The document discusses conventions of thriller films. It analyzes the opening title sequences of three films - Drive, Gone Girl, and Heat. All three introduce a main protagonist visually through long, drawn-out shots with dark color palettes. They use eerie music and do not include dialogue or advance the plot, serving only to set the location and introduce characters. Key conventions for thrillers identified are a dark color scheme, long shots, establishing setting shots, introduction of a protagonist, lack of dialogue, and no plot advancement in the opening titles.

1. Researching Genre
Jacob Crow

2. Codes and Conventions of Thrillers
 Thrillers tend to place a lot of focus on the protagonist and the antagonist as well as the
events that put them at odds. The main character is usually very brave and will always put
other people before them, whereas the antagonist exists to disrupt equilibrium in the story
(which the protagonist will then attempt to repair).
 The locations used in thrillers can vary wildly, though they are often set in the present day
or an interpretation of the future, mostly in urban areas. Like with comedies, the
protagonist is usually relatable, and finds themselves situated in surroundings that will be
familiar to the target audience, even if the setting is different. The costumes of the
antagonist are usually darker and the protagonist will be dressed in mildly lighter colours,
though their clothes will be familiar to the audience. The props used are often everyday
items, though sci-fi based thrillers can use more technologically centered items and most
thrillers also place emphasis on weapons like guns.
 The colour schemes used in thrillers are usually an intermediary between comedies and
horrors, in that it is not too bright but not too dark either, probably leaning more towards
darker colours as thrillers often deal with more mature themes than comedies.
 Because thrillers can vary wildly in terms of subject matter, I have identified three films that
would be categorised as thrillers, but have their own sub-categorised genres, so as to
outline the similarities between the three, so that I will be able to use those general
conventions in my own work.

3. Conventions in the opening titles of three Thrillers
Drive (2011) -
Thriller
Gone Girl (2014) –
Psychological
Thriller
Heat (1995) –
Crime Thriller

4.  The shots are always very long in duration throughout
the opening credits, and seem drawn out. It alternates
between helicopter aerial shots to give an overview of
the city, setting the location for the film, and close-up
shots of the protagonist driving in his car, again setting
the tone. We immediately know, based on these shots
as well as the title of the film, ‘Drive’, that the car has
significance to the overall plot. The setting of the
credits also takes place at night, so it can be assumed
that the driver does not have a normal, day-based
schedule, again giving some insight as to the events of
the film. Therefore, a rather dark colour palette is used,
with the exception of the lights of the city which are
much more vibrant, as is the colour of the font of the
titles. Otherwise, nothing is done in the opening credits
to advance the narrative – no dialogue is spoken and
no major events occur – it simply introduces the main
character and the location of the film.
 The music used is also very slow, reflective of the pace
of the editing. It has a ‘techno’ vibe to it, and could be
deemed somewhat out of place. This sets a precedent
for the rest of the film; the audience knows that it will
not be a fast-paced action thriller but will rather be
slow, and drawn out.

5.  The key credits at the opening of the film are
shown on black, as opposed to in ‘Drive’, where
they are overlaid atop the visuals. As the credits
are shown, the male protagonist begins to talk,
again something that did not happen during the
opening credits of ‘Drive’. The dialogue seems
normal at first, until the credits cease, and the first
shot of the film fades in, of the female protagonist.
Then, the narrator describes hypothesizing
“cracking her lovely skull”, which is an obvious oxy
moron – it was not a statement the audience would
expect to follow his first lines of dialogue. This,
much like with ‘Drive’, tells the audience straight
away about the remainder of the film, that it will not
be what they expect it to be. We get very little to
analyse in these first few seconds, so otherwise
the plot of the film remains a mystery. Much like in
‘Drive’ a dark, desaturated colour palette is used,
with the blues and medium tones most prominent.
 The music used is very eerie, giving a surreal
quality to the opening scene, which works well with
the oxy moronic dialogue.

6.  The credits begin on black, and then cuts to one
very long (In duration) shot of a train approaching
the camera. Then, an equally drawn out frame
replaces it of the same train passing the camera
from the other side, all the while with credits
appearing atop the visuals. Then, the camera cuts
to a close-up of the protagonist’s face as he exits
the train and the camera starts to track him as he
leaves the train station. The whole scene takes
place at night, so just like the previous two title
sequences, a very dark colour scheme is used,
with highlights of the blues and medium tones. No
dialogue is spoken, so like with ‘Drive’, the purpose
of this scene is simply to introduce one of the key
characters and the setting of the film.
 The music used creates a very tense atmosphere,
it consists mostly of drawn out, high-pitched notes,
giving a very eerie quality to the visuals. The only
other sound heard are that of the train pulling in to
the station, and the protagonist’s footsteps as he
walks away, which is heightened, alluding to the
importance of this character.

7. Similarities and Differences
 All three of the examples I had chosen introduce one key character visually (Drive is Ryan
Gosling’s character, Heat is Robert De Niro’s character and Gone Girls is Rosamund Pike’s
character) who will have some major relevance to the plot. Gone Girl also introduced another
protagonist via non-diegetic narration, but was the only example to include dialogue.
 The music in each example gave the credits an eerie, sinister feel, and felt generally out of place
with the visuals, and each time the music was very slow, reflective of the editing pace. Very few, if
any additional sound effects were used.
 None of the examples began the narrative right away – no key events to disturb equilibrium
occurred. Instead, the opening credits were all used simply to introduce a protagonist or location,
or both. All the examples also used long, drawn out shots – there were no instances of
hypercutting or fast pace.
 All of the examples had a very dark, desaturated colour palette. Both Drive and Heat took place
at night, and even though Gone Girl took place at a different time of day, the blues and mid tones
were still the most prominent.
 Establishing shots were employed in both ‘Heat’ and ‘Drive, whereas Gone Girl used only one
close-up shot of the female protagonist’s face throughout the entire opening credits. Both Gone
Girl and Heat began their titles on black, and continued on to overlay atop the visuals, whereas
Drive’s titles began immediately atop the visuals.

8. Evaluation
 Based on some of the tropes used in each of the three examples I
found, I have come up with some conventions that should be
followed in my own work in order to accurately reflect the genre I
have chosen – thriller.
 Dark colour palette, using mostly blues and med-tones
 Long, drawn out shot duration
 Use of establishing shots of the setting
 One key protagonist introduced
 No dialogue
 Nothing to advance the plot, simply exists to introduce the setting
and one main character