Christian Metz’s developed a model of genre development in
1974. He suggested genres pass through four main phases of existance. These phases transition
creating a stream of movies correlating in genre but whose aim slightly
differs. These phases are experimental, classic, parody and deconstruction.
The experimental phase consists of mainly early films, which
explored and experimented narratives to create the horror film, they lacked
guidance and was rather a trial and error stage which formed. Therefore they
looked to find guidance in other forms Nosferatu, in particular, tailed the
German expression movement which used the main awareness of contrast especially
with darker colour and therefore shadows where used as a prominent feature in
these film. Definitive examples of these are 'The Golem'(1915/1920), ‘The cabinet of Dr Caligari’
(1919) and ‘Nosferatu’ (1922) all of whom formalised the narrative convection
of the horror film in the earliest phase.
The next phase sees the existence of the classic films which
helped establish the narrative conventions of the horror genre in films of such
are the most successful and are the defining era of such ideas. Standard
examples of these are Hollywood’s ‘Frankenstein’ (1931) and ‘Dracula’ (1931) made
by universal- such films are widely recognises as classics. These eminent films
pinpointed the original ideas and conventions that many films now follow gives
them a trade and defining role in the horror genre today.
Parody films, stated by Metz’s model, soon follow with a
primary objective to mimic the horror genre in a comical fashion. These parodist films create a wider spectrum
of audiences as well as create an unconventional twist. Prime example of these
are films such as ‘Abbot and Costello meet Frankenstein’ (1931), ‘Carry on
screaming’ (1969) and ‘Scary movie’ (1999).
Next to follow sees then the rise of deconstruction films,
these take the generic elements and styles of the conventional ‘classic’ horror
genre and integrate them into varying sub genres. Such examples of these are
films like ‘Se7en’ (1995), ‘The blair witch project’ (1998), ‘The sixth sense’
(1999) and ‘Scream’ (1996).
The instantaneous underwater shot makes it apparent that
the sea is going to be an imminent setting. The lighting is dull representing
night time- this further makes the water blurry and murky giving the illusion
of a the unknown. The camera movement is smooth and natural, through the water,
indicating perhaps that it is a point of view shot of a sea creature. The
juxtaposition of the title ‘Jaws’ fades on screen anchoring the idea that it is
a point of view shot of a shark. The iconic theme song, by John Williams, is
laid over the scene. This stimulates an eerie thriller atmosphere giving an on
edge feeling alluring the audience to wanting more. The tempos pace then
accumulates instigating that something is about to occur, yet it then reaches a
peak and cuts. This cunningly leaves the audience in anticipation and suspense,
a commonly used characteristic within other thrillers.
A jump shot then focus the location onto the land. The cut
signifies the beginning of the credits, and switch to the diegetic sound of a
harmonica and guitar creating a stark contrast too previously as it is now tranquil.
A close up, two shot shows the relationship between a couple engaging with one
another, it then horizontality tracks and panes revealing more couples, dressed
casually, participating in smoking and drinking; signifying common teenager conduct.
This focus on their acts insinuates their carefree nature which is a typical
victim trait; from this can relate the shark to be the imminent danger to them.
Through the use of a camera pan, round the young group, it looks like someone
is watching and waiting like that of a predator when selecting its prey. There
is a large fire shown by a long shot which additionally overstates their blithe
attitude; yet could also foreshadow danger and them needing assistance as a
fire is normally an SOS signal. The fire is the only light source, creating
many shadows implying that much is hidden and out of sight (like the shark). Expectation
of hazardous events kicks in as teenagers are frequently the target in most
horror and thriller films (like Scream, and The Ring). A shot reverse shot, of
a male and female is shown, showing a relationship between the pair, and there importance
as they are shown on screen singly; this rapport is a classic representation of
a young fling. They then exclude themselves from the main group by running away
immediately making them appear more vulnerable. The camera then tracks there
movement, the tracking makes it appear like they are approaching danger. The
boy is chasing her further exaggerating she is the classic innocent target. While
running she is stripping her clothes making her also physically more exposed to
danger.
A shot from beneath the water at a low angle shows the young
girl swimming on the water she is swimming in the natural lighting of the moon giving
her an angelic persona making her seem innocent so the ideal target. The camera
is a low angle shot, which is commonly used to signify a characters authority
or power; yet this shot rather implies her lack of awareness of what is below
her. The camera is in the depths again appearing to take the shark’s viewpoint;
the little light generates a gloomy image perhaps representing its upcoming evil
acts. A cut to an extreme longshot of the sea shows a boy, and the girl, in the
water which demonstrates again her seclusion and her distance from aid. Typical
of a thriller the audience are aware of impending danger yet she is blissfully
unaware, shown by a close up, of her smiling and being happy.
Then a cut shows a further submerged shot which is a zooming
point of view shot from the shark’s perspective which focuses the attention on
the girl and builds tension as you feel that action is going to take place. The
lighting presents her as a blackened shadow foreshadowing lifeless. A close up
of her face is presented on screen as she is first attacked this allows us to
see her facial expression and her desperation. The silence is then shattered as
she begins to scream, as she is dragged below the surface, which is intense and
disconcerting to the audience making them feel apprehensive and adding to the
tension of whether she will be saved. As her attack advances the cut pace
increases representing the panic and confusion. The camera is at water level
and therefore the audience feel like another character watching this happening
giving them a sense of helplessness. The water splashes against the camera also
making you feel more involved and panicked. It then cuts to a wide shot of the
beach showing the boy with his feet in the sea and head on land, above him is
the sun covered by clouds perhaps representing the end of the day and end of a
life. This shot is calm and the ambient noise of waves is only present creating
a very calm atmosphere which is emphasis the panic apparent in the previous
scene. This cross cut also leads the audience into feeling a false sense of
hope that she will be rescued by him. The diegetic sound of bells from a boat then
rings, these could symbolise church bells like that heard at a funeral or
memorial again symbolising her death. The scene concludes with a silence
representing her untimely death.
Donnie Darko is a 2001 American horror set in 1988. The
compelling film follows Donnie Darko, a troubled teenager, as he comprehends abnormal
visions and occurrences around him.
Non-diegetic sound of a thunderstorm echoes pre picture,
foretelling the audience that the upcoming shot will correlate- representing
perhaps how visions play appear in the feature. It then fades in to an extreme
longshot of a woodland expanse immediately presenting the scene and gives
rather a tranquil impression. It is dry which is a contrast to what you
preconceive which connotes strange shifts of time throughout. It seems to be dawn
foreshadowing the awaking of something- also creating a hazy and dull image
implying confusion and delusion.
Horizontal tracking reveals more of the
wilderness then a pan reveals a road. This then continues in a forward tracking
giving a sense of stalking or a journey, adding to the thriller/ horror feel. An
object is present in the centre of the road yet this master shot does not give
detail of what it is- the purpose is perhaps to build tension and confusion. Forward
tracking allows you to grasp it to be a body- this is slow to gather mystery
into the situation. A steadicam allows for a very smooth movement almost
comparable to a ghost or spirit. The diegetic music is slow and depressing
signifying the characters state and feel. The body then sits up and the camera
tilts and pans round his head- showing the head to be of some significance perhaps
showing he is academic, philosophic, and theological (Which could also
foreshadow his mental health). An echoing keyboard accompanies the instrumental
signifying the sadness of the character. An extreme longshot reiterates the
landscape and could be denoted as a point of view shot, showing his isolation
and that he feels secluded with his mental disorder, as well as foreshadowing
his is a social outcast. He stands up obstructing the view, showing he could be
irritating or a nuisance- yet could also show he feels he has control. He then
rotates to show a close up of his face and then he laughs adding an evil,
twisted edge to his character. A shadow hides one side of his face signifying a
split personality or ashamed of something.x
A fade from white then takes use to a long shot of him
pictured on a bike signifying a flashback or passage of time. The juxtaposition
of him in the centre of the scene helps you classify he is the central
protagonist. ‘The killing moon’, a more tempo soundtrack, is played by the
artist Echo and the bunnymen- which is ironic as Frank (his imaginary friend)
is a Rabbit. The non-diegetic music gave a more positive atmosphere, a contrast
to before, portraying the highs and lows he feels- further stapled with the
bright lighting. Reverse tracking then gives a sense of movement and progress.
The bike shows he is a very active person yet cycling is quite an individual
sport again presenting him as socially outcast. A cut to a low angle shot gives
the illusion he is in control yet this is later contradicted in the film. The
steadicam coincides with very few cuts making it smooth and following.
A cut alternates the attention to, a close up, an orange
Halloween sign again emphasises the genre of the film. The camera then
continues to track the boy anchoring further that he is the films main focus,
making you form a relation between him and the title of the film, ‘Donnie
Darko’. The shots are wide allowing you to gather the next scenery. It pictures
large white wooden houses set back off a wide street, typical of that of a
middle class American town. The cameras focus is then taken from Donnie and tracks
an older male using a leaf blowing signify average daily life. A young female
then comes into context and jokes with the man who appears to be her father.
The switch of focus to other characters foreshadows that Donnie affects others.
Then it cuts to a young typical American girl playing on a trampoline, the
crane shot tilts down then displaying a woman on a deck chair reading a book,
Donnie is then enters on screen hinting they are related. The women appears to
be the mother midway through reading a Stephen King book again fixing the
horror genre. She is lying down presenting her as being relaxed and appears not
fussed by Donnie’s arrival revealing that similar situations typically takes
place. The four characters exposed had individual screen time signifying they
each have important within the impending story.
Donnie then enters the typical American house and opens the
fridge, signifying that he lives there- it could also show that he has been
away for a while as he is hungry. A medium shot shows the fridge which reads
‘where is Donnie?’, further creating the mystery into his disappearance. A
master shot shows the characters all sitting around a kitchen table eating a
meal, reiterating that they are a family unit and shows that they play a role
in the film. The dark lighting and shadows symbolise secrets and gives a
sinister feel as well as foretelling death. A cut to a two shot shows the
relationship between the two girls and shows them as being sisters, the
following shot shows Donnie singly , which could show his isolation or lack of
connection with his family. The fast paced shot reverse shot between Donnie and
his sister then shows conflict between them which foreshadowing further matters.
Just
like heaven is a romantic comedy directed by Mark Waters in 2008.
Instantly
during the DreamWorks studio logo sequence, a soundtrack is introduced ‘Just
like heaven’ by Kate Malua; the strumming of the guitar gives it a very
romantic feel. The correlating title of the film and soundtrack awakens the
audience to the fact that they are going to watch a film relating to heaven.
This could be seen as relaxing or in contrast sadness due to the idea of death
yet the light hearted upbeat soft music corresponds to a happy feel; presenting
it as a romantic comedy. The non-diegetic music is slow and smooth creating a
relaxing and romantic atmosphere- commonly used in rom coms.
The
camera then tilts down appearing too head down from the clouds during this the
cast names fade in and out in the corners of the screen giving them importance
yet not in the centre them form the main focus is still set in the clouds. The
names are in bright vibrant colours portraying happiness and typical of that of
rom coms to keep it light-hearted and not dull. The camera is spinning
appearing to fall through the clouds perhaps signify a fallen angel.
The
clouds fade; the camera then slows tilting down to show a long shot of a female
sitting in a bright area. From the shot beginning from above her it perhaps
takes on the persona of God; again a heaven reference. This long shot displays
her, and the surroundings; which are bright and vivid clean and the location
contains flowers inferring it is a garden. When linked with the clouds and sky
perhaps denote the Garden of Eden. She is perched on a rock presented cleanly
in a long dress implying her as a classic girly girl. A close up of her face
demonstrates her youth and beauty. She has golden blonde hair further
instigating her into the typical female central protagonist of a romantic
comedy.
A
cross dissolves then shows a passage of time and perhaps implies the amount of
time she has been there.
A
sharp jump cut then shows a new dynamic. Sharply it shows a close up of the
same female yet she appears like she had just awoke showing that, perhaps the
previous sequence was merely a daydream. She had her hair tied up in a messy
ponytail will little makeup on, showing her lack of care; it also shows her
tiredness and exhaustion which is a stark contrast to the way she was presented
previously. A slight zoom out reveals a stethoscope around her neck hinting she
is a doctor so is aspirational and intelligent and perhaps indicates she is an
independent woman, so perhaps single. Yet later shots of her seem rushed and
panicked and the steadicam follows her around constantly showing she is always
busy and on the move. Non diegetic music kicks in which is upbeat and fasted
paced showing she is again non stop but it is upbeat and lively presenting her
as a person with the best interests at heart. A range of shots of her care fade
in and out displaying her helping various people, showing she is caring and
puts others before herself; furthermore the focus is always on her showing that
she is the main protagonist. One character keeps appearing who is an old man
and the dialogue reverences to marriage between him and the man protagonist,
this is very soft and innocently said. She is also shown in a two shoot with
other males who want to try it on with her. Yet she is quick thinking and moves
on each time showing she is more focused on work life. These shots add a
comical and romantic feel allowing the audience to become aware of the genre.
The
camera then shows a long shot of her in the toilets with other work mates,
shown by them having similar dress code, the dialogue is based around
relationships and we become aware she is a workaholic and is singe. A behind
the shoulder shot shows her looking in the mirror and perhaps showing she has a
split personality and desires more from her life. Her phone rings and a cut
then take us to the person’s house on the other end of the phone. A steadi cam
follows this busy woman around her living area as she completes multiple tasks.
The dialogue is rather louse and laid back between the two females giving the
impression they are close friends. The new sense of the house of her friend seems
expensive shown by her contemporary furnishings and interior. Cuts then transition
between them on the phone which compares their situation and lifestyles. A
close up then shows the one females taking a sip of wine and preparing meals
perhaps showing she is a stay at home mum, which is a stark contrast to the
other females lifestyle which appears to simply revolve around work.
Halloween is a 1978 American independent horror film, set in
the fictional Suburban town of Haddonfield.
The opening begins with a very dark colour scheme, which is
correlated to death and other horror films. The typical horror is also
portrayed through the non-diegetic music of the well-known theme tune. This
then coincides with the rolling titles that fade in and out perhaps insinuating
closure and death. Orange and reds are
poignant colours which fill the text. Flickering between these colours gives it
the appearance of fire or flames which could symbolise hell or pain as well as
linking it with the fore coming image of a pumpkin (as you put flames within
this). The pumpkin fades onto screen creating an unnerving sensation of being
watched, further the blackened background makes it prominent and evident the
time of year the film is set. With the forethought of Halloween you associate
the feelings of horror therefore anchoring the genre of the film. Caving a
pumpkin is an activity for adults and children, which could represent the
involvement of children within the film. Inside there is a flickering light
which also helps make the audience fixate on the object giving it importance. The
titles continue to run and the camera begins to zoom indistinctly making the
pumpkin even more sinister as it feels like it is approaching you and alive; making
you feel on edge and uncomfortable. Alongside this the theme tune has picked up
the pace and pitch generating a tormenting feeling foreshadowing upcoming
events. Before long the continuing slow zoom reaches a close up of the pumpkin,
of only the eye and nose, so due to only a little of it being shown this could
represent shame or that something is trying to be concealed. The sound then
fades out along with all the text presenting the audience with a black screen
which could connote death, emptiness but also the unknown.
A sound bridge of children singing or chanting is then
played, showing innocence yet it also gives a sinister atmosphere as children
are involved and the chatting could symbolise children, perhaps, being
brainwashed. A caption appears in white on the black background, showing
bluntness and frankness foreshadowing the style of the upcoming crime. The
juxtaposition of the text centred shows its significance and that it is the
central location of the film. A pan to reveal, longshot of a house appears
gives the feeling of coming from behind a tree and therefore hiding. The pan
discloses an extreme longshot of a classic middle class American house it’s
white, wooden and symmetrical perhaps generating the idea that the family
occupying it are the typical stereotypical perfect family, yet later this
assumption is abruptly overturned. The following shots are hand held giving the audience the
sensation of movement and involvement, within the shot. Forward tracking then
brings us to the front of the house; there is no sound present excluding
muffled ambient sound, this gives the feeling of being in a trance or daze. The continuing shot travel round to the side
of the house and appears to go into the shadows showing that perhaps it’s
hiding or trying not to be seen. The camera then continues to a window which
displays a longshot of a typical 60s living room shown by the floral print
settee and wallpaper. Netting covers the window giving little privacy for the
two teenagers who are closely engaging with one another perhaps leading you to
believe that they feel they are alone and not expecting visitors presenting
again the feeling that the point of view perspective is that of an intruder or
unwanted caller. The teenagers are airing
their carefree nature which is the typical victim trait, foreshadowing their
death. The couple then vacate upstairs, implying that they are going to have
sex. The camera then tracks back to the front of the house and tilts up to
present the bedroom window where a light is then switched off, showing the villains
prediction of their next moves. A piercing high pitched piano cord then sounds
interrupting the silence; this non-diegetic sound creates a frantic atmosphere.
The camera then retreats to the back of the house, quickly, and through the open
back door; this insinuates that the area is usually safe and so the upcoming
killings are surprising and shocking. The lighting is very dark symbolises the
unknown and lack of hope.
The kitchen is entered first and then the light
switched on, blurred arm stretches into view; it is dressed in a green silk top
with a frill much like that of a clown costume again implying the Halloween
theme further anchoring the horror genre. The green of the clothing might denote
envy or jealously which could be the motive for their following actions. They
open the kitchen draw and select a carving knife, due to this action being very
quick it insinuates that the person has knowledgeable of the surrounding therefore
known to the residents of the house. The knife is the only close-up shot
presenting its significance. The ambient sound of knifes scraping when one is drawn
is exaggerated clarifying the sharpness of it and the damage it could do. The
knife is then drawn up in a threatening manner forewarning that they are going
to do some harm. They then continue the journey through the house and reach the
living room and the camera tilts to the settee where the young couple where
previously revealing that again perhaps they are the target. The camera
continues through to the hall way and tilts up to display the, young, male coming
down the stairs the camera then reverse tracks giving the sensation of
retreating showing that he does not want to be seen and is therefore an
intruder.The lighting enables a shadow
of a person to be seen again securing the idea of this being a point of view
perspective. The sound is very repetitive and high pitch which is very numbing
and piercing. The camera then climbs up the stairs in a jolty fashion the
lighting appears to disappear creating blackness and hiding them giving a tense
unpredictable feel. The camera then fixates on the wooden floor and the same
arm reaches out to grasp a clown mask off the floor, this is then placed on the
front of the camera showing that it’s a point of view shot. The mask reiterates
the Halloween and horror theme but also the secrecy, and maybe shame of this
character. The camera then enters the teenage girl’s room looking at her then
glancing at the messed up bed then back to her which implies her previous
actions. The camera then approaches the girl who is unaware brushing her hair,
showing she is typically girly presenting her again as a classic victim; also
she is naked displaying her even more vulnerably. She then turns around shouting
‘Michael’ unveiling the forethought that she knows them, and her shouting
signifies her anger. The knife then comes into play as it quickly enters and
exits the view in a stabbing motion. Thru the use of the mask little is seen
consequently producing a non-graphical image so more convincing and allows the
audience to image it themselves. The camera then tilts down and she is pictured
on the floor making her subordinate. Still with the mask on the camera quickly
exits the house down the stairs and through the front door. It is black outside
then the appearance of car headlights come into view. Two people exit the car
and in a soft, yet questioning tone they also announce ‘Michael?’ It then cuts
to a long shot of a boy and the two people standing either side him. This is
the first cut which has built the tension and creates a dramatic reveal of the
boy. The people are male and female, middle aged and dressed smartly
correlating them with the house. The juxtaposition of the boy situated between
them perhaps insinuates they are his parents. The boy is picture holding the
bloody knife and therefore we understand he is behind the murder, yet this is a
surprise due to the previous point of view shots being from the height of an
adult, implying he is possibly mature. A reverse crane shot then zooms out
picturing the three characters and the house where more lights are on
portraying his exposure.
The ice could show the breaking of something, yet could also symbolize ‘ice breakers’ much like introducing someone new. The shot
is gloomy and dull perhaps representing death and the upcoming scene of a
memorial. A voice over is laid on top and creates a smooth transaction into the
next shot, which also coincides with a fade in to a synthetic lighted room.
This is a stark contrast to the dull ice, containing a large bright portrait of
a male, making him appear as a positive person. The long shot is overwhelmed by
the sheer dimensions of the picture showing his importance. The juxtaposition
of the flags situated either side of the portrait shows patriarchy and perhaps
foretells the involvement of the whole of America in the film. It appears to be
a memorial, shown by the sadness on the faces at the bottom of the screen; a
male is in the foreground standing behind a lectern and begins a speak. The magnitude and position of the portrait makes you associate the speech to regard him. The camera is zooming, at a
low angle, representing the authority of the man on the screen. This idea of
authority is further projected by the man’s smart attire as well as stance. It
then fades to black this transition indicates perhaps closure.
Next is a forward tracking crane shot, of a barren grassy
land- this instant movement shows travelling plus not dwelling on the past. The
camera the then sweeps to reveal an extreme long shot of a field containing a
4x4 driving wrathfully, rapidity. This shot
helps the audience establish the new setting, in addition this emphasizes the
emptiness of the land, which could show the absence of help. It then cuts to
inside the car whereby visible are men the close proximity to the drivers face shows
his seriousness and shows perhaps the severity of the scene, moreover the lack
of colour also shows the lack of emotion in the upcoming actions. The lack of
lighting forms shadows revealing that there are trying to conceal something as
well as foreshadowing lies.
Next the film displays a long shot allowing us to gather the
context of the impending shots, a new man dressed quite casually in combats and
polar neck shirt hinting he is part of the CIA, which is also shown by his
strong and firm stance. In the background there are three males dressed in army
attire, all grasping guns, also a combat plane is grounded looking ready to
board- forewarning fighting and conflict. The long shot discloses the power and
importance of the plane as this is the largest and most dominant shape pictured;
also anchoring that it is an action film. The juxtaposition of the male in the
foreground of the soldiers and plane shows that he is backed up and of owns the
plane. The male’s postures are open showing they are ready and prepared, which
is ironic to what happens later in the scene. This shot is a low angle showing
his authority and dominance. Its daytime and the natural lighting is bright
showing no shame, perhaps in relation to their next acts.
This is in contrast to the sharp cut to the back of a car
showing three masked men, which would be an image we would relate to a kidnap
or prisoners, and shows shamefulness and that they are perhaps hiding something.
The shot is handheld and is a point of view shot allowing the audience to
experience it from the perspective of someone on board it is quite shaky and
gives the impression of pain and discomfort. The men are all similarly dressed
and of the same build, rather muscularly, which makes us believe they have
quite physical jobs as well as ability- which could foreshadow further actions
in upcoming scenes. This two shot along with the similarities between the men
lead us to believe they are associated to one another. There is then a shot
reverse shot of close ups of the two males faces, allowing us to see their
intense facial expressions and emotions which look angry- this focus magnifies
the importance of them.
Subsequent is a cut to an aerial shot which shows the contrast
of the plane and landscape. The planes previous power is then impassive as the
screen is now dominated by the landscape which appears to belittle it. This
extreme longshot also keeps the audience aware of the setting.
Next it cuts to a long shot inside the plane, which shows
the height and power of the CIA man. He is shouting uncontrollably, and the
high frequency shows his anger and resentment towards the men. Again this makes
us believe they are depraved. Yet there is no dialogue back from the masked
men, which shows there calmness and compose. This could perhaps foreshadow
future event as their calmness could be due to them knowing what transpires
later in the forthcoming scenes (As they are liberated).
Succeeding is then a behind the shoulder shot of one of the
hooded men; this is at a low angle- reversing previous conceptions of power and
dominance and flips the roles. His dialogue has a low pitch and robotic,
perhaps showing he is emotionless and strong. This makes the characters later
reveal quite tense as the audience is awaiting a big reveal, through locating
this in the opening they are able to promptly grab the audience’s attention and
rapidly build the story. His reveal is at a low angle showing his dominance and
control of the situation; further foreshadowing his control in future happenings.
During this the camera is zooming making the audience fixate on his face and it
also creates tension and uneasiness as you are of close proximity to his face. In
his dialogue he expresses words like ‘our’ insinuating more people are
involved. A focus pull then directs the emphasis on the main CIA’s face showing
the power and influence of the male’s dialogue.
Again is the re occurrence of the extreme long shot of the
plane in the sky, presenting yet again the empty land, and lack of existence
and help. The sky is pictured grey as well as gloomy perhaps forewarning the
danger and upset that awaits. Then it flips back briefly to a shot reverse shot
between the CIA and ‘Bane’ (the masked male). The CIA male is knelt putting him
physically below ‘Bane’ making him appear minor and subordinate to him- it also
pictures him as bowing down to him. Then another extreme long shot brings into
context a larger plane. This is juxtaposed above the previous plane shows its
supremacy over it and presents it as virtually preying over the minor plane
like an eagle ready to attack its prey.
Next the cut pace escalates in speed along with the tempo of
the non-diegetic music creating a rather unclear confusing atmosphere. Coinciding with this is the increase in
volume of the diegetic and ambient noise, restating a loss of control. Furthermore
the exposure of additional characters is very military showing that it was
premeditated and therefore was of intent. Most of the men are armed further
signifying danger and death. All are males the lack of female presence perhaps
is intentionally done to then magnitude the later appearance of ‘Cat women’. Flicking back to an extreme long shot it helps
insinuates the hierarchy of the planes thus further reiterating the magnitude
and power of the domineering plane. They use special effects to create the next
extreme longshot of the dominant plane looking to virtually drag the second,
smaller plane; this creates a thrilling image which is shocking, leaving the
audience in a state of suspense. A low angle shot then presents the plane as
its wings break off, revealing the force and loss of power of the one plane.
This demeans the plane as it loses its function and ability, much like the CIA.
This image of dragging gives the impression of a dog and owner showing the
control of ‘Bane’. The plane then looks much like a bomb, foretelling perhaps
future events. Then it releases the plane and this is shown from a bird’s eye
view shot, showing the height and the barren landscape awaiting there is shown
to be no indication that it exploded showing maybe that the battle is not over
or complete.
The plane is then shown to fly away into clouds, which could
show the unawareness of upcoming events or that they have a blurred future. It
then fades to black showing closure, and an end.
Directed in 1995, David Fincher’s Se7en is a film that defines all ordinary rules of any typical film, making it difficult to categorize. The film doesn't open directly with the sequence. It first acquaints the awaiting audience with the retiring Detective Sommerset (Morgan Freeman). A long shot sets the scene displaying an average kitchen setting containing a black man dressed in a shirt making possibly a coffee. We can then relate the black coffee with New York due to it being a very common drink there. The man appears very relaxed and comfortable (dressed loosely in a shirt) in the kitchen leading us to believe that its his home. The dietetic sound indicates that he possibly lives in a flat or complex as you can hear the slight mumbles of supplementary people, which appears to not faze the male, so he is use to it. The kitchen appears very bland, lacking colour and appealing taste, implying that he is perhaps single as is deficient of a feminine touch. Furthermore the lack of colour could also indicate he is childless. Further indicated by the absence of child items like magnets or pictures on the refrigerator. The shot displays a chess board in the foreground. This juxtaposition makes us association him with being very methodical and systematic- making the audience be captivated by this stranger.
Next it cuts to a behind the shoulder shot of him doing up his tie in a mirror. His reflection could echo he has a split personality or maybe that he wants his tie to be perfect. This deep examination of his character is also additionally reconnoitered when we see him logically and precisely pick up items of the table. This being a bird’s eye view shot could show his on top of things and always in control with a give situation. Inferring he perhaps has an OCD making you feel uncomfortable as he is peculiar and strange. The objects he accumulates are very specific further delving into his personality and life. The neatly folded handkerchief could suggest the 1960s and that he is rather traditional as typically people nowadays use tissues. The penknife additionally staples the forethought of him being logical and organised. It also suggests that he does not know what each day entails so therefore needs to be prepared for all possible outcomes of the impending day. The camera then pans round to show his bedroom- enlightening his precisely made bed. This pan could show he is trying to check everything is in place in sighting us maybe into his job (like looking for things out of place as clues). His bed making format appears straight, rehearsed and practiced insinuates his has perhaps a military or disciplined background. He then lays down his suit jacket onto the bed and picks off a speck of dust. This attention to detail indicates his obsession to perfection and his intention to detail perhaps foreshadowing his job. The camera then follows his action to show a metronome which implies he is always alert and finds it hard to cancel out things and perhaps over thinks things.
A cut then show a long shot of the detective, revealing his outfit consisting of a trench coat- further indicating his job and shows him to be traditional and stereotypical detective. The outfit also denotes the typical 1960s attire. A medium shot then reveals a new character David Mills. This shot allows us to see his contrasting appearance to the other inspector. The shot also allows us to see his face which shows he youth, therefore indicating he is inexperienced or unprepared. Then a shot reverse shot of the two characters profiles allowing us to compare them. Mills dialogue is blunt and snappy showing he is perhaps arrogant and confident. Next it cuts to a reverse tracking showing movement so perhaps progress of the two men. They walk at a pace showing that they want to get to the point or perhaps bottom of something fast, yet Mills slightly lags behind showing his inexperience. The paralinguistic features they trade whilst walking indicate frustration between maybe there roles. The opening tile instigates instantly it is a thriller. The non-dietetic sound is rather chilling and creates tension and on edge feeling. First the screen displays a close up shot of a books spine; representing, maybe the human spine and body (which is a persistent reference within the impending sequence). The tattered appearance indicates it has been opened many times perhaps giving us a first insight into the character as shows obsession or fascination. Though the main focus of the lens is on the book, showing its importance, in the background hands are detectable. This hazed image of hands gives a very enigmatic atmosphere, as hands represent ability as well as skill. The slight lighting mainly exaggerates the lack of light in the first place which is usually vital when reading a book; this absence perhaps indicates that is does not contain words. The light only faintly hits the pages which could show that the book has a dark or unpleasant content. It then fades out which in this context could show finishing a book. We later gather that perhaps the books represent the victims so maybe showing an end of someone’s life. Subsequent is a black screen then a cut to show a bird’s eye view shot of illustrations of distorted hands. This again refers to the body and the shot could show someone watching over the top of you or maybe that someone is ready to pounce. The hand illustrations are fixed onto graph paper possibly showing the characters academic or mental abilities. It looks like a desk with a spot light as the image is well lit on one side; this gives the impression of an interrogation room, perhaps foreshadowing crime. Then a shadow passes over giving the impression of movement and makes you aware of the presence of a mystery. There is an absence of light around this shot, perhaps representing much is unknown or is shameful. The following cuts are fast paced additionally leading use into the believe it is a thriller. There are numerous succeeding shots and dramatic cuts insinuating a persisting feeling of misperception, and also permits you from gaining a clear identification of the films objective. Disorientation is also engaged by the absence of colour and light present which further shows horror.
The typography that flickers up on screen further amplifies the predetermined thought of confusion, as its quick showing panic and distress. The font looks much like that of handwriting writing maybe from the killer perspective which is also showing in the following scene of the book from a point of view shot. Many of the objects shown on screen are quite time worn like the old photographs which give the impression it’s going to be a traditional horror, and could show that the villain wanting the past to stay as he is sticking them down. Yet perhaps the use of the black pen signifies the dislike or disregard of something, and therefore attempting to cancel out something. The use of shadow is significant giving a sense of trying to conceal something which is also shown by the limited appearance of the villain this also hints that the films story line focuses on his exposure. The extreme close up of the needle being removed from the finger insights the audience that it is a horror and gory and shows pain. The continuing instrumental also is a sound effect of a pen scratching which is very uncomfortable and of high pitch. Throughout it is mainly extreme close ups which could show the precision of the acts of the villain and the intention to detail he places on it- this is also signified by the graphic removal of his fingertips. The removal of ‘God’ from the bank note contextually makes you believe faith is involved and perhaps the title ‘seven’ helps hint the link of the seven deadly sins. Yet this could also show that he is perhaps trying to play god and through the removal of it he can stand in his place- as god is said to decide who lives and dies.
In the preliminary task we used cameras in addition with Macs and software Adobe Premiere, to create short films. We create a film titled ‘The Box’ which saw a secret agent take a mysterious ‘box’ to his boss. Our films intended to look professional so such methods like the 180 degree rule, eye line shot and match on action had to essentially be included. The 180 degree rule is fundamental to ensure that on-screen a spatial relationship between a character or character and object within a scene makes sense. A line is imagined and one side of this then forms the perimeter in which the camera cannot cut across unless seen to visually pan round on camera. This rule ensures that the first character will always be frame right of the second character, who is then always frame left of the first. If the camera passes over the axis, it is called crossing the line or jumping the line and causes the audience’s eyes to not follow causing it to not make sense. We ensured we stuck to the 180 degree rule and this was shown well in scene 8 during the interaction between the agent and boss. This was guaranteed by the boss always being framed right of the agent, who is then always frame left of the boss. Eye line shot is a sequence of two shots. In the first, you are shown a character looking; in the second you are presented with what he or she sees, as if you were looking out of that character's eyes (in other words, an objective shot of a character followed by a POV shot focalized through that character). We used eye line shot when the two characters are in conversation. However this proved difficult due to the height difference and therefore was not as successful as we had hoped however this helped us learn for next time. We also incorporated a match on action; this is an editing technique for continuity editing in which one shot cuts to another shot portraying the action of the subject in the first shot which portrays the impression of continuity. We feel we used this well in our film during the handover of the box from the agent to the boss, as it looked continuous.
Our whole film was shot within the college grounds. The opening shot was the only one using outside as the background. It featured the agent walking down the path towards the building and therefore the camera (located inside). Due to the shot featuring outside we faced the issues concerning the weather. The first filming of this scene the weather was pleasant however the tripod was positioned off centered meaning that we wished to film it again. However it began to rain; consequently meaning we could not film the shot again so had to instead edit the initial shot. Our shots within the lobby also presented us with problems. This is because of the time of filming which was lunch time. This meant the presents of many students who obstructed some shots causing us to have to re-shoot a couple of them. This thus wasted valuable time. Permanently we also faced the issue of sound intrusions not just from other student’s voices but also vacuums, footsteps and bustling. Despite this the college is modern and this benefited our film as set the desired scene of a futurist business place/ office. Also the added bonus of the lift and obscure angles of the rooms helped make it also look modern and important. Yet all the glass also created problems such as troubles with lighting and shadows. Subsequent to filming we needed to edit our shots to create our short film. We all had previous experience of using apple software therefore the use of Macs was not an issue. However the editing software, Adobe Premiere, was new to use all. This consequently meant it took a little longer to understand, but we soon picked it up. Adobe Premiere allowed us to organize edit and enhance our shots. We first learnt how to import our clips onto the software subsequent to this it gave us control and allowed us to view and pick the best quality and needed shots. From there we learnt how to drag and drop our thumbnail shots into an organised fashion. This organisation was key as we did not film in chronological order. We then learnt how to edit our clips and the software allowed us to do this with ease and convenience in one place. The dual large monitor screens, the Macs gave use, allowed for us to view multiple things at once without limiting there size. We could then learn how to easily trim and split clips, meaning the previous issues of filming could easily be resolved. Also the software allowed for us to drop effects right on a frame, which allowed us to tailor our shots to the purpose we intended. We could then also learn how to add effects like transitions which benefited of film as made it look more professional as helped it flow with more ease. We were also able to add text directly onto the shots so therefore we could include titles which also added to making it look more professional. Furthermore Adobe Premiere allowed us to amend and insert sound. We learnt how to adjust sound in ways such as volume and pitch. This helped as previous unwanted sounds such as vacuums and other voices could easily be removed. We could also place in additional sounds; like a background song that we added throughout the film which gave it more atmosphere and tension. We retrieved such song clips and sounds from Garage Band and offline then Adobe Premiere allowed use to easily import and insert these in the desired part within our short film.
