Fantasy films PP
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The document analyzes three trailers for fantasy films - Twilight Saga: Eclipse, Harry Potter and the Deathly Hallows, and The Lord of the Rings: The Return of the King. It defines fantasy films as those using magic and supernatural elements. Typical conventions seen in the trailers include mystical creatures, dream-like plots unfolding in modern worlds unknown to ordinary people, secrecy around storylines, dark and mysterious tones, and quick action snippets. Elements indicating the fantasy representation are those that are supernatural or not human, as well as dramatic uneasy music.
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Fantasy films
The document analyzes three trailers for fantasy films - Twilight Saga: Eclipse, Harry Potter and the Deathly Hallows, and The Lord of the Rings: The Return of the King. It defines fantasy films as those using magic and supernatural elements. Typical conventions seen in the trailers include mystical creatures, dream-like plots unfolding in the real world unknown to ordinary characters, secrecy around storylines, dark and mysterious tones, and quick action snippets. Elements indicating the fantasy representation are those that are supernatural or not human, as well as dramatic uneasy music.
Movie pitch
A teenage boy investigates a string of murders committed by a mysterious woman known as "the Succubus". She lures men to their deaths by seducing them on social media and meeting up in person. After learning of the Succubus from his studies of folklore, the boy sets out to stop her from claiming her next victim. The thriller film trailer establishes the Succubus as the antagonist who meets men in London and invites them back to her home, where she kills them in the bathroom. Intercut with scenes of the boy researching how to identify and stop the Succubus, the trailer builds mystery and tension as the boy races to prevent the Succubus from killing again.
Narrative Task- The Sixth Sense
The document discusses several narrative theories and how they are applied in the film The Sixth Sense. It analyzes how Todorov's stages of equilibrium, disruption, disequilibrium, resolution, and new equilibrium are evident in the film's opening sequence. It also examines how Propp's character archetypes like the hero and helper can be seen in characters like Malcolm and Cole. Additionally, it identifies the binary opposition between the living and dead created by the film's supernatural elements. Throughout, enigma codes that intrigue the audience and leave them with questions are analyzed. The conclusion reflects on how understanding these theories can improve creating narratives.
Question 5
We attracted our audience through several techniques:
1) Setting the thriller in an ordinary house made the location relatable and engaged audiences by making them aware it could happen anywhere.
2) Using lighting techniques like chiaroscuro engaged audiences familiar with film noir.
3) An electronic soundtrack built suspense and tension, appealing to younger audiences.
4) Cutting between characters created cliffhangers that kept audiences engaged and on edge throughout.
Storyboard alex burton
The document provides a storyboard for the opening scene of a horror film production. It describes a sequence of shots that will: 1) introduce a mysterious figure standing in a bedroom who's identity is concealed; 2) show a title sequence with disturbing photos and text to set the tone; and 3) follow a young woman as she gets ready for a date, unaware of the danger pursuing her, until the killer appears behind her in the conservatory. The storyboard concludes with a boy arriving late at night to find the killer's masked left hanging on the front door.
Research presentation
This document identifies common conventions in the horror genre that can be used to develop a horror film trailer. It notes that horror films typically take place in isolated settings away from civilization. They employ camera techniques like high/low angles, POV shots, and handheld footage to convey fear and immerse viewers. Editing is often fast-paced during suspenseful scenes. Common sounds include sudden loud noises and ominous scores. The plots usually feature disequilibrium as the situation takes a dark turn. The target audience is typically males aged 15-25 who can relate to the characters.
Alfred hitchcock
Alfred Hitchcock was an English filmmaker and producer known for his thriller films. He developed unique technical techniques like long takes and manipulating camera movements and shots to control audience emotions. Hitchcock framed shots and edited films to create apprehension, fear, or empathy in viewers. He sought to make films feel like a single, unedited shot to further immerse audiences. Hitchcock's innovative techniques made his thrillers distinct yet tapped into genre conventions to draw broad audiences into emotionally charged stories through the characters' perspectives.
Psychological horror pp
Psychological horror relies on characters' fears, guilt, and mental instability to build tension rather than graphic violence. It explores common psychological vulnerabilities and fears in a subtle way that makes audiences uncomfortable by exposing repressed parts of the human psyche. The threat in psychological horror comes from within characters rather than outside forces, exposing the evil that hides behind normality. The Shining is an archetypal example, with Jack Nicholson's slow descent into madness as the hotel caretaker becoming increasingly unsettling and climactic as he becomes the real menace, despite supernatural elements in the film.
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Fantasy films
The document analyzes three trailers for fantasy films - Twilight Saga: Eclipse, Harry Potter and the Deathly Hallows, and The Lord of the Rings: The Return of the King. It defines fantasy films as those using magic and supernatural elements. Typical conventions seen in the trailers include mystical creatures, dream-like plots unfolding in the real world unknown to ordinary characters, secrecy around storylines, dark and mysterious tones, and quick action snippets. Elements indicating the fantasy representation are those that are supernatural or not human, as well as dramatic uneasy music.
Movie pitch
A teenage boy investigates a string of murders committed by a mysterious woman known as "the Succubus". She lures men to their deaths by seducing them on social media and meeting up in person. After learning of the Succubus from his studies of folklore, the boy sets out to stop her from claiming her next victim. The thriller film trailer establishes the Succubus as the antagonist who meets men in London and invites them back to her home, where she kills them in the bathroom. Intercut with scenes of the boy researching how to identify and stop the Succubus, the trailer builds mystery and tension as the boy races to prevent the Succubus from killing again.
Narrative Task- The Sixth Sense
The document discusses several narrative theories and how they are applied in the film The Sixth Sense. It analyzes how Todorov's stages of equilibrium, disruption, disequilibrium, resolution, and new equilibrium are evident in the film's opening sequence. It also examines how Propp's character archetypes like the hero and helper can be seen in characters like Malcolm and Cole. Additionally, it identifies the binary opposition between the living and dead created by the film's supernatural elements. Throughout, enigma codes that intrigue the audience and leave them with questions are analyzed. The conclusion reflects on how understanding these theories can improve creating narratives.
Question 5
We attracted our audience through several techniques:
1) Setting the thriller in an ordinary house made the location relatable and engaged audiences by making them aware it could happen anywhere.
2) Using lighting techniques like chiaroscuro engaged audiences familiar with film noir.
3) An electronic soundtrack built suspense and tension, appealing to younger audiences.
4) Cutting between characters created cliffhangers that kept audiences engaged and on edge throughout.
Storyboard alex burton
The document provides a storyboard for the opening scene of a horror film production. It describes a sequence of shots that will: 1) introduce a mysterious figure standing in a bedroom who's identity is concealed; 2) show a title sequence with disturbing photos and text to set the tone; and 3) follow a young woman as she gets ready for a date, unaware of the danger pursuing her, until the killer appears behind her in the conservatory. The storyboard concludes with a boy arriving late at night to find the killer's masked left hanging on the front door.
Research presentation
This document identifies common conventions in the horror genre that can be used to develop a horror film trailer. It notes that horror films typically take place in isolated settings away from civilization. They employ camera techniques like high/low angles, POV shots, and handheld footage to convey fear and immerse viewers. Editing is often fast-paced during suspenseful scenes. Common sounds include sudden loud noises and ominous scores. The plots usually feature disequilibrium as the situation takes a dark turn. The target audience is typically males aged 15-25 who can relate to the characters.
Alfred hitchcock
Alfred Hitchcock was an English filmmaker and producer known for his thriller films. He developed unique technical techniques like long takes and manipulating camera movements and shots to control audience emotions. Hitchcock framed shots and edited films to create apprehension, fear, or empathy in viewers. He sought to make films feel like a single, unedited shot to further immerse audiences. Hitchcock's innovative techniques made his thrillers distinct yet tapped into genre conventions to draw broad audiences into emotionally charged stories through the characters' perspectives.
Psychological horror pp
Psychological horror relies on characters' fears, guilt, and mental instability to build tension rather than graphic violence. It explores common psychological vulnerabilities and fears in a subtle way that makes audiences uncomfortable by exposing repressed parts of the human psyche. The threat in psychological horror comes from within characters rather than outside forces, exposing the evil that hides behind normality. The Shining is an archetypal example, with Jack Nicholson's slow descent into madness as the hotel caretaker becoming increasingly unsettling and climactic as he becomes the real menace, despite supernatural elements in the film.
Thriller seqeunce pitch
The document proposes a pitch for a thriller film sequence that follows conventions of the genre. It will tell the story of a woman who is abducted by a masked man demanding to know where her husband hid his property. The sequence aims to create suspense and uncertainty in the audience by entering the narrative at the point of disruption, when the victim wakes up in an unknown place. Character will be limited to the introduced victim and an antagonist whose identity is not yet revealed through the end of the proposed sequence. The sequence aims to explore themes of obsession, horror of personality, realism, and the human subconscious primarily through sound, mise-en-scene, and lighting effects.
Along came a spider- 9 shot analysis
The 9 shots that make up the opening credits sequence of Along Came a Spider establish a mysterious and unsettling tone. Shot 1 introduces a spider-like title font against a black background, hinting that spiders may play a role. Shots 2-4 use blurred, hazy colors and flickering lights to convey a sense of confusion and unconsciousness from the perspective of a possible victim. Shots 5-7 continue the theme of pursuit, showing unclear footage of a vehicle at night that appears to be followed. Shots 8-9 clarify the vehicle and reveal that it is being chased by a police helicopter, raising questions about why this car is being pursued. Throughout, the dark colors and uncertain imagery leave the audience guessing
Alfred Hitchcock analysis
The document analyzes Alfred Hitchcock's use of facial expressions, titles, and shots in the trailers for his thriller/horror films Psycho, The Birds, and Rear Window. It discusses how close-ups of characters' worried, shocked, or suspicious facial expressions build tension and intrigue in viewers. It also examines how Hitchcock uses dramatic, unsettling titles and shots obscured by rain or darkness to pique audience interest without revealing too much. Specifically, it analyzes the chilling shower scene in Psycho, considered one of the best scenes in film history for its use of camera techniques and score to create tension without graphic violence.
AS MEDIA STUDIES - Psychological Horror Codes and Conventions
Psychological horror relies on characters' fears and instability to build tension rather than overt violence. It suggests threats rather than showing them. Common techniques include low lighting, slow editing, and unsettling sounds and music. Typical settings include abandoned asylums and haunted houses. Iconography uses symbolic images to elicit emotion. Female victims are often portrayed as dumb and in need of rescue. Influential directors like Alfred Hitchcock drew out suspense through shots and unique angles.
Rear window
Rear Window is about a photographer named Jeff who breaks his leg and must observe his neighbors from his apartment window while confined to a wheelchair. He becomes convinced one neighbor, Lars Thorwald, has murdered his wife after hearing screams and seeing Thorwald cleaning with a large bag late at night. Jeff enlists his nurse and friend Lisa to help investigate. The film uses point of view shots to put the audience in Jeff's voyeuristic position as he spies on his neighbors.
Along came a spider
The nine shots that comprise the opening credits sequence of Along Came a Spider establish a mysterious and unsettling atmosphere through the use of a dark color palette and blurred, unfocused imagery. Shots show a spider-like letter A, flickering lights that could represent police sirens, a blurred shot of a vehicle at night, and increasingly clearer views of a car being followed by a police helicopter through a rural landscape. These images leave the audience with many questions about what may have occurred and who is in the car, building intrigue and anticipation for the thriller that will follow.
Along came a spider - 9 shot analysis
The nine shots that make up the opening credits sequence of Along Came a Spider establish a mysterious and unsettling atmosphere. Shot one introduces spiders as a motif with a descending letter A in a spider-like font. Subsequent shots feature dark backgrounds with hazy colored lights that create a sense of confusion, fear and unclear vision meant to represent an unconscious viewpoint. Shots of a vehicle driving at night grow increasingly clearer, with the final shot revealing it is being followed by a police helicopter, hinting at crime or violence to come in the film. The changing shots and use of lighting keep audiences unsettled and guessing as to what the images represent and what the story of the film will involve.
Along came a spider
The nine shots that make up the opening credits sequence of Along Came a Spider establish a mysterious and unsettling atmosphere. Shot one introduces spiders as a motif with a descending letter A and dark background. Later shots feature hazy colored backgrounds that could represent unconsciousness or blurred vision. Font colors and the inclusion of lights and sirens also provide clues about innocence, violence, police, and a potential city setting for the crime thriller. The final shots show an increasingly clear view of a car being followed by a police helicopter down a rural road at night, leaving viewers to speculate about who is in the car and why it is being chased.
Researching director
Alfred Hitchcock was a pioneering British filmmaker who directed over 50 films spanning six decades. He developed innovative techniques to maximize audience anxiety, fear, and empathy through shot framing and camera movements. Hitchcock often featured thrill-seeking plots involving violence, murder, and crime. He also frequently included twist endings and placed ordinary protagonists in extraordinary circumstances to engage audiences. Hitchcock's films frequently referenced birds and contained morally ambiguous or criminal characters to push boundaries and keep audiences attentive. He is regarded as one of the greatest British filmmakers for developing suspense and psychological thriller genres.
What is a Thriller Presentation
A thriller is a type of fiction that attempts to thrill the audience by placing characters in risky situations that create a constant sense of unease. There are different types of thrillers including psychological, action, erotic, and supernatural. Generic conventions include resourceful heroes, cliffhangers, suspense, and exotic locations. Common themes are death, murder, stalking, and rape. Sleepy Hollow is given as an example thriller film that fulfills conventions through its antagonist, the Headless Horseman, and protagonist, Crane, generating shock through sudden actions and ambiguous details.
Media Presentation
A thriller is a type of fiction that attempts to thrill the audience by placing characters in risky situations that create a constant sense of unease. There are different types of thrillers including psychological, action, erotic, and supernatural. Generic conventions include resourceful heroes, cliffhangers, suspense, and exotic locations. Common themes are death, murder, stalking, and rape. Sleepy Hollow is given as an example thriller film that fulfills conventions through its antagonist, the Headless Horseman, and protagonist, Crane, generating shock through sudden actions and ambiguous details.
Psychological horror iconography and conventions
This document summarizes conventions of the psychological horror genre based on audience feedback and research. It finds that psychological horror films typically focus on everyday situations, rely on characters' fears and hidden truths, and use nonlinear narratives with flashbacks. They feature normal antagonists and depict victims as helpless. Settings seem real to create fear that the audience could experience the same situations. The purpose is to frighten audiences with plausible plots that relate to their lives.
Psychological Horror Research
Psychological horror focuses on everyday events that could plausibly occur in real life, making the audience more cautious. It relies on the characters' beliefs, fears, and hidden truths to create horror, rather than supernatural elements. Common conventions include an ordinary killer who appears normal, mysteries around their identity, a focus on the killer's twisted mind over physical weapons, settings people can relate to like homes and hospitals, and flashbacks explaining the killer's motives. This genre often targets female victims and uses children as killers, though the document proposes breaking those conventions.
Rear window
Media course work on Rear Window by Alfred Hitchcock .
Alfred Hitchcock's rear window is a film full of symbolism, narratives, voyeurism and characterisation. The film focuses around the Main protagonist Jefferies, who is a photographer who recently broke his leg and is restricted to a wheelchair. The main character Jeff spends his days and nights watching the neighbours through a pair of binoculars. The audience are shown life through Jefferies eyes within the six weeks of his recovery.
Rear Window (1954) made viewers voyeurs, then had them pay for their pleasure. In its story of a photographer who happens to witness a murder, Hitchcock provocatively probed the relationship between the watcher and the watched, involving, by extension, the viewer of the film.
Hitchcock uses the point of view shot in order to show what Jeffery was seeing , using this shot doe not only allow the audience to see what he is seeing but it allows There are two main purposes for his use of optical point-of view shots in Rear Window.
One has to do with the story itself. The point-of-view shots help to pull the audience into the film and to identify more with the characters, most notably the main character Jeff. The second reason is much more universal, having to do with the nature of film itself, and the essence of cinema.
In Rear Window, female exhibitionism and objectification occurs. This is evident with the character Lisa. Lisa’s moves and poses suggest not only that she is confident and comfortable being looked at but also that she invites being looked at.
Lisa becomes a partner in Jeff’s gazing/voyeurism and an active investigator – maybe because this might be a stratagem for marriage, like her failed seduction attempt with the dinner from 21 and the sexy negligee.
Lisa’s wardrobe is expensive, high fashion (couture), and different in every visit. She is portrayed as only caring about her looks and the latest fashion which is a way of sexual objectification of women.
The gaze exercises power but also carries risks; it exposes Jeff to being seen by the other. Watching others without being seen gives Jeff a sense and a position of power, but then it is threatened and lost when Thorwald sees him from his apartment.
stereotypes are being used as the gaze is a male activity and the female the object of gaze, however Hitchcock undermines these stereotypes throughout the plot.
Jeff becomes powerless and passive when Thorwald breaks inside his apartment.
When Thorwald enters Jeff’s apartment, his eyes are lighted but his face and body are dark.
The gaze is an important element in this movie and there’s significance to Jeff using flash bulbs to try to blind and incapacitate Thorwald as to make an equal sense of powerless, however he fails.
Psycho 1960
Psycho is a 1960 horror film directed by Alfred Hitchcock, based on the novel by Robert Bloch. It tells the story of Marion Crane, who is murdered by Norman Bates after stealing money at a motel he owns. The film is known for its innovative editing techniques and shocking shower scene murder of the main character. Hitchcock aimed to subvert audience expectations through twists and surprises, most notably killing off the main character early in the film. The film was a major box office success and is considered one of the most influential films in the horror genre.
Film trailer marketing analysis
The trailer effectively markets the horror film by establishing a creepy atmosphere from the start with an eerie voice and references to a real-life paranormal investigation. It builds tension throughout with frights and scares, culminating in a big jump scare at the end. By communicating the plot, incorporating unsettling sounds and images, and gradually ramping up the intensity, the trailer excites audiences and leaves them wanting more.
Film trailer marketing analysis
The trailer effectively markets the horror film by establishing a creepy atmosphere from the start with an eerie voice and references to a real-life paranormal investigation. It builds tension throughout with frights and scares, culminating in a big jump scare at the end. By communicating the plot, incorporating unsettling sounds and images, and gradually ramping up the intensity, the trailer excites audiences with a glimpse of the scares to come and leaves them wanting more.
PSYCHO
The document discusses the 1960 Alfred Hitchcock film "Psycho" in several sections. It provides background on the film's director, writers, and stars. It also examines how Hitchcock used techniques like suspense, shocks, and unexpected twists to keep audiences engaged. Specifically, it analyzes the famous shower scene murder and how Hitchcock left parts to the imagination through editing.
Creative Critical Reflection #1: Conventions and Representations
The document discusses conventions in fantasy genre films, including targeting younger audiences, emotive storytelling, high-key lighting, saturated colors, and aspirational characters. It also notes the use of special effects to distinguish real and fantasy worlds. The response discusses how the film challenges some conventions by focusing less on emotions in its opening, using low-key lighting and a darker tone throughout, implementing drug abuse and mental illness plots targeting older audiences, and featuring a female protagonist who becomes increasingly aggressive. The response argues this challenges representations of gender and violence typically seen in fantasy films.
Codes, conventions and sub genre of horror
The document discusses several subgenres of horror including supernatural, dark fantasy, sci-fi horror, psychological horror, Lovecraftian horror, gothic, splatter punk/slasher, satanic/religious/occult, erotic horror, suspense/thriller, weird fiction, and speculative fiction. It also outlines some common codes and conventions in horror films such as dark settings, low key lighting, orchestral music, certain character archetypes, and costume choices.
Codes, conventions and sub genre of horrors
The document discusses several subgenres of horror including supernatural, dark fantasy, sci-fi horror, psychological horror, Lovecraftian horror, gothic, splatter punk/slasher, satanic/religious/occult, erotic horror, suspense/thriller, weird fiction, and speculative fiction. It also outlines some common codes and conventions in horror films such as dark settings, low key lighting, orchestral music, stereotypical characters, and victim costuming.
Genre Analysis
This document discusses several key elements that define the thriller genre of film. It notes that thrillers aim to keep audiences on the edge of their seats through tension and suspense, often involving a main character in a dangerous situation. It provides examples of different types of thrillers, such as action thrillers and psychological thrillers. It also describes common characteristics of characters, themes, editing techniques, sound, and camerawork used in thriller films to build tension and suspense.
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Thriller seqeunce pitch
The document proposes a pitch for a thriller film sequence that follows conventions of the genre. It will tell the story of a woman who is abducted by a masked man demanding to know where her husband hid his property. The sequence aims to create suspense and uncertainty in the audience by entering the narrative at the point of disruption, when the victim wakes up in an unknown place. Character will be limited to the introduced victim and an antagonist whose identity is not yet revealed through the end of the proposed sequence. The sequence aims to explore themes of obsession, horror of personality, realism, and the human subconscious primarily through sound, mise-en-scene, and lighting effects.
Along came a spider- 9 shot analysis
The 9 shots that make up the opening credits sequence of Along Came a Spider establish a mysterious and unsettling tone. Shot 1 introduces a spider-like title font against a black background, hinting that spiders may play a role. Shots 2-4 use blurred, hazy colors and flickering lights to convey a sense of confusion and unconsciousness from the perspective of a possible victim. Shots 5-7 continue the theme of pursuit, showing unclear footage of a vehicle at night that appears to be followed. Shots 8-9 clarify the vehicle and reveal that it is being chased by a police helicopter, raising questions about why this car is being pursued. Throughout, the dark colors and uncertain imagery leave the audience guessing
Alfred Hitchcock analysis
The document analyzes Alfred Hitchcock's use of facial expressions, titles, and shots in the trailers for his thriller/horror films Psycho, The Birds, and Rear Window. It discusses how close-ups of characters' worried, shocked, or suspicious facial expressions build tension and intrigue in viewers. It also examines how Hitchcock uses dramatic, unsettling titles and shots obscured by rain or darkness to pique audience interest without revealing too much. Specifically, it analyzes the chilling shower scene in Psycho, considered one of the best scenes in film history for its use of camera techniques and score to create tension without graphic violence.
AS MEDIA STUDIES - Psychological Horror Codes and Conventions
Psychological horror relies on characters' fears and instability to build tension rather than overt violence. It suggests threats rather than showing them. Common techniques include low lighting, slow editing, and unsettling sounds and music. Typical settings include abandoned asylums and haunted houses. Iconography uses symbolic images to elicit emotion. Female victims are often portrayed as dumb and in need of rescue. Influential directors like Alfred Hitchcock drew out suspense through shots and unique angles.
Rear window
Rear Window is about a photographer named Jeff who breaks his leg and must observe his neighbors from his apartment window while confined to a wheelchair. He becomes convinced one neighbor, Lars Thorwald, has murdered his wife after hearing screams and seeing Thorwald cleaning with a large bag late at night. Jeff enlists his nurse and friend Lisa to help investigate. The film uses point of view shots to put the audience in Jeff's voyeuristic position as he spies on his neighbors.
Along came a spider
The nine shots that comprise the opening credits sequence of Along Came a Spider establish a mysterious and unsettling atmosphere through the use of a dark color palette and blurred, unfocused imagery. Shots show a spider-like letter A, flickering lights that could represent police sirens, a blurred shot of a vehicle at night, and increasingly clearer views of a car being followed by a police helicopter through a rural landscape. These images leave the audience with many questions about what may have occurred and who is in the car, building intrigue and anticipation for the thriller that will follow.
Along came a spider - 9 shot analysis
The nine shots that make up the opening credits sequence of Along Came a Spider establish a mysterious and unsettling atmosphere. Shot one introduces spiders as a motif with a descending letter A in a spider-like font. Subsequent shots feature dark backgrounds with hazy colored lights that create a sense of confusion, fear and unclear vision meant to represent an unconscious viewpoint. Shots of a vehicle driving at night grow increasingly clearer, with the final shot revealing it is being followed by a police helicopter, hinting at crime or violence to come in the film. The changing shots and use of lighting keep audiences unsettled and guessing as to what the images represent and what the story of the film will involve.
Along came a spider
The nine shots that make up the opening credits sequence of Along Came a Spider establish a mysterious and unsettling atmosphere. Shot one introduces spiders as a motif with a descending letter A and dark background. Later shots feature hazy colored backgrounds that could represent unconsciousness or blurred vision. Font colors and the inclusion of lights and sirens also provide clues about innocence, violence, police, and a potential city setting for the crime thriller. The final shots show an increasingly clear view of a car being followed by a police helicopter down a rural road at night, leaving viewers to speculate about who is in the car and why it is being chased.
Researching director
Alfred Hitchcock was a pioneering British filmmaker who directed over 50 films spanning six decades. He developed innovative techniques to maximize audience anxiety, fear, and empathy through shot framing and camera movements. Hitchcock often featured thrill-seeking plots involving violence, murder, and crime. He also frequently included twist endings and placed ordinary protagonists in extraordinary circumstances to engage audiences. Hitchcock's films frequently referenced birds and contained morally ambiguous or criminal characters to push boundaries and keep audiences attentive. He is regarded as one of the greatest British filmmakers for developing suspense and psychological thriller genres.
What is a Thriller Presentation
A thriller is a type of fiction that attempts to thrill the audience by placing characters in risky situations that create a constant sense of unease. There are different types of thrillers including psychological, action, erotic, and supernatural. Generic conventions include resourceful heroes, cliffhangers, suspense, and exotic locations. Common themes are death, murder, stalking, and rape. Sleepy Hollow is given as an example thriller film that fulfills conventions through its antagonist, the Headless Horseman, and protagonist, Crane, generating shock through sudden actions and ambiguous details.
Media Presentation
A thriller is a type of fiction that attempts to thrill the audience by placing characters in risky situations that create a constant sense of unease. There are different types of thrillers including psychological, action, erotic, and supernatural. Generic conventions include resourceful heroes, cliffhangers, suspense, and exotic locations. Common themes are death, murder, stalking, and rape. Sleepy Hollow is given as an example thriller film that fulfills conventions through its antagonist, the Headless Horseman, and protagonist, Crane, generating shock through sudden actions and ambiguous details.
Psychological horror iconography and conventions
This document summarizes conventions of the psychological horror genre based on audience feedback and research. It finds that psychological horror films typically focus on everyday situations, rely on characters' fears and hidden truths, and use nonlinear narratives with flashbacks. They feature normal antagonists and depict victims as helpless. Settings seem real to create fear that the audience could experience the same situations. The purpose is to frighten audiences with plausible plots that relate to their lives.
Psychological Horror Research
Psychological horror focuses on everyday events that could plausibly occur in real life, making the audience more cautious. It relies on the characters' beliefs, fears, and hidden truths to create horror, rather than supernatural elements. Common conventions include an ordinary killer who appears normal, mysteries around their identity, a focus on the killer's twisted mind over physical weapons, settings people can relate to like homes and hospitals, and flashbacks explaining the killer's motives. This genre often targets female victims and uses children as killers, though the document proposes breaking those conventions.
Rear window
Media course work on Rear Window by Alfred Hitchcock .
Alfred Hitchcock's rear window is a film full of symbolism, narratives, voyeurism and characterisation. The film focuses around the Main protagonist Jefferies, who is a photographer who recently broke his leg and is restricted to a wheelchair. The main character Jeff spends his days and nights watching the neighbours through a pair of binoculars. The audience are shown life through Jefferies eyes within the six weeks of his recovery.
Rear Window (1954) made viewers voyeurs, then had them pay for their pleasure. In its story of a photographer who happens to witness a murder, Hitchcock provocatively probed the relationship between the watcher and the watched, involving, by extension, the viewer of the film.
Hitchcock uses the point of view shot in order to show what Jeffery was seeing , using this shot doe not only allow the audience to see what he is seeing but it allows There are two main purposes for his use of optical point-of view shots in Rear Window.
One has to do with the story itself. The point-of-view shots help to pull the audience into the film and to identify more with the characters, most notably the main character Jeff. The second reason is much more universal, having to do with the nature of film itself, and the essence of cinema.
In Rear Window, female exhibitionism and objectification occurs. This is evident with the character Lisa. Lisa’s moves and poses suggest not only that she is confident and comfortable being looked at but also that she invites being looked at.
Lisa becomes a partner in Jeff’s gazing/voyeurism and an active investigator – maybe because this might be a stratagem for marriage, like her failed seduction attempt with the dinner from 21 and the sexy negligee.
Lisa’s wardrobe is expensive, high fashion (couture), and different in every visit. She is portrayed as only caring about her looks and the latest fashion which is a way of sexual objectification of women.
The gaze exercises power but also carries risks; it exposes Jeff to being seen by the other. Watching others without being seen gives Jeff a sense and a position of power, but then it is threatened and lost when Thorwald sees him from his apartment.
stereotypes are being used as the gaze is a male activity and the female the object of gaze, however Hitchcock undermines these stereotypes throughout the plot.
Jeff becomes powerless and passive when Thorwald breaks inside his apartment.
When Thorwald enters Jeff’s apartment, his eyes are lighted but his face and body are dark.
The gaze is an important element in this movie and there’s significance to Jeff using flash bulbs to try to blind and incapacitate Thorwald as to make an equal sense of powerless, however he fails.
Psycho 1960
Psycho is a 1960 horror film directed by Alfred Hitchcock, based on the novel by Robert Bloch. It tells the story of Marion Crane, who is murdered by Norman Bates after stealing money at a motel he owns. The film is known for its innovative editing techniques and shocking shower scene murder of the main character. Hitchcock aimed to subvert audience expectations through twists and surprises, most notably killing off the main character early in the film. The film was a major box office success and is considered one of the most influential films in the horror genre.
Film trailer marketing analysis
The trailer effectively markets the horror film by establishing a creepy atmosphere from the start with an eerie voice and references to a real-life paranormal investigation. It builds tension throughout with frights and scares, culminating in a big jump scare at the end. By communicating the plot, incorporating unsettling sounds and images, and gradually ramping up the intensity, the trailer excites audiences and leaves them wanting more.
Film trailer marketing analysis
The trailer effectively markets the horror film by establishing a creepy atmosphere from the start with an eerie voice and references to a real-life paranormal investigation. It builds tension throughout with frights and scares, culminating in a big jump scare at the end. By communicating the plot, incorporating unsettling sounds and images, and gradually ramping up the intensity, the trailer excites audiences with a glimpse of the scares to come and leaves them wanting more.
PSYCHO
The document discusses the 1960 Alfred Hitchcock film "Psycho" in several sections. It provides background on the film's director, writers, and stars. It also examines how Hitchcock used techniques like suspense, shocks, and unexpected twists to keep audiences engaged. Specifically, it analyzes the famous shower scene murder and how Hitchcock left parts to the imagination through editing.
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AS MEDIA STUDIES - Psychological Horror Codes and Conventions
AS MEDIA STUDIES - Psychological Horror Codes and Conventions
Similar to Fantasy films PP
Creative Critical Reflection #1: Conventions and Representations
The document discusses conventions in fantasy genre films, including targeting younger audiences, emotive storytelling, high-key lighting, saturated colors, and aspirational characters. It also notes the use of special effects to distinguish real and fantasy worlds. The response discusses how the film challenges some conventions by focusing less on emotions in its opening, using low-key lighting and a darker tone throughout, implementing drug abuse and mental illness plots targeting older audiences, and featuring a female protagonist who becomes increasingly aggressive. The response argues this challenges representations of gender and violence typically seen in fantasy films.
Codes, conventions and sub genre of horror
The document discusses several subgenres of horror including supernatural, dark fantasy, sci-fi horror, psychological horror, Lovecraftian horror, gothic, splatter punk/slasher, satanic/religious/occult, erotic horror, suspense/thriller, weird fiction, and speculative fiction. It also outlines some common codes and conventions in horror films such as dark settings, low key lighting, orchestral music, certain character archetypes, and costume choices.
Codes, conventions and sub genre of horrors
The document discusses several subgenres of horror including supernatural, dark fantasy, sci-fi horror, psychological horror, Lovecraftian horror, gothic, splatter punk/slasher, satanic/religious/occult, erotic horror, suspense/thriller, weird fiction, and speculative fiction. It also outlines some common codes and conventions in horror films such as dark settings, low key lighting, orchestral music, stereotypical characters, and victim costuming.
Genre Analysis
This document discusses several key elements that define the thriller genre of film. It notes that thrillers aim to keep audiences on the edge of their seats through tension and suspense, often involving a main character in a dangerous situation. It provides examples of different types of thrillers, such as action thrillers and psychological thrillers. It also describes common characteristics of characters, themes, editing techniques, sound, and camerawork used in thriller films to build tension and suspense.
Me and my movies
The document provides an analysis of the horror genre and two horror films - Repo! The Genetic Opera and Grave Encounters. It discusses how each film fits into or diverges from typical genre conventions. For Repo!, while it contains some graphic violence, its nonlinear narrative structure and blending of genres sets it apart from traditional horror. Grave Encounters more closely follows horror tropes through its setting in an abandoned asylum, use of first-person camerawork, and character archetypes. Both films are examined in terms of their settings, narratives, and adherence to common horror codes and conventions.
Genre of films
Films are typically categorized into genres based on their settings, music, characters and other elements. Some of the major genres include horror, comedy, thriller, action, romance, and sci-fi. Horror films aim to create tension and fright by depicting supernatural or realistic frightening situations. Comedies intend to make audiences laugh through constant jokes. Thrillers generate excitement, tension and doubt through their storylines. Romance films focus on the themes of love and relationships, often facing obstacles. Science fiction commonly portrays technology and its potential dangers through imaginative futuristic settings involving elements like paranormal abilities.
Media a2 film trailer newest 1
The document discusses the genre of horror films and techniques commonly used in horror movie trailers. It defines horror films as movies that aim to elicit fear, disgust and horror in viewers through scenes that startle and depict the macabre and supernatural. Successful horror trailers often use techniques like brief title sequences, blurred endings to leave audiences wanting more, night vision effects, and close-up shots to clearly show scary makeup and facial expressions. The author of the document intends to incorporate these techniques, like using a found footage style to make their trailer more believable, in the horror film trailer they are creating.
Independent study and research - Film Openings Analysis
AS Media Studies - Research into the openings of three Thriller movies according to Mise En Scene and conventions.
Psychological Horror Research
PowerPoint outlining the horror genre and my chosen sub-genre within it. Covers psychological horror and the settings, filming and characters used.
Horror sub genres
The document outlines several conventions of different horror subgenres. For slasher films, the conventions mentioned include a masked killer who is usually psychotic, gruesome kills using weapons like knives, and a final girl who survives. Psychological horror conventions include the antagonist seeming normal but having a twisted mind, using flashbacks, and surprising twists. Supernatural films commonly focus on an evil spirit and characters making contact through Ouija boards. Possession films often involve a suburban family with one member becoming possessed and exorcisms being attempted. Gothic horror is typically set in faraway lands with dark settings and features mythical monsters as antagonists.
Sub genre
This document discusses the typical conventions of several horror subgenres, including supernatural, gothic, possession, and slasher films. For supernatural films, it notes that they are often set in isolated homes of the main characters where a supernatural presence is unwelcome. Gothic films commonly use gloomy settings like castles and churches with secret areas. Possession films typically have isolated locations like abandoned buildings with a hidden dark history. Slasher films feature quiet suburban towns as settings and involve an unknown killer in a mask who uses weapons to kill victims after disabling their means of escape. The document provides examples from films to illustrate these conventions.
Use Of Suspense In Frankenstein
The document discusses the use of suspense in the film Frankenstein through its trailer. It analyzes how the trailer uses techniques like iconography, recognition, and language to create suspense and leave viewers feeling startled. It also discusses how suspense trailers have used similar methods since the beginning of movies to generate suspense and keep audiences on the edge of their seats.
The Sub-Genres of Horror
The document discusses the main sub-genres of horror films: comedy-horror, slasher-horror, supernatural-horror, psychological-horror, and science fiction-horror. Comedy-horror films combine comedy with classic horror tropes. Slasher films focus on graphic violence inflicted by psychopathic killers. Supernatural horrors feature monsters, ghosts, and other paranormal themes. Psychological horrors explore the fears and unstable minds of characters. Science fiction-horror blends sci-fi elements like aliens and experiments with traditional horror storytelling. Popular examples are given for each sub-genre.
Conventions Of Horror
The document discusses various conventions and elements of different horror genres. It describes common settings, iconography, narrative structures, character types, and sounds used in horror films. It also provides examples and descriptions of different subgenres, including supernatural, psychological, dark fantasy, science fiction, satanic/religious, and splatterpunk/slasher films. Key elements that create fear and tension are explored across the different genres.
Horror Sub-Genres
The document discusses conventions that are common across different horror subgenres. For slasher films, key conventions include a masked killer who stalks and kills teenagers, with one final female survivor. Psychological horror films often feature a seemingly normal antagonist who is later revealed to have a twisted mind, aiming to surprise audiences. Supernatural and possession films typically involve an evil spirit or demon tormenting a suburban family. Gothic horror commonly sets tales in faraway, mysterious lands with dark, ominous settings.
Sub-genres of Horror
Slasher, psychological, supernatural, and possession horror films all have distinct conventions:
- Slasher films feature a masked killer who murders teenagers. The "final girl" survives.
- Psychological films center around a seemingly normal antagonist with a twisted mind. They often include plot twists.
- Supernatural films focus on an evil spirit that cannot be controlled. Characters try contacting spirits through Ouija boards.
- Possession films involve a suburban family targeted by a supernatural force that possesses a child. Exorcisms are performed.
Gothic horror films are typically set in faraway, gloomy locations like castles and graveyards and feature monsters and a male protagonist res
Horror sub genre
This document discusses different sub-genres of horror films including possession, supernatural, slasher, gothic, and psychological films. It provides examples for each sub-genre and describes common conventions and characteristics. Possession films typically involve a normal family disturbed by a spirit or demon, while supernatural films engage audiences' fears of the unknown. Slasher films feature graphic violence and killers using weapons. Gothic films rely more on atmosphere than realism. Psychological films remove blood and gore in favor of unmasked antagonists and mental manipulation of victims. The document concludes that a combination of possession and supernatural elements would be most terrifying for modern audiences.
Sub genres of horror
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.
Sub genres of horror
The document discusses several sub-genres of horror films including:
- Slasher films which involve a masked killer murdering teenagers with weapons. Examples given are Halloween and Scream.
- Supernatural films about spirits haunting and antagonizing victims, often in their home. Common conventions described.
- Gothic horror films set in the past featuring monsters in gloomy settings like castles. Examples are Dracula and Sleepy Hollow.
- Psychological horror focuses on the characters' disturbed minds to scare viewers rather than gore. Examples given are Silence of the Lambs and Psycho.
The concluding paragraphs discuss why the group chose psychological horror for their promotional package - it allows more creative
Media2014 horror and subgenres
This document discusses various subgenres of horror that have emerged since the 1960s in response to changing audience demands. It outlines key subgenres like slasher, supernatural, psychological, gothic and provides examples like Halloween, The Sixth Sense, The Shining, The Woman in Black. For each subgenre, conventions are described and analyzed if present in the given case study film. The document suggests subgenres have allowed horror to diversify in storylines and scare tactics to continue engaging audiences.
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Creative Critical Reflection #1: Conventions and Representations
Creative Critical Reflection #1: Conventions and Representations
Independent study and research - Film Openings Analysis
Independent study and research - Film Openings Analysis
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Evaluation. question four
The document discusses how the author used WordPress and the internet for research, planning, construction, and evaluation of their work. Some key points:
- WordPress categories allowed the author to easily organize and access different sections of their work.
- Individual posts on WordPress provided a clear progression and documentation of decisions. This helped the author and viewer understand the work.
- YouTube and other sites provided access to film trailers for research and analysis of editing techniques.
- Google Images and magazine sites allowed research of magazine covers in different genres.
- The internet provided a wide variety of examples from different time periods and countries.
Evaluation question 4.
The document discusses how the author used a blog to organize their research and planning for a school project on trailers. They sectioned different parts of their work into categories on the blog to keep it organized. The blog allowed them to insert links, presentations, videos, and images to showcase their work. They also used polls on the blog to get feedback from others. Throughout their project, the author worked to improve their camera, editing, photography, and Photoshop skills as they created a trailer, posters, and magazine covers to showcase their learning. They evaluated their work using PowerPoint presentations.
Film magazine cover research
This magazine cover features a film actor against a dull background. The bold blue title draws the eye and implies the magazine focuses on entertainment. Other text mentions movies and films to show the target audience. Light colors are used, including blue, white, and red matching the background and actor's dull clothing. The small font for the film title implies the actor is a bigger feature than the film. The text and image are arranged so nothing is cut off, keeping the actor as the main focus.
Film magazine cover research
This magazine cover features a photograph of an actor at the center. The bold blue title draws the eye, and additional text provides context that the magazine focuses on films. Light colors are used to match the dull tones of the actor's clothing and expression. Smaller text below the actor's name implies he is a more important feature than the specific film. The layout ensures the actor remains the clear focal point.
Research trailers
There are three main types of movie trailers:
1) Full-length trailers aim to entice audiences by showing scenes and music to imply the plot and genre. They last 1-2.5 minutes.
2) Teaser trailers are released about a year before the movie and provide brief glimpses or images to create hype. They are often cryptic and last 30-60 seconds.
3) TV spots are short advertisements used to target specific audiences and sell the movie through catchy songs or slogans.
Fantasy films PP
The document analyzes three trailers for fantasy films - Twilight Saga: Eclipse, Harry Potter and the Deathly Hallows, and The Lord of the Rings: The Return of the King. It defines fantasy films as those using magic and supernatural elements. Typical conventions seen in the trailers include mystical creatures, dream-like plots not set in the real world, secrecy around storylines, dark and mysterious tones, and quick action snippets. Elements indicating the fantasy representation are those that are supernatural or not human, as well as dramatic uneasy music.
Fantasy films pp
The document analyzes three trailers for fantasy films - Twilight Saga: Eclipse, Harry Potter and the Deathly Hallows, and The Lord of the Rings: The Return of the King. It defines fantasy films as those using magic and supernatural elements. Typical conventions seen in the trailers include mystical creatures, dream-like plots unfolding in modern worlds unknown to ordinary people, secrecy around storylines, dark and mysterious tones, and quick action snippets. Elements indicating the fantasy representation are those that are supernatural or not human, as well as dramatic uneasy music.
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