CCR 1

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

2. What genre, and how does it align with the conventions of the genre? Our opening sequence aligns with the typical conventions of a HORROR-THRILLER hybrid genre, however it also contains unconventional differences (aligning with Steve Neale’s genre theory, showing to have ‘instances of repetition and difference’), which make the entirety of the film engaging and interesting to viewers. This is due to the conventional colours, props, sounds, locations, charactertypes, and narratives of the horror/horror-thriller genre. `

3. CONVENTIONAL PROPS: A close up shot taken from Alfred Hitchcock’s ‘Psycho’ of one of the conventional props used within it. Most conventional horror-thrillers tackle themes and events like murder and extreme violence and so it’s natural for horror-thriller movies to include props like guns, knives, axes, chainsaws, fake blood (used to show the results of such weapons being used) and ID badges (like a police official badge) or passports. A shot of some of our props (knife and fake blood), which are deemed conventional to the horror (and often the thriller genre). CONVENTIONAL SOUND: Often these conventional sounds are uncommon, sudden sounds which can be either diegetic (and hence scaring the characters within the scene) or non-diegetic (and therefore shocking the audience, and building tension effectively). Low frequency drone sounds are conventional, as well as screams, doors creaking, and eery orchestral music with a dissonant sound. We used a couple of these, however, I would say our choice of some diegetic, laid back jazz music was fairly unconventional and surprising. Our film was set in the flat of the killer. In a way, this is unconventional as flats are not able to be isolated from the rest of the world. I think it shocks the audience more. This is where ‘Funny Games’ was shot- a cabin, in the middle of nowhere, isolated from the rest of the world. CONVENTIONAL LOCATIONS: Conventionally, horror and thriller films are set anywhere which is isolated, meaning the character is alone. Locations include abandoned houses, cities, cabins, graveyards, dark streets and alleyways, forests or basements.

4. Our own victim parallels the victim in ‘Psycho’. Both appear helpless women against murderers with knives. CONVENTIONAL NARRATIVES: The conventional narrative of a horror thriller genre is that there is a single (or group of) protagonists, and then a few, extremely powerful antagonists (like serial killers). There is always conflict between the two, normally leading to multiple deaths and victims. This parallels our narrative entirely. The serial killer kills his wife, and the police are trying to find out who committed this murder. CONVENTIONAL CHARACTER TYPES: • The hunter • The policeman • Serial Killer/ murderer • The older, wiser person • The sceptic • The hysteric • The victim(s), often women. Nightmare on Elm Street (1984), a horror film, compared to one of our shots. Both include black and red colours. CONVENTIONAL COLOURS: Normally, within the genre of horror (particularly horror-thriller, where serial killers and murders are common), conventional colours used are shades like RED and BLACK, connoting things like blood, danger and evilness. We used colours like this (predominantly the red, as it is the colour of blood), meaning that our opening sequence became closer to the horror genre we intended to capture.

5. A horror thriller (also further influenced by the psychological thriller genre), which is a shot for shot remake of his own 1997 film of the same title. • Starring Naomi Watts, Tim Roth, Michael Pitt and Brady Corbet. • Follows a middle class family as it is captured and tortured by two young criminals on their holiday. FUNNY GAMES Michael Haneke, 2007 MIS-EN-SCENE: • The way in which women present themselves, especially as the victim of the killers within the film. Ann (in ‘Funny Games’) is presented as a fairly passive women when she is killed, gagged and thrown off a built. In our opening sequence, Mrs Chase is being put in a body bag, already dead, and entirely passive. Both hold broken and sickly facial expressions. In this way, this component of our film is entirely conventional, following the passive woman victim pattern. • Both killers in each movie don’t appear as if they are struggling with the idea of their torturous actions, and instead seem fairly calm and collected with the fact they’ve murdered people. Both killers’ costumes (with Funny Games’ white outfits, and my opening sequence’s killer’s white shirt) are similar, and both reflect the unbothered and calm nature of their characters.

6. A psychological crime thriller film, starring Brad Pitt, Morgan Freeman, Gwyneth Paltrow and John C. McGinley. • Tells the story of a detective who partners with the retiring William to track down a serial killer who uses the seven deadly sins as a way in which to motif his murders. • Principal photography took place in Los Angeles. SEVEN David Finch, 1995 MIS-EN-SCENE: • In the film ‘Seven’, there is a scene around halfway through the film which sees the two protagonists knocking on a suspected serial killer’s door (the exact same thing is happening in this image, in my opening sequence. Same location too, outside a suspect’s door), presenting the conventionality of such narrative. Both sets of pairs are wearing official looking clothes (shirts and ties, and black trousers), as well as speaking in the same authoritative tone, in order to show their authority and power. However, in ‘Seven’, it is a man doing the talking, whereas in my opening sequence, we have challenged these misogynistic ideas and included a policewoman, challenging stereotypes and going against typical horror thriller conventions. • Whilst these two shots look quite different composition wise, the mis-en-scene is actually fairly similar. Both are set in places you wouldn’t expect to find such evidence of violence (‘Seven’ being set in this nightclub-esque setting, and my opening sequence in a normal, modern looking kitchen), furthering the thrilling element of each event. Both scenes include a lot of the colour red, typical of the horror thriller genre, connoting blood, danger and violence. They also both make effective use of low-key lighting, emphasising the eeriness of the atmosphere. For this reason, my opening sequence’s mis-en-scene seems to have stuck to fairly typical conventions of the horror thriller genre.

7. SEVEN David Finch, 1995 CAMERA: • These camera shots are similar as they are close up shots of gruesome injuries, or results of violence. The two shots from ‘Seven’ have the injuries placed in the centre of the shot, shocking the audience, forcing these images onto them. This is similar to my opening sequence, where the blood-soaked tea towel in central to the shot, not letting the audience look away, showing the significance of such violence. In this way, we have stuck to the conventions of camerawork within the horror thriller genre. • These camera shots are similar in that they both are birds eye view close ups of the typical ‘victim’ character. This birds eye view gives the audience the opportunity to see the full extent of the injuries, and the perspective of the police (in ‘Seven’s case) or the serial killer (in my opening sequence’s case). Both shots are conventional of the horror thriller genre as they effectively frighten the audience, making them feel extremely uncomfortable. • My opening sequence included an extreme close up of the serial killer’s eyes, as we wanted the audience to try and comprehend what he was feeling, without showing his face (as we felt this suspended the audience’s disbelief and furthered the tension), whereas ‘Seven’ has used a close up of the serial killer’s face, showing his whole face, scaring the audience as they are confronted with his emotions. However, I feel as if both shots have the same effect, just with slightly different methods, and so for this reason, I still see our camerawork to be fairly conventional.

8. SEVEN David Finch, 1995 SOUND: • In our sequence, I would say that our use of sound was actually quite unconventional as a soundtrack within the horror thriller genre. We used some laid-back, slow paced piano jazz music to contrast the grotesque and horrific nature of the killer’s crimes. It’s used to make the audience feel uncomfortable. However, in ‘Seven’, the conventional orchestral music has been used, using stab-like dissonant chords, used to build tension and support the action filled narrative. This completely contrasts what we did in terms of sound, making our use of sound seem untypical of the intended genre. PRESS ON EACH SPEAKER TO LISTEN TO SNIPPETS OF AUDIO FROM EACH FILM! <3 • However, there was an element of our use of sound which was conventional, and aligned with the use of sound in Finch’s ‘Seven’. As you can hear in both audio snippets, both films have made use of non-diegetic, low frequency drone noises, enhancing tension and suspense. Our low pitched drones are behind the jazz music mentioned earlier. A common convention of the horror thriller genre.

9. SEVEN David Finch, 1995 EDITING: • I would say that our editing is fairly conventional within the horror thriller genre in that we made effective use of longer takes. These longer takes made the pace of the sequence appear slower, and therefore building suspense for the audience, making them feel as if something is about to jump out at them. In our case, the slow pace builds suspense and tension for the rest of the film. In ‘Seven’, the shorter takes and longer pace build tension and pent-up emotion in the lead up to their discovery of a fairly unrecognisable body. SEVEN • By including the whole clip, I am able to present our most predominant editing technique: a montage. I would suggest that this is fair unconventional of the horror-thriller genre, as horror-thriller genres like to change the subjects of the shot around a lot, changing locations, or following different action. However, this montage keeps focus on the same action. Whilst this may not be typical of the genre, I would still say it effectively built tension and made the audience truly realise the horrendous nature of our serial killer, without having to show any further action. THE CHASE

10. THE SILENCE OF THE LAMBS Jonathon Demme, 1991 MIS-EN-SCENE: • Both of these shots use low key lighting as a horror-thriller mis-en-scene convention, to emphasise the creepy and unknowing atmosphere of the scene. Both dead people are also shown to have sustained fairly major facial injuries, a common convention of the genre as it puts the audience on edge, and is also an effective and gruesome way of showing someone’s death. These shots also both heavily include the colour red, typical of the horror genre, to connote danger and blood. • Both of these shots include the conventional horror-thriller prop of fake blood, covering the shot, successfully shocking the audience, making them feel uncomfortable. It’s good at showing the extent of any violence that’s occurred. • Costume wise, both ‘The Silence of the Lamb’ and ‘The Chase’ include police officers, wearing official uniform, either shirts and ties, or shirts with badges. This is conventional of the genre, adding power dynamics and authority.

11. THE SILENCE OF THE LAMBS Jonathon Demme, 1991 SOUND: • One way in which our use of sound is fairly conventional is through our use of the sound of footsteps, which I would say are fairly conventional diegetic sounds within the horror-thriller genre, presenting the idea of impending doom and danger. This parallels the use of sound in the renowned ‘Silence of the Lamb’, with the film opening to the sound of Claire running from something, evoking fear and terror from the audience. However, Demme’s film makes use of non-diegetic orchestral music, complimenting the atmosphere, whilst I have made the decision to keep this section of the sequence silent, solely focusing on the footsteps. In this way, our use of sound could be considered to be partially unconventional departing from cliché, overdone and dissonant orchestral music. • Another way in which I argue our use of sound is slightly unconventional is the way in which we have used sound over the shots of the ‘victim’. Most horror-thriller films have drastic noises, like screaming and shouting out of terror/ pain, enhancing an atmosphere of horror. However, in our sequence, we have simply muted the police officers’ dialogue, as well as continuing the piano jazz, in order to portray the killers’ disinterest and coolness. The lack of traumatised screams creates an eery and creepy mood. In this light, I think our sound has been used unconventionally here.

12. THE SILENCE OF THE LAMBS Jonathon Demme, 1991 CAMERA: • One way in which the camerawork in ‘The Silence of the Lamb’ contrasts to my opening sequence’s shots, is the way that they have used a medium two shot, showing the killer and the victim together in one room, presenting to the audience clearly the relationship between the two. However, in ‘The Chase’ we used mainly close ups of each character, with a few medium shots which withheld the killer’s face, to create suspense and withhold vital information from the audience. Whilst they are different shots, I believe both to be fairly conventional, as whilst they are different, both shots create the same sense of grotesque violence and horror. • One thing that is used typically in horror-thrillers is high and low angles, to show the victim’s power status against the killer’s. We did not do this (and instead used eye level shots), as the man killed his wife, keeping their statuses relatively similar, and henceforth confusing the audience and making them engaged into what was going on. It was not so conventional they knew what was going on.

13. ENIGMA CODES TAKEN FROM ‘FUNNY GAMES’ TAKEN FROM ‘THE CHASE’ • Made use of HERMENEUTIC enigma codes in our opening sequence, by withholding from the audience the identity of the serial killer. They do not ever seen more than his eyes, engaging them in the rest of the film. • It means that the audience are asking questions like ‘Why has he killed her?’, ‘Has he killed anyone?’, ‘Who even is he?’. • In this way, our opening sequence is fairly conventional, as many directors make use of enigma codes in order to encourage audiences to watch the rest of the film, to answer those unanswered questions. TAKEN FROM ‘THE SILENCE OF THE LAMBS’ CONVENTIONSOFOPENINGSEQUENCES KEY CREDITS • We made use of approximately 21 titles, which are typically found in conventional opening sequences, of most genres. • We credited the directors, producers, actors, editors, casting directors, costume designers and musical directors, just as most opening sequences do. • We have also made sure to match the font to the atmosphere (as opening sequences typically do), using an old style, yet simple font, in capitals (making sure the audience can read the titles, but these also help support the creepy atmosphere). cc (THE MOST WE EVER GET VISUALLY GIVEN OF WHO THIS KILLER IS)

14. ESTABLISHMENT OF GENRE • One typical convention of an opening sequence is to establish the film’s genre within the opening, introducing the atmosphere (and in our case, the horror-thriller genre). • We did this mainly through mis-en-scene, showing fake blood, knives, dead people and police officers. We also used typical camerawork of the genre (close ups mainly) and slow paced editing. • This is similar to other conventional horror-thriller’s opening sequences, establishing the genre before the film starts. • ‘The Silence of the Lamb’ makes use of low key lighting, a girl running (seemingly for her life), in an isolated and ghostly forest. ESTABLISHMENT OF CHARACTER • Another typical convention of opening sequences is the establishment of the characters within the film, drawing the audience into the narrative, and the character’s story. • Looking at ‘The Silence of the Lambs’, this opening sequence seems to be fairly conventional in that it introduces the character early, showing her to be doing something she enjoys (running/ fitness), as well as showing her determined and strong nature, foreshadowing possible helpful qualities she will need further on in the film. • However, in our sequence, the most we see of the character is his eyes, and his hands (cleaning up the crime scene). However, whilst we discover that this man has probably killed someone, we don’t know why, and we don’t know much really about his character (apart from the violent and cruel nature). CONVENTIONSOFOPENINGSEQUENCES THE SILENCE OF THE LAMBS

15. SOCIALGROUPSANDTHEIRREPRESENTATION • In our opening sequence, we represented a few different groups: • Young men • The police force • Women

16. YOUNGMEN • However, we have also represented this social group in quite an unconventional way, in that we have shown this character to be smart and cunning, able to completely clean up a crime scene, and quickly escaping from the police. We did this through our use of editing, including a close up shot of the killer’s eyes averting to the side, after a shot of the police. We have also done this through the montage we filmed of him cleaning slowly. This shows the audience that he has realised that he must get away, in order to avoid arrest. This contrasts the film and TV industry’s typical presentation of young men. For example, looking at series like ‘Skins’ and ‘Friends’ and their comedic and fairly dumb presentation of younger men. • In our opening sequence, we have presented young men in a fairly conventional manner, in that we have made our movie’s serial killer a young man. This shows this age group to be brutally violent, and uncaring of women entirely. This is shown through our use of fake blood, knives and the close up shot of the dead women, presenting to the audience the violence and pain this man has initiated. ROSS AND JOEY- ‘FRIENDS’

17. POLICEFORCE • Our representation of the police force, I would say, is quite unconventional as we have presented the two police officers as fairly incompetent and unable to get an answer out of the women who lives in the house, blissfully unaware of the fact she is dead. We have done this through their use of dialogue, begging the victim to ‘answer now’ and by presenting the audience with a side shot of the two police officers, desperately banging on the door. This tells the audience that the police officers are completely clueless, and naïve. • This contradicts typical representation of the police force, with police officers usually being represented as smart, and more powerful than the criminals, as they are able to arrest them. This can be seen in TV shows like ‘Brooklyn 99’ and ‘Eastenders’.

18. WOMEN • In our opening sequence, we have presented women in a fairly unconventional light, by having a female police officer. By having a woman in a place of authority, we are breaking generic conventions of film, having her shout orders through the door. Our use of costume emphasises this, having a woman wear a shirt and tie, as well as a police vest, showing her officiality. Her direct tone of voice also presents these unconventional characteristics. • However, we have also aligned with typical representations of women within the film and TV industry, through the presentation of the ‘victim’ in the film, and proving Laura Mulvey’s theory to be true, with this woman having no direct influence in the narrative. We have used a birds eye view shot, from the killer’s perspective to show how she is under complete control of a man, remaining entirely passive in her role.

19. THEEND!