Wednesday 26 November 2014
Permission Form
Monday 24 November 2014
Questions for the Target audience
Questions to get a overview, for our potential target audience:
1) How much do you like thriller films? __________________________________________________________________________________________________________________________________________________________
2) Do you like tension and suspense? _________________________________________________________________________________________________________________________________________________________
3)What sub-genre of thriller do you prefer?
_________________________________________________________________________ _________________________________________________________________________
4) Can you name any directors of thriller films? _________________________________________________________________________ _________________________________________________________________________
5) Do you prefer a thriller, which includes violence, death and crime? ________________________________________________________________________ ________________________________________________________________________
6) How important is a good opening scene for a Thriller (choose a number from 1-10) ________________________________________________________________________ ________________________________________________________________________
7)Which do you prefer from these genres? (please underline) Action, Crime, Psychological, Historical, Religious or supernatural?
_______________________________________________________________________
_______________________________________________________________________
1) How much do you like thriller films? __________________________________________________________________________________________________________________________________________________________
2) Do you like tension and suspense? _________________________________________________________________________________________________________________________________________________________
3)What sub-genre of thriller do you prefer?
_________________________________________________________________________ _________________________________________________________________________
4) Can you name any directors of thriller films? _________________________________________________________________________ _________________________________________________________________________
5) Do you prefer a thriller, which includes violence, death and crime? ________________________________________________________________________ ________________________________________________________________________
6) How important is a good opening scene for a Thriller (choose a number from 1-10) ________________________________________________________________________ ________________________________________________________________________
7)Which do you prefer from these genres? (please underline) Action, Crime, Psychological, Historical, Religious or supernatural?
_______________________________________________________________________
_______________________________________________________________________
Sunday 23 November 2014
Target Audience
As part of my research I conducted a questionaire to find out what my target audience prefer when it comes to films and the thriller genre. The results are displayed below:
What makes a thriller
What makes a Thriller...
Key: menace, crime (often murder), high level of tension and suspense.
Narrative: (story & plot) how it's told, complex paths, clues, resolutions, enigma, happy endings, extrordinary events. The story is what the audience works out from watching it. The plot comes from the key events and what we actually see.
The Protagonist: (the hero) usually disempowered, becomes drawn into the 'web of intrigue' by...
The Antagonist: (the antihero/villian) they usually put the protagonist in peril.
Conventional Characters: the hero, the villian, the innocent victims, characters with dark pasts, psychotic individuals, terrorists, private eyes and spies.
Themes: identity, mirroring and voyeurism.
Key Elements: cliff hangers, plot twists, red herrings, terror, adrenaline rush, anticipation, anxiety, investigations, obsession, mind games, stalking, captives/hostages, revenge, paranoia, conspiracy, ransoms, chase scenes, cover ups, espionage. The protagonist defeats the antagonist.
Mise en Scene and Titles: echoes, how the protagonist's plight reflects their state of mind. Props - weapons - crime
Supernatural Thriller
Combining the edge-of-your-seat tension of the classic thriller with such basic horror oriented ingredients as ghosts, the occult and psychic phenomenon, the supernatural thriller combines the best of both worlds in creating a frightening but often restrained film that will have audiences hearts pounding and palms sweating. Generally eschewing the more graphic elements of the horror film in favor of sustaining a mood of menace and unpredictability, supernatural thrillers often find the protagonists either battling a malevolent paranormal force or trapped in a situation seemingly influenced or controlled by an otherworldly entity beyond their comprehension. Early {supernatural thrillers included such frightful efforts as Dead of Night (1945), The Innocents (1961) and Carnival of Souls (1962), filmgoers of the 1970s were treated to an abundance of superior efforts including Nicolas Roeg's Don't Look Now (1973) and The Wicker Man (1973) and Roman Polanski's The Tenant (1976) to name just a few. Sustained by such efforts as The Dead Zone (1983) and The Lady In White (1988) throughout the 1980s, the supernatural thriller received a strong renaissance in the late 1990s in the wake of M. Night Shyamalan's massive hit The Sixth Sense (1999). Followed closely thereafter with such notable efforts as The Gift, What Lies Beneath (2000) and The Others (2002), it seemed that audiences were still eager to be frightened and filmmakers were more than willing to oblige.
The History of the Ghost Story
Ghost stories have been popular for thousands of years, and people have various reasons for enjoying them, whether it's to learn something of the spirit world, or simply for a good scare. Ghost stories often reflect upon religious or spiritual beliefs concerning death and the afterlife. People naturally want to believe in and thus, read about the survival of the spirit upon the passing of the human body. Descriptions of ghosts in stories fascinate mankind, because one day we too will will be like them. So in reading ghost stories, we learn of ghostly conditions and appearances, enabling us to become somewhat enlightened with what our future may hold.
Ghost stories, whether modern or of old, all seem to tell similar stories about ghosts' tragedies, unfinished business, unrest, visitations, and hopeless roamings among the living. Ghost stories also sometimes share common ghostly messages of warning to aid those still alive, or tell of spirits with ill intentions, seeking revenge from those who wronged them in life. Some ghost stories truly enlighten, while other ghost stories paint a picture of hell to frighten!
Many famous authors have written stories about ghosts, such as Shakespeare, Henry James, M.R. James, Dickens, Wakefield, Irving, Aickman and of course, Edgar Allen Poe. Today, Stephen King has carried on the tradition of ghosts, by telling stories through books, television, and even movies!
Beyond the masters who have written many a ghost story, lies cultural traditions and legends we share with one another. Many stories are passed down generations within families, never to be told to the world, yet these ghost stories are very personal and of greater meaning to many. The stories seem to evolve over time, though, as details are lost or forgotten. Yet, it seems almost every family, everywhere has some sort of good ghost story hidden somewhere in their history.
Ghost stories can be fiction or true but usually include a haunting or experience with a ghost. Stories about ghosts are found within most cultures, whether modern or ancient. Ghost stories in classical literature have primarily been fictional, as they were typically used to teach a moral lesson. Charles Dickens' classic ghost story, A Christmas Carol , taught not only should we be benevolant to our fellow mankind, but that leading an immoral life can imprison one in their self-created hell in the afterlife.
Children also enjoy ghost stories, as evidenced by the popular Goosebumps books of recent years. It seems a good, non-terrifying ghost story awakens them to the supernatural and the unseen.
Key: menace, crime (often murder), high level of tension and suspense.
Narrative: (story & plot) how it's told, complex paths, clues, resolutions, enigma, happy endings, extrordinary events. The story is what the audience works out from watching it. The plot comes from the key events and what we actually see.
The Protagonist: (the hero) usually disempowered, becomes drawn into the 'web of intrigue' by...
The Antagonist: (the antihero/villian) they usually put the protagonist in peril.
Conventional Characters: the hero, the villian, the innocent victims, characters with dark pasts, psychotic individuals, terrorists, private eyes and spies.
Themes: identity, mirroring and voyeurism.
Key Elements: cliff hangers, plot twists, red herrings, terror, adrenaline rush, anticipation, anxiety, investigations, obsession, mind games, stalking, captives/hostages, revenge, paranoia, conspiracy, ransoms, chase scenes, cover ups, espionage. The protagonist defeats the antagonist.
Mise en Scene and Titles: echoes, how the protagonist's plight reflects their state of mind. Props - weapons - crime
Supernatural Thriller
Combining the edge-of-your-seat tension of the classic thriller with such basic horror oriented ingredients as ghosts, the occult and psychic phenomenon, the supernatural thriller combines the best of both worlds in creating a frightening but often restrained film that will have audiences hearts pounding and palms sweating. Generally eschewing the more graphic elements of the horror film in favor of sustaining a mood of menace and unpredictability, supernatural thrillers often find the protagonists either battling a malevolent paranormal force or trapped in a situation seemingly influenced or controlled by an otherworldly entity beyond their comprehension. Early {supernatural thrillers included such frightful efforts as Dead of Night (1945), The Innocents (1961) and Carnival of Souls (1962), filmgoers of the 1970s were treated to an abundance of superior efforts including Nicolas Roeg's Don't Look Now (1973) and The Wicker Man (1973) and Roman Polanski's The Tenant (1976) to name just a few. Sustained by such efforts as The Dead Zone (1983) and The Lady In White (1988) throughout the 1980s, the supernatural thriller received a strong renaissance in the late 1990s in the wake of M. Night Shyamalan's massive hit The Sixth Sense (1999). Followed closely thereafter with such notable efforts as The Gift, What Lies Beneath (2000) and The Others (2002), it seemed that audiences were still eager to be frightened and filmmakers were more than willing to oblige.
The History of the Ghost Story
Ghost stories have been popular for thousands of years, and people have various reasons for enjoying them, whether it's to learn something of the spirit world, or simply for a good scare. Ghost stories often reflect upon religious or spiritual beliefs concerning death and the afterlife. People naturally want to believe in and thus, read about the survival of the spirit upon the passing of the human body. Descriptions of ghosts in stories fascinate mankind, because one day we too will will be like them. So in reading ghost stories, we learn of ghostly conditions and appearances, enabling us to become somewhat enlightened with what our future may hold.
Ghost stories, whether modern or of old, all seem to tell similar stories about ghosts' tragedies, unfinished business, unrest, visitations, and hopeless roamings among the living. Ghost stories also sometimes share common ghostly messages of warning to aid those still alive, or tell of spirits with ill intentions, seeking revenge from those who wronged them in life. Some ghost stories truly enlighten, while other ghost stories paint a picture of hell to frighten!
Many famous authors have written stories about ghosts, such as Shakespeare, Henry James, M.R. James, Dickens, Wakefield, Irving, Aickman and of course, Edgar Allen Poe. Today, Stephen King has carried on the tradition of ghosts, by telling stories through books, television, and even movies!
Beyond the masters who have written many a ghost story, lies cultural traditions and legends we share with one another. Many stories are passed down generations within families, never to be told to the world, yet these ghost stories are very personal and of greater meaning to many. The stories seem to evolve over time, though, as details are lost or forgotten. Yet, it seems almost every family, everywhere has some sort of good ghost story hidden somewhere in their history.
Ghost stories can be fiction or true but usually include a haunting or experience with a ghost. Stories about ghosts are found within most cultures, whether modern or ancient. Ghost stories in classical literature have primarily been fictional, as they were typically used to teach a moral lesson. Charles Dickens' classic ghost story, A Christmas Carol , taught not only should we be benevolant to our fellow mankind, but that leading an immoral life can imprison one in their self-created hell in the afterlife.
Children also enjoy ghost stories, as evidenced by the popular Goosebumps books of recent years. It seems a good, non-terrifying ghost story awakens them to the supernatural and the unseen.
Thriller Wider Knowledge
Thriller essay
In terms of conventions, the thriller genre is many ways incomparable to other genres. This is due to the fact that the thriller genre consists of a level of suspense distinct to other generic films. Irrespective of the varying sub-genres of thriller, the crucial convention to their success is the excitement they contain (whether that is through suspense, anxiousness or uncertainty), this excitement is selectively coincided at well-timed moments with unsuspected twists, and this in turn results in the thrillers distinct levels of tension.
The term thriller is imprecise, since thrillers are generally categorised into various subgenres (each sub-genre having slight variations in their conventions). A favourable example of one of these sub-genres is that entitled “psychological thriller”, these thrillers focus heavily on individual characters. Perhaps, because of this consist of elements of psychological horror (horrors generally evolve around the misfortunes of one unfortunate protagonist). Incidentally within school we have collectively studied perhaps one of the most renowned psychological thrillers- Alfred Hitchcock’s “Psycho” the story which depicts the encounter of an attractive female secretary “Marion Crane” with the enigmatic yet psychotic “Norman Bates”. Although initially pushing boundaries from the onset of its release in the 1960s and loosely the crimes of the “Wisconsin murderer”. Psycho is unquestionably conventional, as it portrays the a stereotypical female victim in the midst of fatality and confusion- the justification of its success is solely in the hands of Hitchcock’s understanding of how to manipulate the viewer psychologically .
Another renowned sub-genre of thriller are crime thrillers. These thrillers are generally fictitious and rely heavily on created anticipation. Not only this but, crime thrillers (being hybrids) occasionally consist of elements of action-adventure films. This is due to the fact that the protagonists’ danger can be empathized by chases, escapes and cover-ups. A good example of a crime thriller is “The departed”
Although being proclaimed as an action film, this Scorsese film is evolved around organised crime and the struggles within the characters concepts of identity, therefore in my opinion I think this hybrid of film is conventionally more of a crime thriller.
Although it would be inaccurate and naive to disregard the variations in thriller sub-genres, a clear theme despite the overlaps is that all thrillers conventionally of the prolongation of confusion. A clear distinction to consider is the differentiation between “Action” films and “Thriller” films. This is due to the fact that fact that thrillers stimulate the viewer to draw assumptions from the plot as they attempt to conceive the outcome- this differs substantially to action films, as the audiences are stereotypically impatient resulting in the plot lines being fairly self-explanatory, having a “spoon feeding” feel.
An appealing convention is the level of normality portrayed. Empathy is created towards to antagonists as they are made to be familiar to the viewer, this not only ensures a certain level of admiration towards to depicted character but also aids in letting the viewer suspend their disbelief towards the sometimes far-fetched scenarios. Illuminating this ideal of normality, is David Fincher’s film “Seven”.
The basis of this story is the portrayal of two fairly average detectives placed within an predictably average suburban environment, by Fincher doing this complete empathy is created towards both protagonists and the audience is enabled in familiarizing themselves. Not only this,but the portrayal of being similar to the audience is furthered as the scene elapses into an establishing shot within the work environment. This primarily allows the audience to again have empathy as they (presumably) are used to the comparable scenarios and secondarily gives an insight into the character as the audience becomes aware that the protagonist beholds somewhat compulsive disorders as the camera shows a methodically organised desk.
Furthermore, a fundamental element to thrillers is that of plot twists. These not only determine the penultimate outcome of the film, but also alter the audiences perception of events as the director twists and eventually astounds the viewer. A distinct example of this is again “Psycho”. Due to the fact, that the entire plot is turned on its head as the revelation of character “Norman Bates” split personality is made evident. This makes this psychological thriller hugely discomforting, primarily because the viewer questions how the overlooked the antics of the psychotic character and secondarily for the reason that Norman himself was previously conveyed as a protagonist. By playing on the audiences preconceptions, Hitchcock not only makes Norman unquestionably iconic but also plays on the viewer’s subconscious.
Another example of a thriller which conveys a false protagonist is entitled “A perfect stranger” .The basis of the storyline is constructed around “Rowena Price” a reported with the intent of exposed corrupt individuals ( one of which being character “Harrison Hill”) despite this however in the midst of manipulation, deceit and adultery, the true motives of the female played by Halle Berry are revealed.
The concluding convention which I shall consider is that of suspense is essentially the sole decider on whether or not the overall impression on the audience is going to be positive or negative. By mastering suspense, the director is enabled in controlling and manipulating the viewer’s emotions. An efficient yet simplistic way of achieving this is by leaving questions unanswered (the main difference between action films and thrillers) as intrigue sparks tension. An additional attribute to the tension is the use of both non-diegetic and diegetic sounds- as the sound track is crucial in determining the audiences overall mood. Therefore in conclusion, I believe that thrillers have obtained the title of being the most effective genre of cinematography as they are simplistic at face value, leaving the tension to be a large result of the audience attempting to mentally deconstruct scenarios.
Opening Sequence Analysis - Reservoir Dogs
In this opening sequence, we see a group of 9 men walking down a street, and the camera cuts to each of them, then the text says which actor is playing who. Then it cuts to them walking down to a road, and then the edits say the title of the films. Although it doesn't introduce the characters, it introduces the actors who are playing them and it also says who has made the film (the director). It shows five men in suits against a bricked wall.
- Narrative
The narrative isn’t introduced, giving a hint at most that it does involve the group of men in the first shot who most likely go through a series of events that include gangs/crimes. It makes a good opening sequence as it doesn't hint a lot towards what the actual narrative is, but focuses more on the character development
- Characters
The main characters are all introduced in the opening sequenced, the names being superimposed under the short 3-5 second shots of them. The editing gives each character an equal amount of screen time showing that they each consider each other as friends and equals.
The costumes which are worn by the characters are black suits with ties and sunglasses and white shirt. The black suits represent them as being serious people as black is a very enforcing colour, and suits are mostly worn when attending something important or they have serious jobs. It connotes that the characters, if they do not have a serious job, that they are a part of an organisation, which is more likely because of their sunglasses, creating an air of seriousness, charisma as well as danger. There are two exceptions to this in for two characters, one a young boy who wears a bright blue and purple sports jacket, connoting that he is the most inexperienced in the group, as he isn’t wearing what the others are. The other is an old man with a polo shirt on which connotes that he could be the one who plays the role of the “sage” (Propp’s character types) and is most likely retired or doesn’t do as much leg work as the others.
The superimposed graphics denoting the cast and crew in the film are done in no particular order although we first see the use of graphics being used to inform the audience that it is a film made by Quentin Tarantino.
- Themes/Ideology
Themes within the opening sequence would include violence/gang culture and possibly friendship as we see the group of men together throughout the opening sequence. Again the suit as well as the sunglasses establishes that this could be a gangster film, because of the use of black being very prominent in the shot, it shows it being a ‘no-nonsense’ type of film.
- Setting/Establishing Shot
There is a set location introduced, but we see the characters sitting in a café at the start, then the group walking down a road. This shows that it is probably set in a town, but the mise-en-scene looks like an American diner, so it connotes that the film is set in America and most probably in a town of a city in America.
- Music
The music is an upbeat pop song, which makes the sequence of the men walking down the road look charismatic and makes the audience anticipate what is to follow. The song itself talks about drugs (subtext) which connotes that these men in the opening sequence are possibly dealing drugs, or simply just on the wrong side of the law.
Title
In one of the shots, we see the title “Reservoir Dogs” which connotes violence/ gang crime because of the use of the word dogs. It reinforces their representation of being gangsters, making them sound stronger, intimidating and more masculine.
The Dark Knight Opening Scene Analysis
Dark Knight
The Dark Knight Opening Scene Analysis
The Dark Knight is a fantasy movie that again, is grounded in reality. It's a story about and evil set around the comic book hero Batman. The Dark Knight begins with a bank heist, The Joker takes centre stage in this scene along with 5 other men who wear clown masks and slowly get killed off one by one throughout the clip.
It opens with title screens for Warner Brothers, Legendary Pictures and DC Comics, then we see a huge blue coloured fireball which then produces the Bat signal, along the Warner credit is a loud booming tune which acts as a motif. The sound is of Batman's theme from the first film so by using this it allows the audience to know what film they will be watching as they can associate it with this films predecessor. After this we see the Legendary pictures logo and following this is silence which, when following the loud booming motif on the logo before, gives the film a sense of eeriness. We then start to hear sound in the form of a ticking noise during the DC comics logo which seems to give the impression of a bomb timer which gives the film its theme of danger. All of the logos and Bat symbol are presented in a black or dark blue light, this combined with the bomb ticking, silence, loud booming and the Bat symbol rising from the fireball gives the audience the feeling that the film they will be watching will be very dark in tone.
It cuts to a long shot, which as acts an establishing shot, of a large building and the camera begins to quickly track in towards the windows of the building. As it cuts to this shot we again hear the sound of a boom noise followed by a tone that continues over the sound of the ticking. These combined give the impression that whatever will happen in this scene could be associated with danger as the slowly rising tone creates tension among the spectator. As we get closer to the windows suddenly one explodes creating a slight "jump" moment that confirms our thoughts about this scene beings associated with danger. It cuts to shot to the interior of this building and judging by the desk it is an office building. We then get to see our first character of the film however, he is wearing a clown mask and holding some sort of gun. Clowns are one of the biggest fears in the world so this combined with the fact he is holding a gun tells us that he is both an antagonist and that he has been placed in the film specifically the create fear upon the audience. As the window smashes the ticking noise continues however, it is a modified version of it. One of the clowns shoot a grapple hook over to an opposite rooftop. As we know that the clowns are likely to be the bad guys we think that they are planning to pull off some kind of dangerous act like a bank robbery.
The scene cuts to reveal a man standing with his back to the audience whilst the camera slowly tracks in to his back. He is holding a blue bag and a clown mask to tell the audience that this character is also one of the bad guys. Because we never see his face we automatically assume this person is a bad guy as we have nothing to identify him by, also as it cuts to this character the tense tune begins to start again possibly telling us that this person may be the leader. As it continues tracking in a car suddenly pulls up and allows him to get in. The tense tone stops completely and it cuts back to the people in the office building, allowing us to figure out that they are travelling in 2 groups.
The group in the office building attach a bag to their zip line and then go down themselves. As they go down the camera fallows them out the window and then quickly tilts down to show the way down to the street to create a feeling of uneasy upon the spectator, as it does the soundtrack suddenly makes a large boom noise and as it cuts again it carries on as we see long shot showing the clowns zip lining with the street beneath them. It cuts again to show them landing safely on the other side.
We see the other group of clowns in the car and hear our first line of dialogue. There are a total of 3 people wearing clown masks in the car. At no point during this part do we see any ones face. Although, the light outside is very bright the inside of the car is very dark to again tell the audience that the people in this car are the bad guys of the film. It cuts to a close up of one of the clowns although we do see the other two in the background. They are talking about the heist that they are doing and talk about a specific character known only as "The Joker". The two clowns that were originally inside the car are the only characters talking in this clip, however the character that entered the car is at the back although still slightly in shot so tyhe audience remembers that he is there as it is made obvious this particular chracter is important to this part of the film.
Then there is a parrallell action as the other group of robbers on the roof continue there conversation about "The Joker" and helps us know a little bit more about this character. After this it cuts back to the group in the car, they leave the car and approach a bank. The camera follows the third mysterious member of the group who is the only character we have seen who is yet to talk. There is a match on action as the robbers enter the bank and begins the shoot the air to worry the people inside the bank. The soundtrack still plays although is much quieter than before. It shows the bank manager as well to signal that he is going to be important to this character during this scene. The camera tracks around the bank and rarely stays still to keep up the speed of what is happening.
The music begins to pick back up as it again cross-cuts back to the group on the roof. Who are checking the alarm system. We then go back to the clowns who are now in control of the bank and see that the mysterious charcter is going around securing grenades to the hostages hands, he has still not spoken. We go back to the roof and it after one clown deals with the alarm the other clown shoots him. This is to tell us that these clowns are not to be trusted and are slowly killing each other to get a bigger share of the money. As he kills him the and runs downstairs the music plays what will later be known as The Joker's motif as it plays whenever he is on screen. He runs in to a room and the camera pans round to reveal a large vault, he hear the sound quiets down and begins to tick again suggesting this vault door is important to this scene. It cuts back to the main hall to show the audience that these robbers are now in charge with the unknown clown securing grenades to the hostages.
It cuts back to the vault to reveal one of the robbers breaking in to the vault with a large mechanical device. As it cuts back to the main hall we have a shot of on one of the more psycho clowns beating a hostage, we then get a close up of the bank manager with a rising tone in the background. The shots and music combined tell us that these 2 clips will be somehow connected, the rising tone creates tension among this scene. The bank manager shoots the clown and the music then kicks in to a kind of action tone as he walks out with the shotgun and the other clown's run in panic. The focus again is put on the mysterious clown as the back manager shoots at him the music slowly begins to tone back down as he shoots more bullets. We get a shot of the 2 clowns who are hiding behind a desk. The leader asks "He's out right?" to which the mysterious clown nods. The leader rises then gets shot by the bank manager. Through all the murders of the various clowns it tells the audience that a theme of the film will be betrayal. The mysterious clown rises up and shoots the bank manager. The camera then slowly tracks in to the mysterious clown to then possibly suggest that he is in fact the leader of the group. The music becomes gradually silent and then kicks in with the tone used previously to suggest that there is no more danger for the robbers.
The clown that was shot rises up to reveal that he was only wounded by the manager, he runs down to meet with the clown in the vault. One of the clowns opens the vault and after he is done gets shot by the other to again show the theme of betrayal. We then cut back to the main hall to reveal the mysterious clown who looks like he is now in charge of the whole operation as it seems he is now in control of the bank and hostages as it cuts the tense tone begins to rise up again. It cuts back to the other clown in the vault who begins taking money, then there is an ellipses that cuts from the clown taking the money to the main hall where the money is now collected. The clown who went to the vault then threatens the mysterious clown with a gun, again suggesting another theme of betrayal. The music here begins to repeat the same 2 notes over and over to build tension. In this part we hear the first line from the mysterious clown "No, no, no. I kill the bus driver" which confuses the audience as this is not what we would expect him to say due to what we have been shown so far. The scene concludes with a huge bus loudly crashing through the wall and killing the the other main clown, leaving the mysterious clown which has now confirmed suspicions that he is leader with him being the only one left and that he has planned this.
After the bus crashes through the wall we cut to reveal the back of the bus with yet another clown in the back who is now loading up the money. The music now resumes normal tone that it had before of The Joker's theme. After they load up the money the currently unknown clown gets shot by this clown we have been following. As he is about to leave we cut to the bank manager who is still alive and begins talking to the clown who then starts walking towards the bank manager. Here the tense shrieking tone again begins to pick up the close the clown gets to the manager. The clown remains silent on his approach and removes some sort of grenade from his pocket. We have a POV shot from the clowns persepctive looking at the bank manager. After the manager shouts "What do you believe in?" the clown shoves the grenade in to the bank managers mouth. The clown begins talking and the music begins to get louder and grows to a higher pitch as he replies "I believe whatever doesn't kill you simply makes you, stranger." When he says "stranger" we get a POV shot from the bank managers perspective to show the clown remove his mask and reveal a male covered in clown make-up. He has dark eyes and white face make-ep with a large red smile on top of some deep cuts on his cheeks, he also has long greasy green hair". To the audience this is easily recognised as The Joker who has all along been this clown and been in charge of this whole operation including slowly making his team kill each other. As he reveals his face the rising tone quickly drops to a much lower and darker town suggesting that this character is dangerous. It is a close up of his face and it is slightly disorientating to the viewer as it is quite unexpected he smiles at the bank manager and turns and leaves which is assisted by a weird sound that is also associated as being a dark sound. As The Joker leaves the tense rising sound slowly picks up as he leaves with the bank managers shotgun, there is a thread attatched to his waist which is connected to the grenade in the mouth of the bank manger. We start at his legs and slowly tilt up as he gets closer to the back of the bus. He climbs on to it slams the door shut and releases the thread from his waist. He climbs towards the front of the bus and we cut to the bank manager as the sound becomes diegetic and we hear the sound of the engine starting, the pin from the grenade detatches and he quiclky zoom in reveal green smoke to show the audience that the grenades used in the hiest were in fact duds and to reveal yet another theme of things not being what they seem.
This scene is relevant to our film as again it is a fantasy film that is grounded in to reality. The characters of Batman and The Joker do not exist in real life but the setting and the way it is film makes us believe that the events of this film could happen even though it is a fantasy, this is what we aim to do with our film.
Skyfall opening scene
SKYFALL
Skyfall opens with a chase scene that culminates in Bond's partner accidentally shooting Bond instead of shooting the bad guy. The bullet hits Bond hard enough to blow him off a train into the river below, and everyone concludes that he died.
Later, Bond turns up alive and shirtless, sporting a shrapnel wound (which he is touching in the picture below) received from the bad guy -- but no apparent injury from the bullet that blew him off the train.
So where on his body did that bullet hit Bond? Or was Bond faking that the bullet hit him? (Bond was able to hear M order the shot, so maybe upon hearing, he was shocked enough and upset enough to fake like the bullet hit him and bail out of the situation - which seems consistent with his subsequent refusal to report in for duty, his descent into drunken abandon, and most importantly his apparent lack of bullet wound.)
The opening sequence of ‘Skyfall’ unravels an abundance of indications towards the genre and narrative.
Iconography has been used where appropriate; for example: guns, knifes/swords, blood, grave stones, skulls, shadows etc…
From iconography alone, some may presume the film genre would be considered a thriller or horror. However: lighting, characters and pace suggests other wise.
Similar to ‘Boardwalk Empire’ the ‘James Bond’ opening sequence consists of predominantly dull colours (grey, black). Alternatively, with in the ‘James Bond’ opening sequence it has injected a handful of vibrant colours: white (from high key lighting (in underwater scene)), blood red and orange, yellow, purple (from lights).
Lighting: Dim (low key lighting) with areas of high key lighting, the image above being an example.
Costume: Suit, indication of significance in film (along with repetition of presence in opening sequence), suggests power, authority, professionalism, and potentially a serious character.
Cinematography: No consistent pattern, wide variety. Low and high angles (medium long shots, extreme long shots, extreme close-ups, mediums close-ups) of protagonist – James Bond. Therefore from this I feel there is no message being conveyed through shot types. Suggestions of the protagonists characteristics/role for instance. Conventionally someone in a placement of power and control, would be shown through low angle shots. Where as someone who is considered weak, would be shown through high angled shots, as if you as the audience are looking down on them.
Titles: Fit around composition of shot (what is included in the frame). Example below:
Skyfall opens with a chase scene that culminates in Bond's partner accidentally shooting Bond instead of shooting the bad guy. The bullet hits Bond hard enough to blow him off a train into the river below, and everyone concludes that he died.
Later, Bond turns up alive and shirtless, sporting a shrapnel wound (which he is touching in the picture below) received from the bad guy -- but no apparent injury from the bullet that blew him off the train.
So where on his body did that bullet hit Bond? Or was Bond faking that the bullet hit him? (Bond was able to hear M order the shot, so maybe upon hearing, he was shocked enough and upset enough to fake like the bullet hit him and bail out of the situation - which seems consistent with his subsequent refusal to report in for duty, his descent into drunken abandon, and most importantly his apparent lack of bullet wound.)
Iconography has been used where appropriate; for example: guns, knifes/swords, blood, grave stones, skulls, shadows etc…
From iconography alone, some may presume the film genre would be considered a thriller or horror. However: lighting, characters and pace suggests other wise.
Similar to ‘Boardwalk Empire’ the ‘James Bond’ opening sequence consists of predominantly dull colours (grey, black). Alternatively, with in the ‘James Bond’ opening sequence it has injected a handful of vibrant colours: white (from high key lighting (in underwater scene)), blood red and orange, yellow, purple (from lights).
Mise-en-scene:
Location differs throughout, implying elements of action and fast pace. Where as a social realism film would probably be located is fewer locations, as very little happens, and they have no need to move on, run (chase)/hide from where they are. With ‘Skyfall’ there characters that would typically be considered either: villain or hero. Therefore have their own locations to either hide with in, or be chased out of. Due to the film being a cross between multiple genres (cross genre): action, with elements of a crime drama; the locations changes to suit both. For example, there are scenes in offices – crime drama. But there are also an abundance of scenes on top of trains (fighting) setting an ‘on edge’ era. Also car chases; both portraying action.
Lighting: Dim (low key lighting) with areas of high key lighting, the image above being an example.
Costume: Suit, indication of significance in film (along with repetition of presence in opening sequence), suggests power, authority, professionalism, and potentially a serious character.
Cinematography: No consistent pattern, wide variety. Low and high angles (medium long shots, extreme long shots, extreme close-ups, mediums close-ups) of protagonist – James Bond. Therefore from this I feel there is no message being conveyed through shot types. Suggestions of the protagonists characteristics/role for instance. Conventionally someone in a placement of power and control, would be shown through low angle shots. Where as someone who is considered weak, would be shown through high angled shots, as if you as the audience are looking down on them.
Titles: Fit around composition of shot (what is included in the frame). Example below:
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