Storyboard Animatic (2) with commentary

'GONE' Sound Research

Sound effects:

Throughout the opening of 'GONE' we are going to present many sound effects/background music to create high crescendos and parallel sound. 

Parallel Sound:

-Motorway sound effect: We will record this separately and add it to the shot, emphasising the chaos on the road. This helps build intensity from the equilbrium. 

-Car Horn: We will use a car horn sound effect when Addie skids on the road after seeing the 'caution ice' sign. This then causes other drivers on the road to swirve resulting in beeping their horn. Addies facial expression will then connote distress at this point, allowing spectators to become more involved and begin to feel the shock that she experienced in the car. 

-The final ariel shot of the hot tub, observing Addie being poisoned and gradually dying creating panic noises and screeching sounds. As it is an ariel shot we will do a foley sound by recording our character Addie before hand screaming and screeching and then overlap it onto the shot, with sound effects of bubbles which will record from the hot tub to create that panic and suspenseful moment in the sequence. 

Background Music:

-Throughout our opening sequence we have a higher quantity of sound effects and dialogue than background music. However, there is a reason for this as we want the main focus on the alarming sound effects which will engaged the spectators even more. We will include background music during the scene of 'unknown character' (restricted narration) undoing the poison tub of tablets. This will help contrast the two different atmospheres and moods of the shots. For example: we will go from a shot of Addie relaxing in the hot tub with some wine to the more sinister and deep shot of the 'unknown character' beginning to prepare for poisining Addie. 

Crescendos:

-We will have our main crescendos rise in volume when Addie swirves and skids on the ice to intensify the action creating parallel sound. 

-As the 'unknown character' places the poison into the hot tub, the sound effects of bubbles, screams and high level background music will crescendo, allowing spectators to recognise the most important act during the whole film. This final shot creates enigma by using restricted narration not showing who killed Addie. The level of volume and crescendo of music helps emphasise the enigma also. 

Emily Sound Research

Storyboard Animatic (1)

Here is the first animatic of our storyboard. This video clearly shows the length of each shot accuratley. This helps us as a team to understand what exactly will take place in each shot.

Location Scouting and Risk Assessment

Planning

Gone Synopsis

Addie and Marcus have been in a relationship for nearly three years. Addie has recently been unhappy with how much time Marcus spends away from home for work reasons. The narrative begins when we see Addie on the phone to Marcus in the car, as they argue about this as well as her feelings about Marcus not being there when she needs him. Addie returns home and goes into her hot tub to relax from the stress she's been going through, but we soon see that someone is out to harm her. Whilst sat with her eyes shut, an unknown figure places a poisonous tablet in the hot tub which kills her within minutes.

The rest of the film is spent trying to discover why Addie is 'Gone'. Her brother, Tom, leads the search for clues about her death. He gets the police involved and tells them all about how she had been arguing with her boyfriend on the day of her death, and he makes them believe that it was Marcus who murdered Addie. Tom proves to the police that Marcus was not actually on a work placement in Leeds, he was in fact very near to Addie's location. However, as the film progresses, the spectator realises that it was Tom who killed Addie, and Marcus was actually coming back home early as a surprise for Addie, but Tom stopped him and killed him, and then proceeded to kill his sister.

Continuity Editing

In our opening sequence, we are using continuity editing to create a more well constructed and visually pleasing film.

In the first scene, when we see the girl in the car talking on the phone to her boyfriend, we will keep to the 180 degree rule despite the characters being in different locations. This creates less confusion and clearly demonstrates who she is talking to, as they are facing opposite directions due to the camera being placed on opposite sides of both characters. This then creates a sense of an eye line match between the characters, as they seem to be facing each other, even though they are in entirely different places. Eye line match helps the spectator to get an immediate understanding of who the argument is between.

As the girl enters the house, match on action is used when she opens the door. This cut during the action of opening the door helps to add continuity as we transition to a shot from a further distance to get a wider view of the setting, thus showing the spectator the setting and decor of her home.

When we cut from the setting of the hot tub to the dark setting where the boyfriend gets out a poisonous tablet, we will have a graphic match. Going from a shot of the circular hot tub light to the circular tub he takes the tablet from. This creates a link between the hot tub and the tablets, which subtly foreshadows what is soon to happen to the girl.

Lighting, Colour and Composition

Lighting
Our opening is filmed at night time therefore it is important to use lighting otherwise the spectator will not know what is going on. In our film, we will use low-key lighting to add to the horror effect but to make it clear what is going on. It's important to make sure that the lighting looks natural and doesn't seem artificial. When using lighting it is important to make sure to set the white balance in every scene because if the white balance isn't set the colours will differentiate in each shot; breaking continuity.
Colour
The colouring is an important element to get right in our film. The colouring used will need to further emphasise a cold fearful feeling we are trying to get across to the audience. The colouring of the shots will have a tint of blue in them to create that cold dark environment; this will be done using editing programs such as Final Cut Pro as we are able to adjust the colours in each shot to make then match with the predecessor shot. It's important when using colours to make sure continuity isn't broken therefore will have to use realistic colours and make sure key continuity techniques are in place such as setting white balance.
Composition
Composition is where everything is placed in the shot. This is important to get right because it either reveals or hides information to the audience which is good in our film which has various examples of restricted narration and unrestricted narration. When restricting narration it's important the composition of the shot doesn't reveal too much otherwise it will spoil the suspense whereas when not restricting narration, it's important that everything is in shot clearly so the spectator knows what is going on. 

Narration

The narrative of our thriller film starts with a flashback which will be the opening of the film. This means the plot of the movie is non-chronological despite the flashback itself being chronological. After the flashback, the rest of the movie continues to be non chronological but would start with a new equilibrium due to the flashback.
The flashback starts with a character having an argument on the phone, in the car therefore the equilibrium is already disrupted or disequilibrium from the start thus this film doesn't follow the five stages of standard narratives according to theorist Tzvetan Todorov.
After the flashback the protagonist, the daughter, will try and resolve the disequilibrium by finding who murder her mother.
We have re-ordered the story in order to engage the spectator in an active relationship with the text. Having a non-chronological plot creates confusion for the spectator therefore raising questions which is important to make the spectator do as this keeps them on the edge of there seats plus keep them guessing. This is an example of a enigma code.
The opening is being made with intention to create enigma. Various techniques are used in order to create enigma; one of these techniques being restricted and unrestricted narration. The opening mostly consists of restricted narration, for example the opening scene starts with an argument on the phone but the audience do not know who's on the other side of the conversation which implies the character knows more than the audience in this situation.
However, later on in the opening, the audience see a lethal tablet being placed into the hot tub which means the spectator knows more than the character which creates dramatic irony but more importantly suspense. This is also an example of unrestricted narration in the film. 

Prop Management

This is a list of props we are using in our main thriller opening task with reasons to why we are using them.

Car
The film starts with a person driving the car to there house but we only find this out later. The type of car doesn't matter as long as it looks in place e.g. not a 1920s car in the modern era the film is being set.

Phones
There are two phones that are in the plot of the film; a conversation between two characters on phone is filmed therefore it is important that they both have modern phones otherwise it will look very silly.

Lethal Tablet
A lethal tablet will be secretly placed into the hot tub which kills the character inside the hot tub. The tablet is shown in multiple brief, close-up shots.  

Costume, Hair/Make-Up, Body Lang/Facial Expressions

In our film we have two characters. These two characters are incredibly important and throughout the shoot we will use camera work, Mise en Scene, sound and editing to allow spectators to fully focus on these two characters.

Our 2 characters:

Addie: (Female played by Georgie Tofield)
Marcus: (Male played by Joe Comber)

Addie

Addie, aged 20 and employed as a secretary is smartly dressed driving on her way back from work. Her make-up is fair and you can see the tiredness in her eyes. We will create this with certain make-up, for example: use red eye-liner to create that sore eye affect. Her body language is bolt up right and tensed during the argument on the phone to Marcus. Her facial expression will show distress and emotionally unstable elements. Addie's general message from her character connotes worry and stress. 











Marcus

We gave our male character the name 'Marcus' as we didn't want to name him in a threatening or predictable way. As the name is seen as a 'regular' name, it does not allow spectators to predict his actions. Marcus will be dressed head to toe in black, wearing a heavy black leather jacket, with gelled back hair and smoking a cigarette. However, to create the cigarette effect, out actor Joe will not actually smoke, we will create this effect through smoke. His name may not give the bad away in him, however, Mise en Scene, camera work, sound and editing will help spectators understand his character thoroughly. 

Acceptance of roles

Here is a short video clip showing the texts I sent and received from our actor, Joe and our actress, Georgie for our AS Media Film. Both Joe and Georgie have a passion in drama and both are well driven to make these characters come alive throughout the sequence. We are having a meeting with both of them on February the 2nd to go through scripts and the characters roles, make-up, costumes etc. This will then help them get an excellent understanding of their character and how to truly and authentically play them. 

Harry and Nathan Sound Research

Shutter Island opening analysis by Nathan

Introduction of Teddy

-The first shot of Shutter Island shows an establishing extreme long shot of a ship coming through heavy mist. This is an important opening as it gives context of where they are to the spectator, allowing us to then just focus on what happens on the inside.

-We then see Teddy, one of the men on the ship, being sick in a toilet onboard. He talks under his breath about how there's a lot of water whilst looking through a window to the sea, implying that this is why he's been sick. His facial expressions shown through a close up make him look revolted at the amount of water. His mouth is slightly open and eyes are faintly squinted as he glares at it, making him look like he has a strong disapproval of water, which leads the spectator to question why he would be on a ship if he feels this way. 

-As Teddy walks through the ship to head outside, we see a pair of handcuffs hanging from the ceiling. This prop suggests danger and criminal activity, which makes the spectator begin to question whether anything suspicious could happen on this ship.


Teddy and Chuck

-The first impression we get of another of the people on the ship, Chuck, is not a good one. We are shown a shot reverse shot of Teddy looking to Chuck, and his facial expression and body language make it seem like he is unhappy or confused about something. We are shown a shot of Teddy stopping to look at something, followed by a shot of Chuck standing looking out to sea, and then back to Teddy looking as though he is unsure about going over. His eyebrows are frowning and eyes are staring in one direction. His body is hesitant to keep walking, so stays in the same spot as he gazes. The spectator is made to feel nervous as we are unsure if everything is alright.

-When Teddy does walk over to Chuck, we discover that they haven't met before as Chuck is his "new partner". They go over a few lines of general dialogue to restore normality and make the spectator feel at ease as the film is starting with equilibrium.

-Though the film has started with normality, we soon find out an important piece of tragic news, that Teddy's wife died. The inclusion of this so early on highlights its seriousness, which is also shown in a flashback. This change in chronology helps us learn about Teddy as a character, as we see how happy he was with his wife. This is the first time he properly smiles in the film, demonstrating how content he was with his life. The use of bright lighting and warm colour adds to this effect. The emotion we see in Teddy at this point connects us to him as a character and allows us to sympathise with him as the film progresses.


-The presumably diegetic music (from the vinyl player) we hear during the flashback is hard to comprehend as to its mood. An eerie, angelic voice can be heard singing, as well as an occasional brass instrument. The atmosphere created by this is quite harrowing, and makes us question whether sadness is the only emotion being felt, or whether something else is also going on. Enigma is used here to confuse the spectator, and make them question whether he is telling the truth about his wife's death. To add to the questions against Teddy, he looks incredibly uncomfortable after revealing this information, and bites his lip after saying it. However, at this point we feel like he might just not like talking about it. These questions running through the spectators mind make the film more exciting and engaging.

Kill Bill opening analysis by Nathan

Lying on the ground

-The first scene of Kill Bill is filmed all in just two shots, predominantly a shot of the main protagonist, Beatrix, lying on the ground from a close up extreme high angle. The reason for showing her this way is to show the spectator every detail of her emotions throughout the shot, as we get to see all of her facial expressions. Introducing the film like this gives us an immediate connection to Beatrix, as she is the only character we see properly for a while.

-Diegetic sound of heavy panting is used to begin the film. This is a Thriller convention which is often used to make the spectator uncomfortable and anxious. The repetitive sound of her doing this creates enigma as we immediately question why she has been left in a position of such discomfort and panic.

-Beatrix's hair and make up has been done in a way that makes her look incredibly vulnerable. Her face is riddled with bloody scars and sweat, adding to the effect of enigma, as we want to know how she has ended up like this. Her facial expressions show that she is completely terrified of what has happened or what is about to happen. Her eyes dart from one side to another, her mouth is wrenched open and her eyes look to almost be in tears. We are made to assume it has been done by another human being from the amount of different wounds, as if she has been beaten up.

-Just seconds in, this assumption of another person is confirmed when we hear off screen diegetic footsteps, which then turn to on screen, as we see Bill's shoes walking slowly along the floor. The repetitive sounds created by both the panting and the footsteps generate terror for the spectator, as we don't know when they are going to stop, and we have no power over this.

-By starting the film with a scene like this, with such panic and uncertainty, the spectator is immediately engaged, as it defies conventions of many other films. It breaks Todorov's narrative theory straight away, as there is no equilibrium at this point, in fact it appears to begin even after the disruption has occurred, which is how Beatrix has ended up in this state. By starting the narrative at this point in the story, it means we can spend the rest of the film questioning why this has happened.

-Once Bill has walked over to her, we are shown the same extreme high angle of Beatrix looking petrified. This time, it's as if we are looking from Bill's point of view, as this is the rough direction his voice is indicated as coming from, due to where her eyes are facing. We are put in Bill's position to show just how helpless Beatrix looks, and how inferior she is due to the angle. Bill is therefore far superior, as he is towering above her. Though we can't actually see Bill, we can create a picture of the whole scene in our minds, as we know how he is positioned above her.

-The only parts of Bill we see are his shoes and hands, as well as hearing his voice, giving very little away about his identity. Tarantino's use of restricted narration creates extreme apprehension for the spectator as we know even less than Beatrix, making us even feel inferior to her. This makes us feel more a part of the film, as it adds to the hopelessness we feel.

-This hopelessness multiplies when Beatrix is suddenly shot during part of her dialogue. Whilst dropping the already huge cliffhanger of saying "It's your baby" to Bill, she is shot in the side of the head. Shock is created by the spectator, because the gunshot comes at an unexpected moment, as we were at least expecting to hear the rest of what she had to say. So many emotions are created in the spectators mind, as we don't know who either character is, how they ended up in this situation, who the baby is and why she has been shot. This is therefore an incredibly overwhelming introduction to the film for the spectator, yet incredibly engaging due to the enigma created from all the unanswered questions.

The Titles

-The same second in which Beatrix is shot, we see a fast transition to black and the opening titles begin. This comes as a relief to the spectator, as we are given time to begin wondering what is going on, and questioning why Beatrix has been shot.

-The film has started in this way prior to the titles to give an initial idea of what Beatrix's personality could be like, which seems to be very inferior and weak. However this is soon contradicted as we see her as a strong, powerful character who defeats many antagonists that come her way. The spectator is made to feel unsettled by this confusion as to what each character is like, and the film is therefore more thrilling and engaging.

-A non diegetic soundtrack of the song "Bang bang" is used during the titles to set the tone for the rest of the film. This music is parallel to what has just occurred, as it refers to the way Beatrix has been shot. This reiterates the shooting of Beatrix to the spectator, reminding them to speculate why it has happened.

Research Task- Drive

Drive

Camerawork

Mise en Scene

Sound

Editing

Narrative

Spectator response

(medium long-shot of male character)

This establishing shot tells us where the man is located: in a hotel room. The room is sparse, showing the emptiness of his life, but does not contain a map, this shows the importance of the city to him. The camera movement tracks around the room beginning on the male character. We do not know yet if the character us the protagonist or the antagonist at this point, however, we hear dialogue of his raspy voice talking about something suspicious. The sound that we hear is extremely understated, suggesting that the main focus is the dialogue and action. The use of low-key lighting in this opening is very generic amongst thriller openings, particularly in the use of shadow. Through the window you can identify his face, however, it is not clear of his facial expressions, creating restricted narration and not giving away his identity, his face is never shown in full light. Through the window spectators can also recognise the location is in a brightly lit city, with a large amount of offices, suggesting it is a working class set area. The hotel room setting looks very run down, enabling spectators create the link that the male character is only there for a short while. 

(medium long-shot of mysterious, brown and large bag)

-This medium long-shot of the mysterious bag creates enigma. This leads spectators to question why he holds it so close to him as he picks the bag up. Spectators will also begin to question whether or not something dangerous is inside the bag, for example: drugs and weapons. The low-key lighting surrounding the room applies to the bag and can represent the bag as danger or death. This shot says a lot about the characters personality, it shows us that he is a very secretive person. 

(Hand-held, long-shot at eye-level of the road)

(low-angle, medium close-up of the protagonist)

After the male character picks up his large bag it cuts to a medium long-shot of him driving a car. This again creates enigma by questioning where he is going and why. Also this shot is taken hand held in the back seat behind the character, which makes you ask the question is someone else there. However, this shot also creates the illusion as if you are in the back seat, this would be a subjective view. This intensifies this scene and builds suspense through out. This scene is a traditional convention of thriller because the setting is dark and as spectators we presume and guess that he is trying to get away from something or someone. His costume is smart but casual, with a leather jacket and leather gloves. His leather gloves connotes he is of a higher class and status. His facial expression whilst driving is very serious, suggesting he is heading somewhere dangerous or he could be committing a crime. Cars are frequently used in thriller films as a narrative prop. Whilst driving the car the male character, who by now spectators may think of him as the protagonist has a tooth pick in his mouth indicating perhaps he is a tough character and willing to put himself in any danger. Toothpicks are often used by shifty characters in thrillers to indicate how they see themselves. 

The shot of the protagonist in his car can also establish the fundamental loneliness he receives. There is a noticed pattern how the protagonist is filmed from behind regularly.  For example: Silhouetted against windows. Staring out windows. Staring in the rear view mirror. Living alone. His dialogue is minimal. He communicates through his body language; gestures and glances. The different shots suggests he is a person who is solitary, who drives around listening to music at night. Aiding criminals is risky. He could end up in prison. What kind of man would take such a risk? With the empty apartment, lacking personal mementos, it becomes clear that the protagonist can take that risk because he has nothing to lose. He is alone. These are the questions that are generated through enigma from spectator response.

(Tracking, long-shot of protagonist and garage owner)

As the next scene shifts to a garage, which sets up the importance of driving in the narrative. This long-shot tracks the male character from the first scene as well as another male character who works in a garage, along on a dolly whilst they exchange a few lines of diegetic, on-screen dialogue. As the main male character is thrown some car keys for a modern sports car, non-diegetic background music crescendos massively emphasising what is to occur next. The intense moment before he gets into the car creates speculation about his destination. The repetition of car scenes suggests that his character is very active and always on the go. However, it could also represent him as a wanted man. This links to the convention of thriller acting as an element of the unknown, sensing danger through out. The costume he is wearing in the garage is a silver leather jacket with a large scorpion printed on the back, this can symbolise many ideas, mainly that he is involved with a gang.

(Ariel shot, birds eye view shot of the city at night)

This next scene is an ariel shot showing the landscape and city and night, creating a birds eye view shot. During this shot, non-diegetic and off-screen sound effects of police sirens begin to crescendo whilst the fast drum and bass music volume increases too. However, the smooth shot of the city can be either contrapuntal to the sound effects and music due to the beautiful lights at night, however, it can be very parallel with the sound due to it being set at night, crime and gangs are more likely to thrive at night in a busy city. Through out the opening sequence, low-key lighting is used due to the setting at night, therefore natural lighting can stand out more. The significance of the setting being a big city is that it juxtaposes with the protagonist sense of isolation and secrecy. 

(Long-shot, blocking shot, subjective view of two males)

Finally after the ariel shot of the big city, it cuts to a scene where the protagonist is driving to his destination along the night lit roads. As he comes to a stop he glances in his rear view mirror. This shot is a P.O.V shot at a slight high-angle looking directly at two other men. Their costumes are completely black and masks covering their whole faces, secluding their identity to any CCTV cameras placed around the buildings. The setting has used barbed wire along the top of the fences as a prop, suggesting that the location the protagonist has stopped at is a prison or some important building. This is restricted narration as the spectators cannot get a full view of the building they are breaking into, because the characters are aware of where they are and they hold more information than the spectators do. This shot also is an objective view to spectators as they are watching the two male characters break into a building, however, it could also be a subjective view as if you were sitting in a seat in the car. Therefore, you can argue whether or not it is a objective or subjective view. In my opinion I would say that this long-shot and blocking shot is a subjective view because it really helps creating the illusion by filming the scene inside the car giving you a point of view of the protagonist. 

Inception opening analysis by Nathan

The Beach

-The first two shots of Inception are rather deceiving as they seem to give a sense of equilibrium, as we are shown a colourful, sunlit sea. However, we soon find out that they are just establishing shots to be followed by a close up of the film's main protagonist, Cobb, waking up in shallow waters by a beach. This deception is an initial sign of what is to come in the film, as there are many parts meant to confuse the spectator throughout.

-Another moment of contrast very early on is where we are then shown two children playing on the beach, alongside Cobb lying in the sand looking confused. The setting around the children is very happy appealing, including props like a sandcastle. They are wearing bright, patterned costumes which suggest happiness and freedom. The first diegetic sound in the film other than the sea is of the girl screaming in a happy manner. The subtle music in this part of the scene is very calming and atmospheric. In contrast, Cobb is shown looking very dazed and confused whilst lying with his head partly in the water. His gaping mouth and frowning eyebrows suggest unhappiness. Shot reverse shot is used to alternate between shots of Cobb and the children, creating juxtaposition. This creates enigma for the spectator, as we don't know whether this is a positive or negative scene at this point, as well as the questions raised as to how he got there.

-Our doubts as to whether this is really a happy scene are confirmed when a gun is used to tap Cobb on the back, suggesting danger. This gun is then used to pull his coat back and reveal that Cobb is also in possession of a gun. Guns are one of the most common props in Thrillers, due to their threatening connotations. The spectator already feels like someones life could be in danger due to the fact they're both in possession of deadly weapons. It is already clear that the film doesn't fit Todorov's narrative theory, as there is no equilibrium at the beginning, we are thrown straight into a negative environment where we aren't sure what is occurring or who is safe.


The Palace

-To take us from the beach to the inside of the seaside Japanese palace, we are shown a POV shot of the guard who was in possession of the gun looking up at one of the guards by the palace after having shouted to him. The shot pans right and tilts up to show the majority of one side of the impressive building. The use of the massive palace as a setting gives a sense of importance, and suggests that Cobb could be an important person, by being taken into such a place. The low frequency cuts throughout the scene show these men for long periods of time, underlining their importance even more.

-Low key lighting is used on the inside of the palace, where we see a large room with a table and hundreds of small dim lights hanging from above. The scale of the room, along with the expensive looking hand crafted decor, reiterates the idea of power and importance, as well as conveying the idea of grandeur. The spectator is immediately made to be in awe of the palace and the authoritative people inside of it, especially the man sat at the table, who is the one giving orders to others. The low angles that are used to show the men, along with the long duration of shots suggesting significance in the film, make the spectator feel inferior to them and threatened by them.

-When Cobb is then brought into the room, we fear the worst as we know they are now in possession of him and his weapon, meaning they have all the power. The spectator is therefore fearful that something bad could happen to Cobb, as these seemingly stranger men have control over him.

-The prop of the spinning top is a crucial part of Inception, as it can show the spectator whether someone is dreaming or not, though we are only told this later in the film. The use of it at this early stage begins to highlight its importance through use of a close up, and foreshadows what is to come later on.

The Bourne Ultimatum opening analysis by Nathan

The Chase

-From the very first shot of The Bourne Ultimatum, we see the main protagonist, Jason Bourne, under massive pressure as he races away from the police. To have the film begin in this way means that it is immediately clear it doesn't follow Todorov's narrative theory. There is no equilibrium at the start of the film, so the spectator is thrown straight into the action which is incredibly exciting and thrilling. Enigma is created as we aren't told why he's running, or who he's running from in the first few shots. So the spectator is forced to question what Bourne is doing.-Intense, fast paced, orchestral music is used from the first second of the opening to the last, creating anticipation and exhilaration for the spectator throughout. It is parallel to the visuals, as when the action speeds up, the severity of the soundtrack increases. This close bond between the sound and moving picture builds a crescendo of intensity, as well as calming the mood where necessary, for example when Bourne seems to have escaped. The magnitude of sound and intensity does not change depending on what the police are doing, it solely changes due to the mood Jason Bourne is in, which forms a connection between him and the spectator, allowing them to sympathise with him. This sympathy we give means that throughout the film, we are desperate for him to succeed in whatever he does, making it more thrilling and daunting to watch.-The camerawork in this sequence is very shaky and has a clear handheld effect. It makes us feel like we are not just stood as a spectator watching the action, instead it makes us feel a part of the action. This turbulence generates a sense of urgency in the shots of both Jason Bourne and the police.-The setting of the train is a frightening one, as it is a tight and claustrophobic corridor that Bourne walks down, meaning that if he was to see an officer, he could well be trapped. This causes fear and excitement for the spectator, as we look even more closely to see if there is anyone around the next corner. Low key lighting is used at this stage to make it even more difficult to see whether someone is about to capture him. The engagement this creates for the spectator is captivating and engrossing, and allows us to feel even more a part of the film. To add to the fear factor, props such as guns are used, making us dread the worst, that Bourne could be killed. -Throughout the chase, high frequency cutting is used in order to increase the pace of the pursuit, including jump cuts which often use ellipsis to cut to a slightly later point in time. This use of editing keeps the entire chase exciting, as we sometimes just see a small snippet of a certain part. The constant changing of camera angle, shot distance, shot size and location makes the scene exhilitating for the spectator.
The Escape-When Bourne finally escapes the cops (though only for a short time), the tempo of editing and music continues due to the blood wound he rushes to try and recover.-After a brief diminuendo in the music when Jason Bourne finds the first aid building, it then becomes just as intense as before. This momentary halt in intensity gives Bourne a breather, and therefore makes the spectator feel like they're getting a breather too. -At this point, there is also a shot of longer duration to most of the other shots in the scene, showing the first aid centre. This is an establishing shot to the next scene, and helps give a sense of orientation to the spectator amongst all of the perplexity created by unsteady camerawork and fast paced cuts.-The ferocity of the music is then reintroduced, as is the high frequency cutting, as Bourne is now under pressure to find some aid for his wound before the police find him again. The way the break between these scenes is so short means that the intensity never really stops, and the spectator is kept captivated.-One Thriller convention used is when Bourne accidentally smashes a prop, in this case a bottle. This is a common thing to find in this genre, due to the extra suspense it creates. This is a moment of huge anticipation because the spectator, along with the protagonist, is unsure whether someone outside may have heard the smash. This uncertainty makes us apprehensive and creates tension as we worry for Jason Bourne's wellbeing, especially after the bond the filmmakers have already created between the spectator and protagonist during the opening sequence.
The Flashback

-The deviation from Todorov's narrative theory is again shown when Jason Bourne is shown to be having a flashback through the use of high key lighting and a blur effect added during editing, as well as a lower frame rate. We can also hear Bourne heavily breathing, a diegetic sound used to make us feel like we're inside of him. These conventions are used in other Thrillers to show flashbacks, including the other films in the Bourne franchise, so the spectator knows immediately that it is showing something from his past.-The way we alternate between these two periods of time highlights the way that it is part of Bourne's thoughts we are seeing. His facial expression shows that he has his eyes shut, connoting that he is picturing what happened to him. Enigma is created in this scene, as many questions are raised for the spectator. We are forced to dispute what it is that happened to him, where it happened and when it took place. These questions make the rest of the film more enjoyable, as it takes time for the answers to be revealed due to restricted narration. Restricted narration is used in this scene, we are only shown fragments of what he is thinking and therefore can't see what is going on. This makes the rest of the film more frustrating yet exciting, as we are looking forward to finding out the truth.

-Unrestricted narration is used when we are shown the police entering the building, as Bourne does not know they're there. This scene of unrestricted narration interchanges with the flashbacks of restricted narration, creating a fantastic piece of filmmaking, whereby we know more than Jason Bourne in one sense, yet less than him in another. As we see the police fast approaching, we are desperate for him to see them and make an escape, yet at the same time we are wanting to see the flashback in full and know what happened to him.

Analysis of "Europa Report" Thriller opening by Harry McHale

        

Europa Report

The establishing shot creates a sense of emptiness.

The sci-fi thriller opens with a setting full of props but not characters giving it sense of emptiness. This emptiness could represent the loneliness of astronauts when in space since they can only communicate with earthlings through machines. The room is brightly lit; suggesting that there is nothing suspicious aboard the space craft therefore this leaves the spectator wondering where in the plot, the equilibrium will be disrupted. The diegetic sound of the character climbing the ladder is the only thing the spectator hears which gives a sense of isolation. We are left feeling emotionally attached to all the characters - even though we have only met one of them. There is a cut to the next shot where the only character we have seen has disappeared; this builds enigma because it will leave the spectator questioning what had just happened. This may foreshadow worse events to come later in the movie. The spectator is suddenly relieved when we hear a diegetic voice over of one the characters saying "hey buddy".

The living quarters.

We then cut to the next setting which appears to be the living quarters for the characters. There is clear use of setting and props; the character the spectator is most familiar with, is wrapped in a blanket: isolated from the other characters. This action may reveal the character's personality - he's gentle and kind plus the others respect that therefore they leave him alone. The blanket blocks our view of what he is holding (an example of restricted narration which is used in thrillers); but we can hear clearly his diegetic voice speaking into it. It is clear from the tone of his voice that he is speaking to a child which makes the spectator more emotionally attached to this character.
Furthermore on the décor of the setting, we can see photographs in a different bunk bed, making the characters relate-able for the spectator at missing their family. In a thriller this shows that the character will likely meet an unfortunate end in an attempt to play with the spectator's emotions. From the composition of the shot we can also see two more characters, whom seem to be happily involved in whatever they are doing. This gives the spectator a chance to imagine what the pair are looking at - this can be a powerful technique to use in a thriller.

The darkness emphasises how isolated the characters are.

We then transition to the outside of the spaceship where we can see a very dark setting with the sun which is very far away being the only source of light. The surroundings are completely empty which creates a feeling of isolation again. This plays with the spectator's emotion as they come to the realisation that the characters are completely alone in this deep dark space world where no-one can help them. This foreshadows that something catastrophic is going to happen - this draws the spectator in because this shot creates enigma. The voice over of the male character's voice brings light humour to the situation; "I think I sleep better up here away from her snoring." The humour adds an almost unwanted sense of safety and protection, which causes the spectator to be at ease with the situation - when the shock scenes arrive they will definitely stir the spectator's emotions.

Research Task- Alice Creed

Alice Creed

Camerawork

Mise en Scene

Sound

Editing

Narrative

Spectator response

The opening to The Disappearance of Alice Creed is very deliberate in its pace and tone. This opening’s greatest strength is its lack of exposition.



(Establishing extreme long-shot)

This establishing extreme long-shot which allows spectators to recognise where the setting is. The washed and unsaturated colour contributes towards the convention of thriller films. This shot also has a high-key glow, suggesting it is set in the early hours of the morning. During the first shot, non-diegetic music is used to create an intense build up. The sound of drums are used at a slow pace, gradually building up to the next shot. A diegetic sound effect is used replicating an aeroplane flying over- giving away the location: at an airport.

(Medium close-up of the two male characters)

This medium close-up shows the spectators the two male characters identity straight away. Mise en Scene in this shot is very important, the entirety of the sequence has a greyish overlay which creates a mysterious nature to these two characters. Both of the two kidnappers are the only characters ever to appear in the opening. This makes sure that the spectators pay attention to the correct characters on screen. However, the way that these characters are merely wearer standard civilian clothing means that it is not immediately implied that these two men are actually the kidnappers. With this uncertainty in the mind of the view, you are now able to keep them engaged.

(Long-shot of a landfill setting)

This long-shot of the location gives us information where the two male characters are heading. This shot is of a landfill site full of rubbish. Diegetic sounds of diggers and machines also help spectators recognise this. The camera movement tracks slowly along the top of the hill generating a smooth movement allowing spectators to understand the location and setting. The non-diegetic music at this point is still at a slow pace gradually speeding up.

(Medium close-up of trolley wheel)

This shot is set in a super market which informs the spectators that the two male characters are 'on the move'. This then creates enigma as spectators would question what they are getting up to and are they going to commit a crime? This medium close-up of the trolley wheel helps intensify the scene by lowering the volume of the non-diegetic music and emphasising the diegetic sound of the wheel squeaking and rattling. This then creates a spine chilling response from spectators due to the eerie and creepy sound effect of the trolley wheel, this also helps contribute towards intensity and suspense.

(2 shot of male characters)

This 2 shot clearly shows us the two male characters snooping around for props in the super market. The low-angle of this shot creates a hierarchy, putting the two male characters in a dominant position. This clearly shows the two men are the antagonists. As spectators we would question why they are doing this. They are in the hardware and tools aisle in the super market. The non-diegetic music increases its volume gradually which is parallel towards the pace of cutting during this scene. This scene uses simple transitions: a cut to create a simple understanding rather than make it too complicated. They want you to focus on the body language and facial expressions of the two men instead of interesting transitions.

This shot is a match on action of the male character grabbing a hand saw prop. This is a traditional thriller prop. The non-diegetic music begins to emphasise the handling of dangerous props, suggesting they might use them. The shot of these dangerous props can lead to extreme speculation in the narrative creating enigma from the spectators. 

Here are a few shots showing the props that they collect in the store: The screen grab showing the sign 'sound proofing' creates suspicion from the spectators because this gives the impression that the two male characters are going to commit a crime or even so, murder or kidnapping. 

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2.

3.

These three shots are showing inside an abandoned house. The first shot (1.) is a blocking shot and also shallow depth of field. This is creating restricted narration due to the part of the room being hidden. Therefore as a spectator you will not know what is behind the wall. This can leave you questioning why there are shots inside a run down house. Shot (2.) which is a long shot of the inside of a living room is also very run down with low-key lighting giving the affect that this house is extremely isolated, abandoned and neglected. Finally the third shot (3.) is a medium long-shot of a bedroom, with left head boards and lamps on the wall, indicating that the house hasn't been vacated for a while. All three shots allow spectators to see the setting in detail, creating a thrilling and  eerie atmosphere. 

This 2 shot tracking the two male characters entering the room intensifies the suspense as before this shot was a zoom towards the door before they walked in, emphasising there entrance. 

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2.

These two shots show the male characters in action, they are beginning to decorate the room in a strange and dark way. There is a match on action in shot (2.) showing them both in sync with gunning the carpet down onto the wall. This creates a sense of enigma because traditionally you would gun carpet down onto the floor, not the walls. This is showing they are sound proofing the walls. This then leads to another question, for example: are they partners in crime? The soundtrack of the scene is very parallel towards the action occurring. In shot (1.) they pull the curtains shut in a very in sync manner, this suggest they are very close and have an important friendship. This is also show in shot (3.) due to their body language, however, at this point we are still questioning what they are doing.

3.

 (Extreme close-up of a hand saw sawing) 

This extreme close-up of the hand saw suggests they are turning the room into something, this shot is filmed hand held. The high frequency of cuts during this scene tells us they are rushing to get it done. The contributes towards building suspense through out this scene. The diegetic sound of the saw emphasises what they are cutting, for example: wood. However, we do not know what for. This whole scene creates a huge speculation for the spectators. 

(High angle, long-shot of the two male characters)

This high-angle, long-shot gives us the information that they have finished doing the decorating that they needed to do. Spectators can observe that they have completed the room and completely blacked it out, therefore the room has extreme low-key, black and brown lighting. The music begins to decrescendos and the frequency and pace of cuts slows down completely, suggesting it will cut to another scene.