The document analyzes 9 shots from the opening sequence of a media product and how they use, develop, or challenge conventions of real media. Several shots challenge conventions by using modern technology unlike typical Polish films or incorporating more action. Other shots embrace conventions by using similar lighting and compositions to Polish films studied. The sequence also develops conventions through techniques like tracking shots and two-shot depth of field used in films like Jaws. Overall, the analysis indicates the sequence aims to both relate to conventions of Polish films while also challenging genres to appeal to a wider audience.

1. Evaluation Question 1

2. In what ways does your media
product use, develop or challenge
forms and conventions of real media
products?
• The following are our 9 favourite shots from the
opening sequence. I am going to explain how we
looked to develop use and challenge the conventions
of real media products.

3. Shot 1
• Shot one we looked to challenge the stereotypical Polish action theme. As you
can see in the background the computers shown are very modern macs,
however in the films we studied before production such as 'Zemska', they
tended to use much more old fashioned technologies such as phones and
computers.

4. Shot 2
• In this shot we looked to embrace the conventions of Polish film. As you can see
the picture is in black and white and the lighting is very dark and gloomy. This was
inspired by the opening of one of the films we studied, 'Kieslowski- thou shalt not
kill'. As you can see in the shot bellow, the main character is in the centre of the
close up shot, just like Poscig. Also the lighting creates shadow across the actors
face, just like Poscig.
• The lighting was something we noticed in all the films we looked at and studied,
not just in Polish cinema, but foreign cinema as a whole, there was a lot of dark
moving images that created tension within the opening scenes of the action films.

5. Shot 3
• This shot is actually one of my favourite shots from the sequence. It is the first
time we get to see the actor moving in the film after he is pictured as an image in
the previous shot. This looked to challenge conventional polish media, at is not
often that full, clear, bright light is present in many of the films we studied.

6. Shot 4
• Shot 4 is the start of the action, it pictures the pursuers in the foreground and the
target deep within the shot. This challenges conventional media as not many
Polish or world cinema productions are action packed. The reason we tried to this
was so that we could reach a much wider audience that can all be entertained for
the full length of the feature.

7. Shot 5
• Shot 5 ironically was actually inspired from a scene in the world famous Jaws
movie. In that particular film 'jaws' the shark can be seen chasing in the
background, with the main character in the foreground. This shows the two shot
technique and depth of field. As you can see in our shot we have tried to develop
and use this with the car replacing the shark, and the actor on the bike replacing
the swimmer.

8. Shot 6
• This was another personal favourite shot for the group. It really puts into
perspective the pace of the scene and how quickly the chase unfolds. This also
relates back to my previous point about how we challenged conventional media by
making an action style production.

9. Shot 7
• Out of all the shots this was probably the most satisfying to film, due to the shear
number of takes it took to get it right. However we were very pleased when it
came out so clearly. In all the films we studied not one tracking shot was used at
all, so this really did put a spin on our competition and previous Polish media.

10. Shot 8
• Shot 8 we looked to relate back to Polish media and moved back to the location of
the dark 'Headquarters' room. It allowed us to still connect to the world cinema
roots of the film. Many Polish films were very dark and used little or no assisted
lighting. We feel we created the perfectly lit environment for this scene. As it gave
the camera enough light so you can clearly see the actor and his actions, yet still
looked similar to Polish films that we will be compared too, such as 'Thou shalt not
kill'.

11. Shot 9
• Finally shot 9, the closing end of our opening sequence, uses Polish media simply
due the fact speech is used within the scene. Subtitled in English of course, so we
can appeal to that much wider audience that we desired to attract. However it still
challenges many forms of media, as the speech is shouted and has a very harsh
angry tone to it, which we did not encounter in any of the films we researched.