9 Key Frames Final

8/19/2019 9 Key Frames Final

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Sonia BlagganFilm Studies

Key Frames

Briefing:

Above are the nine key frames I selected for my creative

artefact. They show the final actors and actresses I chose

after the selecting process of casting. I have selected nine

photos, which help represent clearly and chronologically the

narrative of my film, including the script which does this

alone.

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Scenario: In this scene Meera is on the computer working in

classroom F22 whilst the teacher is in the room for the first

part. he is kept to herself as she attempts to finish saving

the work she been doing that day.

Cinematography: This high angle aerial shot helps communicate

her vulnerability in this situation. !eing watched carefully

by her teacher as she works, she has nothing but her phone out

in this shot, to show her keeping track of time, reflecting a

trait of responsibility. Further, an aerial shot does,

however, put the audience in a godlike position, looking down

on the action, Meera working in this case. he is made to look

insignificant, part of a wider scheme of things, which is

ironic.

Sound: "nly diegetic sound will be heard by the audience and

characters, due to Meera#s continuous typing on the keyboard

as she completes her work.

Mise-en-scene: The costume in this shot clearly displays her

as being a student in location of "aks $ark %igh chool. %er

head is lowered as she ga&es into the screen helping show that

she is a dedicated and hard'working girl. The lighting is

artificial, with some natural daylight from the windows, but

mainly artificial. %owever it passes as natural looking within

the scene, as classroom lights were used. The only prop used

will be her mobile and computer with keyboard and mouse.

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(

Scenario: My second key frame shows the second protagonist

)amna appearing to enter after hiding behind the door coming

in *uietly in hopes to scare Meera, as she waited patiently

for her best friend in the corridor.

Cinematography: A medium close up helps to display less than a

long shot, and more than a close'up. In fact, this is an

appro+imation of how you would see a person in the flesh ifyou were having a casual conversation. The shot is appropriate

because there isn#t too much intensity or any speech at all

during this point. As well as being a comfortable, emotionally

neutral shot, the mid shot allows room for hand gestures and a

bit of movement.

Sound: -o non'diegetic sounds will be used here either,

diegetic sound of movement with Meera typing will be the only

thing heard by the audience.

Mise-en-scene: The costume remains consistent, an addition of

)amna#s appearance means more formality within the scene as

she is wearing a black bla&er with trousers and a printed

blouse. )amna#s nails are also painted a pale pink, which is a

very *uiet statement, typically signifying a person who is

timid but youthful without being cutesy.

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Scenario: %ere action builds )amna frightens Meera by peering

right ne+t to her, while she remains oblivious to her friends#

presence and pro+imity to her. Meera /umps in reaction to the

sudden scare, and the girls laugh thereafter.

Cinematography: I used a close'up particularly for this scene

due to the fact that emphasi&ing facial e+pressions and

revealing some shoulder, were vital in helping highlight a

very realistic element to my production. It provides a real

sense of emotion and helps the audience to connect with both

sub/ects.

Sound: In this scene I inserted a gradually tempo rising non'

diegetic sound to help build suspense to the clima+ that is

reached. $lus, some diegetic sound has been scripted with

dialogue from )amna as she yells, 0!""1 in Meera#s right ear.

The diegetic typing sound comes to a halt from fright when

Meera /umps.

Mise-en-scene: The lighting used within the frame remains

artificial with the celling lights from the classroom

however, there is slight darkness with the close'up including

the characters# brown hair. Their positioning conveys

friendship very easily to the audience. Their costume remains

formal, dark and decent, connoting innocence and

vulnerability, stereotypical of schoolgirls.

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Scenario: The fourth scene appears to show Meera and )amna

leaving the classroom and switching the light off after the

teacher told them to leave the class sensibly, so the

characters show obedience by having )amna turn off the lights

responsibly. In this scene, they#ve concluded that to be fair

after 3)amna waiting for Meera, she will now go with )amna to

the toilets and wait for a short while. The girls leave the

classroom heading towards the ladies# toilets.

Cinematography: The medium long shot helps show )amna#s

characters hand gesture, while still showing somewhat the

background in the front of the classroom.

Sound: This scene did not continuate with the eerie non

diegetic music from the previous scene because *uietness and

serenity captured, adds a subtle effectiveness in showing the

girls are alone and taking on adult like responsibilities in a

school.

Mise-en-scene: The lighting dims here since the character of

)amna turns it off as instructed by their teacher who has

left. !oth characters are leaving through the door close to

one another, implying they are each other#s sense of security

if anything happened, which is a foreshadowing of the havoc

that is forthcoming.

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Scenario: !oth protagonists )amna and Meera are walking *uietly

along the corridor on their way to the ladies toilets for )amna,

straight after leaving the classroom.

Cinematography: This over the shoulder shot helps convey the small

detail on Meera#s characyers frown and look of cautiousness. It also

presents the bit of freedom they ac*uire together have in walking

along a corridor where there is nobody but them. A sense of

superiority is also inferred, however the complete opposite is the

reality. The shot also allows an audience to realise how steep and

lengthy the hallway is, provoking a sense of sympathy from the

audience towards the protagonists because of how far they must walk

in a supposedly deserted school at that time.

Sound: A small white noise is played here non'diegetically alongside

the sounds of their discreet footsteps. The fact that they are

discreet adds to the awkwardness and wariness the girls feel in

walking a distance within a usually hectic building.

Mise-en-scene: Fairly bright lighting is shining here, almost acting

like spotlights on both protagonists, stressing that perhaps they

will become victims of a crime somehow, which also is a sad irony.

Meera and )amna are gripping and holding onto their feminine school

bags, much like a weapon of defence.

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Scenario: ome progression from the previous key frame, Meera and

)amna are still walking, steadily approaching the ladies# toilets.

At this point, they have moved significantly further away from theclassroom F22.

Cinematography: A high angle is used here because the shot is in

perspective of a 44T5 4amera in the hallway of humanities block.

This creates fear in the audience that every move of he

protagonists# is being recorded, and maybe they are being

surveillanced by a higher power

Sound: The non'diegetic white noise is layered with a small beeping

noise, similar to that of a ticking bomb however, it is finer and

doesn#t initiate worry in the audience because it /ust replicatedthe sound of a recording.

Mise-en-scene: The lighting remains fairly bright there is a

shadow present of the structure of the gangway of the block.

The shadow adds to the enigmatic ambience. 6niform is still

consistent.

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Scenario: $romptly having entered around the corner into the ladies#

toilets, )amna continues forward towards and into the cubicle, while

Meera waits in the narrow path outside the cubicles opposite themirrors above the metal sink structure. Meera twists her hair

patiently until the ne+t key frame.

Cinematography: Transition into an establishing shot, sets the scene

for the torture that will ensue here. The shot evidently confirms

)amna walking into the cubicle and Meera waiting a stand. It also

clarifies the fact that they are alone and most vulnerable here too,

as if anyone was passing by, they would surely know.

Sound: "nly the white eerie noise can be heard by the audience as

support for this shot, through non'diegetic sound. An effect thatcontributes to the suspicious and dark feeling felt by Meera after

having waited a few minutes for )amna in the film se*uence.

Mise-en-scene: The lighting is much more gloomy, following the

gradual darkening of the lighting in the se*uence up till this

point. 4onnoting a spine'chilling occurrence to follow. The

fact that the girls have been separated for a long period now,

suggests that they both have been left to heir own devices in

the event of an escape by fate.

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Scenario: Meera hears s muffled scream, which she is certain of, is

)amna. After calling her name out to no answer, she then, notices a

daunting, ominous and dark shadow above her.

Cinematography: A medium close'up aids in displaying her

apprehensive facial e+pression, concerning the audience with her.

The shot successfully captures her hand leaning on the mirror

suggesting a sudden rush of panic in her and a means for support,

signifying the weakness in her character.

Sound: I selected a screeching noise and a giggly clown like sound

in the clima+ of my scene. 4lowns are considered to be funny,

however oppositely are a common fear in horror genre films. The

intertwining of the odd geeky laugh with Meera#s fluttered utteringmakes it seem like she is being mocked, creating a horrifying feel

with a mi+ture of da&&led and negative emotions.

Mise-en-scene: 7im lighting still present, it represents the

mood and character of the antagonist who is not revealed, but

makes a strong impact on the situation in the scene. -o props

are used here either, meaning Meera is still defenceless.

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Scenario: with no appearance of )amna, Meera turns around cautiously

but to be choked by a scarf, one belonging to the teacher who had

supposedly left earlier on.

Cinematography: this e+treme close'up accentuates her screwed up

facial e+pression and the e+treme tremor and trepidation she is

e+periencing in the scaring attack. The antagonist is not shown but

the symbol of the scarf would be what triggers the memory of the

teacher at the beginning of the se*uence, when they flipped their

scarf getting ready to leave.

Sound: a swooping sound is used here to e+aggerate the kidnapping of

Meera, much like the swoop of an animal on its prey. -o other sounds

are heard after this shot.

Mise-en-scene: The lighting becomes very faint, until it

abruptly shuts out after the swooping diegetic sound when

Meera has been groped, leaving the audience with credits on a

black background.

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9 Key Frames Final