Showing posts with label Uzochi. Show all posts
Showing posts with label Uzochi. Show all posts
Tuesday, 24 April 2012
Thursday, 29 March 2012
Evaluation question3- How does your media product represent particular social groups?
Charley Brewster(left) is the main character from Fright night. Both characters have similiar facial expressions of fear and they both have their heads turned towards the camera trying to see whether something is there. They are both wearing casual clothes such as a jumper, however Jordan is wearing a body warmer jacket on top of his jumper, a hat and hood. Although the boys seem scared they look like they are on guard ready to fight. The settings differ in the pictures, Charley is in a tight space pulling a handle for a door. This represents young boys as defenseless because he has no where to run in that tiny room. In contrast Jordan is outdoors in the woods however the same represention can be interpreted becuase the woods is so big that Jordan wouldn't know where the supernatural force could be hiding. I chose the character from fright night because the storyline of the film is similiar to ours aswell. Both boys find themselves in a situation against a supernatural force they have to get out of or fight. In Jordans case it is the supernatural force of voodoo which he has to solve and stop whereas Charley's is the supernatural force of a vampire who he has to prevent from killing his loved ones. Overall I think that young teenage boys are being presented as ordinary especially by their clothes, vunerable becuase of the fear on their facial expression and settings but at the same time strong enough to take on extraordinary forces.
Wednesday, 28 March 2012
Evaluation question 6- What have you learnt about technologies from the process of constructing this product?
Blogging was a new experience for me but I got the hang of it quickly and enjoyed it. I learnt how to post a blog and that I could do presentations form various websites and embed it on the blog. Using blogger taught me that people can blog any topics then want and it has inspried me to create my own blog in the furture. 
We used final cut pro to edit our film and this was the most complex software above all however it was fun getting the hang of it and discovering thing diffect effects we could use to improve our film. I learnt how to capture shots from the tape used in the camera, trim shots and place them on the time line, add text, import music, add special effects such as slow motion and cross dissloves. Lastly, I learnt how to export the film onto CD and memory sticks. 
Timetoast was something different which was what I liked about it. I just had to upload pictures saved on a file and type a bit of information about the films. It also required me to know the exact day,month and year that the films were relased so i learnt i had to research that info on the internet
WordleTuesday, 27 March 2012
Thursday, 8 March 2012
A youtube video that gives an insight into voodoo practises
<iframe width="420" height="315" src="http://www.youtube.com/embed/xRt6CTb6riY" frameborder="0" allowfullscreen></iframe>
Trailor of film 'Skeleton Key'
<iframe width="560" height="315" src="http://www.youtube.com/embed/OhPaWz4xzdc" frameborder="0" allowfullscreen></iframe>
I posted the trailor of this film because it is about voodooo which is the theme of our film.
I posted the trailor of this film because it is about voodooo which is the theme of our film.
Tuesday, 6 March 2012
OTHER IDEAS WE DIDNT USE FOR OUR THRILLER AND REASONS
Alternative storylines
Idea 1
pregnant woman shopping
cannibal
Idea 2
abortion photo
Idea 3
Reason/s why we didnt use idea 1
Reason/s why we didnt use Idea 2
Reason/s why we didnt use Idea 3
Reason/s why we didnt use Idea 4
Idea 1
- the main character is a cannibal obssessed with preganant woman and unborn babies
- heavily pregnant woman will be seen alone window shopping for baby clothes unaware that the cannibal character is watching her.
- she then walks home alone through the pitch black woods which leads to her usual pathway home
- the cannibal man will follow her into the woods and hlod her hostage and kill her .Then savagely ripping out her baby and eating it.
pregnant woman shopping
cannibal
Idea 2
- Two guys and their pregnant friend are walking home late through the alleyway to get home
- the two guys are immature and drunk
- the pregnant lady is sober and tired desperate to get home
- the guys are messing around play fighting and still drinking alcohol
- one of the guys then stumbles upon photographs of aborted fetus' and other images of pregnant woman
abortion photo
Idea 3
- the character visits the scene of his best friends death on the anniversary of his death
- he starts hearing strange noises and seeing shadows surrounding him while reading get well soon messages in tribute to his friend
- he spots a message saying " ROT IN HELL ,YOU'VE BROUGHT THE DEVIL DOWN!"
- when he reads the back of the message it says a gangwarfare code liked to his dead friend
- funeral flowers
- image of gang code
IDEA 4
- Two best mates are walking through the woods after a late night partying
- They are still drunk from last nights events so they are oblivious to the fact that they are walking through the woods
- one of them ends up tripping and discovers the face of a dead baby
Reason/s why we didnt use idea 1
- the location we chose would be too hard to film at night because of the limited lighting and lightning equipment needs to plugged into an electrical plug to work.
Reason/s why we didnt use Idea 2
- it would be hard to find 3 available actors for the filming
- The location was not in close distance for everyone to meet up and film so more time would be lost due to waiting for the group
Reason/s why we didnt use Idea 3
- we could not develop the plot line even further such as making it more thriller based so we decided to leave this idea alone
Reason/s why we didnt use Idea 4
- it would be easier filming just one character
- so we could focus more on just the individual shooting of facial expressions,over the shoulder shots ,p.o.v etc
- the other actor was not available on the day we were refilming some scenes
Monday, 5 March 2012
Article by Neil Sinyard talking about Thrillers (BFI website)
I like this article because it gives an insight into the history and development of thriller films and also why the thriller genre is so popular. I underlined parts i thought explained why we love thrillers so much.
"The suspense is terrible," says Gwendolen in Oscar Wilde's The Importance of Being Earnest (1895), before adding, "I hope it will last." This witticism contains an intriguing paradox. Why is it that we both fear and enjoy being frightened? Alfred Hitchcock always thought it started in a mother's arms, when she says 'Boo!' to her child, who is first startled and then delighted. In the cinema, this sensation might have originated in the first public screenings of films by the Lumière brothers in 1895. "A train appears on the screen," wrote Maxim Gorky in a memorable newspaper review. "It speeds straight at you - watch out! It seems as though it will plunge into the darkness in which you sit..." Some audiences did indeed flee the theatres in terror, but they must have returned, because the cinema had soon established itself as the most popular mass medium of the early twentieth century.
Audiences went to the cinema not simply to see but also to feel something which they would not ordinarily experience in real life. At one extreme, they were enthralled by the ingenuity of the dog in Rescued by Rover (1905) as it discovers the whereabouts of a kidnapped child. At another, they shuddered as the title character of F.W. Murnau's Nosferatu (Germany, 1922) makes his sinister progress to the heroine's bedchamber. Something of that film's eerie atmosphere seeped into the first thriller masterpiece of the British cinema, The Lodger (1926); and the first major British talkie, Blackmail (1929) was also a thriller, using sound particularly imaginatively in the scene when the recurrence of the word 'knife' in the mouth of a gossipy neighbour presses on the heroine's guilty conscience like an exposed nerve.
The director of both films was the young Alfred Hitchcock, who declared his intention "to give the public good healthy mental shake-ups". So he supplied a string of films during the 1930s - including The Man Who Knew Too Much (1934), The 39 Steps (1935), Sabotage (1936) and The Lady Vanishes (1938) - which set the standard by which future English thrillers were to be judged. They also set some important ground rules. In the thriller, whodunit is not that important, and unlike the gangster or the crime film, the leading protagonist can be an innocent bystander who gets caught up in the adventure, like Richard Hannay (Robert Donat) in The 39 Steps. In this way, an audience is gripped because the hero is an Everyman figure grappling with unexpected danger not too far removed from possibility. Needless to say, not all thrillers of the decade were of that quality, least of all - with a few exceptions - the so-called 'quota quickies', supporting features designed to fulfil as cheaply as possible quota requirements for British films. Nevertheless, films like Carol Reed's Night Train to Munich (1938) and Thorold Dickinson's The Arsenal Stadium Mystery (1939) had something of Hitchcock's verve.
During the war, the thriller was pressed into service to guard people against complacency. Dickinson's Next of Kin (1942) warned that 'careless talk costs lives', while Alberto Cavalcanti's Went the Day Well? (1942) was a disturbing fantasy about a possible German invasion of England. The latter was based on a story by Graham Greene, who scripted three of the best British thrillers of the late 1940s, the Boulting Brothers' Brighton Rock (1947), based on his own novel, and two films directed by Carol Reed, The Fallen Idol (1948) and The Third Man (1949), the former a study of innocence and experience, the latter an extraordinary evocation of the amorality of post-war Europe. Prior to these films, Reed had also directed the outstanding Odd Man Out (1947), which, alongside two films of the same year, Cavalcanti's They Made Me a Fugitive and Robert Hamer's It Always Rains on Sunday, cast a noirish gloom across post-war tales of betrayal and disillusionment.
The most significant thrillers of the next decade or so often combined suspense with a social conscience. Particularly adept at this were the producer-director team of Michael Relph and Basil Dearden, examining the policeman's lot in The Blue Lamp (1950), racial prejudice in Sapphire (1959) and homosexuality in the groundbreaking Victim (1961). Similarly, the Boulting Brothers' Seven Days to Noon (1950) combined an exciting race-against-time structure with a thoughtful sub-text about the dangers of atomic research. Forced into exile during the McCarthyist era in America, Joseph Losey brought a stylistic flamboyance to Time Without Pity (1957) and Blind Date (1959) but also brought his socialist sympathies to bear in attacking capital punishment in the former film and exposing class hypocrisy and police malpractice in the latter. Another blacklisted American, Cy Endfield also enlivened the English scene with the exciting Hell Drivers (1957) and with a B-feature, Impulse (1955), made for Robert S. Baker and Monty Berman's Tempean films, which produced some competent low-budget thrillers during this period. The most controversial thriller of the time, however, was undoubtedly Michael Powell's Peeping Tom (1960), which, brilliantly but disturbingly, analysed the tortured psychology of its hero and implicated the audience in his anguished voyeurism.
It would be fair to say that the antics of James Bond rather overshadowed most British attempts to revitalise the thriller in the 1960s. Indeed, refreshment came from abroad, with two remarkable films from European auteurs working in London. Roman Polanski's Repulsion (1965) clinically observed the mental breakdown of a lonely young woman (Catherine Deneuve) whose alienation will lead her to murder. Michelangelo Antonioni's Blow-Up (1966) told an ambiguous tale of a fashionable London photographer who films an incident in a park that looks like a harmless love scene but, on closer photographic inspection, could be a murder. The artistic ambition of that film was to be matched at the end of the decade by Donald Cammell's and Nicolas Roeg's Performance (1970), in which a reclusive pop star begins to play deadly mind games with a gangster on the run who has stumbled into his lair. Roeg was later to top this with the cinematically adventurous Don't Look Now (1973), which added sensuality and the supernatural to breathtaking suspense.
In subsequent years, some of the most interesting thrillers stiffened their suspense with political undertones. If Richard Lester's Juggernaut (1974) seemed in part to use its situation of an ocean liner in peril as an audacious metaphor for the last days of Edward Heath's Conservative Government, later films like John Mackenzie's The Long Good Friday (1979), David Drury's The Defence of the Realm (1985) and Peter Greenaway's The Cook, the Thief, His Wife and Her Lover (1989) spun tense tales of entrepreneurial greed, political conspiracy and materialist rapacity to communicate what they saw as the ruthless values of Thatcherism.
Recent examples have tended to lack that political and social edge and have been slick but relatively conventional in their dramatic strategies, such as Danny Boyle's Shallow Grave (1994) and two popular gangster-thrillers, Guy Ritchie's Lock, Stock and Two Smoking Barrels (1998) and Jonathan Glazer's Sexy Beast (2000). Nowadays it is more common to find a good British thriller on television than in the cinema, but it remains a fascinatingly flexible form that, at its best, can undermine complacency through a dramatic rendering of psychological, social, familial and political tensions; and can encourage sheltered but sensation-hungry audiences, in Hitchcock's phrase, "to put their toe in the cold water of fear to see what it's like."
"The suspense is terrible," says Gwendolen in Oscar Wilde's The Importance of Being Earnest (1895), before adding, "I hope it will last." This witticism contains an intriguing paradox. Why is it that we both fear and enjoy being frightened? Alfred Hitchcock always thought it started in a mother's arms, when she says 'Boo!' to her child, who is first startled and then delighted. In the cinema, this sensation might have originated in the first public screenings of films by the Lumière brothers in 1895. "A train appears on the screen," wrote Maxim Gorky in a memorable newspaper review. "It speeds straight at you - watch out! It seems as though it will plunge into the darkness in which you sit..." Some audiences did indeed flee the theatres in terror, but they must have returned, because the cinema had soon established itself as the most popular mass medium of the early twentieth century.
Audiences went to the cinema not simply to see but also to feel something which they would not ordinarily experience in real life. At one extreme, they were enthralled by the ingenuity of the dog in Rescued by Rover (1905) as it discovers the whereabouts of a kidnapped child. At another, they shuddered as the title character of F.W. Murnau's Nosferatu (Germany, 1922) makes his sinister progress to the heroine's bedchamber. Something of that film's eerie atmosphere seeped into the first thriller masterpiece of the British cinema, The Lodger (1926); and the first major British talkie, Blackmail (1929) was also a thriller, using sound particularly imaginatively in the scene when the recurrence of the word 'knife' in the mouth of a gossipy neighbour presses on the heroine's guilty conscience like an exposed nerve.
The director of both films was the young Alfred Hitchcock, who declared his intention "to give the public good healthy mental shake-ups". So he supplied a string of films during the 1930s - including The Man Who Knew Too Much (1934), The 39 Steps (1935), Sabotage (1936) and The Lady Vanishes (1938) - which set the standard by which future English thrillers were to be judged. They also set some important ground rules. In the thriller, whodunit is not that important, and unlike the gangster or the crime film, the leading protagonist can be an innocent bystander who gets caught up in the adventure, like Richard Hannay (Robert Donat) in The 39 Steps. In this way, an audience is gripped because the hero is an Everyman figure grappling with unexpected danger not too far removed from possibility. Needless to say, not all thrillers of the decade were of that quality, least of all - with a few exceptions - the so-called 'quota quickies', supporting features designed to fulfil as cheaply as possible quota requirements for British films. Nevertheless, films like Carol Reed's Night Train to Munich (1938) and Thorold Dickinson's The Arsenal Stadium Mystery (1939) had something of Hitchcock's verve.
During the war, the thriller was pressed into service to guard people against complacency. Dickinson's Next of Kin (1942) warned that 'careless talk costs lives', while Alberto Cavalcanti's Went the Day Well? (1942) was a disturbing fantasy about a possible German invasion of England. The latter was based on a story by Graham Greene, who scripted three of the best British thrillers of the late 1940s, the Boulting Brothers' Brighton Rock (1947), based on his own novel, and two films directed by Carol Reed, The Fallen Idol (1948) and The Third Man (1949), the former a study of innocence and experience, the latter an extraordinary evocation of the amorality of post-war Europe. Prior to these films, Reed had also directed the outstanding Odd Man Out (1947), which, alongside two films of the same year, Cavalcanti's They Made Me a Fugitive and Robert Hamer's It Always Rains on Sunday, cast a noirish gloom across post-war tales of betrayal and disillusionment.
The most significant thrillers of the next decade or so often combined suspense with a social conscience. Particularly adept at this were the producer-director team of Michael Relph and Basil Dearden, examining the policeman's lot in The Blue Lamp (1950), racial prejudice in Sapphire (1959) and homosexuality in the groundbreaking Victim (1961). Similarly, the Boulting Brothers' Seven Days to Noon (1950) combined an exciting race-against-time structure with a thoughtful sub-text about the dangers of atomic research. Forced into exile during the McCarthyist era in America, Joseph Losey brought a stylistic flamboyance to Time Without Pity (1957) and Blind Date (1959) but also brought his socialist sympathies to bear in attacking capital punishment in the former film and exposing class hypocrisy and police malpractice in the latter. Another blacklisted American, Cy Endfield also enlivened the English scene with the exciting Hell Drivers (1957) and with a B-feature, Impulse (1955), made for Robert S. Baker and Monty Berman's Tempean films, which produced some competent low-budget thrillers during this period. The most controversial thriller of the time, however, was undoubtedly Michael Powell's Peeping Tom (1960), which, brilliantly but disturbingly, analysed the tortured psychology of its hero and implicated the audience in his anguished voyeurism.
It would be fair to say that the antics of James Bond rather overshadowed most British attempts to revitalise the thriller in the 1960s. Indeed, refreshment came from abroad, with two remarkable films from European auteurs working in London. Roman Polanski's Repulsion (1965) clinically observed the mental breakdown of a lonely young woman (Catherine Deneuve) whose alienation will lead her to murder. Michelangelo Antonioni's Blow-Up (1966) told an ambiguous tale of a fashionable London photographer who films an incident in a park that looks like a harmless love scene but, on closer photographic inspection, could be a murder. The artistic ambition of that film was to be matched at the end of the decade by Donald Cammell's and Nicolas Roeg's Performance (1970), in which a reclusive pop star begins to play deadly mind games with a gangster on the run who has stumbled into his lair. Roeg was later to top this with the cinematically adventurous Don't Look Now (1973), which added sensuality and the supernatural to breathtaking suspense.
In subsequent years, some of the most interesting thrillers stiffened their suspense with political undertones. If Richard Lester's Juggernaut (1974) seemed in part to use its situation of an ocean liner in peril as an audacious metaphor for the last days of Edward Heath's Conservative Government, later films like John Mackenzie's The Long Good Friday (1979), David Drury's The Defence of the Realm (1985) and Peter Greenaway's The Cook, the Thief, His Wife and Her Lover (1989) spun tense tales of entrepreneurial greed, political conspiracy and materialist rapacity to communicate what they saw as the ruthless values of Thatcherism.
Recent examples have tended to lack that political and social edge and have been slick but relatively conventional in their dramatic strategies, such as Danny Boyle's Shallow Grave (1994) and two popular gangster-thrillers, Guy Ritchie's Lock, Stock and Two Smoking Barrels (1998) and Jonathan Glazer's Sexy Beast (2000). Nowadays it is more common to find a good British thriller on television than in the cinema, but it remains a fascinatingly flexible form that, at its best, can undermine complacency through a dramatic rendering of psychological, social, familial and political tensions; and can encourage sheltered but sensation-hungry audiences, in Hitchcock's phrase, "to put their toe in the cold water of fear to see what it's like."
Neil Sinyard
Sunday, 4 March 2012
Questionnaire
Questionnaire
What is your age 16-21 22-27 28+
Are you male or female?
How many thriller films have you watched?
Do you like thriller films?
Why do you like or dislike them?
What do you think a thriller film to contain?
Name three words that come into your head when you think of a thriller film.
What is your favourite thriller film and why?
What is the worst thriller film you have seen and why?
Do you like the opening of the film to reveal some of the plot of the film or keep you completely guessing?
Do you like the title sequence to be completely different to the theme of the film or give clues to what the film is about?
Do you like the title sequence and opening sequence to be separate or the titles appearing whilst the opening sequence is on?
Cannibalism
Cannibalism is the act or practise of humans eating the flesh of other humans’ beings. A person who practises cannibalism is called a cannibal.
The first known account of cannibalism was discovered by Columbus and his crew amongst the carib west indies tribe; a Spanish tribe. The exact origins of cannibalism are not known. However archeological evidence suggests that cannibalism was practised as far back as the Neolithic Period and Bronze Age which is now Europe and America
Evidence found in Croatia points to cannibalism amongst Neanderthal tribes, Africa, Australia, New Zealand, the Far East and Middle East.Spiritual and Ritualistic cannibalism
Exocannibalism- a tribes consumption of humans from a different tribe. Some tribes do this to gain power over the other tribe, to scare off possible enemies and because they believe that consuming the enemy will allow them to obtain and absorb their sprit and skills.
Endocannibalism- a tribes consumption of a human from their own tribe. This is usually practised at ritual burial ceremonies. The Wari tribe of the Amazon rainforest believe that when you consume a deceased member of the tribe the entire tribe absorbs the deceased sprit and this is the most respectful way to treat a human body.
Aztecs in Mexico
It was found that people in New Guinea
Cannibalism has decreased because of the introduction of Christianity by missionaries.
Ritualistic & Epicurean Cannibalism
Modern cannibalism associated with satanic or cult groups and their reasons are similar to the tribes.
In 1999, a man named Dmitry Dyomin and two other accomplices abducted a fifteen-year-old girl in Kiev
In France
I Focused on these types of cannibalism as it it relevant to our theme.
Saturday, 3 March 2012
Script DRAFT
EXT.PRIORY CLOSE WOODS-NIGHT
BOY 1 AND BOY 2
Running around, play fighting
BOY 1
So you think you can take me on? Come on then
He puts Boy 2 in a headlock and starts chuckling.
BOY 2
Get off me! You fucking idiot
Out of breath. Steps hard on Boy 1 shoes.
BOY 1
Ouch! What the fuck was that all about? You fucking prick!
Aggressive, threatening tone
You better take your foot off me!
He looks at BOY 2’s foot.
BOY 2
Control yourself then
He takes his foot off Boy 1’s foot. He repeatedly drinks more alcohol from his bottle and he burps loudly.
BOY 1
Aawe gimme some of yours! Mine aint strong enough this is some weak shit.
He holds out hand
BOY 2
Nah man, you never offer me any of yours so why should I?
Starts walking straight ahead
BOY 1
Fine be like that .It’s cool. Don’t worry about it.
BOY 2
Smug
Don’t worry I aint.
BOY 1
Comes sneakily running behind BOY 2.
You stingy Git!
Tries grabbing drink
Boy 1
pushes and shoves Boy 2 off
Bottle rolls onto the floor
Boy 2
Runs after bottle
Boy 1
Shouting angrily
Don’t you dare think about it
Trying to grab his leg but fails
Runs after him
Boy 2
Trips and falls on top of a muddy and bloody baby’s face
BOY 1 AND BOY 2
Running around, play fighting
BOY 1
So you think you can take me on? Come on then
He puts Boy 2 in a headlock and starts chuckling.
BOY 2
Get off me! You fucking idiot
Out of breath. Steps hard on Boy 1 shoes.
BOY 1
Ouch! What the fuck was that all about? You fucking prick!
Aggressive, threatening tone
You better take your foot off me!
He looks at BOY 2’s foot.
BOY 2
Control yourself then
He takes his foot off Boy 1’s foot. He repeatedly drinks more alcohol from his bottle and he burps loudly.
BOY 1
Aawe gimme some of yours! Mine aint strong enough this is some weak shit.
He holds out hand
BOY 2
Nah man, you never offer me any of yours so why should I?
Starts walking straight ahead
BOY 1
Fine be like that .It’s cool. Don’t worry about it.
BOY 2
Smug
Don’t worry I aint.
BOY 1
Comes sneakily running behind BOY 2.
You stingy Git!
Tries grabbing drink
Boy 1
pushes and shoves Boy 2 off
Bottle rolls onto the floor
Boy 2
Runs after bottle
Boy 1
Shouting angrily
Don’t you dare think about it
Trying to grab his leg but fails
Runs after him
Boy 2
Trips and falls on top of a muddy and bloody baby’s face
Wednesday, 29 February 2012
Location research- the woods
I researched films that are set in the woods because our setting is in the woods.
Some people think that the woods is a cliche and obvious location for a thriller because woods are usually seen as a scary place. However so much can be done in a woods, for example it is a good place to discover a body, as there are many hiding places. Also camera shots from behind trees can be used to look as if someone is being watched. The leaves can be good when a person is walking because it emphaises the footsteps or the running which creates tension.The woods is overall has a chilling atmoshphere because you never know whats lurking.
This is a clip from 'Don't go into the woods'. I particularly liked the part which i chopped.
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- Friday the 13th
- Jeepers creepers
- Don't go into the woods
- Cabin in the woods
Some people think that the woods is a cliche and obvious location for a thriller because woods are usually seen as a scary place. However so much can be done in a woods, for example it is a good place to discover a body, as there are many hiding places. Also camera shots from behind trees can be used to look as if someone is being watched. The leaves can be good when a person is walking because it emphaises the footsteps or the running which creates tension.The woods is overall has a chilling atmoshphere because you never know whats lurking.
This is a clip from 'Don't go into the woods'. I particularly liked the part which i chopped.
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