1 FORMS AND CONVENTIONS

IN WHAT WAYS DOES YOUR MEDIA PRODUCT USE, DEVELOP OR CHALLENGE FORMS AND CONVENTIONS  OF REAL MEDIA PRODUCTS?

Genre
Narrative (character-events.)
Film language

IDENT Every production company has their own personal company Ident. Due to the fact that we only have a limited capacity, we had to be smart and be conservative and use a simple but effective Ident. our group decided to use a toy car and our personal logo that was made on Microsoft word. The main tool we used for this Ident was iStopmotion and then use a Hue webcam to capture the ident.

TWO PERSON SHOT

One of the more valuable aspects of the scene is to observe the detective who is played by (Ollie Macnaughton) slouching over his desk, whilst the wife enters the room in a abrupt manner. The two person shot suggests the juxtaposition of the characteristics between the two characters. The idea that the two characters contain two different personalities with contrasting effect, which also signifies the idea of seriousness as opposed to a more lacklustre approach. We also visualise the dominant actions of the wife which creates a powerful aura, which startles the detective. To me, this suggests an unbalance of authority.

MISE EN SCENE 

In a political thriller, authenticity of mise-en-scene is key in creating verisimilitude. Our set containing the typewriter is very authentic because it suits the disposition perfectly of a typical 1950's genre. Its appearance alone would inevitably draw the viewer's eye and stands out from the other props due to its vintage appearance.

OVER THE SHOULDER SHOT
Key elements in the flashback sequence, such as camerawork and Mise-en-scene, signals the importance for each shot taken and the narrative through visuals. We are introduced by the husband portrayed by (Tom Gladstone) and I play the government boss who viciously provokes the husband. The over the shoulder shot illustrates an inevitable occurrence that is going to take place. The angle of the shot portrays suspense and judging by the body language of the husband, illustrates that something is lurking afoot. We then sink our teeth into the violent sequence, where the government boss uses dominant force to startle the husband, by which the husband is physically dominated. The close up shot and tracking shot of the husband's feet being dragged across the pathway connotes suspense as the audience is met with a opaque background and questions the audience as to what will happen next.

FRAMING SHOT
The next scene is a framing shot of Tom being confined to a chair in an abandoned warehouse. This is also a fixed shot and focuses primarily on Tom. The camera is positioned so that Tom is in the centre of the frame.

OPENING SCENE:  For the opening scene we decided as a group to put the camera in a framed position to capture the wife walking down the corridor, positioning the camera so all the attraction was on the character and we didn't want the audience to lose sight of the main focus in this scene.

THE OFFICE SCENE: This scene was integral and we decided to have the camera placed in the corner of the room as we needed to have the camera pointing at an angle looking towards the desk of the detective. The positioning was perfect of this specific scene because the framing shot displayed was able to capture all the props and the essentials to really show off to the audience how unique this office looks. I found that the shot really captivated the 1950's look of a typical office of this era. In the background of the camera we also had studio lights and the reason we had these was because there was very poor natural lighting in the room and the room felt very gloomy. the still camera also helps portrays the detectives relaxed approach to a serious situation with the wife of the missing husband.

THE EERIE TUNNEL SCENE: We positioned the camera at a slight angle to capture the detective and the tunnel together. Due to the tunnel's unique appearance, it creates more tension and imposes danger for the detective this alludes to the questioning of what is going to happen next.

THE CLOSE-UP OF THE BLOOD: We slowed the pace of this scene to get the full look of the room. This scene causes the detective to be on his toes when he approaches the blood. We did this because we wanted the character to become more Intrigued than in the previous scenes, where he keeps an uninterested attitude. This scene lacks sounds, which helps create more depth. We then peeled the camera lens on the reaction of the detective when he sees the blood, creating a effective reaction shot as we see his face contorted with emotion.

THE POINT OF VIEW SHOT IN THE TUNNEL: We had a POV shot of the figure shown moving. This suggests that the Detective is now being pursued. The important aspect of this scene is that the aurora of suspense is very empowering because we have a perspective and it mimics the movement of the pursuer. I learned that not many films use the point of view shot because of the lack of creative cameras and this was a bit concerning for us. Despite this, we pushed ourselves to rely on ourselves and pushed our creative boundaries in order to make the positioning of the camera visionary and really convince the audience with a promising point of view shot.

THE FINAL SCENE: For the final and concluding scene, the detective is confined in a very dark room and his only source of eliminating the obscure path is his lighter. This created a bigger effect because he is isolated in obscurity and there is no escape. This scene here allowed us to pay attention to the detectives emotions both facially and physically. The sound of someone's voice in the background is a very powerful imperative of fear and the detective is in real trouble.