Media Analysis; Film Opening, 'The Game'

Michael Douglas (taking the role of Nicholas Van Orton a successful banker who keeps to himself ) and Sean Penn (playing Conrad) star as brothers in the 1997 mystery and psychological thriller, 'The Game'. When Conrad returns on his birthday with an strange gift-participation in a personalised real-life game. Nicolas reluctantly accepts. Starting of harmless, the game grows increasingly personal, and Nicholas begins to fear for his life as he avoids agents from mysterious game's organisers. Orton must find answers for himself, after being left with no one to trust and no money.

1997, 'The Game' has a production logo of polygram films entertainment connoting the time the movie was produced and filmed and also the location, this is denoted as the company founded in 1980 and an European competitor to hollywood, after it was sold in 1998. Therefore the movie an be signified as one of the last before the company was sold off to the, 'Seagram company'. The typography is in a basic white font, connoting the straight forward font and content of the text symbolise the straight forwardness of the narrative. The white text is an high contrast against the black plain background, signifying a light in the darkness. This can also be signified  to conform Todorov's theory, connoting the dark as disequilibrium and the white font as equilibrium. Fitting in with the conventions of a thriller genre as the darkness (disequilibrium) is a larger volume than the light (equilibrium).

The montage of shots edited in a subliminal manner, connote as a flash back due to denotations of a old television filter on them. The flashbacks are signified in a negative light, as if it's events that have scarred the protagonist,  as they are shot in low key lighting connoting that they are a dark memory, being relived in a failed attempt to forget them. These shots are also filmed in de-saturated lighting to signify the age of the shots. A large portion of the film opening sequence is taken up by the flash backs, this signifies the strong tragic hold they have over the protagonist, leaving the demographic with enigma. However the remaining portion of the title sequence is a shot of a male protagonist washing his face, this connotes his attempt to wash away the thoughts or even signifies the hot clammy state the memories/ flash backs get him into. As these shots are also filmed in low key lighting it connotes that even though the bad is over the past still lingers and haunts him in the present. It also may signify a foreshadow chain of events that will lead the disruption stage.

The narrative is very restricted, leaving the target audience with enigma. Also due to the use of a flashbacks being present the movie as anachronic narrative. Non-diegetic and diegetic soundtracks are used in the production, a non-diegetic soundtrack playing before the images are shown makes the audience worried and weary of what is to come. The non-diegetic soundtrack connotes as an cover-up to scare and distract the demographic from the truth seeking through in subliminal messages. The non-diegetic soundtrack of an olden pianist conforms to the ideology of the flashback, it's parallel and synchronous connoting that it's from an older past like a flash back would be. The diegetic sound of the water after the protagonist washed his face, signifies as breaking the soft music of the flashback brings himself and the demographic back into the present and reality. 

Media Analysis; Film Opening, 'Cape Fear'

1991, 'Cape Fear' is a psychological thriller is about Sam Bowden played by Nick Nolte whom knowingly withholds evidence that would prove violent sex offender Max Cady's (played by Robert De Niro) innocence dropping all rape charges. Max spends 14 years behind bars. however disruption of equilibrium occurs when Max is released, and he devotes his life to stalking and destroying the Bowden family. Sam realises he must act outside the law to protect his wife and daughter after practical attempts fail to stop Max. 'Cape Fear' is a Martin Scorsese's remake of the classic 1962 'Cape Fear' thriller.

The typography off the filming opening is slanted and slightly mirror, connoting an uneasiness and rushed sense. This can be signified as an insight to the narrative as being fast paced and uneasiness throughout, denoted from the early sight of the connotations in the title sequence relating back to the thriller genre. The well-known universal studios logos scene is the very first thing seen, signifying it as iconography for the movie to following being high budgeted. As universal studios is a well-known company, it's connoted that the target audience will be board worldwide. As the production logo ends it fades into the next scene, connoting a direct link between the two. This connotes that the movie is in close relationship to the company, therefore the demographic know what to expect before watching a trailer or the film.

The lighting conforms Todorov's theory of narrative. As the first scene is denoted as a water reflection of the sunset, the warm colours connoted as the equilibrium. However low key lighting takes places, signifying the disequilibrium. This conforms to the thriller genre as having a larger portion of disequilibrium against equilibrium is a convention. 

A vase majority of the shots are patterns in water, a reflection caused by water twists the original image, this signifies the narrative, as it connotes a twisted perceptive in someone's eyes. The shots directly after this are of negative filtered eyes, conforming the ideology of the water signifying someones twisted mind. By having the eyes filtered in two different colours in two different shots, connote two sides of that person. For example, the first shot is filtered in white and black, connoting innocence and pure. However a sense of weariness is still presence signifying the person is hiding their demons. Whereas the next is filtered in red and black, connoting her/his 'bad' side with the red as iconography of blood.

The narrative is very restricted in the film opening, as a large amount of screen time is taken up by the reflections.The opening sequence is made up of both non-diegetic and diegetic soundtracks. The diegetic sound of the water, signifies a sense of calmness and equilibrium. Which is rapidly ended by the harsh long non-diegetic soundtrack which is contrapuntal, connoting a weariness and even signifying a foreshadow of an bad event. The diegetic sound of the girl speaking to the camera is very powerful and direct (which is parallel to the image) gives signified ideology that the narrative holds a counter hegemonic reading where the girl is a given power as a strong protagonist. 

Media Analysis; Film Opening, 'Zodiac'

Zodiac is a crime thriller set in the late 1960s and 1970s in the city of San Francisco about a serial killer called Zodiac stalking it's residents. Mark Ruffalo and Anthony Edwards play investigators with their co-stars Jake Gyllenhaal and Robert Downey Jr taking on the role of reporters that become obsessed with learning about the killer's identity and bringing him to justice. Simultaneously, Zodiac claims more and more victims taunting the authorities with enigmatic messages, codes and menacing phone calls.

The typography throughout the filming opening is in the font of a typewriter style, this connotes the time period of which the film is set in and also signifies the as a type of font associated with a report, conforming the crime thriller genre. In similarity to, 'Outbreak' there is no production logos at the beginning of the film opening connoting that the narrative is straight forward and fast pacing, denoted from the establishing pan shot of a city. However even though production logos have not been represented, in the same typewriter styled typography reading, 'Paramount pictures and Warner Bros. pictures represents'. Paramount pictures is a corporation that produces and distributes, ranked as one of the, 'Big Six' films studios of hollywood. Along side Warner Bros. pictures an American entertainment company. These two companies combined signifies the general area or heart of their target audience as being in America due to both companies being homed in America. However it is also connoted that it is a movie is high budgeted from the iconography of the two well known companies and that it travels worldwide due to the popularity of the companies.

It is important in any title sequence or film opening of a movie that it keeps the audience interested and eager to watch the rest of the film, 'Zodiac' effectively uses this convention to the producers advantage. The film opening uses de-saturated lighting signifying to conform to the age of which the movie is set. The de-saturated lighting also connotes a foreshadow of an darken disequilibrium to come leaving the demographic uneasy and weary-trying to predict the time of disruption. This is used to restrict the narrative but give the target audience subliminal messages to keep the enigma fresh and the audience's eyes glued to the screen.

The shots are sequenced in the film opening to represent the narrative and background information slowly. For example, in the very beginning establishing and panning shots are used to connote information of the surroundings and the hometown of which the movie is set in. Next set of shots are signified to introduced the lead characters, allowing the demographic to connote the protagonist of the narrative. From the power of the shots we are able to connote key and important information about that character. For example, in a mid shot where the young boy and man are denoted at the same height and standing close together signifies the their relationship and the closeness they have, by connoting them as equal like their eye levels are.

Non-diegetic and diegetic soundtracks are present. Non-diegetic soundtrack of a African or Indian tribal music is connoted as contrapuntal and asynchronous over the establishing shot of the city, making the target audience feel uneasy for what is to come. Also leaving the enigma of the possible connections between the two.  Against the non-diegetic soundtrack, diegetic sounds of voices and surrounding noises can be heard, connoting the a rushed lifestyle of the protagonist as the non-diegetic sound fastens.

Media Analysis; Trailer, 'Knock Knock'

Equilibrium is clear has a husband says bye to his family going on a trip, however this brief equilibrium is interrupted when two sexually attractive, stranded women played by Ana De Armas, Lorenza Izzo reveal a disturbing agenda after they spend the night with married architect, starred by Keanu Reeves in this mystery thriller. The trailer for, 'Knock Knock' demonstrates the typical conventions of a thriller genre movie. 

The first 10 seconds of the trailer there is a montage of shots, represented in a subliminal editing manner of the different production logos, connoting the work and time spent on making the movie effective and high budgeted. The production logos are also used as iconography of that genre. For example, target audience that maybe familiar with the style and quality that company exports the demographic already have a sense of information about the movie their about to watch.

The movie is split into high and low key lighting- with a larger low key lighting ratio which is a convention in thriller as the aim is to put the demographic on edge. Conforming Todorovo's narrative theory, with high key lighting being signified as equilibrium and low key lighting connoted as disequilibrium. The trailer is edited to show a sense of time passing in order due to the lighting, this is denoted from the way in which the high and low key lighting is grouped and represented. In the middle of the clear disequilibrium, a short montage of shots of high key lighting has been edited in, this connotes a equilibrium in the perceptive of the antagonist's twisted mind in a romanism famous, which is quickly disturbed by the denotations of scenes swiftly switching to low key lighting connoting the protagonists realism and perceptive of his mind- taking over the narrative. 

The trailer shows a restricted narrative, creating enigma on the demographic but keeping them interested enough to go and watch the movie when it is released. The narrative also consists of a counter hegemonic reading where due to the camerawork, lighting and shots the female is given the power connoting an attempt to dismantle the hegemonic power. 

Camerawork such as low and high angles conform to the ideology of the narrative having a counter hegemonic reading. For example, the two girls are represented with low angles, connoting that they have the higher ground as the target audience through the camera lens are looking up at them. The high angles are used on the male protagonist, reversing the power effect and signifying him as weak and powerless. By editing the two shots together the demographic make a clear link between the two connoting that the girls have the power as they outnumber the male. However there is also a oppositional view subverting this ideology of counter hegemonic reading of the characters as their are two female antagonists and one male protagonist. This signifies that the females are less powerful as they need to be in a pair or group to beat one man connoting a social gender inequality that males are more capable and stronger than females. However by a female having the nature to be a antagonist or the villain (connoting that the trailer conforms Propp's theory of characters) whereas the protagonist is a victim and hero is a counter hegemonic reading. 

The non-diegetic and diegetic soundtrack also conform the equilibrium stages due to variety of beats and paces represent. With equilibrium being clearly connoted in the happy upbeat tune of the non-diegetic soundtrack and disequilibrium denoted from the harsh diegetic soundtrack of the thunder storm, and the hitting of the victim. By using non-diegetic and diegetic sound to make a clear division between equilibrium and disequilibrium signifies that the happy equilibrium of a innocent and pure life is nothing but a fairy tale or a dream.  Whereas the non-diegetic sound connoted as reality, this has relation back to the thriller genre as unlike a horror a thriller is a scary and frighting narrative which is realistic, whereas horror is made up myths with are controversial on their truths. 

Media Analysis; Title Sequence, 'Outbreak'

'Outbreak' is a action thriller, starring Dustin Hoffman as a disease expert and Rene Russo as his ex-wife. Disruption of the equilibrium occurs after an African monkey carrying a lethal virus is smuggled into the U.S and an outbreak occurs in a California town; a dangerous airborne virus threatens civilisation. In need to control the disease the doctors must fight agains't the clock to save the town and it's residents, especially the Army intervenes to handle the situation.

In comparison to, 'Red Lights' unlike the title sequence for, 'Gone girl' it doesn't consist of production logos at the very beginning. Again connoting that the movie doesn't need the iconography of a well-known high budgeted movie production to advance their views, but relies on good quality camerawork, editing and narrative. The ideology of having no production logo signifies the fast pace of the narrative. For example, the title sequence for, 'Gone girl' had a production logo taking up 30 seconds of the screen time whereas, 'Outbreak' goes straight into the narrative with a establishing shot of the African jungle, connoting to the demographic the narrative moves along swiftly keeping the audience's eyes glued to the screen for the entire length of the film.

Giving the expectation, 'Outbreak' is a 1995 movie the lighting is de-saturated, slightly low key lighting, with the brief scene of high key lighting in the very first shot. This conforms to Todovoro's
narrative theory as even though the film as already been connoted as a fast pace moving narrative, the short opening scene using high key lighting is signified as the equilibrium due to the bright happiness normality in the lighting used.  After the clear connotation of distruption of the equilibrium ( denoted from the explosion) the lighting switches to low key however in a different location. By having damage caused in one scene and the effect carrying over into another scene, connotes the worldwide issue or conflict occurs by that damage, creating enigma to the target audience as to what is actually going on and what as happened.

Within the shots, camerawork and editing, there isn't many cuts, connoting a continuous flow of the narrative also conforming to the ideology that the film consists of a fast pace narrative. Unlike the other two title sequences i have analysed, 'Gone girl' and 'Red lights' this title sequence subverts the conventions of a thriller film opening, by jumping straight into the narrative whereas, 'Gone girl' as a build of montage shots to allow the target audience to get familiar with the surroundings and male protagonists before the narrative starts, in similarly where, 'Red lights' leaves enigma to the demographic by subliminal editing of montage shots of different props leaving hints of the narrative and star persona of characters. 'Outbreak' doesn't allow the target audience to have any time for enigma in the filming opening from the denotations of leading straight into the narrative. 

Non-diegetic soundtrack is very minimally used in the beginning of the title sequence, parallel and synchronous to the image connoting an musical African tribe soundtrack linking to the African jungle image represented, the fast pace of the soundtrack is synchronous connoting as a heart beat as the target audience watch a scene of a monkey escaping a fire. After the equilibrium as been disturbed and the location as changed, diegetic soundtrack of voices and mechanical devices is heard, connoting the effect one thing has worldwide and signifying comparison between the two juxtaposed locations, leaving the demographic in enigma to how this link has occurred.  

Media analysis; Title sequence, 'Red Lights'

2012 Thriller, 'Red Lights' is about professional skeptics played by Cillian Murphy and Sigourney Weaver, try to prove that a famous psychic is lying about his ability.

Unlike the title sequence for, 'Gone girl' it doesn't consist of production logos at the very beginning, this connotes that the movie have the ability to make it by itself with a powerful narrative. It also signifies it relies on other iconography such as famous well-known actors such as Robert De Niro to connote to the audience that it is a good movie (denoted from the first shot being graphics of his name), therefore the connotations of a well-known production company is not needed. Similar connotations from the production logos, the well-known actors used signify to the demographic an understanding within the genre or style of movie from previous movies he/her may have starred in. However the oppositional view subverting the demographic being able to connote the film; is that the movie goes against the predictions of the target audience and place the actor in an character which he or she wouldn't have played before.

Low key lighting is used the title sequence, up to 1:11 when it takes a strong contrast into very bright high key lighting. However even though the shots are split into high key and low key lighting throughout the production it is continuously in black and white filter. This connotes a sense of mystery thriller genre as the high contrast between the two basic colours allows the editors to hide information in the shadows or expose it in the light, also creating enigma to the demographic to weather the entire film will be in black and white.

After watching the title sequence for the third time, i noticed at the very beginning subverting the ideology of the title sequence being entirely in black and white filter. Glared, out of focus, shots of a red light is visible in the first 20 seconds of the film opening. The producers have placed it with the graphics of the title, 'Red Lights' to connote the importance of the title and the meaning behind it and how that plays in the narrative of the film. This also creates enigma to if the white glared lights denoted previously are also red lights, however with the black and white filter placed over the top. This signifies the genre to be exposed in the first 20 seconds as an mystery thriller.

Very similar to the mystery thriller, 'Se7en' all the shots are filmed closely, signifying a link between the two sharing the same genre, making close up shots of props an convention to the genre. However unlike, 'Se7en' the movie, 'Red Lights' film opening as an match on action, close up shot of an eye, this includes an character in their production, signifying information from the eye from the famous quote, 'an eye is a window to someone's soul'. However cleverly the editors and producers restrict this information as the shot is filtered in black and white. At a signified level the denotation of the eye can act as a subliminal message to the demographic about the narrative, connoting an perceptive or view of one person. All the shots are edited together to make a montage of shots, in a subliminal editing famous, making cuts between the shots hard to discover. This connotes the fast pace sense to the narrative, letting the target audience know the movie isn't boring. In the title sequence a large ratio of shots are of pictures, new papers and reports signifying the crime genre giving the demographic a small insight the star persona of the protagonist and the narrative, without giving too much away and creating enigma.

Non-diegetic soundtrack is present from beginning to the very end. This signifies as a cover-up of information that could be represent however the pace and beat of the non-diegetic soundtrack making the target audience weary distracts them from the truth. At no point is any diegetic soundtrack produced leaving enigma as a large amount of information is restricted from the protagonist or antagonist. 

The website which the title sequence was found was: Art of the title

Half-term Filming

During our Half-term break i decided to film some shots at home, however bearing in mind the lighting changes from different locations. To aid this i used a one point lighting and natural lighting to experiment with the shots. Firstly i filmed a shift of focus on a ripped and crumbled photograph, using a sheet of black card in the background to darken the shot effectively. The second shot i film, involved the prop of a heart. I purchased an animal heart from the local supermarket, and took experimental shots with i believed would be useful to have in our project.

All evidence of the filming is presented below. 

Media Essay, Title sequence, 'Gone Girl'

Psychological thriller, 'Gone Girl' is a 2014 movie about Nick Dunne and his wife Amy starred by Ben Affleck and Rosamund Pike. The equilibrium is interrupted when Amy Dunne goes missing and Nick is put under the light of accusations.

In the title sequence the movie doesn't start until 30 seconds into the production. The very start of the movie the producers logos are shown in this case it is twentieth century fox and regency enterprises. Regency enterprises includes a library of over 100 titles and distributes it's film worldwide, connoting the film will have a wider broad target audience as it is issued worldwide. Also before the movie starts a black screen with the graphics, 'a David Fincher film'. The typography of the name, 'David Fincher' is capitalised, enlarged and bolded to engage the attention of the target audience, connoting it has important information as it will be the first thing they will notice and remember. For the demographic whom have seen a film directed or produced by David Fincher will have an understanding into his style in his films and can signify and predict the style or theme of the film they are about to watch.

The lighting used is low key throughout the production, this conforms to the expectations of a thriller movie, as the dark shadow like scenes connote a weary tone in the atmosphere. Lighting is a clever way to set the mood for the rest of the film and shift emotions onto the audience. For example, 'Gone Girl' uses low key lighting throughout the title sequence connoting the rest of the movie to conform to this theme, and making the demographic  become sad and weary for the characters in the narrative. 

In the title sequence for, 'Gone Girl' all the shots are long and paced connoting the tiresome and lack of fight the husband has which is clear in his voice within the voice over. Camerawork such as panning is mostly used, this technique shows more area than the frame can hold, or reveals more information. For example, one of the ending shots is an establishing shot of a neighbourhood, the camera slowly and steadily pans to another house, connoting the importance of that house. This makes the house stand out and create enigma within the demographic of why the house has such great importance and who lives there. The reduced sign outside of the house, signifies the house is empty and had been for a long time (since the price as been reduced), leaving the target audience with enigma to how this house will tie in and play a part in the narrative. 

Within the most effective title sequences the narrative is restricted however giving enough subliminal hints to keep the audience engaged and hooked, to watch the rest of the film. In the film opening the only information we are given is that the husband is very confused by his wife and whats to know what she's thinking and doesn't seem happily married to her this is all signified from the voice-over where the male protagonist says, 'When i think of my wife... i think of spooling her brain, trying to get answers.' This isn't a normal statement to infer to your wife, this leads to connotations of conflict forming between them within the past, that still lingers in their presence. Non-diegetic soundtrack is continuous throughout the film opening as a soft low harmony soundtrack. That is parallel and synchronous to the images however contrapuntal and asynchronous to the voice-over of the protagonist saying, 'When i think of my wife....cracking her skull and spooling her brains to find the answer.' This connotes a conflict grown between them leaving the demographic in enigma. The two different sounds juxtapose each other. With the voice-over over-powering the soundtrack- drowning it out. Signifies that the sweet harmony of the non-diegetic soundtrack is just a cover up to disguise the truth, and the conflicts of their unusual marriage.

The website which the title sequence was found was: Art of the title.

Media Essay, Filming Opening, 'American Psycho

2000 released, 'American Psycho' is a thriller set in New York city 1987, of a handsome, young urban professional, Patrick Bateman played by Christian Bale whom lives a second life as a serial killer by night. Most thrillers conform to Todorov's theory of equilibrium and disequilibrium stages within the narrative. However it is vital that the producers use a restricted narrative, as it is a convention of the thriller genre, especially in the opening scene. For example, in American Psycho, only the equilibrium is represented however weariness is connoted from the soundtrack and voice overs used in an ironic method.

A soundtrack is present however isn't continuous throughout the production, this creates weariness on the audience as it sets the mood for the rest of the film connoting the unpredictable events or characters to come. In the very beginning the non-diegetic and voice over soundtrack is parallel and synchronous to the images, however the harsh low sound of the voice-over creates the scene to become weary and a sense of irony from the juxtaposition of what he is saying and what he sounds or what the demographic expects him to be like. The harsh almost demonic voice-over connotes his created a persona to hide his truth self or form, signifying a inner demon attempting to escape.
The soundtrack becomes contrapuntal from the image in the very end shot, this signifies an uneasiness weary feeling on the target audience causing the creation of enigma; which is set in the beginning as a main theme or emotion for the rest of the film. However the voice-over is remains parallel as he pulls of the facial mask he explains how, 'he is not all there' this connotes a subliminal message that all of what he has previous told the demographic about his morning facial and body routine is a up-keeping of a mask with he tricks people with daily where the real him is in the shadows at night when all the morning routine fades away or wears off.

The narrative is restricted yet broad in different terms. For example the in terms of equilibriums, disruption, resolution and new equilibrium stages the information is very restricted, to  create enigma on the target audience, connoting a sense of a deeper narrative in which the brief narrative represented acts as a cover-up to hide the truth, this then leads to signifying the protagonist Patrick Bateman mental state of mind and his impact on the narrative as it progresses. However the narrative is broad in terms of information about the character's morning routine.

The opening sequence subverts the ideology of low key lighting and de-saturated lighting being conventions of the thriller genre. everything is the scenes are bright neutral colours filmed in high key lighting where everything is set out perfectly and neat, connoting the mental state of the character, which  then leads to the narrative. This signifies later reasoning and explanations of the disequilibrium and connotes ideology that the character himself drives the narrative, and is dependent on him. The ideology of the character, 'Patrick' driving the narrative is conformed in the shots. Every shot the same male character is seen and heard in a voice-over connoting his importance and impact he creates on the narrative, this leaves enigma on the demographic to if the character takes the role of a hero or villain. 

Media Essay Film Opening, 'Se7en'

Psychological and crime thriller, 'Se7en' stars Morgan Freeman as William Somerset a retiring police detective who tackles a final case with the help of the newly transferred David Mills played by Brad Pitt. Together they discover a number of elaborate and grizzly murders, soon to realise a serial killer is on their hands (Kevin Spacey)- whom targets people he believes represent one of the seven deadly sins. The narrative of the thriller (and like most thrillers) conform to Todorov's theory of equilibrium and disequilibrium stages. For example, in 'Se7en' the equilibrium is clear and represented as a normal life as an retiring detective taking on his last case, however the disruption is the ideology that it isn't a simple case and Detective Somerset has a much larger deeper, serial killer on his hands. Lastly the resolution and new equilibrium will be solving the murder case and carrying on his his retired life. It is vital within the opening sequence/ credits the producers don't give too much information away, however is interesting enough to keep the target audience engaged for the rest of the movie.

 Se7en has done this effectively through the power of props, all the shots filmed in the opening scene is of props. This restricts the narrative leaving the demographic with enigma. The shots are all focused around a journal, this connotes the great significance and impact it has on the narrative, this causes the audience to be left with enigma as shots are never giving the information within the journal away. Other shots used include a montage of shots, this is used in the opening credits of se7en to condense information in a brief space of time. However the information is subliminal as the shots are edited together using flash cutting, causing shots to move to quickly. Flash cutting editing is throughout the production causing the target audience to be on edge, and signifies the heart beat quicken from beginning- in the equilibrium, to the end in the disequilibrium stages. 

A incredibly important convention for a effective and powerful thriller is low key or de-saturated lighting.  This opening sequence uses both types of lighting, this is effective on the audience as it creates an overall sense of feel and emotion for the rest of the production, exposing the genre straight away, however leaving information (such as fragment of the narrative) in the shadows to draw the audience in closer keeping them on edge. The lighting in se7en is used to highlight key elements, for example in the close up shot of the antagonist, cutting a negative with a pair of scissors, the scene is shot in low-key lighting casting a shadow over the hands of the killer, restricting information the demographic might be able to connote from his/her hands.  However the scissors have light reflecting of them causes them to glare in the darkness, this signifies the danger and sharpness of the object causing the audience to became fearful of the person controlling them.

Power is given to the antagonist in the opening scene as we only see the same person signifying he or she drives the narrative. However the antagonist is also given power within knowledge, as the producers have made a restricted narrative,  causing the audience to know less then the antagonist, which leaves the demographic vulnerable to the narrative to come. The antagonist is lastly given tyranny (cruel, unreasonable uses of power or control) from the montage shots of scenes in the opening sequence, connoting the his or her's drive and ambition is to make others fearful, which is successfully carried out on the target audience.

Last but not least, soundtrack is a vital and if used correctly a powerful convention of thriller. 
The production uses parallel and synchronous music connoting that the audience should make an link or connection between the two. The been harsh pounding tones in the non-diegetic soundtrack connotes the heart beat of the audience, fastening synchronous to the images. The crime thriller genre can also be represented in the soundtrack as the non-diegetic sound gets louder in certain scenes where  a person is present this connotes a sense of cover up where the non-diegetic soundtrack is trying to hide and restrict information from the target audience leading to the belief of cover up for a crime or murder.

Character Profile

Film Opening Questionnaire

https://www.surveymonkey.com/r/2JSPVPJ

DARK OBSESSIONS SCREENPLAY

FADE IN: 

INT. DARKROOM-EASTBURY

NON-DIEGETIC SOUNDTRACK 

Slow weary non-diegetic soundtrack

GRAPHICS- black screen with white typography of the keywords, ‘murder’ ‘kill’ and, ‘death’. FLASH quickly unable to read 

STRAIGHT CUT INTO: 

NON-DIEGETIC SOUNDTRACK 

the weary sound quietens almost muted, as a 

VOICE-OVER takes place of news reporting a murder

GRAPHICS 

the credits start from the very beginning in 

nearly every shot 

PAN AND FADE- shots of the newspaper headlines. making the words murder stand out. 

NON-DIEGETIC SOUNDTRACK

the weary soundtrack rises back up and the 

reporting VOICE-OVER mutes out 

STRAIGHT CUT INTO: 

EXTREME CLOSE UP- hair in a bag, glued into the finished book (page)

QUICK CUT INTO:

CLOSE UP- quick screen flash into a photo of the girl (DARKROOM PHOTO PROP)- connoting a relation between the scenes 

STRAIGHT CUT INTO: 

CLOSE UP- baby photo glued in the finished book (page) with blood stains and writing over the page

STRAIGHT CUT INTO:

EXTREME CLOSE UP- focus on the hands glueing in the baby photo- the jumbled order of the shots connote tension atmospheric mood.

STRAIGHT CUT INTO: 

GRAPHICS: a black screen with credits 

STRAIGHT CUT INTO: 

WIDE/CLOSE UP- killer tracing gloved (black gloves) hands over the saw 

STRAIGHT CUT INTO: 

MATCH ON ACTION- 1. shot of pencils perfectly spaced out 

                 2. last pencil on the right is moved out of place 

                 3. exact same as the last scene but a splatter of blood             splats on the pencils 

STRAIGHT CUT INTO:

POINT OF VIEW: KILLER cleaning the gun with a rag

 STRAIGHT CUT INTO:

EXTREME CLOSE UP- pan from the eye to the mouth of the mask 

STRAIGHT CUT INTO: 

WIDE SHOT- of the mask with a black background 

STRAIGHT CUT INTO: 

GRAPHICS- a black screen with credits 

STRAIGHT CUT INTO: 

WIDE SHOT- side view of the killer writing 

STRAIGHT CUT INTO: 

MATCH ON ACTION- 1. heart against black paper for a dark background, on a white plate (creating enigma) 

2. CLOSE UP- of the heart 

3. same shot as shot, ‘1’ 

STRAIGHT CUT INTO: 

EXTREME CLOSE UP- picking up the journal (enigma too close to see) 

CLOSE UP/WIDE SHOT- of journal being opened (cut before the content of journal is shown) 

WIDE LOW ANGLE- a hazy shadow, de-saturated lighting hand slowly tracing, ‘something’ on the page 

QUICK FLASH INTO: 

GRAPHICS- white background (connoting a flash of a camera and juxtaposes the darkness) 

STRAIGHT CUT INTO: 

WIDE SHOT AND POINT OF VIEW- KILLER searching for USB in the teddy 

STRAIGHT CUT INTO: 

CLOSE UP- of KILLER holding the knife- glare of light reflected 

STRAIGHT CUT INTO: 

CLOSE UP- teddy prop being ripped 

STRAIGHT CUT INTO: 

WIDE SHOT- teddy prop not ripped 

STRAIGHT CUT INTO: 

WIDE SHOT AND POINT OF VIEW- KILLER holding a teddy (old and made dirty) tight grip 

STRAIGHT CUT INTO: 

WIDE/LONG SHOT- of ripped teddy on the table 

INT. DARKROOM-EASTBURY

STRAIGHT CUT INTO: 

CLOSE UP- side view shot of photo being placed in the chemical in the darkroom 

INT. DARKROOM-JO RICH 

STRAIGHT CUT INTO: 

CLOSE UP- STEADY CAM/POINT OF VIEW of the USB being held up 

STRAIGHT CUT INTO: 

CLOSE UP- of USB being placed into the computer 

STRAIGHT CUT INTO: 

WIDE SHOT- reflection of hand in the screen as a computer (coding on the screen) 

STRAIGHT CUT INTO: 

INT. DARKROOM-EASTBURY

POINT OF VIEW- KILLER in the placing the image into the developer 

STRAIGHT CUT INTO:

CLOSE UP- the image in the developer rocking around- watch the image develop 

STRAIGHT CUT INTO:

POINT OF VIEW- using STEADY CAM shot KILLER pulling down the image pinned up to dry

STRAIGHT CUT INTO:

OVER THE SHOULDER- of the KILLER holding the image in his hands 

STRAIGHT CUT INTO: 

CLOSE UP- image in the KILLER’S hand 

STRAIGHT CUT INTO: 

INT. DARKROOM-JO RICH 

LONG SHOT- of all the photos placed out on the table 

STRAIGHT CUT INTO: 

EXTREME CLOSE UP- using red pen the KILLER crosses out three of the four photos (crossing a line through their eyes) 

STRAIGHT CUT INTO: 

WIDE SHOT- of all the images lined up with the red ink on them 

QUICK CUT INTO:

EXTREME CLOSE UP- of the last photo being circled 

GRAPHICS 

the credit, ‘DARK OBSESSIONS’ comes up on the screen 

and remain until the end

QUICK CUT INTO:

END