The whole opening sequence consists of close-up shots and extreme
close-up shots which prevents the audience from seeing the whole picture, thus
preserving the enigma and plot of the film. The close-ups seem to also be point
of view shots which gives the audience the impression that the individual shown
pays close attention to detail and is so meticulous with their actions that
they may have mental health issues. The common camera position from above could
indicate the amount of power the individual considers himself as having or
intends to gain through his actions.
The lighting of the opening sequence is fairly poor and
unnatural which suggests that it is set somewhere without natural light like a
basement without windows. Although the setting is never clearly seen due to the
opening sequence mainly consisting of close-up shots, the implied dark and
isolated setting adds to the audience’s negative perception of the character
shown. The cover of the scrapbook is similar to that of a composition book,
which are commonly used in American schools, suggesting that the individual’s
actions are his work rather than a mere hobby. The shot showing the individual
shaving off his own fingerprints instantly identifies him as the antagonist of
the plot to the audience since the only reasoning behind these actions is to
evade being identified in connection with a crime scene. The idea of the
individual’s obsession with gaining power is continued when he is shown to be
censoring words like “intercourse”, “transsexual” and “pregnant” in informative
texts which are one of the main indicators in the opening sequence that the
antagonist is morally against sinning and going against the teachings of
religion. He is also shown to be crossing out the eyes and later the whole face
of an image of a boy which could either be the image of a future victim, or
could be an image of the individual’s former self whose innocence he is trying
to protect from who he has become. The detail put into the construction of the
scrapbook suggests that the individual has obsessive compulsive tendencies as
he writes multiple books full of tiny and precise writing. The shot showing the
word “GOD” being cut out of money either suggests that the individual is trying
to disassociate God with money and other materialistic and potentially sinful items
or the individual is trying to prove that he is more powerful than God which
seems less likely since other evidence suggests that he is a sufferer of “religious
mania”. His destruction of currency also either implies that the individual is
wealthy, or doesn’t care for materialistic items.
The editing of the opening sequence is non-linear and the transitions
between the shots are very erratic and fast paced. This could be used to
emphasise the unusualness of the actions and to reflect the individual’s
mindset. The shots frequently fade suddenly to black. This and the jump cuts
throughout the opening sequence could reflect how unpredictable the individual’s
thoughts and actions are. Occasionally a red light or filter is used to show photos
developing in a dark room. The use of the colour red links to the danger in the
individual’s actions as well as showing the development of the plan being
formed as the photos develop.
The non-diegetic sound similar to thunder at the start of
the opening sequence could indicate that the footage is the calm before a storm,
telling the audience that the actions shown during the opening sequence are
merely a plan and are just the tip of the iceberg of what is to follow later in
the film. The music over the opening sequence starts off as being a collection
of random, unnatural and eerie sounds which ultimately come together to form
something more recognisable as music around 1:12 when the picture of the young
boy is shown as completely crossed out. The sudden change in the music
coincides with the apparent completion of the scrapbook which implies that
logic is taking over as the individual’s plan or project is finished. The repetitiveness
of the music could also reflect the individual’s mental instabilities or the
deterioration of his mental health. The only spoken words in the entire opening
sequence are “You put me closer to God” which illustrates the importance of
religion to the individual, implying that the antagonist’s actions are driven
by religion and the desire to please and do the bidding of higher powers and
divine beings. The fading non-diegetic sound similar to an explosion after the
words “you put me closer to God” emphasises that the individual’s ultimate
motivation is based on religion.
Where did genres come from? The genre is usually reflective of the environment in the film, the theme or topic of the film, or on the mood and emotional tone of the film. Some genres originated from fairy-tales and European myths and legends. Most genres originate from Hollywood when they began recreating the same types of films because they knew it would generate a profit. How did the golden age of Hollywood reinforce genres? The golden age of Hollywood occurred in the late 1920s to the early 1960s and was when Hollywood studios issued vast amounts of films. Hollywood studios producing many films helped to reinforce genres, because the studios learnt that films that followed certain conventions and themes would definitely produce a profit. Therefore, they continued to make similar types of films and refused to take risks in attempting to release unique and more complex films. Which genres became popular in Hollywood? Popular genres in Hollywood include slapstick comedy, westerns, horror (usually based on monsters), gangster films and science fiction. Why do audiences like genre films? Genre films are popular with audiences because they know what to expect from certain types of films and enjoy films that follow their expectations. Film noir "Film noir" is a term coined by a French film critic that means "Black Film". Unlike westerns and gangster films, there are no character and setting requirements for the genre film noir. However, film noirs usually contain plot conventions and the iconic "low-key lighting" or "Chiaro-scuro". Film noir emerged in the crime genre through the low budjet, B-list films being made by the big 5 studios in the 30s to maximise their profit. The financial success of the big film studios allowed for more experimentation in film-making, allowing for improvements in film-making techniques and the emergence of new genres like film noir. Film Noirs are constrained by the "Motion picture Production Code," commonly known as the "Hays Code," which generally censored tabooed subjects in film and stated that no character can profit from crime and breaking the law. german expressionism introduced the stark camera angles and chiaro-scuro (the use of strong contrasts between light and dark). In the 1920s, The studio Warner Brothers introduced the use of dry ice, close angles and cheaper studios and sets. Video on the History of Film Noir: Famous Film Noirs from the Golden Age of Hollywood
Maltese falcon (1941)
Double Indemnity (1944)
Mildred Pierce (1945)
The Big Sleep (1946)
The Killers (1946)
The Third Man (1949)
The Asphalt jungle (1950)
The Big Heat (1953)
Kiss me Deadly (1955)
The Night of the hunter (1955)
Codes and Conventions of Film Noir
Film Noir usually has a melancholic mood, with themes of alienation, paranoia, guilt, bleakness and moral corruption. A non-diegetic restricted narration is usually given by the detective hero of the plot. Jazz or blues music is a common element of Film Noir, but more dramatic music is often used to forebode dangers and twists in the plot.
Antagonists: The dominant representation is white middle aged males. This is possibly because the original film-making community was largely centered around White Caucasian, individualistic cultures, such as the culture within Hollywood, USA during the early stages of cinema. Archetypal Victims: Single, white, female virgins. This stereotype is beginning to change as Female characters in horror films are being given more complex roles as heroines instead of mere victims. This change in roles and development in the portrayal of female characters reflects the transgression of female stereotypes as the rise and success of feminism means that women are no longer confined to the domestic sphere within a patriarchal society. Contemporary horror and thriller films can no longer rely on females acting as the obvious victim within the narrative, unless the story line is within a historical setting when women remained relatively powerless and reliant on the financial and physical support of men.
Cultural Bias: Leading actors and directors in Hollywood were always Caucasian while black and ethnic minority actors only played minor roles. In the Thriller genre, it was common practice to have white male actors playing key roles. This has been challenged and broken by films like "Se7en" which has Morgan Freeman playing the lead role. Gender Bias: Females usually play the "femme fatale" or a victim. Since Jodie Foster's performance of "Clarice Starling" in "the Silence of the Lambs"(1990) the roles of women in thriller and horror films has become far more challenging and complex. Heterosexual Bias: Having a gay protagonist is still very unusual in Hollywood horror and thriller films. However, it isn't as unusual to have homosexual antagonists. For example, nearly all antagonists created by the author Thomas Harris have homosexual tendencies and sexual deviances, which has ultimately helped to form a negative stereotype for the horror and thriller genres.
The non-diegetic sound of the music is reminiscent of a child's music box playing in a minor key and creates an eerie atmosphere for the scene. The contrapuntal nature of the music is one of the many elements in the opening sequence that forebodes something going wrong. As the scene progresses, the sounds of church bells and organs is gradually introduced as the action builds and reaches the climax. The church imagery created by the sounds links to funerals which forebodes the introduction of death to this seemingly safe and innocent nursery. The close up shots of the children's toys emphasises their symbolic importance to the plot of the opening scene. the shot zooming into the windows also emphasises an importance in the scene, as well as giving a point of view shot from the girls' perspective as they begin to make their way across the room. At the very end of the opening sequence there is a short, barely noticeable over the shoulder shot of "The Woman in Black," which shocks the audience as there was no-one visible in the background of previous shots, illustrating her supernatural and sinister nature. There is a match-on-action sequence of shots when the girls stand up, leaving the safety of their tea party which quickens the pace of the action and creates tension as the audience wonders what's happening to make them get up in such an unnatural and synchronised manner. the shots of the toys being broken are played in slowmotion to emphasise the the unusual strength of the little girls' footsteps and to add to the supernatural situation of the situation by distorting our perception of reality. The final shot in the opening sequence fades to white which could symbolise the children proceeding to heaven or the afterlife and "heading towards the light". The old fashioned and dimly lit nursery as well as the creepy dolls and children's toys add to the eeriness and the unwelcoming feeling of the setting which contrasts how a nursery should be. The only source of light in the room is coming from the windows which again implies the idea of death and "heading towards the light". The girls being dressed-up in similar dresses complete with dresses and bows adds to their innocence and intentionally makes them look similar to their dolls, which forebodes their death. Their pale complexions and rosy cheeks makes them seem even more like the bone china dolls, enhancing the connection between the breaking porcelain toys to the girls' breaking bones once they jump out of the window. The images of birds on the tea-set also forebodes the children's demise as the birds trigger imagery of jumping, flying and "falling out of the nest".
Generally, the extract contains seamless continuity editing which promotes the idea that the setting of the extract is calm and without fault. Dissolve transitions are used throughout the beginning of the extract until the change of tone at 0:59 when the gun on the TV screen is shown. The dissolve transitions create an almost dreamlike effect and the fact that these stop when the man and woman are introduced could suggest that these perfect American communities are tainted by individuals introducing crime to the society. After that, the effect of a match-on-action is created using a faster paced sequence of shots centred on the building pressure in the hosepipe. This quickened pace of shots gives the audience the immediate impression that all is not well and forebodes the man’s stroke. At 1:39 the footage of the dog is played in slow-motion which could show the man’s disorientation and vulnerability or emphasise the juxtaposition of a dog playing whilst the man has what turns out later, to be a near-fatal stroke, as well as introducing a new, sinister side to the setting.
At the start of the opening sequence, the non-diegetic sound of the song “Blue Velvet,” fits the images shown and the idea of an ideal vintage American community. However, the relaxed and slow music soon becomes contrapuntal as the gun imagery and the man’s stroke are introduced. The first diegetic sound in the opening sequence is the hissing of the hose-pipe which clashes with the music. The hissing hose pipe could symbolise how the crime in these seemingly perfect American communities is increasingly under pressure and can no longer be covered up by the ideal stereotypes that the music suggests. At the end of the opening sequence when the worm-eye-shot of the undergrowth is introduced, a low frequency eerie rustling sound completely overrides the music, disorientating and confusing the audience, giving a complete contrast in tone from the beginning of the opening sequence.
The mise-en-scene of the extract creates an idyllic and calm setting, giving the audience an almost false sense of security. In the opening scene, the combination of blue sky, white picket fence and red roses create an abstract American flag, which promotes the theme of a utopian 1950s America. The yellow tulips are iconic spring flowers and so could be a symbol for hope, as spring brings hope after winter. However, the fact that the flowers shown are roses and tulips, which bloom at different times of year, could imply a passage of time within the extract, showing that the serenity of the setting is continuous or otherwise suggests that something is amiss and the natural order of the situation is confused and corrupted. The smartly dressed children, all walking to school together, illustrate the idea of an ideal American community and the Lollipop lady adds the safety of the setting. A shot showing a fire engine with a waving fireman also helps to promote this idea of a healthy, safe and sheltered community. The houses shown in some shots fit the stereotype of porches and picket fences within such a safe and sheltered community. The white or pale colour of the houses suggests the initial innocence of the setting and community presented. All of this stereotypical imagery of a perfect American neighbourhood begins to unravel at the shot focusing on the gun in a crime drama being watched on the TV. The introduction of the theme of crime hints to the audience that the utopian setting is all but perfect and is potentially home to an undercover crime community.
The first shot is a vertical tilt from a clear blue sky to red roses in a garden. The focus on beautiful weather immediately creates an inviting setting. Many medium shots are used throughout the opening sequence when showing scenes that suggest an idyllic community. The main close-up shots are on negative imagery like the gun on the TV, the pressurised hose-pipe and the dog going wild playing with the water. These close-up shots force the audience to notice the flaws in the once perfect seeming setting, showing them that beyond the surface there is a darker side. A high angled shot of the man illustrates his helplessness and vulnerable situation he is in. The dog and young toddler emphasise this innocence and lack of control over the unfortunate situation. At 1:28 there is an out of focus POV shot showing the water from the hose pipe which gives the audience an idea of the man’s disorientation and blinding pain. A vertical tilt similar to the one at the beginning of the extract is also used here, possibly to remind the audience of how quickly their impression of the setting and situation has changed since the introduction of crime imagery in the form of the gun. At the very end of the opening sequence a worm-eye-view shot of the undergrowth is used to contrast the opening shot of the sky and to imply that underneath the perfect facade, the setting is plagued by hidden dangers and crime.
The 180-degree rule states that characters have to maintain the same left or right relationship to each other. Therefore the camera has to remain on the same side of the characters in a shot in order to not break the 180-degree rule. A match on action is when a shot cuts to another shot with an alternative view of the action shown before. We incorporated a match on action shot when the girl’s picture is being given back to her. A shot-reverse-shot is when one character is shown looking at another character, and then the other character’s perspective is shown in the second shot. This was used for the conversation within a scene in our preliminary task video. Overall, the film-making process went well and we had no issues in creating the scenes from the storyboard in real life. We did have a few issues when filming around the sixth form because our scenes required us using one of the main staircases as a setting, which meant that every so often we had to pause filming to let people use the staircase and to wait for the noise in the surrounding corridors to reduce. When editing the video on Adobe Premier, I learnt how to crop our film clips to suitable sizes making them fit the sequence in a more suitable manner. I also learnt how to add a title sequence in which we could edit the size, colour and style of the font used, making the title sequence fit the tone of the video. We also discovered how to upload and edit music to play over our video. This was particularly useful as it allowed us to clarify the optimistic and lighthearted tone of our video. One of the most important things I learnt about editing videos using Adobe Premier was how to include transitions between the video clips, allowing us to control the pace and style of the video. As the editing process went on, I became more familiar with Adobe Premier and would be confident if using this software again.
My preliminary task video is loosely based on the romantic comedy genre and features an awkward and clumsy female character who collides with the main male character, causing her to drop her folders and books.
