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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26th September 2016

Unfortunately, today we lost a valuable member of the group: William Guy, because he has decided to continue his education elsewhere. This will obviously mean a challenge on behalf of our research and planning because we will have more work to do and less brains to consider improvements. Not only at these stages of the production cycle, but during the production and post-production Will is a gifted camera operator and he is well aware with Final Cut and how to edit effectively.  We will lose his ability that certainly increased our end product, but we are determined to learn and experiment in order to achieve a clean and conventional trailer.

On behalf on the Green Box team,

Good luck and all the best.

Analysis of Student Work (Hayden Woodcock)

https://www.youtube.com/watch?v=ejCV5Zqxwzk

What are the similarities and differences between a Theatrical trailer and a Teaser trailer?

A Theatrical and a Teaser trailer share similarities and difference, since being released at different times of the production cycle and due to the separate objectives and reasons behind them. I have completed this research because the teaser trailers offers an insight to our production in the early stages as well as enabling us to get feedback and a hype, both from the potential target audience. Additionally, it will develop our practical skills because of the different requirements to successful make a Teaser in comparison to the full length Theatrical trailer.

12th September 2016

Even though we have decided to create a Film Noir, due to the all of the conventions that would be very difficult to follow, such as: Femme Fatale or use of blinds we are considering to include horror as a sub-genre, creating a hybrid trailer. This will be seen through a monster replacing the conventional murderer in Film Noir, and the climatic effects and silhouettes will replace the use of blinds. As a result, I think that these replacements will be effective in preventing a very intense challenge that would take a miracle and a very long process to achieve. For this reason, I actually believe that this will be even more positive because it will increase the audience attraction and begin to create modernism within this style (for a Neo-Noir look and feel.)

Comparisons to OCR Media blogs

I have been constantly comparing my blog to A2 level four entries to set a benchmark to what i should aim to achieve. I have particularly been intrigued by http://steeldeathproductions.blogspot.co.uk/.
I like the use of the gifs to clearly identity whether it is research or planning etc. and the use of the different sources enables the blog to appear creative and aesthetically pleasing. Furthermore, she has related to her production by posting many pictures in preparation for her filming and during her production. She has nicely included bloopers and how the production went on each day. Lastly, she has included a lot of detail to support her knowledge for media terminology and to enable her to focus on linking back to her ideas and influences.

From this research I have learnt how I could improve my blog, in order to sustain a higher level.

Inquiring about a voice actor

It is conventional for Film Noir to have American actors and voice actors. Because we are British students and we are filming in England, we have decided to make use of the resources that we have. Luckily we have a Canadian teacher at our college who might be willing to take part in our production recording. It is very important for us to follow as many conventions as possible in order to make our production easily recognisable to the specific genre. Additionally, the fact that he is male allows this convention to be instantly followed in a stereotypical manner as well as preventing any auditions for this role, like we had considered before. 

Horror Conventions (By William Guy)

Will took a brief look at some conventions of horror because our production (despite primarily being film noir) is likely to contain some elements of horror.

Genre Research: Film Noir (By Hayden Woodcock)

Influential Film Noir and horror trailers (By Hayden Woodcock)

The jazz non-diegetic soundtrack throughout this trailer is effective because it matches the time period. The upbeat fast tempo matches the tempo of the music and helps to connote a mysterious mood. I personally like the imperfections from the film, seen through the sparkly white dots because they create a pleasant old fashioned stint to the movie, positive for the older demographics for reminiscence. The black and white colour is a key convention for Film Noir and it works well with the white iconography used throughout, matching the conventional third-person voice-over.

This trailer is influential because of the old and traditional transitions, due to the lack of technological convergence and advancement at this time. However, even though some audiences dislike this, I think that they are necessary for providing a unique selling point to the film and something we can personally relate to, through identity and social solidarity. Additionally, it is clear that they have followed the idea of a Detective as a protagonist from the theme of murder and the mise-en-scene, centered around him.  Lastly, the use of the gun as a prop adds variation and a modern day twist, perhaps edging the audience towards stereotypical males, that prefer violence and the action genre.

We are planning on replacing the Film Noir conventions we will struggle with, such as: a Femme Fatale with horror conventions, to create a hybrid film, that will not require challenges that seem almost impossible to solve. Therefore, I have been completing research into Classic Film Horror trailers to keep the period similar so that we are not blending different and complicated conventions.

This trailer is influential for many reasons. Firstly, it is a 1950 film set in a black and white colour palette because of the limitations of colour at this decade. Therefore, modern day conventions are not used and this trailer ultimately follows the traditions and conventions used in all genres during this decade, meaning that it shares many similarities with a classic Film Noir. Furthermore, sans serif typography is used to clarify the action, likewise all Film Noir's use this convention. Old fashioned transitions are used and we are planning on incorporating these in order to relate to the time period and the aesthetic look we want the audience to view. Lastly, a monster is used as an antagonist in this trailer so we are planning on following this convention to replace the Femme Fatale and the stereotypical villains in a Film Noir, but we are not planning on using a monster like this for obvious reasons! Instead, we are thinking of a Vampire or another monster that can easily be played by a male.

Top US grossing Film Noirs

1. Dillinger (1945)

70 min | Biography, Crime, Drama

6.6

                     

John Dillinger begins his life of crime as a petty thief, meets his future gang in prison and eventually masterminds a series of daring robberies.

Director: Max Nosseck | Stars: Lawrence Tierney, Edmund Lowe, Anne Jeffreys, Eduardo Ciannelli

Votes: 1,279 | Gross: $4.00M

2. Touch of Evil (1958)

12 | 95 min | Crime, Drama, Film-Noir

8.1

                   

A stark, perverse story of murder, kidnapping, and police corruption in a Mexican border town.

Director: Orson Welles | Stars: Charlton Heston, Orson Welles, Janet Leigh, Joseph Calleia

Votes: 73,859 | Gross: $2.24M

3. The Third Man (1949)

A | 104 min | Film-Noir, Mystery, Thriller

8.3

                   

Pulp novelist Holly Martins travels to shadowy, postwar Vienna, only to find himself investigating the mysterious death of an old friend, Harry Lime.

Director: Carol Reed | Stars: Orson Welles, Joseph Cotten, Alida Valli, Trevor Howard

Votes: 115,209 | Gross: $0.45M

4. Brighton Rock (1947)

A | 92 min | Crime, Drama, Film-Noir

7.4

                   

Pinkie Brown is a small-town hoodlum whose gang runs a protection racket based at Brighton race course. When Pinkie orders the murder of a rival, Fred, the police believe it to be suicide. ... See full summary »

Director: John Boulting | Stars: Richard Attenborough, Hermione Baddeley, William Hartnell, Harcourt Williams

Votes: 3,996 | Gross: $0.22M

5. The Fallen Idol (1948)

A | 95 min | Drama, Film-Noir, Mystery

7.8

                               

A butler working in a foreign embassy in London falls under suspicion when his wife accidentally falls to her death, the only witness being an impressionable young boy.

Director: Carol Reed | Stars: Ralph Richardson, Michèle Morgan, Sonia Dresdel, Bobby Henrey

Votes: 5,631 | Gross: $0.06M

6. Dial M for Murder (1954)

PG | 105 min | Crime, Film-Noir, Thriller

8.2

                     

An ex-tennis pro carries out a plot to murder his wife. When things go wrong, he improvises a brilliant plan B.

Director: Alfred Hitchcock | Stars: Ray Milland, Grace Kelly, Robert Cummings, John Williams

Votes: 108,205 | Gross: $0.01M

7. The Lady from Shanghai (1947)

A | 87 min | Crime, Drama, Film-Noir

7.7

                     

Fascinated by gorgeous Mrs. Bannister, seaman Michael O'Hara joins a bizarre yachting cruise, and ends up mired in a complex murder plot.

Director: Orson Welles | Stars: Rita Hayworth, Orson Welles, Everett Sloane, Glenn Anders

Votes: 19,454 | Gross: $0.01M

8. It Always Rains on Sunday (1947)

A | 92 min | Crime, Drama, Film-Noir

7.4

                     

An escaped convict tries to hide out at his former lover's house but she has since married and is far from keen on the idea.

Director: Robert Hamer | Stars: Googie Withers, Jack Warner, John McCallum, Edward Chapman

Votes: 826 | Gross: $0.01M

9. Kiss Me Deadly (1955)

A | 106 min | Crime, Film-Noir, Mystery

7.7

                   

A doomed female hitchhiker pulls Mike Hammer into a deadly whirlpool of intrigue, revolving around a mysterious "great whatsit."

Director: Robert Aldrich | Stars: Ralph Meeker, Albert Dekker, Paul Stewart, Juano Hernandez

Votes: 14,164 | Gross: $0.00M

10. Sunset Boulevard (1950)

PG | 110 min | Drama, Film-Noir

8.5

                   

A hack screenwriter writes a screenplay for a former silent-film star who has faded into Hollywood obscurity.

Director: Billy Wilder | Stars: William Holden, Gloria Swanson, Erich von Stroheim, Nancy Olson

Votes: 141,426

Form Research

What have I learnt?

• The MPAA/BBFC certificate is always conventionally seen first in a Film trailer because it establishes the appropriate audience age.
• Then we will see idents or company logos.
• Logos of companies are often shown quickly, with possible non-diegetic sound of the films soundtrack.
• Whilst, the idents are shown for longer, accompanied by loud and grand non-diegetic music.
• Main cast and crew members are always displayed during the trailer, normally at the beginning, placed in a certain position on a frame.
• The film title is unsurprisingly often the largest font because it needs to be known, for advertising, such as: word of mouth.
• Lastly, the typography is always stylised in coordination to the genre. In this case, Film Noir font is normally a large, bald, sans serif font.  

Sin City: A Dame to Kill For box office success by Gary Susman

Judging by the pre-release hype, you'd think "Sin City: A Dame to Kill For" was a long- and eagerly-awaited sequel, a comic book movie for connoisseurs, whose all-star cast, eye-popping visuals, and violent action would make it the summer's last blockbuster. Given that the original opened at $29.1 million in 2005 dollars, the sequel, with a price boost from 3D, was expected to debut at least in the high teens. Such an opening might be good enough for first place, with a tight race expected among "Sin City," lingering hits "Guardians of the Galaxy" and "Teenage Mutant Ninja Turtles," and fellow newcomer "If I Stay."

And yet, when the smoke cleared, the film premiered with just an estimated $6.5 million, opening way down in eighth place. The other movies all did about as well as predicted -- "Guardians," "Turtles," and "If I Stay" all drew around $17 million, with "Guardians" claiming a slight edge and "If I Stay" at third. The weekend's other new wide release, "When the Game Stands Tall," a sports drama from which no one expected much, opened with only an estimated $9.0 million, which still placed it three rungs ahead of "Sin City," which also opened behind last week's flops "The Giver" (No. 6, $6.7 million) and "The Expendables 3" (No. 7, $6.6 million).

What happened? How did "Sin City" debut with only about 1/3 of the predicted audience? Here are the "Sin City" sins that ticketbuyers apparently found unforgivable.

The long wait. Nine years is an awfully long time between sequels. "Sin City" comic-series creator Frank Miller should know that better than anyone, since seven years passed between "300" (the smash based on his graphic novel) and this year's prequel: "300: Rise of an Empire." Still, that film earned a respectable $106.6 million, about half what its predecessor made. By those standards "A Dame to Kill For" would have had to open with at least $14 million and wind up with a total of $37 million. The extra-long wait, however, appears to have diminished the franchise's already cultish fanbase even further.

The "all-star" cast. There are a lot of very famous people and talented actors in the new "Sin City," but not one of them is a box office draw. Not Bruce Willis, who hasn't had a sizable hit in years. Not Joseph Gordon-Levitt, a rising ensemble-film star since "Inception" who also doesn't sell tickets on his own. Not Josh Brolin, whose appeared in several of the biggest flops of recent years. And not Eva Green, despite the success of "300: Rise of an Empire." Also not big hitmakers over the past few years: Frank Miller (who had nothing to do with "Rise of an Empire") and "Sin City" co-director Robert Rodriguez, who hasn't mustered an opening weekend above $13 million since the original "Sin City." Based on the cast and the co-directors' combined track records, it's a wonder anyone expected an eight-figure opening.

The poster. Speaking of Green, even though she's not a household name or a proven draw, the initial poster for "Sin City 2" was built around her image, in a clingy white dress that made her appear nude. The Motion Picture Association of America, the Hollywood lobbying group that oversees film ratings and movie advertising, balked. The controversy helped make the original artwork go viral, but that seems to have failed to persuade ticketbuyers. Meanwhile, the controversy also kept Rodriguez and Co. from mounting a poster campaign in a timely manner.

The visuals. One of the great selling points of the 2005 film was its striking look -- saturated black-and-white images with occasional splatters of color. And that was in 2D. This weekend's moviegoers may not have thought that 3D added enough value to the imagery to justify paying the specs-rental surcharge. Also, a lot has changed in the world of digital effects filmmaking in nine years -- much of it catalyzed by the original "Sin City" and "300" -- so that what looked cutting-edge then looks familiar and even old-hat now.

The competition. You wouldn't expect the two new wide releases opening against "Sin City" to steal much of its potential audience. Teen tearjerker "If I Stay" attracted a predominantly female audience of teens and young adults (the same folks who were supposed to go see "The Giver" last week but had other plans). "When the Game Stands Tall" pursued a predominantly Christian audience, of the sort that made hits earlier this year of "Son of God" and 'Heaven Is For Real." Still, competition is competition, and with three new wide releases as well as still-strong older hits like "Guardians" and "Turtles," there just wasn't enough room for everyone to succeed this weekend.

The word-of-mouth. "If I Stay," and "Game Stands Tall" both generated excellent word-of-mouth, as measured by the A- grade each received at CinemaScore. "Sin City" earned a comparatively weak B-. It also did poorly among critics, whose recommendation might have made a difference among older viewers, the movie's target audience, who still read reviews. Instead, older moviegoers apparently went to see "Guardians," with its all-classic-rock vintage soundtrack, one more time.

The dog days. It's not just "Sin City." No one's going to see much of anything these days, which is why "Guardians" could return to the top slot three weeks after it debuted there. Overall, box office has slipped 36 percent over the past three weeks, from a level that was already low to begin with, thanks to a summer-long slump. With Labor Day around the corner, it appears that school is already back in session, and the time for "Sin"-ful indulgence in summer action spectacle is long over.

What have I learnt?

• Very famous people and talented actors is essential, but in a mainstream film they have to be box office hits.
• The saturated black-and-white images with occasional splatters of colour was the main hook of the film, thus being a targeted unit selling point of ours, so we will aim for this colour when editing our trailer.
• Classic and vintage soundtrack and mise-en-scene can attract older moviegoers, because of the relatability and a sense of rediscovering past memories.

Sin City: A Dame to Kill For review by Syndey Morning Herald

http://www.smh.com.au/entertainment/movies/sin-city-a-dame-to-kill-for-review-sequel-sticks-with-monochrome-look-20140917-10i5dx.html

I have conducted this research in order to understand the positives of this film from an audience perspective. Here are my findings:

• pure adolescent fantasy, but also one of the most experimental films to hit the multiplex in ages.
• Spurting blood is usually white on black, and when characters are impaled or lose limbs it's the most harmless kind of sadism imaginable.
• Many of the actors bring some personality to their archetypal roles: Joseph Gordon-Levitt as a cocky young gambler, Josh Brolin as a bruised fool for love, and (best of all) Eva Green channelling Barbara Stanwyck as a femme fatale with bright red lips and glowing eyes.
• The film walks a line between grit and romanticism, literalism and abstraction, pulp and art – and also bears a paradoxical relation to the models it purports to imitate.

From this research, I have possible elements that I could include in our Film Noir/Horror. Our characters will be archetypal to provide recognition for audiences, as well as allowing them to be typical examples of characters in Film Noir. These will include a hard-boiled and critical Detective, a Vampire archetype, rough Gangsters and a Damsel (either a female to follow stereotypes, or a male for stereotypical role-reversals), to surprise the audience through the unexpected. Furthermore, we will consider the binary opposites between grit and romanticism by incorporating violence or death, balanced with romance and a clear presentation of love. Another binary opposite we will obviously consider is good vs evil, in the form of corrupt evil characters. As a result, this will relate to major themes of Noir and connect to menace. Lastly, if we decide to include blood, depending on whether we decide to edge towards the top of the 15 certificate range, it will be shown via white on black.

Noir Conventions (by Hayden Woodcock)

Ancillary poster task (By Hubert Osinski)

Influential Figure-Alfred Hitchcock (By Hayden Woodcock)

Flash Card Deck created by woodcock-h-3 with GoConqr

Alfred's main intention was to "always make the audience suffer as much as possible."Therefore, we are planning on using satire to mock the audience and incorporating their worst fears through the antagonistic monster. Additionally, he said that "it must always be remembered that the primary aim of pictures is to provide entertainment. To entertain, one must capture their interest." This also relates to the fact that the audience tension from watching their fears increases their interest because they will likely be on their 'edge of their seat' and morally interact personally with the movie (personal identity.)
"Film examples: Notorious, Vertigo, Rear Window, Psycho, The Birds
Hitchcock's style: "Master of Suspense."Hitchock creatively used blocking, sound and shot types to create suspense, through the dynamic variation to highlight the climax's-the increase in pace enables the tension to increase and creates a crescendo.
Hitchcock's methods: engaging content, character emotions are clear, the camera should act as the audience, dialogue should not express the inner thoughts, montage editing, simple plot, characters must break clichés, humour for more tension, contrasting situations and irony for suspense. These methods are influential because we can include some of these to aid our trailer to success. For example, the camera will act as the audience through point of view shots from a particular level and tracking shots to achieve this. Additionally, we will aim towards contrasting situations by juxtaposing a murder to a calm and relaxing life of a laid back and safe character by cross cutting between the locations. Lastly, the montage editing through particular transitions such as: fades, wipes and short shots edited into a sequence to condense the time and information are all methods we will follow and consider in the editing stage of our production.
Awards: Golden Globe in 1972 and 1958, Won a BAFTA in 1971 for Academy Fellowship and a Lifetime achievement award in 1968.

Two of Hitchcock's most iconic and interesting shots:

This shot is influential because of the specific framing-in the foreground we can see three cups that decrease in size depending on the distance from the audience, this adds verisimilitude because it is naturalistic and the normality with distance. At the top right of the frame we see a shadow of a arm reaching our for the female. This connotes death and the position of the hand instantly signifies that she will probably be strangled. This use of the shadow is conventional for a Film Noir. Moreover, it is interesting how in terms of size the cups appear bigger than the female, providing a shallow depth of field because my focus seems to be drawn towards the foreground. The female is framed on the left of the shot in the background. The use of the filler light on her upper body draws attention to her fear and anxiousness, representing her as a Propp Damsel-in-Distress. The shadow anchors this as we will initially associate this with her downfall. The darkness behind her, juxtaposes the lighting on the opposite side, suggesting that she has a dark future in comparison to the mugs and the hand. 

This shot is a Dutch titled long shot, which is another convention for this genre. The use of lighting here is influential because we can not clearly see the male characters face, connoting secrecy and an enigma for the audience because we are cannot be definite upon whom he is.

Article on Alfred Hitchock

Ancillarly task Poster (By Hayden Woodcock)

Even though Eva Green's not a household name or a proven draw, the initial poster for "Sin City 2" was built around her image, in a clingy white dress that made her appear nude. The Motion Picture Association of America, the Hollywood lobbying group that oversees film ratings and movie advertising, balked. The controversy helped make the original artwork go viral, but that seems to have failed to persuade ticket buyers. Meanwhile, the controversy also kept Rodriguez and Co. from mounting a poster campaign in a timely manner. (http://www.moviefone.com/2014/08/25/box-office-sin-city-a-dame-to-kill-for/)

 

What are the main colours?

In this poster, the main colours used are black, white and red, which matches the films colour palate. The use of the white connotes purity and innocence, however it could also be encoded as cold, harsh and isolating. Therefore, the latter seems clearer since the character of Nancy has been edited with the colour white the most, and since she is represented as an important character through the framing. Whilst, these symbols could anchor the representation of a stripper. Furthermore, the colours signify the binary opposites of good vs evil and old vs new. As well as this, the abundance of the two opposites of the colour range suggests conflict between the characters. The use of the colours black and red connotes anger and blood, connecting to the use of violence, allowing this Neo Noir to be instantly recognisable because of the followed conventions.

 

What is the purpose of this poster?

The poster appears to have many purposes, which all advertise the film. Firstly, it establishes the Directors and the crew involved. Also, it clarifies the actors and the release date. Therefore, this would positively increase audience anticipation because it would create a 'hype' and the use of the cast and crew will either provide a diversion or entertainment and gratification in the way that many audiences watch a film for the actors and actresses involved and considering the Director.

 

What are the messages?

With the comic book style of the cover combined with the presentation that this is Frank Millers 'Sin City' sequel, one can tell that the tone will be desolate, isolated and violent, possibly taking the same bleak and apocalyptic colour scheme of the first film in order to create a similar atmosphere. Therefore, this would create the ideology that the characters narrative will either continue from the first film or the new characters background will relate to a particular sin. Thus, the audience will be aware that commiting a sin results in consequences.

 

What is the typography?

The main film's title uses a red, sans serif font, whilst Frank Miller and the second part of the film's title uses a white sans serif font. As a result, this provides juxtaposition within the colours because both have diverse connotations, creating another binary opposite. However, this typography choice is effective because it allows the background and the characters to match with the font, enabling a sense of combined narrative that involves intertwined plots. The register of the poster is also important, with the specific use of the word "Dame" instead of woman, girl, wife, signifies the power of the Femme Fatale. However, from this poster we may suddenly think that the Femme Fatale is Nancy, however the costume and the red lipstick seems to establish that Ava is the true films Femme Fatale. This sense of importance is reiterated through her being distinguished from other Dames, as "To Die For". In relation to this, the audience may conclude that the characters will have a similar objective of trying to attract her. So, this may increase the male audience gratification and reach.

What is the target audience?

There is one intertextual reference, with "Frank Miller's" being placed above the title, linking it to the previous Sin City Film. This has the effect of drawing in an audience which enjoyed the first film, which is likely a large proportion of action film fanatics due to it being considered one of the best action films of all time. The poster features Hollywood names such as: Jessica Alba, Eva Green and Bruce Willis, boasting a high valued cast, increasing the audience desire to view this film. The implied sexuality will also attract the male audience because they stereotypically prefer a sexual vibe within a film as it is believed that they gain more pleasure. The use of the modern day actors appeals to mainly a young audience, whilst the use of Rourke, Willis and Liotta appeals to the elder demographics and traditional action fans. Additionally, the use of the weapons as a prop will also attract the male audience because in particular males are stereotypical more aggressive than females and profoundly a gender that prefers the conventional violence.

Characters and background:

In the background of this poster, we see an urban setting, connoting another convention of this genre. Furthermore, this location establishes the main setting of the film and the snowy background is a polysemy reading because it could either signify a cold and dark atmosphere or connote that the characters are losing their senses both metaphorically and literally. But, the snow allows the white colour to blend and increases the brightness of the characters. In this poster, we see seven different characters, suggesting that this film involves many different narrative strands and character types because of the directors intentions of creating a community and complex plot. All of the male characters are interesting wearing similar characters, drawing parallel's between them, perhaps showing that they share traits. In this case, all of them appear to be represented as brave because their facial expressions are intentional and firm and their body language connotes masculinity, which is also anchored by the prop-a gun. Whilst, the female characters are very different in the way that we see a stripper, a Femme-Fatale and a violent assassin. The use of the different clothing represents the difference in class. Firstly, Ava's blue jacket represents a high class, connoting a wealthy character, whilst Nancy's lack of clothing and Gail's leather clothing provides these characters with a lower class. Consequently, we recognise another binary opposite perhaps relating to the clash between the characters. Also, as both Gail and Nancy are wearing black, this draws another parallel to the male poster characters, signifying that they are more masculine than Ava. Again, this represents a stereotypical female as the Femme Fatale is clearly fond of fashion and the opposite gender. Additionally, the lack of clothing connotes that she is a stripper, sexualising this character, for Mulvey's Male Gaze because this audience gender will gain gratification from viewing this particular character.

My reaction:

Overall, this poster is very effective because it maintains the comic book graphic style and it also creates an aesthetic style because despite black and white films often being boring because of the lack of graphic technique, this film is modern and the director chose to use this colour palate. Plus, this poster clarifies many well-known actors and portrays a large amount of detailed characters which provides me with pleasures because I prefer to watch a film that has many different characters I can relate to and enjoy, rather than one or a couple. Lastly, this poster instantly presents the genre because of the numerous of conventions I can already see, such as: black and white colour, urban setting, Femme Fatale, protagonists, the ideology of sins and the theme of violence.

 

Textual Analysis of 'Blackhat' website (William Guy)

Will has conducted this textual analysis of the website for the neo-noir film "Blackhat". Although he had been analysing material from the film "Se7en" it either did not have a website or the website no longer exists, so he has chosen a different (but still relevant) film for this analysis

Sin City: A Dame to Kill For web page analysis (Hayden Woodcock)

Textual analysis film trailer (By Hubert Osinski)

Film trailer analysis: Touch of Evil (Hubert Osinski) from Hubert Osinski

Textual analysis for film trailer (By Hayden Woodcock)

I think that the conventions will appeal to our primary target audience. Firstly, modern and younger demographics gain gratification from crime and violence, a Femme Fatale and probably from eroticism, linking to Mulvey's Male or Female gaze and late teens or young adults anticipation to see violence and crime for adrenaline and engagement. Whilst, the older range within this primary target audience will likely appeal to the setting and the complex plots, through recognition and the likelihood that they prefer to watch a movie that enhances the audience and allows them to consider the murderer or the crime etc. Ultimately, we will try to include as many conventions as possibly, as they do not only attract our target audience, but link to the genre clearly.

Ancillary task Poster (William Guy)

Will has completed this textual analysis of the poster for the film Se7en as part of the research phase for our production.

Textual analysis for Film trailer (By William Guy)

(By Will Guy)

30.6.16 Teacher feedback

Both of our current Media Teachers provided the entire class with feedback for a blog. Therefore, from an audience perspective I was set targets: to alter my Welcome post because they're some slight word errors, there is an error with the film noir trailers and the Response to the Brief could be developed through images. Therefore, I will improve these weaknesses as soon as possible. Furthermore, we are prepared to produce visual recorded production logs when we have any changes or developments to our production and evaluations to complete, such as: once we have completed the textual analysis research we will evaluate what we have learnt and how we will include this through a video.