The document analyzes how the opening sequence of the film "Man's Greed" uses conventions of the post-apocalyptic genre. It discusses the mise-en-scene including the dreary forest location, props like drug paraphernalia and a newspaper, costumes showing the passage of time and dirtiness, and makeup emphasizing a lack of resources. Shots include close-ups of wounds and a lighter, long shots of traveling, and high/low camera angles. The sequence opens with the protagonist's drug use and searches for answers before a time jump of civilization's collapse into cannibalism. It challenges the viewer through its dark tone and violence in line with films like "The Road" and "
Psychological thrillers rely on manipulating a character's mental state and perceptions to create suspense. Common conventions include characters questioning their identity, purpose, or what is real; their minds become a location of conflict as they try to understand themselves or their situation. One Hour Photo explores a character obsessed with a family after viewing their photos at his job in a one-hour photo lab. Taxi Driver features an unstable Vietnam veteran working as a nighttime taxi driver who feels compelled to violently lash out. Obsessed examines a successful man whose life is jeopardized when a temp worker starts stalking him.
The film conforms to many horror/slasher genre conventions through the use of mysterious sounds, a masked killer holding a knife, and dark lighting. It subverts some stereotypes by showing the killer hanging a victim and bringing the body home. While the narrative shifts non-linearly between past and present, it leaves the killer's motives ambiguous and ends on a cliffhanger, setting up potential sequels.
This document provides a detailed analysis of the 1978 horror film "Halloween". It summarizes that the film was made on a very low budget but was hugely successful, making $70 million. It follows the story of the psychopath Michael Myers returning to his hometown to kill teenagers. The film established many conventions for the slasher genre and analyzes its narrative structure, characters, themes, and ideological underpinnings through the lenses of theorists like Todorov, Lévi-Strauss, and Propp. It pays particular attention to how the film depicts gender and sexuality.
The document provides an analysis of various technical elements in the film Halloween. It discusses how iconography like the knife and mask are used to indicate the slasher/horror genre. Characterization follows common stalker/horror tropes like the "final girl" and victims. Cinematography utilizes point-of-view shots from the killer's perspective to build tension. Editing includes quick cuts between scenes to show the unfolding tragic events. Sound design relies on silence and a recurring musical theme to create an ominous atmosphere.
The document provides a technical analysis of the 1978 film Halloween. It examines how cinematography, sound, mise-en-scene, editing, narrative structure, and other elements create meaning and adhere to horror genre conventions. Regarding sound, it notes the use of a repeated piano score to build tension, as well as silence. Character representations include stereotypical "final girl" and promiscuous victim archetypes. The editing obscures the killer's identity and the narrative shifts between past and present. Dark lighting and isolated settings also follow horror film norms.
The document summarizes the conventions, codes, characters, and events analyzed in four slasher/horror films to help inform the creation of the student's own slasher film opening sequence media product. The films analyzed were Straightheads, Gone, Babysitter Wanted, and Psycho. Common conventions identified across the films included the use of weapons as props to inflict violence, costumes distinguishing villains from victims, isolated settings increasing suspense, and typical character archetypes like victims and villains. Film techniques like camera angles, lighting, titles, and shot types were also discussed.
Halloween is a 1978 independent horror film directed by John Carpenter. Made on a budget of $320,000, it grossed $47 million. It stars Jamie Lee Curtis as Laurie Strode who is stalked by escaped mental patient Michael Myers on Halloween. The film is known for establishing many conventions of the slasher film genre and contains references to Alfred Hitchcock's Psycho, including the casting of Janet Leigh's daughter Jamie Lee Curtis as the main character. Through its point-of-view shots, editing, and minimal graphic violence, Halloween uses suspense to create a disturbing atmosphere.
The document analyzes the 1978 horror film Halloween using several narrative theories. It finds that the film's plot does not fully align with the expected structures outlined by Todorov, Propp, Levi-Strauss, Bordwell and Thompson, or Classic Hollywood Narrative. Specifically, it notes that the opening violates Todorov's model, key character roles from Propp are missing, and the "goal" is never truly achieved as outlined by CHN. However, it does identify some binary oppositions consistent with Levi-Strauss and character roles aligned with Propp within the film's narrative.
Psychological thrillers rely on manipulating a character's mental state and perceptions to create suspense. Common conventions include characters questioning their identity, purpose, or what is real; their minds become a location of conflict as they try to understand themselves or their situation. One Hour Photo explores a character obsessed with a family after viewing their photos at his job in a one-hour photo lab. Taxi Driver features an unstable Vietnam veteran working as a nighttime taxi driver who feels compelled to violently lash out. Obsessed examines a successful man whose life is jeopardized when a temp worker starts stalking him.
The film conforms to many horror/slasher genre conventions through the use of mysterious sounds, a masked killer holding a knife, and dark lighting. It subverts some stereotypes by showing the killer hanging a victim and bringing the body home. While the narrative shifts non-linearly between past and present, it leaves the killer's motives ambiguous and ends on a cliffhanger, setting up potential sequels.
This document provides a detailed analysis of the 1978 horror film "Halloween". It summarizes that the film was made on a very low budget but was hugely successful, making $70 million. It follows the story of the psychopath Michael Myers returning to his hometown to kill teenagers. The film established many conventions for the slasher genre and analyzes its narrative structure, characters, themes, and ideological underpinnings through the lenses of theorists like Todorov, Lévi-Strauss, and Propp. It pays particular attention to how the film depicts gender and sexuality.
The document provides an analysis of various technical elements in the film Halloween. It discusses how iconography like the knife and mask are used to indicate the slasher/horror genre. Characterization follows common stalker/horror tropes like the "final girl" and victims. Cinematography utilizes point-of-view shots from the killer's perspective to build tension. Editing includes quick cuts between scenes to show the unfolding tragic events. Sound design relies on silence and a recurring musical theme to create an ominous atmosphere.
The document provides a technical analysis of the 1978 film Halloween. It examines how cinematography, sound, mise-en-scene, editing, narrative structure, and other elements create meaning and adhere to horror genre conventions. Regarding sound, it notes the use of a repeated piano score to build tension, as well as silence. Character representations include stereotypical "final girl" and promiscuous victim archetypes. The editing obscures the killer's identity and the narrative shifts between past and present. Dark lighting and isolated settings also follow horror film norms.
The document summarizes the conventions, codes, characters, and events analyzed in four slasher/horror films to help inform the creation of the student's own slasher film opening sequence media product. The films analyzed were Straightheads, Gone, Babysitter Wanted, and Psycho. Common conventions identified across the films included the use of weapons as props to inflict violence, costumes distinguishing villains from victims, isolated settings increasing suspense, and typical character archetypes like victims and villains. Film techniques like camera angles, lighting, titles, and shot types were also discussed.
Halloween is a 1978 independent horror film directed by John Carpenter. Made on a budget of $320,000, it grossed $47 million. It stars Jamie Lee Curtis as Laurie Strode who is stalked by escaped mental patient Michael Myers on Halloween. The film is known for establishing many conventions of the slasher film genre and contains references to Alfred Hitchcock's Psycho, including the casting of Janet Leigh's daughter Jamie Lee Curtis as the main character. Through its point-of-view shots, editing, and minimal graphic violence, Halloween uses suspense to create a disturbing atmosphere.
The document analyzes the 1978 horror film Halloween using several narrative theories. It finds that the film's plot does not fully align with the expected structures outlined by Todorov, Propp, Levi-Strauss, Bordwell and Thompson, or Classic Hollywood Narrative. Specifically, it notes that the opening violates Todorov's model, key character roles from Propp are missing, and the "goal" is never truly achieved as outlined by CHN. However, it does identify some binary oppositions consistent with Levi-Strauss and character roles aligned with Propp within the film's narrative.
Propps Character Roles And Narrative Functions - Maryasiye KircinMaryasiye Kircin
Vladimir Propp analyzed Russian folk tales and identified recurring narrative elements. He developed a character role theory that identified 7 broad character types, including the villain, donor, princess, false hero, dispatcher, hero, and false hero. Propp also identified 31 narrative functions that commonly occurred in tales, such as struggle and hero's reaction. The document provides examples of how characters in soap opera trailers align with Propp's character roles and narrative functions.
This document summarizes and analyzes still shots from three thriller films: I Am Legend, The Call, and The Silence of the Lambs. For I Am Legend, it describes shots that introduce the lone protagonist in a post-apocalyptic world and show his vulnerability. For The Call, it analyzes shots that convey the fear and helplessness of a kidnapped girl and the power dynamic between her and her abductor. For The Silence of the Lambs, it discusses shots that establish the danger of Hannibal Lecter and the unsettling interaction between him and Clarice.
1. Drama originated around the 16th century BC in ancient Greece and was used to act out stories for gods. Over time, drama has expanded its audience and become a hybrid genre, blending elements of comedy, drama, and romance.
2. Charlie Chaplin's 1936 film Modern Times exemplified this hybrid genre, blending comedy and social commentary about modern industrial society. The film relied heavily on music to convey emotions and heighten different scenes.
3. Horror and thriller films first emerged in the early 20th century to shock and terrify audiences. Advances in technology have allowed these genres to incorporate more realistic and convincing special effects over time. Many modern horrors blend with other genres like comedy.
Once Upon a Time in America (1984) directed by Sergio Leone. The document discusses how Leone uses genre conventions and locations to establish themes and characters. It analyzes two locations - elevators used to build tension, and the femme fatale Eve's apartment where she feels vulnerable. It also examines the archetypes of the anti-hero Noodles and femme fatale Eve. Leone employs film noir techniques like chiaroscuro lighting and foreshadowing symbols. The use of the song "God Bless America" adds irony. Gender roles are also explored, with the weak female character Eve portrayed as an object.
The film trailer begins by establishing the haunted house setting and mysterious murders of a previous family. It then shows a new family moving into the house unaware of its sinister past. Shots are used to build intrigue around a box of mysterious tapes found in the attic. Viewing the tapes, the protagonist discovers they depict gruesome murders committed by a supernatural entity. The trailer builds tension through disturbing images and ominous text, hinting at the evil force that threatens the new family's safety.
This document outlines a student film project for a modern gothic horror film. The film will follow a teenage girl who falls into a nightmare where she is trapped with a supernatural vampire-like being. Though she wakes up alone, it is revealed she is actually dead, just like her younger brother who died a year ago. The film will take place primarily in the girl's house and a graveyard, and include influences from classic horror films like Dracula and The Sixth Sense. It aims to scare its target audience of 12+ year olds who enjoy both modern and classic horror genres.
The document discusses conventions in the thriller genre that the author attempted to follow in their own film work. These included presenting the title in big central text on a black screen, following typical gender roles of weaker female characters and more powerful male characters, and focusing on key thriller themes of violence, threats, and revenge. The author reflects that they could have challenged some conventions, like reversing the gender power roles or exaggerating the key themes further. They also suggest ways they could improve certain scenes if remaking the film.
The document discusses conventions in the thriller genre that the author attempted to follow in their own film work. These included presenting the title in big central text on a black screen, following typical gender roles of weaker female characters and more powerful male characters, and focusing on key thriller themes of violence, threats, and revenge. The author reflects that they could have challenged some conventions, like reversing the gender power roles or exaggerating the key themes further. They also suggest ways they could improve certain scenes if remaking the film.
The document provides an analysis of how the film opening uses conventions from real post-apocalyptic films in its mise-en-scene, props, costumes, camerawork, lighting, characters, music and sound effects. Specifically, it establishes a dreary forest setting, uses props like money and lighters that would be useful for survival, costumes the characters in dirty military clothing, employs close-ups of violence and shots that show the environment and its changes, uses dim lighting to depict a lifeless world, and includes non-diegetic music and natural sounds to set the mood. Overall, it demonstrates how the opening draws from tropes of the post-apocalyptic genre to develop a realistic and depressing tone.
The document describes two main characters for a horror/thriller plot. The first is a "Damsel in Distress" character named Lucie, who is inspired by characters like Marion Crane from Psycho. She is stalked and abducted. The second character is the villainous stalker/murderer, stereotypically portrayed as a man, who is inspired by characters like Norman Bates from Psycho and creates suspense by his obscured appearance and sense of being watched.
This document discusses four main sub-genres of horror films: slasher, supernatural, gothic, and psychological. It provides examples and conventions for each sub-genre. Slasher films involve a masked killer targeting teenagers. Supernatural films feature hauntings by spirits. Gothic horror films are set in the past and involve monsters in places like castles. Psychological horror focuses on the disturbed mind of the protagonist and uses fear and emotions to build tension rather than graphic violence or ghosts.
This document analyzes the filmmakers' use of conventions from thriller movies in their short film. It discusses how they incorporated simple opening titles, point-of-view shots, vanishing points, chiaroscuro lighting, isolated exterior locations, confined interior spaces, flashbacks/dream sequences, and binary oppositions between characters and locations. Examples are given of how similar techniques were used effectively in movies like Once Upon a Time in America, The Killing, and No Country For Old Men. The analysis aims to show how borrowing conventions from acclaimed thrillers helped make their short film feel more authentic to the genre.
Psycho (1960) was a major studio film directed by Alfred Hitchcock with a large budget and star actors. Halloween (1978) was an independent low-budget film directed by John Carpenter featuring unknown actors. Both films feature human monsters not motivated by money who stalk and murder women. The monsters have traumatic pasts that drive their actions. Psycho offers a more subtle approach to horror while Halloween has more graphic violence. Key scenes are compared between the films.
This document provides an overview of genre theory in film. It discusses how genres have common elements and conventions that allow films to be categorized. Some key points made include:
- Genres have existed since the early days of cinema and also have roots in ancient Greek theatre.
- Genres are defined by common themes, settings, styles, and plots across multiple films.
- Several examples of genres are given like sci-fi, horror, musical, and examples of conventions for each are listed.
- The document analyzes the genre and conventions of the film "Leon" and categorizes it as an action thriller.
The document analyzes conventions of horror film posters. It identifies several common elements:
- Main images feature creepy or shocking scenes with low lighting to appear eerie and mysterious. Facial expressions show fear or possession.
- Color schemes commonly use black, red, and white to convey danger and death. Titles stand out in bold, red text with a creepy font style.
- Small credits are placed at the bottom without detracting from the main image. A release date is also included.
- Analyzed posters demonstrate these conventions through their use of distorted faces, reaching hands from graves, looming villains, and titles styled as wooden stakes to hint at vampire themes.
The document discusses lighting, camera angles, characters, and locations used in several thriller films that influenced the filmmakers. Key lighting was used to draw attention to characters in Once Upon a Time in America. Characters in Animal Kingdom and The Third Man were lit in shadows to highlight their dangerous nature. Camera tilts and angles from those films as well as Psycho were referenced. Costumes in Once Upon a Time in America and The Third Man helped characterize the leading men. Claustrophobic, dimly lit enclosed spaces from films like Kill Bill: Vol. 2 and Psycho were also influences.
A road movie genre typically follows a protagonist embarking on a journey of self-discovery as they leave home and encounter various challenges along the way. Film noir crime dramas are often filmed in black and white and feature dark themes of betrayal, flashbacks, and an amateur detective investigating a crime in an urban setting. Coming-of-age films focus on a character's progression from youth to adulthood through exploring their personal growth and identity. Psychological thrillers depict the unraveling of the mind, presenting a battle between characters' perceptions of reality that is often only revealed at the end.
Analysis of 'A Supernatural Encounter' Horror Film Trailercreesey
The document provides an analysis of a film trailer for a supernatural horror film. The trailer uses various camera shots and editing techniques to build tension and mystery around the antagonist. It opens with a murder at a church before cutting to friends of the victim who learn of a legendary creature said to haunt the church. The friends investigate and encounter the antagonist, who curses them. The trailer aims to engage the audience and adhere to horror film conventions through its use of point-of-view shots, ominous music, and cuts that leave the antagonist's identity ambiguous and cause unease in the viewer.
The opening of Evil Dead (2013) establishes the horror and thriller genre. It introduces the isolated setting and main female character. Through the use of lighting, costumes, and props, it conveys a sense of danger, innocence, and the supernatural. The narrative starts in equilibrium, is disrupted by the character's kidnapping, recognizes the threat, attempts to repair through an exorcism, but ends in a new equilibrium with her possessed death, leaving the audience with questions to continue watching.
The film Once Upon A Time In America begins in 1933 New York City. It uses flashbacks to tell the story of Jewish immigrants and their involvement in organized crime. The opening scene shows the femme fatale Eve being threatened and then shot dead in her apartment by corrupt police officers. Sergio Leone uses ironic soundtrack choices and lighting, as well as the character archetypes and locations, to set the tone and convey his critical view of the American Dream and criminal justice system in the United States.
The document summarizes and compares the mise-en-scene techniques used in the opening scenes of three films: 28 Weeks Later, Aeon Flux, and Tank Girl. For 28 Weeks Later, the opening scene takes place in a cramped, dimly-lit cottage to set a gloomy tone as characters try to survive a zombie apocalypse. Aeon Flux has a bright, futuristic opening that introduces the protagonist's mission against a controlling government through shots of the manufactured community. Tank Girl begins in a snowy, post-apocalyptic San Francisco where the tongue-in-cheek protagonist examines dead bodies left by "Rippers," human-eating mutants.
Propps Character Roles And Narrative Functions - Maryasiye KircinMaryasiye Kircin
Vladimir Propp analyzed Russian folk tales and identified recurring narrative elements. He developed a character role theory that identified 7 broad character types, including the villain, donor, princess, false hero, dispatcher, hero, and false hero. Propp also identified 31 narrative functions that commonly occurred in tales, such as struggle and hero's reaction. The document provides examples of how characters in soap opera trailers align with Propp's character roles and narrative functions.
This document summarizes and analyzes still shots from three thriller films: I Am Legend, The Call, and The Silence of the Lambs. For I Am Legend, it describes shots that introduce the lone protagonist in a post-apocalyptic world and show his vulnerability. For The Call, it analyzes shots that convey the fear and helplessness of a kidnapped girl and the power dynamic between her and her abductor. For The Silence of the Lambs, it discusses shots that establish the danger of Hannibal Lecter and the unsettling interaction between him and Clarice.
1. Drama originated around the 16th century BC in ancient Greece and was used to act out stories for gods. Over time, drama has expanded its audience and become a hybrid genre, blending elements of comedy, drama, and romance.
2. Charlie Chaplin's 1936 film Modern Times exemplified this hybrid genre, blending comedy and social commentary about modern industrial society. The film relied heavily on music to convey emotions and heighten different scenes.
3. Horror and thriller films first emerged in the early 20th century to shock and terrify audiences. Advances in technology have allowed these genres to incorporate more realistic and convincing special effects over time. Many modern horrors blend with other genres like comedy.
Once Upon a Time in America (1984) directed by Sergio Leone. The document discusses how Leone uses genre conventions and locations to establish themes and characters. It analyzes two locations - elevators used to build tension, and the femme fatale Eve's apartment where she feels vulnerable. It also examines the archetypes of the anti-hero Noodles and femme fatale Eve. Leone employs film noir techniques like chiaroscuro lighting and foreshadowing symbols. The use of the song "God Bless America" adds irony. Gender roles are also explored, with the weak female character Eve portrayed as an object.
The film trailer begins by establishing the haunted house setting and mysterious murders of a previous family. It then shows a new family moving into the house unaware of its sinister past. Shots are used to build intrigue around a box of mysterious tapes found in the attic. Viewing the tapes, the protagonist discovers they depict gruesome murders committed by a supernatural entity. The trailer builds tension through disturbing images and ominous text, hinting at the evil force that threatens the new family's safety.
This document outlines a student film project for a modern gothic horror film. The film will follow a teenage girl who falls into a nightmare where she is trapped with a supernatural vampire-like being. Though she wakes up alone, it is revealed she is actually dead, just like her younger brother who died a year ago. The film will take place primarily in the girl's house and a graveyard, and include influences from classic horror films like Dracula and The Sixth Sense. It aims to scare its target audience of 12+ year olds who enjoy both modern and classic horror genres.
The document discusses conventions in the thriller genre that the author attempted to follow in their own film work. These included presenting the title in big central text on a black screen, following typical gender roles of weaker female characters and more powerful male characters, and focusing on key thriller themes of violence, threats, and revenge. The author reflects that they could have challenged some conventions, like reversing the gender power roles or exaggerating the key themes further. They also suggest ways they could improve certain scenes if remaking the film.
The document discusses conventions in the thriller genre that the author attempted to follow in their own film work. These included presenting the title in big central text on a black screen, following typical gender roles of weaker female characters and more powerful male characters, and focusing on key thriller themes of violence, threats, and revenge. The author reflects that they could have challenged some conventions, like reversing the gender power roles or exaggerating the key themes further. They also suggest ways they could improve certain scenes if remaking the film.
The document provides an analysis of how the film opening uses conventions from real post-apocalyptic films in its mise-en-scene, props, costumes, camerawork, lighting, characters, music and sound effects. Specifically, it establishes a dreary forest setting, uses props like money and lighters that would be useful for survival, costumes the characters in dirty military clothing, employs close-ups of violence and shots that show the environment and its changes, uses dim lighting to depict a lifeless world, and includes non-diegetic music and natural sounds to set the mood. Overall, it demonstrates how the opening draws from tropes of the post-apocalyptic genre to develop a realistic and depressing tone.
The document describes two main characters for a horror/thriller plot. The first is a "Damsel in Distress" character named Lucie, who is inspired by characters like Marion Crane from Psycho. She is stalked and abducted. The second character is the villainous stalker/murderer, stereotypically portrayed as a man, who is inspired by characters like Norman Bates from Psycho and creates suspense by his obscured appearance and sense of being watched.
This document discusses four main sub-genres of horror films: slasher, supernatural, gothic, and psychological. It provides examples and conventions for each sub-genre. Slasher films involve a masked killer targeting teenagers. Supernatural films feature hauntings by spirits. Gothic horror films are set in the past and involve monsters in places like castles. Psychological horror focuses on the disturbed mind of the protagonist and uses fear and emotions to build tension rather than graphic violence or ghosts.
This document analyzes the filmmakers' use of conventions from thriller movies in their short film. It discusses how they incorporated simple opening titles, point-of-view shots, vanishing points, chiaroscuro lighting, isolated exterior locations, confined interior spaces, flashbacks/dream sequences, and binary oppositions between characters and locations. Examples are given of how similar techniques were used effectively in movies like Once Upon a Time in America, The Killing, and No Country For Old Men. The analysis aims to show how borrowing conventions from acclaimed thrillers helped make their short film feel more authentic to the genre.
Psycho (1960) was a major studio film directed by Alfred Hitchcock with a large budget and star actors. Halloween (1978) was an independent low-budget film directed by John Carpenter featuring unknown actors. Both films feature human monsters not motivated by money who stalk and murder women. The monsters have traumatic pasts that drive their actions. Psycho offers a more subtle approach to horror while Halloween has more graphic violence. Key scenes are compared between the films.
This document provides an overview of genre theory in film. It discusses how genres have common elements and conventions that allow films to be categorized. Some key points made include:
- Genres have existed since the early days of cinema and also have roots in ancient Greek theatre.
- Genres are defined by common themes, settings, styles, and plots across multiple films.
- Several examples of genres are given like sci-fi, horror, musical, and examples of conventions for each are listed.
- The document analyzes the genre and conventions of the film "Leon" and categorizes it as an action thriller.
The document analyzes conventions of horror film posters. It identifies several common elements:
- Main images feature creepy or shocking scenes with low lighting to appear eerie and mysterious. Facial expressions show fear or possession.
- Color schemes commonly use black, red, and white to convey danger and death. Titles stand out in bold, red text with a creepy font style.
- Small credits are placed at the bottom without detracting from the main image. A release date is also included.
- Analyzed posters demonstrate these conventions through their use of distorted faces, reaching hands from graves, looming villains, and titles styled as wooden stakes to hint at vampire themes.
The document discusses lighting, camera angles, characters, and locations used in several thriller films that influenced the filmmakers. Key lighting was used to draw attention to characters in Once Upon a Time in America. Characters in Animal Kingdom and The Third Man were lit in shadows to highlight their dangerous nature. Camera tilts and angles from those films as well as Psycho were referenced. Costumes in Once Upon a Time in America and The Third Man helped characterize the leading men. Claustrophobic, dimly lit enclosed spaces from films like Kill Bill: Vol. 2 and Psycho were also influences.
A road movie genre typically follows a protagonist embarking on a journey of self-discovery as they leave home and encounter various challenges along the way. Film noir crime dramas are often filmed in black and white and feature dark themes of betrayal, flashbacks, and an amateur detective investigating a crime in an urban setting. Coming-of-age films focus on a character's progression from youth to adulthood through exploring their personal growth and identity. Psychological thrillers depict the unraveling of the mind, presenting a battle between characters' perceptions of reality that is often only revealed at the end.
Analysis of 'A Supernatural Encounter' Horror Film Trailercreesey
The document provides an analysis of a film trailer for a supernatural horror film. The trailer uses various camera shots and editing techniques to build tension and mystery around the antagonist. It opens with a murder at a church before cutting to friends of the victim who learn of a legendary creature said to haunt the church. The friends investigate and encounter the antagonist, who curses them. The trailer aims to engage the audience and adhere to horror film conventions through its use of point-of-view shots, ominous music, and cuts that leave the antagonist's identity ambiguous and cause unease in the viewer.
The opening of Evil Dead (2013) establishes the horror and thriller genre. It introduces the isolated setting and main female character. Through the use of lighting, costumes, and props, it conveys a sense of danger, innocence, and the supernatural. The narrative starts in equilibrium, is disrupted by the character's kidnapping, recognizes the threat, attempts to repair through an exorcism, but ends in a new equilibrium with her possessed death, leaving the audience with questions to continue watching.
The film Once Upon A Time In America begins in 1933 New York City. It uses flashbacks to tell the story of Jewish immigrants and their involvement in organized crime. The opening scene shows the femme fatale Eve being threatened and then shot dead in her apartment by corrupt police officers. Sergio Leone uses ironic soundtrack choices and lighting, as well as the character archetypes and locations, to set the tone and convey his critical view of the American Dream and criminal justice system in the United States.
The document summarizes and compares the mise-en-scene techniques used in the opening scenes of three films: 28 Weeks Later, Aeon Flux, and Tank Girl. For 28 Weeks Later, the opening scene takes place in a cramped, dimly-lit cottage to set a gloomy tone as characters try to survive a zombie apocalypse. Aeon Flux has a bright, futuristic opening that introduces the protagonist's mission against a controlling government through shots of the manufactured community. Tank Girl begins in a snowy, post-apocalyptic San Francisco where the tongue-in-cheek protagonist examines dead bodies left by "Rippers," human-eating mutants.
The document discusses postmodernism and genre theory. It provides definitions of genre as a style or category of art and discusses how genres have become more flexible with new hybrid genres emerging. It notes that negotiations now occur between producers and audiences. Steve Neale is cited saying genres involve repetition and difference, and Hollywood uses genres to guarantee meaning, pleasure, and offset economic risks. Horkheimer's critical theory is mentioned as embracing future societal possibilities through critiquing and changing society as a whole.
Stanley Kubrick was an American director known for his versatile work across many genres. Some of his most famous films include The Shining, 2001: A Space Odyssey, and A Clockwork Orange. As a director, Kubrick was innovative with his use of camera techniques and paid close attention to realistic details. A Clockwork Orange was adapted from the novel and depicts a dystopian future where the main character undergoes controversial psychological conditioning treatment. The film addresses themes of morality and free will through its portrayal of violence and rehabilitation.
The film trailer analyzes the trailer for the horror film "The Hole". It uses various film techniques to build tension and engage the audience. Shots alternate between the protagonists and the mysterious hole they discover. Strange events occur around the hole, seemingly bringing characters' deepest fears to life. The trailer leaves the identity of the antagonists unclear, intriguing viewers to learn more by seeing the full film.
The document analyzes the opening sequences of the films Psycho and Shutter Island. For Psycho, it summarizes that the sequence establishes danger through shots that show a threatening figure and builds suspense through a zoom out. For Shutter Island, it notes that the sequence establishes the remote and heavily guarded location through establishing shots and POV camerawork, introduces the main character Teddy Daniels through close-ups and two-shots, and establishes the thriller genre through mysterious music and dark lighting. The document concludes that both openings effectively introduce characters and settings without fully revealing crucial details, building mystery.
The document analyzes the film Identity through its camera shots/angles/movements, editing, lighting, sound, and mise-en-scene. It discusses how close-ups are used to depict emotions and build trust in characters. Parallel editing links the motel scenes to Malcolm Rivers' case. Shifting perspectives and jump cuts reveal Ed's dissociative identity disorder. Lighting and sound convey mystery, tension, and insanity. The motel setting and sexually objectified female characters comply with horror conventions.
The trailer summarizes the plot of the horror film "The Cabin in the Woods" in 3 sentences:
Four teenagers travel to an isolated cabin in the woods for a vacation. Unexpected horrors begin targeting each teen, and it becomes clear they are being controlled and watched by unseen forces. The trailer leaves the audience with an enigma as to what is harming the teens and does not reveal much of the plot, enticing viewers to watch the full film for resolution.
This document provides a detailed analysis and summary of the 1996 film Trainspotting's movie trailer. It analyzes various shots and scenes from the trailer through the lens of several film theories. Key points analyzed include the introduction of the main characters, depictions of masculinity and violence, representations of social classes, and implications for the plot. The analysis finds that the trailer adheres closely to conventions of social realist films and depicts the characters engaging in drug use, crime, and violence, highlighting the disruptive lifestyles they live.
The trailer provides context for the plot of the third Bridget Jones film. It shows Bridget discovering she is pregnant but unsure which of her ex or new partner is the father. The upbeat music and colorful visuals establish the film's genre as a romantic comedy. The trailer attracts viewers by featuring recognizable stars and teases the question of who the baby's father is to encourage audiences to watch to find out.
The opening sequence introduces the film's title "Legendary Pictures" through quick cuts between scenes of a dramatic musical score, crashing waves, and 21st century weapons. This establishes the thriller genre. It then shows an older man examining a small object that seems important, hinting at mystery. Quick cuts later show the protagonist in the same room at a different time, suggesting time travel plays a role. The sequence ends by repeating the close-up of the object, leaving the audience with many questions.
Wolf Creek Textual Analysis - Peter Maddison6415964862123
The trailer provides context about the plot and characters through various camera techniques and shots. It begins by showing three friends enjoying a party, representing the equilibrium stage. Their car then breaks down in a remote area, signifying the disruption. They meet an older man who initially seems friendly but his sinister intentions are hinted at through his dialogue and expressions. Shots of the friends looking distressed and a woman running imply danger is pursuing them. Close-ups of the man holding weapons and peering through a scope establish him as the threatening villain aiming to inflict harm on the isolated protagonists.
The proposed film opening would begin with slow shots of a dark, lonely woods to set the ominous tone. Sounds of chopping and heavy breathing would be heard. The camera would then track a bloody trail leading to a figure holding a hammer, covered in blood. Close-ups would show his weapon and tattoos before a POV shot of him staring down at a body. An extreme close-up would zoom into his eye, with text saying "24 hours earlier". The next shots would show this character in a bathroom, receiving a call about going deer hunting in the woods while packing a large bag. The opening would then show two characters journeying into the deep, dark woods.
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Textual analysis of 2 soap opera trailersjoedolan2014
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Evaluation question 1
1. EVALUATION
QUESTION 1
“IN WHAT WAYS DOES YOUR MEDIA
PRODUCT USE, DEVELOP OR CHALLENGE
FORMS AND CONVENTIONS OF REAL
MEDIA PRODUCTS?”
2. MISE-EN-SCENE
(LOCATION)
The primary location in my opening follows many
conventions of other post-apocalyptic films I have
seen.
The location we used was a dirty forest area. This is a 2 year
time jump from the beginning of the apocalypse. The weather is
grey and dreary representing the depressing mood of an
apocalypse. Everything around the characters is overgrown and
there is no sign of any sort of life or civilisation.
Such locations are often found in post-apocalyptic films, with
“The Book Of Eli” being a desolate and dirty forest also.
Similarly we used the same weather convention as “The Road”
as it often as a grey sky and cold weather. For example,
before our fight scene you can see the supporting actresses
breath.
We also used a juxtaposition as seen in many post-apocalyptic
films between the world just as the apocalypse is beginning so
everything appears to be “normal” which contrasts with the
desolate, morbid and even life less environment we show. This
a similar technique to The Road as the first scence of it is prior
to the apocalypse making the next location more impactful.
3. MISE-EN-SCENE
(PROPS)
We used a whole Varity of props in our
opening sequence. At the beginning we
used many drug packets and alcohol
bottles to empathise the protagonists
destructive lifestyle before the apocalypse.
Similarly to “The Road” we used money as an item of
insignificance. This highlights a juxtaposition between the world
the audience lives and the one in which material items such as
money hold no value. The protagonist throws the wallet away but
is interested in the lighter showing that it is of much worth.
Another prop we used was a newspaper to tell the backstory of
the apocalypse titled “Human meat scandal” similarly the same
thing is done in “28 Days later” showing a close up of the word
“Evacuation.” Other props include the big rucksack that the
leading actress often carriers, this is used to signify that in a the
apocalyptic environment there are no homes and everything
must be carrier on your travels highlighting similarities to the
shopping cart in “The Road.” Both express the convention of
hopelessness as there is no home to go to or a finite goal to be
achieved.
4. MISE-EN-SCENE (COSTUME)
At the beginning of the sequence the protagonist is wearing
average everyday clothing that are casual and scruffy signifying
that he is unaware that the apocalypse has happened.
Later in the sequence however, after a time jump of 2 years the
costumes change drastically. With the protagonist and lead actress
wearing camouflage clothing to allow them to blend into the
environment and avoid the ravenous cannibals. A similar clothing
style to the soldiers in “28 Days Later” however, our characters are
not from the military they just have them for survival purposes. All
the clothing is covered in dirt to empathise the lack of cleanliness
and the toll the harsh environment has on the characters. Even with
the lead actress styled in a hat and gloves to signify the cold
locations they are travelling through. The harsh and dirtiness of the
clothing relates closely to “The Road” as those characters too have
to endure travelling in a cold, damp and dirty place.
The antagonist in the opening sequence is a bandit that has
come to steal the little supplies that the protagonist has. They are
wearing all black which has connotations of evil and darkness so
that the audience makes the connection that this is a bad person.
They also cover up their entire face and lack an identity, showing
that in the apocalypse situations people lack their identity as they
have to commit immoral deeds.
5. MISE-EN-SCENE (MAKEUP)
Makeup was a significant part in crafting the
mise-en-scene and amplifying the
conventions of the apocalypse. First, a bullet
wound on a dead body was used as well as
dark bags under their eyes with dry lips. This
is used to show that convention of humanity
having a lack of morals as this person has
ether been murdered or killed themselves. A
similar used of makeup is used in “The Book
Of Eli” opening when it shows that a man as
committed suicide with a pistol rather then
living in the post apocalyptic world.
The protagonists face like the majority of
characters in “The Road” is covered in dirt
to show the lack of cleanliness that is
accompanied with harsh survival. Our lead
female doesn’t wear any makeup in our
opening as that would be unrealistic for the
situation as it would not be practical to
wear such things.
6. CAMERA ANGLES AND SHOTS
Within my opening sequence we used a range of camera angles and shots. They follow typical
genre conventions of a post apocalyptic film opening.
Close-ups
Close ups provided a huge significance in the opening. First, a close up of the texts that show a
drastic escalation are used to create an enigma around the narrative. Additionally, a close up was
also used on the wounded face of the dead body to show the bullet hole in their head to further
empathise violence which is a key convention of post apocalyptic film genre. It also shows a drain
of life which is similar to the close up of the protagonist in “The Road” as looks very sunken.
Another important close up is that of the lighter which is used as a transitioned between locations.
Mid shots
A few medium shots have been used in the opening, mainly to show the state of the
protagonist as he navigates around the environment.
7. CAMERA ANGLES AND SHOTS- CONT.
Long Shots
Long shots are typically used in relation to framing a subject in a location by showing their full
frame. In the opening sequence a lot of long shots are used, one of significance is of the fight
scene as the audience can see the contrast between the dark antagonist and the protagonist as
well as all the moves used in the fight. Similarly to “The Road,” and “28 Days later” longs shots
were used to show the characters traveling, these were used for the effect of empathising the
movement. They also show quite a bit of scenery which shows the convention of a lonely and
desolate environment.
Camera Angles
There is a wide range of camera angles in “Man’s Greed” first is that of a
high angle of the protagonist getting out of bed. This shows the audience
looking down on him because of his drug and alcohol habits (As shown in
the Mise-en-scene). A similar angle is used on the zoom out from the dead
body as the audience look down upon that person because of their
vulnerability. The same angle is used to show the vulnerability of the
protagonist in “28 Days Later” as he awakes unknowing to what is
happening.
The last shot of the entire opening sequence is a high angle of the
protagonists face as now the audience look up to him to do the right thing
and find Madeline.
8. LIGHTING
The lighting in “Man’s Greed,” is very dim and drained as it is in “The Road.” This is
used to represent the dark and gloomy mood of the genre as the world has ended.
The drizzly weather adds to the lighting as there is no sun to brighten up the scene
which represents the idea that there is nothing bringing light into the protagonists life.
However, in the scene just at beginning of the apocalypse the lighting is some
what brighter as the audience and the protagonist are in the dark about the
destruction that has taken place.
9. NARRATIVE
The sequence opens with an older teenager awakening from a drug and alcohol
induced sleep which is evident from the heaps of pills and empathy bottles in his
surroundings. After this, he walks to his mothers house in search of answers,
nobody is around and the door is locked. After this enigma, there is a time jump of
two years which is made clear through the protagonists voice over. All the
audience knows is that a “Human meat Scandal” has happened which turned the
meat eaters of the world into ravenous cannibals. The protagonist is also joined
with a female as he scavengers for recourses to stay alive. After a change of
scene it is shown that the two of them are making a fire and are invaded by a dark
clothed bandit. At the end of this scene the audience is left with an enigma as the
protagonist’s companion has disappeared.
This sense of danger and hopelessness portrayed through the films narrative is a
key convention of the post apocalyptic film genre. As seen in “28 Days Later” the
protagonist has to navigate through a desolate location in which there is no one
there to help him much like the first scene in our opening.
Another convention in out plot is that of violence which is showed through the
lonely dead body that has gruesome bullet wound in their head, but also through
the fight sequence in which the antagonist is brutally punched and kicked.
10. CHARACTERS
Overall, there are 4 characters in our opening. All of which are very different from one
another. Luke is the protagonist and is a drug addict turned hero. At first the audience
look down on him through high angles but as time goes his efficient survival sources
respect.
Additionally, the supporting actress is very much an enigma to the audience as they
don’t know anything about her other then that she has being surviving along side our
protagonist. She also takes control of the heavy bag, being a counter type of the
stereotypically weak woman often seen in films.
The last two characters have little screen time in our opening, one is dead. The other
characters nonchalant reaction to this shows that this must be a regular occurrence
and the convention of violence is apart of their daily life. The bandit, is wearing all
black and doesn’t speak much all that the audience knows is that they are willing to
threaten a woman's life for some supplies showing their harsh nature.
11. TITLES
Prior to the creation of my opening sequence, I researched titles of other films.
Concentrating on order, timing and typography. They where usually shown in
simplistic fonts that didn’t take away from what was happening in the background.
Often, they had the production studio at the beginning of the film so we replicated
that and designed our own logo. Both texts are in white against dark backgrounds
providing contrast so the audience is able to read them clearly. At one point my titles
are in sync with the background when they are placed on the stairs, this is similar to
the powerful titles in “Zombieland” where the words are almost apart of the film world.
12. MUSIC AND SOUND EFFECTS
At the beginning of the sequence non-diagetic music is used, the sound used is slow
and dreary which replicate the slow movements of the character onscreen as he
moves through his house.
The Next sounds used are diegetic noise, first there is the phone dialling which
leads on the flatline when nobody can answer the phone. The indented purpose
of this if for the audience to be worried and alarmed as the sound bridge from that
scene to the title of the film. This leaves the audience with an enigma to what is
happening in the world. After that, the diegetic sound of wind and birds to make
the environment seem alive are added. Along with this there is a voice over
accomined by depressing music, a similar effect is used in “The Road”. This is
used to explain to the audience the circumstance of the apocalypse but also the
music is used to make them feel sad and hopeless, reflecting the mood of the
characters which is typical of the genre.
Towards the end of the sequence, a fight scene erupts between the protagonist
and the bandit. No music is used to amplify the harshness and realism of the
fight. although sound effects of the punches are used to emphasise the brutality
of the fight and to show the pain the character will face, even if the audience
will believe it is justified.
13. CONCLUSION
Overall, “Man’s Greed” conveys many conventions of the post
apocalyptic genre, a variety were used in order to create an original
yet themed piece. As a result, I believe that the target audience would
enjoy the opening without it being to similar to other films.
Through planning I researched the key points of that genre which
were included such as violence, hopelessness and a harsh
environment. Key conventions of a film opening were used such as
the creation of narrative enigmas and titles.