We initally took photographs of different camera angles so we were familiar with the technqiues for our filming. Using a range helps to create suspense as well as keeping the audience interested.
We took photos of anything we had at home from different angles as a reference in the future.
LINK TO 17 COMMON CAMERA ANGLES IN CINEMATOGRAPHY
http://www.youtube.com/watch?v=ZwbsYgZ7d-8
Applying our camera angles to the genre:
We spent time becoming familiar with these angles and how we could apply them to the thriller genre. We looked at a range of genres so we could compare which shots were used. In action movies panning shots and long angle shots are frequently used. Whereas, in Romances shot reverse shots are commonly used between the protaganists and close-ups to convey the emotions.
In the film 'Kill Bill' directed by Quentin Tarantino, aerial shots are used throughout the scene and further, it is a continuous shot which uses a range in heights and distances to interest and bring in the audience to the action.
Therefore, the shot can smoothly change from being an aerial to a panning to a close-up to a mid-shot etc. This is a great technique as it allows the audience to see nearly every angle of the set, all the emotions taking place and adds excitement.
We spent time becoming familiar with these angles and how we could apply them to the thriller genre. We looked at a range of genres so we could compare which shots were used. In action movies panning shots and long angle shots are frequently used. Whereas, in Romances shot reverse shots are commonly used between the protaganists and close-ups to convey the emotions.
In the film 'Kill Bill' directed by Quentin Tarantino, aerial shots are used throughout the scene and further, it is a continuous shot which uses a range in heights and distances to interest and bring in the audience to the action.
Therefore, the shot can smoothly change from being an aerial to a panning to a close-up to a mid-shot etc. This is a great technique as it allows the audience to see nearly every angle of the set, all the emotions taking place and adds excitement.
Notes on Thriller's we analysed:
HITCHCOCK'S FILM PSYCHO: We watched the scene where the woman is murdered in the shower by an unknown killer. The music builds up massively throughout the scene, initally there is only the diegetic sound of the water, however, when the murderer enters, (the audience can see his silhouette through the shower curtain) the music begins with a high pictched skriek which coincides with the sound of the knife going into her. All the dagged movements, and the quick editing help to mirror the panic and sudden shock which has taken place. After the murderer leaves and the woman is left to die, the music changes to a deep and booming sound which is repetitve and dramatic. Hitchcock uses an effective close-up of the blood draining away down the plug. This is murged from the woman's eye as she dies and the camera then comes out through the plug hole, which is also a successful technique as it establishes the woman has died and ties together the murder which has taken place.
HITCHCOCK'S FILM THE BIRDS uses a range of shots. Low angle, mid shots, panning shots of her movement, and repetitions of headshots which are shot/reversed between the woman and the birds as the number increases, building up the tension. This also is symbolic as it depicts the protaganist of the scene to be herioic and the birds to be the villians.
When the children and teachers are running manically away from the birds, Hitchcock uses jolty movement to bring the audience into the action and also reflect the flapping of the birds wings. There are zoom up shots and close-ups on objects which are dropped in the pandemonium such as the glasses on the floor.
He creates a sense of anxiety and panic through the jolting of the camera and hand held shots. This contrasts massively to the calm/steady shots used at the start of the scene and the childhood innocence reflected at the school. The special effects/CGI by super imposing the birds onto the screen, at the time would have shocked audiences as they are edited to dominate and shadow the victims.
THE BIRDS SECTION
http://www.youtube.com/watch?v=VPaVvY8tPoo&feature=PlayList&p=C8E93345CEA78742&index=43
HITCHCOCK's FILM REAR WINDOW uses many other successful techniques relating to the thriller genre. We analysed the opening scene of the film. At the start, continuous shots are used which establish the surrounding, observing the lives of neighbours in the area. One of the first shots goes through an open window, straight away coinciding with the storyline and how the man will witness a murder, bringing the audience closer into the action. The camera is used as simply an observer at the beginning of the film, as it eventually pans round and zooms up to a close-up on the protagonist's face. There are close-ups on photographs of him and his family, establishing his life before the accident as he is now in a wheel-chair with a broken leg. This first section is very much calm and contained, the shots are smooth and efficient which will later contrast massively to the outcome and his witness to a murder.
When the children and teachers are running manically away from the birds, Hitchcock uses jolty movement to bring the audience into the action and also reflect the flapping of the birds wings. There are zoom up shots and close-ups on objects which are dropped in the pandemonium such as the glasses on the floor.
He creates a sense of anxiety and panic through the jolting of the camera and hand held shots. This contrasts massively to the calm/steady shots used at the start of the scene and the childhood innocence reflected at the school. The special effects/CGI by super imposing the birds onto the screen, at the time would have shocked audiences as they are edited to dominate and shadow the victims.
THE BIRDS SECTION
http://www.youtube.com/watch?v=VPaVvY8tPoo&feature=PlayList&p=C8E93345CEA78742&index=43
HITCHCOCK's FILM REAR WINDOW uses many other successful techniques relating to the thriller genre. We analysed the opening scene of the film. At the start, continuous shots are used which establish the surrounding, observing the lives of neighbours in the area. One of the first shots goes through an open window, straight away coinciding with the storyline and how the man will witness a murder, bringing the audience closer into the action. The camera is used as simply an observer at the beginning of the film, as it eventually pans round and zooms up to a close-up on the protagonist's face. There are close-ups on photographs of him and his family, establishing his life before the accident as he is now in a wheel-chair with a broken leg. This first section is very much calm and contained, the shots are smooth and efficient which will later contrast massively to the outcome and his witness to a murder.
The music is definately not dramatic or frightening, its mischievous and cheeky, reflecting the man's role in the film as he stalks the people from his window. Its an extreme contrast to the intentions of the film as its light-hearted, however, underlying sections are quite distorted to remind the audience of the sinister nature.
REAR WINDOW SECTION
http://www.youtube.com/watch?v=gikt0LD_qyo
REAR WINDOW SECTION
http://www.youtube.com/watch?v=gikt0LD_qyo
COLLATERAL directed by Michael Mann a modern thriller, uses a variety of shots throughout the opening scenes coinciding with its genre. There are close-ups on the hands of the driver and headlights as the taxi driver and his customer drive through the city. Over the shoulder shots are used whilst the two characters exchange dialogue using also shot/reverse shots. At this point in the film, the shots are smooth and longer, this is used to contrast later on when the action takes place and shots can be cut short to reflect urgency/panic. Some close-ups are slightly claustrophobic which could symbolise an unstable character, furthermore, occasionally hand held shots are used to make the audience feel as though they are driving along with the characters. Later on in the scene a 360 degree shot is used as well as low angle following, this intelligent shot creates interest for the audience.
As the protagonist departs from the airport before catching a taxi, the sounds of the hustle of the airport can be heard. However, when music begins a few seconds later, the repetitive and electronic sound of a heartbeat makes the scene atmospheric and suggests something my happen soon. The upbeat songs blasting out of the car radio reflect the normality of this everyday activity, furthermore, juxtapose the conventions of a thriller. Classical music is heard which creates a sense of relaxation and a calming innocence, which could easily be turned on its head later on in the film.
COLLATERAL SECTION
http://www.youtube.com/watch?v=HZpPVmAvMVk
As the protagonist departs from the airport before catching a taxi, the sounds of the hustle of the airport can be heard. However, when music begins a few seconds later, the repetitive and electronic sound of a heartbeat makes the scene atmospheric and suggests something my happen soon. The upbeat songs blasting out of the car radio reflect the normality of this everyday activity, furthermore, juxtapose the conventions of a thriller. Classical music is heard which creates a sense of relaxation and a calming innocence, which could easily be turned on its head later on in the film.
COLLATERAL SECTION
http://www.youtube.com/watch?v=HZpPVmAvMVk
DAVID FINCHER'S FILM PANIC ROOM begins with the opening credits super imposed over sky scraper shots of the city. The names are in 3D, bold and huge, the font dramatic and over-powering, it belittles the background, coinciding with the storyline of Panic Room and how mother and daughter are taken hostage and belittled in their own home.
PANIC ROOM OPENING CREDITS
http://www.youtube.com/watch?v=sqIclb4qsJI
The music throughout is dramatic and of a deep tone. It is repetitve, emphasised deep notes suddenly followed by high pitched sounds which unsettle the audience. Furthermore, there is also a tick-tocking noise which re-establishes the storyline and how time is running out, at the rate of a heartbeat.
The action begins with mother and daughter being guided round a vast house for sale by an estate agent. Jodie Foster's character is wearing all black, glasses and has her hair tied back tight to suggest she is quite a timid and ordinary character. Her appearance could suggest she has not had the most exciting or charismatic lifestyle. The daughter is quite mischievous and upfront, by the way she is on her scooter, not taking a huge interest when the estate agent dissaproves of her behaviour. However, they convey a regular family life and being both female there is a vulnerability in their situation. The lighting at this point is bright, juxtaposing the atmopshere created when darkness falls. This is also affermed when the characters come across the panic room which is dark with an orange glow, creating a claustrophobic ambiance.
A variety of shots are used including low angle shots as the characters walk into the house for the first time, this creates a domance/power at the start of the film which the characters have snatched from them when the intruders arrive and they are left helpless. It also suggests subtly that they may win in the end.
Characters move in and out of shots, affirming to the audience they are touring the house. The pace of camera work is smooth and not short or snappy. This is useful as it will later contridict the sense of panic created when they are trapped. When in the panic room, the camera is positioned so it reflects the faces of the characters through a television screen which is used to see all rooms in the house. This is clever as they look in control at this point in the film, whereas, when the intruders arrive they are definately left hopeless.
PANIC ROOM OPENING CREDITS
http://www.youtube.com/watch?v=sqIclb4qsJI
The music throughout is dramatic and of a deep tone. It is repetitve, emphasised deep notes suddenly followed by high pitched sounds which unsettle the audience. Furthermore, there is also a tick-tocking noise which re-establishes the storyline and how time is running out, at the rate of a heartbeat.
The action begins with mother and daughter being guided round a vast house for sale by an estate agent. Jodie Foster's character is wearing all black, glasses and has her hair tied back tight to suggest she is quite a timid and ordinary character. Her appearance could suggest she has not had the most exciting or charismatic lifestyle. The daughter is quite mischievous and upfront, by the way she is on her scooter, not taking a huge interest when the estate agent dissaproves of her behaviour. However, they convey a regular family life and being both female there is a vulnerability in their situation. The lighting at this point is bright, juxtaposing the atmopshere created when darkness falls. This is also affermed when the characters come across the panic room which is dark with an orange glow, creating a claustrophobic ambiance.
A variety of shots are used including low angle shots as the characters walk into the house for the first time, this creates a domance/power at the start of the film which the characters have snatched from them when the intruders arrive and they are left helpless. It also suggests subtly that they may win in the end.
Characters move in and out of shots, affirming to the audience they are touring the house. The pace of camera work is smooth and not short or snappy. This is useful as it will later contridict the sense of panic created when they are trapped. When in the panic room, the camera is positioned so it reflects the faces of the characters through a television screen which is used to see all rooms in the house. This is clever as they look in control at this point in the film, whereas, when the intruders arrive they are definately left hopeless.
A really successful technique which I would love to attempt would be a continuous shot such as in the Dunkirk scene in Atonement. Although it is not under the thriller genre the technique would also work well for our tasks as it allows the audience to take in the established surroundings and engrosses them in the drama.
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