CCR4 -- How did you integrate software, hardware and online technologies in this project?

 

CCR4- How did you integrate software, hardware and online technologies in this project? 

https://douglasfw.wixsite.com/my-site-7

CCR3- How did your production skills develop throughout this project

 CCR3- How did your production skills develop throughout this project 

Prezi presentation

CCR2- how does your product engage with audiences and how would it be distributed as a real media text?

 

Our target audience is mainly for people between 20-40yrs old. A thriller for younger adults about relationships and family which we feel is something these target group will be able to relate too. Many of the concepts we use such as divorce, maturing, children and marriage and how too, deal would be something explored later in the film, and something probably more interesting for people  in the age range. Blummer's and Katz gratification theory suggests that audience choose films they think would suit them best depending on their likes/dislikes, interests/disinterests and what they feel would give them the most dopamine too suffice for the 1.5/2 hours they'll spend watching the film. 

To engage our audience we have create a few very suspenseful moments too entertain the audience as-well as to keep them interested for the remainder of the film after the sequence. I reflected this in our movie poster, the silhouette of a woman with the club behind her. however seeing this image it could be interpreted in many ways, much like a-lot of our sequence. keeping an audience in the dark is one of the ways too create hype/attention around your product, it gets people talking about theories, plot etc. which is why I preferred having a movie poster that is unspecified and allusive.

One moment in particular in our sequence, is when the woman is staring through the cafe window at her husband and son and as she turns and the shot changes they disappear.  this is to leave as many mysterious as possible at the start. are they really there ? is she imagining ? is she remembering ? there is no specific answer automatically and the audience must be aware for the rest of the film to get the answer. 

Similarly in the Martin Scorsese film Shudder Island, many of the shots are inconsistent, small hints to the reader of the real story. and we tried to incorporate this into ur piece. Here in this scene from the film, the woman drinks from a glass of water which is empty. and she also never picks up the glass. and the glass moves from her left too her right in-between shots. subtly hinting too the audience that something isn't quite right with the scene, or character.

 

The idea of an imperfect marriage with a mistress is often explored in thriller adding stakes and a reason for one of the antagonists too do something or keep a secret etc. 

Although not a huge thing, it creates tension within the plot and an underlying sense of threat permanently wherever there is a confrontation between the two spouses. 

However even before this first encounter we have the main antagonist showing raw emotion as she bangs her hands off her steering wheel and screaming. 

She does this after clearly seeing something on her phone that distresses her.  more questions are being asked than being answered and as she leave the car directly after this the audience wonder whether or not they will find out what made her scream and shout in that way. 

our more thrilling shots of a girl chained up at the end of our piece. these showed some aftermath of the opening scene, it gave more insight into the plot and earlier scenes showed. We also used more dramatic lighting, pitch dark with a red strobe to make a complete u-turn on the shots we had previously used. now the film takes a darker turn and gives some answers too what the wife was thinking earlier in the piece.

CCR1 - script for presentation

The way the script turned out after the first draft seemed fit into the genre of thriller. We had ended up in included many general conventions of the thriller genre in it already (examples listed). 

Some other thrillers we used for inspiration were: 

You: 

you season 3 follow the story of a man and wife killing duo. our opening sequence contains a jealous wife who kills her husbands mistress, creating a power shift in the couple. This show really influenced our type of script as it gave us more ideas to play with whilst writing it. 

As you can see we used a similar shot which shows our main character the wife looking through a window both characters eyes visible to the camera to display as much visible emotion as possible.

Shot comparison: 

You, took our original story, and turned into a deeper more darker. We all liked the edit of the shot ending as soon as theres contact from the bat to the victim the shot changes. In our instance our entire sequences ended leaving a cliffhanger for the audience. Another convention of thrillers, leaving the audience uncertain or wanting from the story.

Sounds: 

theres not many diegetic sounds in our piece, the final part with the bat coming down the stairs and the hit of the baseball bat. The music from the show is similar, with you using a cover indie version of hit me baby one more time and ours using Kate bushes babushka. To songs used frequently in the thriller genre. 

Mis-en-scene: our costumes were simple, suburban nuclear family style. The wide wearing a jacket and shirt similar too You.  

Gone girl: gone girl is the story of a wife who tries to frame her husband for murder for him cheating. 

We used gone girl for a-lot of inspiration for the way out shots were filmed and the lighting used. David Fincher used a-lot of light blues and greys too create a misty type of aura around the film and we incorporated that into our opening sequence. 

I spit on your grave — 

I spit on your grave is a 1978 rape/revenge film which is one of the first films to categorise and show a strong female protagonist whom takes revenge upon her attackers. This film was one of the inspirations for the aforementioned film gone girl and we liked the idea of a strong female lead who does convey to the stigma of, ‘pretty so dull’.

Conventions of an opening titles sequence: 

In thrillers, they typically open with some establishing shots of the setting so the audience can get a feel for the time period etc. and the general genre. For example a comedy title sequence typically look more like this: shows. 

Brighter colours and images. 

Gone girl does similar to us, establishing shots than the introduction of the main antagonist. Ours is a shorter more condensed version as we have a shorter sequence. We have 1 establishing shot, then a close up of our antagonist the wife. As they are the first character seen it shows their relevance to the film, then secondary characters etc are introduced after that. with These three characters are all introduced at the same time to automatically show their close connection and automatically establish an image of them together in the audiences head. 

Social groups — our social group introduced portrays to a certain degree the nuclear family. Hetero-sexual parents with a child however its split by the introduction of the ‘mistress’. 

But she is introduced with the husband and son, making it unaware of too whoms more involved in the relationship.

Editing — shown through window with first introduction. Cuts of the ‘new family’ 

Mis - en -scene — environment in the cafe.  

Slide 15 — male gaze — Laura mullvey.. is where women in the media are viewed from the eyes of a heterosexual man, and that these women are represented as passive objects of male desire.  

Sort of with freya as her only purpose is the mistress of the husband and has no noticeable attributes.  Contrasted by the strong female lead. Of the wife taking revenge. 

CCR1 -- plan

 Plan for Pavel presentation 

Peppermint 

Hard candy 

Eye for an eye 

Fatal attraction 

Gone girl 

Line of duty 

Double jeopardy 

Lead protagonist 

Threat 

Victim / perp

Anticipation 

Chase, action, peril, danger. 

SLIDE 1-- crime thriller.  

The protagonist is actively trying to solve a crime or a puzzle.— the crime itself 

There is a MacGuffin driving the story and investigation forward. — will they wont they get caught 

There are investigative Red Herrings. — he goes to prison instead of her 

The antagonist makes the investigation (not necessarily the inciting crime) personal to the protagonist. — is the niece of the lead cop 

Slide 2 — other products similar 

Line of duty — cover up 

You — psycho woman 

Shame — cheating and sex 

Black mirror (hated in the nation) — policy drama episode 

Slide 3 -5 — similarities 

Editing — simple cuts slow editing.  More experimental type of shots in the basement 

Sound — non diegetic, Kate bush. Diegetic — scream. 

Camera — movement and angles and composition. 

Mise en scene — costume, make-up props, setting/location and lighting

Slide 6-7 — character introduction, title ( font transitions, placement) and narrative — Nicky, Adam, freya + teddy. // talk about the casting, none threatening Nicky. 

Social groups and issues — shots of Shere, English village life. Picturesque life in mis en scene, broken picture perfect in the narrative. Leaving wife for younger women stereotypical 

CCR1 - How does your product use or challenge conventions and how does it represent social groups or issues ?

 

order of opening credits

Typically the order of the opening credits are ordered as having the studio that is producing the film their name first. then the production company who are responsible for the making of the film, and infamous an investor contributed a significant amount on the movie they could be credited alongside theo the production company with "in a association with". Typically after that the producers name (productions) afterwards. Then:

 directors name 

cast (using starring)

film title 

cast (using featuring) not so common anymore, most are now mentioned at the end credits. 

casting by 

music/ composer

production designer 

edited by 

director of photography 

producers again 

depending on whether or not its based on anything the, 'based on'

written or written by 

then finally the director again. 

our credits are going to be simple and plain but stand out against the background when we can. a few of them will be angled on walls and disappear when people walk past/ over. just link the credits in this previous opening title sequence from Hurtwood. link

The film Gone Girl has a similar looking theme and the plot is very similar too ours also. their white on darker backgrounds is something we tried to incorporate to deliberately show the audience where we placed the credits. The credits are create un-obvious tension, with a dark and brooding attitude, which we tried to recreate especially closer to the end of the sequence.