The document discusses how the opening sequence of the film "Crazy Love" uses and develops conventions of romantic comedy (rom-com) films. It establishes characters and contexts through a "boy meets girl" narrative where the protagonist is seen carrying flowers, seemingly for a date. Shots focus on couples to show the character noticing them. The titles are in a clear, white font moving across the screen in an enthusiastic way to set the lighthearted tone. Continuity editing uses matching shots from different angles, and the soundtrack provides a cheerful song without dialogue. The sequence aims to be conventional for the rom-com genre through its visuals and audio.

1. CRAZY LOVE
By
RUFUS WILLIAMS & KATIE WYMAN
AS FOUNDATION PORTFOLIO EVALUATION

2. [1]
In
what
ways
does
your
media
product
use,
develop
or
challenge
forms
and
conven;ons
of
real
media
products?
The Rom Com:
• Conventionally:
•
Our
research
has
led
us
to
understand
that
Rom
Coms
conven3onally
have
a
narra3ve
that
involves
a
‘boy
meets
girl’
situa3on.
It
is
conven3onal
in
the
opening
of
films
to
introduce
characters
and
or
narra3ve
contexts.
.::Scenarios::.
Plot
1:
The
two
hit
it
off
in
the
start
(later
figh3ng,
breaking
up
and
quickly
making
up)
Plot
2:
The
two
don’t
get
along,
and
the
dura3on
of
the
film
is
spent
geIng
the
two
together.
Plot
3:
We
spend
our
3me
seeing
how
lonely
the
boy
and/or
girl
is,
trus3ng
that
they
will
find
each
other.
Plot (1)
Plot (2)
Plot (3)

3. Conven3onal
Costume
Out
character’s
costume
was
developed
to
give
a
clear
idea
of
the
genre
of
the
film,
and
his
personality.
As
there
is
no
dialogue,
the
protagonist’s
costume
gives
an
indica3on
of
his
personality.
Costumes from the feature film: "
Costumes from the feature film: " Scott Pilgrim Costumes from the feature film: "
Juno Vs.
the World
Submarine
Costumes from Our film: "
Crazy Love

Costumes from the feature film: "
The Inbetweeners Movie

4. [1]
In
what
ways
does
your
media
product
use,
develop
or
challenge
forms
and
conven;ons
of
real
media
products?
How our opening sequence uses forms and
conventions
In
our
opening
two
minutes
the
audience
is
led
to
believe
that
the
protagonist
is
going
to
meet
someone.
Shown
through
the
bright
flowers
he
is
carrying,
we
assume
they
are
for
a
girl,
and
that
he
is
on
his
way
to
a
date.
We
try
to
show
that
our
character
is
no3cing
the
couples
around
him.
Having
the
camera
focus
on
the
couples,
they
become
obvious
to
the
audience.
(e.g.
at
the
cross
walk).
Here
we
are
crea3ng
an
enigma,
which
is
conven3onal
for
an
opening
3tle
sequence.

5. [1]
In
what
ways
does
your
media
product
use,
develop
or
challenge
forms
and
conven;ons
of
real
media
products?
•Titles•
Colour:
White
[Why]
For
Clarity,
Modern
style,
and
because
research
shows
us
that
a-­‐
majority
of
Rom
Coms
use
white
3tles,
making
it
conven3onal.
Font:
Futura
[Why]
We
used
this
font
because
it
was
bold,
clear
against
the
frames,
and
resembled
a
modern
‘rom
com’
look.
Flow:
Clear
and
Concise.
[Why]
Titles
moved
across
the
screen
in
an
enthusias3c
and
‘fun’
way.
Pulled
forward
by
a
van
at
the
crosswalk,
or
hovering
over
the
wood
frame
of
a
bench.
The
purpose
of
this
was
to
let
the
audience
know
that
they
are
watching
a
lighthearted
film,
and
despite
our
character
being
a
lonely
figure,
that
he
has
beXer
things
in
store
for
him.
We aimed to make the titles conventional for a
rom com film, rather then unconventional.
Ultimately, we felt that this was successful.

6. [1]
In
what
ways
does
your
media
product
use,
develop
or
challenge
forms
and
conven;ons
of
real
media
products?
• Soundtrack:
The
song
we
used
was
3tled,
‘Hungover Boxing Day‘ by
‘The
Gasoline Brothers’
We
downloaded
the
composi3on
from:
www.freemusicarchive.com

Free music Archive displays songs
free of copyright."
A useful source for finding non-
diegetic soundtrack pieces.
We
found
the
song
to
be
conven3onal
for
our
film
because
it
didn’t
sound
harsh,
or
violent.
Instead
sounding
cheerful,
moving
and
appropriate
for
a
typical
rom
com.
Similar
rom-­‐com
tracks:
All
I
want
is
you
–
Juno
(OST)

7. [1]
In
what
ways
does
your
media
product
use,
develop
or
challenge
forms
and
conven;ons
of
real
media
products?
• Con3nuity
edi3ng:
We
use
a
variety
of
mach
shots,
to
show
different
angles
of
our
character
walking
home.
The
inten3on
of
this
is
to
keep
the
audience
interested,
and
to
give
them
a
full
view
from
every
angle
of
our
protagonist.
Let
them
see
the
clothes
he
wears,
the
way
he
walks
and
really
get
to
know
him
Front
despite
his
lack
of
dialogue.
Back
•
Variety
osf
shot
sizes
:o
pening
sequence
because
it
allowed
the
audience
to
see
the
We
decided
that
a
variety
of
hots
was
essen3al
for
our
loca3on
(City),
thus
allowing
the
audience
to
establish
were
they
are
in
the
world
of
the
film
(London,
England)
through
the
use
of
establishing-­‐
shots
to
show
the
unique
English
roads,
and
pale
sky.
The
audience
takes
in
our
characters’
surroundings,
as
well
as
slowly
geIng
used
to
him.
Various
mid
and
close-­‐up
shots
introduce
us
to
his
warm
smile.
Wide Shot/Establishing Shot
Medium Shot/Two Shot
Close-up

8. Filmic
Conven3ons:
• Con3nuity/Invisible
edi3ng:

9. [1]
In
what
ways
does
your
media
product
use,
develop
or
challenge
forms
and
conven;ons
of
real
media
products?
• Character
and
loca3on
introduc3on:
During
our
opening
two
minutes
the
audience
sees
the
hustle
and
bustle
of
a
typical
London
street.
We
found
it
crucial
to
incorporate
this
into
our
opening
two
minutes
to
create
a
conven3onal
rom
com
city
seIng.
–
Se4ng
and
Loca8on
–
Our
scene
takes
place
in
the
less
glamorous
side
of
London,
in
Belsize
Park.
It
may
not
be
a
high
street
but
the
area
of
Camden
is
fairly
well
known,
and
holds
a
lot
of
modern
London
culture.

Google
maps
views
of
area


10. [1]
In
what
ways
does
your
media
product
use,
develop
or
challenge
forms
and
conven;ons
of
real
media
products?
• Building
Enigma:
We
create
a
sense
of
enigma
with
the
daffodils
the
protagonist
is
holding.
Ideally,
the
audience
should
be
asking
themselves:
“Who are they for?”
“Is he on his way to see a girl?”
~The
Twist~
This
mystery
builds
up
to
the
point
when
he
arrives
at
a
rather
lonely
home,
where
we
find
out
that
the
flowers
were
never
for
anyone,
but
instead
for
himself.
Our
opening
sequence
intended
to
introduce
character
and
narra3ve.
Character,
is
introduced
through
following
our
protagonist
to
his
home.
Narrative,
is
introduced
when
we
find
that
our
character
has
no
current
love
interest.
We
trust
that
he
will
find
a
partner
later
in
the
story,
but
for
now
the
audience
has
developed
a
fondness
and
sympathy
for
the
protagonist.

11. [1]
In
what
ways
does
your
media
product
use,
develop
or
challenge
forms
and
conven;ons
of
real
media
products?
• How we challenge what is expected •
eventually
through
his
walk
home
our
happy-­‐go-­‐lucky
character
arrives
at
what
appears
to
be
a
rather
lonely,
dismal
apartment,
filling
up
his
own
vase
with
the
flowers
we
thought
were
for
a
girl.
and
siIng
down
to
watch
TV,
(Showing
that
he
is
most
likely
not
expec3ng
anyone,
and
is
single).
• At
the
same
3me
the
audience
experience
the
type
of
city
that
the
film
has
taken
place
in
(being
the
less
glamorous
side
of
London).
SeIng
and
Loca3on
-­‐
The
film
itself
was
set
in
London
and
shot
in
Belsize
Park.
The
area
includes
busy
roads
and
streets
that
are
not
overcrowded.
The
city
scene
is
a
typical
seIng
for
a
rom
com.
Examples
of
this
being

12. [2]
How
does
your
media
product
represent
par;cular
social
groups?
Our
media
product
represents
the
Bri3sh
Youth.
(Teenagers)
Our
movie
is
a
teen-­‐rom
com,
and
aXempts
to
represent
the
youth
as
independent,
approachable
and
simply
looking
for
a
rela3onship.
Which
would
be
the
opposite
to
the
representa3on
in
‘Skins’
of
the
rebellious
and
drug
abusing
teenager.

13. [2]
How
does
your
media
product
represent
par;cular
social
groups?
A
film
like
this
could
be
compared
to
popular
films
such
as:
'10
things
I
hate
about
you',
'the
breakfast
club’,
‘High
School
Musical’,
etc...
The
main
difference
about
‘Crazy
Love’
is
that
our
seIng
is
within
the
UK,
making
it
appealing
to
specifically
Bri3sh
teenagers.

14. [3]
What
kind
of
media
ins;tu;ons
might
distribute
your
media
product
and
why?
‘Crazy
Love’
would
ideally
be
scouted
out
by,
and
funded
by
Bri3sh
film
companies
such
as:
Which have each produced successful rom com films.
Then
again,
with
its
low
budget
it
could
also
be
independently
produced
and
released
in
some
of
the
many
digital
cinemas,
rather
then
the
typical
film
cinemas
which
are
encouraged
to
show
at
least
one
Bri3sh
produced
film
a
year.
This would make it possible to direct funding to
advertising and production..

15. [4]
Who
would
be
the
audience
for
your
media
product?
Primarily:
-­‐
Bri3sh
youth
and
-­‐
Bri3sh
parents
with
teenagers.
This would aim our film at the two major cinema-active social groups:"
The family group, and the average 13-17 year old."
Most likely it would appeal to a female audience rather than a male audience."
Above
all,
it
would
appeal
to
a
rom-­‐com
audience

16. [5]
How
did
you
aAract/address
your
audience?
~*~
.::Teenage Audience::.
.::Adult Audience::.
~*~

17. [6]
What
have
you
learnt
about
technologies
for
the
process
of
construc;ng
this
product?
Rufus Williams
(2)
Final
Cut
Pro:
[Ka3e
and
Rufus]
Katie Wyman
(1)
Live
Type:
[Rufus]
(3)
Tripod:
[Ka3e]
(4)
Boom
Mic:
[Rufus]
(6)
Free
Music
Archive:
[Ka3e]
(5)
Camera:
[Ka3e
and
Rufus]

18. [7]
Looking
back
at
your
preliminary
task,
what
do
you
feel
you
have
learnt
in
the
progression
from
it
to
the
full
product?
[Rufus]:
• Equipment
• Technology
• Titles
• Soundtrack
^
Shaky
camera
example
^

19. [7]
Looking
back
at
your
preliminary
task,
what
do
you
feel
you
have
learnt
in
the
progression
from
it
to
the
full
product?
•
Preliminary
Task
Full
•
[Rufus]:

20. [7]
Looking
back
at
your
preliminary
task,
what
do
you
feel
you
have
learnt
in
the
progression
from
it
to
the
full
product?
[Katie]:
• Edi3ng
• Script
wri3ng
• Loca3on
• Mise-­‐en-­‐scene
• Timing
• Oragnisa3on

21. [7]
Looking
back
at
your
preliminary
task,
what
do
you
feel
you
have
learnt
in
the
progression
from
it
to
the
full
product?
•
Preliminary
Task
Full
•
[Katie]: