When analysing the title of our Psychological Thriller, I collectively feel that such a name mirrors the conventions of an authentic media product. When contemplating the name, I feel it single-handedly anchors the themes, messages and values suggested, but with it comes a resounding sense of ambiguity which we were trying to convey throughout the two-minute sequence.
After some light research, I have accumulated a variety of films that belong within such a hybrid. Some examples would include Memento (Christopher Nolan 2000), Seven (David Fincher 1995), Psycho and Rear Window (Alfred Hitchcock- 1960, 1954). Pre-conceived notions instantly imply that all 4 films offer something deeper that what is seen on the surface, which can be explored and ultimately broken down, until the viewer has a refined perception of the themes messages and values.
After considering if our title mirrors or challenges forms and conventions of real media products, I decided to move on to setting and location. Initially when reviewing the raw footage on camera, I wasn’t too confident whether the metropolitan scenes would reflect a psychological thriller, as all looming and pending danger would be silenced by the sheer amount of people. However, If anything, I felt this blemish eventually worked to our advantage when teamed up with the non-diegetic sound, and could thereby be seen as contrapuntal, as the musical score almost strips the safety and security from London that the audience would naturally expect.
However, the following scenes in the Brentwood suburbs particularly anchored the sense of grim trepidation and hopelessness you would see in the conventional psychological thriller. The sparse amount of people, juxtaposed to the previous scene seemed to work well, as the varied setting almost signifies the mind lapse that you see within Tom.
Although thoroughly stated within other Blog posts, the group has spent a significant amount of time developing the forms and conventions of real media products in terms of Costume and Iconography. Fundamentally, we based our protagonists clothing around Bill Foster, the fictional protagonist featured in Falling Down (1993, Joel Schumacher). This form of intertexuality I feel worked well, as Michael Douglas’ renowned role means that audiences should instantly recognise and appreciate our Thrillers forms and conventions, and thereby tackle it as a real media product.
Iconography similarly develops forms and conventions of real media products, especially within our chosen hybrid. The conventional psychological thriller typically centers around the human psyche, which is usually perceived as the metaphorical weapon at hand, however, we do use knifes, glasses and a briefcase. Such examples would include Christian Bales fictional character in American Psycho (Mary Harron 2000). On the surface, he is deemed a perfectly acceptable member of society, ultimately affluent, resourceful and intellectual (coincidentally, he does carry a briefcase). However, when the malevolent side becomes more prominent, he uses all these positive traits above, along with a similar assortment of weapons to commit crime successfully, all traits which are encapsulated in our thriller.
Cinematography and Editing was most definitely the most difficult factor to develop forms and conventions of real media products. Being that all four members of our group were still relatively unfamiliar with the shooting software and cameras, we strived to produce our thriller with innovative shots and editing. It doesn’t seem that we challenged the forms and conventions of a psychological Thriller either, as the general scheme was to execute shots that wouldn’t be too taxing, so they are fairly predictable within the genre. One shot I am particularly proud of was Taylor’s point of view shot with the hand-held camera, which was partly influenced by Jason Voorhees mode of action in the original Friday 13th (Sean Cunningham 1980). So in this case, the film does mirror a real media product, outside a different genre I would add.Among other factors, I am extremely happy with the way our title font develops forms and conventions of real media products. The titles were merely a way of breaking up the course of the sequence, in fragmented states to possibly mirror the protagonist’s chaotic mind. The black backdrop is ultimately typical of a hybrid such as this as it connotes evil, however, the cold white, rigid serif font could convey something more innocent, and possibly how the protagonist wants to be perceived by those around him. Though, as the black mostly envelops the screen, pre-conceived notions should hint to the audience that this is a real media product, where psychological malevolence will consume.
When analysing how the typical real media director executes a story through the opening credits is vague, as within the psychological Thriller, the choice is so substantial it seems hard to narrow down what would develop or challenge forms and conventions. In a variety of aspects, we do challenge the conventional opening, as many directors try to maintain the ambiguity throughout their film until the climatic scenes towards the end. Some films use the opening as a catalyst to spur on action while others convey the notion instantly, similar to our sequence, so it really does seem to depend on the film. David Fincher’s 1995 Thriller Seven follows a similar format to unfolding the story as our psychological, as by the end of the opening sequence, the audience are aware there is a killer on the loose, with two detectives with reason to stop him. It does seem though, that both our thriller and David Fincher’s still remain ultimately ambiguous, raising questions from the start. So in this sense, our psychological thriller does develop forms and conventions of real media products.
In terms of genre, I feel the group has successfully mirrored the psychological Thriller throughout the two minute sequence, in a way that should reflect a real media product. We executed a variety of close ups, mid shots, and a master shot to introduce the protagonist, in a way where he looks formidable, slightly constricted and claustrophobic. Close ups ultimately promote Tom as an influential character, but concentration on the face should ultimate connote there is something wrong internally. This is also anchored by his very methodical, intricate and rigid non verbal communication, which is reflected within Falling Down’s main protagonist Bill Foster, who looks somewhat seized up throughout the film, to constrict interaction with the low-lives enveloping him.
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