The short film begins with the protagonist searching alone in the woods for a sample that could help create a cure for a virus. Through various shots that show his isolation and efforts, it becomes clear he has not yet found a solution. He discovers a slug and hopes it will provide answers, but begins experiencing symptoms of sickness. It is revealed he has a female companion, and they work in an abandoned lab, frustrated by many failed attempts. The man realizes he has been infected but keeps it secret. Through shots that convey his vulnerability and loss of control, it becomes apparent he is succumbing to the virus, as flashbacks mix with his deteriorating state.
The document provides visual analysis and symbolism of a movie poster. Key elements of the poster like the protagonist's name in white, the contrast of light and dark sides, and objects like a gun and bullets depicted provide clues about the plot involving revenge or pursuit against the main character and the stakes of survival or protecting his family.
The document discusses several common conventions and subgenres of horror films. It describes conventions like screaming to build tension, identifiable costumes, contrasts between good and evil, use of sound to build tension, eerie settings, unknown killers, lone female characters, chases, reflecting societal fears, use of weapons, young victims, blood, and jump scares. It also lists several horror subgenres including creepy kids, rampant animals, paranormal, science fiction, supernatural, slasher, erotic, gore, dark fantasy, satanic, gothic, thriller, and comedy/psychological. The final section summarizes theories about genre from scholars like Daniel Chandler, Jonathon Culler, Rick Altman
This document provides frame analyses for several scenes from the psychological thriller film Shutter Island. The analyses describe the shots, lighting, compositions, and how they build suspense, mystery and emphasize the film's themes of confinement and isolation. Key shots include a disturbed inmate on the ferry to the asylum, Teddy speaking to a psychotic patient in a dimly lit cell, and Teddy reaching for evidence near a cliff's edge as waves crash below. The document examines how the shots create claustrophobic and ominous atmospheres that reflect the unstable conditions within the asylum.
This document discusses the use of various camera shots and techniques in a film to convey meaning and emotion. It analyzes several scenes containing medium shots, close-ups, and long shots that help show fear, anger, loss of control, intensity of a virus taking effect, and the breakdown of a relationship between two characters as one must kill the other infected by the virus. The document examines how lighting, angles, shot composition, and sound effects contribute to the narratives and meanings crafted through the camerawork.
1) The opening shot establishes an ominous, isolated setting common in rock music videos to convey themes of isolation.
2) A shot shows a young woman framed in a doorway, viewed as voyeuristic and referencing the stereotypical portrayal of women as emotionally weak in media.
3) Shots of the band playing conform to rock music video conventions of isolated, dark settings and certain camera techniques to appeal to audiences and sell records.
This document analyzes 12 shots from a film. Shot 1 is a tracking shot that draws attention to a cake. Shot 2 is a static shot focused on the main girl. Shot 3 is a point-of-view shot from the mother's perspective of her dead daughter. Shot 4 is a canted angle shot showing something is different. Shot 5 reveals the main character's confusion upon waking. Shot 6 shows darkness approaching. Shot 7 shows the terror in her eyes facing the darkness. Shot 8 is from the darkness's point-of-view chasing her. Shots 9-10 use steady camera shots to show her devastation upon realizing her daughter has died. Shot 11 shows a close-up of sadness from her friend.
The Shining is a 1980 psychological horror film directed by Stanley Kubrick, based on the Stephen King novel of the same name. It tells the story of a writer named Jack Torrance who takes a job as the off-season caretaker of an isolated hotel with his wife and psychic son. The son begins to see haunting visions of the hotel's dark past. Jack gradually descends into madness in the hotel and attempts to murder his wife and son due to supernatural influences.
The document provides a summary of camera shots used in the film The Descent. It describes various shots including close-ups, mid shots, and wide shots that are used to convey mystery, vulnerability, confusion, terror and suspense. Many of the shots are taken from higher angles to show the character is vulnerable or use point-of-view shots to put the audience in the perspective of the character. Steadicam shots are also used to follow the character as she runs away from the darkness, representing her trying to escape her thoughts after her accident.
The document provides visual analysis and symbolism of a movie poster. Key elements of the poster like the protagonist's name in white, the contrast of light and dark sides, and objects like a gun and bullets depicted provide clues about the plot involving revenge or pursuit against the main character and the stakes of survival or protecting his family.
The document discusses several common conventions and subgenres of horror films. It describes conventions like screaming to build tension, identifiable costumes, contrasts between good and evil, use of sound to build tension, eerie settings, unknown killers, lone female characters, chases, reflecting societal fears, use of weapons, young victims, blood, and jump scares. It also lists several horror subgenres including creepy kids, rampant animals, paranormal, science fiction, supernatural, slasher, erotic, gore, dark fantasy, satanic, gothic, thriller, and comedy/psychological. The final section summarizes theories about genre from scholars like Daniel Chandler, Jonathon Culler, Rick Altman
This document provides frame analyses for several scenes from the psychological thriller film Shutter Island. The analyses describe the shots, lighting, compositions, and how they build suspense, mystery and emphasize the film's themes of confinement and isolation. Key shots include a disturbed inmate on the ferry to the asylum, Teddy speaking to a psychotic patient in a dimly lit cell, and Teddy reaching for evidence near a cliff's edge as waves crash below. The document examines how the shots create claustrophobic and ominous atmospheres that reflect the unstable conditions within the asylum.
This document discusses the use of various camera shots and techniques in a film to convey meaning and emotion. It analyzes several scenes containing medium shots, close-ups, and long shots that help show fear, anger, loss of control, intensity of a virus taking effect, and the breakdown of a relationship between two characters as one must kill the other infected by the virus. The document examines how lighting, angles, shot composition, and sound effects contribute to the narratives and meanings crafted through the camerawork.
1) The opening shot establishes an ominous, isolated setting common in rock music videos to convey themes of isolation.
2) A shot shows a young woman framed in a doorway, viewed as voyeuristic and referencing the stereotypical portrayal of women as emotionally weak in media.
3) Shots of the band playing conform to rock music video conventions of isolated, dark settings and certain camera techniques to appeal to audiences and sell records.
This document analyzes 12 shots from a film. Shot 1 is a tracking shot that draws attention to a cake. Shot 2 is a static shot focused on the main girl. Shot 3 is a point-of-view shot from the mother's perspective of her dead daughter. Shot 4 is a canted angle shot showing something is different. Shot 5 reveals the main character's confusion upon waking. Shot 6 shows darkness approaching. Shot 7 shows the terror in her eyes facing the darkness. Shot 8 is from the darkness's point-of-view chasing her. Shots 9-10 use steady camera shots to show her devastation upon realizing her daughter has died. Shot 11 shows a close-up of sadness from her friend.
The Shining is a 1980 psychological horror film directed by Stanley Kubrick, based on the Stephen King novel of the same name. It tells the story of a writer named Jack Torrance who takes a job as the off-season caretaker of an isolated hotel with his wife and psychic son. The son begins to see haunting visions of the hotel's dark past. Jack gradually descends into madness in the hotel and attempts to murder his wife and son due to supernatural influences.
The document provides a summary of camera shots used in the film The Descent. It describes various shots including close-ups, mid shots, and wide shots that are used to convey mystery, vulnerability, confusion, terror and suspense. Many of the shots are taken from higher angles to show the character is vulnerable or use point-of-view shots to put the audience in the perspective of the character. Steadicam shots are also used to follow the character as she runs away from the darkness, representing her trying to escape her thoughts after her accident.
The poster uses chiaroscuro lighting and a mysterious composition to convey a supernatural horror theme. It shows a girl with her expression of awe and panic as hands emerge from a TV to grab her. This creates tension and sympathy for the girl while also playing on viewers' primal fears. There is no release date listed, heightening anticipation. The poster targets a young audience interested in horror and thriller genres.
The document provides a frame-by-frame summary of a scene from the movie Saw. It describes 9 frames total. In the first frame, the victim awakens restrained and sees a beaker in front of her. The second frame reveals the device trapping the victim in a damp, isolated setting. The third frame shows the victim's chest brace and her growing realization of her dire situation. The fourth frame focuses on the victim grasping chains in desperation with the beaker bubbling, signaling something timed. The final frame shows the victim's expression of horror as the bubbling in the beaker calms, indicating time is running out.
The film Rashomon depicts a murder through conflicting testimonies from four characters, leaving the truth ambiguous. Critics Morris and Ebert disagree on the nature of truth in the film. Morris believes there is one absolute truth, while Ebert argues truth is subjective. The document analyzes both perspectives and how they relate to themes in the film, ultimately concluding that while Morris's view of an underlying absolute truth fits best, the director Kurosawa may have intended to portray the subjective nature of perception and truth.
A young detective named Rose experiences blackouts and must solve a murder case in the city while also figuring out the cause of her own mental problems. During her sessions with her therapist Dr. Casey, Rose explains that she has been having temporary memory losses due to blackouts. Throughout the trailer, Rose divides her time between finding a cure for her blackouts and hunting the murderer. Suspicion falls on her friend Mia, coworker Noah, and therapist as potential suspects since they cannot account for their whereabouts on the night of the murders. The trailer builds tension as Rose battles obstacles and attackers. It ends with Rose shooting her gun at the camera, leaving the audience to question if she was the killer all along.
Martin Scorsese's 2010 psychological thriller Shutter Island follows U.S. Marshal Teddy Daniels investigating the disappearance of a murderous patient from a hospital for the criminally insane on a remote island in 1954. Leonardo DiCaprio stars as Teddy Daniels alongside Emily Mortimer and Mark Ruffalo. The film utilizes many of Scorsese's directorial trademarks like the use of slow motion and features a main character prone to violence with a tragic backstory. It keeps viewers guessing through psychological elements like the isolated asylum setting that calls the protagonist's mind into question, ultimately revealing he has a dual personality in a shocking twist.
Thrillers involve a battle between justice and injustice that often results in consequences. They are films of suspense that reinforce elements of pursuit and chase. Thrillers can take many forms but commonly involve a growing sense of threat and the excitement of pursuit. They are usually shown from the protagonist or villain's point of view to generate empathy or guilt. Events allow the audience to second guess what will happen but explanations are never complete to maintain mystery and build suspense. Typical roles include a helpless female in need of rescue and a male hero battling the situated evil through revenge or anger.
The document analyzes posters for three short films:
1) "The Eyes of Edward James" focuses on an extreme close-up of a dark figure's face emphasizing their white eye, with red text suggesting murder or death.
2) "Purge" similarly focuses on a girl's close-up showing determination and fear, revealing nothing else about the film. The dull colors reflect her emotions.
3) "Broken" depicts the blurred, duplicated image of a girl suggesting two lives - her perfect life and disturbed dreams catching up to her. Warm colors reflect the beginning but contrast what follows.
The story board outlines shots for a film that follows a girl who falls asleep reading a book and dreams that she is lost in the woods with a friend. In her dream, they see strange things in the woods and find a red cloak hanging from a tree. When one of the girls puts on the cloak, scary noises are heard. They eventually find an alleyway to escape. The girl then wakes up frightened from her dream. In the final shot, the camera zooms in on a trash bag outside her house containing a torn red cloak like the one from her dream.
Steven Soderbergh's latest film Unsane was shot entirely on an iPhone and stars Claire Foy as Sawyer, a woman who relocates and decides to visit a psychiatrist but is then involuntarily committed to a behavioral health clinic. While the iPhone visuals give the film a gritty texture, the exploration of mental illness and the health insurance industry lacks sufficient depth. Foy generates sympathy for her character Sawyer but the final act, meant to provoke by blurring reality and fantasy, does not provide enough surprises to be truly compelling.
This film focuses on a student named Rose Price who becomes increasingly paranoid and confused after being selected for a mysterious experiment at her school. The experiment seems to be conducted by government agents aiming to make Rose more supportive of the government's policies, but it backfires as she starts to believe conspiracy theories instead. The film establishes an unsettling atmosphere through creepy music and a feeling of paranoia. It provokes thoughts about whether governments deliberately worsen terrorism and leaves viewers in heated debate about the themes.
Tony watches a 9/11 Truther hand out leaflets and reflects on conspiracy theorists. He notes that they look for hidden truths behind major events like 9/11 and believe the government allowed the attacks to happen or planted explosives in the towers. However, their theories often go further by implicating banks, corporations or Jews in even larger conspiracies. Tony used to believe such theories but now tries to think more rationally, though he acknowledges it can give some a sense of purpose. He is wary of making new friends who may also be susceptible to conspiratorial thinking.
This document discusses how the media product challenges and develops conventions of psychological thriller films. It uses effects in the opening only, like Memento, to confuse viewers. Shots are edited to look like an old television for heightened tension. It challenges conventions by casting a young female lead instead of the typical middle-aged male. While initially portraying the female as weak, she gains control by the end to counter typical views of females. Low-key lighting is used to enhance tension. In contrast to relying only on the mind as a weapon, props are included to quickly convey protagonists' seriousness and power. The location of a dark room adds to suspense while allowing easy acquisition. Costumes contrast the protagonists to
The document provides details about planning and creating an opening sequence for a thriller film. It includes:
1) The opening sequence establishes the stalker villain who has secretly been obsessively tracking the main character.
2) The second scene uses dramatic irony by showing the characters unaware they are talking to their stalker, building suspense.
3) The discussion turns aggressive and the stalker strangles their victim, abruptly ending the scene to hook viewers.
Cube is an atypical slasher film where six victims wake up trapped in a maze of moving cubes filled with traps, as they try to escape before being killed. The film has a grimy, industrial aesthetic as the characters are in identical clothing in dimly lit, repetitive rooms that change color. Progress is marked by changing room colors, but the identical nature of the rooms adds to a sense of futility and coldness. Unlike typical slashers, the antagonist is unseen and possibly nonexistent, with the cube's origin hinted to be government-made, adding realism and further disturbance.
The document discusses how the media product represents social groups through its use of stereotypes and camera techniques. It represents a stalker through using a female character in that role, similar to films like Fatal Attraction. Camera angles like POV and shaky footage represent the stalker's psychological instability and anger. Deep focus shots show the stalker always watching from the background, wanting to be with the main character. While unintentional, red lights in scenes represent danger, as seen in the TV show Twin Peaks.
The opening of any film needs to quickly orient the audience by establishing who the hero and villain are, showing a recognizable setting, and following a conventional narrative structure. The opening of Casino Royale does this effectively. It introduces James Bond as the hero through his costume and his pursuit of the villain, establishes the setting in a developing country through locations and costumes, and builds tension through camera techniques, music, and sound effects that increase as the chase progresses.
1) Perception and truth are keys to understanding reality, but perception is defined by our senses and truth is subjective.
2) The film Rashomon depicts a murder with four conflicting accounts that cannot determine a single truth, demonstrating that people avoid reality and the subjectivity of truth.
3) While reality and truth exist, people have a tendency to avoid or distort truth to suit their own reasons, as seen in the characters' conflicting stories in Rashomon.
This summary analyzes the cinematography in key scenes from the film "The Shining". Medium shots are used to show Johnny's state of mind through low key lighting and his wife's panic through her shaking hands and facial expressions. As the situation escalates, she grabs a knife out of fear for her life. Medium close-ups capture Johnny's insanity and medium long shots show him preparing to break down the door with an axe out of madness. Medium shots with deep focus display the building terror on his wife's face as the axe penetrates the door and Johnny bursts through.
Connor receives a mysterious phone call from his deceased friend Anthony's phone and goes with two friends to investigate the site where Anthony died. When they arrive, one friend is suddenly killed. Connor and the remaining friend Stuart flee in fear and confusion, unsure of what happened but feeling guilty. They start to hallucinate their dead friends as their grip on reality fades, trying to understand the haunting events.
Sarah has woken up in the hospital after surviving a car crash that killed her daughter Jess. She is confused and panicked upon realizing her daughter has died. A shot of her running through the dark hospital hallways symbolizes her feeling that death is chasing her and trying to take away her happiness as she has lost her family. When Sarah breaks down crying on the floor in despair, her friend Beth tries to comfort her, as Sarah has been left alone in her grief.
The opening of Evil Dead (2013) establishes the horror and thriller genre. It introduces the isolated setting and main female character. Through the use of lighting, costumes, and props, it conveys a sense of danger, innocence, and the supernatural. The narrative starts in equilibrium, is disrupted by the character's kidnapping, recognizes the threat, attempts to repair through an exorcism, but ends in a new equilibrium with her possessed death, leaving the audience with questions to continue watching.
The document discusses several key elements that are commonly used in horror films to provoke fear in audiences. It explains that horror aims to capture our imaginations and feed on our worst nightmares by threatening normality. Some techniques discussed include the use of isolated locations, close-ups and shaky camera work to create tension, as well as lighting, sound, and narrative devices like the "final girl" to startle viewers. Common themes, subgenres, and iconography of the horror genre are also outlined.
The poster uses chiaroscuro lighting and a mysterious composition to convey a supernatural horror theme. It shows a girl with her expression of awe and panic as hands emerge from a TV to grab her. This creates tension and sympathy for the girl while also playing on viewers' primal fears. There is no release date listed, heightening anticipation. The poster targets a young audience interested in horror and thriller genres.
The document provides a frame-by-frame summary of a scene from the movie Saw. It describes 9 frames total. In the first frame, the victim awakens restrained and sees a beaker in front of her. The second frame reveals the device trapping the victim in a damp, isolated setting. The third frame shows the victim's chest brace and her growing realization of her dire situation. The fourth frame focuses on the victim grasping chains in desperation with the beaker bubbling, signaling something timed. The final frame shows the victim's expression of horror as the bubbling in the beaker calms, indicating time is running out.
The film Rashomon depicts a murder through conflicting testimonies from four characters, leaving the truth ambiguous. Critics Morris and Ebert disagree on the nature of truth in the film. Morris believes there is one absolute truth, while Ebert argues truth is subjective. The document analyzes both perspectives and how they relate to themes in the film, ultimately concluding that while Morris's view of an underlying absolute truth fits best, the director Kurosawa may have intended to portray the subjective nature of perception and truth.
A young detective named Rose experiences blackouts and must solve a murder case in the city while also figuring out the cause of her own mental problems. During her sessions with her therapist Dr. Casey, Rose explains that she has been having temporary memory losses due to blackouts. Throughout the trailer, Rose divides her time between finding a cure for her blackouts and hunting the murderer. Suspicion falls on her friend Mia, coworker Noah, and therapist as potential suspects since they cannot account for their whereabouts on the night of the murders. The trailer builds tension as Rose battles obstacles and attackers. It ends with Rose shooting her gun at the camera, leaving the audience to question if she was the killer all along.
Martin Scorsese's 2010 psychological thriller Shutter Island follows U.S. Marshal Teddy Daniels investigating the disappearance of a murderous patient from a hospital for the criminally insane on a remote island in 1954. Leonardo DiCaprio stars as Teddy Daniels alongside Emily Mortimer and Mark Ruffalo. The film utilizes many of Scorsese's directorial trademarks like the use of slow motion and features a main character prone to violence with a tragic backstory. It keeps viewers guessing through psychological elements like the isolated asylum setting that calls the protagonist's mind into question, ultimately revealing he has a dual personality in a shocking twist.
Thrillers involve a battle between justice and injustice that often results in consequences. They are films of suspense that reinforce elements of pursuit and chase. Thrillers can take many forms but commonly involve a growing sense of threat and the excitement of pursuit. They are usually shown from the protagonist or villain's point of view to generate empathy or guilt. Events allow the audience to second guess what will happen but explanations are never complete to maintain mystery and build suspense. Typical roles include a helpless female in need of rescue and a male hero battling the situated evil through revenge or anger.
The document analyzes posters for three short films:
1) "The Eyes of Edward James" focuses on an extreme close-up of a dark figure's face emphasizing their white eye, with red text suggesting murder or death.
2) "Purge" similarly focuses on a girl's close-up showing determination and fear, revealing nothing else about the film. The dull colors reflect her emotions.
3) "Broken" depicts the blurred, duplicated image of a girl suggesting two lives - her perfect life and disturbed dreams catching up to her. Warm colors reflect the beginning but contrast what follows.
The story board outlines shots for a film that follows a girl who falls asleep reading a book and dreams that she is lost in the woods with a friend. In her dream, they see strange things in the woods and find a red cloak hanging from a tree. When one of the girls puts on the cloak, scary noises are heard. They eventually find an alleyway to escape. The girl then wakes up frightened from her dream. In the final shot, the camera zooms in on a trash bag outside her house containing a torn red cloak like the one from her dream.
Steven Soderbergh's latest film Unsane was shot entirely on an iPhone and stars Claire Foy as Sawyer, a woman who relocates and decides to visit a psychiatrist but is then involuntarily committed to a behavioral health clinic. While the iPhone visuals give the film a gritty texture, the exploration of mental illness and the health insurance industry lacks sufficient depth. Foy generates sympathy for her character Sawyer but the final act, meant to provoke by blurring reality and fantasy, does not provide enough surprises to be truly compelling.
This film focuses on a student named Rose Price who becomes increasingly paranoid and confused after being selected for a mysterious experiment at her school. The experiment seems to be conducted by government agents aiming to make Rose more supportive of the government's policies, but it backfires as she starts to believe conspiracy theories instead. The film establishes an unsettling atmosphere through creepy music and a feeling of paranoia. It provokes thoughts about whether governments deliberately worsen terrorism and leaves viewers in heated debate about the themes.
Tony watches a 9/11 Truther hand out leaflets and reflects on conspiracy theorists. He notes that they look for hidden truths behind major events like 9/11 and believe the government allowed the attacks to happen or planted explosives in the towers. However, their theories often go further by implicating banks, corporations or Jews in even larger conspiracies. Tony used to believe such theories but now tries to think more rationally, though he acknowledges it can give some a sense of purpose. He is wary of making new friends who may also be susceptible to conspiratorial thinking.
This document discusses how the media product challenges and develops conventions of psychological thriller films. It uses effects in the opening only, like Memento, to confuse viewers. Shots are edited to look like an old television for heightened tension. It challenges conventions by casting a young female lead instead of the typical middle-aged male. While initially portraying the female as weak, she gains control by the end to counter typical views of females. Low-key lighting is used to enhance tension. In contrast to relying only on the mind as a weapon, props are included to quickly convey protagonists' seriousness and power. The location of a dark room adds to suspense while allowing easy acquisition. Costumes contrast the protagonists to
The document provides details about planning and creating an opening sequence for a thriller film. It includes:
1) The opening sequence establishes the stalker villain who has secretly been obsessively tracking the main character.
2) The second scene uses dramatic irony by showing the characters unaware they are talking to their stalker, building suspense.
3) The discussion turns aggressive and the stalker strangles their victim, abruptly ending the scene to hook viewers.
Cube is an atypical slasher film where six victims wake up trapped in a maze of moving cubes filled with traps, as they try to escape before being killed. The film has a grimy, industrial aesthetic as the characters are in identical clothing in dimly lit, repetitive rooms that change color. Progress is marked by changing room colors, but the identical nature of the rooms adds to a sense of futility and coldness. Unlike typical slashers, the antagonist is unseen and possibly nonexistent, with the cube's origin hinted to be government-made, adding realism and further disturbance.
The document discusses how the media product represents social groups through its use of stereotypes and camera techniques. It represents a stalker through using a female character in that role, similar to films like Fatal Attraction. Camera angles like POV and shaky footage represent the stalker's psychological instability and anger. Deep focus shots show the stalker always watching from the background, wanting to be with the main character. While unintentional, red lights in scenes represent danger, as seen in the TV show Twin Peaks.
The opening of any film needs to quickly orient the audience by establishing who the hero and villain are, showing a recognizable setting, and following a conventional narrative structure. The opening of Casino Royale does this effectively. It introduces James Bond as the hero through his costume and his pursuit of the villain, establishes the setting in a developing country through locations and costumes, and builds tension through camera techniques, music, and sound effects that increase as the chase progresses.
1) Perception and truth are keys to understanding reality, but perception is defined by our senses and truth is subjective.
2) The film Rashomon depicts a murder with four conflicting accounts that cannot determine a single truth, demonstrating that people avoid reality and the subjectivity of truth.
3) While reality and truth exist, people have a tendency to avoid or distort truth to suit their own reasons, as seen in the characters' conflicting stories in Rashomon.
This summary analyzes the cinematography in key scenes from the film "The Shining". Medium shots are used to show Johnny's state of mind through low key lighting and his wife's panic through her shaking hands and facial expressions. As the situation escalates, she grabs a knife out of fear for her life. Medium close-ups capture Johnny's insanity and medium long shots show him preparing to break down the door with an axe out of madness. Medium shots with deep focus display the building terror on his wife's face as the axe penetrates the door and Johnny bursts through.
Connor receives a mysterious phone call from his deceased friend Anthony's phone and goes with two friends to investigate the site where Anthony died. When they arrive, one friend is suddenly killed. Connor and the remaining friend Stuart flee in fear and confusion, unsure of what happened but feeling guilty. They start to hallucinate their dead friends as their grip on reality fades, trying to understand the haunting events.
Sarah has woken up in the hospital after surviving a car crash that killed her daughter Jess. She is confused and panicked upon realizing her daughter has died. A shot of her running through the dark hospital hallways symbolizes her feeling that death is chasing her and trying to take away her happiness as she has lost her family. When Sarah breaks down crying on the floor in despair, her friend Beth tries to comfort her, as Sarah has been left alone in her grief.
The opening of Evil Dead (2013) establishes the horror and thriller genre. It introduces the isolated setting and main female character. Through the use of lighting, costumes, and props, it conveys a sense of danger, innocence, and the supernatural. The narrative starts in equilibrium, is disrupted by the character's kidnapping, recognizes the threat, attempts to repair through an exorcism, but ends in a new equilibrium with her possessed death, leaving the audience with questions to continue watching.
The document discusses several key elements that are commonly used in horror films to provoke fear in audiences. It explains that horror aims to capture our imaginations and feed on our worst nightmares by threatening normality. Some techniques discussed include the use of isolated locations, close-ups and shaky camera work to create tension, as well as lighting, sound, and narrative devices like the "final girl" to startle viewers. Common themes, subgenres, and iconography of the horror genre are also outlined.
The opening sequence of the media product uses conventions of horror thrillers such as a red filter to establish danger, non-diegetic music to build tension, and strategic character traits of the antagonist. However, it also challenges conventions by revealing information earlier than expected and using transitions and camera shots to hide the antagonist's identity rather than a mask. A key plot twist surprises the audience by subverting their expectations of what is behind a door, engaging them further in the story.
This document summarizes 9 key shots from the film "Law Abiding Citizen". The shots include: 1) A cutaway of the father and daughter bonding that establishes their relationship and home life. 2) A shot reverse shot conversation between the two characters. 3) An over the shoulder shot of thieves breaking in that foreshadows violence. 4) A mid shot of the intruders' intentions escalating a petty crime. 5) A medium close up of the wife being stabbed. 6) A close up of the protagonist's distressed facial expression while tied up. 7) A mid shot of the daughter witnessing the events silently. 8) A medium close up of one intruder being distressed with the other. 9)
Camera shots:Exorcist+Final DestanationNaomi Collins
This document provides descriptions and analyses of various camera shots and lighting techniques used in filmmaking to convey meaning and elicit emotional responses from audiences. Medium close-ups are used to show a character's reaction and create mystery for viewers. Extreme close-ups intensify viewers' focus on a subject's facial expression, such as demonstrating possession through a character's wide eyes. Backlighting, low angles, and lighting techniques like silhouettes are employed to make characters or situations seem ominous or foreboding by playing with shadows and perspective. Transitional devices like dissolves create ghostly feelings when fading between scenes.
The opening sequence of Dawn of the Dead uses sound, editing, imagery and music to set the tone and establish the apocalyptic horror genre. Scientific images of cells and a news report on a "disease" imply some kind of virus or mutation is causing zombies to attack people. Quick cuts show the widespread nature of the outbreak across the world. Johnny Cash's song plays over graphic footage, subconsciously drawing the audience in. The title appears in dripping red letters against a black background, foreshadowing the carnage to come.
In the film genre of psychological thriller/mystery:
Protagonists typically display signs of mental instability or trauma, such as PTSD from war. Antagonists aim to undermine and manipulate the protagonist's fragile mental state. Symbolic objects like black clothing and funeral flowers are used to suggest death and unease. Lighting commonly uses low-key shadowy styles to build tension and reflect the dark emotional themes.
The document analyzes three film trailers from different genres: Grave Encounters (horror), The Fourth Kind (psycho horror), and Mean Girls (American teen comedy). Various film and narrative theories are discussed in relation to each trailer, including how they influence expectations, represent certain groups, and impact audiences.
This document analyzes key frames from a media product to understand how it uses conventions of the thriller genre. Frame 1 introduces the vulnerable main character through his isolation with technology. Frame 2 provides more context of the character's loneliness through mise-en-scene elements. Frame 3 introduces the antagonist and creates intrigue through an ambiguous location and CCTV filter. Frame 4 uses an extreme close-up of the character's troubled expression to generate multiple interpretations and intrigue about what may happen. Overall, the frames employ techniques like isolation, ambiguity and emotional reactions to immerse viewers in the thriller conventions.
The document discusses horror film codes and conventions through analyzing the films Halloween and The Conjuring. It explains that both films follow common horror narrative structures, using techniques like point-of-view shots, dark lighting, scary soundtracks, jump scares, and climactic showdowns with the villain. However, Halloween leaves an ambiguous ending where the killer may return, setting up for sequels, while The Conjuring ties up all loose ends. Overall, the document analyzes how these films effectively employ standard horror genre elements to scare audiences.
This document outlines several key conventions of slasher films. It discusses how slashers typically involve a psychopath stalking and murdering multiple victims with bladed weapons. It then examines conventions related to the killer (being unstoppable and wearing a mask), lighting (using low-key lighting to create shadows), settings (suburban or isolated areas), victims (attractive teenagers), camera angles (close-ups to show fear and emotion), and sound (diegetic weather sounds and non-diegetic ominous music to build tension). The document provides examples of how following these conventions creates suspense and impacts the audience.
This document analyzes still images from a trailer for a horror/thriller movie about a family attacked by antagonists. The first image shows the happy family at the dinner table to establish equilibrium. The second shows one of the antagonists peering into the house, creating tension. The third shows family members in shock after one is shot with a crossbow, introducing violence and disequilibrium. The fourth establishes the setting of the house where the events take place. Subsequent images analyze shots that create fear, unease, and tension through the use of masks, lighting, points of view, and the crosshairs of a weapon.
The document provides an analysis of the thriller/horror genre by examining the 2010 film "Buried". It summarizes the plot, where a U.S. contractor in Iraq wakes up buried alive in a coffin with only a lighter and cell phone. Scenes are discussed that build tension through the protagonist's facial expressions showing his fear, pain, and efforts to escape. Elements like close-up shots, lighting, and the burning candle creating a sense of time running out are highlighted. The document also analyzes title designs and how they fit the thriller genre through dramatic fonts and colors like black, white, and red.
This still image shows two characters in a dark, isolated setting engaging in an exorcism. The character on the left is clearly in distress, shown through his rolled back eyes and red marks - visual cues that signify possession which is conventional in horror films. He is the primary subject of focus. The character trying to help on the right is less emphasized through placement and brighter clothing, establishing him as the protagonist providing aid. Elements like the dark lighting, isolated area, and signs of torture and possession seen in the possessed character come together to set an unsettling, suspenseful scene typical of the horror genre.
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Paul Conroy, an American truck driver working in Iraq, wakes up buried alive inside a wooden coffin with only a lighter and cell phone. He realizes there is not enough air to survive long. Through phone calls to the outside world, who struggles to locate him, Paul must rely on himself to escape this claustrophobic death trap in the desert. Facial close-ups are used to show Paul's fear, pain, and determination as he fights for survival against the clock. Dark backgrounds and limited lighting focus viewer attention on Paul's plight and unknown fate.
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2. The short film begins with a long shot of the
protagonist, which connotes to the audience that he
is the main protagonist. His crouching position
connotes he is searching for something that could
possibly help fight against the virus, or help create a
cure. The composition of the shot shows the main
protagonist, alone, in the centre of the long shot
connoting his isolation from society as he is in the
woods. Furthermore, this is consistent with the
composition of the films poster as it also shows the
protagonist in a central position, alone in the woods.
Shot 1
The voice-over dialogue explains the
stages in how to virus affects the
human body which informs the
audience again of the narrative
because it connotes the
disequilibrium has already happened
as they already know the symptoms
of the virus.
3. The quick cuts that are matched with a medium close up
connote s the build up of the protagonists fear and
alertness as he is unsure to be out in the open, where he
is wary about what could be out there.
As the short film starts during the search for a sample,
the audience, aren’t 100% clear on what’s really
happening, which creates an enigma as they must wait
and see for all their questions to be answered and
explained. In addition, the primary sophisticated
audience like to be able to think over and question
about what’s really going on in these scenes.
Shot 2+3
4. Shot 4+5
The low angle shot of the protagonist looking
through the brush, connotes all his efforts are
futile, as he finds nothing that could aid his
search for a cure. Furthermore, this
foreshadows his death because despite all his
efforts, it connotes that no one will be able to
find a cure to this disease. This then also
connotes how humanity is weak against
viruses and diseases despite claiming to be an
evolved species.
5. Shots 6, 7, 8, 9
+10
The close up of the protagonists boots
connote the distance that he has gone to try
and find a new ‘sample’, further connoting his
will to survive and overcome the
disequilibrium. The following use of a shot
reverse shot is used to to connote how he is
unsure of his surroundings and alert as a
diegetic sound of a branch snapping
connoting that there could be someone out
there. He hesitates as he turns around in the
medium long shot further counting he is
scared, but his need to find a sample pushes
him to continue his search. The camera is
handheld and shakes which connote his
anxiety and fear.
6. Shot 11 + 12
The big close up and the camera tracks left with pan right is
used on the protagonist's head connotes his rise in hope as
he sees a potential sample that he has been looking for all
this time. The close up of the slug on the log is an eye match
as it is what he is looking at which connotes that all his focus
is on the slug. However as the camera goes in and out of
focus during the non-diegetic voice over dialogue
“Dizziness”, there is an increase in volume which connotes
he is feeling disordered and disconnected. Moreover, it
connotes that he is experiencing the symptoms of the
disease, however as his focus is diverted from this, it goes
unrecognised.
7. Shot 13 + 14
The close up of the protagonists backpack and his
rush to get his equipment out connotes his
excitement of his new discovery and his curiosity to
find out whether this new sample could finally be
the answer to the cure. When the “nausea” is
spoken, the protagonist is slowly edging nearer to
the sample to be careful, however experiences this
“nausea” and falls forward connoting he feels
lightheaded and unsteady.However, when he drops
the dish. This could foreshadow the
disappointment that he feels int the future as he
fails to get a uninfected sample.
8. Shot 15
The close up of the gloved hand picking up the slug,
or ‘sample’, connotes how he is being careful not to
damage the sample as it could be the key to creating
a cure. As his is matched with a sting, it connotes the
importance of this action, however as it is a low
pitched loud sting, it connotes an uncertainty about
the sample and whether it is dangerous or not.
It subverts the ideology that mankind is the superior species as something so small
such as a simple slug could hold the answer to a cure for disease that is killing the
earth.
The antagonist which is in the form of a disease is shown to have even infected nature
which connotes that it doesn't discriminate between species, but infects everything,
whether it has evolved or not.
9. Shot 16
The medium shot of the two people looking at
their findings connote their eagerness to survive,
but also show their findings in hopes of a
scientific development which is further connoted
by the cut to a medium close up. The fact that
they are together in this post-apocalyptic world
connote their companionship and their ability to
rely on each other in times of need and work
together to overcome this disequilibrium.
10. Shot 17
A loud sting is heard when the title
appears on screen to grab the
audience's attention as the film is
properly introduced. The title doesn't
slow down the pace of the film as the
audience can see the protagonists
through the lettering. This is effective
as it doesn't slow down the pace of the
film or create an unnecessary pause as
it eventually fades to blocked white and
then fades off the screen to black.
11. Sound:
● Throughout this half of the short film, a non-diegetic dissonant score has been
used to create an ominous atmosphere as it connotes that there is something
unnatural happening within this post apocalyptic world.
● Near the beginning there is a high pitched noise during the voiceover of the
symptoms connoting that there may be some kind of interference,
foreshadowing the protagonists becoming infected in the future.
● The heavy breathing through a mask suggests that it is from the protagonist,
further connoting his unease and slight panic as he rushes to gather a sample
and return.
● Throughout this half, there is the ambient diegetic crackling of the suit.
12. Shot 18 + 19
The Composition of the shot is effective as the two protagonists
dominate the long shot in the centre of the screen, connoting
their confidence in finding a sample. The setting has changed to
an old white walled building, connoting how it has been
abandoned for a long time, further showing the disequilibrium
had happened a long time ago. This further connotes their
isolation from society as they live in an abandoned building that
has been long forgotten about.
The next shot is a medium shot of the protagonists opening a
thick and heavy door. This connotes that there is sensitive
information within the ‘research lab’, however it could connote
the need for protection from the outside, hence their protective
Hazmat suits.
13. Shot 20, 21, 22 + 23
The medium close up of the two protagonists finally introduces them, as their identity
was never revealed to the audience. There is no score, however there is the diegetic
sound of the suits as they walk.
When the male protagonist is looking at the sample, his anger is evident as the slams
done on the table saying “God dammit”. This connotes his disappointment due to the
futility of his efforts which confirms the stereotype that men can become aggressive if
things don’t go their way.
When the female then confirms the failure of the sample, she stays calm and proposes
they go out the next day. This linked with the males behaviour connotes that this isn’t
the first failure they have had, and are rather frustrated with their lack of success.
This subverts the traditional stereotype that women are emotionally unstable, but
instead confirms the modern representation that women are rational.
14. This medium shot of the male protagonist
alone expressing his anger confirms the
representation that men typically hide their
feelings away from others. However the
medium close up of the suit as he finds the
hole, connotes the realization that he may be
infected, however he hides it and keeps it
secret from his female companion as he
understands the fact that he is in trouble.
Shot 24 + 25
15. Shot 26 + 27
The high angle medium close up shot connotes their
vulnerability and helplessness against the virus as it
has already infiltrated and infected him. This is
followed by another high angle shot of the female
connoting how she is oblivious about the danger as she
sleeps next to her infected companion. The non-
diegetic high pitched sound connotes how his life is in
danger. The low key lighting foreshadows the male's
death, and the setting shows their lack of possessions
and connotes their reality that they are out in the open
with no true protection, as they hold onto their fake
sense of protection.
16. Shot 28 + 29
Firstly the low key lighting connotes that the male cannot escape
the danger as he is surrounded by darkness, lead only by a small
lamp. This lamp however connotes the small ounce of hope he
has for his survival as he is infected with the very thing they were
trying to cure. The non-diegetic whispers create an ominous
atmosphere as it connotes that he is hearing it in his head,
showing he is slowly succumbing to the disease’ symptoms.
The medium long shot of the male gripping at his chest connotes
he is at stage 1 “increased heart rate”. The use of an overlay of
the male while in the Hazmat suit connotes that that must have
been when he was first infected by the deadly virus and it
becomes more evident that he is struggling against the
symptoms as they reveal themselves one by one.
17. Shot 30, 31 + 32
The use of a sudden flash of yellow high key lighting in this long shot
connotes that the virus is having a strong impact on his senses. This
further connotes he is weak and vulnerable as he is slowly being
taken over, losing control of himself.
The second long shot then has an overlay image of him in the
hazmat again, further emphasizing how he is slowly losing control of
himself as he is having these strange flash back images. The blue
light used is harsh and unnatural, mirroring the virus’s true nature
as it connotes that he is mentally unstable and becoming vulnerable.
The third shot of the male looking into the mirror connotes he can't
believe what is happening to him and what he is becoming as he
loses himself again to the pain. This also connotes the intensity as
the over the shoulder shot focusses more on his reflection than on
him, connoting his change.
18. Shot 33 + 34
The camera tracks left at floor level along his
body on the floor. This is used to connote how
it is now morning and shows the aftermath of
the night before and how the male struggled,
eventually giving into the pain. Standing up in
a medium close up of an over the shoulder
shot looking into his reflection, he realizes the
state he is in before seeing the female behind
him. This connotes his fear as his companion
finally finds out the dangerous secret he had
been keeping from her.
19. Shot 35, 36 + 37
The close up of the male’s hand connotes he is trying to calm down
the situation as he tries to connect with the female again.
The close up his face then connotes his acceptance of the situation as
he tries to encourage the female to do what’s right and kill him,
before the effects of the disease spread any further. This connotes
that he wants her to stay safe incase she gets infected too, connoting
his wish for her to keep surviving.
Shot 38 + 39
A shot reverse shot is used between the female and the male to connote
the rift between their relationships. Before, when together, they had
been together in one shot, where as now they stand alone, connoting
further their feelings of isolation as their trust in each other is gone.
20. The camera peds down the males protagonists body, to reveal his
submission and surrender to the female. This subvert the traditional
stereotype that men are stronger and more dominant than women,
however this can also be seen as a confirmation of this as he is taking
control of the situation himself and asking her to do what he asks; kill
him. The camera then peds back up again to reveal his face once more
and his confidence in protecting her, as well as encouraging her.
Shot 41, 42, 43 + 44
Shot 40
The close up of the female connotes her regret and sadness as
she is going to lose the person she cares for as well as her
companion, as they need each other to survive. The close up
also connotes how she is in power as she holds the knife,
however she is hesitant and nervous, confirming the traditional
representation that women are unable to lead and are
emotionally unstable.
21. Shot 45 + 46
These help to provide closure for the members of the audience, who may later
question what happened to the female character ‘Jane’ and the consequences of
their death.
Summary:
we think that features such as the costumes and the scores were very effective as they worked as
iconography, showing the genre easily. Additionally effects such as the image overlay and the lighting
were also very effective in showing how the virus was affecting the male protagonist. Elements such as
these could be effective in our own production as we want to focus also on how to create the right
atmospheres through the use of lighting and iconography of horror. Items such as the costumes and
location are very important as they can impact the production as they are used continuously. However,
in this production the camera continually went in and out of focus when it might have been
unintentional. We will aim to make sure we keep control of the camera and make sure it is in or out of
focus when needed.