P7

1. CONTEXTUAL RESEARCH
GEORGE WETTON

2. DEFINING FMP
For my final major production I was initially going to carry on with the same production that I was doing last year. This
was a horror film that was called ‘Lost in communication’. This was inspired from my project the year before. So it
would have been a three year way evolution. However I decide to scrap this idea because I've grown up more and I fell
like the plot was very generic. I wanted to take more experimental route and play around more with I’ve learnt. I
wanted to completely do something that wasn’t just a short film like all my other projects. Film based project is the
best way for me to go because its what It’s what I'm at my best at. Decided in the summer of last year that I wanted to
write a book. Not originally I was hesitant to make this part of my FMP. I had settled with the doing other ideas for my
project. Most of them linked in with what it was I was going to for my project. When I was trying to figure out which
one I was effectively my best at. I kept going back and forth from it being comedy and horror. I decided that I would
then move onto filming something for the book I’m making because my biggest dream one day is for it to be made
into a film and this is a good way upon establishing how the characters may look different on screen to their book
counterparts. Originally I was going to focus more on something a lot more different to what I usually do. Looking at
the Sci-fi genre and seeing if I could come up with anything there. However I felt like I would need a bigger budget for
that and that I didn’t have enough creative ideas for me to make one. With Sci-fi you have to be totally original or else
it can look rather cheap and come across as a comedy. If in the terminology that’s used in the dialogue doesn’t come
across like it’s being said in an original sense as if it’s someone acting and not appearing as the character. So I settled
with doing something for my book. The ways I'm going to the promote this product have not yet been fully developed.
A poster would be good but I can also me developing a few posters and maybe some original music through
SoundCloud. Overall I will be doing a film based project that has been adapted from a book I’ve been writing but that

3. CONTEXTUAL RESEARCH INTENTIONS
 The main areas in which I intend to research are the focuses on directors. Each different director has their own
chosen themes and styles. This can be set through connections of continuity with the actors/actresses being friends
with the directors or having a running gag throughout the films. Though it is never anything too obvious like re-
used dialogue or characters because that would break the fourth wall of the universe because then the films would
be regarded as being part of the series. Through creating your own sense of style with the films. That makes you as
a director or creator a lot more unique. My aim is to research these directors and find out they did do. What worked
so well with their films? I hope to take any areas which I seem to fit to most and find incredibly intuitive. This will be
incredibly helpful when it comes down to my experiments because having researched a particular technique and
deciding on that being what I want to do. I can then test it on my experiments because it will all be relatively new
but I will still sill know what to do . From a post production whether it’s colour correction or cinematography. I will
know the software and the ways in which I can test out these experiments. However if it’s research into a prop or a
particular location that will fit in the style that I want to achieve then I will have to research into it more and find a
way around it. Overall what I want to express when creating this contextual is my passion for the subject at hand.
This holds value to getting to know the industry that I want to be working for and praise very highly.

4. ELEMENTS OF FILM THEORY
 Shots
 This can consist of a variety of different shots. Such as extreme close up’s, wide shots, or long shots etc.
 POV shots
 Everything holds a meaning. For instance a long shot is placed in a scene to indicate the surroundings of the character. a close up shot can also be placed into a scene show that you can truly see the emotion
that's held in the characters face. It’s the closest the viewer and the character can be. Which cancels out everything else that has happening in that scene. Long shots can also evoke emotions sometimes too. It
can show how isolated and lonely a character is when he/she is left alone.
 Dutch angle
 Zoom in and out
 Dolly, crane shots
 Mis-En-Scene
 A French term meaning for what is out into the scene or frame.
 Visual information in front of the camera. Communicates essential information to the audience.
 Two focuses are the design and composition. Design focuses on characters look, props, costume, lighting, makeup, set and locations. Composition focuses more on the organisation of objects and each object
is valanced out within the frame.
 The psychology of the character can be shown if the framing looks different and unnatural to how it usually looks.
 Sound
 There are two sound focuses that are places into a scene. Dialect and non-dialect. Dialect is the sound effects that are added naturally in the scene. That can be dialogue or an action that has been through
action. Non-dialect is when the sound effects are added during post production and usually SFX. This is often done through foley sounds and edited in during editing. So that the sound effect fits into the shots
that are on film.
 My film will mostly of dialect. Non dialect can make the scene more alive. As the sound of everything that is going on can intensified. I will use non-dialect though depending on the scene that is being filmed.
When the wind is affecting the dialogue it would have to be re-filmed anyway but non dialect sounds can be added during editing if it interferes with anything that’s not dialogue in the scene.

5. ELEMENTS OF FILM THEORY
Angles
 Birds eyes/view angle - Camera looks down at the object
 Pan/tilt – This could be classified as a zoom in as well but in most cases it features the camera being more active than the person in front of it.
 Shoulder level
 Low/high angle
 (OTS) Over the shoulder – Camera focuses on the subtle back of the one character but mainly focuses on the character who is in front.
Colour
 Red – Stamina, passion, stability, energy, ground and vitality.
 Violet – Meditation, artistic qualities, imagination and universal flow.
 Orange – Creativity, productivity, pleasure, optimism and enthusiasm.
 Yellow – Fun, humour, intellect, personal power and lightness.
 Green – Acceptance, harmony, love, communication, social and nature.
 Blue – Calmness, emotional death, peace, kindness, truth and honesty.
Lighting
 Texture shadows – Making unique silhouettes and shadows using objects placed in the scene.
 Available light – Using no practical effects when editing
 Low key lighting (godfather style) – Covers the centre of the subjects face but nothing else this is don ehtorugh natural lighting.
Editing
 Selective colour – When a specific colour has been pointed out to contrast with all the other colours set in the scene. Most notably used in mono shots
 Non linear – Compilation of different shots happening all at once occurred at different time periods.
 Fade in and out shots - Often used for transition scenes
 Cross cutting – Camera cutting back and forth to stablish different action in different locations.

6. TYPES OF FILM
 Formalism
 Camera angles movie rapidly from high and low angles
 Moving camera can put the empathize on the object as its not always stood still and gives the scene a whole different energy
 Sets and backgrounds are personified to be characters themselves and draw attention to the viewer just as much as the characters
 Lighting doesn’t just cover subtle ambient colours. The colours can be bold, extravagant and be metaphors to how the character is feeling.
 A lot of POV shots included. This allows access for the viewer to be put through the subject’s experience.
 Stylisation is part of the show
 Focuses on the technical elements of a film such as lighting, scoring, sound set design, use of colour, shot composition and editing.
 There are ideological interpretations that relate to formalism. Classic Hollywood cinema: continuity editing, massive coverage, three point lighting, “mood music” and dissolves. Film noir another
one which features lower production values, darker images, under lighting, location shooting and general nihilism. This due to the fact of the war/post-war time in which a lot of filmmakers were
depressed.
 Classical
 Similar to realism
 No SFX. All kept to a minimal standard
 Everything is done with intention such as lighting and sound. They are placed in the scene to create the mood and evoke more feelings for viewers.
 Realism
 No sets are used. They are completely reliant on using the locations that are needed to be set.
 Preference being a static camera (non moving camera). So that the camera is constantly focused upon the subjects facd eor just the one area.
 Not much cinematography and colour appliance in post production. Focus more on the natural lighting but it cant be highly contrasted or washed out.
 Camera often appears at eye level. So that it is nothing to unique thrown at it and takes you away from the dialogue.
 Music tends be dialectic
 Editing tends be seamless with continuity
• My piece will be focused towards formalism because there will be quite a few pov shots. To help me with my project and develop my skills. The most important part is focusing on the style and the technical details are. Whilst I don’t want to the colours to be as
bold and colourful as described because it has got fit in with the mood that I am setting.

7. GENERALISATION OF FILM THEORY
Film theory is what is established through specific patterns or even that occur within that media.
They are what is needed in order build that film. Whether this is through a Mis-en-scene point of
view. Where it analysing everything that is occurring on screen from the pros to the costume or
if the focus in built more around being behind the camera. Theory is questioned through facts
and figures. However these are often seen a opinionated ideas and are simply based on what
that person thinks. Creating the word theory. This sets out for debates in what the truth is and
what the best alternative is. These can be targeted at different theory categories. The film could
be more explicit with their ideas and what they mean or they could be hiding there alternative
routes through deeper meanings that would cost more from analytical mind. This can be argued
through how the directors set their films out to be. For instance Christopher Nolan's mind-
bending thriller that don’t give you all the answer and leave some of it to the interpretation of
the viewer. Other directors however like Wes Anderson are held in just as much as a high regard
very clear on getting their message through to the audience. They are their to tell the story and
don’t want to leave any stone unturned.

8. SELECTED THEORIES
Authoritarian theory
 Authorities theory is when the media keep the knowledge the knowledge and controls it from being communicated within the general
public. This will be done through mostly the press but any other form of media in which they hold a licence and power over. They have the
rights to withhold and permit any information that is being sent out. Just song long as they make a certain censorship.
Uses and gratifications
 The uses and gratifications model is simply placed in all types of media to find out what the value is for that platform and what that person
may be getting out of it. In terms of social media. They all hold the same values. Share pictures, offer your personality through profile and
receive recognition. The news is another media platform. However it works upon sending out different messages. The news is less
engaging and is more focused on the hard hitting important stuff that is often needed to know. Not just placed in for entertainment value.
Hypodermic Needle theory
 This is a theory which came about heavy research between the in the 1930’s-1940’s. it implies that a large selection of the general public
are brainwashed into thinking something which they believe to be true just because the media have stated the rumours through the press.
As we have advanced over the years. We have found more ways in order spread news about. It’s through the social media that we have
today when miscommunication between fact and what’s made up has hit a wider range of people. people like to believe the possibilities of
something that’s fiction because it will be something they personally want or because it will cause more drama for the future
Cultivation theory
 This is when the media creates a brain washing system where viewer has difficulty finding the line between fact and fiction. This is often
used when violence come up between video games because they are creating those action themselves through a fictional world. Therefore
can strain a sociopathic mind into finding such acts to be fun in real life. In terms of TV however. Depending on what is being watched the
violence has been exaggerated in order to entertain some people. For others this can scare them and do the exact opposite.

9. BIBLIOGRAPHY
 DLFuzzy. (2017) What are some modern formalism film – Link:
https://www.reddit.com/r/movies/comments/5dwnu9/what_are_some_modern_formalism_films/
 Jon Fusco. (June 17th 2017) Watch: forget realism, embrace formalism – Link: https://nofilmschool.com/2017/06/watch-forget-realism-
embrace-formailsm
 John Tindell. (April 7th 2019) Shot types – Link: https://www.youtube.com/watch?v=e5CwiBJYUXk
 Justin Dise (2017) Filmmaking 101: Camera Shot Types – Link: https://www.bhphotovideo.com/explora/video/tips-and-
solutions/filmmaking-101-camera-shot-types
 Jo light. (July 31st 2019) Five Adobe Premiere Audio Effects That Will Make Your Videos Sound Great – Link:
https://nofilmschool.com/2019/07/adobe-premiere-audio-effects
 The Journo type. (date: Unknown) Formalist Film Theory (how we can use this in future filmmaking) – Link
https://thejournotype.com/2018/04/04/formalist-film-theory-how-we-can-use-this-in-future-filmmaking/
 SudioBinder. (May 4th 2020) Ultimate Guide to Camera Shots: Every Shot Size Explained [The Shot List, Ep 1] – Link:
https://www.youtube.com/watch?v=AyML8xuKfoc
 Vanessa Younts. (September 2nd 2020) Six creative audio effects in Adobe Premiere Pro – Link:
https://premieregal.com/blog/2020/9/2/6-creative-audio-effects-in-adobe-premiere-pro
 Wolfcrow. (September 12th 2017) 15 Essential Camera Shots, Angles and Movements in Filmmaking – Link:
https://www.youtube.com/watch?v=7y0ouVBcogU

10. TIM BURTON – FILM DIRECTOR
Tim Burton is a film director, producer, writer and artist. His most notable works are Edward Scissorhands (1990), Corpses bridge (2005) and Beetlejuice
(1988). All know for his gothic fantasy style. His passion started in his pre-teen years when he began making short films in his back garden. The first film
he ever made was in 1971 titled ‘The island of doctor Agor’. Using crude stop motion techniques or shooting on 8 mm film without sound. This
introspective child was heavily inspired by Dr Seuss and Roald Dahl. Burton attended the California instate of the arts in Valencia, where the subject he
studied over there was character animation. There he made shorts such as ‘stalk of the celery monster’ and ‘King and the Octopus’. The first one
attracted Walt Disney animation division where he worked under an apprenticeship. He worked as an artist director, graphic designer, animator and
concept artist. Producing any different pieces for many different films that make it to the final cut or weren’t accepted. Films such as like Tron (1982) or
‘The black cauldron’ (1985). The animator team that he had worked for were described as a “group of outcasts”. So he had stated in an Vanity fair article.
His first film was a black and white short film titled ‘Vincent’ in which he reads a poem about a young boy’s dream of working with him. This young boy
depicts him and in years time he ends up working with the nine years time. He ends up working with the star in 1990’s ‘Edward Scissorhands’. His next
live action short was ‘Frankenweenie’ which resulted with him getting fired by Disney studio for releasing something that was too scary for children and
had also been a result of him spending a lot of money on the product. Burton moved onto to directing the tv show ‘pee-wee-herman. It was there,
where he met song writer Danny Elfman. Eifman has composed every piece of music that has been scored in a film that Burton had directed apart from
Ed wood and Sweeney Todd. From there own he moved onto his next big picture which goes down as one of his most popular films day ‘Beetlejuice’.
This starred Wynona Ryder and Michael Keaton who continued to work on further projects with Burton. Grossing $80 million dollar on a small budget
and winning an Academy award for the best makeup. Though Burton real success which established him as a Profitable director was 1989’s ‘Batman’.
Picking Jack Nicholson as the Joker to attract the older viewers. This film became a film for fans both young and old. Grossing over $250 million in the
US. Earning critical acclaim for both Kean and Nicholson. Plus for the production side. It had won Academy award from the best art direction. The next
film to have been placed in fron o fbUron was 1990’s ‘Edward Scissorhands. It’s largely seen as an autobiography of Burton’s childhood in his childhood
town in Burbank. With the character of Edward Scissorhands coming from a character he had drawn at school. This was also seen as the most person to
Burton because he felt like it was a representation of his childhood not being to effectively communicate with other children. Whilst the financial success
had rocketed in 1992’s Batman returns it sadly didn’t do as well as its predecessor. Due to time constrains of this films. He ended up producing the next
film which he was working n which was 1993’s ‘The nightmare before Christmas. Having over 100 people working on the film just create the characters
and then for it taking around three years to be made. It had grossed over $50 million dollars. He then went onto collaborate with Sellick for 1996’s

11. TIM BURTON - FILM DIRECTOR
He continued to work further down the line with Johnny Depp again in 1999’s ‘Sleepy Hollow’. A film which had paid homage to the successful hammer
house horror films which were being made in the late 1950’s by the great Vincent Price who he had previously worked with. Being a great finical success as
well as receiving two bafta's. One for working on best costume design and one for best production design. However this film marked a turning point for
Burton and his style of the dark woodlike gothic style films weren’t being left behind but were being put on pause. So that Burton could experiments with
more variety. Moving onto 2001’s Planet of the Apes.’ However this film sadly didn’t do as well as in the box office. His next big success was in 2005’s
‘Charlie and the chocolate factory.’ It was later nominated an academy away from the best costume design. Making around $205 dollars successfully. This
film did very well in the box office. Filming however was provided to be rather difficult as most of the stars were working on the ‘corpse’s bride’ (2005). This
film was also considered notable for its recurrence of Helen Bonham carter and Johnny Depp working on Burton film. Burton’s next project was not in film
but was appearing as a director in 2006 album ‘Bones’ by the killers. He later went onto to directing another in 2012 which starred Wynona Ryder. Next
moving onto Alice in wonderland (2009) which received two awards. One for best art direction and one for costume direction. Burton down the line many
other sequels and some which sadly didn’t do well in the box office when put into comparison with his other films. In 2014 he decided to remake
Frankieweenie, where he shared his personal experience of it being similar to a dog that he had when he was growing up. He range was explore further
when he was able to balance and show the skills that he had as director for having such a range. From directing ‘2014’s film ‘Big eyes’ where it deals with
the theme of a heated divorce to 2016’s Mrs perigines home for peculiar children. A kids film involving CGI monsters. Focusing a lot more on his personal
life and the type of person he is. It was speculated by Bonham Carter in a 2005 interview that he might have Asperger's syndrome. he and Helen Bonham
Carter were later married and had two children. His own aesthetic of films can be taken from German expressionism. This type of art creates a dreamlike
unreality and psychological tension for the viewer that is watching it. This can be seen in such works or described in Frank kuffalfa ‘metamorphosis’ where
the movement is notable from being rather ridged and unnatural. This can scare the audience but only because its different and after a while like Edward
from ‘Edward Scissorhands’ can make you feel great sympathy for the character. In the classical films in terms of mis-en-scene and setting. This can be seen
through the exaggerated backdrops and landscapes with high exaggerated colours to open the viewers perspective on the fantasy. These backdrops are
also heavy uses to creates shadows and silhouettes in order to scare the viewers but be left with intrigue after not having seen the full antagonist. In Latin
America there is a hostal celebration called Day of the dead in which they celebrate the remembrance of the dead. The uses of bold, colourful skulls and
skeletons was something which had initially inspired Burton. Burtons view on the world is rather blood, disoriented, dystopian circus. Where anything can
be chucked at it no matter how odd and how terrifying. In 2009, Tim burton released a series called ‘Tim Burton and the Lurid Beauty of Monsters’. Where
he went through a series of directors and filmmakers that had inspired/influenced him. Most of it which were B-movie. From Roger Corman to James

12. FREQUENT COLLABORATORS
 Danny Elfman
 Johnny Depp
 Helena Bonham carter
 Christopher Lee
 Michael Gough
 Wynonna Ryder
 Vincent Price
 Waaren Skareen
 Caroline Thompson
 John August

13. QUOTES
 “ Movies are like an expensive form of therapy to me.” – Link: https://www.brainyquote.com/authors/tim-burton-quotes
 “One person's craziness is another person's reality.” – Link: https://www.goodreads.com/author/quotes/5773.Tim_Burton
 “It’s good as an artist to always to remember to see things in a new, weird way.” – Link:
https://www.inspiringquotes.us/author/5840-tim-burton
 “When you are making movie. It’s a very interiorised world.” – Link: https://www.bighivemind.com/the-best-tim-burton-quotes/
 [The approach you have to take in movies] " . . . You always have to feel like it's gonna be the greatest, even if it's a . . . you
know . . . piece of crap.“ – Link: https://m.imdb.com/name/nm0000318/quotes
 “Visions are worth fighting for. Why spend your life making someone else’s dreams?” - Link: https://writingcooperative.com/5-
quotes-by-tim-burton-to-make-you-a-better-writer-67c40108907b
 “There are people who pretend like they know movies. But if somebody really knew movies, every film he made would be a
success.” – Link: https://www.esquire.com/entertainment/interviews/a4034/tim-burton0108/
 “I always liked strange characters.” – Link: https://m.imdb.com/name/nm0000318/quotes
 “Anybody with artistic ambitions is always trying to reconnect with the way they saw things as a child.” – Link:
https://www.brainyquote.com/authors/tim-burton-quotes
 “I am not a dark person and I do not consider myself to be a dark person.” Link:
https://www.goodreads.com/author/quotes/5773.Tim_Burton
 “Most people say about graveyards: “Oh, it’s just a bunch of dead people. It’s creepy but for me, there’s an energy to it that it
not creepy, or dark. It has a positive sense to it.” – Link: https://www.bighivemind.com/the-best-tim-burton-quotes/

14. 1.) Jennifer L. McMahon. (29th April 2014) The Philosophy of Tim Burton – Link:
https://www.google.co.uk/books/edition/The_Philosophy_of_Tim_Burton/SOEjAwAAQBAJ
?hl=en&gbpv=0
2.) University press of Mississippi (2005) Tim Burton (The interviews) – Link:
https://www.google.co.uk/books/edition/Tim_Burton/PXWbtU-85RYC?hl=en&gbpv=0
3.) Ian Nathan. (5rd September 2019) Tim Burton (updated Edition) - The Iconic
Filmmaker and His Work – Link:
https://www.google.co.uk/books/edition/Tim_Burton_updated_edition/LS-
4DwAAQBAJ?hl=en&gbpv=0
4.) Sun Hee Teresa Lane. (September 11th 2011) How to analyse the films of Tim
Burton – Link:
https://www.google.co.uk/books/edition/How_to_Analyze_the_Films_of_Tim_Burton/Q2Z3
AgAAQBAJ?hl=en&gbpv=0
5.) Screen Rant. (March 10th 2019) Tim Burton: The Twisted Story Of The Eccentric
Filmmaker - Link: https://www.youtube.com/watch?v=BsdYCREsCco
6.) The Take. (October 30th 2019) You Know its Tim Burton if… - Link:
https://www.youtube.com/watch?v=KMWSmiJ_L9c
7.) KungFuKuya. (November 18th 2017) Tim Burton: A study into the strange – Link:
https://www.youtube.com/watch?v=nDDQUUhLWrk
8.) Aja Romano. ( April 17th 2019) Tim Burton has built his career around an iconic
visual aesthetic. Here’s how it evolved. – Link:
https://www.vox.com/culture/2019/4/17/18285309/tim-burton-films-visual-style-
aesthetic-disney-explained
9.) BBC radio. (date: unknown) Nine important life lessons we can learn from Tim
Burton – Link:
https://www.bbc.co.uk/programmes/articles/1z8K8VQHTFNPZ79gvbVQQzN/nine-
important-life-lessons-we-can-learn-from-tim-burton
10.) Niamh Coghlan. (26th April 2010) The imagination of Tim Burton - Link:
https://aestheticamagazine.com/the-imagination-of-tim-burton/
BIBLIOGRAPHY
The film that was
initially inspired by his
childhood and
childhood home.
The drawing
that had
been done
by Tim
burton in
his
childhood.

15. JORDAN PEELE – FILM WRITER
Jordan Peele is an American actor, writer and comedian. His most popular works are ‘Get out,’ ‘US’, ‘Key and Peele’ and ‘Big mouth’. Peele started when he dropped
out of Sarah Lawrence college in order to form a comedy duo with classmate and future Key and Peele writer Rebecca Drysdale. He started his carer by moving onto
the TV show ’Mad TV’. He also appeared in a numerous amount of other comedy things such as the “Hilary vs Clinton’ sketch, Saturday night live, Fargo and the
station. It was around this time in 2012. Peele joined up with Michael keele in their own sketch show called “Key and Peele”. Which received favourable reviews from
many people and many videos of their sketches went viral online. In February 2017 Keyes ambition to become a filmmaker was finally becoming achieved when he
had released ‘Get Out’. The times rated it as one of the top ten films of 2017 and the Atlantic called the film a “masterpiece". With it eventually scoring 98% on rotten
tomatoes. Eventually it became known as one of the most profitable films of 2017. Grossing over $255 million on a budget of $4.5 Million. The film also received
many nominations such as best picture, best director and best original screenplay. He won the best original screenplay becoming the first black screenwriter to win
this category. As of the beginning of 2018 he started making plans into an early retirement for acting. Stating "Acting is just nowhere near as fun for me as
directing". He then later went on to co produce ‘BlacKkKlansman which had received six nominations from the 91st Academy awards including the best nomination
for Peele. The second horror film which Pelle was involved in. He wrote and produced and 2019’s ‘US’ which also was a success. He will also be a remake of the
Candyman film in the year 2021. Tony Todd, an actor star in the film had stated that "I’d rather have him do it, someone with intelligence, who’s going to be
thoughtful and dig into the whole racial makeup of who Candyman is and why he existed in the first place.” As of October 2021 him and Rosenfeld had also signed a
contract to produce the remake of people under the stairs.’ A comedy horror that had been made in 1991 by Wes Crave. This route shows that Peele is going has
ben going forth upon the comedy and horrors. Now with his latest project. He can mix up his skills. Whilst he initially set out to be a comedian the ones that
influenced him before his career are Richard Pryor and David Chapelle who were in an American Sketch show called ‘In living colour’ He had also stated that Martin
Lawrence and Steve Marin had influenced him too. Both which were comedic American producers. Peele often has a few trademarks within each film he directs so
that whilst they are different they hold continuity to the type of style that he wants. With his films often taking place in suburbs. They are psychological horror and
they focus on race. He also works with Keegan Michael – Key, which appears in a lot of the films he produces or directs. In a similar way that Johnny Depp had with
Tim Burton. As of 2014 he was regarded by the time’s magazine as of the most influential people in the world. However just because of his shift of horror has
become more prominent and rapid as the years have gone by that does not mean that his horror films don’t include those comedy aspects which aren’t often seen
in that genre. Most noticeable was his first horror film ‘Get out’ (2017). Many people had stated in reviews that it has mixed reception because of whereabout they
would the film in the genre category. Starting off as a light-hearted comedy. It then transition’s into something more sinister once you had realised that they were
capturing him. Then it became less of horror and focuses more on the psychology of the character. This two combining genre's were mixed in with light hearted
moments often appearing in the scene with Rod Williams. Who is played by the comedian Lil Rel Howery. This character is shown to be the sidekick/best friend for
the main protagonist which is stereotype that comes up a lot in tv shows/films but not in horror. Which makes it a rather bold move on Peele's part.

16. JORDAN PEELE – FILM WRITER
Jordan Peele's films are often regarded as underrated. They focus on tough political issues and race. Topics which are
capable and have been seen by the average humour. He has played his part of making issues such as these the
substance of comedy but over the course of his career. In a similar sense to the world and public in general has
recognised that these are serious issues which have to be educated towards the audience. Not laughed at. Due to his
creditability and skill for being a writer. This made him the first African American to win an award for his movie ‘Get
Out’. Peele out of all the people that I am analysing here is the person who recognises the power of their platform the
most. Covering such dark but important issues he knows it will reach a wide audience range and will reach a wider
range of people because those elements have been placed in through an entertainment path which will attract a wider
range of people. Whilst Peele has stated that the film ’Get out’ is not an autobiography by any sense. It does show the
extremities of the subtle racism that he has had to suffer through in his life. He doesn’t want to present these issues in
a movement way but show them in his movies through an entertainment sense. That brings in a wider demographic to
the audience that he is opening up to. 1968’s ’Rosemary Baby’ covered different issues in similar sense. The late 60;s
was when women’s voice were being held higher on their abortion right. So in a same way to ‘Get out’ it covers the
issues in a similar way but with less comedy. A lot of Peele’s films hold out for social metaphors such as this. In his films
he states clear that humans are the scariest villain of all. They are passionate and strong about their beliefs. So much
that some can be unbalanced because of it. Along with ‘Candyman’. Peele's has also stated in a vanity fair interview that
due to the success of his previous films. He would like to make a series of films like this. With each of them delving into
theses social demons. This is a heavy risk because no matter how entertaining or visually impressive the films are. They
can hold controversial views from people that have been previously affected by it.

17. QUOTES
 “First off, write your favourite movie that you haven’t seen. Don’t worry about whether it is going to get made. Write something
for yourself. After you have that draft, then worry about what you need to do to sell it. I also say, as a director, enjoy yourself, and
if you take the time to take a breath and have quiet moments for yourself”. – Link: https://filmschoolrejects.com/jordan-peele-
filmmaking-tips/
 Part of what horror is, is taking risks and going somewhere that people think you’re not supposed to be able to go, in the name of
expressing real-life fears. – Link: https://www.goalcast.com/2019/04/17/jordan-peele-quotes/
 “That’s my advice with dealing with writers block. Follow the fun. If you aren’t having fun, you are doing it wrong.” – Link:
https://industrialscripts.com/jordan-peele-quotes/
 With Horror movie, you are making a metaphor. Youre making a personalised nightmare for the protagonist.” – Link:
https://www.azquotes.com/author/63354-Jordan_Peele/tag/horror
 Darkness and silence and fear of the unknown have haunted me. The fear of death is the big one, right? I think comedy and horror
are both ways in which we deal with the existential crisis of the knowledge that the pattern of life we're so used to will one day be
broken, and we don't know what will happen next. – Link: https://m.imdb.com/name/nm1443502/quotes
 I don't see myself casting a white dude as the lead in my movie. Not that I don't like white dudes, but I've seen that movie. – Link:
https://m.imdb.com/name/nm1443502/quotes
 “Every great horror movie comes from a true fear, and ideally it’s a universal fear. The tricky nature of this project is that the fear
I’m pulling from is very human, but it’s not necessarily a universal experience, so that’s why the first third of the movie is showing,
and not in an over-the-top way, in a sort of real, grounded way, just getting everybody to be able to see the world through my
protagonist’s eyes and his fears.” – Link: https://filmschoolrejects.com/jordan-peele-filmmaking-tips/
 “The scariest monsters in the world is human beings and we are capable, especially when we get together.” - Link:
https://filmschoolrejects.com/jordan-peele-filmmaking-tips

18. 1.) Jordan Peele. (26th November 2019) Get Out - the complete annotated
screenplay – Link:
https://www.google.co.uk/books/edition/Get_Out/jPv7wQEACAAJ?hl=en
2.) Dawn Keetley. (2020) Jordan Peele’s Get out – Political horror – Link:
https://www.google.co.uk/books/edition/Jordan_Peele_s_Get_Out/-
LmWyAEACAAJ?hl=en
3.) Samantha Bell. (2018) Jordan Peele – Link:
https://www.google.co.uk/books/edition/Jordan_Peele/aG55DwAAQBAJ?hl=en&gbpv=1
&dq=jordan+peele&pg=PA29&printsec=frontcover
4.) Billy Rose Theatre Division. (2019) US – the unmarked screenplay – Link:
https://www.google.co.uk/books/edition/Us/27FpzQEACAAJ?hl=en
5.) BBC. (October 13th 2020) How Jordan Peele redefined Horror films forever |
Inside Cinema – Link: https://www.youtube.com/watch?v=UnL8lX52gPo
6.) Wall street Journal. (March 19th 2019) Jordan Peele’s guide to horror films |
WSJ – Link: https://www.youtube.com/watch?v=LXB-LvBwJdM&t=13s
7.) Tyler Mowery. (February 16th 2019) Jordan Peele’s Advice on Writing Thrillers
Link: https://www.youtube.com/watch?v=lsxWMXj9Plc&t=3s
8.) Clarisse Loughery. (March 22nd 2019) How Jordan Peele is pushing horror
forward by looking to the past - Link: https://www.independent.co.uk/arts-
entertainment/films/features/jordan-peele-us-movie-get-out-horror-director-cinema-
a8835266.html
9.) Steve Ross. (19th March 2019) Jordan Peele on US: “This is a very different
movie from get out” - Link: https://www.theguardian.com/film/2019/mar/09/jordan-
peele-on-us-this-is-a-very-different-movie-from-get-out
10.) Brian Hiatt. (29th January 2019) How do you top a movie that shook
Hollywood? The auteur behind ‘Get Out’ has a simple plan: Scare the hell out of
- Link: https://www.rollingstone.com/movies/movie-features/director-jordan-peele-
new-movie-cover-story-782743/
BIBLIOGRAPHY

19. ALFRED HITCHCOCK – FILM DIRECTOR
Alfred Hitchcock who was also titled the master of suspense was an English director; who was also a producer and screenwriter. As a younger child he
held a big interest for geography and claimed that his grammar school “The Jesuits taught me organization, control and, to some degree, analysis.” He
took his service in the first world war and it wasn’t to until the June 1919 when he became a founding editor and business manager of Henley's in house
publication. When he took an interest into creative writing. It was in the Henley telegraphy when he started publishing short stories. He told Truffaut that
his “first step towards cinema” when he drew the graphics for a cable company. He was particular interested in American cinema and took liking towards
Charlie Chaplin, D.W. Griffith and Buster Keaton. Then his career path had changed moving closer towards cinema by designing title cards. He then went
onto make his first debut. ‘The pleasure garden’ (1925). A British-German silent film. His first big success came with the Lodger: a story of London fog.
This was his first thriller debut and helped establish his name within that genre. His most notable successes are the lady vanishes (1938) and ‘The 39
steps’ (1939). What's known as the ‘Hitchcockian style’, is the films that a recognisable due to his major influence on making them his own. This includes
techniques such as bringing in real life issues that the regular person has to deal with. Though of course not as updated as the issues that Jordan
Peele's; tackles with in his films. Most notably where the character has been accused for a crime they didn’t commit. This occurrence happens in eleven
of the thirty five films that he had directed. He state in an interview about this saying “That's because the theme of the innocent man being accused, I
feel, provides the audience with a greater sense of danger. It's easier for them to identify with him than with a guilty man on the run.” This places upon
the distrust for the rules distrust for the rules and authorative figures. Such as policemen. The aesthetic of his career was pretty much solidified when
making 1926’s ‘the loader’. Which dealt with a lot of German and soviet aesthetics. However it was due to his suspenseful choices in his films. They
became a big success. With him often adding in a short aphorism. This meaning a situation that requires a yes or a no option. Introducing the good
thing and the bad thing that can happen in that situation. Really just seeing if both ultimatums are any different. In terms of recuring figures. It wasn’t
specific actors in Hitchcock's case. He like to work with a variety of different actors and didn’t see the point of working with the same actor again. The
preference for his film was blond women. He found that audience would be more suspicious. Each different film he lays out a twist but the pattern
people saw when he stopped making them was a that the blonde woman was the antagonist because they were his eyes that was the person who would
be the least expected. He also found that blonde women photographed in black and white were the most visually striking which are images that have
stayed in a lot of people brain when think about his films. Overall Hitchcock was really ahead of his time when it came to mastering his films. He avoided
the cliques and the stereotypes that made the character the unsurprising suspect. Making the audience geneuinely suised when it came to revaling who
the suspect actually was

20. ALFRED HITCHCOCK – FILM DIRECTOR
Earning his title of suspense his films worked a lot with building the suspense for the viewers. This was a title which he approved of because it was true.
He like making the audience feel relieved. Dropping tension that’s terrifying on screen and then after when its finished, making them appreciate their
own life more because they haven’t gone through what the character has gone through. Like Stan Lee does a lot with the Marvel films. Hitchcock
appeared in a lot of his own films. This will be through a cameo where he isn’t hidden as an extra but he does appear as a cameo. Among other things
Hitchcock’s films have been known to deal with some controversial issues among homosexuality. Often having jokes or references that pushes the
boundaries of the censors. When his mother passed away in 1942, he brought in the portrayal of ‘notorious monster mothers’. Throwing in this
stereotype to his films just shows how much your own life and emotions can effect what you do. Not only is your writing shaped by what happening in
your life but the strong moral messages that come into the script are like therapy to the person who has wrote them. Being a popular writer, another
element that shaped up the script to be his own was including a ‘MacGuffin’ in the film. This can be a specific person or object but essentially its where
there has been a side plot introduced. This plot device often holds no relevance to the story at the end of film and in most cases included in the film. In
order to distract the viewer. For example in ‘Psycho’ (1960), it’s the $40,000 stolen money and in the film ‘North by northwest’; it’s the plot involving the
microfilm. Sound in terms of how its played through the film and created behind the scenes had played a big throughout his career. Starting off towards
mid 1920’s his films were divided into the periods of being silent films and then ending his career on the music being one of the most important factors.
Due to the suspense placed in the scene . He built up tense scene through climatic scenes. Something which is still happening today in most genres. In
order to fund out what scares the audience through the uses of sound and he conducted a statical survey among the general audience to find out which
day to day noise they found the most frightening. The most frightening noise was the sound’s of police siren. This was captured as said before through
law chasing after the wrong person. The one who is falsely accused. Second to that was by a crash from an rod accident. Something which was seen in an
episode called ‘breakdown’ in his TV show ‘Hitchcock presents’. Following that was the cracklings of a urning forest, far galloping horses, howling dogs,
the scream of a stabbed woman and the steps of a killer in the dark. Hitchcock saw these results and looked over how he could place them in his own
products. Showing his heavy reliance on the sound of the scene. In a similar sense to the Peele his most frightening film ‘psycho’ was within his intention
comedy. Intending it to be more tongue in check. He surprised with how his audience had reacted to the horror on screen. His film came out like Peele’s
being a success but with different intentions on what genre it would be placed in. so whilst the film was big success in everyone eyes. The only regret he
holds to the film is over using the fear factor of it to far to make the audience it be place in any other genre. Havin received many Oscar nominations. His
films are well regarded by the general public for his success in horror (‘Psycho’and ‘The birds’) and the spy espionage thriller (‘The 39 steps’ and ‘secret

21. QUOTES
 “Puns are the highest form of literature.”- Link: https://www.goodreads.com/author/quotes/9420.Alfred_Hitchcock
 “There is no terror in the bang, only in the anticipation of it.” – Link: https://www.brainyquote.com/authors/alfred-hitchcock-quotes
 “I deny that I ever said actors are cattle. What I said was, Actors should be treated like cattle.” – Link
https://en.wikiquote.org/wiki/Alfred_Hitchcock
 “What is drama but life with the dull bits cut out.” – Link: https://www.brainyquote.com/authors/alfred-hitchcock-quotes
 “I think the important thing is one’s work, using the mind, all of your talent, all of your experience. You find that as you go along one
problem becomes more and more difficult: How do you avoid the cliché?” – Link: https://industrialscripts.com/alfred-hitchcock/
 “One must never set up a murder. They must happen, unexpectedly as in life.” – Link: https://www.inspiringquotes.us/author/7656-alfred-
hitchcock
 "If You Should Find One Perfect Thing, Or Place Or Person, You Should Stick To It.” – Link: https://screenrant.com/best-quotes-from-alfred-
hitchcock-movies/
 “Film your murders like love scenes, and film your love scenes like murders.” – Link: https://screenrant.com/best-quotes-from-alfred-
hitchcock-movies/
 “The only way to get rid of my fears is to make films about them.” – Link: https://www.quotetab.com/quotes/by-alfred-hitchcock
 Always make the audience suffer as much as possible – Link: https://m.imdb.com/name/nm0000033/quotes
 “Mystery is an intellectual process. But suspense is essentially an emotional process.” – Link: https://www.awakenthegreatnesswithin.com/35-
inspirational-alfred-hitchcock-quotes-on-success/
 “The more successful the villain, the more successful the picture.” – Link: https://www.awakenthegreatnesswithin.com/35-inspirational-alfred-
hitchcock-quotes-on-success/
 “If it’s a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on.” - Link:
https://www.awakenthegreatnesswithin.com/35-inspirational-alfred-hitchcock-quotes-on-success/

22. BIBLIOGRAPHY
1.) The Dick Cavett show. (May 11th 2019) Alfred Hitchcock Talks About His
Relationship With Actors - Link: https://www.youtube.com/watch?v=GuD1yloq5pY
2.) WatchMojo.com. (April 27th 2011) The life and career of Alfred Hitchcock – Link:
https://www.youtube.com/watch?v=A3w-guf2G-M
3.) Eyes on Cinema. (December 17th 2014) 96-Minute 'Masterclass' Interview with Alfred
Hitchcock on Filmmaking (1976) – Link: https://www.youtube.com/watch?v=DDvC6tzrJro
4.) Paula Marantz Cohen. (17th October 2014) Alfred Hitchcock - The Legacy of
Victorianism – Link:
https://www.google.co.uk/books/edition/Alfred_Hitchcock/R6EfBgAAQBAJ?hl=en&gbpv=0
5.) Wiley. (2011) A companion to Alfred Hitchcock – Link:
https://www.google.co.uk/books/edition/A_Companion_to_Alfred_Hitchcock/ePMxuoC5kTYC
?hl=en&gbpv=0
6.) Oxford University Press. (2004) Alfred Hitchcock’s Psyche – A casebook – Link:
https://www.google.co.uk/books/edition/Alfred_Hitchcock_s_Psycho/k5I5ED1IiFQC?hl=en&g
bpv=0
7.) Gene Adair. (6th June 2002) Alfred Hitchcock – Filming our fears – Link:
https://www.google.co.uk/books/edition/Alfred_Hitchcock/9xeWbQA6GDUC?hl=en&gbpv=0
8.) Joe Ursell. (10th August 2018) The Phenomenal influence and legacy of Alfred
Hitchcock – Link: https://www.intofilm.org/news-and-views/articles/hitchcock-feature
9.) Bee Wilson (15th June 2012) Alfred Hitchcock from silent film director to Inventor of
modern horror – Link: https://www.theguardian.com/film/2012/jun/15/alfred-hitchcock-
inventor-modern-horror
10.) BFI. (1st July 2020) Alfred Hitchcock: My own methods – Link:
https://www.bfi.org.uk/sight-and-sound/features/alfred-hitchcock-my-own-methods

23. JOHN ALVIN – GRAPHIC DESIGNER
John Alvin was an American artist and painter who illustrated many film posters. Sadly unlike the previous screenwriter and directors I have looked there
isn’t much know about John Alvin himself. His work was admired by million of people and can be seen as the most recognisable artwork for movie
posters but the man behind the art was sadly underappreciated. John’s passion for film posters that could be seen as advertisements from Sunday
newspapers. Alvin started when he graduated from an art college in Los Angeles in 1971 and became a freelance designer from there. He began working
as an animator at animation studio where he got his first film art campaign offer which was the poster for ’Blazing Saddles’ (1974), directed by Mel Brooks.
Because of his success with the poster. Brooks, as well as others agreed to keep him on and help with other posters. He went onto make a number of different film
posters for him including 1974’s ‘Young Frankenstein’. One of Alvin’s most iconic posters was one that Steve Spielberg had commissioned for him in 1982’s ‘E.T. the
extra terrestrial’ It illustrates the tip of E.T.'s finger touching the tip finger of his human friend, Elliot. This creates a glowing effect between the two. This idea
apparently was commissioned by Spielberg and was inspired by the painting the creation of Adam by the artist Michelangelo. This just shows how
ambitious he was when it came to creating his posters. He used his daughters hand as the model for Elliot. His film campaigns pan throughout the
entirety of three decades. He listed out throughout many films that listed out to different genres. Working for over 135 different films. He worked for
different companies such as Warner bros. Entertainment, Disney studios, New Line cinema and George Lucas. LTD. This listed out to many different films
including Blade Runner (1982), The princess bride (1987), The goonies (1985), Space jam (1996), Jurassic Park (1993), The lion king (1994), Gremlins
(1984), Batman returns (1992), Batman forever (1995), Cocoon (1985) and Predator (1987). He made a habit if making number of pieces with George
Lucas including many Star wars anniversary posters and the artwork for the 30th anniversary Star Wars celebration. He had also worked for a number of
different sages and franchises. Including the ‘Harry Potter’ series, Walt Disney’s ‘Pirates of the Caribbean’, and the Percy Jackson’s ‘lord of the rings’
trilogy. His poster for ‘the phantom of the paradise’ was included in the Smithsonian Institution Smithsonian Museum and the Museum of Modern Art
from the ‘Images of the era (1945-1975)’ category which toured around Europe. This shows that his posters weren’t just iconic from an American
perspective but they were also value all around the world. Among his friends they had called his posters ‘Alvinesque’. He also won the award in the
Hollywood Reporter key Art Awards. He later moved on towards fine art when it came to the end of his career. Coming toward his retirement, he
published a large collection portfolio of his on posters through the distributors titan comics on August 26th 2014. Though sadly he passed away on
February 6th 2008 so his wife Andrea Alvin published his works. This book didn’t just include his posters but unseen paintings and sketches that he had
abandoned. John sable who was an executive producer for Disney studios worked with John Alvin and said "There was a reason why ’The Lion King’ did
the numbers that it did... There was a reason why 'Hunchback [of Notre Dame]' became a big success. It's because of the images that were produced,
and a lot of those were John Alvin’s paintings."

24. JOHN ALVIN – GRAPHIC DESIGNER
Alvin used the quote “creating the promise of a great experience” when talking about the fundamentals on how he makes his
posters. The most important element that can be picked upon when talking Alvin's style is fantasy. He works with light vibrant
colours no matter what the genre. Though it does depend on how it’s commissioned too. Blade runner (1982) was a film
poster that he had designed. This works on bright blue and yellow hues. Illustrating the fantasy elements that Alvin always
worked upon. He called this ‘heavy light’ which brought a whole different atmosphere to movie posters. Having to work with
fantasy you have to include many imaginative elements that are included in that world. You are transferring a the audience to
a different world on screen. So you’ve got illustrate that world just as well through the poster. He also worked for Disney
animations and Steven Spielberg a lot. These were the major connections that led him to making many other different films.
On a more personal level his favourite book was "The Lion, the Witch and the Wardrobe“. This was an extremely lucky
considering that he got the chance to make the film adaption in 2005. Whilst the posters were a success. His preference can
be found in animation stating “There is something pleasing about animated films in that the animated film is artwork, per say
as opposed to photography.” Despite his artwork carrying on throughout a few decades. The style relatively stayed the same.
His hand painted artwork was distinctive for it’s uses of light and shadows. Orange and blue are the most significant colours
when it came to deciphering what colours will be used. Weather it was dark sci-fi film like ‘blade runner’, light hearted
animated children film like ‘the princess bride’ or a fantasy pirate film like ‘pirates of the Caribbean’. They all retain the same
colours and style. Despite being different films. The theme of the posters and what he can offer is what makes it most unique
to him. Which is what sells the most.

25. BIBLIOGRAPHY
1.) Parka Blogs. (September 26th 2014) The Art of John Alvin – Link:
https://www.youtube.com/watch?v=Y7ubRVB052A
2.) Artinsights animation and film art online. (March 10th 2009) John Alvin pt 2: E.T, Blade
Runner, & Star Wars movie poster artist: Interview – Link:
https://www.youtube.com/watch?v=12Nv9kBkrJ0
3.) Artinsights animation and film art online. (March 10th 2009) John Alvin pt 1- E.T, Blade
Runner, & Young Frankenstein movie poster artist: Interview – Link:
https://www.youtube.com/watch?v=g4-ba6-3mTI
4.) Taschen. (2005) Film Posters of the 70s - The Essential Movies of the Decade : from
the Reel Poster Gallery Collection – Link:
https://www.google.co.uk/books/edition/Film_Posters_of_the_70s/5ZiKPwAACAAJ?hl=e
n
5.) Ian Haydn Smith. Selling the Movie - The Art of the Film Poster- Link;
https://www.google.co.uk/books/edition/Selling_the_Movie/eDFyDwAAQBAJ?hl=en&gbp
v=0
6.) Tony Normand (2013) 100 movie posters – the essential collection – Link:
https://www.google.co.uk/books/edition/100_Movie_Posters/Fn0skwEACAAJ?hl=en
7.) Reel Poster Gallery (1998) Film Posters of the 60s - The Essential Movies of the
Decade – Link:
https://www.google.co.uk/books/edition/Film_Posters_of_the_60s/4AOlPwAACAAJ?hl=e
n
8.) Ryan Lambie. (August 24th 2014) The art of John Alvin review – Link:
https://www.denofgeek.com/movies/the-art-of-john-alvin-review/
9.) Katie Steed. (2st October 2014) The Art of John Alvin – Movie Poster’s Of The
Past 40 Years – Link: https://www.skwigly.co.uk/art-john-alvin-movie-poster-book/
10.) Adam Kennedy. (February 5th 2020) The Artists 0 mvie posters with John Alvin - Link:
https://artofthemovies.co.uk/blogs/original-movie-posters/the-artists-the-movie-
posters-of-john-alvin

26. A24 - HISTORY
A24 is an independent American entertainment company that was founded on August 30th 2012 and since then they have released around 85 films since 2021. This
company was founded by people who have previously worked on films. Daniel Katz, David Fenkel and John Hughes were the people who had founded the company.
The finance group had been led at the Guggenheim partners . The company name itself was inspired by the Italian motorway that Katz thought sounded nice when
he was driving through it. As of 2019 it has 124 employees and hits area worldwide. Guggenheim partners provided the seed money (small amount of money in
which investors place in order to secure the financial payment) for A24. their original name was ‘A4 Films’ but as of 2016 company was shorted due to direct deals
with Amazon Prime and DirecTV cinema with films being distributed to them. In January 2017 they had picked up the rights for their first foreign film called
‘Menashe’. A film which in terms if the box office didn’t do as well as other films that were picked up by the company but still gave them the rights to expand their
films internationally. As for advertisement to their films. The company uses the strategy of using social media through creating something that will go viral in order to
sell the products. Selling a film through a TV spot is an old fashioned technique that isn’t used that much. Social media platforms are used instead to which they can
be shared to higher range of their target audience. They also show their products/films through independent film festivals. This partly is the reason because
filmmakers that have not been that well known to the general public get a lot more recognition. A24 promotes films that inspire young filmmakers as opposed to
ones that are brought to Hollywood just because they are enjoyed. These are the films that watched from the angle of looking at the cinematography and the camera
shots which make up each aspect of the film like the plot. A notable example would be through 2019’s ‘Midsommar’. Whilst it’s a horror and the plot is dark. The
visual storytelling contrasts that with its light aesthtic and pallets that bring a light-hearted feel. Which is a bold move because the dialogue that is relevant to the
film is dark. Scripts can be accepted an sold to the company if they are produced for under 10 million and have a mainstream actor attached to them. However due
to this there have been many article of people claiming that they are disrupting Hollywood. GQ released an article about this on May 7th 2017 stating that whilst a
distribution company is almost invisible it’s the most important factor because it depends on how you sell the product too. In February 2018 the company released
the podcast titled ‘The A24 Podcast’. Since February 2021 they have released up to 18 episodes. This show features people that work in the industry to talk about
working with the company and what that can be like. Having only founded the company and started distributing 2013. They have so far received 25 academy awards
from 2018 including the chance to receive a nomination in 2020 for their film ‘the lighthouse’. Head of acquisitions and production for A24 Noah Sacco
summed up perfectly what the company is like stating “I think some of our biggest movies had no stars in them at the time of release—Ex Machina,
Moonlight, The Witch, Room, The Spectacular Now.’ this indicates that the A24 is good company for finding raw talent. Which contrasts to so many other
film companies such as new line cinema and warner bros that play it safe by picking out the same faces that are normally seen in Hollywood. Not
experimenting and challenging new actors into the industry. This is why this is company has been so successful with its films because of the many new
faces that it has brought into the industry which have been exceeding in such awards like the baftas or the golden globes.

27. A24 - FILMS
They became better well known once they had picked up the worldwide rights to ‘the witch’ (2015) and ‘moonlight’ (2016).
Films like the these have picked up actors made them more recognisable today. Such as Anaya Taylor Joy and Florence Pugh.
Two actresses that were relativity unknown for four or five years ago. Whilst a lot of there success was down to them through
the acting and perseverance through other production companies. A24 was a big stepping stone in bringing the actresses into
award festivals that lifted their career. This is usually quite rare to fund both sides from the cast and the crew benefitting from
the production of a film. These films have unique and weird, quirky storylines. They aren’t necessarily bad. The visuals, the
acting and every other little detail from locations looks visually pleasing but have sadly been rejected due to the odd take of
the plot. The advertising for the film is a factor that A24 succeed very well upon though. With most trailers that A24 have
produced they are critiqued to being better than the actual films. Whilst they do excel above the films they can also often be
misleading. For instance the film ‘it comes at night’ by looking at the trailer looks more like a horror when really it’s a drama
with some thriller elements. The films that A24 aren’t bad butt they aren’t as well as expected and in the audience mind that
can let them down. The target audience that fits in the most for A24 ‘s films is between the ages of 18-34. which is a widely
considered demographic for most films in general anyway. However they use this to their advantage by distributing their films
through companies online. Such as Hulu and Amazon prime. They have also not only used this platforms in order to sell their
films or share them through advertisement but they have benefitted other companies too by making them originals. Take
‘ladybird’ (2017) as example for instance. With that being a Netflix original but being produced and distributed through A24.
Another example that shows how supportive A24 are to new stuff is through their uses of not releasing sequels or franchisees
that make more money. The films that are distributed are completely original and unique from each one that follows. With a
lot of companies they keep on releasing sequels to films. Even when no one asks for them because they can be seen and can
be a lot more profitable than the originals in the box office. Even when a lot of the cast and crew move on but he production
company don’t it seem too much like they are making the film for themselves and not the audience. Overall to simplify what
makes A24 such as successful production company is the commitment to be different and the company that is able to find a
lot of talent in unknown actors in the industry.

28. ACTORS OPINIONS ON THE COMPANY) THROUGH QUOTATIONS
 Brie Larson - “A24 has the unique ability to find and champion authentic narratives that cut to the core in a raw and honest
way.”
 Daniel Radcliffe – “When you can get a distribution company that likes the film for the same reasons that people that made
it like the film - I’ve found that rare. They’re one of the few companies that have shown that indie films can still be viable.”
 Colin Farrell – ”They have such a great eye for these small little films and rich and unique stories that may have not found it
to the big screen if it wasn’t for them.”
 Alex Garland – “They make things work that according to standard procedures really shouldn’t work. And I’m not saying
they’re magicians. I think what they’ve understood is there’s a sufficient number of people out there who want more
challenging or different material and they’re aiming at them.”
 Barry Jenkins – “A24’s the kind of company where they say, “Yeah, they don’t need to know what it’s about. They just need
to know how it feels.”
 James Franco – “This is one of the things they’re great at: taking something small and delicate and giving it the kind of
support that other people can’t.”
 Harmony Korine - “Hollywood is run by accountants at this point. And so anytime you speak with someone who’s not a pure
accountant, is not a pencil pusher? It’s exciting. They had heart to them.”
 Barry Jenkins – “Nothing we did was geared toward making the movie fit this box or that box,” Jenkins said in a previous
interview. “There’s something to be said about how the film can create the market, and create the campaign.”

30. BIBLIOGRAPHY FOR A24
1.) Amandaamaryanna. (August 24th 2020) The rise of A24 – Link: https://www.youtube.com/watch?v=JuK7T4sfoQUk:
2.) Christopher Ashton. (May 11th 2019) A24: Why they’re a success - Link: https://www.youtube.com/watch?v=T9kgN-q6HoQ
3.) Galaxy Brain. (December 10th 2019) What makes A24 such a great movie studio – Link: https://www.youtube.com/watch?v=mc5IRuREUxU
4.) Payton Swan. (May 29th 2018) A24| They put out the good stuff – Link: https://www.youtube.com/watch?v=wV5gIYTLkqo
5.) Yhara Zayd. (January 12th 2021) The Mediocrities of A24 – Link: https://www.youtube.com/watch?v=P_K37HuQbpI
6.) Corey Stein. (December 30th 2018) An introduction to A24 – Link: https://www.youtube.com/watch?v=rmXmgP2qB_M
7.) Debbie Sanna. ( June 17th 2018) Why A24 is so good and successful – Link: https://www.youtube.com/watch?v=ssX2hZvgh1A
8.) Master of Movies. (September 16th 2020) A24’s Misunderstood Masterpiece | Video Essay – Link: https://www.youtube.com/watch?v=94GbR1oeZak
9.) Sonia Rao. (August 5th 2019) How the indie studio behind ‘Moonlight,’ ‘Lady Bird’ and ‘Hereditary’ flourished while breaking Hollywood rules – Link:
https://www.washingtonpost.com/lifestyle/style/how-the-indie-studio-behind-moonlight-lady-bird-and-hereditary-flourished-while-breaking-hollywood-
rules/2019/08/01/47094878-a4dc-11e9-bd56-eac6bb02d01d_story.html
10.) Zach Baron. (May 9th 2017) How A24 are distributing Hollywood? – Link: https://www.gq.com/story/a24-studio-oral-history
11.) Brookes Barnes. (March 3rd 2019) The little movie studio that could – Link: https://www.nytimes.com/2018/03/03/business/media/a24-studio.html
12.) Fast company. (Date: Unknown) Most innovative companies – A24 – Link: https://www.fastcompany.com/company/a24
13.) Jonah Weiner. (January 18th 2017) Get to Know A24, the Film Company Behind ‘Spring Breakers’ and ‘Moonlight’ – Link: https://www.wsj.com/articles/what-to-
know-about-the-scrappy-film-company-behind-moonlight-1484754631
14.) David Ehrich. (September 30th 2015) The Disturber as auteur – Link: https://slate.com/culture/2015/09/profile-of-the-independent-film-distributor-a24-the-company-
behind-spring-breakers-and-room.html
15.) Siobhan Spearer (June 16th 2018) The History of A24: A Timeline of the Rising Distributor – Link: https://filmschoolrejects.com/history-of-a24/

31. EVIL DEAD - FILM
The Evil dead is a film where five friends travel to an isolated cabin that’s secluded in the middle of the woods. Here they a play a tape of incantations that hold
enough power to summon the dead. They all get possessed and turn into blood curling zombie but there is one survivor left who is Ash Williams. This American
supernatural horror film was released in the year 1981 and was instant success. Reaching around $29.4 million dollars in the box office. Despite it being a B-movie
and the film retaining a budget of $350,000-$400,000. This film is often noted by filmmakers for its practical and clever uses of camerawork. One clever camera
technique is through the uses of a Steadicam to be shaken whilst running towards the object that the camera is centre with. This gives the camera more natural look
as if a creature or the antagonist in the film is running towards the victim. Putting the viewer into the first person of the antagonists and the using a technique called
the ‘RA-O-CAM’. The Steadicam runs towards the window where it is in timed position to getting to enough distance of something hitting the window. This giving off
the illusion that the Steadicam was the object that had hit the window. The Steadicam then cut, moves to the opposite side of the window and then starts recording
again as if its gone through. Another camera technique which was used regularly in the film was the shaky cam. This effect was really practical where it was just
placed on top of a board and made the camera shake. This was used for scenes such as when the zombies were breaking in or they were trying to give off the illusion
that the cabin in which the characters are in is shaking. Another camera technique which I used during the production of ‘Evil dead’ is the ‘VAS-O-CAM’. This is used
to give off a similar effect to the shaky cam but will be a bit more smoother. This was often used for the POV shots of the creature outside looking through the
window. This effect was done by using a table and then using a U shaped bracket. Placing the camera on top of it and then placing Vaseline on top of the table. To
make the camera bit more slipper and smoother. The last effect which was more of effect pulled to make the character look like its doing something. Unless it’s a
POV shooting. This was called the ‘Ellie-vator’ named after the actress that had appeared in the scene. This consists of a broom being strapped onto her back and
then two guys pulling from the back whilst the broom is leaning onto something. This gives of the illusion that she is levitating on and off the ground. Sam Raimi
(the director) once remarked that the monster on screen won’t scare you nearly as much as what the audience dreams up in their head. A lot of these
camera techniques were intentionally intended to be done in that way. These were ways that they were working around I the amount of short time that
they had. He did have a lot intention camera angles and shots thought such as having a Dutch angle focusing on Ash to build the suspense of the scene.
As the zombies have gone quiet from trying to break into the cabin. This closeup Dutch angle works because the camera needs to be close off with Ash
in a small part of the room in order to not know what is going on around the rest of the room. The last shot that is featured in the film features with a
camera placed on top of a bike whiles it drives its self through the cabin to create a long take. Ina similar manner to the sort of effect a Steadicam would
do but a lot less quicker of a take. This film also has an extensive range of impressive editing. The most notable scene is the face melting one which
apparently took hours in order for it to be cut properly. Dead chickens were apparently stabbed multiple to replicate the noise of mutilated flesh and in
order to give of even more terror Raimi had to scream into a microphone for several hours.

32. EVIL DEAD - FILM
The film in terms of an emotional ride it takes the viewer through Ash's journey. He becomes the last survivor and he's done a lot to get towards that point. That
makes it emotionally exhausting for the viewer too. The sequel to this film does a similar thing but takes an interesting turn on it. As he is slowly losing his mind. He
sees talking reindeers and other stuff that can allude his mind. All this whilst the zombies are trying to break in. and you as a viewer even question if they are real and
if everything that is happening is real. It’s an interesting take on the character perspective from the viewer because he is clearly losing his sanity for good reason with
everything that has gone on in the film but that makes his actions a little questionable too. What makes this film so aspiring to young filmmakers is the process of
how it was made and it shows that with the right budget. As well as the right idea. Then it can be possible success. Sam Raimi and Bruce Campbell (the actor who
pays Ash Williams) started off by making short super eight films. From shooting a suspenseful scene in a short film called ‘it’s a murder!’ they started making there
proof of concept work which Raimi started calling it a ‘prototype’. They would try to generate the interest from the investors and then use any funds that were giving
pointed towards a full length feature film. Their original short film pitch which they had titled ‘within the woods’ was at the producing cost of $1,600. Raimi needed to
raise $100,000 in order produce the full length film which was ‘the evil dead’. Raimi even asked for multiple donations and even eventually begged for the money for
production because some people were saying that the short film they made wasn’t very good. Whilst he ended up not raising the amount the wanted. He go enough
in order to make his film. The film would have higher producer values and would last a full length running time. This shows a how little options Raimi had when
doing his films and his contributors were more his family and friends. Instead of doing auditions and getting actors/actresses out. Only one new contributor came in
through an ad casting that Raimi put in the paper. Which just shows how small scale this production was. A lot of what they had was based upon cheap and practical
effects. One way in which they could make the blood that was needed for a lot of the scenes was adding coffee, corn syrup and food colouring in order to create the
fake blood that was used. This was good cheap way as blood is one of the most prominent things in the film. So they would have needed a lot of it. With the cabin
being so remote and them not having the affordable costs to travel every day. They would have to sleep over at the chain which caused arguments because of how
small it was. Raimi having just turned 20 years old considered this to be his ‘rite of passage.’ Seeing as the amount of people he sked to be part of the cast and crew.
Shows how much he was willing to risk in order to get a good film out there. However it wasn’t just Raimi that has put a lot on the line for the film. Campbell had put
up his family's property in Northern Michigan as collateral so that Raimi not only could finish the film, but also blow it up to 35 mm film which was required for
theatrical release. Raimi was so grateful for his financial contribution, he credited him as co-producer. He would also help prep shots and props whenever he wasn’t
filming. Along with financial funding a lot of the money also went to the face melting scene. Something which had been done in the same with a much bigger budget
for the ‘raiders of the lost ark’. This was done through stop motion but apparently took hours to cut properly during the editing process. Whilst their cheap practical
effects were very intuitive and creative. They did do stuff that wouldn't be allowed to day. For instance shooting live ammunition for some shots of filming. An
example of this is a scene where Campbell has to shoot a shotgun through a window. Anyone who wasn’t in the shot also stood by and smoked cigarettes. Relying
on the smoke from that to create the eerie fog of the woods for some shots where it involved being in the woods they would have to the fog machine.

33. EVIL DEAD - FILM
The most interesting thing to make note of is the shift of direction that the film has. Whilst all the films in the series balance out the horror and comedic elements.
Each different film overpowers one another. For example there are comedic elements placed in the film but the most of it is a stand out horror and it take’s itself
broadly serious. Then moving onto the sequel they went down a more comedic route and tried make the humour more slapstick. This made it empower the horror
side a lot more. As to why the creators took this route. I don’t know because the original was such a success. However it ended up doing better on the box office.
The extensive usage of blood not just in this one but in the sequels too made this film be classified as a ‘video nasty’. A lot of people considered the film rather
violent and disturbing. This was and still is banned either theatrically or on video in some countries. Petley and Cook from the ‘monthly film bulletin’ expressed
similar views to mine commenting “More imagination and "youthful enthusiasm than an average horror film”. In a 1982 variety reviews . The critics claimed that the
film had "powerful" and inventive camerawork was key to creating a sense of dread.” This shows that many of critics were noticing how in depth these films were
from a filmmakers perspective. It wasn’t just the focus on the story but the camerawork. Creative and unique camera ideas were placed in the film. Of course
because of the success of this film. The demand for an actual release was coming up a lot. The first screening was at their home town cinema in Detroit, Michigan on
October 15th 1981. It wasn’t until 17th January 1983 when screening were being taken place in the UK. Of course the film was and instant success with both British
and American viewers despite some negative comments on the over using of gore. Like I had said before. A lot of critics have noted on the particular shift that the
film had taken from the first to the second. Despite how much of a success it was. The first one is more horror dominating. The deaths are done in an over the top
way but everything else from the dialogue to the action is considered horror. ‘Evil dead 2’ (1987) is a bit more comedy dominating and caters to a different audience
by throwing in more slapstick humour. Whilst a lot of film series fall into the habit of having a light-hearted film and then getting darker as it progressively goes
along. This film does the opposite but flows the same attitude of not remaining consistent. This isn’t a big issue however as it happens with a lot of franchises or else
they will fail. Through not putting a new perspective on the films. However it has still been acceptable for some film franchises. Such as ‘Star wars’ and ‘Indiana
Jones’. These have been such a success that they have spawned a variety of different prequels or sequels to follow. The comedic elements can be seen through
examples of scenes like Ash getting beaten up by own hand or the flying eyeball scene. Whether this was intention or not nobody knows because of how serious the
first film was taking itself. This lead to a lot fans of the first one not giving the sequels a chance as they deemed it to becoming too much of a parody of itself and
that the humour wouldn’t work with them having seen the first. Whilst like the first one. It didn't make a massive box office success due to its limited cinema
releases which was around the number of 310 releases. It had made $10.9 million from it’s release and to this day it is considered to be the best one out of the
franchise. Critics have complained that the first one was taking itself too serious and the third film ‘army of the dead’ (1992) had too much sci-fi that’s shouldn’t have
played part of the series. Overall, due to the success of the first film. The evil dead is series that has been valued a success by fans of that and this day of age. This
has lead to a modern day version titled ‘Evil dead’ (2013) which didn’t do as well. Many video games and comic book editions. Along with TV series called ‘Ash vs evil
dead’ which ran from 2013-2015 on starz network and saw the return of Bruce Campbell. Showing his dedication and appreciation for the film that had started his
career.

34. CAMERA EFFECTS (DIAGRAMS)
*Not originals

35. BIBLIOGRAPHY
1.) Mcfarland. (7Th March 2019) The Many Lives of The Evil Dead - Essays
on the Cult Film Franchise – Link:
https://www.google.co.uk/books/edition/The_Many_Lives_of_The_Evil_Dead/o
i-NDwAAQBAJ?hl=en&gbpv=0
2.) Kate Egan. (2011) The Evil Dead – Link:
https://www.google.co.uk/books/edition/The_Evil_Dead/T6bPVJWICYoC?hl=e
n&gbpv=0
3.) Samuel French. (2007) Evil Dead – The musical – Link:
https://www.google.co.uk/books/edition/Evil_Dead/OyPw9_uZIRwC?hl=en
4.) Bill Warren. (15th January 2001) The Evil dead companion – Link:
https://www.google.co.uk/books/edition/The_Evil_Dead_Companion/wBrJ3M
71rUIC?hl=en
5.) Ryan Hollinger. (May 12th 2018) Let’s talk about the evil dead trilogy –
Link: https://www.youtube.com/watch?v=FBCj1wChXRw&t=60s
6.) Patrick (H) Williems. (July 19th 2017) Sam Raimi - How Does Horror
Comedy Work? – Link: https://www.youtube.com/watch?v=QwcjToDEsUY
7.) GoodbadFlicks. (May 7th 2016) Explorinng the Evil dead – Link:
https://www.youtube.com/watch?v=Lju_G-99O60
8.) Little white lies. (Date: Unknown) Cheap thrills: In praise of the Evil
Dead – Link: https://lwlies.com/articles/in-praise-of-the-evil-dead/
9.) Nicholas Ayala. ( 3rd November 2017) Why The Evil Dead 2 Is A Better
Movie Than The Original – Link: https://screenrant.com/evil-dead-2-movie-
better-original-reason/
10.) Seth Mlawski. (October 28th 2009) How to red the Evil dead and why
– Link: https://www.overthinkingit.com/2009/10/28/evil-dead/

36. BIBLIOGRAPHY – FILMMAKING
1.) Aaron Tylor. (2012) Theorising film acting – Link: https://www.google.co.uk/books/edition/Theorizing_Film_Acting/fUG3BQYOOD8C?hl=en&gbpv=0
2.) Elliot Grove. (12th November 2012) Raindance Producers' Lab Lo-To-No Budget Filmmaking – Link:
https://www.google.co.uk/books/edition/Raindance_Producers_Lab_Lo_To_No_Budget/YS7Lde62M90C?hl=en&gbpv=0
3.) Adam Leipzig. (7th January 2015) Independent track for young filmmakers – Link:
https://www.google.co.uk/books/edition/Inside_Track_for_Independent_Filmmakers/LrYxBgAAQBAJ?hl=en
4.) Chris Jones. (22nd October 2015) The Guerilla Film Makers Pocketbook - The Ultimate Guide to Digital Film Making – Link:
https://www.google.co.uk/books/edition/The_Guerilla_Film_Makers_Pocketbook/7N6oAwAAQBAJ?hl=en&gbpv=0
5.) Danny draven. (12th November 2012) The Filmmaker's Book of the Dead - How to Make Your Own Heart-Racing Horror Movie – Link:
https://www.google.co.uk/books/edition/The_Filmmaker_s_Book_of_the_Dead/_RZBKcWskF8C?hl=en&gbpv=0 – Link:
6.) Chris Stuckmann. (February 26th 2019) My Filmmaking Journey - No Budget Films, Auditorium 6, Notes from Melanie & More! – Link:
https://www.youtube.com/watch?v=zSfXRYDRJfs
7.) Film4. (April 20th 2015) Directors on filmmaking | Film4 Self Portraits – Link: https://www.youtube.com/watch?v=2d9EGFTwqNI
8.) Tyler Mowery. (November 24th 2020) How to write a short film – Link: https://www.youtube.com/watch?v=xMOy7nJG4zA
9.) Videomaker. (December 27th 2019) Practical advice for writing a short film script – Link: https://www.youtube.com/watch?v=Zi_TqRQHK3o
10.) Toniko Pantoja. (October 10th 2019) Making Films in Less than a week - The benefits – Link: https://www.youtube.com/watch?v=ZUWXN_V25Jo
11.) Beth Webb. (24th August 2020) T he new era in filmmaking – Link: https://www.bbc.com/culture/article/20200820-the-new-era-in-filmmaking
12.) Charles Matthau. (Date: Unknown) How Tech Has Shaped Film Making: The Film vs. Digital Debate Is Put to Rest – Link: https://www.wired.com/insights/2015/01/how-
tech-shaped-film-making/
13.) Ed S Tann. (3rd July 2018) A psychology of the film – Link: https://www.nature.com/articles/s41599-018-0111-y
14.) Pamela Hutchinson. (10th January 2019) One perfect shot: the unsung power of cinematography – Link: https://www.nature.com/articles/s41599-018-0111-y
15.) MasterClass. (8th November 2020) Film 101: What Is Cinematography and What Does a Cinematographer Do? – Link: https://www.masterclass.com/articles/film-101-what-
is-cinematography-and-what-does-a-cinematographer-do#what-is-cinematography

37. EVALUATION
 Over the past week I have researched many different parts of the industry that linkup to film and media. Each part of
it has linked up to what I am making in some way or another. I have looked at a graphic designer, film, director,
company and a script writer. One major element that I am missing out purposefully though is my research into
composers that have done soundtrack for a film. This will be something that I will further analyse when it comes to
my research or pre-production. However the relevance wouldn’t be held here but I am looking into the specifics of
that person. Looking specifically at that person wouldn’t help me with the final result of my product. However
looking into John Alvin and the posters he has made has been hugely beneficial that I didn’t know it would be. I
found it interesting to look into the artist and then art itself because that’s when you start to see the patterns that
emerge which makes it their own. Another element which has helped me massively when it comes to making my
own product is looking at the tight budget that the film ‘Evil dead’ had to work with and seeing the practicality of
their camera techniques. Looking at the various designs that they had to make to give off some sort of camera
effect. I would like to perfect at least two of these but only in relevance. Out of everyone that I have looked at so far.
The most influential person when it comes to making a film is Tim Burton. His gothic style and eccentric demeanour
when it comes to his films is something which I would like to tonally replicate when it comes to making my film. I
also found looking at Jordan Peele was very influential. I want to see if I can do something similar when it comes to
the idea of humans being the scariest monsters. Steve is almost an alien in this world. He’s the odd one out. So
everyone on how they act and what they wear is different to him. This is a character who has no reference points to
compare it too because he can't remember his old life but he does knw that its different to whatever life he was
living before. Overall I consider my contextual has been very helpful in giving me few influential ideas that I will be

38. RESEARCH TARGETS

39. RESEARCH TARGETS
 Product Research
The first topic which I hope to research into is my product research. This will involve researching into existing products that hold some relation
to the project that I am making. This will mean that they are in the genre of comedy and horror. It will also have to be promotional products
based on what I am using. For instance researching into movie posters and connotating the importance colours. One thing that my Contextual
has helped me with is pick up an interest on the specific artist and not just the art. Looking and appreciating at the style in which they are able
to capture in every one of their posters that make it their ow. I will also be looking at the trailers and seeing what the common similarities are
between them. Seeing how this will benefit my final product. Along with looking at the existing DVD cover’s and magazines. I will need to
analyse what make that product a magazine or a DVD. Analysing not only what the importance of headline or age rating is but what they
actually mean. I would also like research into some existing music. Looking at the specifics of the rhythm that been placed in that song and
what foley sounds are most effect when it comes to creating that beat. Its really a case covering every product topic which I am creating. I have
showed that I have gained a some knowledge through the research in this contextual and that I am passionate about the subject that I am
studying. My research is about making sure that I have covered every base when it comes into looking at what not only goes into the film but
the product I am making.
 Subject Research
For my subject research. It’s more a case of looking into the specifies of the genre. So the movie itself because is based off a book that I am
writing. Most of the ideas have already been made and that path creating stuff within that genre I already know about but one important
factor is about striping that genre back and looking into the history of it. When making a horror film. Its not just about making those elements
that make it a good horror film but it has to be better than others and cling onto that chain of horror evolving. I will be looking at specific
trends and seeing what was making horror evolve during that period. As well as looking at the practicality of some films that were on tight
budgets. Looking more behind the scenes at the visual effect that were created and how they were done well. I will also be looking at subjects
that hold important relevance to the product I am making. For instance the selective colour that will be used in my trailer and how it is made.
Along with looking at social classes in the 1980’s. so that I can develop a better understanding of what I know from the divided social classes in
the 1980’s. This will help me develop further on the characters attitudes because they are lower class. Another feature that I want to research
into along with things I’ve said before. Is the uses of emotions. What would that person e doing in order to convey their emotion. This is
essential because not only will I have direct this to my actors but I will also need to develop my acting skills as I will be appearing it. I want the
roles to look as believable as possible.

40. RESEARCH TARGETS
 Questionnaires
I want to construct my questionnaires through two various methods. One through Microsoft teams (MT) and then
another on my Instagram stories. I usually use SurveyMonkey but we have found that MT gives you more alternative
options. When doing my factual I found that using my Instagram story was a good way of getting more quantitive
results. I have a media account and due to its big following. People are happy to take part. This will be something that I
will have to do earlier on. So then that gives me enough time to have people respond to the results. Once I have got
enough responses. Having up to 15-20 answers. I will then be able to open up some sort of analysis. This will be
beneficial because then I can compare both results when I have looked at them. Here I will be able to see how this
appeal’s to my product and will be able to look at how my product will appeal to specific audience. I will evaluate both
strategies and find out where I need to go in terms of direction from there.
 Interviews
With my surveys they were more quantitive research. For my interviews. The focus will be depending on a qualitive
research. I am opting out to interview two people that have different views on horror. One that fits in my target
audience and one that doesn’t in order to compare between the two. Whether you are making a product that’s horror
related or not. Whilst you can't please everyone. I am to seeing what boundaries I can push when it comes to hitting
this product to a wider ranger of people. I am also hoping to interview more than two people if I have enough time. I
will be evaluating and comparing the results I get from these two but I want to be reaching more people at the same
time. This will also give me the chance to ask more questions in order to perfect my product. It also gives out more
range to the people that I can ask. In the same way my survey will consist of both adults and younger. I want to vary

41. RESEARCH TARGETS
 Secondary Research
With my secondary research I want to focus more on the statistics of who my target audience. Having conducted my
own surveys to be getting my own figures. I need to be looking at my existing figures and observing what this could
mean to my product. Along with looking how this has made this specific thing a stenotype. Asking the questions of: Are
the audience sick of seeing these stereotypes in Horror? Or do they need to be kept in because it wouldn’t make it a
horror film without? Whilst this latter is less of a concern because I want to make this product my own. I want to be
influenced and inspired but I don’t want to directly be taking these stereotypes. Just on the basis that it wouldn’t be a
horror film without them. When I have gathered these results I will analyse and compare them. Before evaluating them I
want to see if they are any different to the future or answer that I got for my survey. That’s for the questions that are
the same or similar.
 Practical Research
In order to get some general idea on how my experiments will turn out later on. I have decided to add some
practicality when it comes to doing my research. It was difficult because I want to do something new and do something
that will challenge me. However I want to save this type of stuff for when my actual experiments come around so I have
decided to do poster design which will hold some sort similarities to the posters. This will also give me chance to reflect
on my process skills and show I made the posters. I also if possible want to be challenging myself on other platforms
like Audition and After effects but only if both of those platforms hold relevance to the project that I am making. I
would like to experiment on 3D effect but this will probably leave some of this for my experiments.