'15' – Suitable only for 15 years and over
No-one younger than 15 may see a ‘15’ film in a cinema. No-one younger than 15 may rent or buy a ‘15’ rated video or DVD.
Theme
No theme is prohibited, provided the treatment is appropriate to 15 year olds.
Language
There may be frequent use of strong language. But the strongest terms will be acceptable only where justified by the context. Continued aggressive use of the strongest language is unlikely to be acceptable.
Nudity
Nudity may be allowed in a sexual context but without strong detail. There are no constraints on nudity in a non-sexual or educational context.
Sex
Sexual activity may be portrayed but without strong detail. There may be strong verbal references to sexual behaviour.
Violence
Violence may be strong but may not dwell on the infliction of pain or injury. Scenes of sexual violence must be discreet and brief.
Imitable techniques
Dangerous techniques (eg combat, hanging, suicide and self-harming) should not dwell on imitable detail. Easily accessible weapons should not be glamorised.
Horror
Strong threat and menace are permitted. The strongest gory images are unlikely to be acceptable.
Drugs
Drug taking may be shown but the film as a whole must not promote or encourage drug misuse.
'18' – Suitable only for adults
No-one younger than 18 may see an ‘18’ film in a cinema. No-one younger than 18 may rent or buy an ‘18’ rated video.
In line with the consistent findings of the BBFC's public consultations, at '18' the BBFC's guideline concerns will not normally override the wish that adults should be free to chose their own entertainment, within the law. Exceptions are most likely in the following areas:
where material or treatment appears to the Board to risk harm to individuals or, through their behaviour, to society – e.g. any detailed portrayal of violent or dangerous acts, or of illegal drug use, which is likely to promote the activity. The Board may also intervene with portrayals of sexual violence which might, e.g. eroticise or endorse sexual assault.
Wednesday 26 November 2008
Continuity Task
Similar to our other filiming task in our continuity task we had to make a short film of a convesation between two people. However this time we had to script and storyboard our work. This time one personwas allocated storyboarding as we had learnt from our previous mistake. I feel that our continuity task was quite successful as we made good use of sound and certain camera shots. However we had several problems with editing such as a charcters arm disappearing suddenly from the shot. Also the camera was unsteady and was at an angle. However we succesfully manage to use camera angles to make one charcter appaer inferior to the other but in order to make this even more usccessful we should have used a low angle shot on the dominant character. From this task I have learnt that I must pay closer attention to editing and the position of the camera.
Practice Filming
In our first filming task we had to film two people having a conversation. I feel that our group performed well in this task as we did not at any time break to 180 degree rule. Our shots also flowed nicely apart from a editing mistake in which an actor appeared from nowhere. Another problem we had was poor lighting which made the finished product appear less professional. we also have to make sure that when a charcter enters a room we must show them doing so fully in order not to break continuity. In the future we will be sure to pay more attention to lighting in our setting and to make sure that all shots follow on form each other smoothly. Our group completed the filming task with time to spare and were able to move on to the next task quickly. During this task I also futher improved my knowledge of premier and am now able to include music and fading into my work.
Practice Animatic
Due to technical difficulties I am unable to show my animatic
I feel that my groups first animatic was largely unsuccessful. This is due to technical diffculties, group work and having each member of the group draw part of the animatic. These were problems as during the process of creation only one person took control and did most of the work. Also having each member of the group draw a part for the animatic was a mistake as this caused it to be inconsistent and unclear. In the future we will make sure to all take part in the creation of our work equally and also to only have one person draw the animatic. One good thing I have gained from the animatic was a basic knowledge of how to use premier which is the program which we will be editing our other creations in.
I feel that my groups first animatic was largely unsuccessful. This is due to technical diffculties, group work and having each member of the group draw part of the animatic. These were problems as during the process of creation only one person took control and did most of the work. Also having each member of the group draw a part for the animatic was a mistake as this caused it to be inconsistent and unclear. In the future we will make sure to all take part in the creation of our work equally and also to only have one person draw the animatic. One good thing I have gained from the animatic was a basic knowledge of how to use premier which is the program which we will be editing our other creations in.
Monday 24 November 2008
Evaluation of Thrillers
I have found that thrillers can vary depending upon their sub genre. However there are some simailarites between thrillers. Sound is very important in all thrillers as it can convey a sense of tension throughout the opening sequence. Also main characters are introduced to the plot early on though there are some exceptions (Anatomy of a Murder). Pace of editing can vary between the genres but is usually used in order to build tension. Colours that are predomitally used in thrillers are red, black and white as these can symbolise certain aspects of the thriller (Sin City).
Thriller 2: Sin City
Camera
During the opening sequence the camera uses a combination of close ups and mid shots to make the audience feel closer to the characters. It also establishes that the characters have a close connection with each other making it more shocking when the woman is murdered. Shot-reverse-shot is also used in order to keep track of the conversation and to see the characters reactions to the others statements. At the end of the sequence a high angle shot is used to show the woman dying in the man's arms which also serves to show the power he has over her. The camera then zooms out to show the woman's life slowly fading away.
Editing
The editing is slow paced and matches the plot as it is used in the first part of the sequence to show the characters conversations with one another. This also help to increase the effect of the shocking climax as the editing gives nothing away to the conclusion of the scene. The editing is unique in that the colours red, black and white are used to cover the entire surroundings at the end of the scene. This helps to convey Sin City's comic book style and structure.
During the opening sequence the camera uses a combination of close ups and mid shots to make the audience feel closer to the characters. It also establishes that the characters have a close connection with each other making it more shocking when the woman is murdered. Shot-reverse-shot is also used in order to keep track of the conversation and to see the characters reactions to the others statements. At the end of the sequence a high angle shot is used to show the woman dying in the man's arms which also serves to show the power he has over her. The camera then zooms out to show the woman's life slowly fading away.
Editing
The editing is slow paced and matches the plot as it is used in the first part of the sequence to show the characters conversations with one another. This also help to increase the effect of the shocking climax as the editing gives nothing away to the conclusion of the scene. The editing is unique in that the colours red, black and white are used to cover the entire surroundings at the end of the scene. This helps to convey Sin City's comic book style and structure.
Friday 7 November 2008
Thriller 1: Anatomy of a Murder
Camera
During the opening sequence the camera does not move. This puts more emphasis on the main titles and the animation on screen. The text moves around the screen as does the animation and the camera's stillness allows both to slide on and off. By having the camera motionless the director is able to show the audience that the main titles and animation is the most important things on screen.
Editing
In the opening sequence mainly straight cuts are used and the editing is fast paced. The editing is used to show the main titles and various body parts in quick succession as they appear and disappear. This links in with the fast pace of the opening sequence. By making the opening sequence fast paced the director is able to show the audience what to expect from the rest of the film. The quick appearance and disappearance of body parts also does this as it shows that the film may include dismemberment which links back to the title "Anatomy of a Murder". At the end of the sequence editing is used to make the hands appear to be coming closer and closer. This cause the audience to feel as if they are being closed in.
Sound
The music used is typical of the period in which the film was made as it is big band music. The loud parts of the music are used to make the audience think of screaming and violence aluding to what happen later in the film. The music increases in speed as the opening sequence continues showing the audience that the film will be fast paced.
Mise-en-scene
Images of body parts are used in the opening sequence to show that the film will include dismemberment and murder. The theme of violence is displayed heavily during the title sequence by the images of body parts also. The dark colours used in the opening sequence could show that the film will be very dark and mysterious.
Special Effects
Animation is used heavily in the opening sequence and the images of body parts slide on and off the screen. Hand are shown to push titles off the screen in order for them to be replaced by others. The entire opening sequence is done in a cartoon like style and shows that perhaps the film will have lighter moments to it.
Titles
The titles are white and are shown on either a black or a grey background. This is done to make the titles stand out and to catch the audiences eye. As the titles are a main part fo the opening sequence they are quite large and are moslty centralised.
Thursday 6 November 2008
What is a Thriller
Thrillers often take place wholly or partly in exotic settings such as foreign cities, deserts, polar regions, or high seas. The heroes in most thrillers are frequently "hard men" accustomed to danger: law enforcement officers, spies, soldiers, seamen or aviators. However, they may also be ordinary citizens drawn into danger by accident. While such heroes have traditionally been men, women lead characters have become increasingly common; for an early example see Sigourney Weaver's character Ripley, in the movie Alien, 1979.
Thrillers often overlap with mystery stories, but are distinguished by the structure of their plots. In a thriller, the hero must thwart the plans of an enemy, rather than uncover a crime that has already happened. Thrillers also occur on a much grander scale: the crimes that must be prevented are serial or mass murder, terrorism, assassination, or the overthrow of governments. Jeopardy and violent confrontations are standard plot elements. While a mystery climaxes when the mystery is solved, a thriller climaxes when the hero finally defeats the villain, saving his own life and often the lives of others. In thrillers influenced by film noir and tragedy, the compromised hero is often killed in the process.
Thrillers may be defined by the primary mood that they elicit: fearful excitement. In short, if it 'thrills', it is a thriller.
Sub-genres
The thriller genre can include the following sub-genres, which may include elements of other genres:
Action thriller - In which the work often features a race against the clock, contains lots of violence, and an obvious antagonist. These films usually contain large amounts of guns, explosions, and large elaborate set pieces for the action to take place. These films often have elements of mystery films and crime films but these elements take a backseat to action. Notable examples are the James Bond films, The Transporter, and the Jason Bourne novels and films.
Conspiracy thriller - In which the hero/heroine confronts a large, powerful group of enemies whose true extent only he/she recognizes. The Chancellor Manuscript and The Aquitane Progression by Robert Ludlum fall into this category, as do films such as Three Days of the Condor and JFK.
Crime thriller - This particular genre is a hybrid type of both crime films and thrillers that offers a suspenseful account of a successful or failed crime or crimes. These films often focus on the criminal(s) rather than a policeman. Crime thrillers usually emphasize action over psychological aspects. Central topics of these films include murders, robberies, chases, shootouts, and double-crosses are central ingredients. Some examples include The Killing, Seven, The Godfather, Reservoir Dogs, Inside Man, and The Asphalt Jungle.
Disaster thriller - In which the main conflict is due to some sort of natural or artificial disaster, such as floods, earthquakes, hurricanes, volcanoes, etc., or nuclear disasters as an artificial disaster. Examples include Stormy Weather by Carl Hiaasen, Tremor by Winston Graham, and the 1974 film Earthquake.
Drama thriller - In which the story consists of the elements of a thriller and drama film. These films are usually slower paced and involves a great deal of character development along with plot twists. Examples include The Illusionist, The Interpreter and The Prestige.
Eco-thriller - In which the protagonist must avert or rectify an environmental or biological calamity - often in addition to dealing with the usual types of enemies or obstacles present in other thriller genres. This environmental component often forms a central message or theme of the story. Examples include Nicholas Evans's The Loop, C. George Muller's Echoes in the Blue, and Wilbur Smith's Elephant Song, all of which highlight real-life environmental issues. Futuristic Eco-thrillers are of the Science Fiction genre that propose ideas that will or may occur and include such works as Kim Stanley Robinson's Mars Trilogy and Ian Irvine's Human Rites Trilogy.
Erotic thriller - In which it consists of erotica and thriller. It has become popular since the 1980s and the rise of VCR market penetration. The genre includes such films as Basic Instinct, Fatal Attraction, Looking for Mr. Goodbar, and In the Cut.
Horror thriller - In which conflict between the main characters are mental, emotional, and physical. Two recent examples of this include the Saw series of films and the Danny Boyle's 28 Days Later. What sets the horror thriller apart is the main element of fear throughout the story. The main character(s) is not only up against a superior force, but they are or will soon become the victims themselves and directly feel the fear that comes by attracting the monster's attention. Other well-known examples are Alfred Hitchcock's Psycho and Thomas Harris's The Silence of the Lambs.
Legal thriller - In which the lawyer-heroes/heroines confront enemies outside, as well as inside, the courtroom and are in danger of losing not only their cases but their lives. The Innocent Man by John Grisham is a well known example of the type.
Medical thriller - In which the hero/heroine are doctors or medical personnels working to solve an expanding medical problem. Robin Cook, Tess Gerritsen, Michael Crichton, and Gary Braver are well-known authors of this subgenre. Nonfiction medical thrillers are also a subcategory, comprising works like The Hot Zone by Richard Preston. Films such as Awake are other examples of medical thrillers.
Political thriller - In which the hero/heroine must ensure the stability of the government that employs him. The success of Seven Days in May (1962) by Fletcher Knebel, The Day of the Jackal (1971) by Frederick Forsyth, and The Manchurian Candidate (1959) by Richard Condon established this subgenre. A more recent example is the 1980 film "Agency".
Psychological thriller - In which (until the often violent resolution) the conflict between the main characters is mental and emotional, rather than physical. The Alfred Hitchcock films Suspicion, Shadow of a Doubt, and Strangers on a Train and David Lynch's bizarre and influential Blue Velvet are notable examples of the type, as is The Sixth Sense by M. Night Shyamalan and The Talented Mr. Ripley by Patricia Highsmith (who also wrote Strangers).
Spy thriller (also a subgenre of spy fiction) - In which the hero is generally a government agent who must take violent action against agents of a rival government or (in recent years) terrorists. Examples include From Russia with Love by Ian Fleming, The Bourne Identity by Robert Ludlum, and television series such as Mission: Impossible and 24 (the latter demonstrating a break from the norm by Robert Ludlum, as it is as much a psychological thriller as a spy thriller.)
Supernatural thriller - In which the conflict is between main characters, usually one of which has supernatural powers. Carrie by Stephen King and Unbreakable by M. Night Shyamalan and Torchwood are notable examples of this genre. This type of thriller combines tension of the regular thriller with such basic horror oriented ingredients as ghosts, the occult, and psychic phenomenon; the supernatural thriller combines these with a frightening but often restrained film. They also generally eschew the more graphic elements of the horror film in favor of sustaining a mood of menace and unpredictability; supernatural thrillers often find the protagonists either battling a malevolent paranormal force or trapped in a situation seemingly influenced or controlled by an other-worldly entity beyond their comprehension.
Techno-thriller - A work that usually focuses upon military action, in which technology (usually military technology) is described in detail and made essential to the reader's/viewer's understanding of the plot. Tom Clancy defined and popularized the genre with his The Hunt for Red October, and is considered to be the "Father of the Technothriller."
Taken from : http://en.wikipedia.org/wiki/Thriller_(genre)
Thrillers often overlap with mystery stories, but are distinguished by the structure of their plots. In a thriller, the hero must thwart the plans of an enemy, rather than uncover a crime that has already happened. Thrillers also occur on a much grander scale: the crimes that must be prevented are serial or mass murder, terrorism, assassination, or the overthrow of governments. Jeopardy and violent confrontations are standard plot elements. While a mystery climaxes when the mystery is solved, a thriller climaxes when the hero finally defeats the villain, saving his own life and often the lives of others. In thrillers influenced by film noir and tragedy, the compromised hero is often killed in the process.
Thrillers may be defined by the primary mood that they elicit: fearful excitement. In short, if it 'thrills', it is a thriller.
Sub-genres
The thriller genre can include the following sub-genres, which may include elements of other genres:
Action thriller - In which the work often features a race against the clock, contains lots of violence, and an obvious antagonist. These films usually contain large amounts of guns, explosions, and large elaborate set pieces for the action to take place. These films often have elements of mystery films and crime films but these elements take a backseat to action. Notable examples are the James Bond films, The Transporter, and the Jason Bourne novels and films.
Conspiracy thriller - In which the hero/heroine confronts a large, powerful group of enemies whose true extent only he/she recognizes. The Chancellor Manuscript and The Aquitane Progression by Robert Ludlum fall into this category, as do films such as Three Days of the Condor and JFK.
Crime thriller - This particular genre is a hybrid type of both crime films and thrillers that offers a suspenseful account of a successful or failed crime or crimes. These films often focus on the criminal(s) rather than a policeman. Crime thrillers usually emphasize action over psychological aspects. Central topics of these films include murders, robberies, chases, shootouts, and double-crosses are central ingredients. Some examples include The Killing, Seven, The Godfather, Reservoir Dogs, Inside Man, and The Asphalt Jungle.
Disaster thriller - In which the main conflict is due to some sort of natural or artificial disaster, such as floods, earthquakes, hurricanes, volcanoes, etc., or nuclear disasters as an artificial disaster. Examples include Stormy Weather by Carl Hiaasen, Tremor by Winston Graham, and the 1974 film Earthquake.
Drama thriller - In which the story consists of the elements of a thriller and drama film. These films are usually slower paced and involves a great deal of character development along with plot twists. Examples include The Illusionist, The Interpreter and The Prestige.
Eco-thriller - In which the protagonist must avert or rectify an environmental or biological calamity - often in addition to dealing with the usual types of enemies or obstacles present in other thriller genres. This environmental component often forms a central message or theme of the story. Examples include Nicholas Evans's The Loop, C. George Muller's Echoes in the Blue, and Wilbur Smith's Elephant Song, all of which highlight real-life environmental issues. Futuristic Eco-thrillers are of the Science Fiction genre that propose ideas that will or may occur and include such works as Kim Stanley Robinson's Mars Trilogy and Ian Irvine's Human Rites Trilogy.
Erotic thriller - In which it consists of erotica and thriller. It has become popular since the 1980s and the rise of VCR market penetration. The genre includes such films as Basic Instinct, Fatal Attraction, Looking for Mr. Goodbar, and In the Cut.
Horror thriller - In which conflict between the main characters are mental, emotional, and physical. Two recent examples of this include the Saw series of films and the Danny Boyle's 28 Days Later. What sets the horror thriller apart is the main element of fear throughout the story. The main character(s) is not only up against a superior force, but they are or will soon become the victims themselves and directly feel the fear that comes by attracting the monster's attention. Other well-known examples are Alfred Hitchcock's Psycho and Thomas Harris's The Silence of the Lambs.
Legal thriller - In which the lawyer-heroes/heroines confront enemies outside, as well as inside, the courtroom and are in danger of losing not only their cases but their lives. The Innocent Man by John Grisham is a well known example of the type.
Medical thriller - In which the hero/heroine are doctors or medical personnels working to solve an expanding medical problem. Robin Cook, Tess Gerritsen, Michael Crichton, and Gary Braver are well-known authors of this subgenre. Nonfiction medical thrillers are also a subcategory, comprising works like The Hot Zone by Richard Preston. Films such as Awake are other examples of medical thrillers.
Political thriller - In which the hero/heroine must ensure the stability of the government that employs him. The success of Seven Days in May (1962) by Fletcher Knebel, The Day of the Jackal (1971) by Frederick Forsyth, and The Manchurian Candidate (1959) by Richard Condon established this subgenre. A more recent example is the 1980 film "Agency".
Psychological thriller - In which (until the often violent resolution) the conflict between the main characters is mental and emotional, rather than physical. The Alfred Hitchcock films Suspicion, Shadow of a Doubt, and Strangers on a Train and David Lynch's bizarre and influential Blue Velvet are notable examples of the type, as is The Sixth Sense by M. Night Shyamalan and The Talented Mr. Ripley by Patricia Highsmith (who also wrote Strangers).
Spy thriller (also a subgenre of spy fiction) - In which the hero is generally a government agent who must take violent action against agents of a rival government or (in recent years) terrorists. Examples include From Russia with Love by Ian Fleming, The Bourne Identity by Robert Ludlum, and television series such as Mission: Impossible and 24 (the latter demonstrating a break from the norm by Robert Ludlum, as it is as much a psychological thriller as a spy thriller.)
Supernatural thriller - In which the conflict is between main characters, usually one of which has supernatural powers. Carrie by Stephen King and Unbreakable by M. Night Shyamalan and Torchwood are notable examples of this genre. This type of thriller combines tension of the regular thriller with such basic horror oriented ingredients as ghosts, the occult, and psychic phenomenon; the supernatural thriller combines these with a frightening but often restrained film. They also generally eschew the more graphic elements of the horror film in favor of sustaining a mood of menace and unpredictability; supernatural thrillers often find the protagonists either battling a malevolent paranormal force or trapped in a situation seemingly influenced or controlled by an other-worldly entity beyond their comprehension.
Techno-thriller - A work that usually focuses upon military action, in which technology (usually military technology) is described in detail and made essential to the reader's/viewer's understanding of the plot. Tom Clancy defined and popularized the genre with his The Hunt for Red October, and is considered to be the "Father of the Technothriller."
Taken from : http://en.wikipedia.org/wiki/Thriller_(genre)
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