The document discusses conventions and codes of the psychological thriller genre. It provides definitions of psychological thriller and outlines some common themes such as reality, perception, mind, existence/purpose, obsession, and identity. It then discusses several codes and conventions used in psychological thrillers, including costume and makeup, props, running water, vast landscapes, confined spaces, and shadows. Examples are given of how each convention is used to build tension, suspense, and unease.

1. Our Chosen Genre/
Codes and
Conventions
By (SA)

2. Action Thriller
Conspiracy Thriller
Political Thriller
PSYCHOLOGIC
AL THRILLER!
Our Chosen Genre:
THRILLER SUB-
GENRES
Spy Film Supernatural
Thriller
Techno-
Thriller
Crime Thriller
Mystery Thriller
Horror
Thriller
Erotic
Thriller
Legal
Thriller
Comedy
Thriller

3. PSYCHOLOGICAL THRILLER
Definition- (WIKIPEDIA DEFINITION) Psychological Thriller ‘’In which (until the often
violent resolution) the conflict between the main characters is mental and
emotional, rather than physical. Characters, either by accident or their own
curiousness, are dragged into a dangerous conflict or situation that they are
not prepared to resolve. Characters are not reliant on physical strength to
overcome their brutish enemies, but rather are reliant on their mental
resources’’

4. Notable Thriller Films throughout
History - 1920-1930s – Alfred Hitchcock created the suspenseful Jack the Ripped story in ‘’The Lodger (1926 )’’,
following onto ‘’Blackmail’’ (1929) as well as ‘’The Man Who Knew Too Much’’ and ‘’The 39 Steps’’ in the
1930s.
 - 1940s- 1960s – Hitchcock continued creating suspense thrillers during this era such as the Oscar- winning
’’Rebecca’’ (1940) as based on one of my personal favourite novels by Daphne du Maurier written in 1938,
‘’Shadow of a Doubt (1943), ‘’The Spiral Staircase’’ (1946 and Sorry, Wrong Number (1948). Charles Laughton
and Orson Welled crime thriller ‘’Touch on Evil’’ (1958), and of course the most iconic thriller by Alfred
Hitchcock ‘’Psycho’’ was produced in the 1960s. ‘’Wait Until Dark’’ (1967) by Terence Young was and still is a
notable famous thriller produced.
 - 1970s – 1980s - Hitchcock's first violent start in the thriller genre ‘’Frenzy’’ (1972) was produced and it is still
given an R rating for its explicit and atrocious nature. Francis Ford Coppola’s ‘’The Conversation’’ (1974).
 -1990s – In the early 90s elements of obsession and a trapped protagonist theme in attempt to escape from
the villain have reoccurred frequently and influenced many film plotlines, examples include Rob Reiner’s
Misery (1990)Curtis Hanson’s Unlawful Entry (1992). Moreover the detective and serial killer motifs were
another popular subgenre within this era and example of this subgenre includes the film ‘’Silence of the
Lambs’’ by Jonathan Demme.
 - Present – In the present day the Thriller genre has overlapped with Horror as it contains more violence,
terror and generally daunting atrocity. These motifs can be witnessed in films such as Dennis Iliadis’s ‘’the
Last House on the Left (2009), the ‘’Unknown’’ (2011) by Jaume Collet-Serra as well as Hostage (2005)
produced by Bruce Willis
(Research done on Wikipedia

5. Why we have Chosen the Psychological
Thriller
/ Semi- biopic Genre
As a group we have decided to produce a Psychological Thriller/Semi-Biopic short
film adopting a storyline of a young woman – our protagonist (teenager 16/17 years
old) - who is suffering from sleep paralysis (my research on sleep paralysis can be
found on the blog). Our protagonist’s disorder leads her to experience psychological
complications as a result of fear and anxiousness conceived through out her
experience therefore we believed that the Psychological Thriller/Semi-Biopic film
genre best suits our short film as we intend to in cooperate many of its codes and
conventions to portray our characters mental state. As a group we believed that our
chosen genre is not only fundamental for addressing our characters mental state, but
necessary for attaining a sense of realism throughout her journey making her
perceptions, thoughts and mental struggle in regards to her sleep paralysis disorder
appear believable (non-fictional) to our audiences possibly triggering sympathy. Sleep
paralysis is a real, non-fictional disorder and we intend to portray it in a
compassionate, sensitive and sympathetic manner towards those who have been
affected by this particular sleep disorder while also raising awareness.

6. Common Themes:
Despite different forms of representation of Psychological Thrillers within the media, such as television , literature, radio and film,
common themes have been displayed consistently some of which include:
1. Reality ‘’ the state of things as they actually exist, as opposed to an idealistic or notional idea of them.’’
2. Perception ‘’ the ability to see, hear, or become aware of something through the senses.’’ or ‘’ the way in which something is
regarded, understood, or interpreted.’’
3. Mind ‘’ the element of a person that enables them to be aware of the world and their experiences, to think, and to feel; the
faculty of consciousness and thought.’’
4. Existence/Purpose ‘’ the fact or state of living or having objective reality.’’
5. Obsession ‘’ an idea or thought that continually preoccupies or intrudes on a person's mind.’’
6. Identity ‘’ the fact of being who or what a person or thing is.’’
7. Death ‘’ the action or fact of dying or being killed; the end of the life of a person or organism.’’
Psychological Thrillers favour complex motifs which often delve into the common themes as listed above. Characters in Psychological Thrillers are
commonly portrayed in conflicting psychological states many of which are affected by what is real and what is not referring to reality and perception.;
Who they are and what the characters purpose of life is (existence.) These common themes can be classified under the motif and common plot device
of Amnesia (memory loss). Moreover, many of the characters explore the theme of death ether as a threat or as an emotional burden of having to
face the death of others. Death can drive characters psychologically insane to an extent where they seek revenge and evidently the film faces a
common element of the formation of a serial killer. As stock characters, the serial killer and the detective play the cat and mouse game in many
instances, however in our short film we do not intend to include the common theme of death, however we will address the rest of the common themes.

7. (Google Definition) ‘’ 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. ‘’

8. Costume and Make-up
‘’ a set of clothes in a style typical of a particular country or historical period.’’
 Costumes are a fundamental factor/convention within the film industry. Film Costumes support the narrative of a film with the intention to
portray characters in a realistic, authentic manner while of course, also providing composition. A successful film costume must almost feel
subsumed within the narrative and the visual aspect of film therefore in Psychological Thrillers the costume contributes to the overall
atmosphere as it often provides harmony along with many aspects of film such as the non-diegetic and diegetic sound ( e.g. dialogue or
suspense building scenes.) Psychological Thrillers are dependable on costume in order to portray a character in terms of social class, gender
etc. which aids the audience to determine what role the character is playing engaging them into the film e.g. the victim or the villain role or a
detective (long jacket, mysterious). The costume must seem realistic and it must match locations in order for the film to be taken into account
seriously, therefore this is what Psychological Thrillers tend lend themselves into as a convention.
However I’ve also noticed that films belonging to this particular genre mainly use monochromic colours of black and white adapting to the sense
of mystery. The reasoning behind this choice of costume relies on the fact that colour can sometimes distract the audiences from the characters
internal conflicts displayed through the rest of the mise-en-scene (facial expressions). Black (evil, mysterious, death) and White (innocence, purity,
perfection) also connote to justice and injustice (good and evil) which reflects themes of Thrillers and contributes to the characters internal
conflicts as they can possibly be driven by the force of good and evil in themselves or received from the antagonist. An example of this is included
within the Black Swan:

9. Props
 Props in Thriller films tend to change depending on its sub-genre and the plot of the film,
however Knifes and Weapons are a common use of props within Psychological Thrillers.
These weapons connote to the destructive and brutal nature of many Psychological Thrillers.
Knifes provide the audience an insight of aggression and aid the audience to establish
which is the victim character and which is the villain allowing familiarity of plot. Unlike the
props of pistols which are able to commit murder within seconds of the first encounter
between characters, knifes provide a more interesting way of embodying tension and
suspense through different camera angles. An example of props can be seen in Alfred
Hitchcock’s film ‘’Psycho’’ and the famous shower scene filmed from December 17th to 23rd
in 1959 featuring 77 camera angles which run for 3min along with 50 cuts! The has used
director has used close-ups and extreme close-ups to suggest horror, cruelty and trigger an
emotional response from the audience towards the female victimised character.
Furthermore the running water and the location set in the shower contributes to confined
space (another convention of PT) where the character is trapped, helpless, impotent to
escape. (claustrophobic). Moreover the shot of the murderer is created as a two-dimentional
silhouette of the murderer and his prop knife with restricting recognition of identity
furthermore conveying a mysterious, ominous atmosphere. The scene was furthermore
intensified by the soundtrack ‘’the Murderer’’ by Bernard Herrmaan:
 https://www.youtube.com/watch?v=0WtDmbr9xyY

10. Running Water
 (E.g.) Throughout Hitchcock's career he has used running water symbolically from the film ‘’The Thirty-Nine Steps’’, to ‘’The Lodger’’ where
the film begins with a character who has been drowned to ‘’Frenzy’’ and ‘’Rebecca’’ where Max considers committing suicide by jumping
into the sea at the beginning of the film as well as the famous ‘’Psycho’’ shower scene. Film makers even within todays era continue to focus
on water within film due to its symbolic properties. Psychological Thrillers commonly use water in a slow running, dripping tap motion as an
iconographic visual poetry to symbolise the draining of life and to foreshadow the theme of death.
 Slow dripping water can also imply a loss of identity while the character is symbolically gently and slowly letting out their suppressed
emotions that affect their consciousness through the film. The sound accompanied by the visual image of dripping water can also represent
and intensify the anxious atmosphere created following up to forthcoming troubles of the protagonist. Hitchcock stated ‘’"transferring the
menace from the screen into the mind of the audience“ is one of the most fundamental aspects in Psychological Thrillers as the target
audience crave suspense therefore If the running water is fast paced it can represent the forthcoming troubles as bigger and moving much
more quickly towards the protagonist, intensifying the build up in tension and suspense in the film. Running water is commonly used in
sinister locations, environments in Thriller which intensifies the unsettling, ominous experience within the audience, therefore the dripping of
water can foreshadow sinister future events in the theme of death and the dripping of blood
 Furthermore, water in film can also act as a symbol of pejorative and ameliorative intentions within the protagonist. It suggests continuity,
circulation as well as passivity and adaptability of a character and the circumstances that she/he has to face ; it is apart of the healing and
cleansing property for purification.
 NOTICE: I HAVE PRACTICED THIS CONVETION, VIDEO CAN BE FOUND ON OUR BLOG!

11. Vast Landscapes
 Narratively, the vast landscapes are often cooperated in the Psychological Thriller genre in order to conceive
a lonesome, deserted atmosphere defiling its depth of mystery, venerability and confusion of a character. A
dark and dense forest, perhaps even foggy creates an enabled to sympathise (since we are constructed in
everyday ‘’city’’ life the forest is an unknown and unsafe territory to us and we’re able to relate to how the
character on screen is feeling). In many films, the character is unable to navigate the true path to escape
which suggests an intense anxious atmosphere for the fear of the unknown and loss of identity and
memory(common theme in PT). The mysterious aspect is attained due to how concealing forest truly are, the
tormented lonely spirit is in search for help however the location seems untraceable in film which
furthermore triggers empathy in the audience for the obstacles the protagonists is yet to encounter face to
face with, foreshadowing threatening psychological and physical situations of liminality. Forests attain are a
perfect location for attaining suspense as the audience off-screen feel the anticipation and expect the of the
opposing character to appear on screen at any minute. However if the sun is shining through the tree
branches as enlighten it can symbolise hope for the protagonist, in many instances ironic hope.
 Examples can be found in films such as: ‘’The Lovely Bones’’ (2009) directed by peter Jackson, ‘’The Forest’’
(2016) directed by Jason Zada.

12. Confined Spaces
 (Google Definition)‘’ A confined space is a place which is substantially enclosed (though not always entirely), and where serious
injury can occur from hazardous substances or conditions within the space or nearby (e.g. lack of oxygen)’’
 The Claustrophobic visual motif of confined spaces is used to trigger the fear of restriction, entrapment and suffocation of
characters in Psychological Thrillers to display a character internal and physical struggles. Confined spaces trigger vulnerability in
the character and a sense of burden as they try to break free, seek to escape displaying their struggle to the audience throughout
the process (triggering sympathy). Confined spaces can also leave characters feeling lonesome and anxious establishing an uneasy
and tense atmosphere as a reflection. A brilliant use of confined spaced locations can be witnessed in films such as ‘’Buried’’
directed by Roderigo Cortes, ‘’Elevator’’ by Stig Svendsen and ‘’ATM’’ directed by David Brooks. Buried alive in a wooden coffin,
Ryan Reynolds has in my opinion displayed and communicated the claustrophobia and anxiousness of the confined spaces motif
brilliantly! As The Guardian film review on ‘’Buried’’ stated:
 ‘’ This extraordinary high-concept, high-anxiety, low-budget nightmare from Spanish director Rodrigo Cortés is guaranteed to
give everyone suffering claustrophobia a permanent nervous breakdown. In fact, it's guaranteed to give everyone permanent
claustrophobia.’’
 ‘’Sparling's dialogue is terrific. If you can take the sheer, asphyxiating, chest-crushing terror, then this is for you.’’

13. Shadows
 (Wikipedia) ‘’A shadow is a space where light from a light source is blocked by an opaque object. It occupies all of the
three-dimensional volume behind an object with light in front of it. Thecross section of a shadow is a two-
dimensional silhouette, or reverse projectionof the object blocking the light.’’
 Shadows are determined by the shape, orientation and size of the object that constructs the shadow. Shadows are a
remarkable aspect of the Psychological Thriller iconography/visual motif. The characters may ether be apart of a scene
completely in shadow or they may be silhouette against a illuminated background creating intense tonal contrast
between light and dark colours where even a small proportion of light can be seen as overwhelming by the darkness
that surrounds it. The use of this visual motif is to express and communicate a metaphorical meaning and establish a
desired atmosphere in many Thrillers. The darkness is a symbol of negative aspects such as mystery, fear and evil , the
shadow may represent the characters internal conflicts which they are unable to face therefore those issues are
metaphorically following, trailing them until they are dealt with as a psychological complication displayed in a visual
motif which can build up tension and suspense throughout the film. Moreover shadows can also imply and represent
the evil trails of a character, or the evil spirit that may trail a character. Perhaps a shadow can even convey death as it
hangs over us and sometimes a shadow can even be a form of narcissism for a character to admire his form. The
mysterious metaphorical symbolism embodies an unsettling and ominous atmosphere which engages the audience
and keeps them at the edge of their seats, especially when cinematography aspects converge such as the iconography
of a shadow and tension building sound combined to intensify the sinister feeling within its audience.
 An example of shadows that inculcate the mysterious atmosphere be traced in ‘‘’Psyco’’ and ‘’Citizen Kane’’ as well as
‘’Strangers on the first floor.’’ and my favourite example in ‘’Nosferatu’’ directed by F. W. Murnau:
https://www.youtube.com/watch?v=mCUW4SwmfGc

14. Low Key Lighting
 Low key lighting is a style of lighting used in photography, television and film. This particular style of lighting is
typical/conventional within the Psychological Thriller genre due to its conveyance of mystery, dramatizing and
setting the atmosphere of a scene. Low key lighting is fundamental for establishing the chiaroscuro effect
which is simply a term used to describe the intense use of light and dark colours to create high levels of
contrast for a dramatic and powerful impact on the mise-en-scene. This type of lighting accentuates the
contours of an object present within the camera frame. A characters facial contours are often emphasised
through this style of lighting as it focuses and relies on shadows, darker tones and deep blacks to create a
mysterious, unsettling, dramatic and ominous effect within its off-screen audience, reflecting and highlighting
the characters dark side and the plot of the film. By taking low key lighting to extremes the spooky and
menacing mood can be intensified. An excellent use of Low Key lighting can be found in Alfred Hitchcock most
iconic film ‘’Psyco’’ (1960)
Set up of Low Key Lighting. I will
analyse lighting in detail on our
blog.

15. Mirrors and
Reflections
 Mirrors have served writers imagination for centuries and within the Psychological Thriller film genre they are a dominant metaphor essential to
express an in depth meaning .Mirrors and reflections are often used as part of props in film as a symbol of physical and spiritual/psychological
reflection. We encounter mirrors in everyday life to reflect our physical appearance prior to appearing out in the world for others to witness
implying that in Psychological Thrillers mirrors are used for a similar reason; a character is often filmed with the mirror staring back at them in
order for the audience to witness the physical consequences caused by ones actions before the character appears out in the world for others to
see; this furthermore enables the audience to get up and personal with the victim triggering sympathy, or the villain triggering antipathy and
acrimony (ether way allowing the audience to engage with the protagonist and feel present within the plot of the film.) As Vivian Sobchack stated
“mirrors are the dynamic act of viewing that is engaged in by both the film and the spectator“. We also use Mirrors in everyday life as monitors
for our vehicles as an alert system which prevents potential dangers. In our society. Reflective surfaces are stationed in hallways and in corners of
buildings in order to witness what is around the corner, to witness the unknown which moreover reflects the mysterious theme of psychological
thriller films as the fear of the unknown and the suspense that attains.
Furthermore as Apollo at Delphi the Greek ancient demanded ‘know thyself’ implies that mirrors are not only used as a reflection of physical
appearance however they are used as a signifier (physical form distinct from its meaning) to be signified as a spiritually reflective object of internal
surroundings and conflicts that characters face in Psychological Thrillers. A clarity of self acknowledgment is established which can be both positive
and negative enabling a self-evaluation. Mirrors display a disorientation in human perception of the reflected reality of the protagonists emotions and
inner troubles where as a cracked or broken mirror as an example may symbolise broken identity and frailty as well as bad luck foreshadowing future
events within a film. In many cases the a mirror is in fact a symbol of pejorative or meliorative self-evaluation.
Appearances of mirrors in films can be seen in: ‘’The Black Swan’’ directed by Darren Aronofsky and ‘’Mirrors’’ directed by Alexandre Aja.

16. Quick Cuts/Obstructive Editing
 An editor is able to select the pace of moving shots, their placement and length through post-production editing
using programmes such as FinalCut Pro. Quick Cuts are short and interrupted shots ( e.g. 3 seconds or less) used in
Psychological Thrillers in order to portray a numerous number of information in a fast paced motion. This
obstructive editing is used to imply chaos and a lot of energy to match the action on screen and to imply it to its
audience (e.g. purpose disruption of continuity jump cuts). The fast motion actions are accompanied by sound
effects in thrillers (Hip hop montage, Darren Aronofsky) to intensify the feeling of chaos and disorientation
building up tension and suspense. Time and setting is disintegrated through this editing style and time
disorientation can be existent within Psychological thrillers in a form of a flashback, dreams etc. This technique can
be witnessed in Alfred Hitchcock's ‘’Psyco’’ film once again . However there are other examples of Quick Cuts/
Obstructive editing can be seen in many genre of films not just Psychological thrillers including ‘’Don John’’ by
Joseph Gordon-Levitt, Bob Frosse’s ‘’All That Jazz’’ as well as in ‘’The World’s End’’ by Edgas Wright and Simon
Pegg.
 ‘’Psyco’’ https://www.youtube.com/watch?v=tJ9GIA3pfe8

17. Narrative Structure –
1. Tzetan Todorov
 The French/Bulgarian philosopher, literary critic, sociologist and historian, Tzvetan Todorov,(March 1s, 1939) has suggested that films
follow a five part narrative structure that can be witnessed in many genre of films. Some, not all, Psychological Thriller films adapt to
Todorov’s structure theory in order to embody character development that the audience can follow emotionally, physically or
psychologically. Todorov’s structure is as it follows:
1. Equilibrium ‘’ a state in which opposing forces or influences are balanced.’’ (calm state of mind and physical balance is attained.)
2. Disruption
3. Recognition of disruption
4. Attempts o repair disruption.
5. Return to equilibrium.
The film ‘’ is an example that follows this particular structure is indeed ‘’Psyco’’
1. A woman that works at a bank steals money and travels out to another city, staying at a hotel.
2. The woman gets murdered by an unidentified character during the icoic shower scene I have previously used as an example.
3. The police and her sister find out that she has been murdered. They visit the hotel.
4. They search for evidence in the hotel as the hotel’s owner mother could possibly be a suspect.The hotel owner turns out to be the
murderer who was dressed as him mother. The mother had passed away several years ago.
5. The murderer (Normal Bates) is arrested.

18. Narrative Structure –
2. The Hollywood 3 Act Structure Narrative
Some Psychological Thrillers follow Hollywood’s 3 Act Narrative Structure:
 1. The First Act established the main characters, protagonist and co-protagonists of the film including their
relationship between each other and the rest of the world/environment that surrounds them. An issue
confronts the protagonist of the film that leads to the first turning point which signals the end of the 1st act,
ensures the protagonist that their life will change, it will never be the same again and raising questions to be
answered at the climax throughout the film. The protagonist takes action against the ‘’inciting incident’
 2. The Second Act is the rise in action. The protagonist attempts to resolve a the problem however satiations
are made worse due to absence of skill against the antagonist. Character development is established and with
the aid of co-protagonists a second attempt to resolving the issue is made.
 3. The Third Act is the resolution. The climax scenes are displayed and tensions are intensified in the third act.
Previous dramatic questions are answered such as the identity of the antagonist. The protagonist and other
characters are left with a new sense of character established throughout the development of the film.

19. NOTICE : TYPICAL TARGET AUDIENCE AND
OUR TARGET AUDIENCE CAN BE FOUND BELOW
THI POSWERPOINT PRESENTATION.
THANK YOU. 