Feature Film Analysis: Hush

The film “Hush”, is an interesting twist on the classic horror film Scream (1996). From the director of Oculus (2013) and produced by Blumhouse Productions, this recent psychological horror/thriller is getting very popular, fast. The concept is similar to Scream (1996) except the main character in this film is deaf, which makes it all the more eerie. Conventionally, the main character in a horror film is a woman who lives alone, and is seemingly isolated (both by where she lives, and because of the fact she is deaf). This isolation becomes even more prominent when her best (and pretty much only local) friend gets murdered 12 minutes into the film.

HUSH 1

This is a screenshot from the establishing shot at the beginning of the film, showing Maddie’s house in the middle of a forest, with no one else around; this shows her isolation.

I really enjoyed this film, because it played on the tension and what the audience anticipated but managed to defy the conventional ‘weak woman’ lead. Not only does this film pass the Bechdel Test, but the main character herself (even though thought to be weaker than the usual female main character in a horror film) saves herself. The boyfriend of her best friend, a strong stereotypical ‘jock’ type hero turns up part way through the film and I thought that, as usual, he was there to save the day. Despite his best efforts, he gets killed almost straight away after turning up to the house looking for his girlfriend. So, eventually, the main character saves herself.

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John Stanley, a friend of Maddie (the main character) and the boyfriend of Maddie’s friend, Sarah, being fooled into thinking that the man is a police officer investigating.

Unlike most of the female characters (normally the victims) in horror and thriller films, she is really smart. Nearing the end of the film, she speaks with her mother in her mind and to an imaginary version of herself about how she can ‘win’. The voice says “You can’t run, hide or wait; what does that leave?”. She goes over all of the possible situations and their outcomes and decides she has just one option – kill him (which she signs in response to the question). This also links to the fact that she is an author, and she was struggling for an ending for her newest book because there are so many endings, and now she has the exact same problem.

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The voice, coming from her second self on the right, says “You can’t run, hide or wait; what does that leave?”. To which, Maddie replies “Kill him” in sign language.

Women are generally portrayed as the weaker one hence being them often being the victim in horror films. In Hush, there is one point where she appears to give up and begins to cry (after her fingers get broken when they are slammed in her door) but something inside of her snaps and she stops, gets up, and writes a message in her own blood, from a wound in her leg, “DO IT” then “COWARD” (after he says “I’m coming in”). This just shows how powerful women can be in these situations, and that a man isn’t always needed to save them.

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One of my favourite parts of this film happens just after this; when the woman opens her laptop and writes a message for whoever may find it if she dies. In a sense, it shows she had partly given up hope of winning the fight against him, but it also means that even if she is to die, he won’t get away with what he had done. She wrote his description on her word document, along with a message to her family.

HUSH 3

Maddie writes the profile of the man attacking her, along with a message for her parents, on the bottom of a document that she had open on her laptop.

The end scene is full of emotion. She sits down defeated but she’s still ‘won’. However, she’s lost her best friend and her best friends boyfriend because of this, who seemed to be her only two friends in the area. In the audiences eyes, this scene is full of sorrow and pain; she sits there accepting that she’s murdered a man, who had also killed her two friends. It’s hard to put into words how it made me feel, which is what I think the filmmakers wanted, so that the audience reflect on the events in a similar way that the main character is currently doing.

HUSH 7

Maddie is sat outside on the steps to her house, after just killing her attacker, waiting for the police to arrive. They use a cutaway shot to show her cat, then back to show the police arrive.

The situation is heart-breaking and hard to even comprehend. The fact that the main character is deaf makes the film that little bit more frightening, because the audience put themselves in her shoes, seeing that not being able to hear would making surviving this situation that little bit harder and yet, she managed to, all by herself. Though the past events, the audience may have forgotten that her cat, Bitch, had gone missing, and now that everything is over, Bitch returns and sits by her side, seemingly the only living thing the woman has left, nearby, and the only other one to survive the mans attacks.

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Maddie’s cat, Bitch, who had previously gone missing after nearly being killed by the man, turns back up by her side as she waits for the police to turn up at her house.

 

Feature Film Analysis: “Children Of Men”

Analyse the opening of the film Children Of Men (2006) up until the first shot of the Michael Caine (Jasper) character’s wife.

To start with, the screen is black with the opening titles showing, and then at around 00:35 the audience will begin to hear a voice-over two authoritative but emotive sounding voices who are telling a story, which can be assumed to be a news story. The viewer hears both a man and woman talking about illegal immigrants, and at 0:56 they are shown the first shot; of a group of middle aged to old people stood in a shop, all looking up and watching, what can be assumed as, a TV. The shop looks like some kind of coffee shop, with a fridge of food in the top right hand corner. The lighting portrays the room to be dark, dingy and potentially dirty, with the only visible light sources being the dull light from outside, a small light in the fridge and a glow from the two televisions in the room.

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The audience are shown the people in the room from a high angle, which makes them seem inferior and weak, and gives a better view of them and their emotions. From their clothes, the viewer cannot tell whether this film is set during the 1940’s or in the future, a timeless scene, as they all look like typical working class people and there is no real indication of when this film is set. It can be assumed that the people are working by their bleak, washed out look, not one person in the shop is wearing a bright colour or patterned item of clothing, they all seem very plain and, almost, boring. The only indication of time is the colour televisions and it is not until the film moves to outside of the coffee shop that the audience began to see when this film is actually set. Every person in the coffee shop is looking directly at the TV; various different emotions portrayed on their faces as they listen to the saddening news that is being told, until a man walks in and pushes through the crowd to get to the counter. This man seems disinterested in the news until he has asked for his coffee, and then finally looks up at the TV. However, this vague interest disappears as soon as his coffee arrives, and then he walks back out onto the grimy streets of London.

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On his way out of the door, the viewers see a bus go past with an advert along the side from “The British Organ Society”, which says “Kidneys £3,000 *INSTANT CASH*”; this implied that there is a great deal of poverty and the people living in this futuristic world are desperate. As we walks out of the shop, the diegetic noises of the world around him get louder. The camera follows him, in a hand-held, slightly bumpy and unbalanced manner. In the next scene, the audience get the mixed idea of the modern world; they are shown the date and where the film is set, “London, 16th November 2027”, and the viewer gets to see a combination of the two sides to the future. One side is the advanced technology, holograms  and moving images on the sides of buses and on the buildings, but the other side is a darker, war-torn look to the streets that are shown, as they are dirty and the colouring of the screen are murky greens and blues, which makes the world look dull and bleak.

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The camera follows this man until he stops and the camera walks around him and seems to show a POV shot of a person looking back down the street. The man stops to pour alcohol into his coffee and then a sudden loud noise and smoke shows a bomb blowing up the coffee shop that he had just left. The audience are exposed to a high pitched, piercing, ringing sound that gives the hint of the man’s ears ringing from the aftershock of the bomb, and on screen are shown a woman staggering out of the coffee shop with her arm in her other hand.

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At 2:30, this goes straight to black with font that reads “CHILDREN OF MEN” in a contrasting, bright white text.

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Next, to the left hand side of the screen, we see a queue of people waiting to hand over their identification to a man in a uniform. In the middle of the shot, on a pillar, we see a form of British propaganda, which again is echoing the idea of war and perhaps referencing the wars that Britain have already been through. The camera follows the man as he is scanned, then skips to inside his place of work. Once again, a hand-held camera is used to follow the man through the big open space, with a tense but sad soundtrack playing in the background, and allows the viewers to see the futuristic desk spaces, as well as the sad looking people who are all sat behind them. It appears that everyone in this film is affected by the death of “the youngest living human”, Baby Diego, except lead character of the man, as throughout the office space the diegetic sound of people sniffing and/or crying about the tragedy.

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At work, he instantly seems to decide he does not want to be amongst the depressing atmosphere of his workplace, and goes to speak to his boss; the audience get the idea that his boss is a stereotypical British man, with cricket memorabilia littering his office, a cup of tea in his hand and eating biscuits. His boss lets him leave, and the viewers see the man get onto the train.

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During the man’s train commute, a propaganda video is playing; this video shows scenes from cities across the world who all seem to be greatly affected by the things happening at the moment “THE WORLD HAS COLLAPSED”, but portrays Britain as the only country to be standing strong, “ONLY BRITAIN SOLDIERS ON”. The camera pans down from the TV screens on the train to the man, sat by him looking glum, this shot also shows the window next to him which has wire protecting the glass. His facial expression suggests that he is deep in thought, perhaps daydreaming, until a loud noise makes him jump and brings him back to the ‘real world’. A shot out of the window shows the train passing through a rough area, with fires burning and graffiti on the walls, and it is here that the audience see where the loud noises are coming from; some hooded people throw objects at the train as it goes by.

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The film then cuts to the man getting off of the train. A hand-held camera is once again following him as he walks, creating the perspective of another person who appears to be following him, the ‘person’ glances to their left hand side, to look at some caged people. These people can be assumed to be the illegal immigrants mentioned previously in the news reports, by the diegetic sounds of them speaking in different languages as well as them being locked up and guarded by armed men. The next shot shows the man walking out from the train station, which looks more like a police station by the barbed wire and amount of guards. There are hints of colour here, dirty yellow cones and the yellow décor on the outside of the station.

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As the camera turns to the right, following the man’s gaze, we see a bearded man resembling Emmett Brown (Doc) from Back To The Future, stood by a bright yellow car. This unknown man refers to the main character as “amigo”. He greets him as “Jasper”, with a hug. This is the first glimpse of another character who seems unordinary and different from the normality of everyone else. He is dressed in colours, unlike the working people we have seen previously, and, like the man, does not seem to be affected by the death of Diego.

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The film cuts to an establishing shot of a film, with upbeat music playing in the background; the shot shows countryside, a field with trees in the background and a road between the two. Along this road, the audience see the bright yellow car from the previous scene, and begin to hear a voice-over of Jasper and the man talking. As the camera continues to track the car, we see piles of cattle being burnt, hooves in the area. The film then uses a shot reverse shot to show the pair talking inside the car, rock music playing in the background. The conversation soon moves to the bomb, and Baby Diego, calling him a “wanker”, and the pair began to joke about those around them who were affected by the news, then move on quickly as Jasper makes a fart joke. This seems to show how different these two men are from the rest of the world, they do not seem to care for the others around them, and seem to be disconnected from the horrific events happening in their everyday lives. The two shot pans to the left, showing a bus full of caged illegal immigrants, showing how poorly they are treated, almost like cattle. Jasper speaks about them briefly, before the music becomes louder again, contrasting the mood of the immigrants, as a shot of the man shows his blank and vaguely interested facial expression. The viewer then sees the car drive into a lay-by, music being muffled as if you and genuinely stood looking at the car.

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Both men are shown getting out of Jasper’s car, again this is being shot on a handheld camera, giving the effect that the audience are there watching them, and see them moving trees from some kind of hidden entrance. This is mysterious and encourages the viewers to both be confused and intrigued, wanting to find out what is behind the trees, how the two men know about it, and why it is being hidden. Whilst moving the trees, the music can still be heard, and the two men are talking loudly about the main character’s love interest, or his lack thereof.

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Another establishing shot is used to show the car driving through a wooded area, in-keeping with the air of mystery that the entrance to this ‘secret’ road gave. The sound of birds can be heard in the background, along with music and voices from within the car, but other than this it is quiet; this is a complete contrast from the busy city scenes that we previously saw. The voice-over of the men reveals how the main man seems to be a very solitary person, and his repetitive life of waking up, feeling like shit, going to work, feeling the shit. Whilst Jasper jokily hits back that it’s a hangover, but the man continues with his depressing tone by saying “at least when I have a hangover I feel something”. The car is shown driving up to an opening, and the shot shows us back into the car, as they drive up to a house.

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The next scene is set inside of the house that the audience had just seen the outside of. Classic music is loudly playing whilst the camera pans across a collection of photos and newspaper clippings of a woman and Jasper in his younger years. It can be assumed that this woman is the wife of Jasper. They show the personal achievements of Jasper and his wife, along with articles about infertility and some other pieces of new that were mentioned in the new report at the beginning of the film. This makes the viewer’s assume that the person who is looking at these is connected to them in some way, then in the next shot the audience are shown an old lady who they will believe to be his wife, and that the previous shot was from her perspective.

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From the small part of the film that I watched of ‘Children Of Men’, I get an almost apocalyptic feeling the scenes in London, and I feel as if the world people now live in is more of a dystopia than a utopia. As the film is set in the future, it is a science fiction but it is mixed with thriller/ action as there are aspects of the film that are very tense due to the political parts of the film, mixed with the threat of human extinction because of infertility.

 

 

 

Feature Film Analysis: Teeth (Theories)

Claude Levi-Strauss’ theory is very evident in the film Teeth. The film shows the binary opposites of Good and Evil.

Teeth is a 2008 black comedy horror film about a girl with vagina dentata and her weird step-brother who is in love with her. This odd film features Dawn and Brad, who seem to show the binary opposites of good and evil; Dawn being the good and Brad being the evil.

The younger step-sister, Dawn, is a member of her high school chasity club and always makes sure to wear her purity ring. She is shown always wearing lighter colours and her room and bathroom are also a light shade of pink. She cares about school, her family, her friends and her potential future wedding. She often wears customised t-shirts that she has made herself, with slogans about abstinence on them.

The contrast between the two is an occuring theme between scenes, but is most obvious in the scene when Dawn walks into her step-brothers room. She is wearing a light sweatshirt with the image of a unicorn on the front. This sweet, innocent image is contradicted by the dark room and the sign behind her which says “who you calling “PSYCHO” “.

Her older step-brother, Brad, is the polar opposite. He wears dark clothing (e.g. leather), owns a violent and loud dog, his room is covered in photographs of naked women, he has piercings and tattoos, he does drugs, listens to loud rock music and has anal sex with his girlfriend all the time. Semiotic items are used, which symbolise death, evil and the devil (such as a skull) and the lighting is often red, which symbolises evil, the devil, anger or love.

Feature Film Analysis: “Kill Bill Volume 1” (Theories)

Todorov’s theory states that films have 5 identifiable parts; an equilibrium, then disruption of the equilibrium e.g. by an event, then recognition of this disruption, then an attempt to repair this disruption and finally, a new equilibrium. Although Todorov’s theory can be applied to the vast majority of films, I do not think that Kill Bill: Volume 1 is one of these films. Due to the non-linear timeline, it would be hard to fit his theory to the film as the theory generally applied to films that have a chronological timeline.

Levi-Strauss suggests that the world is made up of binary opposites and therefore, characters are usually binary oppositions. This helps to add emphasis to any potential conflict between characters as there is a greater difference between them. In Kill Bill: Volume 1, the main character could be seen as “good” side, while she fights for her revenge against “evil” in the form of The Deadly Viper Assassination Squad.

Barthes theory suggests that films can have certain ‘codes’ applied to them; the enigma code, the action code, the semantic code, the symbolic code, and the cultural code. The enigma code says that a film is made into a puzzle for the audience to solve, often using mystery to keep the audience intrigued and wanting to find out more. Flashbacks and flash forwards are perfectly applied to this code, so Tarantino’s choice of a non-linear paragraph means the enigma code is a key concept for the film. The action code says that a film is based on the consequences of what happens in the duration of a film or film series. For example, when a character walks into the room with a weapon, we assume they are about to hurt or kill someone. The semantic code uses connotations and denotations to add more meaning to scenes in films, e.g. a white item of clothing (such as a wedding dress) to signify innocence and purity. The symbolic code suggests that some imagery will have symbolism attached to them, for example a big, open space may symbolise freedom. The cultural code often consists of references, and is widely-known knowledge that is used in the film; this means that the filmmakers are referencing something outside of the film, for example to pop culture or historical events, to make the film more relevant; this is something that Tarantino does a lot in all of his films, for example the cover of Kill Bill: Volume One shows the main character in a costume that references Bruce Lee.

Feature Film Analysis: “Kill Bill Volume 1” (Narrative Arc)

narrative arcc

Exposition:

The Bride is seen lying on the floor, wounded, in a church. She tells Bill, the leader of the Deadly Viper Assassination Squad, that she is pregnant. He shoots her.

Inciting Incident:
The Bride goes to Vernita Green’s house, and starts to have a knife fight with her. Vernita Green’s daughter comes home, and they briefly stop. They go to the kitchen, and the audience are led to believe that everything is resolved between the two characters, until Vernita Green tries to shoot The Bride, misses, and then is stabbed by The Bride.

Rising Action:
Elle Driver is seen going into the hospital to kill The Bride, until she gets a phone call from Bill that the mission should be aborted. The Bride wakes from her four-year coma to find she is no longer pregnant, and escapes from the hospital where the hospital worker from her ward had been raping her and getting money from people who had been raping her.

Crisis:
The Bride decides that she is going to kill all four members of the Deadly Viper Assassination Squad, along with Bill, as a way of resolving what they had done to her.

Climax:
She decides to go after O-Ren Ishii first, tracking her down in Japan. (The audience learn about O-Ren Ishii’s childhood, where her parents had been brutally murdered in front of her, and she had murdered the man behind it). The Bride obtains a sword from swordsmith Hattori Hanzō, after telling him that her target is Bill, who is a former student of Hattori Hanzō.

Resolution:
The Bride murders O-Ren Ishii, then tortures her assistant for information about Bill. She leaves the assistant alive as a threat. (The audience learn that The Bride’s child is still alive).

There is not such a clear resolution for Kill Bill: Volume 1 as there is another film afterwards, therefore Tarantino would not end the film without questions that had not been answered. The resolution of this film in itself is more subtle, but still evident.

Many of Tarantino’s films are not in chronological order. Having a non-linear plot line makes it harder to fit into conventions such as the narrative arc, but it can be done either in the order it appears on-screen, or by ordering the events into chronological order yourself.

Feature Film Analysis: “Kill Bill Volume 1”

Wikipedia:

“Kill Bill is an American two-part martial arts film written and directed by Quentin Tarantino. It was originally scheduled for a single theatrical release, but with a running time of over four hours, it was separated into two films: Kill Bill: Volume 1, released in late 2003, and Kill Bill: Volume 2, released in early 2004. A third installment was planned for the year 2014, but in a 2012 interview from Tarantino, concerning Kill Bill: Volume 3, he remarked, “We’ll see, probably not though.” In 2015, however, Tarantino said he and Uma Thurman are considering it.”

The first thing we see, at the start of the film, is the phrased “Revenge is a dish best served cold”, which sets the mood of the film. The audience automatically assumes that they are going to see some kind of action between 2 or more people who have some kind of reason to be against each other. The viewers will assume, by the use of the word ‘revenge’, that one person or group of people have already acted against the opposition and that the film will revolve around them trying to get back at the person/ people who have done something to them.

Kill Bill screenshot 1

Kill Bill is a non-linear film, which means that Tarantino can play around with the order of the events rather than them happening in chronological order. This also helps to let the viewers to understand and work out parts of the story as they are happening, this means that as the viewers are able to see more of the backstory, it allows them to be more sympathetic towards certain characters, and understand the relationship between those in the film, which allows the audience to have more of a connection with the characters; involving the viewers in this way means that people get more into the film. This is typical of Tarantino’s style, and gives him the individual look and edge to his film that others do not achieve, but using a non-linear timeline does mean that it is unrealistic. The film is ordered by chapters, and the audience are told when one chapter ends and the other begins by title cards.

Kill Bill screenshot 2

The soundtrack to Kill Bill, and many other Tarantino films, is very upbeat and catchy. This often contradicts the scenes that are being shown on the screen, which may be quite brutal or gruesome. This contrast of happiness and violence creates an intriguing and individual style of film, as the majority of films in this genre will use cultural music and music to help build the tension.

There is very intrusive editing on screen at times during the film, for example, as some points in the film “Chapter” titles will come onto screen and introduce scenes, characters are introduced in a similar way at the beginning of the film. This helps to keep the audience’s attention, with a slightly more comic book style, as they will assume that whatever is being shown on the screen will be important to the plot of the film. Using wording not only keeps the audience interested but also helps them to keep up and makes sure they understand, as the film in non-linear and sometimes confusing/ hard to understand. This use of wording also reflects the genre of the film, as many martial arts media are either in cartoon film, or there are many books and magazines in this genre, so this relates back to that. Another aspect of obvious editing would be the use of censorship, in the form of bleeping out her name, as this breaks the fourth wall of the film being a story. It’s a very unique technique, which adds mystery and curiosity, as the audience will wonder why her name is being kept from them; this acts as motivation for them to watch on, as they want to know what her name is and why her name was bleeped.

Kill Bill screenshot 3

The film combines a lot of dynamic camera work with unexpected or unconventional camera angles, which means that the real aspects of the film are once again ‘ruined’ for the viewers. This is often combined with obvious editing, such as the scene where there is a close-up zoom on the protagonists eyes, then the colour of the screen changes to an orange filter and the shot is overlapped with other shots from another time, as if it is a flashback happening in her head, that we can see through her eyes. This is also shown with a split screen, showing two things that are happening at the same time, leading up to an event in which we assume the two screens will meet.

Kill Bill screenshot 4

Pulp Fiction Shots

Whilst watching Pulp Fiction, I took screenshots so that I could distinguish between different types of shots and explain why a filmmaker may use them.

1
This is a low angle shot.
This can often give the perspective of someone, and is used to show the characters in shot as authoritative or literally higher up than them.

2
This is a two shot.
A two-shot helps to establish a relationship between two characters in a scene.

3
This is an over-the-shoulder shot.
This is normally used to show a conversation between two people, hiding the identity or reaction of the character in the foreground and showing that of the character in the background.

4
This is a high angle shot.
This is often used to give the view of a camera, and can be used to show someone as small and another character as authoritative. It allows the audience to see more of the situation/ setting that the character is in.

5
This is a long shot. 
This allows the audience to see the whole room or scene behind characters, but will often have the characters in the centre or foreground to make them stand out, so that the attention of the viewer is still focused on them.

6
This is a mid-shot.
This allows the audience to get an idea of what is happening without showing them everything behind the character. This is often a eye-line shot.

7
This is a head-and-shoulders shot.
This allows a closer view of a character, including their facial expression, but does not emphasise their emotions as much as a close-up or extreme close-up shot.

8
This is a close-up shot.
A close-up is normally used for facial expressions, and reactions to an event happening in a scene.

9
This is an extreme close-up shot.
An extreme close-up gives the audience a detailed view of something of importance and can often be used to create excitement and/ or tension in a scene.

10
This is a point-of-view shot.
(From the POV of the person sat in the back of the car).
This shows the audience the perspective of a character and allows them to relate to the scene a little more.

Stages of Film

Pre-Production (before the film is made)

  • Shot Lists – planning out the series of shots that are needed for the entire film
  • Script – all of the lines (and sometimes stage directions) that the actors and/ or actresses have to say
  • Storyboards – drawings or sketches of the key scenes in the film, often with additional notes
  • Locations – where the shots are going to be filmes
  • Conventions – typical aspects of film that apply to the film you are making
  • Risk Assessment – writing down any possible hazards during filming and how these can be avoided or dealt with if they do happen
  • Budget – the amount of money available to spend on the film
  • Casting – which actors and/ or actresses are playing which parts in the film

Production (during the making of the film)

  • Filming – all of the shots from the shot lists with the correct actors/ actresses and in the right locations
  • Sound Recording – any diegetic sounds are to be recorded
  • Travel – getting to the places in which the film is set
  • Photos – images for posters or social media teasers will be taken at any key moments or opportunities to do so

Post-Production (after the film has been filmed)

  • Editing – gathering all of the shots, getting rid of the ones that are not needed, cutting down the shots that are needed and putting them together
  • Effects – adding in anything that could not be filmed, e.g. CGI
  • Non-diegetic sound – any sounds that cannot be recorded are placed over the top; sound effects, soundtrack, etc.

 

Psychological Horror Tropes

After completing my mind map and researching tropes, I decided to look into the tropes of psychology horror films.

Nothing Is Scarier

The “Nothing Is Scarier” trope can be used in three different ways. The classic version, where the moment serves to build up suspense and tension, until something jumps our from the shadows or seemingly from nowhere. The full version is when there genuinely nothing at all happening; this is scarier because the audience is left thinking about what could have happened. Finally, a rarely used third version where the audience continually think that there is nothing there, until they realise there is, and it’s been there the whole time. This technique isn’t to do with what is there, it is to do with what isn’t.

 

Mind Screw

The “Mind Screw” trope relates to the concepts of symbolism and surrealism, in that the audience are supposed to question what on earth is happening. These are the criteria for a “Mind Screw” film, some critea (but not all) has to be met for it to be considered this trope. These critea are:

  • Due to the symbolism or surrealism, the film appears ‘weird’.
  • Even when symbolism is used, it is not explained.
  • The film events are never connected for the audience to understand them.
  • Even in context, events do not seem to have a cause.
  • Plot developments tend to be unclear.
  • You have to pick up ‘pieces’ throughout the film to get the whole picture.
  • The ‘reveal’ of the film seems irrelevant or unrelated to the rest of the film.
  • The ‘reveal’ contradicts the rest of the film.
  • There is no ‘reveal’.
  • There isn’t a clear timeline, or the timeline is non-chronological.
  • There is no end to the film, it just stops.

 

Nightmare Fuel

This trope intentionally tries to provoke fear in its’ audience. The filmmakers making films in this trope will be making them as scary as possible. There are a lot of examples of things that may be seen in these kinds of films, some examples of these are:

  • Death.
  • Extreme violence.
  • Fear-inducing animals such as snakes, spiders or rats.
  • Rape.
  • Being buried alive.
  • Surreal things, such as monsters or anything supernatural (ghosts, demons, etc.).
  • Being eaten alive.
  • Being set on fire.
  • Disturbing noises or voices.
  • A totalitarian authority which is killing people or so bad that people are killing themselves.
  • Being drowned.
  • Corpses.
  • Disease.
  • Being hunted.
  • Creepy children singing.
  • Being a puppet to someone controlling you, but your mind is still working.

What is a Trope?

A trope refers to a style of film plot or aspects of a film plot that fit into a specific category. These are different between genres, e.g. the romantic film tropes will be different to that of the horror film tropes, although some may overlap, e.g. romantic film tropes and comedy film tropes or horror film tropes and thriller film tropes. The word is often used negatively, from certain over-used tropes in a specific film genre. These can be simple and basic or more specific, for example;