Portfolio Project: Genre Characteristics

 Chapter 7

Genre characteristics are the key features of a film that place it within a certain genre. For example, a historical film would feature storyline based on real events and visuals that accurately represent the historical era. These characteristics can be incorporated through storyline, mise-en-scene elements, and sound—music, dialogue, and tone. I will be referring to points made in this article, additionally I will be utilizing my personal class notes regarding mise-en-scene elements and genre.

Thriller films rely on suspense, risk, and keeping audiences hooked with their gripping storylines. They strive to captivate viewers who enjoy plot twists and intense narratives, keeping them on the edge of their seats, eager to see what happens next.

As Alfred Hitchcock, the renowned "master of suspense," once famously said, "Drama is life with the dull bits cut out." Audiences seek engaging storytelling that avoids mundaneness. In addition to numerous twists and turns, thriller plots typically incorporate a nearby threat, whether it's physical, environmental, or a race against the clock. These elements not only deepen the storyline but also evoke tension and anticipation in the audience.

The protagonist usually faces an antagonist who is constantly plotting against them, holding the audience's attention as they eagerly await the protagonist's success, essentially rooting for them. The protagonist ultimately utilizes different tactics to outsmart the villain. With unexpected comebacks and clever improvisation, the film grabs the viewer's attention with intriguing suspense, making any outcome possible. In my opening I will establish both a protagonist and antagonist, this will allow me to add layers to my story.

Protagonist V. Antagonist

Key elements of mise-en-scène include costume design, makeup/SFX, props, and setting. Depending on the context, color can be essential in setting the tone and further developing context. Lighter colors, like white, often symbolize purity, angelic qualities, and innocence, while black is commonly associated with wealth, prestige, and power. In "Inescapable," Catalina, the protagonist, is portraying of the higher class, and would be appropriately depicted in darker attire. Colors can also combine to convey specific themes, such as red and green which associate with the Christmas holiday.

The setting is more than just a backdrop. It’s another component shaping the mood and tension of the story. From busy urban streets to spooky abandoned buildings, each setting adds its own element to the suspense. Through design and location choices, filmmakers captivate viewers in a world where it feels like danger lurks around every corner. My opening’s setting will capture the lifestyle of my protagonist, Catalina, as well as show the viewers her behavior, actions, and how she adapts to her surroundings.

Costume design is crucial in storytelling, suggesting social class, establishing tone, and reflecting different time periods. Historical eras feature distinct styles; for instance, in the 18th century, poofy gowns were traditional, with the upper class often seen in jewelry to display their social stature.

Makeup and special effects are crucial for shaping the suspenseful world of thriller films. They contribute to the tense atmosphere and captivating moments by enhancing characters' looks and creating realistic injuries. Whether it involves crafting unsettling wounds or monstrous creatures, these methods captivate viewers, keeping them engaged in the thrilling story. Catalina will have light feminine makeup with a strong pigmented lipstick color, displaying her boldness and delicate style. I am still considering her eye makeup as I do want to include her applying a shimmer further encompassing her personality.

The image above depicts a man, and many could almost immediately recognize him as a detective, likely from the 1940s-1950s era. The key mise-en-scène elements that imply his profession are noticeable in his attire. His coat, tie, and suit align with the typical attire associated with detectives during this period, setting the timeframe for the film. Additionally, the dark setting allows for an ominous effect, implying mystery. Solely based on the man’s clothing, viewers can begin to envision the character's demeanor and role in the story.

This paragraph will reference my personal sound notes from class. Sound includes dialogue, music, and sound effects, vital for storytelling and engaging viewers. Layering sounds adds depth, with primary sounds being the most noticeable and secondary sounds providing background atmosphere. My opening will feature onscreen diegetic sounds like occasional heavy breathing at tense times, increasing suspense and instilling anxiety in the audience, aiding in the genre development and realism of the film. This will help set the tone and mood of the film, shaping the emotional atmosphere and guiding the audience's interpretation of the story.

Portfolio Project: Story boarding and script

Chapter 8

I have decided to cut the portion after the character leaves her home. I realize this is a major decision, however, it’s the right one. The story, although interesting, is just too compact to fit into an opening of two minutes. Sometimes more is less so I will be slightly adjusting my story to fit the time limit. Instead of the opening having the portion of the actual moving and the new place it will end when the character leaves her original home. To compensate for the portion in which the feeling of inescapability is insinuated I will be incorporating some shots and components showing the character is not alone, someone is always with her, lurking. 

 

Below is my storyboard and a brief analyzation of what is happening in each shot. I created these sketches to give me an idea of what will be shown in the film and in what order, I sourced the information of how to successfully create visually interesting shots and storytelling by referring to my previous research which can be found in my previous blogs. Additionally, I added side notes to keep in mind while filming such as focus pulls. I plan to start filming by the weekend once I've finalized the setup. Please note the shots are numbered and are not all in sequential order.

The script

Shot 1:

The title is displayed in a bold and sharp white lettered font, suggesting tension and suspense. 

Fade into next shot

Shot 2:

Close-up of a perfume bottle on a stand contributes to the setting, firmly situating the viewer within the surroundings.

Shot 3:

The perfumes displayed on the stand serve to establish the surroundings, adding to the setting while also suggesting wealth or luxury.

Shot 4:

A shallow depth of field directs the viewer's gaze to the wig positioned in the left third of the frame.

Shot 5:

In the shot, everything appears blurry except for the pair of heels positioned on the left side of the frame. Then, the focus shifts sharply onto the heels using rack focus.

Shot 6:

In the medium shot, an empty chair occupies the center, with an unlit candle placed in the bottom right third. The chair is positioned behind the mirror, which occupies most of the frame from the left side to the center.

Shot 7:

In a medium shot, Catalina, the main character, enters the frame and sits in an empty chair.

Shot 8:

The back of a head is shown in an over-the-shoulder shot, filling the left third of the frame to the center. On the other half, Catalina's lips are visible through a mirror as she prepares to light the candle placed at the bottom right third.

Shot 9:

Close-up of Catalina as she reaches for matches to light the candle, then proceeds to light the match.

Shot 10:

The scene shows Catalina's hand lighting the candle through a window. At first, everything is blurry, but then the focus shifts to her hand. This highlights the window as a signal that she's being watched or isn't alone.

Shot 11:

The scene shows a close-up Dutch angle shot of Catalina turning her head towards the window, intended to create an uneasy atmosphere by reinforcing the idea someone may be watching her.

Shot 12:

The close-up shows wine being poured into a glass, followed by a spill, reflecting her reaction to feeling unsettled by the window watcher.

Shot 13:

The spill is then shown being absorbed by a paper towel through a close up shot, keeping the viewer engaged while demonstrating the cleanup process.

Shot 14:

The following shots display Catalina getting ready. In this extreme close-up shot, she is putting on her eye make-up.

Shot 15:

In the extreme close-up, Catalina smudges blush on her face, hinting at tension as it's one of the first times she's shown being less delicate. Meanwhile, her earring is shown to emphasize her wealth.

Shot 16:

The scene features an extreme close-up of lipstick being applied.

  

Shot 17:

In the next scene, she's shown taking a sip from the wine she poured earlier, leaving a lipstick mark on the glass.

Shot 18: 

In the scene, there's an over-the-shoulder shot of a character putting on a wig.

Shot 19:

In the scene, there's a shallow focus across the entire frame, with the chair filling the left third until the center. On the right third, the protagonist is seen getting up from the chair and exiting the frame.

Shot 20:

The scene presents a close-up of a character's hand opening a closet.

Shot 21:

The scene captures a "closet POV" as clothing is shown, and the character's hand grabs an outfit.

Shot 22: 

The scene shows an over-the-shoulder shot of her as she gets dressed.

Shot 23:

Since the wine glass is clear, the character can be seen through the glass with the lipstick stain, initially looking straight ahead before shifting her attention downward.

Shot 24:

In the next over-the-shoulder shot, she is seen looking down at her phone, with the time displayed precisely at 7:00, indicating it is time to leave.

Shot 25: 

The scene features a tracking shot of Catalina. Within this scene she will be shown suddenly stopping, her hesitation will imply that something is off.

Shot 26:

Catalina is shown by the door through a long shot, preparing to leave as she puts on her coat.

Shot 27:

The long shot captures Catalina seen leaving her home through a camera view, leaving nothing but an empty house behind.

Shot 28:

Continuing from the previous shot, the house now appears empty as Catalina has just left. The scene is shown through a camera lens, further implying that she is being watched, spiking eagerness in the viewers to find out who is watching.

Shot 29:

CUT SHOT (no longer useful)

Shot 30:

The close up shot begins by focusing solely on the mirror that Catalina had in her bedroom while getting ready, the focus then shifts to the candle bringing the opening sequence of "Inescapable" to an end. 

Portfolio Project: Credits

Chapter 6

To understand the sequence in which I was to show my credits throughout the opening, I searched online. I found two main routes I could go. The first being overlaying the credit over some still shots; like it sounds the shots would be still, meaning neither the camera nor object would be moving so the shots would focus on the object(s) shown. The other approach would be placing the credits on top of the ongoing film, allowing for longer display of the actual film.  

Below is a picture of the closest example of the overlay credit option that I could find. I feel the approach isn’t the way I want to go because I wouldn’t be able to incorporate elements of the character before showing her onscreen. 

Above is the opening for the series Full House. I feel this lacks interest and does not kept he viewers particularly interested. If I were to view this while watching my show I would likely skip through it.

For the still shot approach I found a template video which provided an example of  how and when each credit should be integrated in a thriller film. The template gave me some ideas as to how to keep it visually interesting by taking full advantage of the use of different angles, compositions, and movements. If I were to choose to use this way of overlaying the credits on backgrounds rather than on the film I could show certain objects that would be relevant to the story or beneficial to the character’s development, and then throughout the film explain their meaning. Another idea I have is showing a map or globe that is zoomed into New York and then moves it’s focus to Florida, symbolizing the characters journey. I was inspired by Uncharted’s ending credits. Although they are ending credits they include techniques I could benefit by using, using a variety of editing techniques and photos captured during the film to create a visually interesting background while showing the credits, some examples are shown below. 

Above is one of the main characters of the film seen pointing a gun, while in the background are other characters in an inflatable boat. Overlaying a credit here is brilliant, it provides enough visual interest to keep the audience watching but not so much causing excessive distraction from the credit.

In this photo Tom Holland, another main character, is shown sliding on the

 bullet’s residue which connects the both of them. It gives the viewers an 

idea of which genre the film is while displaying credits.

This shot captures essential props that are used to develop the story. Adding depth and layers to the story while still emphasizing the credits shown to the right of it. A fantastic way to get your audience thinking about the props involved.

To achieve what I please, I would use the still shot approach, putting emphasis on certain objects relevant to the story. Some of the things I’d like to focus on are personal items of the character that will build her onscreen personality, items include; red lipstick representative of her boldness and power; a wig indicating two identities; an object on a reflective surface, such as a mirror, symbolizing the two sides that there are to her life; pink perfume that reinforces her feminine energy through both color and delicacy; and heels symbolic of her social stature and fashion. These are some of my ideas for the credit’s background, for every credit I will have an individual frame.  

The order the credits will be shown in is below. This information was sourced from the following article .

1. 
   
2. 1.Production company(Will not be included since I don't own one)
3. 2.Film title
4. 3.Lead cast
5. 4.Casting director
6. 5.Music composer
7. 6.Costume designer
8. 7.Associate producers
9. 8.Editors
10. 9.Production designer
11. 10.Cinematographer
12. 11.Executive producer
13. 12.Producer
14. 13.Writers
15. 14.Director
16. 
    

After some long weeks of thinking, I have decided to name my film Inescapable. This word is representative of the life the character cannot seem to escape. The more she attempts to leave it behind, the further it consumes her, rendering her efforts useless. The title captures her feeling helplessness, which is what will be shown throughout the film, making it perfect. 

Portfolio Project: Film openings

Chapter 5 

While researching thriller film openings, I stumbled upon this article in which I found ten. Each held a brief description of what the opening entailed. I chose to check out the opening for Inception (2010) YouTube. 

The Inception Film directed by Christopher Nolan is, according to Google, about “a thief with the rare ability to enter people's dreams and steal their secrets from their subconscious.”. Although I watched a movie review and looked for a good recap video, in hopes to find out more about the overall film I was quite disappointed to see that there wasn't any particular good one I could find. I judged the opening based on the representation of the movie description Google provided me with.  

The film begins by showing some establishing shots of waves in the ocean with the loud sounds of the waves crashing essentially giving an idea of location, I think this is a good place to start. The Camera then moves to the main character, introducing Dom Cobb (Leonardo DiCaprio), who is shown in some close ups washed up on shore and a Point Of View shot looking at a couple of children playing as he lies on the ground. With the help of makeup and acting skills the audience can infer he isn’t in his best condition and is likely to have been at sea for some days. He is then found and inspected by what appears to be a police officer, based on costume design and the gun prop, the officer finds a gun on Cobb and calls over another officer in a foreign language who is standing near a unique Japanese looking architecture. From this it’s to be understood that the location is a beach in a foreign country and that Cobb is likely an intruder or not a local. 

In the next scene we are introduced to a powerful looking man. It’s inferred that he is a person of authority based on how the first shot we see of him is composed and the sound; as soon as he is shown the Music turns suspenseful and ominous, he is shown sitting at the head of the table in a dim yellow lit room surrounded by bodyguard. Since my film opening will be mostly filmed outside, I don't think I will be able to use colored lighting elements. I will however, because my opening is also centered around a powerful character, use bodyguards to imply she is important and/or must be kept safe. One of the bodyguards then approaches the man and shows him the two items that Cobb had on him, the gun and a spinning top. The man appears unfazed until the spinning top is presented, then he hesitates to take his drink. This technique where the character is multitasking and suddenly stops when something is presented or in a moment of realization will be incredibly useful seeing I had the same idea of an item being presented and then the character shown on edge or uneasy, therefore creating suspense and leaving the audience wanting to find out why it had an effect of such on a character. Originally, I thought to not show the controversial item in my opening but now it seems like a better choice to show it as it could create mystery around the object, I didn’t think a spinning top could have been so important but clearly in this movie it is an essential part to developing the story. 

Following, Cobb is dragged in by two guards into the room. I thought the next shot was cool where there is a tilt from the reflection on the table of Cobb, eating a sort of oatmeal, up until his upper lip is shown. It was a smart idea as the movement in the shot was visually interesting, while keeping the audience on edge as to why his face isn’t shown when at the table, speaking to what has been established as a man of authority but beforehand shown on the beach. The man then asks if Cobb is there to kill him, while having placed his hand on the gun Cobb originally carried. Through dialogue we understand the stance of the characters of who really is in power here. Cobb is shown in some shots that don't really emphasize his face while there is a moment of silence. The man’s focus moves to the spinning top where he grabs Cobb’s attention again through dialogue. I will use this in my opening; the power of words or lack of them is almost crucial in establishing power and emotions. 

Above is the shot I admired.

I realize I may have overanalyzed the opening but I think learning and understanding the structure of the opening is exactly what I lacked knowledge of. Now that I know how all these techniques can contribute to my film opening and unite to create the identity of a character I feel more confident in my abilities to move onto the next steps.