Thriller research task- Gabriel Mohammed

Salt-Phillip Noyce (2010)  

The film begins immediately in disruption, a woman is being held hostage and tortured in North Korea. From this we can see that the film does not follow Todorov’s theory of classic narrative. This opening is similar to many other thriller opening scenes as it creates many questions; who is the woman? Why is she being held against her will? Is she telling the truth? These questions are created to keep the viewer interested in the film. However this opening seen can be seen as dissimilar to others from its genre as it is more action oriented than some others. This shows what the rest of the film will go on to be like.

Editing- the editing used in the opening scene was very simple. Straight cuts were used for most of this scene to keep the audience engaged and to make the scene seem more realistic. A fade is used to signify the passing of time to when she is released.

Camerawork- A point of view shot is used to create empathy in the audience for this woman as we can see firsthand what she would be going through. An extreme long shot is used to establish the setting to show her situation.

Mise en scene- the makeup in this scene has Angelina Jolie looking very bloodied and tortured. The compilation shows her surrounded by guards which conveys her vulnerability and the lack of control she has in the situation.

Sound- in this scene there is a simple non-diegetic, off screen soundtrack, this adds atmosphere to the scene.

True Grit-Coen brothers (2010)

The film opens with a proverb from the bible, “the wicked flee when none pursueth” this sets an image in the head of the audience that the film will have religious connotations in it and that this proverb will be a strong force in this film. This film seems to follow Todorov’s theory closely; as the girl gives a voiceover she tells the viewer of how her father died. Before he died we assume that they were in a state of equilibrium and that her father’s death was the disruption. The audience can then go on to figure out that this is a revenge story and she is going after her father’s killer to seek resolution.

Editing- the editing in this opening sequence is incredibly simple, only two shots are used. A dissolve is used to go from one shot to the other and communicates to the audience that they are connected.

Camerawork- the first shot used is a very long continuous take. It tracks in and also zooms in at the same time to the figure of the dead body which we assume is the girl’s father.

Mise en scene- lighting is used very well in this opening scene, at the start of the film there is a single light as the rest of the shot comes into focus. Also at the end of this scene we see who we assume to be the main antagonist and he is lit with very low key lighting making it look very dark which connotes his villainous characteristics.

Sound- most of the sound used in the opening is non-diegetic off screen. It starts with a calming piano piece which contrasts what you would expect from a thriller opening. Then the voiceover from the girl starts, from her accent we can determine a rough location of where the film is set (western America). The only diegetic sound in the opening is a Foley of a galloping horse, this suggests importance and as it happens at the same time as the girl describing her father’s killer we can assume this is who it is.

Tinker tailor soldier spy-Thomas Alfredson (2011)

This opening is very simple, yet it creates a lot of mystery and questions mainly through the dialogue. We do not know who these two men are or how they are connected to the plot. This state of enigma is very common in thrillers and tinker tailor soldier spy follows suit as a classic thriller.

Editing- there is very little editing in this scene, straight cuts are mainly used for continuity. The most noticeable cut takes the audience to Budapest.

Camerawork- most of the shots are eye level shots, this is done to make the film more realistic and to immerse the audience. Near the end of the scene the camera zooms into the older man, this signifies his importance over the other character. As the setting changes to Budapest an extreme long shot is used to establish the setting.

Mise en scene- the lighting throughout is very low key and natural. This sets the tone as darker and very real for the viewer. The props used in the old mans house portray that he lives a very hectic life as nothing is organised; this could be significant to his character.

Sound- the diegetic dialogue in this scene is very quiet, this creates tension and mystery as they seem to be worried that they might be overheard, this shows that the subject of their conversation is very important. 

Taken-Pierre Morel (2009)

The opening to this film begins with a flashback; this is a very common theme for thrillers as it can show the audience the state of equilibrium from Todorov’s theory. In the flashback we see a young girls birthday, we assume she is the daughter (or someone equally close to) of the main protagonist. The setting of the flashback and the present are quite contrasting and this conveys that the present is not a positive time and that there may have already been a minor disruption.

Editing- in the flashback sequence the quality of the picture is lowered through a filter to make it look like a home video, this implies that the memory is very close to the protagonist.

Camerawork- in the flashback sequence it is filmed using a freehand camera to, again, add to the realism that it is a homemade video and not something professional.

Mise en scene- the lighting when the flashback stops is very low key and dull, this signifies that the character is unhappy and connotes sadness and loss.

Sound- the non diegetic soundtrack during the flashback is sad, slow music. This suggests that something bad has or will happen to these characters. It contrasts with the visual as that sends happier signals. 

*the pictures that accompany this post failed to upload as they were rejected by the server.

Initial Research Task by Maddie

Initial Research Task

 Law Abiding Citizen (2009)

The opening sequence of this film begins with equilibrium, as we see a little girl making bracelets, whilst her father works on fixing some kind of microchip. By starting with equilibrium, we can assume that Todorov's Theory has been applied, and therefore, a disruption will soon occur in the film. (A diagram of this theory is shown below). A sound bridge of diegetic music can be heard, creating a relaxed mood; the music is an example of parallel sound as it reflects the relaxed and content mood of the characters. There is also off screen sound of a lady calling to the man, showing the audience that there is another character in the house, as well as building the appearance of a happy, ordinary, family evening. The man wears a plain cream sweatshirt, and the girl’s hair is perfectly straight, which connotes to us that the man is innocent, the girl is angelic, and they are both unsuspecting. However, because of the low key lighting used, the audience connote that when there is a diegetic sound of someone knocking on the door, something sinister is about to occur. When the man walks towards the door to open it, a tracking shot from behind is used to create fear in the audience, who suspect that something terrible is about to happen. There is also lots of camera shake to suggest danger and make the audience feel unsettled. The narrative structure is chronological and restricted, which is very tense for the audience because, like the character, they don’t know what to expect next. When the man opens the door, he is attacked by two men who tie him up and begin to steal items from his house. The men wear dark clothing, which further connotes that they are evil characters. Whereas at the beginning, steady close up and mid shots were used, this shocking scene uses a variation of high and low angle shots, varying shot distances and lots of camera movement to reflect the violence, confusion and fear the characters are experiencing. A low angle shot of one of the attackers also connotes that he is in a position of power here, which makes him seem dangerous and frightening.

 

 

Witness To Murder (1954)

This film opens with an establishing extreme long shot of the night sky, where large dark clouds cover a full moon. This shot uses pathetic fallacy because full moons are often associated with fear and violence, which connotes mystery to the viewer. A diegetic crack of thunder sounds, and then dramatic non diegetic string music begins to pay which foreshadows a frightening event. The audience can also predict this because of the movie title, which appears over a high angle extreme long shot of a city, to contextualise where the movie will take place; they wonder who the murder witness will be. A dissolve is then used, and the audience see a long shot of an an empty street, with litter blowing around in the wind which could connote a rough urban area. This edit suggests to the audience that the location is within the city- therefore giving us the location of the film. The emptiness of the setting connotes an eerie, desolate atmosphere which again foreshadows that a crime may soon be committed. We then cut to a medium close up of a young woman asleep in her bed. Lighting is used effectively here, as we see strips of shaking light, as if coming through curtains, across the woman’s face. The audience can hear the diegetic sound of strong wind, which suggests that the window is open. These elements of the opening make the audience fear for the woman, as she seems vulnerable, and we wonder if she could be the victim of the murder. However, when she gets up to close the window, she sees the murder taking place in the apartment opposite. An over-shoulder shot is used here, to show the woman’s point of view as she witnesses the crime. Also, this shot also allows the audience to be witnesses; therefore throughout the film we will be on the woman’s side as she tries to catch the killer.

 

 

Taxi Driver (1976)

 

The film begins with an extreme close up of the side of a taxi as it pulls away, leaving a cloud of exhaust smoke in which the opening credits appear. After the credits, there is an extreme close up of a man’s eyes, who we assume to be the taxi driver because of the film title, and the clip of the car we saw previously. This shot distance suggests to the audience that this character is important, and by looking closely at his eyes the audience feel close to him, as if they are there with him in the car. There is non-diegetic jazz music which could connote a mysterious, sleazy atmosphere to the film, but also give us clues to the setting- the boroughs of New York City, and the illicit themes of the movie which include crime and prostitution. The lighting is low key, as the man is in shadow apart from the red, blue and white lights that flash occasionally over his face. When the shot dissolves into a point of view shot through the windscreen, we see that the light sources are neon signs, connoting an urban setting. There is rain on the windscreen, which is a use of pathetic fallacy; the audience could connote that the character is lonely and unhappy in his work, which is suggested by the weather. Long shots of the road ahead and people on the pavement, linked by dissolves to the extreme close up of the character, suggest that the man is familiar with the environment and he often watches the activity in the city at night. The length of the shots, compared to the the close ups inside the taxi, could also suggest that the man is lonely, and spends most of his time alone. After watching this opening, the audience don’t know much detail about the man and his life apart from his profession, which creates mystery and leaves us wondering who he is, and what the significance of the taxi will be in the movie.

 

Pulp Fiction (1994) 

 

 The opening of this film is unconventional compared to most thriller openings. Whereas all the other examples I have shown use low key lighting, tense non-diegetic music and often very little dialogue, this opening scene focuses on a conversation between two characters in a brightly lit diner. Diegetic lighthearted 'muzac' and diegetic sounds of traffic outside replaces the tense soundtrack that is typical in most thrillers, in order to convey that the characters are in an everyday situation. 'Pulp Fiction' includes elements of comedy, which is revealed in this opening scene through the dialogue and relaxed body language of the characters, which are incongruous with typical criminal characters. These elements make the characters' actions unexpected, when at the end of the opening they jump up, holding props -guns- and announcing that 'this is a robbery!'. Throughout the opening, mid shots and close ups of the characters are used to show that their conversation is private, and has gone unnoticed by any other customers in the diner. Even when the waitress comes to offer them more coffee, a low angle point of view shot is used to connote that the waitress is not at their level, and therefore not part of their conversation. Through the use of these shot distances and angles, the audience feel a sense of voyeurism, as if they are included in the conversation. This makes the audience fond of the characters, despite the fact that they are robbers. The use of dialogue helps to characterise the couple not as evil criminals, but people who thieve in order to make a living and don't wish to harm anyone unnecessarily. For example, the woman tells her partner, 'I'm not gonna kill anybody', to which he replies, 'I don't wanna kill anybody either'. Most of the opening is shot using two shots or over-shoulder shots, which suggests to the viewer that the couple are a team and always stick together. Even in the final shot, when the characters are holding their guns and threatening the people in the Diner, they are in a two shot to connote their alliance.

 

Thriller Research Task by Helen Scarlett

The Dark Knight Rises (Christopher Nolan)

• When I first watched this I thought all  of the people with hoods on were victims and the other men were villains. But when the hood is taken off the third man I almost straight away changed my mind, (is this because of his mask?). I also change my mind because of man with the gun’s hesitance when taking off the hood and his scared/shocked face when he finds out who he is. We also suddenly realise the man with the mask is wearing black, and therefore he is suddenly transformed into an antagonist.
• EDITING: Cuts - simple so the attention of the spectator isn't taken away from the action. Continuity Editing - Shot reverse shot (example), and 180 degree rule.
• CAMERA WORK: Extreme Long Shot, High Angle - establishes the setting, threatening because of height, so much could go wrong.

 
Over the Shoulder Two Shot - this zooms into a close up of   Bane's face to emphasise who the main character in the scene is.

• MISE-EN-SCENE: Costume - army uniforms. Setting - establishing shot, plane, in the air. Archetypes - army officers, rich man.
• SOUND: Diegetic - Speech (Bane's Mechanical voice and the other men shouting), the sound of the wind when they open the plane door, gun shots. Non-Diegetic - Music (violins, minor key, faced paced).

Vertigo (Alfred Hitchcock)

• When I first saw this clip I wanted to know the answers to the following questions; Who is the man? Why's he being chased? Who are the men casing him?
• EDITING:Morphing of the Birds Eye View to make the ground look further away then it is. Cuts = simple but effective, people are more interested in the film than the complicated editing.
• CAMERA WORK: Birds Eye View, looking down on street to show his vertigo.

 

 

 

Extreme Long Shot of the men running across the roof tops, establishes setting and foreshadows whats about to happen. Extreme Close Up, hands on rails, tensed hands show the pressure of the situation.

 

• MISE-EN-SCENE: Costume :police uniform, man running away is dressed all in white (makes us question if he's friend or foe), man behind is in dark brown smart suit and hat (well off, important). Archetypes:police officer.
• SOUND: Diegetic - emphasised sound of fast paced footsteps and the character's heavy breathing, gun fire, and the sound of the bullets missing their targets, the only speech n this clip is from the police officer; 'give me your hand' and his scream as he falls off the roof. Non-Diegetic - the BFI (British Film Industry) said this about the sound track in this clip: "Hitchcock's film is about obsession, which means that it's about circling back to the same moment, again and again ... And the music is also built around spirals and circles, fulfilment and despair. Herrmann really understood what Hitchcock was going for - he wanted to penetrate the heart of obsession", it is a very recognisable / famous piece of music.

Shutter Island (Martin Scorsese)

(LINK TO CLIP: http://www.imdb.com/video/imdb/vi3240494105/  )

• When I  first saw this clip I was totally convinced by every thing I saw and heard, however, by the end of the film we find out that everything has been a total lie.
• EDITING: Cuts, simple but effective, people are more interested in the film, and being shocked than the complicated editing.
• CAMERA WORK: Extreme Long Shot, shows a small island with little population followzed by a zoom in following the car going past a group of black workers in a field (this shows us the period the film is set in, 1954).

 

Extreme Long Shot, (point of view shot?) of main characters docking at the harbour with police/guards, shows setting (remote, surrounded by water, one way on and off the island). Extreme Close Up of 'Deputy Marshal' badge, this makes the spectator think it's to prove the reality of the badge, but we later find out it's fake.

• MISE-EN-SCENE: Props and Costume represent the genre and time period of the film (Cars, Trench coats, etc.). Facial Expression  and Body Language are hostile which makes us think that they could be some kind of antagonist, however their costumes say otherwise - the facial expressions of suspicious looks from the guards make us think that they are worried about the missing lady, but we later find out it's because of the main character.
• SOUND: Non-Diegetic, music in minor key, cello, quiet at first then suddenly becomes louder and quiets again (this repeats over and over). Diegetic, the accents of the characters show where and when they are from (1950s, Southern America).

Kill Bill: Volume One (Quentin Tarantino)
(THIS SHOT FROM 'KILL BILL' IS FROM 00:36 TO 02:22 OF THE MAIN FEATURE OF THE FILM ON THE DVD)

• EDITING: Everything in this clip is in black and white (this shows how every thing is black and white to our main character, people either stand with her or against her) It also shows that this is a memory. There are only three shots edited together with simple cuts (even thought the clip is a minute long, there are only two cuts, which is the director Quentin Tarantino's style as he seems to like to do every thing in the most difficult way possible).
• CAMERA WORK: Close Up of the main character's face so we can't see who's talking to her, only his hand, this leaves the spectator questioning what has happened.

 

The only other shot in this clip is an Extreme Close Up of a man's feet walking across a wooden floor, this makes the character seem mysterious as we only ever see the man's hands and feet, then it goes back to the close up of the woman .

• MISE-EN-SCENE: Props, a white handkerchief with the name 'Bill' written on it, shows us who the man is, but not what he looks like. Costume, she's in a wedding dress, we see a smart expensive suit sleeve and smart shoes on Bill which shows he's wealthy and a dangerous villain. Make Up, blood all over the woman's face, a missing tooth, etc..
• SOUND: Diegetic, her deep breaths, him talking, gun being loaded, her saying 'Bill, it's your baby', gun shot is halfway through a sentence so it's sudden and makes it's spectators jump. All of the sound in this sequence is diegetic, so the characters can hear it, this suggests the setting is empty as the words seem to echo.

BY HELEN SCARLETT

Lighting Task




This was the shot that we were given to replicate from the film 'Seven'

We were given 3 tasks to complete on this topic by using the 3 point lighting set up:
1) We had to replicate two scene shots from Thriller films that we were given:

This was the version of the shot that we shot.
Like the original there is a strong light hitting the man from the top left corner illuminating both his face and arm, and a weaker light hitting him from lower down on our right illuminating just his arm.

This is the second shot that we had to replicate from a clip in the film 'Shutter Island'.

This is our version of the shot above, like above there is a strong illumination of the man's face on our left, as well as a slight illumination of the right shoulder

 

 

2) We had to create a silhouette effect:

This was the example of a silhouette effect that we were given.

 

 

This was our version of the shot above, this is a silhouette as the character is being outlined / framed by the light and we cannot see the features of the character.

 

3) Create these effects by the positioning of the light:

FRONTAL KEY LIGHT ONLY:

We used one hard light in front of the character to create a harsh effect with deep shadows.



KEY AND FILL LIGHTS:

 We used the same set up as the shot above, however we also added a fill light which meant that the shadows although still there are a lot less prominent and therefor the shot looks more naturalistic.

 

BOTTOM UP LIGHTING ONLY:

Positioning one key light below the character's face meant it created harsh unrealistic shadows in a unnatural direction and makes the character look distorted.

 

TOP LIGHTING ONLY:

 

Here there is one key light pointing down on the character's head which puts the rest of their face into shadow.

 

SIDE LIGHT ONLY:

 

Here there is one Key light positioned to the camera's right which puts on side of the character's face in the "spot light" while the other side is in complete shadow.

 

BACK LIGHT ONLY:

Here we positioned one light behind the character which gave us a slight silhouette effect as well as giving the character a "halo" outline around their head.