First Prezi on Prezi
*Last slide has a typo* elistic - Realistic
- Made by Ben, discussed by Group -
Thursday, 2 December 2010
Wednesday, 1 December 2010
Breaking the budget barrier.
Zombie films often require a vast budget compared with many other genres due to many of the expenses needed to create a convincing effect - 28 days later had an $8,000,000 budget. The environment in which the story is told must often been altered in conjunction with an infection, or merely a horde of zombies that physically change the setting. This is a major expense to the institution because to make the storyline convincing, every aspect of the mise-en-scene must be thought out and payed for - this could be anything from damaged buildings to mutated animals.
The costume and make-up has to be incredibly complex to intensify the fear factor on the audience, this must be strongly considered for our project because unfortunately we don't have a Hollywood budget.
This means that in our teaser trailer we can only include aspects which won't require any astronomical budget. However zombie films have been existent for a number of decades, so influence towards our project can be found from pioneers of the genre, where the technology was incredibly basic and there were limited effects at their disposal. In films such as White Zombie (1932) and Revenge of the Zombies
(1943) subtle make-up was used, typically had white faces and blackened eyes - held wide and expressionless. This can easily be achieved using average make-up and some skillful editing. An alternative would be to not actually show the zombie's themselves in the trailer, but merely imply their presence, however this is fairly unconventional in modern zombie films. Signs (2002) while not being a zombie movie is another great source of influence because it didn't explicitly display the aliens for a long period in the film, instead the audience was shown flashes such as its foot just escaping through the crops. There are in my opinion actually many advantages to this; it leaves the audience in strong suspence because they don't know exactly what the danger is; in terms of mass distribution it allows the film to have a lower BBFC rating, in fact Signs was only a 12. Many zombie films have taken an extreme approach in the appearence of the zombie's, but director George A Romero instead used normal clothing in Night of the Living Dead (1968), but crucially this is still used in more modern productions such as Shaun of the Dead (2004), and this method is fully at our disposal. In conclusion I would state that while we are being ambitious in our choice of genre, considering the equipment we have to use, but in looking at aspects of previous productions we can still create the fear factor that is so essential.
-Stephen-
The costume and make-up has to be incredibly complex to intensify the fear factor on the audience, this must be strongly considered for our project because unfortunately we don't have a Hollywood budget.
This means that in our teaser trailer we can only include aspects which won't require any astronomical budget. However zombie films have been existent for a number of decades, so influence towards our project can be found from pioneers of the genre, where the technology was incredibly basic and there were limited effects at their disposal. In films such as White Zombie (1932) and Revenge of the Zombies
(1943) subtle make-up was used, typically had white faces and blackened eyes - held wide and expressionless. This can easily be achieved using average make-up and some skillful editing. An alternative would be to not actually show the zombie's themselves in the trailer, but merely imply their presence, however this is fairly unconventional in modern zombie films. Signs (2002) while not being a zombie movie is another great source of influence because it didn't explicitly display the aliens for a long period in the film, instead the audience was shown flashes such as its foot just escaping through the crops. There are in my opinion actually many advantages to this; it leaves the audience in strong suspence because they don't know exactly what the danger is; in terms of mass distribution it allows the film to have a lower BBFC rating, in fact Signs was only a 12. Many zombie films have taken an extreme approach in the appearence of the zombie's, but director George A Romero instead used normal clothing in Night of the Living Dead (1968), but crucially this is still used in more modern productions such as Shaun of the Dead (2004), and this method is fully at our disposal. In conclusion I would state that while we are being ambitious in our choice of genre, considering the equipment we have to use, but in looking at aspects of previous productions we can still create the fear factor that is so essential.-Stephen-
Wednesday, 17 November 2010
Camera Angles which create Tension during a Horror Film.
An Extreme Close Up - This is used to emphasise something, for example if the close up was of the actions somebody was going through using their hands then it would be emphasising that, that individual was about to do something of important relevence. If it was highlighting the inidviduals hands holding a knife then it would be higlighting then maybe something bad was going to happen involving the knife. The connotation of the image would be violence involving the knife.
Close up - This is where the subject being filmed fills the frame, it is often used to show the emotion felt by the subject being filmed. If for example the subject had just done something of significane and was showing the necessary emotion this shot could be used to connotate that and empahisise the emotion that the individual is feeling at that moment in time.
Dutch Tilt - This is a shot used by which the subject or object being filmed is tilted to an angle. This shot is often used in horror films to represent disorientation and confusion. A tilted shot type such as a dutch tilt often connotates confusion or panic.
Extreme long shot - This is a shot by which the hole setting fills the frame. This shot is often used so that the audience can establish what the setting is, mise en scene ect. This shot is often used in horror films to create atmosphere and tension and to also inform the audience of the creepy setting by which the scene is going to take place.
Medium shot - This shot consists of half of the subjects body , with their costume and face still visible. This can be used to show the surroundings of the individual but also the emotions there are feeling at the same time. It is effectively used in horror films especially when creating tension of somebody coming up behind the subject.
- Jack -
Close up - This is where the subject being filmed fills the frame, it is often used to show the emotion felt by the subject being filmed. If for example the subject had just done something of significane and was showing the necessary emotion this shot could be used to connotate that and empahisise the emotion that the individual is feeling at that moment in time.
Dutch Tilt - This is a shot used by which the subject or object being filmed is tilted to an angle. This shot is often used in horror films to represent disorientation and confusion. A tilted shot type such as a dutch tilt often connotates confusion or panic.
Extreme long shot - This is a shot by which the hole setting fills the frame. This shot is often used so that the audience can establish what the setting is, mise en scene ect. This shot is often used in horror films to create atmosphere and tension and to also inform the audience of the creepy setting by which the scene is going to take place.
Medium shot - This shot consists of half of the subjects body , with their costume and face still visible. This can be used to show the surroundings of the individual but also the emotions there are feeling at the same time. It is effectively used in horror films especially when creating tension of somebody coming up behind the subject.
- Jack -
Thursday, 11 November 2010
Comerical and Thriller Zombie films.
Zombie films started with the aim to produce completeley serious pieces of text which the audience was meant to watch and feel that it was believeable, to feel that if zombies did actually exist then this is how it would be. Technological and generally text improvement has made this easier to suceed this objective over those years. However in contemporary zombie films producers have began to see the advantages of bringing a comerical theme to the screen when producing zombie films, that the zombies are used as a metaphor for the victims of comericialism, Dawn of the dead is an example of this as it is set in a typical American shopping mall .Films such as 28 days later directed by Danny Boyle is an example of how these zombie films have been related closely to society giving it realism and in effect giving the film more of an edge. This is due to having these films so closely related to civilisation and what might actually happen if the world was to break out in an infection. The close relation to civilation brings an element of realism to such films and what makes such zombie films so effective to the audience. It is an example of another strain of zombie films, and is one based on disease and outbreak rather then the super natural, this being one of the main aspects i believe that brings realism to the screen.
 |
| Scene from 28 later. |
Comerical zombie films such as "Shaun of the Dead" bring a completley diffrent theme and narrative to the screen. The fact that zombies are non existent makes it easier to bring humour into such a film, as the audience is comfortable that zombies arent real its easy to represent them in this way, that fact that their non existent makes it harder for the audience to take zombies films seriously. This can work to the advantage of zombie films as it helps bring a comerical element to it. Using zombies to create a comerical theme is easier done then bringing a serious element to it. The fact that zombies are abnormal also makes it easier especially when they are potrayed as quite ugly looking human beings. However overall Thriller zombie films give out a much more intense atmosphere and takes alot more skill, time and effort to produce a realistic piece of text which portrays sombies realisticly. Saying this the audience has nothing to relate to with the representation of what zombies should look like, but making sure that what the film represents what zombies should look like is a difficult representation to put across effectively.
 |
| Zombieland |
- Jack -
How to connote panic in a film - an ongoing theme in zombie/infection films
[Setting the scene]
During a military evacuation of a city for unknown reasons, one man is frantically searching for his son, rushing past the thousands of frightened people who are moving fast towards the boarder.
Expressionism -and
Shot Types
Close-up - This shot shows the man's emotion more clearly, it is also intensified, causing the audience to sympathise with him.
Crane shot - This would be used to show the audience the effects of the evacuation and the man's giant task of finding his son amongst the thousands of people.
Shaky-cam - This technique would intensify the action and would replicate the man's struggle.
Pan - This technique would be used to replicate the man searching for his son -- looking from left to right -- combined with the shaky-cam.
Tracking shot - This technique would be used to employ the feeling that the audience is following this man's journey.
Eye line-match - This would put the audience in the protagonist's position; they see what he sees.
Reaction shot - This would explicitly show the man's fear and panic.
Fast transitions convey a sense of panic perfectly, they reflect the man's jumbled thoughts and his reaction to the situation.
There should be no sound bridges, as these are used to create smoother, less jarring transitions between shots. It is important to make the sequence as uncomfortable as possible.
Expressionism - The man's frantic search for his son and his fear for the loss of his son.
It would be important to convey a sense of struggle fear and claustrophobia, this would be achieved by maintaining a shallow depth of field. The lack of focus on the individuals around the protagonist would create a loss of identity, which would lead to fear. Close-ups would reinforce his fear for the loss of his son.
The weather should be grey, dull and cloudy. This choice would reflect the man's emotions and what he's going through - Clouds in the way of the sky (people in the way of his son) Upon finding his son, it should start to rain, symbolising a cleansing of the man's brain. The rain also replicates the man's tears as he embraces his son.
Natural lighting maintains a sense of realism, there will be no artificial action.
During a military evacuation of a city for unknown reasons, one man is frantically searching for his son, rushing past the thousands of frightened people who are moving fast towards the boarder.
Expressionism -
Shot Types
Close-up - This shot shows the man's emotion more clearly, it is also intensified, causing the audience to sympathise with him.
Crane shot - This would be used to show the audience the effects of the evacuation and the man's giant task of finding his son amongst the thousands of people.
Shaky-cam - This technique would intensify the action and would replicate the man's struggle.
Pan - This technique would be used to replicate the man searching for his son -- looking from left to right -- combined with the shaky-cam.
Tracking shot - This technique would be used to employ the feeling that the audience is following this man's journey.
Eye line-match - This would put the audience in the protagonist's position; they see what he sees.
Reaction shot - This would explicitly show the man's fear and panic.
Fast transitions convey a sense of panic perfectly, they reflect the man's jumbled thoughts and his reaction to the situation.
There should be no sound bridges, as these are used to create smoother, less jarring transitions between shots. It is important to make the sequence as uncomfortable as possible.
Expressionism - The man's frantic search for his son and his fear for the loss of his son.
It would be important to convey a sense of struggle fear and claustrophobia, this would be achieved by maintaining a shallow depth of field. The lack of focus on the individuals around the protagonist would create a loss of identity, which would lead to fear. Close-ups would reinforce his fear for the loss of his son.
The weather should be grey, dull and cloudy. This choice would reflect the man's emotions and what he's going through - Clouds in the way of the sky (people in the way of his son) Upon finding his son, it should start to rain, symbolising a cleansing of the man's brain. The rain also replicates the man's tears as he embraces his son.
Natural lighting maintains a sense of realism, there will be no artificial action.
- Ben -
Tuesday, 9 November 2010
Marixism in Film
First off, here's a brief outline of Marxism; it has 3 main components:
- The dialectical and materialist concept of history - Humankind's history is fundamentally a struggle between social classes. An example of this is slavery.
- The critique of capitalism - In a capitalist society, the bourgeoisie dominate and exploit an economic majority -proletariat-. Marx stated that 'the capital makes a man a prisoner, he is no longer free, they begin to depend on it' "Capitalism takes a man's individuality away"
- Advocacy of proletarian revolution - The working class must seize political power through a social revolution. Material foundation classes would be abolished and all forms of inequality would dissolve.
Extract from Wikipedia:
Sergei Eisenstein and many other Soviet film makers expressed the ideas of Marxism through film:
Eisenstein's solution was to shun narrative structure by eliminating the individual protagonist and tell stories where the action is moved by the group and the story is told through a clash of one image against the next (whether in composition, motion, or idea) so that the audience is never lulled into believing that they are watching something that has not been worked over.
French Marxist film makers, such as Jean-Luc Godard, would employ radical editing and choice of subject matter, as well as subversive parody, to heighten class consciousness and promote Marxist ideas.
Films that explore Marxism include:
- Metropolis (1927) Dir. Fritz Lang
- Intolerance (1916) Dir. D.W. Griffith
- October (1927) Dir. Sergei Eisenstein
- The dialectical and materialist concept of history - Humankind's history is fundamentally a struggle between social classes. An example of this is slavery.
- The critique of capitalism - In a capitalist society, the bourgeoisie dominate and exploit an economic majority -proletariat-. Marx stated that 'the capital makes a man a prisoner, he is no longer free, they begin to depend on it' "Capitalism takes a man's individuality away"
- Advocacy of proletarian revolution - The working class must seize political power through a social revolution. Material foundation classes would be abolished and all forms of inequality would dissolve.
Extract from Wikipedia:
Sergei Eisenstein and many other Soviet film makers expressed the ideas of Marxism through film:
Eisenstein's solution was to shun narrative structure by eliminating the individual protagonist and tell stories where the action is moved by the group and the story is told through a clash of one image against the next (whether in composition, motion, or idea) so that the audience is never lulled into believing that they are watching something that has not been worked over.
French Marxist film makers, such as Jean-Luc Godard, would employ radical editing and choice of subject matter, as well as subversive parody, to heighten class consciousness and promote Marxist ideas.
Films that explore Marxism include:
- Metropolis (1927) Dir. Fritz Lang
- Intolerance (1916) Dir. D.W. Griffith
- October (1927) Dir. Sergei Eisenstein
- Ben -
Wednesday, 3 November 2010
Typography research
Our project is of the horror/thriller genre but to be more specific; virus/infection movie. We have found in our research that the conventions in typography in horror movies has changed quite drastically through the decades, so here are a few examples:
Dawn of the Dead (1978)
The colour co-insides with the word 'Dawn' as it represents the colour of the sky at dawn, (The sun rises up at dawn and the zombies rise up from the ground). The font is fairly simplistic and conventional - its big and bold - but a closer look shows that it has minor scratches on the letters, informing the audience that something (zombies) has tampered with it. The title is spread on the negative space which makes it look - to the audience's eye - that it is laying on the ground, thus forwarding the assumption that zombies have roamed and tampered with it. The title draws that audience's eyes to the ground - the ground is an important aspect of the film as that is where the zombies come from.
28 Days Later (2002)
This is a modern example of the same genre, with noticeably different typography but however with similar intentions. This example displays further tampering with the letters to a greater extent than Dawn of the Dead, perhaps showing a greater attention to detail in more contemporary productions. This technique is developed by placing the letters at slightly different heights to which implies the situation isn't running smoothly.
Carriers (2009)
The title is very stark; Red on white, space between letters, deformation of certain letters and an Ariel font.
Blood is obviously one of the main components to the title, it informs the audience what to expect from the film. Blood is hardly presented in a subtle manner; rather than blood drops there is blood splatters - this, again, teases the audience about what type of film it is - It adds a menacing tone to the title.
The word 'carriers' -in this context- means the infected. The spaces between each letter connotes the separation of the 'carriers' and the normal people escaping from them and killing them (blood splatter).
The distinction between the normal people and the carriers is also implicitly shown by the change of style within the title. The first half looks fairly conventional - pure red Ariel font - (representing the normal people), whereas the second half looks gruesome bloody (representing the carriers or infected.
The colour co-insides with the word 'Dawn' as it represents the colour of the sky at dawn, (The sun rises up at dawn and the zombies rise up from the ground). The font is fairly simplistic and conventional - its big and bold - but a closer look shows that it has minor scratches on the letters, informing the audience that something (zombies) has tampered with it. The title is spread on the negative space which makes it look - to the audience's eye - that it is laying on the ground, thus forwarding the assumption that zombies have roamed and tampered with it. The title draws that audience's eyes to the ground - the ground is an important aspect of the film as that is where the zombies come from.
28 Days Later (2002)
This is a modern example of the same genre, with noticeably different typography but however with similar intentions. This example displays further tampering with the letters to a greater extent than Dawn of the Dead, perhaps showing a greater attention to detail in more contemporary productions. This technique is developed by placing the letters at slightly different heights to which implies the situation isn't running smoothly.
Carriers (2009)
The title is very stark; Red on white, space between letters, deformation of certain letters and an Ariel font.
Blood is obviously one of the main components to the title, it informs the audience what to expect from the film. Blood is hardly presented in a subtle manner; rather than blood drops there is blood splatters - this, again, teases the audience about what type of film it is - It adds a menacing tone to the title.
The word 'carriers' -in this context- means the infected. The spaces between each letter connotes the separation of the 'carriers' and the normal people escaping from them and killing them (blood splatter).
The distinction between the normal people and the carriers is also implicitly shown by the change of style within the title. The first half looks fairly conventional - pure red Ariel font - (representing the normal people), whereas the second half looks gruesome bloody (representing the carriers or infected.
- Ben and Stephen -
Tuesday, 2 November 2010
Thursday, 28 October 2010
Analysing 'Quarantine' (2008) Teaser Trailer
The trailer starts with a still of various columns of different colours with a high-pitched *beep* accompanying it; this usually occurs when a channel has gone off air - it is used in films as a connotation of a disturbing event that affects a lot of people.
The audience is given a brief overview of the situation by receiving the basic plot components from a voice-over from the beginning to the middle.The trailer is broken down into two halves, one consisting of a military investigation and the other consisting of a reporter joining the investigation.
The first half of the teaser trailer is made to look very realistic, this is achieved through the use of the hand-held camera, torch-lighting, black and white visuals, a fast-forward effect to provide transitions, seemingly factual points stated by the voice-over and the 'REC' symbol in the top left third.
The second half of the trailer focuses on the 'infected' (no term is provided - adding to a sense of mystery -- investigation) and the investigators' reactions to them. This is mainly fear, which is expressed through a shaky camera, diegetic sounds such as screams and cries, and also the lighting - various moments of the teaser are in pitch black, which connotes fear in itself and even more so when it's accompanied with the above.
Various techniques are used to engage the audience, one being the use of the hand-held camera; this plunges the audience into the action on screen and provides a different perspective - also the action/tension is intensified which affects the audience's enjoyment of the trailer.
Another technique used to engage audience is the direct mode of address -when the character looks at the camera- used from 0.58 until the end at various points. This simulates interaction with the audience and causes them to sympathise with the fearful character on screen. The trailer also attempts to transfer the fear shown on screen to the viewer, stimulating a fearful or excited response - depending on the viewer's taste. This is done by showing brief clips of the 'infected' woman coming at the camera in a violent manner - The scariness of these moments is backed up by the shaky camera, reactions of the protagonist and the torch-lighting -- presenting stark detail of infected's face.
The language of the characters in the teaser trailer represents them as vulnerable, frightened and confused individuals. For example "What was that?", "Lock it Lock it Lock it!", "Oh God, oh my God!" and "We have to get out of here, we have to get out of here!"
Their vulnerability is demonstrated when their difference in roles (1.03 - reporter is interrupted when fireman smashes door open) is contradicted as both the firemen and the reporter are running in fear from the same thing.
- Ben -
Monday, 18 October 2010
Applying Narrative Theory 'Dawn of the Dead' (2004) Teaser Trailer
|Narrative Theory|
Tsvetsan Todorov claimed that there are 5 stages the narrative can progress through, most of which are shown in the teaser trailer for the remake of Dawn of the Dead. A state of equilibrium (1) is established immediately, this is portrayed through the use of ironic music - "It's a wonderful life", and the mise-en-scene which works well with the song; Sunrise (cleverly referring to Dawn..) basketball, implications of sex, hot coffee, dog training and bike riding.
A disruption of that order by an event (2) is shown through a transition |Black and white fuzzy on-screen white noise| to a messy-compilation of newscasts about the event. The ambiguity of the event is key to the teaser trailer as it keeps the audience enticed and it adds a sense of mystery to it. Also, the
A recognition that the disruption has occurred (3) is shown directly through the main characters watching the newscast. This sets up a whole new stage of the narrative, it gives the teaser trailer a completely different feel in contrast to the calm opening. This next stage is introduced by another transition which comes in the form of a blackout which adds to the tension which was previously created and puts the audience into an exciting position.
An attempt to repair the damage of the disruption (4) is what the audience is introduced to next. Repairing the damage, in this case, refers to the killing of zombies and surviving; something which fans of the genre will be pleased to see. The following 14 seconds provides a taste of the action - There are about 6 very brief and ambiguous clips of what the zombies look like, thus maintaining the portrayal of mystery (Roland Barthes - Enigma Code).
The final stage of the narrative (A return/restoration of a new equilibrium) is not shown, there are two reasons for this; One being it will give too much away, and the other is that there may never be a restoration of equilibrium.
A recognition that the disruption has occurred (3) is shown directly through the main characters watching the newscast. This sets up a whole new stage of the narrative, it gives the teaser trailer a completely different feel in contrast to the calm opening. This next stage is introduced by another transition which comes in the form of a blackout which adds to the tension which was previously created and puts the audience into an exciting position.
An attempt to repair the damage of the disruption (4) is what the audience is introduced to next. Repairing the damage, in this case, refers to the killing of zombies and surviving; something which fans of the genre will be pleased to see. The following 14 seconds provides a taste of the action - There are about 6 very brief and ambiguous clips of what the zombies look like, thus maintaining the portrayal of mystery (Roland Barthes - Enigma Code).
The final stage of the narrative (A return/restoration of a new equilibrium) is not shown, there are two reasons for this; One being it will give too much away, and the other is that there may never be a restoration of equilibrium.
- Ben -
Sunday, 17 October 2010
Analysing Speed and the Day after tomorow trailers using theorists.
Vladimir Propp was a Russian academic who argued that fairy tales could be studied and compared by examining their most basic components. This consisted of 8 different spheres: Villain, Hero, Donor- who provides an object of some help, Helper- aids the hero, Princess - reward for the hero, Father and the False Hero.
Vladimir`s eight spheres can be a helpful aid when it comes to analyzing films and trailers. I applied his eight spheres to the trailer of the blockbuster "Speed"( 1998), the film follows a terrorist who sets a bomb on a bus, a Los Angele's police man is dragged in the situation when he becomes involved with the terrorist. The terrorist straight away takes the role of the "villain" which is made obvious in the first few seconds of the trailers. The most important role in the film and trailer is the Police man who takes the "Hero" role nearly from the start, even on the trailer this is certified many times. The role of the donor is not shown very clearly in the trailer but is made clear in the film, i would say that from watching just the trailer the "donor" is the bus driver as he gives the bus full of innocent people the skill of driving to help save their lives. The helper is clearly the women who helps the police take control in the bus, this being the actor Sandra Bullock, she also aids the policeman as she helps to take control of the situation, as the film develops and as does the trailer it becomes more clear that she is in fact "the princess" or "reward for the hero" as the two develop a relationship during the ordeal.
The father role or section out of the eight spheres would have to be the police chief as he acts the most like a father figure to the hero of the trailer, who is of course the main character. The last sphere is "false hero" now usually this would be applied to somebody who is a good guy and who the audience is usually lead to believe is the hero but are actually being put on the wrong track, as part of the plot. However in this film, trailer i would say that the bad guy is the false hero. In the few seconds that you see his character speaking in this trailer, it seems he speaks a lot about morals, which could therefore show how he see`s himself as a hero carrying a message when in fact he is just a "false hero".
http://www.youtube.com/watch?v=aRmhneo5A48 - Link to "Speed Trailer" .
Todorov is a Bulgarian philosopher now living in France, his theory for films and trailers goes like this:
1. The fictional environment begins with a state of equilibrium.
2.It then suffers some disruption
3.A recognition that this disorder has occurred
4.An attempt to repair the damage of the disruption
5. A return or restoration of a new equilibrium.
This series of events can be applied to many films and film trailers. Such as the trailer for "The Day after Tomorrow". The trailer begins with society at ease with everyday life, but shows slight sense of a disruption however not enough signs to make it into a full disruption of the equilibration, this is everything in society as it should be. The disequilibrium then comes into play by which all the natural disasters begin , and the world begins to suffer as a consequence. The recognition that this disorder has occurred is then portrayed, as clips of various scientists are shown trying to explain the happenings, however it seems that the ones higher up don't want to listen. An attempt to restore the damage of the disruption fits in with the previous stage as in the trailer the scientists try to warm officials that they need to evacuate, they don't listen but they change their mind and evacuate big cities when the situation takes a turn for the worst, this evacuation can be seen as the return to normality or attempt to return. The final clip in the trailer is the famous statue of liberty covered in ice, people are back packing below, therefore showing that this destroyed world is the new normality and therefore covers the final stage which is a restoration of a new equilibrium.
Day after tomorrow trailer link - http://www.youtube.com/watch?v=JQDSAiPiEDU
Jack Bakker
Vladimir`s eight spheres can be a helpful aid when it comes to analyzing films and trailers. I applied his eight spheres to the trailer of the blockbuster "Speed"( 1998), the film follows a terrorist who sets a bomb on a bus, a Los Angele's police man is dragged in the situation when he becomes involved with the terrorist. The terrorist straight away takes the role of the "villain" which is made obvious in the first few seconds of the trailers. The most important role in the film and trailer is the Police man who takes the "Hero" role nearly from the start, even on the trailer this is certified many times. The role of the donor is not shown very clearly in the trailer but is made clear in the film, i would say that from watching just the trailer the "donor" is the bus driver as he gives the bus full of innocent people the skill of driving to help save their lives. The helper is clearly the women who helps the police take control in the bus, this being the actor Sandra Bullock, she also aids the policeman as she helps to take control of the situation, as the film develops and as does the trailer it becomes more clear that she is in fact "the princess" or "reward for the hero" as the two develop a relationship during the ordeal.
The father role or section out of the eight spheres would have to be the police chief as he acts the most like a father figure to the hero of the trailer, who is of course the main character. The last sphere is "false hero" now usually this would be applied to somebody who is a good guy and who the audience is usually lead to believe is the hero but are actually being put on the wrong track, as part of the plot. However in this film, trailer i would say that the bad guy is the false hero. In the few seconds that you see his character speaking in this trailer, it seems he speaks a lot about morals, which could therefore show how he see`s himself as a hero carrying a message when in fact he is just a "false hero".
http://www.youtube.com/watch?v=aRmhneo5A48 - Link to "Speed Trailer" .
Todorov is a Bulgarian philosopher now living in France, his theory for films and trailers goes like this:
1. The fictional environment begins with a state of equilibrium.
2.It then suffers some disruption
3.A recognition that this disorder has occurred
4.An attempt to repair the damage of the disruption
5. A return or restoration of a new equilibrium.
This series of events can be applied to many films and film trailers. Such as the trailer for "The Day after Tomorrow". The trailer begins with society at ease with everyday life, but shows slight sense of a disruption however not enough signs to make it into a full disruption of the equilibration, this is everything in society as it should be. The disequilibrium then comes into play by which all the natural disasters begin , and the world begins to suffer as a consequence. The recognition that this disorder has occurred is then portrayed, as clips of various scientists are shown trying to explain the happenings, however it seems that the ones higher up don't want to listen. An attempt to restore the damage of the disruption fits in with the previous stage as in the trailer the scientists try to warm officials that they need to evacuate, they don't listen but they change their mind and evacuate big cities when the situation takes a turn for the worst, this evacuation can be seen as the return to normality or attempt to return. The final clip in the trailer is the famous statue of liberty covered in ice, people are back packing below, therefore showing that this destroyed world is the new normality and therefore covers the final stage which is a restoration of a new equilibrium.
Day after tomorrow trailer link - http://www.youtube.com/watch?v=JQDSAiPiEDU
Jack Bakker
Sunday, 10 October 2010
I am Legend - Film website analysis
The first thing that came to my attention when viewing the website was the direct correlation between the theme/colour scheme of the website and movie itself. In the movie Will Smith uses what appears to be astonishing technology and futuristic software to achieve his life-long endeavours, I believe this is strongly mirrored in the website, perhaps so the user feels part of the film as he or she navigates through the website. Empathy of the protagonist continues with a special feature of the website, a hexagon on the bottom left hand corner allows the user to change the background by selecting a particular segment. Its clearly aiming to make the viewer feel like they are in the environment of abandoned New York City, and understand the concept that the world is deserted no matter where you look. The final example of how the website incorporates its viewers is through the 'I am legend survival game'. It is likely it has been included to attract a younger audience, as well as those interested in gaming, the intended outcome for those that choose to play it is that they become more excited about the plot of the movie, and again they feel empathy towards the protagonist as they actually get to play as that character. The emotional elements in the film rely on the audience to empathise because it gives it deeper meaning. If one were to imagine a random person that manages to survive what kills everything else on the planet, the immediate reaction wouldn't be to feel that persons pain, but when that character is personified and the audience empathises with their situation, they become more intrigued with the plot. I think this is why elements of empathy have been used so strongly. Another obvious function of the website towards the film's overall success is to try and sell the movie, as well as any ancillary products they have to offer. There is a direct link to the Warner bros website where the DVD or Blue-ray disk can be purchased, and also a range of downloads which merely add to the marketing through wallpapers, pictures etc.
Link to website:
http://iamlegend.warnerbros.com/_main_site/
Stephen
Link to website:
http://iamlegend.warnerbros.com/_main_site/
Stephen
Sunday, 3 October 2010
Toy Story 3 Teaser Trailer Analysis
The trailer is 1:43, whilst it is quite unconventional for a teaser trailer to be this long, with such a big release and hype leading up to the third installment of second Top-US Grossing Animation title. This alone would allow any audience over the age of 14 to take an automatic interest in the teaser trailer as it is one of the most anticipated animation films, if not the most anticipated animation films of all time.
The trailer itself, right from the first second of footage induces a familiarity element. Anyone who watched the previous installments will be familiar with the blue cloud filled wallpaper of the room and the small military figurines. I believe that this is a very important sequence in the trailer due to the fact that since it took so long to be released, Pixar would have to play on the nostalgia element blockbuster and hugely anticipated films like Toy Story induce. This in my opinion is so the audience is set up to not expect anything new, however the same formula that worked for the past two previous episodes. In that respect, the first shot is the establishing shot and it enables the audience to immediately relate to it, rather than question what direction the film is taking.
From the 21 second mark, we are reintroduced to the same characters that played in the previous films, this again reinforces the idea of similarity so not to throw the audience off and have them take an active part in following the story line. From this point it promises the same relaxed ride the other two installments offered.
The music, yet again isn't any different to what is to be expected. Calm, slow and relaxing are the same elements that were used in the previous films and worked great, notably 'You've got a friend in me' which boasts 4.6 million YouTube views. The background music stays the same and doesn't reflect any sort of change in emotions when Buzz takes away Woody's limelight, yet again to anyone who has previously watched Toy Story 1 or 2 will know that it has been a trend in the films.
Due to the fact it's animated film, it will no doubt appeal to younger audiences who maybe have not seen/understood the previous films. However this trailer uses the same feel, characters, music and basic character interaction that occurred in the previously films, combined with the fact it has been highly anticipated makes it appeal to an older audience who have seen and no doubt liked the previous installments.
Overall, the trailer is very precise in it's aim, reminding any older audience of what TS was about, and then re-enforcing the fact it is the same fun experience as the previous ones. Whilst also establishing a base for the younger audience to get to grips with the jokey atmosphere of the film itself. Nothing in the trailer was particularly challenging of risky, which plays to Pixar's advantage.
Elias L.
Thursday, 30 September 2010
Analysis of "The Town " poster, a new motion picture.
The first aspect of this film poster which would draw the audiences eye would be the blood red " The Town" being the title of the film it is important that it sticks out to the audience eye. The colour red would usually be symbolising two things, either romance or death. In this case it is clear that its death as Ben Affleck is clearly branding a gun instantly showing that its a movie of a violent genre, however romance could also be involved thus makign the colour red relevent. The presense of a famous actors face and him holding a gun would also automatically draw the audiences attention to this poster. The picture of the gun symbolises the action/thriller genre that this film represents.
The bleak dark colours used on Ben afflecks picture and the surronding area show a darkness and sense of death as they interact with the bright colour of red used with the title. These two colours interact automatically giving a sense of crime involvment to the audience. Another aspect of the poster which gives off this crime sense is the clear picture of an FBI agent holding a gun on the front, which clearly shows the film involves crime on a high level as the FBI are only involved in high priority crimes. The group of people at the bottom of the poster gives the effect that Ben Afflecks character holds authority as the main character as he is portayed bigger on the poster. The smaller pictured characters at the bottom of the poster seem to have less signifcance however are still important as they wouldnt be pictured otherwise. The police presense also automatically confirms it is a criminal involving film that is set in America as that is where the FBI operate.The presense of the two females at the bottom also brings an emotional aspect to the film which could be were the romance may be involved, women also often represent peace so they could be pictured there to show it isnt just an action packed picture but also presents everyday feelings and emotions.
Jack Bakker
Jack Bakker
Wednesday, 29 September 2010
Examples of teaser trailers
Above is an example of which is the key component in building up tension and reflecting the text on-screen.
Above is an example of brief extracts from the film, tense ongoing music and 'that voice' giving an ambiguous insight into the film - all compiled together to end on a cliff-hanger, so to speak.
- Ben -
Analysis of magazine front cover
The contrast of the masthead (red) on the dark background makes it very prominent, it stands out. Red implies urgency/emergence which will later influence a reader to buy the magazine.
The image under laps the masthead, which implies that the actual magazine has authority over its subjects (film) as it informs the reader whether or not it is a good film.
Having the close up of the well-known celebrity (Daniel Radcliffe) on the front also influences a passer-by to take a look, he is also looking straight at the reader which can simulate interaction. -Direct mode of address-
The strap-line is underneath the masthead, again, giving it prominence. -Nothing is above the 'EMPIRE' making it seem very important.
The colour is cleverly selected on the cover lines, yellow is often associated with 'warning' - inevitably drawing the reader to them. "Harry comes out fighting" is in yellow, as is "MULDER AND SCULLY" - suggesting a link between the two - they both involve violence, which attracts the audience.
"45 movies you need to know about right now!" includes language suggesting urgency, again. This urgency is reinforced with the 5 yellow-on-black stripes to the left of a preview of the films the reader 'needs to know about'.
All of the colours included symbolise importance, strength and emergence; they all work wonderfully together, colour is one of the main factors that influences someone to buy the magazine.
There is a subtle use of an asterisk next to 'Harry Potter 6' and 'BLOODY HELL!", linking the two together. The colloquial language makes it easy for the reader to read. The term 'bloody hell' is often used when something (the film) astonishes someone (the editor) - Thus leaving an impacting first impression of the film for the reader. This first impression is forwarded by the picture of a rough-ended Harry Potter. The term 'bloody hell' may even reflect the reader's view of him (Harry) compared to the first few films.
- Ben -
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