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This document discusses and compares the thriller created by the author's group for a coursework assignment to other media products that fall under similar genres. The author's thriller incorporates elements of science fiction and medical thriller genres. It is compared to The Final Countdown, a 1980 science fiction thriller about time travel, and Predators, a 2010 science fiction thriller with horror elements. Both films share some conventions with the author's thriller, such as employing partial vision and representing mazes and labyrinths the protagonists must navigate.
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Film trailer breakdown
The trailer opens with a moon crashing into Venus and breaking apart. It then shows the antagonist using futuristic technology and firing a beam that causes the moon to hurtle towards Earth. This establishes the antagonist as the villain. The protagonist is then shown in school seeing the approaching moon. Later scenes reveal the antagonist has abilities like creating force fields and healing, establishing him as a powerful alien. The trailer uses these scenes to set up conflict between the protagonist and antagonist while intriguing viewers about the futuristic technology and timeline of events.
Sarah Evaluation Q1
Our trailer challenges conventions of real media products through its creative and original style that builds tension. It uses techniques like unique cinematography from a first-person perspective, eerie sounds to create an atmospheric tone, and low lighting in scenes to develop the thriller genre and keep audiences interested in the story.
Narrative theory
This document summarizes key concepts and theorists related to narrative theory. It discusses how narrative theory analyzes how media texts communicate meaning through storytelling and explains common narrative structures including a beginning, middle, and end. Several influential narrative theorists are outlined, such as Propp's characterization archetypes, Todorov's structural phases, Barthes' five codes, Levi-Strauss' focus on cultural values/myths, and postmodern concepts like nonlinearity, intertextuality, and self-reflexivity. The document also provides an example analysis of a Taylor Swift song through different theoretical lenses.
Narrative theory
The document discusses several narrative theories and how they relate to the opening sequence of a horror film project. It summarizes Vladimir Propp's theory that folktales contain character types and narrative events. It then explains how the proposed characters and events in the opening sequence fit Propp's model. Next, it outlines Claude Levi-Strauss's theory about binary oppositions driving narratives and provides examples. It notes how the proposed sequence contains the good/evil binary opposition between the hero and villain characters. Finally, it briefly introduces Roland Barthes' concept of an "enigma code" using mystery and questions to engage audiences.
Silence of the lambs
Young FBI agent Clarice Starling is assigned to interview the imprisoned Hannibal Lecter to gain insight into a serial killer. The opening scenes show Clarice alone in a foggy wooded area, wearing workout clothes and running as ominous music plays. Her isolated location and attire suggest she may be in danger, setting the tone for a thriller. Shots vary from wide to close up, showing both the unsettling surroundings and Clarice's exertion as she runs, building tension for the audience.
Film opening main
The document proposes an opening sequence for a film. It begins with shots in the woods showing a mysterious figure holding a hammer near a body. It then cuts to 48 hours earlier in the city of London, showing news reports of a serial killer. The opening credits play over montage shots in the protagonist's home of news articles on the killer displayed as trophies, maps on the walls, and other disturbing items. The sequence aims to set an atmosphere of mystery, tension, and introduce the dark main character through lighting, music, and visuals over 3 minutes.
How do props contribute to genre
Props contribute to genre in films and plays by emphasizing reality and symbolizing key elements of the genre. Common props become strongly associated with particular genres, such as bloody knives in horror films. Props can also represent specific characters and hold symbolic meanings that provide insight into characters and their motivations. They allow audiences to more fully immerse themselves in the world of the genre.
Quadrophenia screening notes
Quadrophenia (1979) is a crime/drama film directed by Franc Roddam that depicts the rivalry between British mod and rocker subcultures in 1960s London. The film follows a mod named Jimmy who questions his identity amid clashes between the groups. It represents British youth as rebelling against authority through their fashion and clashes with police, with the mods in particular embracing a defiant attitude.
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Film trailer breakdown
The trailer opens with a moon crashing into Venus and breaking apart. It then shows the antagonist using futuristic technology and firing a beam that causes the moon to hurtle towards Earth. This establishes the antagonist as the villain. The protagonist is then shown in school seeing the approaching moon. Later scenes reveal the antagonist has abilities like creating force fields and healing, establishing him as a powerful alien. The trailer uses these scenes to set up conflict between the protagonist and antagonist while intriguing viewers about the futuristic technology and timeline of events.
Sarah Evaluation Q1
Our trailer challenges conventions of real media products through its creative and original style that builds tension. It uses techniques like unique cinematography from a first-person perspective, eerie sounds to create an atmospheric tone, and low lighting in scenes to develop the thriller genre and keep audiences interested in the story.
Narrative theory
This document summarizes key concepts and theorists related to narrative theory. It discusses how narrative theory analyzes how media texts communicate meaning through storytelling and explains common narrative structures including a beginning, middle, and end. Several influential narrative theorists are outlined, such as Propp's characterization archetypes, Todorov's structural phases, Barthes' five codes, Levi-Strauss' focus on cultural values/myths, and postmodern concepts like nonlinearity, intertextuality, and self-reflexivity. The document also provides an example analysis of a Taylor Swift song through different theoretical lenses.
Narrative theory
The document discusses several narrative theories and how they relate to the opening sequence of a horror film project. It summarizes Vladimir Propp's theory that folktales contain character types and narrative events. It then explains how the proposed characters and events in the opening sequence fit Propp's model. Next, it outlines Claude Levi-Strauss's theory about binary oppositions driving narratives and provides examples. It notes how the proposed sequence contains the good/evil binary opposition between the hero and villain characters. Finally, it briefly introduces Roland Barthes' concept of an "enigma code" using mystery and questions to engage audiences.
Silence of the lambs
Young FBI agent Clarice Starling is assigned to interview the imprisoned Hannibal Lecter to gain insight into a serial killer. The opening scenes show Clarice alone in a foggy wooded area, wearing workout clothes and running as ominous music plays. Her isolated location and attire suggest she may be in danger, setting the tone for a thriller. Shots vary from wide to close up, showing both the unsettling surroundings and Clarice's exertion as she runs, building tension for the audience.
Film opening main
The document proposes an opening sequence for a film. It begins with shots in the woods showing a mysterious figure holding a hammer near a body. It then cuts to 48 hours earlier in the city of London, showing news reports of a serial killer. The opening credits play over montage shots in the protagonist's home of news articles on the killer displayed as trophies, maps on the walls, and other disturbing items. The sequence aims to set an atmosphere of mystery, tension, and introduce the dark main character through lighting, music, and visuals over 3 minutes.
How do props contribute to genre
Props contribute to genre in films and plays by emphasizing reality and symbolizing key elements of the genre. Common props become strongly associated with particular genres, such as bloody knives in horror films. Props can also represent specific characters and hold symbolic meanings that provide insight into characters and their motivations. They allow audiences to more fully immerse themselves in the world of the genre.
Quadrophenia screening notes
Quadrophenia (1979) is a crime/drama film directed by Franc Roddam that depicts the rivalry between British mod and rocker subcultures in 1960s London. The film follows a mod named Jimmy who questions his identity amid clashes between the groups. It represents British youth as rebelling against authority through their fashion and clashes with police, with the mods in particular embracing a defiant attitude.
Pitch
Vernon is obsessed with a girl and stalks her, keeping photos and objects from her in a shrine. He breaks into her house repeatedly, scaring her and trapping her. Though he doesn't harm her, his actions drive the girl mad with fear. Unable to escape Vernon's obsession, the girl ends up killing herself. The film ends with Vernon dead in her room so he can be with her. The opening sequence shows Vernon's point of view as he looks through photos of the girl and checks his knife before leaving his home, which contains a large shrine to her. Extreme close-ups, tilted angles, and ominous music are used to convey Vernon's obsession and create an unsettling tone.
Narrative theory
Narrative theory analyzes how media texts communicate meaning about events. Narrative theorists suggest there are a limited number of character types that audiences use to understand narratives. For example, Vladimir Propp identified character types like the villain, hero, donor, and princess. Tzvetan Todorov proposed that most narratives follow a structure of equilibrium, disruption, resolution. Roland Barthes argued narratives can be broken down into codes like action, reference, and symbolism that help readers make sense of stories. Levi-Strauss examined how unconscious cultural values are reflected in narratives through binary oppositions such as good vs bad.
Connotations of ancillary drafts
The document discusses draft designs for a movie poster and magazine cover. It analyzes how different compositional elements are used to convey meaning and atmosphere. The three poster drafts all feature a vulnerable young boy in direct address with a looming antagonist shadow. This connotes horror and the supernatural. The magazine covers also place the boy in direct address with an antagonist shadow and use masking, vignettes, and rule of thirds placement to imply entrapment and draw attention to create an ominous tone.
Noir essay comment and influences from society
This document provides an outline for a paper analyzing how classic film noir movies from the 1940s and 1950s commented on American society during that era. The paper would define film noir as a genre, explore its origins in German expressionist cinema, and discuss the stylistic conventions it employed. Using examples like Scarface, Casablanca, and The Big Heat, the outline calls for paragraphs analyzing how the films depicted Americans' pre-war and post-war anxieties, attitudes toward criminals, and evolving roles of women through their characters and plots. Taken together, the movies examined would show how film noir contributed to the era's pervasive feelings of fear and suspicion.
Our thriller opening idea
The document outlines a narrative for a thriller film opening that uses a film noir technique. The opening would show a man being shot at a meeting with his lover and drug dealers. Through a flashback, it would be revealed that the man was trying to expose the drug operation and received a mysterious phone call. The document discusses researching film noir conventions, needed equipment, locations, target audience of aspirers, and characters including a flawed male lead and femme fatale female lead who pulls the trigger.
Analysing Genre A2 Media
Genre theory seeks to categorize different types of media based on common conventions. Daniel Chandler believes genre is defined by themes, settings and style. John Fiske sees genre as a way to structure the vast number of modern films and texts. Barry Keith Grant further divides genres into sub-genres based on more specific characteristics. The document analyzes trailers for three horror films based on these genre theories, categorizing them as psychological horror or gothic horror sub-genres due to their use of conventions like mysterious settings, supernatural elements, and manipulation of audience fear and mind.
Pitch
Three college friends go on a class trip to Sweden where they are kidnapped by hidden woodsmen and drug dealers. To escape, they must push their physical limits over the next 48 hours. Alternatively, the friends could attend a parade that is bombed, leaving them captured by terrorists who torture the survivors. The document discusses genre influences from Chronicle and Hot Fuzz, proposed plotlines, soundtrack ideas using ambient and tense sounds, typical shooting locations and cinematography styles, and how to link the film to ancillary materials like a magazine cover.
Pitch for Opening Title Sequence
The document outlines a pitch for an opening title sequence for a thriller film. It discusses initial research into the thriller genre and elements like color, lighting, location, cinematography and soundtracks. The target audience is described as mostly male, over 15 but under 35, from any social class. A synopsis explains the film will follow a protagonist's mundane daily life before a revelation kicks off the plot. Preliminary animatics and inclusion of mise-en-scene micro elements are also mentioned.
Researching & Applying Narrative Theory G321 Coursework Version
This document discusses various narrative theories that can be applied when analyzing films, including Propp's character archetypes, Todorov's theory of narrative structure, Levi-Strauss' concept of binary oppositions, and types of narration. It provides examples of how some well-known films fit certain theories, such as Die Hard following Todorov's model and Psycho establishing a binary opposition through its music. The document encourages analyzing one's own creative work through these theoretical lenses.
Rick altman
Rick Altman proposed a semantic/syntactic approach to genre theory that considers both the conventions (semantic) and narrative structures (syntactic) of genres. This allows for a more sophisticated understanding of genres. He later expanded this to a semantic/syntactic/pragmatic approach by also considering the roles of audiences and institutions. The pragmatic approach views genres as modes of production for film studios and as evolving based on changing audience preferences over time.
Narrative therory.
The document discusses several narrative theories proposed by thinkers such as Todorov, Propp, Levi-Strauss, Barthes, Field, and Kubrick. Todorov suggested narratives follow an equilibrium-disruption-resolution structure. Propp identified character roles and narrative functions. Levi-Strauss saw narratives as relying on binary oppositions. Barthes identified codes that control information for audiences. Field outlined a three-act structure. Kubrick saw films constructed from six to eight fundamental story sequences. The document concludes by stating the documentary will likely use binary oppositions to show technological differences between age groups.
Genre theorists relating to horror film
The document discusses several theorists' perspectives on genre in horror films. Jacques Derrida's theory states that texts participate in genres rather than belonging to them fully. Charaudeau and Maingueneau assert that genre can be determined through a text's linguistic function, formal traits, organization, and relationship to communicative situation. Stephen Prince argues that horror films explore fundamental human questions beyond any particular time period, making the genre more profound than others.
Opening Sequence Challenge Conventions
This document summarizes an opening film sequence directed by Jasper Hunt. It discusses the costumes, props, shots and editing used to set up an action/thriller genre scene mysteriously taking place in Mexico. Wide and closeup shots as well as a tense soundtrack increasing in pace were used. The titles were inspired by a western font to represent Mexico and the West. The sequence challenged conventions with its varying editing speed and minimalistic soundtrack without vocals.
Send to drum q2
The document discusses how a 2-minute film opening represents certain social groups through mise-en-scene and camera work. Specifically, it prominently features a social group of independent young white males. Scenes of the main character alone establish him as independent, and combat boots, a gun, and hunting imply he is a hunter. Camera angles are used to represent power, with low angles making characters appear stronger and central shots showing who is dominant. Violence and complex dialogue require an older target audience of 18+. Costumes match modern styles to be set in the present or near future.
Yr12 f l3
The document contains questions about representing key characters, gender, and narrative devices in horror and comedy films. It discusses how characters like Jim, Selena, and Major Henry West are represented in the films and undergo various transformations. Gender is often represented through portraying women as victims of male killers or as sexual objects. Narrative devices common in horror genres are used to increase horror's impact and communicate the story in recognizable ways to audiences.
Forms and conventions of a thriller
Thriller films follow certain conventions to build suspense in the audience. They often center around crimes like a serial killer on the loose. Multiple storylines combine to confuse and intrigue viewers as they try to follow the plot. Flashbacks and documentary styles are also used effectively. The protagonist typically has a weakness that the antagonist exploits to put them in danger. This drives up suspense until the climax where the protagonist defeats the antagonist. Themes of identity and mystery through dramatic irony keep audiences engaged as they try to solve enigmas hinted at throughout.
Yr12 f l2
This document outlines a British horror film studies course that will focus on analyzing characters and representation. The aims are to explore British horror films and character conventions. Students will create character profiles for Dracula, 28 Days Later, and The Descent, analyzing character representation and gender representation. The document provides potential essay questions and outlines tasks for students to complete a character analysis essay and character profiles for each film.
Film opening: location, costumes and props 4
The document discusses locations, costumes, and props for a film opening. The location would be Whitestone Pond at Hampstead Heath in London. Shots of the protagonist's home would include a news report, torn articles on the wall, a journal, maps with pins, weapons, gloves, and tape. For costumes, the main character's clothing in the woods scene includes muddy boots, black trousers, and a white t-shirt with messy hair. In the next scene, he wears black jeans, a black jacket, and tidier slicked back hair. Props include a tattoo to identify the character, a hammer as the main weapon, and fake blood to show he has killed someone.
Apocalypse intro
The group plans to film a dramatic 2-minute intro for their post-apocalyptic film. The intro will start from the perspective of a group searching for survivors using spotlights and sirens. It will cut to a man waking up in a panic as he chases the vehicle. The group will spot him and take him onboard, ending the intro. The purpose is to engage audiences in the action and genre while hiding details about the main character's intentions to help his family.
Narrative Of The Shining
The summary analyzes a psychological thriller film based on the questions and answers provided. The hero is the protagonist who is informed by his interviewer that another employee committed suicide due to stress. This makes the interviewer the villain as his red tie and tone suggest he is playing mind games. The story is set in a polished upper-class building where many employees work in offices and may feel stressed. There are five main characters introduced so far. The story is told chronologically to build suspense as tensions rises for the protagonist after learning about the previous employee's death. The questions left are how the protagonist will react and how his gothic film-lover wife will respond.
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What's hot
Pitch
Vernon is obsessed with a girl and stalks her, keeping photos and objects from her in a shrine. He breaks into her house repeatedly, scaring her and trapping her. Though he doesn't harm her, his actions drive the girl mad with fear. Unable to escape Vernon's obsession, the girl ends up killing herself. The film ends with Vernon dead in her room so he can be with her. The opening sequence shows Vernon's point of view as he looks through photos of the girl and checks his knife before leaving his home, which contains a large shrine to her. Extreme close-ups, tilted angles, and ominous music are used to convey Vernon's obsession and create an unsettling tone.
Narrative theory
Narrative theory analyzes how media texts communicate meaning about events. Narrative theorists suggest there are a limited number of character types that audiences use to understand narratives. For example, Vladimir Propp identified character types like the villain, hero, donor, and princess. Tzvetan Todorov proposed that most narratives follow a structure of equilibrium, disruption, resolution. Roland Barthes argued narratives can be broken down into codes like action, reference, and symbolism that help readers make sense of stories. Levi-Strauss examined how unconscious cultural values are reflected in narratives through binary oppositions such as good vs bad.
Connotations of ancillary drafts
The document discusses draft designs for a movie poster and magazine cover. It analyzes how different compositional elements are used to convey meaning and atmosphere. The three poster drafts all feature a vulnerable young boy in direct address with a looming antagonist shadow. This connotes horror and the supernatural. The magazine covers also place the boy in direct address with an antagonist shadow and use masking, vignettes, and rule of thirds placement to imply entrapment and draw attention to create an ominous tone.
Noir essay comment and influences from society
This document provides an outline for a paper analyzing how classic film noir movies from the 1940s and 1950s commented on American society during that era. The paper would define film noir as a genre, explore its origins in German expressionist cinema, and discuss the stylistic conventions it employed. Using examples like Scarface, Casablanca, and The Big Heat, the outline calls for paragraphs analyzing how the films depicted Americans' pre-war and post-war anxieties, attitudes toward criminals, and evolving roles of women through their characters and plots. Taken together, the movies examined would show how film noir contributed to the era's pervasive feelings of fear and suspicion.
Our thriller opening idea
The document outlines a narrative for a thriller film opening that uses a film noir technique. The opening would show a man being shot at a meeting with his lover and drug dealers. Through a flashback, it would be revealed that the man was trying to expose the drug operation and received a mysterious phone call. The document discusses researching film noir conventions, needed equipment, locations, target audience of aspirers, and characters including a flawed male lead and femme fatale female lead who pulls the trigger.
Analysing Genre A2 Media
Genre theory seeks to categorize different types of media based on common conventions. Daniel Chandler believes genre is defined by themes, settings and style. John Fiske sees genre as a way to structure the vast number of modern films and texts. Barry Keith Grant further divides genres into sub-genres based on more specific characteristics. The document analyzes trailers for three horror films based on these genre theories, categorizing them as psychological horror or gothic horror sub-genres due to their use of conventions like mysterious settings, supernatural elements, and manipulation of audience fear and mind.
Pitch
Three college friends go on a class trip to Sweden where they are kidnapped by hidden woodsmen and drug dealers. To escape, they must push their physical limits over the next 48 hours. Alternatively, the friends could attend a parade that is bombed, leaving them captured by terrorists who torture the survivors. The document discusses genre influences from Chronicle and Hot Fuzz, proposed plotlines, soundtrack ideas using ambient and tense sounds, typical shooting locations and cinematography styles, and how to link the film to ancillary materials like a magazine cover.
Pitch for Opening Title Sequence
The document outlines a pitch for an opening title sequence for a thriller film. It discusses initial research into the thriller genre and elements like color, lighting, location, cinematography and soundtracks. The target audience is described as mostly male, over 15 but under 35, from any social class. A synopsis explains the film will follow a protagonist's mundane daily life before a revelation kicks off the plot. Preliminary animatics and inclusion of mise-en-scene micro elements are also mentioned.
Researching & Applying Narrative Theory G321 Coursework Version
This document discusses various narrative theories that can be applied when analyzing films, including Propp's character archetypes, Todorov's theory of narrative structure, Levi-Strauss' concept of binary oppositions, and types of narration. It provides examples of how some well-known films fit certain theories, such as Die Hard following Todorov's model and Psycho establishing a binary opposition through its music. The document encourages analyzing one's own creative work through these theoretical lenses.
Rick altman
Rick Altman proposed a semantic/syntactic approach to genre theory that considers both the conventions (semantic) and narrative structures (syntactic) of genres. This allows for a more sophisticated understanding of genres. He later expanded this to a semantic/syntactic/pragmatic approach by also considering the roles of audiences and institutions. The pragmatic approach views genres as modes of production for film studios and as evolving based on changing audience preferences over time.
Narrative therory.
The document discusses several narrative theories proposed by thinkers such as Todorov, Propp, Levi-Strauss, Barthes, Field, and Kubrick. Todorov suggested narratives follow an equilibrium-disruption-resolution structure. Propp identified character roles and narrative functions. Levi-Strauss saw narratives as relying on binary oppositions. Barthes identified codes that control information for audiences. Field outlined a three-act structure. Kubrick saw films constructed from six to eight fundamental story sequences. The document concludes by stating the documentary will likely use binary oppositions to show technological differences between age groups.
Genre theorists relating to horror film
The document discusses several theorists' perspectives on genre in horror films. Jacques Derrida's theory states that texts participate in genres rather than belonging to them fully. Charaudeau and Maingueneau assert that genre can be determined through a text's linguistic function, formal traits, organization, and relationship to communicative situation. Stephen Prince argues that horror films explore fundamental human questions beyond any particular time period, making the genre more profound than others.
Opening Sequence Challenge Conventions
This document summarizes an opening film sequence directed by Jasper Hunt. It discusses the costumes, props, shots and editing used to set up an action/thriller genre scene mysteriously taking place in Mexico. Wide and closeup shots as well as a tense soundtrack increasing in pace were used. The titles were inspired by a western font to represent Mexico and the West. The sequence challenged conventions with its varying editing speed and minimalistic soundtrack without vocals.
Send to drum q2
The document discusses how a 2-minute film opening represents certain social groups through mise-en-scene and camera work. Specifically, it prominently features a social group of independent young white males. Scenes of the main character alone establish him as independent, and combat boots, a gun, and hunting imply he is a hunter. Camera angles are used to represent power, with low angles making characters appear stronger and central shots showing who is dominant. Violence and complex dialogue require an older target audience of 18+. Costumes match modern styles to be set in the present or near future.
Yr12 f l3
The document contains questions about representing key characters, gender, and narrative devices in horror and comedy films. It discusses how characters like Jim, Selena, and Major Henry West are represented in the films and undergo various transformations. Gender is often represented through portraying women as victims of male killers or as sexual objects. Narrative devices common in horror genres are used to increase horror's impact and communicate the story in recognizable ways to audiences.
Forms and conventions of a thriller
Thriller films follow certain conventions to build suspense in the audience. They often center around crimes like a serial killer on the loose. Multiple storylines combine to confuse and intrigue viewers as they try to follow the plot. Flashbacks and documentary styles are also used effectively. The protagonist typically has a weakness that the antagonist exploits to put them in danger. This drives up suspense until the climax where the protagonist defeats the antagonist. Themes of identity and mystery through dramatic irony keep audiences engaged as they try to solve enigmas hinted at throughout.
Yr12 f l2
This document outlines a British horror film studies course that will focus on analyzing characters and representation. The aims are to explore British horror films and character conventions. Students will create character profiles for Dracula, 28 Days Later, and The Descent, analyzing character representation and gender representation. The document provides potential essay questions and outlines tasks for students to complete a character analysis essay and character profiles for each film.
Film opening: location, costumes and props 4
The document discusses locations, costumes, and props for a film opening. The location would be Whitestone Pond at Hampstead Heath in London. Shots of the protagonist's home would include a news report, torn articles on the wall, a journal, maps with pins, weapons, gloves, and tape. For costumes, the main character's clothing in the woods scene includes muddy boots, black trousers, and a white t-shirt with messy hair. In the next scene, he wears black jeans, a black jacket, and tidier slicked back hair. Props include a tattoo to identify the character, a hammer as the main weapon, and fake blood to show he has killed someone.
Apocalypse intro
The group plans to film a dramatic 2-minute intro for their post-apocalyptic film. The intro will start from the perspective of a group searching for survivors using spotlights and sirens. It will cut to a man waking up in a panic as he chases the vehicle. The group will spot him and take him onboard, ending the intro. The purpose is to engage audiences in the action and genre while hiding details about the main character's intentions to help his family.
Narrative Of The Shining
The summary analyzes a psychological thriller film based on the questions and answers provided. The hero is the protagonist who is informed by his interviewer that another employee committed suicide due to stress. This makes the interviewer the villain as his red tie and tone suggest he is playing mind games. The story is set in a polished upper-class building where many employees work in offices and may feel stressed. There are five main characters introduced so far. The story is told chronologically to build suspense as tensions rises for the protagonist after learning about the previous employee's death. The questions left are how the protagonist will react and how his gothic film-lover wife will respond.
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Researching & Applying Narrative Theory G321 Coursework Version
Researching & Applying Narrative Theory G321 Coursework Version
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Similar to Research into comparable products
Question 1
My media product uses, develops, and challenges thriller conventions in the following ways:
1. It uses common cinematography techniques like tilt shots but also challenges conventions with unique extreme close-ups.
2. It develops conventions through the atypical introduction of the deranged antagonist and their unusual behavior.
3. It challenges conventions by not clearly identifying whether it follows Todorov's or Aristotle's narrative theories, leaving interpretation up to the audience.
Question 1 evaluation
This document discusses the filmmaker's choices in developing the codes and conventions for their psychological thriller media product. An online survey was conducted to determine the appealing subgenre, with results showing a preference for psychological thrillers. The filmmaker explores conventions of location, sound, props, costumes, characters, and cinematography/editing to both incorporate typical genre elements and subvert expectations through plot twists. Key decisions are analyzed in relation to existing thriller films and theories to effectively intrigue the audience.
June 2010 exemplar 1 (highlighted)
This document provides a detailed analysis of a student's media coursework over two years producing magazines and a horror film trailer. The student discusses how researching existing media texts helped them develop their skills and apply techniques from real examples. They analyzed magazines, trailers, posters and films to inform the layout, editing, symbols and genre conventions used in their own horror trailer. Researching techniques like camera angles, lighting and pacing allowed the student to subvert some conventions and create an engaging trailer that has been viewed over 4,000 times on YouTube. The analysis explains how applying genre conventions and creative variations helped make their media pieces recognizable while putting their own spin on the horror genre.
June 2010 example level 4
This document provides a detailed analysis of a student's media production work over a two-year course. It focuses on a horror film trailer the student created. The student conducted extensive research on existing horror films, trailers, and techniques to inform their work. Key influences included the "Blair Witch Project" trailer and "American Nightmare" documentary. Through their research and iterations, the student was able to develop their skills in areas like editing, camera work, sound, and visual effects. Their trailer makes innovative use of genre conventions like an isolated woods setting, restricted narration, and a subversive female psycho killer character. It received over 4,000 views on YouTube, demonstrating it successfully engaged the target horror genre audience
Trailer1 q1a q1b
This document provides a detailed analysis of a student's media coursework over two years producing magazines and a horror film trailer. The student discusses how researching existing media texts helped them develop their skills and apply techniques from real examples. They analyzed horror trailers, films, and posters to plan techniques for their own trailer. Researching genres allowed them to follow conventions like using woods locations and handheld camera shots while also adding variations like a female psycho killer. Their trailer received over 4,000 views, showing it successfully fit the horror genre through elements like pacing, symbolism, and an open ending. Overall, researching real media helped the student progress significantly over the two years and produce an engaging horror trailer that captured its intended audience.
1a 1b 45-50 AS school-music mag A2 horror trailer
Over the course of a two-year media studies program, the student produced both foundational and advanced portfolios focused on magazine and film genres. For the foundational portfolio, the student researched existing music magazines to inform their own school music magazine. In the second year, the student focused on the horror genre, researching trailers, films, and posters to develop a horror film teaser trailer, magazine, and poster. Extensive research into real-world media texts helped the student improve their skills and produce high quality work that adhered to genre conventions while also being creative. The student's horror trailer in particular stuck closely to horror genre conventions through its setting, characters, editing techniques, and other elements, while also subverting
Research investigations a2
The document provides information about genre in media texts. It states that genre is a way of categorizing media based on its content and style, with genres having recognizable characteristics or paradigms. Examples of genres include horror, comedy, crime, and sci-fi. Media texts use genre to attract specific target audiences. There can also be hybrid genres that combine elements of multiple genres. The document then discusses several genre theorists and their perspectives on genre. [END SUMMARY]
Horror genre
This document discusses the horror genre and its conventions. It defines genre as a method of categorizing films based on similarities in narrative elements. Sub-genres are identifiable subclasses within a genre that have distinctive subject matter and styles. Hybrid genres combine elements of two or more classic genres. The document provides examples of horror sub-genres and their defining conventions, as well as generic conventions expected in horror films regardless of sub-genre, such as isolated settings and indestructible monsters. It also examines why audiences and producers are drawn to genre films and how genres evolve over time.
Media Forms and Conventions
This document discusses various forms and conventions of media. It defines form as the structure or framework of a text, such as the continuous multi-stranded storylines and cliffhangers common in soap operas. Genre refers to a category of artistic works sharing a style or subject matter, such as the characteristic ingredients that make horror films or action films recognizable. Distinctive conventions include elements like mise-en-scene, cinematography, and the unique directorial styles of filmmakers like Tim Burton, Alfred Hitchcock, and Steven Spielberg. Genre relies not just on content but also how a work is constructed through its codes and conventions.
Media forms and conventions
This document discusses various forms and conventions in media. It defines form as the structure or framework of a text, such as the continuous multi-stranded storylines and cliffhangers common in soap operas. Genre refers to a category of artistic works sharing a style or subject matter, such as the characteristic ingredients that make horror films or action films recognizable. Distinctive conventions and directorial styles, like those of Tim Burton, Alfred Hitchcock, and Steven Spielberg, contribute to the unique look and feel of a media text through elements of mise-en-scene, lighting, music, and editing.
Media forms and conventions
This document discusses various forms and conventions in media. It defines form as the structure or framework of a text, such as the continuous multi-stranded storylines and cliffhangers common in soap operas. Genre refers to a category of artistic works sharing a style or subject matter, such as the characteristic ingredients that make horror films or action films recognizable. Distinctive conventions include elements like mise-en-scene, cinematography, and the individual directorial styles of Tim Burton, Alfred Hitchcock, and Steven Spielberg. Genre relies not just on content but also how a work is constructed, distinguishing genres like horror and thriller.
Media forms and conventions
This document discusses various forms and conventions of media. It defines form as the structure or framework of a text, such as the continuous multi-stranded storylines and cliffhangers common in soap operas. Genre refers to a category of artistic works sharing a style or subject matter, such as the characteristic ingredients that make horror films or action films recognizable. Distinctive conventions include elements like mise-en-scene, cinematography, and the unique directorial styles of filmmakers like Tim Burton, Alfred Hitchcock, and Steven Spielberg. Genre relies not just on content but also how a work is constructed through its stylistic elements and conventions.
Media Forms and Conventions
This document discusses various media forms and conventions. It describes how forms relate to the structure or narrative of a text. Soap operas have a continuous, multi-stranded storyline structure with individual episodes often ending in cliffhangers. Genres like action films, horror films, and chick flicks each have common story structures and elements. Distinctive directors and their styles are also discussed in relation to elements like mise-en-scene, lighting, music, and editing techniques. The document concludes that genres have defining conventions and ingredients that make them recognizable, like soap operas addressing social issues through rolling storylines and consistent settings.
Evaluation question one!
The document analyzes the filmmaker's short thriller and compares it to conventions from real thriller media. It finds similarities to Saw in the use of an unstoppable game and to The Maze Runner in portraying confusion through facial expressions. While the thriller has a different plot from Harry Potter, it shares the convention of using floating keys. The filmmaker argues their slow pacing builds tension effectively compared to fast cuts in Saw. Close-ups of faces were important to show emotion. Overall it finds conventions were followed but could have been improved with lower lighting and background music.
film theory
The document discusses several aspects of film theory as it relates to horror films. It first quotes Noel Carroll, who notes that the horror genre seems resilient as it is able to revive itself by exploring new ideas and topics. The document then discusses how horror films can be viewed as a rite of passage for audiences. It also examines the use of graphic violence and gore in 1980s slasher films. The document provides analysis of several horror directors, including Guillermo del Toro, Ari Aster, and Dario Argento, and how they have influenced the author's own film project. It concludes with a discussion of film theory more broadly and how various elements come together to tell a story and draw in audiences.
TRYMEDIA Evaluation task 1
Our teaser trailer was between one to two minutes long to introduce characters and setting without revealing too much of the plot. We researched thriller trailers, soundtracks, and conventions to make our trailer look professional and challenge other media. Key elements we analyzed included narrative structure, titles, camera angles, locations, costumes, and keeping the villain's identity mysterious.
Concept presentation
The document provides details about a short film project created by a group of students. It includes:
- A synopsis that outlines the plot involving a mother who encounters a mystery from her past when she recognizes a familiar face.
- Character descriptions of the four main characters: Kimmy, Naomi, Chris, and Jerome.
- Plans to use various real-world locations to develop meanings and attach them to the story.
- The genres of thriller, docu-drama, and urban social realism were chosen to capture an ongoing social issue while also adding suspense.
Media Language 2017
This document provides an overview of media language and semiotics. It defines media language as how a text constructs meaning for its audience. It then discusses key semiotic concepts such as denotation, connotation, signifiers, signifieds, and how codes and conventions influence audience interpretation. The document uses examples and theories from scholars like Saussure, Barthes, and Chandler to explain how semiotics can be applied to analyze how meaning is created in media texts through the use of signs, and how this shapes cultural myths and realities.
Evaluation question 1
In 3 sentences or less, the document discusses how the media product uses and challenges conventions of the thriller genre through various elements:
The opening titles sequence follows thriller conventions through its font and dark background but challenges conventions by having no music. Lighting and locations are used to characterize the antagonist and victim but in unconventional washed-out colors. Camera angles, editing, and special effects are employed to create mystery, suspense, and demonstrate an unstable mindset while challenging expectations.
MEDIA STUDIES: QUESTION ONE
The document discusses conventions used in the opening of the author's thriller media product. It begins in a bleak wooded area to set a mysterious tone, referencing other films. An abandoned house creates a sense of entrapment for the protagonist through claustrophobic space and dirty surroundings. Chiaroscuro lighting is used to represent the contrast between innocence and criminality. The title "Rebecca" pays homage to the 1940 film and is shown before action to not interrupt it. Simple white titles and a heavy breathing sound bridge create tension. The opening ends on a cliffhanger to encourage audience attention, a convention of thriller genres.
Similar to Research into comparable products (20)
Research into comparable products
- 1. Jonathon Conaway Research into comparable products
- 2. My thriller In terms of the thriller which my group produced for our AS piece of coursework there is no definitive genre it can be fit into, in terms of it being a thriller it does meet the codes and conventions necessary to make it a thriller, but it fits into a number of sub-genre’s including: Science fiction and medical To be able to apply it to other media products I had to look at things that obscurely fit into the aforementioned sub-genres
- 3. The final countdown (1980) A science fiction thriller concerned with aspects of time travel is, although dissimilar in nature to our thriller in terms of the possibility of occurring, defined under the same genre as our thriller would come under Set in both present day and the past the plot doesn’t use the same linear structure as our thriller used. Whereas our thriller follows more strictly the codes and conventions published in the book “thrillers” by Mark Rubin for example the final countdown doesn’t use partial vision as a main thematic choice ours employs this to allow for a sense of mystery concerning the main character.
- 4. Predators (2010) Predator again can be classed as a genre overlap of our thriller as it is a science fiction thriller with a heavy horror influence within the film It uses aspects of some of the codes and conventions that we incorporated into our thrillers for example ck Chesterton's mazes and labyrinths convention in which the multiple protagonists face are unaware of why they are where they are. They must find there way through the jungles of an unknown planet, which constitutes the representation of the maze conventions