Location Shots

Character Profiles

Falcon Garman
Age: 16

We chose Falcon for this part as she has experience in acting due to her A-level choices, she has a lot of free time and is able to provide her own costume.

Female Protagonist

Elegant clothing - dress, fur coat, fake nails etc.

Main character in opening, dominance shown through various shots of her in a swingy chair, smoking.

Tom Reilly
Age: 16

We chose Tom as our victim as he fits the criteria for the part, and is available for filming when needed.
Victim

Smart clothing - suit

Brief shots of this character - walking down the corridor and entering the room

Sam Patrick
Age: 16

Extra/bodyguard

We chose Sam as an actor in the opening as he's already working in our group, meaning contact and availability will be easier to work out.

Shots of him playing snooker and bringing Tom into the room.

Brogan Wiggins
Age: 16
Extra/bodyguard

Brogan is also part of our group, again meaning it'll be easier to arrange filming.
Shots of him playing snooker and dropping a pool cue.

Shot List

Shot List
Pan from pool table to female antagonist

LA middle shot of female in chair

POV from her looking at people playing pool

LS of pool table Shot of ball towards camera

CU of eye

Graphic match – ball to eye

Sound bridge over eye shot – footsteps/door slam

MS – 2 bodyguards, victim with head down. Female voiceover “You’re late”

POV of victim looking at floor

Tilt to look at female stood up

LS of Tom being dropped Shot reverse shot of conversation – his speech cut off by her

Eye line shot of her looking at him

LS of wine

Brainstorm of Ideas

Brainstorm
Idea one
- Slow panning shot of an alleyway -voiceover of male saying to dominant female 'I waited at the alleyway like she said to'
- Flashback to venetian blinds with male and female in the room

- Male being accused of committing a crime, extremely nervous

- Females accomplish interrogating him

- Shot to film title

Idea two
- Funeral setting
- Flashback to how the death happened (murder)

- Dominant female seen hiding body

- Voiceover of female explaining why she did it

- Dialogue fades into the film title

Idea three
- Swingy chair - CU of chains squeeking in title sequence
- Setting in rich house denoting wealth
- Dominant female character swinging in swingy chair, reminiscing about the murder she commited
- High key lighting emphasising her dominance and significance
- Flashback to why she killed the man

- Black screen

Idea four

- Swingy chair - CU of chains creating a sense of mystery and tension

- Cigarette in females hand, bought up to her face

- Smoke blown directly into the camera - smokey fade

- People playing pool in the background

- Shot of female - footsteps as someone comes close to her

- 'You're late' - shot of cigarette being put out

- Black screen - gunshots

- Shot of chair swingy - empty room

Analysis of Continuity Tasks

Stephanie's group:
As a group we decided to give Stephanie's group a low/mid level 3 for the video. We believe that the group gave evidence of a more than basic level of ability, and a fairly proficient attempt. The shots were well framed, appropriate distance from the characters, held steady and the audio was clear throughout. The downfall to their work was we felt that the non-diegetic music did not flow as well as it could; if the group were allowed more time, I think that the music would be more appropriate and parallel to the action. For audio, I think that a level 2/3 is appropriate as they showed proficiency, and the dialogue was clearly recorded.

Luke's group:
We decided to give Luke's group a level 2; the shots that it consisted of were appropriate for the action and steadily shot, however the overall product was unfinished, and the dialogue seemed extremely rushed. The group followed the majority of the guidelines given, although they failed to show the character exiting the room.

Tom's group:
We gave Tom's group a level 3, they showed more than a basic attempt, and we felt it was proficient. The non-diegetic sound of the text tone and the music fit in extremely well with their video, and the shots were steady throughout. A slight continuity error was visible at the end, as Callum's arms were behind his head, and in the next shot they on the table, however this was fairly unnoticeable. To improve their video they could have used a larger variety of shots, however other than that it was well presented. The dialogue was slightly unclear, so for that we gave them a high level 2.

Continuity Task

One problem we faced when carrying out the continuity task was the over the shoulder shot as Sam opens the door; as none of us in the group had ever had experience using a camera with a tripod or handheld, it made it particularly difficult for us to keep a steady hand when shooting. To overcome this problem, each of us tried shooting an over the shoulder shot beforehand, and whichever shot we found most applicable, we used in our piece; although it took quite a while to finalise the shot we wanted, we eventually came to a conclusion, subsequently using the shot in the piece above.

Another problem we encountered, was the tilt as Sam entered the room; we wanted the shot to appear as though Brogan was looking up to see who was entering the office, however we found it extremely difficult to keep a steady hand and position the camera correctly, causing the shots to look exceedingly unnatural. To resolve this, we decided to change the positioning of our actor's, meaning the shot would be a straight tilt instead of one which slightly turned, although this was still fairly hard, it looked much more natural, ultimately making the piece flow better, and generally give the impression that the camera was from Brogan's point of view, looking up at Sam.

What's more, we had many discussions on what music and sound to add to our piece, however as the piece wasn't particularly tension building and atmospheric, we struggled in finding appropriate music for the sound bridge. Eventually, we decided not to use music, as it didn't appear to make a large difference to the quality of the piece, as the majority of the piece is dominated by dialogue.

An additional setback was the location of our piece; we first began shooting in one place, and because we hadn't completed filming throughout that day, the following day the chosen location was no longer available, meaning we had to film the whole thing again in a new setting. This setback caused us to feel extremely rushed with filming, meaning the quality of our shots lessened compared to the first day.

Summary of Analysis - What have I learned from my research?

From the research on thriller films I have accomplished, I believe that I have learned in more detail the ways in which a thriller film is created and the reasons why they create them in a specific way. The thrillers often contain very low-key lighting, creating tension and anxiety for the audience. The directors use mise-en-scene to allow the audience to form an opinion on the characters which are introduced; the characters often introduced are the main protagonist, and occasionally the antagonist as well, by establishing the main characters in the opening sequence, the audience are enlightened to who the film will be regarding. Furthermore, the majority of thrillers use camera angles, such as high and low angles to portray the antagonist and protagonists characters, and identify their role within the narrative. As well as this, the amount of dialogue in opening sequences is limited, the audience are merely introduced to the appearance of the main characters, where they create opinions as a result of the camera angles, shots and mise-en-scene which are used; the mise-en-scene allows the audience to judge the characters on their clothing, props, positioning, and facial expressions. For example, the antagonist will often have a facial expression connoting anger, hatred and violence, whereas the protagonist will have a facial expression connoting fear and anxiety. The range of colours will be limited, often showing reds, blacks and whites; although, Casino Royale contains many colours, which highlights the subject of the film, gambling. Lastly, the non-diegetic music reinforces the atmosphere the director's trying to create, for example, the soundtrack of Se7en emphasises the eeriness of the film and the soundtrack in Casino Royale reinforces Bond's significance in the film.

The research has taught me that the need for repetitive but original conventions is vital, however it's essential to use them wisely, else a cliche and tedious opening can be created. By researching the audience, I have gained knowledge on what they expect to see in a thriller film, and what their favourite type of thrillers are; it's fundamental to research audience because if the opening is created with no evidence and information from the audience regarding thrillers, it's extremely easy to create a thriller that only applies to a small select group of people, and not a wide-range audience. Furthermore, a typical and predictable thriller will be disliked, the audience expect as a viewer to see something new and interesting, but still keeping to the repetitive conventions which create atmosphere and reinforce the narrative.

Evaluating Past Students Work

- Evaluation past students work allowed me to understand what's expected as a final product, and how easy it is to not realise mistakes which seem miniscule, but essentially effect the quality of the overall product.

- Many of the examples we watched seemed well-produced and created on first view, however once we re-watched the sequences, specifically looking out for mistakes within the camera, mise-en-scene, editing, lighting etc. it became evident that the work was not as good as we first thought. For example, Room to Breathe consisted of good use of camera shots, appropriate use of mise-en-scene, and consistent setting and props, but it was evident that the quality of the camera shots was flawed; some of the shots appeared shaky, meaning the flow of the opening was not presented as well, and as interesting to view. The soundtrack which contrasted to typical thriller music was cleverly used, as it created apprehension as to events were to take place. However, although the soundtrack was a clever idea, there was no sound bridge, meaning the links and connections between the shots were less obvious; the soundtrack pace increased largely, resulting in both sequences seeming very different and irrelevant to each other.

- Another example was Root Cause, this sequenced achieved a high grade due to the evidence of excellence in the creative use of technical skills. This example was a film noir, which contained a range of camera shots which were steady and well thought

out, appropriate sound which fitted with the genre, appropriate clothing for the characters, and suitable props.

- Other work we evaluated which scored lower was due to the cliche narratives, unsteady camera work, lack of variety of shots, unsuitable mise-en-scene and editing which was too fast. An example which particularly stood out for showing basic ability of creative use in technical skills was regarding a car chase, the narrative was extremely tedious and uninteresting, the variety of shots and angles was limited, meaning the audience could not engage thoroughly with the opening.

- The sequences showed clear attempts at trying to look like real media thriller films by researching the common conventions needed for the genres. However, because as students we are obviously not as talented and do not have access to high-quality equipment like directors, the openings are slightly hindered. Although, if the audience were to purely focus on the narrative and effect of shots, mise-en-scene, editing etc. it's evident that the students have recognised the aspects needed for a thriller, depending on the genre they chose.

Thriller 5: Walk on the Wild Side

(video on VLE)
Walk on the Wild Side (1962)
Director: Edward Dmytryk
Thriller-Drama

Camera -

The camera beings with a still shot of the cat, with only it's face visible, the camera then zooms in onto the cats face into a close-up, where the cat then looks directly towards the camera and the title appears; this creates tension, and informs the audience of the mystery the film explores. There is then a POV shot of the cat, the shadow next to the cat is large, connoting the cats power and authority. Following this, a mid-shot of the cat walking is shown, the cats appears very long and the steady camera work connotes the cats importance. There is then a close-up of the cats feet, followed by panning which follows the footsteps. A variety of mid-shots and long shots of the cat are then used, POV shots and panning are continually used to follow the cat. In the cat fight, many close-ups and mid-shots are used, the shots change quickly, limiting what the audience can see, connoting danger and a large amount of violence. ECU's of the cats teeth connote their strength and power, followed by a CU of the cats face, clearly connoting it won the fight. There are not low-angles and high-angles used within the sequence, allowing the audience to focus wholly upon the character, and it's mannerisms.

Editing -

The pace of editing is fairly slow, connoting the authoritative status the cat holds, a dissolve is then used to change the shot; as the cats eyes are only visible as the shot changes, it connotes fear, creating a tense atmosphere for the audience. The director has used a large amount of dissolves throughout the sequence, reinforcing the cats relevance to the film, as each shot is connected. The pace of editing quickens during the cat fight scene, emphasising the violence and extent of the force.

Sound -

The non-diegetic soundtrack helps to portray the drama-thriller genre that's intended; it's upbeat tempo and range of instruments further denote the drama associated with the film. As the cat fight takes place, the soundtrack speed increases, and more instruments are introduced, this heightens the ferocity each cat was trying to portray.

Mise-en-scene -

The black cat connotes danger and evil, and when with the white cat, differences between good and evil are relevant as white connotes purity and innocence. The cats presence doesn't just suggest the film involves a cat, but it implies the danger and drama that will be involved within the narrative. The setting appears to be in a street, suggesting that the majority of the film may be set in an urban area. Shadows which are created through the low-key lighting are used throughout the sequence, which is a common convention in the genre film noir; this creates a slight sense of eeriness, reinforcing the genre of the film.

Thriller 4: Panic Room

Panic Room (2002)
Director: David Fincher
Crime-Thriller

Camera -
ELS establishing setting, in a city, where common crime events take place. Not many other shots are used within the opening, connoting the main action of the film will take place in city. As the main character is introduced nearing the end of the extract, they are viewed on a high angle, denoting their defenceless and typical protagonist behaviour.

Editing -

Cuts are used throughout, and speed up as the non-diegetic sound increases pace, creating an unnerving sense, reflecting the title 'Panic Room'. Panning is used when credits appear, often on the main characters names, symbolising their significance in the film. Some still images and some moving images of the city are used to creating a calming affect, however the music makes the audience question their first instinct of the images, and realise that images are symbolic of danger.

Sound -

Alarming non-diegetic music is played throughout, to reiterate the title 'Panic Room' and ultimately inform the audience of the events to come. The music quickens, as do the shots of the city, signifying the future events. Non-diegetic sound from the main character is heard as the opening draws to a close, this connotes the character is the protagonist.

Mise-en-scene -

City buildings represent where the events will take place, the colouring of the buildings and credits are very plain, meaning there's no detractions from the setting. It makes it very clear to the audience where the action is taking place, and the plight of the protagonist. Low-key lighting is used to reflect the panic and danger the film contains.

Thriller 3: Sin City

Sin City (2005)
Director: Frank Miller, Robert Rodriguez, Quentin Tarantino
Action Crime Thriller

Camera -

The sequence opens with an establishing LS of the female character, allowing the audience to create opinions on the character on first view. The two-shot of the male behind the female denotes the female to be the main character, a she is in front. The numerous over-the-shoulder shots used as the pair are talking allows the audience to directly see the characters reaction to the dialogue, and the closeness between the two characters; this closeness is reinforced through the passionate eye-contact the characters have. The CU of the cigarette slowly being taken from the males hand denotes the females strong-minded attitude. The LS as the male holds the female emphasises his love towards her, and despair at the death.

Editing -

The pace of the scene is fairly slow, creating a relaxed atmosphere, but perplexing as the audience are used to expecting high energy openings. The cuts to cartoon images after certain events in the sequence emphasise the characters facial expressions, allowing the audience to understand the characters emotions and feelings.

Sound -

Non-diegetic sound of a calming saxophone introduces the sequence, connoting passion, love and romance between the characters, however it also keeps the audience intrigued as to why a thriller film is beginning with such calm music. The diegetic dialogue establishes the characters feelings, and affection for each other. The males ardor is established through his non-diegetic voiceover denoting his understanding of the female, allowing the audience to see the narrative from his perspective.

Mise-en-scene -

The main female character is wearing a red dress with red lipstick, although the rest of the scene is in black and white; this connotes danger, blood and love. The bold colouring is used to suggest to the audience that something fatal, or possibly good will happen to the character, as the male is in black and white, it's evident that he will not be experiencing the events to come. The black and white scene denotes that the characters are both sophisticated which is evident through their clothing as well, and also that danger is to come. The females facial expression as the male approaches her from behind connotes sadness and loneliness, which is further reinforced through the way she's holding her arms. The cigarette is iconic of the characters jobs, suggesting that their jobs are challenging. The lighting behind the characters makes the characters stand out in the black and white scene, and establishes the American setting. The downfall of rain as the characters become closer often signifies romance, however in this case, it signifies the merciless events to come.

Thriller 2: Se7en

Se7en (1995)
Director: David Fincher
Crime Drama Mystery Thriller

Camera -

CU's and ECU's are used throughout the title sequence establishing the images shown, however there are no establishing LS's and ELS's.

Editing -

The speed of the cuts between each image increases as the opening progresses, the non-diegetic sound also increases. Dissolves are create relevance between the images, allowing the audience to piece the images together and attempt to establish the narrative of the film.

Sound -

Non-diegetic sound is used throughout the sequence, shrieking and high pitched sounds create an eerie and tension building atmosphere. The music quickens as the sequence progresses connoting the horror sub-genre. The end line of the music 'you get me closer to God' reinforces the title 'Se7en' which is indexical of religion and the seven deadly sins.

Mise-en-scene -

Props are used heavily throughout, often to connote the horror and terror within the film; the opening props of razor blades and metal objects directly support the sub-genre. The font style of the credits denote a childlike effect, creating more terror and mystery for the audience and symbolises the psychotic antagonists persona, the white font allows the credits to stand out on the dark background. Shadows and images of dead people further connote the horror genre and the psychotic personality of the antagonist. The word 'God' is cut out of a newspaper, indexical of religion, and the needles shaped as a cross also symbolise religion and the seven deadly sins.

Thriller 1: Casino Royale

Casino Royale (2006)
Director: Martin Campbell
Action-Thriller

Camera -

Opens with a LS of Bond, shooting towards the screen at a eye-level shot, the zoom out causes Bond to seme further away making it an ELS. Panning is used when Bond is sat, making the use of playing cards more significant - informing the audience of the theme. LS and ELS of Bond are used throughout, with the occasional MS (as he's loading his gun) and a few ECU's are used when the hands appear to be doing something associating gambling. LA shots are used when Bond is fighting, making his character seem more significant compared to the antagonists. CU of the antagonists face as he punches them accentuate Bond's strength.

Editing -

The main character is introduced immediately, and then zoomed out from, suggesting the start of Bond's adventure, and that the audience are about to learn was it to come. Cuts from one gun to several guns reinforcing the intensity of the fighting that will take place. Speed is generally quick, and fast paced. Characters are posterized making the importance of the characters easier to see, and Bond is always in bold colours compared to the others.

Sound -

The diegetic gunshot sound to open the film immediately establishes the action-thriller genre. Song "You Know My Name" is played throughout, reinforcing Bond's significance in the film. Music is loud and energetic, targeting a boisterous audience, seeking action. The music speeds up as the pace of the film speeds up e.g. fighting scenes.

Mise-en-scene -

Opens in black and white, followed by red blood dripping connotes danger. Gun is the first prop seen, suggesting the fighting that will take place in the film. Bond is wearing the iconic black and white suit throughout, reinforcing his importance and power - emphasised in the fighting scene which he wins. The white also portrays him as the protagonist, whereas the black shows his mystery and pain he inflicts on those who deserve it. Antagonists are shown in block colours of either red or yellow, whereas he is always in the iconic black and white suit - stands out above the antagonist, and shows his professional personality. Begins with black, white and red colours, connoting seriousness, danger, death, and that he's the protagonist, but soon after a mixture of blues, greens and yellows are incorporated - may suggest the presence of the antagonists and highlights the gambling theme. Setting is symbolic of gambling, Bond is shown sat next to the King, also symbolic of gambling, who pulls out a gun at the same time as him. Images of spades, diamonds, hearts, clubs and roulette board are iconic of gambling. Credits are shown in a small white font, meaning the action is not interrupted, and the audience are not drawn away due to the credits.

Questionnaire

Target Audience Survey

Are you male or female?

What age category do you fit into? (please circle)
15-17, 18-22, 25-30, 10-35, 36-40, 41- 45, 46+,

What part of a thriller film do you find most exciting?

How much gore do you expect to see in a thriller?


What are your favourite types of characters in thrillers? (Tick as many as apply)

Criminals

Stalkers

Assassins

Innocent victims (often on the run)

Menaced women

Characters with dark pasts

Psychotic individuals

Terrorists

Cops and escaped cons

Private eyes

People involved in twisted relationships

World-weary men and women

Psycho-fiends

What are your favourite plots of a thriller? (Tick as many as apply)

Terrorism

Political conspiracy

Pursuit,

Romantic triangles leading to murder

What is your favourite hybrid selection of thrillers? (Tick as many as apply)

Action- or adventure thrillers

Sci-fi thrillers

Crime-caper thrillers

Western thrillers

Film-noir thrillers

Differentiating between a certificate 18 and certiface 15 film.

Certificate 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 work.

A certificate 15 film has a theme, however must be appropriate for the audience. Drugs may be shown in a certificate 15, however they cannot promote or encourage misuse of drugs. Frequent use of strong language is accepted, but the likelihood of stronger terms being repeated is highly unlikely, however terms which are stronger may be heard if in context. There are no constraints against nudity when it's in a non-sexual context. However, in a sexual context nudity and sexual activity may be portrayed but without strong detail. Lastly, violence may be strong, but will not dwell on the infliction of pain or injury; strong, sadistic violence is unlikely, however there may be discreet verbal references with strong contextual justification.

A certificate 18 - Suitable only for adults

No one under the age of 18 may see an 18 film in cinema nor can they rent or buy one.

A certificate 18 film entitles the over 18's to be free to choose their own entertainment. However, content appearing to promote dangerous acts to both the audience and society are deemed unacceptable. As well as this, any sexual or sexualised violence which may eroticise or endorse sexual assault does not follow the principles of a certificate 18. Lastly, explicit sexual images must be justified by the context.

http://www.bbfc.co.uk/classification/guidelines

Differences:

Clearly, a certificate 18 allows much more gore, sexual references and strong language in contrast to a certificate 18. Certificate 18 accepts far stronger language and detailed explicitness and violence. However, both certificates must be justified by the context for the allowance of explicit content.

What is a thriller?

A thriller is a book or film which is designed to keep the reader or viewer on edge with suspenseful and sensational action. Thrillers have also been produced in the radio, theater, and television media. This genre is incredibly large, and thrillers often overlap with pieces of work produced in other genres; mysteries, for example, are often thrillers. Many people find thrillers very enjoyable, and they appreciate the fast pacing and complex plots associated with this genre.

Several characteristics help to define a thriller. Thrillers typically involve sudden plot twists and lots of red herrings, for example, keeping people unsure about what is going to happen. This suspense can get almost unbearable, especially in a long piece or a television series. Thrillers also have a lot of action, which is often chaotic, and they typically feature resourceful heroes and exotic settings.

The plots of thrillers can vary widely. Some are supernatural, for example, centering around mystical antagonists. Others are scientific or medical in nature, forcing their protagonists to contend with biological agents or mysterious scientific happenings. Some are simply straight mysteries with clever, horrific, or intriguing antagonists, while others be focused on the inner workings of the legal system, environmental threats, technology, or natural disasters. One long-established thriller genre is the spy thriller, featuring an often heroic and dashing spy who must confront whichever enemy happens to be popular at the moment.

Some thrillers are extremely intellectual and of very high quality, encouraging more educated people to enjoy them. Many such thrillers incorporate a psychological aspect, forcing people to examine the motivations and backstories of the characters to figure out the plot. Others are more simplistic, in the vein of the penny dreadful and designed to appeal to a much wider audience. Many thriller books are adapted into movies, and thrillers can also be turned into comic books and television shows.

What is a thriller?

Thriller hybrids:
action- or adventure- thrillers
sci-fi thrillers (such as Alien (1979))
crime-caper thrillers (such as The French Connection (1971))
western-thrillers (such as High Noon (1952))
film-noir thrillers (such as Double Indemnity (1944))
even romantic comedy-thrillers (such as Safety Last (1923))
Hybrids

Thriller Research - Camera Codes

Codes – camera, editing, mise-en-scene, sound, lighting
Camera

• ECU: these shots are taken from a fairly large distance which generally show the setting of the scene and often they are often an exterior e.g. outside of a building.
• LS: This shot shows the entire human body, with the head at the top of the frame and feet at the bottom. A fair amount of background detail is still in the shot.
• MS: Contains usually half of the human body, often in dialogue scenes. They are usually part of a two-shot as well.
• CU: Very little background shown, focus on either a face, or a specific detail of the mise-en-scene. Often shows the important of the object, allowing the audience to understand the emotions or reasons for the actions.
• ECU: Only shows something such as the mouth or eyes, with no background detail, used for dramatic effect.

The most common camera shots used in thrillers are mid-shots and close-ups, they create tension and anxiety within the narrative.

Camera Angles

• Bird’s-eye view: positioned directly overhead, causes audience to look down on the action in a superior way.
• Eye Level: positioned at eye level of the audience.
• Low Angle: positioned low, increasing the height inspiring fear, as the audience is dominated by a large figure or object on the screen.
• High Angle: scene shown from directly above, makes the object seem smaller and less significant.

Low angles and high angles are used throughout thrillers to change the significance of the character, a protagonist are often filmed using a high angle, as it makes them seem less powerful and dominated by the antagonist who is often filmed using a low angle.

Camera Movement

• Zoom: The subject is magnified, and attention is concentrated on details previously invisible as the shot tightens. It may be used to surprise the viewer.
• Following pan: The camera swivels to follow a moving subject.. A pan usually begins and ends with a few seconds of still picture to give greater impact. The speed of a pan across a subject creates a particular mood as well as establishing the viewer's relationship with the subject.
• Surveying pan: The camera slowly searches the scene: may build to a climax or anticlimax.
• Tilt: A vertical movement of the camera - up or down- while the camera mounting stays fixed.
• Crab: The camera moves (crabs) right or left.
• Tracking (dollying): Tracking involves the camera itself being moved smoothly towards or away from the subject. Tracking in draws the viewer into a closer, more intense relationship with the subject; moving away tends to create emotional distance.
• Hand-held camera: A hand-held camera can produce a jerky, bouncy, unsteady image which may create a sense of immediacy or chaos. Its use is a form of subjective treatment.
• Process shot: A shot made of action in front of a rear projection screen having on it still or moving images as a background.

Tracking and panning shots are often used at the beginning of thrillers, to introduce the setting to the audience. Zoom shots may be used to surprise the audience and create more tension.

Editing

• Cut: Sudden change of shot from one viewpoint or location to another. On television cuts occur on average about every 7 or 8 seconds.
• Matched cut: In a 'matched cut' a familiar relationship between the shots may make the change seem smooth:
• Jump cut: Switch from one scene to another which may be used deliberately to make a dramatic point. Sometimes boldly used to begin or end action. Alternatively, it may be result of poor pictorial continuity, perhaps from deleting a section.
• Motivated cut: Cut made just at the point where what has occurred makes the viewer immediately want to see something which is not currently visible.
• Cutting rate: Frequent cuts may be used as deliberate interruptions to shock, surprise or emphasize.
• Cutting rhythm: A cutting rhythm may be progressively shortened to increase tension. Cutting rhythm may create an exciting, lyrical or staccato effect in the viewer.
• Cross-cut: A cut from one line of action to another.
• Cutaway/cutaway shot (CA): A bridging intercut shot between two shots of the same subject. It is often used to shortcut the passing of time.
• Reaction shot: Any shot, usually a cutaway, in which a participant reacts to action which has just occurred.
• Insert/insert shot: A bridging close-up shot inserted into the larger context, offering an essential detail of the scene.
• Buffer shot (neutral shot): A bridging shot (normally taken with a separate camera) to separate two shots which would have reversed the continuity of direction.
• Fade, dissolve (mix): Both fades and dissolves are gradual transitions between shots. In a fade the picture gradually appears from (fades in) or disappears to (fades out) a blank screen.
• Superimpositions: Two of more images placed directly over each other (e.g. and eye and a camera lens to create a visual metaphor).
• Wipe: An optical effect marking a transition between two shots.
• Inset: An inset is a special visual effect whereby a reduced shot is superimposed on the main shot. Often used to reveal a close-up detail of the main shot.
• Split screen: The division of the screen into parts which can show the viewer several images at the same time. This can convey the excitement and frenzy of certain activities, but it can also overload the viewer.
• Stock shot: Footage already available and used for another purpose than the one for which it was originally filmed.

Jump cuts are a commonality in thriller films as the high-speed action makes it harder for the audience to concentrate on all the action, the jump cuts allow the audience to make assumptions about the plot and characters, with a high cutting rate creating suspense, often used in the openings.

Sound

• Direct sound: Live sound. This may have a sense of freshness, spontaneity and 'authentic' atmosphere, but it may not be acoustically ideal.
• Studio sound: Sound recorded in the studio to improve the sound quality, eliminating unwanted background noise.
• Selective sound: The removal of some sounds and the retention of others to make significant sounds more recognizable, or for dramatic effect - to create atmosphere, meaning and emotional nuance.
• Sound perspective/aural perspective: The impression of distance in sound usually created through the use of selective sound.
• Sound bridge: Adding to continuity through sound, by running sound (narration, dialogue or music) from one shot across a cut to another shot to make the action seem uninterrupted.
• Dubbed dialogue: Post-recording the voice-track in the studio, the actors matching their words to the on-screen lip movements.
• Wildtrack (asynchronous sound): Sound which was self-evidently recorded separately from the visuals with which it is shown.
• Parallel (synchronous) sound: Sound 'caused' by some event on screen, and which matches the action.
• Commentary/voice-over narration: Commentary spoken off-screen over the shots shown. It may be the voice of one of the characters, unheard by the others.
• Sound effects (SFX): Any sound from any source other than synchronised dialogue, narration or music.
• Music: Music helps to establish a sense of the pace of the accompanying scene. The rhythm of music usually dictates the rhythm of the cuts. The emotional colouring of the music also reinforces the mood of the scene.
• Silence: The juxtaposition of an image and silence can frustrate expectations, provoke odd, self-conscious responses, intensify our attention, make us apprehensive, or make us feel dissociated from reality.

Non-diegetic sounds and sound bridges are used throughout thriller films. Non-diegetic sound creates a dramatic effect, and informs the reader what the film may be about. Sound bridges are used to make the action still seem present when it's not visible, meaning there is no suspense and anxiety lost.


Lighting

• Soft and harsh lighting: Soft and harsh lighting can manipulate a viewer's attitude towards a setting or a character.
• Backlighting: A romantic heroine is often backlit to create a halo effect on her hair.

Mise-en-scene

• This refers to all of the things which are 'in the scene'.
• The setting and props; people and how they move, look and dress; and abstract design principles in the frame, such as colour, line, shape and plane.

Thrillers are often set in either the busy urban area, or a secluded country side area. The lighting is often dark and dull, portraying danger and suspense. The appearance and clothing worn in thrillers is dependent on the plot of the film, they may differ from naturalistic looks, to heavy dark make up. Typical colours are colours such as red symbolising blood and danger.

Character – what characters are introduced?
Often, in the opening of a thriller, the main characters are introduced, often the protagonist and antagonist. This allows the audience to create an opinion on the character before the narrative begins.

Are openings important? Why?
The opening of any film is extremely important; depending on the quality of the opening the audience will want to watch the rest of the film. The opening is the very first insight into the film that the audience will see; the short two-three minutes sets up the audience’s expectations, and informs them of what type of film they’ll be watching. In the case of a thriller, it enlightens them into whether they’ll be watching a film based on criminals, romance, psychopaths etc. It also informs the audience as to whether they characters are psychopaths, assassins, terrorists etc.