Technical Conventions of Thriller Films
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The document discusses several technical conventions commonly used in thriller films to create suspense and tension. It describes how camerawork such as tracking shots, point-of-view shots, and close-ups follow the action and involve the audience. Sound techniques like silence, exaggerated sounds, and tense music are used to create an eerie atmosphere. Elements of mise-en-scene like low key lighting, chiaroscuro lighting effects, and manipulated color are employed to generate mystery. Fast-paced editing, jump cuts, parallel editing, and obtrusive editing work to build a sense of danger, confusion, and pace.
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The document discusses different genres and types of moving image production including films, television, videos, animations and games. It also covers various aspects of soundtracks, including types of music for different genres, production elements like equipment and skills needed, and musical terminology. Genres covered for both moving image and soundtracks include documentaries, music videos, films and television shows.
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The document discusses different types of sound used in films including diegetic sound from the scene, non-diegetic music and effects added in post-production, themes or jingles used to identify characters, the build up of sound or music to imply something is about to happen or trick/surprise viewers, the fading of music to indicate a threat has gone away, and jump scares using short, sharp, loud noises to emphasize shock or fear. Examples like the opening scenes of "A Touch of Evil" and "Jaws" are provided.
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This document discusses different types of sound used in media, including diegetic sound that exists within the story world and non-diegetic sound that does not. It provides examples of crescendo sound, which builds tension, and diminuendo sound, which indicates a passed threat. Forzando sound emphasizes shock through loud noises. The document stresses the significance of sound in manipulating moods and emphasizing concepts or scenes, and lists some sounds that could be used in an opening sequence, like music to reflect on actions or a heartbeat to build anxiety.
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Film sound is carefully designed and added in post-production to emphasize important elements and set the atmosphere. There are different types of sounds - diegetic sounds come from within the scene while non-diegetic sounds are added externally. Sound can also be synchronous to match actions, asynchronous to come from outside the scene, or contrapuntal to create alternative meanings. Elements like voiceovers, theme music, and musical scores are also used to convey information, characters, and atmosphere.
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The document discusses different elements of sound design in film. It identifies various types of sounds that can be used, including diegetic sounds that exist within the world of the film and non-diegetic sounds from outside the world. Film sound is carefully crafted in post-production to emphasize important sounds and create the right atmosphere. Examples of different sound techniques are provided, such as using sound bridges between scenes, synchronous sounds that match the visuals, and asynchronous non-diegetic music. The document also gives examples of diegetic and non-diegetic sounds identified in Sherlock Holmes.
sound notes sheet
Film sound is carefully designed and plays an important role in the film. There are different types of sound in films including diegetic sounds that come from within the scene and non-diegetic sounds from outside the scene like music. Sound is used selectively to emphasize certain elements and create atmosphere. It can be synchronous to match the visuals or asynchronous to add different meaning. Films also use techniques like sound bridges, effects, silence and more to further the narrative and elicit reactions from audiences.
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The document discusses different elements of sound design in films. It identifies various sounds that can be heard in a film clip, such as piano music, horse carriages, drums, and gunshots. It explains that while some sound is recorded on set, most film sound is added during post-production. Film sound is carefully mixed and edited to emphasize important sounds and create the proper atmosphere for each sequence. Some other elements of sound design discussed are diegetic versus non-diegetic sound, synchronous versus asynchronous sound, voiceovers, theme music, and musical scores.
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The document discusses different types of sound used in films including diegetic sound from the scene, non-diegetic music and effects added in post-production, themes or jingles used to identify characters, the build up of sound or music to imply something is about to happen or trick/surprise viewers, the fading of music to indicate a threat has gone away, and jump scares using short, sharp, loud noises to emphasize shock or fear. Examples like the opening scenes of "A Touch of Evil" and "Jaws" are provided.
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Film sound is carefully designed and added in post-production to emphasize important elements and set the atmosphere. There are different types of sounds - diegetic sounds come from within the scene while non-diegetic sounds are added externally. Sound can also be synchronous to match actions, asynchronous to come from outside the scene, or contrapuntal to create alternative meanings. Elements like voiceovers, theme music, and musical scores are also used to convey information, characters, and atmosphere.
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sound notes sheet
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The document discusses different elements of sound design in films. It identifies various sounds that can be heard in a film clip, such as piano music, horse carriages, drums, and gunshots. It explains that while some sound is recorded on set, most film sound is added during post-production. Film sound is carefully mixed and edited to emphasize important sounds and create the proper atmosphere for each sequence. Some other elements of sound design discussed are diegetic versus non-diegetic sound, synchronous versus asynchronous sound, voiceovers, theme music, and musical scores.
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Film sound is carefully designed and added during post-production to emphasize important elements and set the atmosphere. There are different types of sounds that serve different purposes - selective sounds highlight key elements while ambient sounds create a sense of place. Sound can also be diegetic, existing within the film's world, or non-diegetic from outside the world, like music or narration. During mixing, sounds are made synchronous or asynchronous to images and dialogue to reinforce or alter their meaning. Elements like voiceovers, theme music, and musical scores are also used to guide the narrative or set mood, while silence can build tension.
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Thriller films aim to thrill audiences through the use of suspense, tension, and excitement rather than graphic violence. They create a sense of apprehension and breathlessness in viewers by having complex storylines and plot twists that suggest danger and keep audiences guessing as to an unexpected ending. Key conventions include an atmosphere of suggested menace, crime, and corruption within society.
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This document discusses different types of sound used in media, including diegetic sound that exists within the story world and non-diegetic sound that does not. It provides examples of crescendo sound that builds tension, diminuendo sound that releases tension, and forzando sound that emphasizes shock. The document stresses the significance of using appropriate sound to manipulate scenarios and change moods. It also lists some sounds that could be used in an opening sequence, such as sad music, the sound of a baseball bat, and heartbeats to build anxiety.
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This document discusses sound techniques in film. It defines diegetic and non-diegetic sound and provides examples. Non-diegetic sound, like music, can establish mood, atmosphere, and meaning without being part of the film's world. Diegetic sound belongs to the film's world and can reveal characters' states of mind. The document analyzes the non-diegetic score in Jaws, which builds tension without showing the shark. It also discusses how diegetic sounds in Rear Window establish the setting and protagonist's detached frame of mind. Sound can create meaning by enhancing emotion, setting mood, and identifying characters.
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This document discusses the use of sound in film. It explains that sound is carefully controlled and added during post-production even if recorded on set. Film sound is mixed to emphasize important sounds and maintain the proper atmosphere for each sequence. There are different types of sounds like selective sounds to highlight key elements, ambient sounds to set the mood or place, and sound bridges to smoothly transition between scenes. Sound can be diegetic, existing in the world of the film, or non-diegetic, coming from outside the film like voiceovers or scores. Synchronous sound reinforces actions while asynchronous comes from outside the narrative.
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The document discusses the purpose and components of title sequences and film trailers. Title sequences introduce the main character and set the scene for the film, often including background music and special effects. They aim to catch the viewer's attention and provide context. Similarly, trailers condense the entire film into a few minutes to give viewers an overall sense of the genre, characters, plot climaxes, and tone through dialogue, music, quick cuts and more. Both aim to intrigue audiences and convey key information about the film through visual and auditory elements.
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The document outlines the key elements needed to create suspense in a scene: introducing the setting and disruption to normality to set up an enigma; using characters of victims and an antagonist revealed at the end; slowly building up the pace and rhythm through mise-en-scene techniques like close ups, lighting, and cross cuts between locations; and establishing a negative mood and building tension with non-diegetic music and diegetic sounds.
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Film sound is carefully designed and plays an important role in storytelling. Sound can be diegetic, originating from visible or implied sources within the film, or non-diegetic, added in post-production from outside the world of the film. Sound is used selectively to emphasize key elements or create atmosphere, and is mixed carefully to maintain the correct atmosphere for each sequence. Film sound can be synchronous to match actions, asynchronous to come from outside the diegetic world, or contrapuntal to create alternative meanings by juxtaposing noise with visuals.
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The document discusses different elements of sound design in films. It defines diegetic and non-diegetic sound, with diegetic sound existing within the world of the film and non-diegetic coming from outside. Film sound is carefully crafted in post-production to emphasize important sounds and maintain atmosphere. Selective sound is used to highlight key audio, while ambient sound creates a sense of place. Sound bridges and effects also help with transitions and realism.
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Diegetic and non-diegetic sounds refer to sounds that are either part of the natural world of the film (diegetic) or added for effect after filming (non-diegetic). Diegetic sounds include natural voices and sounds picked up on screen, while non-diegetic sounds are added effects, music, or narration. For a thriller teaser trailer, the document discusses using diegetic footsteps during a murder scene but no visual of the murder. Non-diegetic string music and recorded dialogue would then be added to scenes of a funeral and brothers seeking revenge, with drum beats symbolizing a heartbeat in subsequent shots.
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The document outlines a sequence of 6 shots for a film scene. Shot 1 is a 10 second close up tracking shot following a character as she runs. Shot 2 is a 30-60 second first person zooming shot of a safe space, including ambient sounds of birds and chatter. Shot 3 is a 5-10 second static first person shot as the character stops moving and retracts her arms, with a potential gasp sound effect. Shot 4 and 5 are 5-10 second mid-close shots of the character without sound effects. Shot 6 is a 30 second long shot with potential sound effects of footsteps and panting as the character begins to run again.
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The document defines different types of sound that can be used in films, including diegetic sound, non-diegetic sound, synchronous sound, and nonsimultaneous sound. It provides examples to illustrate each type of sound and how it relates to the visuals on screen. Techniques like sound flashbacks and image flashforwards are discussed as ways to manipulate the storytelling order through sound. The document also covers different sound equipment options for filmmaking, such as lavalier microphones, directional microphones, and boom sticks.
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Film sound is carefully designed and mixed in post-production to emphasize important sounds and set the atmosphere. There are different types of sounds that serve different purposes. Selective and ambient sounds are used to highlight key elements or create a sense of place, while sound bridges help transitions. Diegetic sounds come from within the film's world, while non-diegetic sounds like music or effects come from outside. Synchronous sounds match the visuals, while asynchronous or contrapuntal sounds are used to create alternative meanings. Elements like voiceovers, theme music, and silence are also employed to guide the narrative or provoke audience reactions.
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Film sound is carefully designed and added in post-production to emphasize important sounds, maintain atmosphere, and help transitions. Sound can be diegetic, existing within the film's world, or non-diegetic from outside. It can be synchronous to match action, asynchronous like music, or contrapuntal with mismatching noise. Elements include voiceovers, theme music, musical scores, and strategic use of silence. The document provides examples of different types of sounds that can be identified in the film Sherlock Holmes.
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The document analyzes sound elements and mise-en-scene in a Sherlock Holmes film clip. It identifies various diegetic and non-diegetic sounds heard in the scene such as horse carriages, gunshots, music, and dialogue. It also describes how sound can be used to create atmosphere, emphasize important elements, or help transitions. Regarding mise-en-scene, details are provided about the London setting, 1800s costumes, props like guns and knives, and low-key candle lighting. A variety of shots are used including long shots, close-ups, aerial views, and angles from low and high perspectives.
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Film sound is carefully designed and added during post-production to emphasize important sounds and maintain the intended atmosphere. There are different types of sounds that serve different purposes, such as selective sounds that highlight key elements, ambient sounds that set the scene, and sound bridges that smoothly transition between scenes. Sound can exist within the world of the film (diegetic) or come from outside of it (non-diegetic), and it can be synchronous to match actions or asynchronous to enhance the scene. Elements like voiceovers, theme music, musical scores, and silence are also used strategically to guide the audience and create certain effects.
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This document contains a script for a video advertisement for Nike running shoes. It includes shots of a runner from various angles during a race. It then cuts to a slow motion close-up shot of the shoes. There is a 34 second voiceover describing the shoes' features, including cushioning and flexibility. It then cuts back to a wide shot of the runner before fading to black with the Nike logo and tagline. The script aims to showcase the shoes and their technical benefits through action shots and descriptive voiceover.
06. sound notes sheet
Film sound is carefully designed and added during post-production to emphasize important elements and set the atmosphere. There are different types of sounds that serve different purposes - selective sounds highlight key elements while ambient sounds create a sense of place. Sound can also be diegetic, existing within the film's world, or non-diegetic from outside the world, like music or narration. During mixing, sounds are made synchronous or asynchronous to images and dialogue to reinforce or alter their meaning. Elements like voiceovers, theme music, and musical scores are also used to guide the narrative or set mood, while silence can build tension.
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Character Conventions - Thriller Films
Narrative films focus on human characters and their struggles. Well-developed "round" characters undergo changes and are the main drivers of cause and effect in the story. Minor or "flat" characters do not change much and help move the plot forward. Character traits shown early on should be relevant later. Characters pursue goals and face obstacles that create conflict and drama. They make choices that lead to consequences, furthering the story. Conflict can be between characters, within a character, between a person and group, or due to a situation.
Codes & Conventions of Thriller Films (notes)
Thriller films aim to thrill audiences through the use of suspense, tension, and excitement rather than graphic violence. They create a sense of apprehension and breathlessness in viewers by having complex storylines and plot twists that suggest danger and keep audiences guessing as to an unexpected ending. Key conventions include an atmosphere of suggested menace, crime, and corruption within society.
Analysis of Student Evaluation
This evaluation analyzes a student's thriller film project called "Masked". The student provided detailed answers to the evaluation questions using various presentation technologies. For question 1, they used an emaze presentation to describe how their film fit thriller conventions. For question 2, they narrated over film footage to discuss character representations. They created an imaginative mind map using MindMeister for question 3 about film distribution. A comic strip was used effectively for question 4 to illustrate the target audience. An infographic created with Piktochart had some details about appealing to the target audience for question 5. Question 6 saw an imaginative use of technologies inspired by their project. Filming themselves answered question 7 about progress made from preliminary to final project.
Dark Knight Analysis - Thriller
The document summarizes the opening scene of the film "The Dark Knight". It discusses the plot twists, multiple storylines, and misleading elements that create suspense. Technical elements like camerawork, editing, sound, and costumes are analyzed for how they build tension. While most conventions are followed, the criminals wear unusual bright colored masks and the first character killed is not a blonde woman as would be expected. Overall the summary finds the opening exciting but thinks more context could have been provided.
GENRE RECIPE - Thriller Films
Mary Berry provides a recipe for making a thriller film that calls for spooky locations, tense music, psychological storylines, stereotypical characters, suggestive violence, and continuous editing. The method involves placing the characters in locations and adding music and lighting to create tension while stirring in editing, close-ups, and plot twists to confuse the audience until the psychological storyline and violence are added and the film is complete.
Lesson Work - Title Sequences
The document provides guidance on title sequences for films, including:
1) Distribution companies and production logos should be included at the start and match the film's genre and tone. Co-productions with more than one company are also common.
2) The ordering of credits generally puts more famous people earlier, and often ends with "directed by".
3) Elements to include are the director, producers, cinematographer, composer, and title. The style and design should link to the film aesthetically.
4) Examples are given of title sequences from several films and how they ordered credits based on fame and role, with directors sometimes first if very well-known.
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This survey asks for feedback on a film titled either "The Game", "Playstation", "Mixed Reality", "Reality", or "Into Reality" as well as "The Game Is On". It asks whether the idea will work and why, how the film could be improved, what was liked about the film, and how many out of 5 stars the film deserves.
Thriller Director Study - Christopher Nolan
In depth director study of the director Christopher Nolan, specifically focussing on thriller films (in this case, Dark Knight and Interstellar).
Evaluation Plan
1. The document outlines an evaluation plan for a film sequence using various presentation technologies. It discusses using VLOG, info-graphics, PowToon, Prezi, and Emaze to analyze elements like camerawork, editing, mise-en-scene, sound, and narrative.
2. The plan aims to show how borrowing from action-adventure appeals to target audiences and enhances thriller conventions. Elements like a tracking shot, jump cuts, costumes, and music are discussed.
3. Big media conglomerates that could co-produce the film are examined, including Warner Bros, Paramount, and Disney. Choosing Warner Bros is said to provide creative control while gaining wide distribution.
Narrative Structure In Films - Lesson Notes
The document discusses narrative structure in films. It explains that films tell stories through narrative form, with ordered series of connected events. A key part of narrative is the logic of cause and effect between character traits, goals, obstacles and actions. It then provides an example of the key events in the narrative structure of Beauty and the Beast. More broadly, it outlines the typical three-act narrative structure of setup, confrontation, and resolution, with rising and falling action. It also discusses Tzvetan Todorov's theory of equilibrium and disequilibrium in narrative structure.
Shutter Island Analysis
Analysis of thriller film Shutter Island. In depth look into codes and conventions, characters, narrative and setting.
Director Study - Steven Spielberg
Steven Spielberg is an American film director known for directing successful thriller films such as Jaws and Minority Report. Jaws, released in 1975, told the story of a man-eating shark terrorizing a town and was notable for its use of suspenseful music, camera techniques, and minimal screen time showing the shark. Minority Report, from 2002, was praised for its complex plot involving a future crime prediction system and twists. Spielberg is considered a master of the thriller genre for his ability to create suspense through elements like music, camerawork, editing, and plot developments.
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12 years a slave
This document provides information about the film 12 Years a Slave including its production, distribution, marketing, audience, and financial performance. It was produced independently but distributed by major studios. It won numerous awards including Academy Awards. It had a budget of $20 million and grossed over $178 million worldwide. Celebrities promoted the film on social media and talk shows which helped its marketing. It was also marketed through posters and trailers on YouTube and websites. The film appealed to broad audiences and was made available through various digital platforms for video on demand.
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Technical Conventions of Thriller Films
- 1. S Technical Conventions of Thriller Films Ryan Gooderham
- 3. Camerawork Use of tracking – follows the action and creates a sense of pace and danger Ryan Gooderham
- 4. Camerawork POV – shows from the point-of-view of the character and involves the audience Ryan Gooderham
- 5. Camerawork ECUs / CUs (close ups) – clearly shows the expressions of the characters Ryan Gooderham
- 6. Camerawork Reveals (track in/zoom in) – create a sense of tension and suspense Ryan Gooderham
- 7. Camerawork Dramatic angles – create a dramatic ambience Ryan Gooderham
- 9. Sound Silence – creates real tension and suspense Ryan Gooderham
- 10. Sound Exaggerated sound – pinpoints key sounds to the audience and makes the sounds overly dramatic Ryan Gooderham
- 11. Sound Eerie, tense music – creates suspense and an eerie atmosphere Ryan Gooderham
- 12. Sound Off screen sounds – creates an aura of mystery Ryan Gooderham
- 13. Sound Diegetic – sound heard by both the characters and the audience (e.g. dialogue) Ryan Gooderham
- 14. Sound Non-diegetic – sound heard only by the audience (e.g. background music) Ryan Gooderham
- 16. Mise-en-scene Low key lighting – creates an atmosphere of suspense, mystery and spookiness Ryan Gooderham
- 17. Mise-en-scene Chiaroscuro – when a strong contrast is created between light and dark colours Ryan Gooderham
- 18. Mise-en-scene Strong directional lighting – used to highlight a key prop or character, and often contrasts a lot with darker, low key lighting Ryan Gooderham
- 19. Mise-en-scene Over exposed or colour manipulation – creates a feeling of unrealism, making things seem disjointed and confusing Ryan Gooderham
- 21. Editing Fast paced editing – used especially in chase scenes, create a sense of danger, action and pace Ryan Gooderham
- 22. Editing Jump cuts – create a sense of confusion and nervousness Ryan Gooderham
- 23. Editing Parallel editing – seeing two scenes at once, one after the other, consecutively – forcing the audience to link the two scenes together Ryan Gooderham
- 24. Editing Obtrusive editing – this is when the editing is done so that the audience are aware and reminded of the fact that they are watching something that has been filmed and edited Ryan Gooderham