Melissa's Research Task
The Lovely Bones
Scene 1
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| 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).
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| 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.
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Two shot of girl and globe after the shot reverse shots.
Connects the two together. Figure 3. |
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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).
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| 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.
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| 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
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| Woman reading book. Music changes. Figure 7. |
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| 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.
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| 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.
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| 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.
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| 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.
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| 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).
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| "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
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| 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.
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| 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.
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| 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.
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| 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.
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| 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.
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| 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.
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| 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.
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| 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.
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| 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.
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| 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.
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| 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
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| Asleep. Big close up. Figure 25. |
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| 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.
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| 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.
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| 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.
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| 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.
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Panicked facial expression when asked for ticket.
Figure 30 |
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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.
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| 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.
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Non diegetic starts as stumbles up
Figure 33 |
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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
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| ELS carriages. Figure 35. |
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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.
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| 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.
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| 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.
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| 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.
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| 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.
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| 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.
After a while the opening credits dissolve form the screen and a close up is presented, the composition of this close up is a female character laying down on someone. Whilst this close up is on screen you don't see the females face so the spectators are therefore unaware of her identity. The voice over continues to narrate whilst a males hand is stroking the females hair; making the spectator realise that the person narrating is the females husband. The affectionate action he is using towards her is contradicting what the husband is saying in the voice over; "When I think of my wife I always think of her head. I picture cracking her lovely scull". This type of voice over is off screen and non-diegetic as its obvious the wife cannot hear what he's saying and therefore suggest to spectators that we are hearing his thoughts. 
As the voice over continues to play out, the wife turns around and faces the camera; looking directly into the lens. This then informs spectators that the camera close up is actually a point of view shot from the husbands perspective. This also reveals her identity to the spectators informing them that she is obviously an important character in the film. However, considering the confusing information spectators have been told, it is unclear whether the wife is a protagonist or a antagonist, this is the same with the husband as well.
