Mitchell Lapworth Evaluation

Media Evaluation:

In what ways does your media product use, develop or challenge forms and conventions of real media products?

In our media production we tried to use outside influences from other directors and movies so that our production has effective elements that all thriller movies embody. For example, two of the main directors we used to influence our media thriller are Alfred Hitchcock and Quentin Tarantino. ‘Rope’ was a key film that we used to follow specific ideas in our film such as Barthes code and Auteur theory. In Alfred Hitchcock’s productions he always develops the film the incorporate his one ideas and feelings. This is known as Auteur Theory. If the ’author’ ( Auteur)  is a strong one , then his own creative vision will be show within the film ,  yet if the director is weak then they let other creative visions have a role to play within their movie. W  e have used Hitchcock’s idea of Auteur theory but challenged the conventional form in which he used it. This is because in the description of Auteur theory, we have used it from a weak director’s view.  In our production, we have used some of Hitchcock’s creative visions and ideas such as when Hitchcock does not release the tension at this point, yet waits until a further place in the movie where the release of tension is not expected. We try to convey this in our film by adding tension into the movie in one of the opening scenes when the letter comes through the post box. Furthermore, tension is added when our main characters face is not spotted within the first few scenes. This uses a weak director’s point of view on the Auteur theory as we are using Hitchcock’s ideas. Other director’s views we developed within our production are Quentin Tarantino’s. For example, in his production of Pulp Fiction, Tarantino’s adds a definition of Pulp within the title sequence. Following this, we have used a definition of Stockholm syndrome in our film.

Another convention we have adopted in our thriller was the previously mentioned Barthes Code. This again is another key theory that is used to develop a thriller film into one of a masterpiece that can engage the viewers for hours on end.  There are 5 key parts the Barthes code that we tried to use in our film.  The Following five key areas of Barthes code describes how it was applied to our thriller:

 The Hermeneutic Code:

This part of Barthes code describes any part of a thriller film that is not fully explained to the viewer. This technique can withhold tension from the audience for long periods of time so that once the tension is released, the viewer is shocked and surprised and the outcome of the film. For example, in our media thriller one way in which we use this code is when the main character receives a letter through the post. Although it is clear to the audience that a strange event has occurred that needs resolving, they are still asking questions as to why our character has got the letter in the first place. This is known as using ‘Equivocations’ within the film. This is when the viewer has partial answers to the plot, yet there are still plenty of unanswered questions. We developed the use of equivocations from Quentin Tarantinos film ‘ Reservoir Dogs’ where he uses them effectively to stem the viewers from knowing who betrayed the robbers in the diamond Heist ( See blog post on the use of Barthes code by Quentin Tarantino and Alfred Hitchcock). In our production, we tried to use equivocations to make the audience wonder key points established within the first few scenes. For example, there is a quick shot in the first scene of our character reaching into a medicine cupboard and swallowing an orange pill. This uses an equivocation as it is clear to the viewer that our character needs pills for some type of condition, yet the reason for this is not yet revealed. Similarly to the uses of equivocations in our media production we have used jamming in the earlier scenes to convince both the main character and the viewer that no matter what the characters actions are, there will be no clue as to whether the disequilibrium will be resolved, and whether the main character will get any closer to answering the questions raised in the first scene after receiving the hostage letter through the door. Furthermore, the secondary characters within the movie stem the plot and narrative so it again becomes unclear to the viewer whether the plot will evolve and resolves itself.

Our production also aims to use the Proairetic Code which is part of Barthes five codes. This code is used to create tension through the acts and activates which the character will undergo throughout the narrative. For example, the action in the first scene of the unmarked letter coming through the door will create tension as it leads the viewer into the unknown. The audience are suddenly transformed with the main character from a state of normality into disequilibrium. Further actions we have adopted for our film for our character to take will create tension also. For example, using the main characters boss as a secondary character that eventually becomes more of a hindrance than a help will be used to create suspense. Our main character will need his help to unearth clues to the narrative, yet the vagueness of his answers will leave the viewer wanting the plot to evolve.

The semantic code is one which we used carefully within our production. This describes the use of denotation and connotation of certain objects to create tension. We tried to challenge some connotations that certain objects have , much like  Hitchcock achieves in his production of ‘Rope’. In this film, the first scene establishes that the two main characters killed their friend with a rope, yet in a later scene in the film, the same rope is used to tie up books. This challenges the previously established connotations of violence and death, and replaces them with ones of something to fasten books together and a useful utensil. Similarly to this, we tried to challenge the connotations of taking medicine for example. When someone is seen to be taking medicine in movies it normally has connotations of serious illness and disease. However, we tried to challenge this as our main character appears to be healthy and acting out a morning routine that anyone would. His life does not seem to be revolving around medicine and an illness that deeply affects him. Therefore the viewer begins to ask questions as to why the orange pill is taken.

Another convention our thriller tries to use and develop upon is binary opposition. Binary opposition is when an image in a film has two possible outcomes or connotations. For example, the use of light/dark. In our media production we try to develop this theory established by Levi Strauss and use it in many situations. The main situation we believe it has been used effectively is when the letter comes through the door for our main character. The audience do not yet know much at all about the main character, especially as we tried to stop the use of his face being placed into shot during the opening scenes. As a result, when he opens the letter and see’s the hostage picture, it is so unexpected the viewer does not know what to think. Is this situation good or bad? Confusion spreads the audience further as they cannot see the reaction on the main characters face. A shot like this that we decided to use was selected when we did research on other thriller films such as Pulp Fiction. In this film, Tarantino creates a sense of uncertainty of good/bad through the use of an object also. There is a briefcase in this film that the viewer never see’s the inside of, which asks similar questions to our hostage letter. We thought this would be good to incorporate into our thriller as it is another question the viewer is asking and do not discover the answer to until the plot evolves further.

A convention that we saw important to produce correctly and use within our thriller to create the perfect mood for the opening scene is the sounds cape. This is a convention used in any film and the right mood can be set to engage the audience just through the use of certain sounds. When our film starts and the opening shot is established we wanted to create a soundboard that was parallel to events occurring in front of the viewer. The opening scene is just a man’s regular morning routine and for this we decided to use a radio presents voice over the top of the images to represent a state of normality, as many people listen to the radio in the morning whilst getting up. Furthermore, the use of a radio presenter’s voice (doom) adds a whole new dimension to both the storyboard and the film itself. For example , when the news presenters voice is heard , the sounds cape swiftly changes from parallel to contrapuntal , as the main character is still going through his morning routine as normal , but the new presenter is describing certain events and crimes that have transpired. The sounds cape remains contrapuntal until the film finishes. This is because as the character picks the letter up and sees the hostage note, the sounds cape changes back to an upbeat song. The use of this soundboard constantly makes the viewer ask questions as to whether this hostage note is a good or bad thing for our main character. We found it difficult to integrate and challenge the normal type of soundboard that would be used in a scene like this, but I believe we did it successfully. In most thriller films when a normal person is placed into an unknown situation and they may find a piece of information such as this , the sounds cape tends to be dark music and is parallel to the event occurring.

One convention that we tried to incorporate but had trouble doing was the use of some of the camera angles and shots, which could have produced more tension in the first scene for the viewer. For example, one camera shot we had trouble displaying was the use of a pull focus, a shot that Alfred Hitchcock used many times in many of his productions such as rope. We tried to use a pull focus when the letter is received through the post as our main character eats breakfast. We used a neutral angle and managed to get the characters actions and the front door in the same shot, so the scene flowed successfully together. However, trying to get the camera to switch the focus from our characters morning routine and then onto the letter proved difficult. The post can still be seen in the shot and we believe is could constitute as a success, yet a pull focus would have incorporated the outside influence from Alfred Hitchcock and made the viewer more aware of what is important in the scene by focusing on key areas.

How does your media product represent particular social groups?

We aimed to create a thriller that would use and sometimes challenge some stereotypes set by previous narrative theories. Our main character Isa young male and we had to develop and challenge certain stereotypes that young males have in order to add more depth to both the character and the plot, so that our audience remains entertained.

For example, our it is established in the first scene that our main character is a workaholic as he has plenty of books spread around his house. This challenges a stereotype in itself as young men who have just started working in a sustainable job tend to be lazy and useless, yet our character seems to have an important role in a company, judging by the papers and books around his house. The house also challenges some views on young males who can stereotypically only afford small homes and do not often get on the property ladder until around 30. This makes the viewer ask why our main character is in a large house. Going back to the work laid around the house, we have followed a common stereotype that young men are usually unorganised. To do this we decided to have the work our main character is attempt to complete scattered in various places around his home which shows his lack of decline.

Another stereotype that we have tried to challenge is the fact that young males are seen as fit and healthy. To do this we used a shot of our character reaching for some medicine out of a cabinet. When the cabinet is opened, there is allot of drugs and medicines inside which commutates to illness and disease, challenging the fact that our main character is physically or mentally stable. Furthermore, when our character reaches inside the cabinet and pulls out a pill, there is another shot of it in his hand, a bright and vibrant orange pill. We decided to use this pill as it contrast with the dull colours in background of the scene and an orange pill isn’t a usual colour for one. This adds a sense of uncertainty for the viewer as they begin to wonder why the character is taking the medicine.

Some stereotypes we did follow carefully however. For example, the onstage in our media production is a woman, and a common stereotype in cinema is that women appear to be the weaker sex and the masculine hero comes to their aid. We followed this stereotype carefully by placing our hostage in a chair where she is tied up, which makes her look weaker and innocent. When shooting the hostage scene , we attempted to use high angle shot in order to make the hostage look insignificant and helpless , making her appear small on camera. We have however, also challenged the feminine stereotype through the use of another female character, the kidnapper. She is placed in a position of power and throughout the narrative she remains dominant and in control. This challenges the female stereotype that man is in control. We thought it would be interesting to use both the kidnapper and the hostage as women as they are going to be in the same scene allot and contrasting ideas about women will be continuously established.

We thought it was also important to use a blonde female as our hostage for two reasons. The first being that we were trying to use Auteur theory and use the outside influence of Quentin Tarantino , as he uses a ‘icy blonde’ character in many of his productions. The second reason that we used a blonde female is that it complies with a common stereotype that blonde women are ‘dumb’ and ‘stupid’. The hostage is having an affair with our main characters boss and this implies similar connotations of stupidity. We believe the use of and icy blonde as a ‘stock character’ is an easily relatable stereotype for the viewer to connect with.

What kind of midi institution might distribute your media product and why?

One media institution that I believe would successfully distribute our media product to a large market would be Miramax Films. I have selected this company for a number of reasons.

Whilst completing research on some of the directors and films that we would use as an influence on our production, I noticed that many of Quentin Tarantinos films have been distributed by Miramax Films. For example, Pulp Fiction and Reservoir Dogs were both distribute by this company. As a result, I believe that using Miramax for our distributor would have great success as they have already developed a loyal and well targeted fan base to films and directors similar to us and our production. I believe that if people see Miramax on our media production, they can relate it to films produced previously by the same company, and therefore develop an understanding of the type of movie we have created.

Another reason why I believe Miramax is a good institution to use for our media thriller is the fact that they are a large global company and they have the ability to both advertise and distribute our production to many outlets. Miramax was started by Bob and Harvey Weinstein in 1979 and was developed into a rapidly growing company. In 1993, Walt Disney purchased the rights to Miramax and the institute has continued to grow under the Disney Corporation. Now the company has recently been sold to a new institute ‘Filmcard Productions’ in 2010.This may be seen as a risk to let a new parent company distribute our film , but we see this as a good opportunity. This is because our production is one of the first films they will distribute, and we believe allot of effort will be set aside to ensuring our film is a great success in the world market.

Another film institute that I believe could distribute our film with great success is Touchstone Pictures. This company is also a part of the Walt Disney group and as a result has important connections and ties within the film business. This shows that the company has the distribution potential to sell our film worldwide on many markets. When researching this company, I found out that they tend to distribute films of a darker and more mature nature as opposed to some of the films on the Disney label. This appeal to us as our films is a dark thriller and need to be targeted and distributed to the correct audience and outlet. The final reason that attracted me to this company is the fact that they have the potential to increase revenue through their other owned businesses such as book and game deals, which is an incentive for any director.

In conclusion, to a certain extent, most companies under the Walt Disney label would be suitable to distribute our film as they have both the knowledge and distribution power to get our production onto the world market. The Walt Disney Company is a sign of successful Horizontal Integration as it has merged many companies into one large distribution outlet, becoming one of the most successful film companies in the world. They have also mastered Vertical Integration and therefore have the capabilities to produce our product for less and maximize profits.

Who Would Be The Audience For Your Media Product?

When producing our media thriller, it was important to us that we had an idea of who we were aiming our film at exactly, so that we could make it accordingly. We tried to use idea symbols and motifs that our target audience could relate to, in order to create a successful and engaging thriller. Before deciding exactly who target audience are was for our thriller, we felt it was necessary to conduct research on the various BBFC certificates that are given, so that we could add or remove content in our film so that it was suitable.

When researching similar directors and films that we intended to use as influences on our film, we noticed that many of the productions were of age certificates 15 or 18. For example, Pulp Fiction (Quentin Tarantino) is an 18. When researching the content of Pulp Fiction it became clear to me that our media production does not have the same graphic content that Taxations production does. Although we have used some similar symbols and motifs as seen in Pulp Fiction such as the use of drugs , a certificate of 18 suggests that there has to be hard drug use which our film does not incorporate as our actors is just taking medicine. Furthermore the certificate of 18 has strong bloody violence involved within the narrative. Although our film will be seen to depict violence, a certificate of 15 can contain adult themes and moderate violence. For example, the hostage scene will involve violence but we do not want to stop a potential viewer from seeing our movie if it is rated as an 18.

I believe that the audience for our media thriller would be a young middle class male ranging from the ages 18-25. This is because they can relate to the main character and hopefully engage with the narrative and plot. Furthermore, some of the symbols and connotations displayed in the opening scenes are easily relatable to people of this age, such as the hassle of new jobs and the need to succeed. However, we did not want to eliminate a potential female audience from our thriller and so we used female supporting actresses that may appeal to a similar age and background as the male demographic.

How Did You Attract/ Address Your Audience?

We tried to attract our target audience in many ways throughout our production, as it would help them to engage with our film more and develop their understanding of the narrative. One way in which we targeted the audience was by using a young male actor to play the leading role. For males, this creates someone they can relate to in the first scenes in a state of normality, then a role model in the later parts of the movie where the viewer can appreciate how the character reacts in certain situations.

Women of a similar demographic can also relate to some of the characters within the film. Two of the secondary characters are females that this may entice female viewers into the cinema to watch a film. I believe that in some film productions, the characters involved in the plot can be often very masculine orientated and this sometimes alienates female viewers from watching the film and they cannot engage with the characters. However, in our thriller we try to use female’s viewers as often as possible in positions of power in order to challenge stereotypes. The villain in our film is a women and this can hopefully make females want to come and see the movie.

Hopefully the opening scenes state of normality will attract the and address the audience correctly. This is because we hoped to engage the viewer and help them connect with the main character as he goes throughout his normal morning routine. This is something that the viewer can relate to and is normal everyday life for them. The calm opening scenes help them connect with the main character and when he finds the letter in the post, the audience will be feeling similar emotions to that of the character.

Viewers also have to be attracted to the film in the first place and to do this we intend to use a number of ways. For example, in 21^st century it has become important to advertise films by using various forms of new and advanced technology. For example, the internet has become the most important way of spreading information throughout the world. This is why I believe that using the internet to advertise our movie would be the most effective way of generating interest. Using video websites such as YouTube can generate interest free of charge as it is a social networking video site and anyone can upload. Furthermore, we can continue to use the video editing software Final Express and create a short trailer for our film. Other websites can generate interest for our movie also such as face book and MySpace. These are large social networking site that millions of people use regularly.

What Have You Learnt About Technologies From The Process Of Constructing This Product?

There are many types of technologies that I have developed an understanding about during the length of this coursework, such as camera and computer work. When I began the project, I had little understanding of how to use the computer software final cut express, yet at the end of this production I believe I have a growing knowledge of how to use the programme and can hopefully continue to develop my skills.

One key aspect that I firstly had trouble with was playing clips that I had recently exported and dragged into the timeline. I saw a red line appear at the top of the timeline and after some research I knew the route of the problem. I research into what was wrong and discovered that clips needed to be rendered in order to play them. This is just an example of one of the problems I faced and overcame when producing this movie.

I also developed a deeper understanding of how to use the camera effectively in order to film engaging footage. One way in which I developed knowledge was by learning the rule of thirds when filming. Using this rule makes the footage you have shot much easier for the viewer to understand as some key areas of the screen are it better view that others. This way objects etc can be highlighted in order to influence upon what the viewer is supposed to be concentrating on. For example, in one shot, we decided to have the image of a pill. We placed the pill in the middle of the camera so it is highlighted and contrasts with the dull background. This gives the viewer an image to concentrate on and helps show the importance of the pill.

Another piece of technology I learnt about during the extent of this coursework was garage band. This piece of software was used to produce our soundtrack and sound effects for the film. During the course of using garage band, I learnt how to mix different tracks together and change the effects on them in such a way that they link well with the piece of film. For example some sounds effects need to be quieter than other when played over the footage so the track does not become overpowering and take away so of the sound that links with the footage. Our final piece of soundboard was produced to a good quality and I believe the way it uses contrapuntal sound against the footage works well to produce an unexpected release of tension.

Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the full product?

Went comparing the preliminary task to our overall production, I believe that there is allot of differences in the way us was filmed and the ideas and concepts we used. For example, in the preliminary task, the hostage scene we shot was a simple portrayal of the type of movie we were hoping to produce, yet in the actual production we tried to incorporate certain symbols and motifs to try to engage the viewer.

In both the preliminary task and the final production we used a hostage scene, and I believe we developed this scene into a one that was successfully integrated into our production. In the final production, we managed to use transitions between the normality of our character eating breakfast and then flashing images of the hostage situation. The use of this shows the progression we have made since the preliminary task for a number of reasons. Cutting the clip in between this state of normality shows that I have improved on the skills learnt when putting clips together from the Preliminary task. In the first task we didn’t have allot of editing time and therefore only had time to produce a simple footage timeline. However, in the thriller production we learnt to manage time more effectively and therefore we had the ability to learn to edit for a longer period of time. This meant that we could edit the footage in between the breakfast scene which created tension at an unexpected point.

In conclusion I believe our media production was a success and we have produced it to a good standard. I believe our production is engaging for the viewer and contains symbols and motifs that question the viewer’s knowledge of the plot and narrative.

Mitchell