ideas for my film openings

Rom-Com ideas:
- The Breakfast Club - Casting then quotes then smashes into long shot of the school
- Pretty in pink
- Say anything - no music, non diegetic voice over
- Footloose - non diegetic music,  parting dancing - the song in footloose. car crash - leading to what caused the film to be about.
- Dirty Dancing - Black and white dancing - 'be my little baby' red writing
- Ferris Buellers Day Off

Horror:
- The omen
- American Horror Story - crude -harsh reality, gross creepy
- The ghost ship
- Scream

Thrillers:
- Raiders of the lost ark - extreme narrative inigma

Prelim - What I've Learnt

New
Firstly

New Techniques that I have learnt whilst creating my Prelim

Firstly i had to import all the clips from the SD card to the computer. I then put these clips together and edited them. 

• I edited them by trimming the clips to flow together smoothy. This made a continuity shot. 

• After i made all these clips flow together, we were allowed to experiment with the tools available to us on Final Cut Pro. 

• To add diegetic music or titles. These can make the filming more realistic. We can also add sound effects. This can be extremely effective if a certain sound doesn't come up that was intended. For example you can add footsteps.

• This is what my editing finally looked like. As you can see there is an assembler. I names this prelims. Then thee was Ambient Hit to bring the audience in, also to cover up some background noise that was not intended. 

• To export the film that you have just created i went to file, share and then clicked master file. This then came up with this. I named it PrelimRian2015. Then clicked onto settings and checked if the HD was okay.

Wish You were here Conventions

The conventions 

Wish you were here was directed by David Leland. 
The budget was $1.5M. 
The Box Office was $3.8

Summary: Joel Edgerton stars as Dave Flannery, who reluctantly vacations in Cambodia with his pregnant wife Alice (Felicity Price), her younger sister Steph and new boyfriend Jeremy. After a night of partying, Jeremy vanishes without a trace. Dave and the women return to their lives, each bearing differing degrees of knowledge about what happened and slowly put the pieces of the puzzle together to find out what happened that night.  
     Dave reveals he slept with Steph on the beach.He goes for a walk and meets a man, who offers to take him to a small bar. Dave went and began drinking. Alice gets into an argument with Dave. She goes to Steph's house and confronts her. On the way home, she gets into a car accident and is rushed to the hospital, where she prematurely gives birth to the baby. In the end, Dave tells the police the truth of Jeremy's death

This is the opening to 'Wish you were here'. The film was produced in 1987. The film was produced and written by Davis Leland. The film is about a girl who is looked down on by the elder generations because of how she dresses and acts. her mother is dead and her dad has given up on her. (The Title refers to her mother {wishing her mother was there}). It is set in the British seaside in the 1950's.

  The first think that comes up in this 'Film Four International presents..'. The title is white on a black background centre screen. White text on a black background often signifies the film being set on serious social issues and documentation. The text is sans-serif. The film genre is a British comedy-drama. The film opening is1:34 minutes long.

This comes up around 4 seconds after the 'Film Four International'. The writing is the same and the text is centre screen bringing the eyes in. 

This photo of a child then fades in. This image stays on the screen for a relatively longer period of time than the titles. The image is a girl with a gas mask on. We can connote that the film may be based in the past or the past has a lot to do with the life of one of the main characters. The image is not full screen. It has been cropped and on covers the centre of the screen. Again everything seems to be in centre screen. So far we haven't actually seen any of the time period or the area that the film is set in. This is narrative enigma. Information is being with held, making us ask questions, such as who is this child, when was this. This shot comes up at around 0:10 seconds. The fades away at 0:17, which is twice the length of the first two idents.

This is the next shot. Come in at 0:18 seconds. It is on the screen alone for three seconds much ike the idents, the name Tom Bell then appears. Emily Lloyd then disappears at 0:23 listing 0:07 seconds on the screen. Tom Bell i now left and fades out at 0:26 seconds The camera is slowly revealing more of the scene. Slowly moving left. As it moves more titles of actors are put up. This isn't a very long introduction to actors. The first actress to come up in EMILY LLOYD. This suggests that she is the main character of the film. I would usually guess that this meant Emily Lloyd was famous however this was her first film. She was 15 at the time.

  The title is a bold bright red, attracts your eyes to the screen. It is very contrasting in comparison to the background. Which is dull and grey. I can denote that it is the ocean, probably somewhere in England because of the dark grey skies, suggesting it isn't somewhere warm like Spain.

Tom Bell is then added to the screen. We can again denote that these are the main actors of this film. 'Tom Bell' s also in the ocean section of the screen. The text is not covering the structure that we are about to see. The filming that is being done here is crab left. Extreme Long shot to give us the full picture of where we are. The scene is slowly being revealed. Narrative enigma is a big part of this scene. His name fades in at 0:21 and fades out at 0:26 seconds.

The title of the film has now been introduced. The font of the writing has now changed. The writing is serif. Very fancy, something that you would find in a rom-com. However, Wish you were here is a drama comedy. This would be showing the drama side of the film. The writing is very dramatic and over the top.  The semiotics of this are still not giving away, much about what the film is really about.  We have now reached the actually beach. Lana. There is a man walking along the beach in a coat. Costume is very significant when creating a timely film such as 'Wish you were mine'.  

  The man is very far away there we are unable to see the detail. Once agian nothing has been given away. The title of the film comes in at 0:27 and then fades out like the rest at 0:32 seconds, listing 5 seconds.

The text has returned to the simple sans-serif. All of these names are the co-stars. The fact that all of them are on the screen in one shot shows us that the opening of the film will not be very long. the 'and' at the end shows us that, that is the last actor to be mentioned in the opening two minutes of the film. The rest of the titles like this last around bout 0:03 seconds each. Showing that they are less important.

The shot is getting further and further out. We can now see the whole of the man and his dog. he is wearing a long jacket and a hat. Signifying that it is autumn time in Britain. From the background it is clear that we may not be in the best area of Britain. (Sussex). The pier has a section missing. Showing that the place has not been renovated in very long. Not well taken care of. We can connote poverty in this area due to the darkness and how everything so far seems meak and no the idealist of what Britain is really like.

This shot we can see what seems to be a dark green\grey tech chair. if you compare this to Spain or somewhere warm the chair may be lighter colours and with a lighter warmer feeling background. However from first impressions it doesn't seem like the happy kind seaside that Britain stands for. The text 'Designed by Caroline Amies' is right across the chair which brings your eyes toward the detail.

The shot is now being opened up. We can see more of the bigger picture. There are more than one deck chair. There are a few, however most are spread out, why would you want to sit on your own?

The chair is slightly titled, what we can connote from this is that no one has recently sat down on this chair and that the word has moved it. The weather isn't warm.

If you look closely enough we can see a girl in pink riding a bike. Already she stands out by wearing the bright colour. Which again contrasts to the background. The fact that this person is wearing pink shows us that this could be the antagonist of the film. So the first exposed image of the antagonist is at 1:03. Before we see the antagonist we see a flock of birds fleeing an area. This brings our attention to the area. The antagonist the cones in on  bike.

This shot is at 1:06. Showing that the antagonist is quickly approaching. Suddenly from no information being exposed to a front shot of the main character. Wearing very little to say that the woman behind her is wearing a long beige coat. The woman behind her almost blends in with the background. Where as she is standing out. First of all for not wearing much and second of all for wearing pink and smiling.

We now have a side shot of the main characters face. The camera is following her. This shot type could be called a tracking shot. This is a medium shot. We can see her facial expressions and her shoulders are involved in the shot. The ocean in the background blends into the grey skies about her. This could signify the people of east sussex in the 1950s. She is standing out by what she is wearing. The main plot of this film is the fact that the older generation are sticking to the rules and the ways that they know. Blending in. Non of them particularly  have a personality. She does.

'Written and Directed by David Leland'. This is the last text that is shown in the introduction. It is in centre bottom of the screen. Our eyes are on this dancing lady. The dancing lady goes the audience a thought of when this was set in. The lady is also not wearing much, much like the girl riding he bike. The lady is dancing and asking for money. Clearly this is not the desirable job for a lady in the 50's. It is cold and wet. We can connect the girl on the bike to the girl standing and asking for money. 

Finally the music fades out and we have a frontal shot of the antagonist. This is a medium close shot. She is smiling at the camera. The diegetic music then stops and there is a black out. She in a hairdressers smiling at a boy. This is where the film begins.

I would say from what has been revealed to us that the genre of this film is romantic-drama. With underlaying comedy. I can connote this from the opening because of the choice of titles, white on black to begin with. Then a very dull background with bright red sans-serif writing. The bold text stands out much like the antagonist might throoughout the film.

So far i woulddn't say there has been any binary oppositions. However seeing as it is a romantic i feel that the boy to girl binary opposite with come into place as a main element.

The music fades in at about 0:28 seconds. To start with the sound that is coming from the screen is the sound of the ocean. This is non-diegetic sound. This makes me fel like im actually at the seaside,it is far more effective than scilence. The music then fade in (diegetic) this brings you back to reality.
 The antgonist then comes into the shot on a bike, as she gets closer we can hear the sound of the bike, changing gears. This now has non-diegetic and diegetic at the same time. However after tracking Emily Lloyd on the bike we see a woman dancing on a music box. The music then becomes muffeled, as if playing from a music box. We can dennote that the music is coming from the tap dancing lady (we can also hear the tap shoe). When the music stops the lasy stops dancing and it goes to a black out. This is the end to the introduction. There is  faded blackout and then it fades back into the opening scene. Which Emily Lloyd is smiling at a boy.

Analysing conventions to the opening of a film

What to look for when analysing the opening of a film

Conventions:

When analysing the opening of a film you have to look at every detail. The mise-en-scene, costume and characters.

 The opening will usually have dietetic music playing whist you are being introduced to the bigger picture. 

• The opening shot. The semiotics are generally revealing something about the film. The extreme long shot is generally the most common.
• Semiotic analysis - what they didn't involve. Usually the main character = narrative inigima.
• Consider the sound. The diegetic or non - diegetic.
• The music can be aimed at a certain audience.

• Titles and the style of the titles.
• Serif or sans-serif. 
• Serif if it has little bits coming off. Fancy. Rom-Com generally use Serif.
• Sans-serif is very straight forward. Usually in a drama or seriousness.
• The colour and font. Which person named twice - director or company.
• Difference in size for different roles in the film and time they are up on the screen. Where they are on the screen.

• Exposition what information are we getting and what information are we not getting. Narrative. How much exposition has been provided.

• The length of the opening sequence. 
• Specifically how does it end and transition into the next section of the film, cross fade, simple cut, does the music continue.

• Characters.
• Who. When. Where. Why.
• Antagonus or protagunous. 
• What editing techniques are used to follow the characters - Tracking, close ups or privileging their audio over others.

• Costume. 
• Are we getting the genre signified.
• Verisimilitude. Need to give clear direction on what to take time on. Organisation of taking cafe of cast and film.
• Mis-en-scene is the main part. 
• Setting, location. Is it multiple or clearly on one place.
• Representation. Particularly of age, gender and nationality. Very important for the target audience in mind.

• Genre signifiers.
• Ancourage.
• Sound/music.
• Audio bridge - possibly old fashioned.
• Fade in and fade out.
• Intertextuality - are there signifiers of other TV and films. Meaning of one text is linked to another text. Increase awareness of the film. Audience know what is happening - widen appeal to secondary audience. E.g. If the primary audience was 15-24 involved quotes to older films brings in a secondary audience. Older.
• False scare. Think the boyfriend is the killer. Boyfriend is playing around - "Damion you little devil". Reference from the omen.

• Cinematography - camera work, shot types and movement.
• Editing. Special effects. Linear and non linear. 
• Is there a voice over.

Exam

TASK 1: [post] The role of researching conventions in our coursework
Using either your printed copy or an online version, look through the assessment criteria for all three marked sections of your coursework and note in this post any and all elements of this that are linked to researching the conventions of film openings (and film/genre conventions more broadly). Include any relevant Evaluation questions in your list.

MARKSCHEME: All three aspects are assessed as one of: Mark out of: 6020  MINIMAL0-230-7  BASIC24-358-11  PROFICIENT36-4712-15  EXCELLENT48-6016-20 Research and planning EARCH & PLANNING To hit ‘ excellent’ (16-20 marks): 1There is excellent research into similar products and a potential target audience.2There is excellent organisation of actors, locations, costumes or props.3There is excellent work on shotlists, layouts, drafting, scripting or storyboarding.4There is an excellent level of care in the presentation of the research and planning5Time management is excellent. EVALUATION To hit ‘ excellent’ (16-20 marks) requires meeting the following: Excellent understanding of issues around audience, institution, technology, representation,forms and conventions in relation to production.Excellent ability to refer to the choices made and outcomes.Excellent understanding of their development from preliminary to full task.Excellent ability to communicate.Excellent skill in the use of digital technology or ICT in the evaluation PRODUCTION To hit ‘ excellent’ (48-60 marks) requires meeting the following: There is evidence of excellence in the creative use of most of the following technical skills:holding a shot steady, where appropriate;framing a shot, including and excluding elements as appropriate;using a variety of shot distances as appropriate;shooting material appropriate to the task set;selecting mise-en-scène including colour, figure, lighting, objects and setting;editing so that meaning is apparent to the viewer;using varied shot transitions and other effects selectively and appropriately for the task set;using sound with images and editing appropriately for the task set;using titles appropriately

Film opening conventions

TASK: Starting to consider film opening conventions

Your coursework brief is to create the opening 2 mins of a new feature film including titles. Before embarking on any production in Media Studies, you must always thoroughly research and analyse the prevailing codes and conventions (not 'rules') of a given format, then look more closely at those of a specific (sub-)genre once you've settled on a firm production idea.

TASK 1: [post] The role of researching conventions in our coursework
Using either your printed copy or an online version, look through the assessment criteria for all three marked sections of your coursework and note in this post any and all elements of this that are linked to researching the conventions of film openings (and film/genre conventions more broadly). Include any relevant Evaluation questions in your list.

TASK 2: [post] What I should look for when blogging on film openings
We will discuss this in a class, after which you should consolidate your list of things to consider by carefully reading this post.

Ask if unclear about any terms.

TASK 3: [multiple posts] Titles, 1st shot, length of opening
You will each view and analyse 2 film openings, feeding individual findings, including typed detail and plentiful screenshots, into the following posts:
TITLES EG2 [Film Title] - as we did with Pretty in Pink, note every title. Include several screenshots to demonstrate any common features and variations in these (size, colour, position, font, case, animation/transition/FX, diegetic integration, single/multiple credits, any name credited twice [hint: auteur]). Note clearly the timings of these: do they appear continually; from the very start or later (when?); continue right to the end (maybe beyond?) the opening; are the gaps between them equal in timing or variable (is there any pattern to this). Note the specific language used for company names - and specific whether these companies or production or distribution companies (look them up - and include relevant hyperlinks as part of your post's presentation!). Discuss the main font used: is it serif or sans-serif; clearly linked to (connoting) a genre - is this the expected connotation or signifying, maybe even juxtaposing, a different genre; what are your general thoughts on its semiotics? Is the main title font any different (always screenshot this)?
OPENING SHOT EG3 [Film Title] - we've discussed the semiotics of TisEng's opening shot in detail, now do the same for this. Don't twist your analysis to fit the genre, it doesn't always match the genre so neatly. Consider exposition, narrative enigma, (non-)diegetic sound, anchorage/polysemy - sound is relevant as well as mise-en-scene. Is the camera static or moving (does the shot/framing change?). What does this lead into? Looking ahead, you could apply Todorov's narrative model (equilibrium).
OPENING LENGTH + NARRATIVE [Film Title] - how long is the opening sequence? How is the ending of this denoted? What exposition has been provided (type a very brief bullet list for this, not a paragraph): have the pro/antagonists been signified (can you detail how with reference to framing and editing in particular?); Proppian archetypes; binary oppositions; the location; time/era; genre (maybe hybrid?); equilibrium, dis-equilibrium (central conflict). To what extent has narrative enigma been utilised? Can you spot any intertextuality?

We will review your findings and then you will individually work these into three vodcasts which will cover a sizeable chunk of your openings research:
VODCAST1: Titles in film openings
VODCAST2: The semiotics of the opening shot
VODCAST3: Film openings - length and narrative exposition

Pretty In Pink Titles

List of Pretty In pink Titles

Pretty in pink was Written, produced and directed by John Hughes. It was produced in 1986.

• As we are watching the opening scene of Pretty In Pink the first shot is the Production company; Paramount Pictures. This is the company ident. Shortly after this shot there is another shot presented stating 'Paramount Pictures Presents...'. Paramount pictures is a distribuiter.
• The second shot is a 'John Hughes Production'. The background is black with white writing.
• After these two ahve been introduced there is a long scene showing the audience the mise-en-scene. There is a vehicle whcih is driving away - tracking shot. This attracts your eyes to follow the vehicle, almost introducing the area.
• We can connote from what we see that the area isnt the richest. Due to the cracks in the streets and the small housing. We can also connote fromt he types of cars outside the houses the era that this film was set in. However we still havent met any of the characters. signifying not a rich area also.
• The music playing (which is diegetic) is happy and gives the impression that the flm is a teen comedy. This constrasts with the scenes we are viewing. We would connote fromt the scene alone that the film would be a drama. But the music is contrsting with this. It is a rom-com. 
• GRadually as we almost follow the vehicle the title is shown. Pretty In Pink.

• As you can see, it is not what you'd expect. You would be expecting fancy writing, possibly with some pink in the background. However the background is dull and with no pink. THe writing is dull and harsh. The look of the title is constrating with the words.
• After the title is presented 'Starring Molly Ringwald'. The word starring is usually used when there is a star involved. Molly Ringwald was presesnted first because she is the biggest star. Here is a list in order of who else and what roles were titled after 'Molly Ringwald':

1. Harry Dean Stanton
2. Jon Cryer (both put in bottom right of the screen)
3. Annie Pot
4. James Spader
5. AND Andrew Mcarthy ['and' smaller font, as with DVD/poster billing block]
6. CO-STARRING  Jim Haynie
7. Alexa Kenin
8. Kate Vernon [its noticeable that these names fade out quicker]
9. MUSIC SCORE COMPOSED BY Micheal Gore
10. CASTING BY Paula Herod AND Marcie Lyroff [split over 2 lines]
11. COSTUME DESIGNER Marylin Vance
12. EDITED BY Richard Marks
13. PRODUCTION DESIGNER John W. Corso
14. DIRECTOR OF PHOTOGRAPHY Tak Fujumoto
15. EXECUTIVE PRODUCERS John Hughes AND Micheal Cinich [again, split over 2 lines]
16. WRITTEN BY John Hughs
17. PRODUCED BY Lauren Shuler
18. DIRECTED BY Howard Deutch [film time: 2:57]