Final Pitch

1.       Title sequence with exterior and interior shots of a Church, with a religious undertone, to create tension and a montage

2.       Film noir conventional first-person narrative creating a biased point of view towards the events and the characters

3.       Aerial shot of the city of Leicester to establish the setting and to also increase the variety, to show off

4.       A discussion between the Boss and the Detective, describing the Vampire’s power and the urgency of this case, to allow the audience to recognise the intense task the antagonist creates. This will emphasise the power and help to create a typical Propp ‘Villain’

5.       Appropriate mise-en-scene, for example: a Detective’s office and the props required for his desk, following the research into Film Noir’s and our use of google to explore the conventional props from images

6.       An interrogation scene between the Detective and the suspect after his wife has been murdered. This will be one of the climatic events within the trailer, used to raise the tension and to create an enigma because the audience will not be completely aware of the background and context

7.       Different close ups of the Detective and the Vampire-the main characters to build audience suspense, to allow them to divert from their everyday problems as they try to discover who the characters are. The closeness within the shots will also create verisimilitude, as the realism from the detail and the shot type will enable the audience to connect to the shots and actually feel like they are really witnessing them

8.       Random shots of dead body parts, for dismemberment, creating the violence and macabre style-linking to the Director’s intentions and style, as well as offering a taste for a wider audience particular males, because they stereotypically prefer violence

9.       A two-shot of Gangsters to again offer variety, and more character types

10.   Pathetic fallacy-non-diegetic sounds and flashing of lightning and thunder to create a darker and intense atmosphere, whilst being conventional to the retro Noir. This will effectively foreshadow the deaths, leading to the binary opposites of life vs death and good vs evil to occur, for a professional plot

11.   We will explore how we can use the weather in the shots, for example a shot of a Mini in mist or a Vampire standing in fog

12.   A crime scene will take place. We are planning to film it in a Forest to create the clichéd and conventional horror, that is recognisable and somewhat iconic for many audiences

13.   The song we are planning to use is: ‘Night of the Vampire.’ This is dramatic and intense, and appropriately connects to the antagonist and his joy he is gaining from achieving his desires

Online tutorial on Film Noir cinematography (By Hayden Woodcock)

This video discussed lighting, focusing upon challenges you may face when filming. For example, reflections, wanted to show the filler lights naturalistically, in this case a lamp and how the light needs to be placed in the right position for a hard-edge on the actors face. Therefore, he placed the main light directly opposite his nose.

This tutorial also explores costume. The typical protagonist in a classic Film Noir would never be denoted with a flowery shirt, because it is essential that he is represented as hard-boiled and a stereotypical working man. This pairs with the hard shadows for a clichéd, connoting mystery and moral ambiguity.

Using reference photos a suitable desk for a Detective would include: typewriter, a magnifying glass, a notepad/diary, folders and maybe photo albums. All of these would signify a busy, hard working and committed Detective.

Our production:
Overall, all of these details create a simple and effective Film Noir look for a conventional mise-en-scene. In regards to our production, I think that it is necessary that we consider the props on the characters desk because we want it to look professional and conventional. Therefore, we will try to borrow or use these props in order to make our trailer more relatable and firm in the genre we have chosen to mainly focus upon. Obviously we are producing a hybrid, but the horror genre will only be an added detail for innovation and a different exploration, hopefully intriguing the audience further.

Online tutorial on the basic lighting of Film Noir (By Hayden Woodcock)

What I have learnt?

• Low key lighting is a commonly used to emphasise shadows and harsh lighting in order to create a sense of depth and deception.

Traditional three point lighting set up (in terms of lighting a face):

•  The most important light on a set is the key light. This is often the brightest and most dominate. Complimenting the key light is the filler. This is often placed opposite to the key light, in order to fill in the shadows. The final light is the back light. The function of this is to add an outline that separates the main focus or subject from the background.
• For an effective Film Noir look, a strong key and back light is essential, whilst the fill lights are not as dominant because an exaggerated contrast is vital for the low key look.
• Film Noir generally uses hard lights for a sharp edged shadow, created by a single point of light.
• However, soft lights are used subtlety. For example, for glamorising female characters.
• Another light that is used often is the eye light. This is used by illuminating the eyes and the brow for a dramatic look. In order to do this, we can use flags which are like solid cookies that do not let any light through apart from the intentional sections. Or we could use barndoors. These are leaf-like and they attach to the light fixtures, acting like mini flags.  

Since shadows are so effective, here is a list of the equipment necessary:

• Cucoloris (cookies). These are cut outs of wood, metal, plastic etc. for casting a pattern shadow, including a venetian blind pattern.
• Gobos: made of metal or glass to cast a crisp shadow, but they require a light with a projection lens.

How has this affected our ideas?
We are obviously using the convention of low-key lighting because this is an essential element for Film Noir as well as the horror genre. Also, we will focus on the key light and were it is placed in order to create emphasis and attention upon a certain character, object or setting, whilst complimenting this with a filler light (perhaps in the form of a lamp or a chandelier.) We are not planning to use glamorous females because of the struggle for actresses, so hard lights for a sharp edged shadow will be used highly within our trailer and ancillary forms. Moreover, Venetian blinds are conventions of Film Noir, but unfortunately we are planning to subvert this because of issues and the inability to source again or find an appropriate location. Although, since we are producing a hybrid, the conventions we could include have dramatically widened. As a result, we are able to subvert more conventions if we believe they are a challenge. Lastly, we would like to use eye lights to highlight the eyes and the brow for dramatic facial expressions, mainly on the Detective. However, we are aware that the equipment may cost and will require organisation, so this will be under consideration when completing the storyboard.

Audience feedback from trailer

Will: I like how they keep the music suspenseful even in basic dialogue scenes and that there is only a small glimpse of the werewolf.

Phil: The action never stops. It is also informative about the plot but lacks excitement, which gives the impression that the film might be dull.

Maddy: It was a pretty cool trailer, that definitely shows and captures the time period it's set in and tells you the storyline without ruining too much of the actual film. However, some of the sound effects seemed a little out of place, such as the scream near the end, but I did like the font and the soundtrack that was used, they were rather conventional for that type of film genre.

Caitlin: I like the bold, white letters and the build up of music for a crescendo, reaching a climatic edge.

Tommy: He finds this trailer informative and successful in getting messages across, like a narrator would usually do.

Nick: I liked the music - fitted the scenes well and built tension. I liked the use of silhouettes at the end so you couldn't tell what was happening (but you heard the scream).

Tom: I like the mystery behind the villain and that they don't show much until the end. Also, I like the slow dramatic zooms and the music building up tension and adding to the 'jump scares'.

From this, what may we apply to our trailer?
1. Suspenseful music throughout.
2. Small glimpses of the antagonist to keep the audience guessing, likely to be achieved through close ups.
3. Continuation of action. So we will probably use fast paced editing to keep the trailer flowing and exciting.
4. Having a plot twist or a technique that provides pleasure for the audience, specifically the target audience will prevent boredom and dullness. For example, having a main hook.
5. We should consider telling the story in as brief but informative detail as possible, likely through the conventional first person narrative and the camera shots denoted.
6. Stick to the conventions (we have planned to already).
7. The music we have planned to use: Roky Erickson - Night of the Vampire does slightly build up for a crescendo, but the song itself is quite upbeat and loud throughout. We can obviously develop the song if necessary.
8. Using silhouettes during a tragic and tense scene would work well in engaging the audience, because they would not be fully aware of what is happening, keeping them on the edge.
9. We are planning to use slow dramatic zooms for an eerie atmosphere and a steadier dynamic contrast.
10. Lastly, the music will be one of the main focus' in our trailer because it will definitely build the tension for audience engagement, and help to create the 'jump scares' for the horror genre.

Cohesive marketing (By Hubert Osinski)

Social Networking Research on Facebook

Different audience sub-groups (By Hayden Woodcock)

I sourced this information from http://www.uktribes.com/tribe/mainstream. It has been useful because it has allowed be to understand personalities and desires characterised by these different audience sub-groups. Additionally, this research enabled me to class our formal target audience into a particular mainstream audience.

Email to St Andrews Church in response to filming at this location

Font research (By Hayden Woodcock)

The font for the film 'The Honesman' is Cheltenham Bold Extra Condensed. Saban Films have likely chosen this font for this hybrid Drama/Western because it creates a sense of roughness and violence, perhaps connoting the conventional sand and desert settings within mise-en-scene. The font is large and bold, attracting audience attention, increasing the likability of interest. The added detail to the font (serif) relates to the harshness of the Drama genre, as well as allowing a space between the letters. This makes the title clear, preventing misinterpretation of words. Due to violence within Westerns, in response to the binary opposites including Indians vs Cowboys, the primary target audience would be male. This is considered throughout the text because of the sharpness of the serif's and the scratches on the white letters. However, since the target audience is very wide for Westerns and as Dramas specifically attract female audiences, i think that the white colour has allowed the title to be mix-gendered and less specific. We personally like this font because it looks classic, whilst there are added modern details, allowing the fact that we are creating an old fashioned stereotypical Film Noir in a modern day society to be noticed.

The font here is Times™ Roman. This choice of font is used in Lucas Film Production in order to provide intertextuality and audience recognition within this iconic franchise. The font is large and bold, attracting the audience in the way that it stands out. The serif font relates to the Science-Fiction genre, also connoting the themes of menace and representing the Jedi iconography. The font of the words 'OF THE' is smaller in size, providing unity to the other films in the saga. I think that this layout is effective because it provides a balance, being parallel to the use of mirroring in this poster as the lightsaber acts as the mirror. This is likely used for juxtaposition. Additionally, the light green colour is used throughout for identity and an essential organisation. This particular colour may symbolise safety and growth, connecting to the alliance and the rebellion forces. As this is opposed to a black background, this could relate to the binary opposite of Jedi vs The Sith. However, this chosen colour is a polysemic reading because green is also traditionally associated with greed and envy, perhaps insinuating that the narrative consists of jealousy. Lastly, the bright green colour and the serif font will particular suit the demands of the male audiences, which is positive since Sci-Fi movies often attract males. From this typography, I am keen on the bold presentation mixed with the serifs, as well as the use of mirroring within the title and the poster itself.

The font used here is Industria™. This font is used for classic crime films, and I think that the size and the tightness appropriately reflects the 'silence' and the eerie atmosphere (both being Horror conventions.) The font is small and not in capitol letters, emphasising the silence, connecting to the themes of mystery, innocence and guilt. The colour red symbolises murder and death, as well as passion and love. Therefore, this typography is stereotypical for both genders, establishing the wide range of audiences interested in crime films. Furthermore, the letters are quite tight, again causing the title to be discreet and less important in terms of focus here. Therefore, the audience may gain interest as they will want to pursue their bewilderment why the font is so small, especially when it stereotypically relates to the plot structure. Finally, the fact that it is sans serif makes it seem more friendly, which is ironic considering what conventionally happens within this film. I am fond of title because it visually emphasises the silence and creates ambiguity.

This font used is called Egyptian Bold Condensed, commonly incorporated in a Warner Bros production. This was effective for the Romance/Drama genre. The white colour signifies the wind and it effectively juxtaposes the flame colours. Whilst, the serif's create a precise style, linking to the speech marks and the strong and firm lexical choices. The fact that the typography is bold and quite large, this aesthetically stands out as well as blending in with the colour scheme of the poster nicely. In terms of this film, the colour white may symbolise innocence, perfection and purity. This is connoted through the use of rule of thirds in this poster, as she appears hot like the flames and one of the main focal points. In this case, the white title seems to highlight the poster even more, which is one of the reasons why I like it. To continue, this relates to Mulvey's male gaze theory because the white from her clothing draws attention to her breasts, acting as dismemberment. Overall, the title here is effective because it draws the main positives out of the poster and also reflects the style and connotations of wind.

This font was used by United Artists in 1988. Caslon 540 Roman is suitable for a Drama with a melodramatic style. This font is effective because it is synchronised and neat, perhaps suiting a straightforward idea. Also, the use of the white colour adds to the simple and clear typography, as well as connoting the whiteness and bleakness of rain. In terms of the colour scheme, the white works well with the blues from the jeans and the pathway. The font is not the biggest in the title, instead the name of the actors is the biggest, perhaps being the main marketing tool since they are well-known and mainstream actors. The title again uses serif font which is more complex than sans serif because of the fancy additions and lack of boldness and simplicity, this is conventional for Drama. Since this genre is specifically aimed at the older demographic, this relates to the choice of typography. Despite the small size, the capitol letters create attraction, suggesting the importance of the title. Overall, I am keen on this blank and clear title because it signifies the boring emotions we feel when it rains, for recognition and pleasure. However, as we are doing a Film Noir/Horror I think that it is necessary that we use Sans serif font with alterations inside the letters rather than on the ends, for the horror style.

Tally

1.

2.

3. l

4.

5.l

Pilot Survey Analysis (By Hayden Woodcock)

Audience profiling (By Hayden Woodcock)

Demographics: This is an audience theory that ranks audience based on their occupation and thus income, as well as age.

As our Film Noir/Horror will be conventional, the aimed demographic would be B, but it would also attract audiences down to E. This is because the film will require a reasonable level of intelligence in order to feel involved by solving the crimes, in which the Detectives main objective lies in. Moreover, the horror aspect will attract middle to lower class audiences as they are more likely to want the thrill and suspense. The lower class audiences will be offered a sense of escapism and diversion from their physical occupations, whilst the middle class will gain information and escapism. For example, teachers may learn information about the history of the set country, allowing them to pass this information onto students.

Psychographics: This segmentation divides the audience into groups based on social class, lifestyles and personality characteristics. It is based upon the assumption that the brands and genre likability will reflect the audiences lifestyle and character. Here is a table that refers to psychographics:

My target audience would be the 'resigned,' who seek survival, rigid values and are interested in the past and tradition. These are typically older audiences, thus relating to the fact that Film Noir was a 1950's-ish film hit. Therefore, they will gain audience recognition from this genre, in the way that it provides reminiscence and relates to their past life, which they are interested with. Furthermore, the audience 'thrill' from the horror conventions and elements will enable the audience to rediscover the iconic and quite pleasurable creations during old-fashioned techniques and designs. For example, Film Noir/Horror werewolf's had a certain style that provide audience gratification and entertainment. As a result, our film will be based and stylised from old fashioned Film Noirs and Horrors, whilst reaching the requirements of these different audiences in order to widen the audience reach.

22nd October 2016

Currently, our research is going quite well, but I think that it is necessary that we continue to link the research to our production for a greater effect. Yesterday, we put the focus group on Final Cut Pro for editing, but it is taking a while to load and transfigure all of the configurations and what it needs to so that it can be as clean and effective as possible. I have spoken to my Uncle, and he is prepared to be involved with our production in the form of the Detective. His acting experience in Amateur productions and previous short films means that he is a great actor, suitable for this role. We are continuing to look for locations, and we are planning on writing an email for St Andrews Church, Countesthorpe after half term so that we can be 100% certain whether we can film there or not. Hopefully we will get permission, but if not this will be one of the main challenges for our production because of the old fashioned mise-en-scene of Film Noir and our lack of awareness, money and time for big locations. Lastly, we have completed the first survey, but the responses are coming back slowly, so this is preventing our progress on this in particular.

History of 1950'S Horror and Film Noir movies

Film Noir:

The 50s decade was known for many things: post-war affluence and increased choice of leisure time activities, conformity, the Korean War, middle-class values, the rise of modern jazz, the rise of 'fast food' restaurants and drive-ins.

In the period following World War 2, most films were ideolised with conventional portrayals of men and women, but young people wanted to see new representations.

Film Noir (literally 'black film or cinema') was invented by French film critics (first by Nino Frank in 1946), after noticing the trend between 'dark', downbeat and the colour black to the looks and themes of many American crime and detective films released in France to theatres following the war.

A wide range of films reflected the resultant tensions and insecurities of the time period, and counter-balanced the optimism of Hollywood's musicals and comedies. Fear, mistrust, bleakness, loss of innocence, despair and paranoia are readily evident in noir.

The criminal, violent, misogynistic, hard-boiled, or greedy perspectives of anti-heroes in film noir were a metaphoric symptom of society's evils, with a strong undercurrent of moral conflict, purposelessness and sense of injustice. There were rarely happy or optimistic endings in noirs.

Primary characteristics and conventions of Film Noir: Themes and style

The primary moods of classic Film Noir were melancholy, alienation, bleakness, disillusionment, disenchantment, pessimism, ambiguity, moral corruption, evil, guilt, desperation and paranoia.

Heroes or anti-heroes, corrupt characters and villains included down-and-out, conflicted hard-boiled detectives or private eyes, cops, gangsters, government agents, a lone wolf, socio-paths, killers, crooks, war-veterans, politicians, petty criminals or murderers. The protagonists were often morally ambiguous and low-lifes from a dark and gloomy background. They had distinct character traits: cynical, hard-boiled, disillusioned, insecure and struggling to survive.

Storylines were often elliptical, non-linear and twisting. Narratives were frequently complex, maze-like and convoluted, and typically communicated through foreboding background music, flashbacks, witty language and first-person voice-over narration.

Horror:

Between 1940 and 50 the concept of a horrific monster barely changed. Although, there were more recognisably human faces attached to evil, for example WW2 traitors or Mad Scientists. Society was deprived from the joys of family and earth because of the numerous loss of loved ones during World War 2. Homecoming soldiers and bereaved widows had too many horror stories of their own to appreciate fantasies on the big screen, meaning that they gained no entertainment or escapism from these films, instead they may have only had the pleasure of information. The world could never be the same again, and the dawning of post-war posterity in America created a new breed of monsters, adapted specifically for survival in the second half of the twentieth century.

In the 1950's, Films were related to the B-movie category. Thus, the primary audience for horror movies were teenagers, who ensured that the genre remained very profitable. This demographic never truly cared about the plot or character development and the production values, instead they simply cared about the reactions and emotions they were experiencing whilst watching a particular horror film.

The main aim of the 1950's horror films were to thrill the audience the monsters, whilst perhaps more terrifying in conception than execution, never failed to deliver action and intensity.

Linking main production to ancillaries (By Hayden Woodcock)

Elements for creating an effective movie poster and web page

http://www.webdesignerdepot.com/2011/02/7-elements-of-a-great-movie-poster-design/

This link has been useful in enabling us to understand a focus and how we can achieve a successful Film Poster without complicating anything or money.

http://www.raindance.org/5-tips-for-building-a-filmmaker-website/
This link has been very useful in helping us understand the process of building a filmmakers web page successful, without complicated and unachievable methods.

Cohesive Marketing Campaign (By Hayden Woodcock)

Branding=process of creating a unique name and image for a product e.g. Adidas. Brand Image=the average impression on behalf of the primary target audience and potential customers. Synergy=the interaction of two or more organisations or media levels, to produce a combined product greater than what each of them could have managed individually. Convergence=the combination of companies in order to achieve a main goal more effectively. 360 degree branding=when the brand is displayed and advertised on a variety of different platforms so that the audience are enhanced and immersed by the product metaphorically everywhere they go.

Pilot Questionnaire

https://www.surveymonkey.co.uk/r/3Y29CTW

This is our first Pilot Survey Monkey. We have released it to as many school friends and teachers as possible, for a range in feedback from different audience perspective. Ultimately, we were aiming to release it to our primary target audience. This being the older demographic, who were preferably alive during the 50's.

Target audience profile (Hayden Woodcock)

My target audience consists of a wide age range due to the hybrid genre and the fact that Horror films attract a different audience to Film Noirs.

Research into Acting Skills (By Hayden Woodcock)

Research into 'Touch of Evil' certificate

'Touch of Evil' 1958, is a fine example of a Film Noir: a stark, perverse story of murder, kidnapping, and police corruption in a Mexican border town. By the MPAA it was rated as a PG-13 for some violence and drug content. In further detail, it includes:

Sex & Nudity  

A woman is implied to be nude in bed, but fully covered

Violence & Gore

A car is destroyed by a bomb. You see the driver and passenger engulfed by flames. While this is not particularly graphic, this second part is a little disturbing.

A man is strangled

A man is shot off screen and blood is seen dripping from his body.

Another man is shot off screen with no blood.

Throughout the film there are numerous fist fights in which people are thrown into walls and such.

Profanity

Mild use of profanity.

Alcohol/Drugs/Smoking

A large amount of the plot is about drug smugglers.

A woman is framed (falsely) as a heroin and marijuana addict.

Men smoke marijuana briefly.

A man is an alcoholic and is shown very drunk

Characters smoke in a manner accurate to the period.

Frightening/Intense Scenes

There is a sudden close-up to the face of a strangled man (with popping eyes and his tongue sticking out) that is likely to startle viewers.

Even though, our Film Trailer will not include as many of these aspects, we have set our target audience as a 15 because of the use of the Vampire, and as we will also incorporate Horror conventions.

'Touch of Evil' trailer does not obviously include as much intensity as the overall film would, but the beginning scene and the medium shot of the female character dancing on a table in tights creates a representation of a stripper and sexual incorporation.
http://www.imdb.com/title/tt0052311/videoplayer/vi33489177?ref_=tt_ov_vi

Technical research: Editing (Hayden Woodcock)

We are not fully dividing roles because we are keen on exploring each of the areas in order to get a better practical understanding. Therefore, we are all responsible for everything: filming, directing, editing, acting and producing. However, Hubert has asked to be involved with the filming and directing more this year because he took on the role of the actor last year, so it is clearly fair that we edge towards this. In light of this, I have decided to focus my research upon photography, editing and acting. Following this, here is my research into editing techniques and considerations:

• At this level, it is preferable to edit on Final Cut Pro because it provides a clean finish and provides the editors with more software and techniques to use compared to IMovie. As well as this, this editing software is quite easy to use once you have a basic understanding. Within Final Cut, it is essential that I always consider: transitions, colour, sound and continuity.
• Transitions: These can be used during the cuts between shots to make the film to look more professional and to enable a continuation or lack of continuation (depending on genre requirements or conventions.) It is vital that the transitions relate to the genre conventions in the way that old fashioned films, in this case Film Noir used wipes and iris' because of the technology and consistence dominance during this period.
• Colour: The colour of the film can accessibly and easily be altered to suit our ideas and Film Noir/Horror look: black and white. This will enable the overall trailer to appear recognisable and stereotypical for this particular film.
• Sound: Due to piracy and downloading, I can access sound from iTunes or other uses sound on Final Cut. Although, it is necessary that the sound within a trailer is balanced between diegetic and non-diegetic and in particular, contrapuntal and parallel for tension, juxtaposition and to anchor the footage.
• Continuity: This can be achieved via the colour matching tool in Final Cut Pro, ensuring that it is the same throughout. Additionally, continuity is essential in editing techniques, depending whether it is linear or non-linear narrative and in typography (since the font should be the same size and the same font unless a reason against this is clear.)

Film Noir (By Hayden Woodcock)

•       Strictly speaking, Film Noir should not be clarified as a genre. Instead it is rather the mood, style or tone of various American films that evolved in the 1940s, and lasted in a classic period until about 1960. However, it has not been exclusively confined to this era, and has re-occurred in the form of Neo Noirs.
• Noirs are usually black and white films with primary moods of melancholy, alienation, bleakness, disillusionment, disenchantment, pessimism, ambiguity, moral corruption, guilt and paranoia.

Sub-genres of Film Noir:

1. Detective and Mystery-focus' on the unsolved crime (usually the murder or disappearance of one or more of the characters, or a theft). The central character is often a hard-boiled and serious Detective in the form of a protagonist. He/she will complete various adventures and challenges in the cold and methodical pursuit of the criminal to a crime.
2. Thriller/suspense=Thriller and suspense films are virtually synonymous and interchangeable categorisations. They are promote excitement, suspense, a high level of anticipation, ultra-heightened expectation, uncertainty, anxiety and tension. The acclaimed Master of Suspense is Alfred Hitchcock (previously considered as my Influential Director.)

Production cycle

Pre-Production:
• Script development to ensure that the script is completed to its best ability.
• Setting the budget.
• Hiring department heads for things like production design.
• A shooting schedule would be drawn up which is likely to plan just a couple of minutes shooting over a 12 hour day.
• A Location Manager will begin to look for locations which might be suitable for the film and consider what changes might be needed and what permission might need to be negotiated. This can sometimes be expensive.
  • A Casting Director would be appointed and stars will be approached, agents contacted, screen tests and auditions held in a hired space over a period of time.
• Equipment will be hired such as cameras and lighting, vehicles would be arranged for transport.
• A Music Director would begin to organise and experiment with a score.

This research has been beneficial because it has developed my knowledge of a professional film, during this part of the production chain, whilst I have also understand what sort of targets we should be aiming for.


What should the production stage involve?
Multiple takes of the shot e.g. from different angles to see the change in perceptions and visual meanings.

If there is no locations suitable available, set designers will make it look authentic for the historic period.

 

The rushes will be reviewed, which gives the director and producers a chance to see whether they were successful.

CGI will begin for special effects sequences.

It should provide the audience with media products they desire and should provide them with gratifications that they expect.

This has again been influential because we understood that we should try out different angles and shots to recognise which ones are the most effective and it has enabled us to understand this stage more. Additionally, we have realised that we should always apply and consider theories, such as: Propp's and Todorov's theory and the 'Uses and Gratification' theory. For example, we included an anti-hero and followed the five stages of Todorov's narrative discovery.

Post Production:

·         The footage will be edited many times, until the final footage is complete.

·         The sound post-production would re-record the dialogue and use Foley sound recording to complete the diegetic sounds.

·         Music would be added and all of the sound will be mixed.

·         Major US productions would preview the movie to see audience responses.

·         A distribution deal will be arranged, likely involving Universal distribution for mainstream films or a smaller distributor, for example Arrow films, to distribute mostly independent productions. However, the distributer can often depend on what sort of genres it often converges with.

·         A marketing strategy will be devised with an outside agency targeting the anticipated audience. This will include a cross media of posters, trailers, DVD covers, radio advertising giving a sense of synergy which is appropriate for certain demographics. For example, trailers are better for the younger demographics, whereas radio advertising would be more influential and beneficial for older demographics.

·         A premiere and a saturation run would be arranged for a bigger film, while a smaller film may be exhibited at a film festival to gain reviews and publicity, and maybe nominations or awards before it is released in the cinema.

·         Vertical integration of the company controlling, marketing and exhibition of films.

This research was effective as it developed my individual knowledge ready for the other sections of my exam at the end of the year and has also increased my understanding of the marketing and distribution stage. Nevertheless, most of this does not apply to our opening production.

Genre Research: Horror (By Hayden Woodcock)

A horror depicts the audience emotions, worst fears, disgust and nightmares. This genre often includes scenes that scare the viewer, through macabre and the supernatural, as a result of intense imagery and sound. Most horror plots involve an antagonist trying to cause havoc or mayhem, often succeeding at the end of the plot, allowing the style and conventions within this genre to be clear. Elements that feature in this genre include: gore, weapons, dilemmas, enigmas, ghost, supernatural forces, serial killer and a lot of darkness.

Famous horrors include: The Exorcist, The Shining, The Babadook, It Follows, 31, A Nightmare on Elm Street, Psycho, Halloween, The Conjuring. The Descent, Saw and Evil Dead.

Who is our target audience?

http://www.slideshare.net/SFDobson94/film-noir-target-audience-6762653

In consideration of the BBFC website, we have acknowledge that our age certificate would be a 15, because of the violence, interrogations and the crime scene setting.

http://www.bbfc.co.uk/education-resources/student-guide/bbfc-history/history-age-ratings-symbols

This link shows that a 1951 film would have had a restricted category of 'X,' meaning that the audience would be limited to those over 16. X-rated films issued between 1951 and 1982 by the British Board of Film Censors in the United Kingdom as a result of the Wheare Report on film censorship. This was later risen to 18+ because of the violence, language and other forms of strong behaviour being include in films. However, some 'X' rated films in the past were transferred to a PG in modern day, suggesting that audiences and rating classifications have clearly altered throughout the years. Within an 'X' rated film, adulterous relationships, hooliganism, violence and poor morals could be denoted. We are planning on using violence and aspects of hooliganism, so we think that it is necessary that we rate our film as an 'X' in old-fashioned Film Noir terms. Nowadays, our primary audience would be between the 15-20 age range because the actors are fresh and upcoming, and the narrative and the application of the conventions are appropriately modern.

To continue, our audience attraction will likely cover a wide range due to Film Noir being aimed at the older demographics because this is the type of film that was recognisable during their generation, Despite this, some critics believe that Film Noir can also be targeted to young audiences since they will desire to develop their information and understanding of this genre and how this lifestyle influenced culture. Thus, our informal audience would consist of the older demographic in their 50's or above. Therefore, this shows the wide attraction hybrids often reach because they attract varying people.

The target gender would be male, simply due to the fact that we stereotypically prefer violence and gore, in particularly action and horror genres. However, the female characters and sexualised gangsters will hopefully attract this specific gender, through Mulvey's male gaze. This is because they often gain gratification from attractive and muscular characters.

6th October 2016

After completing research on how to develop our understanding and ideas, I have found some pro tips for creating inspirational mood boards and research into this film genre, in order to develop our practicality:

1. Take pictures when I am out on my phone of everything that suddenly inspires me, or reminds me of Film Noir. For example, typography or a certain texture of a building.
2. Do not lock down a firm idea, as they will easily develop through the course and the process.
3. Use text to allow the audience to consider what is in front of them, whilst big and bold words juxtaposed worked successfully in achieving tone and meaning.
4. Make the themes obvious, especially the main motif and theme.

Progress Report

Following our initial research, here are our current idea possibilities for our Film Noir trailer, poster and web page.

Main production ideas:
Character types-

• Stereotypical Film Noir horror
• A traditional horror monster, e.g. werewolf, vampire or lunatic as the antagonist
• A conventional Detective who wears a fedora hat, a suit, uses a walking stick, a jacket, a Detective watch/magnifying glass, a pipe and leather gloves.
• A dead body
• And possibly a Damsel-in-Distress
• Stereotypical 1950's gangster

Plot ideas-

• The title sequence=shots of the decorative ornaments and church objects.
• A Detective is called up for a crime scene, which shows a dead body on the outskirts of a forest.
• We will have a shot of the antagonist biting his arm.
• Shots of detective body parts-but we do not see his face until the final shot.
• Narrative voice-over describing what's going on during the action and he will set the scene.
• Gangsters in a pub discussing the monster.
• We will have a shot of the victims hands crawling away from the murderer.
• The detective drives to the murder scene in his mini.
• An interrogation against the Detective from the Gangsters.
• Detective in a pub with a female character screaming, he rescues her.

Theoretical Research: Representation theories (By Hayden Woodcock)

Theoretical research: Auteur Theory (By Hayden Woodcock)

The Auteur theory originated from France in the late 1940’s within filmmaking, used to describe the Directors distinctive style. It states that the Director will be considered as the ‘Author,' responsible for the audio and visual elements including: blocking, lighting and camera placement. As well as this, it addresses a certain theme and a recurring visual style that helps to return to similar subject matters.
A popular director who can be established as an 'Auteur' is Quentin Tarantino.

As a writer-director, Tarantino’s trademark style roots from his talent with dialogue. Within this, he is well-known for pop references. Whilst, Tarantino uses visual flourishes too, to make his films distinctive. The influences of Hong Kong films, Japanese films and homage to 1970's Kung Fu films are apparent. For example, 'Django Unchained' pays homage to the spaghetti western genre. His style can be linked to Martin Scorsese, with the use of long tracking shots and crane shots tracking above his characters.

Tarantino’s love of music often plays an essential role in his films. In the booklet that comes with 'The Tarantino Connection', a collection of soundtrack songs from Tarantino’s movies, are involved. He describes his musically inspired method of film conception as follows: “One of the things I do when I am starting a movie, when I’m writing a movie or when I have an idea for a film is, I go through my record collection and just start playing songs, trying to find the personality of the movie, find the spirit of the movie. Then, ‘boom,’ eventually I’ll hit one, two or three songs, or one song in particular, ‘Oh, this will be a great opening credit song.'”  (From http://www.openculture.com/2014/09/quentin-tarantino-the-art-of-the-music-in-his-films.html)

Tarantino is also known for his stylised and exaggerated violence. All of his films include some detail of death and gore.

Additionally, strong female leads are also predominately used throughout Tarantino’s career, thus he does not follow stereotypical 'Damsel in Distress' Propp character types. For example, Jungle Julia (In Death Proof), Bridget Von Hammersmark (Inglorious Basterds), Alabama Whitman (True Romance), Mia Wallace (Pulp Fiction), Zoe Bell (Death Proof), Santanico Pandemonium (From Dusk Till Dawn), O-Ren Ishii (Kill Bill), Jackie Brown (Jackie Brown) and The Bride (Kill Bill). All of these characters require aid from other characters at some point in their films, representing that they are not all typical protagonists. However, The Bride is the strongest and the most represented 'hero' within his movies because she has an ability to portray an assassin when necessary. This is unique for many films because we find that the protagonist is often male, however it is positive for post-feminism and the modern day that female characters are playing the main hero roles.

Narrative: Quentin Tarantino follows a non-linear structure, due to flashback's. In this case, 'Kill Bill' is presented with a series of flashbacks explain Beatrice's circumstances and how she became jilted and desperate for revenge. Whilst, in 'The Hateful Eight' the ending is altered to connote that the whole plot was a plan, on behalf of Jody (played by Channing Tatum.) This provides variance and a twisted format, to tell the plot uniquely and with tension, to enhance the audience.

Trademark shots:
1. Trunk shots and point of view cinematography. These provide the characters with power, and cause the audience to believe that we are in the trunk looking at them.

2. Close ups of human features or objects for verisimilitude and fine detail, creating audience information and a sensual mood. Furthermore, the extreme close ups connote emotions and create intimacy between the audience and the action, as well as occasionally being used for dismemberment and audience pleasure.

Link: https://vimeo.com/124258143

Theoretical research: Narrative theory (By Hayden Woodcock)

Theoretical research: Genre theory (By Hayden Woodcock)

Theoretical Research: Audience theories (By Hayden Woodcock)

Conventions we are planning to follow or subvert (By Hubert Osinski)

Conventions to Follow:

• Dark, isolated location - This will appeal to our target audience because this is a conventional location for Film Noir, thus the audience will expect this. Additionally, this will connote the themes of corruption and mayhem, and allow the exploration of low-key lighting.
• Use of colour red - This will appeal to our audience because it is a modern way of denoting the conventional themes of blood and to represent a stereotypical Propp antagonist.
• Low key lighting, shadows - These will attract our audience because they connote mystery, relating to the genre narrative and style, whilst engaging the audience through suspense.
• Eerie atmosphere - This would attract our target audience because it will put them on the edge and encourage them to watch the film, wanting to be informed. Again, it creates suspense, thus the target audience.
• Dutch and inverted angles - These shot types and angles are common in Film Noir, as well as the horror genre because they provide distortion, making the connotations and audience experience more complex and awkward. As a result, tension is formed, relating to the plots of both genres. Moreover, the angles provide variation for audience pleasure.  
• Reflections/blinds-This will appeal to the Film Noir primary target audience because this prop type is essential within this genre. So, this is an audience expectation and will soothe them through recognition.
• Betrayal-This theme is conventional for our hybrid genres, being commonly used for plot twists, especially in relation to love or affairs. Therefore, this theme provides variation to widen the audience interest to various demographics and further psychographics in the way that females in particular stereotypically prefer aspects of love.
• Smoke/fog (perhaps, depending on location etc)-This will be exciting to explore and incorporate because it will clearly create mystery and as a convention we want to use this, especially when it will work well with the horror genre. However, this convention will be hard to use because of the lack of profit and our inability to get and use a smoke machine.

Conventions to not follow:

• Teenage victims (horror)-This convention is only use in horror films, so it will not relate to the Noir style. Thus, in order to prevent confusion we are not planning to use this convention.
• Last man standing (horror)-Again this is a particular horror convention that would likely not suit the Film Noir genre because we do not intend on killing of a lot of the characters, especially when we are approaching a tongue-and-cheek style.
• Typical horror weapons such as chainsaws-Another subjective convention, that we will not use because of lack of realism and relatability to Noir.
• Eroticism-We are struggling to find and think of an appropriate actress to play a Femme Fatale, so this will instantly prevent the use of profound eroticism.
• Deep Focus-Due to technical limitations this will be hard to incorporate, however we will experiment with our camera work to get more footage that might actually work.
  

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