Directors sought more inventive ways to thrill their viewers. Borrowing a trick from the hugely popular serial literature of the time, producers began to churn out weekly installments of long-running franchises, each ending with a cliff hanger that sees the hero in mortal danger. The most famous of these was the 1914 series ‘Perils of Pauline’, notorious (and much parodied) for featuring a villainous cad who bound our heroine to rail tracks as a locomotive approached.
The serial format continued into the sound era, but the talkies (A film with sound) also allowed the thriller to develop into along more sophisticated lines. The 1930s was the period of the gentleman detective, where a witty one-liner was more likely to get you out of a sticky moment than a deftly landed punch. Films like ‘The Thin Man’ or ‘Bulldog Drummond’ featured suave, debonair heroes, invariably sporting fine suits and pencil-thin moustaches, who were caught up in exotic mysteries and tended to face down all manner of mortal danger with courtly sangfroid.The best of these was Alfred Hitchcock’s 1935 ‘The 39 Steps’. Based on the novel by John Buchan (who is widely credited for inventing the literary thriller), this starred a dashing Robert Donat as an upper-class colonial type unwittingly targeted by a sinister spy-ring and made to flee to the Highlands. Abounding with double-crosses, set-piece chase sequences, and innuendo-laced dialogue between Donat and his leading lady, the film set the template for exotic action-adventure thrillers, which the Bond movies would emulate so spectacularly.
Unfurling at a breakneck pace and never giving you time to reflect on its many unlikely developments, the film also enshrines one of the principles of good thrillers: an exciting, fast-moving plot is usually more important than matters of plausibility or psychological depth. Look at Paul Greengrass’ 2004 ‘The Bourne Supremacy’, a fine example of the modern Hollywood thriller. Matt Damon’s character remains a cipher throughout; but the emphasis is on the superbly executed action scenes, the car chases, the acrobatic fight sequences and the set-piece pursuits in foreign locations. If it’s a rounded character study you want, then look elsewhere. (Which is why the best thriller filmmakers tend to be master storytellers who eschew showy displays of acting: Hitchcock, John Frankenheimer and Michael Mann being prominent examples)?
Tuesday, 2 December 2008
Friday, 28 November 2008
The Strangers research
The director is Bryan Bertino
Narrative: A family of psychotic killers who target two lonely people, living in the middle of no where.
Conventions: the feeling of isolation and the unknown darkness and not being able to see dangerous lurking ahead.
lighting- set at night so very dark. Only lamps to light the house and they eventually go out.
Setting - a single house in the middle of no where, which symbolises the isolation and not being able to contact the outside world for help. They have to rely on themselves as characters this sets the characterisation as the one who survives is the strong one.
Costume - the killers where masks a familiar aspect of a thriller/horror. They are doll masks which is similar to the evil clown/china doll appearance, the use of the lighting also links into the costumes because in the darkness all you see is the mask. The to main characters wear quite posh clothes which shows that they have been out having fun but they are normal people.
Sound - tension building music as the main characters try to get away from the dangerous situation. Dieagetic sounds of footsteps walking behind so you know something bad is about to happen. The sound of breathing is also heard which also builds the tension.
Props - weapons are used not to harm but to threaten the whole way through the film. The killers have knifes which are quite personal because the killer has to get close to them. The victims have a shotgun which they don’t know hoe to load so there seemingly powerless against them. The mobile phones get broken so there's absolutely no way of contacting anyone. Phone chargers because this is the actual point that the character realises that she not alone in the house as the chargers get smashed and burned. The car, the killers destroy it so they cant escape, a heart is also carved into the back window, the audience know realise that the character is in.
Camera angles - lots of close ups of the main characters reactions and fear which helps make audience feel the fear. Establishing shots of the house showing the isolation and the woods surrounding the house. Medium shots of the killers to show the weapons they carry as well as their masks.
A sneak peack at the strangers. http://www.thestrangers.net/
Narrative: A family of psychotic killers who target two lonely people, living in the middle of no where.
Conventions: the feeling of isolation and the unknown darkness and not being able to see dangerous lurking ahead.
lighting- set at night so very dark. Only lamps to light the house and they eventually go out.
Setting - a single house in the middle of no where, which symbolises the isolation and not being able to contact the outside world for help. They have to rely on themselves as characters this sets the characterisation as the one who survives is the strong one.
Costume - the killers where masks a familiar aspect of a thriller/horror. They are doll masks which is similar to the evil clown/china doll appearance, the use of the lighting also links into the costumes because in the darkness all you see is the mask. The to main characters wear quite posh clothes which shows that they have been out having fun but they are normal people.
Sound - tension building music as the main characters try to get away from the dangerous situation. Dieagetic sounds of footsteps walking behind so you know something bad is about to happen. The sound of breathing is also heard which also builds the tension.
Props - weapons are used not to harm but to threaten the whole way through the film. The killers have knifes which are quite personal because the killer has to get close to them. The victims have a shotgun which they don’t know hoe to load so there seemingly powerless against them. The mobile phones get broken so there's absolutely no way of contacting anyone. Phone chargers because this is the actual point that the character realises that she not alone in the house as the chargers get smashed and burned. The car, the killers destroy it so they cant escape, a heart is also carved into the back window, the audience know realise that the character is in.
Camera angles - lots of close ups of the main characters reactions and fear which helps make audience feel the fear. Establishing shots of the house showing the isolation and the woods surrounding the house. Medium shots of the killers to show the weapons they carry as well as their masks.
A sneak peack at the strangers. http://www.thestrangers.net/
Thursday, 27 November 2008
Introduction of our research of thriller
First of all we watched a number of thriller films in our media AS class. From this we have been able to collect ideas for our opening. We have established the typical thriller conventions such as darkness, isolation and that thrillers tend to be based more on the psychological aspect rather than physical and visible viewing of pain and suffering, such as in horror films. In general thrillers tend to focus more on plot over character, emphasizing the intense physical action rather than on the character's psyche. Several sub genres of thriller are:-
Action thriller-the work often features a race against the clock, contains lots of violence, and an obvious antagonist. These films usually contain large amounts of guns, explosions, and large elaborate set pieces for the action to take place. These films often have elements of mystery films and crime films but these elements take a backseat to action. Examples are the James Bond films, The Transporter, and the Jason Bourne novels and films.
Conspiracy thriller - In which the hero/heroine confronts a large, powerful group of enemies(such as the govenment) whose true extent only he/she recognizes. The Chancellor Manuscript and The Aquitane Progression by Robert Ludlum fall into this category, as do films such as Three Days of the Condor and JFK.
Crime thriller - This particular genre is a hybrid type of both crime films and thrillers that offers a suspenseful account of a successful or failed crime or crimes. These films often focus on the criminal(s) rather than a policeman. Crime thrillers usually emphasize action over psychological aspects. Central topics of these films include murders, robberies, chases, shootouts, and double-crosses are central ingredients. Some examples include The Killing, Seven, The Godfather, Reservoir Dogs, Inside Man, and The Asphalt Jungle.
Disaster thriller - In which the main conflict is due to some sort of natural or artificial disaster, such as floods, earthquakes, hurricanes, volcanoes, etc., or nuclear disasters as an artificial disaster. Examples include Stormy Weather by Carl Hiaasen, Tremor by Winston Graham, and the 1974 film Earthquake.
Drama thriller - In which the story consists of the elements of a thriller and drama film. These films are usually slower paced and involve a great deal of character development along with plot twists. Examples include The Illusionist, The Interpreter and The Prestige.
Eco-thriller - In which the protagonist must avert or rectify an environmental or biological calamity - often in addition to dealing with the usual types of enemies or obstacles present in other thriller genres. This environmental component often forms a central message or theme of the story. Examples include Nicholas Evans's The Loop, C. George Muller's Echoes in the Blue, and Wilbur Smith's Elephant Song, all of which highlight real-life environmental issues. Futuristic Eco-thrillers are of the Science Fiction genre that proposes ideas that will or may occur and include such works as Kim Stanley Robinson's Mars Trilogy and Ian Irvine's Human Rites Trilogy and Dasavathaaram.
Erotic thriller - In which it consists of erotica and thriller. It has become popular since the 1980s and the rise of VCR market penetration. The genre includes such films as Basic Instinct, Fatal Attraction, and Looking for Mr. Goodbar, and In the Cut.
Horror thriller - In which conflict between the main characters are mental, emotional, and physical. Two recent examples of this include the Saw series of films and the Danny Boyle's 28 Days Later. What sets the horror thriller apart is the main element of fear throughout the story. The main character(s) is not only up against a superior force, but they are or will soon become the victims themselves and directly feel the fear that comes by attracting the monster's attention. Other well-known examples are Alfred Hitchcock's Psycho and Thomas Harris's The Silence of the Lambs.
Legal thriller - In which the lawyer-heroes/heroines confront enemies outside, as well as inside, the courtroom and are in danger of losing not only their cases but their lives. The Innocent Man by John Grisham is a well known example of the type.
Medical thriller - In which the hero/heroine are doctors or medical personnels working to solve an expanding medical problem. Nonfiction medical thrillers are also a subcategory, comprising works like The Hot Zone by Richard Preston. Films such as Awake are other examples of medical thrillers.
Political thriller - In which the hero/heroine must ensure the stability of the government that employs them. The success of Seven Days in May (1962) by Fletcher Knebel, The Day of the Jackal (1971) by Frederick Forsyth, and The Manchurian Candidate (1959) by Richard Condon established this subgenre. A more recent example is the 1980 film "Agency".
Psychological thriller - In which (until the often violent resolution) the conflict between the main characters is mental and emotional, rather than physical. The Alfred Hitchcock films Suspicion, Shadow of a Doubt, and Strangers on a Train and David Lynch's bizarre and influential Blue Velvet are notable examples of the type, as is The Sixth Sense by M. Night Shyamalan and The Talented Mr. Ripley by Patricia Highsmith (who also wrote Strangers).
Spy thriller (also a subgenre of spy fiction) - In which the hero is generally a government agent who must take violent action against agents of a rival government or (in recent years) terrorists. Examples include From Russia with Love by Ian Fleming, The Bourne Identity by Robert Ludlum, and television series such as Mission: Impossible and 24 (the latter demonstrating a break from the norm by Robert Ludlum, as it is as much a psychological thriller as a spy thriller.)
Supernatural thriller - In which the conflict is between main characters, usually one of which has supernatural powers. Carrie by Stephen King and Unbreakable by M. Night Shyamalan and Torchwood are notable examples of this genre. This type of thriller combines tension of the regular thriller with such basic horror oriented ingredients as ghosts, the occult, and psychic phenomenon; the supernatural thriller combines these with a frightening but often restrained film. They also generally eschew the more graphic elements of the horror film in favor of sustaining a mood of menace and unpredictability; supernatural thrillers often find the protagonists either battling a malevolent paranormal force or trapped in a situation seemingly influenced or controlled by an other-worldly entity beyond their comprehension.
Techno-thriller - A work that usually focuses upon military action, in which technology (usually military technology) is described in detail and made essential to the viewer's understanding of the plot. Tom Clancy defined and popularized the genre with his The Hunt for Red October, and is considered to be the "Father of the Technothriller."
The thriller genres that we have based our ideas around are horror, psychological and crime thrillers.
Action thriller-the work often features a race against the clock, contains lots of violence, and an obvious antagonist. These films usually contain large amounts of guns, explosions, and large elaborate set pieces for the action to take place. These films often have elements of mystery films and crime films but these elements take a backseat to action. Examples are the James Bond films, The Transporter, and the Jason Bourne novels and films.
Conspiracy thriller - In which the hero/heroine confronts a large, powerful group of enemies(such as the govenment) whose true extent only he/she recognizes. The Chancellor Manuscript and The Aquitane Progression by Robert Ludlum fall into this category, as do films such as Three Days of the Condor and JFK.
Crime thriller - This particular genre is a hybrid type of both crime films and thrillers that offers a suspenseful account of a successful or failed crime or crimes. These films often focus on the criminal(s) rather than a policeman. Crime thrillers usually emphasize action over psychological aspects. Central topics of these films include murders, robberies, chases, shootouts, and double-crosses are central ingredients. Some examples include The Killing, Seven, The Godfather, Reservoir Dogs, Inside Man, and The Asphalt Jungle.
Disaster thriller - In which the main conflict is due to some sort of natural or artificial disaster, such as floods, earthquakes, hurricanes, volcanoes, etc., or nuclear disasters as an artificial disaster. Examples include Stormy Weather by Carl Hiaasen, Tremor by Winston Graham, and the 1974 film Earthquake.
Drama thriller - In which the story consists of the elements of a thriller and drama film. These films are usually slower paced and involve a great deal of character development along with plot twists. Examples include The Illusionist, The Interpreter and The Prestige.
Eco-thriller - In which the protagonist must avert or rectify an environmental or biological calamity - often in addition to dealing with the usual types of enemies or obstacles present in other thriller genres. This environmental component often forms a central message or theme of the story. Examples include Nicholas Evans's The Loop, C. George Muller's Echoes in the Blue, and Wilbur Smith's Elephant Song, all of which highlight real-life environmental issues. Futuristic Eco-thrillers are of the Science Fiction genre that proposes ideas that will or may occur and include such works as Kim Stanley Robinson's Mars Trilogy and Ian Irvine's Human Rites Trilogy and Dasavathaaram.
Erotic thriller - In which it consists of erotica and thriller. It has become popular since the 1980s and the rise of VCR market penetration. The genre includes such films as Basic Instinct, Fatal Attraction, and Looking for Mr. Goodbar, and In the Cut.
Horror thriller - In which conflict between the main characters are mental, emotional, and physical. Two recent examples of this include the Saw series of films and the Danny Boyle's 28 Days Later. What sets the horror thriller apart is the main element of fear throughout the story. The main character(s) is not only up against a superior force, but they are or will soon become the victims themselves and directly feel the fear that comes by attracting the monster's attention. Other well-known examples are Alfred Hitchcock's Psycho and Thomas Harris's The Silence of the Lambs.
Legal thriller - In which the lawyer-heroes/heroines confront enemies outside, as well as inside, the courtroom and are in danger of losing not only their cases but their lives. The Innocent Man by John Grisham is a well known example of the type.
Medical thriller - In which the hero/heroine are doctors or medical personnels working to solve an expanding medical problem. Nonfiction medical thrillers are also a subcategory, comprising works like The Hot Zone by Richard Preston. Films such as Awake are other examples of medical thrillers.
Political thriller - In which the hero/heroine must ensure the stability of the government that employs them. The success of Seven Days in May (1962) by Fletcher Knebel, The Day of the Jackal (1971) by Frederick Forsyth, and The Manchurian Candidate (1959) by Richard Condon established this subgenre. A more recent example is the 1980 film "Agency".
Psychological thriller - In which (until the often violent resolution) the conflict between the main characters is mental and emotional, rather than physical. The Alfred Hitchcock films Suspicion, Shadow of a Doubt, and Strangers on a Train and David Lynch's bizarre and influential Blue Velvet are notable examples of the type, as is The Sixth Sense by M. Night Shyamalan and The Talented Mr. Ripley by Patricia Highsmith (who also wrote Strangers).
Spy thriller (also a subgenre of spy fiction) - In which the hero is generally a government agent who must take violent action against agents of a rival government or (in recent years) terrorists. Examples include From Russia with Love by Ian Fleming, The Bourne Identity by Robert Ludlum, and television series such as Mission: Impossible and 24 (the latter demonstrating a break from the norm by Robert Ludlum, as it is as much a psychological thriller as a spy thriller.)
Supernatural thriller - In which the conflict is between main characters, usually one of which has supernatural powers. Carrie by Stephen King and Unbreakable by M. Night Shyamalan and Torchwood are notable examples of this genre. This type of thriller combines tension of the regular thriller with such basic horror oriented ingredients as ghosts, the occult, and psychic phenomenon; the supernatural thriller combines these with a frightening but often restrained film. They also generally eschew the more graphic elements of the horror film in favor of sustaining a mood of menace and unpredictability; supernatural thrillers often find the protagonists either battling a malevolent paranormal force or trapped in a situation seemingly influenced or controlled by an other-worldly entity beyond their comprehension.
Techno-thriller - A work that usually focuses upon military action, in which technology (usually military technology) is described in detail and made essential to the viewer's understanding of the plot. Tom Clancy defined and popularized the genre with his The Hunt for Red October, and is considered to be the "Father of the Technothriller."
The thriller genres that we have based our ideas around are horror, psychological and crime thrillers.
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