Case Study Clip 1: 'AS Media OCR Opening Title Sequence Production Rivalry'
Uploaded to YouTube by Holly Malpass
Material Appropriate for the Target Audience
Generally, spy films contain gratuitous violence, strong language, sleek almost flawless costumes that are generally suits or some other sort of evening wear, a morally grey, often British, villain, various weaponry and often scenes that are inappropriate for children. As such, the ratings are nearly always the same:
'James Bond: Casino Royale (2006)' (Rating: 12)
'James Bond: Quantum of Solace (2008)' (Rating: 12A)
'James Bond: Skyfall (2012)' (Rating: 12A)
'James Bond: Spectre (2015)' (Rating: 12)
'The Man From U.N.C.L.E. (2015)' (Rating: 12A)
'Kingsman: Secret Service (2015)' (Rating: 15)
'Kingsman: The Golden Circle (2015)' (Rating: 15)
The clip above contains elements of this material, which the target audience expects, but does not, arguably, contain enough drama or energetic scenes to be considered action, or at least give a solid inference that there will be action later on.
Titles Conventional/Appropriate
The case study makes proficient use of the conventions of the genre, utilising costume and props to create a concept of spies or assassins within an action movie. The main characters are all wearing suits, as is the convention of spy films (e.g. James Bond Series, The Man From U.N.C.L.E, etc), and sunglasses to appear more convert as a unitary force. Two of these characters are adults, which adheres to the genre, and the fact that they they are carrying/passing along a black briefcase, which creates enigma and intrigue as well as establishing elements of the plot. The title font is conventional for the genre as it is basic, almost 'no nonsense' and professional looking. The style is also relatively appropriate as the text slides across the screen from both sides to meet in the blank space of the screen, symbolising a secret exchange, however, the example breaks elements of the fourth wall by claiming that the actors on screen are Johnny Depp, Al Pacino and Brad Pitt and that the director is Quentin Tarantino, which is clearly untrue.
Sound/Images and Technical Editing/Editing for Meaning/Transitional Effects
The music used in the extract has a similar beat and jazz-like tone to that stereotypically used in spy/criminal films, particularly when the characters are associated with mafia connotations, such as the suits and guns. The editing in this opening is strange in parts; occasionally the screen moves haphazardly, as if trying to imitate a handheld camera or a zoom-out by using effects, which juxtaposes with the genre and onscreen image, creating a sort of jarring reminder of the amateurish nature of the piece. The case study actually uses various effects and camera movements that do not fit with the composition of the piece, such as pans and slow-motion during moments in which nothing significant is happening. Additionally, less than thirty seconds into the scene, there is a time skip that goes back 6 hours, which is confusing in terms of the narrative, as nothing overly significant happens before the skip to warrant a jump backwards in time. The blank screen announcing this change in narrative position is also very short, lasting only a second, which could be easily missed, further confusing the audience. Some of the shots have issues with quality as well, this is further emphasised by the fading blur effect used as a sort of dramatic transition in between cuts in attempt to try to merge scenes together.
Camera Work/Framing/Variety of Shot Types/Mise-en-Scene
Lighting changes dramatically in multiple scenes as a result of the camera automatically changing focus from the foreground to the background which could have been remedied by filming on a darker day, though the framing throughout is consistently well positioned and aesthetically pleasing. Arguably, there is some diversity in the shot types, but still the video contains primarily close ups and extreme close ups alongside the occasional mid-shot with no establishing shots or focus on anything other than the characters, making the opening seem trailer-ish or like a culmination of unrelated clips. The framing stands out as well-positioned and allowing blank space for credits and keeping all important characters or props in the shots without seeming forced.
Overall Feel
What Went Wrong: the setting, adhering to the genre, the content of the titles, the narrative/plot of the opening, volume and repetitive nature of the music
What Went Right: the costumes, the props, the framing. the font and stylised appearance/animation of the titles, the music genre
Case Study Clip2: 'OCR AS Media film opening They're Coming'
Uploaded to YouTube by Mehrabi Ward
Material Appropriate for the Target Audience
Generally, horror films contain dark lighting or aesthetics, handheld or deliberately wobbly camerawork, POV shots/close-ups, mystery-based narratives, elements of everyday life, such as toys, relatives or kitchen equipment, being twisted to become frightening, isolated settings, folklore/demonic legends/supernatural presences, ambient sounds (e.g. breathing, footsteps, creaking floorboards, etc), the protagonists will often be young adults or teenagers that have committed an act the audience may dub as stupid or cruel, the villain often has a certain prop or costume associated with them as a trademark e.g. Saw's mask and nearly all scenes are inappropriate for children. As such, the ratings are nearly always a 15 or above rating from the BBFC:
'Night of The Living Dead (1968)' (Rating: 15)
'The Shining (1980)' (Rating: 15)
'The Babadook (2014)' (Rating: 15)
'A Nightmare On Elm Street (1984)' (Rating: 18)
'The Silence of the Lambs (1991)' (Rating: 18)
'The Texas Chainsaw Massacre (1975)' (Rating: 18)
'The Exorcist (1973)' (Rating: 18)
Titles Conventional/Appropriate
The case study makes attempts to use the conventions of the genre, but falls just short of the mark. There are various inconsistencies in this case study, from costume to setting, that creates a jarring scenario that doesn't adhere to the primary purpose of the horror genre: inducing fear or apprehension. Firstly, the main character, though arguably age appropriate as there are a number of children who feature as victims or eldritch creatures in horror films, has various nonsensical additions to their costume e.g. a bloodstain on the pyjamas, with no visible injury or tear in the clothing near the stain to infer a feasible injury, though notably the other 'tears' in the fabric are cut cleaning and do not appear to be dirty, so the only way they could have been cut without outside trainers paired with mostly clean pyjamas, hair tied up with no sign of bed head, etc, that can lead to the audience losing the sense of emersion or verisimilitude within the medium. As for the title of the film, 'They're Coming', infers there is more than one villain, only one is apparent in the opening, and the perfect grammar needed for the phrase to make sense could have been easily avoided by naming the film something similar that gives the same effect, such as 'Incoming', as it creates a disjointed moment near the end of the opening when the audience is shown a neatly written graffiti of the phrase, which is fundamentally not scary. The credit titles are somewhat appropriate in that they are clear and intelligible, but there is no animation or aesthetic to them.
Sound/Images and Technical Editing/Editing for Meaning/Transitional Effects
The music is conventional, as it is a music box theme used for a creepy effect. The editing mainly cuts to different shots of the character exploring the forest, with one strange shot in which the character appears to see the creature and yet in the next shot the character continues walking calmly as if nothing happened. The last scene of the opening utilises editing well by using various vague low angle shots to create mystery around the circumstances of the character's death.
Camera Work/Framing/Variety of Shot Types/Mise-en-Scene
Generally, the framing is well-organised and there are varied shot types, despite a lack of close-ups. However, there are various shots in which the villain is clearly seen, or inferred to be seen, next to the character, reducing aspects of tension or anticipation and therefore negating characteristics of the genre. There is a slight continuity error at 00:58 when the character is sitting down on what appears to be the underground room she later goes into, though after this scene she gets up and walks away. Other than this, the setting is continuous and reflects nature as a juxtaposition to the venture of creating a tension filled atmosphere. The camerawork is mostly well-fixed and positioned well, with the occasional handheld POV shot, as is typical of the genre.
Overall Feel
What Went Wrong: the premise and narrative, the aesthetic and appearance of the titles, the costume, the positioning of the villain, the tension, or lack there of, and poor implementing of atmosphere, adhering to the genre effectively
What Went Right: the framing, the music, the setting, the props, the actors
Case Study Clip 3: OCR AS Media film opening They're Coming'
Uploaded to YouTube by Kieran Panchal
Generally, thriller-horror films contain the typical horror conventions (dark lighting or aesthetics, handheld or deliberately wobbly camerawork, POV shots/close-ups, mystery-based narratives, elements of everyday life, such as toys, relatives or kitchen equipment, being twisted to become frightening, isolated settings, folklore/demonic legends/supernatural presences, ambient sounds (e.g. breathing, footsteps, creaking floorboards, etc), the protagonists will often be young adults or teenagers that have committed an act the audience may dub as stupid or cruel, the villain often has a certain prop or costume associated with them as a trademark), as well as the typical thriller conventions such as suspense, an urban or suburban setting, a hero who generally solves the enigma based narrative, often a conspiracy or a corporate institution that the hero rids of corruption or injustice is involved, usually there's some sort of violence or a violent encounter, there is a rational solution or answer rather than a supernatural solution or answer, there are personality parallels between the main character and the villain, the protagonist is an outcast or has some sort of trait or ability that makes them 'different' from other people, quick cuts/quick editing, excessive close ups and, in most cases, the protagonist is white, male and conventionally attractive.
As such, the ratings for thriller films can vary in ratings from the BBFC, depending on sub-genre:
'The Bourne Identity (2002)' (Rating: 12A)
'The Fast and The Furious (2001)' (Rating: 15)
'The Da Vinci Code (2006)' (Rating: 15)
'Changeling (2008)' (Rating: 15)
'Black Swan (2010)' (Rating: 15)
'The Girl On The Train (2016)' (Rating: 15)
'Kill Bill: Volume 1 (2003)' (Rating: 18)
The clip above contains many elements of this material and is a very good representation of the genre it is trying to imitate, though it is not perfect.
Titles Conventional/Appropriate
This case study, unlike the other examples, includes a BBFC rating card as well as the production company animation. This adds another level of verisimilitude to the film that the other examples hadn't considered. The logo animation is simple and effective and the animation fits with both the aesthetic associated with the title (Blood Orange Productions) as well as the overall aesthetic of the opening. The credit titles themselves are animated with a glitch effect, making them jump around the scene slightly and duplicate at unpredictable moments, suggesting supernatural interference or faulty software. The titles appear on every other shot (one shot with no titles, one shot with titles, one shot with no titles) so while they are noticeable, they do not draw all of the audience's focus as the character onscreen is equally as distracting. As such the titles are conventional and appropriate for the genre and the positioning of the credits makes good use of blank space and framing.
Sound/Images and Technical Editing/Editing for Meaning/Transitional Effects
The sound in the case study is especially significant as it matches the actions of the characters as well, making note of what is happening on screen and adding the appropriate sounds and effects. For example, a beeping noise is used during a short zoom in close-up shot on a CCTV camera to inform the audience that the camera is on and recording, supported by a following shot of a black and white CCTV 4-camera screen. The single line of dialogue, 'help me', is screamed by the character desperately and repetitively, scaring the audience whilst also creating a sort of ambience within the scene as the dramatic music in the background escalates. The example also utilises pleonastic sound when the character attempts to wriggle out of his (visibly loose but apparently tight) bindings, as the liquid on the floor splashes when his shoes move and as the character breathes heavily in his panic. It could be argued there is pleonastic sound when the character spits blood onto the floor as well, though a sound effect/crescendo of the music is played at this time as well making it hard to discern. This loud noise, however, seems slightly out of place as nothing exceptionally dramatic is happening other than the character spitting out blood, when he has already shown in the first shot that the inside of his mouth is bleeding when blood dribbles from it and falls on his lap. The camera uses effects when filming to create a blurry, disorientated POV shot, which is effective in that it explains to the audience that the character has some sort of head injury or dizziness that is preventing him from seeing properly, almost making the scene more frightening as the audience now knows that the character has no way to properly gauge the situation. The editing in this example is astounding: the choice of shots, framing and overall composition work well, which is uniquely difficult as a lot of the opening takes place in the same room. The depth of field in the shot at 01:47 is impressive in that the audience can clearly see the main character and who is, presumably, the villain without losing the tension or the meaning of the scene. At the ending of the scene, a short flashback montage, that occasionally cuts back to the present where the character is screaming (though the sound of his shouts are laid over the flashbacks at certain intervals, creating a sense of the past creating the future, ignorant actions having dire consequences and an overwhelming feeling of ongoing fear), establishes elements of the plot and infers that the scene after the title will start with the character before he trespassed, as well as instilling the context and enigma within the scene.
Camera Work/Framing/Variety of Shot Types/Mise-en-Scene
The camerawork in this example is exceptional in that it uses various angles to convey the situation as well as the feelings of the character. High angle shots are used to suggest to the audience that there is more than one camera as well as indicate the fear that the character is feeling and various effects that are used on the shots, such as a CCTV camera view in black and white that displays four different shots of the character. There are some shots on occasion, such as an extended extreme close-up of the character's eyes fluttering shut, that seem almost out of place in the chronological order of the narrative at the beginning of the piece, in that the character had just woken up and thrashed about to demonstrate he was fully awake, however it could be argued that he was overcome by dizziness or a supernatural influence. The mise-en-scene is also notable in that the makers of this example used more professional make-up, props and setting to create a believable scene than the other examples: the audience can genuinely believe that, within the universe of this medium, the character is seriously injured and trapped as a result of the costuming, what appears to be prosthetic make-up on the cheeks of the character to imitate scarring or facial injury, and the overuse of fake blood on the character himself and around him, suggesting that the blood is not just from his own injuries and that the villain has injured or killed others before him. On this note, it is important to mention that the appearance of the villain in this case study defies typical conventions of horror-thriller films. Usually, the villains are cursed or demonic beings, though sometimes they are ordinary people who lived murderous or victimised lives and died in horrendous circumstances, and as such look as if they have just died or are gradually decaying, with colour palettes similar to the examples below. The villain in this example is clothed in white and has cerulean hair, typically, in terms of supernatural characters, suggesting she is some kind of non-vengeful ghost or nymph, however the state of the trapped character suggests otherwise, creating further enigma and possibly confusion. There is also no visible cause of death, often there is some sort of hint within the character's appearance as to how they became the way that they are, such as the spirit from the 2002 film 'The Ring', Samara, has wet hair to symbolise the fact that she perished in a water well after seven days, however the character in this case study has no outward or obvious signs on their person, they seem as if they could be completely alive, as they even have their nails painted greenish-blue. The only thing typical of this genre's villain archetype that the villain in this example presents is the fact that she carries a 'creepy' doll with her, inferring a child-like personality or temperament.
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| pp3 colour palette |
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| Melancholy colour palette |
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| cool greys dark colour palette |
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| Sad souls colour palette |
Overall Feel
What Went Wrong: some elements of verisimilitude, the order of some shots, adhering to some elements of the genre
What Went Right: dialogue, composition, aesthetics, costuming, effects, editing, camerawork and camera effects, setting, titles, font, casting
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As a result of analysing these existing examples of AS Level film openings, it is clear that we need to carefully consider every aspect of our opening, from camera quality to actors, as every element can affect the final product and the overall polish of it. Judging from the first and third examples, setting is particularly important in regards to the overall finish of the final product, as it dictates the verisimilitude and tone of the scene, as well as the effectiveness of the opening, as a setting that doesn't fit the genre, as was the case with the first example, it gives the film an amateurish quality. Additionally, appropriate costumes (and by extension, make-up and effects) is needed to produce an immersive opening, as misplaced costuming can affect the verisimilitude as well as the general immersion; if an audience is constantly questioning every aspect of the medium, then there is actually no sense of enigma, continuity or consistency, but instead just an overwhelming sense of confusion. For example, the relevance of the girl in the second extract wearing bloodied pyjamas in the woods is unclear, as the audience is given no prior knowledge or explanation as to why, or any hint to suggest that these plot-holes will be remedied later on in the film, as the opening concludes with her apparent death. This then leads the audience to attempt to fill in these inconsistencies themselves, which can again lead to confusion and discontent (e.g. pyjamas suggests the girl has just woken up --> was she transported there somehow from bed as she isn't dirty from the wet mud on the forest floor --> she's wearing trainers so can't have just come from bed --> maybe she came from a nearby campsite we haven't seen yet --> then why is she wearing pyjamas in the middle of the day, why does she have blood on her but no visible suggestions of injury and why wasn't this established, and so on), as well as anger from more dedicated film fans. This, in turn, suggests that we need to be aware of how our opening will relate to the hypothetical 'rest of the film', as the opening needs to build interest and hook the audience in by building enigma and intrigue. On top of this as many controllable details need to be monitored to retain the verisimilitude and quality of our piece and any extraneous circumstances need to be limited as much as possible.
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Mark Scheme:
Level 1: 0-23 marksThe work for the main task is possibly incomplete. There is minimal evidence in the work of the creative use of any relevant technical skills such as:
- producing material appropriate for the target audience and task;
- using titles appropriately according to institutional conventions;
- using sound with images and editing appropriately for the task set;
- shooting material appropriate to the task set; including controlled use of the camera, attention to framing, variety of shot distance and close attention to mise-en-scene;
- using editing so that meaning is apparent to the viewer and making selective and appropriate use of shot transitions and other effects.
Level 2: 24-35 marks
There is evidence of a basic level of ability in the creative use of some of the following technical skills:
- producing material appropriate for the target audience and task;
- using titles appropriately according to institutional conventions;
- using sound with images and editing appropriately for the task set;
- shooting material appropriate to the task set; including controlled use of the camera, attention to framing, variety of shot distance and close attention to mise-en-scene;
- using editing so that meaning is apparent to the viewer and making selective and appropriate use of shot transitions and other effects.
Level 3: 36-47 marks
There is evidence of proficiency in the creative use of many of the following technical skills:
- producing material appropriate for the target audience and task;
- using titles appropriately according to institutional conventions;
- using sound with images and editing appropriately for the task set;
- shooting material appropriate to the task set; including controlled use of the camera, attention to framing, variety of shot distance and close attention to mise-en-scene;
- using editing so that meaning is apparent to the viewer and making selective and appropriate use of shot transitions and other effects.
Level 4: 48 - 60 marks
There is evidence of excellence in the creative use of most of the following technical skills:
- producing material appropriate for the target audience and task;
- using titles appropriately according to institutional conventions;
- using sound with images and editing appropriately for the task set;
- shooting material appropriate to the task set; including controlled use of the camera, attention to framing, variety of shot distance and close attention to mise-en-scene;
- using editing so that meaning is apparent to the viewer and making selective and appropriate use of shot transitions and other effects.
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