Wednesday, 8 December 2010

Appropriate fonts...HT

http://webcache.googleusercontent.com/search?q=cache:mZM51LbCQTYJ:marketingeasy.net/how-to-choose-the-best-fonts-3-key-tips/2007-07-10/+appropriate+fonts+for+marketing&cd=3&hl=en&ct=clnk&gl=uk

This site will help us choose the right and appropriate font to use for our advertisement of our film. It offers a 3 point guide on how to choose and apply the most appropriate font for the genre of film.
  1. The size of font would allow direct variation of attention to a advert
  2. Colours, these are usually linked to emotion, these would help tell the audience the genre of the film in a subtle way
  3. Typeface these need to be practical and easy to read

Let Me In Poster


Eden Lake Poster AM


Blair Witch Project Poster.. AM


Friday the 13th Poster AM


Wednesday, 1 December 2010

Hammer Film Productions

http://www.hammerfilms.com/

  • Film company based in UK
  • Founded in 1934 and is best known for a series of Gothic 'Hammer Horror' films (mid 1950s - 1970s)
  • Low budgets, but none the less appeared lavish, making use of quality British actors and cleverly designed sets
  • Hammer dominated the horror film market, enjoying worldwide distribution and considerable financial success

Early history (1935 to 1937) - Hammer Productions

  • November 1934, William Hinds, registered his own film company (Hammer Productions Ltd)
  • 10 May 1935 - formed film distribution company Exclusive Films
  • Hammer produced a further four films distributed by Exclusive: The Mystery of the Marie Celeste (1936), Song of Freedom (1936), Sporting Love (1937), The Bank Messenger Mystery (1936)
  • A slump in the British film industry forced Hammer into bankruptcy and the company went into liquidation in 1937
  • Exclusive however, survived and on 20 July 1937 purchased the leasehold and continued to distribute films made by other companies

Resurrection (1938 to 1955) - Hammer Film Productions

  • In 1946, James Carreras rejoined the company after demobilisation
  • He resurrected Hammer as the film production arm of Exclusive with a view to supplying 'quota-quickies' - cheaply made domestic films designed to fill gaps in cinema schedules and support more expesnive features
  • During production of 'Dick Barton Strikes Back' (1948) it became apparent that the company could save a considerable amount of money by shooting in country houses rather than studios

The birth of Hammer Horror

  • Hammer consolidated their success by turning their most successful horror films into series
  • Six sequels to The Curse of Frankenstein (1959) were produced between 1959 and 1974
  • The Revenge of Frankenstein (1959)
  • The Evil of Frankenstein (1964)
  • Frankenstein Created Woman (1967)
  • Frankenstein Must Be Destroyed (1969)
  • The Horror of Frankenstein (1970)
  • Frankenstein and the Monster from Hell (1974)
  • Hammer also produced eight other Dracula films between 1960 and 1974
  • The Brides of Dracula (1960)
  • Dracula: Prince of Darkness (1966)
  • Dracula Has Risen from the Grave (1968)
  • Taste the Blood of Dracula (1969)
  • Scars of Dracula (1970)
  • Dracula AD (1972)
  • The Satanicf Rites of Dracula (1973)
  • The Legend of the 7 Golden Vampires (1974)

Eden Lake (2008) IMDb research and facts... AM

'Refusing to let anything spoil their romantic weekend break, a young couple confront a gang of loutish youths with terrifyingly brutal consequences.'

Director: James Watkins

Writer: James Watkins

Storyline: Nursery teacher Jenny and her boyfriend Steve, escape for a romantic weekend away. Steve, planning to propose, has found an idyllic setting: a remote lake enclosed by woodlands and seemingly deserted. The couple's peace is shattered when a gang of obnoxious kids encircles their campsite. Reveling in provoking the adults, the gang steals the couple's belongings and vandalizes their car leaving them completely stranded. When Steve confronts them, tempers flare and he suffers a shocking and violent attack. Fleeing for help, Jenny is subject to a brutal and relentless game of cat-and-mouse as she desperately tries to evade her young pursuers and find her way out of the woods.

Taglines: 'A weekend by the lake, with a view to die for'

Motion Picture Rating (MPAA): Rated R for strong brutal violence, persuasive language, some nudity and brief drug use

Uk and Ireland: 18

Production Co: Rollacoaster films, Aramid Entertainment Fund

Runtime: 91 mins

Our Filming Progress CA

We were filming the beginning to our trailer but all didn't go quite as planned. It ended up that the time of day was too early so the light was too bright for the atmosphere that we wanted to create. Also there were many artistic differences between the actors and the directors. The weather didn't help the situation as it was so cold and all the waiting around made everyone cold and angry with eachother. So all in all we need to re think throught our plan and add more detail to it.

Wednesday, 24 November 2010

Let Me In (2010) IMDb research and facts.. AM

'A bullied young boy befriends a young female vampire who lives in secrecy with her guardian'

Director: Matt Reeves

Taglines: Innocence dies. Abbey doesn't

Motion Picture Rating (MPAA): Rated R for strong bloody horror violence, language and breif sexual situation
UK: 15

Production Co: EFTI, Goldcrest Post Production London, Hammer Film Productions

Runtime: 116 minutes

The Blair Witch Project..IMDb research and facts.. AM

'In October of 1994, three student film makers disappeared in the woods, near Burkittesville, Maryland. One year later, their footage was found'

Directors: Daniel Myrick, Eduardo Sanchez

Synopsis: Three film students travel to Maryland to make a student film about urban legend.. The Blair Witch. The three went into the woods on a two day hike to find the Blair Witch and never came back. One year later, the students film and video was found in the woods. The footage was compiled and made into a movie. The Blair Witch Project.

Taglines: Everything you've heard is true

Motion Picture Rating (MPAA): Rated R for language
UK: 15

Production Co: Haxan Films

Runtime: 81 minutes
Soundmix: Dolby SR

Friday the 13th (2009) IMDb research and facts.. AM

'A group of young adults discover a boarded up Camp Crystal Lake, where they soon encounter Jason Voorhees and his deadly intentions'

Director: Marcus Nispel

Synopsis: Young friends Whitney, Mike, Richie, Amanda and Wade, end up missing in the woods near the abandoned Camp Crystal Lake, after allowing their curosity to get the better of them and visiting the site where a psychopathic killer resides. Meanwhile Trent, invites friends Jenna, Bree, Chewie, Chelsea, Lawrence and Nolan to his cabin on the lake for a weekend of sex, booze and drugs. However, this seemingly fun weekend soon escalates into a nightmare after lone traveler Clay shows up looking for his missing sister Whitney and the young adults soon find themselves face to face with evil reborn, reimagined and rebooted, and his name is Jason Vorhees.

Taglines: 'Jason lives. Many will die.'
'Prepare for the day everyone fears'
'You know his name. You know the story. On Friday the 13th, witness his ressurection'

Genre: Horror

Motion Picture Rating (MPAA) - Rated R for some strong bloody violence, some graphic sexual content, language and drug material



UK: 18

Ireland: 18



Company Credits

Production Co: New Line Cinema, Paramount Pictures, Platinum Dunes

Technical Specs

Runtime: 97 min
Sound Mix: Dolby Digital

Online resources.. AM

http://www.bfi.org.uk/education/teaching/pdfonlyresource/doing_media_research2.pdf

Whist doing research on the British Film Institute website, I have come across this website which is a 36 page booklet for students on how to complete their media research. I feel that this is really useful and by working with tips from this booklet, it can complement our research and help us along the way.

Tips for Better Film Editing...AM

  1. Cut Tight - taking out unnecessary pauses between actors' delivery of dialogue lines. This may mean having to tighten the gaps within dialogue sentences or losing redundant lines of dialogue
  2. Temp music - people tend to fall in love with the temp score and then it is hard to get real music that feels good and temp music thus becomes a crutch. If a scene can stasnd on its own, the addition of sound effects and a score will make it better - expectation is a visual montage set to music.
  3. No 'Dragnet' edits - original Dragnet television series used a certain approach to cutting dialogue scenes - audio and video edits tended to be made as straight cuts betwen actors without overlaps as they delivered their lines. Our brains react better to edits where the change in picture and sound is not always together - split edits 'Lcuts/Jcuts'. Editing in a style where images often precede or follow the dialogue edit feel more natural to our minds and make the scene flow more smoothly.
  4. Matching action - Important = matching actors' hand positions, use of props, eyeline and stage position. The greatest weight is given to whether that cut drives out the emotion of the scene or moves the story along. The audience will often ignore many minor continuity differences from one shot to the next if they stay totally engrossed in the story - job as the editor is to cut in ways that they do.
  5. Moving camera shots - In an action scene, moving the camera around is a stape of action sequences. This is designed to create a level of tension.
  6. Don't cut back to the exact same angle - If you have a choice of several camera angles, do not automatically cut back to the same angle which was used in the previous shot.
  7. Cut for the eyes - When cutting an intense dialogue scene, look at how the actor's eyes play in the scene. Do they convey the proper emotion? What is the reaction of the other actors in the scene?
  8. Shaping story - It is said that there are 3 films: the one that's scripted, the one that's been filmed and the one that's edited. When editing, pay close attention to the story chronology and don't be afraid to veer from what was written or filmed if it makes sense to do so. Notecards on a story board help create a visual representation of the storyline. This helps to ensure that you reveal things to the audience in the most logical order and that nothing is inadvertently edited out of place.
  9. Make your choices, but be prepard for others - The choices you make in cutting tightly or altering an actor's performance all factor into the look and feel of the film. E.g. you can heighten the tension between characters in a scene by cutting their dialogue in a way that one actor overlaps or steps on, the other actos lines. When you make such a choice, it alters the emotion of the scene and should be done only if that serves the story.

Tuesday, 23 November 2010

Glossary of camera and editing techniques...HT


http://www.aber.ac.uk/media/Documents/short/gramtv.html

^^^ we should refer to these when we come to editing our teaser trailer and use them to create the tension and suspense our teaser trailer is wanting to achieve.

How to create tension within a scene...HT

This website gives a good insight into how we can shoot a scene with creating the most suspense as our main focus. This website gives a step by step guide to help organise a group into filming a supsense filled scene and also what to do and what NOT to do, when wanting to create a film full of suspense and tension. One thing which this website makes very clear we will be doing when we film and edit our teaser trailer is NOT to show the 'scary thing'. This will help to make tension rise dramatically. Another thing to take into account in the editing stages of things is to try and portray all sights, music and feelings through sound effects.

This website also reflects the view and thought our group had which was to make the 'scary thing' visisble but not easy to see, this will leave the audience guessing who or what is around involving them in the story. An example of this can be seen in the strangers when the girl is in the kitchen and you can see in the background the stranger walk in building supsens of what he might do next.



Another thing which makes strangers such a tension filled piece is the use of masks this leaves the audience having to guess who the 'strangers' are, involving them in the piece and therefore capturing and keeping their attention.

Monday, 22 November 2010

How to Make a Horror Movie With a Low Budget... HT

How to Make a Horror Movie With Low Budget Special Effects: Filmmaking Basics eHow.com

^^^ This would be good for inspiration into what we can do to create our film and how to try and do the best with what we have got.

Importance of Lighting...HT

Importance of Lighting in Movies: Filmmaking Basics eHow.com

^^^ This link shows the importance of lighting in films and why it is cruicial to pay alot of attention when deciding what light to use. We should watch this together to make sure we are all sure on what will work for our film, and to make it a priority in order to create a realistic and affective look to our teaser trailer.

Three point lighting...HT

^^^ This tutorial will help us create the effect of three point lighting in order to create a 3 dimmensional shape of the subject matter or to illumiate the subject matter. In our case this will be the facial expressions of our characters and their reactions to the 'killer' this will help to create tension and will be a good introduction of the characters for the rest of the film.


Production Lighting: 6 tips for filming at night... AM

As there is very little guidance in 'textbooks' about how to produce the best footage at night, I decided to research websites online. This website provides useful, simple tips to make the quality of our film as good as possible. As we are filming at around 4ish-6ish, at this time of year the sky will be dark, so it is important to better our understanding of filming in nightime before we actually shoot our film piece.

http://www.steves-digicams.com/knowledge-center/how-tos/camcorder-operation/production-lighting-6-tips-for-filming-at-night.html

Art of foley... HT

This would be good in order to create natural sounds which we want to capture from movements and reactions from our characters, this will help give the film a sense of realism. Obviously in our case this is abit extreme as we don't have the resources to recreate all the sounds but we could take inspiration from the techniques used to help enhance the natural sounds created by our characters at the time of filming.

Foley also says how everyday noises such as airplanes, trains and cars cant be stopped just because we are filming so techniques can be used to either overshadow with a controlled layer of sound or block them out completely in order to create a realistic movie.

Foley also makes apparent the fact that if any dialogue was to be used within filming; in our case non or very little can be lost through noises of the location however this can be replaced in the time of editing through different microphones.

Filming can also create dips in sound as each scene is taken over different takes and at different angles in order to create the best look and performance. And how when this is put together although all the shots flow nicely together sound can however become choppy, distorted and overlapped they say how it is possible to create bridges in order to blank out these gaps.

Weather forecast for day of filming...AM




Having the correct weather on the day of filming is crucial to gaining the best images and picture. Therefore, I have checked the BBC weather website in order to gain a rough idea of whether it will be a good day to film. As our film is based on going on a camping trip weekend, clear weather is vital. We are planning to film on Tuesday 23rd November, which has 'sunny intervals'. If we experienced wet weather conditions, this would inevitabely create problems on location and with mise en scene. The field that we are planning to film the majority in often floods, so wet conditions would not be practical. We will make sure that we test our the film looks in the dark and what different types of lighting can be used to exert the right amount of tension for the audience.




Friday, 19 November 2010

Synopsis CA

A synopsis is a brief summary of a novel, film or play.

In the case of our film this would be that there is a group of friends that decide to go camping. Whilst on this camping trip people start to go missing and the audience get the feeling that someone or something is watching them. As the film develops on the more and more clues that there is in fact someone or something out there to get them. Slowly they all separate and start to disappear. When the opportunity to flee arises they take it. But will this 'thing' let them leave?

Our teaser trailer doesn't specifically show the killer but as the film goes on the audience are given more of an idea to who or what the killer is.

Rough storyboard by AM, HT, SE, CA.... Presentation done by AM

Tuesday, 16 November 2010

Tips for filming outdoors in low lighting - SE

Filming outdoors in the evening or at night is difficult due to the lack of natural light and the sparse splattering of bright interference. As we are aiming to film our piece late in the afternoon and continuing into the evening, I researched filming techniques that would produce a successful result when filming outdoors in a low lit area.


  • Position the camera closer to objects you are trying to capture, this will assist in depth of field as well as image clarity in the patchy vision of night light.
  • Avoid zooming in too much.
  • Auto-focus will not be able to cope with sharp light spots that occur against a dark landscape, therefore it is better to manually focus on each image specifically.
  • Focus needs to be adjusted carefully between each frame as although darkness appears to be one concrete element, in reality each outdoor night situation will be slightly different in terms of saturation and light.
  • Try lighting small areas rather than trying to capture the entire region.
  • Focusing the filming on smaller areas enables you to highlight the partial nature of the light.
  • White balance in a correctly lit area where you will be filming - play with this to alter the colour of the night light by white balancing on slightly different coloured pieces of paper.
  • Keep the image natural - night scenes contain mystery, do not allow you to see everything clearly and have certain amounts of distraction to them.

Monday, 15 November 2010

Pictures for our film CA, AM, HT, SE












We thought that this area would be perfect to film the main part of our trailer. It has an area which already has had a fire in so we can use that to our advantage and also the area is in a cirle shape which can be where all the main charcters sit. we have a lot of wood land around where the horror can be set. We think that using this area around dusk would really set an atmosphere as it would look quite dark and mysterious.

Thursday, 11 November 2010

Marxist Media Theory.. AM

Media as means of production

  • 'Means of production' which in a capitalist society are in the ownership of the ruling class
  • The mass media simply disseminate the ideas and world views of the ruling class and deny or defuse alternative ideas
  • The mass media functioned to produce 'false consciousness' in the working classes
  • Leads to an extreme stance whereby media products are seen as monolithic expressions of ruling class values, which ignores any diversity of values within the ruling class and within the media, and the possibility of oppositional readings by media audiences

Marxist theories and Media - HT

Dialetical Materialism a theory started off by Karl Marx and Engles which Kumpar a critic of whom evaluates this marxist theory. She describes the theory as being more relevant to cultural and media studies of today. She also says how this work has come about due to the contradictory ways of media, just like the contradictory ways of reality. She then goes on to say how this contradiction allows for change within the whole of society, and how this change can be due people realising and resiting their oppression and exploitation.

She follows on to say how this contradictory nature of media is due to the modern media culture. How modern media pieces infuse all types and products of culture. These are categorized in to many factors;

  • systems of ownership
  • proccess of cultural production
  • level of sruggle
  • state of consciousness

All these things are put togeteher to create cultural depictions of society at one given time. Also how social actors in new forms of media mediate and navigate these contradictory forces of history, the material world and culture is the key to the problem of mediation in Marxist theory.

Tuesday, 9 November 2010

Day and Night Lighting Techniques - SE

Tony Reale describes and shows how to film and light the same scene during the same time of day to appear either in the day or night time. As a group we can apply these techniques to our project as we have a limited time period in which to cast and film our trailer.

Wednesday, 3 November 2010

The Cloverfield method of filming.. AM

http://www.cinemaadvanced.com/producing/the-cloverfield-method-of-film-marketing

As we are making a 'thriller' movie trailer, I have found that this personal blog is very useful in the marketing of our proposed trailer. It gives very useful tips on how to make our thriller into a universal movie.

HT- Demographics

The definition of demographic is a measurable characteristics of media consumers such as age, gender, race, education and income level. To find these characteristics social media channels such as Facebook can help define and isolate our target audience for our movie.





Like newspapers film producers and directors use demographics to target their film at one particular audience, however unlike newspapers where The Sun tends to target C1,C2 and D classes in film wealth is less of an importance. However should be consider when marketing a film for example where will your specific target audience see the adverts. Different classes tend to watch different genres of TV and TV programmes so in order to address the correct target audience for the film the teaser trailers would need to be played at the correct time and in between the correct programmes in order to capture the right type of audience for your film.

Other things to consider when releasing the teaser trailer is the age group it is targeting towards and when are they most likely to see this trailer. In the evening? When prime time tele is? or during the day? These would be important questions to consider when discussing the release of a teaser trailer.

How to make a movie trailer... AM

Instructions

1. Watch lots of movie trailers and take notes. The best movie trailers pull in the viewers to the movie plot and characters without giving away too much. For drama's/indies look at haunting images and music in the trailer 'Requiem for a Dream'

2. Master the use of popular editing software like iMovie or Ulead movie studio. These packages contain storyboard, trimming and title functions, and provide access to quick and easy frame transitions.

3. Sketch a storyboard for your trailer. You can use editing software or do it the old fashioned way, with pen and paper. If you're clear with the concept at the outset, it'll save you time and fustration at the computer later.

4. Set a budget to make your movie trailer. Decide whether you can use existing footage and music. If you need original music or edited scenes for use in the movie trailer, figure the cost and stick to it.

HT- let me in trailer



When I saw this trailer I thought it would be good to analyse the text used to create tension in this teaser trailer. It seems to narrate the audience through and is used to create a tone of the piece. Also the shots at the beginning of the trailer reflects the idea of what our group wants to do. It addresses that the protagonist is a school child similar to our film however the age difference is apparent.
In particular I think that the font at the end of the trailer showing the film title really fits the genre of 'horror' I think that we as a group could take inspiration of font and style of this title and put it into practice for our film. I also think this font style would be achieveable and leave our trailer with a good effect and would address the genre, leaving the audience with a clear idea of what to expect from the film.

Friday, 22 October 2010

The Blair Witch Project Trailer.. (Analysis AM)

The Blair Witch Project is a film which has set the boundaries for a new genre of film, for example, Paranormal Activity directed by Oren Peli. The handheld camera only confirms the realistic feeling of fear that the audience begin to feel in the cinema. As our movie is based on teenagers having a 'fun' trip camping which turns horribly wrong this movie trailer is very 'current' and the values which are decipted from the group of teenagers is something that we would like to create and bring in into our own media coursework.

The Blair Witch Project is a movie which has been viewed by a wide range of audiences from adolescents to adults and therefore does not have a set audience, which could be argued to be hard to acheive in the modern day world of cinema and film. This is an original film which I believe is achieveable on a low-set budget. However, trying to make a movie trailer based on hand held shots is risky and we may find that actually the shots do not look as good as if we were using a tripod and using long shots and medium close ups etc. Therefore I feel when we film our first draft, to use both handheld shots as well as camera shots such as long shot or close up.

The message at the beginning of the trailer, decipting that the movie is a real life story is also a method which can be seen in many major movies in the Box Office e.g. the Last Exorcism. The black and white lighting is effective as the audience feels as if they are physically in the dark as well as 'being in the dark' about the information in which we are given about the presence of an evil spirit. The realism that is created by the black and white lighting and hand held camera shots acts as if the audience is filming the documentary with them, and thus, builds up the suspense.

Cabin Fever teaser trailer

Friday the 13th teaser trailer

Friday the 13th (full trailer)

Conflict... AM


  • Conflict deals with how your characters must react and and act so that they can reach their intended goal

What is a story?

  1. Central conflict - Emotional conflict/Physical conflict. Work together to explore character and are 'connected.' Avoiding 'conflict condoms' and other mistakes that drain the life and emotions from your story
  2. Character conflict - the three best techniques to make your protagonist three dimensional. Emotional and physical conflict - Why you are your protagonist
  3. Bringing your protagonist to life - How your character's jobs, props, clothes, friends, home, traits, slang and car can give the audience important information and bring the characters back to life
  4. Conflict and Ideas - How conflict and concept are connected. Brainstorming - Methods for creating original ideas from nothing. Finding the right idea for your script. High concept is MY concept - a story that you will be passionate about that screenwriters will be passionate about
  5. Conflict and story - internal and external conflicts and story. Growing story from character or character from story. How story works. The connection between story and character
  6. Conflict in theme - Using conflict to explore theme. Theme and nexus, theme and dialogue.
  7. Structure and pacing - How the traditional 3 act structure really works - why its been used for over 2, 400 years.
  8. Thinking in pictures - film is a visual medium, and we use conflict to 'show' character through actions. Visual characterisation and visual story telling.
  9. Conflict and your supporting cast - How each character in your supporting cast helps to explore the central conflict
  10. Emotion pictures - A good script emotionally involves the reader. How to involve the the audience by using reverse, suspense, and plot twists.

Thursday, 21 October 2010

Discovering genre.. HT

All genres are divided into sub genres which helps the audience identify and become familiar with typical characteristics. Steve Neal (1995) says the 'genres are not systems they are processes - they are dynamic and evolve over time'. Genre characteristics all share similar elements; Typicla Mise-en-scene, iconography, location, shot types, camera angles and special effects. They also all share typical narratives and generic types for example typical male/female roles and archytypes.
Media producers all use familiar codes and conventions to often make cultural references to their audiences knowledge of society. Genre also allows audiences to decide what products they want to consume.

Rick Altman (1999) says how genre offers audiences 'a set of pleasures'...

  • Emotional pleasure: These are offered to audiences when they generate a strong audience response.
  • Visceral pleasure: These are 'gut' repsonses felt by the audience and is done by construction to create a physical effect on its audience. People can describe it as a 'roller coaster ride'
  • Interlectual puzzles: Genres such as thrillers offer the pleasure of trying to unravel a mystery or puzzle. Pleasure comes from trying to guess the plot or the ending or even being suprised by the unexpected.

Teaser trailer also throws up alot of discussion in whether itself is a genre..

Definition: A teaser trailer is a short trailer which advertises an upcoming movie, game or television series. They are unlik conventional trailers as they are much shorter in length (usually about 30 seconds long) and usually contain little if any acutal footage from the film. Teaser trailers today are increasingly focused on internet downloading and the convention circuit.

Teaser trailers are a genre which is intended to appeal to just one type of audience. they are used to promote awareness of a film and are not always literal representations of the film. Teaser trailers are a medium known for experimenting and to use controversial genreic conventions.

Creativity... HT

When looking at Tim Clagues video on creativity, says to focuys on stroy chatrs in order to get a structure for our trailer. Story charts are used to help combine story telling with technology as an inbetween stage in order to plan the structure of the film.


Tim also discusses how beachcombing is a good process to use to help generate creativity and initial ideas. He says how gathering little pieces of information and eventually creating into something is a process in which doesnt come quickly. When looking on Tims blog direct i found a diagram to help expalin this process...

When looking on http://www.petesmediablog.blogspot.com/ pete discusses how Tim Clague uses another technique called storycards. Which helps organise a piece of media this simply involves pinning up fragmented ideas and then reorganising them into shape an overall project. Tim also reccomends recording all discussions and ideas generated from whatever source just incase one day they are needed to go back to. it all helps to build up a story for a piece of media. however this idea isnt exclusively from Tim Clague he said he took this idea from the way H.G Wells an english author who created 'War of the worlds' and 'Time machine' who constructed his ideas by writing things on scraps of paper and putting them in a jamjar and when it was full would open it and start to construct ideas.

He also mentioned a site called http://www.postsecret.com/ which can help us generate an idea for our project. This site describes itself as a 'community based site' which enables people to post their secrets anomynously. He explains how this could be a good place to look for something to fuel an initial idea.

Friday, 15 October 2010

CA,HT,AM

Link to Wikipedia-thriller film titles CA

Thought we could use this link to find other films we haven't heard of in our research.

http://en.wikipedia.org/wiki/List_of_thriller_films

Link to Wikipedia-thriller films

This link has got so many thriller titles which we can use to do background research.

http://en.wikipedia.org/wiki/List_of_thriller_films

Thursday, 14 October 2010

How to turn your boring movie into a Hitchcock thriller..... AM






















STEP 1: It's the mind of the Audience

  • Make sure the content engages them and reels them in
  • Change everything in your screenplay so that it is done for the audience
  • Use the characters to tease the viewer and pull them along desperately wanting more
  • Hitchcock knew why people are drawn to a darkened theater to absorb themselves for hours with images on screen (do it to have fun)
  • As a film director you can throw things at them, hurl them off a cliff, or pull them into a dangerous love story and they know that nothing will hapepn to them. They're confident that they'll be able to walk out the exit when its done and resume their normal lives. And, the more fun they have, the quicker they will come back begging for more (Gottlieb)

STEP 2: Frame for Emotion

  • Emotion is the ultimate goal for each scene


  • First consideration of where to place the camera should involve knowing what emotion you want the audience to experience at that particular time


  • Emotion comes directly from the actors eyes


  • Can control the intesity of that emotion by placing the camera close or far away from those eyes.


  • A close-up will fill the screen with emotion, and pulling away to a wide angle shot will dissipate that emotion


  • A sudden cut from wide to close up will give the audience a sudden suprise


  • Sometimes a strange angle above an actor will heighten the dramatic meaning (Truffaut)


  • These variations are a way of controlling when the audience feels intesity, or relaxation.

STEP 3: Camera is Not a Camera

  • Camera should take on human qualities and roam around playfully looking for something suspicious in a room. This allows the audience to feel like they are involved in uncovering the story


  • Scenes can often begin by panning a room showing close ups of objects that explain plot elements


  • Everything changed drastically when sound finally came to film in 1930's.


  • Suddenly everything went toward dialogue oriented material based on scripts from the stage


  • Truffaut - Movies began to rely on actors talking, and visual storytelling was almost forgotten

STEP 4: Dialogue Means Nothing

  • One of your characters must be pre-occupied with something during a dialogue scene.


  • Their eyes can then be distracted while the other person doesn't notice. (Good way to pull audience into a character's secretive world)


  • Hitchcock - 'People don't always express their inner thoughts to one another, a conversation may be quite trivial, but often the eyes will reveal what a person thinks or needs'


  • Focus of a scene should never be on what the characters are actually saying - resort to dialogue only when it is impossible to do otherwise


  • Hitchcock - 'In other words we don't have pages to fill, or pages from a typewriter to fill, we have a rectangular screen in a movie house,'

STEP 5: Point of Editing

  • Putting an idea into the mind of the character without explaining it in dialogue is done by using a point-of-view shot sequences (subjective cinema) - You take the eyes of the characters and add something for them to look at


  • Start with a close up of the actor


  • Cut to a shot of what they're seeing


  • Cut back to the actor to see his reaction


  • Repeat as desired


  • You can edit back and forth between the character and the subject as many times as you want to build tension (audience wont get bored)


  • Have the actor walk toward the subject - switch to a tracking shot to shot his changing perspective as he walks


  • Truffaut - 'The audience will believe they are sharing something personal with the character' - Pure cinema


  • If another person looks at the character in a point-of-view they must look directly at the camera

STEP 6: Montage Gives You Control

  • Divide action into a series of close-ups shown in succession


  • Carefully chose a close up of a hand, arm, face, and gun falling to the floor - tie them all together to tell a story


  • You can portray an event by shwoing various pieces of it and having control over the timing


  • Hide parts of the event so that the mind of the audience is engaged


  • Hitchcock - transferring the menace from the screen into the mind of the audience'


  • Famous shower scene in Psycho uses montage to hide the violence - impression of violence is done with quick editing, and the killing takes place inside the viewers head rather than the screen


  • Anytime something important happens, show it in a close up. Make sure the audience can see it

STEP 7: Keep the story simple!



  • Simplistic, linear stories that the audience can easily follow


  • Everything in your screenplay must be streamlined to offer maximum dramatic impact


  • Each scene should only include those essential ingredients that make things gripping for the audience. - 'What is drama, after all, but life with the dull bits cut out'

Step 8: Characters Must Break Cliche

  • Make all of your characters the exact OPPOSITE of what the audience expects in a movie

  • They should have unexpected personalities, making desicions on a whim rather than what previous buildup would suggest


  • Ironic characters make them more realistic to the audience, and much more ripe for something to happen to them

Step 9: Use humor to add tension


  • Pretend you are playing a practical joke on the main character of your movie - give him the most ironic situations to deal with - unexpected gag, the coincidence, worst possible thing that can go wrong - all can be used to build tension

Step 10: Two things happening at once


  • Build tension into a scene by using contrasting situations


  • The audience should be focus on the momentum of one, and be interrupted by the other


  • Usually, the second item should be a humorous distraction that means nothing


  • E.g. when unexpected guests arrive at the hotel room in the Man Who Knew Too Much (1956), Jimmy Stewart and Doris Day are in the midst of a tense phone-call. The arrival of the guests laughing and joking serve a dramatic counterpoint to the real momentum of the scene.

Step 11: Suspense is Information

  • Information is essential to Hitchcock suspense; showing the audience what the characters don't see.


  • If something is about to harm the characters, show it at the beginning of the scene and let the scene play out as normal


  • Constant reminders of looming dangers will build suspense


  • The suspense is not in the mind of te character- they must be completley unaware of it


  • In Psycho (1960) we know about the crazy mother before the detective does, making the scene in which Balsam enters the house one of the most suspenseful scenes in Hitchcock's career


  • 'The essential fact is to get real suspense you must let the audience have information' - Alfred Hitchcock

Step 12: Suprise and Twist

  • Once you've built your audience into gripping suspense it must never end the way they expect

Step 13: Warning: May Cause MacGuffin


  • The MacGuffin is the side effect of creating pure suspense


  • When scenes are built around dramatic tension, it doesn't really matter what the story is about


  • The MacGuffin is nothing - only reason for MacGuffin is to serve a pivotal reason for suspense to occur


















Tuesday, 12 October 2010

Urban Legend trailer - AM

A History of Horror with Mark Gatiss: Frankenstein goes to Hollywood - AM

http://www.bbc.co.uk/iplayer/episode/b00v9gy5/A_History_of_Horror_with_Mark_Gatiss_Frankenstein_Goes_to_Hollywood/

  • Cinema's are were we come for a 'collective dream'
  • Horror films engage with our nightmares
  • Lon Chaney
  • Bela Lugosi
  • Boris Karloff
  • 'Realm of shadows and suggestions'
  • 1925 - Silent - Phantom of the Opera
  • Its about 'knowing you shouldn't look, but wanting to see'
  • 'Feast your eyes- glut your soul, on my accursed ugliness!'
  • Lon Chaney - Godfather of horror actors - man behind mask (Phantom of the Opera) - 'MAN OF A THOUSAND FACES'
  • Silent era
  • Chaney - 'extraordinary characterisation'
  • Phantom of the Opera is as much an exercise in ethnic spectacle as it is a claustrophobic horror picture
  • Dracula became a figure that could be... welcomed into society
  • Dracula - first horror picture with sound
  • Lagosi becomes a shadowy figure who 'comes to get you whilst you sleep'
  • Could be said Dracula was the first modern horror film
  • Atmospheric settings e.g. dark decaying castles
  • Frankenstein - coffin corressed with negrophilic tenderness
  • Daring tone and stylish execution
  • Visionary but credible
  • Frankenstein's face really tells a story e.g. through screws in neck
  • Looking different makes a difference

Thursday, 7 October 2010

Theorised Creativity

Representation

Woman Clone


  • The CD cover, in semiotic terms presents the band as a text and connotes the 'world of the text' in ways that are both straightforwardly feminist - dealing with the representation of women as clones, as commodities and as objects - and at the same time postmodern and post feminist
  • The audience is not expected to be exposed here to the idea that women are reperesented in traditional ways for the first time, but that this representation of a media reality is actually a return to a feminist perspective in the context of a backlash against feminism
  • In post-feminist environment, women are seen as complicit.
  • The 1990's 'girl power' culture was a manifestation of this, through which females are represented as seeking equality, but at the same time dressing and appearing in ways which are keeping with the male gaze.
  • The blending of the CD cover with these band member images, and the punk aesthetic of the music itself, delibaretly complicates the meaning of 'Woman Clone' and plays with gender representation to displace the audience.
  • Barthes - 'Striptease is based on a contradiction. Women is desexualised at the very moment when she is stripped naked. We may therefore say taht we are dealing here with a spectactle based on fear.'
  • Roland Barthes (French Structuralist writer) - giving an example of mythologies - a seminal theory outlining the way that media representations relate to broader cultural myths and belief systems
  • 'In a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive/female. The determining male gaze projects its phantasy on to the female figure which is styled accordingly' - Mulvey in Humm 1992
  • Laura Mulvey - men look at women and the media reinforce this by filming or photographing women from a male point of view - so the norm for media representation is that the camera is male.
  • Feminism itself is a misunderstood and derided political project, often undermined by the very people it seeks to liberate - women.
  • 'Historically people and movements have been called feminist when they recognised the connections between social inequalities, deprivations and oppressions and gender differences. Currently feminists are pursuing questions about the consequences for women and fo men when gender oppressions intersect with other forms of oppression, with homophobia, classism, ageism, disability and racism' - Humm
  • There is more symbolic oppression in the media than at the time of Humm's description, as we add the xenophobic reaction to Islam in the post 9/11 context and the gradual erosion of civil liberties which is partly facilitated by media representations of 'the threat'.

Audience

  • How do people make sense of and give meaning to cultural products
  • 'Pop stars are, to some extent, symbolic vehicles with which young women understand themselves more fully, even if, by doing so, they partly shape their personalities to fit the stars alleged preferences' - Paul Willis
  • Interplay between pop idol, female fans and media is already knowing and ironic, but nevertheless the symbolic exchange of gendered meanings around music is still powerful

Tuesday, 5 October 2010

Creativity HT CA

10 commandments for reflective writing;

1) Focus on creative decisions informed by institutional knowledge

2)Focus on creative decisions informed by theoretical understanding

3)Evaluate the process-don't just describe it

4) Relate your media to 'real media' at a micro level

5) Try to deconstruct yourself

6) Choose clearly relevant micro examples to relate to macro reflective themes

7) Avoid binary oppositions

8) Try to write about your broader media culture

9) Adopt a meta discourse

10) Quote, Paraphrase, reference.

In OCR media studies book there is a case study by Sophie Hughes called 'woman clone'. It brings up lots of areas for duscussion.

MEDIA LANGUAGE;



  • Uses semiotic approach in dialogue with theoretical perspectives from feminists and postmodernists.

  • Theme area of critical perspectives linking to synoptics.

  • Pull out any one of the micro images that make up the cover and analyse it in isolation.

  • Representation of couple in formal dress this could purely represent a straightforward social activity. But placed in this frame along side the rest of the images anchor the name of band/album.

  • Sign is motivated towards a cynical response.

  • All images suggest a cloning of women in relation to dominant ideas to gender.

GENRE;



  • It is possible to locate different styles of covers in sub genre categories e.g. Sophie might consider how her abstract symbolic approach might sit along side other genres of a contrasting style.

NARRATIVE;

  • entirely grounded in cultural knowledge linked to a CD cover, we are socilalised to expect this relationship between texts and the ways they are packaged.
  • The logo of the band anchors the selection of images and therefore constructs a narrative and how it expects the media to show various signifiers.

Narrative is such a powerful tool that it is, arguably, an even more important key concept than genre. Narrative has probably existed as long as human beings; It is likely that the stone age artists who drew 18,000 year old cave paintings expected narratives to be woven around their images. (Nick Lacey 2000)

Tuesday, 13 July 2010

British New Wave

The British New Wave is the name given to a trend in filmmaking among directors in Britain in the late 1950s and early 1960s

Examples of British New Wave Films are:

Look Back in Anger (1958)
Room At The Top (1959)
Saturday Night and Sunday Morning (1960)
Hell Is a City (1960)
The Entertainer (1960)
A Taste of Honey(1961)
A Kind of Loving(1962)
Billy Liar (1963)
This Sporting Life (1963)
Tom Jones (1963)
A Hard Day's Night(1964)