Research into Sound – Miss Miller

In films, sound is used to help the audience understand what is happening within a scene, and helps emphasise meaning and emotions of the characters. Moreover it creates a response from the audience and hooks them into the film. There are six, main types of sound: diegetic, non-diegetic, on screen, off screen and parallel and contrapuntal.

In this blog I will be analysing the sound in a clip from Deliver Us From Evil (2014), an thriller about the possession of a Marine, wreaking havoc on New York.

Contrapuntal sound is used in the clip, from 1:40 to 1:53. As the antagonist is being exorcised, he throws himself forward and Break On Through by The Doors plays loudly and suddenly. This startles the audience at the shocking, unexpected loud noise and causes them to feel confused and on edge as they have no idea what is going on or why there is the sudden music. The feeling of disorientation in the audience also makes them tense as they face the unknown. This technique is conventional of the thriller genre as films aim to shock you and put you on edge.

Moreover, parallel sound can be seen in the clip from 0:40 to 0:48 in the form of thunder. The audience is aware that outside of the room it is raining heavily and they are amidst a storm, so the sound of thunder is to be expected. However the use of thunder at this moment, is highly effective because it sounds just before the demon begins to feel the impact of religion and starts to fight back. As a result the thunder foreshadows that a storm is coming within the room, and all hell is about to break lose. This causes the audience to feel suspense as they slowly become aware that the climax of the scene is about to hit and conflict will begin. This is a conventional use of parallel sound in the thriller genre as it often has a deeper meaning in order to make the audience more paranoid and suspenseful about what will follow with the relevance of this sound.

In the clip, off screen sound is represented by ‘Jungler’s’ voice echoing through the room, at 0:52 to 1:02. Jungler cannot be seen in the shot, and arguably cannot be seen in the entire scene as he is concealed within the body of a man. However the audience can tell the source of the noise is within the mutilated Marine. Consequently, the audience is startled and frightened as they hear the real voice of the demon; it’s gruff tone and lack of visual representation only makes the audience feel more tense as they are greeted by the unknown, otherwordly spirit. This is conventional of the thriller genre as concealment of true indentity along with eerie voices and sounds are used to create tension and fear in audiences.

On screen sound is portrayed in the clip at 1:50 to 1:54 as the windows implode and glass shatters and crashes to the floor. The sound is loud and sudden, caused by the demon releasing his anger, and the glass can be seen falling around the possessed Marine. As a result, the sound accompanying the image makes it far more realistic and abrupt and emphasises with the shrill noise, how in danger the protagonist and sidekick are. This makes the audience tense and frightened as glass flies at their favoured protagonist, putting him in harms way possibly hurting him. This use of on screen sound is conventional in the thriller genre as loud sounds accompanying hostile events are often used to make the audience jump and cause tension as they watch the scene unfold.

An example of diegetic sound in the clip, is when the now exorcised Marine is handed a cross on a chain by the hispanic Priest. At 3:12 to 3:14 the item can be heard jingling, putting the focus on the exchange. This can suggest that the emphasis on the cross is emphasising how it was religion that saved the man and it shall save him further. This causes the audience to feel a sense of gratitude and confidence in what it was that saved the Marine and a hope that the man will remain good going on from this. This is conventional of the thriller genre as they often try to emphasise what it was that stopped the danger and hardship, so that audiences feel a sense of safety and likeability in regards to it.

As a result of studying the sound used in this clip, I can conclude that sound is arguably the most vital aspect in a thriller film. Therefore when creating my own thriller opening, I will make sure I concentrate thoroughly on sound to build tension and suspense. Most importantly I will use non-diegetic music to successfully put my audience on edge as it appears to be the most successful.

Research into Mise En Scene – Miss Georgiou

In the following blog post I will be exploring the use of Mise En Scene in the thriller genre by discussing it’s uses in a film clip. Mise En Scene is everything in front of the camera and can be seperated into five categories: setting and iconography, costume and make-up, facial expressions and body language, lighting and colour, and lastly the positioning of character’s and objects. The clip I will be exploring is from Se7en (1995) which I chose due it being a reknowned film in the thriller genre.

In the clip, low key lighting is use throughout –  a popular convention of the thriller genre. This lighting can especially be seen at 0:13. The lighting causes sharp contrasts between light and shadow. Bright light shines from the policemen’s torches and is an overpowering source of brightness. On the other hand, shadow conceals the wall and what little we can see of the room being entered. This can suggest the room can hold intense darkness – something evil and dangerous. Therefore the bright light can signify hope and goodness entering the room, in the form of the policemen. The fact the white is light, has connotations of innocence and purity, reflecting the policemen. This adds suspense into the audience as they worry for the innocent policeman entering a seemingly hostile crime scene.

In addition to this, the setting and iconography is incredibly powerful in this clip. The police find themselves in a dark, dingy room that is grimey and shows little sign of the life. This makes the audience uncomfortable as they study the repulsive room. Moreover, arguable iconography is the air freshners, seen all over the floor and hanging from the ceiling. The positioning of these props almost makes them appear as small, hanging bodies, which reflects to the amount of death and torture in the film. Consequently this puts the audience on edge, as the room is full of signs of misuse, pain, vulgar images and an air of death.

The protagonist in the clip, uses his facial expression and body language from 0:50 to 0:53 to show his shock and absolute disgust to the mutilated corpse in front or him. He covers his mouth, suggesting to the audience there’s a putrid odour in the room that accompanies the body. After viewing the corpse, the audience is already disgusted, but the character’s reaction emphasises how truly dreadful the situation is. This causes the viewer to feel more involved in the scene as they imagine the vile setting and body.

Moreover, through the scene, the many policeman wear all black protective gear, hold guns and have short cropped hair. This can be seen at 0:30. Though black has connotations of darkness and evil, due to the police being the source of good in the clip, the black signifies they are tough and ready for action. Short cropped hair, can indicate these characters lack an identity and represent the police as a whole and how they assist the protagonist frequently. As a result, the audience roots for them because they aid to the protagonist and his cause. The guns suggest power and dominance, indicating the police are in control and causing the audience to feel a sense of security with them there.

In terms of character positioning, for the majority of the scene the sidekick – Somerset – is seen to linger behind the protagonist. This constant suggests a power balance, and shows how the protagonist is much more reckless and keen to get in on the action. On the other hand it presents Somerset as the more reserved, careful character who hesitates and considers the danger in a situation. As a result the audience worry more for the protagonist, as he is more of a wild card and often doesn’t think but charges ahead. The audience feel tense as they constantly consider how he might get in trouble for his instinctive actions – which is the case as the film goes on.

In conclusion, analysing the clip has shown me that even the simplest features can have an effect on the audience. Consequently in my final piece I will have to consider all aspects of Mise En Scene, especially setting and character positioning, to provoke the desired tension and suspense in my audience.

Research into Cinematography – Miss Miller

In the following blog post I will be discussing cinematography and how it cause a thriller’s desired tension and suspense. Cinematography is the camerawork in film-making and includes angles, movements and positions. I will be exploring the use of cinematography in a clip from What Lies Beneath (2000) which I have selected due to it being a fairly popular thriller film.

A canted angle is used early in the clip at 0:09 showing the protagonist and antagonist in a car, submerged under water. A canted angle is usefully used here for a number of reasons. Firstly, the canted angle shot can reflect the instability of the car and how it is slowly sinking and moving with the tide of the lake/river. However it also reflects the disorientation and distress of the protagonist as she is plunged into a hostile situation and currently being held against her will. The bizarre angle we are viewing the two character’s at reflects the bizarre events unfolding before the audience, involving them in the protagonist’s unease.

Additionally, an arguable eye level angle is used when showing the two characters with their heads above the water – often the case in the scene with an example being at 0:18. The camera is positioned in a way that mimicks a third person in the car with the characters, putting the audience face to face with the characters. As a result this engulfs the viewer in the scene – they feel as if they are a part of it, in the sinking car with the characters. This adds an element of suspense into the audience as they wonder whether the protagonist will make it out alive as they too see no escape.

Right at the beginning of the clip, panning is used to follow the mast of a boat plunging through the water and lodging into a car beneath. This movement allows the audience to see just how deep in the lake/river the protagonist truly is, emphasising the danger she is in. Consequently the audience grow tense, realising that their protagonist is in danger and is so deep below the surface. Moreover the mast crashes through a different car to that which the protagonist is in. This indicates to the audience that this situation has happened before, and leaves them wondering whether their protagonist will end up like the antagonists former victim.

A point of view is used 1:08 to follow the protagonist’s line of sight to a ghostly corpse coming to life within the water. Not only does this give the audience into what the protagonist is looking at, it also shows the gruesome, eerie looking body in finer detail. Consequently the audience is disturbed and feels tense, wondering why their is a creepy body and possibly not wanting it on their screens due to fright but not being able to tear their eyes away.

Lastly, a deep focus shot is used at 1:26, containing the protagonist struggling at the water’s surface and the murky water and dark sky surrounding her. The use of this shot shows the audience the character’s environment; she is out of her depth, struggling to compose herself enough to stay afloat and out in the middle of the night. The sky is dark and opaque, causing tension in the audience as they don’t know what is out their in the neverending darkness. Moreover they are seeing how helpless the protagonist which leads to nail-biting suspense and they hope their protagonist makes it out of the water to the shore and survives this great ordeal.

Ultimately, from identifying cinematography in the clip, I have discovered how vital it can be to engage an audience in the narrative and portray a character’s emotions. As a result, I will definitely use a range of angles, movements and positions in my final piece in order to capture my character’s thoughts and feelings, while also reeling in my audience.

Research into the BBFC – Miss Miller

Background

The British Board of Film Classification (BBFC) is an organisation founded in 1912 by the film industry. Its aim is to classify and censor films shown in cinemas and video works (e.g. television programmes, adverts, video games). As a result the BBFC is a highly experienced regulator of the moving image held in high regard in its industry. The main purpose of the organisation is to protect the public – principally children – from indecent content that may put them at risk. By administering these ratings, it empowers the audience to decide whether or not the film is suitable for them or a child. When categorizing productions, the BBFC considers the amount of discrimination, drugs, violence, imitable behaviour, strong language, sex, nudity and the threat.

Age Classifications

Films rated U – Universal – by the BBFC are appropriate for audiences age four and over. These films tend to contain no discriminatory language and no swearing – unless very mild and used on odd occasion. Moreover a film with this rating can contain limited nudity and no sexual content with exception of mild behaviour such as kissing. In regards to drugs, they can be portrayed if inconspicuous or have an obvious educational purpose that informs young children of the threat of illegal substances. Violence can only be used if suitable in the context and any imitable behaviour is prohibited. Ultimately certain negative aspects are allowed if they are matched with a balance of positive content.

Aladdin (1992, Walt Disney) was rated U by the BBFC. Disney is notorious for its children’s films and the majority are rated U or PG. This film can be classed as a U for a number of reasons. The film’s narrative is about a young man, living in poverty, who is the only one who can enter a ‘Cave of Wonders’. Upon doing this he discovers a Genie, whom helps him win over Princess Jasmine while taking down the antagonist – Jafar. Firstly, the film contains no profanities, nor does it have drug use or any sexual content. Aladdin does include discrimination, as the higher class victimize the protagonist due to him being homeless  and without riches. However  this is shown in a negative light and so does not encourage discrimination and instead has the audience rooting for the protagonist. As seen in this clip, the villains chasing the protagonist carry Arabian swords and throw spears at him at one point. Despite this being obvious  weaponry, only the antagonists carry swords – children would look up to the protagonist – and also Aladdin is never physically harmed and gets away. Lastly the scene is a music sequence so the events of Aladdin stealing bread and being tracked down has a song over it so adds a light-hearted, fun atmosphere to the seemingly serious event. Hence because of these factors, Aladdin can be classed as a U by the BBFC.

If a film is rated PG – Parental Guidance – it is definitely suitable for ages eight and older. These films can be viewed by all ages but the PG rating is aimed at parents and urges them to consider whether the film is suitable for their child in case of unsettling content. There are a number of factors that determine whether a film can be deemed a PG. Firstly discrimination is highly unlikely and usually only makes an appearance if the film itself contains historical content in which discrimination is  related. Drugs can only make an appearance if they’re unidentifiable to children or have an anti-drug message in the context. Moreover there cannot be sexual content, however references and innuendos can be used as well as nudity. Violence is permitted in a PG as long as it fits with the context, but it cannot be in a way that child can or will want to replicate. Lastly threats can be present as long as they’re not elongated or harsh.

Tangled (2010, Walt Disney) is an animated film rated PG, about a Princess stolen away from her family at birth who runs away from home in a pursuit to see the ‘floating lights’ only to discover her true heritage, all the while being tracked down by her captor. This can be justified for a number of reasons. Firstly the threats Mother Gothel and the Stubbington brothers often appear in a slightly frightening light with lots of low key lighting with shadow cast around them with the brothers especially having an intimidating appearance – an example can be seen here. However scenes with these characters are often short and over fairly quickly. Moreover any violence is mild and doesn’t cause any bodily harm to any characters. No swearing is present nor is there any sexual content or even references apart from a kiss shared between Rapunzel and Flynn Rider. Therefore the only aspects that deem this film a PG rather than a U is the slight violence and more intimidating threat in the narrative.

Both a 12 and 12A rating given by the BBFC are identical, the only difference being that a 12 is suitable for viewers age twelve and over, whereas a 12A can be viewed by somebody under twelve as long as they are accompanied by an adult. Discrimination as a whole cannot be included in films of these ratings, unless shown in a manner where they are clearly censured. Furthermore there cannot be content that encourages harmful behaviour which children may try to imitate, nor can there be a positive promotion of weapons. In terms of nudity and sex, both can be shown briefly and subtly and sexual references are tolerated as long as they are not frequent and vulgar. Additionally, strong language is permitted as long as it is justifiable in the context as is the case with violence – along with the added factor injuries and blood are not prolonged. Narcotics can make an appearance in these films, as long as they are not focused on or promoted in any way. Lastly, an ongoing, moderate threat can run throughout the film as long as the overall air of the film is not of a disturbing nature.

Super 8 (J.J. Abrams, 2011) is a sci-fi film about an alien who escapes from the government and begins kidnapping people. A group of teenagers capture the beast’s escape on film and soon become roped into the entire conspiracy. This film was deemed a 12, firstly because there is threat – the alien – and although barely seen and kept hidden through the majority of the time, it can be slightly too intense and horrifying for a younger audience. Moreover there is some violence involved shown in the aliens destructive nature, and the moderate injuries shown to be caused by it. Drugs make an appearance in a film where a local stoner smokes a joint of marijuana but is shown to have a negative impact on the character afterwards as well as being rejected by the main characters of the film. Lastly multiple curse words are used by a variety of characters in the film though justified by the context. All these factors meet the BBFC’s guidelines for a 12 rated film and are slightly too extreme to have it labelled a PG. 

Avengers: Age of Ultron (Joss Whedon, 2015) is a prime example of a 12A rated film. The trailer can be viewed here. Ultimately a comic based film is often made to be a 12A due to the fact the narratives contain superheroes, villians and violence however the main audiences
these films appeal to are children. Therefore the films – especially Marvel films – need to encapsulate the violence and danger in the narrative while making it acceptable for its younger audience. Consquently, Avengers: Age of Ultron contains frequent but moderate violence as characters battle the antagonist’s army of robots with weapons that are to be expected (such as Thor’s Hammer) as well as skilled combat. Occasionally blood can be seen as characters sustain injury, and one character does die in the film – though his death is not gory or graphic. Moreover, there is an ongoing threat throughout the film from a form of artificial intelligence however the antagonist’s appearance itself is not overly disturbing or frightening. Lastly characters use mild profanities that fit in with the context but not excessively and there is an occasional innuendo but ones that would not be identifiable to younger viewers. Therefore this film is justifiably a 12A due to the factors aforementioned which are slightly too much for a PG, yet can be viewed by children as the characters are well favoured and a parent is able to make the decision as to whether the film is suitable.

A 15 rating is given to films mainly aimed at a more mature audience of fifteen years and over. Profanity is common in a film of this rating and strong language can often be used when fitting the context of the film and personality of the character using it. In addition, any dangerous and harmful behaviour can be shown as long as it is not glamorized of promoted, whilst weapons can be presented as long as they fit the setting and narrative. Nudity is accepted but isn’t usually detailed and sex is permitted, again without great detail. However sexual content is forbidden if the aim is purely to arouse the audience; there can be both sexual discussion and references. Overall drug taking is allowed, but cannot encourage the misuse of narcotics and the showing of misuse is often unacceptable. Both intense threats and violence can be shown, but both are not permitted if portrayed as sadistic or in a sexual nature – verbal references to sexual violence allowed only if justified by the context of the film. Finally, discrimination can be included as long as it is not promoted to the audience, as a result there may be racist or homophobic language.

An example of a film rated 15 is Kick-Ass (Matthew Vaughn, 2010). The film itself is about an average, geeky teenage boy who creates himself as a vigilante, dressing up as a superhero and attempting to fight crime in his city. Swearing is incredibly strong in this film and is used frequently with even a single occurrence of the word c**t which is usually uncommon. Another frequency in the film is strong violence, where the audience views gunshot, stabbings, cutting of throats and severing of limbs as well as physical combat – although it is all accompanied by light humour. Moreover, sexual references are used, an example being the hinting of character masturbation. Lastly, the film also shows the use of the narcotics marijuana and cocaine. Despite the significant use of all these factors, none are so extreme that the film passes the 15 rating criteria. Therefore despite being an extreme example, Kick-Ass was allocated this age certificate by the BBFC.

Works rated 18 are receiving the highest age rating available for commercial and cinematic viewing. Films of this certificate are for adults only and viewers must be over 18 years of age. They can contain almost all extremes of the factors commonly considered by the BBFC when deciding on a rating – including gory violence – as there is a belief that adults can view what they wish. However there are some exceptions that have to be considered. Firstly, the material cannot be in violation of criminal law. In addition to this, the content cannot put individuals at harm or damage their morals – an example being the presentation of sexual or sadistic violence that makes the actions appear appealing to the audience and promote harmful activities. Lastly, the portrayal of sexually explicit images an activity have to be considered and the purpose identified – whether it is for educational value or to cause sexual arousal in an audience. An informative, educating presentation of sex and the promotion of safe sex and human sexuality can be permitted. However if the sexual content is purely for arousal and contains vivid images of sex, fetishes and practically pornographic material are not permitted in a rated 18 and are classed in the R18 category.

Basic Instinct (Paul Verhoeven, 1992) is a sure example of a rated 18 film. The film follows a protagonist – detective Nick Curran – who is given the case of former rock star, Johnny Boz, who is brutally murdered during sex. The film contains multiple, vivid scenes of full female nudity, as well as male-female intercourse. On top of this, the protagonist sexually assaults a female character within the film and even the beginning murder itself involves sex. Furthermore the characters use cocaine and drink heavily within the film and there is of course clear violence involving the murderer who kills victims with an ice pick. The obvious indulgent use of sex and nudity already deems the film an 18 along with addition of clear, graphic violence and abuse of narcotics. With all these factors, the BBFC were no doubt correct in giving this film its designated age certificate.

History of a Thriller – Miss Georgiou

Why are thriller films successful?

Thriller films are widely successful for a number of reasons. This genre often contains films with an engaging storyline, as well expertly striking anticipation into their audience – keeping the viewer on edge. Although often compared to horror, thriller films build tension and suspense without the blood and gore of a horror film. Lastly, the thriller genre contains many sub-genres which attracts a large variety of audiences.

The thriller genre in the 1930s:

Young and Innocent is a British crime thriller based on a 1936 novel by Josephine Tey. It was directed by Alfred Hitchcock and released in November 1937 (UK). The film consists of a man on the run once he is charged for murder and is joined by a woman, put in danger by assisting him.

Firstly Young and Innocent can be perceived as a thriller simply because it has been directed by the top, most renowned thriller director of the time – Alfred Hitchcock. Moreover, the narrative itself is befitting of the thriller genre due to the mystery created by the aforementioned crime and the excitement of viewing the protagonist on the run. In addition, the following video provides an insight into some of the conventions used by Hitchcock to fit the thriller genre.

Firstly, the setting –  a remote house on the outskirts of a town – is a key aspect of the thriller genre, as there is often a remote, almost inescapable location where the the film takes place. Furthermore, the use of cobwebs covering the broken windows indicate to the audience that the house is run down and that perhaps it’s a slightly hostile setting. This only adds to the tension in the audience as they watch the protagonist in a possibly dangerous location. Lastly, the common but effective use of shadows adds a sense of mystery and an eerie feel as they are cast over the protagonist’s face, showing connotations that perhaps he has something to hide or something bad is headed his way. All these factors are key when trying to keep an audience on the edge of their seat, which is vital for a film of the thriller genre nowadays. As a result, this shows some of the typical conventions we adopt for the thriller genre in the present day, have been used since the 1930s.

The thriller genre in the 1940s:

He Walked By Night (Anthony Mann, Alfred L. Werker, 1948) is a thriller film that follows the tracking down of a burglar turned murderer – Roy Morgan – who stays one step ahead of the police every time. The film shows two detectives desperate to track down this elusive criminal.

Again, like the previous film, the narrative is almost a sure giveaway of the film’s genre. Thriller film’s often revolve around a murder or an investigation into a serious crime or incident. Yet without even watching the film itself, the poster contains typical conventions that portray the genre. Unlike the 1930s where the posters weren’t specifically designed to portray the genre, the 1940s appears to be an introduction of the codes and conventions in Thriller film advertising. The poster for He Walked By Night shows a male protagonist, cast in low key lighting with shadows concealing part of his face, and what light there is illuminates a gun and the man’s stern expression. As a result, the audience is already stricken with a sense of tension – why is the man in shadow? Who is he? Why is holding a gun? Moreover the poster contains a lot of red. This colour is commonly used in the thriller genre due to its connotations of danger and blood. This foreshadows that something bad has, or will happen and puts the audience on edge.

The thriller genre in the 1950s:

The film Kiss Me Deadly (Robert Aldrich, 1955) is an example of a thriller film in the 1950s. The narrative begins with a private detective picking up a strange woman – Christina – on a highway, before being stopped later on by some strangers, knocked unconscious and waking up to a murdered Christina. Despite being urged not to investigate, the detective and his girlfriend dig deep into the murder, only to become wrapped up in dark events involving a scientist and Christina’s roommate.

Kiss Me Deadly contains many conventions of the Thriller genre. As in the following screenshot, there is a strong focus on the use of lighting to strike fear and tension in the audience. Dark lighting surrounds the woman, and also casts shadow on what it is she is viewing. This suggests that whatever is in the box is deadly, dangerous or dark. Immediately the audience will be on edge, wondering what is in the box and why the woman is so horrified. The bright lighting on her face not only emphasises her look of pure terror, it also casts white light on her. The connotations of innocence and purity that stem from the white make the audience aware the character has done no wrong and makes them fear for and empathise with her more. Similarly to films of the previous decade, the 1950s focused on lighting to build tension and suspense, due to the lack of technological advances we have today.

The thriller genre in the 1960s:

The 1960s was a prime time for the ‘Master of Suspense’ Alfred Hitchcock, and the thriller genre cannot be discussed without the mention of arguably his most famous masterpiece Psycho (1960). The film’s narrative first follows a Phoenix secretary, Marion Crane, after she steals $40,000 from her employer in hopes to run away with her lover – Sam Loomis. However, exhaustion and driving down inconspicuous backroads leads her to the Bates Motel, where she meets the troubled and incredibly disturbed, Norman Bates.

As was the case in my example for the 1930s, the fact the film was directed by Alfred Hitchcock again informs the audience the film is more than likely a thriller. What differs from the previous works of the past three decades, is the use of a female protagonist where previously leading roles were predominantly male. With Marion Crane being female, the audience feels more protective over her due to women being perceived as weaker and less capable than men. This only heightens the usual fear towards an antagonist due to Marion being up against a stronger male character. However, without modern technology, low key lighting remains a large source of promoting tension and suspense in the audience. Shown below is an image from one of the most notorious scenes in Psycho, a strong backlight masks the identity of the antagonist and causes a terrifying silhouette of the killer. This causes fear in the audience at the unknown figure attacking the defenceless protagonist. Moreover, the lack of identity shown causes panic, making the audience desperate to know who is this killer and why she is targeting the protagonist. Alfred Hitchcock, like always, has extraordinary uses of lighting and shadow to cleverly cause suspense, a popular convention of the thriller genre.

The thriller genre in the 1970s:

The French Connection (William Friedkin, 1971) follows a New York Detective – ‘Popeye’ Doyle – as he chases down a French heroin smuggler with the help of his partner, Buddy ‘Cloudy’ Russo.

 Unlike previous thriller’s, The French Connection states the genre in its tagline as seen on the poster. This could possibly be due to a beginning overlap between the poster portrayal of thriller films and other genres such as Action. In this decade we are now seeing the introduction of colour in film. This allows a whole new era to begin, where the tactical use of colour can begin to work with the already typical conventions. In the poster, the antagonist can clearly be spotted due to his wearing of a black trench coat and menacing black leather gloves. The protagonist can be spotted behind the antagonist in bright lighting, holding a gun at the villain. As a result, a contrast is created between light and dark, connoting who is the bad and who is the good. This poster causes suspense in the audience without them even needing to of seen the film by the event shown. They audience immediately find themselves wondering what has lead up to the antagonist’s captor and whether the protagonist will succeed. This poster encompasses the basic conventions of the thriller genre enough to indicate that this is its desired genre.

The thriller genre in the 1980s:

Fatal Attraction (Adrian Lyne, 1987) is a thriller film that like many of the decade, explores a narrative with a female antagonist. The film focuses on lawyer, Dan Gallagher, who’s casual affair with a book editor turns her bitter, aggressive and into an outright stalker. Don soon realises he needs to save both himself and his family from his obsessive mistress.

Just as Psycho (1960) notably introduced a female protagonist into the thriller genre – Fatal Attraction introduces one of the first significant female antagonists in a successful film of the thriller genre. Due to the repetitive nature of typical conventions over the years, thriller writers are beginning to branch off from the stereotypical gender roles to begin producing new narratives that are arguably unpredictable. This prevents too many similarities between films, so draws the audience in to watch something new and exciting. A menacing female protagonist is perhaps something audiences have not seen before, therefore this adds an odd tension into the viewers as they are faced with the new and unpredictable and do not know how the perceive the character. Alongside this, the poster uses the colour red, a previously discussed colour that is notable for the genre which connotes danger and harm. The fact the colour is seen with a knife-like tear emphasises the dangerous, threatening nature of the film which is typical of the genre.

The thriller genre in the 1990s:

The 1990s can be considered a prime decade for the thriller genre, with the releases of notorious thriller films like The Silence Of The Lambs (1991), Cape Fear (1991) and The Sixth Sense (1999) amoungst many others. Se7en (David Fincher, 1995) is an infamous film in the thriller genre. The plot focuses on retiring detective, William Somerset, as he takes on his final case with the help of new colleague, David Mills. The two desperately try to catch a serial killer who is targeting those who represent one of the seven deadly sins.

Se7en is one of the highly notable thrillers of modern day film. Firstly it can be regarded as a thriller, typically because of the common narrative of law enforcement attempting to track down a serial killer. On top of this, the poster shows the typical use of lowkey lighting used in a thriller. Shadow is cast over both characters, indicating to the audience that something dark and dangerous may be occurring and perhaps even consuming them. Not only this, religion has been a common factor in thriller films for decades, and the use of the seven deadly sins notifies the audience that this is again the case with Se7en. The use of religion draws in the audience as they are intrigued to see how a common belief can be manipulated into the psychotic plans of a sociopath. Lastly red slashes again are used, much like in my previous examples, to indicate the danger and violence to be expected.

The thriller genre in the 2000s:

American Psycho (Mary Harron, 2000) is a high regarded thriller film in its genre. The narrative is from the viewpoint of attractive, successful businessman – Patrick Bateman – who becomes a blood thirsty serial killer by night. The film itself contains elements of black comedy that help explore the building blocks that make a man a monster. This element of humour can also draw in the audience further, as it is not often seen and can add a peculiar edge to the film.

The poster for American Psycho contains many conventions of the thriller genre. Firstly, the protagonist – and arguably antagonist – has shadows cast on his face by the lowkey lighting, adding a mysterious edge to the seemingly pristine man. This can connote both the good and bad in the character’s persona as he switches between a normal, everyday business man and a raging psychopath. Moreover, the use of iconography – a knife – indicates to the audience that there will be violence, and most likely murders in the narrative, which is common in the genre. Lastly, the tagline “killer looks” also confirms the genre as often thriller film’s revolve around a killer.

The thriller genre in the 2010s:

This decade saw the release of an incredibly high regarded thriller of the present day. Shutter Island (Martin Scorsese, 2010) consists of the escape of a murderess from an asylum on a remote island. The escape brings U.S Marshall, Teddy Daniels, to the island alongside his partner to investigate the woman’s disappearance. The plot only thickens as the investigation grows longer and Teddy knows he will eventually have to fight his own, twisted fears to solve the case.

The poster for Shutter Island, like almost all of the film posters aforementioned, contains dark shadows cast over the protagonist’s face. This repetitive convention can without fail be related to the thriller genre as it is obviously a running theme. Moreover, the protagonist looks serious, almost pained in his facial expressions. This adds intrigue to the audience as they wonder what has happened to affect the protagonist so severely. Furthermore, the remote island setting of the film can be seen on the poster. The idea of an eerie island from which there is no escape, causes tension in the audience as they begin to wonder what such a menacing place is and why the character is found here, as well as if and how the characters are supposed to escape. These factors, alongside the narrative, fit perfectly into the thriller genre – successfully portraying it as a thriller film.

In conclusion, it can be noted that despite the advances in technology as the years have gone on, many common conventions can be seen to appear from as early as the 1930s, all the way into the 21st century. These include using low key lighting to produce shadow and darkness, connoting that something bad will follow. In addition, the plot almost always includes a murder and the investigation of this event, and lastly the use of colour to connote motives and traits within characters. Consequently, I will consider all these conventions when creating my own thriller sequence.