The document discusses a media evaluation plan for a horror film opening. It summarizes that the opening conforms to horror conventions with flickering titles creating disarray, the kidnapping and torture of a vulnerable female character, and impending death. It establishes an enigma with parallel storylines and tension-building music. It represents the main characters - a vulnerable female victim, heroic male protagonist, and mysterious younger antagonists - in a way that reinforces dominant ideologies around gender, age and victimization. The estimated £50,000 budget is low for an independent production. Distribution plans include art house cinemas and specialist exhibitors. Advertising will utilize social media and online platforms to reach broad audiences

1. Ben Sinden
MEDIA EVAULUATION – PLANNING
QUESTION 1 –
Conforms to conventional horror:
Titles – flickering to create sense of disarray (picture of titles)
Plot – shows typical conventions, vulnerable female character kidnapped and tortured
helplessly in her home by 3 masked antagonists, with the inevitable certainty of death
Character exposition – vulnerable female character, powerful group of murderers, and an
unsuspecting protagonist
Enigma established – two lines of action running in parallel, nearer the end of the opening
there is tension building music
Our horror opening conforms to the sub-genre of physiological/home invasion,
There is a vulnerable character (female) which is typical as generally women are shown as
the victims, with a group of murderers and a helpless and unsuspecting protagonist
Mise-en-scene- red lighting creates a sense of danger (blood), the villains ar masked to
create a sense of mystery and is more scary as they are each personalised, is set in a home,
which gives the sense of a safe environment
Sound- there is very little diagetic sound, as it is all to a soundtrack, similar to Tarantino with
violent scenes paired with happy music
Camera work –
QUESTION 2 –
In our opening we include a white mother/ wife character, a white male protagonist, and it
is unclear who the villains are, but there is a sense they are younger.
the mother character is represented positively, conforming to the dominant representation
of this group, she is vulnerable and innocent (created by a use of camera, th first shot she is
crouched to represent her lack of power) (the only dialogue is a scream, to show
desperation)
the father figure is also represented positively, a sense of heroism, although his attempt to
save his wife is unsuccessful he is willing and desperate to attempt to save her (represented
through camera, and mise-en-scene, he is singing happily, very unsuspecting)
The group of perhaps younger antagonists conform to the dominant representation of
younger generations, violent. This representation is created through the use of mise-enscene, (the masks, weapons, anonymous aspect)
Our opening reinforces dominant ideologies in current society, female white victim, groups
or gangs of murderers

2. Ben Sinden
QUESTION 3 –
The budget for our film is very low, which means production costs would
be kept to a minimal amount. Estimated around £50,000, which is an
amount made from researching existing films similar to ours, taking into
consideration costs such as tax bills, location permits, equipment
needed exc.
Our film would be an independent production so we would exhibit
predominantly through ‘art-house cinemas’ and specialist cinemas that
play more amateur productions. Companies we plan to work with to
distribute our film could include, Dogwoof distribution (distributors of
independent film), we could also pitch our film to the Cinema Exhibitors’
Association who as well as exhibit the larger scale industrial film, also
focus on exhibiting smaller scale independent films such as our own.
Our film may be exhibited in smaller cinemas, as we do not address such
meaningful specialist topics within our film, but it is important to note
that our film appeals to a mass market audience targeting both elder
and younger audiences predominantly male 16-24. Our film could also,
after cinema release, be exhibited using web 2.0 to reach a bigger
audience that perhaps may not have been reached within UK cinema
releases. As well as exhibiting our film using web2.0 it could be a cost
effective means of advertising our film, using sites such as Facebook, and
online adverts showing a trailer, or clips from our film.