An acronym used when looking at target audience is 'GRASS'.
G-gender
R-race
A-age
S-socio-economic
S-status
This is 'demographic profiling'.
Our short sequence is likely to be aimed at men and women alike; as thought it is a thriller, it is centred around a relationship, and therefore applies to both genders. Race isn't specific, we generally aim to please everyone. We want to attract people in the 16-26 age range, as they are more likely to take an interest in a film about a relationship shrouded in mystery and tangled by mental illness and young love. Socio-economic status is essentially the class in which you belong according to your form of employment; our sequence would therefore be aimed at Group E; because this is where you have students and young people with little income.
__________________
Psychographic profiling however has a different function; it looks at the needs of viewers which must be gratified through the product they buy/consume. Maslow's Hierarchy of needs talks about four groups in society, but they do not cover enough groups, and so our film isn't relevant to them. If it were necessary to apply our sequence to a group it would be 'Reformers'- these are the people who want the world to be a better place and so by into small-time films to support the more independent film industry and are interested in the alternatives to big name businesses.
Saturday 30 January 2010
Thursday 28 January 2010
Titles in Opening Sequences
I've researched opening titles for different films to see how target audience and genre requires different presentation.
These titles are very much animated; there is no real film or image behind them; characters in the titles are undefined and have minimal detail, but the bold colours and flow of movement make them interesting to watch, and an effective opening.
These opening credits are clearly much older, and more about filling the screen up with names then entertaining the viewer with bouncing pictures and icons. These are the kind of titles that are avoided in modern day, as not only do we have the technology to by-pass such tedious openings, but the shorter and more interesting the titles, the more patience the viewer will have with the film.
Napoleon Dynamite opening titles
This film is targeted at a young audience; it is an 'indie' style comedy, with titles physically made rather then just put on screen. Though this is unusual it is very effective due to its originality and how every title is different; keeping the viewer interested.
These titles are very much animated; there is no real film or image behind them; characters in the titles are undefined and have minimal detail, but the bold colours and flow of movement make them interesting to watch, and an effective opening.
These opening credits are clearly much older, and more about filling the screen up with names then entertaining the viewer with bouncing pictures and icons. These are the kind of titles that are avoided in modern day, as not only do we have the technology to by-pass such tedious openings, but the shorter and more interesting the titles, the more patience the viewer will have with the film.
Top 20 Thriller movies of all time
| 1. | The Godfather (1972) | ||
| 2. | The Godfather: Part II (1974) | ||
| 3. | Pulp Fiction (1994) | ||
| 4. | The Dark Knight (2008) | ||
| 5. | Rear Window (1954) | ||
| 6. | Fight Club (1999) | ||
| 7. | Psycho (1960) | ||
| 8. | The Usual Suspects (1995) | ||
| 9. | The Silence of the Lambs (1991) | ||
| 10. | The Matrix (1999) | ||
| 11. | North by Northwest (1959) | ||
| 12. | Memento (2000) | ||
| 13. | Se7en (1995) | ||
| 14. | Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) | ||
| 15. | Léon (1994) | ||
| 16. | Taxi Driver (1976) | ||
| 17. | Double Indemnity (1944) | ||
| 18. | Vertigo (1958) | ||
| 19. | M (1931) | ||
| 20. | El secreto de sus ojos (2009) |
analysis of opening sequences
At the beginning of this sequence, there is a shot of the whole city on fire which basically sets up enigmas and the basis for the genre of the film.
The audience then follows the camera through the city as it slowly zooms in towards the location for the first scene. Like our final opening sequence, the crow has a voiceover which sets up more enigmas, as well as the use of props and adds to the genre, which is horror.
throughout this sequence, there is also continuous, cross cuts and fast-paced editing and the whole beginning scene is surrounded by red lighting. This lighting highlights the fact that the film focusses on death and evolves around this.
The opening of this film slowly fades in from black to show a large ship, stranded in the arctic-like scene. from this we see a man slowly walking however, we do not know where he is going which sets up enigmas. This then outlines the main genre as the mystery creates suspense, therefore the audience recognises the genre as horror. The enigmas are continuously raised throughout this opening sequence through lighting, which is natural, editing, such as close ups, cross cuts and extreme long shots.
This sequence then fades out to black to establish a sort of equilibrium but also creates enigmas and sets them up to form a basis for the rest of the film.
This sequence opens with a close up of the eyes of the statue and the opening titles fade in with eerie music surrounding them. Already we have enigmas raised and a genre is established I.E. horror.
Then we are followed by a voiceover as the audience follows the camera through a graveyard, again, setting up enigmas. Suddenly, we have a cut shot and fast paced editing to a band playing and this breaks the flow of the narrative.
The scene ends with a view of him from behind, violin in hand. This creates an equilibrium and allows the rest of the film to follow on from this.
From the sequences Anna and I have analysed, we can take various ideas from these and apply them to our own opening sequence, such as generic conventions.
Wednesday 27 January 2010
Analysis of Opening Sequences
Intro One: Star Wars VI: Return of the Jedi (0:00-2:40 minutes)
This opening sequence is very much based on special effects and sound; at the very start the background is simple black with pin-pricks of light to represent the abyss that is space- the titles are large and yellow, which makes them stand out and really capture the attention of the viewer. Music (non-diegetic) then comes in a quick crescendo to once again steal the attention of the audience with the sheer power of the orchestral sounds. Titles then show, telling the background story to the film; these move upwards in a strange 3D format which is both original and different; this has become a trademark of the Star Wars films and has helped to create it's iconic status. The music changes tempo at this point; and because the background has not moved, this is the only way we can make any assumptions about the story and its plot. This next surge of music is quieter and more gentle, before the titles finish and another crescendo is blasted at us as the empty part of space we first saw becomes the distant surface of a planet and a rocket blasts above the top of the screen. This is followed by a much larger ship, both are shooting light coloured lasers at one another and some of these flash into the screen. This switches to on board one of the ships but we do not know which it is; there are three robots moving hurriedly down a corridor with a lot of shouting and running going on about them.
All of these things create enigmas because we don't know why there is a chase, we don't know who these people are, and we don't know what the goal is for each of the sides. Concerning micro-elements, mise-en-scene is very simple throughout the opening sequence; it is either all black, (space) with the two rockets and odd planets, or all white (on board the ship) with futuristic styling and background actors all in matching uniform.; this helps establish the sci-fi/thriller/adventure genre, by demonstrating the conventions. It also instantly sets up audience expectations due to the initial conflict matched with the deep and Earthly music score. However, equilibrium has clearly already been broken, but this has been explained in the opening credits, and we are still yet to see the specific place and time of the scene, nowhere but 'space' has been showed to us.
Intro Two: Dorian Gray (2009) (0:00-1:07 minutes)
This opening sequence is one of my favourites because not only is it my favourite film from 2009 but it's so distinct and interesting in how it introduces its protagonist. At first, the screen is mainly black, with a contorted image of someone from their waist up, but without a head. Gentle but sinister music (non-diegetic) is playing as the picture slowly builds up and turns into a genuine shot of the character. He slowly looks up as the music almost comes to a stop, before a louder whoosh of sound accompanies him as he swoops down upon something in front of him, stabs it with a sharp object in his hand and blood is sent seeping over the victim's body and the murderer's. The brief cut to black before the shot of the main character moves to one of the victim's chest, is a feature of this opening sequence which makes it stand out, as it temporarily blinds the viewer. There are then several jumpcuts, which make what we see surreal, as it isn't following in a smooth and realistic manner; the film cuts again to a very small shot of our character putting a chest into a carriage (with an extreme close up of the blood-stained corner), before the carriage moves away. This initial shot of the carriage is at a low angle, in front of the carriage, the shot then cuts to a view from the side of it, as it moves away and our protagonist is left standing on the edge of a very black, and very cold river. Another jump cut, to him standing on a bridge, as he throws the trunk he had with him off into the water, followed by a close up as it sinks into a murky grave.
All these things make Dorian Gray a good opening sequence because it creates many enigmas through its narrow shots of certain objects hiding elements from us, lack of dialogue, and uncommon skips in the line of events. Most of this sequence is also in dark, therefore we see little, however it is clearly established that our plot will be set in a city, and at this point, at night. The main character is obviously introduced and established in these shots and the conventions linked to this thriller/horror genre (i.e. blood, murder, dark city streets) are also very clear and set up audience expectations.
Intro Three: Zathura (2:43-4:40 minutes)
This opening sequences uses a lot of dialogue to establish characters. It starts with a close up of a young boy, watching something, with the diegetic sound of a ball being thrown back and forth. This then cuts to an establishing long shot of a house and its front garden, we see the young boy sitting in front of the house, watching who we assume is his father and older brother playing 'catch' in the garden. Music plays faintly in the background at this point, (non-diegetic sound), lighting is generally very bright as they are outside in the day; this shows us that the story will revolve around this house, these people and this time of day. The little boy gets frustrated with his sibling when he takes a catch meant for him, he runs into the house allowing us to see more of the location for the story.
The use of diegetic sounds and dialogue really brings the viewer straight into the film, focusing their attention on the hostile relationship between the young brothers; creating the first enigma. The close up used at the very beginning also gets us to focus on this character, I like this idea and plan on incorporating it into my own coursework piece. The brightness and simplicity of the house and its garden imply this family is a normal family, or at least appear to be; the lack of non-diegetic sound also gives a strong sense of realism.
This opening sequence is very much based on special effects and sound; at the very start the background is simple black with pin-pricks of light to represent the abyss that is space- the titles are large and yellow, which makes them stand out and really capture the attention of the viewer. Music (non-diegetic) then comes in a quick crescendo to once again steal the attention of the audience with the sheer power of the orchestral sounds. Titles then show, telling the background story to the film; these move upwards in a strange 3D format which is both original and different; this has become a trademark of the Star Wars films and has helped to create it's iconic status. The music changes tempo at this point; and because the background has not moved, this is the only way we can make any assumptions about the story and its plot. This next surge of music is quieter and more gentle, before the titles finish and another crescendo is blasted at us as the empty part of space we first saw becomes the distant surface of a planet and a rocket blasts above the top of the screen. This is followed by a much larger ship, both are shooting light coloured lasers at one another and some of these flash into the screen. This switches to on board one of the ships but we do not know which it is; there are three robots moving hurriedly down a corridor with a lot of shouting and running going on about them.
All of these things create enigmas because we don't know why there is a chase, we don't know who these people are, and we don't know what the goal is for each of the sides. Concerning micro-elements, mise-en-scene is very simple throughout the opening sequence; it is either all black, (space) with the two rockets and odd planets, or all white (on board the ship) with futuristic styling and background actors all in matching uniform.; this helps establish the sci-fi/thriller/adventure genre, by demonstrating the conventions. It also instantly sets up audience expectations due to the initial conflict matched with the deep and Earthly music score. However, equilibrium has clearly already been broken, but this has been explained in the opening credits, and we are still yet to see the specific place and time of the scene, nowhere but 'space' has been showed to us.
Intro Two: Dorian Gray (2009) (0:00-1:07 minutes)
This opening sequence is one of my favourites because not only is it my favourite film from 2009 but it's so distinct and interesting in how it introduces its protagonist. At first, the screen is mainly black, with a contorted image of someone from their waist up, but without a head. Gentle but sinister music (non-diegetic) is playing as the picture slowly builds up and turns into a genuine shot of the character. He slowly looks up as the music almost comes to a stop, before a louder whoosh of sound accompanies him as he swoops down upon something in front of him, stabs it with a sharp object in his hand and blood is sent seeping over the victim's body and the murderer's. The brief cut to black before the shot of the main character moves to one of the victim's chest, is a feature of this opening sequence which makes it stand out, as it temporarily blinds the viewer. There are then several jumpcuts, which make what we see surreal, as it isn't following in a smooth and realistic manner; the film cuts again to a very small shot of our character putting a chest into a carriage (with an extreme close up of the blood-stained corner), before the carriage moves away. This initial shot of the carriage is at a low angle, in front of the carriage, the shot then cuts to a view from the side of it, as it moves away and our protagonist is left standing on the edge of a very black, and very cold river. Another jump cut, to him standing on a bridge, as he throws the trunk he had with him off into the water, followed by a close up as it sinks into a murky grave.
All these things make Dorian Gray a good opening sequence because it creates many enigmas through its narrow shots of certain objects hiding elements from us, lack of dialogue, and uncommon skips in the line of events. Most of this sequence is also in dark, therefore we see little, however it is clearly established that our plot will be set in a city, and at this point, at night. The main character is obviously introduced and established in these shots and the conventions linked to this thriller/horror genre (i.e. blood, murder, dark city streets) are also very clear and set up audience expectations.
Intro Three: Zathura (2:43-4:40 minutes)
This opening sequences uses a lot of dialogue to establish characters. It starts with a close up of a young boy, watching something, with the diegetic sound of a ball being thrown back and forth. This then cuts to an establishing long shot of a house and its front garden, we see the young boy sitting in front of the house, watching who we assume is his father and older brother playing 'catch' in the garden. Music plays faintly in the background at this point, (non-diegetic sound), lighting is generally very bright as they are outside in the day; this shows us that the story will revolve around this house, these people and this time of day. The little boy gets frustrated with his sibling when he takes a catch meant for him, he runs into the house allowing us to see more of the location for the story.
The use of diegetic sounds and dialogue really brings the viewer straight into the film, focusing their attention on the hostile relationship between the young brothers; creating the first enigma. The close up used at the very beginning also gets us to focus on this character, I like this idea and plan on incorporating it into my own coursework piece. The brightness and simplicity of the house and its garden imply this family is a normal family, or at least appear to be; the lack of non-diegetic sound also gives a strong sense of realism.
Therefore; these clips show basic generic conventions for the thriller genre- darkness (low-key lighting), background simplicity, and tension. However each of these examples are all sub-genres of thriller and therefore harbour conventions more specific to their purpose; our own sequence will be a thriller-adventure and so similar to the final clip 'Zathura'; with lots of high-key lighting but also suspense and underlying tension caused by the relationship between characters, rather then surroundings.
Monday 25 January 2010
Completed Preliminary Task
Evaluation of our preliminary task:
Our preliminary task focused on cross-cutting, keeping to a 180 degree line, continuity, and framing. Some of these we achieved successfully however some of them need obvious work.
During filming; we managed to stay on the one side of the '180 degree' line, whenever we shot the male character he was always shown facing in one direction and the same applies to the female character, this doesn't confuse the audience by moving around the characters too much, showing them from several aspects. When we edited; we kept cross-cutting between the pair and this worked relatively well, it was clear who was speaking to whom, and when. The general continuity therefore, we think we did quite well, considering this was our first time, seriously using the editing software and filming equipment.
However;
there were moments when the editing was not effective; 7/8 seconds into the film there is a moment when there is a jump-cut in the video- this was because instead of continuing to edit, we stopped filming then started again and this broke the flow. Also; there is a zoom in of the letter, which we have now understood is a bad idea when we film because it doesn't look good, it draws attention to itself and doesn't look professional. In future, we will stop filming, set up a close up of the subject, and start filming from there, in order to avoid this again. Our frame shots were unvaried and poor too; often you could see too much of the surrounding area or not enough; the actor in the film was not always in the centre of the view. The shot angles we used were also quite primitive and plain, we couldn't really see the girl's face.
[Anna]
The program we used, iMovie HD allowed us to edit efficiently and easily. It was simple as all applications were defined and made the job of editing quick so we were able to create a movie which flowed.
Other instruments used were; a video camera and a tripod. We placed the camera on top of the tripod and from here, we were able to rotate the camera in order to achieve a variety of shot angles. Following the completion of our task, we learnt that most shots we made were not as effective as we had hoped. From this we have learned that we can vary the angle and editing for example, longer clips to gain better marks for our coursework when filming.
[Francesca]
Wednesday 20 January 2010
Basic Plot Outline
The plot for our Opening Sequence is quite distinct in that it has certain recurring features; however there's a possibility some of these may be changed later on.
The sequence begins with a couple of shots focusing on Maggie looking out of a window to set a calm atmosphere; she then moves abruptly and music begins playing next to a fast-paced sequence of clips showing her get ready for her day; breaking the calm. At this point the second character, her boyfriend, is introduced, and to make it clear of their relationship he is sitting in their bed. The voiceover begins here; as Maggie leaves the house and we see her setting out to an isolated area to take photos; (the photos represent how Maggie sees things differently to other people; her world is seen through a different lense, so to speak, then the one others look through). The voiceover continues to clips of her walking, one of these clips will include a picture of a MISSING poster that Maggie walks past; this is meant to create enigmas. Maggie then arrives back home and her boyfriend has moved from upstairs to the downstairs dining room and we see his contempt for her erratic behaviour through his voiceover, and an exaggerated shot of him glaring at her camera on the table.
After this; there would be a cut to titles; and the end of the sequence.
The sequence begins with a couple of shots focusing on Maggie looking out of a window to set a calm atmosphere; she then moves abruptly and music begins playing next to a fast-paced sequence of clips showing her get ready for her day; breaking the calm. At this point the second character, her boyfriend, is introduced, and to make it clear of their relationship he is sitting in their bed. The voiceover begins here; as Maggie leaves the house and we see her setting out to an isolated area to take photos; (the photos represent how Maggie sees things differently to other people; her world is seen through a different lense, so to speak, then the one others look through). The voiceover continues to clips of her walking, one of these clips will include a picture of a MISSING poster that Maggie walks past; this is meant to create enigmas. Maggie then arrives back home and her boyfriend has moved from upstairs to the downstairs dining room and we see his contempt for her erratic behaviour through his voiceover, and an exaggerated shot of him glaring at her camera on the table.
After this; there would be a cut to titles; and the end of the sequence.
Initial Ideas
Our initial ideas are, we have two characters. Maggie who is enigmatic and her boyfriend who is critical. During the opening sequence, there is a missing poster. This is the strongest link to the thriller genre.
The theme is mainly isolation, as Maggie isolates herself from the world and her boyfriend. As it is set in only two places, the house and the field, we are focusing on the relationship between the two characters.
Maggie is detached from reality whereas her boyfriend is down to earth and analytical. This sets the basis for the rest of the film because despite their contrasting characters, the boyfriend feels alot of love and protectiveness for Maggie which drives him in his role throughout the film to question her actions.
The use of the voiceover as a narrative device establishes place and time opposed to using establishing shots-another common theme of a thriller.
The theme is mainly isolation, as Maggie isolates herself from the world and her boyfriend. As it is set in only two places, the house and the field, we are focusing on the relationship between the two characters.
Maggie is detached from reality whereas her boyfriend is down to earth and analytical. This sets the basis for the rest of the film because despite their contrasting characters, the boyfriend feels alot of love and protectiveness for Maggie which drives him in his role throughout the film to question her actions.
The use of the voiceover as a narrative device establishes place and time opposed to using establishing shots-another common theme of a thriller.
Monday 18 January 2010
Features of an Opening Sequence
We have chosen to film an Opening Sequence for our Media Coursework; however we understand that these particular types of sequence follow a certain format and contain features which make them distinguishable from other clips from a film. An opening sequence is the building block for the rest of a film and therefore must:
- introduce and establish the main character/s of the film,
- establish the setting for the film; this is done via establishing shots or narrative devices, (e.g. voice over) which also create a direct connection to the audience,
- introduce any themes linked to the ideology of the film as well as demonstrate certain conventions of that genre, which then leads to...
- set up of audience expectations through media language and film style,
- and finally, create a sense of equilibrium (which will be disrupted later) and create enigmas about the initial routine of the characters, in order to keep the viewer interested.
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