Within this essay, I will be discussing the different cinematography techniques used within the thriller genre. Cinematography is the art of capturing moving images in film using a combination of elements. There are 3 main camerawork elements in cinematography which are; Angles, movements and positions. Camera shots are used to demonstrate different aspects of a film's setting, characters and theme. As a result, camera shots are significant in shaping meaning within a film. The different shots include; Extreme Long Shot which shows a large amount of landscape used to establish a location also known as an Establishing Shot, a Long Shot which still offers the audience some landscape but focuses more on the specific idea of setting, an Aerial Shot which looks directly down upon a scene. This angle is often used as an establishing angle, along with an Extreme Long Shot to determine location within a film, a Full Shot which contains a complete view of the characters. From this point, the audience can pick up on their costume, hair and makeup as well as creating an idea of relationships between particular characters. Furthermore, a Mid Shot is where the shot contains a character from the waist upwards. From this shot, the viewer can see the character's faces more clearly as well as their interaction with other characters. A Close Up contains just one character's face. This enables the audience to understand the character's emotions and also allows them to feel specific emotions towards them such as empathy. An Extreme Close Up contains one part of a character's face or other object and is used to create specific tones or moods for scenes. This also provides interaction between the characters and audience. Camera angles are used to position the audience so that they are given an understanding of relationships between characters. These include; a High Angle is a camera angle in which the camera looks down upon a particular object or character. A character shot at this angle will be portrayed as inferior and weak. These angles are commonly used to demonstrate to the audience the perspective of a character. An Eye-Level Angle puts the audience on an equal footing with the character(s) involved within a particular scene. This is the most commonly used angle as it allows the audience to feel comfortable with the characters. A Low Angle is an angle which looks up at a character or object. This is the opposite of High Angle and is used to portray characters as being powerful. This can make the audience feel small and vulnerable by looking up at the character. This can help to evoke a sense of empathy if they are viewing the frame from another point of view. Film makers also use camera movement to shape meaning. A Crane Shot is often used to signify the end of a scene. The effect is achieved by mounting the camera onto a crane to move around above the level of the ground, it can also move up or down. Panning is used to give the viewer a panoramic view of a setting which can also be used to establish a scene. It is the technique of the camera moving sideways to follow a moving object. This is usually featured within action films during a chase scene to capture the chase taking place and enable the audience to feel involved. The specific clip I will be analysing is from the thriller film House At The End of the Street.
I decided to use this particular clip as I identified many different cinematography techniques that came from a range of different elements.
To begin with, the first technique identified within the clip analysed was a canted angle which was shown when Elissa (Jennifer Lawrence) is walking down the hallway towards the door. This specific angle suggests an idea of instability which also acts as an example of foreshadowing showing what to expect from the remainder of the film. It creates suspense as the female character is unaware of what lies ahead of her which demonstrates a feeling of vulnerability. This also builds up the tension as the audience are unsure of what lies behind the door and what may happen to her if she discovers what's beyond the door. This is conventional to the thriller genre as the victim is always the last to know that they are in danger and something bad is going to happen. This particular angle could also connote a sense of danger or disorder due to the relationship between the character and the camera.
Another cinematography technique used within this particular clip is a close-up when Elissa is standing at the door checking it out. The look of curiousness on her face is highlighted by this technique and also how scared she is as she has a feeling that something isn't right about this door. This creates mystery and suspense as the audience are left wondering what could happen to her if she was to go in. This is also a good way in which to present Elissa to the audience as, just by looking in her eyes, we are able to see the fear she is feeling which makes us feel in the same way. This helps to create a relationship between the audience and the character as whatever she is feeling, we are incline to feel as well due to the nature of the scene. This is conventional to the thriller genre as the audience are thrown into the scene along with the characters and through this they are able to experience the suspense and tension associated with this sequence.
Another technique evident within the clip analysed was the use of a Point of View (POV) shot which is shown when Elissa is looking around the room. The camera is placed where the audience expect the character's gaze to be focused upon. This is a technique of continuity editing as it allows us to see what the character sees without being obtrusive. This puts the audience in the character's shoes and are able to see exactly what she sees which also suggests a sense of vulnerability as we are now in a position where we are unable to know what lies ahead. Whatever she experiences, we experience which intensifies the tension if something was to jump out unexpectedly which is conventional to the thriller genre. This cinematography technique also helps to present feelings of
Handheld is also used within the clip which is shown when the camera is unsteady and shaky at the beginning when Elissa is standing at the end of the corridor. This, ultimately, signifies an element of disorientation and confusion which leaves the audience wondering what will happen next. This is conventional as it creates suspense due to the fear of the unknown and causes the audience, as well as the character, to be left guessing.
To conclude, the research into different cinematography techniques has helped me to understand what is used, how they are used to create the suspense needed by films in the thriller genre and why they are conventional. This will aid me in creating my thriller sequence as I will know to use techniques that are not widely used in thrillers such as canted angle or point of view in order to create the maximum amount of tension for my audience as they are not able to see who the antagonist is and makes them want to watch further to find out. For example, a canted angle suggests an idea of instability and confusion making the audience assume that the character's state of mentality may not necessarily be in the most stable of positions, this would create tension as the character's fragile state would make them more vulnerable and more likely to be attacked or even murdered therefore causing the viewer to see what happens next.
Why are a variety of editing styles essential in the thriller genre?
Using a variety of editing styles is vital in the thriller genre as their sole purpose is to follow the codes and conventions of a thriller film and build suspense within the audience. For example, fast paced editing can be used to quicken the pace of a scene and create a reaction from the audience making them scared and want to watch more. This is key in keeping the viewing audience engaged within thriller films.
The clip that I have analysed is 'My Name is Edward Daniels' from the film Shutter Island. One technique that I have identified within this particular clip is a Jump Cut which is shown when Teddy suddenly grabs the gun and aims at the two doctors. This signifies his confusion and frustration as they are trying to persuade him that he is someone that he's not. As an audience, it creates tension as we know the truth and that Teddy is actually who what the doctors are saying he is. This particular editing technique helps to convey the possibility that a death could occur represented by the use of iconography of the weapon therefore creating further elements of suspense as the audience wonder what will happen next. This adds to the psychological effect as they are playing upon the character and the audience are left engaged in what will happen to Teddy. This is conventional to the thriller genre as deaths always occur in thriller films highlighted by the use of the gun that Teddy is holding. However, this was a trick on Teddy's mind as the gun proves to be a toy which intensifies the psychological theme within the film playing further tricks on the character's mind.
Another editing technique identified within the clip analysed was a Shot Reverse Shot. This is evident within the clip when Dr Cawley and Dr Sheehan are trying to convince Teddy of his real name, Andrew Laeddis. This particular editing style highlights the confusion in Teddy and shows that he is wondering why they are doing this. It creates a psychological impact upon the character which keeps the audience engaged. As we, as an audience, are aware of the plot, we believe the doctors over Teddy which keeps the viewer engaged as they wonder if Teddy will realise his real life or remain stuck in his imagined world he believes is his life. Furthermore, Teddy is dressed in the uniform that the patients in the mental asylum wear which connotes that he is, in fact, mentally unstable and is exactly what the doctors are telling him. This is conventional to the genre as a psychological theme is present within the codes and conventions of a thriller film which keeps the audience hooked on the plot and keeps them wondering what will happen to Teddy in the end.
In addition to this, a Reaction Shot was also another editing technique used within the clip. This is shown when Dr Sheehan jumps back after Teddy pulls out the gun on him and his colleague, Dr Cawley. This particular technique captures the initial reaction to Teddy's outburst which is fear. This could also act as an example of foreshadowing and that the doctors could be lying to him in order to destroy his state of mentality and have a reason to keep him on the island as he slowly starts to believe that he is someone that he's not. This creates a diversion to the original plot making the audience be in suspense as they wait to see what happens to Teddy and if he ever escapes the island. This is conventional to the thriller genre as either the characters or the audience are usually played with to create a realistic representation of the psychological theme in order to keep them engaged in what they are watching.
Timing of shots was the final editing technique I identified within the analysed clip. This was used when Teddy appeared to shoot Dr Cawley but it turned out to be a figment of his imagination. This builds suspense as the audience wonder why he did what he did but then is relieved to see that it didn't actually happen. Again, this adds to the psychological theme within the film and plays once more upon the character in order to prolong the tension and keep the audience wanting to watch on to see what happens next. This is conventional as the audience were left shocked by the events that took place therefore intensifying the plot and keeping them hooked. This is vital within thriller films as their sole purpose is to keep the audience engaged using the three S's; Suspense, Shock and Surprise.
To conclude, this research into editing styles has helped me massively in creating my own thriller sequence as I now know what all the different techniques are, how they are used and how they are conventional to the thriller genre. In order to make my sequence remain as close to the conventions as possible, I think that I will use editing techniques such as jump cuts and timing of shots in order to create a focus point for my audience to keep gripped on. This way, they will be left wanting to watch further to see what happens to the characters and therefore is conventional to the genre.
What is Mise-en-Scene? Mise-en-Scene is a french term meaning 'placing on stage' and is the arrangement of everything that appears in a frame in a film or play. Mise-en-Scene consists of five main elements which are; Setting & Iconography, Costume, Hair & Makeup, Facial Expressions & Body Language, Lighting & Colour and Positioning of characters/objects within the frame. The setting & location is a significant factor within a scene and isn't just a background. Sets are usually built from scratch or a considerable amount of time is spent looking for a suitable setting that already exists. Settings can manipulate an audience by building certain expectations and then taking a different turn. Costume, Hair and Makeup indicate to the audience straight away of the portrayal of a character's status, personality and profession. They can also be a clear sign of the era a film is set in whether it will be set in the present or in the future as well as the society or culture the film may be based around. Facial expressions clearly present us with an idea of how a character is feeling, for example if someone is smiling, we can assume that they are happy but we may think differently if this is accompanied with mysterious music. Body language may also indicate how a character feels towards another character and reflect the state of their relationship. Positioning of characters within a frame can cause the audience to focus upon a particular character or object. This can be used by film makers to indicate relationships between characters. Colour carries two meanings in Mise-en-Scene; denotation; the first meaning and connotation; the implied meaning. They can be used for dramatic effect or to reflect the mood of a scene There are many different lighting styles, these include; Low key which is created by using only the key and back lights, produces sharp contrasts of light and dark areas and also creates deep, distinct shadows/silhouettes, High key in which more filler lights are used, the lighting is natural and appears realistic to the eye and produces brightly lit sets such as a sunny day. There are 3 main lights within a scene; the Key light which is the brightest light source positioned directly in front of the camera, back light which comes from outside positioned behind the actor and filler lights which are the smallest lights that get rid of any sharp contrast. It can be used to place emphasis on certain characters and objects as well as reflecting a character's mental state or emotions. For example, bright colours signify happiness whereas dark colours connote that that character may be disturbed in some way. Each aspect of Mise-en-Scene has hidden meanings within a film and sends signals to the audience about how we are supposed to feel at a certain point.
The thriller sequence I decided to analyse was from The Exorcist where the Father allows Regan to pass the demon into his body.
Costume was a key element of Mise-en-Scene used in this clip. The Priest and Father are both wearing their religious robes while Regan wearing her nightgown. The robes give both the Priest and the Father a sense of authority as their costumes are carefully thought out relating to the nature of their profession. However, Regan's nightgown suggests an idea of purity and innocence due to the simplicity of it and the colour of it being white, this costume also reminds the audience that this character is just a child caught up in an unnatural cause of events. This is conventional to the thriller genre as it creates an air of suspense and leaves the audience wondering if the Priest and Father are able to help Regan or if the demon is too strong even for their ability. Having the scary unknown presence of a demon also adds to the tension as the audience are enticed to watch on in order to find out if the demon is ever defeated.
Another element of Mise-en-Scene identified within the clip analysed was Setting & Iconography. The scene is set in Regan's bedroom and the iconography is the use of the restraints tied to Regan's arms intended to stop her from harming anyone. The setting provides a realistic feel to the scene causing the audience to be on edge as the realism causes them to realise that this situation could happen to anyone. This is conventional as it creates suspense because a setting so normal holds so much danger. The restraints on Regan highlights how dangerous she is to herself and others and also connotes that she could be capable of doing anything. Again, this is conventional as it builds the tension as the audience wonder what she could do if she wasn't tied to the bed.
Another element of Mise-en-Scene used within this sequence was facial expressions which was shown when the Father is hesitantly approaching Regan's bedroom looking very scared and anxious. This highlights the power of the demon due to a fully grown adult being terrified to deal with it creating tension as the audience are unaware of the events about to unfold beyond the bedroom door. This is conventional for a thriller film as it builds tension and keeps the audience engaged wanting to watch on to see what happens next. It creates suspense as we see the protagonist being afraid, it makes the audience feel as though they should be worried as well of what is about to take place.
Colour is also a significant element of Mise-en-Scene evident within this scene. Dark and mysterious colours (white and blue) are the overriding colours used which are also cold colours. There is a blue tint to the scene which connotes an idea of coldness showing that the Father may be out of his own comfort zone with dealing with a demon of this nature. It may be hard for him to go against the antagonist (Demon) which creates suspense as the audience don't know who will overcome the other. This mirrors the mood of the scene as the demon passes through another body and claims the soul of another. This creates tension as the audience are waiting for something to happen. This is conventional as, again, it builds suspense, the cold colours highlight the nature of the scene as demons suck the life out of a room.
Furthermore, another element of Mise-en-Scene used in the clip was body language. This was within the scene where Regan was being attacked by the Father for killing the Priest. As he is continuously punching and shaking her, the Father's body language evokes a feeling of anger toward Regan due to her killing his colleague and sitting there laughing while he was making a failed attempt to resuscitate him. This also connotes that he is fed up of the demon possessing her and it all comes to a head where it results to violence and Regan being hurt. This creates sympathy within the audience as they feel sorry for Regan being viciously attacked as they know that it isn't her fault that the demon is making her behave in this way. However, this isn't conventional to the thriller genre as the villain, in this case the demon, is usually always more powerful but this scene shows otherwise, the Father has a sense of power over Regan and the demon and it looks as though it may be defeated.
Positioning of characters is also a key element of Mise-en-Scene used within the Exorcist clip. This is shown when the Father is on top of Regan as he punches and strangles her. The Father represents innocence and integrity as he is part of the Church, because he's on top of the girl this demonstrates that good will always overcome evil. Evil is represented by the little girl being possessed showing that she is becoming corrupt and behaving in an erratic manner, the demon's ability to overcome a little girl, a girl who's conventionally shown as being innocent shows the power of the antagonist and how the protagonist will have to work harder to defeat it. This is supported by the images of the Father attacking Regan displaying his fight to defeat the evil presence. This technique creates a power shift as the Father is now above Regan and consequently, the demon, and this gives him power over her and shows the audience that the demon doesn't phase him, he just wants to stop all of this once and for all. This is conventional as in thrillers, the villain (demon) is always defeated and the problem resolved in the end. This scene, the way that good and bad are grappling, evokes a sense of surprise as the audience wouldn't expect the Father to go as far as to physically attack the possessed girl but is justified by his desperation to end the suffering felt by Regan as the demon slowly eats away at her.
An element of Mise-en-Scene I identified within the clip analysed was a use of low key lighting which was shown when the Father is demanding that the demon possesses his body instead of letting Regan suffer. This builds tension as the demon has now moved into another body therefore prolonging the action causing the audience to wonder if the demon will ever disappear completely. This is conventional as this type of lighting casts shadows on the right side of the Father's face capturing the exact moment that the demon possesses him which, although we can see half his face that isn't in the shadow represents how a part of his soul is still present, the darker side shows that the demon is slowly taking over his body and the fact that he has been attacking a child supports this as he is becoming more corrupt as he is attacking what can be seen as innocence. This keeps the audience engaged in what they are watching and make them want to watch on to see what will happen to the Father now that he is possessed. It creates shock within the audience as we don't expect someone of such authority to be able to be possessed by the antagonist as his profession should prepare him for these situations.
This research has helped me considerably in deciding which elements to include within my own thriller sequence as I now have a full knowledge of the 5 specific elements that make up Mise-en-Scene and I know that you have to include every element in order to achieve an accurate representation of MES. Within my own sequence, I am going to ensure that I include cold colours to reflect the nature of the genre to keep my audience engaged, low key lighting to cast shadows either on my characters or behind them to portray a sense of innocence and leave them unaware of what is about to happen to them as well to build suspense as well as making sure that the body language and facial expressions are sinister and sharp to show that the character is extremely scared of what is happening and also that they may be unable to get away therefore making the villain seem superior.
BBFC
The BBFC, British Board of Film Classification, is an organisation responsible for censoring and providing age classifications for newly released films. The BBFC do this for many reasons, one of these being to protect the public, especially children, from content which may raise potential risks of harm. They also empower the public, particularly parents, to make informed viewing choices. Furthermore, this organisation respond to and reflect changing social attitudes towards media content through discussions with the public and research. They also recognise and respect adult freedom of choice within the law.
Age Classification
There are many different certificates the BBFC can award a specific film. These include; U, PG, 12, 12A, 15 & 18. They base this decision upon the nature of the content. For example, if a film has a lot of blood and gore as well as scenes of a violent manner it would be awarded a 18 certificate as it is inappropriate for an audience of a younger age.
U Certificate
The U certificate stands for Universal, this means that films awarded with this are suitable for a viewing audience of all ages. However, this only applies to young children at an age of 4 and above with an insight stating particular films are suitable for preschool children. The U rating means that no significant issues are raised regarding discrimination, drugs, imitable behaviour, strong language, nudity, sex, threat or violence. Very mild language is generally used and it is ensured that this language is used infrequently, for example bad words such as 'damn' or 'hell'. Furthermore, very few images of a sexual nature are shown in u films however some films may include characters cuddling or kissing but no immediate focus is placed upon sexual behaviour, language or innuendo. Consequently, sex and sexual references are treated identically to sexuality so there could be mild or undetailed references with the U certificate. Also, violent scenes are also used very mildly sometimes but not often featuring a brief fight sequence and a position where certain characters may be placed in danger. However, moments where emotional stress is clearly demonstrated is resolved quickly with a reassuring and positive outcome. There also may be scenes which may scare some viewers that are always balanced with consoling elements such as a comical interlude or uplifting music. Characters portrayed as being villains may carry weapons such as guns or knives however there is no emphasis upon this. Children or 'hero' characters are very unlikely to use weapons outside of context, for example; Historical settings. Within a U film it is highly impossible that it would encourage any form of anti social or dangerous behaviour that children may copy and is clearly disapproved of by the BBFC. U films cover a wide range of themes as long as it is appropriate for a young audience. Children's films will generally include positive messages about loyalty, honesty and friendship ideal for children. Normally at U, there will be no references to drugs or drug misuse unless the film has been created to carry an anti- drugs campaign within its storyline that children are able to understand.
Finding Nemo is a story about a clownfish, Marlon who becomes a single father after his wife Coral is killed by a shark. He is left to raise their son, Nemo on his own. But when Nemo is captured and taken to Sydney, Marlon ventures on an epic journey to get his son back with the companionship of a forgetful fish named Dory with a lot of twists and turns on the way. This film details the importance of family and love. It is rated a U as it is an animation and shows an adventure which immediately appeals to young children as they are usually very bright and funny and can keep children entertained. Although there may be specific scenes where the plot is twisted and can come across as quite scary, this is always resolved in the end.
PG Certificate
PG stands for Parental Guidance which means that a particular film is suitable for general viewing but some scenes may be inappropriate for young children. A PG film shouldn't unnerve children aged 8 years and above. Parents are asked to consider whether or not the content may unsettle younger, or more sensitive, children. A PG film will not contain content inappropriate for children however, films with this classification can tackle social and emotional issues such as; Bullying, bereavement or racism. There may be some mild uses of strong language such as 'shit' or 'son of a bitch' but is always shown in context and delivered by a character in a moderate way. For example, if the language is delivered in an aggressive manner or there is a clear frequent use of strong language, the film may be passed at a higher category. Furthermore, sexual references are very rare to appear in films of this classification but if there are, they are usually undetailed and infrequent. However, if a child is unlikely to understand a reference, this may be allowed at PG. Comedy may also be used to minimise the impact of sexual references and innuendo. Violence and threat are used mildly in a PG film. Although there may be a scene where blood is shown, there will be no focus upon how the injury was inflicted. Violence is acceptable in the appropriate context such as in an historical, comedic or fantasy setting because of the elongation this provides. It isn't uncommon for PG films to detail 'roller coaster' action elements where emphasis is placed upon the journey or adventure of the main characters unfolding rather than the detail of violence. Some 'jump' moments or frightening sequences may be allowed as long as they aren't prolonged or intense. Films falling into the PG classification will rarely demonstrate behaviour which can be portrayed as being antisocial or potentially dangerous that children may feel encouraged to copy such as bullying or playing with electricity. Realistic or weapons that are easily accessed, such as knives, will never be glamorised in a PG film. Smoking and alcohol will not be focused upon and if child characters are seen to be drinking or smoking, there should be a fair message that this is a negative action. If drugs are mentioned or seen, a PG feature should represent them in an innocent manner or emphasise that they are harmful.
An example of a film classified as a PG is Minions. This quirky film details the story of minions Bob, Kevin and Stuart who are recruited by a super villain, Scarlett Overkill, who, alongside her husband Herb, hatches an evil plan to take over the world. The minions are much loved by all children after the successful release of Despicable Me. As it features a villain, some scenes may include some undetailed uses of violence which are inappropriate for some young children. This passes the restrictions required to be classified as a U which is why it is asked parents accompany their children to watch this film falling into the PG classification.
12A and 12 Certificates
Films classified as being 12A or 12 contain material that is unsuitable for children aged under 12. No one under the age of 12 may see a 12A film unless accompanied by an adult. Adults planning to take a child to see a 12A film who is under the age of 12 should make an appropriate decision whether the content would be suitable for their child to view. The 12A certificate requires, by law, an adult to accompany any child under 12 seeing a 12A film in the cinema. This is enforced by cinema staff and a cinema may lose its licence if adult accompaniment is not enforced with children under 12 accepted into a 12A film. Accompanied viewing cannot be enforced in the home therefore the 12 certificate remains for DVD and Blu-Ray, instead of the 12A. The 12 is also a simpler scheme for retailers. This means that they cannot sell or rent the item unless the customer is over the age of 12. There is no lower age limit for the 12A, the BBFC consider the content of films of this classification to be suitable for children aged 12 and over. The overall tone of a film, and the way it makes the audience feel affects the classification significantly. For example, a film creating an overall dark or unsettling tone which could possibly unnerve the audience would be unlikely to be passed at a 12A even if the individual themes were considered acceptable to be classified at a 12A. BBFC guidelines state that strong language such as 'f**k' is deemed adequate for a 12 or 12A film, based on the manner it is delivered in, who is using the language, its frequency and the justification for the context it has been used in. Aggressive or frequent uses of bad language may result in a specific film or DVD being passed at a 15 certificate. However there is some allowance of innuendo on strong language in this category. There may be moderate language at 12 and 12A such as 'bitch' or 'twat'. Any discriminatory language or behaviour will not be approved as a whole. If this is used in an aggressive manner, for example; Homophobic or racist terms is unlikely to be classified as a 12A or 12 unless it is completely convicted. Sex will possibly be shown briefly and discreetly at this classification. Verbal references to sexual behaviour shouldn't surpass what is appropriate for young teenagers. Comedy may diminish the impact of some moderate sex references or puns but frequent crude references are unlikely to be passed at this category. There may be nudity in some 12A films but would be only abrupt and considerate. Moderate violence is allowed but should not bide on detail. There is usually no focus upon injury or blood but occasional gory sequences may be accepted if they can be justified by the content. For example, a brief show of blood in a medical drama. Action scenes and weapons may be permitted at 12 or 12A and there may be long fight sequences. Weapons, such as knives, which may be easily accessible to 12 year olds should not be promoted in films under this classification. Sexual violence, such as rape or assault, may only be connoted or briefly and discreetly designated at 12A and 12. Scenes of this nature must have a strong contextual justification. Some horror films are passed at this classification as long as horror sequences aren't frequent and the overall tone isn't deeply disturbing. Moderate physical and psychological threat is allowed at 12 and 12A. Dangerous behaviour, such as hanging, may be present in 12A and 12 films but will not emphasise on detail which could potentially be copied or present these images in a way that children feel inclined to copy. Anti-social behaviour is not promoted and there may be infrequent use of drugs and drugs misuse but the portrayal should not be glamorised.
A defined example of a film classified at a 12A is Insurgent. This film focuses upon the main character, Beatrice Prior, as she battles her inner demons to continue her fight against a powerful alliance which threatens to eradicate society with help from others on her side. This film falls into this category as it contains frequent images of violence and fighting sequences which may be unsuitable for anyone under the age of 12 to view. As it is a 12A the adult may decide to let their child see it with their accompaniment. Mild uses of strong language is also used supporting the adult accompaniment law. Weapons are also a big factor in this film which would be inappropriate for a child under 12 to be seeing unless accompanied by a responsible adult.
In 2009, James Cameron directed the Box Office smash hit, Avatar which went on to break records making a staggering total of $760,507,625. This film documents the story of a paraplegic war veteran, Marine Jake Sully, who decides to take his life into the exquisite world of Pandora after the untimely death of his brother. Inhabited by the Na'vi, a humanoid race with their own language and culture. There he begins to bond and quickly fall in love with one of their species, the beautiful Neytiri and Jake is caught up in the war between the Na'vi and an American corporation, led by ruthless Parker Selfridge whose only tactic is to obliterate all life in Pandora. The solder is forced to take a stand and partake in an epic battle for the fate of Pandora. This is rated a 12 as the violence is suitable for those over the age of 12 to view without having to be accompanied by an adult. Although these scenes may be intense and there are some images of smoking, it is deemed suitable for anyone aged 12 and over. Furthermore, the clothing worn by the Na'vi tribe is similar to what can be seen in a documentary about some indigenous groups.
15 Certificate
No one under the age of 15 is permitted to see a 15 film at the cinema or buy/rent a 15 rated DVD. Films classified at a 15 aren't suitable for children under the age of 15. No individual theme is completely restricted provided that the content is appropriate for 15 year olds. Films falling into this category usually always feature; Strong violence, frequent uses of strong language such as 'f**k', portrayals of sexual behaviour, strong verbal sexual references, sexual nudity, brief scenes of sexual violence or verbal references to sexual violence, discriminatory language or activity and drug taking. Potentially, in a film of a high classification as a 15, there is usually a large amount of strong language. There is no upper limit of uses of bad language such as 'f**k' and there could possibly be uses of the strongest terms. For example, 'c**t' depending on the manner it is delivered in, who is using the language, its frequency and how it is justified by the context it has been used in. However, continued and aggressive use is not passed at 15. There may be racist, homophobic or other discriminatory language and the film may explore themes related to this. However, at 15, the film shouldn't encourage discriminatory language or behaviour as a whole. Sexual activity is acceptable in a 15 film but usually with no attention to detail. Although, in this category, some sex scenes can be long. Similarly, although there may be scenes of nudity, there will normally be no strong detail. There are no restrictions on nudity in non-sexual or educational content. Violence may also be strong but should not focus upon the infliction of pain or injury and the strongest, goriest images are not likely to be passed at a 15. Strong, sadistic violence is also unlikely to be acceptable. There may be precise verbal references to sexual violence. For example, descriptions of rape or sexual assault in a courtroom scene but any portrayal representation of sexual violence must be reasonable and justified by context. At 15 there could be strong threat and horror as long as there is no continuous focus on sadistic or sexualised threat. Drug taking may be shown but the film as a whole must not promote the theme of drug misuse for example through the use of instructional description. The abuse of accessibly and highly dangerous substances like aerosols or solvents is highly unlikely to be accepted at 15. As a highly acclaimed organisation, the BBFC carefully consider the risk of potential harm to susceptible teenagers. For example, emotional issues such as self harm and suicide should not be clearly emphasised which could be copied. Whether the depiction of easily accessible weapons is acceptable will be based upon factors such as realism, context and setting.
Knocked Up details the story of a rising journalist, Alison Scott, who makes a huge mistake after a one night stand with irresponsible slacker, Ben Stone that results in an unexpected pregnancy. Instead of raising the baby on her own, she decides to give Ben a chance to see if he could be a good father to their child. However, he is unsure if he is ready to be a parent, and both wonder if they could be compatible partners raising their baby together. This particular film has been rated at a 15 as the story line focuses upon sexual activity and pregnancy as well as including frequent uses of strong language and drug misuse. There is some images of nudity as well however this is censored and is shown briefly and discreetly. The birth scene is also very graphic which would be inappropriate for anyone under the age of 15 to see.
18 Certificate
Films rated at an 18 are strictly for adults only. Anyone under the age of 18 is not allowed to see an 18 film at the cinema or buy/rent an 18 rated DVD. No 18 rated work is suitable for children. No theme is prohibited in this classification. Adults are free to choose their own entertainment provided the content is not illegal or potentially harmful, consequently it is possible that some themes addressed in 18 films may be offensive even to some adult viewers. Issues which could feature in 18 films include; Very strong violence, frequent strong language such as f**k and c**t, strong portrayals of sexual activity, scenes of sexual violence, strong horror sequences, strong blood and gore, real sex (in some circumstances) and discriminatory language and behaviour. There is no limit on the number of uses of strong language such as f**k or even very strong language such as c**t which can be passed at 18. Uses can also be used in any manner or form of context. For example, aggressively, directed, frequent or accompanied by strong violence. There may also be racist, homophobic or discriminatory language at 18, and any film under this classification can explore a range of themes relating to discrimination. Although it is possible for discriminatory language or themes to be the main focus of the work and for main characters to engage in discriminatory behaviour, it must not breach any relevant legislation. There can be strong and detailed sexual activity at 18. There may even be emphasis upon the infliction of injury or pain and contain scenes of strong sadistic violence and threat or sexual violence. The strongest, goriest images are permitted at this category. There can also be strong and detailed scenes of sex in films classified at an 18, including full nudity. There are no pressures on nudity in a non-sexual or educational context. Very strong, crude and explicit sex references are allowed at 18. An 18 film may also contain portrayals of real sex, as long as it is not a sex work. A sex work is a work with its primary purpose being to create a feeling of sexual arousal or stimulation. Sex works containing only material which may be stimulated are usually passed at 18. Those containing clear images of real sex, strong fetish material and sexually explicit images are generally passed at the R18 category. At 18, many horror films may contain very strong gore and constant threat. Drug taking is also shown in an 18 film but must not encourage drug misuse. Though 18 films may address difficult themes, harm is still a possibility. To take this into consideration, very dangerous or criminal behaviour, for example behaviour which poses a significant risk to a person's safety if copied, may be cut from the film.
A prime example of a film classified at an 18 is Sweeney Todd: The Demon Barber of Fleet Street.
After many years in banishment for a crime he didn't commit, Benjamin Barker returns to London under the new name of Sweeney Todd, only to find his wife dead and his daughter in the arms of evil Judge Turpin. In his anger, Sweeney embarks on a murderous rampage across London against those who made him suffer and lose his beloved family. Enlisting the help of Mrs Lovett, he opens a barber's shop above her pie shop and they form a deadly alliance. Todd's business lures the customers in with a charming smile only for it to end with him slashing their throats with a flick of his barber's razor. This film has been rated as an 18 due to the frequent uses of extreme blood and gore unsuitable for any child to view. As adults can make their own choices on what they deem suitable for their entertainment, this would be appropriate for them to watch. There is also a clear emphasis upon the infliction of pain and injury for example, the slashing of the victims' throats with the blade which children would be able to pick up on and possibly copy therefore having to classify this particular film at an 18.
To conclude, this research has helped me significantly in choosing what classification my own thriller sequence will fall into as I have a clear understanding of what each certificate restricts and allows as well as knowing the difference between them. As it is a thriller, it will fall into either the 12A or 15 classification due to the nature of the genre but it will depend on whether there is gore or focus upon the infliction of pain or injury which would set it aside from the 18 certificate for example. I know not to include too much blood and gore so as to appeal to as wide a viewing audience as possible. If its too graphic, it will only be suitable for adults to view and I want my thriller sequence to appeal to adults as well as teenagers/young adults.
Why Do You Think The Thriller Genre Is Still Popular Today?
I think that the reason why this particular genre remains so popular to this day is that thriller films appeal to a niche audience which keeps people intrigued and entices them to want to watch more. Also, the feeling of fear excites the audience as it creates an idea of anticipation and gets the adrenaline rushing. Furthermore, each thriller film is unique in its own way. For example, different use of characters and story lines etc. Many films belonging to this genre create a psychological effect on the audience, basing the main plot on true events which again excites the audience keeping them transfixed and on the edge of their seat. Some people could also relate to these experiences making them enjoyable to watch.
Today, the thriller genre remains extremely popular with a wide viewing audience. All thriller films combine elements of pure suspense, tension and excitement to engage their audience. Many now include themes of mystery, psychology and crime.
When researching different thrillers, I noticed that the way they are made and what is included has developed significantly over the years. For example older thrillers use plots that are somewhat unrealistic to what we see now, due to the lack of technology that film makers have access to now.
History Of Thriller Films - 1930s - Present
The Black Cat (1934)
Directed by Boris Karloff Edgar G. Ulmer, The Black Cat, was the box office hit of the year. Released in 1934, the film is based upon a newlywed couple enjoying their honeymoon in Hungary when they come across a Hungarian psychiatrist who has spent the last 15 years of his life in an infamous prison camp. The couple are then involved in a tragic coach crash in a desolate area where one of the newlyweds, Joan Alison, is injured. It is decided that Joan would be taken to the psychiatrist's friends house, Poelzig. Joan is wrongly treated and is given a hallucinogen which causes her to behave very erratically. Poelzig's dark past comes to light when it is revealed that he allegedly betrayed the fort during a war with the Russians and was responsible for the death of many Austro-Hungarian soldiers. The psychiatrist, Werdegast kills Poelzig's cat however he carries another black cat around as he preserves the bodies of dead women. Poelzig then plans to sacrifice Joan Alison as part of a satanic ritual. Werdegast eventually kills Poelzig striking down the mad architect who used to be his friend. He is then killed himself after he blows up the house to let the two lovers escape.
This clip from The Black Cat shows a struggle between the two main characters, Werdegast and Poelzig. One of them is shown to be tied up and stripped of his clothes while another is threatening to burn him and cut his body up piece by piece. This creates a feeling of tension as the film is building up to a death which would excite the audience and keep them hooked to find out what happens to these particular characters. As it was made in the 1940s, the film maker didn't have access to the technology used in thriller films today and is why this film was made in black and white. Although this clip doesn't necessarily scare the audience, we can feel the eeriness between both the characters therefore creating tension. As both characters in this scene are dressed in a similar way, it is hard to identify the villain so we assume that they are both the villain to a certain extent. However, the man on the left has a more menacing look on his face whereas the man on the right has weak posture due to being tied up and looks more scared therefore we can now guess that the man on the left is the main villain in this film. Also, as the man on the right is standing over the other guy, we can assume that he must be the dominant character within this particular scene by the positioning of these characters. This particular clip is conventional to the thriller genre as it creates elements of tension and suspense represented through the body language and relationship between the two characters. As one is showed to be more dominant over the other, this could connote that the characters featured in the clip are enemies supported by the fact that one wants to kill the other. This is also conventional as thriller films always include a build up to a climax which is usually a death.
Stranger On The Third Floor (1940)
Released in 1940 by RKO Radio Pictures Stranger On The Third Floor is a psychological thriller and film noir directed by Boris Ingster and starring Peter Lorre. It is commended as the first "true" film noir of the classic period from 1940-1959. Stranger On The Third Floor is a story about an innocent man wrongly accused of a crime who is desperate to clear his name. Reporter Michael Ward is the significant witness in Briggs' murder trial and is responsible for his incorrect conviction. Afterwards, suspicions of Ward's testimony arise and Ward's neighbour is mysteriously killed in a completely identical way to the man in the diner that Briggs is accused of murdering. A search for the sinister stranger that Ward came across in a stairwell is carried out to clear Briggs' name. Based on the clip, this film has many conventional aspects for a thriller such as; an urban setting, heavy and mysterious shadows, voice over narration, a dream sequence, low camera angles focusing upwards on multi storey buildings and an innocent protagonist falsely accused of crime who is determined to clear himself. All of these conventions help to keep the audience in suspense and wonder what will happen next. By including the narrative of a murder being committed and the wrong man being accused, this introduces a psychological theme as the innocent man is so convinced that he didn't do it although the police aren't convinced. This can play on the audience's mind as well as the character's which is conventional for a thriller film.
Vertigo (1958)
Vertigo is an American thriller released in 1958 directed and produced by world renowned director Alfred Hitchcock. James Stewart stars as former police detective John "Scottie" Ferguson who was forced into early retirement after an incident in his line of duty caused him to develop Acrophobia, an extreme fear of heights. He is called upon by an acquaintance to follow his wife, who has been behaving strangely but Ferguson slowly becomes curiously obsessed with her. A series of dark events begin to unfold and people begin to die. This film is a story of deceit, love and madness.
Vertigo was the first thriller to start using colours instead of having the images in black and white.
In the following clip, the constant changing of the music changes from romantic, when Judy and Scottie kiss, to eerie and sinister when the nun comes in and Judy appears to fall from the clock tower. This initially creates a tense atmosphere and builds up the suspense leading up to Judy's death. This would keep the audience interested within the film and on the edge of their seat encouraging them to watch on further therefore making this film conventional to the thriller genre. Furthermore, within thrillers, an idea of being followed or watched is always evident. In this clip, prior to her death, Judy was shown to feeling as though she was being followed which ultimately leads to her twist of fate as she ends up deceased therefore making Vertigo an example of a conventional film. Psycho (1960)
Another of Alfred Hitchcock's stunning work, Psycho details the story of a hard working Arizona girl, Marion Crane, who is forced to go on the run due to her stealing $40,000 entrusted to her by her boss. She is desperate to marry the love of her life, Sam Loomis, but are unable to be married due to a majority of his life and money being dedicated to his work. She plans to run away and join Sam in his hometown of California in order to start a new life together. On her way, Marion is faced with the obstacle of driving in pitch black with torrential rain lashing down on her, she decides to turn off the highway and comes across a desolate motel. Exhausted from her journey and the stress of her criminal act, Marion spends the night here but dark secrets lie beneath the past of the owner of the motel. It is run by Norman Bates, a distinctive young man dominated by his invalid mother. News then breaks of Marion's disappearance and private detectives are hired to help track her down which leads them to Bates Motel.
This infamous shower scene from Hitchcock's legendary thriller has used various media techniques in order to create a sense of tension in order to keep their audience in suspense and want to watch more. Juxtaposition is used with the image of the main character, Marion Crane, partaking in a natural and ordinary everyday activity such as taking a shower with the images of her brutal murder by a mysterious figure. Ominous music is played over the scenes of Crane getting murdered, acting as an example of parallel sound, to further the feeling of tension and scare the audience. Also, this is conventional to the genre as the killer is shown only as a silhouette so the audience are kept in the dark of who it could be therefore prolonging the suspense and making the viewer guess who could be lurking behind the shadow.
Airport 1975 (1974)
Airport 1975 is an action thriller film released in 1974 and directed by Jack Smight. When an in-flight collision leaves the pilot of a flight bound for Los Angeles incapacitated, stewardess Nancy Prior, played by Karen Black, with no flight experience is forced to take over the controls and land the plane.She is guided by boyfriend Alan Murdock (Charlton Heston), a retired test pilot who attempts to talk Prior through piloting and the best way to land the Boeing 747 aircraft. To add to this, the apprehensive passengers who include a noisy nun and a cranky man begin to irritate the already tense atmosphere.
Within this clip showing the initial crash leaving an aircraft pilotless, tension is effectively created through the use of the pilot in the smaller plane suffering from a heart attack losing control of his plane. As the plane loses control, mysterious music is played to build the effect. suddenly, out of nowhere, the plane crashes into the airliner, by making this sudden and unexpected, it helps to heighten this and make the audience want to watch more. Furthermore, by adding in the images of the passengers screaming, this generates a panicked atmosphere. This is conventional to the thriller genre as the involvement of the passengers within the scene of the plane crashing helps to evoke feelings of suspense as the audience wonder if they will make it out alive or perish along with the aircraft. This also creates feeling of sympathy from the audience as the passengers are completely innocent and don't deserve to die in this way.
Fatal Attraction (1987)
Fatal Attraction is a 1987 American Psychological Thriller film directed by Adrian Lyne and starring Michael Douglas, Glenn Close and Anne Archer. Dan Gallagher is a successful New York lawyer with a blossoming marriage of 6 years to his wife, Beth with whom he has a 6 year old daughter. However, Dan spends a weekend with editor, Alex Forrest which is the source of trouble for Dan. According to him, it was a one time thing but Alex thinks very different. When he makes it clear that there is no future for him, Alex becomes very obsessive with Dan starting with the constant phone calls escalating to Alex even visiting the apartment Dan has put up for sale as well as meeting his wife. Alex's obsession knows no limits and becomes progressively violence and Dan soon realises it's not the affair he needs to hide, its protecting himself and his family from the danger that his inconsiderate actions have put him in.
The use of screams at the beginning marks a danger has arisen and needs to be resolved. This creates an initial sense of apprehension due to the audience left in the dark about what is happening until the character, played by Michael Douglas, bursts into the bathroom to see his stalker attacking his wife. The brawl scene remains tense throughout as it is uncertain who will live and who will die which is conventional to the thriller genre. By having Alex appear to die and then come back to life after being drowned again, prolongs the scene and is portrayed as showing that in this situation, anyone could be hurt. Beth ultimately ends the scene by shooting Alex straight through the chest and consequently, ends the suffering caused by Alex's obsession. This is conventional for a thriller film as the use of a character appearing to die and then coming back to life creates an element of shock for the audience as it is unexpected and they didn't see it coming. Misery (1990)
In this dark thriller directed by Rob Reiner, James Caan portrays romantic novelist Paul Sheldon, well acclaimed for his well known character, the films namesake 'Misery' Chastaine. After the completion of his latest book, Sheldon sets off on his journey back to New York from the Silver Creek lodge. Shortly into his drive, his car swerves off the ice ridden road in a torrential blizzard. Paul is critically injured but is rescued by nurse Annie Wilkes who reveals that she is his "Number one fan". She takes him to her remote home in the mountains where her dark secrets come to light. Annie is somewhat unstable with her mental health and after discovering what happens to heroine Misery in Paul's latest book, she becomes deadly. Paul is left drugged, crippled and at Annie's mercy.
In the following clip, it shows psycho Annie go into a fit of rage as she discovers that her favourite heroine, Misery, has been killed off in the latest book. The use of Annie's screaming shows her superiority as she is standing over a vulnerable Paul who is laid up in bed having been injured very badly. This creates a shift of authority and creates suspense as the audience are left wondering if Paul will escape from Annie's home alive or if he will fall into her clutches. This is conventional as the audience feel empathy towards Paul as he is being treated in a horrific way by someone who is supposed to be his 'biggest fan' and questions are raised to the state of mentality as this is not a normal thing to do to someone creating a psychological theme which is evident in thriller films.
The Happening (2008)
Directed by M. Night Shyamalan, The Happening is an American thriller following science teacher, Elliot Moore (Mark Wahlberg) his wife, Alma (Zoey Deschanel) and Jess, the daughter of a friend (Ashlyn Sanchez) as they attempt to escape a deadly plague which causes anyone who is infected to commit suicide.The apocalyptic threat to humanity arrives out of nowhere with a series of violent and unexplained deaths spreading gradually across the country. The cause of the terrifying phenomenon remains unknown prompting Elliot to go on a remarkable journey to Pennsylvania's farmland to try and confound the invisible killer. Soon it becomes clear that no one is safe.
This is one of the many heinous scenes in The Happening. The use of sinister music played over the images of various people appearing to fall from the construction building. This acts as an example of foreshadowing of what is to come, implying that these aren't just accidental deaths and that there may be something more disturbing going on that the characters may not be aware of yet. This is supported by the characters' body language and facial expressions as they are horrified by what they are seeing therefore building tension as the audience wonder what has started to happen and what else may lie in store therefore making this particular film conventional to the thriller genre. Furthermore, the inclusion of a mass death where people drop from buildings is very suspicious and therefore creates an enigma for the rest of the narrative to unfold which is a technique used in most thriller films.
Top 10 Thriller Films
During the second research task, I looked into audience figures for the top 10-17 thriller films. Below is a picture showing what each film is rated and how many people went to see it upon its first release.
Looking at this table, I have noticed that there are many sequels to the original thriller films, one of these being Saw having a total of 7 films in this particular franchise. We can also see that Hannibal was ranked the best thriller film overall. The first Saw was released in 2004 and each new year saw a new Saw film being released. Based on my knowledge, I know that sequels are never more popular than the original film however my research shows otherwise, Saw II being the most popular Saw film making a total of $87,039,965 (Lifetime Gross/Theaters). Although a majority would say that sequels are better, they would not have their huge success if it wasn't for the original.
Also, another thing that I noticed was how the modernness of the film affected how much money it made the whole time it was released. For example, released in 1991, The Silence of the Lambs is ranked at Number 2 and falls higher than those that were released more recently therefore having more access to technology within the art of film making. I would expect a film like this to be at a lower position due to not having this access to the modern technology available now. This film made a total of $130,742,922 in comparison to a more recent thriller film such as, Saw 3D, making only $445,710,178. The Silence of the Lamb's narrative is based upon a young FBI agent, Clarice Starling, being assigned to a difficult case in which he has to help find a missing woman to save her from a psychopathic killer who skins his victims alive. the agent chooses to get an insight into the crazed killer's mind by getting help from another psychopath, Hannibal Lecter, who was formerly a well respected psychiatrist. Lecter is a very powerful manipulator who FBI agent, Jack Crawford believes holds the answers to their questions and will be able to locate the killer. However, he is not prepared to give out any information until Clarice gains his full trust. On the other hand, Saw 3D is based upon a battle over infamous serial killer Jigsaw's terrible legacy, a group of his survivors seek help from a support group led by a fellow survivor, who has a few dark secrets of his own. Meanwhile, cop Hoffman seeks revenge from Jigsaw's wife and sets out on a murderous rampage in order to end her. In my opinion, I believe that The Silence of the Lambs was a more successful thriller as it is more conventional to the genre due to the narrative compelling its audience by keeping them in suspense throughout and creating twists and turns along the way whereas Saw 3D based more upon the gore of the infliction of injury upon Jigsaw's victims which is more conventional to a horror than a thriller rather than the suspense. Comparing both Saw 3D and Silence of the Lamb's success rates, you could say that they were not equally successful for the times in which they were released. For example, upon first release, The Silence of the Lambs made $140,722,922 compared to Saw's $55.185,045. You would expect Saw 3D to have made more as it was released in 2010 therefore meaning that there was wide access to cinemas in this era however back in 1991, when The Silence of the Lambs was released, there wasn't as easy access to cinema but still made more money.
To conclude, I believe that a thriller film will be most successful if the narrative is strong and unique and very likely to make a large sum of money. The sound and editing techniques added in after the initial filming can only boost the overall effects of the film but it all comes down to the narrative. This Box Office research task has shown me that, although a sequel to a particular film is less likely to be as successful as the original film but if the narrative of that film is strong and interesting, it can lead to having a series of many more successful films. A good example of this is is the Saw franchise. This research task will aid me in creating my own thriller sequence as it has reminded me to ensure that the narrative needs to be original and strong in order to set it aside from the many other thriller films already released. I need to also make sure that the sequence doesn't give too much away as I will only be making the opening and I have to engage my audience and make them want to watch on to see what will happen.
