2. How does your media product represent particular social groups?

Ty's (a member of our group) character is the protagonist in Killjoy (our media product.) From our research, we identified that films of the thriller genre often place the archetypal innocent victim characters into a suspicious, life-threatening or terrorising situation. For example, in Alfred Hitchcock’s The 39 Steps (1935), Richard Hannay (Robert Donat) is at a London music hall theatre when shots are fired. This is similar to the opening sequence of our media product; Ty’s character is in a car when a handgun (prop) is pointed in his direction. Therefore, placing our protagonist in a peculiar situation is unexpected, so it shocks the audience and draws their attention by generating mystery.

A shooting in an unconventional setting

Ty in character

 The characteristics of the protagonist in our films are noticeably comparable to those of the conventional "innocent victim" characters featured is Wes Craven’s Nightmare on Elm Street and Scream franchises. Generally, “slasher” films feature a narrative about a psychotic killer stalking young victims. Therefore, in the pre-production phase of the film, we decided that Ty’s character would be young to symbolise innocence. This is because youthfulness emphasises the vulnerability of Ty’s character; an innocent victim dealing with deranged adversaries.

Kaden in character

On the other hand, Kaden plays the antagonist, an assassin. We feel that Kaden’s character is representative of the stereotypical cold-hearted and emotionless trained assassins regularly featured in thrillers. For example, Kaden’s character is costumed in a suit. We based his costume on Agent 47 (Timothy Olyphant) in Hitman. Agent 47 is represented as intelligent, insuppressible and invisible. Therefore, Kaden’s character has been written to occupy similar character traits. For example, the invisibility of Kaden’s character is suggested by the character secretly hiding in the back seat of the protagonist’s car. Also, similarly to Agent 47, the antagonist in Killjoy is wearing a red tie. We feel that the colour red symbolises that Kaden’s character is merciless, which promotes the stereotypical representation of assassins as pitiless.

Hitman: character inspiration for Kaden's costume

Furthermore, Kaden’s character is carrying a handgun (prop). The handgun builds suspense in the respect that the audience are anticipating its use. Weapons are often used to convey characters in thrillers. For example, Anton Chigurh (Javier Bardem), the antagonist in No Country for Old Men, uses a captive bolt pistol as an iconic weapon to kill his victims.  The handgun of Kaden’s character is used similarly. The prop symbolises Kaden’s character reputation as a merciless assassin, without the character requiring much dialogue. Therefore, the weapon is enigmatic because the audience will question the assassin’s motive for shooting people.


Ultimately, our opening sequence represents males because it does not feature female actors/characters. Therefore, our opening reinforces the stereotype that men are the dominant gender, thus they are involved in action and conflict. Our characters also fit well with the thriller character conventions of innocent victims and assassins. Therefore, this enables our target audience to relate to our characters, which increases the realism of our film and the social groups that they represent.

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

Below are nine distinct frames from our finished media product which either use, develop or challenge forms and conventions of real thriller film openings.

FRAME #1

Our initial shot introduces the audience to the split-screen. A close-up of two bleeping alarm clocks (props) and their displayed time suggests that our opening sequence will centre around the morning routine of two contrasting characters. This is because two different clocks are used - one analog, one digital - which suggests that they are the property of different people. Also, the fact that the clocks display the time of approximately 10am suggests that our opening will follow a linear narrative.

SE7EN

The stopping of the alarms is ambiguous: the audience only see two hands placed over the clocks. Therefore, they do not yet know the characters who own the alarm clocks, or whose hands are stopping them. This is similar to the first frame of SE7EN (1995), which features a book being flickered: the audience do not who is flickering through the book, or who owns the book; only hands are shown. This suggests that it is enigmatic for our opening sequence to not show faces and feature an inanimate object (e.g., clock). The mystery question of "whose hands are those?" builds suspense and tension; crucial conventions of the thriller genre.

Furthermore, the clocks are symbolic of time. In our opening, it appears that Ty's days are limited because he is being stalked by an assassin. Therefore, the abrupt stopping of the alarm clock foreshadows the abrupt ending to the Ty's life. 

FRAME #2:

The frame of our film title ("Killjoy") incorporates generic thriller conventions. The word itself is foretelling of the narrative of the film; "kill" suggests that a character will be killed. The use of the phrase "kill" in the title is typical of thriller films; Kill the Messenger (2014), The Killing Room (2009), and Good Kill (2014).  

The Killing Room

Generally, thriller films do not include positive words in the title (e.g., "joy"). However, our group decided to include the word "joy" alongside "kill" in our title to form the oxymoron "killjoy". We felt that the phrase "killjoy" symbolised characters; "kill" is associated with the practice of an assassin (played by Kaden), whereas "joy" is associated with an innocent victim (played by Ty). Therefore, the words are juxtaposing, which emphasises that the characters featured in our opening are contrasting. 

Typically, thriller films feature a white font on a black background; for example, Deja Vu (2006).  Therefore, we agreed to use a black background for our film title; it is dark, so it has negative connotations of mystery and death, conventions of thrillers. The white also juxtaposes the black. Furthermore, titles often represent the tone of a film, therefore ours is gritty to symbolise the rundown suburban setting of the opening. 

The title itself is white so that it appears bigger and bolder, therefore it attracts the attention of our audience. Furthermore, the title partially splits into two words: "kill" and "joy"; this mirrors the split-screen effect of the film opening, and symbolises the conflicting personalities of the antagonist and protagonist, which forms the basis of our narrative. 

FRAME #3:

The incarnations of
"Bond" and his guns

In order for our film opening to have thrilling and suspenseful conventions, we ensured that camerawork and editing was incorporated strategically. We used a variety of shots, especially close-ups: we felt that close-ups emphasised the raging emotions of our antagonist as he prepared to pursue his victim. Specifically, the frame above shows a close-up of the props (an element of mise-en-scéne) car keys and handgun. The use of a close-up of a weapon in our opening is effective because it connotes aggression which may intimidate the audience. Furthermore, thriller films typically use weapons (e.g., James Bond's firearms). Therefore, the hit-man's handgun shows conventional iconography of typical thriller films. 

However, it is untypical for thriller film openings to feature an unexciting prop, e.g., car keys. Therefore, the split-screen special effect (editing) is effective in this instance because it contrasts the gun with car keys: this is compelling for the audience because it builds tension. Furthermore, the fade-out after this frame indicates a time lapse, which intrigues the audience because they will wonder whether the weapon has been used or not. 

FRAME #4

To emphasise the grittiness and authenticity of our film opening, we mainly use natural lighting to reflect the realist narrative of our media product. For example, natural daylight shows Ty's character flossing his teeth: this presents the viewer with a 'real life' feel; therefore the character is relatable through storytelling. In this instance, the lighting is not conventional because the frame was filmed in daylight, which is associated with happiness and brightness. Generally, thriller films feature dark and dim lighting to build suspense and tension; generic thriller conventions. For example, the opening of SE7EN (1995) uses a dull and dim opening. By challenging thriller conventions through lighting, viewers are given a false sense of security, so are unsuspecting of the climactic ending to our opening. 

An example of dark lighting in SE7EN

However, the lighting is dimmer for the side of the split-screen which shows Kaden's character. This was achieved by closing window blinds. Therefore, this creates a sinister and dark tone which is reflective of the narrative to our opening. Also, the dark lighting symbolises the "dark triad" of the assassin's personality. It is typical for dark lighting to follow typical thriller iconography; low key lighting generates mystery, a thriller convention. In addition, the dark and bright lighting of the settings to our opening sequence are contrasting. This builds tension. 

FRAME #5

Hitman

Our antagonist (Kaden) and protagonist (Ty) are introduced together by means of a split-screen effect (editing). They are central to the framing, which suggests that they are main characters whose roles are of equal significance. Throughout the opening, the split-screen is continually used. This emphasises that the characters are contrasting, however partially similar too. During this frame, the characters are dismembered (their faces are not shown); this may increase tension and create mystery, a generic convention of thriller films. The frame uses natural lighting to show close-ups of the costume of the characters: Ty is wearing a "hoodie", which symbolises the youthfulness and innocence of his character; Kaden is wearing a buttoned blazer. Kaden's costume is darker than Ty's, which suggests that he is the antagonist. This is because it is conventional for anti-heroes in thriller films to wear dark colours to coincide with their dark personality; for example, Agent 47, the merciless assassin in Hitman (2007), and Hitman: Agent 47 (2015), whose Kaden's costume was based upon, wears a black suit. 

FRAME #6

Our setting is partially set in the homes of our characters. It is conventional for thriller films to use ordinary situations in which extraordinary things happen. The effect of this convention is that thrillers have an element of realism alongside an element of drama, which is suspenseful and exciting for the audience. For example, in World War Z, a zombie outbreak erupts in an ordinary, metropolitan area. However, our opening is also set in a car park: the car park is isolated, as indicated by the sudden stop in the non-diegetic music, immediately followed by low volume dietetic sound. A car park is a conventional setting for thrillers; P2 (2007) was set in an underground car park. The effect of using a conventional quiet setting (i.e, car park) in our thriller is that it allows for jump scares; the audience are unsuspecting of Kaden aiming a gun at Ty in the backseat of a vehicle. Therefore, our setting enables us to build suspense, a generic thriller convention. 

World War Z

FRAME #7

This frame depicts the genre of our film opening: thriller. In the frame, our narrative revolves around he antagonist aiming a handgun (prop) at the protagonist. The scene then fades-out (editing), and a diegetic gunshot sound effect is heard. As aforementioned (see frame 3), it is conventional for thrillers to contain weapons (e.g., in No Country for Old Men (2007), Josh Brolin's character carries a captive bolt pistol.) It is even more frequent for thrillers to include gunfire. The effect of gunfire in our thriller is that it is a source of anxiety, so it keeps our target audience alert and on the edge of their seats. Our genre is reinforced by a plot twist: our post-production audience feedback (see evaluation question 4) suggests that viewers do not expect Kaden's character to shoot Ty's character. Plot twists are an effective convention of thriller films because they stun and amaze the audience, so viewers want to continue watching. 

FRAME #8

The eighth frame shows a split-screen special effect, which was used extensively in our opening sequence. In order put the frame into split-screen mode, editing software was required. The split-screen is effective because it is not typically used in the opening sequence to thriller films, therefore it is our unique selling preposition (UPS). The technique depicts events occurring simultaneously, which ensures that our media product retains a linear narrative. Ultimately, the split-screen enables two scenes to inter-cut which establishes continuity; giving viewers the impression that the action is unfolding with spatiotemporal consistency. A prolific director to incorporate split-screen into their film is Quentin Tarantino. He used a split-screen effect in Kill Bill: Vol. 1 (2003) to give the audience a sense of being in two places at once. 

FRAME #9

This frame is suspenseful. The close-up of Ty and Kaden's characters shows that they are walking in a similar direction. Furthermore, the background is the same for both sides of the split-screen, which depicts the antagonist and protagonist as in the same setting (of mise-en-scéne). From Kaden's mostly motionless facial expression, the close-up emphasises the assassin's psychopathic character traits.  The character's red tie (costume) is central to the frame of his side of the split-screen. Historically, red has been associated with sacrifice, danger and courage, which is symbolic of the tragic ending to our narrative. During this frame, the pace of the non-diegetic music picks up in correspondence to the pace of the editing. It is conventional for score music in thriller films to be tense at the most climactic part of the film. For example, in Kill Bill: Vol. 1 (2003), Wu-Tang Chan's soundtrack picks up in pace as at the moment Elle is about to enter the bride's room and kill her. Ultimately, the split-screen is effective in building tension.  

Non-diegetic music composition

This shows the non-diegetic musical composition phase of the film opening. As you can, Logic Pro was used to compose the soundtrack. Logic Pro is effective because it is a "digital audio workstation", therefore music can be composed from the comfort of home. It truly is a "complete professional recording studio on the Mac" because it contains plenty of orchestral sounds which can be put together to create the eerie atmosphere and tone of a thriller. However, a disadvantage of Logic Pro is that its processes and functions are difficult to understand without prior knowledge of other high-level recording interfaces. Therefore, we obtained the assistance of my brother "Sam Storm", who became our composer.

Shooting schedule

Below I have created a shooting schedule that we are to follow during the filming of the task. 

Risk assesment

Activity and hazard	Person(s) at risk	Preventative measures	Risk levels
Cars – we are filming in a carpark, so cars can show up at any moment	Driver (risk of damage to car) Production crew (risk of injury to person and damage to equipment)	Ensure that we stay clear of any cars Move out the way if the car approaches Inform drivers if necessary	Intermediate
Weather – we are filming so there is an unavoidable possibility of adverse weather	Persons holding equipment – may get an electric shock; equipment (e.g., camera) may be water damaged	Check weather forecast Discontinue filming if weather becomes unbearable Reschedule filming if necessary	High
Props – using a gun	The public – our character uses a prop gun in public, which people may not realise is a prop	Reassure any concerned members of the public Ensure that production equipment is insight of public so that they know that we are filming	Low
Pets – may disrupt filming	The pet – may chew wires, damaging equipment and injuring self	Ensure that pets (e.g., dog) are nowhere near equipment Ensure that wires are not lying around to decrease likelihood of damage	Low

Location scouting

Bedminster Car Park

The above film stills capture Bedminster Car Park. It is only a couple of minutes' walk from our college so is easily accessible. The car park is neglected, uncleaned and underused. It has an eerie atmosphere and tone, coinciding with the codes and conventions of thriller films. The gloominess of the car park perfectly combines tension and suspense to create a dramatic atmosphere for the viewer. Behind the car park is a backdrop of overgrown hedges and trees, shadowing the area from citizenry. Its secluded spot establishes isolation, a key theme of our media product. A limitation of the car park as a setting for our film opening is that it is occasionally and unpredictably accessed by cars. The revving of maneuvering vehicles could disrupt filming, thus creating an inconvenient requirement for reshoots.

Earlier, we had considered filming in the underground car park at IKEA. However, we concluded that this location was poorly lit and bustling with activity. The crowdedness of the setting disenabled us to evoke a sense of eeriness and isolation. 

Bedroom #1

Kindly, Sam, a member of the group, has allowed their bedroom to be used as the setting for Ty's character's bedroom. Therefore, the bedroom is readily accessible. We have to decided to film in a bedroom because its mise-en-scéne denotes Ty as a stereotypical teenager (social group.) For example, it is a disorganised, cluttered and dimly-lit room containing props typically related to adolescence, e.g. laptop. The visual condition of the bedroom environment enables our target audience to bracket with Ty's character because their bedroom is likely to be similarly presented. The posters on the wall depict Ty as youthful, which symbolises the character's innocence. 

Bedroom #2

Kaden politely proposed that his bedroom be used as the setting for his character, a hitman. Unlike Sam's bedroom, Kaden's bedroom is relatively organised. However, it is not highly-decorated and lacks character. This is effective because it is enigmatic: the bedroom has limited props symbolic of Kaden's character. Therefore, the emptiness of the room reinforces the ambiguity surrounding who the hitman truly is. The lack of adornment in the room, embellished white walls and its simplicity represents the hitman as emotionless, a conventional characteristic of antagonists in thriller films. The room is small; its physical isolation creates a sense of entrapment, making its eeriness inescapable for viewers. 

Bathroom

For a scene to be used during the split-screen, we have intended to film in the bathrooms of Sam and Kaden's homes. Therefore, if reshooting is required, we will readily be able to access our sets because they are the property of the crew. This bathroom in particular is effective because it contains promotional products (e.g. Dove(TM) soap.) It is also a small bathroom. Ultimately, the mise-en-scéne of the bathroom and all of our interior sets create social realism, thus they construct verisimilitude. Our settings are representative of those typically used in British thriller films. 

Additional shots

Opening credits

Below is a list of names that can potentially be featured during our opening sequence. The names reflect the roles that we played during the production phase of the film. 

EXECUTIVE PRODUCER:

Charlie Watts

DIRECTOR:

Samuel Blakemore-Philips

EDITOR:
Kaden Gardener 

WRITER:

Charlie Watts

CINEMATOGRAPHY:
Ty Fakoya

MUSIC:
Sam Storm

STARRING:

Ty Fakoya

Kaden Gardener

Storyboard

"KILLJOY" -- storyboard #1

Here, we have scanned-in our initial storyboard. The storyboard shows how a split-screen special effect will be the focal point of our media product. A split-screen is not typically used in the opening to a thriller film. Therefore, the incorporation of the editing technique into our opening sequence enables it to serve as a unique selling point (USP). The majority of the shots listed in the storyboard are close-ups to covey character emotion. A long-shot will also be used to establish settings. Transitions between shots will be a fade-out, during which credits will appear. Generally, the editing will be fast-paced using jump cuts, ensuring that our opening builds suspense and tension.