Oliver Fitch- Preliminary Task
Friday, 30 January 2009
Preliminary Task
This is our preliminary task, it took an hour to film and two and half hours to edit. It lies roughly in the action-adventure genre. Whilst we will analyse, this video and what we learnt for our real media product, later in the blog. This is to show how we understood the basics as we begun this process.
Thursday, 29 January 2009
Analysis of the Opening Sequence of 28 Days Later
With Regards in how to create a good opening for a Thriller it seemed logical to analyse the techniques used in an already successful thriller. '28 days Later' the hit blockbuster success uses a culmination of classic mystery (or use of enigma) whilst subverting cliche's.
An extreme close of the Protagonist's eye is used to create mystery of who is this character, why were they unconscious, where are they? This use of an enigma is quintessential to a Thriller. The audience is forced to wonder about these questions with the use of a long-take.
It also establishes a bond with an audience as the eye (often known as 'the window to the soul') shows this character as vulnerable.
By having the Protagonist in the centre of the frame it emphasises him as vulnerable, this is further emphasised by the character being naked. By having full male nudity and by having the protagonist as a; weak, male character, the Director is subverting cliche's of thrillers making the situation more realistic.
These two shots are shot behind the door, this firstly represents barriers that this character is overcoming, as he is coming to terms with his new surroundings. It also creates the feeling that we are watching on this character unaware, by the viewer seeing the point of view of potential predators is creating tension that there is something following our (at the moment) defenceless protagonist. 
The hanging phones represent a loss of communication, it shows that this character has to face these circumstances alone. The gentle swaying is also slightly reminiscent of gallows hinting at the bloodshed.
The en mass of Pepsi cans shows that consumer goods have no importance. The High angle is used condescendingly to show the Protagonist resorting to savagery.
This shows the character at the top of the frame much smaller then the foliage, this visually signifies this character being dominated by his surroundings. (A typical trait in Thrillers is that) the protagonist is no in control of the situation but reacting to it.
This establishing shot of London is to show the scale the use of London iconography (for example St Paul's Cathedral). It shows that it's not just one area around the hospital that is deserted but the entire of London, this shows that Protagonist's problem is escalating and leaves the audience wondering how can the protagonist overcome this.
The 'Big Ben merchandise' and Union Flags on the floor is a symbol for how London has fallen. The metal sound of the mechandise being stepped upon is pleonastic to create social-realism this makes the situation as realistic as possible.
By having a medium shot of the Protagonist we get to see his astonishment at his surroundings, Big Ben and the Houses of Parliament stretch across the frame this constant bombardment of London Iconography is making the problem more and more epic.
The knocked over red bus is another aspect associated with London, it's also the biggest example of devastation showing how the examples of chaos is escalating, it yet again shows the protagonist in the edges of the frame showing how he is dominated by the situation.
The cantered angle is used to show how reality (from the Protagonist's point of view) has been warped. The high angle is used to see the Protagonist as being hunted. It keeps the audience on edge with no actual sightings of any threats.
With the non-diegetic music beginning to build up it reflects the protagonist's frame of mind trying to use the situation for his advantage. The scattering of money suggests that it is worthless, this means ordinary objects we can all relate to are being used to explain the extra-ordinary.
The statue in the corner of the frame almost seems to be watching the protagonist, by being in shadows it looks all the more sinister and contrasts with the day-light.
The high volume of the car alarm is used to shock the audience, it's also alluding that technology can no longer help the protagonist and he must resort to natural instincts.
The headline across the frame is to begin to solve the enigma, this only raises more questions; why was there an evacuation, was it nationwide, and what does this mean for our character? It's the thrillers obligation to have mystery for the majority of the film to keep the audience intrigued.
The blood stain on the post is within the middle of the frame, indicating violence and bloodshed. The collage of papers is the next mystery, it shows yet another ordinary aspect of life being interpreted for the extraordinary.
the low angle indicates the Protagonist's eye line looking up, showing the awe of all these letters.
These close-ups are used as reaction shots, rapid editing creates tension dictating the viewer to feel overwhelmed. This is matched by the non-diegetic soundtrack. The cutting between the the protagonist rubbing his head, then with hsi hands down, then moving round the character then breaking the 180 degree rule discombobulates the viewer emphasising the situation.
An extreme close of the Protagonist's eye is used to create mystery of who is this character, why were they unconscious, where are they? This use of an enigma is quintessential to a Thriller. The audience is forced to wonder about these questions with the use of a long-take. It also establishes a bond with an audience as the eye (often known as 'the window to the soul') shows this character as vulnerable.
By having the Protagonist in the centre of the frame it emphasises him as vulnerable, this is further emphasised by the character being naked. By having full male nudity and by having the protagonist as a; weak, male character, the Director is subverting cliche's of thrillers making the situation more realistic. The tubes, monitors and use of green (all medical iconography) quickly establishes this as a hospital. The Juxtaposition of the protagonist being threateningly surrounded by equipment, and the assumption Hospitals are supposed to be caring creates an extraordinary situation in an ordinary setting.
The Hospital bed flipped upon it's side hints at chaos.The lack of people begins to raise the question what has happened to this hospital? The constant use of long takes, is thoroughly communicating to the viewer the tense stillness of the Protagonist's surroundings.
These two shots are shot behind the door, this firstly represents barriers that this character is overcoming, as he is coming to terms with his new surroundings. It also creates the feeling that we are watching on this character unaware, by the viewer seeing the point of view of potential predators is creating tension that there is something following our (at the moment) defenceless protagonist. 
The hanging phones represent a loss of communication, it shows that this character has to face these circumstances alone. The gentle swaying is also slightly reminiscent of gallows hinting at the bloodshed.
The en mass of Pepsi cans shows that consumer goods have no importance. The High angle is used condescendingly to show the Protagonist resorting to savagery.
This shows the character at the top of the frame much smaller then the foliage, this visually signifies this character being dominated by his surroundings. (A typical trait in Thrillers is that) the protagonist is no in control of the situation but reacting to it. 
This establishing shot of London is to show the scale the use of London iconography (for example St Paul's Cathedral). It shows that it's not just one area around the hospital that is deserted but the entire of London, this shows that Protagonist's problem is escalating and leaves the audience wondering how can the protagonist overcome this.
The 'Big Ben merchandise' and Union Flags on the floor is a symbol for how London has fallen. The metal sound of the mechandise being stepped upon is pleonastic to create social-realism this makes the situation as realistic as possible.
By having a medium shot of the Protagonist we get to see his astonishment at his surroundings, Big Ben and the Houses of Parliament stretch across the frame this constant bombardment of London Iconography is making the problem more and more epic. 
The knocked over red bus is another aspect associated with London, it's also the biggest example of devastation showing how the examples of chaos is escalating, it yet again shows the protagonist in the edges of the frame showing how he is dominated by the situation.
The cantered angle is used to show how reality (from the Protagonist's point of view) has been warped. The high angle is used to see the Protagonist as being hunted. It keeps the audience on edge with no actual sightings of any threats.
With the non-diegetic music beginning to build up it reflects the protagonist's frame of mind trying to use the situation for his advantage. The scattering of money suggests that it is worthless, this means ordinary objects we can all relate to are being used to explain the extra-ordinary.
The statue in the corner of the frame almost seems to be watching the protagonist, by being in shadows it looks all the more sinister and contrasts with the day-light.
The high volume of the car alarm is used to shock the audience, it's also alluding that technology can no longer help the protagonist and he must resort to natural instincts.
The headline across the frame is to begin to solve the enigma, this only raises more questions; why was there an evacuation, was it nationwide, and what does this mean for our character? It's the thrillers obligation to have mystery for the majority of the film to keep the audience intrigued.
The blood stain on the post is within the middle of the frame, indicating violence and bloodshed. The collage of papers is the next mystery, it shows yet another ordinary aspect of life being interpreted for the extraordinary.
the low angle indicates the Protagonist's eye line looking up, showing the awe of all these letters.
These close-ups are used as reaction shots, rapid editing creates tension dictating the viewer to feel overwhelmed. This is matched by the non-diegetic soundtrack. The cutting between the the protagonist rubbing his head, then with hsi hands down, then moving round the character then breaking the 180 degree rule discombobulates the viewer emphasising the situation.Tim McNiven
Tuesday, 27 January 2009
Codes and Conventions of a Thriller
Thrillers involve a combination of feelings like a roller coaster makes you laugh and scream the thriller also works to double emotions, feelings and sensations. For example: fear and excitement, humour and suspense, pleasure and pain. These double emotions pull the viewer in opposite directions - between anxiety (troubled and uneasy) and pleasure, masochism (pleasure in suffering pain) and sadism (pleasure from inflicting pain or watching cruelty), Identification and detachment-and this tension is a great part of what gives thrillers there kick.
Thrillers often take place wholly or partly in exotic settings such as foreign cities, deserts, polar regions, or high seas. The heroes in most thrillers are frequently "hard men" accustomed to danger: law enforcement officers, spies, soldiers, seamen or aviators. However, they may also be ordinary citizens drawn into danger by accident. While such heroes have traditionally been men, women lead characters have become increasingly common.
Thrillers often overlap with mystery stories, but are distinguished by the structure of their plots. In a thriller, the hero must thwart the plans of an enemy, rather than uncover a crime that has already happened. Thrillers also occur on a much grander scale: the crimes that must be prevented are serial or mass murder, terrorism, assassination, or the overthrow of governments. Jeopardy and violent confrontations are standard plot elements. While a mystery climaxes when the mystery is solved, a thriller climaxes when the hero finally defeats the villain, saving his own life and often the lives of others.
The thriller genre can include the following sub-genres, which may include elements of other genres:
Action thriller - In which the work often features a race against the clock, contains lots of violence, and an obvious antagonist. These films usually contain large amounts of guns, explosions, and large elaborate set pieces for the action to take place. These films often have elements of mystery films and crime films but these elements take a backseat to action. Notable examples are the James Bond films, The Transporter, and the Jason Bourne novels and films.
Conspiracy thriller - In which the hero/heroine confronts a large, powerful group of enemies whose true extent only he/she recognizes.
Crime thriller - This particular genre is a hybrid type of both crime films and thrillers that offers a suspenseful account of a successful or failed crime or crimes. These films often focus on the criminals rather than a policeman. Crime thrillers usually emphasize action over psychological aspects. Central topics of these films include murders, robberies, chases, shootouts, and double-crosses are central ingredients. Some examples include The Killing, Seven, The Godfather, Reservoir Dogs, Inside Man, and The Asphalt Jungle.
Disaster thriller - In which the main conflict is due to some sort of natural or artificial disaster, such as floods, earthquakes, hurricanes, volcanoes, etc., or nuclear disasters as an artificial disaster. Examples include Super Volcano and The day after Tomorrow.
Drama thriller - In which the story consists of the elements of a thriller and drama film. These films are usually slower paced and involves a great deal of character development along with plot twists. Examples include The Illusionist, The Interpreter and The Prestige.
Eco-thriller - In which the protagonist must avert or rectify an environmental or biological calamity - often in addition to dealing with the usual types of enemies or obstacles present in other thriller genres. This environmental component often forms a central message or theme of the story.
Horror thriller - In which conflict between the main characters are mental, emotional, and physical. Two recent examples of this include the Saw series of films and the Danny Boyle's 28 Days Later. What sets the horror thriller apart is the main element of fear throughout the story. The main characters is not only up against a superior force, but they are or will soon become the victims themselves and directly feel the fear that comes by attracting the monster's attention. Other well-known examples are Alfred Hitchcock's Psycho and Thomas Harris's The Silence of the Lambs and Scream.
Legal thriller - In which the lawyer-heroes/heroines confront enemies outside, as well as inside, the courtroom and are in danger of losing not only their cases but their lives. The Innocent Man by John Grisham is a well known example of the type.
Medical thriller - In which the hero/heroine are doctors or medical personnels working to solve an expanding medical problem. Robin Cook, Tess Gerritsen, Michael Crichton, and Gary Braver are well-known authors of this subgenre. Nonfiction medical thrillers are also a subcategory, comprising works like The Hot Zone by Richard Preston. Films such as Awake are other examples of medical thrillers.
Political thriller - In which the hero/heroine must ensure the stability of the government that employs him.
Psychological thriller - In which (until the often violent resolution) the conflict between the main characters is mental and emotional, rather than physical. The Alfred Hitchcock films Suspicion, Shadow of a Doubt, and Strangers on a Train and David Lynch's bizarre and influential Blue Velvet are notable examples of the type, as is The Sixth Sense by M. Night Shyamalan and The Talented Mr. Ripley by Patricia Highsmith.
Spy thriller (also a subgenre of spy fiction) - In which the hero is generally a government agent who must take violent action against agents of a rival government or (in recent years) terrorists. Examples include From Russia with Love by Ian Fleming, The Bourne Identity by Robert Ludlum, and television series such as Mission: Impossible and 24 (the latter demonstrating a break from the norm by Robert Ludlum, as it is as much a psychological thriller as a spy thriller.)
Supernatural thriller - In which the conflict is between main characters, usually one of which has supernatural powers. Carrie by Stephen King and Unbreakable by M. Night Shyamalan and Torchwood are notable examples of this genre. This type of thriller combines tension of the regular thriller with such basic horror oriented ingredients as ghosts, the occult, and psychic phenomenon; the supernatural thriller combines these with a frightening but often restrained film. They also generally eschew the more graphic elements of the horror film in favor of sustaining a mood of menace and unpredictability; supernatural thrillers often find the protagonists either battling a malevolent paranormal force or trapped in a situation seemingly influenced or controlled by an other-worldly entity beyond their comprehension.
Techno-thriller - A work that usually focuses upon military action, in which technology (usually military technology) is described in detail and made essential to the reader's/viewer's understanding of the plot. Tom Clancy defined and popularized the genre with his The Hunt for Red October, and is considered to be the "Father of the Technothriller."
Most thrillers are formed in some combination of the above, with horror, conspiracy, and psychological tricks used most commonly to heighten tension.
If a thriller consists of one or more distinct genres it is called a Hybrid
•Science Fiction thrillers: The Terminator, I Am Legend, Blade Runner
•Science Fiction/Horror thrillers: Jurassic Park, Alien, Predator
•Techno/Political/Conspiracy/Military/Horror Thriller: Predator, Robocop, S.M. Stirling's Draka novels
•Legal/Forensic/Psychological/Horror thriller: Thomas Harris' The Silence of the Lambs, novel, Seven.
Thrillers create enigmas, an enigma is a mystery it is something that is not easily explained or understood.
Narrative
A normal film would be based as below;
Equilibrium
Everything is ok
Disequilibrium
Something goes wrong
New Equilibrium
Everything is back to normal
Thrillers sometimes start with Disequilibrium
Mise en scene is a French term which literally means everything that is ‘put into the scene’. Imagine a freeze-frame – all the elements that have been placed in front of the camera in that freeze-frame are elements of mise en scene. In the case of a thriller this will be costumes, iconography, lighting, Non verbal communication, setting, make up, decorations.
Lighting of a thriller is usually low level as it adds to tension and builds up a sense of the unknown.
Oliver Fitch
Thrillers often take place wholly or partly in exotic settings such as foreign cities, deserts, polar regions, or high seas. The heroes in most thrillers are frequently "hard men" accustomed to danger: law enforcement officers, spies, soldiers, seamen or aviators. However, they may also be ordinary citizens drawn into danger by accident. While such heroes have traditionally been men, women lead characters have become increasingly common.
Thrillers often overlap with mystery stories, but are distinguished by the structure of their plots. In a thriller, the hero must thwart the plans of an enemy, rather than uncover a crime that has already happened. Thrillers also occur on a much grander scale: the crimes that must be prevented are serial or mass murder, terrorism, assassination, or the overthrow of governments. Jeopardy and violent confrontations are standard plot elements. While a mystery climaxes when the mystery is solved, a thriller climaxes when the hero finally defeats the villain, saving his own life and often the lives of others.
The thriller genre can include the following sub-genres, which may include elements of other genres:
Action thriller - In which the work often features a race against the clock, contains lots of violence, and an obvious antagonist. These films usually contain large amounts of guns, explosions, and large elaborate set pieces for the action to take place. These films often have elements of mystery films and crime films but these elements take a backseat to action. Notable examples are the James Bond films, The Transporter, and the Jason Bourne novels and films.
Conspiracy thriller - In which the hero/heroine confronts a large, powerful group of enemies whose true extent only he/she recognizes.
Crime thriller - This particular genre is a hybrid type of both crime films and thrillers that offers a suspenseful account of a successful or failed crime or crimes. These films often focus on the criminals rather than a policeman. Crime thrillers usually emphasize action over psychological aspects. Central topics of these films include murders, robberies, chases, shootouts, and double-crosses are central ingredients. Some examples include The Killing, Seven, The Godfather, Reservoir Dogs, Inside Man, and The Asphalt Jungle.
Disaster thriller - In which the main conflict is due to some sort of natural or artificial disaster, such as floods, earthquakes, hurricanes, volcanoes, etc., or nuclear disasters as an artificial disaster. Examples include Super Volcano and The day after Tomorrow.
Drama thriller - In which the story consists of the elements of a thriller and drama film. These films are usually slower paced and involves a great deal of character development along with plot twists. Examples include The Illusionist, The Interpreter and The Prestige.
Eco-thriller - In which the protagonist must avert or rectify an environmental or biological calamity - often in addition to dealing with the usual types of enemies or obstacles present in other thriller genres. This environmental component often forms a central message or theme of the story.
Horror thriller - In which conflict between the main characters are mental, emotional, and physical. Two recent examples of this include the Saw series of films and the Danny Boyle's 28 Days Later. What sets the horror thriller apart is the main element of fear throughout the story. The main characters is not only up against a superior force, but they are or will soon become the victims themselves and directly feel the fear that comes by attracting the monster's attention. Other well-known examples are Alfred Hitchcock's Psycho and Thomas Harris's The Silence of the Lambs and Scream.
Legal thriller - In which the lawyer-heroes/heroines confront enemies outside, as well as inside, the courtroom and are in danger of losing not only their cases but their lives. The Innocent Man by John Grisham is a well known example of the type.
Medical thriller - In which the hero/heroine are doctors or medical personnels working to solve an expanding medical problem. Robin Cook, Tess Gerritsen, Michael Crichton, and Gary Braver are well-known authors of this subgenre. Nonfiction medical thrillers are also a subcategory, comprising works like The Hot Zone by Richard Preston. Films such as Awake are other examples of medical thrillers.
Political thriller - In which the hero/heroine must ensure the stability of the government that employs him.
Psychological thriller - In which (until the often violent resolution) the conflict between the main characters is mental and emotional, rather than physical. The Alfred Hitchcock films Suspicion, Shadow of a Doubt, and Strangers on a Train and David Lynch's bizarre and influential Blue Velvet are notable examples of the type, as is The Sixth Sense by M. Night Shyamalan and The Talented Mr. Ripley by Patricia Highsmith.
Spy thriller (also a subgenre of spy fiction) - In which the hero is generally a government agent who must take violent action against agents of a rival government or (in recent years) terrorists. Examples include From Russia with Love by Ian Fleming, The Bourne Identity by Robert Ludlum, and television series such as Mission: Impossible and 24 (the latter demonstrating a break from the norm by Robert Ludlum, as it is as much a psychological thriller as a spy thriller.)
Supernatural thriller - In which the conflict is between main characters, usually one of which has supernatural powers. Carrie by Stephen King and Unbreakable by M. Night Shyamalan and Torchwood are notable examples of this genre. This type of thriller combines tension of the regular thriller with such basic horror oriented ingredients as ghosts, the occult, and psychic phenomenon; the supernatural thriller combines these with a frightening but often restrained film. They also generally eschew the more graphic elements of the horror film in favor of sustaining a mood of menace and unpredictability; supernatural thrillers often find the protagonists either battling a malevolent paranormal force or trapped in a situation seemingly influenced or controlled by an other-worldly entity beyond their comprehension.
Techno-thriller - A work that usually focuses upon military action, in which technology (usually military technology) is described in detail and made essential to the reader's/viewer's understanding of the plot. Tom Clancy defined and popularized the genre with his The Hunt for Red October, and is considered to be the "Father of the Technothriller."
Most thrillers are formed in some combination of the above, with horror, conspiracy, and psychological tricks used most commonly to heighten tension.
If a thriller consists of one or more distinct genres it is called a Hybrid
•Science Fiction thrillers: The Terminator, I Am Legend, Blade Runner
•Science Fiction/Horror thrillers: Jurassic Park, Alien, Predator
•Techno/Political/Conspiracy/Military/Horror Thriller: Predator, Robocop, S.M. Stirling's Draka novels
•Legal/Forensic/Psychological/Horror thriller: Thomas Harris' The Silence of the Lambs, novel, Seven.
Thrillers create enigmas, an enigma is a mystery it is something that is not easily explained or understood.
Narrative
A normal film would be based as below;
Equilibrium
Everything is ok
Disequilibrium
Something goes wrong
New Equilibrium
Everything is back to normal
Thrillers sometimes start with Disequilibrium
Mise en scene is a French term which literally means everything that is ‘put into the scene’. Imagine a freeze-frame – all the elements that have been placed in front of the camera in that freeze-frame are elements of mise en scene. In the case of a thriller this will be costumes, iconography, lighting, Non verbal communication, setting, make up, decorations.
Lighting of a thriller is usually low level as it adds to tension and builds up a sense of the unknown.
Oliver Fitch
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