the house's shuttered windows. He only has a terrible sense of unease. And then, he glimpses a young woman with a wasted face, dressed all in black, at the back of the church during Mrs Drablow's funeral, and later, in the graveyard to one side of Eel Marsh House. Who is she? Why is she there? He asks questions, but the locals not only cannot or will not give him answers - they refuse to talk about the woman in black, or even to acknowledge her existence, at all. So, Arthur Kipps has to wait until he sees her again, and she slowly reveals her identity to him - and her terrible purpose. (source: http://www.thewomaninblack.com/)

So...
This has got me thinking about my thriller opening sequence and I have decided that it would be a good idea to keep it quite simple, so that the audience aren't being distracted by things which are not essential to the story. There isn't a need for extravagance to engaged the audience. I feel that when I come to make my opening sequence I will be more prepared to keep the characters to a minimum and the scenery simple so that it isn't too busy and distracting.

Thriller moodboard

The following moodboard is a collection of pictures I feel sums up the feelings, emotions or conventions of the thriller genre.



The moodboard contains images portraying:

• Fear
• Seduction/femme fatale
• Tunnels & Stairs - entrapment
• A love interest
• A secluded, derelict building
• Voyerism- watching someone from shadows
• Guns - Weapons
• Murder
  
  

What do we expect of films within the genre of thriller?

What do we as an audience expect to be in a film of the thriller genre?
During a thriller we expect to be thrilled, we crave suspense, we want to be intrigued and we want a twist at the end to shock us. Although often if we are right about the ending we are just as satisfied because we have correctly predicted it, this often makes us feel like we are familiar with the genre and know a lot about film.

As an audience we expect certain themes within the film, such as:

• Anticipation
• Obsession
• Attraction
• Love
• Tension

We also expect there to be a villain, this villain can be in the following forms:

• Murderer
• Crook
• Gangster
• Strong Protagonist (we follow them throughout the story as our hero/heroine, even though he/she does wrong we empathise with him/her)
• Psychopath
• Sociopath
• Stalker
• Terrorist
• Fugitive
• Conman
• Corrupt Policeman

We also expect there to be mystery to draw us into the story and keep us thinking. There should be meetings between villains and heroes too, police raids are common, conspiracy and fraud. Stalking is also a convention which we see quite a lot within the genre.

Death should occur, it can either be pre-determined and planned, which is usually the case with a more sinister killer, or it can just be spontaneous, normally the killer is provoked or pushed over the edge to a place where they consider things they wouldn't normally do. This sort of killer is normally mentally traumatised by the guilt/memory of their actions.

As an audience we also expect dark colours to feature throughout the film, this gives a sinister feel and by concentrating this with shadows in particular areas of danger it signifies to us that something isn't right in that place. It adds to the feeling of suspense and emphasises villains and dangerous situations such as confrontations.

They normally feature detective characters who operate on the edge of the law, they don't abide by the regulations. Due to this they normally end up taking more risks and eventually solving the crime that other more cautious people may not have.

We expect deception, treachery, corruption and murder to occur. Often there are dark criminal underworlds and seedy underworlds where murder and plotting take place. Night shooting and shadows help to emphasise these places.

Genre

Why have genre?
Genres have certain conventions which help the audience to identify the type of film it is. If they are able to identify which genre of film it is they will have a rough idea as to whether they will like it or not, and this will either make them interested in watching the film or not, depending on their preferences within genre as a whole.

Whose uses genre?
Genre is used by both the audience and the industry to be able to identify films.

Genre is used within the industry by producers, directors and editors alike to be able to make good decisions about the type of shots that should be used, the type of characters etc. Basically they use the genre to be able to determine the following factors: characters, themes, iconography and narrative.

If conventions within the thriller genre aren't used in a thriller film then it will be difficult to tell it's genre so it won't appeal to the target audience as it is intended to do.

Where do genres come from?
Conventions come from multiple films using ideas from one specific film. By sourcing/referencing these ideas and incorporating them into their own film with a new twist, you get a collection of films with similar ideas. Referencing an idea from a film and using it in another is called intertextuality.

Overtime these group of films evolve into genres, this is because the audience like that type of film so they go to see them in the cinema, as a result film companies make more films of this genre so that they can make a profit.

Genres evolve to suit changing audiences. Remakes of films, such as Disturbia being a remake of Rear Window, use the core elements of the original but edit them to suit a different audience.

Sub-genres.
Sub-genres occur when lots of films of a certain genre have been made. This is because when there are a large amounts of a genre you get certain groupings within that genre, this then leads to sub-genres.

Sub-genres are a specialised version of a specific genre, however it has to be distinctive within that genre that there is a relatively large group with the same characteristics.

Film Still Analysis

The above still is from a thriller film, below I have denotated and connotated key features of the still, which will hopefully help me when I come to make my opening sequence.

I am concentrating on the following: Signifiers (Denotation) & Signified (Connotation).

Camera:

- Mirror creates frame within a frame: Concentrates our focus onto what is within that frame. Makes us pay attention to something we may have overlooked.

- Medium, two shot: Close enough to see body positions and facial expressions too,
can see all characters involved.

Mise-en-scene:

- Man in suit, woman in dress, hair fixed, applying make up: They are both about to go out for drinks/dinner or to an important occasion.

- Mirror reflects the woman’s face and the man is addressing the woman in the mirror: Lets us see both of their reactions and expressions.

- Hotel room: They don’t live together/emotionally attached, no long term commitment.

- Black and white coloured: Old fashioned film.

Character:

- White male, 30-40, wearing a suit, looks anxious and is facing the woman: She is in control of the situation. He is urging her to do something and is frustrated because she isn’t paying attention/listening/taking any notice of what he has to say. He is tense/nervous.

- White female, 20-30, wearing a cocktail dress, she is looking in the mirror, applying lipstick: She is in control of the situation. She is defiant of his attempts to get her to do what he wants. She is continuing to do what she wants to do. She is independent.

- She isn’t smiling, looks irritated by him: She is fed up of him pestering her to do what he wants and his attempts to look after her.

- The man is leaning in towards her, leaning on mantelpiece: He is trying to persuade her to do/not do something very important. He could be a detective and she is a witness in a case/involved in a dangerous situation. He is trying to regain some form of power in the conversation.

- Her back is turned towards him: She is concentrating on what she is doing and isn’t concerned with him.

My attempt at a thriller shot

This is my attempt at taking a shot which could be in a thriller. I then answered the following questions to try to explain it.

Explain what you were trying to achieve with your shot.
With my shot I was trying to achieve a sense of apprehension and make the audience question the shot. For example why the hand is there and what is going to happen next? I was trying to create suspense and I feel the shot is not obvious as to what is happening so it has a hook for the audience; it draws them in to find out the answers to their questions. Because you cannot see who owns the hand you don’t get the full picture of the situation, you don’t know why they are there and if this was a film, it would be a good linking shot to create anxiety in the lead up to a big incident, it encourages curiousity within the audience.

In what way does it represent ‘thriller’?
The definition of a ‘thriller’ is: a suspenseful adventure story or play or movie.
I think it represents ‘thriller’ because the shot is supposed to add suspense. By not being able to see the whole character you have no idea who they are, what they are doing or anything else about them. You can see the bars on the banister of the stairs, and if this shot was in a film you would pan out to reveal more of the situation. As it is, you cannot directly identify much in the frame except for the hand and the fact that it is grasping onto something in what could be anger or terror. It is because of this unknown factor that the shot creates suspense and makes the audience want to find out answers. A good thriller makes people ask questions, it makes them want to keep on watching and keeps them hooked from the beginning right until the very end.

What works/doesn’t work about your shot?
I think what works about the shot is the element of uncertainty as to where exactly the shot is set and who is in it; it creates anticipation which I think is a key thing in a thriller. I think what doesn’t work about it is perhaps you need something else in the shot, such as someone’s feet coming down the stairs because it looks a little too focused on the hand and as a still shot it doesn’t work as well as it could in a film, because that is all you can see and it doesn’t have a background story to make it obvious as to what it is.