Vox Pops

Thriller trailers- spotting conventions

Narratives - themes?

1.)Research, crime, investigation, 'escaping' area, crime thriller

2.) The walk - danger of death, phobias, true stories, realism

3.) Crimson peak - focuses on one character, supernatural thriller, romantic thriller. Enigma - What's haunting the house.

4.) San Andreas - disaster thriller

Enigmas

• For what reason do these investigations take place, what is their purpose?

Mise-en-scene

• extravagant setting, weapons, 'iconic' stereotypical locations.

Actors - role/representation

• Partners, military force, anti-stereotypical protagonist

Thriller sub-genres and conventions

What conventions do we expect in individual sub-genres?

Romantic thriller: Dialogue, clichéd meeting, basic realistic setting. Features same couple of characters often.

Techno (sci-fi) thriller: Unrealistic setting, super-natural characters.

Action thriller: Sharp, fast rate of shots. Many different characters, vehicles, extravagant setting.

Conspiracy thriller: Investigating,

Crime thriller: Antagonist 

Legal thriller: trial, law,

Supernatural: unrealistic plot, various characters, action

Political: white collar crime, not necessarily violence

Sound analysis of a thriller: Moon

Sound analysis of a thriller: Moon.

Vox Pops

What makes a Vox Pop?

• Vox Pop is interviewing a member of public.
• Indirect address.
• Side on camera angle
• Addressing reporter or interviewer not camera directly.
• Shows background, usually on street.
• Used to gain opinion on specific issue.

Conventions of a Vox Pop

• 'Vox Populi' - 'Voice of the people', 'Man on the street'.
•  Background information.
• Name and basic information to provide context. (Age, job etc.)
• A relatively relaxed setting.
• Interviewer not visible.
• Jump cuts, straight cuts, no transitions.
• Title of question provided beforehand so we don't need to continue asking the question.
• Rotation of people answering, short, quick answers.
• Out of focus backing.

• What are your key conventions/features of a thriller.

Opening title of a thriller timeline.

I have produced a timeline of the opening title sequence of Casino Royale, specifying which roles and names have been placed in which order. The order in which each role is placed, along with the size of the font (typography) denote to the viewer which roles are most significant and most important for the viewer to recognise. Whilst the titles are meant to be somewhat apparent to the viewer, the font and the size of the words is not so prominent so as to distract the viewer from the shots, which occasionally merge with the written titles, perhaps to further associate the film with the 

names appearing on the screen.

What makes effective sound in a thriller?

Synchronous - goes with action

Asynchronous - goes against action

Diegetic - Hear in the action

Non-diegetic - edited in post-production

What do you notice about the sounds? Sharp short sounds signify fast paced action sequences. How does it make you feel? Wary of potential threats/danger. What sort of instruments are used? Orchestral, Violin. Staccato.

Not necessarily fast pace, however action is unfolding. Guitar, piano. Developed, slowly played, gradually building up sound.

Crescendo - Music gets louder.

Equilibrium -

Ambient sound so as to isolate the viewer, surround them with one sound.

Contrast between pleasant sounding music and action occurring on screen creates effect. (Asynchronous sound effectively used.)

What makes a good thriller soundtrack?

• Crescendo with the climax (gets louder).
• Always in a minor key.
• Strings (often high pitched).
• Percussive heart beat sound (usually in the bass).
• Nursery rhyme themes work well for the creepy factor.
• No lyrics.
• Creates a sense of enigma (mystery and suspense).

Production Company

 

•    A production company is the largest and most prominent group in a movie or film project, and they are often tasked with being the main fundraisers for the film being created. They oversee the majority of what is placed in a film and are often owned by a film studio, however can be independent.

•   In production company idents such as Paramount Pictures, typography is used in order to make sure that the key focus in the shot is the name of the company, e.g. using the golden mean so as to place the name of the company on the area of the screen, as opposed to placing it nearer the bottom or towards the side. Paramount places their title at the top of a mountain peak, the highest and most distinguished point on the screen, with a significant amount of lighting on top of this. Clouds are utilised to make the surrounding area less interesting to the viewer.

• Hollywood pictures, the production company for the movie ‘The Sixth Sense’ is based in California. This location would be beneficial for creating a thriller as there are many film studios and sets in the surrounding area that would be easily accessible. While this company was a division of Disney, it had a history for producing relatively low key thriller and action movies. But due to its ties with Disney, the company had a large financial backing, which means there would be little in terms of limitations for a budget for a thriller film.

BBFC and the thriller genre.

What do the BBFC do?

The British Board of Film Classification is an independent body that classifies and rates cinema films. Originated in 1912, non-government body, no government subsidies. Non-profit organisation.

Regulate and rate cinema, video etc.


What powers do they have?


The ability to change a film's rating at short notice.

Ability to demand cuts in sections of films, can completely reject films. Ignoring BBFC can result in prosecution.


BBFC guidelines cover:

• Context
• Theme
• Tone and impact
• Discrimination
• Drugs
• Imitable behaviour
• Language
• Nudity
• Sex
• Threat
• Violence

• Thriller name: No Country for Old Men.

• What BBFC rating did it get? 15 

• What content made the thriller get this rating? Strong bloody violence.

• What classification areas apply to the film? How/why?

Thriller opening title sequence analysis - Se7en

In this first shot, we are immediately shown the production company name, with the utilisation of typography to portray an intimidating atmosphere. Jagged edges around the letters quickly suggest to the viewer that this film may contain hazardous and potentially dangerous sequences, clearly indicating to the viewer that the genre of this film is certainly not for young children. With the intentional placing of the production company name in front of a close up shot of book pages turning, it is inferred to the reader that the film is beginning, suggesting narrative. A fade in from black transition is used before this opening shot in order to portray feelings of loneliness, mystery, confusion and danger which further isolates the viewer. As a means of making the production company name relatively clear, the background of the shot is out of focus, meaning the viewer is forced to centre on the book and the production company name.  Non-diegetic sound begins to play as the shot occurs, with the music continuing to play throughout every shot in the opening sequence, leaving the viewer no escape from the rather sinister and monstrous ambient sounds that perhaps represent the insanity and anger inside the killer's mind.

In this second shot, an enigma is presented to the viewer, as we are given no understanding or idea as to why these hands have been photographed, and whose hands they may be. This sense of mystery is inferred also to the viewer with part of the screen being faded completely to black, which increases tension and suspense by forcing the viewer to focus on relatively unfavourable images. The words 'A film by' are shaken and difficult to distinguish, almost representing a canted shot, which is one of chaos and confusion, again inferring the killer's psychological trauma as well as the threat they pose. A common feature of the film's use of typography in that the names of the cast and directors listed are in white lettering and are placed on a completely black background to the side or underneath a shot, making it easier for the viewer to see these names. To match the slow pace of the sound at this point, these opening few shots last about 3-4 seconds, a considerable time period compared to the middle of the opening, which plays shots at a much faster pace in order to keep in time with the increased intensity of the music playing. This shows that editing in this opening is solely based on matching and supporting the sound being played, inferring to the viewer how crucial the sound is to this opening, instead of just being sound that is relatively insignificant compared to the images on the screen.


This third shot is that of a completely black screen, with the flickering of the title name ''Se7en' in the top right hand corner. This flickering perhaps reflects the flickering of the light in the room, and the darkness around the title portraying the eeriness of the shots before hand. Part of the number seven in the title is missing, suggesting it is being covered by the darkness, shrouded in mystery, representing the killer himself, an unidentifiable mystery. This prevalent use of enigmas throughout the opening as a way of foreboding is another example of how this opening successfully portrays its genre type without anything more than sounds, shots of inanimate objects and typography. 

In this fourth shot, we see an extreme close up shot of the killer writing down ineligible notes, which are intentionally made unreadable as they are blurred by the camera, along with the killer's hand and the pen, suggesting weariness, confusion and uncertainty. With the majority of the shot blurred out, the only writing clearly noticeable is once again the name of one of the cast and directors, which is again placed on a black background, thus suggesting that the name is the most important and significant part of this shot. This shot lasts for an extended period, giving the viewer time to acknowledge the name placed on the screen, further suggesting that whilst the images on the screen are still important, the most relevant information being played on the screen that of the names of the cast and directors. It is not always the case in openings that the names receive so much attention, however it is clear that the intent here to make the names of the cast and directors as visible to the viewer as possible. The duration of the shot is also important in matching the continuously slow pace of the non-diegetic sound being played. Very few shots, including this one, have any bright or vibrant colours, therefore supporting the slow nature of the sound at this point in the opening.

In this final shot, the majority of the image is blackened, other than the face of seemingly a child, which the killer has marked across with a pen. So as not to completely deter the viewer away from the names of the cast and directors on the screen, we see the names slightly overlapping the image of the face, making it difficult for the viewer to avoid noticing these names. Throughout this shot and the following shots, the images continue to jolt and jitter, thus matching the erratic nature of the increased tempo of the sound. This also captures the erratic and relatively random way in which the killer is marking pictures and writing down notes, again portraying to the reader an insight into the mind of this killer, without actually revealing their identity, thus increasing the dramatic effect this film has on its viewer.

 

 

 

 

 

 

 

 

 

 

 

 

 

What elements make an effective thriller opening?

 

·         Non-diegetic sound effects add suspense and tension.

·         Various ranges of tilted and close up shots – intensifies,

·         Darkened lighting,

·         Rapid change in shots infers action.

·         Characterisation

·         Setting – location establishment.

·         Key props

·         Costume

·         Atmosphere

·         Narrative – flashbacks

·         Enigma – Questions in the audience’s mind.

·         SFX

·         Cast – crews, directors, etc.

·         Movie Title

·         Text – backstory

 

Editing

Pace/sequencing of narrative

·         Slow change in shot reflects slow nature of initial story.

·         Fast pace infers action.

·         Back story provided immediately.

·         Fade in titles

·         Straight cuts through majority, no transitions.

Camerawork

·         Establishing shots – support establishing back story

·         Enigmas – antagonist shielded

·         Close up on key items.

MES

·         Actor aptly chosen to fit intimidating role.

·         Serial killer – organised.

·         Natural lighting

·         Prop – gas task – intriguing weapon.

·         Ruthless – emotionless killer

Atmosphere and Titles

·         Empty shots create sense of loneliness and isolation with the voice.

 

Preliminary Script

Script

 

Character one: “You got it?”

Character two: “Of course.”

Character one: “Alright, good.”

What are the conventions of an opening of a thriller?

• Production ident
• Cast and crew (key actors, directors, producers.)
• T = Title.
• Utilises handheld shots and panning shots, to suggest lapse of time.
• Opening title of film displayed, more time available to introduce more cast, less action occurring.

TITLES IN A FILM OPENING

• Name of studio.
• Name of the production company
• A (producer name) production.
• A film by (director name)
• Starring
• Film's title
• Featuring
• Casting or Casting by
• Music or Music composed by or original score by
• Production design or production designer
• Editor or edited by
• Director of photography
• Producer or produced by, executive producer
• Story or story by
• Based on the book (play, graphic novel etc.) by
• Based on the characters by

Film Titles

• Titles are used in film and TV and acknowledge the work of the institution, cast and crew on a product.
• Opening titles are shown at the very beginning and list the most important members of the production.
• They are usually shown as text superimposed on a blank screen or static pictures, or sometimes on top of action in the show.
• There may or may not be accompanying music. Where opening titles are built into a separate sequence of their own, the correct term is title sequence.

Mise-en-scene Reservoir Dogs opening analysis

Costume and Camerawork

Throughout the entire film, very little attire change occurs, and this is no different in the opening sequence, due to the fact the entire film’s events occur over the course of one day. In the opening, all the characters physically participating in the heist wear identical clothing in order to allow the viewer to immediately distinguish the different roles of each character in the sequence. No discussion on the heist occurs in the opening, meaning the viewer is intentionally supposed to rely on mise-en-scene to piece together the events of the film. Executive style suits denote formality and professionalism, inferring to the viewer the ability and seriousness of the character’s intentions, as well as a potential gang or organised crime connection. A rather plain outfit also successfully portrays the hidden and secret nature of the act about to be committed. This attire clearly matches the movie’s genre of crime, and effectively conveys the intentions of the characters. The camera pans slowly sidewards to the left, using a long shot to establish position and to fit in all of the key figures into the shot. This shot is continuous and lasts a number of seconds in order to denote the slow, relaxed pace and the lack of action occurring, which as displayed later in the film requires short rapid close-up shots.

Actors

Many now well known actors familiar with the thriller and crime genre take part in the film, including Steve Buscemi, Quentin Tarantino (also writer) and Harvey Keitel. Viewers watching this film today will likely feel assured and confident of the

characters’ success due to their powering and intimidating nature that comes with experienced actors in the thriller genre. These specific actors also stave off the thuggish cliché that is sometimes applied to gang members and criminals. Actors such as Buscemi and Keitel are commonly known for more formal and subtle roles in the crime and thriller genre, which matches the smooth undertones of the film’s opening, as well as the relatively low-key attire worn by these actors throughout.

 

 

 

 

 

 

 

 

Lighting

 

 

The bright lighting during the opening title sequence is bright and in no way foreboding about the outcome of the attempted heist. There is little artificial lighting, due to the conditions being naturally bright and sunny during the scene. This lighting, paired with the happy facial expressions and relaxed demeanour of the characters may infer the overconfidence of both the characters and the viewers about how successful the attempted robbery will be. This idea of lighting reflecting mood is further supported by the darkened lighting in the warehouse after the heist has failed. This clear and decisive way of presenting mood effectively gives the viewer a more coherent understanding of the character’s feeling and a greater overall understanding of the events in the film. There is at no point any use of dark lighting or shading, so as to portray no feelings other than optimism , acting as a way of effectively shocking the reader as they make the startling realisation in the next scene that the heist attempt failed.

Props

Little is used In terms of physical props throughout the movie and the opening, with the only object constantly in view being sunglasses, further denoting secrecy and a lack of identity in public, supported by the choice for each character to use an individual alias rather than to be known by name. Other than sunglasses, the only other prop available is a gun, albeit non-visible during the opening. This simplicity and lack of equipment other than what is necessary to kill likens these characters to true criminals whose sole intent is to escape successfully no matter the potential human cost. Through this, the audience learns, of the cold-blooded nature of the characters involved, and are reminded of the serious nature of their intentions despite their rather innocuous attitude towards it.

Setting

 

 

 

 

A significant amount of the film is set in one building, a typical ‘hideout’ or position for criminals to use if in need of urgent communication. The necessity for such a location immediately infers to the viewer that these characters cannot be seen or negotiate in a public place. The only time remaining in the public eye is possible is when the characters’ identities are concealed, as in the opening when leaving a café. Through this the viewer can identify the character’s attitude and approach to their crime commitments and how different settings are used to portray different moods and situations.

Makeup

Very little makeup is applied or clearly visible at all in the opening, with the purpose being to try and make the characters as normal and realistic as possible, similar to why the characters undertake regular activities such as frequenting a café. This means little attention is drawn to the purpose or possible movement of the characters thus shrouding the opening in mystery, creating suspense and tension. It is clear that by having little in terms of SFX and any visual aesthetics that the viewer can relate to film on a human level, with there being no factual or impossible abnormalities such as in thrillers such as Inception.

Summer work - Memento opening analysis

 

This first shot is an extreme close up shot of a single shell casing lying on the ground. This denotes that a bullet has been fired from a weapon, inferring that an act of criminality or violence has just occurred. Through the use of techniques such as rule of thirds and the golden mean, it is evident that the shell casing is intentionally placed in the centre of the shot and is made to be the most important and most apparent object to the viewer. This is further supported by the out of focus and blurred background, forcing the viewer to remain focused on the object in the foreground. Tension and suspense is effectively created through framing, as due to the fact the camera focuses solely on the shell casing, the audience are not immediately privy to the identity of the shooter, where the bullet has travelled and the purpose of the shooting. Dull and relatively poor lighting infers to the viewer danger and creates a sullen and sombre atmosphere. The previous and following shots similarly are close ups and serve the purpose of slowly piecing together the events of the shooting without identifying either the shooter or the victim.

The second shot is of a canted angle view of the ground with blood evidently running up the screen. Using a canted angle supports the chaotic and unnatural nature of the opening scene, due to the entire opening scene being played backwards. Similarly to the first shot, the centre of the shot is the key point of interest, emphasising the brutality of the events the viewer has not yet seen. The position of the camera itself is quite low down, almost lying on the ground similar to that of a low angle shot. This may be inferring power and intimidation, and the shooter’s advantageous position above the victim. Due to the shot’s ambiguousness, it is possible that this shot could be a point of view shot from the perspective of the victim, lying on the ground. Both the left and the right side of the shot are blurred, with the only remaining point left in focus being the trail of blood, a successful way of isolating the viewer’s line of sight through effective use of the golden mean. This sequence of close up shots focusing on a single object still manages to give the viewer a sense of foreboding and suspense, despite the fact the shots are being played in reverse time, and the incident has already occurred.

 

The third shot is a low angle mid shot of Leonard standing over an unseen figure, immediately suggesting Leonard’s dominance and power in this specific situation. This shot remains playing for a few seconds longer than most of the shots in the opening scene, in order to allow the viewer to reflect on Leonard’s actions alongside the character himself. Leonard’s body language is significant, as his tensed and nervous stance, (which the viewer is intentionally meant to identify due to the decision to use a mid shot rather than a close up shot showing only the face) along with the anguished facial expression infers to the viewer that Leonard has committed a potentially deadly act, despite the fact that the shot does not show the condition of Leonard’s victim, thus increasing the tension and suspense. This is one of few shots in the opening that also utilises framing to hint to the viewer a potential location. A light source is clearly visible through muddied and ripped curtains, denoting that the scene is that of an old potentially abandoned area and not entirely hidden away from outside view. However we are intentionally given no further location information, making it impossible to establish a definite location until later on in the film.

This shot is an extreme close up shot of a gun that has just been fired. The entire gun is not entirely visible, meaning that focus of this shot is not the gun itself but the shell casing, which is being loaded back into the gun as the shot is being played backwards. Similarly to how we are forced to focus on the blood on the ground in a previous shot, here we are focused on the shell casing, due to the importance of noticing that the scene is indeed being played backwards, which would not have been entirely obvious had the camera not placed the actual objects travelling backwards in the centre of each shot. We can use the rule of thirds to confirm this notion that the most important and most visible objects are being placed in the centre of the shot. The only visible lighting in this shot is the slight reflection of light off the silver shell casing, again inferring to the viewer the importance of the centre of the screen.

Throughout this entire reverse scene we are not clearly shown the victim up until the shot following this shot, in order to keep the identity of the victim a mystery until this point.

 

 

In this final shot, a high angle point of view shot, we are finally able to see the identity of the victim, with the reason the victim had not been shown in the all the previous shots likely being because he is dead, with his lack of presence denoting the character’s death. A high angled shot denotes the peril and hopelessness of the victim, with the corner of the room being intentionally visible in the background so as to suggest the victim’s inability to escape his fate. This shot is only played for a couple of seconds, with no information on who the victim is or why he has been killed, due to the fact the character, Teddy, is a key character, meaning the viewer is forced to wait until the end of the film to discover the reasons behind this killing.

By using a point of view shot, we are given the opportunity to understand the power and authority Leonard briefly has over his victim.

 

 

 

 

What makes a thriller?

 

·         Thrillers often contain jump shots, however unlike in the Horror genre, non-diegetic sound is not usually artificially placed in, which often occurs in Horror films with the intent to shock or frighten.

 

·         Mid shots are more frequent than close up shots, as in Thriller movies key figures or information is often placed in the background, inferring future events.

 

 

·         Reverse shots showing discussions or conversations are commonplace to allow plots to be explained or situations to be discussed.

 

·         In thriller movies such as ‘Se7en’, lighting is often either not present or darkened to portray certain emotions or the plights of several characters.

 

 

·         Settings may often be in built up urban areas and buildings and often include formal or adult language to denote the target audience, with the majority of thrillers being aimed at people aged 16 and over.

 

·         Moods and expressions are very often focused on as thrillers are based off suspense and drama, meaning mid shots and close up shots are common in order to allow the viewer to sufficiently analyse character’s feelings.

 

 

·         Many thrillers often involve characters being in life-threatening situations in order to sustain the themes of suspense and tension.

·         Due to extravagant settings being commonly used in thrillers, thriller movies often use extreme long shots, establishing shots or aerial shots to emphasis and to marvel certain scenery.

Psycho Analysis

Analysis of Psycho shower scene, exploring how film techniques are used to create effects

Overview

Throughout this scene, various editing and camera techniques are utilised, including close up shots in order to intensify facial expressions and a rapid increase in shots edited in certain stages to signify action sequences occurring. Whilst diegetic sounds such as the sound of water from the shower falling are present, they are often muffled or quietened to infer to the viewer that these sounds are relatively insignificant and not crucial to understanding the sequence. However, non-diegetic sounds are implemented, such as the exaggerated sounds of the knife entering the victim’s body as the killer attacks, which increases the sense of brutality of the attack. The room in which the attack itself takes place is heavily lighted, whereas the surrounding rooms and areas outside the house are darkened, inferring isolation and an inability for the victim or the viewer to escape the antagonist, creating fear and intimidation. Mise-en-scene is used to effectively depict the power and status of each individual in the scene without any dialogue being used. By obstructing the antagonist’s face through the use of the shower curtain and long hair, the identity of the killer remains concealed, shrouding the murder in mystery, leaving the viewer fearful of whom the killer might be. Making the victim naked and giving them no costume infers vulnerability, exposure and weakness, which effectively forebodes the coming attack.

Points of interest throughout the scene can be identified through the use of the golden mean, as often the focal images and characters are displayed in the centre of the screen to denote importance, meaning we can use the golden mean to effectively pinpoint the most important images that fall on a diagonal line across the shot. An example of the golden mean in use is the brief image where the killer is fully visible, with not only the head falling along the diagonal line, but the hand clasping the knife also. This intentional positioning of key elements effectively allows the viewer to understand which objects or people are the most significant in a shot, and which objects are the most apparent to them.

 

 

In this scene, an over the shoulder low angle shot is used to denote the positional strength the killer possesses over the victim. Framing is used in order to keep both character positions visible in the shot, however the camera is slowly panning towards the left, even cutting out the victim’s head slightly, immediately inferring to the viewer that the key focus of the shot is to establish the presence of the killer, which the viewer would have been oblivious to had these camera angles not been intentionally utilised.

A low angle shot allows the killer to be seen as a taller, more menacing figure, which effectively impacts the audience’s emotions, as it becomes clearer that the victim is in a perilous position. The shot is also over the shoulder, which is not used in order to establish character position, but to clearly show the victims facial expression, which is one of relaxation and calmness, thus portraying to the viewer that the victim is not in a position to defend themselves and is completely unaware of the coming threat. This shot is an extended shot lasting about 5 seconds, giving the viewer time to notice both the victim’s unawareness and the presence of the killer. Immediately following this shot, the speed in which shots are edited together increases dramatically, suggesting that the peace and tranquillity of the scene initially has abruptly ended. Little sound is used in these few seconds to increase tension, with the only sound implemented being the diegetic sounds of water falling, serving the purpose of distancing the victim and the viewer from the killer’s advances.


This shot depicts the killer stabbing the victim, and the complete vulnerability of the victim. It is a high angle shot, further depicting the victim’s weakness and disadvantageous position in comparison to the killer. Similar to many shots before and after this one, it only lasts about a second, not only to portray action but also to keep in time with the quick stabbing motion, and the severity of the attack of which the victim is being subjected to. Non-diegetic sound is implemented here, including the screaming of the victim, the exaggerated impact sounds of the knife and high-pitched vibrant music.

This successfully portrays to the viewer the intense action occurring, and the dangerous, potentially deadly act being carried out. A typical convention of this shot that relates to the thriller genre is the screaming of the victim, denoting pain, vulnerability and weakness, whereas we cannot highlight or depict the emotions of the killer at all, as their face is concealed and they do not make any sounds. This serves the purpose of informing the viewer the wickedness of the killer, as it appears despite the horrific the nature of their actions, they seem undeterred and incapable of producing emotion, creating further suspense and surrounding the scene in tension. Once again intense lighting is present in order to completely expose the victim, inferring there is no place in which they can hide from their impending death. The blade of the knife is not visible, denoting its position inside the victim, further relinquishing any hope that the victim could potentially escape.
 

In this shot, a close up shot of the victim’s hand, the audience is informed of the weakness and the hopeless position the victim is now in, as suggested by the hand placement on the wall, as the victim is no longer strong enough to grip onto an object to pull themselves up off the floor. It is a shot that lasts a number of seconds, to depict the life of the victim slowly ebbing away, as well as to denote the ending of the action sequence, as the killer has left the room by this point.

As the facial expression is not visible to the viewer, the strength and condition of the victim is effectively portrayed through the slowness of the shot, which is in time with the slow movement of the hand down the tiles, inferring the victim has given up hope of standing or advancing from their position on the ground. The viewer is also notified of the hopeless position of the victim through the implementation of non-diegetic sound, a deep, low pitched piece of music implying the victim’s demise.

 

 

One of the final shots of the scene, this shot is an extreme close up shot of the plughole of the shower, surrounded by red liquid, that of the victim’s blood. This clearly denotes to the viewer the victim’s condition, because of the clear loss of blood, and connotes the viewer’s life draining away, impossible to reclaim (denoting the physical impossibility of placing your hand down the plughole in order to try and grab something that may have fallen through it.) Matching the slow nature of the water swirling down the plughole, the shot itself lasts a number of seconds, allowing the viewer to summarise the events that have just occurred before them. In this scene, the sound volume of the water draining down the plughole is increased in a non-diegetic fashion, sustaining tension and suspense despite the fact that the actual action sequence has already been completed.

Lighting is used heavily in this scene, with light clearly reflecting off the water and the metal surrounding the plughole, further inferring that a life is being consumed by this plughole, and all the happiness this person may have brought to people along with it, creating a sombre and mournful atmosphere. Focusing on props, the plughole itself resembles a blackened eye, trapping all light literally and figuratively as previously mentioned. This shot is immediately followed by a close up of the victim’s eye, allowing the viewer to notice the similarity between the lifeless, eye-resembling plughole and the lifeless eye of the victim.

This final shot immediately follows on from the extended shot of the plughole, and similarly is a close up shot. The camera itself is circling round the eye in a swirling fashion, similar to that of the physical movement of the water into the plughole, perhaps denoting the blood seeping out of the victim in a similar manner. The viewer is intentionally meant to notice the similarity of this shot to the previous shot of the plughole, as the non-diegetic amplified sound of water draining down the plughole has been edited on top of this shot also, with no other sound being heard. This comparison is continued due to both shots being of similar length, much slower than those seen throughout the entire action seen earlier. As we can’t actually tell through imagery that the victim is dead, the audience is intentionally forced to rely on the foreboding sounds being used, with the purpose of concealing the victim’s true condition for as long as possible being to create further suspense and mystery similar to that of the killer’s identity. This is a common convention in many thriller movies, as this is only relatively close to the beginning of the film, and the purpose of the film is to sustain suspense and the audience’s attention throughout the entirety of it.