Evaluation Q1: Conventions of Real Media
Evaluation Q1: Conventions of Real MediaScene 1
Scene 1 sees our protagonist making his way home, cross-cutted
by another group getting in a car and driving somewhere. We
introduced the group of characters with a three-shot immediately
and then proceeded to introduce the protagonist firstly by not
showing his face and doing a low shot aimed at his feet as he
walks. This gives the audience a delayed introduction of the main
character which challenges general media conventions as the
audience are used to being primarily introduced to the protagonist.
One of our soundtracks was used inside the car as diegetic sound in
order add some realism (as if a CD is playing in a car). We used
tight framing and cross-cutting to create a claustrophobic effect
as the car approaches the protagonist with great speed, headlights
beaming, and the screen cuts to black. There is a reaction shot to
emphasise a possible collision and the shock associated with it. As
well as in the cult classic Donnie Darko the beginning has an
enigma that leaves the audience pondering outcomes while the title
is screened and this adds tension. However, after the title rolls,
it is revealed with a wide shot, medium angle that the impact did
not occur in this instance.
Scene 2
In the second scene, the protagonist continues to walk home and
our second soundtrack is played as a long-shot of him walking down
a streetlight-illuminated road plays; the audience is made to feel
relaxed in a false sense of security, like the calm before the
storm. This is interrupted by a high angle shot of the shadow of
his feet stopping followed by a reaction shot of shock; which again
adds a mystery what is he looking at? Eye-line match of two people
entering his house, one of which is himself is a reveal and creates
drama without revealing why this is happening. This is common in
surreal films or thrillers as it makes the audience want to know
more but also be confused. After following them into the house, he
is greeted by three ominous figures cast in low-key lighting the
three people who nearly hit the protagonist with the car. The
non-diegetic sound of thunder adds an element of horror to the
equation. The protagonists quickly exits at the end, with a
high-pitched monotone noise playing in the background and a
voiceover with an echo effect to introduce the dream sequence.
Scene 3
Scene 3 begins with the main character in a classroom with the
diegetic sound of heavy music playing through his headphones as the
teacher tries to get his attention. The cross-cutting in this scene
reflects the increase in tension as the teacher becomes more
frustrated. This develops into the teacher approaching the
protagonist and slamming his hand down which ceases the music. The
argument between the two is a mix of close ups and two shots which
is stereotypical of an action film with the tension of a thriller.
This explodes into a fast exit from the main character. This scene
is the first build up to the climax and marks the point of the
first chronological sequence in the film an idea of understanding
within the chaos.
Scene 4
This is the second coming of the protagonists dream sequence,
and introduces two other characters first before bringing the
protagonist into the equation. In this scene, the main character
effectively stalks a girl who has just been chatting to her
boyfriend. The non-diegetic music that accompanies this is eerie
and typical of a thriller, which gives the main character more of
an ominous personality; the audience are beginning to get
introduced to who the protagonist really is. After a shot with
blocking to create an enclosed effect that accelerates the climax
of the scene, the protagonist attempts to grab the girl by the
shoulder, when she spins around and shouts at him, alarmed. We used
a series of close ups and edited them to cross-cut so the audience
were able to see the emotions of the characters as reaction shots
and empathise with both.
Scene 5
In this scene, the protagonist is wearing casual, youthful
attire and looks really shady; we achieved this by using a tracking
shot medium close up to monitor his expression as he approaches
another two characters. When he attempts to buy drugs, the three
shot pans up from the characters feet to allow the audience to
first-hand experience the situation that is occurring. As the drug
dealer attempts to hand the drugs to another person, the
protagonist steals them and begins to get hysterical, which doesnt
go down well. We used a close up of the drug dealers torso to get
as close as possible when the drugs are stolen from his hand. The
protagonist is seen getting frustrated very quickly with a close up
and pins the drug dealer against the wall by his neck in a two shot
with tight framing to create an in-your-face effect that might
alarm and create tension. The non-diegetic music integrated at this
point helps to accentuate the violence that is occurring and
follows onto the submission of the drug dealer to the protagonist
adding to the significance of him and his psychosis + power. The
use of blocking and a long-shot as he walks away sets the mood for
the next scene and allows a very dark atmosphere to form around the
main character.
Scene 6
This scene begins with a two shot in an urban location in the
evening where the protagonist is throwing up drunk, and his brother
is assisting him. We used a medium close up + two shot to follow it
as this gives an abstract third person view of the situation but
without distancing the audience from what is happening. This also
adds mystery. A series of establishing shots and tracking shots as
the protagonist walks home and his brother anxiously follows him,
worried, acts as the calm before the storm; an eerie monotone of
non-diegetic background noise is used to foreshadow an event that
will happen shortly and this is typical of most thrillers and
horrors due to building tension. As the two characters approach the
house, there is a audio reveal where the audience realise that the
same thing occurred at the beginning (Scene 2). Films like Edge of
Tomorrow use music like this to urge the audience to be shocked and
excited by the reappearance of an event for effect.
Scene 7
After the two character enter the house, there is a medium shot
that pans left and introduces the setting and the current
situation. A two shot follows and the tension is built and more
close ups are used. A slow-mo frame is used along with a
non-diegetic audio enhanced heartbeat and a low angle to emphasise
the anger building in the main characters brother, as well as how
much of a threat he poses. The screen cuts to black when the fight
breaks out and loud abrupt sounds + this cut to black mark an
impact (every time a punch is thrown or somebody is attacked). This
was done to increase the speed and intensity of the scene so that
the audience are constantly wondering who comes out on top. When
the protagonist strikes his brother with a book, the cuts cease and
a close up tracking shot is used, and develops into a horizontal
wide two shot as the protagonist falls on his brother as if to hit
him a second time, but this time stopping. Another tracking shot is
used with a sinister non-diegetic whistle as he exits the door.
This scene is crucial in the mark between the characters sanity and
his emotional downfall, and the audience have seen this
deterioration over the entirety of the scenes. There is a voiceover
of his brother after this scene saying you cant run away Peter.
This leads into the next scene.
Scene 8
This scene begins with a panning up from a medium shot to show a
forest, or woodland area. The protagonist appears in the shot
suddenly and seems shocked. A POV shot is used to follow this and
this pans to the protagonist looking at himself chasing him. This
is very surreal and disorientating to the audience and adds shock
and tempo to the scene. An establishing shot and a recurring noise
interference introduce a series of voiceovers from the previous
scenes audio for example what a psycho and what the hell you creep
as well as a few others. An echo effect on these creates a sort of
flashback sequence which adds to the climax of the scene; this is
typical of surreal films as it hints at alternate realities. There
are a few long angle shots and reaction shots as eyeline matches
make it evident that the protagonist is being chased by himself and
gives the audience a view from outside of his perspective and
inside it. This builds to a close up of his feet as he falls over
and the screen cuts to black three times as the visual reveals his
biggest fear up close and personal himself. The camera pans up from
a low angle as his body looks imposing and ominous. There is a
voiceover after the final cut to black to end the dream sequence
and it states Youre dreaming Peter, wake up.
Scene 9 + Conclusion
As the final scene opens up, the audience are greeted with the
same car as the beginning with a fade in dissolve that slows the
transition back to reality. This creates a sense of understanding
and allows the audience to piece the narrative back together as the
story has come full circle. The 3 characters exit the car and rush
to the protagonist who was in fact hit by the car at the beginning
and has reached his past in a dream sequence. There is tight
framing as they crowd the main character that follows into a close
up that zooms out revealing his lifeless body. The 3rd soundtrack
begins to play adding an atmospheric bass driven effect to the
ending which is catchy and memorable but also slightly melancholy.
This rolls into the end credits.
Overall, I have challenged and supported real media conventions
in order to make the film my own but also use techniques to make it
feel and look more professional and carry the narrative effectively
to engage the target audience.
