We have decided to classify our film as an 18, due to horror, language and violence. For this, we have researched the legislation behind the rating. 'Suitable only for adults' 'No-one younger than 18 may see an ‘18’ film in a cinema. No-one younger than 18 may rent or buy an ‘18’ rated video work.'
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 – for example, any detailed portrayal of violent or dangerous acts, or of illegal drug use, which may cause harm to public health or morals. This may include portrayals of sexual or sexualised violence which might, for example, eroticise or endorse sexual assault * where there are more explicit images of sexual activity which cannot be justified by context. Such images may be appropriate in ‘R18’ works, and in ‘sex works’ (see below) would normally be confined to that category.
In the case of video works (including video games), which may be more accessible to younger viewers, intervention may be more frequent than for cinema films. Sex education at ‘18’
Where sex material genuinely seeks to inform and educate in matters such as human sexuality, safer sex and health, explicit images of sexual activity may be permitted. Sex works at ‘18’
Sex works are works whose primary purpose is sexual arousal or stimulation. Sex works containing only material which may be simulated are generally passed ‘18’. Sex works containing clear images of real sex, strong fetish material, sexually explicit animated images, or other very strong sexual images will be confined to the ‘R18’ category. Material which is unacceptable in a sex work at ‘R18’ is also unacceptable in a sex work at ‘18’.
The following factors could be present in an 18 rated film:
Discrimination
The film could include discriminatory language or behaviour.
Drugs
The misuse of easily accessible and extremely dangerous substances could be portrayed within the film (for example, solvents or hallucinogens)
Horror
There maybe strong threat and danger present, which could be sadistic or sexualised.
This could include dangerous behaviour (for example suicide and self-harming)
Language
There may be frequent use of strong language. There may be repeated or aggresive yse of strong language.
Nudity
There could be nudity with strong detail.
Sex
There maybe strong verbal and visual references to sexual behaviour.
Violence
There maybe a large amount of violence present in the film.
This music was initially one of our possibilities of being the main orchestral score of our trailer. The music had a thrilling effect as it established a sense of climax and danger through strings and drums. However, we felt that the music proved to be too intense and suited a thriller more than our psychological horror, as it could overpowered the film and give it a false sense of adventure, instead of eeriness and vigilance.
This music was initially one of our possibilities of being the main orchestral score of our trailer. Aisha and I discovered it on YouTube and immediately took a liking to it. The sound imitated action themed orchestral scores, as a lot of violin and drums could be heard, giving the ambience a sense of enlightenment and thrill. At first we thought it would suit our trailer. However we thought that it proved to be too adventurous for a horror sound track, which we proved right, as our audience feedback suggested the sound was more upbeat instead of intense and scary.
Although this piece is effective, we didn't think it would fit with our genre because it sounded too dramatic, almost like it would be the perfect score for an epic fantasy adventure film. Also, it was much too short for our trailer.
We are studying music, which is regularly used in trailers to discover the conventions, and to apply to our own orchestral score, in order to maximise the build up and impact. We found some examples of immediate music on Youtube.
Immediate Music - Redrum
We like this piece of music because it sounds like it could be from a horror trailer, but with fast paced action and thrills, with lots of chase scenes. The impact pauses and immediate beginning of the music again give the effect of a turning point in the trailer. The ending is suspenseful and signifies a twist. 0:22 of the music acts as a pace changer, where the music changed from a sense of awareness to a threat, to a sense of immediate danger.
We used elements of different pieces of immediate music (mostly Redrum) and added our own bits on to create a piece we thought would work in our trailer. The link is a link to my partner, Aisha's blog.
Eventually, after discussing many different ideas, we came up with a plot for our film trailer.
The treatment of a film is otherwise known as the synopsis, which encapsulates the significant events in the plot, involving the characters and what they are trying to achieve through the story. It begins with a premise, which involves the location, the characters, the time period and the main storyline.
Premise: A recluse, beginning at a new school, develops overwhelming jealousy over a fellow students life, causing her to think dramatically and violently.
Treatment/synopsis • Mindy Grey seems at first like an average 17 year old school girl. She is portrayed as shy when being first introduced to her new 6th form by the school head of year, Mrs Goodall. • Mindy tries to adapt to her new school, but is finding it quite difficult. She makes a new friend, Riley, who is at first seen as quite an airhead but nevertheless friendly and ready to help Mindy cope with being the new girl. • Riley introduces Mindy to her and Reuben's friends, who are outgoing and loud; the exact contrast of quiet and reserved Mindy. However, Reuben Thomas becomes friends with her. But it is not enough. • Oblivious to her new found friends, Mindy begins to feel jealous of Reuben and the girls he hangs out with. She wants him to herself • One day at school Mindy overhears Reuben arguing with one of Riley’s best friends, Stella. It becomes apparent that Reuben had been cheating on Riley the whole time. • Mindy is caught eavesdropping and this escalates into a series of disappearances of Stella and other people from their friendship group. • Riley and Mindy then try to discover who is behind the disappearances, until clues suggest Mindy could be behind the killings. • The last girl to “survive”, Riley battles against time to uncover the mystery of the 6th form murders, while desperately trying not to get caught herself, fearing that she knows too much. . Mindy hunts down Riley and is about to stab her from behind, when Reuben dives out to defend her, getting knifed himself. Suddenly, Mindy feels a sharp stabbing pain in her side. She turns round to see Riley on the other side of the room. There is no one else there. Mindy realises that she has been imagining Reuben because she is schizophrenic and to kill Reuben, she had to die as well. The proposed end shot is of Riley watching Mindy stab herself to death.
There is an establishing long shot of a lake, which would represent initial equilibrium because nature signifies innocence and purity. There is also a shot reverse shot, where one character is shown talking to the other character, who is off screen and then it switches the other way around. This signifies deep or significant conversation between the characters.
Editing techniques
There are flashes throughout, which are almost like lightning flashes and as lightning poses as a threat to nature, the flashes in the editing could represent danger. Quick jump cuts give the impression of quick paced events occuring in the film, or a quick paced race to retain equilibrium once again. There is a montage towards the end of the trailer, which we will use in our trailer to represent a series of events, not neccessarily in chronological order. However, before this montage, to establish the main story, continuity editing is used. We decided to use this conventional layout of a trailer in 'Paranoia' because the main story would be established (along with a voiceover) to make it more clear what is happening.
Sound
Voiceovers over black backgrounds are suspenseful, as you cannot see who is talking. We have decided to adopt this typical convention into our trailer. When the trailer goes silent, it is significant because silence could signify deep thought or controlled anger and is suspenseful. The loud bangs throughout the trailer could signify gun shots.
Mise en scene
Window: A window can symbolise the escape from oppression and a longing to escape whatever situation someone is in.
Story: Novels can sometimes represent social issues.
Hat: One of the characters is wearing a hat and hats denote achievement and authority. This could apply in the trailer, because the man wearing the hat is trying to control the other man into changing his story.
The Sixth Sense trailer begins with a green band rating card, which indicates that the trailer has been approved for all audiences. The first shot is shown as a close up of a man’s hand igniting a sparkler on a street. In the background you can see policemen and police cars, indicating that something vital to the plot is happening or about to happen. A long panning shot is then shown of the traffic jam, this time showing ambulances and more pedestrians. This triggers the first enigma as the audience are left wondering what has happened to cause such a scene. This then fades into another panning shot, this time in a lower angle than before. The camera continues to pan and fade through the cars, until a final fade in shows a woman and child in a car, conversing about the accident. This scene is shown through a mid shot, so the audience can get a better view of who the characters are. The mid shot continues as they talk, and the mother is curiously looking over her steering wheel to find out what is happening. As the mother hears her child telling her something disturbing, the shot instantly changes into a close up reaction shot of her startled face, as she turns towards her son in shock. This particular choice of angle shows the audience the importance of this particular moment. The shot then fades out, showing the film’s producers and distributors logos. This creates the second enigma, as the audience are left wondering about what the child had said, and the impact it had left upon his mother. The scene begins to gain momentum and a montage of mid-shots is shown. The first we see of this includes a worms eye view of a balloon floating up towards an archaic circular staircase. This is followed by the same boy climbing the stairs to retrieve it in an eyeline match. We never see the balloon again but see a point of view shot of someone closing in a dark closet on them instead. From the previous shots, it could be assumed that the person from the point of view shot is the boy. The montage continues and it finally blacks out and fades in to the boy being comforted by his mother. This makes the audience sympathise with the boy’s situation. Another jump cut is shown, which introduces the male psychologist. He is also always seen wearing a suit, which reinforces his professional role within the film. More cuts of the mother and son are shown, sharing happy moments together. This leads the audience into a false sense of security, and how the psychologist will make everything better. However, the mood quickly averts to show another aspect of the boy’s life, in which we see school children jeer at him while in class. A high angle shot is shown of the boy being taunted by his teacher and classmates, while he covers his face in his hands in despair. This emphasises the boy’s misery in being isolated because of his ‘sixth sense’. The scene jump cuts into another round of montage shots and various cuts are seen such as slow motion of the boy looking scared and black fade ins of the actors names after each shot. This quickens until the climax of the trailer, which abruptly jump cuts into the film’s title in a black background. In the beginning of the trailer, no sounds are heard, except for naturalistic diegetic sounds such as the sparkler being ignited, the car horns beeping and sirens blaring across the street. The silence at the begining creates emphasis on the scene as the audience are left to listen to the dialogue properly. However as the film begins to gain momentum, a steady string of non-diegetic orchestra music starts to play, adding to the ambience of the film. This begins slowly and eerily in minor key, but picks up pace and becomes louder, adding drums and violins. The montage is then stopped with the sound of a heartbeat, creating suspense and a fearful mood for the audience. At this point a voiceover of the boy can be heard, later followed by the psychologist and mother, all talking over the different shots. This gives the audience more information about the characters, and gives a preview of their personality and roles. The climax of the trailer is continued with incidental music, but suddenly stops with a loud final bang, in order to enhance the mood and startle the audience.
Single white female begins with an establishing long shot of a woman standing in front of a window. This creates an enigma as to why she’s alone, and links in the movie title, “Single White Female”. A non-diegetic voiceover begins to narrate the story, informing the audience of what the film is about. The shot then changes to an aerial view of New York, then an apartment block, which then cuts into a mid shot of the protagonist, Allie Jones. The mid-close up of this shot creates a more personal view of who the main character is, and clearly shows the audience that the film is centred on this characters point of view. The protagonist Allie is writing an advert for a room-mate, which is portrayed through a point of view shot of her typing into a computer. This then fades out into a close up of her advert printed on to a newspaper. A sound bridge can then be herd of Allie interviewing the antagonist Hedra, who is portrayed in a close up, showing the audience the importance of the character. The shots of Allie and Hedra are level mid to long shots, showing how equal they are at this point of the trailer. The narrator’s commentary continues to voice over, while the trailer begins to pick up pace and begin a montage sequence of Allie and Hedra’s relationship. An eerie ambience orchestral score can now be heard, which unsettles the audience, as even though the montage sequence shows un-frightening scenes, the sound effect creates a notion that something is not quite right. The ambience of the film begins to change drastically as the plot begins to darken, as suspenseful music begins to play. The lighting of the film also darkens and cuts become shorter in order to gain momentum. Immediate music can now be heard as Hedra ‘becomes’ Allie in bid to take over her life. Various shots including a close up of Hedra burning Allie’s clothes and a low pan of Hedra’s feet walking in Allie’s shoes produce a literal metaphor that creates unease for the audience, as they begin to understand how unstable and dangerous Hedra is becoming. A low angle shot of Hedra looking at Allie shows how she has become a more powerful character, especially as Allies horrified high angle reaction shot creates a less confident persona in Allie, which we previously saw in the beginning of the trailer. The trailer then reaches its climax as Hedra begins to pursue Allie while carrying various weapons. Titles also begin to show behind news paper cuttings, which references back to the beginning of the trailer, when Allie was writing an advertisement for a roommate. The film’s title Single White Female then zooms into view, as a newspaper cut out, linking the plot to the trailer. The narrator then voices a pun, “Living with a roommate can be murder” as the titles fade out, which the audience understand is literal of the film, as Hedra is trying to get rid of Allie. Film credits are then shown, which also fade black along with immediate sound.
During the first sequence, the phone rings, a startling sound, which could suggest the phone will be significant in the film/scene. Then as the production company, 'Dimension Film' titles are presented on the screen, there is a voiceover of the two people conversing on the phone. This is when the happy start of the trailer takes a sinister downturn. At first, there is no music, then after it reaches the point of danger and darkening of events, a suspenseful orchestral score can be heard.
It reaches the point of climax after a montage of sinister images from the film and this is when the title appears on the screen.
We decided that to get some ideas on the conventions of psychological horror trailers, we would watch some and analyse, then discuss what conventions we'd use from each. This would help us to create a more realistic and professional trailer.
The Orphan trailer begins with a green band rating, showing that the trailer is certified by the Motion Pictures of America. This is followed by a Warner Brothers logo and other production companies that support the film. The trailer begins with an establishing long shot of a black car driving towards a big white building. The weather is cool as there is snow on the ground, and people can be seen in the background milling around the building. The audience can guess that there is some sort of gathering taking place. The scene changes into a shot-reverse-shot of a woman visiting a children’s home, looking for a child to adopt. The shot introduces the protagonist Kate, as she talks to the Nun running the care home. The mid close-up of Kate shows the audience the character in more detail. So far, the lighting and ‘white winter’ ambience gives the allusion of simplicity and calm, giving the audience a false sense of security. This seems to be one of the main conventions in movie trailers. We then meet the character Esther, in a high angle shot, as the camera is angled down towards Ester painting. This creates the effect of diminishing the subject, making Esther appear less powerful and again, giving the audience a false sense of security about her. Esther is seen wearing dark archaic sets of clothes, separating her from the majority of her girly classmates. This seen as innocently formal at first but begins to seem unusual as she becomes more evil. Esther’s clothes also become darker and gothic as the film progresses and gets darker. The shot then fades out into a shot-reverse-shot of Kate and her husband getting to know Esther in an empty classroom. This is also shot through an eye-level shot, as it shows the subjects as we would expect to see them in real life. The scene then changes into a point of view shot of the Nun opening Esther’s files into her desk; this changes into a long shot, and we see Kate, her husband and the Nun talking about adopting Esther and how unusual she is compared to the other children. This leaves an enigma effect as the audience are left confused as to why the Nun is saying this about Esther. So far, Esther has been portrayed as a normal innocent girl. This is also supported by varying shots, such as a close up of Esther reaching to hold Kate’s hand in an innocent fashion, implying how normal and reliable Esther is. The scene then fades out into a birds-eye view of Esther and her new parents on the road. The scene is shown from directly above. This is a completely different and somewhat unnatural point of view which creates a dramatic effect and shows a different spatial perspective of the scene. This changes into a long shot of their home. It is still snowy, giving the shot a pure, calm ambience to the film, juxtaposing the harm in adopting Esther into their family. The shot then jump cuts into a scene of Esther starting school, however she is soon criticized by her classmates for her archaic sense of fashion. A dramatic close-up reaction shot of a furious Esther is then seen and the ambience instantly turns darker. This shows the audience the significance of this moment, and implies that something is about to happen. We then see various shots of Esther throwing a violent tantrum in a toilet cubicle. This is portrayed in various shots such as long shots and close ups to emphasise Esther’s unnatural rage. The trailer begins to pick up pace as we see shots of Esther acting troublesome, such as plotting to harm her family members. The shot abruptly cuts into a shot of Esther screaming continuously in a high angle shot, emphasising how Esther has changed from the innocent girl, to a naughty unreliable child. The shot then fades out into a black screen, which is followed by a white screen with black smudged writing that says “There’s something wrong with Esther.” This reinforces the viewer’s notion that Esther is not a normal child and mimics the audience’s thought at this point. This fades into a montage sequence of Esther creating chaos within the school and family, such as casting evil looks and pushing a classmate of a slide. This highlights how evil Esther really is, which makes the audience hate and fear the character. The montage continues to build up, reaching the climax of Esther trying to kill her new little sister Max. This includes a slow motion shot of Ether pushing Max across a street, which their mother is driving towards. The shot then pans into a close up of a stunned Max looking up at her mother, which changes into the same shot of her horrified mother trying to stop her car. This shot changes into a freeze frame of the mother in a close up shot, before fading out. This gives the image the appearance of a still shot, which is not a naturalistic view. The close up of Max and Kate is in great detail so that it fills the screen and underline the important moment. The close-up focuses the audience’s attention on the characters feelings (such as Max’s) and reactions (such as Kate’s) and show the characters in a state of emotion, creating a dramatic effect. This is followed by a fade in of the movie title ‘Orphan’ in white, indicating the movie trailer is over. However, the trailer adds an element of surprise, as an extra scene is shown soon after. The father is seen calling Esther’s name and walking towards her bed where Esther is supposedly asleep, however she quickly jumps out, and the scene suddenly cuts to black. This startles the audience and creates a dramatic effect. This leaves an enigma effect as the audience are left wondering what will happen next, and will want to watch the whole film. The sound effects of the Orphan trailer follow the typical conventions of a horror trailer. This includes happy music at the beginning, to give the audience a false sense of security and to believe everything is normal and dark thrilling music towards the end, to emphasise the terror of the film. In the beginning of the trailer, no sounds are heard, except for the diegetic voiceover of Kate. This creates emphasis on the scene as the audience are left to listen to the dialogue properly, and understand what Kate is like. At first the music is in major key, and displays a happy mood as Esther is introduced as a normal happy girl. However as Esther starts to become evil, non-diegetic orchestra music starts to play, adding to the ambience of the film. This begins slowly and eerily in minor key, but picks up pace and becomes louder. At this point a voiceover of the Esther can be heard, later followed by the other characters and mother, all talking over the different shots. This gives the audience more information about the characters, and gives a preview of their personality and roles.The climax of the trailer is continued with incidental music, but suddenly stops, in order to enhance the mood and startle the audience.
Conventions of Psychological Horror Trailers and Films
We decided that we wanted to create a psychological horror trailer, so Aisha and I researched into the main conventions of a psychological horror movie, in order to discover what codes and features are included in the films and trailers, so we could make our trailer as genuine as possible. Psychological horror films mainly rely on character fears, beliefs, eerie sound effects and emotional stability in order to build tension and further deepen the films plot. Unlike “slasher films” such as Saw and Final Destination, which contain mainly gore and violence, Psychological horror films include more subtle approaches of terror than the traditional horror film. This is because they do not include a lot of physical harm, but focus more on the factors of mentally affecting the audience, such as Hide and Seek and Sixth Sense, rather than constantly displaying graphic imagery like in slasher and gore films. Psychological horror films aim to create discomfort in the viewer by exposing common or universal psychological vulnerabilities and fears, most notably the darker and sinister parts of a person’s psyche, which most people repress and deny. The danger in psychological horror films comes from within, and it aims to expose the evil that hides behind usual and normal things, which most viewers find highly frightening as the topic is more relatable than that of a supernatural or slasher film. It is commonly argued that psychological horror contains features that make it more of a thriller genre than horror. However, in psychological horror, the essential element is to frighten the audience mentally, whereas this is not the case in thriller films. The final aspect of psychological horror is its use of body horror. The purpose is to develop a feeling of unease by exploiting human fears to abnormal, suffering, and madness, among others. Aisha and I aim to use as many of these themes and conventions as possible. We intend to incorporate these codes into our trailer, in order for the genre of our trailer to become evident to our viewers.
We have constructed a questionnaire to research into what people want from a horror film. This was sub categorised into different sectors of society. This ensures that we have a mix of both genders and ages. We questioned 30 people and decided to illustrate our results on graphs and pie charts.
We asked an equal amount of men and women to gain a fair view of horror films between both sexes.
Most people prefered an unknown cast. This could be because it enhances the realism of it, whereas if a well known actor played the killer, the audience would always be aware that it wasn't real. An unknown cast might make it seem more real and therefore scarier. If a massive star played one of the main characters, it's most likely that they won't be killed off because they are the star of the film and therefore getting paid a lot, so it would remove some of the initial suspense.
As the most popular settings were houses and mountains, we wanted to stay away from this to be slightly unconventional and instead decided to set the trailer in a school, in order to fool the audience into initially thinking the school would be safe. However, it turns out to be the setting of many murders committed by a student. However, in order to keep in with the conventions, and to avoid making it completely unconventional, which could lead to people not understanding and the film being a flop, we decided to set part of the trailer in a woodland area, because this was one of the popular choices, gaining almost a quarter of the votes.
Due to the inspiration from the mood boards and the obvious winner in this question (27% of the votes), we were excited to begin thinking about our plot for our psychological horror. We decided not to go for the thriller genre because we could be more creative with a pyschological horror in terms of the twist. We also decided not to go with the third most popular choice (ghost film) because it would not be easy to achieve, because many of the haunted/ghost films we have seen use special effects to convey the presence of ghosts.
Due to the feedback on camera shots, we decided to use mainly conventional shots, but with a few handheld shots, to give it an immediate realistic quality, which could potentially make it more frightening for an audience.
We made a short documentary, in order to discover what people wanted, or expected from a horror film, as well as words associated with the genre.
This is a link to my short documentary. I had trouble uploading it onto my blog, so if the video is not here, the link will lead you to the same video.
After the first moodboard, we were still unsure of what to create, so we decided to make a moodboard for each sub genre that appealed to us. These included: Haunted/ghost film LIST THE REST
Our media influences include: A Beautiful Mind The Secret Window Vertigo The Sixth Sense Shutter Island Whatever Happened To Baby Jane? Paranormal Activity The Shining The Uninvited Eraserhead Psycho Hide And Seek 1408 Clockwork Orange The Others
After watching many horror trailers, including 'Single White Female' and 'Scream', we compiled a list of conventions that typically occurred in many or even all of them including:
-A strong tag line, which might make the audience want to watch the whole film, a little bit of information, does not give too much away, gives hints to the genre
-The trailer usually starts off happy, with bright colours and a lighthearted ambiance, with a cheery orchestral score. This could give a false sense of security to the audience. Then there is a point which triggers danger (either a complete contrast in the music, or silence or even voice over, where it darkens and the pace quickens. It is less of a film sequence and more of a montage of dark clips (not necessarily in chronological order). It builds up with drum beats and a more sinister orchestral score and usually ends just when the clips have finally come to a climax.
-There is usually quick sharp editing- jump cuts, dissolve, slow motion, fast motion, fade in/fade out and fade to white.
- Designed to make the audience feel the familiar conventions and narratives
- Leave the audience on a cliffhanger in the form of enigma codes
- There is generally a typical structure to a trailer which begins with the company logos for the producers and distributors. Following this is the narrative establisher, which is a series of longer sequences, setting the storyline of the film. After this comes the USP, which could be the stars of the film, the director or possibly a tag line. After the short suspense sequences, the black and white film listings appear, with the main cast and crew.
We researched the definition of a trailer and then the main features which we want to use to create a more realistic trailer.
A trailer is a short advertisement/preview for a feature film (under 2.5 minutes), which is due to be released in cinemas. They consist of a series/montage of selected shots from the particular film, which portray the film as being interesting/scary/funny/exciting/dramatic etc. A good trailer achieves this without spoiling the resolution. Mostly, they do not show the clips in chronological order, because this can dissolve the mystery.
There are several elements that make up a trailer:
-they usually have a three act structure, similar to a film (a beginning, the middle and ending with a climax.) After watching many trailers, we discovered that the climax usually features a montage of images and powerful music.
-the use of voiceover- sometimes a voiceover is used to set the scene and can provide an explanation to the audience.
-music- helps to create the mood of the film. Through research, we discovered the music used in the trailer was different from the music used in the film.
-a cast run- a list of the actors/actresses in the film, which could persuade the audience to see the whole film. If the cast are popular, it is worth mentioning, because one reason why an audience chooses the films they choose is because of the stars involved.
-production and distributing logos
Trailers are designed to make the audience feel both:
The pleasure of the text: - the audience recognises the familiar conventions and narratives. (In horror this might be the story of a murderer of innocent people)
Suspense in the audience: - by the use of enigma codes. Audiences would wonder who the killer is and what happens in the end.
The film trailers mainly tend to be structured in the following way:
· The band rating card (usually over 12 or 15) · The distribution company logo · The production company logo · The narrative establisher: a series of longer sequences which establish the fundamental storyline of the film · The stars or the USP (the Unique Selling Point): they are often stars or directors. However, horror movies traditionally do not always use well-known stars, because the audience feel more uncomfortable with actors they don’t recognise as they would make them feel more insecure, which is the main aim of the film. For example, in the trailer for the horror film Scream, the director Wes Craven is the USP as he is famous for directing the cult horror film Nightmare on Elm Street. · A series of quick and exciting montage sequences that are full of suspense from the film: this is the convincer in that it should create enough suspense to ensure that the targeted audience would want to go and watch the film · Throughout the trailer, conventions of the horror genre will appear in the trailer · The black and white film listings will appear to mark the end of the trailer.
After much consideration over the proposed music video, we came to a decision that we wanted to create a trailer, as we felt it would be easier to portray the right effect which we intend to convey and it allowed us to be more creative. The brief was:
2. A promotion package for a new film, to include a teaser trailer, together with two of the following three options: - a website homepage for the film - a film magazine front cover, featuring the film - a poster for the film
For this piece of coursework, Aisha and I decided we wanted to work together again, as the AS coursework task had been an achievement in terms of teamwork.
At first, we wanted to carry out the task of creating a music video:
1. A promotion package for the release of an album, to include a music promo video, together with two of the following three options:
- a website homepage for the band - a cover for its release as part of a digipak (CD/DVD package) - a magazine advertisement for the digipak (CD/DVD package)
Our chosen song is a cover version of Muse's 'Uprising', performed by the Veronica's. In order to capture the meaning of the song, we decided to incorporate this in a creepy, surreal video following a supernatural situation, in which two girls get possessed by string puppets. In order to portray this, we have decided to incorporate dark themes into our video. We will research similar videos of similar genres and we are going to involve two different aspects to our video: dark and light. We will plan by creating a storyboard and analysing the conventions of this genre video. The locations of the video will be mainly set in the street, predominantly at night, as well as some shots in a house. We will also take location shots of these beforehand to see if they work.
Even though we liked this idea, after much research into finding puppets for sale, we decided it would be too hard to achieve. So we were back to square one.
