http://vimeo.com/40344046
http://vimeo.com/40343905
Sunday, 15 April 2012
Friday, 13 April 2012
Evaluation
How does your media product:
Use, develop or challenge forms and conventions of real media products?
My intro scene Revelations uses convention from an array of film, but the majority comes from Thriller and Noire. From the Thriller I used the gritty and fractured story based beginning similar to my research of Casino Royale, where no one knows what is going on, I also used stereotypes that are commonly found in Thrillers as there is a Male dominance in my film, in which in Thriller Males are often portrayed as power hungry and violent people. I also used shaky camera shots and erratic movements throughout my film to create suspense, although this is seen in many different film conventions it is also seen in Thriller. When conducting my research however, I found that in thriller’s they use editing for a stark difference in time frames, such as flashbacks, as in Memento, the flash backs were either black or white and highly edited contrast, compared to the ‘Normal’ time sequences where it has no editing. So I applied this to mine, having the normal sequences very grim and edited very heavily to look dark, whilst having the flashbacks very bright and have a clear distinction between them .As for Noire, I felt like I challenged and developed the conventions of it, usually in Noire everything is very stylized with heavy lighting, I did this also in my film, however, I wanted to modernise Noire by having stark lighting in a very digitally edited video and scene, and to also have subtle light and a surreal looking light source.
What kind of media institution might distribute your media product and why?
What kind of media institution might distribute your media product and why?
When researching which Media institutions would publish/fund a Thriller film, the most prominent one was Warner Bro’s, and for many different reasons, they seem to take on new IP’s, and seem to on the forefront of bringing thrillers and psychological thrillers to box office and to dvd’s, such as Inception, The Departed and Blood diamond, all those are different variations of Thrillers, but never the less shows the broad range of the thriller genre Warners wants to release to the public.
However, I also created a Studio that would show the artistic side of the filming behind the film called Salvation Studios with a heavily edited picture, Linking to the heavily stylised Thriller films that are generally made.
However, I also created a Studio that would show the artistic side of the filming behind the film called Salvation Studios with a heavily edited picture, Linking to the heavily stylised Thriller films that are generally made.
What would the audience be for your media product?
When looking at what the audience would be for my film, I decided to looking inot other films and what their general audience was and their age ratings. When looking at Casino Rayle, I couldn’t really apply it to my film as it was a 12A and was already an established franchise that had been running for decades, which my film was not. However when looking at other films such as Memento, it was a brand new IP, which was a 15, which was much more applicable to my film which was also a brand new film.So after researching that, I began researching who watches Thrillers and general, and it seems to be 18+ to much older males, people who want a storyline over flash and no substance.
How did you attract/address your audience?
I attempted to attract the audience in the early stages of the film by having it as a very unsual and surreal surrounding with unnatural music and odd visual editing, with this I hoped to of grasped their attention as I believe it is not something that is done usually all the time during films, Usually in film the backstory begins, where as I wanted to ‘kick in’ immediately when the clip begins.
I also wanted to address the audience with representations of the time, hoever I wanted the representations to be different to usual ones seen in films, as we have Lewis who is being detained in the chair, portrayed as a weak feeble young person who is helpless. Although We do have Amir who is stereotypically represented with his Foreign accent and is easily identified as the ‘Bad guy’ of the film.
I also wanted to address the audience with representations of the time, hoever I wanted the representations to be different to usual ones seen in films, as we have Lewis who is being detained in the chair, portrayed as a weak feeble young person who is helpless. Although We do have Amir who is stereotypically represented with his Foreign accent and is easily identified as the ‘Bad guy’ of the film.
What have you learnt about technologies from the process of constructing this product?
Through constructing this product, I have found that technology is a very powerful tool in creating videos and collaborating footage, using software such as Adobe Premier Pro and Photoshop CS3, I was able to create effect that I did not know previously, or even developed my previous skills and managed to create new effects. For example the logo was a mixture of photography and Photoshop and I manipulated it so it would look more surreal in the final outcome. I also learned that it’s almost vital to learn the software and the more proficient you get at it, and the longer you work with it, the easier it becomes and the more polished the project become, comparing to my older versions, it looks a lot better as it is polished correctly.
Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the full product?
Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the full product?
In so many areas I have felt that I have improved and learnt in many new areas form editing to camera shooting and planning, and it was one of the main reasons that I wanted to work alone, I want to experience it all myself to grasp a first-hand experience of each individual level, in hindsight that may or may not of been the best idea, but I felt like I have benefitted from it rather than working as a group. I have learnt about the composition of shots and which angles to take places, and to know that you must always retake shots no matter how well your gut instinct feels that you did it right (something I failed to heed at times). I have also learned to take criticism from my peers and my teacher and apply the criticisms to further polish and improve my work. But one of the main aspects I felt like I have learnt is the editing side of the Film, where as beforehand I did not have a clue about how the editing software worked, now I feel much more confident in how it works and feel that I have grasped the basics and willing to learn more.
Wednesday, 11 April 2012
Conventions
Conventions,
As you can see through my film clip, I have used a variety of Conventions throughout my Film, but the ones I mostly focused on were the conventions of Film Noir and Thriller, with I hoped to of portrayed a gritty surreal atmosphere within.
From the Noire style, I wanted to take the heavy stylised look and take it more with a modern approach, as to having odd effects and very stark and bleak colours throughout giving it a ‘digital’ edge to it. Also taken from the Noire style, is the use of lighting, to portray what the intent of the person is, and to show the audience which character to focus on in the particular scene. For example when I have the interrogation scene taking place, during the shot reverse shots I have done, the light is most prominent on the characters who need to be observed the most, whilst characters who aren’t in the focus are slightly faded away within the shot.
As with the Thriller conventions, I have used a variety of shot styles from Thriller films. Such as close ups and mediums shot, however in thriller films, they are usually erratic and fractured, something which I wanted to portray also, for example during the scene where I am walking into the room, the camera moves like a human being. Leading to my next point of how I wanted some shots to be like personal accounts, in many thrillers, some shots are done in a Point of View, and in the flashback scenes I wanted to give a feeling of that personal account.
As you can see through my film clip, I have used a variety of Conventions throughout my Film, but the ones I mostly focused on were the conventions of Film Noir and Thriller, with I hoped to of portrayed a gritty surreal atmosphere within.
From the Noire style, I wanted to take the heavy stylised look and take it more with a modern approach, as to having odd effects and very stark and bleak colours throughout giving it a ‘digital’ edge to it. Also taken from the Noire style, is the use of lighting, to portray what the intent of the person is, and to show the audience which character to focus on in the particular scene. For example when I have the interrogation scene taking place, during the shot reverse shots I have done, the light is most prominent on the characters who need to be observed the most, whilst characters who aren’t in the focus are slightly faded away within the shot.
As with the Thriller conventions, I have used a variety of shot styles from Thriller films. Such as close ups and mediums shot, however in thriller films, they are usually erratic and fractured, something which I wanted to portray also, for example during the scene where I am walking into the room, the camera moves like a human being. Leading to my next point of how I wanted some shots to be like personal accounts, in many thrillers, some shots are done in a Point of View, and in the flashback scenes I wanted to give a feeling of that personal account.
Sunday, 11 March 2012
Final Script
Forgot to put this in before.
(The clip begins with a fade in, of a close up of the detainee, with only their mouth and jaw visible, with everything apart from the detainee in a blur. The shot is in a light blue and grey colour.)
(a deep powerful voice, sounding thunderous)
(Chris gets a jab of electric throughout his body, grunting in pain)
Interrogator: We can do this all day. So I’ll cut to the chase. Where is Aleski?
Detainee: (Struggling to breathe) I don’t know him.
Interrogator: Oh but you do. We’ve seen the evidence, we know you met him, where is he?
Detainee: I don’t know!
Interrogator: For the last f*cking time! WHERE IS ALESKI?!
(the detainee remains silent)
Interrogator: We know you dealt with him in Northern London. We know you had dealings there, and we know you had contact with him. WHERE IS HE?.
(The detainee remains silent, a another electric shock occurs, and flashback sequence occurs)
Interrogator: FOR F*CK’S SAKE. PEOPLE WILL DIE. ALESKI WILL KILL AND STRIKE AGAIN.
Detainee: Zolochiv…
Interrogator: DAMMIT. WE CANNOT AFFORD TO LOSE HIM. AGGH.
(The screen starts to fade into white, The camera begins to go erratic once again)
Flashback 1:
(Flash back, begins in a first person view with a black and white view, with a slight red saturation on it, the surrounds of a rural area)
Aleski: Do you know what needs to be done?.
(Action shot of Aleski handing the package to the detainee)
This isn’t the idea of a madman, yet a man playing a puppet. A puppet of humanity. Go. Do what you need.
(Flash Back ends)
Flashback 2:
(similar to the style of flashback 2, in a point of view shot, and in black and white with a slight saturation of red)
(The scene begins in a corridor with the detainee lying on the floor, with Aleski going berserk with rage)
Aleski: WHAT HAVE YOU DONE?! YOU DAMN MONGREL. YOU BASTARD!
(Aleski is madly ranting punching the walls, then grasping the detainee with a knife to his throat)
Aleski: WHERE IS HE? WHERE HAVE YOU GOT HIM? I’ll GUT YOU LIKE A FISH!
(Flash back ends)
Script
Two different parts, real-time, and flash back sections.
Real-time
Two different parts, real-time, and flash back sections.
Real-time
(The clip begins with a fade in, of a close up of the detainee, with only their mouth and jaw visible, with everything apart from the detainee in a blur. The shot is in a light blue and grey colour.)
(a deep powerful voice, sounding thunderous)
Interrogator: Wake up. WAKE UP.
(the detainee sits there still without moving, the camera is still In the camera shot)
Interrogator:Right he isn’t getting up. Apply the volts and apply 30 milligrams of thiopental sodium.
(a Snap of electric occurs, the detainee erratic moves as if he were being shocked, the camera moves backward in a shaky disoriented way, and moves to a medium shot)
(the detainee sits there still without moving, the camera is still In the camera shot)
Interrogator:Right he isn’t getting up. Apply the volts and apply 30 milligrams of thiopental sodium.
(a Snap of electric occurs, the detainee erratic moves as if he were being shocked, the camera moves backward in a shaky disoriented way, and moves to a medium shot)
Interrogator: Good. Dim the lights.
(a dolly shot behind the interrogator begins, following him and then turning into medium shot of the interrogator and the victim.)
Interrogator: Chris Ryan, Male, 19, considered a psychopath in school, very much the loner, yet manages to kill 20 people and severely injure 50 others, and then just narrowly misses the prime minster. Impressive. Still a Failure though.
(the Detainee remains silent, still writhing)
Interrogator: They say the silent are strong. I intent to prove otherwise. (clenches his fist) Apparently the Chinese used electric first to torture their…guests. Rather fond of it myself.
(a dolly shot behind the interrogator begins, following him and then turning into medium shot of the interrogator and the victim.)
Interrogator: Chris Ryan, Male, 19, considered a psychopath in school, very much the loner, yet manages to kill 20 people and severely injure 50 others, and then just narrowly misses the prime minster. Impressive. Still a Failure though.
(the Detainee remains silent, still writhing)
Interrogator: They say the silent are strong. I intent to prove otherwise. (clenches his fist) Apparently the Chinese used electric first to torture their…guests. Rather fond of it myself.
(Chris gets a jab of electric throughout his body, grunting in pain)
Interrogator: We can do this all day. So I’ll cut to the chase. Where is Aleski?
Detainee: (Struggling to breathe) I don’t know him.
Interrogator: Oh but you do. We’ve seen the evidence, we know you met him, where is he?
Detainee: I don’t know!
Interrogator: For the last f*cking time! WHERE IS ALESKI?!
(the detainee remains silent)
Interrogator: We know you dealt with him in Northern London. We know you had dealings there, and we know you had contact with him. WHERE IS HE?.
(The detainee remains silent, a another electric shock occurs, and flashback sequence occurs)
Interrogator: FOR F*CK’S SAKE. PEOPLE WILL DIE. ALESKI WILL KILL AND STRIKE AGAIN.
Detainee: Zolochiv…
Interrogator: DAMMIT. WE CANNOT AFFORD TO LOSE HIM. AGGH.
(The screen starts to fade into white, The camera begins to go erratic once again)
Flashback Sequences
Flashback 1:
(Flash back, begins in a first person view with a black and white view, with a slight red saturation on it, the surrounds of a rural area)
Aleski: Do you know what needs to be done?.
(Action shot of Aleski handing the package to the detainee)
This isn’t the idea of a madman, yet a man playing a puppet. A puppet of humanity. Go. Do what you need.
(Flash Back ends)
Flashback 2:
(similar to the style of flashback 2, in a point of view shot, and in black and white with a slight saturation of red)
(The scene begins in a corridor with the detainee lying on the floor, with Aleski going berserk with rage)
Aleski: WHAT HAVE YOU DONE?! YOU DAMN MONGREL. YOU BASTARD!
(Aleski is madly ranting punching the walls, then grasping the detainee with a knife to his throat)
Aleski: WHERE IS HE? WHERE HAVE YOU GOT HIM? I’ll GUT YOU LIKE A FISH!
(Flash back ends)
Friday, 9 March 2012
Friday, 10 February 2012
Revelations - First Draft
Bonjourno! Here is my first draft of my Opening Sequence, however there is no sound ( there is sound, but not the right sound).
Friday, 27 January 2012
Final Day of Shooting
Final day of shooting, the most major part will be done, the main part of the interrogations, all flashbacks have been filmed so far and I am quite happy with them so far. My friend Lewis will be playing as the detainne, and the area has been setup up appriopriately with posters and I have placed around the area beign filmed. Clips will be added on monday :)
Tuesday, 24 January 2012
First part of Shooting today and Voice-overs!
Today i finally started shooting my opening scene, and completed roughly a third of it (Flashback), I got the help of Amir and Charlotte to help me shoot and act that particular scene. It went rather smoothly, very few mistakes and got through numerous runs in a short space of time.
Onto my other part, my voice overs for my Interrogation are complete, however I am a little uneasy about them, I feel like they are a bit 'cheesy' so to say, which is completely the wrong direction I am going for. however, after asking a few of my classmates, the majority said it was rather good and suited the mood except Charlotte (Grr.). I may either redo these or see what they sound like once I have edited them.
P.S. Thanks Amir and Charlotte for helping me out! Much appreciated :D
Onto my other part, my voice overs for my Interrogation are complete, however I am a little uneasy about them, I feel like they are a bit 'cheesy' so to say, which is completely the wrong direction I am going for. however, after asking a few of my classmates, the majority said it was rather good and suited the mood except Charlotte (Grr.). I may either redo these or see what they sound like once I have edited them.
P.S. Thanks Amir and Charlotte for helping me out! Much appreciated :D
Sunday, 22 January 2012
Filming time change, plus Actors!
I was planning to film my piece on the 20th of January, however this has been changed to 26th and 27th of Jan, since the room I had booked to use is still not ready to be used unfortunately.
On the bright side however, I have my actor, acting as the detainee, (Lewis Carr) and myself as the Interrogator and Aleski. My friend Matthew Jefferson will help me edit the voice of the interrogator for a more deeper and digital voice.
On the bright side however, I have my actor, acting as the detainee, (Lewis Carr) and myself as the Interrogator and Aleski. My friend Matthew Jefferson will help me edit the voice of the interrogator for a more deeper and digital voice.
Rough copy of my company logo
Here is a rough edit of my company logo, i'll touch it up abit nearer editing :) oh and the name needs adding 'Salvation Studios'
Revelations Script
Revelations Script
Two different parts, real-time, and flash back sections.
Real-time
(The clip begins with a fade in, of a close up of the detainee, with only their mouth and jaw visible, with everything apart from the detainee in a blur. The shot is only in black and white.)
(a deep powerful voice, sounding thunderous)
Interrogator: Wake up. WAKE UP.
(the detainee sits there still without moving, the camera is still In the camera shot)
Interrogator: He isn’t getting up. Apply the volts and apply 30 milligrams of thiopental sodium.
(a Snap of electric occurs, the detainee erratic moves as if he were being shocked, the camera moves backward in a shaky disoriented way, and moves to a medium shot)
Interrogator: Good. We will make you sing.
(the detainee wretches back and forth in a medium shot, as he is in a lot of pain due to the electric shock. Yet he still does not reply)
Interrogator: You know why you are here. You know what you have done. Tell me where is Aleski Ramnov?
(the Detainee remains silent, still writhing)
Interrogator: Do it. ( the electricity kicks in again, the detainee writhes in pain, a flashback occurs) ( See flash back page)
Interrogator: We can do his all day Jack. We know you know him.
Detainee: (Struggling to breathe) I don’t know him.
Interrogator: Oh but you do. We’ve seen the evidence, we know you met him, where is he?
Detainee: I don’t know!
Interrogator: For the last f*cking time! WHERE IS ALESKI?!
(the detainee remains silent)
(A flicker of a projector appears, a group of images appear on the detainee, including him and Aleski)
Interrogator: We know you dealt with him in Northern London. We know you had dealings there, and we know you had contact with him. WHERE IS HE?.
(The detainee remains silent, a another electric shock occurs, and flashback sequence occurs)
Interrogator: FOR F*CK’S SAKE. PEOPLE WILL DIE. ALESKI WILL KILL AND STRIKE AGAIN.
Detainee: Zolochiv…
Interrogator: DAMMIT. WE CANNOT AFFORD TO LOSE HIM. JACK? JAAAAACK?!
(The screen starts to fade into white, The camera begins to go erratic once again)
Flashback Sequences
Flashback 1:
(Flash back, begins in a first person view with a black and white view, with a slight red saturation on it, the surrounds of a rural area)
Aleski: Do you know what needs to be done?.
(Action shot of Aleski handing the package to the detainee)
This isn’t the idea of a madman, yet a man playing a puppet. A puppet of humanity. Go. Do what you need.
(Flash Back ends)
Flashback 2:
(similar to the style of flashback 2, in a point of view shot, and in black and white with a slight saturation of red)
(The scene begins in a corridor with the detainee lying on the floor, with Aleski going berserk with rage)
Aleski: WHAT HAVE YOU DONE?! YOU DAMN MONGREL. YOU BASTARD!
(Aleski is madly ranting punching the walls, then grasping the detainee with a knife to his throat)
Aleski: WHERE IS HE? WHERE HAVE YOU GOT HIM? I’ll GUT YOU LIKE A FISH!
(Flash back ends)
Two different parts, real-time, and flash back sections.
Real-time
(The clip begins with a fade in, of a close up of the detainee, with only their mouth and jaw visible, with everything apart from the detainee in a blur. The shot is only in black and white.)
(a deep powerful voice, sounding thunderous)
Interrogator: Wake up. WAKE UP.
(the detainee sits there still without moving, the camera is still In the camera shot)
Interrogator: He isn’t getting up. Apply the volts and apply 30 milligrams of thiopental sodium.
(a Snap of electric occurs, the detainee erratic moves as if he were being shocked, the camera moves backward in a shaky disoriented way, and moves to a medium shot)
Interrogator: Good. We will make you sing.
(the detainee wretches back and forth in a medium shot, as he is in a lot of pain due to the electric shock. Yet he still does not reply)
Interrogator: You know why you are here. You know what you have done. Tell me where is Aleski Ramnov?
(the Detainee remains silent, still writhing)
Interrogator: Do it. ( the electricity kicks in again, the detainee writhes in pain, a flashback occurs) ( See flash back page)
Interrogator: We can do his all day Jack. We know you know him.
Detainee: (Struggling to breathe) I don’t know him.
Interrogator: Oh but you do. We’ve seen the evidence, we know you met him, where is he?
Detainee: I don’t know!
Interrogator: For the last f*cking time! WHERE IS ALESKI?!
(the detainee remains silent)
(A flicker of a projector appears, a group of images appear on the detainee, including him and Aleski)
Interrogator: We know you dealt with him in Northern London. We know you had dealings there, and we know you had contact with him. WHERE IS HE?.
(The detainee remains silent, a another electric shock occurs, and flashback sequence occurs)
Interrogator: FOR F*CK’S SAKE. PEOPLE WILL DIE. ALESKI WILL KILL AND STRIKE AGAIN.
Detainee: Zolochiv…
Interrogator: DAMMIT. WE CANNOT AFFORD TO LOSE HIM. JACK? JAAAAACK?!
(The screen starts to fade into white, The camera begins to go erratic once again)
Flashback Sequences
Flashback 1:
(Flash back, begins in a first person view with a black and white view, with a slight red saturation on it, the surrounds of a rural area)
Aleski: Do you know what needs to be done?.
(Action shot of Aleski handing the package to the detainee)
This isn’t the idea of a madman, yet a man playing a puppet. A puppet of humanity. Go. Do what you need.
(Flash Back ends)
Flashback 2:
(similar to the style of flashback 2, in a point of view shot, and in black and white with a slight saturation of red)
(The scene begins in a corridor with the detainee lying on the floor, with Aleski going berserk with rage)
Aleski: WHAT HAVE YOU DONE?! YOU DAMN MONGREL. YOU BASTARD!
(Aleski is madly ranting punching the walls, then grasping the detainee with a knife to his throat)
Aleski: WHERE IS HE? WHERE HAVE YOU GOT HIM? I’ll GUT YOU LIKE A FISH!
(Flash back ends)
Memento Analysis
Memento Analysis
The clip begins with a very still shot of a disturbing image of blood and a desolate area, and remains like this for 30 seconds, then quickly moves shaking the photo in his hand, whilst still remaining in the same shot. This repeats for 3 times, and over time the photo begins to fade slowly, and the colour turns eventually to white. (perhaps a representation that time is always slowly fading away?) it then goes into a reverse of him putting a picture back into a camera, as the sound swiftly changes to a more eerie tone, matching the sudden change of camera angle. it then jump cuts into different close ups of blood, glasses and a body. it then goes into reverse with a shell casing going back into the gun and firing at the murdered male. It then abruptly jumps into a black and white sequence with a close up of a male, with his voice playing backwards.
Notes taken:
I liked how the photo subtly changed from colour to faded, and how there were many meaningful close ups that eventually pulled a picture together. However, I disliked how the clip went from black and white, i found it to be jarring.
The clip begins with a very still shot of a disturbing image of blood and a desolate area, and remains like this for 30 seconds, then quickly moves shaking the photo in his hand, whilst still remaining in the same shot. This repeats for 3 times, and over time the photo begins to fade slowly, and the colour turns eventually to white. (perhaps a representation that time is always slowly fading away?) it then goes into a reverse of him putting a picture back into a camera, as the sound swiftly changes to a more eerie tone, matching the sudden change of camera angle. it then jump cuts into different close ups of blood, glasses and a body. it then goes into reverse with a shell casing going back into the gun and firing at the murdered male. It then abruptly jumps into a black and white sequence with a close up of a male, with his voice playing backwards.
Notes taken:
I liked how the photo subtly changed from colour to faded, and how there were many meaningful close ups that eventually pulled a picture together. However, I disliked how the clip went from black and white, i found it to be jarring.
Se7en Analysis
Se7en Analysis
We begin with a sepia style editing in the beginning, with a book swiftly moving through the pages with a heavy motion blur. Then jump cuts with scrawly texts and a heightened view of a picture of hands. Then numerous jump cuts of strange objects being used. More swift jump cuts are used of real hands being stitched and torn etc. the music in the background is distorted and contains screams and other random disturbing noises, which heighten the strange and tense atmosphere. The title 'Se7en' erratically moves to different areas, switching to different sizes, intensity of light. it then fades into a close up of hands, but with a overlapping layer of hands to create and 'double vision' look. As the cuts begin to get faster and faster, the sequences speed up as if they were subliminal, until eventually many different pictures are moving incredibly fast and then abruptly ending.
Notes taken for my Film:
I really liked the heavy use of editing with the motion blur and sepia tones throughout, and liked the erratic titles and texts used throughout to create a more 'psycho' feel. I especially liked how the sequences of the pictures got faster and faster as the ending came closer.
We begin with a sepia style editing in the beginning, with a book swiftly moving through the pages with a heavy motion blur. Then jump cuts with scrawly texts and a heightened view of a picture of hands. Then numerous jump cuts of strange objects being used. More swift jump cuts are used of real hands being stitched and torn etc. the music in the background is distorted and contains screams and other random disturbing noises, which heighten the strange and tense atmosphere. The title 'Se7en' erratically moves to different areas, switching to different sizes, intensity of light. it then fades into a close up of hands, but with a overlapping layer of hands to create and 'double vision' look. As the cuts begin to get faster and faster, the sequences speed up as if they were subliminal, until eventually many different pictures are moving incredibly fast and then abruptly ending.
Notes taken for my Film:
I really liked the heavy use of editing with the motion blur and sepia tones throughout, and liked the erratic titles and texts used throughout to create a more 'psycho' feel. I especially liked how the sequences of the pictures got faster and faster as the ending came closer.
Kiss Me Deadly Analysis
Kiss Me Deadly Analysis
We begin with a black and white tracking shot of a woman, tracking her every movement, and the same incident repeats 3 times. The Light is always bright on the woman's face, which could be a representation of the woman being 'innocent and angelic'. It then cuts into a long view (possibly a late establishing shot), where a car swiftly misses hitting her. the brightness on her face fades, suggesting that she is not so innocent. the man sharply says 'You nearly ruined my car!'. A representation of the 1940's male stereotype of them not treating women as equals. As the titles appear, they take over the screen with a very bright white, and as they begin, a soothign calming 1940's singing voice begins to play.
Notes I may consider:
Although I am considering creating modern thriller, I wanted to look at older thrillers for references, and to see the comparison between modern ones and those are. I particularly liked the distinguished attitudes of the male and female stereotype and how the lighting shifts when a characters begins to be more than meets the eye.
We begin with a black and white tracking shot of a woman, tracking her every movement, and the same incident repeats 3 times. The Light is always bright on the woman's face, which could be a representation of the woman being 'innocent and angelic'. It then cuts into a long view (possibly a late establishing shot), where a car swiftly misses hitting her. the brightness on her face fades, suggesting that she is not so innocent. the man sharply says 'You nearly ruined my car!'. A representation of the 1940's male stereotype of them not treating women as equals. As the titles appear, they take over the screen with a very bright white, and as they begin, a soothign calming 1940's singing voice begins to play.
Notes I may consider:
Although I am considering creating modern thriller, I wanted to look at older thrillers for references, and to see the comparison between modern ones and those are. I particularly liked the distinguished attitudes of the male and female stereotype and how the lighting shifts when a characters begins to be more than meets the eye.
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