Continuity Task: Shot List

Below depicts all the shots that we intend to feature in our clip in chronological order.

The shots we wish to use are:

• A Close-up Shot
• Pan Shot
• Shot Reverse Shot
• Over-The-Shoulder-Shot
• Birds Eye Shot
• Match on Action
• Low Angle Shot

Editing

Today was about examining the process of editing film and why certain editing techniques are employed to engage the consumer. One of these film techniques is called parallel editing - also known as cross cutting. To analyse these methods, we were shown an extract from 'The Godfather: Part II' (1974), in which Michael Corleone (portrayed by Al Pacino) is midway through the conduction of his baptism. Intermittently, the camera would cut to scenes of hitmen fulfilling organised murders on Michael's behalf. The ideology behind Francis Ford Coppola's desire to utililise cross cutting is to create an element of juxtaposition that shocks the reader: Michael is at a baptism - his baptism, and in conjunction with him swearing on the bible and announcing repent for his sins and all evil, people are committing murders on his behalf, which paints Pacino's character as ostensible and insensetive. Parallel editing often happens when two events taking place simultaniously but in different location, the two scenes usually connect which results in the culmination of the scene. This creates tension building up to a climax - one notable example of this is when Jonathan Demme decided to use cross cutting in the acclaimed thriller 'Silence of the Lambs' (1991) when the FBI aim to capture protagonist Buffalo Bill. Primarily, parallel editing is used to create suspense to scenes that would otherwise be perceived as boring if shown separately.

Parallel editing (cross cutting) is fundamental in building suspense, imperative in culminating a scene despite the fact that an audience most likely know what is going to happen, although they are not entirely sure when.

Above is a good example of parallel editing in an extract from "The Silence of the Lambs" (1991).

[unfinished]

Continuity Task: Analysis of first cut and rectifying problems

[First Cut Displayed Here]

During the filming of our clip we encountered many problems that have resulted in a number of ramifications during the process of editing. For example, during many of our extreme close-up shots we have attempted to incorporate the eyes, nose and mouth all within the confines of the frame, causing a very distorted and untidy shot. We have since learnt that when using an extreme close-up, it is important to focus specifically on one area of the face: this can be either the eyes and nose, or the nose and mouth - as depicted below.

An extreme close up of the eyes and nose.

An extreme close up including the nose and mouth.

It also occured to us that this principle remains important in the context of a thriller, by not fully disclosing the identity of the person it builds suspense. Whilst we did not successfully capture the extreme close-up, they were also scarce throughout our clip - after analysing our first cut through the resources on the iMac we noticed that segments involving dialogue were often rather boring due to the use of a single two-shot (establishing shot) recording the entirety of a conversation. We agreed that in order to keep an audience engaged in the clip using close-ups/extreme close-ups to capture facial expressions would improve our feature considerably. Furthermore, a succession of shot reverse shots where considered as a viable solution to the problem as this would allow the audience to observe the emotions of the characters and understand the situation. During the latter stages of our clip two girls are shown running - one chasing the other. We noticed that after analysing this scene our clip manifested lax camera work, at some point throughout the clip at least one of the girls did not feature in the full frame of the camera. It was also noticable that our use of match on action was very poor, as match on action refers to the process of time elapsing through a succession of different shots, usually around three. 

Depicted above: Georgina is shown entering the room through the door, and eventually exits to the left of the frame. The shot itself is fine - Georgina is within the confines of the frame and the camera is at a suitable height/angle - however, it is the following shot that demonstrates our poor use of match on action.

Subsequent to Georgina walking past the camera, the clip cuts immediately to this shot which defeats the object of match on action meaning, arguably, there is no match on action whatsoever in our clip. Match on action is designed to gradually reveal a person's journey from one point to another through a succession of three or so shots. Georgina's walk on the other hand, is conveyed through two shots and makes for a very disjointed scene. At this point in the scene, Daisy (sitting) instructs Georgina to sit down. Immediately, the camera cuts to Georgina sitting down and manifests no match on action at all which, again, causes the scene to look disjointed rather than a consistent piece of film comprised of smooth transitions.

In essence, the scene does not show Georgina's walk to her seat smoothly and is very 'jagged', and does not represent time elapsing.

However, one positive than came of our filming was our ability to adhere to the 180 degree rule.

Overall, the following improvements must be made to our clip:

• Match on action must be clearer, representing time elapsing
• Ensure subjects are kept within the confines of the frame
• Demonstrate a shot reverse shot
• Vary our range of camera angles - low/high angle shots/mid shots to emphasize superiority etc.

Below is our first cut in full.

[need to include first cut]

Group Work

Evolution of the Thriller

Thrillers have been in existence since the early years of film production, however, the conventions/principles that define a thriller have since changed greatly. For example, Hitchcock’s acclaimed ‘Psycho’ was very much regarded as a horror, but due to the evolution of horror and it’s sinister nature (desensitisation), it is now deemed as a thriller in modern day terms. Many argue the differences between horrors and thrillers.

Thriller genre

Thriller uses suspense, tension and excitement as its main elements. Thrillers heavily stimulate the viewers moods, giving them a high level of anticipation, ultra-heightened expectation, uncertainty, surprise, anxiety and/or terror. Films of this genre tend to be adrenaline-rushing, gritty, rousing and fast paced.

A thriller provides the sudden rush of emotions, excitement, and exhilaration that drive the narrative, sometimes subtly with peaks and lulls, sometimes at a constant, breakneck pace. It keeps the audience on “the edge of their seats”.

Thrillers often make use of literary devices such as red herrings, plot twists and cliffhangers. A thriller is usually a villain driven plot which presents various problems a protagonist must overcome.

Psychological thrillers are fictional thriller storys which enphasizes the psychology of its characters and their unstable emotional states, with similarities to gothic and detective fiction in sense of “dissolving sense of reality”, moral ambiguity, and complex and tortured relationships between obsessive and pathological characters.

Psychological thrillers often incorporate elements of mystery, drama and horror.

Examples: The Machinist, House of 9, Straw Dogs, Shutter Island.

Supernatural thrillers bring in otherworldly elements(such as fantasy and/or supernatural) mixed with tension, suspense and plot twists. Sometime the protagonist and/or villain have some form of psychic ability or super powers. Examples: The Dead Zone, Chronicle, Frequency.

Techno Thrillers are suspense films in which manipulation of sophisticated technology plays a prominent part. Examples: Jurassic Park

Spy Thriller: The protagonist is generally a government agent who must take violent action against agents of a rival government or (in recent years) terrorists. The sub genre usually deals with the subject of fictional espionage in a realistic way. Its is a significant aspect of British cinema.

Examples: The parallax View, The Tailor of Panama, Taken, Unknown.

Thrillers thrive on the notion of suspense, provoking thought from the audience who spend the duration of the film trying to decode a complex plot. This is especially true for psychological thrillers.

Continuity Task: Group Task

Our group has been assigned a task that focuses upon the aspects of camera angles and editing, this task requires us to adhere to a set of criteria and must be completed within the next few weeks. We have been instructed to produce a 60 second film clip that will bolster our knowledge in film techniques which will assist us in creating our thriller extract.

Task Criteria:

We must NOT break the 180 degree rule
The clip must include a 'shot reverse shot'
The clip must be filmed in more than one location
Characters must interact
Non-Diegetic sounds must be apparent
Continuity must be evident

Shot Reverse Shot

A shot reverse shot is the use of camera angles that show one character interacting with another (excluded from the frame of the shot), before the other character is shown at that character. To use this shot successfully, it is vitaly important that the group member responsible for operating the camera abides by principles of the 180 degree rule to avoid disorientation. The following is an example of a shot reverse shot:

The extract manifests a shot reverse shot that adheres to the 180 degree rule.

Non-Diegetic Sounds

Non-Diegetic sounds refer to sounds that exist outside of the ficticious world, for example, music and narrations that the audience are able to hear, but no thoes who reside in the diegetic world. Non-Diegetic sounds prompt certain suggestions about the scene and are able to provoke certain reactions from the audience in conjunction with the media text - fast intense music creates suspense, slow emotional music evokes a sense of romance etc. Below is a demonstration as to how non-diegetic sounds reinforce the content of the media text. The following is an extract from Steven Spielburg's "Jaws" (1975), the same clip is played twice, only the first time the extract features no music and the second screening utilises the original non-diegetic sounds that exist in the feature.

By analysing the shots/sounds used in these two extracts we should be able to create a convincing first draft in preparation for our thriller. We must understand that the Mise en Scene, Camera, Editing and Sounds in our clip must all be adequate and recorded to a good standard.

Editing: 180 Degree Rule

The 180 degree rule is the principle by which the camera can only film two characters on one side of an imaginary axis that is situated through the centre of both characters, assuming they are sat opposite one another. Breaking the 180 degree rule can cause confusion, it creates the illusion that the two subjects are facing the same direction, causing a scene to appear distorted. Depicted below is an illustration of the intangible confine of the axis that governs the 180 degree rule.

In more complex cases, when characters are moving, the order/direction in which they enter the frame of the camera is imperative in order to ensure the audience comprehends the sequence of events. For example, if the director wishes to convey an extended amount of time passing, a character exiting the frame on the left before entering the frame from the left in a new environment will give the effect that an extensive period of time has passed. The video below explains the concept behind the 180 degree rule in further detail.