2. Given that this film would be around a 15 age rating for its
use of disturbing imagery and violence, the audience for this
product would be those of 15 years of age and older. It is a
disturbing piece given its unusual soundscape and storyline.
If we were to deduce this to a 12+ there would be several
issues, one of which being that due to the abstract story they
wouldn’t possess the level of maturity to understand it and
would be left disorientated by the narrative.
The nature of the story would also be unsuitable to those
under the age of 15 because there is a murder scene and
contains physiological elements.
TEENAGERS AGED 15+
3. Our target audience bracket is most suitably group B, these
are the teachers, those in middle management and
professionals. This is due to the conventions and nature of our
thriller, more of the working class groups tend to belong to
that of the so called ‘passive’ audience which means they do
not engage in semantic meanings of the passage and prefer
films with visual/simplified context. Group B is technically
middle and edging into higher class, they belong to the
‘active’ audience, in short – means they get enjoyment out of
looking into the deeper meanings of the clip, making use of
the cliffhangers and open ended (unconventional) features we
implore in our sequence.
BRACKET/STATUS
4. Group E were also a large target as all three of the characters
displayed were teenagers aged 16-17 and this makes that
specific audience interested as they can relate to the age.
This group consists of students and apprentices and mainly
teenagers, this group is also noticeably larger so if our
product was to be successful we’d need it to appeal to a
larger group than say just B as they are a second smallest
minority underneath A.
BRACKET/STATUS
5. We had consciously decided to not endorse the use of
dialogue, this was due to several impacts that silent openings
can have. If there is dialogue in an opening it can give the
viewer a better idea about the narrative of the sequence but
consequently subtracts from the tension and enigma as a
result.
One pro to not using dialogue is that the viewer tends to pay
more attention to the visual aspects of the motion and
therefore can become more immersed in the experience
because of this.
It also makes it understandable to a wider variety of age
groups as the opening tends to be a quite simple cliffhanger
in our case, this leaves no margin for confusion by the
observer.
DIALOGUE
