eval question 5 updated

Slide 1:

How did you attract/ a ddres s your audience? Genre Location Key Shots Products Music Mise-en-scene Enigmas Narrative

Slide 2:

Genre I addressed our audience by promoting how our film was a psychological thriller with intriguing posters and an ambiguous synopsis for our sequence. Whilst we were planning our opening sequence I had an idea in mind to have a thriller genre as mysterious and action-fuelled plots appeal to audiences as they wonder about the outcome. We decided if we could create a mysterious and appealing narrative for our sequence then we can attract our audience with our originality and tension-building. Click on images to view genre marketing on blog o r promotional website. BACK

Slide 3:

Location We chose the location of London because the amount of coverage it receives and it being the capital of England. I knew we could address our audience with having this location as it is easily recognised and has a busy atmosphere that is perfect for our character being a commuter. We also aimed to capture many establishing shots for our sequence to give the location to the audience straight away; a convention that has been used in thriller films set in London. BACK

Slide 4:

Key Shots Key shots in our sequence was always an aspect I wanted to address to our audience. Throughout the planning our group was interested in testing shot types for our sequence to convey our originality. I believe some of our shots addressed the audience directly with the build-up of tension and suspense, such as the long track shot which captured the antagonists following the unsuspecting protagonist. This is what exactly appeals to audiences with the slow build-up and ambiguity of the antagonists’ intentions. Such tension-building shots have been used in thrillers such as ‘The Dark Knight’. Length in shots builds the tension and pace, music also exaggerates this to the audience. BACK

Slide 5:

Products As I have mentioned, we wanted to address our genre to the audience through our products and other means. I also wanted to attract our audience with products that would be intriguing and original. For this, I researched thriller posters that have appealed to target audiences, such as the ambiguous posters for ‘Cloverfield’ that captivated audiences with simple images of a destroyed Liberty Statue. I decided after researching that I should create a different, stand-out and ambiguous poster for our sequence to attract our audience with effectively. I created three posters overall, two that were intriguing but not exactly new and a final thought provoking poster that created meaning instantly. C ontrapuntal use of images gives the impression that the protagonist is paranoid and the possibility of him being followed could simply be his imagination. This poster addresses the audience of a psychological thriller genre with the mixed message of stalking and paranoia. The poster is also similar to one I created in planning. BACK

Slide 6:

Music We chose our music carefully for our sequence to fit with the genre and narrative of our sequence. Our original soundtrack appealed with the contrasting tones throughout to make the audience feel confused as to what could happen next. As our group we wanted to create extreme juxtapositions in the soundtrack to give the effect of an event happening rapidly. This in turn would appeal to the audience as it follows conventions of thrillers but also develops with the sudden change, an element not usually used in thrillers. The dark and creepy music of the long shot track where the protagonist is followed. This is effective with how it builds the tension along with the shot, the audience waits anxiously to see what might happen. The relaxing and peaceful music from the montage where the protagonist is travelling to work. Diegetic sound was cut from the clips to further exaggerate the peacefulness with the shot. The simplistic but alarming music with the monologue in the beginning of the sequence. The loud sirens have connotations of a warning to the protagonist and that something could happen to him shortly. BACK

Slide 7:

Mise-en-scene We focused greatly on our mise-en-scene to attract our audience. We wanted to have the sequence realistic throughout so we could represent general groups, locations and a thrilling narrative. As we originally intended for the commuter group, we aimed to keep costumes realistic and suitable and also feature famous and known landmarks that audiences would typify for the c ommuter group, such as the moving train shot to symbolise the protagonist’s j ourney. We also aimed for realistic acting in our sequence to address the audience with our real general groups and attract them as they can relate with the social group. Smart, professional wear for costume symbolises how the protagonist is hard-working and also his status at work. Realistic props such as newspaper. We chose for popular newspaper The Sun so audience can easily recognise it. Cigarette and dark, heavy coat represent how the character is menacing and violent. Smart, professional wear for antagonist’s costume to fit with the social group and also to surprise the audience as they won’t expect his true intentions. BACK

Slide 8:

Enigmas We originally intended on creating several enigmas for our sequence as from my secondary research and personal experience of thrillers, these work best to appeal the audience from the trailer throughout the film. Enigmas are apparent in most thrillers and we decided to create an original and thrilling enigma for our sequence. The apparent final act in the opening of our film creates the enigma effectively with a hermeneutic code of equivocations and snares in the brief monologue. We also implemented the proairetic code with Arran Mason still being alive though badly beaten in the opening, suggesting a revenge act from the protagonist. We also included a cliffhanger at the end of the sequence, again a proairetic code that keeps the viewer guessing. BACK ‘As you can see I’m not in the best of states, have no idea where I am or what I’m about to face. ’ ‘All I know is... my life’s going to change forever.’

Slide 9:

Narrative We implemented Todorov’s narrative stages into our sequence to hook the audience, which we altered with the apparent final act first and then to the equilibrium to keep the audience guessing as to what will happen up to and after the disequilibrium to the final scene. Whilst keeping with these narrative structures to interest the audience, we also went for a different approach with a direct address to the audience from the protagonist at the beginning. This effectively includes the audience into the narrative and having a greater insight to the character. This technique is well known in such films as ‘Ferris Bueller’s Day Off’ and ‘Trainspotting’. BACK Disequilibrium E quilibrium ‘As you can see I’m not in the best of states, have no idea where I am or what I’m about to face. ’ Colloquialism creates bond with audience, feels as if they can connect with character. Direct with personal pronouns and indecisive thinking creates an equivocation. Direct address in ‘Ferris Bueller...’ with protagonist looking towards camera.