7) Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the full product?

6) What have you learnt about technologies from the process of constructing this product?

5) How did you attract/address your audience?

In my final piece I use a variety of techniques to attract my audience. There are many moments of suspense and unanswered questions which were designed to draw in the audience and allow them to piece together the narrative.

The piece begins with foreboding music, immediately setting the tone as a mysterious and potentially dangerous one. As the protagonist sleeps, there are two flashbacks at 0:22 and 0:24, with the suggestion that this is what the character is dreaming about, as she wriggles around in her sleep and jerks awake at 0:28. This also acts as a foreshadow for the antagonist, leaving the audience wandering who he is and what connection he has to the main character.

The foreboding soundtrack also ceases at 0:28, coinciding with the character jerking back to reality. However. normality does not last long, as at 0:47 the audience sees the ghost for the first time. The soundtrack fades in once more, and the audience are left wandering who this character is, and why the protagonist does not notice them.

The whole conversational scene that follows, with dialogue lasting between 0:58 to 1:19, is also very ambiguous, with hints of knowledge that the audience do not know, but perhaps will be revealed to them over the course of the film. The main character is asked the question, 'How have you been since-?', hinting at a past traumatic event that will affect the current narrative. She is also hesitant to expose her current whereabouts after she had 'moved out', stating simply 'just a small rural town'. This is sometimes a convention of a reclusive character, out of touch with mainstream society. This theory can be backed up with the protagonist's startled reaction to her old friend, with the suggestion that they some time has passed from their last meeting, perhaps due to this suggested past event and the fact that she had 'moved out'. There is also the suggestion that the protagonist has temporarily returned to this original location, perhaps to help her confront her troubles. This can be supported by the remorseful and empty way she looks out into the world at 0:53, perhaps remembering the time that she spent here. That would also explain why she had just bumped into her friend and later on, why the antagonist also catches up with her. All of this hinted activity before the events of the film attract the audience as it invites them to imagine the possibilities and how this affect the current narrative. It may also act as foreshadowing if these events are explained further on in the film.

At 0:16, the screen cuts to black and the audience hear a diegetic scream. The events that lead up to this scream are undisclosed, again leaving the audience in the dark about the exact details of what they are experiencing. The scream is also quite sudden, and this shock factor, or the ability to 'thrill' is popular in attracting thriller audiences

A slow pan at 1:48 reveals the antagonist, previously only seen in a flashback/dream sequence. This was seen by the other character, suggesting that the current character in screen is not familiar with the antagonist. This also suggests that her implied death moments later is through no fault of her own. The slow pan creates tension, and draws in the audiences' attention. As the antagonist approaches, the foreboding music abruptly stops and only a heartbeat can be heard, which represents the killer's adrenaline, the victim's fear and exhaustion and the audiences' tension. Fast editing is also used in this small sequences, adding to the heightened tension of the scene. A similar technique is used as a transition, as the screen once again cuts to black at 2:00, sparing the audience the gory details of the character's implied death, as the heartbeat is also instantaneously cut at this moment. This can also contribute to lowering the age rating of the film to accommodate a wider audience. However there are also suggestions of a comeback for the character, as she may be subjected to a fate such as the ghost seen nearer the beginning of the clip.

Once this sequence has finished, the audience return back to the protagonist at 2:01, who stops for a breath just like her friend. However at 2:07, both her and the audience hear the diegetic sound of snapping a branch, alerting her of the presence of another person. It is heavily implied that it is the antagonist and that perhaps they will have a confrontation of sorts. The title card appears at 2:09, cutting this scene short. The audience, after being startled by the branch snapping, and now left to wander the outcome of the presented situation, creating intrigue, hopefully strong enough to compel audience members to watch on.

The piece does not address the audience directly, as it is unconventional for films to break the forth wall. However there are other more indirect ways that my films achieves this. One way is through representation, as there are both male and female characters in the piece, as well as an ethnic minority. The piece ranges a cast from 7 to 18 years old, but does not go beyond young people. Through my audience research I concluded that a lot of young people watch thriller films and make up a considerable part of the overall audience, and so addressing them through representation can also attract them to the piece.

 

4) Who would be the audience for your media product?

3) What kind of media institution might distribute your media product and why?

2) How does your media product represent particular social groups?

 

Transcript:

My film features young people, ranging from 7 to 18 years old. I did this as from my research I discovered that the typical audience for thriller films are teenagers to young adults. This mould fits most of my cast and for this reason the audience can relate and empathise with the characters.

Costume and make-up was also carefully considered. Costume for the murderer included checked shirts and lots of layers to appear rugged and mismatched. Checked shirts have become something of a stereotype and a conventions when portraying homeless or on the run characters. For make-up brown eye shadow was applied on his face to appear like dirt and his facial hair was emphasised with black mascara, in order to look more prominent on camera. This again was done to add to the rugged appearance and to give the impression that he was rough and experiencing problems. The victim was dressed in casual looking clothes, appropriate for the weather. She was in a jumper and light colours, suggesting innocence and perhaps naivety. Her make-up was minimal and natural looking to create the illusion of everyday life and also to make her seem more vulnerable and not aggressive. On the other hand the main character was dressed in darker colours and a leather jacket. This suggests that her character is tougher and stronger and therefore more able to escape the situation. Her make-up in heavier too, although still acceptable for everyday. This is to contribute to the tougher character portrayal. The little boy ghost was dressed in casual clothing consisting of a jumper and jeans. This was to make him appear harmless and merely a observer rather than another antagonist.

Teenagers and young adults are represented as most of the cast fit into this category. Genders are also represented, as there are two female and two male characters. Genders are stereotyped in my piece, as the antagonist is a dominant male character and the victim a female. The protagonist could be a countertype, dependent on the events of the rest of the film. Although she is being stalked and victimised by this male antagonist, she is clearly tougher than her other female friend. A different ethnic group is also featured through the ghost.

1) In what ways does your media product use, develop or challenge forms and conventions of real media products?

My media product includes many different types of conventions that I had previously researched before constructing my own. I have tried to use as many as I can to embrace the thriller genre and in order to apply information I had learnt during my research into thriller films.

In terms of camera work I have used a variety of shots. This was to help the editing process later, to create a fast pace, and to take advantage of my actors and locations. One shot I was keen to use was a handheld shot.

 

Protagonist handheld shot

This can create a feeling on urgency and panic. I also used close-ups to emphasise emotions and to only have one actor's face in frame and therefore not allow the audience to see outside of this and build suspense.

 

Victim handheld shot

Another shot I used was a pan when first introducing the murderer. This pan was slow to draw the attention of the viewer and acted as an establishing shot for this character.

Slow pan introducing the Murderer

 Low angles were used when shooting a close-up of the villain's face, to portray him as an intimidating and, in the current situation, powerful character.

 

Low Angle Close-up

I incorporated some editing conventions too. Towards the start of my opening sequence the pace of the clip is slow. Later once the tension has risen straight cuts are made more often and this is done to add to the build up.

 

Dissolves are used in between clips where it is suggested that considerable time has passed.

 

Dissolve transition to signify the passing of time

Dips to black are added too, in between production companies and at the start and end, to make the sequence seem more professional. A couple of black screens are incorporated to suggest certain events, aided by sound, as opposed to representing them visually.

 

Suggestive fade to black signifying the end of a life

For sound I attempted to insert both diegetic and non-diegetic sound. Thrillers usually use orchestral music with strong drum beats and this is what I tried to do. The music tracks I selected sounded tense and foreboding, perfect for a mysterious thriller. Usually quiet sounds are also amplified to emphasise the silence otherwise present and the heightened senses of the actor(s) in a current situation. I did this with heartbeat and branch snapping sounds.

 

I also tried to follow the conventions of mise-en-scene. I used redhead lighting for my interior shots and at certain points a reflector or a diffuser. I tried to create soft lighting, dim but bright enough to see the shot clearly. I planned to create a darker looking shot when in the editing stage.

 

Although I had little control over my outside shots due to weather I tried to film as much as possible during daylight hours to maximise my chances. Low key lighting is a convention of thriller films and my film does become darker and more mysterious towards the end.

 

A darker setting to the fit the darker tone at the end

For props I was initially going to use a gun, as this is also a common convention amongst films of this genre, however due to various circumstances I could not source one for the day I was filming. Instead of a gun I used a sharp looking rock. This was more in line with my character, who is homeless and unhinged and for this reason it would make more sense for him to utilise the environment.

 

My setting is very typical of a thriller film as it is set in a forest area.

 

Long shot of the forest setting

This creates a sense of isolation and being lost. It allows the characters to run aimlessly and for the villain to appear unexpectedly. The bedroom and kitchen scenes at the beginning add a sense of normality to the sequence, almost the calm before the storm. Even then there are hints of disaster early on due to the flashbacks the protagonist has in her dream and the ghost. 

The themes included in my opening sequence could include murder, mystery, ghosts, revenge and stalking. These are all conventions of thriller films, even if they span over wide sub-genres. My narrative also includes such aspects and more, such as having flashback or bad dreams and running away from something.

Audience Feedback

As part of the evaluation process I asked members of my target group to watch my opening sequence and to answer three question I put to them:

a) What is good?

b) What is bad and how could this be improved?

c) Would you watch the full film and why?

The responses were as follows:

a) What is good?

• The main villain as he looks threatening
• Curiosity to see if the female lead survives
• The title and interest to see how the theme will develop
• The setting as it seems spooky and scary with potential
• The murder weapon as it seems relevant to the environment
• The lighting in the bedroom
• The production companies at the beginning
• The handheld camera shots as they build tension
• The music as it makes the scenes seem eerie
• The heartbeat stopping at the end, creating suspense and grabbing the viewer's attention
• The murder's costume as it is not stereotypical of the age range
• Some of the acting

b) What is bad and how could this be improved?

• There is no sound effect when the rock is thrown onto the girl, and should be added even if not realistic for effect (×2)
• The conversation on the bridge seemed staged and choreographed as opposed to natural
• The sounds were repetitive and not creepy enough for some scenes
• To show a shot of the girl on the ground, with fake blood, to make the death more obvious
• The crackling sound of the wind overpowering conversation at points and creates an unwanted distraction for the audience
• There is colour inconsistency issues throughout
• The voice over not in sync with the lips towards the end of the conversation
• The murderer's costume does not look rugged or dirty enough
• The handheld shots looked to disorientating at times as they were too shaky
• The narrative was confusing to follow

c) Would you watch the full film and why?

• Yes: Curious to see how it ends (×3)
• Yes: To know more (×2)
• Yes: To see the quality of the rest of the film
• Yes: The clarify the confusion presented at the start (×2)
• Yes: To see how the theme of the title is relevant to the film (×2)

Pursuit Final

Please ensure the volume is turned up:



Risk Assessment: Exterior

Hazard	Description	Likelihood	Severity	Prevention	Action upon Occurrence
Equipment Care whilst Outdoors	·  Equipment, including the camera and tripod, could be damaged whilst transporting it to and from location on foot. ·  Also prone to weather or environmental damage.	High: The time of year in which I am filming in are prone to wet and windy weather.	High: Damage to equipment would hinder filming for me and other students, potential payment or part-payment to replace or fix equipment.	·  Ensure more than one person carries equipment to minimise each person’s load and reduce the risk of dropping. Take breaks if necessary. ·  Check the weather forecast from different sources to have an estimated view of the weather. Carry a large umbrella to cover the camera in case of rain. Always ensure that protective bags and covers are put on and fastened correctly.	·  Check for any damage to the equipment. If any piece has broken off, take this too, and contact teachers and any student due to borrow equipment afterwards. ·  Check for water damage. If any has occurred try methods such as placing camera in a bowl of dry rice. As before, contact all concerned.
Individuals Carrying and Transporting Equipment	·  Equipment will be carried by individuals and transported to and from location on foot. This could lead to strain and possible injury.	Low: Equipment will not require carrying frequently and load will be shared.	High: If a strain injury, such as a back injury, is induced then this could be quite dangerous.	·  Share the load between multiple people to lower the mass carried by each individual. Take breaks if necessary.	·  If any strain is caused then stop immediately. If pain persists seek medical advice.
Weather Exposure to Cast and Crew	· It is likely that it will be cold and windy when filming, affecting the cast and crew members and slowing down the filming process and lowering the quality of the performance. Also could be harmful to health.	High:  The time of year in which I am filming in are prone to wet and windy weather.	Medium: Individuals could become ill through prolonged exposure. Also setbacks in filming.	·   Ask crew to come in warm clothing, and cast to wear layers underneath costume and bring extra layers. If is fine if costume’s reflect weather needs as this is fitting with the environment. A break will be taken back at home part way through the day to warm up, change any wet clothes and consume warm food.	·  If conditions become too extreme to operate in, even with extra clothing and umbrellas, then the shoot would have to be cancelled. If weather improves later on then filming may resume. Treat any cold induced conditions as required, and seek medical advice if condition is severe and does not improve.
River and Low Bridge	· For the conversational section of my sequence I will be filming on a bridge with low railings. This presents a danger to the equipment and the possibility that someone could fall into the river below.
Uneven and Slippery Surfaces	· The running sections will take place in uneven, forest areas. If it rains on the day or the day before shooting then some of this could also be slippery, presenting a slip and/or trip hazard.
Damage to General Public

Actors: Exterior

Some of my interior actors are in my exterior scenes too, however here are my remaining actors:

 

(Insert Image)
 

Name: Helen Shenton

Age: 16

Role: Friend/Victim

 

Helen has previous acting experience through school and Church activities. She is fairly confident in front of the camera due to this and had no problem acting in a public place. Helen is also quite active, as she is a dancer of multiple types, and therefore the most able to complete this role as it has the most running. Helen is also friend and therefore making the shoots easier as communication is smoother and spending time in each other's company is not a problem.

 

(Insert image)

 

Name: Alex Watson

Age: 18

Role: Murderer/Antagonist

 

Alex is a very versatile character who enjoys acting. He is very confident in front of the camera and so public onlookers would not worry him. He is also Josie's partner, which makes their scenes together more comfortable for both of them, and in terms of logistics also makes sense.

Filming Day-1: Interior

Risk Assessment: Interior

Hazard	Description	Likelihood	Severity	Prevention	Action upon Occurrence
Red Head Lighting	·  Three interior lights that can overheat easily, especially the metal flaps, could cause burns ·  A fire hazard if any flammable material is near also due to overheating. ·  High wattage could be hazardous if sockets are overloaded, blown fuse. ·  Multiple wires, trip hazard or cause lights to topple. ·  Tall and heavy, could fall onto an individual or cause a break to the equipment if assembled incorrectly.	Medium: Several hazards, however minimal cast and crew.	Medium: Injury and/or damage in most cases would be minor.	·  Lights to be turned off when not in use to avoid overheating, and adjust flaps indirectly. ·  Keep the area near the lights clear of any obstruction and turn off lights when unneeded. ·  Unplug other outputs and plug lights into separate mains and use extensions only if needed. ·  Wind up excess wiring and use floor mats to cover high traffic areas. ·  Clarify assembly details with teachers, more than one person constructing lights and check all screws are tightened.	·  Treat minor burns under running cold water for 15 minutes. ·  As there are no fire extinguishers in homes, in case of any fires evacuate the building immediately and call 999 for fire-fighters. ·  Turn off the electricity. Minor problems can be fixed manually with experience but otherwise hire an electrician. ·  Use a first aid kit for any injuries obtained from a fall. Clear any broken glass with a dustpan and brush and dispose in a glass bin. ·  Use a first aid kit if the light has landed on an individual and caused injury. In the case of a serious injury seek medical advice immediately. Clear any broken glass with a dustpan and brush and dispose in a glass bin.
Reflectors/Diffusers	· The reflectors are stored by folding the metal wiring around the edges. When releasing from the cover this can extend quickly and hurt the individual. · A fire hazard if in close contact with a red head light for a prolonged period of time.	High: The reflector retains shape often unexpectedly and students have less experience.	Medium: Injury from reflectors would most likely be extremely minor; however fire could be awfully hazardous.	·   Hold the reflector and case away from the face when extracting. Be in a spacious enough are when completing this process. ·   Hold up reflectors manually so that they are not in front of any light when in resting position. Do not put diffusers too close to lights or their flaps.	·  Tend to any minor injuries with heat, cold or a first aid kit if needed. ·  As there are no fire extinguishers in homes, in case of any fires evacuate the building immediately and call 999 for fire-fighters.
Moving and Rearranging sofas	· Two sofas need to be moved and one of these needs to be extended as part of creating the bedroom set. Could create strain due to involvement of heavy items.	Low: The sofas are of considerable mass however the distance of travel is very small and no lifting is required.	High: If a strain injury, such as a back injury, is induced then this could be quite dangerous.	·   Make sure that two people are operating each sofa together, to lower the mass to manoeuvre for each person. Clear the path of travel before moving the sofas and take off any access mass before doing anything.	·  If any strain is caused then stop immediately and sit down. If pain persists then seek medical advice.
Glassware	· Glasses are used in the kitchen to pour juice into. Broken glass can be dangerous.	Low: Nothing else will be on the counter and this action is frequent for many and therefore unlikely for accidents.	Medium: Broken glass can be severe if consumed but it is most likely in this scenario to pose an external threat.	·   Keep the counter clear of anything else, so other items can not trigger the glass to fall and break. Also keep the glass as far away from the edge of the counter as possible.	·  Clear any broken glass using a dustpan and brush and dispose in a glass bin. In the unlikely event of any being consumed, seek medical advice immediately.
Stool	· The ghost will stand on a stool during his scenes in order to fit into frame. This could cause a fall hazard.	Low: The stool has non-slip grips and the height is very low.	Low: A fall from that height is extremely unlikely to cause any significant injury.	·   Make sure the actor has something to hold onto for support and use a stool with non-slip grips.	·  Use heat, cold, or a first aid kit for any obtained injuries accordingly.