Director Research - Alfred Hitchcock

Hitchcock was born on 13 August 1899, in Leytonstone, London, the second son and youngest of three children of William J. Hitchcock (1862-1914), a greengrocer and poulterer, and Emma Jane Hitchcock (née Whelan; 1863-1942). He was named after his father's brother, Alfred. His family was mostly Roman Catholic, being of Irish extraction. Hitchcock was sent to the Jesuit Classic school St. Ignatius College near Stamford Hill, London. He often described his childhood as being very lonely and sheltered, a situation compounded by his obesity.

On numerous occasions, Hitchcock said he was once sent by his father to the local police station with a note asking the officer to lock him away for ten minutes as punishment for behaving badly. This idea of being harshly treated or wrongfully accused is frequently reflected in Hitchcock's films.

Hitchcock's mother would often make him address her while standing at the foot of her bed, especially if he behaved badly, forcing him to stand there for hours. These experiences would later be used for the portrayal of the character of Norman Bates in his movie 'Psycho' (1960).

Hitchcock's father died when he was 14. In the same year, Hitchcock left St Ignatius to study at the London County Council School of Engineering and Navigation in Poplar, London. After graduating, he became a draftsman and advertising designer with a cable company.

During this period, Hitchcock became intrigued by photography and started working in film production in London, working as a title-card designer for the London branch of what would become Paramount Pictures. In 1920, he received a full-time position at Islington Studios with its American owner, Famous Players-Lasky and their British successor, Gainsborough Pictures, designing the titles for silent movies. His rise from title designer to film director took five years, and by the end of the 1930s, Hitchcock had become one of the most famous filmmakers in England.

Research into the Thriller genre

Thriller is a broad genre of literature, film, television, and gaming that includes numerous and often overlapping sub-genres.

Thrillers are characterized by fast pacing, frequent action, and resourceful heroes who must thwart the plans of more-powerful and better-equipped villains. Literary devices such as suspense, red herrings and cliffhangers are used extensively. "Homer's Odyssey is one of the oldest stories in the Western world and is regarded as an early prototype of the thriller." A thriller is villain driven plot, whereby he presents obstacles the hero must overcome. The genre is a fascinatingly flexible form that can undermine audience complacency through a dramatic rendering of psychological, social, familial and political tensions and encourages sheltered but sensation-hungry audiences, in Hitchcock's phrase, "to put their toe in the cold water of fear to see what it's like."

Characteristics
Thrillers often take place wholly or partly in exotic settings such as foreign cities, deserts, polar regions, or high seas. The heroes in most thrillers are frequently "hard men" accustomed to danger: law enforcement officers, spies, soldiers, seamen or aviators. However, they may also be ordinary citizens drawn into danger by accident. While such heroes have traditionally been men, women lead characters have become increasingly common; for an early example see Sigourney Weaver's character Ripley, in the movie Alien, 1979.

Thrillers often overlap with mystery stories, but are distinguished by the structure of their plots. In a thriller, the hero must thwart the plans of an enemy, rather than uncover a crime that has already happened; and while a murder mystery would be spoiled by a premature disclosure of the murderer's identity, in a thriller the identity of a murderer or other villain in typically known all along. Thrillers also occur on a much grander scale: the crimes that must be prevented are serial or mass murder, terrorism, assassination, or the overthrow of governments. Jeopardy and violent confrontations are standard plot elements. While a mystery climaxes when the mystery is solved, a thriller climaxes when the hero finally defeats the villain, saving his own life and often the lives of others. In thrillers influenced by film noir and tragedy, the compromised hero is often killed in the process.

In recent years, when thrillers have been increasingly influenced by horror or psychological-horror exposure in pop culture, an ominous or monstrous element has become common to heighten tension. The monster could be anything, even an inferior physical force made superior only by their intellect, a supernatural entity, aliens, serial killers, or even microbes or chemical agents. Some authors have made their mark by incorporating all of these elements (Richard Laymon, F. Paul Wilson) throughout their bodies of work.

Similar distinctions separate the thriller from other overlapping genres: adventure, spy, legal, war, maritime fiction, and so on. Thrillers are defined not by their subject matter but by their approach to it. Many thrillers involve spies and espionage, but not all spy stories are thrillers. The spy novels of John le Carré, for example, explicitly and intentionally reject the conventions of the thriller. Conversely, many thrillers cross over to genres that traditionally have had few or no thriller elements. Alistair MacLean, Hammond Innes, and Brian Callison are best known for their thrillers, but are also accomplished writers of man-against-nature sea stories.

Thrillers may be defined by the primary mood that they elicit: fearful excitement. In short, if it "thrills", it is a thriller. As the introduction to a major anthology explains,

“ Thrillers provide such a rich literary feast. There are all kinds. The legal thriller, spy thriller, action-adventure thriller, medical thriller, police thriller, romantic thriller, historical thriller, political thriller, religious thriller, high-tech thriller, military thriller. The list goes on and on, with new variations constantly being invented. In fact, this openness to expansion is one of the genre's most enduring characteristics. But what gives the variety of thrillers a common ground is the intensity of emotions they create, particularly those of apprehension and exhilaration, of excitement and breathlessness, all designed to generate that all-important thrill. By definition, if a thriller doesn't thrill, it's not doing its job.

Sub-genresThe thriller genre can include the following sub-genres, which may include elements of other genres:

Action thriller: In which the work often features a race against the clock, contains lots of violence, and an obvious antagonist. These films usually contain large amounts of guns, explosions, and large elaborate set pieces for the action to take place. These films often have elements of mystery films and crime films but these elements take a backseat to action. Notable examples are the James Bond films, The Transporter, and the Jason Bourne novels and films.

Conspiracy thriller: In which the hero/heroine confronts a large, powerful group of enemies whose true extent only he/she recognizes. The Chancellor Manuscript and The Aquitane Progression by Robert Ludlum fall into this category, as do films such as Three Days of the Condor, Capricorn One, and JFK.

Crime thriller: This particular genre is a hybrid type of both crime films and thrillers that offers a suspenseful account of a successful or failed crime or crimes. These films often focus on the criminal(s) rather than a policeman. Crime thrillers usually emphasize action over psychological aspects. Central topics of these films include murders, robberies, chases, shootouts, and double-crosses are central ingredients. Some examples include The Killing, Seven, The Godfather, Reservoir Dogs, Inside Man, and The Asphalt Jungle.

Disaster thriller: In which the main conflict is due to some sort of natural or artificial disaster, such as floods, earthquakes, hurricanes, volcanoes, etc., or nuclear disasters as an artificial disaster. Examples include Stormy Weather by Carl Hiaasen, Tremor by Winston Graham, and the 1974 film Earthquake.

Drama thriller: In which the story consists of the elements of a thriller and drama film. These films are usually slower paced and involves a great deal of character development along with plot twists. Examples include The Illusionist, The Interpreter and The Prestige.

Eco-thriller: In which the protagonist must avert or rectify an environmental or biological calamity_often in addition to dealing with the usual types of enemies or obstacles present in other thriller genres. This environmental component often forms a central message or theme of the story. Examples include Nicholas Evans's The Loop, C. George Muller's Echoes in the Blue, and Wilbur Smith's Elephant Song, all of which highlight real-life environmental issues. Futuristic eco-thrillers are of the science fiction genre that propose ideas that will or may occur and include such works as Kim Stanley Robinson's Mars Trilogy and Ian Irvine's Human Rites Trilogy and Dasavathaaram.

Erotic thriller: In which it consists of erotica and thriller. It has become popular since the 1980s and the rise of VCR market penetration. The genre includes such films as Basic Instinct, Dressed to Kill, Color of Night, Eyes Wide Shut, Fatal Attraction, Looking for Mr. Goodbar, and In the Cut.

Horror thriller: In which conflict between the main characters are mental, emotional, and physical. Two recent examples of this include the Saw series of films and the Danny Boyle's 28 Days Later. What sets the horror thriller apart is the main element of fear throughout the story. The main character(s) is not only up against a superior force, but they are or will soon become the victims themselves and directly feel the fear that comes by attracting the monster's attention. Other well-known examples are Alfred Hitchcock's Psycho and Thomas Harris's The Silence of the Lambs.

Legal thriller: In which the lawyer-heroes/heroines confront enemies outside, as well as inside, the courtroom and are in danger of losing not only their cases but their lives. The Innocent Man by John Grisham is a well known example of the type.

Medical thriller: In which the hero/heroine are medical doctors/personnel working to solve an expanding medical problem. Robin Cook, Tess Gerritsen, Michael Crichton, and Gary Braver are well-known authors of this subgenre. Nonfiction medical thrillers are also a subcategory, comprising works like The Hot Zone by Richard Preston. Films such as Awake are other examples of medical thrillers.

Political thriller: In which the hero/heroine must ensure the stability of the government that employs him. The success of Seven Days in May (1962) by Fletcher Knebel, The Day of the Jackal (1971) by Frederick Forsyth, and The Manchurian Candidate (1959) by Richard Condon established this subgenre. A more recent example is the 1980 film Agency.

Psychological thriller: In which (until the often violent resolution) the conflict between the main characters is mental and emotional, rather than physical. The Alfred Hitchcock films Suspicion, Shadow of a Doubt, and Strangers on a Train and David Lynch's bizarre and influential Blue Velvet are notable examples of the type, as is The Sixth Sense by M. Night Shyamalan and The Talented Mr. Ripley by Patricia Highsmith (who also wrote Strangers).

Spy thriller (also a subgenre of spy fiction): In which the hero is generally a government agent who must take violent action against agents of a rival government or (in recent years) terrorists. Examples include From Russia with Love by Ian Fleming, The Bourne Identity by Robert Ludlum, and television series such as Mission: Impossible and 24 (the latter demonstrating a break from the norm by Robert Ludlum, as it is as much a psychological thriller as a spy thriller).

Supernatural thriller: In which the conflict is between main characters, usually one of which has supernatural powers. Carrie by Stephen King, Unbreakable by M. Night Shyamalan, and Torchwood are notable examples of this genre. This type of thriller combines tension of the regular thriller with such basic horror oriented ingredients as ghosts, the occult, and psychic phenomenon; the supernatural thriller combines these with a frightening but often restrained film. They also generally eschew the more graphic elements of the horror film in favor of sustaining a mood of menace and unpredictability; supernatural thrillers often find the protagonists either battling a malevolent paranormal force or trapped in a situation seemingly influenced or controlled by an other-worldly entity beyond their comprehension.

Techno-thriller: A work that usually focuses upon military action, in which technology (usually military technology) is described in detail and made essential to the reader's/viewer's understanding of the plot. Tom Clancy defined and popularized the genre with his The Hunt for Red October, and is considered to be the "Father of the Technothriller".

Most thrillers are formed in some combination of the above, with horror, conspiracy, and psychological tricks used most commonly to heighten tension. Combinations are highly diverse, including:

Science fiction thrillers: The Terminator, I Am Legend, Blade Runner.
Science fiction/horror thrillers: Jurassic Park, Alien, Predator.
Techno/political/conspiracy/military/horror thriller: Predator, Robocop, S.M. Stirling's Draka novels.
Legal/forensic/psychological/horror thriller: Thomas Harris' The Silence of the Lambs novel, Seven.

Propp and Todorov

Propp
Propp examined hundreds of examples of one kind of folk tale, the 'heroic wondertale', to see whether they shared any structures. He argued that, whatever the surface differences, it was possible to group characters and actions into:

• eight character roles (or 'spheres of action' as he called them - to indicate how inseparable are character and action)
• thirty-one functions (such as a 'prohibition or ban is imposed on the hero' or 'the villain learns something about his vicitm')

Propp argued, make sense of the ways in which many very different figures could be reduced to eight character roles. These are:

•  the villain
• the hero, or character that seeks something, motivated by an initial lack.
• the donor who provides an object with some magic property
• the helper who aids the hero
• the princess, reward for the hero and object of the villain's schemes
• her father, who rewards the hero
• the dispatcher, who sends the hero on his way
• the false hero

Todorov
Todorov argued that all stories begin with an 'equilibrium' where any potentially opposing forces are 'in balance'. This is disrupted by some event, setting in train a series of other events, to close with a second but different 'equilibrium' or status quo. His theory may sound just like the cliche that every story has a beginning, a middle and an end. But it's more interesting than that. His 'equilibrium' labels a state of affairs, a status quo, and how this is 'set up' in certain ways and not others.

Workers today decided to reject a pay offer of 1% for instance, begins a news story with a disruption to an 'equilbrium', but we know who has offered the pay rise, for what kinds of conditions, after what negotiations. How, where and when else could the story have begun are always good questions to ask.

A example of how Propp and Todorov is applied, with the portayel of John Doe played by Kevin Spacey in David Finchers 'Se7en'

Daylight Macabre

Daylight Macabre is a thriller directed by Ben Hume, edited by Jake Hipwell which also stars Sam Askey and Alex Hyden. The opening scene above shows me as an extra during the party in a variety of shots. I appear numerous times such as, when playing poker and situated along the wall. The reason for starring in the thriller was because Ben, being the director, wanted to have extras to attend a halloween party. I decided to help because they are my friends and it also made the scene look more realistic by incorporating a large amount of people to portray a party.

The basic plot to Daylight Macabre is a teenage boy (Jake) who attends a halloween party. He finds that he cannot fit in with the crowd and becomes lonely throughout the party. During the scene it shows the boy being sick in the toilet aswell as others drinking and smoking, this helps the mise-en-scene look realistic. Eventually it portrays the teenage boy lying dead on the ground outside, when another party boy notices and alerts the others of his death. Another shot shows the suspected killer, however, his identity is hidden due to the fact that the full length thriller would consist of trying to find the identity of him and his motives into why he killed the teenage boy.  

Analysis and Influence of Psycho

A film which we watched in our media class was Alfred Hitchcock's 'Psycho' (1960), this film gave us great inspiration to when filming our thriller piece, especially the shower scene shown above. The influence it gave was to set the scene in a similar location and make the viewer feel intrigued about the killer and think why is he doing these acts.

'Psycho' (1960) shows Marian Crane who is the lead female character being murdered in the shower, however, the viewer does not see any form of violence such as the knife puncturing the flesh. The illusion is then created by incorporating screeching string instruments and short duration shots to make the sequence feel more subjective. As you can see from our thriller below, this was a major influence when shooting the flashback of the murder through the reflection of the mirror. However, unlike 'Psycho' we let the viewers see the killers identity because we wanted them to question the killers motives in why he was doing what he was doing.

Hitchcock also adds a suprising element by killing off a major character early though the film. A big twist is also added with the use of this, this is because the audience are already interested in Marian after she stole the forty thousand dollars. By achieving this, the audience get a sense of fear and therefore listen more intently, this also makes the reader think who will die next? This is also which we incorporated into our thriller by showing a early murder to set the scene promptly.

Final Cast and Crew Positions

Cast
Sam Pearson - Killer
Adam Dean - Victim

Crew
Haran Timana - Director, Co-Writer, Camera 1
Sam Pearson - Assistant Director, Editor, Actor, Co-Writer
Adam Dean - Actor, Co-Writer
Chris Dean - Camera 2, Co-Writer

We decided the Cast and Crew during Pre-Production and also allocated people specific roles which they were responsible of to ensure everybody equally put input into the thriller piece. During Pre-Production I made my interest clear in being Camera 1. This was because I had previously been acting in a continuity piece shortly before and wanted to have a experience in different roles. Others also expressed their preferred roles such as Adam who wanted to be acting, we all came to a decision that it was fine seeing as he was talented in acting. We had also come to an agreement that Sam would be editor, this was because he had a keen interest in the role and was very talented.

Parity - Final Product/Plot/Feedback/Analysis

The plot of our thriller is as follows. The (unnamed) protagonist, who is Sam has a psychological issue in which every positive deed that he does, has to be met with a just-as negative deed in return to return the balance. However, he cannot help this, as when the time arrives, an alter ego takes over and he loses all recollection of what has been done, leaving him to clean up the mess and face up to the consequences. The murder takes place during a party in public toilets.

The name of the film is called Parity. Initially we had not thought of the thriller name during pre-production aswell as the production, but during the time Sam was editing the thriller opening he had a idea. Sam then e-mailed me a possible thriller name aswell as a possible plot, this was so I could give my approval. We therefore ended up with the name 'Parity' which also means 'balance'. This went well with the plot in which he has to do a negative deed to balance out with any positive deed which he has done. Proof of the e-mail is evident below.

The following image shows some of the comments which we received about our opening thriller scene. As you can see the majority of the feedback was very positive which reflected in the strength of our thriller scene. The feedback ranged from "really good sound and editing, quality cinematography." by bentomhume to ''really like some of the low angle camera shots too. Good work guys :-)''... ''doesn't have that amateur feel to it that some others do :)'' by deano4262 and larryinabox. This feedback ensured we had successfully achieved the sound, editing, cinematography and camera angles. However, not all the feedback was positive. As you can see the last comment by kasrkin45 states, '' if you look properly you can see his head moves randomly when you touch him xD'' this shows that maybe next time we film, we need to ensure we do not occur any slip ups to avoid comments such as this.

Another person who gave us feedback was Mr. Silverwood, he expressed that it was very good, however we could of added a little bit extra to the scene, such as a different location. We decided to ignore his advice because we felt that we may lose the suspense and tension.

The final set of people who gave us feedback was our media class. After Mr. Silverwood showed the final product the class was asked to give us feedback. On the whole, the feedback was positive, most of the feedback related to the good cinematography, sound and editing. All of this feedback is fantastic, and the fact that 'Parity' now has nearly 300 views is a brilliant achievement.   

Thriller Evaluation

In what ways does your media product use, develop or challenge forms and conventions of real media products?

Our Thriller opening uses many forms and conventions of the thriller genre. In general the thriller genre is one of suspense and tension, if the film thrills it can be classed as a thriller. In our opening we have created suspense using a variety of different techniques.

Sound is one of the most important factors in building suspense. Our inspiration for our thriller opening was from 'Psycho'. This was a film we watched together in class and analysed the importance of sound to the suspense of particular scenes. Similar to 'Psycho' our thriller would be no where near as tense without the soundtrack. For example the sound of the water drop twinned with the further sound effects at this point just before the main protagonist opens his eyes where the tension peaks and begins to fall again.

Editing is also an important part of creating suspense. Using short cut clips are very effective at creating suspense. This is a technique we used alot when Sam is moving the dead body. We also used a flashback in the reflection of the mirror. This is also a very short scene with fast transition which helps to add to the suspense, also with the additional sound effects this scene in particular has a high amount of tension. Another important editing technique used was altering the ambient lighting. By making it darker, and adding a blue tint, makes the scene more gloomy and overall more eerie/scary, another characteristic of thrillers.

Camera Techniques are also used to create the tension required. For example as Sam moves the body he kicks the knife away. We then position the camera at ground level, with the knife in full view, as the main protagonist is about to leave. This helps to raise suspense as the viewer is starting to wonder whether he has forgotten about the knife, something which will effect the rest of the film. This is very similar to 'Psycho' as the viewer is thinking exactly the same as the main protagonist cleans up after a murder.

Mise-En-Scene is also used to create tension. This is also very similar to our inspiration of 'Psycho' as we did not show the main protagonist commiting the murder. Instead we showed the dead body and the clearing up. Our reasons for this were that we wanted to make a thriller opening rather than a horror opening. Also the clearing up of the murder can actually be more tense than the murder itself. This is because the viewer is wondering whether the character has forgotten anything. This is also less predictable than an actual murder.

How does your media product represent particular social groups?

The particular social class which we based our thriller on was the upper class. Our thriller represented the type of people who had a comfortable living and who also had sufficient amounts of disposable income. The mise-en-scene in the thriller shows the class, with the use of public toilets being hygienic and clean and the choice of dress. Both murderer and victim were dressed formal by wearing suits to show they were at a higher class party. The usual stereotype of lower class mainly murder is also questioned with the murderer in this scenario coming from a more upper class background.

What kind of media institution might distribute your media product and why?
When creating our film we based a lot of our ideas on the film 'Psycho' (1960) such as the murderer cleaning up the blood with a mop. Universal studies and Paramount Pictures distributed this film, so we believe this media institution would be the ideal company to distribute ours because it is a globally known, therefore attracting a much larger audience and revenue. As our thriller contains strong violence, we would have to be careful when advertising. It would be inappropriate to advertise our product before 9pm or to advertise on children's television programmes. However, since our thriller is low budget, it makes it increasingly difficult to attract global distributors. An alternative would be to use a smaller studio such as, Filmfour, this is because they tend to show the latest independent british films, which also suits our thriller,  but would lack the mainstream global success and audiences.

Who would be the audience for your media product?
The audience for our media product would be aimed at people who are aged 15 and above. The reason for this is stated by the BBFC (British Board of Film Classification). Our product would be given the rating 15+ by the BBFC, due to the reasons that the thriller would incorporate; Dangerous behaviour such as the murder with the use of a weapon which is the knife. Violence is also evident however, only for a short duration. The use of blood is also glamourised which gives the rating a 15+. Our film will be targeting both males and females, the reason for this is that the males may be able to relate to each of the characters. We also notice that the thriller genre is not everybodys cup of tea, therefore we have made the audience one who likes the thriller genre and who may also be intellectual so they can unravel the reasons behind why the killer is performing these hideous acts.

How did you attract/address your audience?
We would show advertisments on all of the major television channels who incorporate breaks, such as ITV, Channel 4 and Five. However, due to the age certificate, the advertisements would be shown after the 9pm watershed to avoid any stress which may occur on younger viewers. Also due to the targeted age range, social networking sites are very popular, facebook and twitter accounts would also be activated so fans will be able to keep updated on the latest news and events which are happening related to the film. As our film 'Parity' resembles balance we would make it clear to our audience that for every good deed he does the killer balances it out with a bad deed. By having frequent flashbacks tells the audience he has a very vague memory of what he has just done. Rather than having just dialogue, using a scripted narrators voice makes the film seem more eerie/scary, therefore making the audience wanting to see more.

What have you learnt about technologies from the process of constructing this product?
It is very important to have the correct technology to create a professional looking product. Although the camera we used had a small FOV and was not in HD, the final product still looking professional, simply down to the filming techniques used, and the editing. The film would not have been as good if not from the use of modern and professional editing software, such as Adobe After Effects and Sony Vegas, which contain many tools and features that would simply not be present in something less professional. We eventually came to use Sony Vegas because we did not suit using iMovie on the Apple iOS.

Technology has also made communication and showcasing much more effective and time saving. When not in class, we used e-mail and mobile phone messaging to stay in contact with each other and make decisions regarding the film, such as the naming of the title.

The use of the blogs has made showcasing our work much more effective, being able to put all of our work into one place has saved a lot of time. Viewers can see everything they need on the blogs, without having to switch between sites like YouTube, as it is possible to embed YouTube videos into the blog. YouTube has also assisted greatly with distributing our film to the widest possible audience. Through YouTube, we are able to track how many people have viewed our film, whether they like it or dislike it, and what feedback they have left in the form of comments. YouTube even has the option of looking into demographics, and showing us the "hot spots" of our video, where viewer attention was gained, or lost.

Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the full product?

Our Preliminary Task was a short clip about our understanding of continuity. From this I have learnt a huge amount and feel that my skills have progressed dramatically. The first and main thing that I have learnt from my continuity piece was the small mistake that we made in this task. This mistake was where our actors swapped places at one point in the scene. However thanks to this mistake I have learnt the importance of continuity in order to make a successful film. I believe our final product as a result is stronger because of this mistake as we took extra care in making sure that we made no such slip up again.

I have also learnt various different camera techniques in the preliminary exercise that I used in the thriller opening. These techniques included the usage of a tripod, panning (with and without a tripod) and various different camera angles. Without conducting a preliminary exercise our thriller would have taken alot longer to produce and wouldn't have had the same proffessional feel, a comment made by a youtube user, without this practice.

The preliminary exercise also taught us the importance of planning thoroughly. We did plan our continuity piece but perhaps not in enough detail. As a result of this we planned for much longer and went into much more depth for the planning of our thriller. By conducting this planning it allowed us to set deadlines and keep track of what needed to be done. Also by extensive discussions with the whole group we managed to create a story line strong enough to make a quality thriller opening.
I believe without the continuity task our thriller opening would have not been up to the same standard that it is now. The preliminary task helped us gain valuable experience of filming and editing and these skills were then used in our final product.

Parity - Production

During the filming of our thriller we took photographs to show the range of techniques used whilst filming. The image shown to the right shows Myself and Sam setting up the Tripod, this was needed to reduce the shake which may of occured when handling the camera by hand.







To left shows Sam, as you can see he is wearing a suit and tie. We wanted the murder to commence during a party, this is evident as the Victim (Adam), is also formally dressed and the scene is set in public toilets. Sam also has his shirt tucked out with his tie halfway down his chest, the reason for this was to make the scene more realistic because when the Protagonist murdered the victim, there would be desperation in the Victim who would cling on to whatever he could get his hands on.

Here is a close up of the knife used during the murder. I purchased some fake blood in which we smeared onto the knife, this was to show emphasise the murder.

As you can see, we also smeared the fake blood onto the wall. We did this to make the scene more realistic, which is one of the characteristics in the thriller genre. I believe that this worked successfully which is evident in the thriller opening. This picture may also look familiar from the Behind the Scenes 1 video where Sam is shown smearing the blood onto the wall.

Here, I am shown using the camera. I needed to ensure that the Camera and Tripod were in the correct position showing Sam murder Adam through the reflection of the mirror. This is shown in the subsequent image.

As you can see, in between Sam and Adam the Tripod is placed to record the scene as a flashback through the reflection of the mirror. Blood is also visible on Adams front left pocket, this would not look realistic due to the fact that Adam is already bleeding before he has been stabbed. This was because we had previuosly recorded Adam lying on the floor dead. However, through the reflection, Adams back is only visible so the blood on the front pocket was not shown.

This is an example of a high angle shot, where I had to climb up onto the sink to achieve the best possible shot for the scene. This shot is shown in the thriller aswell as the Behind the Scenes 5 at 1:40 into the video.

Another high angle shot is evident to show Sam dragging Adam across the floor. In order to achieve the angle I wanted, I had to improvise without the Tripod so instead I stood on top of a toilet seat. The angle which I achieved is shown in the picture below.

The final shows Myself and Sam trying to negotiate the best angle to show him dragging Sam. This had to be thought carefully to make the movement as realistic as possible aswell as thinking of Adams well-being.

Parity - Behind the Scenes

During filming we had another camera to record the different techniques from camera shots and angles to the numerous takes we took to achieve the best shot. 

In the clip above, you can see Sam smearing fake blood onto the wall. As a group we wanted to incorporate this to show the desperation in which Adam would of been suffering prior to his death.

In this scene, I am shown lying on the floor taking numerous takes of Sam dropping the knife onto the floor. I moved back to ensure that the knife was clearly shown, we used this in the opening of the thriller to emphasise the shock in the killer (Sam). 

Here, Sam is practicing a short scene. I pan across with my camera to get to grips with the specific camera angles which need to be achieved to ensure the final product is to standard.

As you can see, we also had to take another take due to the fact that Sam had trouble working the tap. Following that, we noticed that where Chris was located would suit this scene much better. We therefore used the same camera shot as when recording the knife drop.

The above shows Sam trying to pull Adam, Myself and Sam frequently changed positions to try to acheive the right camera angle. We discussed and even changed roles to solve the best method to drag Adam. After further discussion, we thought that it would be best suited if we dragged Adam by his legs, however, we took a considerable amount of time so we could take into consideration Adams well-being whilst being dragged along the floor. I then decided the final camera angle which was best suited.

In this final scene, we also took numerous takes. The reason for this was because Sam was having trouble kicking the knife whilst dragging Adam. We then took further takes in the hope that he could acheive it, however, he could not. We then came to a decision that if Sam released Adam, kicked the knife and then continued in dragging Adam would look much better and professional. 

Parity - Pre Production

During the pre-production of Parity, Sam took a snapshot of Myself and Adam sketching on the storyboard. We sketched the order of events in the thriller opening, aswell as the main actions and movements in which Sam and Adam will be using during acting.

As you can see the storyboard is shown to the left, we also included a sentence on each sketch to describe that specific shot or movement in which either Adam or Sam will produce.

A week before we started to film, Myself, Sam and Adam walked around the school to find the perfect location for filming. We had a good idea that the location would be situated at a public toilet, however due to the numerous toilets on the site we debated which one would be best. At first we thought of ones which were in the social area. Due to the cleanliness of them we thought it would of been inappropriate for Adam to be lying on the dirty floor.

We decided on the toilets in the Geography building at school, these were the cleanest and rarely used. During our trip Sam took a range of pictures to plan where the dead body would be situated and the different camera angles that we could achieve. We decided it would be best for Adam to be lying against the wall being shown to the left, so Sam could drag him and dump him in the cubicle shown above.

British Board of Film Classification - BBFC

The British Board of Film Classification (BBFC) catagorizes the main issues into the above catagories. The following information set out guidelines such as violence and language to be applied throughout 'U' all the way to '18'. The criteria should be taken into factors such as, whether the material is in conflict with the law, whether the material may cause harm towards the catagory concerned and whether the content is generally acceptable at the age group concerned based on a broad public opinion. The main issues are also taken into concern which contain, Discrimination, Drugs, Horror, Imitable behaviour, Language, Nudity, Sex, Theme and Violence.

'U' - Universal is suitbale for all ages above four. The films should be set within a positive moral framework and should offer reassuring counterbalances to any violence, threat or horror. By using the main issues, 'U' films should contain discriminatory language or behaviour, no references to illegal drugs or drug misuse, unless a clear message of anti-drug message. Scary sequences should be mild, breif and unlikely to cause anxiety to young children. No glorification of easily accessable weapons with dangerous behaviour in which children may like to duplicate. Infrequent use of very mild bad language with occassional natural nudity, however no sexual content. While problematic themes may be present, their treatment must be sensitive and appropriate for young children. Finally, mild violence only with an occassional mild menace or threat.

'PG' - Parental Guidance is suitable for children aged eight and over. From the main issues a 'PG' film should consist of discrimination by a character with which children can easily identify. References to illegal drugs or drug misuse must be innocuous or carry a suitable anti-drug message, frightening sequences should not be prolonged or intense to affect the child. The films shall consist of no detail or potentially dangerous behaviour which a young child is likely to copy. Bad language is only suitable unless it is mild, natural nudity is acceptable however, no sexual context. Sexual activity may be impiled, but should be discreet, when more serious issues are featured such as domestic violence, nothing in their treatment should condone unacceptable behaviour. Finally, moderate violence is allowed although it must be justified in its context such as history, comedy or even fantasy.

'12' - 12 is suitable for children aged 12 and over. From the guidlines a '12' film, discriminatory language or behaviour must not be endorsed by the work as a whole. Any misuse of drugs must be infrequent and should not be glamorised or give instructional detail, moderate horror is permitted, however frequent sequences are not allowed. Dangerous behaviour which can consist of self harm may not show detail which can be copied, In a '12' moderate language is allowed, aswell as nudit. The use of sexual activity may also be portrayed, but discreetly, moderate violence is permitted in the films however the use of emphasis on blood or injuries shall not be included. Finally in a '12' film you can use mature themes, but their treatment must be suitable for young teenagers.

'12A' - '12A' guidlines are identical to a '12' film. The classification only exists in cinemas where a adult can choose whether the film is acceptable for a child under the age of twelve, compared to '12' where children under the age of twelve in not allowed to view the film.

'15' - These films are acceptable for ages 15 and over. The guidlines portray that the work as a whole must not endorse discriminatory language or behaviour, drug taking may be shown but the film as a whole must not promote or encourage drug misuse. Another factor shows that strong threat and menace are permitted unless sadistic or sexualised aswell as dangerous behaviour for example, hanging, suicide and self-harming but should not dwell on detail which could be copied. Sexual activity may be portrayed withiut strong detail aswell as nudity, no theme is prohibited, providing that the treatment is suitable for the ages of 15 above. '15' films can also use frequent strong language, however the language must be justified if they use the strongest terms. The final factor is violence, violence in the films may be strong but should not dwell on the infliction of pain or injury.

'18' - These films are only suitable for adults. No-one younger than 18 may see an ‘18’ film in a cinema. No-one younger than eighteen may rent or buy an ‘18’ rated video. In line with the consistent findings of the BBFC’s public consultations and The Human Rights Act 1998, at ‘18’ the BBFC’s guideline concerns will not normally override the principle that adults should be free to choose their own entertainment. Exceptions are most likely in the following areas; where the material is in breach of the criminal law, or has been created through the commission of a criminal offence, where material or treatment appears to the BBFC to risk harm to individuals or, through their behaviour, to society. Also where there are more explicit images of sexual activity which cannot be justified by context.

'R18' - The ‘R18’ category is a special and legally restricted classification primarily for explicit works of consenting sex or strong fetish material involving adults. Films may only be shown to adults in specially licensed cinemas, and video works may be supplied to adults only in licensed sex shops. ‘R18’ video works may not be supplied by mail order. The following examples are not acceptable: any material which is in breach of the criminal law, including material judged to be obscene under the current interpretation of the Obscene Publications Act 1959 and any sexual threats, humiliation or abuse which does not form part of a clearly consenting role-playing game. Strong physical or verbal abuse, even if consensual, is unlikely to be acceptable.

Some of information from BBFC website

New Rivalries - AS Media Continuity

AS Media continuity work. Shot at Walton High School in one afternoon.

Dialogue exchange between Haran Timana and Adam Dean

Director - Chris Dean
Cameraman/Editor - Sam Pearson (used Sony Vegas Movie Studio Platinum 9)
Chief Detective - Adam Dean
Rookie - Haran Timana
Runner - Hannah Sones

After we were assigned a continuity piece, our group, who consisted of , Myself, Sam Pearson, Adam Dean , Chris Dean and Hannah Sones. We came up with ideas straight away with what the continuity piece would consist of, our first ideas are shown below;

After much consideration way came among Idea 2 which was about two detectives pursuing a criminal and the exchange in dialogue would come from the two detectives. We kept most of the original ideas whilst filming, however, we decided that it would look better if the two detectives, who were myself and Adam to be situated in a car at the beginning of the scene. We were given permission from our AS Media teacher to use his car, we thought that his make of car would look suitable for the situation. During the planning process of the continuity piece we had a good idea of where we wanted to film, we decided that the runner would hide in the boiler room underneath the swimming pool, however, we needed permission to use the space.

During playback we noticed that at 0:12 seconds into the continuity, it shows Adam getting out of the car on the right, however at 0:15 it shows Adam again on the right hand side chasing the runner (Hannah), but at the opposite angle. Adam should of been on the left hand side but at the time we wanted Adam to be closest to the camera so viewers could clearly see his gun which was in his hand. During filming we had not realised that we had made such a mistake.

I believe that we were successful in the making of the continuity piece, we knew that we have to overcome hurdles such as what time of day to film. We decided to film straight after lunch to avoid the sunset, it proved to be successful as there was no sudden change in the lighting.

With Reference to Hitchcocks “Psycho” (1960) and at least two other thrillers you have studied, as well as your wider research, discuss the thriller genre and its forms and conventions

Thriller is a genre of literature, film and television that uses suspense, tension and excitement as the main elements. Hitchcocks “Psycho” (1960), “Taking Lives” (2004), directed by D.J Caruso and David Finchers “Se7en” (1995) are three good examples which use these elements, as well as Gary Grays “Law Abiding Citizen” (2009) as my wider research. With reference to the above films I will be discussing the forms and conventions which are represented in the thriller genre. They involve suspense/tension, storyline, characters and the relationship which they have with the audience.

Hitchcocks “Psycho” (1960) conveys particular aspects within suspense and tension in the shower scene when Norman Bates is murdering Marion Crane. Alfred Hitchcock portrays this by firstly including a soundtrack which includes screeching violins, violas and cellos, composed by Bernard Herrmann. By Hitchcock adding in the background music, it builds a creepy, scary effect towards the scene. The string instruments which are included in the soundtrack are also well known to be associated with tense scenes, with the addition to the music this indicates that there is no requirement for any dialogue. An additional way in which Hitchcock exposes suspense and tension in this scene is when he is using the camera. Alfred Hitchcock uses a combination of close shots with a short duration between cuts to make the sequence feel longer, more subjective, more controlled and more violent than an image if it was presented alone or in a wider angle.

Compared from Gary Grays “Law Abiding Citizen” (2009) some parts may be perceived as similar, such as the music, when Rupert Ames is receiving his death penalty (15minutes into film). The music in the above films can be compared as similar, this is because as is “Psycho” the film includes string instruments such as violins, the violins are played in short, fast notes to emphasise the situation as a unpeaceful set. Another form in which “Law Abiding Citizen” may be compared to “Psycho” would be the way in which Gary Gray uses the camera. In “Law Abiding Citizen” he uses a variety of shots, including medium shots to show the scene and also close shots to show the audience the pain in which Rupert Ames is feeling. However, he also uses a combination of close shots to make the scene feel more violent, but he uses them over a longer duration so the audience can interpret that his supposed peaceful death has gone awfully wrong.

Suspense and tension has been used very well in David Finchers “Se7en” (1995). It is portrayed in the scene in which Detective Lt. William Somerset discovers the head of Detective David Mills wife, Tracy Mills. The background music is again similar in comparison, with a mix of brass and string instruments. A Trombone is used in intervals with a cello in the background, the mixture of these two sets of instruments sets a theme of a dilemma, stating if Detective David Mills should either shoot John Doe, or keep him alive. Suspense is also used when Detective Lt. William Somerset receives the package from the delivery man. Suspense is created in this scene firstly when he receives the package, wondering what it may be. The camera then changes between John Doe, William Somerset and David Mills, this gives the expression that it is intended for one of them. John Doe then talks to David Mills about his wife. When William Somerset opens the package, you know exactly what it is, however they never show you it. This adds more suspense and tension to the scene until the point at which David Mills shoots John Doe.

The storyline in Hitchcocks “Psycho”, D.J Caruso’s “Taking Lives”, Gary Grays “Law Abiding Citizen” and David Finchers “Se7en”, mainly tend to be different, for example the storyline in Hitchcocks “Psycho” (1960) begins as when Marion Crane steals $40,000 from her employer and starts to flee Phoenix and travels by car. Whilst on her way fleeing from Phoenix, Marion Crane falls asleep on the side of the highway. However, a police officer questions her in the morning but remains suspicious and follows her. Marion then decides to spend the night at the Bates Motel. Owner of the Bates Motel, Norman Bates invites Marion to have supper with him. Marion decides to take a shower she is brutally murdered. It then shows Norman appearing to clean the bathroom, he then wraps up the body and puts her in the car boot. Norman then takes the car to the swamp which he then sinks. A few days later Marion’s sister and boyfriend turn to a private investigator to find out what happened to Marion. Arbogast later returns hoping to question Normans mother but he also gets murdered with a knife. Sam and Lila get concerned thinking that he has found her but he has run away with the money, when there Sam tries to distract Norman while Lila goes into the family home to get answers. She later hides in the fruit cellar when she finds what she thinks is Norman Bates mother, but is actually her corpse. Norman shortly arrives attempting to murder Lila but Sam arrives to save her. After Normans arrest a psychiatrist tells them that he is living in Normans psyche. This film may be compared to the other films because the main character at the beginning gets killed off a third of the way through the film.

The storyline in D.J Caruso’s “Taking Lives” (2004) also varies when the film opens in the early 1980s when the young and shy teenager Martin Asher is seen fleeing from his home. He befriends another teen and they both go to a local mechanic and take a car, the car breaks down. Whilst Matt is changing the tyre, Martin pushes him into an oncoming vehicle. Picking up 20 years later, a FBI profiler is summoned to help out in Canada to hunt down the serial killer, Martin Asher. Meanwhile Martins mother claims that she has recently seen her son in Montreal. The team meets with a art salesman who is meant to be meeting their prime suspect. The art salesman meets with him but is attacked but he escapes and their prime suspect dies. Befriending the art salesman, Illeana Scott has sexual intercourse with the art salesman and the next day the art salesman is confronted by Martins mother and he murders her. Illeana then catches salesman murdering his mother, but he escapes. He then enters a new identity. It then skips nine months where Illeana is heavily pregnant, Martin finds her and attacks her, he then stabs her with a pair of scissors. However, she is not pregnant, she was wearing a suit. She then takes it from her chest and turns to stab Martin. Martin dies. This film can be compared similar to Psycho because they both involve a murderer. They are compared different because they have different situations and Norman Bates is living a lonely life whilst Martin isn’t.

Another film which has a different storyline is Gary Grays “Law Abiding Citizen” (2009). It starts out when Clyde Shelton witnesses the rape and murder of his wife and daughter, they two men get caught, and however the wrong man goes to prison receiving the death penalty. Ten years later Rupert Ames is executed but Clarence Darby isn’t. Over the past ten years Clyde Shelton has been planning revenge on all of the people who were involved in the court case ten years ago. Clyde later confesses to the murder of Clarence Darby, however, he asks for items in return, such as a mattress, iPod and even food. When receiving these items, Clyde tells them the location of the missing Attorney. During their search for the Attorney he murders his cellmate for to be taken into solitary confinement. After the judge is killed from an explosive phone, he tells Nick that these killings are not about revenge and that if he is not cleared of these charges by six o’clock the next day, he will kill everyone who is involved in this case. Nick receives information leading to a garage owned by Clyde next to the prison, leading to the solitary confinement cells. They realize that Clyde had deliberately had himself sent to solitary confinement so that he could come and go, committing his string of killings while the authorities believed him to be locked up. Clyde returns to his cell via his tunnel and finds Nick waiting for him. He offers Nick one last deal, but Nick refuses. Clyde activates the bomb anyway as Nick seals the cell door and flees the building. Clyde realizes too late that they have placed the bomb beneath his cot. As Clyde sits, staring at the bracelet given to him by his daughter, the bomb goes off, killing him. This film can be compared different to “Taking Lives”, this is because the main protagonist is a male, compared to Angelina Jolie in “Taking Lives” who plays a female. The location can also be considered as a comparison because as in “Law Abiding Citizen” it is shot mainly in a prison and “Taking Lives is shot, in a more unique country of Canada.      

The final film which has a different storyline is David Finchers “Se7en” (1995) when a experienced detective has to partner up inexperienced Detective David Mills. They start out their investigation finding an obese man dead who was forced to feed himself representing Gluttony. They find clues to find another murder after a rich attorney gets murdered representing greed, they get led to an apartment which a man has been kept alive for exactly one year. This victim represents sloth. Detective Somerset becomes close to David Mills wife when she tells him that she is pregnant. The Detectives use Library record to find a match towards John Doe. When Doe finds the detectives approaching his apartment, he opens fire on them and flees, chased by Mills. Eventually, Doe gains the upper hand, holding Mills at gunpoint, but he runs away. They arrive too late to find their Lust victim, a prostitute killed by an unwitting man who Doe forced at gunpoint Sometime later, they investigate the death of a young model whose face has been mutilated; the victim of Pride. As they return to the police station, Doe appears to them and offers himself for arrest Doe claims he will lead the two detectives to the last two bodies and confess to the crimes, or otherwise will plead insanity. Doe directs the two detectives to a remote desert area far from the city, after arriving at the location, a delivery van approaches; Somerset goes to intercept the driver, leaving Mills and Doe alone. While Mills holds Doe at gunpoint, Doe mentions how much he admires him, but doesn't say why. Somerset opens the package and recoils in horror at the sight of the contents. He races back, warning Mills not to listen to Doe, but Doe reveals to Mills that the box contains Tracy's head. Mills, threatens to execute Doe, he then taunts Mills with the knowledge that Tracy was pregnant. Somerset is unable to contain Mills as he points his gun at John Doe, becoming the embodiment of Wrath. This film can be compared to “Law Abiding Citizen” because both of the antagonists were killing people for a reason. However, you can sympathize with Clyde Shelton due to the scenario but, you cannot with John Doe as he shows no remorse. Overall these films are similar throughout because they all have a extraordinary chain of events.

Thrillers tend to use the concept of characterisation in the films above. In Hitchcocks “Psycho” (1960) characterisation is used as Norman Bates. Hitchcock uses Norman Bates character as a lonely man in his mid twenties; he is also portrayed as a tall, slender and handsome man. Hitchcock used these attributes for his characterisation so you can feel that Marion Crane can have a conversation with him when she first enters the Motel. Norman Bates also seems to feel a nice shy person. This also adds more of a twist when you see him taking away Marion Crane and your first perceptions of him go away. Compared to David Mills character in “Se7en”, Norman Bates is portrayed as a shy person who is evil, and David Mills is fighting the law, whilst being a short tempered, loud officer. He is also busy working everyday whilst the Bates Motel is always empty.

Another thriller which uses the concept of characterisation is in D.J Caruso’s “Taking Lives” (2004), the main protagonist, Illeana Scott, as a young attractive woman who is a Detective which uses unusual methods; this is because Angelina’s character is a Sherlock Holmes more than a James Bond. This is used so it isn’t a more traditional thriller movie; D.J Caruso used this to make an unusual protagonist as a female lead, to make the viewers guessing what decision she may make. Her characterisation can be compared to Gerard Butlers Clyde Shelton; this is because Clyde seeks revenge and so does Angelina Jolie’s character when she stabs Martin Asher. Both of the characters both believe that justice has been done; they both also set traps for their victims to fall into.     

Gary Grays “Law Abiding Citizen” (2009) uses the concept of characterisation in Clyde Shelton’s character played by Gerard Butler. His character is a family man in his late 30s who owns numerous properties around the country. He is a highly intellectual man, who takes his time to plan. Gary Gray used this style of characterisation to make the viewers keep guessing what Clyde Shelton is about to do next, he doesn’t give away any secrets and is highly prepared. Gerard Butler’s character can be compared to Kevin Spacey’s character as John Doe, this is because they both had motives to kill, however you can argue to say whether the motives were correct.

The final film which uses characterisation is in David Finchers “Se7en” (1995). It is shown in Morgan Freeman’s character as Detective William R. Somerset. David Fincher set out to make his character as a composed cop which is ironically the opposite from his partners; this adds more emphasis towards Morgan Freeman’s character. Detective William R. Somerset is a middle aged and very experienced officer. A compared character would be Jamie Fox’s character as Nick Rice; this would be compared as different because, Nick Rice tries to get to the point by threatening or either just refusing to agree with the suspect. The comparison of these characters shows a good cop, bad cop like look.

The thrillers of “Psycho”, “Taking Lives”, “Law Abiding Citizen” and “Se7en” uses a different relationship with their audience compared to a Action or Adventure audience. A thriller audience would generally be for a mature audience, whom have more patience to let the film run its course. However, classic thriller such as Hitchcocks “Psycho” are rated a PG but are still intended for adults. Audience for thrillers may also be people who are intrigued in solving mysteries/crimes, but cannot quite solve it, yet they still love the element of surprise. Compared to a thriller audience, the audience for an action adventure may differ. This is because that the usual audience for an action/adventure will be from a younger age group whom is also more immature. They would also be less patient by wanting the movie to go straight to the action scenes. The audience in a action/adventure film may also like fiction based films which consist of fantasy, compared to thrillers, the movies are portrayed over a series of unfortunate events but can also be realistic.

To conclude Hitchcocks “Psycho” (1960), D.J Caruso’s “Taking Lives” (2004), Gary Grays “Law Abiding Citizen” (2009) and David Finchers “Se7en” (1995) all contain its forms and conventions in the thriller genre, including suspense/tension, storyline, characters and relationship with their audience.

Stanbye Childrens Movie Poster

Created movie poster from children's film called Standbye. Ideas by Chris Dean, Haran Timana, Adam Dean and Sam Pearson. Photo edited by Sam Pearson.

We were set out to think of a new idea for a film in our chosen genre of film. Ours was Children's films. After some deliberation we thought that we may of chose the wrong genre. Despite that Chris Dean thought of an idea at which there was a world in which all of the electrical appliances were controlled by small creatures who lived in these appliances. The main reason for the use if the title being 'Standbye' is due to the fact that the leader of the small creatures left, therefore the use of 'StandBYE' and the creatures would not be able to cope and therefore the world will be in standstill as for the humans would not be able to use everyday appliances.

The reason for which the leader left was because the humans were leaving the appliances on standby which still uses energy. The main reason for incorporating this is to leave a message to the viewers to try and teach children not to leave items on standby. We found this appropriate as for this story is highlighted alot in today's media. At the top of the poster, it illustrates 'from the creators of living toasters' this is used because that was one of our original ideas in which people lived in toasters. We scrapped this idea as we thought it could not sustained.

We planned the poster in rough which looked very similar to the final piece, we wanted the Television to stand out, we also added a pattern on the TV to give it the standby look. We wanted to show the creatures to give the viewers a better image of the film. As you can see they all look individual with one wearing a crown to emphasise that he is the King which eventually leaves.

As a children's film I think that we were very successful in delivering a good, entertaining film which can be viewed by the parents as well as the children which would also be able to release a sequel in a later date.

Media Studies - Impossiball MP3 player - Development Presentation 1

Our group was asked to create either a MP3 player, children's toy or a perfume. We decided to go with the MP3 player as we all had a interest in music. We first decided that it had to be durable to suite all age groups and that would be ideal for everyday use and we came across the idea to produce the product in a ball shape. The clip describes the rest of the product.