Wednesday, 15 April 2015

Evaluation Question 2

How effective is the combination of your product and ancillary texts?

A film distributor's role is to raise awareness of a media product, and to get recognition using a marketing campaign. The more successful film distributors use an array of mediums and platforms including outdoor advertising, advertising in other forms of media and many more. With the wider target audience ranges it's wise to have a large marketing campaign in order to spread the word to everyone, while with the more defined, narrow target audiences, it may be smarter to use marketing that aims directly at a certain type of person. Audience research gives an insight into the type/size of the marketing campaign a film distributor may choose to follow, though if audience research is not carried out then the wrong marketing campaign may be chosen and this could lead to choosing a larger campaign than needed (leading to overspending) or choosing a smaller campaign than needed (perhaps leading to your media product not reaching its true potential). When marketing a media product, it is important to ensure that your different mediums are keeping an overall visual style/tone that you wish to implement on your audience. A certain colour scheme/image/font can easily become memorable in a persons head if it is in their vision a lot and can perhaps increase the chances of them wanting to go and see your product (due to it being more memorable).

The Woman in Black had a massive marketing campaign, spread over many different types of media including trailers, posters, magazine covers, billboards, newspapers, social media sites and many more. I feel as though this largely contributed to the overall succession of the final movie.


Evaluation Question 4


Evaluation Question 1

Evaluation Question 3





Audience Feedback from Screening



Rough Cut of our Trailer that was used for the Screening



Final Magazine Cover


Tuesday, 14 April 2015

Trailer Conventions

In this post, I will be researching the various conventions that horror movies share in preparation to make my own.

Dead Rising: Watchtower



The Dead Rising movie trailer is tailored to interest its target audience in a variety of different ways. It incorporates action, drama and comedy to suit all of the things its target audience would want in a movie. The audience get an insight in to the basis of the storyline and get a taste of the hectic action and dismay that arises in the situation of the movie. The fast paced cuts in the editing of the trailer would convey that the movie is full of action and commotion thus enticing the audience to want to see how the zombie outbreak situation will handled. We are first introduced to the movie trailer with an equilibrium in which creates a settled atmosphere and conveys a sense of wellbeing in the setting on the film. Suddenly this is turned upside down when this changes to a disequilibrium in which action and suspense is introduced to the movie trailer when the first zombie is seen thus creating a strong sense of unsettledness and unpredictability. The music used in the trailer also follows this convention when it picks up and intensifies thus adding to the strong sense of eeriness, helping to set the mood that the disequilibrium intends to set. This technique is a typical convention used in trailers of the horror genre. Straight away as the trailer starts I can see that it follows one of the main key conventions when we are introduced to the two main characters of the movie (a male and a female). Immediately we see the relationship between them and see that the male character is more of a risk taker whereas the female is much more risk-averse. This will interest the audience as they will feel compelled to know if the two of them will stick to the male’s attitude of taking risks and getting involved in the action and thus making the movie a lot more interesting and exciting. The trailer uses a lot of diegetic synchronous sound so the audience feel more connected to what is happening in the film and will be more influenced to feel the emotions and atmosphere of the characters and the scene. The mixture of dialogue between the characters and the use of music helps convey the complicatedness of the whole zombie outbreak situation and adds to the audience’s curiosity of finding out what happens in the end.

Unfriended


This movie trailer displayed various common conventions of a horror trailer. It starts off with an equilibrium to introduce our main characters, relationships and setting. A sudden disequilibrium shortly interrupts as the central enigma of the film. This part of the trailer also brings with it a sense of tension and suspense in order to lure the audience in, wanting to see where the tension is building to and how a dead girl could be messaging over social networks. The narrative shown in the trailer with the whole 'showing a past event and then bringing the story to the present day' is a very key convention shown in horror movies as a whole, and shows demonstration of Bordwell and Thompson's cause and effect theory. Extreme close ups, scared facial expressions, young adults and a red/black colours scheme for text screens and titles are more key conventions shown in this horror trailer. Some ways in which this trailer shows originality and, perhaps, 'thinks out of the box', is with the use of the whole 'social media' scene, perfectly fitting in with the recent trending of social media networks such as Facebook. A briefly shown death scene is shown towards the end too, with one of the characters putting his hand/head in a blender. Having death scenes for short durations of times in a horror trailer can help by teasing an audience with what the film can offer at its most climactic point, while not revealing too much, meaning that they have to watch the film to get the full impact. I feel as though this is also a convention of horror trailers.

Chernobyl Diaries



Chernobyl Diaries, as with the previous two trailers, opens its own trailer with an equilibrium to introduce the characters, implement relationships and set the scene. This equilibrium is, obviously, soon smashed to pieces by a disequilibrium. This disequilibrium comes equipped with the standard conventional suspenseful music, close ups, a mood of fear, an increase in pace and even multiple moments when the pace slows right down and the music stops to create a 'heart-stopping' moment just before a jump scare (this creates a contrast in dynamics, making the jump scare a lot more of a sudden change). We are shown people being dragged off to, what we assume to be, their deaths in this trailer. This links in with the whole 'teasing death scenes to the audience' idea I mentioned in the Unfriended trailer analysis. The title and text screens of the trailer display the colours red and black in them, which is starting to seem like it could perhaps be regarded to as a convention. We are shown context and history to the storyline what with the actual event, the chernobyl reactor disaster. This is another convention of a horror trailer, as it is the showing of a past event that, in turn, causes the events of this music (Bordwell and Thompson).

Magazine Plan


Poster Plan


Magazine Cover Analyses

The Masthead of this magazine appears to be quite symbolic of a dagger, with the F and the A leading off into a sharp point. The colour red could be symbolic of blood or danger and the font seems squeezed and irregular, perhaps to portray the oddity of the horror genre. The name of the magazine is FANGORIA, which could mean ‘fan’ of gore’, or could even relate to fangs which is a stereotypical feature which vampires tend to have.
The Colour Scheme appears mainly of red and green, with some splashes of yellow. Red and Green are typical colours used in the horror genre since red can easily represent blood whilst green can seem unearthly and represent the more sci-fi aspect. The yellow stands out from the two main colours, which can help bring importance and attention to the different features on the front cover.
The Main Cover Line ‘The Crazies’ is red and appears in a font quite big and bold with an outer glow of yellow. This cover line appears to be dripping so is likely to represent blood, especially since it is red. The font seems symbolic of the military or some sort of war-type theme. Perhaps this could represent that ‘The Crazies’ is based around these themes. The outer yellow glow could show some form of alien-like theme, since it makes the main cover line looks science fiction.

The Main Image shows some type of deformed man with veins sticking out of his face and red eyes, which composes an overall rather shocking and disturbing character. He is using a direct gaze and can help create fear due to his haunting appearance. 

The Colour Scheme appears a shade of black, yellow and red. The black could signify the darkness which is a key feature in the horror genre, while red could portray blood and danger. The yellow appears to help the masthead and some of the other text on the magazine and could simply be there to help it stand out amongst the background.
The Masthead seems rugged and rough-edged as if to show the magazine to be informal and out of the ordinary. The name ‘Paracinema’ could be a play on words between Paranormal, which means themes beyond the ordinary and Cinema which refers to the building in which films are shown.
The Main Cover Line ‘The Exorcist’, is written in tall letters with a kind of stone-like texture, perhaps to symbolise gravestones which are common in the horror genre.
The Main Image appears to be a girl that is out of the ordinary. With green eyes, scruffy hair, blood stained shirt and teeth and an evil smirk on her face, we are forced to see that this girl is not normal. The fact that blood is a horror element due to the like between blood and pain, and also the evil smirk can appear quite creepy, we are given the sense of horror that this girl is to be feared.

The Colour Scheme appears mainly of red and light blue/greys. The red is most likely symbolic of blood or danger whilst the light blues and greys could represent the mystery element of the poster by symbolising fog and mist.
The Main Cover Line ‘Shutter Island’ is in big, bold, red font and again has a ‘dripping’ kind of effect to most likely represent blood. It is even smeared in this one.
The Main Image shows a man with a gun looking down in deep thought. He seems to be the victim and appears threatened, most likely by the lighthouse in the background which looks to have spotted him. The lighthouse is tall and dark, looking as if it has more power than the man who is short, lit up and vulnerable (if you consider that the lighthouse is in the background).

Film Poster Analyses

The Collection, made in USA in 2012. It is Horror Thriller Film. In The Collection Movie poster, there are many connotations of the horror genre shown that create a sense of evilness and torture.
The victim in the poster is shown in the top centre of the poster, to show significance of this person. Her arms appear to be being held up against her will, and her hair is shown to be all over the place. I believe that this person is in water, which could suggest she is dead. The poster isn't focused on the victim however, and focuses more on the antagonist shown in the bottom centre of the poster. The fact that the victim is female is a very widely used convention in horror movies, as women are suggested to be weaker than men, and less able to look after themselves in tough situations hence making it more tense for the viewer and they may sub-consciously doubt that the victims will survive. The water that she is in suggests she may not be in control of the situation that she is in, and death could be just around the corner. Her hair being spread out and widely visible like it is could be shown to further ensure that the audience know that the victim is female.
The killer in the poster is shown centre bottom, from behind. This helps create a sense of mystery and eeriness around him as we are unaware of who/what is after the victims. His hands are shown to be tightening his mask which suggests that he is preparing to do something to the victim in front of him as in Horror movies, masks tend to connote the antagonist, and the fact that the mask is now being put on shows that he is now becoming the antagonist.




Final Destination 5, made in USA and Canada in 2011. It is a Gorenography type Horror Film. In the Final Destination 5 Movie poster, there are many connotations of the horror genre shown that create suspense and urgency.
The victims are shown to be right on the edge of the collapsing bridge and seem moments from death. The girl furthest to the left seems to have a lot on show by wearing shorts and giving a ‘sassy’ impression. The five victims appear in danger due to the setting that they find themselves in, which gives a real sense of urgency and also gives viewers an idea to what the film will be about (death).
Since there is no killer in these films as such, it is hard to portray a dominating power over the victims. However, the idea that the bridge is tearing apart quite viciously and aggressively, we see some power within the bridge in a way, or even death itself. We see the people as powerless to death in this poster and since death isn't an organism that can just be stopped and killed like killers in other horror films, we see a situation that appears much more threatening than what others offer with the idea that death is everywhere and will always be there. The coils of wire ripping off the bridge structure appear around the edges like a living organism such as a snake which could give us the impression that this disaster is a lot more controlled and ‘living’
The colour scheme is light blue against black with the black signifying death whilst the lighter blues signifying health and softness. The light blue of the daylight seems to be trying to break through but the black clouds but appears to be struggling. This could signify the dominance of the black colours (death) over the calmness. The release date appears in red, perhaps to show urgency to the audience and make them believe that they must see the film as soon as possible. Red is also a colour that has been proven to attract our eyes more than any other colour so they may be trying to show that the date is the most important feature on the poster and since the franchise has been running for four films and likely has a large fan base, it may not be as important to show features of the film as much as the date since people should already know what the film is likely to be about.
The font of the number five appears to be metallic with the ending of a dagger. This could signify the strong themes of death in this film and help further its genre of horror. The font of the tag line, film name and the majority of other stuff on the poster appear quite thin and serif.
The selling line of ‘Death has never been closer’ gives the impression that death is a prominent theme in this film. It shows suspense in the way that death is coming and no one can stop it.
Overall I would say that the target audience would be people who enjoy a mixture of horror and mystery. Since the patterns of deaths remain a mystery through some of the movie, it can build suspense and keep the audience on the edge of their seat. Since this is the fifth Final Destination movie, there may not be as much mystery around the reason for them dying since it is the same story-line structure each time, it may still appeal to people who enjoy gorenography and people who enjoy seeing different, ‘creative’ ways in which people can die.



Smiley, USA 2012, Slasher Horror. The Victims are situated nearer to the bottom of the poster whilst the Killer is positioned higher and much larger. Both the size and positioning of these can help define the power relationships and can signify that the killer is a lot more powerful than the victims, therefore increasing threat towards them. The central victim is a girl appears to be staring at something in shock which can help create a sense of suspense. The killer seems to dominate the poster, taking up the most space; its face appears to be quite graphic and gruesome while remaining what could possibly be classed as unique and a symbol of the film and a motif towards the character.
The Colour Scheme appears to be mostly grey, with most other colours having a dull shade of grey added to them. The poster is grey, dull and depressing to signify the horror that the movie is to bring with it. The name of the movie ‘Smiley’ is written in red and has serif font, the red perhaps signifying danger or blood.
The Tag Line is “The New Face of Fear”. This could signify that the movie brings originality to the screens and also could bring attention to the killer’s face which appears to be quite symbolic of this movie.
The Target Audience of this poster, I presume, would be fans of the slasher-type horror. With the killer being displayed on the front cover, yet covered by a mask, we get the impression that this character may be a psychopath and is after the people in the foreground.

Tuesday, 7 April 2015

Final Film Poster


Finished Trailer

Storyboard

All Pre-Production

Group Idea

Eyes
You never know who’s watching

February 3rd 2014, a group of university students are returning from a concert, driving down an eerily dark road. Charlie is driving the car with her boyfriend, Angus, sitting in the front seat and her two close friends, Phoebe and Hugh sitting in the back. Angus and Charlie are talking about the concert while Phoebe is drunk and flirting with Hugh in the back, being loud and annoying everyone else in the car. Charlie tells Phoebe to calm down, to which Phoebe replies “You need to liven up a bit and stop being so serious” and puts her hands over Charlie’s eyes. This causes Charlie to lose concentration and when Phoebe removes her hands, she sees a figure in the road. After swerving to avoid the mysterious figure, Charlie, Angus and Hugh leave Phoebe in the car to examine the situation. After not finding anything, they return to the car to see that Phoebe has disappeared. They presume that she has just walked home as she lives nearby and they proceed to make their way back without her.
After dropping everyone off, Charlie arrives home and discovers Phoebe’s body in the boot of the car, eyes gauged out and missing. She fills with horror and realisation that her friend has been killed and falls to the floor crying hysterically. A coroner drives Phoebe’s body and a police officer tells a sobbing Charlie that she will need to “come to the police station to make a statement”.
Next day at the local police station, Charlie tells an officer the events that happened the night before. He proves unhelpful to the situation and tells Charlie that the case is already open for investigation after multiple crimes of the same offence have occurred within the last year. Later that night, Charlie is experiencing extreme insomnia after the events that occurred in the previous night so she goes downstairs and takes some sleeping pills. Not long after, a banging is heard at the door. Due to Charlie’s drug induced state, she quickly becomes paranoid and grabs a knife as she approaches the door. She opens it to find Angus, who has also been suffering from the same sleeping problem. The couple sit down and talk about Phoebe and the situation that Charlie faced with the police earlier that day and begin to research previous murders that have occurred recently in the area. As they read through the different news reports relating to these murders, they begin to see a pattern of victims having their eyes ripped out. Due to their focus on reading these reports and getting worried, they do not realise that Charlie’s dog is batting a human eyeball around the room and chewing it. Charlie leaves Angus to go into the kitchen to make them both a cup of tea, and as she does this, Angus feels as though he is being watched. He is then approached and gagged by a mysterious figure as a screwdriver is used to remove one of his eyes; Charlie remains blissfully unaware of what is happening. The figure drags Angus kicking and screaming out of the room and the front door is heard to slam shut, which draws Charlie’s attention. Charlie jumps to the conclusion, however, that the situation has become too much for Angus to deal with and doesn’t think too much of it.
One week later, it is the day of Phoebe’s funeral and nobody has heard from Angus. Charlie is on the phone to Hugh, expressing her concern of his whereabouts. Hugh comforts her by convincing her that this is how Angus deals with grief, and that he’s probably just taken a break and will be back soon, however, Charlie is furious as it seems likely that he won’t even be attending one of his close friends’ funeral and says that he is a “selfish jerk”. 
“Let us commend Phoebe to the mercy of God”, Charlie shakes her head and is visibly upset. The church is filled with Phoebe’s family and close friends, tears in everyone’s eyes.
The coffin is lowered into the deep hole in the ground. A cold breeze brushes past and Charlie looks around confused and scared, she feels as if she is being watched and tells Hugh. Hugh holds her hand and tells Charlie that everything’s fine and that he won’t let anyone harm her. He holds her close and she sobs into his chest. A dark figure is shown across the graveyard, but no one notices.
Charlie and Hugh are stood in the church car park and it’s starting to get dark. Charlie hugs Hugh and gets into her car and asks him if he’s sure he doesn’t want a lift. He tells her that it’s fine; he only lives 5 minutes down the road. They smile at each other and she drives off. Hugh leaves the church car park and a mysterious dark figure emerges behind him.
Walking down a dark alleyway, Hugh begins to feel paranoid, feeling a stare burning into the back of his head. He hears footsteps behind him, gradually getting speedier, though he doesn’t turn around. An extreme feeling of panic fills Hugh and he begins walking faster, breaking into a jog. He runs to the end of the alleyway onto his road, lit up by street lights. He quickly turns around and looks into the blackness of the alleyway but there is no one there. Relief flushes through him and he turns around and continues to walk towards his house. He takes a step and feels something squidgy crush beneath his foot, letting out a grim, squishing sound. He lifts his foot to find that he has stepped on a human eyeball. Panic returns quickly as though it had never left and Hugh runs into his house. He slams and locks the door behind him. Falling to the floor, sitting with his back to the door, he cups his face in his hands and sobs.

Hugh is sitting in his front room, drinking a cup of tea and trying to calm down. He stands up and looks out the window towards his garden and sees his back gate swinging open in the wind and a dark figure stands there. The gate blows shut and then open again and the figure is gone. He runs and locks the door to the garden but as he turns the lock, a cloth is placed over his mouth from behind and he passes out.
Charlie is lying in bed staring at her ceiling; she tries calling Angus but yet again is goes straight to voicemail. She has given up hope. She calls Hugh to make sure he has gotten home alright, and he answers, “Hey”. He assures her he has gotten home safely and that there is nothing to worry about and that she should come round. Charlie says she’s tired and she feels like she should sleep though Hugh insists that she come. She gets out of bed, gets dressed and grabs her keys. Still on the phone, she walks downstairs talking about the funeral and her concerns about Angus and how she has given up on him. She goes on to say that she’s so glad that Hugh has been there for her this last week and that she loves him for being there and making her feel safe. We see Hugh sat in a chair, he isn’t holding the phone himself but a figure is stood behind him holding it to his ear. We see that Hugh is tied to a chair, his eyes are bleeding and that the figure stood behind him is the dark figure. Hugh is seemingly moved by what Charlie has just said to him and decides that he won’t continue playing along with this murderer’s games. Back to Charlie again, he screams down the phone telling her not to come, at which point a drill is turned on. Charlie is horrified and runs to her car; she cannot let another friend be killed like this. She stays on the phone telling him not to worry but shrieks of pain are heard.
She pulls up outside his house, runs out of the car and tries getting through the front door, but it is locked. She runs round the back and is relieved to find that the gate is open. She runs into the garden and tries the back door but it is locked too. She looks through the window to the living room and sees Hugh tied to a chair with a dark figure drilling into his eyes. Hugh is screaming in agony. Charlie is crying hysterically. She watches in horror as the dark figure rips Hugh’s eyes from their cords and holds them up to his face and turns to ‘look’ at Charlie. Charlie turns around to run towards the gate but the gate is now shut and locked. She starts to undo the lock but she feels a hand grab her shoulder to pull her away from it. She falls to the floor, and is pulled by her leg towards the house. She grabs onto a washing line pole preventing him from pulling her any further. Angered, he turns around and plants a fork deep into her eyeball and rips it out. She begins screaming in agony. Still gripping the pole, the murderer takes another jab at her with the fork. He presses it deep into her throat. She loses grip of the pole and continues to be dragged into the house. She looks up at her murderer through her one remaining eye. A gunshot is heard and the dark figure falls to the floor, losing grip of Charlie’s foot. She turns and looks behind her, the garden gate is open and Angus is stood there with a patched up eye, tears coming from the other one. He runs to Charlie and hugs her as she bleeds out and quickly calls an ambulance. It’s too late though; Charlie is unconscious and soon has no pulse. Furious, Angus turns towards the dark figure’s dead body to take his anger out on him, but finds that his body is gone. Sirens pull up outside and police enter aiming guns at Angus. Angus tries telling the police that a man had been there and killed his girlfriend and his friend but he’s covered in blood, brandishing a gun. He is arrested and prosecuted as the murderer who had been ripping people’s eyes out.

A dark basement with shelves on the walls stacked with jars of eyeballs. A dark figure places some more eyeballs into a jar, puts the lid back on and places it on the shelf. A voice over of a judge at a court case is heard during this scene, explaining the motives that suggest Angus was the murderer. The voice explains that Angus had reason to kill Phoebe due to risking his life when placing her hands over Charlie’s eyes in the car. It is then explained that Charlie and Hugh were likely having an affair after recovering their phones and finding that the two had been texting more and more frequently within the last week, causing Angus to kill Hugh, and then to kill Charlie. During the voice over, the scene changes from the killer’s basement to a shot of Angus sitting in a jail cell. The voice continues to sentence Angus to life imprisonment and a hammer is heard.