"Research Task" by Melissa Thomas

Melissa's Research Task

The Lovely Bones

Scene 1

Snowglobe during zooming out. Before colour saturates. Figure 1

The scene begins with an extreme close up of a penguin in a snow-globe. Quiet non-diegetic sad piano begins to play softly and the camera zooms out until the full snow-globe fills the frame from top to bottom (Figure 1). As this happens, the colour becomes more saturated, indicating that the snow-globe represents something unhappy because it only becomes brighter when involved with the rest of the room. These all show the spectator that the snow-globe is important which creates a sense of mystery because they do not know why or why the snow-globe has bad connotations around it (as it is a children's toy which seems to juxtapose with these bad ideas).

Living room. Colourful. Snowglobe watching girl in corner. Figure 2

This then cuts to medium long shot of a little girl playing with some toys. The living room is full of very bright colours, including the costume she is wearing which also gives a sense of being slightly old fashioned, giving the audience an idea of the time period (1960s-1970s) which shows them that this is in the past. It is from the third point of view, giving it a omniscience narration and resulting in an unrestricted narrative.

This then cuts to an extreme long shot, revealing the girl's father, establishing that there is a bond between them. In the corner in a shallow depth of field, the spectator is aware that the snow-globe is there with the penguin facing the girl, again signifying its importance (Figure 2). A girl voice over (confirming the omniscience narration) begins which lets the audience know that this is a flashback (and, therefore in non-chronological order, though telling the story in a linear fashion) and from the point of the little girl. The mystery of the snow-globe is still present, alongside the mystery of the story of the girl.

Two shot of girl and globe after the shot reverse shots.
Connects the two together. Figure 3.

Long shot of father as body straightens
to watch the girl. Figure 4.

Shot reverse shot is used between the girl and the snow-globe, connecting the two as the globe being a symbol for the girl (Figure 3). A long shot of the father sitting on the sofa show his facial expression expressing concern and curiosity for the girl and show his relaxed posture shift as he straightens up a little when watching the girl (Figure 4).

Father as he says dialogue. Looking at girl who is looking at snow globe, connecting the pair. Figure 5.

The first piece of diegetic sound is his dialogue saying that the penguin is "trapped in a perfect world" (Figure 5). This emphasizes its significance and has connotations of heaven, suggesting that the girl could now be dead. This creates mystery and suspense because the spectator can't be sure whether the girl has died or, if so, how but now they may be waiting for it to happen.

Titles appear over snow-globe, signifying symbol. (Figure 6)

The titles appear over the shaken snow-globe (Figure 6), emphasizing what the father was saying and showing the spectator the symbol once again. I, personally, like the frequent use of symbolism to suggest a disruption in the equilibrium because it could create suspense and dramatic irony which could be effective in our own Thriller opening.

Scene 2

Woman reading book. Music changes. Figure 7.

Father looking in adoration whilst holding hand. Figure 8 

The scene suddenly changes and the piano is changed to a happy guitar, signifying that this is the protagonist about to tell the spectator her story. There is a close up of a woman in bed reading a book (Figure 7). This cuts to a close up of the girl's father holding her hand and looking up at her with a look of adoration (Figure 8), indicating that the woman is the mother.

Fumbling with lamp. Photograph of protagonist. Figure 9.

There are several jump cuts as the pair kiss which signifies their loving relationship. There is a tilt as the book falls to the floor onto a pile of fictional books. The photograph of the girl confirms the previous suspicion that the woman is the mother. The camera remains on the bedside table as the woman's hand struggles to reach for the lamp (Figure 9). This appeals to the target audience of 17-25 year olds because they will be able to understand the euphemism of the light turning off after intense kissing.

Bored expression. More serious book. No physical contact. Figure 10.

There is a tilt downwards onto the man and the woman as the words "twelve years later" appear on screen (Figure 10). The woman is reading once again but she wears a bored expression and the baby book she is reading is non-fiction and more serious and domestic, along with the pile of books on the floor now.

Photograph of older version of protagonist. Turns of lamp with ease. Figure 11.

She turns off the lamp with ease and the camera zooms in on the photograph of a girl who the spectator takes to be an older version of the protagonist (Figure 11). This repetition creates suspense because the boredom of the woman compared to just moments before, already signals a disruption in the equilibrium before the protagonist has had a chance to be on screen since the previous scene.

Old fashioned house and car. Bright flash. Figure 12.

An establishing shot panning around the house shows a bright flash from a top window along with the sounds of an off screen camera clicking, showing the audience where the protagonist is and reminds them that this is still a flashback as an old fashioned car is in shot (Figure 12).

"Before it was gone". Just before it fades to black. After laughing. Figure 13.

There is a cut into the girl's bedroom where lots of fade to white transitions are used to represent camera flashes which results in lots of shots of the girl pulling silly faces, showing that she is enjoying life, emphasizing the sense of equilibrium. This contrasts with the sad tone of voice the voice over uses and the past tense, hinting at what is to come, creating suspense.

There is diegetic sound of the girl giggling before the still of the photograph she just took fills up the frame (Figure 13) and fades to black along with the voice over's words: "a photo could capture a moment before it was gone". This then foreshadows the girl's death, giving the spectator a sense of dramatic irony as they know what to expect but maintaining the suspense and mystery because they do not know how, why or when, creating an enigma.


Bourne Ultimatum

Close up of feet through snow. Figure 14.

The sequence begins with a close up of feet walking across the snow at night (Figure 14) as fast paced non-diegetic strings are heard, immediately creating suspense and mystery as it throws the audience immediately into the action without any set up or disruption beforehand.

Just before pan. Handheld camera. Train noise blares. Figure 15.

This is quickly cut to a mid shot of Bourne limping using a handheld camera which is following alongside him. A loud diegetic train sound can be heard and as the camera becomes behind Bourne and as he looks over his shoulder towards it, the camera pans to follow his view (Figure 15), this shows his panic and gets the spectator more involved as the camera mimics his actions.

ELS of Bourne. Blocking. Figure 16.

The music diminuendos as sirens become louder. The next shot of Bourne is an extreme long shot of him, blocked by a slab of concrete, as he enters a dimly lit tunnel (Figure 16). This conveys the desperation for secrecy and the darkness is iconic of the Thriller Genre.

MOA looking down tunnel. Figure 17.

There are then constant cuts between the police and Bourne and there is a match on action as the police look towards the tunnel Bourne escaped down and a shot looking down the steps (Figure 17), this lets the spectator know that they are chasing him and creates suspense because they are aware that the police know where he went and how far they are behind him, whilst the protagonist doesn't know (this dramatic irony is due to the omniscience narration and unrestricted narrative).


From a low angle, the spectator can clearly see the panic and exhaustion on Bourne's face along with the on screen diegetic sound of his heavy breathing. However, then it cuts to an over the shoulder shot with other people on the street in the frame and, with the black clothing he is wearing and the darkness of the night, it is harder to see him. This puts emphasis on his desperation to be hidden.

Close up of determined look. Figure 18.

After the diegetic sound of yelling, there is a cut to the close up of Bourne's face which wears an alarmed but determined expression (Figure 18). This shot is very short, indicating the swiftness of his next movements onto the train. Non diegetic drums begin which create suspense for the action it foreshadows. As he progresses through the train, the strings join the drums and crescendo, building suspense and worry for the spectator, leaving them on the edge of their seats.

Ground level after jumping off train. Figure 19.

There is a low angle looking up at Bourne before he jumps off the train which is on the ground level with him, still being handheld (Figure 19). This involves the audience a lot more as they feel like they're a part of the action with him which creates shock as he jumps and yells out in pain because they feel like they're there too.

Over shoulder shot in alleyway. Figure 20.

Later, there is an over shoulder shot of Bourne looking towards a pharmacy from an alleyway (Figure 20). The secrecy and tension created from the darkness of his urban surroundings is another example of using iconography of Thriller in the film.

High contrast lighting. During jump cuts. (Figure 21)

When Bourne is in the bathroom inside, it is very dark with an intense overheard light, creating high contrast lighting on his face (Figure 21) as the camera uses close ups on it, enhancing the darkness that surrounds him which makes the audience feel uneasiness because they cannot see his surroundings during a chase.

After a series of quick jump cuts (Figure 21) and Bourne yelling out, the camera shots become longer the non diegetic drums diminuendo, creating a sense of calm and reassurance as the camera uses big close ups on the side of Bourne's face as his breathing slows. Then the drums fade completely but there is no sound other than the running water from the tap which builds suspense and uneasiness through the calm.

Flashback. Bright lights. Distorted shots. Figure 22.

The spectator (and Bourne) are then thrown into a flashback of his past (which creates a non chronological order in the narrative). The spectator can tell this because of the bright white lights which contrast to the darkness he is in and the distorted and slowed shots with an unclear and dreamlike quality to them (Figure 22). I like the use of the distortion through the shots because of the uneasiness it creates and could take inspiration on creating a similar effect on the spectator in our own Thriller opening.

Dissolve transition as man looks over shoulder. Figure 23.

Mystery is created when dissolves are used during the flashback. For example, the camera (from the point of view of Bourne) points over the shoulder of a man and the shot dissolves into the next as he turns around (Figure 23). This use of restricted narration creates an enigma because the spectator is left asking questions.

Blood on door. Black sleeve. Torch light. Figure 24.

There is then a close up of blood smeared on the outside of the door that Bourne went through. A black sleeve can be seen and only torchlight is used (Figure 24), suggesting that these people being antagonists for Bourne. The use of dramatic irony (because the spectator knows they are there whilst the protagonist doesn't) creates suspense.

This sequence appeals to the target audience by using a character around the same age range (a little older) and using lots of action to keep them involved and excited throughout.

Source Code

Asleep. Big close up. Figure 25.

Confused. Jerked upright. Figure 26.

The sequence begins with a big close up of the protagonist's face when he is asleep against the window of a train. His expression is pained and confused. When an off screen diegetic train noise sounds, the character jerks awake with a startled grunt. The camera stays on him as he looks around with a panicked and confused expression.

Woman smiling expressing gratitude. Figure 27.

Off screen a woman starts to talk and then the spectator sees her. She wears a smile which contrasts with the man's panic. The shot reverse shot between them shows that the woman knows him but he does not know her. This creates an enigma because the spectator is left questioning, often used in the Thriller Genre.

One of the quick cuts as drink spills on show. Figure 28.

The use of Foley for the can opening, drink spilling, the shuffling of the jacket as a man looks at his watch, and somebody’s footsteps really enhances the sound, showing that character is on edge and unfocused. As each of these sounds happen, short cuts are used to show their sources. This disorientates the spectator because they are juxtaposed with the longer shots that happen when the camera is on the woman and protagonist.

Two shot. Shows contrast. Figure 29.

The two shot of the man and the woman shows her relaxed posture and facial expression and his slouched and folded over position and ill looking expression. This creates suspense because the audience is left wondering what the man is going to do. It also creates mystery because everybody is unaware of who this woman is.

Panicked facial expression when asked for ticket.
Figure 30

Jerks away as she grabs ticket.
Figure 31

There is a mid close up as the protagonist is asked for his ticket which shows him tense up and conveys his helplessness. During a quick shot reverse shot he jerks away from the woman as she goes to get the ticket from his pocket (showing that he didn't know it was there when she did, even though it was hidden in his pocket). This creates shock because the movement and camera cuts are very quick and sudden which the spectator wasn't expecting. 

Off screen, another character's dialogue can be heard whilst there is a close up of the protagonist's face which shows that he is listening to the conversation. This creates suspense because the spectator fears that he will overhear something he shouldn't have whilst still creating mystery because everyone seems to be completely natural except from him.

Intimate two shot. Figure 32.

A two shot of the man and woman with only their heads and shoulders in shot whilst whispering seems very intimate and clearly shows his panic and her disbelief and confusion at his actions. It appears to be secretive and it draws the audience in because they feel involved too as the cameras are so close to them.

Non diegetic starts as stumbles up
Figure 33

POV with handheld camera.
Figure 34

As he stands up, non diegetic low quiet music can be heard which creates a sense of uneasiness. There is then a point of view shot using a handheld camera which disorientates the spectator as the previous shots had all been from a form of omniscience narration and suddenly turns into restricted narrative to show them that something isn't right. This creates suspense and continues to raise questions, continuing with the enigma.

It appeals to the target audience by, again, using young and relatable characters (especially with the everyday conversations the woman tries to have with the protagonist about her relationship). 

I like the minimal use of non diegetic music and will take inspiration from the frequent use of Foley to enhance sounds to disorientate the spectator in our own Thriller opening. 

Sherlock Holmes

ELS carriages. Figure 35.

Camera "chasing" carriage.
Figure 36

This sequence begins with the sound of horses hooves and neighs crescendoing and low but fast paced non diegetic music beginning. Carriages are at an extreme long shot and appears to almost chase it. The scene has a fairly desaturated colour and very dark lighting.

Two shot. Shows period. Figure 37.

The two shot of the men in the carriage creates an enigma because of their stern facial expressions as they look at each other and load their guns (iconic of Thriller films). The sound of the gun being loaded enhances the action. The men are wearing formal outfits and top hats, showing the spectator that this is set in Victorian times (Watson bears a moustache, stereotypically for its time). The non diegetic music crescendos at this point and remains that way for the rest of the sequence.

Low angle. Tracking. Fire- high saturation. Figure 38.

The camera tracks Holmes running at a very low angle. The fire creates high contrast, emphasising the darkness that surrounds him. This builds suspense and draws the audience into the action.

Setting. Silhouette. Crow. Figure 39

There is an extreme long shot of the silhouette of Holmes stumbling around a corner with buildings of London in the background, establishing setting and building mystery because Holmes runs out of shot. The on screen diegetic sound of a crow is heard as it flies across the screen which creates suspense because crows are a symbol of death.

Blocking is used as Holmes runs behind pillars. The camera tracks alongside him. This creates an enigma because the spectator is left wondering where he is going and why. Many questions are being raised at this point. The sequence has used omniscience narration and unrestricted narrative to allow the audience to question the actions of all the characters at this time.

CU of holmes. Figure 40

There is then a close up of Holmes' face which is sweaty and his expression is tired and intrigued, creating mystery because the spectator doesn't know how long he's been running for or why.

Fades to black as he walks through doors. Figure 41.

The scene fades to black as he opens a set of doors which are pitch black inside, intriguing the spectator, maintaining the enigma and pulling them in.

I like that the sequence raises so many questions continually throughout and will take inspiration for our own Thriller opening.