Poster Ideas

This is my first poster idea. I feel that for a film of this type the most fitting poster should include only the most important details and even those should be included sparingly. As a result this example has only the title, release date and a quote from the dialogue serving as a tag line. The latter being at the very top with the first to being at the very bottom resulting in an space void of text in the middle which will attract the eye of of the potential audience to the images much more. The images are of various screen shots of different scenes from within the film with each shot of the same scene put into a vertical line so as to somewhat resemble actual film from a video camera.

This is the simplest yet quite effective in terms of its effect upon the audience. Again, it contains a still of a scene within the film and the title and release date but apart from that offers no real indication as to what the narrative is about. This will intrigue the viewer as they will want to find out more.

My final idea takes the form of a missing persons poster. Unlike the others it does not feature stills from the film or the films title, however it does feature information that taints the potential audience member as to the nature and content of the narrative unlike the others. Although this is much unlike the conventional film poster I feel that it will have just as much, if not more, of an impact and influence upon potential audiences members and the style is especially fitting to this type of film and its genre.

Film Poster Analysis

Film posters are an integral and intricate aspect of a films marketing strategy and even so are still almost discarded by a potential viewers conciousness, for this reason posters have to appeal to their subconscious whilst displaying enough information for them to deduct to an extent what the films narrative is about but also at the same time keeping some semblance of mystery so that they will want to see it. Here, I have analysed how three film posters from different genres do just this.

*Due to their size the images need to be clicked in able to view them as a whole and at a more readable size.

[REC]

Found footage / Horror

 

(500) Days of Summer

Rom-Com

 

The Rules of Attraction

Drama

 

Evaluation

Like all good texts I feel that my completed media product both follows and challenges the conventions of real media products within this genre. As is commonplace in film making in this time, the majority of successful films follow all of the right conventions, so as to please and stimulate the audience's imagination to what they associate expect of that specific genre, but also challenges them so to slightly reinvent and surpass expectations of the audience each time and to prevent the genre falling into too much of a platitudinous pattern.

With regards to my text it principally follows the 'bigger' conventions not only within its primary genre of found footage but also within those of its secondary genres of thriller, horror, and short film. Some of these include: The inclusion of a 'token' female who is portrayed as weak and defenceless which is more commonly linked to thrillers / horrors. Perhaps the two biggest conventions followed were pushing the boundaries of 'suspension of disbelief' and the fact that there is no definitive dénouement, the two of which are strongly linked to the found footage genre and without them the genre would not be the same.

Of course, some of the lesser conventions were also challenged, which was to be expected even before the narrative had been thought of as the found footage genre and short films happen to be two of the most 'stubborn' areas of film as their conventions so often contradict each other. Possibly the biggest convention of the short film that was challenged was the area of  sound. Sound is generally used much more copiously as there is only a fraction of the time available compared to that in feature films and sound, especially non-diagetic, can goad an audience into thinking / feeling a certain way towards a character / event much  quicker and smoother format than lines of dialogue can. Challenging this, my text contained an absence of non-diagetic sound as, following the conventions of the found footage genre, everything within the narrative is presented as real and outside of the film world, the addition of non-diagetic sound shatter the intended realism of the film and the suspension of disbelief becomes no longer intact.

After I had completed the editing of my text to the required five minutes in length I showed it to various friends and acquaintances in the hope of merely gaining an unbiased opinion of the overall product and narrative rather than anything else. However, the feedback from the majority of the people seemed to continuously point to the same small areas that they considered could be changed for the better. I took note of this and re-watched my text and discovered that their suggestions may actually change my film in a positive manner, I therefore made edits to my text for the final time. One of the two things changed was the small matter of changing a few words upon the opening title card as it was originally deemed to be rather ambiguous in meaning. The second being the bigger matter of shortening the ''electrical interference'' effect in the penultimate scene as it originally occurred continuously throughout the scene which made it difficult to see what was happening. Below are some screen shots of before and after the edit of this scene, in the after shot you can see how much clearer the scene becomes with the decrease in the effect.

The audience feedback enabled me to see slight errors and amend certain aspects that would have undoubtedly gone unnoticed without a third party involvement. I feel that this shows the importance of audience feedback as even if I hadn't have been able to go back and revise my text I would receive invaluable information to assist me in the making of my next production.

It is more than fair to suggest that without media technologies the execution and completion of this project would not have been at all possible. Below are examples of the most prominent of the technologies I happened to use.

Adobe Premier Elements & Video Camera
This is the editing software that enabled me to gather together all of my raw footage, which I first collected with the video camera, and construct it into a fully functional linear and comprehensible text during post-production.

Youtube
This website proved to be an invaluable tool that accompanied me throughout the research process. Here, I was able to gain access to various short films of all genres and analyse them which provided a great insight and knowledge into the conventions of these films and their genres as well as the pattern of audience feedback associated with each, both of which proved to be of extensive help as I embarked upon the making of my own text.

My Blog
Throughout the planning and evaluation stages my blog, and of course the internet, has shown to be one of the most useful outlets in terms of digital technologies. Through this I was able to accumulate  all of my work for my short film into one place which added simplicity and organisation to each of these stages as all information was made quickly and easily accessible. I feel that this had a positive effect upon all of my written work surrounding this project overall as previous works were easily referable which meant that all successive works were more coherent and detailed.

Mood Board

This is a collection of images that reflect the mood that I intend my production to have and reflect upon its audience. The moods being - Fear and darkness.

Filming Completed

Yesterday, keeping to the revised schedule, we completed filming for all scenes in both locations. Overall the filming went well and only took a few hours, however some problems did arise.

Problems
The main problem we faced was linked to the shooting of the exterior scenes in Bursted Woods. We had originally planned to arrive there in the early evening so it would be dark enough to create the right atmosphere but light enough to film deep in the woods, however the interior scenes had taken longer than expected so by the time we arrived it was approaching 9pm and, even with night vision turned on, too dark to see anything captured on camera apart from close ups. This happened with my AS project and the resolution we found was to film of the edge of the woods close to the road and shops which then gave a small amount of light and just enough to film the scenes. Unfortunately though, we could not do the same with this project as the camera needed to be quite the distance away from the characters to achieve a long shot. After some time of thinking and walking around the area we found the ideal solution - We used the road leading to the hospital. The road had street lamps spaciously place so this gave us just the right amount of light and, especially at this time of night, the road was hardly used by vehicles so this would give us enough time to film, privacy and lack of interruptions - or so we thought.

To film the scene I and another cast member hid by the side of the rode and slightly in the woods so we would be out of shot, the camera was placed in the road whilst the two characters involved in the scene were on the opposite side of the road. It seemed that every time we were almost finished with the scene a car came from the hospital so the actors had to quickly move from the road and the camera had to be retrieved so it was not damaged.

After this happened quite a few times it became frustrating so I told the actors to keep going with the scene for as long as they could until it was absolutely necessary that they had to move from the path of the car - this is when the biggest, but in the end the most helpful, problem arose. The scene was almost finished, the female character, Jennifer, is laying lifeless on the floor with the male character, Pelé,  in a white mask kneeling over her with his hands around her neck, at this moment a car came from the hospital but, as told, the actors remained in character until necessary. As the car came closer and slowed down Pelé ran out of its path into the wood but Jennifer had not yet noticed so was still in character lying lifeless on the floor as the car manoeuvred past her. After the car had gone we laughed about it and looked at the footage we had got to see if we could use any of it, everyone was with the camera on one side of the road except for Pelé who was on the other trying to fix his mask as it had snapped when he ran. At this moment another car drove up the road - a Police car. They stopped beside Pelé and immediately started asking him questions, another Police car also drove up, we all went over to see what was happening and when they saw the rest of us they looked surprised and said they had received a call about "A man in a mask attacking a girl", we came to the conclusion that the previous car must have celled them, after we had told them that we were actually filming a scene for my Media project they found it quite humorous and said the acting must have been convincing. After that, one of the Police cars stayed just long enough for us to finish filming the scene without any interruptions.

Filming

Filming could not be done at all today as all cast members had to stay behind in school to complete drama coursework and planning for their show. This was unforeseen and also due to other commitments filming can no longer take place on Friday 15th January either. We have all talked about this and have set a definite date to film all scenes on Tuesday 19th January.

Location List

Residential House
For all interior scenes we will use the same residential house. This is not for convenience purposes but due to the fact that the décor throughout has an extremely traditional and almost 'old' feel to it. This is thoroughly important to the mise-en-scene as I feel that we would not be able to create the same intensity of fear and suspense within the viewer if we had used a more 'modernly' decorated house. Also, the house belongs to one of the cast members, Jennifer, so we can use her actual bedroom as the location for her character's as in the script all interior scenes take place in her house.


Bursted Woods
All exterior scenes shall be shot in Bursted woods, the same location used for the woods in my AS level Media project. It is an expansive wooded area surrounding a hospital. I chose this location as I and the cast members know it well and the location is perfect for achieving the eerie feel we want to match the action in these scenes.


Railway Bridge
For the final scene with the masked character I have chosen a small footbridge above the railway near Bursted Woods. I also used this location for a scene in my AS Media project as the natural lighting in the area transfers as a great effect on camera.

Filming Schedule

When planning my AS level project last year we did not 'draw up' a filming schedule or location list of any kind and as a result the filming wasn't completed until the night before it had to be due in. This caused problems because one of the cast members couldn't film at that time so we had to find another person with just a couple of hours notice. Also, we had to shoot all scenes within a few hours and scramble around to find suitable locations in close distance of each other. To avoid this I have decided to create a definitive schedule and location list for this project.

Wednesday 13th January 2010
After dark on this day we plan to film all of the interior scenes which add up to a majority of the scenes overall. Shooting will take place in the residential house location that we have already secured.

Friday 15th January 2010
Again after dark, we will film the exterior scenes in quiet secluded wooded area so to match the ''eerie'' feel of surroundings and the helplessness of the character that is often prevalent in this type of film.

Script

A title card reads: The following events occurred from Friday 5th May to Sunday 7th May 2006 in London, England. The individuals contained withing it are at present "Missing presumed dead" by the governing authorities after an extensive manhunt to locate their whereabouts.

The footage was originally discovered at the scene by police and was initially taken as evidence. However, it was later seized by certain individuals who are outside the authority and laws of the British government.

INT. HALLWAY. NIGHT.

Two males are standing in front of a mirror. The slightly larger of the two has a small hand held video camera and is aimlessly recording.

From upstairs there is a faint sound of raised voices.

GAVIN

So it's working?

GARY

Yeah, I think so.

(Talking to himself)

Is it working? Is it working?

(Now talking to the camera)

Hello?

GAVIN

(Also talking to the camera)

Hello.

GARY

Hello hello hello. Oh look

GARY is now moving the camera backwards and forwards closer to the mirror.

GARY (cont)

Zoom. Zoom. Zooooom.

GAVIN

There's a button for that. I think it's there.

GAVIN points to the zoom button.

GARY

That one?

GAVIN

Yeah.

GARY begins using the zoom button but is also still moving the camera backwards and forwards.

GARY

Oh yeah! Zoom. Zooooom.

GAVIN

(Talking over GARY)

There's no need to move the camera. Stop moving the camera.

GARY complies.

GARY

(In a disheartened tone)

Okay.

GAVIN

(Realising there is nothing else to do)

Okay. Erm..

The raised voices has now become louder and more distinguishable. GAVIN notices this and looks up at the ceiling. GARY is oblivious to the sounds above him and looks at GAVIN.

GARY

What do we do now?

Knowing that the voices are coming from his twin sister JENNIFER and her boyfriend PELE a mischievous look appears on GAVIN'S face.

GAVIN

I think we should go upstairs..

INT. STAIRCASE. NIGHT

GAVIN and GARY ascend the stairs. GARY is in front still holding the camera.

GARY

Sh!

GAVIN

Hold on, are they arguing?

GAVIN and GARY are now close enough to hear PELÉ and JENNIFER arguing in JENNIFER'S room.

PELÉ

It's just a bit of cardboard.

JENNIFER

Look Pel, I've seen the programmes and I know what happens and I know that things go wrong and I don't want that happening to us. It does happen!

INT. UPSTAIRS HALLWAY. NIGHT.

GARY and GAVIN have now reached the top of the stairs and are close enough to the room to be able to get PELÉ into shot through the open door.

PELÉ

(In a condescending tone)

I brought it off of ebay!

JENNIFER

(Now more irate)

That doesn't make it any better!

PELÉ

Oh for God's sake. It was 2 quid, it's a piece of cardboard. It's not real it's a piece of card I want to scare the people that we're with. It's not real okay, it's fake, FAKE.

GARY and GAVIN are now filming in the doorway of the room with both PELE and JENNIFER in shot. They have not yet been noticed.

JENNIFER

(Now holding onto PELÉ'S arms)

Yes but you don't know, something could happen!

PELÉ

(Angered that she is being so pathetic)

What? Your Mum could slip on an ice cube? That's not because of the bloody board!

JENNIFER

But you don't know that!

PELÉ has now noticed GAVIN is filming them.

PELÉ

(To GARY)

Look just give us a second mate.

PELE shuts the door.

PELÉ (cont'd)

Gary just give us a second.

The door has not been shut properly so begins to open again. This time GARY just films them both through the opening in the door.

JENNIFER

Pele you should understand.

PELÉ

Listen, okay. I understand, I know you're scared, all I'm asking you is to just seriously grow up ust for 5 minutes and lets do this. Are you with me?

JENNIFER

If something bad happens then -

They both begin to walk towards the door.

PELÉ

(Interrupting JENNIFER)

If something bad happens then I tell you what -

JENNIFER

(Interrupting PELÉ)

- I blame you!

PELE

-I owe you a drink.

PELÉ has now noticed that GARY was still filming them.

PELE (CONT'D)

(To GARY in a mock angry manner and shutting the door on him)

Get out!

INT. STAIRCASE. NIGHT.

All four characters are now descending the stairs. GARY is leading the way with the camera and is still filming although unaware of this as it is pointed downwards.

JENNIFER

I'm only doing this for about five minutes.

PELÉ

Okay. That's all I ask. All I ask for.

GARY

(Mocking JENNIFER)

Ooooooh five minutes!

JENNIFER

(Ignoring GARY and replying to PELÉ)

Yeah. Okay then.

GAVIN

Can you guys not argue over the top of my head?

JENNIFER

Well we're not arguing it's just -

GAVIN

(Interrupting JENNIFER, in a sarcastic tone)

Right, yeah.

*Jump cut to indicate time has passed / Footage has been cut*

INT. LIVING ROOM. NIGHT.

All four characters are now sitting cross legged at a corner of a small table. The table has a Ouija Board on it with a glass in the middle. GARY has set the camera down on the sofa so everyone is in shot with the table in the center of the frame.

JENNIFER

I..feel really nervous about this.

GAVIN

I don't think I'm comfortable with this.

GARY

There's nothing to it!

GARY places his finger on the glass.

GARY (CONT)

You just put your hand on it and then it just goes!

Everone is silent for a moment.

GARY (CONT)

What's so hard?

PELE

(In an almost inspirational tone)

Guys, look, we don't need to be comfortable, we don't need to be nervous, we just need to do it. Okay?

PELE puts his finger on the glass.

GAVIN

(Agitated. Pulls PELE'S hand away from the glass)

No we don't need to do this aand I'm hot by the fire so I think I'm  just going to go.

GARY now begins to mock GAVIN by making chicken noises.

PELE

(Loud enough to be heard over GARY)

Gav come on! Come on mate.

JENNIFER

(Loud enough to be heard over GARY and PELE)

You're letting Gavin go!

GARY has now added ''wing'' actions to his chicken noises. GAVIN stands up.

PELÉ

Don't be stupid. Look, we're doing it, it's a piece of cardboard, seriously.

JENNIFER

(To GARY, talking over PELE and GAVIN)

Aren't you nervous?

GARY

No it's fine, you just put your bloody hand on it!

GAVIN

I'm not being stupid it's just...I'll watch I'm not going to leave you, I just -

PELÉ

(Interrupting GAVIN and is now annoyed how it bothers him so much)

No, no, it's fine. It's absolutely fine -

GAVIN

(Interrupting PELÉ)

- I just don't want to be involved in it, if you all die and I survive

PELÉ

(Interrupting GAVIN)

No it's fine alright it's absolutely fine.

GAVIN has now moved out of shot but is still in the room.

PELÉ (CONT'D)

You're paranoid, you're scared.

GARY

Take your feathers with you on the way out.

GARY has begun to make chicken noises again.

JENNIFER

Oh leave him alone! I respect it.

Offscreen the sound of a door opening and closing can be heard. GAVIN has now left the room.

GARY

(Mocking JENNIFER)

I respect him for that. I respect him for that.

JENNIFER

Eugh. Shut up.

Jump cut to indicate time has passed / footage has been cut but still the same scene.

The characters now take it in turns to ask the board questions - both serious and mocking questions.

*Actor Improvisation*

Various jump cuts are used also to indicate time has passed / footage has been cut.

After time has passed and various questions asked the sound is cut and the images captured on camera are distorted and flicker so to resemble electrical interference. This continues for a few seconds and as soon as it stops the smashing of a glass is heard in another room. All characters stop what they are doing and freeze. A look of shock, fear and surprise appears on JENNIFER'S face.

JENNIFER

(Not knowing what to make of the situation)

What was that?

GARY gets up and grabs the video camera. PELÉ also begins to stand.

PELÉ

(Also not know how to react or how the answer the question)

It's alright. It'll be nothing.

INT. KITCHEN. NIGHT.

Scene is intended to be one long continuous shot.

The three characters have no assembled at the doorway to the kitchen, where the sound came from. PELE and JENNIFER are in front whilst GARY is behind them.

*Mix of scripted and improvisation*

JENNIFER

(Pulling Pelé back by his arm)

I told you something bad was going to happen!

GARY

(Mumbling and pushing his way through to the kitchen)

Oh shut up. Move.

JENNIFER

Pele I don't want you going out there, let Gary go!

GARY

Oh, so it's alright for me to go is it?

We can see a smashed glass in the middle of the floor and the camera zooms in.

JENNIFER

(In a defenseless but almost apologetic way)

Oh...well..I'm not going out with you.

GARY

(Talking quietly to himself whilst zooming in on the broken glass)

What is that? What the hell is that? Where did it come from?

JENNIFER

(Not believing it but hopeful)

Do you think it was Gavin?

PELE

Gav! Gavin! Come in here!

GAVIN enters the kitchen.

GAVIN

(Unaware of what has happened)

What?

The other three characters are silent for a moment and look at GAVIN.

GARY

Did you did this?

Tension and tempers flare between all of the characters and they begin to argue about what has happened and who or what could have done it.

 *Actor Improvisation*

JENNIFER

Wait, I really don't think Gavin did do it, he was just as freaked out as I was!

GARY turns the camera so he is looking into the lens and shakes his head in disbelief.

PELÉ

(Willing to agree with Jennifer to end the argument)

Okay...that's fine, if he said he didn't do it -

GAVIN

(Interrupting Pele)

I didn't do it!

JENNIFER

(Getting almost hysterical)

So who did do it?!

GARY

(Pointing the camera at Jennifer and Pele)

Well...all three of us were in the room.

GARY now points the camera at GAVIN.

PELÉ

Gary, is the window open? Can you check the window?

JENNIFER

Gary stop filming!

GARY zooms in on GAVIN.

GAVIN

(Annoyed that he is still being blamed. To Gary.)

Fuck you!

PELÉ

Gary! Can you check if the window is open please?

GARY turns to the window and moves the curtains to check the window.

GARY

It's only open a little bit.

PELÉ

Well maybe there was a breeze okay? That's all I'm saying, maybe there was a breeze.

GARY and JENNIFER talk over each other upon hearing PELÉ'S explanation.

GARY

What, a breeze from over here that smashes a glass over there?

JENNIFER

Well it must have been a bloody big breeze!

PELÉ

(Slightly embarrassed as he realises the ridiculousness of his suggestion)

Well has anyone else got a better explanation? please, come on!

GARY

Erm...maybe -

Again, GARY points the camera directly at GAVIN.

GARY (CONT)

He did it!

GARY begins moving the camera backwards and forwards closer to GAVIN'S face as a zoom like in the first scene.

GARY (CONT)

(In a childish manner.)

See! I'm doing the thing that annoys you, even though there's a button and I don't have to!

GAVIN walks towards the camera puts his hand in front of the lens and pushes it down.

INT. LIVING ROOM. NIGHT.

All characters are now returning to the living room. GARY is leading.

GARY

Very funny Gavin, very funny.

GARY places the camera back on the sofa into the position it was before so that all characters and the Ouija board are in frame. All characters are standing so only their legs are in shot.

JENNIFER

I really don't think it was Gavin, I think we should stop blaming him.

PELE

(With hands on the Ouija board)

Okay Gav, you're off the hook lets go again.

JENNIFER

I don't want to do it again and neither does Gavin.

GARY seems oblivious to what is going on around him and sits back in the same position and place at the table that he was before, looking at the camera to make sure it is straight.

PELE

Neither does Gavin? You can't speak for Gavin.

JENNIFER

I can speak for Gavin.

GAVIN

I don't want to do it, so..

PELE

Alright. If you don't want to you don't have to be here. Leave.

JENNIFER

It's my house!

PELE

I'm not talking to you, I'm talking to Gavin!

JENNIFER

He's my brother!

PELE

Well he doesn't have to be here, does he?

GARY now gets up.

GARY

He's her brother and he's such a -

GAVIN

(Interrupting Gary.)

I sort of do because I live here.

GARY

- chicken!

GARY begins making chicken noises and movements like before.

JENNIFER

(To Gary.)

Stop winding him up!

GAVIN

He's just being a dick.

PELE

Right, so no one is doing this, no one is doing this is that what we're saying? Everyone's chickening out because -

GAVIN

(Interrupting Pele.)

Well we're not doing it!

PELE

- because of a glass?!

JENNIFER

(To Pele.)

Are you not freaked out by that?

PELE

(In disbelief.)

No.

Jump cut to indicate time has passed / footage has been deleted.

JENNIFER, PELE and GARY are now sitting around the table and in the same positions as before. GAVIN is standing by the kitchen door, his legs are just in shot.

GARY touches his finger on top of the glass.

GARY

Will I -

GAVIN

(Interrupting Gary.)

Ask it why we're still doing this.

Jump cut to indicate time has passed / footage has been deleted.

GARY is still playing around with the glass and mumbling questions to the board.

PELE

Listen, if you don't like it, if it's scaring you, why are you here?

GAVIN

(Ignoring Pele.)

Are you guys both wankers?

GAVIN moves the glass whilst GARY is still touching it and slides it over to 'yes'.

GAVIN (cont)

(Mock surprise and bewilderment.)

Wowwww.

PELE and GARY choose to ignore him. JENNIFER is looking away in a daze. GAVIN walks towards the camera.

GAVIN (CONT)

I'm leaving. I'm tired of this shit.

GARY

Why?

GAVIN

Because I am! And I'm taking my camera with me.

GARY

(Like a child who's toy has been taken.)

No...wha...I've been using -

PELE

(To Gary.)

Forget about the bloody camera.

GARY tries to take the camera from GAVIN. This isn't caught on camera as GAVIN isn't as eager in filming every moment like GARY. Instead, the camera is by GAVIN'S side and is filming downwards.

GARY

(To Gavin.)

Give me-

GAVIN

(Interrupting Gary.)

No get off!

GARY

Just give me the camera!

GAVIN

It's my camera!

PELE

Seriously just forget about the camera, don't worry about the camera.

GARY has yet again referred back to making chicken noises and actions.

JENNIFER

I'm going to go with him. You didn't listen to me, weird stuff has happened.

PELE

Oh thanks Jen, thanks.

JENNIFER

(Angry.)

I didn't want to do this anyway!

PELE

(Sarcastically.)

Yeah, thanks for the support. See you later.

GAVIN and JENNIFER leave the living room.

Fade to black.

A title card reads: Saturday 6th May 2006. Footage from this day was deemed too 'sensitive' to remain on record and subsequently destroyed. However, based on accounts and investigation it is clear that the disappearance of both Gavin Qaphsiel and Gary Bathin occurred on this date.

INT. KITCHEN. NIGHT.

JENNIFER is standing in the kitchen with her back to the doorway. The camera moves towards her. We do not yet who is behind it. For a few seconds the sound is cut and the image distorted and blurred so to resemble electrical interference. The camera is set down upon the table close to JENNIFER. The curtains are blowing lightly from the breeze of an open window. PELE emerges from behind the camera puts his hand over JENNIFER'S mouth and drags her away.

EXT. WOODS. NIGHT.

The sound is cut and the image is distorted and blurred so to reflect electrical interference.

PELE is wearing a white mask holding the video camera in one hand and dragging JENNIFER along with the other. He places the camera on the floor. JENNIFER tries to run but PELE catches up with her after a few paces. The image is no longer distorted and blurred but there is still no sound. PELE grabs JENNIFER and throws her to the floor. He kneels over her with his hands around her throat and strangles her. 

Jump cut to indicate time has passed / footage has been deleted.

Sound has returned. PELE is now standing to the left of JENNIFER'S body, he is still for a moment and then turns, runs towards the camera and picks it up.

Fade to black.

EXT. BRIDGE. NIGHT.

The camera has been placed on the floor with PELE to the center right of the frame. He sits on the floor of a bridge with his legs close to his chest and his hands together on his knees. He screams.

Jump cut to indicate time has passed / footage has been deleted.

PELE is in the same position except now he has a hand on each temple and is rocking back and forth.

Fade to black.

Character Profiles

Name: Pelé Paimon

Sex: Male

Age: 18

Occupation: Student

Character Role: Round

Character Relations: Boyfriend of Jennifer Quaphsiel. Best friend of Gavin Quaphsiel and Gary Bathin.

Pele has a sense of leadership surrounding him and is therefore the most dominant member of the group opinion wise. He originally comes from a working class background but was adopted at a young age into a family with above average income. Adoptive parents both work in the medical profession and as a result Pele wants to attend medical school and follow in their footsteps.

Pele has been friends with Jennifer, Gavin and Gary since childhood as their parents are close friends and they have attended the same schools since nursery. He is a calm, confident and determined character.

Name: Jennifer Quaphsiel

Sex: Female

Age: 17

Character Role: Static / Stock

Character Relations: Girlfriend of Pele Paimon. Twin sister of Gavin Quaphsiel. Friend of Gary Bathin.
From a young age Jennifer has wanted to become a lawyer, as a result of this desired career profession she is not ‘easily led’ or gullible. Even though she has a level of high intelligence her common sense is lacking and therefore at times can seem a little ditzy and dumb. Her father is a film director, her mother is a writer - As a result they travel a lot and she and her brother are often left at home to look after themselves.

Exceedingly close with her twin brother Gavin whom she tells everything to. As children they were inseparable which is why she also has a strong friendship with her brother’s best friends Gary and Pele who later became her boyfriend.

Name: Gavin Quaphsiel

Sex: Male

Age: 17

Character Role: Static

Character Relations: Twin brother of Jennifer Quaphsiel. Best friend of Pele Paimon and Gary Bathin.

The most calm and level-headed character, he is not easily led and is determined for his opinions to be heard and listened to. Very literary minded and has hopes to study literature at Oxbridge and eventually become a journalist or critic. Comes from a middle class family and he and his sister usually get whatever they want but are not pretentious or ‘bratty’ about their financial state and are quite grounded.

Close to his twin sister and only sibling. Has known best friends Gary and Pele since childhood.

Name: Gary Bathin

Sex: Male

Age: 18

Character Role: Flat

Character Relations: Friend of Jennifer Quaphsiel. Best friend of Gavin Quaphsiel and Pele Paimon.

The most immature member of the group, Gary is a joker and likes to play tricks on his friends. He comes from a middle class family and is the only male child with three younger and two older sisters. His mother inherited a small fortune and as a result does not work, his father is the CEO of a company. As the only son Gary is constantly spoilt by his parents and gets whatever he wants and thinks this should be true in every aspect of life. Unlike the other characters he is pretentious, not very strong academically and has no firm career aspirations apart from ‘being rich’.

Has known Gavin, Pele and Jennifer since childhood which would explain why they put up with his personality and outlook of the world as they have known him almost their whole life.
  

Notes on the characters' names:

• Paimon - In Christian demonology Paimon is one of the kings of hell and the most obedient king to Lucifer. He also has 200 legions of demons under his control. This shows why the character of Pelé is more susceptible to possession and is the strongest both physically and mentally.
• Quaphsiel -   In ancient Hebrew, Quaphsiel is the angel that guards the seventh heavenly hall and is invoked to drive away enemies, namely demons. It is fitting that this is the surname of the twins as they are the two characters who are against using the Ouija board and warn the others of what dangers there could be.
• Bathin - In Christian demonology Bathin is a Duke of hell who can bring a man from one country to another. Also, the demon Bathin is prone to lies and is often difficult for one to determine when he is being truthful. This is fitting for the character of Gary as, although it isn't explicitly stated in the narrative, he is involved in the disappearance of Gavin Quaphsiel and, personality trait wise, is a liar.

Inspirations

Mike Leigh
Mike Leigh is a British film and theatre writer and director famed for his commencing his works without a script and creating a storyline through lengthy improvisations that take place over a series of weeks. He starts with a brief idea of how he imagines the narrative might develop and only reveals this to the actors within the project when it is integral to their character development and captures their 'realist' responses.

The Blair Witch Project / Cloverfield / REC
These three contemporary films all belong to the found footage genre. All three involve 100% or a majority of improvisation which is a great effect as at times their reactions to certain events within the narrative mimic those of the audience which gives them something to relate to. All were also met with phenomenal success both critically and audience wise and are a prime example of what can be achieved in this genre with simple originality and the following and breaking the right conventions.

  
How They Relate To My Project
Taking note from Mike Leigh and the three feature films I will give my actors a brief summary of the entire plot and the conclusion that I want each scene to reach and what paths I want to be taken to get there whilst letting them have otherwise free rein over their actions and dialogue. Therefore the majority of the content in 'Deamons' shall be improvisation from the actors as I feel this will make the performances much more believable and enable the text to have a stronger sense of realism and relatability to the audience that is so important and sought after in this specific genre.

Synopsis

Synopsis

My short film within the found footage, thriller, horror genre is going to be called Daemons. The narrative of my film will revolve around a small group of four friends - Jennifer, Gary, Pele and Gavin - who decide to use / play with an Ouija board.

We will follow: Their reactions and feelings before the event of using the Ouija board / how they feel and what they are doing during the event / What happens during the even and what causes some of them to leave / What happens the subsequent days as a result of the 'consequences' of 'messing' with the board. The film will be presented as if found by an outside source and made it public for people to be made aware of what really happened over the respective days that each of the characters disappeared.

Following conventions, Daemons will only involve four main characters in locations, which in this case will be a house and woods, that are far from a lot of people and as a result - help.

The only female character within the narrative is reluctant to take part as she believes that there are consequences and that there really is truth in the theory that Ouija boards can be used to contact the dead / spirits and can open some sort of 'doorway' between the worlds that can result in negative things happening to all those involved in the process. Two of the male characters - Her boyfriend Pele and his friend Gary, are enthusiastic about using the board are un-phased by the possible negative outcomes and are almost forceful into goading the female into it. Her twin bother Gavin is also present and is also uneasy about the board, he chooses not to be involved and leaves. The three left begin and after time has passed they hear a smash and run out to see what has happened. Scared and confused they blame it on Gavin who comes downstairs and remains adamant that he did not smash anything. They all argue. After a short time has passed they go back to the room with the Oiuja board, the twins don't want to continue and try to persuade the others not to either. Again, they are met with ridicule so they leave and take the camera with them.

A title screen will then be shown with text saying that Gavin and Gary disappeared the next day but footage from the event was too sensitive too be shown and was therefore destroyed. The video camera belongs to Gavin which explains why the incident surrounding his disappearance is on camera but not why Gary's is also or how, in the next scene, Pele has the camera. The explanation for this which is not going to be explicitly stated in the film is that Gary and Pele are the cause of the disappearance and have been 'possessed' by demons as a result of 'opening a door' when they used the Ouija board.

The third and final day will show the character of Jennifer being kidnapped and killed by a possessed Pele in the middle of a wooded area. This is where the film will end.

Notes

• Daemons will be presented as if found by an unknown source who took it from the possession of an unknown agency who are answerable almost to no one and have the authority to operate outside the laws of the British government.
• This unknown agency in turn confiscated the footage from British Police possession and edited out certain parts, this will explain the absence of some footage and the excessive jump cuts seen throughout the final product.
• The unknown source has not edited the footage at all and has only included title cards explaining certain things. Apart from that, they published the footage as found.
• Of course, as is popular within this genre, more questions are posed throughout the duration of the text than are answered, which will most likely never explicitly be answered if at all, such as - Who are the unknown agency and why do they want the footage?, Why has it taken almost four years for the footage to be released?, With the overwhelming evidebce against certain characters why are they all being treated equally as missing persons and not criminals? These are just a few that the audience will be passively goaded into subconsciously asking. Others will also be posed but the nature of which will depend on the differing factors of upbringing, social status, life experience etc. of the audience, of which no two will be exactly matched ensuring a different outcome.

Target Audience

It is crucial for all film makers to have at least a basic idea of their target audience so that the production can better appeal to and meet their specific wants and desires met through the watching of a text.

Age
Late teens to mid / late twenties.
This genre however generally has a somewhat wider target audience, late teens to late twenties and even early thirties, however I feel that as the characters within the narrative are quite young and at the lower end of that target I presume that that will bring the overall target down as if there is too big of an age and generation gap from the characters to the audience then it will weaken the relatabilty and, indirectly, the suspension of disbelief that is so important remains completely intact with films of this genre than any other.

Gender
Predominantly male. 
Although, reaching outside the core audience, the inclusion of a sole female character with an otherwise male cast will appeal to this lesser reached demographic within the genre but also, at the same time, may exclude them as much like other genre specific texts the female portrayed isn't shown to be especially strong emotionally or physically and embodies the weak stereotype so often present in this genre.

Socio-Economic Group
If it were to follow the social class of the characters within the narrative then the target would A, or middle class - the clothing, mise-en-scene and vocal patterns show this. However, as most films within this genre, and the close genres of thriller and horror, generally appeal to mainly below this group so as a result the socio-economic group will be C1 through to E, or lower-middle class to working class.
( http://www.marketresearchworld.net/index.php?option=com_content&task=view&id=2918&Itemid=78 )

Ethnicity
Again, following the ethnicity of all of those within the narrative and the absence of any ethnic minority groups the specific target will predominately be Caucasians. However, generally speaking and reaching beyond the core audience, as there is no derogatory reference or discrimination to any other ethnic minority group within the narrative therefore all ethnic groups will be indirectly targeted.


Fan of the Genre?
Assumability and viewing patterns tell us that if an audience expresses a desire to see this film then they almost certainly already have knowledge of and are a fan of this specific genre and the genres of thriller and horror. As a result, the film maker can deduct from other alike films and audience responses what the target audience wants to see and cater specifically to their taste and need.
 

Research - Films Within the Same Genre

For research I also watched short films that belong to the same genre as the short film I am making.

No Title
http://www.youtube.com/watch?v=i5KW2d1OaFA

This was the first short film I watched and although it doesn't fit directly into the found footage genre it has a close resemblance to the narrative of my production. It follows three friends as they use or 'play' with a Ouija board. Although the main body of the film is the friends actually filming themselves whilst using the Ouija board rather than what happens before or after whereas I want to focus more on the aftermath. As the idea of this is close to my own it proves to be useful as I can see what works and what doesn't e.g what the viewers need to see more or less of / what camera angles to use or not / camera placement etc.

Unlike most short films this was unconventionally dialogue heavy, there was rarely a moment where a character wasn't talking which, for me, even though the film as a whole isn't very good, ruined it as I felt it was just too much. The character's accent played a huge part in this, there is a reason why so few characters with a Southern USA accent rarely appear or only make a small appearance in films. Also, another point about the sound - At times I could faintly hear a television in the background most likely in another room, It had no place within the narrative so I am quite sure this was accidental. This mistake ruins the otherwise obvious intended realism of the film  and breaks the suspension of disbelief.


It proved difficult trying to find short films within the found footage genre so as a result I looked to feature films as films within this specific genre have experienced a surge in popularity since the release of The Blair Witch Project.

Cloverfield (2008)
http://www.youtube.com/watch?v=ufYF0f-zMgY

Follows a small group of people as they try to escape a city that is being attacked.
Personally, I find this to be one of the best examples within the genre - it conforms to an amount of the conventions but also breaks them whilst still holding the suspension of disbelief perfectly. Cloverfield is more than likely the film with the biggest budget ever within this genre which is highly unusual as film makers generally feel that a bigger budget with this kind of film will ruin the realism aspect. The bigger budget is obvious through the use of special effects - explosions / gunfire / monsters. A big convention broken is that we actually see what the characters are running from rather than just hear it or have second-hand accounts from other characters within the narrative that have seen it out of shot. Another one is that the group of people we follow are in the middle of a city with hundreds of other people experiencing the same thing - conventionally events in this type of films happen in secluded country areas and empty houses where no-one else is aware of what is happening.
Unlike the other films I researched,Cloverfield had an actual cameraman working the camera as opposed to an actor and character within the story having control over it. To the viewer it seems as if the character has the camera but in the 'making of' featurette it is revealed to be a cameraman with the character always standing beside or behind him out or shot so his voice will be captured and he will appear to be in control of the camera. This is how I want to work my short film idea.

Paranormal Activity (2007)
http://www.youtube.com/watch?v=OSSqxrh5kp8

About a young couple who film their experience of and trying to deal with a 'Demon' in their house. This film was made with as little input from the director as possible, the actors were told what the director wanted the film to achieve and then let them improvise and have sole control of the camera. This was also the closest feature film storyline to that of my own short film.

The Blair Witch Project (1999)
http://www.youtube.com/watch?v=D51QgOHrCj0

The story revolves around three people making a documentary for their university project when they get lost in the woods. The characters in this also had control of the camera and dialogue was often impovised. Most of the reactions of the characters whilst they are in the woods is real as they were not told exactly what was going to happen as the creators wanted everything to appear realistic.

Closely following the conventions of this genre all actions within the narrative take place in the countryside and a secluded wood far from urban life. The relationships between the characters also becomes increasingly strained as the narrative reaches its dramatic climax and the atmosphere remains this way until the abrupt ending.

Research - Short films

To prepare for the production of my own short film I first had to watch some of the other short films out there:

Strangers
http://www.youtube.com/watch?v=RpjHSiQLPmA

The theme of this film is strength through unity.
Two strangers sit opposite each other on a subway train. One is Jewish and the other a Muslim. Neo-Nazis board the train and begin to taunt and intimidate the Muslim character whilst the Jewish character pretends he not to notice and ignores it whilst hiding his Star of David pendant. As the Jewish man is about to leave his cell phone rings, his ring tone is a song universally associated with Judaism - the Neo-Nazis now know his religion. After a tense pause from all concerned both men swap bags and tackle their way through the Neo-Nazis who then chase them along the carriage, the two men manage to escape and end up on opposite platforms whilst the Neo-Nazis are stuck on the train. The two men give a cheer, give each other back the right bag and continue on their separate ways.

This film had no dialogue whatsover apart from when the two main characters cheer at the end. The only other sounds heard were ambient sound in the form of the train along with the announcements and faint incidental music both when the Neo-Nazis first appeared and when the men are being chased by them. This added to the atmosphere of the entire film and amplified the intensity of the moment.

The Neo-Nazis spray painted a Swastika onto the newspaper the Muslim character was reading - Although originally used in Indian religions as an innocent religious symbol its infamous association with the Hitler period and Nazi Germany now means that semiotically the Swastika is seen as a sign of racism, both of its meanings are fitting for this film.

El Diablo Pinata
http://www.youtube.com/watch?v=Jpr24DEDRGI

The theme of this film is revenge and is dealt with in a somewhat satirical manner.
Like many thrillers this film involves the lead protagonist, or 'good guy', following the antagonist who has killed their loved one, the 'bad guy', and eventually the film will reach a climax wherein revenge will be carried out resulting in the death of the original killer, this film is no different - except the 'good guy' is a Piñata. 

Lighting plays an important factor in creating mood in this short. In the beginning, from the establishing shot, the colours are bright and mostly white which reflects the calmness and serenity of the character at that moment in time. Later when the antagonist has arrived at a friends house he is shaken, confused and scared as he has seen the protagonist almost everywhere he turns, the lighting has become noticeably darker. Then, in the final scene, when it has been revealed who the 'good guy' and the 'bad guy' really are (Which is the opposite to what the viewer is initially led to believe) and who the antagonist has killed, the protagonist (The Piñata) carries out his revenge. The lighting in this scene is much darker than ever before which reflects the imminent death of the character and the denouement of the narrative.

Sound balances the sombre mood said by the lighting. From the beginning happy upbeat non-diagetic music is heard that fits with the light colours. When the Piñata appears however, sinister non-diagetic music is heard. If this was a conventional thriller short film then this would add suspense and the viewer would feel fear for the boy, but as the so far assumed 'bad guy' is a Piñata it lightens the mood and adds humour. Also, when the credits roll we see a wall of the room where antagonist is being killed and we see blood spatter all over the walls, the happy upbeat music that began in the establishing shot has returned. The juxtaposition of this would usually seem out of place and incredibly disturbing but given the comedic nature of this piece it is rather fitting.

As is the case with many violent scenes in thrillers and horrors we do not actually see the act performed - we are steered into imagining that the act is being performed. The act is that of the antagonist is being killed and we are led to believe / imagine this through how the narrative has developed, the lighting and what we associate images of being gagged and blood with. He may not be being harmed at all, it is left up to our imagination. This method has been used to great effect in films such as Resovoir Dogs and The Texas Chainsaw Massacre.

This film was made by A level Film students. Although this was made by film students it was good to watch as I could see what people with or around the same level of knowledge of film making and what can be achieved.

Balance
http://www.youtube.com/watch?v=91bNp7HJolE 

The main theme of this film is greed.
This theme is displayed through five people standing on a platform with a music box on it. The box and the sounds coming from it are so alien and mysterious to these people that they all want it for themselves and will kill the others to get it. However, the platform is only level when there is the right amount of balance and weight distributed on it otherwise it tilts. When all but one of the people are left on the platform the music box is at the opposite end and therefore impossible to get to without the platform tilting and the box falling.

The colour theme is miserable and morbid, everything is a differing shade of grey with the box being a dark red. All of the people are dressed in exactly the same clothes and would be undistinguishable if it wasn't for the numbers printed on the back of their coats. As a result of this it is almost as if in effect they are killing themselves to get something they cannot have.


There is no dialogue or soundtrack whatsoever in this piece, the only sounds heard are diagetic and ambient - the creaking of the platform / music from the box / the sliding of the box. This enables the viewer to focus on what is happening and more emphasis is laid upon the mysterious box. The juxtaposition of 'happy' and upbeat music emanating from the box and the murderous content creates an eerie and disturbing feel that remains with the viewer until the end.

Special Delivery
http://www.youtube.com/watch?v=Vm1jqkCvQx8

This film deals with the themes of death, crime and infidelity.
Unlike the other films I have analysed, Special Delivery is an animated cartoon piece. Already this sets it apart significantly from the others as the characters within it are drawn so their movements / appearances are not restricted and do not have to look 100% realistic.

The narrative revolves around the death of a mail man after he slips on the icy steps of a couple's house after the husband didn't clear the steps even though his wife told him to do so. When the husband returns he sees the body of the mail man and quickly hides it as he fears he will be sued by the Union. He then covers his tracks so to speak by posing as the mail man so it looks like he finished his working day and doesn't create suspicion. When he returns home again he realises he is locked out and tries to climb through a window, the police spot and arrest him as they think he is breaking into the house, as the body of the mail man is in there he does not argue. The wife returns, sees the body and thinks the mail man has broken in to try and 'woo' her back after a brief affair they had and fallen asleep, not wanting her husband to find him to takes him home. When she realises he is actually dead she thinks her husband found out about the affair and killed the mail man, fearing death herself she runs away to start a new life.

The non-diagetic music that accompanies the opening titles have an eerie feel to them which when accompanied by a fairly neutral typeface and colour confuse the viewer as they cannot fully de-construct what the narrative is going to involve. However, as the titles fade the music becomes slightly more cheerful which heightens the viewers expectations of a 'happy' film. We are aware of what is happening within the narrative as a voice-over accompanies the images and narrates the story throughout. This is rather effective with regards to short films it would take a much longer time to fully understand and establish what is happening within the world of the narrative and the minds of the characters but with a narrator, especially one that is completely detached from the characters, we receive an un-biased and clearer account of events. We do not hear the dialogue between the characters clearly, rather it is just muffled sounds with the narrator summarising what they are saying.

The Handless Pianist
http://www.youtube.com/watch?v=GAArglZ60C0

This short film is about a man who is a double amputee and a former pianist.
It is presented solely in black and white, much like the keys of piano. The lack of colour could stand as a metaphor for that he is missing something integral to his life - his limbs and with it the ability to play the piano.
At one point the character is sitting in front of the piano and begins to hit the keys with his chin, the frustration that it doesn't sound right is shown upon his face, as his frustration becomes more intense so does the force at which he is hitting the keys which therefore make a much harder and more abrupt diagetic sound that reflects his emotions through sound. The same happens when he tries to play with his feet but this time his movements and frustration become even more erratic and as a result he falls to the floor. As he hits the floor the screen fades to black before the next shot is shown which implies that an amount of time has passed. The character then struggles to get up from the floor and back into the chair. When he has done so he imagines himself playing the piano again and what it would sound like, this is shown through the uses of animation with his arms and hands being drawn over the top of the live action scene so as to look like they are his. A musical piece of what it would sound like is then played. The animation and subsequent sound is effective as it enables the viewer to understand why the character holds so much frustration as they can now hear how he used to be able to play a piece music.

At first the camera movement is still but as the character's frustration builds so does the movement of the camera, it becomes somewhat more erratic to reflect his mood. When he falls the camera also gets to the same level on the floor and only goes back to its normal height when the character does so. The movements and angles finally become still and straight again when the character imagines himself playing the piano, this reflects the 'perfect moment' that the character is envisioning.

When the film ends and the final credits are shown the screen fades and all that can be seen is the keys of the piano and partially the character's face. This symbolises how important and central the piano is both to the narrative and to the character.

See You Soon
http://www.youtube.com/watch?v=PKZQzaahN3c

The theme this film encounters is death and vanity.
There is no introduction, from the very first shot we are thrust right into the action. The protagonist has been stabbed for reasons we do not know, this immediately grabs the viewers attention and entices them as they have no grasp as to the type of character the protagonist is or how he came to be in this situation, they just want to know 'why?'. Again, we are not explicitly shown the action of the stabbing we are shown a shot of the knife in somebody's hand and blood making a stain on the protagonist's shirt, from these two simple images we can semetically construct that he has been stabbed. After this short scene we are shown a black title card with the film's title. In the next scene we see the character walking along the street clutching his chest, as we see the street ahead from his point of view he is beginning to see things out of focus, this implies that he is weakening from his blood loss. The character reaches his home and instead of calling for help like one might expect, he goes to the bathroom and searches for something he cannot find he therefore goes to the supermarket. As he walks back home his vision is worsening and he is weakening, this is shown through him clutching his chest in pain, limping home and crawling through the front door. He again goes into the bathroom and it is shown what has been bought - shaving cream. The character begins shaving his face but with great difficulty as he is weakening. In the next and final scene he is putting on a suit when he has done so we see a close up of his face as he grins, now we realise he has been preparing and dressing himself for death.

This film is also presented solely in black & white. The light and dark tones reflect life and death. The protagonist is wearing white whilst his attacker is dressed in black so to symbolise him as the 'bringer of death'. Each time he enters his home there is a bright white surrounding him, as a bright white light is conventionally believed in this context to symbolise death and progression into heaven we can assume that he is getting closer to death, each time this is stronger. As the character 'dresses for death' the predominant colour of his attire is black which symbolises death, as he falls to the floor a bright white envelopes around him until the screen is completely white. The credits then begin to roll. Taking 'pointers' from how colour has been used throughout the film, we can assume he has died.

Events and happenings within the narrative are completely silent and the only sound heard throughout the film is incidental music in the form of an instrumental piece which remains almost the same until the final moments when it becomes louder and longer.

The film as a whole is unsettling - A man close to death would rather 'dress for the occasion' than to seek medical help and his close up satisfied grin to the camera when he has accomplished this is far more disturbing than the knife attack itself could ever be.