Tuesday, 16 March 2010
Tuesday, 23 February 2010
How Does The Horror Genre Represent Women
Gender is represented in many ways throughout the media, and is beginning to change towards equality however, females are still represented differently to males. Jeremy Tunstall argued that the research he found showed that most women in the media fitted into four categories: domestic, sexual, consumer and marital. Another theory about the representation of women in the media is the way in which the camera ‘looks’ at women. This is also known as ‘the male gaze’, it shows the woman as the object from the males point of view.
Unlike women in the media, men are often shown as dominant, authoritative, strong, intellectual and active. This is juxtaposed with the submissive, passive, emotionality and sexuality of women, due to representation of men, women are then defined through their relationships with males. This kind of research that Jeremy Tunstall found to support his theory of categorising the representation of women, suggests that all women in the media are portrayed as housewives, mothers, shoppers and sex objects.
Similar numbers are husbands and fathers, however, their wives and children are rarely used as a way of representing the male character. Unlike a mother or wife who’s husband and children are ‘a part of them’, a husband’s or father’s wife and children are like an added extra. However, Tunstall concluded his theory in 1983 (over fifteen years ago) meaning it could be dated, and not entirely valid for the media today. Although, in 1992 research showed that men out-numbered women on screen, two to one.
‘Halloween’ (1978 directed by John Carpenter) is a good example of gender representation in the horror genre. Laurie (the final girl) is domestic, in the film she is seen babysitting two young children, Tommy and Lindsey. She reads them stories, helps them make a pumpkin, watches television with them and comforts them when they are scared. This is very similar to the role of a housewife, therefore falling into the ‘domestic’ category. Laurie is never objectified sexually and doesn’t buy anything during the film (ruling out sexuality and consumer) her father’s voice is heard at the beginning, suggesting she has a family but she is not represented through her family (ruling out marital/familial). However, she is also a main protagonist, so even though she only fits into one of Tunstall's four categories, she does fit into Vladimir Propp's theory about the characters in a narrative, Laurie being the final girl.
Laurie’s friends, Lynda and Annie, on the other hand, are represented as sexual. From the first time they are on screen they are talking about their relationships with men. Annie is objective to the monster’s point of view as a sex object, similarly Lynda is seen in a passionate scene with a man, representing her a sex object. Annie is also represented through her family, her father is the cop working with ‘the monster’s’ doctor. They are seen in a scene together and it is mentioned in other parts of the film.
Laurie is the ‘final girl’ in this film, the fact that she is also in the domestic category reinforces good vs. evil. Having somebody that has been looked upon as innocent throughout the film, ‘get away’ from the monster is quite symbolic. However, the characters that have been portrayed as sex objects (Annie and Lynda) are defeated by the monster. Being objectified sexually is not seen as innocent, like Laurie, again being symbolic that they have been defeated by the monster. Women are also shown as quite weak, which is why at the end of ‘Halloween’ Dr.Loomis saves Laurie from the monster. Annie and Lynda are classic examples of how women can represented through their relationships with men and are sexual, emotion and concentrate on physical beauty, but due to the fact that Laurie is the ‘final girl’ she is identified with in the film as a subject.
Laura Mulvey suggested that the media puts the audience in the eyes of ‘an appraising heterosexual male’, making women as the object being looked at by the subjective male. The audience is then put in the eyes of the male (usually the main protagonist) looking at the female. This is done using camera shots and angles to create the ‘male gaze’. The use of close-up shots and reaction shots of the male, allows the audience to identify with him being the subject. To look at the female, long shots are often used as well as tilts up the body. By using tilts the audience can see parts of the body, e.g: legs. This is known as fragmentation, this encourages the audience to look at the female as an object, usually being displayed in a sexual manner.
The male gaze is used in the horror genre, normally through the monsters’ eyes, to show the female as the object (normally the victim). This can add to the suspense of the film, if you can see the girl through the monsters’ eyes knowing she cannot see ‘you’. By using tilts/fragmentation and point of view shots, it puts the audience in the position of the monster. This contributes to the tension because it allows the audience to have an insight to what the monster is thinking and not the victim.
An example of the male gaze in the horror genre, is in ‘The Shining’ (1980 directed by Stanley Kubrick). The scene, where Jack (in this case ‘the monster’) enters room 237 and finds a beautiful, young, naked woman in the bathtub. The technical code used in this scene is an example of the ‘male gaze’. The audience identifies with Jack, looking at woman being objectified sexually, due to the way the camera has used a close-up of Jack and a long-shot of the woman, then a reaction shot of Jack. However, like in 'Halloween', in 'The Shining', Wendy is a main protagonist, but still fits into the domestic and marital/familial categories of Jeremy Tunstall.
The visibility of gender is also another contribution to the way females are represented in the horror genre. Theories suggest that more men appear on screen than females, which are usually older. This is because in male roles, age connotes wisdom, authority and respect. However, older females roles are either used for comedy or shown as horrific, an example of this is in ‘The Shining’ when they young and beautiful woman turns into an old and mouldy woman. The age in this example is used to be horrific and to disgust the audience, not used to connote wisdom, for example.
Both ‘Halloween’ and ‘The Shining’ reinforce the ideology of visibility. ‘Halloween’ has roughly equal numbers of men and women, however, there is a significant age difference between the genders. All the male roles are older (youngest being around 21) than the females roles (teenagers). ‘The Shining’ has twice as many male roles than female roles, and the majority of the male roles are older. The only exception is the old bath lady who is horrendous because of her age.
In conclusion, the representation of women in the horror genre comes down to three aspects: visibility, role and gaze. The visibility shows that women are not on screen as much as men, and if they are they are normally younger. An older female would only be used for comedy value or to horrify the audience. The roles of females are split into four categories (theorised by Jeremy Tunstall): domestic, sexual, marital and consumer. Women seen in the horror genre are depicted through one of those categories and through their relationship with a male character. The camera shot used to shoot the female also shows that usually the female is objectified sexually rather than identified with subjectively, by the use of long shots and tilts to fragment the body in the eyes of a heterosexual male.
Unlike women in the media, men are often shown as dominant, authoritative, strong, intellectual and active. This is juxtaposed with the submissive, passive, emotionality and sexuality of women, due to representation of men, women are then defined through their relationships with males. This kind of research that Jeremy Tunstall found to support his theory of categorising the representation of women, suggests that all women in the media are portrayed as housewives, mothers, shoppers and sex objects.
Similar numbers are husbands and fathers, however, their wives and children are rarely used as a way of representing the male character. Unlike a mother or wife who’s husband and children are ‘a part of them’, a husband’s or father’s wife and children are like an added extra. However, Tunstall concluded his theory in 1983 (over fifteen years ago) meaning it could be dated, and not entirely valid for the media today. Although, in 1992 research showed that men out-numbered women on screen, two to one.
‘Halloween’ (1978 directed by John Carpenter) is a good example of gender representation in the horror genre. Laurie (the final girl) is domestic, in the film she is seen babysitting two young children, Tommy and Lindsey. She reads them stories, helps them make a pumpkin, watches television with them and comforts them when they are scared. This is very similar to the role of a housewife, therefore falling into the ‘domestic’ category. Laurie is never objectified sexually and doesn’t buy anything during the film (ruling out sexuality and consumer) her father’s voice is heard at the beginning, suggesting she has a family but she is not represented through her family (ruling out marital/familial). However, she is also a main protagonist, so even though she only fits into one of Tunstall's four categories, she does fit into Vladimir Propp's theory about the characters in a narrative, Laurie being the final girl.Laurie’s friends, Lynda and Annie, on the other hand, are represented as sexual. From the first time they are on screen they are talking about their relationships with men. Annie is objective to the monster’s point of view as a sex object, similarly Lynda is seen in a passionate scene with a man, representing her a sex object. Annie is also represented through her family, her father is the cop working with ‘the monster’s’ doctor. They are seen in a scene together and it is mentioned in other parts of the film.
Laurie is the ‘final girl’ in this film, the fact that she is also in the domestic category reinforces good vs. evil. Having somebody that has been looked upon as innocent throughout the film, ‘get away’ from the monster is quite symbolic. However, the characters that have been portrayed as sex objects (Annie and Lynda) are defeated by the monster. Being objectified sexually is not seen as innocent, like Laurie, again being symbolic that they have been defeated by the monster. Women are also shown as quite weak, which is why at the end of ‘Halloween’ Dr.Loomis saves Laurie from the monster. Annie and Lynda are classic examples of how women can represented through their relationships with men and are sexual, emotion and concentrate on physical beauty, but due to the fact that Laurie is the ‘final girl’ she is identified with in the film as a subject.
Laura Mulvey suggested that the media puts the audience in the eyes of ‘an appraising heterosexual male’, making women as the object being looked at by the subjective male. The audience is then put in the eyes of the male (usually the main protagonist) looking at the female. This is done using camera shots and angles to create the ‘male gaze’. The use of close-up shots and reaction shots of the male, allows the audience to identify with him being the subject. To look at the female, long shots are often used as well as tilts up the body. By using tilts the audience can see parts of the body, e.g: legs. This is known as fragmentation, this encourages the audience to look at the female as an object, usually being displayed in a sexual manner.
The male gaze is used in the horror genre, normally through the monsters’ eyes, to show the female as the object (normally the victim). This can add to the suspense of the film, if you can see the girl through the monsters’ eyes knowing she cannot see ‘you’. By using tilts/fragmentation and point of view shots, it puts the audience in the position of the monster. This contributes to the tension because it allows the audience to have an insight to what the monster is thinking and not the victim.
An example of the male gaze in the horror genre, is in ‘The Shining’ (1980 directed by Stanley Kubrick). The scene, where Jack (in this case ‘the monster’) enters room 237 and finds a beautiful, young, naked woman in the bathtub. The technical code used in this scene is an example of the ‘male gaze’. The audience identifies with Jack, looking at woman being objectified sexually, due to the way the camera has used a close-up of Jack and a long-shot of the woman, then a reaction shot of Jack. However, like in 'Halloween', in 'The Shining', Wendy is a main protagonist, but still fits into the domestic and marital/familial categories of Jeremy Tunstall.The visibility of gender is also another contribution to the way females are represented in the horror genre. Theories suggest that more men appear on screen than females, which are usually older. This is because in male roles, age connotes wisdom, authority and respect. However, older females roles are either used for comedy or shown as horrific, an example of this is in ‘The Shining’ when they young and beautiful woman turns into an old and mouldy woman. The age in this example is used to be horrific and to disgust the audience, not used to connote wisdom, for example.
Both ‘Halloween’ and ‘The Shining’ reinforce the ideology of visibility. ‘Halloween’ has roughly equal numbers of men and women, however, there is a significant age difference between the genders. All the male roles are older (youngest being around 21) than the females roles (teenagers). ‘The Shining’ has twice as many male roles than female roles, and the majority of the male roles are older. The only exception is the old bath lady who is horrendous because of her age.
In conclusion, the representation of women in the horror genre comes down to three aspects: visibility, role and gaze. The visibility shows that women are not on screen as much as men, and if they are they are normally younger. An older female would only be used for comedy value or to horrify the audience. The roles of females are split into four categories (theorised by Jeremy Tunstall): domestic, sexual, marital and consumer. Women seen in the horror genre are depicted through one of those categories and through their relationship with a male character. The camera shot used to shoot the female also shows that usually the female is objectified sexually rather than identified with subjectively, by the use of long shots and tilts to fragment the body in the eyes of a heterosexual male.
Tuesday, 5 January 2010
Target Audience Research
These following questions are the questions and results we asked our target audience for the research into horror films:
What gender would you prefer the main protagonist to be?
What key conventions do you look for in a horror trailer?
What setting would you prefer a horror film to be set in?
What style of horror do you prefer?
What gender would you prefer the main protagonist to be?
What setting would you prefer a horror film to be set in?
What style of horror do you prefer?
What type of villian would you like to see in a horror film?
We also asked people that matched out target audience, "what features in a trailer attract you to a film?" They mainly responded with a strong story line, "jumpy bits" and good characters.
Our final question was, "if you could name one thing that makes you want to watch a horror film what would it be?" In the main, the repsonses we got were: suspense, a good story-line and that the trailer has to look scary.
Wednesday, 25 November 2009
Mood Board
This is my mood board for horror films, and the horror genre. I used pictures of high angles; close-ups; examples of lighting; shadows; figures in the background of shots; settings and props such as mirrors. I feel that the iconography that are shown in my mood board really gives a horror film the 'scary factor'.
I especially enjoy weird camera angles, this can connote the distortion of the story-line or of the characters in the film, it also makes the shot more interesting to look at. The way in which lighting and shadows are used can create a 'spooky' feeling and enhance the tension and suspense in a scene, as it is not what we would class as 'normal', this makes the audience feel uneasy. Close-ups and extreme close-ups can emphasise the protagonist's emotions. It can also create tension because the audience cannot see anything else, leaving it to the imagination, as well as empathising with the protagonist.
I like props that are 'different' and make the audience look at it in a different way from what they are used to. For example, using a mirror to see the characters' face, or something else in the background. By using everyday props the audience can empathise with the characters, making them relate to the film, keeping their attention.
Role of the Distributor
The information in this post is taken from the Film Distributors Association education website. A fuller account can be downloaded here.
The job of the distributor is to deliever every film to the biggest possible audience. Competing distributors promote interest in titles that they are handling, resulting in the majoirty of cinema-goers know what film they want to see in advance. They launch and sustain films in the market place, starting from scratch each time (apart from sequals) by looking at their potential. Distributors work a long side filmmakers and producers, exhibitors, publicists, advertising, designers and colleagues handling in the release of the film.
Similarly to other countries, the UK has a few major (directly conected to the Hollywood studios) distibutors and many independent (not conected) distributors, who handle films made out of major studios. Distributors look for something that is original or fresh, that has an imaginative idea or 'hook'. Distributors recongise the 'want' for local products, so British audiences prefer British films etc. Distributors get the funding for promotion from multiple sources: pre-sales, bank loans, institutional investors, private individuals, beneficial tax schemes and public subsidies such as the UK Film Council.
A distributor will take into consideration what the film will earn, so it can estimate on how much money they have to release the film, because like all businesses they want to make a profit. They will make it appeal to a certian audience, due to their audience research, for example, families, teenagers, older adults, couples etc. The distributor will never lose sight of their core audience. More then half the 15-24 year olds in the UK visit the cinema at least once a month, however, just a quarter of the population goes that regularly.
Market research is conducted to test audience reactions to the film at pre-release test screenings, afterwards viewers will fill out questionnaires which help the distributor know what to expect at the box-office and release of the film. Distributors also have to take into consideration what other films are being released at the same time and if it is targeted at the same audience - competition. There are other factors that distributors have to look:
Trailers:
Distributors use a large range of audio-visual content to help them prepare for campaigns, which include clips that have been approved by the producers. Trailers are the most cost-effective and generally effective methods to capture cinema-goers attention, as they are played in the cinema, usually before a film of the same genre as they will have a similar target audience. Full trailers will be released shortly before the film is released, however, before the full trailer is shown to the audience a teaser trailer will be released, these last between 30-90 seconds. As the teaser trailers are released in the pre-production stage of film making, making a teaser trailer of the 'best bits' is film-making in its own right.
Online and Mobile:
Most films have their own websites that offer trailers, production information and galleries of pictures during the production of the film. The internet help distributors create awareness of films at very early stages, it can gradually release images or clips of filming throughout the production stage creating more and more interest in the film. Sometimes they even use blogs from the set of the film, updating people on the production of the film. Reviews and screenings can be shared on the internet and feedback can be spread quickly.
Market research is conducted to test audience reactions to the film at pre-release test screenings, afterwards viewers will fill out questionnaires which help the distributor know what to expect at the box-office and release of the film. Distributors also have to take into consideration what other films are being released at the same time and if it is targeted at the same audience - competition. There are other factors that distributors have to look:
- Whether it is a blockbuster or specialised film.
- If it features any stars in the cast, or a 'name' director.
- If it can be released in a holiday period, for example, Christmas, Easter, Halloween etc.
- Could the film win any awards, for example, The Academy Award, Golden Globe etc.
- Lead the media reviews of that weeks' releases.
- Is it based on a book, controversial matter or a general buzz about the film on the internet etc.
- Whether it is a franchise or sequal.
- If the film has been released elsewhere, for example US.
- What certificate will the film have, the BBFC (British Board of Film Classification) can have an effect on the audience.
Posters:
Posters tell the audience the main themes or genre of the film, its stars, name of the film and normally a tag line for the film. However, nearly all distributors use posters to promote their films, so each posters needs to stand out and get the attention of the audience. A poster is made for each release (traditional size 30" x 40") and a teaser poster made before the release to give the audience an insight to the film soon to be released.
Trailers:
Distributors use a large range of audio-visual content to help them prepare for campaigns, which include clips that have been approved by the producers. Trailers are the most cost-effective and generally effective methods to capture cinema-goers attention, as they are played in the cinema, usually before a film of the same genre as they will have a similar target audience. Full trailers will be released shortly before the film is released, however, before the full trailer is shown to the audience a teaser trailer will be released, these last between 30-90 seconds. As the teaser trailers are released in the pre-production stage of film making, making a teaser trailer of the 'best bits' is film-making in its own right.
Online and Mobile:
Most films have their own websites that offer trailers, production information and galleries of pictures during the production of the film. The internet help distributors create awareness of films at very early stages, it can gradually release images or clips of filming throughout the production stage creating more and more interest in the film. Sometimes they even use blogs from the set of the film, updating people on the production of the film. Reviews and screenings can be shared on the internet and feedback can be spread quickly.
Media Advertising:
Using television is the most effective way of advertising in the media because it can reach a mass audience, however it is expensive, costing thousands of pounds or more for a package. The UK alone has around 250,000 poster sites at road sides or railway platforms etc.
Publicity:
Publicity in the media, about a film can be the most persuasive form for the distributors. The distributor's publicity team will arrange interviews with the cast for the media, because many channels are interested in entertainment news. They will use photographs from when the film was being shot, as well as giving journalists lists of the cast and crew, biographies, facts about production and a synopsis. Screenings will be held for critics at the beginning of the week so the reviews can be out before the film release, however, not all reviews are positive.
Promotional Partnerships:
Distributors will partner up with other companies so that they can advertise films in places they normally wouldn't be ablt to reach, for example, shop windows, restaurants or packets. They will also use
promotional ideas for customers to win tickets or entering competitions to win merchandise.
Merchandising:
Merchandise is used to promote a film, from, action figures, clothing, calendars, ring-tones to screen-savers. Films often have their own soundtrack, games and books which usually create their own revenue. Due to promotional partnerships, on some channels audiences can win merchandise in competitons, which reaches out to a wider audience.
Premieres and Preview Screenings:
Premieres are shown world-wide and have large number of film stars on the 'red carpet'. They are expensive and take a lot to organise from the distributors point of view, however, is one of the most effective way of promoting a film to the biggest possible audience. From the distrubutors perspective the aim is to make it as high-profile as possible, so no wonder some of the bigger premieres are broadcasted on television. Preview screenings are showings of the film before its release date. However, the people that are selected are a sample of the core target audience, chosen from television programmes and radio stations whose listeners/watchers fit the target audience. These selected people will then tell others about the film, word of mouth is one of the most effective ways of getting news of a new film around.
The distributors also have to think about where to play the films. They should take into consideration what cinemas are/aren't appropriate, how it can achieve the greatest imapact on the intended audience and how many screens to show it in. For this they have to work in partnership with the exhibitors who provide the screens, the arrangements between the distributors and exhibitors are evaluated weekly and changed accordingly. For example, blockbusters will be booked into all multiplexes, on the other hand smaller releases will be put in particular screens and looked at from week to week. The launch date is also important, as a film can only be released once and it usually makes 30% or more of its bonx-office in the first three days.
Around 300 people work in the UK distribution, which is less than 1% of film/cinema's workforce! The managing director will supervise staff with specialist roles such as: marketing, publicity, sales, technical, aquisitons and legal, finance and accounting and administration. Workers in the distribution team have to take into consideration essential information audiences' tastes, wider culture in society and their similarities. Having people with different perspectives and backgrounds can bring forward fresh ideas.
Publicity:
Publicity in the media, about a film can be the most persuasive form for the distributors. The distributor's publicity team will arrange interviews with the cast for the media, because many channels are interested in entertainment news. They will use photographs from when the film was being shot, as well as giving journalists lists of the cast and crew, biographies, facts about production and a synopsis. Screenings will be held for critics at the beginning of the week so the reviews can be out before the film release, however, not all reviews are positive.
Promotional Partnerships:
Distributors will partner up with other companies so that they can advertise films in places they normally wouldn't be ablt to reach, for example, shop windows, restaurants or packets. They will also use
promotional ideas for customers to win tickets or entering competitions to win merchandise.
Merchandising:
Merchandise is used to promote a film, from, action figures, clothing, calendars, ring-tones to screen-savers. Films often have their own soundtrack, games and books which usually create their own revenue. Due to promotional partnerships, on some channels audiences can win merchandise in competitons, which reaches out to a wider audience.
Premieres and Preview Screenings:
Premieres are shown world-wide and have large number of film stars on the 'red carpet'. They are expensive and take a lot to organise from the distributors point of view, however, is one of the most effective way of promoting a film to the biggest possible audience. From the distrubutors perspective the aim is to make it as high-profile as possible, so no wonder some of the bigger premieres are broadcasted on television. Preview screenings are showings of the film before its release date. However, the people that are selected are a sample of the core target audience, chosen from television programmes and radio stations whose listeners/watchers fit the target audience. These selected people will then tell others about the film, word of mouth is one of the most effective ways of getting news of a new film around.
The distributors also have to think about where to play the films. They should take into consideration what cinemas are/aren't appropriate, how it can achieve the greatest imapact on the intended audience and how many screens to show it in. For this they have to work in partnership with the exhibitors who provide the screens, the arrangements between the distributors and exhibitors are evaluated weekly and changed accordingly. For example, blockbusters will be booked into all multiplexes, on the other hand smaller releases will be put in particular screens and looked at from week to week. The launch date is also important, as a film can only be released once and it usually makes 30% or more of its bonx-office in the first three days.
Wednesday, 4 November 2009
Friday 13th Teaser Trailer
The horror movie, 'Friday 13th', was directed by Marcus Nispel, produced by Michael Bay and starred actors, Jared Padalecki, Danielle Panabaker and Amanda Righetti. The film does not have any well known Hollywood stars, which implies the budget was low, however, it will appeal to its target audience because it has the same director as 'Texas Chainsaw Masacre' and the same producer as 'A Nightmare On Elm Street'. It has good special effects that will appeal to an audience, making it seem more real and capturing.
The name of the film is featured once, at the end of the trailer, to ensure the audience will remember it for when it is released. There is a strong lead up to the name of the film, couting up from 1 to 12, finishing with 13 and friday fading into the screen. However, because it is a remake of a well known 80's horror film, the audience will be able to guess what it is by the dialogue at the beginning of the trailer.
The trailer appeals to its target audience, by having the main characters a similar age. By doing this it enables the audience to identify with the characters, getting the audience more involved. The film is about a group of friends on holiday, another aspect of the film that will appeal to the target audience. Also at the beginning of the trailer it shows a girl in a bikini wakeboarding - this will appeal to more of the male side of the target audience.
At the beginning of the trailer, after the dialogue, up-beat pop music is played which connotes, care-free, fun and happiness. However, after the girl falls in the water, the up-beat music stops, and eerie, creepy music plays. The eerie music is played nearly throughout the trailer, and the sounds effects and dialogue is used to create suspense and the build-up. Drum beats are used to imply either, footsteps or a heartbeat, the drum beats get faster and faster to create tension. Sound effects, such as, sharpening knives, cutting and breaking glass are also used in the build-up, becoming louder and used more frequently. Dialogue is also used along side the sound effects and music, and like the sound effects the get more frequent and louder for the build-up.
The dialogue that is used at the beginning of the trailer is also used at the end of the trailer. When it is used at the beginning, the audience use it to help set the scene of the film. However, by the end, the audience is left thinking that what is said in the dialogue, is the reason for what happened in the film. The dialogue is spoken in a female voice, that is quite monotonous. This gives a creepy feel to it because it connotes that she knows what has happened or is happening, and it doesn't bother her. Once the music changes at the beginning, the dialogue sets the scene for the audience even more, by explaining someone has gone missing. Gradually the dialogue becomes more panicky and fast-paced, creating suspense and fear.
Nightmare On Elm Street Teaser Trailer
'A Nightmare On Elm Street' is a horror film directed by Samuel Bayer, produced by Michael Bay and starring the actors, Jackie Earle Haley, Kyle Gallner and Katie Cassidy. Due to the fact that there are no 'big Hollywood stars', implies that it wasn't a very high budget film. However, the special effects and CGI look convincing throughout the trailer, which gives the impression that most of the budget was spent on the making of the film rather than the 'big names'.
The name of the film is only featured once in the trailer, which is near the end, just before the release date. This means that the audience will have to sit through the trailer and watch it to know what the film is called, therefore, getting the full effect of the trailer. Also, the audience will remember the name better if it is right at the end of the trailer, rather than at the beginning. By doing this, when it is released at the cinema, the audience who have seen it will remember liking the trailer and the name of the trailer. Although the name of the film isn't shown until the end of the trailer, there are hints to what it could be called throughout it. For example, there is a short shot of the name of the street about half way through the trailer. Also, it focuses a lot on nightmares and sleeping. The audience may not realise this at the time, but it will reinforce the name of the film more thoroughly.
The trailer uses the parts of the film that will reach out to his target audience, to make it the most effective it possibly can. Horror films' target audience is usually teenagers/young adults, normally around 15-late 20's (depending on the certificate of the film - 15 or 18) and quite often will reach out to a male audience more so than a female audience. The way in which this particular trailer reaches out to its target audience is by basing the story-line around something which all young adults are conscience of - sleep. Sleep is also something that is like a security blanket and a comfort, so 'A Nightmare On Elm Street', uses sleep to attract the audience but also uses it to make it more scary, because the 'monster' attacks in the protagonists' dreams.
The main stars in the film are also young, which will help the target audeince idenify with the characters. The main protagonist is also the final girl - blonde and pretty, this will reach out to the male side of the target audience. There are also shots of a classroom, this will apply to the target audience because they will still be able to remember their years at school. Similarly, there are shots of childhood which will be quite fresh in young adults' memories.
The only music featured in this trailer, is a nursery rhyme being sung by young children. In a normal circumstance this would connote innocence, however, because there is an echoing effect, along with the other sound effects and screaming, it gives it a creepy and scary feel. The singing stays the same throughout the trailer, but the sound effects and dialogue create the build-up. For example, three quarters of the way through the trailer, there is lots of dialogue (screaming and shouting) and sound effects (sharpening metal and footsteps etc) building up the crescendo and then it stops, leaving the singing of the young children on its own.
The dialogue at the beginning of the trailer, sets the scene for the audience. It gives the impression that a man is being accused of something, and the people in the town are taking their own action against it. It keeps the audience watching because, it is unknown what he is being accused of, who he is and who is accusing him. The rest of the dialogue talks about dreams, which gives the audience and idea what the film is about, without giving the whole story-line away. At the end of the trailer, who the audience assume is the monster, is talking to the main protagonist, implying he is going to kill her. There is only one inter-title at the end of the trailer, after the name of the film, which summerises the dialogue and the film - "don't fall asleep".
Tuesday, 20 October 2009
House Of Fears Teaser Trailer
House of Fears is a horror movie, directed by Ryan Little and staring the actors, Corri English and Carey Sevier. The budget for this film is difficult to estimate by the trailer, due to the darkness, quick scenes and pace of the trailer. However, it doesn't appear to be that high, considering the special effects are relatively basic and there are no well known 'Hollywood stars' featured in it.
The name of the film is only featured once in the trailer, however there is a build up to it, using inter-titles. Both words 'house' and 'fears' and featured in the build up, however, the are not in the same sentence. 'House of Fears' is the penultimate phrase on the screen, showing just before 'coming soon'. As this is the last piece of vital information it ensures that the audience will remember the name of the film; this means that when it is released people will go to see it, because they remember the trailer.
There isn't any music in the trailer, although there are sound effects that build throughout the trailer. At the beginning of the trailer, the sound effects have periods of time between them, making them sound individual and relative to what is on the screen at the time. For example, footsteps and slamming doors. However, as the tension builds in the trailer the sound effects become more frequent, and drum beats are added creating its own kind of music. It also uses sound effects that resemble horror iconography and conventions, for example, cutting knives, wind and things dragging along the floor. By putting all of these sound effetcs together in time makes its own kind of backing music for the trailer, which still builds a creepy and spooky atmosphere. The sounds effects end on a fast paced heart beat, which mimics how the audience feel and how the characters feel, enabling the audience to identify with the characters in the film.
There isn't a voice-over in this trailer, but there are inter-titles throughout it, combined with the use of dialogue. The inter-titles tell the audience the information the characters don't know, this makes the audience feel involved and connect with the characters. The use of characters dialogue, sets the scene and what is happening, so unlike the inter-titles, the dialogue is more like story-telling. By using parts of the dialogue to tell the audience what the film is about, it makes it more interesting than simply telling them and gives the audience an idea who the characters are and what the film is like. However, it doesn't tell all the story, like a lot of trailers, it gets to about three quarters through the story and stops. This results in a cliff-hanger, meaning it is more likely that people will go and see it to find out what happens at the end.
The inter-titles use short phrases, and break up sentences, this ensures that the audience pays attention through the trailer. The inter-titles are broken up into groups of three with three phrases/words in each group; the first group use longer phrases and flows well, this gives a calm and fairly slow start to the trailer, for example, "millions of people visit haunted houses each year". The second group, groups words into groups of three, this is adding to the pace of the film, making it quicker and snappier, for example, "in this house". The third group just has one word at a time, this is really building to the end of the crescendo of the trailer and makes the pace even faster, for example, "face", "your", "fears". The climax is the name of the film at the end of the trailer, "House of Fears". The power of three is an effective language device, which is often used in speeches and writing for emphasism. So by using three groups of three, it really emphasises the pace of the trailer and what is being said.
Tuesday, 6 October 2009
The Shining
Vladimir Propp's eight character roles could be seen in The Shining, they could be identified in different ways, this is one example:
The villian - Jack Torrance
The hero - Wendy and Danny Torrance
The donor - Dick Hallorann (head chef)
The helper - Tony
The princess - Danny Torrance
Princess' 'father' - Wendy Torrance
The dispatcher - employer
The false hero - Jack Torrance
Therefore, it could be argued that, Propp's character roles fit into The Shining. However, when it comes to the 31 narrative functions (preparation, complication, transference, struggle, return and recognition) Propp's order of events in his theory does not fit into the narrative of The Shining. A lot of the functions are in the film, although not necassarily in the right order, if they do appear. A lot of the functions appear in the film, up until the 'struggle' section of Propp's theory. Struggle, return and recognition in his theory do not seem to follow the narrative of the Shining.
In conclusion, The Shining does not follow Propp's narrative functions in the correct order, if at all. However, the 8 character roles do seem to appear in the film. Some of the roles can be argued differently, but it seems to be that they are all there.
The villian - Jack Torrance
The hero - Wendy and Danny Torrance
The donor - Dick Hallorann (head chef)
The helper - Tony
The princess - Danny Torrance
Princess' 'father' - Wendy Torrance
The dispatcher - employer
The false hero - Jack Torrance
Therefore, it could be argued that, Propp's character roles fit into The Shining. However, when it comes to the 31 narrative functions (preparation, complication, transference, struggle, return and recognition) Propp's order of events in his theory does not fit into the narrative of The Shining. A lot of the functions are in the film, although not necassarily in the right order, if they do appear. A lot of the functions appear in the film, up until the 'struggle' section of Propp's theory. Struggle, return and recognition in his theory do not seem to follow the narrative of the Shining.
In conclusion, The Shining does not follow Propp's narrative functions in the correct order, if at all. However, the 8 character roles do seem to appear in the film. Some of the roles can be argued differently, but it seems to be that they are all there.
Thursday, 1 October 2009
The Return of the Repressed
"The return of the repressed is the process whereby the repressed elements, preserved in the unconscious, tend to reappear, in consciousness or behaviour, in the shape in secondary and more or less unrecognisable "derivatives of the unconscious.""
The return of the repressed is used in horror films because it can give a back story to why the villian behaves in such a way. By having some sort of explanation it makes the 'psychopath' more personified so we can relate to them, making it more shocking when they commit a murder, for example. Repressed memories can also lead to the setting of the film, because villians seem to go back to their own history.
The return of the repressed is used in horror films because it can give a back story to why the villian behaves in such a way. By having some sort of explanation it makes the 'psychopath' more personified so we can relate to them, making it more shocking when they commit a murder, for example. Repressed memories can also lead to the setting of the film, because villians seem to go back to their own history.
Thursday, 17 September 2009
The Grudge 2 Trailer
I chose this trailer because I particularly like the short takes and cuts, which makes the trailer feel intense and edgey. The blackouts inbetween the takes emphasises it even more.
I also liked the black lines and crackling sound over the shot, this breaks up the shot making the viewer more intrigued. The combination of the short takes and the break ups keeps the viewer interested.
The genre of the trailer is horror, this is clear through the colour schemes throughout the trailer. The use of black and red is emphasised by the white background, which is symbolic in the horror genre. Red representing blood and black representing death. The use of short scenes and blackouts are used more frequently as the trailer progesses, to make it feel more fast paced and tense.
The name of the film is only featured twice in the trailer, once at the beginning and once right at the end. It is red writing on a black background, classic horror colours. It is only featured at the beginning and the end of the trailer because, studies have shown, an audience will find the beginning and the end more memberable than the middle area. Therefore, when the film is released the audience will have remembered the name and what they thought of it, even if they cannot remember everything in the trailer.
The production values are indicated in the trailer for this film, for example it uses one big 'star', Sarah Michelle Gellar, in the movie that will attract her fans. She is featured in the trailer but her name is also in the middle of the screen at the end. The directors name is also on the penultimate screen, along with the producers and writers. The quality of the special effects and the trailer itself, indicates that the it had quite a high budget. An example of the special effects is, when the 'grudge girl' appears out photograph in the dark room.
There isn't any music in the trailer for The Grudge 2, it is more of a 'humming' throughout the trailer. To build tension and pace it gets louder and sometimes a beat from a drum is put in to emphasise the pace. The use of dialogue is what the trailer revolves around, not music. The humming and beat does create a crescendo, however, the length of the scenes also contributes to the tension. There is no voice-over in this particular trailer, it is presented through inter-titles throughout the trailer. The rest of the explanation of the narrative and introduction is done through the use of dialogue from the main characters.
The inter-titles give the audience a glimps of what the film is about and leaves the audience wanting to know more. It uses devises like, breaking up sentences into clauses with dialogue between them. The dialogue will still be related to what the inter-titles have said, so it doesn't cause confusing but it also emphasises the inter-titles. The name of the movie is featured twice in the trailer, once right at the beginning and the second time right at the end, using the inter-titles to reinforce the important information that is given to the audience.
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