The document provides summaries of four intertext research projects conducted by Ellie Hamilton. It includes the title, brief description, trailer link, production details, and average reviews for each film analyzed: The Grudge, Paranormal Activity, Cloverfield, and Black Swan. Visual, audio, technical, action, and narrative codes are discussed for the first two films.
The document provides a summary of Ellie Hamilton's intertext research on four horror films: The Grudge, Paranormal Activity, Cloverfield, and Black Swan. For each film, it includes details about the film's plot, production studio, budget/box office gross, and analyses of the visual, audio, technical, action, and narrative codes used in each film's movie trailer. The document contains in-depth comparisons of how conventions are both followed and subverted across the four different trailers analyzed.
The document provides an overview of Ellie Hamilton's intertext research project, which analyzes four horror films - The Grudge, Paranormal Activity, Cloverfield, and Black Swan. It includes sections on institution details, visual codes, audio codes, technical codes, action codes, and narrative codes for each film. Additionally, it covers censorship/certification ratings and analyzing the target audience through questionnaires.
The document provides an overview of Ellie Hamilton's intertext research project, which analyzes four horror films - The Grudge, Paranormal Activity, Cloverfield, and Black Swan. It includes sections on institution details, visual codes, audio codes, technical codes, action codes, and narrative codes for each film. Additionally, it covers censorship/certification ratings and analyzing the target audience through questionnaires.
The document provides an overview of Ellie Hamilton's presentation, which includes intertext research on four horror films, analysis of censorship ratings, identifying the target audience, and planning her own horror film text. The intertext research section analyzes the films The Grudge, Paranormal Activity, Cloverfield, and Black Swan, examining their codes, conventions, and reception. Later sections will cover determining age ratings, understanding the target audience through research, and developing ideas for her own horror film.
1) The document discusses how the author's media production conforms to and challenges conventions of real media products in various ways.
2) It adheres to conventions of short films and horror genres through its simple narrative, use of common horror tropes like a female protagonist and stalker antagonist, and inclusion of standard credits and institutional elements.
3) However, it also challenges some conventions by subverting expected narrative structures, using psychological horror elements instead of gore, and editing on an iPhone app instead of traditional software.
This document provides revision materials for an exam on action adventure films and genres. It includes tasks to analyze character types, narrative theories, and film clips. It discusses conventions of the action adventure genre like protagonists, antagonists, sidekicks, exotic settings, and fight sequences. Students are asked to analyze how characters fit genres based on appearance, personality, and role. The document also covers narrative techniques, theories by Todorov and Propp, and scheduling content to appeal to target audiences.
Bethany Symonds discusses how her media product uses and develops conventions of the horror genre. She researched common horror conventions like camera techniques, sound, mise-en-scene, and editing. Her film matches these conventions through elements like POV shots, diegetic sounds, an isolated setting, and match cuts. It also develops conventions by combining horror subgenres and using multiple time periods. Additionally, her film challenges conventions by having a female protagonist instead of male and using daylight in dream sequences rather than only dark lighting.
The document provides a summary of Ellie Hamilton's intertext research on four horror films: The Grudge, Paranormal Activity, Cloverfield, and Black Swan. For each film, it includes details about the film's plot, production studio, budget/box office gross, and analyses of the visual, audio, technical, action, and narrative codes used in each film's movie trailer. The document contains in-depth comparisons of how conventions are both followed and subverted across the four different trailers analyzed.
The document provides an overview of Ellie Hamilton's intertext research project, which analyzes four horror films - The Grudge, Paranormal Activity, Cloverfield, and Black Swan. It includes sections on institution details, visual codes, audio codes, technical codes, action codes, and narrative codes for each film. Additionally, it covers censorship/certification ratings and analyzing the target audience through questionnaires.
The document provides an overview of Ellie Hamilton's intertext research project, which analyzes four horror films - The Grudge, Paranormal Activity, Cloverfield, and Black Swan. It includes sections on institution details, visual codes, audio codes, technical codes, action codes, and narrative codes for each film. Additionally, it covers censorship/certification ratings and analyzing the target audience through questionnaires.
The document provides an overview of Ellie Hamilton's presentation, which includes intertext research on four horror films, analysis of censorship ratings, identifying the target audience, and planning her own horror film text. The intertext research section analyzes the films The Grudge, Paranormal Activity, Cloverfield, and Black Swan, examining their codes, conventions, and reception. Later sections will cover determining age ratings, understanding the target audience through research, and developing ideas for her own horror film.
1) The document discusses how the author's media production conforms to and challenges conventions of real media products in various ways.
2) It adheres to conventions of short films and horror genres through its simple narrative, use of common horror tropes like a female protagonist and stalker antagonist, and inclusion of standard credits and institutional elements.
3) However, it also challenges some conventions by subverting expected narrative structures, using psychological horror elements instead of gore, and editing on an iPhone app instead of traditional software.
This document provides revision materials for an exam on action adventure films and genres. It includes tasks to analyze character types, narrative theories, and film clips. It discusses conventions of the action adventure genre like protagonists, antagonists, sidekicks, exotic settings, and fight sequences. Students are asked to analyze how characters fit genres based on appearance, personality, and role. The document also covers narrative techniques, theories by Todorov and Propp, and scheduling content to appeal to target audiences.
Bethany Symonds discusses how her media product uses and develops conventions of the horror genre. She researched common horror conventions like camera techniques, sound, mise-en-scene, and editing. Her film matches these conventions through elements like POV shots, diegetic sounds, an isolated setting, and match cuts. It also develops conventions by combining horror subgenres and using multiple time periods. Additionally, her film challenges conventions by having a female protagonist instead of male and using daylight in dream sequences rather than only dark lighting.
Post-production is the stage of filmmaking that occurs after principal photography is completed. It includes editing together the visual and sound elements of the film, adding special effects, creating the film soundtrack, and other processes that transform the raw footage into a finished motion picture. Some key aspects of post-production include video editing, sound editing, visual effects work, color grading, and preparation of the final release version.
The document discusses codes and conventions commonly found in horror film genres. It provides examples of conventions such as three-act narrative structures, use of lighting, sound, characters and more. It then discusses how the media producer's film trailer challenges some conventions by using elements not typically seen in horror, such as a hoodie for the antagonist's costume and starting the narrative with disruption rather than equilibrium.
The trailer uses a variety of shots including close-ups, long shots, and tracking shots to follow the characters. Fast-paced editing with transitions creates comedy and tension. Well-known comedic actors like Ben Stiller and Jonah Hill are featured to attract audiences. Non-diegetic music and sound effects paired with dialogue demonstrate the science fiction comedy genre.
Clear understanding of conventions and forms bethjones0312
This document discusses conventions and forms in short film openings, particularly for the horror genre. It provides definitions for key terms like film opening and conventions. It then outlines several common conventions for short film openings including using soundtracks, credits, editing techniques, lighting, characters, and posters. Specific conventions for horror films are explored such as using certain props, lighting to build tension, and introducing the antagonist. The document also discusses how these conventions can be used, developed, and challenged in films.
The document discusses the production of the media product "Incognito". It describes how the product uses and challenges conventions of real thriller and horror films. Inspiration was drawn from films like "The Blair Witch Project" and "Se7en" that used found footage and delayed revealing the antagonist. The document also discusses the representation of characters, intended audience, research conducted, and what was learned about filming, editing, sound and more through the process.
This work is related to my short film which I will be filming and editing over the summer. It is missing some work but I will upload it when it has be completed.
This document analyzes how the film "lights out" uses conventions of the horror genre in its title, visual elements, setting, costumes, camerawork, editing, storyline and overall presentation. The title relates directly to the film's subject of darkness and power cuts. Typography uses a dripping red font that conveys danger and blood. The setting of an isolated rural house makes characters vulnerable. Costumes are normal teen clothes, and camerawork uses point-of-view shots and parallel editing to create tension. The opening scene and overall storyline follow conventions of stalking victims and paranormal events in a stereotypical horror structure. Throughout, the film relies on common horror techniques to suggest its genre to audiences.
The document discusses how the media products created for a university project used and challenged conventions of real media. It analyzes a teaser trailer, poster, and magazine cover created for the project. For the teaser trailer, it examines conventions like editing style, sound use, text/graphics, and duration. It finds the teaser trailer uses a montage editing style and intense sound design common in real trailers. The poster and magazine cover also emulate conventions from real examples, like centering the title on the poster and featuring an exclusive interview on the magazine. Overall, the analysis finds the student media products successfully utilized many standard conventions from real media counterparts.
The document summarizes the research and creative process behind creating a title sequence for a horror film. It discusses conventions of the horror genre discovered through analyzing the title sequence of Dawn of the Dead, including settings, lighting, camera shots, costumes, and themes. Locations around the university were used to film scenes adhering to and challenging genre conventions. Editing software was used to professionally assemble scenes with sound, transitions, and a cliffhanger ending to engage viewers and tie into the larger film.
The document discusses the horror genre and various subgenres of horror films. It provides examples of popular films for each subgenre, such as Paranormal Activity for supernatural horror and The Purge for thriller. Key conventions of horror films are described, like isolating characters with no escape, using props to create sinister atmospheres, and employing lighting, sound, and cinematography to build suspense and scare audiences. Paranormal Activity is highlighted as an effective horror due to its "found footage" style raising questions of realism, suspense created through darkness and lack of non-diegetic sound.
The document proposes ideas for a horror film opening sequence. The group chose idea 1, which involves three friends riding their bikes into a forest. As it gets darker, strange things will begin to happen. They plan to use lighting, music, and camera techniques to build suspense and scare the audience. Key shots include secretly filming the friends from behind trees to show they are being stalked, and showing a mysterious man watching them from a distance. The sequence will end with one friend receiving a mysterious phone call from an unknown person. The group discusses costumes, props, locations, and roles for the film. They also provide examples of shots and techniques they want to use, such as silhouetted shots of the antagonist to add
The document provides an analysis of research conducted on existing horror short films and products. Some common features identified across the products analyzed are the use of dark color grading to make the films more creepy, as well as creepy masks or faces on characters to make them more ominous and send chills down the spine of viewers. Aspects the researcher may use in their own work include using a mask on the killer to keep their identity a mystery.
The researcher also conducted a questionnaire to analyze the target audience. Key findings include that the average age of the audience is 17-18, the audience is mainly male, the audience watches movies and their favorite genres are action and horror. All the audience has seen short films, with
The document provides an analysis of research conducted on existing horror short films. It summarizes the common visual elements, including dark color grading and creepy masks that obscure characters' faces. The research found these elements make the films more ominous and unsettling. The analysis states that aspects that may be used in the author's own work include a mask on the killer to keep their identity a mystery. A questionnaire was also administered to gather information about the target audience. The results found that the average viewer is a 17-18 year old male who enjoys watching movies, especially action and horror genres. Most have seen short films before, including horror shorts on Crypt TV. This indicates the author's horror short film would appeal to the target demographic
The document discusses conventions of camera techniques, editing, sound, and mise-en-scene in horror and thriller films. It provides examples from the student's own media production of how it follows these conventions, such as using jump cuts and creepy background music to create tension. Camera shots in the student's work included close-ups and zooms to clearly show the setting of a park and baby's room. Dark clothing and lighting were used to set an ominous tone. The document compares the techniques used in the student's work to established horror films like Se7en and Blade 2.
Evaluation question 1- improved
In what ways does your media product use, develop or challenge forms and conventions of real media products?
IMPROVED VERSION.
Year 12 Media Coursework Evaluation- Question 1Mediamoogle
The document provides an analysis of a student's media coursework project creating a thriller movie opening sequence. It summarizes the student's research into thriller conventions and their analysis of existing thriller openings. It then analyzes multiple elements of the student's opening, including characters, mystery elements, lighting, shots, music, title, locations, effects, editing, and iconography, explaining how each element conforms to or develops thriller conventions based on research and comparison to existing thrillers such as The Sixth Sense, Saw, and Supernatural.
This document analyzes the opening sequence created by the author for a thriller film called "Thou Shalt Not" and compares it to conventions used in the thriller films The Dark Knight and Taken. The author examines elements of genre, plot, characters, action scenes, title fonts, and editing techniques. While the author's sequence uses some effective conventions of the thriller genre, it is concluded that the big budget films are generally more impactful due to higher production values like famous actors, larger sets, and more complex action scenes.
The document discusses how the media product uses and challenges conventions of real thriller films.
It describes setting the first product "Torment" in the 1920s with a female character being blackmailed by a mafia member, challenging conventions by having the female take a dominant role. The second product "Rumour" features two careless teenage girls who don't consider dangers, representing how media portrays teenagers.
Both products use conventions like mysterious characters, violence, and cliffhangers to create tension and suspense like well-known films like "The Blair Witch Project." Hammer Film Productions would be a suitable distributor as they specialized in similar genres. The target audiences are those interested in history for the
This document discusses how a media product uses, develops, or challenges conventions of real horror films. It analyzes the film opening's use of titles, credits, characters, music, lighting, editing, locations, costumes, props, and more. While some conventions were followed, such as fast editing and low-key lighting, other aspects developed or challenged conventions, like having a female antagonist instead of the usual male villain, and setting the film in a pub cellar rather than a typical haunted house. The goal was to create a unique film that stands out while still drawing inspiration from popular horror film techniques and styles.
The document analyzes stylistic codes and conventions of the horror and action genres through analyzing scenes from various films. For horror, it examines scenes from Hereditary and Insidious, noting how they build tension through lighting, shot composition, and sound. Both films follow typical narrative structures and genre conventions. For action, it analyzes a scene of assassins attacking John Wick from his home in the film of the same name, highlighting the fast pacing, quick cuts, and steady camera work used to intensify the action.
The document discusses techniques used in opening sequences of thriller films, including The 39 Steps, Peeping Tom, and The Arbor. It covers the use of shadows to hide identity in The 39 Steps, close-ups to emphasize being watched in Peeping Tom, and the symbolic use of color in the titles of The Arbor. The document also evaluates how The Arbor conforms to thriller conventions through its use of low-key lighting and a potentially dangerous fire scene.
Post-production is the stage of filmmaking that occurs after principal photography is completed. It includes editing together the visual and sound elements of the film, adding special effects, creating the film soundtrack, and other processes that transform the raw footage into a finished motion picture. Some key aspects of post-production include video editing, sound editing, visual effects work, color grading, and preparation of the final release version.
The document discusses codes and conventions commonly found in horror film genres. It provides examples of conventions such as three-act narrative structures, use of lighting, sound, characters and more. It then discusses how the media producer's film trailer challenges some conventions by using elements not typically seen in horror, such as a hoodie for the antagonist's costume and starting the narrative with disruption rather than equilibrium.
The trailer uses a variety of shots including close-ups, long shots, and tracking shots to follow the characters. Fast-paced editing with transitions creates comedy and tension. Well-known comedic actors like Ben Stiller and Jonah Hill are featured to attract audiences. Non-diegetic music and sound effects paired with dialogue demonstrate the science fiction comedy genre.
Clear understanding of conventions and forms bethjones0312
This document discusses conventions and forms in short film openings, particularly for the horror genre. It provides definitions for key terms like film opening and conventions. It then outlines several common conventions for short film openings including using soundtracks, credits, editing techniques, lighting, characters, and posters. Specific conventions for horror films are explored such as using certain props, lighting to build tension, and introducing the antagonist. The document also discusses how these conventions can be used, developed, and challenged in films.
The document discusses the production of the media product "Incognito". It describes how the product uses and challenges conventions of real thriller and horror films. Inspiration was drawn from films like "The Blair Witch Project" and "Se7en" that used found footage and delayed revealing the antagonist. The document also discusses the representation of characters, intended audience, research conducted, and what was learned about filming, editing, sound and more through the process.
This work is related to my short film which I will be filming and editing over the summer. It is missing some work but I will upload it when it has be completed.
This document analyzes how the film "lights out" uses conventions of the horror genre in its title, visual elements, setting, costumes, camerawork, editing, storyline and overall presentation. The title relates directly to the film's subject of darkness and power cuts. Typography uses a dripping red font that conveys danger and blood. The setting of an isolated rural house makes characters vulnerable. Costumes are normal teen clothes, and camerawork uses point-of-view shots and parallel editing to create tension. The opening scene and overall storyline follow conventions of stalking victims and paranormal events in a stereotypical horror structure. Throughout, the film relies on common horror techniques to suggest its genre to audiences.
The document discusses how the media products created for a university project used and challenged conventions of real media. It analyzes a teaser trailer, poster, and magazine cover created for the project. For the teaser trailer, it examines conventions like editing style, sound use, text/graphics, and duration. It finds the teaser trailer uses a montage editing style and intense sound design common in real trailers. The poster and magazine cover also emulate conventions from real examples, like centering the title on the poster and featuring an exclusive interview on the magazine. Overall, the analysis finds the student media products successfully utilized many standard conventions from real media counterparts.
The document summarizes the research and creative process behind creating a title sequence for a horror film. It discusses conventions of the horror genre discovered through analyzing the title sequence of Dawn of the Dead, including settings, lighting, camera shots, costumes, and themes. Locations around the university were used to film scenes adhering to and challenging genre conventions. Editing software was used to professionally assemble scenes with sound, transitions, and a cliffhanger ending to engage viewers and tie into the larger film.
The document discusses the horror genre and various subgenres of horror films. It provides examples of popular films for each subgenre, such as Paranormal Activity for supernatural horror and The Purge for thriller. Key conventions of horror films are described, like isolating characters with no escape, using props to create sinister atmospheres, and employing lighting, sound, and cinematography to build suspense and scare audiences. Paranormal Activity is highlighted as an effective horror due to its "found footage" style raising questions of realism, suspense created through darkness and lack of non-diegetic sound.
The document proposes ideas for a horror film opening sequence. The group chose idea 1, which involves three friends riding their bikes into a forest. As it gets darker, strange things will begin to happen. They plan to use lighting, music, and camera techniques to build suspense and scare the audience. Key shots include secretly filming the friends from behind trees to show they are being stalked, and showing a mysterious man watching them from a distance. The sequence will end with one friend receiving a mysterious phone call from an unknown person. The group discusses costumes, props, locations, and roles for the film. They also provide examples of shots and techniques they want to use, such as silhouetted shots of the antagonist to add
The document provides an analysis of research conducted on existing horror short films and products. Some common features identified across the products analyzed are the use of dark color grading to make the films more creepy, as well as creepy masks or faces on characters to make them more ominous and send chills down the spine of viewers. Aspects the researcher may use in their own work include using a mask on the killer to keep their identity a mystery.
The researcher also conducted a questionnaire to analyze the target audience. Key findings include that the average age of the audience is 17-18, the audience is mainly male, the audience watches movies and their favorite genres are action and horror. All the audience has seen short films, with
The document provides an analysis of research conducted on existing horror short films. It summarizes the common visual elements, including dark color grading and creepy masks that obscure characters' faces. The research found these elements make the films more ominous and unsettling. The analysis states that aspects that may be used in the author's own work include a mask on the killer to keep their identity a mystery. A questionnaire was also administered to gather information about the target audience. The results found that the average viewer is a 17-18 year old male who enjoys watching movies, especially action and horror genres. Most have seen short films before, including horror shorts on Crypt TV. This indicates the author's horror short film would appeal to the target demographic
The document discusses conventions of camera techniques, editing, sound, and mise-en-scene in horror and thriller films. It provides examples from the student's own media production of how it follows these conventions, such as using jump cuts and creepy background music to create tension. Camera shots in the student's work included close-ups and zooms to clearly show the setting of a park and baby's room. Dark clothing and lighting were used to set an ominous tone. The document compares the techniques used in the student's work to established horror films like Se7en and Blade 2.
Evaluation question 1- improved
In what ways does your media product use, develop or challenge forms and conventions of real media products?
IMPROVED VERSION.
Year 12 Media Coursework Evaluation- Question 1Mediamoogle
The document provides an analysis of a student's media coursework project creating a thriller movie opening sequence. It summarizes the student's research into thriller conventions and their analysis of existing thriller openings. It then analyzes multiple elements of the student's opening, including characters, mystery elements, lighting, shots, music, title, locations, effects, editing, and iconography, explaining how each element conforms to or develops thriller conventions based on research and comparison to existing thrillers such as The Sixth Sense, Saw, and Supernatural.
This document analyzes the opening sequence created by the author for a thriller film called "Thou Shalt Not" and compares it to conventions used in the thriller films The Dark Knight and Taken. The author examines elements of genre, plot, characters, action scenes, title fonts, and editing techniques. While the author's sequence uses some effective conventions of the thriller genre, it is concluded that the big budget films are generally more impactful due to higher production values like famous actors, larger sets, and more complex action scenes.
The document discusses how the media product uses and challenges conventions of real thriller films.
It describes setting the first product "Torment" in the 1920s with a female character being blackmailed by a mafia member, challenging conventions by having the female take a dominant role. The second product "Rumour" features two careless teenage girls who don't consider dangers, representing how media portrays teenagers.
Both products use conventions like mysterious characters, violence, and cliffhangers to create tension and suspense like well-known films like "The Blair Witch Project." Hammer Film Productions would be a suitable distributor as they specialized in similar genres. The target audiences are those interested in history for the
This document discusses how a media product uses, develops, or challenges conventions of real horror films. It analyzes the film opening's use of titles, credits, characters, music, lighting, editing, locations, costumes, props, and more. While some conventions were followed, such as fast editing and low-key lighting, other aspects developed or challenged conventions, like having a female antagonist instead of the usual male villain, and setting the film in a pub cellar rather than a typical haunted house. The goal was to create a unique film that stands out while still drawing inspiration from popular horror film techniques and styles.
The document analyzes stylistic codes and conventions of the horror and action genres through analyzing scenes from various films. For horror, it examines scenes from Hereditary and Insidious, noting how they build tension through lighting, shot composition, and sound. Both films follow typical narrative structures and genre conventions. For action, it analyzes a scene of assassins attacking John Wick from his home in the film of the same name, highlighting the fast pacing, quick cuts, and steady camera work used to intensify the action.
The document discusses techniques used in opening sequences of thriller films, including The 39 Steps, Peeping Tom, and The Arbor. It covers the use of shadows to hide identity in The 39 Steps, close-ups to emphasize being watched in Peeping Tom, and the symbolic use of color in the titles of The Arbor. The document also evaluates how The Arbor conforms to thriller conventions through its use of low-key lighting and a potentially dangerous fire scene.
The document provides analysis of the trailers and films Paranormal Activity, The Awakening, and The Amityville Horror.
It summarizes the key audio and visual codes used in each trailer to build suspense, tension, and a sense of realism. These include diegetic sounds of voices, doors slamming, and non-diegetic music. Visual codes analyzed include dark lighting, costumes reflecting the time periods, and settings like an isolated boarding school or haunted house that are conventional in horror genres.
The document examines how these techniques aim to make the films seem more realistic and scary, leaving things unseen to build audience expectations through enigma and quick cuts in editing. Character roles and narratives are
The document provides an analysis of horror film codes and conventions based on the films Birdbox and Jigsaw. It discusses how both films use familiar elements of the horror genre to create atmosphere and elicit emotional responses from audiences. Specific techniques discussed include the use of ominous sounds, dark lighting, graphic props involving torture devices, and camera shots that put the viewer in the perspective of vulnerable characters. The analysis relates these elements to genre theory about how audiences take pleasure in recognizing repetitive aspects of a genre while also experiencing new surprises.
The document provides information about the Paranormal Activity film series and the films Insidious and Saw 2. It discusses the visual codes, technical codes, narrative codes, and textual analysis of the trailers and films. In 3 sentences:
The document analyzes the trailers for Paranormal Activity, Insidious, and Saw 2, discussing the visual elements, technical aspects, and narrative structures used. It examines how the trailers build tension and suspense through techniques like lighting, camerawork, editing, and unexpected moments. The analysis seeks to understand how these horror film trailers effectively scare and entice audiences using various cinematic techniques.
The document provides an analysis of codes and conventions in the horror and action genres using the films Hereditary, Insidious, John Wick, and Baby Driver as examples. It discusses how these films employ stylistic techniques like lighting, camerawork, sound, and props to create tension, build suspense, and intensify action sequences. It also examines how the films follow typical narrative structures involving an initial equilibrium that is disrupted, leading to attempts to repair the damage and achieve a new resolution.
The short film Alien Infestation is a 2016 fan film inspired by the 1979 film Alien and 2011 video game Alien Infestation. It takes place in an apartment where a lonely girl encounters the Xenomorph alien. The film is directed by Swedish director Martin Leon Lindstedt and was made with a love and appreciation for the Alien franchise. It uses various horror techniques like dark settings, shadows, and diegetic sounds to build tension. While aimed at older fans of the original, the film hopes to appeal to a wide audience through its relatable setting and use of standard horror tropes.
1. The documentary involves a young couple who move into a new home and begin experiencing strange paranormal activity, especially at night.
2. It was directed by Oren Peli and received positive reviews, ranking highly on horror film websites.
3. The couple document the increasingly disturbing events using cameras in their home, adding to the film's sense of realism.
A young couple, Micah and Katie, begin filming in their home after Katie claims to be haunted by a ghostly entity. They hope to capture evidence of paranormal activity on camera over three weeks. Strange events occur throughout their home, especially at night, that increasingly disturb the couple. The film follows a typical narrative structure for supernatural horror films, establishing normalcy before disrupting it with ghostly events. The trailer leaves the audience wondering how the story will be resolved.
The opening sequence of The Ring establishes characters, location, and themes to immerse the audience in the story. It is set at night in an isolated, old house to create an eerie atmosphere. Shots establish two teenage girls watching TV and build tension as strange events occur, like the TV turning on by itself. Cinematography uses angles, focus, and tracking shots to draw the audience in and build suspense. The mise-en-scene features dull lighting, gloomy weather, and a significant TV prop to continue unsettling the audience. Slow editing pace increases engagement and a climactic ending transitions to the main story of a mysterious deadly video. Overall, the opening pulls the audience into the psychological horror through un
This document discusses how the student's media product uses and develops conventions of the horror genre.
The key conventions of horror include themes of good vs. evil, dark iconography like blood and weapons, abandoned or dark settings, and an evil being trying to kill the protagonist. The student's work fits these conventions by including a protagonist and villain. It also challenges conventions by killing a male character early on rather than the typical female character.
The opening scene kills off a character using a knife, fitting with horror conventions. Dark settings were used to maintain suspense. Overall, sticking closely to genre conventions made the student's film more effective as a horror piece for this coursework.
The document provides an overview of a student's media coursework on researching and planning for a thriller genre production. It includes research on intertextual references to films like Paranormal Activity, industry research on film classifications and censorship issues, and plans for a magazine review, DVD cover, and pre-production ideas focusing on the thriller genre.
The trailer summarizes the plot of Paranormal Activity 3, which follows two young girls who have been haunted by a demon from a young age. The film is set 18 years prior to the first two films. The trailer shows happy scenes of the girls at home that become increasingly tense and scary. It establishes that the film is found footage style, with cameras placed around the house by the parents to capture paranormal activity. The trailer effectively builds tension and intrigue without revealing too much of the story to attract audiences to the film.
This document analyzes and summarizes three film trailers from different genres: horror, sci-fi/horror, and comedy. For the horror trailer "The Woman in Black," it notes the use of dark imagery, scary music, and supernatural elements that are typical of the genre. The sci-fi/horror trailer for "Alien" combines elements of both genres by setting it in space but also creating isolation and tension. Finally, the comedy trailer for "Ted" uses upbeat music, comical scenes and conversations, and light atmosphere rather than the darkness of horror trailers.
Genre research. Analysis of 3 trailers. dilaratasd
The document provides an in-depth analysis of the trailer for the horror film "The Conjuring". It examines the conventions of the horror genre used in the trailer, including the narrative, characters, locations, sound, editing, camera work, and mise-en-scene. Specifically, it notes the trailer's use of screams, darkness, whispers and slow pace to set a chilling atmosphere. The analysis also discusses how the editing, camera movements, and lighting are employed to build tension and unease in the viewer.
The document analyzes the cinematography, sound, mise-en-scene, and editing techniques used in the trailers for two horror films: The Woman in Black and Paranormal Activity 2. For The Woman in Black, tracking shots and close-ups are used to immerse the audience and illustrate characters' thoughts. Creepy sounds and a narration aim to build tension. Dark costumes, weather, and lighting create an ominous atmosphere. Fast editing, fades, and blink effects keep the trailer mysterious. Paranormal Activity 2 similarly uses handheld "home video" camera work and sounds to feel realistic. Dark footage and security camera clips make the audience feel unsafe. Rapid cutting builds excitement for the films'
The three horror film trailers analyzed use similar techniques to build tension and intrigue in the viewer. Fast-paced editing, non-linear storytelling, and audio/visual cues that sync with shocking moments are employed. Locations, costumes, and mysterious elements pose questions without full explanations. While plot details are given, the endings remain ambiguous, leaving audiences wanting more. Overall, the analyses show how trailers for Insidious 2, The Crazies, and The Woman in Black craft an unsettling tone that draws viewers into the films' terrifying worlds.
1) The media product challenges some conventions of horror films by setting most of the story in a family household rather than run-down or dark locations, and by having the main threat be an innocent-looking doll rather than a human villain.
2) It follows some conventions through its use of suspenseful music, quick cuts, and fade transitions in editing, as well as special effects like extreme close-ups and opacity that create an unsettling atmosphere.
3) Some unique aspects include using only one nursery rhyme music track throughout, intentionally making the video quality seem degraded with static effects, and ending with an additional teaser clip rather than showing the title.
This single camera documentary analyzes the techniques of single camera production. It discusses that a single camera is used per scene, with each shot and angle recorded individually. Single camera production is typically used for low budget projects like music videos and trailers. Scenes are filmed entirely before moving on, which allows more directorial control but is more time consuming. An alternative is to use two cameras to capture medium and closeup shots simultaneously, reducing the number of setups needed. Pros of single camera include low budget, flexibility of shots, and ease of gathering footage. Cons include the time needed to reposition the camera and the lack of alternative angles if the camera is damaged. Examples provided are from films like Doctor Who that use over-
The document provides information about the 2016 horror film Lights Out, directed by David F. Sandberg. It summarizes the plot, which involves supernatural entities that can only exist in the shadows attacking members of a family. It also discusses the film's editing techniques, mise-en-scene, sound design, and cinematography choices, analyzing how they help establish tension and fear for the audience in line with typical horror film conventions. Background on the director and the film's budget and box office numbers are also presented.
Unveiling Paul Haggis Shaping Cinema Through Diversity. .pdfkenid14983
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Introduction
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Early Life and Backgrounds
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4. Intertext Research 1 – The Grudge
About
“Karen Davis is an American Nurse
moves to Tokyo and encounter a
supernatural spirit who is vengeful and
often possesses its victims. A series of
horrifying and mysterious deaths start to
occur, with the spirit passing its curse
onto each victim. Karen must find away to
break the spell, before she becomes its
next victim.”
Trailer:
http://www.youtube.com/watch?v=bj88_yq
lFMA
5. Intertext Research 1 – The Grudge
Institution
Produced by Columbia Pictures and
Ghost House Pictures
Released 24th October 2004
Estimated budget of $10,000,000
Grossed over $180,000,000
Average review of 3/5 – “Throughout the
entire film a feeling of complete unease
gripped hold of me”
6. Intertext Research 1 – The Grudge
Visual Codes
This is the first intertext that I have looked at, it is the trailer for the
movie The Grudge. The colours used are very dark, lots of black
and pale blues, greys and white which contrast therefore binary
oppositions theory can be applied. The dark colours connote fear
and danger thus the audience immediately understand that it is
scary, which is very conventional.
The dress codes for the trailer are casual, Karen is wearing a
jumper or hoody and you don‟t see her trousers. This gives the
audience the impression that she is just going about her everyday
life and so it is a surprise when very abnormal things begin to
happen.
The setting is predominantly the house that she is investigating, that
the previous deaths happened in and where the spirit of Kayako is.
The house becomes associated to death and fear for the audience
and they expect bad things to happen when she goes there.
7. Intertext Research 1 – The Grudge
Audio Codes
Audio is very important, it is used to build tension. It uses non-
diagetic sounds such as a cat meowing, which has the effect of
fear on the audience as the connotations of cats are bad luck
and black magic, they are also very iconographic. The fact that it
is non-diagetic because the boy makes the very realistic meow
sound is very effective in scaring the audience. The trailer uses a
mix between soundtrack and voice-over which is also effective in
building tension and making the audience feel involved in the
trailer, it sounds like the narrator whispering in their ear, this has
the effect of fear on the audience, which is very conventional.
8. Intertext Research 1 – The Grudge
Technical Codes
There is a range of camera angles used, the particularly
effective ones are the low angle shot and the extreme
close-up of an eye showing a reflection of what is
happening, this gives the idea of seeing through the
eyes of the character and is an interesting and unusual
shot. It also begins with a very conventional establishing
shot that shows the setting, Tokyo. The shots are edited
together mostly with fast cuts between the narrative
shots and then fades are used when it goes to
information/text shots. This builds tension but also gives
the audience a sense of confusion and panic. The trailer
is fairly effective in terms of scaring the audience but
also getting the audiences' interest.
Establishing Extreme close-
shot, very up of eye but
conventional with long shot in
reflection
9. Intertext Research 1 – The Grudge
Action Codes
The action codes for the trailer are often quite
quick, sharp, sudden movements. This is
because it along with the audio is very
effective in making the audience jump, and
scaring them. There is also the movement of
the background behind the text, it waves
diagonally across the screen and looks like
hair blowing in the wind which is quite
iconographic of the film because of the girl
with long, dark, straggly hair.
10. Intertext Research 1 – The Grudge
Narrative Codes
The trailer follows a fairly linear narrative but with quick
flashbacks to the past when the original family lived there. It
follows Propp‟s theory quite clearly, Karen Davis is the
hero, Doug is the princess and Kayako is the villain. There
are the rest of Propp‟s characters in the film but those are the
ones that you see in the trailer. They are very often seen as
the most important characters and so it is very conventional
that you see them in the trailer.
The trailer follows Todorov‟s theory but also the conventions
of the genre because it shows the equilibrium briefly at the
beginning, then it shows the disruption and the recognition.
This is fairly representative of the film but without giving too
much away, although the film does spend a while on the
attempt to repair. It is conventional for films in this genre to
follow Todorov‟s theory even if it has been manipulated.
11. Intertext Research 2 – Paranormal
Activity
About
“After a young, middle class
couple moves into a suburban
house, they become increasingly
disturbed by a presence that may
or may not be somehow demonic
but is certainly most active in the
middle of the night. Especially
when they sleep.”
Trailer:
http://www.youtube.com/watch?v=
F_UxLEqd074
12. Intertext Research 2 – Paranormal
Activity
Institution
Produced by Blumhouse Productions
UK released date 25th November 2009
Estimated budget of $15,000
Grossed almost $200,000,000
Average review of 4/5 – “Both hair-
raising and chilling, this suburban drama
skips genre clichés, to come up with a
claustrophobic classic”
13. Intertext Research 2 – Paranormal
Activity
Visual Codes
The dress codes are very much everyday, casual clothes. This is
because the people they are filming are supposed to be average people
just going to the cinema. The people in the film are also dressed in
casual clothes such as jeans and t-shirts, this is conventional of
thriller/horror movies, this is because it allows to audience to identify
with the characters, thus making it scarier and so uses and
gratifications theory can be applied.
The lighting for the film looks natural, like the lighting that would exist in
the setting of a house because again it allows the audience to identify
with the characters but the lighting in the cinema is dark because it is
meant to look like a real cinema. The colours used are quite contrasting
and so you can apply binary oppositions, it has the effect of fear on the
audience because the lack of colour connotes fear and darkness.
The setting is also very conventional as thriller/horror movies are often
based around one particular location or character. But showing the
location of the cinema and people reactions is very unconventional. It
creates a lot of interest and so it required them to spend less on
marketing/advertising.
14. Intertext Research 2 – Paranormal
Activity
Audio Codes
The film uses mostly voice-overs that are diagetic but
not always synchronous. This is a direct mode of
address and the audience feel more involved in the
trailer and therefore the film seem scarier.
It also uses sound effects that are diagetic such as
doors slamming or when the boyfriend is thrown into
the camera, this makes it seem more real and
therefore scarier also. It also uses some soundtrack
in the background, such as drum beats. These are
used to build tension in the trailer.
15. Intertext Research 2 – Paranormal
Activity
Technical Codes
The film looks to have low production values the
audience so identify with the characters and so they feel
involved in the movie and trailer and like it could be
them. The trailer looks like someone taking a camera
into the cinema and recording. The idea behind the
camera angles/shots and the editing is that it makes the
film seem much more realistic, therefore making the
story more believable and scary to the audience.
The trailer uses lots of medium close-ups and zooming
shots, but the camera is not held steady it looks like an
amateur holding the camera because it feels more real.
Shot showing Explains to the
Micah holding the audience that
main camera used they are filming
for filming themselves
16. Intertext Research 2 – Paranormal
Activity
Action Codes
The film also uses quite a lot of
sharp, sudden movements match the
audio and use of editing, such as cuts. The
trailer ends quite suddenly with Micah
being thrown at the camera and so this has
the effect of fear on the audience. Sudden
movements, particularly if they start from
nowhere, can be very effective in making
the audience jump.
17. Intertext Research 2 – Paranormal
Activity
Narrative Codes
The trailer is unconventional because it is much more about
people's reactions to the movie than the movie itself it shows
quite a small amount of the movie, so it creates a lot of
enigma.
The trailer follows a fairly linear narrative, it also follows
Propp‟s theory quite clearly, Katie is the hero, Micah is the
princess/helper and the psychic is the mentor.
The trailer follows Todorov‟s theory but is quite
unconventional because it doesn‟t just use clips from the film.
It shows the equilibrium of the people going to see the film
but also in the film itself. And it then show the disruption and
the recognition of the disruption which is when they start to
think something it in the house and when the people in the
cinema start to get scared. And then the attempt to repair
which is when they are talking to the psychic.
18. Intertext Research 3 – Cloverfield
About
“Cloverfield follows five New Yorkers
from the perspective of a hand-held
video camera. The movie starts as a
monster of unknown origin destroys a
building. As the characters go to
investigate, parts of the building and the
head of the Statue of Liberty comes
raining down. The movie follows their
adventure trying to escape and save a
friend, a love interest of the main
character.”
Trailer:
http://www.youtube.com/watch?v=IvNkG
m8mxiM
19. Intertext Research 3 – Cloverfield
Institution
Produced by Paramount Pictures
UK release date 1st February 2008
Estimated budget $25,000,000
Grossed over $170,000,000
Average review 4/5 – “A dazzling
experiment that paid off immensely, this
is cinematic pleasure at its purest.”
20. Intertext Research 3 – Cloverfield
Visual Codes
The trailer is quite dark and fairly dimly lit it looks realistic like
it is set in an apartment at night and like it is filmed with just
and hand-held. This makes it more relatable for the target
audience so uses and gratifications theory can be
applied, and thus it is scarier and more appealing.
It is set in an apartment mostly. This is important to the
narrative but also it is again relatable for the target
audience, it looks like an average, everyday setting, it is just
people living their normal lives which makes it scarier
because the audience can identify with the characters. So
again it follows uses and gratifications theory.
The dress codes fit in with the other visual codes and are
very conventional, they are dressed in clothes appropriate for
the setting and narrative such as going-out dresses and a
shirt and jeans.
21. Intertext Research 3 – Cloverfield
Audio Codes
The trailer uses diagetic sound of people talking
and music, it doesn‟t use a soundtrack. This
makes it seem much more realistic and scary. It
is mostly people speaking or screaming which
along with the direct modes of address makes the
audience feel more involved in the scene. This is
quite unconventional, to use entirely diagetic and
pretty much entirely synchronous audio
throughout the entire trailer. It comes as a shock
to the audience and makes the whole trailer
seem much more realistic and scary.
22. Intertext Research 3 – Cloverfield
Technical Codes
The trailer uses a lot of medium close-ups which is very conventional
but again makes it look more amateur. It also uses some panning shots
but they are not steady shots, they are a bit shaky, this makes the film
look like it has low production value and makes the audience feel more
involved in the film and allows them to identify with the characters.
The trailer uses entirely cuts, this is so that it looks more amateur but
also so that it doesn‟t detract from more important things in the shots.
Some of the editing uses cuts but with brief gaps in between the shots.
This builds tension and confusion because the camera jumps about and
so the audience don‟t understand what is going on, which makes it
scarier.
The shot goes
from straight
to looking up
and on its side
which is very
confusing
23. Intertext Research 3 – Cloverfield
Action Codes
When the rocks start flying at the characters
from the sky they all start to run across the
roof and down the stairs, this shows their
urgency and so the audience understands
that they must be afraid. They are also
running frantically which suggests
urgency, this fear is passed onto the
audience. Then in the street lots of people are
running across the shot, this adds to the idea
of panic which is mimicked by the audience.
24. Intertext Research 3 – Cloverfield
Narrative Codes
The trailer follows an almost entirely linear narrative to the point
where it just shows pretty much one scene of the film. All apart from
the very end after its shown a small part of the credits it cuts back
to obviously before the party because one of the guests says
“Tonight‟s gunna be the best night ever.”. As the audience you know
this isn't true because you‟ve already seen what is going to happen
and so it is scarier for the audience because they can identify with
the character, they can imagine it happening to them.
The trailer seems to follow at least part of Propp‟s theory which is
very conventional, the hero is Rob and the princess is Beth and
then there are a number of characters who play the role of helper:
Hud, Jason, Lily and Marlena. It is fairly unconventional for a film in
this genre to have quite so many important characters, they
generally have fewer main characters, but this just makes it more
interesting for the audience.
Todorov‟s theory can also be applied to the trailer, it shows the
equilibrium, the disruption and the recognition. These are when
everyone is at the party and they are all happy and having fun; then
when they feel the earthquakes and they go onto the roof and see
the disaster in the city; and finally when they all start to panic and
run out into the street.
25. Intertext Research 4 – Black Swan
About:
A ballet dancer wins the lead in
"Swan Lake" and is perfect for
the role of the delicate White
Swan - Princess Odette - but
slowly loses her mind as she
becomes more and more like
Odile, the Black Swan.
Trailer:
http://www.youtube.com/watch?
v=5jaI1XOB-bs
26. Intertext Research 4 – Black Swan
Institution
Produced by Fox Searchlight Pictures
UK release date 21st January 2010
Estimated budget $13,000,000
Grossed over $100,000,000
Average review 4/5 – “This is a very
strange film. In a way, it seems like
nothing we've seen before.”
27. Intertext Research 4 – Black Swan
Visual Codes
The trailer is quite well lit and bright but uses a lot of dark colours such as black
and grey these connote evil and darkness. But then it uses soft, pale colours
iconographic of ballet such as pale pink and white, these colours connote good
and purity. It follows the theory of binary oppositions as there is lots of conflict
visual and conceptual and the conceptual conflicts are represented a lot through
colour. The contrast of white and pale pink with black is fairly unconventional
and comes as quite a shock to the audience as usually darker colours are used.
The connotations of the colours used are very important and they become easily
recognised by the audience as representing good and evil.
The dress codes are in line with the colours used they are mostly dressed in
pale pink/white and black. Nina is shown in the beginning of the trailer in pale
pink/white but as the trailer goes on she is shown in increasing amounts of black
and Lily is shown in black, these colours correspond with the audience‟s feeling
towards the characters based on the connotations of the different colours.
The trailer is set mostly in the ballet studio, it is not only because of its
importance as part of the narrative but also because of the various connotations
of it and how it is so iconographic. Ballet and ballet studio‟s represent
tradition, femininity but also purity as it is widely considered to be one of the
purest art forms and so the contrast between that and the evil surrounding
it, makes it fascinating and terrifying for the audience.
28. Intertext Research 4 – Black Swan
Audio Codes
The trailer uses a mix between a soundtrack and voice
over, which is sometimes diagetic and sometimes non-
diagetic. The sound track uses a variety of instruments
but one that stands out particularly is a violin, it creates
very pure notes but with a quite sinister edge to them. It
is very effective in creating fear in the audience.
The soundtrack is also used to build tension very
effectively, by fading in and out. It also uses sounds that
sound a bit like a gust of wind but in a context in which
they don‟t fit this can be very scary and suggests the
idea of spirits moving around. And it uses lots of people
whispering over the top of each other to create a
sinister effect, this makes it very scary for the audience.
29. Intertext Research 4 – Black Swan
Technical Codes
The trailer uses a variety of very interesting shots very
effectively. There is an extreme close-up of her ballet shoes, this
is effective because they are so important, so iconographic.
Another extremely effective shot/use of special effects is the one
where she is looking away from the mirror behind her and her
reflection turns around. This is not only scary, but further
suggests the idea of madness.
The shots are edited together using mostly cuts but with some
fades, this builds tension and is very conventional of films in this
genre.
Extreme close-up
of iconic ballet
shoes
30. Intertext Research 4 – Black Swan
Action Codes
At the beginning of the trailer the
movements are all very soft and graceful
but as it goes on and Nina goes
increasingly mad, her movements become
faster and more panicked, she begins to
run at various points and the feeling of out-
of control is passed on to the audience
making the trailer scarier.
31. Intertext Research 4 – Black Swan
Narrative Codes
The trailer follows Propp‟s theory to an extent, but it has been
manipulated and it is very complicated because the
characters seem to change rolls within the film Nina begins
as very much the hero but as it progresses she becomes the
villain and Lily goes from being the helper, to the villain, to
the hero. Then Thomas is the mentor and then the princess
and her mother is the dispatcher. And so the lines between
the character roles are very blurred. It is conventional for a
psychological thriller to do this, but perhaps not to the
extreme that it is done in this film.
Todorov‟s theory can also be applied, it shows the
equilibrium, when Nina has got the part of Odette and she is
happy; then the disruption is when Lily comes along and
things start going wrong and Lily becomes Nina‟s alternate;
the recognition is when she start to realise she is going
slightly mad.
33. Censorship Issues – 15
From BBFC Website:
http://www.bbfc.co.uk/classification/guidelines/15-2/
Suitable only for 15 years and over
No one younger than 15 may see a „15‟ film in a cinema. No one younger than 15 may rent or buy a „15‟
rated video work.
Discrimination
The work as a whole must not endorse discriminatory language or behaviour.
Drugs
Drug taking may be shown but the film as a whole must not promote or encourage drug misuse. The misuse
of easily accessible and highly dangerous substances (for example, aerosols or solvents) is unlikely to
be acceptable
Horror
Strong threat and menace are permitted unless sadistic or sexualised.
Imitable behaviour
Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which
could be copied. Easily accessible weapons should not be glamorised.
Language
There may be frequent use of strong language (for example, „fuck‟). The strongest terms (for
example, „cunt‟) may be acceptable if justified by the context. Aggressive or repeated use of the strongest
language is unlikely to be acceptable.
Theme
No theme is prohibited, provided the treatment is appropriate for 15 year olds.
Violence
Violence may be strong but should not dwell on the infliction of pain or injury. The strongest gory images are
unlikely to be acceptable. Strong sadistic or sexualised violence is also unlikely to be acceptable. There may
be detailed verbal references to sexual violence but any portrayal of sexual violence must be discreet and
have a strong contextual justification.
34. Censorship Issues – 18
From BBFC Website:
http://www.bbfc.co.uk/classification/guidelines/18-2/
Suitable only for adults
No-one younger than 18 may see an „18‟ film in a cinema. No-one younger than 18 may rent or buy an „18‟
rated video.
In line with the consistent findings of the BBFC‟s public consultations and The Human Rights Act 1998, at
„18‟ the BBFC‟s guideline concerns will not normally override the principle that adults should be free to
choose their own entertainment. Exceptions are most likely in the following areas:
where the material is in breach of the criminal law, or has been created through the commission of a
criminal offence
where material or treatment appears to the BBFC to risk harm to individuals or, through their
behaviour, to society – for example, any detailed portrayal of violent or dangerous acts, or of illegal
drug use, which may cause harm to public health or morals. This may include portrayals of sexual or
sexualised violence which might, for example, eroticise or endorse sexual assault
where there are more explicit images of sexual activity which cannot be justified by context. Such
images may be appropriate in „R18‟ works, and in „sex works‟ (see below) would normally be confined
to that category.
In the case of video works (including video games), which may be more accessible to younger
viewers, intervention may be more frequent than
Sex education at ‘18’
Where sex material genuinely seeks to inform and educate in matters such as human sexuality, safer sex
and health, explicit images of sexual activity may be permitted.
Sex works at ‘18’
Sex works are works whose primary purpose is sexual arousal or stimulation. Sex works containing only
material which may be simulated are generally passed „18‟. Sex works containing clear images of real
sex, strong fetish material, sexually explicit animated images, or other very strong sexual images will
be confined to the „R18‟ category. Material which is unacceptable in a sex work at „R18‟ is also
unacceptable in a sex work at „18‟.
35. Censorship Issues
What I have learnt from this:
That censorship for films is very important
because it effects who can watch the film and
therefore who the target audience is.
I haven‟t learnt the difference between „15‟ rated
films and „18‟ rated films. „15‟ rated films can
contain violence, horror or sexual content but it
cannot be too explicit or be shown for too long.
Whereas „18‟ rated films can show almost anything
but if they are extremely sexually explicit they are
classified as „18R‟.
I have decided that my film will be rated „15‟, this is
because it will include a certain level of horror and
violence but not too much that would make it an
18 because this could seriously effect my choice of
target audience.
39. Questionnaire The results from this question
shows that almost two thirds of
the people who answered my
questions were female so this will
slightly skew my results but nit by
enough that it will have much of
an effect. Also my target
audience will be males and
female so I know that I have
collected results from both.
The results from this question
show that the majority of the
people who answered my
questions were 15-18 this is
good because this is the majority
of my target audience and so I
know that the results I collect will
be helpful and useful.
40. Questionnaire
This tells me that the people who
answered my questions were all in
demographic E which fits with my
target audience and so I am further
sure that the answers I get will be
applicable to my target audience. It
also just adds to my knowledge of
my target audience and my target
audience profile.
These answers tell me more about my target
audience, it tells me about their media usage which
can come under the interests heading. But also it gives
me an idea about how I would go about doing the
marketing and advertising for my film.
Internet, music, TV and film all have high percentages
this is good because I could advertise my film on the
TV and via the internet but it also tells me that a lot of
my target audience watch films fairly regularly.
41. These answers tell me that all of
Questionnaire my target audience watch at least
some films, with the most common
answers being 3-4 and 5-6 times a
month. This means that I don‟t have
to get them interested in film
altogether but that I do need to do
something that would stand out and
make them choose my film/trailer
over another one.
The answers that I got from this
question tell me that my target
audience watch quite a lot of TV.
Again this provides me with more
information about their interests
but also this could be used when
planning a marketing/advertising
campaign.
42. Questionnaire
This gives me a further
idea about the
interests of my target
audience, I know that
they have a wide
range of film interests
and that they watch a
range of genres almost
half like horrors and
thrillers but The answers that I got from
interestingly more than this question are very
half like crime/mystery helpful. They tell me that a
so I think that we will small proportion of my target
think about audience don‟t like horrors
incorporating this into or thrillers but that most do.
our storyline. Perhaps Also that there is a slight
through an sway towards thrillers over
investigation of some horrors and so I think that
sort. we will go for a thriller trailer
rather than a horror one.
43. These answers tell me that The Grudge
Questionnaire and Paranormal Activity appear often as
people‟s favourites. This is very good
news because they were both film trailers
that I analysed and so hopefully I have
worked out what made them people‟s
favourites in my analysis and can
hopefully bring these things across into
my film trailer.
This again adds to my target
audience profile, my knowledge of
my audience and their interests.
44. These answers have given me things to think
about for my trailer lots of people liked how
Questionnaire they are scary and so I want to make my
trailer as scary as possible. Some people also
disliked when they looked unrealistic, so this is
another reason why I will do a thriller instead
of a horror because a horror would require
more gore, blood and guts, which would be
difficult to make realistic and so I will avoid this
with a thriller. Also a thriller gives more
opportunity to do things jumping out, which a
couple of people also talked about.
The people that gave answers to this
question said that they liked hand-
held camera work and the
tense, effective use of music. These
are both things I will think about
carefully for my trailer.
45. Questionnaire
The answers that I got from this
question are extremely helpful
because before this I hadn‟t thought
much about characters. Most
people liked teenagers in
horrors/thrillers, I think that this is
because they can identify with the
characters. This is also good news
for me because realistically they
are by far the easiest actors for us
to get hold of to use in our trailer.
They also equally like male and
female characters so we will
probably include both. But
interestingly the characters they
want to see the most is bad
characters, this we will think about
a lot when further planning our
storyline.
46. Questionnaire
These two questions were linked and they
were two of the most important questions.
The really interesting thing is that everybody
preferred the second idea of a movie filmed
from the killers point of view. They said that
they preferred it because it was more
interesting and unusual. They thought that it
had more potential and that we could use it
to get some good camera shots and angle
such as point of view shots, like suggested in
the first question. We will definitely use this
to decide on our storyline and we will go with
the second idea based on the results from
the questionnaire. The second idea got very
positive reviews and because the people
who answered my questionnaire were in the
target audience, the trailer is very likely to
appeal to the target audience.
47. Questionnaire
What I have learned from my questionnaire results:
I got answers from people that I know are in my target audience
based on gender, age and occupation.
I got background information on my target audience based on
types of media they use, genres of films they watch, how much
TV and film they watch and what their favourite films are.
I also collected information that I will use more specifically for
the genre of my trailer, the characters that I will use, the
influences and intertexts my trailer will have, the effects etc that
I will try and include and the storyline itself.
I have found out which of the ideas that I was considering the
target audience preferred and why they preferred it. I also
received a small amount of constructive criticism, but overall
very positive reviews for the second idea that I proposed.
From this feedback I have decided that the basic storyline for
my trailer is going to be “A movie filmed entirely from the
killer‟s/murderer‟s point of view, where you see everything the
way they do.
49. Audience theories applied to my text
Hypodermic Syringe Model
I will be injecting the idea of fear, thrill and excitement
into my audience through my trailer.
Uses and Gratifications Theory
Because the results of my questionnaire showed that
most of my target audience want to see teenagers
as characters in my trailer at least some of my
characters will be teenagers. The reason that they
wanted to see teenagers is because they can
identify with them. The trailer will also be used for
entertainment and social interaction and
integration.
50. Audience theories applied to my text
Polysemic Readings
-Preferred Reading: That the audience will
find the trailer scary, exciting and
interesting and that it would make them
want to watch the whole movie.
-Oppositional Reading: That the audience
will find it boring, unrealistic or too scary,
and that it does not make them want to
watch the whole movie.
51. Audience theories applied to my text
Two-Step Flow Theory
The audience will be filtered information from
opinion leaders such as friends and family
that they look up to, respect and trust the
opinion of. However, other opinion leaders
could also be film critics or anyone‟s
opinion that the audience trust not
necessarily someone they know. But the
hope in these situations is that the opinion
leaders like it, otherwise they could lead
other people who might like it to dislike it.
52. Target audience Profile
Age:15-21
Gender: Male & Female
Occupation: Student and/or weekend/part-time job
Income: Low, maximum monthly income of £200
Education: At least GCSE‟s but most likely A Levels also if not
Higher Education also
Demographics: E – Unemployed, Students, Casual workers
Psychographics: Most likely to be mainstreamers or explorers
Media Consumption: High – 5-8 hours of TV watched a week, 3-6
films watched a month
Hobbies & interests: A wide range of media interests but particularly
internet, music and TV; other interest can include magazines and
video games; also a wide range of film genres watched, particularly
comedies
Nationality: Can be any but most likely to be western;
British, American, etc