What Lies Beneath - Evaluation

What Lies Beneath - Evaluation

This clip is effective because the constant sound of the running water builds suspense as the scene progresses and the woman starts to drown. This constant also puts the audience on edge which is a typical feature of a thriller/horror film. The moment where the sound fades to a muffled running of the water is effective because it places the viewer into the place of the character, adding tension and discomfort, also a typical feature, making the audience get more emotionally involved in the scene. The frequent cuts from one end of the bath to the other also provides rapid movement, which is a build up of tension through the story. The close ups show the intimacy with the woman and convey the desperation of the scene, also showing the danger of the bath rising. The distortion in the woman's face causes the audience to relate to her life being on the line and her desperate need to turn off the tap, we could use this to enhance the eeriness of our mysterious woman in the bath. The fluctuation between the slower, 'calmer' moments and the fast movement moments also provides a contrast and keeps the audience on edge, we could use this to make sure the audience are more confused so the tension can peak at the end of the clip as the eyes are revealed. The shot of the woman spitting the water and her gulp of air is similar to the moment we want to create in our opening so could use this moment to try out and practice this style.

Radiohead - "No surprises" Evaluation

Radiohead - "No surprises" Evaluation

This clip helps us to explore the idea of filming underwater. the moment where the singer is emerged, there is a feeling of peace as his eyes are closed and he is holding his breath. However the longer he is underwater the more the audience feels tense. The camerawork, use of close ups, suggests an intimacy with the audience, also adding focus onto the singer with this close up. this clip made me think about the effects of the frame, with water and the dangers with water in the shot. For example the face could become distorted if the water isn't as still as possible, this could provide humour when not wanted. This clip is also very much the same in the way that the shot is constant and therefore this could bore the viewer.
The rising water, provides tension and worry in the audience, we could use the length of the time spent underwater to our advantage to make the audience feel on edge due to the suspense of running out of breath. These of the water's refection of the light could be used to our advantage, making the mystery all the more enhanced. The change in lighting provides as a sense of change in time with the music and the different colours place us in the moment, as they almost replicate water.

Film Opening AS Coursework Ideas

Film Opening AS Coursework Ideas:

These are my initial scene ideas for our opening sequence, with examples for each style in the thriller genre:

Mood - Board Thriller Genre

Mood - Board Thriller Genre

http://www.gomoodboard.com/boards/-BDew-Y2/share

Here are some screenshot examples of the mood board with roll-over descriptions:

 

Research - Codes and Conventions of Thriller Genre

Research - Codes and Conventions of Thriller Genre

Film Openings - Page 1

Film Openings - Page 1

Film Openings - Page 2

Film Openings - Page 2

Film Openings - Page 3

Film Openings - Page 3 

Preliminary Task - Video Review

Preliminary Task - Video Review

Our preliminary task film is successful because there is a clear story line, with clear characters. There is a shot reverse shot included, both over the shoulder shots and both including a conversation. Also we include a close up of the bag, and several continuous shots, with a match on action too. Our continuity is successful with clear framings used. The various camera angles such as the canted added effect and show skill.

The more unsuccessful parts that could have been improved was a more extensive use of lighting and sound to add dramatic effect. also the overall flow through shots could have been more smooth. 

Preliminary Task - Video

Preliminary Task - Video

Preliminary Task - Storyboard Review

Preliminary Task - Storyboard Review

Our storyboard is a clear representation for what we wanted to achieve in our Preliminary filming for this task. We have clearly stated the movement and the positioning in these images, along with exploring proxemics of all the characters clearly. The outline, clearly defines the positions and makes it clear and easy to read with the information being specific to time periods and the action in the scene. These descriptions also explore the sound and the transitions and edits on each shot. 
To improve on this, I think we could have focussed on the background in the drawing just to be specific about location. I also think we could have included more arrows to highlight the specific movement for all the characters. Finally I think that the facial expressions could have been drawn to show the mood and the tension of the story.

'Trainspotting' Analysis - Classwork

'Trainspotting' Analysis - Classwork 

At the top, I created a sound graphic drawing, which shows that throughout the clip, there is a constant piano chord sequence. This build suspense and tension as the characters start to run. These triadic chords change to a higher key at the highest point of tension. The main other significant sound is the voiceover of the Scottish character, describing the situation, setting the scene. Most of the other sounds heard are diegetic and are created by the characters/objects in the scene. This includes, firstly the screeching of the car, causing the audience to feel tension, as the sound is uncomfortable. This is then followed by laughter of the other characters, setting the scene. Shortly after there is cheering that is of the same level of the chordal movement below. The final diegetic sound created, is when the character falls, and this is the sound created when he hits the floor.

Below the sound drawing, I noted key moments of tension and key scenes. There is a very small moment of equilibrium at the start but as the characters start to run the tension starts to build on a steady incline. This is then highlighted by the long shot of the men running in suits behind the main characters, this increases to the gradient of the tension graph. The next key scene that really emphasises the tension increase and is a pinnacle moment, is when the man stops just in front of the fast car. Then the key character is introduced through a freeze-frame and this marks the slight decline in tension. This decreasing curve includes the football team photo moment, as this is a moment of equilibrium, as nothing is building suspense at this moment. After the football team moment, most of the other characters are introduced. I drew a slight incline in tension because the piano music seems to speed up and the language of the voiceover also becomes more explicit. The peak moment of tension is right before the main character falls as the audience is on edge as to what happens. After the fall the rest of the clip is in equilibrium as there is not much change in action, the camera only pans in a circular motion around the character.

'Halloween' Analysis - Classwork

'Halloween' Analysis - Classwork

In the top half of this page I drew a graphic sound drawing highlighting all the sound in the opening scene of ‘Halloween’. At the beginning there is just the diegetic sound of the crickets, with the quiet indecipherable sound of the man and woman talking. Then suddenly as the camera begins to move, there is a 2-note high-synthesised violin sound jumping up to the string tremolo, which is a constant throughout. There is then an introduction of piano chords that are repeated and then modulate higher or lower.  There is then the diegetic sound of the draw opening and the knife coming out. There is then the diegetic sounds of the clock ticking followed by the man talking and walking down the stairs and outside. This is subsequently followed by the church bells ringing in the background, which fade out and are overlapped with the sound of the woman humming. During this there is a sharp synthesised violin jump to a higher tremolo. Underneath this the sound of the woman screaming and being stabbed with breathing from ‘Michael’ and a deep distorted bass chord. The piano chords follow on in a descending sequence until the end of the clip.

Under this sound graph, I drew a tension graph highlighting the key scenes throughout, most of this clip is through a point of view shot and this adds suspense because the audience has no idea who is behind the point of view shot. At the beginning there is a moment of equilibrium until the camera pans around as it to be tracking the house where the tension increases a lot. The tension increases further as the figure picks up a knife and walks towards the stairs. There is a slight decrease as the man leaves the house because the figure retreats. Then as the camera walks up the stairs there is an increase in tension and when he puts the mask on there is even more of an increase as the shot is now framed through 2 eyeholes. Then when the boy stabs the girl, there is definite intensity of the suspense. This is highlighted with the image of the naked dead girl and the tension lapses slightly as the figure walks down the stairs but is raised again, to its peak, when the point of view shot ends an the mask is taken off to reveal a little boy behind the murder.

'Amelie' Analysis - Classwork

'Amelie' Analysis - Classwork

This clip is overall not very tense, as it is not categorised in this genre, therefore this analytical drawing shows an exaggerated tension scale compared to the others. In the top half of the page, I drew a graphic sound drawing including diegetic and non-diegetic sound. The main music in the introduction was French orchestral classical music in a minor key whilst the beginning credits rolled. This built pace as the French voiceover introduced the scene, both sounds being non-diegetic. Then there was the car that drove past the camera making diegetic engine sound. This was followed by the birth of the child, therefore the screaming of said child. Then the credits roll and the French voiceover stops. There is then a montage of scenes where ‘Amelie’ is playing with things. These provide quieter diegetic sounds. This is introduced by the clicking of a camera reel, followed by the falling dominoes and then the ringing of a glass being run around the top with fingers. Next there is a slurping noise from the straw in the bottom of the drink, followed by the squeaking of the child blowing through the leaf, afterwards the child blows a paper spiral and then finally the rolling of a coin on the table. Also underneath this montage, the music changes to more a more solemn mood and is only played on the piano, with chordal movements underneath a melody.

Under the sound graph, I drew a tension line with key scenes added in and the specific colouring of the screen at that moment. There was a long while of equilibrium at the beginning with the opening credits but as the car drove through the shot the tension built. At this point also the colouring was very orange, giving the feel of the past. Then as the man was rubbing out the name of his friend the tension grew even more as the audience are given ambiguous scenes. This colouring was more yellow, so had a deeper saturation to the shot. Then as the voiceover continued there was a slight increase in tension with the sperm and egg story. As the clip almost reached its peak of tension with a time lapse in stop-frame-animation of the woman through her pregnancy the tension increased. The peak of tension was when the chid was born and after this there was a dramatic fall in tension and another moment of equilibrium as the credits continued and there was a montage of the child doing all sorts of childhood things. The saturation for this montage was also enhanced with yellow and orange undertones.