EVALUATION 7

Here is our commentary on both our prelim and thriller.

EVALUATION 6

Here is our evaluation on the technology we used:

EVALUATION 1

In what ways does your media product use, develop or challenge forms and conventions of real media products?







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.

Third Day of Filming

Third day of filming

Our third day of filming consisted of shooting at Tom Vales house and at Shenfield station. We shot at the house as it was very deceiving, from the outside it looks well maintained and normal, however the inside contrasts with turned up carpet, abandoned and run down. At the station, we needed shots of him coming out and starting his journey to what the audience should think home.


We left from school early in the morning to have time to film; we had to fit in filming in the house and station. The first shots we got once got to the location were of tom entering the house, however we had some problems with cars and people in the background also when shooting the match on action of the opening of the door, the key kept getting stuck. Apart from this we got a variety of shots to save us from having to come back and re-film, with shots that included panning we got a few takes so that we had a choice to be able to select the best one.

Once inside the house we had to sort out the costumes and placing of the torture scene. We improvised with old phone cables to tie Taylor to a old chandler hook on the ceiling, we then used this to bind his feet and used a tie to gag his mouth. A black plastic bag was placed over his head to give the impression he had been then for a while. To shoot the torture seen we used a mixture of handheld shots, point of view and mid with the tripod. We also had to shoot when Tom entered the room and laid out his torturous devices. We shot this from a different room through a whole in the wall in a low angle shot to show that Tom was in control. We had problems getting this angle as the tripod was to small so we had to improvise and use bits of old tiles and wood to make it higher to tom was in the camera lens.

Once we had completed the shooting at the house we left and made our way to Shenfield station. He we got shots of tom walking through the barriers at the, and then coming out of the station. We again got a variety of shots, changing the angle and the place of shooting to have more to work with. We had to take some multiple shots were work men in bring florescent jackets walked through, this would have been no good as footage as it distracts the viewer away from Tom.




Finally, when all the shooting was completed we made our way back to school, uploaded what we had filmed and started the process of editing.

Second Day of Filming

With the travelling montage complete and edited, we pressed on with the warehouse torture sequence on the 30th March 2010. With all the props summed up together within the briefcase, we travelled to the suburbs of Brentwood to locate the warehouse. With us, was main antagonist actor Tom Vale and torture victim Taylor Gladwin. After a reasonably long walk, we finally located the warehouse, which is positioned within the Brentwood industrial estate.

Informed by others that it was abandoned, we made our way in through a broken window, familiarising ourselves with the surroundings. Primarily, the rooms were excessively dark, making the shooting almost impossible. However, after some time, we found our way into a considerably substantial room, which almost resembled a plane hanger.

Initially, the process was running extremely smooth. High angle establishing shots of the interior had been perfected, and the props we’re fundamentally set out for filming. However, just as Taylor had prepared the costume, law enforcements interrupted the session. They were extremely cooperative and understanding once we had informed them of our perception upon the matter, as well as the job in hand.

They explained to us that under the circumstance of danger, we would not be insured, due to the fact that the establishment was dangerous. They further elaborated by stating that the building was in hiatus of being bought, and if we actually wanted to shoot there, we would have to contact DHL, fill out permission paperwork etc.
Somewhat disheartened about the current situation, our group left the site, along with Tom Vale and Taylor Gladwin, and travelled back to the train station. Under a moment of reflection, we analysed the footage at the warehouse, and decided that the amount of recording was unsatisfactory.

Fundamentally, this dilemma had caused a variety of problems, as we literally had nowhere to shoot the second sequence. Lending us a helping hand once again, Tom Vale offered to lend us his dilapidated house upon Hutton Mount, stating that it was ok to shoot there if we want. So therefore, it appears that we will probably pursue this tangent. Once reflecting upon the matter, it would seem that all the Blog work on warehouses would go to waste, however, as long as the house is spacious and derelict, all the theory work we have done would still be relevant and fundamentally apply.

On the other hand, we could also follow the variable option of contacting DHL and requesting permission for the warehouse usage. However, time is extremely precious. So unless we can extend the deadline, Tom Vale’s house is the only option we have left.

First Day of Filming

Despite the minor hindrance here and there, I feel on the whole that the days shooting was fairly successful. Once sorting out authorization to leave school, the group, as well as Tom Vale (our actor) travelled to Liverpool Street Station, where we planned to shoot the opening minute of our thriller.

Once departing the train, we took our first sequence of shots from the platform, away from the public eye. Encapsulating both examples of match-on-action, and shot reverse shot, the process was running efficiently. Occasionally we did however stray away from our storyboard, as we were lucky enough to catch footage of a train pulling into the platform bay.

However, we reached our first hurdle as the group prepared from a high angle establishing shot of Liverpool Street Station. Before even placing the camera upon the tripod the group was consulted by a Liverpool Street employee, who suggested that we should consult the Liverpool Street information office before shooting. It was here that we were informed that shooting inside Liverpool Street was strictly forbidden, unless prior to the shooting, permission forms were signed. So therefore, we followed a variable tangent, where we took an establishing shot from outside Liverpool Street.

To insure that we had enough footage to stretch out for a complete minute, the group then passed through Stratford Station, merely as a back up in case the Liverpool Street footage was insufficient. We followed the same format to the Liverpool Street storyboard, with slight variations here and there. However, one predominant factor that we faced was the timing for trains. The fact that the vast majority of trains terminate at Liverpool Street meant we could perfect the shot-reverse-shot and match on action. However, the unfortunate train timings at Stratford meant we would have sparse time to take any shot whatsoever, as the platform is more compact, and therefore, more and more people would just walk into the shot.

On our journeys back home, we decided that taking a shot of Tom reading the paper would be an effective idea to ground the thriller and enhance reality. However, thinking that the shot had been taken successfully, it was to our surprise in the editing suite that the sequence had been recorded over, which unfortunately meant that we had to sacrifice a shot.

So, despite the trials and tribulations we faced through our transport montage, I still think we managed to accumulate a reasonable amount of footage in the process. Left now was merely the torture sequence, which proved much more demanding than we hoped…

Costume- Following Disposition

Now the rough version of disposition was deemed complete, I began to recall a preceding blog post concerning attire for our antagonist. After careful deliberation, I universally consider that the clothing we clothed Tom in reflects our Hybrid Thriller, as well as the themes and messages we are trying to convey.
As I have already said, we summoned most of our attire influence from Michael Douglas’ fictional character in Falling Dawn, as we are using Tom’s exterior shell as a metaphor, to convey the theme of distrust, and an overall sense of trepidation that hopefully looms throughout the two minute sequence.

To anchor the theme deceiving normality, we supported our initial instincts of the predictable white shirt, black tie and formal trousers. I universally feel this unfolded really well, as his intended image fell between a happy medium that conveyed both normality, as well as a somewhat foreboding, quirky zest that really becomes prominent towards the latter end of the sequence.

However, with this meagre success, we suffered a handful of problems. For example, we devised an idea where Tom loosens his tie at the station. This shot was perfected at Brentwood, however, as our location dramatically changed, the continuity would suffer. Therefore, we had to convey this degeneration as he places the knifes, rolling up his sleeves to commit the deed.

When analysing the social grades (target audience), I genuinely believe the Tom is someone they can relate to. I really think that his angst of the mundane commute is conveyed by his lack of general emotion, even when he reaches the house. This form of firm, ridged Non Verbal Communication, accompanied by his fairly standard shirt, tie and glasses fundamentally grounds the film, conjuring up something that is legitimately believable.

To some extent his attire resembles the fellow inspiration of Jack Torrance from the Shining. However, I feel we have replaced this frenetic role with something more resourceful and practical. The fact Jack’s jumper is red subconsciously symbolises danger merely through mise en scene. However, Tom’s attire if anything symbolises innocence with the white shirt, which once again follows the deceptive route we are trying to convey.

Overall, I think the costume was a complete success, and effectively anchored the intending themes and messages we were trying to propose.

Selecting Actors

After a significant amount of research on character influence, it was now time to decide on an actor that would fit within such requirements. As a week rolled by neither the group nor I could decide on an actor to play the lead antagonist role, until a memory sparked of a friend both Dave and I knew from secondary school.

Initially it all seemed like a fine idea, as he was moderately tall, robust, charismatic, yet could fit within the general public effortlessly. It seemed however after weeks of preparation for props, sound, location etc, that the shooting schedule was almost impossible to fit around the mediocre day at his college. Worried about the deadline for both shooting and editing, we had to swiftly drop the actor, and started frantically searching for someone around Shenfield Sixth that encapsulated the necessary requirements to be in our Thriller.

Literally days before our scheduled first shoot, Tom Vale, from our media class confronted us stating that he wouldn’t mind acting within our two minute Thriller as the main antagonist. Initially, we weren’t exactly sure whether Tom could pull off an image of formality/impulsive madman. However, in hindsight, Tom Vales proposition was a Godsend.

It fundamentally appears from the footage we have managed to preserve so far that he can pull of the formal image really well, which is anchored through the props of the briefcase, glasses, and watch. I have seen him frequently at school with his shirt tucked out, with a skewed tie, so I’m hoping that the subsequent day of shooting will be just as successful as the first.

As well as the leading antagonist, we needed to find someone who could play the torture victim. Our choice was primarily influenced by a fellow group’s finished Thriller product, whereby Taylor Gladwin plays a frenetic, disjointed, down-and-out male, who appears to be psychologically ruined. Influenced greatly by their thriller, we confronted Taylor, requesting similar acting skills within our own thriller. Taylor appeared more than happy to comply, meaning that we shall hopefully utilize this factor within the second torture stint, the following week.

Thriller Name- Disposition

On the cusp of shooting our two minute psychological/thriller, the group contemplated as to what the hybrid should be called. We collectively weighed up two names, deciding which one suited the film most appropriately. We needed a name, which single-handedly provoked audience response through enigmas and mystique. I also feel it had to illustrate the antagonist’s psychological state within film, as he is most definitely the focal point. However, I feel the concrete name we concluded on has an even deeper relevance to the plotline, as it mirrors the antagonist’s views upon the world.

Desolation

Initially, we toyed with the name Desolation; nevertheless, it generally appeared that such a name wouldn’t provoke the audience’s response to such an extent. It did however mirror the antagonist’s degeneration in mind and social status as the thriller progresses, which is an idea I still like. Despite this, it feels too black and white, cliché or even one dimensional.

When you analyse a typical mainstream thriller name, such as Se7en, Marathon Man etc, you notice a growing correlation of ambiguity. Desolation almost seems to answer itself before the audience even watch the film, as images will conjure up in their mind of grim trepidation. As we are trying to deceive our audience through the themes of distrust and normality, a blatant title didn’t mirror these ideas, so after some careful deliberation, we settled on the name Disposition.

Disposition

Initially, I had a sparse understanding of how to define Disposition. I primarily understood it as a balance between two things. However, after some light research, it was to my surprise that it had more than one definition, which one the whole, related back to our psychological/thriller.

Fundamentally, many define disposition as a state of mind- “he has a happy disposition”. Relating back to our thriller, the audience will endeavour to seek out his authentic mood, only to find out the monster he truly is. In this case, the name could be regarded as extremely ambiguous, and possibly generalised to the point where the audience are given a brief insight to the film, but nothing concrete enough to reveal the storyline.

Secondly, one could analyse this polysyllabic word as dispose. The act of getting rid of something is a notion that could effectively provoke audience response, just due to the generalisation- who, where, and why?

Finally, and most prominently, is the final definition I researched. A disposition is a habit, a preparation, a state of readiness, or a tendency to act in a specified way. I found this somewhat profound, and an interesting theory that works alongside our thriller, as when all the elements above are entwined together, they almost create an embodiment of our antagonist. For example, he feels the natural affliction to commute from London (habit, a preparation, a state of readiness), which is evidently a monotonous task; however, it is this mundane lifestyle that may influence him into committing the heinous crimes he does (to act in a specified way). Obviously, this is only one way of evaluating the antagonist’s actions. However, this proves how a mere name can help encourage mystique and suspense within a psychological/thriller, and enveloped around ambiguity and uncertainty, should mirror the chosen genre.

Focus Group

As part of our research, we decided to conduct a focus group, which we filmed. Since we were limited with time, we decided that the best thing to do would be to conduct the focus group with part of our Film Studies class, as well as asking the same questions to people of different age groups outside of school.

Here is the focus group we filmed:

Hybrid 2 Minute Horror/Thriller Storyboard

To Be Continued...

Costume

Now the group had devised a concrete idea for the hybrid psychological/thriller, we needed to carefully deliberate what type of costume would mirror our antagonist, as well as the resounding themes and messages we are trying to convey.

Now that the group have discarded the female antagonist notion, I have begun to contemplate as to what form of attire the character would suit. Considering the storyline, it appears that deceiving normality is one of the most prominent themes. Therefore, the predictable white shirt, black tie and formal trousers seem the best proposal. This would universally create the illusion that this man is just another face within a sea of commuters, eagerly awaiting to reunite with his ‘superposed nuclear family’. He will be wearing fairly presentable glasses, with a watch to suggest that he is a typical mediocre man, with natural blemishes and insecurities in life, despite the fact he inflicts severe pain upon victims, with supposedly no reasoning.

Fundamentally, our influence draws towards Michael Douglas’ fictional character in Falling Down. Evaluating both our character and his, you can draw together assumptions merely through their form of attire. Pre-conceived notions connote that they are both middle-class office employees who seem rundown from the stranglehold of their business. The shirt and trouser combination almost suggests that they are not a full package; opposed to the conventional ‘bigwig’ you would see in a full piece suit. This could suggest they are not essentially fulfilled in life, and therefore take it out on the world around them.

An important factor to note in terms of clothing is the degeneration during his journey. This is a key micro feature that entwines with Mise en Scene, as the stripping of clothing e.g. glasses, rolled sleeves etc should anchor the growing correlation of isolation. This should fundamentally convey the true man behind the supposedly pristine white shirt and tie that the audience initially see.

Another influence I personally took from devising such character is once again Jack Torrance from the Shining. Initially he is perceived as a perfectly normal man, which is essentially highlighted through his janitor/everyday attire. However, as the hotel begins to indoctrinate him (life knocks our protagonist down) he snaps, and progressively breaks down. This results in the frenetic man we see towards the end of the film, however, he is still shot in perfectly standard clothing (red jumper and jeans). However, behind the jacket lies evil, making the scene even more profound and breaking conventional stereotypes.

When finally analysing the social grades (target audience), I also feel our antagonists attire would be something they could relate to. Going to school myself, I know being confined behind a stuffy shirt, tie and trousers isn’t something I exactly admire. Therefore, somebody placed in a lower middle class status, who may not exactly revel in the idea of working at an office all day, may be able to relate to an embodiment who breaks away from the conventions and the stereotypes that naturally come with such a profession.

BRIEF - Props and Iconography

To mirror our chosen hybrid psychological/thriller, our group needed to carefully deliberate over the suitable iconography to anchor the resounding themes, enigmas and stereotypes we were trying to convey.

It universally appears that Props and Iconography play a vital role within the world of cinema. They conjure up pre-conceived notions in the audiences’ mind, and instantly mirror the genre we are trying to convey.

Within our own two minute Thriller we will attempt to depict a young male, on the daily commute back home. The first piece of iconography associated to the young male will be a rigid black briefcase. One usually links such iconography with the normality of his profession. Therefore, the audience will primarily feel reassured that this male is legitimately normal, as he blends in with the sea of commuters enveloping him.

Secondly, he will be primarily seen wearing glasses. This prop is vital, as impaired vision within the media is represented under disability. Unlike the orthodox perfection of protagonist/antagonist such as Arnold Swarchenegger, we will present someone with actual blemishes and natural issues within their own life (influenced by Bruce Willis, Die Hard), which generally adds to the realism of the film.

During the primary montage sequence, the third prop introduced is a daily paper on the train. Whether he will be reading it or not is irrelevant. However, the fact it is there once again grounds the film, intensifying the realism of the daily commute. It will also reinforce the fact that this is merely another day for the character, which is extremely daunting once the audience are aware of the ‘real man’ at the warehouse.

As the montage draws to an end the warehouse sequence will commence. Being that this scene revolves around torture, we will need the basic utensils in order to shoot. As the victim is already tied-up, we will need some rundown rope, which is frayed and ripped to convey how the body has writhed and struggled for freedom.

Preferably, we will need a rickety, decrepit chair to once again mirror the age of the dilapidated warehouse and rope. This universal theme of age similarly mirrors the monotony of his daily journey, as the enigma will arise - how often does he commit such a horrendous crime?

Influenced by the Marathon Man (1976 John Schlesinger), the antagonist male will present the once familiar briefcase exposing a series of dangerous, sharp and metallic devices, such as a scalpel, hack-saws, hammers etc. As he lays them methodically on a metallic tray, it is vital to note how the use of props (briefcase) juxtaposes in order to catch the audience off-guard and provoke response.

Generally evaluating the sequence, it fundamentally appears that we as a group have devised an idea that fully exploits the audiences’ media trained minds through our props and iconography. I feel as an individual that we have successfully used iconography that mirrors the conventions of a Thriller/Horror, whilst breaking away from what is generally expected to provoke as much audience response as possible.

The Thing- The Predator Notion

Coincidently, our film class watched “The Thing” due to the required learning spectrum. Despite the fact I thoroughly enjoyed this classic 1982 sci-fi hybrid; there was an element of this well-crafted film that I found utterly profound. Carpenter intentionally pursues an all male cast, with no females featured throughout the films entire progression.

In the vast majority of interviews, Carpenter stated that the stereotypical female slows down the natural progression of action and suspense, and if shot poorly, can dilute the sequence all together with humdrum romance and excess emotion. Instead, he focuses on the growing paranoia of men in the 80s, due to the Watergate scandal concerning Nixon; as trust within American society was sparse.

I feel this idea would be profound, as our antagonist could signify an up-to-date social message concerning society’s distrust of the 21st century. I also feel it would be an appropriate idea if we were to mirror the traits of “The Thing”, whereby malevolence can lie behind any face. This is seen thought such antagonists as Alex DeLarge, (Clockwork Orange Stanley Kubrick) who stripped down could be percieved as the average teenager. However, beneath the superficial smile lies a child who enjoys rape and ‘ultra violence’.

Many have argued that the role of a female was merely unnecessary within such a film, as the men degenerate to such an extent that they adapt traits of a conventional female portrayed in cinema.

Many have even argued that The Thing itself is female. This may sound somewhat ludicrous; however after careful deliberation it seems extremely relevant. When analysed basically, the monster gets under the skin of the men, literally dissolving their ego’s until they are gormless beings. For men, this homes in on the fear of females, which is anchored by the vagina sequence when The Thing consumes the surgeon’s arms with its razor sharp “vagina teeth”.

I fundamentally decided to do a short reflective analysis on this film as a whole, as the concept of an ambigious predator is one that universally speaks to me. Obviously, our group does not plan on devising a real life size Thing, as the budget is sparse and restricted. However, the simple fact that The Thing conceals its relentless evil behind men is an idea that I really like, as it creates a wide spectrum of enigmas, and if stripped down the basics, could work in a Thriller.

Within our warehouse torture sequence, its possible we could even attempt to mirror and shoot the scene in a way that reflects Carpenter’s renowned blood test sequence, as the possible threats are tied up, all with suspicious, fretful non verbal communication to anchor the pending threat that will eventually unfold before the audience.

The final aspect to consider in both “The Thing” and own thriller, is the motives behind the antagonist. If we do decide to follow the unconventional, quirky killer route, we will have to contemplate as to why he commits such a heinous crime. However, throughout the 1982 remake the monster is literally branded as “weird and pissed off”. Many could argue that the fact the Thing’s priorities are ambiguous is an effective way of creating enigmas, which is something we could easily adapt in our thriller. Co-linking with the themes of mistrust and erratic behaviour, one could say that no motive behind death brings realism and horror to an all new level in cinema.

Antagonist Influence

Once devising a fairly strong idea in terms of the sequence narrative, the group decided what type of antagonist would fit within the context of the film. During one lesson, David and I accumulated a series of stars that would successfully influence our character…

Female Antagonist

When pondering over a female who could embody the traits of our own female antagonist, the first actress that came to mind was Jodie Foster. It universally seems she is a hard-shelled lady who is resourceful and impulsive. One could even argue she has influenced Carol Clover’s summarisation of the “final girl”- note how she is seen wearing tank tops in “The Panic Room” and wears all black in “Flight Plan”. Initial signs that tell the audience she is practical and strong-minded.

Foster’s traits would be a marvellous idea, as she could encapsulate a balance between masculine and feminine traits. In a torture scene, I can almost envision her methodically laying out the utensils upon a tray as her victim sits helpless. This generalised balance is seen in her Thriller film Flight Plan, a typical homebound mother, who sends a stranglehold upon an entire flight crew due to the loss of her daughter.
When initially evaluating the mere exterior of Foster, pre-conceived notions tell us she looks somewhat resilient and internally cold, yet there is a refined beauty that lures the audience in, or even possibly a victim?

So after careful deliberation, it appears that Jodie Foster typically stars in psychological Thrillers, ranging from Silence of The Lambs, Flight Plan and The Panic Room. Directors seem to conventionally place her in positions where she overcomes all misdemeanours, stereotyping and trepidation, resulting in an emotionally scarred human being by the conclusion. So, depsite the fact she is typically known for the protagonist roles, it seems a character embodying her traits, who is tough-skinned and forceful enough to break the conventional way we as an audience look upon women would be the way forward, thereby changing the world of cinema forever!

Male Antagonist

When toying over a generalised influence for the potential male antagonist. A wide spectrum of names arose that relate back to the subject matter of a torture scene. Both Dave and I decided that we could either follow the orthodox villain, such as Christopher Walken or Alan Rickman. Both men, in their mid-sixties, have substantial experience playing antagonist roles, in both ominous and comic films.

It does seem however, there is a small quantity of concerns that arise if our media group decides to pursue a prototype of the antagonists above. The first dilemma concerns age- locating a 50/60 year old to perform in an A-level Thriller, which seems somewhat unfeasible.

The second of course is the overriding sense of being too cliché and predictable with such an antagonist, due to their rich history of antagonist roles. Many could argue that this humdrum approach has been done many a time before, and therefore, we may need to devise an antogonist that is more refreshing for the ever-changing market.

A frequent convention seen throughout Thriller’s today is the concentration in terms of realism. Through the use of key micro elements, directors attempt to make every sequence look as genuine as possible before executing a scene, which is why maybe a youthful male protagonist with sparse dialogue and impulsive anger problems would be a good idea. Iconic antagonists that spring to mind that would work within a torture scene are Alex DeLarge from Clockwork Orange (1971 Stanley Kubrick) and Jack Torrance from The Shining (1980 Stanley Kubrick). Both antagonists are spontaneous delinquents, yet equally and fairly a part of everyday society, enhancing the reality and horror unfolding before the audience. It may also be worth noting how costume will be more straightforward if we pursue this option, as in The Shining, he wears a crimson winter jacket, while Alex and his droogs wear white jump suits and masks.

Initial Ideas for Thriller

Once we finally wrapped up the Preliminary Task, we took time from the conventional media lesson to devise ideas for our two minute Thriller. Fundamentally, the process was much more difficult that we initially expected, as we had to conjure up a concept that provoked audience response, with a sparse budget and no valuable resources. Furthermore, it appeared that as a group, we had conflicting ideas as to where we wanted to take the Thriller as a whole.

Though nothing yet is necessarily set in stone, we mutually held interested over a female antagonist- Someone who breaks the rules and regulations of conventional Thrillers, whilst similarly deceiving the audience with typical feminine stereotype qualities in the process.

We primarily decided that a conventional death was not necessarily needed within the opening two minutes of the Thriller. We pondered on whether to shoot something with an underlying messages of death, (torture scene etc) without giving too much information away.

So far, we as a group have arranged two ideas enveloped around the female antagonist…

Initially, we formulated a plan where the audience follows the conventional female on what appears to be the mundane stroll back home. The audience will instantaneously identify she is a conventional female through the Mise En Scene of clothing, naturalistic lighting, typical setting etc. Pre-conceived notions will go to their minds, formulated by stereotypes that this female is completely harmless, and if anything vulnerable. However, when she reaches home, the audience will see that behind the quaint exterior of her house lies a chamber so devastatingly solemn and ominous it will catch the audience off-guard, and therefore provoke audience response.

Two different films influenced this idea- that being Silence of The Lambs, and The Thing- based around the notion that evil can lurk behind any face, where all stereotypes are literally thrown out the window, thereby enhancing suspense and drama.

However, after careful deliberation, it seemed somewhat ludicrous. I personally felt the message was still very much valid, as well as solid, though scouting for a residency where the exterior is presentable, while the interior is dismal proved quite difficult. We were also drawn to a conclusion that following a females day-to-day routine was too dull, considering we only have two minutes to shoot the sequence.

Therefore, we mutually agreed that the second notion had a better foundation to work upon. It ultimately encapsulated elements from the stripped down primary version, with more layers, creating enigmas with an overriding sense of ambiguity.

In these opening credits, we plan to link an image briefly seen in a “red room” to a torture scene, shot in a warehouse. The audience should note that the man seen in the picture will be the same man who is strapped down to the chair.

The figure in domination over the male will questionably be undisclosed until the end of the sequence, with subtle clues that this sadistic figure is actually female e.g. laying out torture devices in a pristine manner, as a conventional women would in the kitchen with domestic utensils, clicking of heels?

The sequence conclusion could follow two variable tangents. One being where she executes the man writhing on the chair to almost signify what is to come. However, we could arguably leave the scene open with the man simply screaming for mercy, leaving the audience to question the fate of the victim so early into the film.

The fact the audience witnesses a woman performing horrendous misdemeanours I feel is vital. As men are renowned for impulsive acts of violence, while women are stereotypically passive and calm. Therefore, this should provoke the audience into questioning what has encouraged such acts of violence.

Like I said before, nothing is yet set in stone. Ideas can flourish and the sequence could be enhanced further. However, I am currently satisfied with the plot-line so far, as it seems driven and thought provoking, whilst entwining means of action, enigmas and ambiguity.

"Cape Fear" - Textual Analysis

As the film begins, even before we are shown anything, there is a soundscape of running water. This immediately suggests that most of the film will take place around water - anchored by the images of water, and the fact that the film is called 'Cape Fear'. There is then a sound sting as the non diegetic score begins, which instantly puts the audience on edge.

The water rippling is accompanied by a contrapuntal score, as the water is calm while the music suggests otherwise. This creates many enigmas as the audience is wondering what is going to happen that makes the water significant.

The soundtrack then becomes louder and more dramatic as an eagle flies into view behind the images of the water. Again, enigmas are created as the audience is wondering how the eagle and the water are connected. Eagles also have sinister connotations, as they are birds of prey and fearsome predators, suggesting that the film may centre around a murderer or someone who preys on others.

The water then turns darker, and the music becomes even more dramatic as the title of the film appears. This suggests that the name of the film (which is a place) is important, and that bad things happen there. The text used for the credits also suggests a general feeling that something is not quite right, as they are shown in a slanted font.

An eye then fades into view behind the water, as though the person is in the water. This mysterious person is significant as they may be someone who is murdered and thrown in the water, or they could be the antagonist. who plays a significant role in the film. A shot of a mouth is then shown in the same way, which could be someone screaming. We are then shown the face of the person which becomes clearer. It become evident that the face is of a perosn laughing, which has connotations of evil and villains.

As the non-diegetic score draws out, we as an audience see that the lake turns a murky crimson colour, as if to reflect the suns evening rays. The sense that darkness is imminent revives pre-conceived notions of immediacy to mind, as in any conventional thriller, the darkness is almost an optimum time for misdemeanours to take place. The colour red also works alongside the conventional codes and conventions of Mise En Scene, as red typically signifies danger or a looming threat.

This sense of immediacy is heightened as the water begins to ripple, exposing a burly male who appears to have woken for deep sleep. The fact he is enveloped around darkness, as well as his peculiar NVC ultimately signifies he is a mysterious figure, who is somewhat cold inside, possibly looking for revenge. The audience then begin to ponder over who this mysterious man really is.

As this image fades, we are reintroduced to what appears to be the same man, writhing as the non-diegetic score continues in the distance. The fact the N-D score is repetitive, and the water has a yellowing tinge signifies that this lake has a notorious, lengthy history.

To anchor the notion of pain and danger written of above, the water then impulsively ripples to mirror a heart monitor seen in hospitals. The fact it frantically gets bigger, with red pigments oozing from the top signifies imminent death, or once again a pending doom the audience will have to wait for.

The repetitive non-diegetic soundtrack then builds to an optimum focal point of tension as the camera fades to the silhouette of a man, smothered by green water. The daunting score works alongside the NVC, as the fact he moves closer to the screen almost mirrors him walking towards the audience, which should provoke audience response.

Finally, the lake is completely consumed by a pool of blood, with a mere droplet falling in the background. This is a similar technique seen in Scream, where the white copy turns a blood curdling red as someone screams. Both examples portray to the audience that the circumstance of events have changed for the worst, as the lake is metaphorically consumed by danger and most prominently death.


In the next scene the first shot is a extreme close up of a girls eye’s, the shot fades from red to white In a negative. This infers that maybe what is happening is in the past, and connotation of the colour red perhaps means that she is the victim of what will happen later on. This shot is accompanied by a soft creepy soundtrack as the dialogue begins. The soundtrack then fades completely and the non digetic sound of a river or waterfall starts, this suggests that what will happen later will also have something to do with water.

The camera slowly zooms out to a mid shot of her whilst she is talking in a direct address. The set design of the room she is sitting in is all white, her costume is all white. The whiteness of the room and her could mean that she was the innocent victim or is insane. The connotation of the colour white normally associated with innocence or insanity which is being inferred to the audience here. Her polo shirt is done up to the top, so she could be a bit weird. Again this shows that she may have been through something and has been affected mentally by it.

When she talks she begins with the phrase ‘my reminiscence’, it shows that she used to think the place was a nice place to be and that the name of the lake (cape fear) was misleading. This again reinforces that the horror to come orientates about this place and that she is one of the main characters that has been affected by what has happened there.

The scene has been shot with no editing, and no music soundtrack this helps the audience come up with their own enigmas as it has them more entwined. This scene has used many conations with the colours it uses to create and involve the audience, its use of mise en scene, music and iconography all help the audience create enigmas about what is going to happen.


The camera slowly pans down the prison cell wall, where theirs pictures of malicious leaders of the past. These images instantly create a negative tone towards the film. The pictures automatically tell the audience that this man is the antagonist of the film. Whilst the camera is panning down the wall the loud non-diegetic soundtrack from the credits starts up again, it comes in suddenly to shock the audience and to reinforce the negative tone of the film.

We then see a close up of some books, one of them being the bible, the importance of this is that is tells the audience that he has certain beliefs, creating enigmas for what those beliefs may be. As the scene continues the music softens slightly until we see the man doing press ups. We see he’s a strong, muscularly man making the audience fear him. The fact that the music then becomes louder and turns into a musical sting reinforces the idea that he is the antagonist.

The push up movement that the actor is doing appears in a worshiping manner, as if he is worshiping the leaders on the wall, it makes the audience UN –easy as well as intriguing them. The camera then shows a close up of his back revealing his tattoos; the tattoo is a big, cross with the American style scales on either side, with the words truth under one side and justice under the other. The significance of this is huge as the scales are balanced telling the audience that he believes the truth equals justice. Then as he turns around we see that he is covered in tattoos fitting the stereotype of the classic tough criminal. The non-diegetic soundtrack then decreases in volume as the prison officer say’s to Cady “ok, the moment you’ve been waiting for” this informs the audience that he’s been in there a long time.

Cady then walks out his cell and down the stairs, as this is happening the other prisoners stare in silence giving the impression that they fear him. Another interesting point is that Cady walks in front of the prison officer representing that even the officers fear him. We see all this through a long, panning shot around the prison as Cady walks. The camera then shows a mid shot of Cady and the officer walking out through the gate, where the gate then shuts to end the scene.

The next scene then starts with the outside gate being opened and Cady walking out. As this happens the officer say’s “Anybody coming for you Cady? What about your books?” and Cady replies with “Already read em” this again reinforces that Cady has been there a long time and tells the audience that he has no one, he’s alone. The camera shows a wide, long shot as we see Cady walking out of the prison this is to establish the storm that starts up behind him; this makes the audience think that something bad is going to happen, as if Cady shouldn’t be released. The scene then ends with Cady walking straight towards the camera and the non-diegetic soundtrack building as he goes. Cady then walks straight into the camera blacking out the screen and the soundtrack comes to a sudden stop.

"Scream"- Textual Analysis

Approaching the time of devising ideas for our Thriller concept, Miss Cookson advised the class to broaden our knowledge on such genre by evaluating a thriller of our choice. After careful deliberation, I wanted to find a thriller that was somewhat renowned, with obvious connotations revolving around the genre. Consequently I came to the conclusion to analyse Scream, a conventional horror/thriller hybrid of the nineties, celebrated for his riveting plotline and notoriously well known antagonist.

Following the conventional nature of a horror/thriller hybrid, Wes Craven opens the film with a title sequence. Primarily, he uses a daunting sound of the howling ambient air, which should already send pre-conceived notions of fear and paranoia to the audience at home. However, the soundscape is instantaneously drowned out by a telephone as the heading “Scream” fades in. The fact the white caption turns a blood-curdling red would connote the stripping of ones innocence and most inevitably death, which is then reinforced by the prominent sound of a heart beat.

The final humanly scream (relating back to the film name), which evidentially derives from a female, smothers all these sounds as the audience are introduced to Drew Barrymore- a stereotypical “blonde” female the audience would conventionally see in teenage dramas etc.

The fact she is a mere adolescent, wearing a white sweater, should swiftly signify that she is the cliché naïve cheerleader, who is usually portrayed as somewhat arrogant within this hybrid genre. From her mere exterior shell, the audience will instantly assume she is sexually active, with the predictable jock boyfriend, which conventionally means she will be punished by death, just by the very nature of a horror thriller. The sparse opening sequence could almost signify the time she perished in the future, and how the white sweater (white title) turns to red (red title) as she is stabbed and screams (note how the non-diegetic sound of the wrenching heartbeat instantly cuts out, to ultimately signify death).

When analysing cinematography, it is imperative to note that most shots consist of close ups. The initial close up of the telephone immediately signifies danger, as the soundbridge of the telephone and screaming connotes that danger is somewhat related to the call. The fact that Craven uses close ups on the face implies a sense of claustrophobia, in a daunting means of no escape. It could also primarily signify her naïve frenetic age, and the fact she will not live up to the Carol Clover’s stereotype of the “Final Girl”, as she seems too provocative and nonchalant to outwit the pending threat spying upon her.

Mise en Scene plays a vital role within Scream, as in many ways it is used as a tool to deceive the audience. The fact that she wears white, and is enveloped around a pristine white room, could convey an almost safe haven of honesty and truth (which is therefore breaking the natural stereotype of colours to catch audience off-guard), which is then juxtaposed to the stereotypical isolation and eeriness portrayed outside through the proverbial ambient sound of crickets (a common theme used in the horror genre, similar to the howling wind, trees rustling and owls etc, as it conveys a sense of helplessness and segregation).

When trying to establish the mood and asserts of the genre, it is absolutely imperative that the Iconography is used to the utmost perfection, and Scream was no exception. I personally felt the substantial, metallic kitchen knives were the most prominent feature, as most conventional horror/thrillers are renowned for the antagonist’s choice of weapon (I Know What You Did Last Summer- fishing hook). Therefore, the knives almost convey what is to come- in terms of the treacherous deaths throughout the film.


What I personally discovered as a profound subconscious meaning, relating back to iconography was the popcorn on the stove and its undisclosed metaphor within the sequence. It appears that it mirrors the course of action, and when she ultimately discovers she is talking to a delusional psychopath, the camera cuts to the popcorn bulging. Accompanied by a menacing non-diegetic sound, we as an audience feel a natural growing correlation of fear and paranoia, which is a good example of key micro elements working together to force audience response.

Similarly to fellow directors who divulge in the genre of horror/thrillers (particularly John Carpenter, known as the king of horror), Craven uses musical stings throughout this climactic scene, especially towards the end where rapid editing is used to almost mirror her frenetic, almost chaotic mindset.

The antagonists attire is fairly typical within such a genre, wearing black to ultimately connote he is dark, mysterious and most prominently, a cold man, who will kill without hesitation. Before he is blatantly introduced to the audience, rapid editing and whip pans are used, as it almost conjures up an image of a predator, stealthy and universally powerful in the audience’s minds.

Inevitably, the audience see their new protagonist portrayed by Drew Barrymore, slashed in back by the antagonist. The fact she is killed momentarily before escaping the quarantine of her house is a fundamental technique used by directors, as they lure the audience into thinking the protagonist will find salvation. However, due to the very nature of horror/thriller, the nonchalant, sexually active stereotype must be punished- which is later referenced through the films natural progression.