Technical and symbolic codes are used to create meaning in movies. Technical codes are specific techniques like camera work, editing, sound, and lighting. Symbolic codes are social conventions like color symbolism, settings, and acting that derive meaning from outside the film. Some examples of technical codes discussed are shot types like close-ups and establishing shots, editing techniques like match cuts and shot-reverse-shot, and aspects of sound like dialogue, effects, and music. Color symbolism is discussed as an example of a symbolic code, where meanings of colors vary culturally and historically. Together, codes and conventions shape genre and help tell stories in visual media.

1. Component 1
Media Key Concepts
Research
Name: Basil

2. Meaning: General overview of
how meaning is created in movies
• How is meaning created in moving image? (symbolic codes/technical codes)-
Codes are systems of signs, which create meaning. Codes can be divided into two categories – technical and symbolic.
• Technical codes are all the ways in which equipment is used to tell the story in a media text, for example the camera work in a film.
• Symbolic codes show what is beneath the surface of what we see. For example, a character's actions show you how the character
is feeling. Some codes fit both categories – music for example, is both technical and symbolic. Conventions are the generally
accepted ways of doing something. There are general conventions in any medium, such as the use of interviewee quotes in a print
article, but conventions are also genre specific. Codes and conventions are used together in any study of genre – it is not enough to
discuss a technical code used such as camera work, without saying how it is conventionally used in a genre. For example, the
technical code of lighting is used in some way in all film genres. It is a convention of the horror genre that side and back lighting is
used to create mystery and suspense – an integral part of any horror movie.
• How is symbolism used to help create meaning?- Symbolism is the use of symbols to signify ideas and qualities, by giving them
symbolic meanings that are different from their literal sense.
• Symbolism can take different forms. Generally, it is an object representing another, to give an entirely different meaning that is
much deeper and more significant. Sometimes, however, an action, an event or a word spoken by someone may have a symbolic
value. For instance, “smile” is a symboll of friendship. Similarly, the action of someone smiling at you may stand as a symbol of the
feeling of affection which that person has for you.
Use examples to help prove what you are saying – detail is the key!

3. Technical Codes: Camera
• Technical codes are codes that are specific to a
media form and do not live outside of them. For
instance, our understanding of different camera
shots and their connotations make sense when we
look and films and photographs but mean nothing
to us outside of those forms. Technical codes in
media
include Camerawork, Editing, Audio and Lighting.

4. shot example description
Establishing shot
establishes the context for a scene by showing the
relationship between its important figures and
objects
Extreme-close up
a type of shot that tightly frames a person or
object.
Close up
frames the head, neck, and sometimes the
shoulders of the subject.
Medium Close up
halfway between a medium shot and a close-up
shot, capturing the subject from the waist up.
Medium Shot
In a movie a medium shot, mid shot, or waist shot
is a camera angle shot from a medium distance.
Medium Long Shot
somewhere between a medium shot and a full
shot, showing the subject from the knees up. Also
called a ¾ shot.
Long Shot A long shot is essentially the same as a wide shot. When
referring to a person, a long shot means they take up almost the
full frame height.
Extreme Long Shot
An extreme long shot (ELS) is used to portray a vast area from
an apparently very long distance.

5. pan
A pan shot or panning shot is when you turn the camera on a fixed head. It is a technique where you
follow a moving subject, and you can shoot this with a slower shutter speed to create a feeling
of speed or action.
tilt
A tilt shot is shot that uses a cinematographic technique called tilting in which the camera stays fixed
but rotates up and down on a vertical plane.
track a shot in which the camera is mounted on a cart which travels along tracks.
dolly
In many circles a dolly shot is also known as a tracking shot or trucking
shot. However some professionals prefer the more rigid terminology which defines dolly as in-and-out
movement, while tracking means side-to-side movement.
crane
a crane shot is a shot taken by a camera on a moving crane or jib. Most cranes accommodate both the
camera and an operator, but some can be moved by remote control.
Deep
focus Deep focus is a photographic and cinematographic technique using a large depth of field.
Shallow
Focus
Shallow focus is a photographic and cinematographic technique incorporating a small depth of field.

6. Aerial Shot
An aerial shot is a shot that's taken from an elevated
vantage point than what is framed in the shot.
Point of View Shot
shows the action through the eyes of a
specific character, essentially letting the audience become
that character.
Over the Shoulder shot
the camera is positioned behind or over the shoulder
of one subject while the other subject is still visible
on screen, emphasizing the connection between the characters.
High angle shot
Used to indicate the balance of power between
characters. In high-angle shots, the audience looks down on the
subject, giving the audience a sense of superiority.
Low angle shot
Used to indicate the balance of power between
characters. In low-angle shots, the audience looks up at
the subject, giving the audience a sense of inferiority.

7. Technical Codes: Editing
• Editing is the process of choosing, manipulating
and arranging images and sound. Editing is
generally done for four different reasons:
• Graphic edits
• Rhythmic edits
• Spacial edits
• Temporal edits

8. Match on Action
• The match on action is a very valuable technique in
continuity editing, a style of film editing that
emphasizes clear spatial relationships between
objects in a scene. By seeing the same movement
beginning and ending in two consecutive,
differently framed shots, spectators will easily
interpret the space around the action as a
continuous whole. For a real match on action, the
action should begin in the first shot and end in the
second shot. It's difficult to visualize this without a
real film in front of you, but a diagram may still be
useful.

9. Shot Reverse Shot
• Shot/reverse shot is a film technique where one
character is shown looking at another character,
and then the other character is shown looking back
at the first character. Since the characters are
shown facing in opposite directions, the viewer
assumes that they are looking at each other.
Shot/reverse shot is a feature of the "classical"
Hollywood style of continuity editing, which
deemphasizes transitions between shots such that
the spectator perceives one continuous action that
develops linearly, chronologically, and logically. It is
an example of an eyeline match.

10. Continuous Editing
• Continuity editing is the process, in film and video
creation, of combining more-or-less related shots,
or different components cut from a single shot, into
a sequence to direct the viewer's attention to a
pre-existing consistency of story across both time
and physical location. The purpose of continuity
editing is to smooth over the inherent discontinuity
of the editing process and to establish a logical
coherence between shots. Through the information
provided below and your own research you will
prepare a report on Continuity Editing and define
and explore the different techniques it involves.

11. Invisible Editing (Cuts)
• Invisible cuts are frequently used in feature-film editing to
provide consistency and believability, the building blocks to
creating an emotional connection with the viewer. In film
theory, there are basically two types of cuts: visible and
invisible. The visible cut is highly noticeable, while invisible
cuts are all about smoothly transitioning from one scene to
the next, so as not to distract from the story.
• Invisible cuts are frequently used in feature-film editing to
provide consistency and believability, the building blocks to
creating an emotional connection with the viewer. In this
article, we present four essential tips for crafting invisible
cuts, offering some useful tools for telling a convincing story
without distracting the viewer’s attention.

12. Technical Codes: Sound
• Audio is the expressive or naturalistic use of sound.
Audio can be diegetic or non diegetic. The three
aspects of audio are:
• dialogue
• sound effects
• music

13. Symbolic Codes - Symbolism
• Symbolic codes are social in nature. What this
means is that these codes live outside the media
product themselves but would be understood in
similar ways in the ‘real life’ of the audience. For
instance, if you saw somebody receive a red rose in
a film, you would assume there is a romantic
relationship between the two characters. If you
gave somebody a red rose in real life, you might be
hoping the same. Symbolic codes in media
include setting, mise en scene, acting and colour.

14. Colour Symbolism
• Color symbolism in art and anthropology refers to the use of
color as a symbol in various cultures. There is great diversity in
the use of colors and their associations between cultures and
even within the same culture in different time periods. The same
color may have very different associations within the same
culture at any time. Diversity in color symbolism occurs because
color meanings and symbolism occur on an individual, cultural
and universal basis. Color symbolism is also context-dependent
and influenced by changes over time. Symbolic representations
of religious concepts or articles may include a specific color with
which the concept or object is associated. There is evidence to
suggest that colors have been used for this purpose as early as
90,000 BC. Color symbolism has changed over time. Between the
5th and 17th centuries, color was largely related to in a religious
context. Blue was symbolic of heaven and white of purity. Today,
purity is still symbolized by white in Australia and the USA but by
blue in other countries like India. Similarly, the church influenced
the perception of colors like crimson and purple. Largely because
the dyes for these colors could only be sourced from precious
pigments, religious figures like Madonna, Cardinals, and the
Virgin were seen in scarlet and purple.

15. Symbolic Codes - Settings
• Setting is the time and place of the
narrative. When discussing setting, you can
describe the setting of the whole story or
just a specific scene. A setting can be as big
as the outback or space, or as small as a
specific room. Setting can even be a
created atmosphere or frame of mind.

16. Symbolic Codes - Costumes
• Costume includes the wardrobe
choices and make-up that is used to
convey a character’s status or
personality.
• Costume can have a wide variety of
other functions. They can help signify
the setting or era of the narrative, can
play important roles in the plot of the
film, draw the eye to a specific
character or help point out the
difference between characters or the
setting.

17. Symbolic Codes - Props
• Prop is short for property, another term
borrowed from the theatre. When an
object in the setting has a function within
the ongoing action, it is then called a prop.
Props are often closely linked to the plot of
the narrative, or a cause-and-effect
relationship. If a prop is repeated
throughout the narrative, it may become
a motif, and connected to
a theme or moral of the story.
• A prop that is used to drive a plot forward
is sometimes called a McGuffin. This is a
term that was created by Alfred Hitchcock
to describe a prop that only serves the
purpose to create motivation. It is usually
of great worth to someone.

18. Symbolic Codes – Facial
Expressions
• An actor’s facial expression is a
powerful way of expressing emotion
when even small movements can
have strong symbolic connotations.
• Eyebrows are important signifiers in
facial expressions and is often a
good place to start when doing a
description.
• Gaze is also an important part of
facial expression — it’s a term used
to describe the focus of a person’s
look. Is the person looking at the
camera, at someone else or outside
the frame? When two people’s gaze
meet, this is called eye contact.

19. Symbolic Codes – Body Language
• Body language is about the way an
actor controls their body through
gestures, posture and body contact.
• A gesture is a kind of visible
expression made by the actor, a type
of movement. It could be a wave, a
slap of the forehead, a shake of the
head.
• Posture is the general way that the
body is held, it’s the attitude of the
body. Arms crossed suggest someone
might be defensive, a rigid posture
might suggest someone is tense,
slouching might suggest someone is
depressed.
• Body contact is a very powerful
symbolic code that suggests intimacy
and is highly dependent on cultural
norms.

20. Spooks Analysis:
There are several ways in this scene where stereotypes are broken
in this scene.
In this scene there is a hostage situation where the Iraqis have
captured the British and tied them up. Straight away this is shown
with a high angle shot when the scene begins showing them tied
up at a high angle making them look small and weak. Numerous
editing techniques are also used to break certain stereotypes. An
example would be when the camera cuts to the womans face and
then back to the Arabs face as he is monologuing about how he
they are not the bad guys, you can see that the British woman isn't
to bothered about what he is saying and when the camera cuts
back to the Arabs face you can see how upset he is about how the
British spies have impacted his people's lives thus breaking the
stereotype that Arabs are ruthless terrorists. The use of sound is
also used to show the emotion of the hostage taker as he is
speaking in a very upsetting tone whereas the British speak in a
very monotone voice. Another example is how the woman was
negotiating with the hostage taker to get them both free as this
breaks the stereotype as the female damsel in distress.

21. The Crown Analysis:
As the camera pans onto the man after he vomits blood you can see that the camera moves
to a medium close shot of all the medals on his chest showing he's important. This explains
the concerned look. As the camera pans into the bathroom it is a medium shot of the King at
the toilet. It then moves to be a close shot of the King and then a close shot of the blood in
the toilet, then as he flushes the toilet it's could show him just pushing his problems
away. Only thing we hear is him coughing, and then when he flushes the toilet that. Nothing
else. Helps us focus on him not being well and coughing. Title of Buckingham Palace, shows
us that the people we are seeing are important (royalty)Also the editing from the first view of
the King to the 2nd view as he raises his head from the toilet.

22. Genre:
• Genre is any form or type of communication in any mode with socially-agreed-
upon conventions developed over time. structural codes, which are such
features as particular kinds of plot, character, or setting. Stylistic codes include
such features as particular lighting, shooting style, or music. For example, take
the romance genre. People will say that a movie had a good plot or an
interesting story. What people are saying is that they enjoyed the characters,
the problems or conflict the characters got into, and how the characters got out
of the problems and conflict. Genre is hard to define because different genres
have different roles. For example, fiction and dramatic genres help students and
writers learn and improve their communication skills. A poetic genre, on the
other hand, enhances imaginative and emotional power of the readers. Non-
fictional texts and essays help readers develop analytical and persuasive
capabilities. However, the major function of genre is to establish a code of
behavior between the writers and audience, and keep the readers
informed about the topics discussed or the themes presented.

23. Rick Altman's Semantics and
Syntactics
Horror Action Science Fiction Romance
Semantics
(physical things
you expect to
see)
• Isolated
house
• Dolls
• Graveyards
Guns
Running
Bad guys
Leather jackets
cars
Aliens
Space
Creatures
Snazzy suits
Evil lords in
space
Flowers
Rings
Kissing
Sweets
Dates
Restaurants
candles
Syntactics
(plotlines/emoti
ons/atmosphere
you expect)
• Paranormal
activity
Heroes
Good over bad
always
Fear
Revenge
Love
War
Love
Hate
Lust
Explain what Rick Altman's theory is...

24. Horror Mood board (pictures)

25. Action Mood board (pictures)

26. Sci Fi Mood board (pictures)

27. Narrative:
Linear/closed/open narratives
Multi-Strand narrative
Closed Narrative
many different works are made up of several different strands, for example, the film 'Love actually' has around 8
different story strands that link in the end. "By juxta-positioning the strands the audience will not only be
concerned about the action, but also the outcome of each strand and how they're related to each other"
(classroom.synonym.com)
Closed narrative films usually have a 'tight' reading, they're usually 2 hours and have a 'The End' to complete the
story. The time is usually compressed, fitting many years into 2 hours. There is usually a soundtrack, a lot of
non-diegetic music backing the story. A good example of this, is the film 'About Time' (2013) it compresses
around 20 years into just over 2 hours and has an end to the story. (scribd.com)
Linear and non-linear
Open, Closed, Multi-strand, Linear and Non-linear narratives.
Linear- The storyline has a beginning, middle and end. Very simple.
Non-Linear- The opposite to linear, uses Flashbacks, Rewinds, Re-Plays, non-chronological ordering and can also
have no ending to it, perhaps left on a cliff hanger.
Open narrative
open narratives usually have many characters and no foreseeable ending. a good example of Open narrative is
Soap Operas, such as EastEnders and Holly Oaks. They're usually multi-stranded and in Chronological order or
'Real-Time'. It is rare that shows that have this narrative have non-diegetic music or sound.

28. Narrative:
Todorov's narrative theory
Todorov's narrative theory helps the
viewer of a film understand the story
and plot. When a film has a distinct
narrative it becomes more organised
and structured. A main part of the
narrative theory is the structure of a
narrative. Todorov theorised that a
film is separated into five main
stages:
• A state of Equilibrium
• Disruption of the Equilibrium
• Recognition of the Disruption
• Attempt to Repair the Disruption

29. Narrative:
Propps character types
In the early Twentieth Century Russian writer Vladimir Propp
analyzed over a hundred fairy tales and from that identified eight
different character types:
• The villain is the antagonist who plots against the main
character. In the Harry Potter films this function is served
by Voldemort
• The dispatcher is a character who informs the hero or heroine of
some emergency or need and sends them on their quest. This
role is carried out by Dumbledore
• The helper, often literally magical, helps the main character
during their quest. In the Harry Potter universe, Ron
and Hermione fulfill this role
• The princess is the hero’s love interest, but they cannot be
married until the villain is defeated. In Harry Potter and The Half
Blood Prince (2009), this role is fulfilled by Ginny Weasley
• The princess’ father gives the hero his task and exposes the False
Hero. Ginny’s father Arthur fulfills this role
• The donor prepares the Hero for the challenges ahead. In the
Harry Potter stories this role is fulfilled by Hagrid
• The hero reacts and responds to the donor and gets married to
the Princess. This is Harry Potter himself
• The false hero is jealous of the hero, plots against them and takes
false credit for the hero’s achievements. Draco Malfoy is the
False Hero in the Harry Potter stories

30. Representation:
• Stereotypes
These are a simplified representation of a person, groups
of people or a place, through basic or obvious
characteristics - which are often exaggerated.
For example, Vicky Pollard from Little Britain is a
stereotypical example of a working-class teenage girl.
They can be used to describe characters quickly, relying
on existing audience recognition.
Stereotypes are dangerous as they can lead audiences to
generalise about people or places.

31. Representation:
• Alvarado's Theory
Exotic • This is when a group is seen as exotic and sexy for example there
is a stereotype on Latino American women to be a sex symbol this is
because they are shown to be this way for example the costumes that
they are wearing in the media are very revealing.
Dangerous • This is when a group is portrayed to be dangerous and
violent rap has made the stereo type on black males worse and has made
as stereotype that they are very violent.
Humorous • A good example of this is groundskeeper willie who is shown
to be very Irish with his red hair and strong accent, and because he always
makes jokes and accidents it makes him funny but also look a bit thick, so
this has also made a stereotype that all Irish are like this.
Pitied • This is when we as a audience feels pity for a certain group for
example the poor parts of Affric are shown on adverts to us and ask for
donations and this makes people feel pity for them and donate their
money to help them.

32. Laura Mulvey's Male Gaze Theory
• The Male Gaze theory, in a nutshell, is where women in the
media are viewed from the eyes of a heterosexual man, and that
these women are represented as passive objects of male desire.
Audiences are forced to view women from the point of view of a
heterosexual male, even if they are heterosexual women or
homosexual men.one film which stands out when considering
this theory is Michael Bay‘s Transformers franchise. Firstly, these
movies have a huge difference in the male/female character ratio,
instantly making it an unrepresentative movie as it doesn’t depict
50% of its audience. All the women Bay casts in this franchise are
sexualized in some way, and it has no relevance to the story line,
or as Mulvey would put it: it is just to please the heterosexual
male, rendering it a movie with touches of irrelevant
objectification and misogyny.

33. Audience:
• The media industry is highly competitive, and all media texts are
created with a target audience in mind.
• If there isn’t an audience for a media text then it won’t be
successful either in getting its message across or, if it is
a commercial media text, making money for the producers.
• Media producers use audience research and analysis to find out
as much as possible about their target audience and use that
research to ensure their production will appeal to them.
• Demographics and psychometrics
• Media producers define and categorise their audience through
demographic profiles.
• A demographic audience profile defines groups based on things
like age, gender, income, education and occupation.

34. Audience Demographics
• Media producers define and categorize their audience through
demographic profiles. A demographic audience profile defines
groups based on things like age, gender, income, education and
occupation. Lifestyle magazines often use a gender profile to
attract their audience. They may be read by anyone – but they
are specifically targeted towards a specific gender profile.
• For instance, GQ is a men’s lifestyle magazine which features
articles on male fashion, style and culture. Cosmopolitan targets a
female demographic with similar content based on female
interests.
• Although a female reader may buy GQ, the content will be
created with the male audience in mind.
• Many major magazine publishers produce press packs to attract
potential advertisers. The press pack will give details on the
audience demographics of the magazine and provide the
advertisers with information about their target audience.

35. Audience Psychographics
• Using demographics like age, gender and
occupation to define an audience doesn't always
give the best results because a lot of people don't
fit in the traditional categories.
A Psychometric Audience Profile defines an
audience by how they think and by considering
their values, attitudes and lifestyle .A psychometric
method of categorization specific to advertising
was developed by Young and Rubicam, a marketing
and communications company.

37. Uses and Gratification Theory
• Uses and gratifications characterizes people as active and
motivated in finding the type of media they like. The theory
relies on two principles: media users are active in their
selection of the media they consume, and they know why
they chose the type of media they chose. the greater
control and choice brought about by new media has opened
new ways of uses and gratifications research and has led to
the discovery of new gratifications, especially in regard to
social media.
• Personal Identity
• Personal Relationships
• Escapism
• Information

38. Cultivation Theory
• According to the cultivation theory, people who watch television a lot
are more likely to be influenced by television. The influence goes to an
extent that their world view start showing what they always see and
hear on television. Television is, therefore, considered to contribute
independently to the way people see social reality.
• While Gerbner focused his research on television, a lot of scholars have
spread cultivation research into more forms of media, including video
games, and different forms of television, like reality TV. the topics that
are researched in cultivation theories continue to expand. Studies have
included the impact of media in the eyes of family, sex roles , sexuality,
aging, mental health, the environment, science, minorities, and a lot of
other areas.
• For example, one recent study explored the way heavy viewers of the
reality TV shows 16 and Pregnant and Teen Mom perceive teenage
parenthood. The researchers discovered that the programs would help
prevent teen pregnancy, heavy viewers' views were very different.
Heavy viewers of these shows believed that teenage mothers had “an
enviable quality of life, a high income, and involved fathers.”

39. Hypodermic Needle Theory
• The Hypodermic Needle Theory suggests that the media has an influence
on audiences. It was developed in the 1920s after researchers saw the effect
of propaganda during World War I and incidents such as Orson Welles’ War
of the Worlds broadcast. It became the dominant way of thinking about
media influence during the subsequent decades. The Hypodermic Needle
theory is a linear communication theory which suggests that a media
message is added y into the brain of a passive, homogenous audience. This
theory suggests that media texts are closed, and audiences are influenced in
the same way. The Hypodermic Needle Theory is no longer accepted by
media theorists as a valid explanation of communication and media
influence. Indeed, some dispute whether early media theorists gave the
idea serious attention. In their book An Integrated Approach to
Communication Theory and Research, Michael Salwen and Don Stacks
write: “The hypodermic-needle model dominated until the 1940s. As
discussed earlier, although there is some question whether such a model
influenced scholarly research, anyone reading pre-World War II popular
literature will see that it underlay much popular thinking about the mass
media and their consequences.” Although the Hypodermic Needle Theory
has been abandoned by most media theorists, it continues to influence
mainstream discourse about the influence of the mass media. People
believe that the mass media can have a powerful effect on people and
parents continue to worry about the effect of television and violent video
games

40. Moral Panic
• Moral Panic occurs when someone or something is defined by the media as a threat to the
values or interests of society.
• The key moral panic theorist is Stanley Cohen. Cohen suggested in his 1972 book ‘Folk
Devils and Moral Panics’ that a moral panic occurs when “condition, episode, person or
group of people emerges to become defined as a threat to societal values and interests”.
• Stanley Cohen believes the media play an important role in enforcing moral panic, even by
just reporting the new
• Cohen defined his five stages of moral panic as:
• 1. Something or someone is defined as a threat to values or interests
• 2. This threat is depicted in an easily recognisable form by the media
• 3. There is a rapid build-up of public concern
• 4. There is a response from authorities or opinion makers
• 5. The panic recedes or results in social changes

41. Mind-Map Ideas for chosen
genre:
Horror
terror panic
awe
hatred
dread chiller
fright hate
repugnance
loathing
dismay
alarm
monstrosity
apprehension
monstrosity
gore
disgust
consternation

42. History of genre: Horror
the start what we know as horror
literature can be found first In 1235,
the Vatican issued an order to
reestablish the belief of the faith.
charges of heresy were tangled
with allegations of
witchcraft. The obsession with
witchcraft would go on until
the seventeenth century.
Then in 1307, Dante published the
first volume of
his Divine Comedy, Inferno. The vision
of Satan that Dante presented was very
influential,

43. Who Usually distributes movies of
your Genre:
• Lions Gate Entertainment Corp. was first founded in 1997 in
Canada. Lionsgate's films were all limited releases. But
beginning in 2000, they distributed more and more titles.
They were particularly fond of independent film, which
included a great deal of horror and other genres.
• For example, the American Psycho. In 1987, a twenty-seven-
year-old businessman named Patrick Bateman leads a
double life. By day, he's that suave, urban professional that
everyone looks up to or despises out of jealousy; at night,
Patrick is a serial killer. Luring in victims with his charm and
good looks, Patrick indulges in a rash of brutal murders.
• American Psycho helped prove Lionsgate was a film studio
that should be taken seriously.

44. Codes and Conventions of your
Genre:
• Setting: Some settings that take place in horror films are:
• Hospitals, Insane Asylums, Mental Institutions or Hotels.
• Mis en scene
• the main facial expression you’re going to see in a horror movie is someone
crying or someone with a terrified look on their face, that shows the response
that the movie wants you to have and in turn makes the movie scarier.
• Camera angles: Some camera angles that are mostly used in horror films are:
• Top, high, low, medium, point of view (POV) : Each of these angles play a big role
in horror films. For example low angles show the character as strong or
powerful.
• Sound: Sound also sets a major role in horror films. Sound sets the mood for the
films with like creepy and eerie music. It allows to create unforgettable
atmosphere which will make the movie being even more enjoyable and
breathtaking.
• Lighting: The lighting in most horror films are known to be low-key, dark and
gloomy.

45. Movie Statistics for your Genre:
• The statistics here show that 36% of males who
answered the survey enjoy watching horror films
compared to 44% females, these figures differ from the
Sky Horror channel who reported that 58% of their
viewers are male.
• Horror films tend to attract a slightly younger audience,
predominantly under 25s. It is said that roughly 42% of
horror audiences are women, with 58% being men.
Horror films tend to intertwine with thrillers in the way
that viewers seek out a certain thrill/scare by diving
into a world which isn’t their own.Horror films tend to
attract a slightly younger audience, predominantly
under 25s. It is said that roughly 42% of horror
audiences are women, with 58% being men

46. Opening Analysis 1:
• In the first seen of it. It is obvious right away that something
bad was going to happen. Starting with the dark gloomy
setting and the sound of loud thunderstorms and the darkness
inside the house. There are numerous editing techniques to
convey this such as when the camera does a medium close up
on georgie while talking to the clown in the sewer and dirty
muddy rainy coat. This use of editing techniques and props
helps present the fact that this isnt a happy scene. The sound
of thunderstorms and the sudden appearance of lightnings is
an alarming background effect as the camera pans onto little
boy georgie running through the dangerous storm with his
littleboat. These editing techniques also help convey the fact
that georgie is naïve to the rest of the world and does not see
the danger. All of this put into combination clearly exemplifies
to the audience that some tragedies about to occur.

47. Opening Analysis 2:
• The movie the nun has the right setting for the right
genre. Examples of this include setting, costume, props
and camera angles. One example is at the beginning of
the movie when the first tragedie occurs, the
characters in the film (the nuns) are oblivious to
anything dark happening as they are doing normal
things every day, however the atmosphere they are in
connote that something evil will be happening and
something dark will occur, such as the setting(the dark
stormy church) the sounds such as sudden doors
closing and camera angles showing the nun s terrified.
All this leads to a suicide of a nun(the tragedy). And the
nuns have gone from having a normal day to a chaotic
one.

48. Questionnaire
1. Are you - male or female?
2. What is your age – 10-15, 16-20, 21-25, 26-30, 31+
3. What do you enjoy about horror movies? - Villains/Settings/Music/Jump
Scares
4. What scares you the most in horror films- psycho killers/cannibals/real life
situations/mysterious creatures
5. When you watch a trailer for a horror film what makes you want to see it
6. what's your favorite horror genre- blood and
gore/psychological/thriller/monster based
7. What do you dislike about horror movies
8. what's your favorite horror film and why
9. what puts you off watching a horror film the most- bad acting/crudeness/not
scary enough/spoof/too much realism/not enough realism
10. On a scale of 1-10 how much do you like watching horror movies.
https://www.surveymonkey.com/

49. Questionnaire Analysis
• Answers from the survey showed that the horror genre is aimed at a
younger audience (meaning 25 and under) and seems to appeal more to
the males more than females to a ratio of 1:4. My results show that the
audience of horror genre enjoy horror movies for the jump scares as
that was the mainly answered when it came to what people liked about
horror movies. And we can also infer that because one of the common
dislikes about horror movies is the creatures, we could say that people
are also attracted to horror movies for the reality (real life situations).
• ;

50. Result 1

51. Result 2
• From my survey we can clearly see that the horror
genre is aimed at a younger audience as there was
no one over the age of 20

52. Result 3
• Most people enjoy watching horror movies for
many reasons such as the setting and the villains.
But the most popular reason for watching movies
from the horror genre are the jump scares as I have
found from the questionnaire.

53. Audience Demographics:
“The horror genre is bringing in a young, high frequency audience,” Will
Palmer, Movio’s CEO, said. “It seems logical to have something playing in
these genres in theaters all the time.”
Here are some takeaways from Movio’s study:
•The average age of horror audiences are younger than the overall moviegoing
crowd (27% younger for paranormal and 5% for sci-fi).
•Horror fans are a loyal bunch. 44% of paranormal horror fans go to the movies
more than 12 times a year, while 56% of sci-fi aficionados attend multiplexes
over a dozen times a year.
•On average, horror enthusiasts spend more each month at the box office,
even though their average admission per visit is less.
•13% of paranormal and 16% of sci-fi ticket-buyers are African-American and
31% of paranormal and 23% of sci-fi attendees are Hispanic (versus 15% and
19% respectively for an average blockbuster).
•Action horror films skew toward a more male audience, while paranormal
horror films are more evenly distributed between genders.