Opening 2 minuets of drive
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The opening credits of the movie Drive establish its 1980s retro synthwave style through a neon pink title sequence set to synth pop music. Over the first two minutes, viewers are introduced to the main character as he drives through Los Angeles without dialogue, raising questions about his mission through mellow, dreamlike visual transitions and the subtle introduction of a female character, foreshadowing a potential relationship to come.
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OSA4
The document provides analysis of the opening sequences of several films. It describes shots and elements from each opening that aim to set the scene, introduce characters, and provide clues to the audience about the genre and key events in the film. These include the use of music, colors, character costumes and behaviors to infer meaning and foreshadow future plot points. The analyses examine how visual and audio elements are used to quickly immerse the audience and provide context.
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The document discusses how a music video project uses camera techniques like different angles and dissolves to develop the storyline and convey emotions. It compares shots between a dead and alive version of the main character to show their isolation when alive. It also discusses the layout and elements of a mock album cover, comparing it to real album packaging with photos, website details, and track listings.
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Research task three
The title sequence shows titles that appear distressed and move erratically across a black background or dark shots, as if scratched onto film negatives. It depicts a man assembling disturbing objects, like negatives and crossed-out photos, using dark colors and close-up shots to create an unsettling mood. The soundtrack includes unsettling non-diegetic sounds like machinery, scratching, and ghostly singing that get faster and more like a score over time, heightening the sense of unease.
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This document discusses the influences on the author's ideas for a horror film opening title sequence. It notes how title sequences from films like Nightmare on Elm Street and Seven intrigued the author with their effective use of mise-en-scene, camera work, sound, and colors to set a mood without revealing the full plot. Observing techniques in crime mysteries on TV also helped with storytelling ideas. The author aims to incorporate low, ominous music; varied shots from different angles; and dark colors in line with horror conventions for their opening sequence depicting a girl running and screaming in a dark forest while being chased by an unknown figure.
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OSA4
The document provides analysis of the opening sequences of several films. It describes shots and elements from each opening that aim to set the scene, introduce characters, and provide clues to the audience about the genre and key events in the film. These include the use of music, colors, character costumes and behaviors to infer meaning and foreshadow future plot points. The analyses examine how visual and audio elements are used to quickly immerse the audience and provide context.
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This document provides preliminary designs for the album artwork of 4 panels:
1) The front cover shows a protagonist in handcuffs with the text "Ain't No Rest For The Wicked".
2) The back cover shows a gravestone with the title "Wicked", referencing lyrics about death.
3) The inside panels collectively depict the seven deadly sins across seven images to illustrate the idea of being "wicked".
4) The left panel includes images representing Lust, Gluttony, Greed and half of Sloth, while the right panel shows the rest of Sloth and images for Wrath, Envy and Pride.
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The document discusses how a music video project uses camera techniques like different angles and dissolves to develop the storyline and convey meaning. Low angles are used to show one character's dominance over another shown from a high angle in an argument scene. An over-the-shoulder shot establishes who is writing a suicide note. Shadows and overlays are used symbolically. Cross dissolves allow the editing to flow with the slow music. Comparisons are made to real music products like magazines, albums, and digipaks in terms of typical layouts and elements included.
Evaluationq1
The document discusses how a music video project uses camera techniques like different angles and dissolves to develop the storyline and convey emotions. It compares shots between a dead and alive version of the main character to show their isolation when alive. It also discusses the layout and elements of a mock album cover, comparing it to real album packaging with photos, website details, and track listings.
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Research task three
The title sequence shows titles that appear distressed and move erratically across a black background or dark shots, as if scratched onto film negatives. It depicts a man assembling disturbing objects, like negatives and crossed-out photos, using dark colors and close-up shots to create an unsettling mood. The soundtrack includes unsettling non-diegetic sounds like machinery, scratching, and ghostly singing that get faster and more like a score over time, heightening the sense of unease.
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The document discusses plans for designing a digipak and website for an artist named Daniel Noir. For the digipak, panels on the front and back covers will feature urban cityscape images and photos of the artist. Interior panels will include song titles and credits. The website homepage design is inspired by Ben Howard's site and will feature tabs, understated fonts, and text aligned using the rule of thirds technique over a background image relating to the artist's music.
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Trailers follow certain conventions to effectively promote films. They begin with the production company name and include genre signifiers to set expectations. Famous actor names are featured upfront to draw attention. The mood is set through curated music that builds tension. Characters and a brief narrative hook viewers without revealing the full plot. The title card appears later to leave a lasting impression.
Sliding doors poster
The poster is for the film "Sliding Doors" and features Gwyneth Paltrow portraying two different versions of the same character. The poster uses color, text, and a split diagonal image to represent the film's concept of parallel lives and different directions one's life can take. It aims to pique viewers' interest in how the main character will experience two separate realities at the same time.
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A title sequence introduces a film or television program by presenting key production details and cast members over conceptual visuals and sound. It typically follows the opening credits. Two example title sequences are analyzed - one for the zombie film Zombieland that shows slow motion scenes of people fighting zombies, setting up the horror comedy genre. The other is for the animated film Coraline that starts with a still image developing into a scene of a puppet being sewn, creating an ominous atmosphere. Both sequences show production credits first and title last, include music, and vaguely establish the plot without characters. They differ in elements included, speed of scenes, and number of scenes.
Script
Callum Harrison will create a movie trailer and poster for a horror/thriller film about a serial killer for his final major project. The trailer will focus on the killer and switch quickly between scenes to build intrigue without revealing the protagonist. It will include an emergency call, news reports of murders, and voiceovers linking the crimes as tension builds with dark scenes, sounds and music. The fast-paced trailer will show text like "This Year" and the film title using Photoshop or After Effects to seem realistic, while the poster created in Photoshop will feature an image, name and credits to promote the fictional movie.
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Sinister textual analysis
The document analyzes the poster for the film "Sinister". It notes that the bold, creepy title contrasts with the bright background to stand out. It suggests the film will depict supernatural and psychological themes like other films from the same producer. The cracked wall in the poster represents the demonic presence decaying the mind. Social media links are included to help promote the film online. The main image of demonic eyes drawn in blood is meant to be disturbing and sell the film's terrifying atmosphere.
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This document discusses how the film Ruthless Russians challenges conventions of real crime thriller films. It uses conventions from films like The Godfather and Rear Window for close-up shots and POV shots. The sounds were inspired by intense chase scenes from 2 Fast 2 Furious. However, it challenges conventions by setting the film in rural East London rather than typical urban areas, providing a unique location not often seen in the crime thriller genre.
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The document discusses how the film Ruthless Russians challenges conventions of crime thriller genres. It uses conventions from films such as The Godfather and Rear Window for close-up shots and POV shots but challenges norms by setting the story in rural East London rather than typical urban areas. Music is used to set different moods for scenes like the intro, chase scenes inspired by 2 Fast 2 Furious, and dialog scenes. The location of rural East London differs from most crime thrillers set in gritty urban areas like those seen in films such as Kidulthood.
In what ways does your media product use
This document discusses how the film Ruthless Russians challenges conventions of real crime thriller films. It uses conventions from films like The Godfather and Rear Window for close-up shots and POV shots. The sounds were inspired by intense chase scenes from 2 Fast 2 Furious. However, it challenges conventions by setting the film in rural East London rather than typical urban areas, providing a unique location not often seen in the crime thriller genre.
Strangers On A Train
The document provides a detailed micro analysis of the opening scene of Alfred Hitchcock's 1951 film "Strangers on a Train". The summary describes how the opening establishes two well-dressed men of high social status entering separate taxis in the city and then converging at a train station. Through the use of shots of their shoes, clothing, and surroundings, the sequence establishes the characters' social class and builds suspense through music and editing as it's revealed they will meet on the train.
21 jump street opening analysis
The opening titles sequence uses fast paced editing and moving titles to grab audience attention and set an exciting tone. A variety of shots are used, including wide shots for explosions and close ups. Bright colors are featured after a black start, suggesting an exciting film. Red and blue are used, linking to the main characters as police officers. Fast editing continues throughout, keeping the audience entertained by rapidly changing clips to match the fast paced music. The sequence suggests an immature action comedy about police officers solving a drug case, featuring explosions, guns, and revealing females. Upbeat party music draws in the target teenage audience and links to the film's title.
Ella presentation
The Neighborhood Watch film entered development in 2008 based on an idea by a Fox executive. Principal photography began in Georgia in October 2011, filming in areas around Atlanta like Inman Park and locations in Cobb County. Scenes were also shot at a high school in Smyrna and a converted wholesale store in Norcross. Filming concluded in January 2012, allowing improvisation.
The marketing campaign began in February 2012 with posters, a trailer, and a website. In March, the trailer and poster were pulled from Florida theaters due to controversy over the Trayvon Martin case. A new alien-focused campaign launched in May 2012 along with changing the film's name to The Watch. Special effects company Legacy
In what ways does your media product use, develop or challenge forms and conv...
The document discusses how the film Ruthless Russians challenges conventions in genre, camera techniques, sounds, and location for a crime thriller. It draws inspiration from films like 4.3.2.1 and The Godfather for its use of a McGuffin, close-up shots for dialogue, and gang violence. Sounds include intense music during crimes, depressing music for loss, and car chase music inspired by 2 Fast 2 Furious. However, it challenges the crime thriller convention by setting the story in rural East London instead of typical gritty urban areas.
Conventions
1) The names of the cast and crew will appear in red at the beginning to connote death and blood, glowing and then fading away.
2) The title "Don't Look Back" will appear at the end of the opening after glimpses of the main female character, fading to black.
3) The main character is a female first introduced walking home after work in a normal London street, where most of the characters live.
Assignment 2 what is an ots
This document analyzes and compares the opening title sequences (OTS) of two films - The Walking Dead (Season 3) and The Conjuring. It notes that both OTS use music and visuals to set a fearful atmosphere, though they differ in music tempo. The Walking Dead OTS hints at the setting and story through scattered cars and objects tied to characters, while The Conjuring uses family photos and a house. Key similarities are noted like crediting the cast and production team. The conclusion states that an effective OTS should provide foreshadowing of the story and title.
Opening sequence analysis
The opening sequence of Leon: The Professional begins with an animated sequence of a boy picking a flower at night set to a romantic score. The flower transforms into the Gaumont production company logo. Text credits appear over shots of New York City establishing the setting. The camera moves through a dark Italian restaurant corridor as the music becomes haunting. A conversation between two men at a table is shown in shot-reverse-shot, revealing they are discussing an assassination job. The opening sequence ends with a close-up of one man finishing his glass of milk, signaling their business discussion is complete.
Trailer codes and conventions
Trailers typically introduce main characters early on and use establishing shots to set the location and theme. They build mystery and intrigue with dramatic words and sentences to encourage viewers to learn more. Titles and release dates are usually displayed at the end to ensure viewers remember this crucial information. Billing blocks also appear late in the trailer to showcase the director and producers. Music complements the genre and pace of shots shown. Some trailers include voiceovers or tag scenes for additional context and humor.
Wallander
The document analyzes the opening sequence of the TV show "Wallander". It discusses how the camera work uses long shots and mid shots to show the two main characters and their blood stains, causing the audience to ask questions. Close ups are also used to show important details. The sound uses ambient music and diegetic sounds like footsteps to build tension. Shots are edited together intelligently to allow the audience to make connections, such as linking a bloody key ring photo to a girl holding a bloody knife. This prompts the audience to ask questions about the characters, deaths, and their connections to develop the story.
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Similar to Opening 2 minuets of drive
Mise en scene
The opening sequences of Saturday Night Fever establish the setting, characters, and central themes. Through establishing shots of New York City landmarks and subway stations, the mise-en-scene sets the working class urban setting. Point-of-view shots from the subway introduce the main character and his environment. Scenes of the character browsing dancing shoes and moving to music hint at the disco theme. Styling and interactions portray the main character as an Italian American "player" stereotype. The sequences tease questions about the character and narrative through the enigma code while consistently tying back to themes of disco and dancing.
5 minute analysis
The title sequence introduces the film's creators and features mysterious music to complement the shadowy character on screen. It dissolves into the first scene of an old-fashioned Los Angeles street, establishing the setting and time period. Jump cuts are used to speed up shots of cars rushing through the city. Non-diegetic mystery-building music carries through the opening, hinting at the film's themes while introducing the main character in his insurance salesman disguise through dialogue.
Milktreatmentsheet
The proposed music video "Milk" will tell the story of a young woman going through a heartbreak who turns to cocaine. It will be primarily narrative-based, with some lip syncing to the song. The editing and camera shots will reflect the tempo of the song. There will be a variety of shots including close-ups, wide shots, and point-of-view shots. The lighting will change throughout the day from sunrise to sunset. Mise-en-scene will be important, with the main character having a grungy aesthetic and props like a fake bag of cocaine being used. The settings will include outdoor public areas, houses, beaches, and walkways to incorporate scenic shots.
A short film proposal
Two contract killers from different eras, the 1950s and 1980s, have been set up by a gang to assassinate each other. They are captured by the gang but their time travel devices send them back to retry their encounter working together. They use their ability to alter time to defeat the gang's henchmen and leader. They discover they have a similar mark, implying they are the same person from different times. The short film borrows elements from genres like time travel films, action films of the 1950s and 1980s, and includes no dialogue throughout.
Analysis of real music video
The document analyzes an existing music video for the song "When The Sun Goes Down" by Arctic Monkeys. It notes several effective techniques used in the video, including close-up and mid shots of the protagonist's face that reinforce her as the main character and show her emotions. Shots from a dashboard camera giving the effect of streaming lights are used during upbeat sections. The video also uses varied locations, lighting conditions, and camera movements like tilts and pans to keep it interesting. Specific scenes provide opportunities for visual effects or different shot styles.
Film trailers
The document describes key features of 3 movie trailers. The first trailer uses a slow build up with ominous music and introduces characters through monologues. It establishes the plot but does not reveal major twists. The second trailer hints at the film's technical content through a glitch and uses flashing transitions between action shots and music to build suspense. It reveals some plot details. The third trailer starts vague and intensifies with flashing scenes and violent transitions. It introduces characters but does not fully resolve the plot or identity of the antagonist, enticing viewers to learn more.
Film trailers james hope
The trailer sets an intense and unsettling tone through flashing images, violent transitions and atmospheric music. Characters are introduced briefly alongside descriptions of the antagonist. Though some plot details are revealed, the trailer aims to intrigue audiences by revealing little about the killer's identity or how the story resolves, encouraging viewers to learn more. It stands out from typical horror trailers through its disjointed, cryptic style and leaves audiences wanting to discover what makes this film unique.
Micro elements
The opening sequence introduces the two main protagonists through a series of shots over 3 minutes and 10 seconds. Various shot types like close-ups, medium shots, and long shots are used to set the scene and establish the characters. Fast editing and a upbeat non-diegetic soundtrack set the quick pace to immerse viewers in the film's world of sex, drugs, and teenagers.
textual analysis of 2 soap opera trailers
The document provides an analysis of two soap opera trailers: EastEnders and Coronation Street. For EastEnders, it summarizes the use of non-diegetic music to set mood, and shots showing characters with guilty facial expressions. It notes the slow camera movements and cuts in both trailers build mystery. For Coronation Street, it describes flashbacks of the character Tina's life and low-key lighting setting a dark tone. The analysis concludes certain techniques like lighting, settings and costumes that build atmosphere should be repeated in other trailers.
Textual analysis
The document analyzes shots from the opening sequence of an independent drama film. It summarizes each shot and discusses the techniques used and what they connote about the characters and narrative. Key points include shots being shaky and spiraling to convey the protagonists' lack of control over disturbing events of the night. Lighting shifts from dark to brighter to represent changing fortunes. Sound and editing are also used effectively to set the mysterious tone and engage a sophisticated audience.
Techniques used in film trailers
The document discusses techniques used in film trailers to engage audiences. It analyzes shots like long shots to set the scene, close ups to show emotion, two shots to suggest relationships, and mid shots to set atmosphere. It also discusses uses of cuts, quick cuts to add pace, fades between scenes, over the shoulder shots for conversations, and music to enhance dramatic moments or suggest context. The goal of using these techniques in trailers is to interest audiences and entice them to watch the full film by highlighting characters, relationships, and pivotal moments in a fast-paced manner.
Conventions of a gangster film
This document analyzes conventions used in the opening scenes of several gangster films, including Scarface, Pulp Fiction, Lock Stock and Two Smoking Barrels, Strangers on a Train, and The Departed. It discusses how each film establishes setting, time period, and tone through techniques like mise-en-scene, sound editing, camerawork, and editing. Props, costumes, music, and dialogue are used to immerse viewers in the story world and imply what themes and events will follow. The analyses provide insight into how these acclaimed films drew audiences in from the very beginning.
Conventions of a gangster film
This document analyzes conventions used in the opening scenes of several gangster films, including Scarface, Pulp Fiction, Lock Stock and Two Smoking Barrels, Strangers on a Train, and The Departed. It discusses how each film establishes setting, time period, and tone through techniques like mise-en-scene, sound editing, camerawork, and editing. Props, costumes, music, and dialogue are used to immerse viewers in the story world and imply what themes and events will follow. The analyses provide context about how these films engage audiences from the very beginning.
Lèon - AS Media Studies (Andjela Rodic).pptx
The document provides a textual analysis of the opening title sequence of the film "Léon the Professional". The sequence begins with an aerial shot flying over trees and panning over to reveal a panoramic view of New York City around Central Park. It then cuts to a moving shot down a working class New York street before cutting inside a restaurant. The scene inside the restaurant introduces two characters, Leon and his companion, through a series of close-up shots that create mystery and tension without revealing the characters' identities.
Evaluation question 1 a2
This document provides examples of shots from real music videos that demonstrate different filmmaking techniques. Several shots are provided that show a link between lyrics and visuals, how an artist is represented for their record label, the use of mise-en-scene, lighting, camera work, and intertextual references. The shots are analyzed and described in terms of how they illustrate these various cinematic techniques.
Taken
The opening sequence of the film "Taken" establishes suspense and mystery. It begins with the 20th Century Fox logo to signal this will be a high production value film. Flashbacks shown through handheld camera work make the audience uneasy as they show a happy birthday party for a young girl who seems important. The film then cuts to Liam Neeson's character waking in his home, linking him to the girl, who the title card reveals is "Taken." Non-diegetic music builds tension as the audience assumes danger is coming for the girl.
Trailer
The document discusses conventions of film trailers and how the student challenged some conventions in their trailer for a psychological thriller film. The student analyzed existing thriller trailers to understand typical trailer elements like increasing pace and dark lighting/colors. Their trailer starts slow and gets faster, shows the two main characters, and hints at a mysterious threat without revealing details. While sticking to some genre expectations like scary shots, the student's trailer does not provide a narrative, typical sounds, or reveal characters/plot fully like most trailers do.
Question 8
The document analyzes the use of sound and music in the trailers for Horrible Bosses 2 and San Andreas. For Horrible Bosses 2, the trailer uses contrasting dark then upbeat music to shift between serious and comedic tones. Dialogue with rhymes and references to the previous film enhance comedy. San Andreas uses a slow, ominous version of "California Dreaming" to build suspense without effects initially. Slow music and shots maintain tension, while voiceover at the end enhances realism and draws the audience in. Both trailers effectively employ music and sound design to engage audiences in their respective genres.
Textual research 1
The document analyzes and summarizes the opening sequence of the film "The Shining." It discusses how the titles are presented in bright blue fonts that move onto and off of the screen. It also analyzes the establishing shots showing the isolated location and lone car driving through the mountains, building a sense of suspense, seclusion, and danger. The subtle camerawork and composition suggests themes of isolation, exclusion, and feelings of displacement throughout the narrative. The genre of horror is established through the isolation of the characters and unsettling string music.
Textual research 1
The document analyzes and summarizes the opening sequence of the film "The Shining." It discusses how the titles are presented in bright blue fonts that move onto and off of the screen. It also analyzes the establishing shots showing the isolated location and lone car driving through the mountains. The music builds a sense of eeriness and suspense. Long shots show how secluded and isolated the location is, with the car appearing very small in the frame. This suggests themes of isolation, exclusion, and feelings of displacement throughout the narrative. The genre of horror is also established through the isolation of the characters and unsettling string music.
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Evaluation task 2
The document discusses the style of a music video and how it effectively combines the main product (song) with supporting materials. It analyzes how the music video portrays a mix of natural and urban settings through the character's exploration of landscapes. It also compares the video's style to the artwork of musician Mura Masa's album, noting their similar abstract, minimalist approaches that fit the ambient music genre. The document then describes how these influences were applied to creating a minimalist album package for the song, with a consistent black-and-white color scheme and font across the sleeve, back cover and inside leaflet to properly brand and market the music to the intended audience.
Evaluation task 1
The document analyzes and compares the music videos for Tycho's "See" and "Ascension" songs and Andre LP's "Into Blue" song in relation to conventions of the ambient/electro music genre. Some key conventions discussed include using the music video to visually represent the music, featuring a character exploring natural environments, using long shots and POV shots to make the viewer feel like they are exploring with the character. Thought beats are used to sync cuts in the video with changes in the music. Tinting, slow motion, and focus are used to further represent the tone and mood of the ambient music. Andre LP's video adheres closely to these same conventions seen in Tycho's videos.
We cant stop analysis - Layth a2 media
Miley Cyrus' music video for "We Can't Stop" promotes her new rebellious image through various unconventional symbols and imagery. Scenes at a party depict relationships, drug and alcohol use in subtle ways. Close-ups of Miley emphasize promoting her new bold image to sell the song. Contrasts between light and dark shots highlight Miley and suggest an edgy, corrupted party atmosphere. The video relates to youth through relevant issues but keeps explicit content suppressed as Miley aims to distance from her previous good girl image. Similarly, the single cover promotes partying and rebellion to target young teenagers.
Andrew goodwin’s theory of music video’s
Andrew Goodwin identified several key aspects of music videos. There is an emphasis on promoting the artist through close-ups and screen time to develop their star image. Narratives in music videos typically ignore common storytelling and focus more on performance to advertise the song. Visuals can either relate directly to the song lyrics, amplify their meaning, or be completely disjointed. Technical elements like lighting, editing, and camera work are also important to engage the audience and make the video look professional. Additionally, the structure of the song and artist's style must be considered to blend visuals and audio seamlessly.
Task 6
The document discusses specs for a camera including an 18-megapixel sensor, full HD movie mode, and vari-angle screen. It also describes a polarized microphone that is most sensitive to sounds in front of it and reduces background noise, with an on/off switch that selects between a 90 and 120 degree recording angle. An extendable camera tripod is mentioned that can adjust in height and rotate 360 degrees. Final Cut Pro X editing software is summarized as containing magnetic timeline and compound clip features that allow smooth editing and combining of multiple clips.
Similar genre opening
The opening sequence for a movie begins with the Paramount Pictures logo. It then shows credits integrated into the environment in an urban style, such as on posters and jackets, as the camera moves through a continuous shot mimicking a point of view walk into a concert. Traditional on-screen credits appear as the camera reaches the concert area and characters, establishing the rock music theme and genre. The opening ends by showing the main character stage diving to an unreceptive audience, leaving viewers wanting to see more.
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Opening 2 minuets of drive
- 1. OPENING 2 MINUETS OF MOVIES
- 2. Drive is a movie that defines its self with its 80’s retro style. The first few seconds opens with an ariel shot of night time shot of L.A with florescent pink credits, combined with some 80’ synth pop in the background. This combined within the first two seconds it instantly portrays what style the movie is in. It then cuts the title “drive” with the main character sitting in a car doing exactly that. It gets to the point but also raises questions, “why is he driving?”, where is he driving too?”, making the audience want to watch and find out.
- 3. Effects and filters are used in the opening adds to the stylistic approach, although its very colourful, there's a mellow/mysterious dream like element to it. The way clips transition from one to another is also like this, they slowly merge one into the other, there isn’t any sudden cuts, also adding to this “dream like feel”. http://www.youtube.com/wat ch?v=LDCt1V8T3To As you the audience watches the main character cruise through downtown L.A while jamming to the 80’s synth pop soundtrack and getting a general introduction to the style of the movie, a female main character is subtly I passed in the car park, foreshadowing potential relationships occurring later in the movie
- 4. There is no dialogue throughout the entire opening sequence, it lets the music and the visuals speak, making the opening sequence look like a music video somewhat. This is consistent throughout the movie, where dialogue is kept to a minimum, adding to the “dream like feel” and letting the action speak.