social groups improved

2.  A social group is a group of people who interact with each other
usually because they have something in common with each other,
which could be their gender, their experiences, their personal
situation, etc. This may to be to offer mutual support to each other,
or gain advantages for themselves because of the relationships
they have.
 Examples of these are:
 Men
 Women
 Children
 Victims
 Villains
 Heroes
 Police force (e.g. police detectives)

3.  The Villains or antagonists of any film are usually central to many films’ plots as they cause bad things to
happen within the storyline, and then this is left up to the hero or protagonist to rectify this and stop them
from causing further damage. Sometimes the villains have once played the role of a hero or even a victim,
and something that has happened to them made their nature and motives change.
 Characteristics that they generally possess are being very clever, which allows them to come up with
complex plans that covers every potential possibility and outcome, and they are usually very ruthless in
executing these plans, and do not let their feelings and emotions get in the way of what they wan to
achieve, even it means harming innocent people.
 Our villain’s identity is kept hidden throughout the opening, and none of the camera shots really reveal his
face, so it is a mystery to the audience who he might be and why he was motivated to kill the officers’
young daughter. This creates suspense and tension, as this is one of many questions that go unanswered, so
that if we were to make the rest of the film they would hopefully be intrigued to find out why this might be.
The theme of identity is very common within the thriller genre, as it can be confusing and intriguing at the
same time to the viewer, especially if it is a case of mistaken identity or a person having multiple identities.
 The villain in our story is similar to John Doe, the villain from the thriller Se7en (1995). During the opening of
Se7en, his identity is also kept hidden, and his personality and potential motives are only shown through his
work. He is shown cutting up pictures, sticking them onto pages, drawing faces, and making scribbled notes,
indicating that he is formulating a plan, but the audience are unaware of it at that point. Later on in film, he
is revealed to be a psychopathic serial killer, and he is also seen carrying out the murders of multiple people,
which seems to be what he was planning before. This is different to our film because the person’s actual
identity and motives are revealed, and our villain only kills one person. He also seems to have no empathy
for his victims or takes pity on them, which is similar to our villain, as shown by the way he flees as soon as he
has killed the girl, and shoves the officer out of the way, so that he does not block his exit. This makes them
seem more cold and distant, so that their role as the antagonist is easier to believe.

4.  In our film, there is use of cinematography, even though the camera does not move around that much. Our villain, despite his face not being shown, is shown
from a number of different angles. The first shot we see of the villain is when the camera pans around from the scene showing the little girl sat on her father’s
lap. She gets up, hugs her dad and then skips out of the room, the camera following her around, and goes past the window and shows in the dark outside
the front door, a mysterious figure is trying to get inside the house. The shot is a mid straight one, and because it is dark, it only reveals the upper body of the
character, and the only thing that the viewer can see is that he is wearing a dark hoodie, which may suggest that he is trying to blend into his surroundings,
and does not want to be seen. He is then seen in the same shot entering the house, without the other characters inside knowing. This immediately makes the
audience fearful as they do not know what his motives are, or who he is in relation to the other characters.
 The next shot is a low angle, and the way the shot is framed makes the viewer able to see the whole scene. The only part of the villain that can be seen is his
loose hand just in shot, and he is seen tensing and relaxing his fingers for a moment, suggesting that he may be preparing to do something, and may be
anxious about it. Just as he does this, the little girl from the previous shot walks in and does not notice the man standing in the doorway, and calmly begins to
climb up the stairs, presumably going to bed. When she reaches about halfway up the stairs, the villain suddenly gets out a gun, which is shown directly in the
front of the camera, which is what the viewer then focuses on, as the girl is shown reaching the top of the stairs, and is blissfully unware of what is about to
happen. This shocks the audience and makes them even more fearful, as they were not expecting this to happen, and worry that the little girl is now in
danger from a threat that she is not aware of, and the audience still does not know who the man is.
 The following shot remains in the hallway, except this time the camera is at about shoulder level, and straight on facing the villain from behind, with his hood
still up so the audience still cannot see who he is. He seems to still be contemplating following the girl upstairs when suddenly the door to the right of him
opens and the officer, the main character comes through, the camera pans across to the left to follow the action and he immediately goes to knock him out
of the way, and the two begin a struggling and fighting. The villain manages to push the officer out of the way, and there is then a match on action, where
the officer falls onto the stairs when the villain shoves him and starts to run up the stairs. The action is completed showing the action from the top of the stairs
looking down, and the villain moves swiftly past the camera and out of sight. The next shot shows the camera returning to nearer it’s original position, this time
closer to the stairs pointing up, showing the villain disappearing around the corner at the top of the stairs, and the officer is seen struggling to his feet and
attempting to follow him. The makes the audience even more fearful, as they know that the situation is probably not going to end well and the officer is not
there to protect his daughter.
 The officer is then seen running up the stairs, around the corner to the closed bedroom door, which he throws open in the next shot and inside sees his
daughter being held in a tight grip by the villain. When the narrative returns to the past, the camera is outside the room, at ground level, and shows the villain
lift the girl up, shoot her and she falls lifeless onto the bed behind. Meanwhile, the villain is seen pushing the officer out of the way, and he stands frozen as the
villain sprints across the landing and out of sight. In the final shot of the villain, from the top of the stairs facing down on the action, the villain is seen continuing
his sprint down the stairs and throws open the door and out of sight.

5.  There is a tense and dramatic score played throughout the opening, and this changes as the scene differs, for
example it changes slightly when the flashback is playing, the score is more upbeat and heightens the sense of
fear and the anticipation for the audience what is going to happen next. We used only a few editing techniques
for this part of the scene, which includes the use of black and white to represent the scene has returned to the
past, and is a flashback for the officer, and the flashes of light used to transition to and from the flashback. We also
used a match on action during the struggle between the two characters, which was able to be created on our
editing programme using the blade tool, which allows the footage to be cut up and separated from each other
so it could be re-arranged until we achieved the affect we wanted. For example, we filmed the struggle from
shoulder height at the bottom of the stairs, and then at the top and the villain running up the stairs, and we were
able to cut the footage up, and put it together, so that as soon as the villain pushes the officer over, that move
could be seen from another position, and could be seen being completed in another shot. This effect is also used
when the officer goes to open the door and is seen in the next shot inside the room completing this action.
 The mise-en-scene components were carefully considered in order to create the effect that we wanted. The
costume of the villain is very simple, and effective, as he is dressed in plain black clothes, with his hood up, so that
his identity is concealed throughout the opening. His body language his very tense, shown by the way he
clenched his fist and stands hunched, but he seems determined to carry out whatever he had come there to do,
and since his face is not revealed, no facial expressions can be seen to guess what his motives were. This therefore
means that not much was used in the way of hair and makeup, as the audience would not be able to see it
anyway. The setting of the house is used to make the situation seem as normal as possible at first, and it turns into a
scene of tragedy later on , which does not usually happen in family homes. The villain is positioned in the way that
he is to give the impression that despite being a mysterious and aloof figure, but at the same time he has the
situation under his control, and it goes exactly how he wanted it to go. The only real prop that is used is the hand
gun, which is used to signify the danger that the little girl is in, and how, once again, the villain has all of the power
in his hands, as he can make the choice whether or not she lives or dies. There is not much light used in the scene
to signify the darkness of the situation they are in, and also it is a traditional convention of thrillers. The black and
white colouring is used for the same reason.

6.  The example that was used earlier on was the villain from the thriller Se7en (1995) Jon Doe, who at first seems to
be a secretive and solitary character that doesn’t want to share his obsessive plans. He is a psychopathic serial
killer, with a history of being a professional hit man, and has an obsession with the Seven Deadly Sins of
Christianity, where the film gets it’s name, and carries out seven symbol murders in order to remind the world that
it is inevitable to avoid these sins.
 He is shown in a variety of different shots and angles during the film, but mainly in a way that makes him appear
sinister and untrustworthy. He is shown in the climaxing scene as very calm and collected, even though his arrest
is immanent, shown by the way that he stared blankly at the police officers, in a straight mid shot that doesn’t
betray any real emotion for him. The next close up shot along shows his determined face has not changed, and
continues to stare ahead, and doesn’t not appear to have any remorse for the crimes he has committed. This is
shown by the way he holds his hands up in the next shot, which pans up to his face, but doesn’t appear to have
any fear, and doesn’t seem to be covering up his crimes either by the way he has left the splattered blood all
over his shirt. He even calls the officers over and openly admits to be the person they are looking for, and in the
next low shot he is seen slowly getting on his knees and lies on the ground, and allows himself to be handcuffed,
and even asks to see his lawyer. This is quite different from our film as we do not reveal the villain’s face at all,
therefore they cannot tell what his facial expression is like, and is only shown from behind or from a low angle
showing his feet.
 He does not seem to wear clothes that are typical of what an audience would expect a serial killer to wear, as
he wears quite ordinary clothes, shown in the scene where he is arrested, which is a white shirt and black work
trousers, but there is a obvious giveaway which is the blood all over his shirt. His facial expressions betray no
emotion, at most slight amusement, especially in the scene where he is arrested, and his body language doesn’t
seem to be tense, but slightly relaxed, as if he is in control of the situation. This is different to ours because our
villain seems to be very tense, shown in the low angled shot where he clenches his fists, clearly trying to motivate
himself to go and kill the little girl, which suggests that he has not planned this very well and is unsure whether or
not to do it, but once the hero tries to tackle him he quickly dashes up and carries out the act.

7.  The victims in many films are portrayed as weak and vulnerable, and usually suffer at the hand of the villain. They can be targeted
specifically for a number of reasons, which could be, for example because of their gender or colour, but usually they are persecuted for
purposes of revenge. This can be against the person themselves, or a loved one of the person as this will hurt them more.
 Characteristics that they possess are that they often have insecure personalities, which leads to them being very anxious most of the time,
which normally reflects in their actions. They may not have many people around to protect them from abuse, such as friends and family, and
may be physically weaker than the average person, so struggle to protect themselves.
 This is the case with our film, as our victim is a young, innocent girl whose brutal murder is shocking to the audience, and it may also make
them feel angry as she has not done anything to deserve her fate. The villain may be trying to seek revenge for something that the officer
has done in the past that may have hurt him, but if there is a specific reason, this is not revealed to the audience. This course of action has
the desired affect as the officer is devastated at her untimely death, and so is the audience as she is very young, and it could also lead to
feelings of anger and resentment towards the killer.
 Similar characters to our young girl are the young girls featured in the opening of the Woman in Black (2012). It is set during Victorian times,
but the concept of the girls being young and innocent is still there, as they are dressed in traditional dresses, with bows in their hair, and are
seen playing with dolls, which further reinforces the idea of them being innocent, harmless young victims whose fate befalls them due to
events and actions outside of their control, as the spirit of the woman who haunted the house possessed them and made them jump out of
the window to their death. Despite our films being set in different times, hundreds of years apart, the shock factor is still there, as the
audience do not except something so sudden and brutal to happen, and especially not to children. However, this setting and storyline
seems more appropriate for the Woman in Black as it is more of a horror film, where these events happen more frequently so are expected
more by the audience. Although deaths of victims is not uncommon in thrillers, they are not always as brutal, or happen to young children.
Another example of a young child’s death having a profound effect on the main characters and the narrative is the opening of Face Off
(1997), when the main character is seen playing at a carnival with his young son, when a lone hit man outside of the scene shoots and kills
him, when the bullet was presumably for him. His grief and shock is evident when he discovers that nothing can be done for him, and this
manipulates the viewer’s feelings too, as they are left shocked and angry at his untimely death and question why it had to happen to him.
The concerned parent theme is similar to ours, shown in the way that both characters cradle their children, looking grief stricken. This then
sets the tone for the rest of the film, as there is now a backstory for the main character and a reason for what motives him.

8.  The first shot that our victim is shown in is in the first shot of the flashback, where the camera is positioned at a low
angle looking up at the family scene, showing the little girl sat on her father’s knee on the chair, and they are seen
watching the TV out of shot. The shot then changes and switches to outside of the house, with the camera in a
straight angle wide shot looking in through the window with the characters still in the same position. The little girl is
then seen turning around and hugging her father, and then jumps off his knee and is seen skipping out of the
room, and the camera pans around following her until she goes out of sight through a door. The camera
continues to pan and the villain is seen trying to enter the house, which makes the viewers very concerned for her
safety, as they know that she is unaware of the threat and the danger her life is in, and can’t do anything about it.
 The next shot shows her totally unaware of the danger behind her climbing up the stairs to bed, shown by the
carefree way she swings her arms about. A while later, after the fighting and the villain and officer running upstairs
to her room, she is shown being held tightly by the villain, and staring up at her father who has just entered the
room, looking scared, and is seen wriggling around anxiously, trying to break free of the grip, which shows that she
is now more aware of the danger. After the narrative returns to the past, the camera is now outside of the room
looking in through the open door, and the little girl is seen still being held by her captor, and suddenly he releases
her and shoots her, and she falls backwards onto the bed. The villain is seen fleeing the house and now crime
scene, and the next shot shows the officer sat back on the bed, cradling his lifeless daughter in his arms and crying
over her. The camera moves slowly back to reveal a photograph of the pair taken before she died, with the
officer and the girl in his arms still visible in the background of the shot. The makes the viewer feel very angry and
sad at the same time, as they feel as if she was innocent and did not deserve her fate, and shocked that
someone so young was killed.

9.  The editing techniques that are used are as before, as the little girl only appears in the flashback sequence, which
is the same as the villain, as with the sound, as the score remains the same also. We cut the footage up and
placed it in the correct order for the flashback, so that it therefore corresponds with the events of the opening
and the frequent returns to the present day.
 The costume that the little girl is dressed in is her pyjamas, which is appropriate for young children, and reinforces
the idea that she is a young, innocent child that has done nothing wrong, and was just going to bed when the
tragic incident occurred. The setting is the same as before, as the homely environment makes the viewer feel as if
she is safe and cared for, and most importantly, that nobody can harm her. She has no props during this
sequence because none were needed for her part. The lighting and colour of the scene are the same as before
to continue with the flashback theme, and once again the contrast has heightened slightly so that the viewer can
actually see what is happening, but at the same time maintain the aura of darkness added to the scene because
of the terrible events that happened.
 Since we wanted to continue the theme of her being young and innocent, she kept her hair the same and wore
no makeup, as this young reflect young children’s appearances in real life. Her facial expressions most of the time
are happy and carefree, as she seemingly has nothing to worry about, and she seems to happy to be with her
dad. Her body language mirrors her facial expressions, as she skips out of the room and up the stairs, showing
once again she has no concerns and is unaware of the danger that she is in until later on. When the villain holds
onto her later on though, her expression changes to one of shock and fear, and the audience can tell that she is
scared because of her wiggling, trying to get away, but to no avail. The audience cannot see her facial
expression when she gets shot, and she is seen looking peaceful when she is held in her father’s arms.
 The girl is positioned in the way that she is to get across to the viewer that the relationship between the girl and her
father is very close, shown by the way he put his arm around her and hugged her, so she clearly means a lot to
him. She is shown walking up the stairs with the gun in the foreground to show where she was in relation to the
danger that is awaiting her. She is positioned being held by the villain to show how vulnerable she is in this
situation, and her being held by her father once again demonstrates the closeness between the officer and his
daughter, and his devastation at her being taken away from him at such a young age. This is demonstrated finally
by the photograph of the pair, which shows that they meant a lot to each other, and the sad image of him
cradling her is shown in the background.

10.  The victims that were mentioned from earlier were the little girls from the Woman in Black, and although the scene is very
brief, it gives a good indication of how this film in particular will show victims, as child victims continue to die throughout the
film in similar violent ways. The little girls are clearly innocent characters that have no idea about the fate that awaits them,
and are doing what most girls of their age do normally, which is playing with their toys, and suddenly the antagonist of the
film, the Woman, possesses them and makes them get up in synchronisation , walk towards the window, get on the ledge and
jump to their deaths. The people below clearly notice and are horrified, shown by the way screams ring out after the girls
have jumped. This is similar to our film as the little girl that is murdered in our film is of a similar age and also very innocent and
unaware of the threat to their life, and all die in a tragic way before their time.
 Their costumes are carefully considered, as not only are they typical of what young girls would have worn at the time, but
they represent their innocent nature. They are all dressed in similar pretty dresses and bows in their long hair, and are playing
with their dolls in a way that suggests that none of them have any thoughts about killing themselves, and are occupied with
things that most little girls would be, which makes their deaths even more tragic. Their relaxed facial expressions and body
language re-iterate this idea, which makes the audience even more aware of the fact that external influences have caused
this fate. Their nursery and toys are also carefully considered and includes many objects typical of the time, such as the dolls
and the teapots. This is similar to our film as our little girl is dressed in her pyjamas, which is because it is a different time from
the when the Woman in Black is set, and she was just going to bed when she was tragically killed.
 The girls are shown from a variety of different shots and angles during the sequence, mainly wide straight shots which show all
three playing together happily with their toys. The camera occasionally focuses close in on their toys and how they are
playing with them, which reinforces the idea of their innocence. Then, as the camera switches to the side of them, they all
turn their heads quickly towards it, to something off screen, which is the Woman, and are then seen in another shot at their
other side looking towards the locked windows. Then, as if in some sort of agreement, get up at once, turn around and walk
towards the windows, and while they are walking close low shots on the ground show their feet crushing their teapots and
dolls’ heads, which indicates to the viewer that the girls have no control over what they are doing. The camera switches to in
front of the girls, and tracks back following their path to the window, showing their blank expressions and uniform steps. Finally,
when they reach the window, the camera goes behind them, and stays still in a straight long shot as they get up onto the
window sill, open the window and jump out at the same time. This is similar to our little girl, as she is shown from low angles to
demonstrate how small and vulnerable she is, especially in the shot where the villain pulls his gun out and she can be seen
running upstairs, blissfully unaware of the danger she is in, and that her life will be cut short very soon.

11.  The heroes or protagonists are important in any film, as they help to continue the narrative and are usually central to the plot. Also, the role of the hero
can be versatile and be any person, and will usually be the last person the audience expects to be selected for that role. This is because many films
make the hero a seemingly ordinary person in an extraordinary situation, and they are the majority of the time, unaccustomed to danger. This makes it
intriguing for the audience as they get to see how they deal with a variety of different situations thrown at them, and whether or not they manage to
save the day in the end, which they usually do.
 General characteristics of most heroes include being very brave in the face of danger, despite their own lives being at risk, they usually put other
people first and try and get them out of danger before trying to take down the villain, making them very selfless as well. They are also very kind to those
who need them, and those who might not, which makes them very likeable and allows the audience to relate to him more.
 Our hero seems to be in a similar situation, except for the fact that he is a police officer, which means he would have experienced violence and
danger that most people might not have, but not on a personal level or as traumatic as losing his young daughter. This turns him into a character that
seems to like solitude, and that such a sad event has a profound effect on his life, despite the fact that many years have now passed since this
happened. This may be the reason why he may be having an identity crisis of some sort, as he is struggling to carry on life without his daughter, and is in
two minds about what to do about this particular case he is working on. This is because he still has a sense of duty towards his job, and wants to uphold
the law, but at the same time, the striking similarity of the older girl on the run from the police to his daughter makes him question everything he knows
and he also wants to help her.
 Our main character is similar to a character featured in the thriller Primal Fear (1996) called Aaron Stampler, who is a young altar boy accused of
murdering an Archbishop. He has a stutter, and is described to be shy, so the attorney in charge of his case is surprised but decides to take him on.
Later on in the film, when the attorney had discovered that he lied about something and confronted him, the boy’s personality suddenly changes, and
he adopts a new persona, calls himself Roy and is a violent sociopath that throws his attorney against the wall. However, despite this, after the incident
occurred, he had no recollection of it. A psychiatrist later examines him, and becomes convinced that he suffers from multiple personality disorder, due
to years of violent abuse from his father. This character’s disorder is more developed and more extreme then the kind that our main character appears
to have, and this is not confirmed at any point during our film. Cases of mistaken identity or having multiple identities or personalities are common
themes of thrillers, and are often very intriguing as it makes the viewer question what they already know about the character and which identity is their
true one.

12.  The first shot we see of our hero is when the camera pans around a grave to the right to reveal an establishing shot of the graveyard that the scene is taking place in, and this is also to
give the audience an idea of what time of day it is set at, and who the main character is. The officer can be seen in the mid distance staring down solemnly at a grave directly in front of
him. The shot then cuts to behind the grave he is staring at, and quickly tilts up to reveal his face in a mid shot, and the viewer can then see his face in closer detail as the shot switches to
a close up of his face, and he appears to be sad and lost in thought.
 The scene then is filled with bright white light and the audience are returned to the past, where the officer is having a flashback to the happy moments with his young daughter and her
murder. He is first seen in a mid low angled shot, with his daughter sat on his knee and looking calm and content, and appears to be watching the TV. The shot then switches to outside of
the window looking in on the normal family scene, and the officer and his daughter are still sat there, and the little girl is seen hugging her dad and skipping out of the room, and he
remains in his seat, clearly not worried about her.
 He is next seen when he walks into the hallway to find the villain waiting in there, at the bottom of the stairs looking as if he is going to go up. The mid straight shot pans to the left,
following the action of the officer putting his arms out and attempting to pin the villain to the wall and stop him. Unfortunately, this does not work, as a match on action from the bottom
to the top of the stairs looking down shows the villain pushing him over and racing up the stairs. The next shot returns to the bottom of the stairs, but closer this time pointing up showing
the officer trying to get to his feet and attempting to follow him upstairs. The next shows the officer from the side of the stairs running up, and the camera follows him up and around as he
reaches the top and turns the corner. He is then seen from behind opening the door to his daughter’s room. The next shot switches to inside the room, from about waist height, showing
the villain from the side holding the little girl, as the officer opens the door and steps inside the room, a shocked expression on his face. A gunshot is heard in background as the screen
fades out.
 The bright light returns and brings the viewer momentarily back to the present, where the officer is still seen lost in thought, this time from the ground level at the side of him, as he bends
down and puts his hand on the grave, reflecting quietly for a moment. The bright light flashes again and the audience is returned to the flashback for the final time, after the shot of the
killer fleeing the house, and a mid straight shot reveals the officer has collapsed on the bed and has his little girl lying in his arms, looking like she is sleeping peacefully, and crying as he
mourns her loss. The camera slowly moves back to reveal a desk with a photograph of the pair on the side, indicating their close relationship and fondness for each other, and the image
of the officer cradling his daughter can still be seen in the background, which makes the viewer feel sad and resentful as she has been taken away too soon.
 The flash of light returns the scene to the present, and the officer is seen in the same position as before, and quickly stands up, and the camera tilts up to follow him up, but stays in the
same position. The camera then cuts to another mid straight shot of his face, and he is then seen shaking his head, as if his concentration has been broken, and the shot switches to
about waist height and shows him reaching down, opening his jacket, reaching inside and taking out his ringing phone. A match on action shows him taking the phone out and up to his
ear, and the shot is now a close up from the side. The audience hear him speak to someone off screen, which is revealed to be the chief of police, and asking where he has to go.
 After he has hung up, the shot switches to ground level and shows his feet turning and moving away from the scene, and it switches to a wide shot outside of the church, and he can be
seen running down the steps, around the corner to his car parked outside. The camera then switches to his right side, and shows him bending down slightly, unlocking his car and getting
in. One inside, he is shown from the front outside the car looking in through the windscreen, and he grabs his phone and puts it to his ear. After telling the older girl to get out of the house,
he is seen from inside the car getting his belt on, staring the ignition, and finally driving off.

13.  The editing techniques we used for the parts with our hero in were the ‘bloom’ effect used to transition to and from the flashback , and the use of black
and white during the flashback scene, to highlight the fact that they are memories that took place in the past. Also, we attempted to heighten the
contrast in the flashback so that the images could still be seen easily, but not lose the effect of the black and white tint.
 In the scenes taking place in the present, we used an option on Final Cut, which we edited with, to balance the colours in the scene, so that they all
looked the same, especially because the filming took place over several days and the scene may have looked slightly differentif they were not
matched. We also were a able to use the blade tool which allowed us to cut off sections of the film on the timeline, sectionaway from the rest of the
footage, and swap and change around to put the footage we wanted in order and create certain effects, for example the match on action shot is
created through the editing process. An example of this in our film is when the officer goes to push the villain to the wall,and as the villain pushes him
down and he falls onto the stairs, the camera switches to the top of the stairs looking down and the action is shown being completed.
 The costume that the hero is dressed in is a casual version of his police uniform, which is a loose white shirt with the collar undone, and a loosened black
tie and black work trousers. This shows that he is more relaxed as he is in his home environment, but may have come home not long before from a long
and hard day at work and might have had time to get changed into more casual clothes. It also shows his dedication to his jobas he clearly works hard.
The only specific prop that is used is his mobile phone, which is used to inform him an update on the case and where he has to go.
 Also, no makeup was used, and the hair was kept the same, because none was needed. His facial expressions vary throughout the opening, for
example, during the first part of the graveyard scene, he is seen looking sad and lost in thought, clearly thinking about hisyoung daughter, and his body
language mirrors this as he is stood still with his hands in his pockets. In the first part of the flashback, he looks calm and content, and his facial expressions
and body language suggest that he is relaxed and happy, and this may be because he is in his home environment and does not feel threatened or in
danger at all. However, this soon changes, as when it comes to the part when he walks in through the door, he seems tense andon edge, and this may
be because he suspected that there was someone there that shouldn’t be, which in this case was our villain. He goes straightin at him, to stop him
advancing any further into the house, suggesting that despite his shock that he is there, he is used to dealing with potentially hostile situations and wants
to stop him as soon as possible. This body language and facial features continues in a similar manner as he pursues the villain upstairs, and his face turns
to one of shock and then later sadness during his daughter’s final moments. His positioning in all of the shots was usually central to indicate his important
status of the main character of the narrative.

14.  The example that was used earlier on was one of the main characters from the thriller Primal Fear (1996), Aaron
Stampler. He has been accused of murder, which surprises the officers in charge of the case as he is a shy young
boy, and has a stutter so would be the last person they expected to carry out such an act. But as they soon
discover, he suffers from a multiple personality disorder, which is triggered from confrontation, and becomes a
much more violent kind of character, which makes the audience question what type of person he is, and his
disorder makes them intrigued as they want to know how this could be.
 The mise-en-scene components of this character are also carefully considered, and change occasionally. His
costume is limited, as he is being held in custody for the majority of the film, to a brown prison jumpsuit, and in
another scene he wears a white t-shirt and grey joggers, and his hair is styled in the same way throughout. His
facial expressions and body language are the features that change the most, as when is being himself, he
seems quite insecure and nervous, shown by his often worried facial expressions, and the way he hugs his knees
in one scene where his attorney is speaking to him. In another scene though, when his attorney confronts him
about lying, his whole attitude and personality changes all of a sudden, and becomes quite arrogant and more
confident then he was before, and begins to refer to himself as Roy, and Arron as the other side of him, and
almost taunts about how pathetic the other side is. He also becomes noticeably more violent, as he begins to
push his attorney around and take control of the conversation, where as normally he would have stayed put in
his place. This is different slightly to our character as he is more obsessive with some of the other characters in our
film but Stampler’s disorder is much more serious and advanced, and he has much more violent tendencies.
 He is also filmed from a variety of shots and angles, which vary from over the shoulder shots looking at his
attorney and vice versa, and is filmed in a straight mid shot when he places his head against the wall, and
switches back and forth from behind him and to his side, which occasionally zooms in closer to his face. Once
his personality has ‘changed’, the camera begins to cut from close ups of his face to behind him, which shows
his aggression and his body language is still tense, but his actions such as leaning his elbow on the window to
pushing his attorney against the wall shows that he is now quite confident and is attempting to assert control
over the situation, which is unusual as his character is normally quite reserved and does not speak or act out of
turn. This is like our character because he is also filmed from a variety of different shots, such as low angles, close
ups, mid shots, etc.

15.  In many thrillers, the presence of some sort of law enforcement organisation is always there, whether or not it is an important part
of the narrative. The police force are usually portrayed as strong and powerful people who will stop at nothing to capture and
detain those who have broken the law, and the majority of the time, the public is co-operative with them, in order to help justice
prevail and restore peace to the community. However, this traditional image is not always the truth, as in some films the police are
seen as a corrupt organisation that break the law rather than uphold it. In these cases, their attitude is usually the opposite, and do
not care for other people, and often mistreat them, especially if it they get in the way of their moves and motives.
 The characteristics of the police force include being very brave, like heroes, as the sometimes can be a police officer and the
hero of the film at the same time. This allows them to put their fears to the side and go out and fight the villain without much
concern for their own safety, and are only concerned about other people’s safety, and not only as part of their job. They are also
very strong, not only physically but mentally too, which allows them to carry on despite hope seeming to be lost, as they are
determined to stop those who persecute others.
 Not much is revealed once again about our chief of police, as he only appears briefly. However, from the setting he is in, which is
his office at the station, reveals that he is dedicated to his job, and that he is determined to see this particular case through. This is
shown by the information wall behind him being covered in pictures and scribbled notes, with some crossed out, and also reveals
that the case has being open and investigations into the girl have been going on for a long time. Until now, they do not have
seemed to find anything significant, and from the information relayed from the chief to the officer, it seems that they have finally
made some sort of breakthrough, and discovered the current location of the girl. The chief’s notes on the case are also scattered
across the desk showing that he is fully involved in case, and by his hunched posture over the desk and loose, more casual clothes
suggests that he may have been suffering with stress as a result of the ongoing investigations.
 Our police chief is similar to Captain Sean Renard from the TV series Grimm (2011-present). He is also a hard working police chief,
and cares about his officers and gets involved in all investigations, even if it involves aspects of his personal life. This is similar to our
chief as they are both dedicated to their jobs and want to see most investigations through. This can also cause a certain amount
of stress, especially if the case goes unsolved for a long time, which is similar to our character.

16.  The first shot that is seen of the chief of police is a straight mid shot, showing the chief in the centre of the shot and slightly
to the left, with the information board covered in notes and pictures about the case to the side of him. The desk with a
computer on it is in front, and the audience is able to immediately recognise this as an office space in which the majority
of the police operations are based there. They can also see that he is on the phone, and holding a file concerning the
case, and is heard telling the hero of our story that they think they have found the girl, who is central to the case. As he
says this, the shot switches to directly behind him, looking over his shoulder and down at the desk, where he throws down
the case folder, revealing more information about the case to the audience, including a photograph of the girl and
various finger prints from previous convictions.
 The shot goes back to the hero momentarily, who asks the chief where he has to go, and the viewer is returned back to
the office and to the side of the chief who begins to sort out the various sheets in the file to find the information he needs,
and informs the hero of the address he needs to go to. This shot is also a straight mid shot, as it does not show his whole
profile. This is the last shot that he is featured in, as his appearance on screen is only brief, and only there to relay
information on the case to our hero.
 Not many editing techniques are used in this part of the scene. We used the colour balancing part of the programme to
make sure the colour was the same as the rest of the opening, and we also used a steel blue tint on this part to make it
appear more blurred and hazy.
 The costume that the Chief of Police wears is very similar to our hero as they work in the same profession and together on
the case. He is wearing an untucked, loose white shirt with the collar undone, with his black stripy tie also loosely tied
around his neck, along with smart black work trousers, despite not being seen that often. His props in this scene include
the phone that he speaks to the hero on, and the case file concerning the girl. No makeup was used on the Chief, nor
was anything done to his hair.
 His facial expressions cannot be seen that clearly, as there are no close ups on his face, but from a distance the audience
can tell that he is serious about this case, and determined to see it through quickly, which is also demonstrated by the
way he tells the hero that he must get to the location ‘now’. His body language mirrors this, because most of the time he
is slightly hunched over, and a bit uptight, which also demonstrates that he may be experiencing anxiety and stress from
the prolonged investigations. He is also positioned central to the shot in all of the shots that he is in, as he is the only
character in these moments, and is the one that the audience focuses on him. Although his appearance is brief, he plays
an important part in the narrative, as he works closely with our hero, and wants to help him finish and close this case, but
is unaware of the hero’s call to the girl and telling her to get away from her house, which goes against all they wanted to
achieve in the case.

17.  A police detective that is similar to ours is Captain Sean Renard from the TV show Grimm. He is a hard working officer, and makes
sure that these values and commitment to cases is passed on to his team that are working for him. He also tries to make sure that he
and his team solve the case and see it through to the end, even if it means involving issues regarding his personal life, and even
putting his life on the line for his job. Also, he as a different side to his character, as he is secretly a creature known as a Wesen, of
which there are many types, which can occasionally cause him to become violent and get into fights with other Wesen, but
generally retains enough composure to maintain a professional outcome. One of the members of his team, Detective Nick
Burkhardt, discovers that he is a Grimm, which is a person that can see these creatures whereas ordinary people cannot, hence the
name of the show. His kind generally persecuted the Wesen, but Nick decided to be different, and over time discovered his boss was
one of them, and trusted him so they try to sort out the issues that coincide with the Wesen and human world.
 His mise en scene components are appropriate for the genre and his particular character, as he is a police Captain. He generally
wears smart attire for work, such as shirts and ties and long coats, which could be shown to be representing his power and influence
within his career field, and his general respect for the rules that have to be obeyed. He is also shown from a variety of different shots
and angles, such as close ups, establishing shots, tracking and panning shots, etc. The last two are quite useful and look good on
screen as it allows the audience to follow the action from a close proximity, and helps to heighten the sense of adrenaline as they
feel as if they are running with the characters. His body language is often very confident due to him often standing tall and trying to
not allow anyone or anything get in the way of carrying out his job, but on occasion he can be hunched and tense, especially when
he loses control and succumbs to his Wesen side, and can be vulnerable in these moments. His facial expressions also do not often
betray emotion, and often the pressure that his job entails does not seem to be getting to him at work, but occasionally once he has
left the office he lets out his anger and frustration. These elements are similar to our chief of police as he also wears smart work attire,
and has a similar job to Renard, so therefore experiences similar pressures, such as trying to see the case through, even if it has been
going on for a long time.

18.  In conclusion, we think that we have put a lot of thought and effort into
planning and creating our film, and have thought about every detail of the
film that was needed, which included genre and narrative, cinematography,
editing, sound, and mise-en-scene components. This allowed our film to
come together and look good on screen, as without any one of those
elements the film would not look right or professional like the mainstream
media films produced are which is the effect that we like to think that we
have achieved through this filmmaking process.
 We also realised the importance of social groups within this situation, as the
way that they are portrayed is crucial as they have to be believable and true
to life, otherwise the portrayal won’t be as accurate as we could get it. This
made us think about various groups in detail, and he examined the
characteristics that they possessed, so that we could create and base our
own characters off our research and make sure that they were as realistic as
possible. It also made us realise how important they are to society, as
everyone belongs to some sort of social group, so that we could make our
characters like them and in many ways allow the audience to emphasise
with them and connect to them through shared experiences.