Friday, 23 March 2012

The Last Exorcism Trailer Deconstruction

'The Last Exorcism' teaser trailer explores the story of the possession of a teenage girl and her father’s fight for the soul of his daughter. The audience is introduced to this situation by the Reverend called on to perform the exorcism, the hook of the film is that although the exorcist has “performed over 50 exorcisms”, this is unlike anything he has ever seen. Its contextual relevance of this horror film comes from the use of a teenage main character and her demonic possession.

The teaser begins with the recognition of two institutions through the presence of idents. Lionsgate, Strike and Studio Canal are all featured, with usually only two used this is somewhat unconventional but suggests very high production values with three difference companies involved in fabrication.

The use of a conventionally attractive yet innocent looking main character features in both this trailer and in our own production. This is highlighted by the figures pale skin with little to no makeup, coupled with long, dark unstyled hair. The shots of these characters are also very similar, both represented through a facial close up. One slight difference is shot angle, this is interesting because of the characters’ very different role in each film. Where as in 'The Last Exorcism' this teenager becomes an object of demonic possession and therefore an antagonist, our production is the opposite. Our representation of an innocent girl is the idea of the ‘final girl’, a protagonist, the eventual survivor and eradicator of the demon. A high angled shot on the former is deceiving, convincing the audience of her apparent innocence. Our piece features a very slightly low angled shot on the character, demonstrating her power, though it may not be immediately apparent.

A use of weapon against a demon by protagonist is a common convention of horror films. In 'The Last Exorcism' this is fabrication through the use of a religious object, a crucifix, often thought to warn off the devil. This object suggests an idea that the possession is an on-going problem and there have been plans and preparations in order to deal with it. The use of a knife to protect a character against a demon suggests quite the opposite. This is a common household item that has more likely been grabbed in order at an attempt of self-preservation by the character. That lack of knowledge of the danger creates fear in the viewer.

In the trailer there is a short sample of the demon speaking through the possessed body, this is coupled with a close up very different to the shot we saw of the teenage girl earlier. She now appears someone completely different, no longer a sweet innocent girl but a brutal, bedraggled figure of evil. Her hair has been thrown over her face, suggesting she is on all four and has risen from the floor like an animal. This theme is continued through her stance with face tilted down, giving the feeling of a predator about to strike. One of own shots is comparable, a possession takes over as the character rolls her head, jolting from side to side.

Over the shoulder/close up shots of the character observes their possession in a mirror features in both productions. In 'The Last Exorcism' this is effectively achieved by a lack of focus on the actual character making her a background figure. The camera is actually focuses on the mirror itself and two crop ears laid against it; this creates fear because the threat cannot be properly evaluated because the audience is not allowed to see it clearly. The mirror itself is dirty, between this and the corn it suggests that she is in the family barn, in a rural area and therefore an idea of isolation. This isolation seems a lack of aid for other characters to protect themselves from this threat. Our own mirror shot demonstrates the effect physically of the demon on the character.

The bizarre, unnatural movements of a demon using human body is a feature used very commonly in possessive horror films, 'The Last Exorcism' is no exception. This action has been enhanced through the use of a vignette effect in order to create a shadow around the image. This implies that the figure is cast in torch light and there poses an immediate threat to the character holding the light/camera. A red filter has also been overlaid to give the idea of horror and a strong possibility of danger. The footage itself has been flipped so that it appears that the possessed is in fact crawling on the ceiling towards the audience; on closer inspection the angling of the door means that it is the camera that is upside down and not the character, this is supported by the position of her hair in relation to gravity. However, initially this creates an impossible and therefore supernaturally fearsome action. This suggests that maybe some home footage of the possession has gone wrong and the camera person has been forced to abandoned the camera, it has however continue to film and capture the true horror. In our production we also use the action of crawling. Doing this upstairs creates an animalistic quality and also very unnatural shapes, for example, the characters’ arms appear to be abnormally long.

- Meg

Also see... The Last Exorcism Poster Deconstruction

Thursday, 22 March 2012

The Devil Inside Poster Deconstruction

The title of ‘The Devil Inside’ immediate communicates to the viewer that this is possessive horror and that the character feature is the object of the possession. The use of the syntax ‘devil’ as opposed to demon means that there is going to be a prominent theme of religion, the audience rightly assumes that this concerns Catholicism, represented by the use of the cross.
The title also goes some way to explain the figure present on the poster. Her vacant eyes suggest that the ‘devil’ that has possessed her is not present and has left her weak. The audience cannot see who she is viewing, the lack of any feeling in her eyes implies that there may not even be anyone there and that there the devil has taken her sanity as well as her body.
Her uses two fingers to spread her bottom lip, revealing a deep scarred shaped as a cross. This could suggest one of a number of things all relating to the church. It could be that the possession has left her so weak that this is her only way of communicating her situation and that her disfigured herself for this reason. The communication may be that her situation is the fault of the church or that inside she is still devout, despite her possession. Another possibility is that the church did this to her in an attempt to banish the devil from her, the healing of the wound implies this is one of many attempts that has failed.
The poster itself appears to be a scratched photograph with the text imposed over it. Low saturation and increased noise on the editing of the key image create the feeling of an aged picture documenting the situation. This may be a primitive form of recorded possessions and exorcism, a theme frequent in modern supernatural horrors. This tells the audience that this issue is recurring and has been going on for very many years, judging from the poor condition of the photograph is may have been smuggled away and is any item that the maker wants to be kept secret.
The title features backwards character, this suggests a use of mirrors is either the cause or solution to the disruption. Films such as ‘Constantine’ have demonstrated a use of mirrors during the exorcism itself in order to trap and therefore defeat possessive demons. Where as other films such as ‘Mirrors’ have showed a more sinister associate with the item where the dead control and hurt the living through the portal of a mirror.
The tagline of ‘No soul is safe’ is short and memorable. This phrase implies that even through the horror may have been contained previously, some event in the film unleashes it and therefore poses a threat to everyone, and this is to scare the audience.
A red glow mingles in with the shadows in the background of the key image of that character’s face. The association with blood suggests that her scarred lip will no be the only wound sustained.
Character more important than text, this is demonstrated by the large proportion of space dedication to the main image and less than a quarter to the title and tagline.

- Meg

Wednesday, 21 March 2012

The Haunting in Connecticut Trailer Deconstruction

The teaser trailer of ‘The Haunting in Connecticut’ begins with the introduction the producers of the film. Idents for Lionsgate and Gold Circle feature exclusively in the first second of the production suggesting that it perhaps is a low production film with a main selling point of its narrative.
Immediately the first scene is establishes the location of the narrative and our starting point; a single parent family has moved to a new home. The rural setting and classic model of the only car featured implies isolation from others and therefore aid in the horror they will soon face. This is confirmed by the fact that she is a single mother; the absence of a male adult leaves them all at risk.

Instead of a voice over in the initial scenes, a conversation between the mother and a local demonstrate the suspiciousness of the situation. This is when the audience learns that the house is not as it seems and that the history of the house will lead to the disruption of the family.

A piece of particularly affective sound is featured during the first ‘scary bit’, at ten seconds one of the children steps through an old floor board. Between the moments of her breaking the board then hitting the floor there is an interesting whoosh, the trailer then cuts to black. This is paralleled in our production at around twenty-six seconds; the boom and blackout signals the sudden end of the soundtrack and the beginning of the use of the Ouija board. Both sounds show a presence of the supernatural. From this point the presence in both productions grows stronger.

From here on lighting completely changes. The environment demonstrates the mood, in the beginning there is excitement and hope of a new life, the scenes or full of warm natural light; this is sharply juxtaposed after the floorboard accident. Suddenly the light turns cold, flickering candles and a general lack of light means characters are cast in shadow. The darkness continues for the rest of the trailer to match the tone of disruption of the initial happiness the family felt.

A recurring feature throughout the production is a voiceover of key lines. The trailer dips in and out of the scenes the dialogue is from and often over laps onto other shots that demonstrate what is being said, for example the line “They held séances in this house” continues across three difference shots, an extreme close up of the main character holding photographs of a séance, the second is a character saying the dialogue, and then a variety of séance stills. This use of sound is effective because of the information is gives to the audience, some of the most interesting scenes can be seamlessly tied together.

One shot that we were interested in replicating shows a threat that the audience can see but the protagonist is currently unaware of. The unseen threat invokes helpless feelings in the viewer, the dramatic irony creates fear. The way this is done in ‘The Haunting in Connecticut is a dark reflection in a television screen; at situation that is relatable to by the viewer and is often a fear for example late at night after watching TV. Our idea was the entrance of an unknown figure through a door in the background with our main character in the foreground. Unfortunately the scene we created that was inspired by this shot failed because of the relatively poor entry level camera we used in comparison to that used to create a million dollar blockbuster.


 One shot from a séance scene of the trailer features a young man exhibiting a possession. As an known substance flows out of him mouth he makes small juddering movements possibly associated with the physical act of throwing up but also a signal of his possession. The last few second of our product feature a very similar effect with head rolling. These unnatural movements are jarring to the viewer, letting them know the supernatural is at play.

Often in films about the supernatural the spirit(s) attempt to communicate with the protagonist, more often than not as a warning of the danger they are in and of the power of the spirit and ability to cause harm. In ‘The Haunting in Connecticut’ this is done through the appearance of etching into a characters skin. Although the message cannot be identified in the short moment that is shown, both viewer and character realise the enormity to the threat posed. This visual is made more effective but the variety of shot shown of the wounds, something that we chose to replicate in our own production.


Common themes in possessive horrors are scene of attempted contact with spirits creating a feeling that actually these people brought it on themselves. Group gathering to perform this activity feature in this and our trailer and unites the characters in the taboo act.

- Meg

Also see... The Haunting in Connecticut Poster Deconstruction

The Haunting in Connecticut Poster Deconstruction

The very top segment features the phrase ‘based on true events’, something an audience may see as a unique selling point when deciding whether or not to pay to see the film. Not only will the film evoke a reaction in the viewer but because is ‘true’ it is that much more relatable to real life, make the horror that much more horrifying.
The eye is immediately drawn to the brightest portion of the poster, a triangle of light cast in a dark shadow. Religious connotations spring from the crucified stance of the figure in the centre of the triangle. This iconic position is unmistakable in its reference to the crucifixion of Jesus Christ; the audience knows therefore, that religion will play a part in the spiritual events. He appears to be floating, also indicating an association with the supernatural.
The main figure is wearing clothing is a style that suggests he lived at least a century ago. This information could mean that he lost his life as a reason of the haunting, that he is the spirit that causes disruption in the film, or both. His position, flowing above the other figures, suggests that it is he they are channelling, between this and his period clothing it is almost certain that he is dead.
The entire post is in sepia such as an aged photograph or environment light solely by candles. This confirms that the haunting is not a new event, the viewer will see yet more victims fall prey to what threat lurks in this house in Connecticut. It is also evident from the trailer that photographs of the séances play an important role in raising suspicions of the present of the supernatural. The sepia effect confirms this recurring theme.
The tag line lies between the hanging figure and the scene of séance. “What if the only explanation for what you saw, was unbelievable?”The phrasing coupled with the images featured on the poster give the line much more meaning. The audience knows vaguely that what is being seen could be someone long dead and that the only explanation is a present of a supernatural force. The position of the text is in the centre and relatively small, this is to draw the viewer in and to look deeper at the image below it. This is also achieved by the use of triangles, namely that to the light above and shape created by the floor/walls below.
The scene of a séance come just below the centre line, this activity is the centre of the plot. The two figures in the foreground hold hands as we assume that the others are, the presence of this however suggests that these two have entered into a romantic relationship. The two younger figures in the background are teenagers, the young woman is conventional attractive as shown by her cleavage. All but one figure have eyes closed with their heads down turned, the other looks up. His dark shirt gives the impression that his head is floating, he is the protagonist and he is the object of the supernatural’s interest.
The title, ‘The Haunting in Connecticut’, puts emphasis on the word ‘Haunting’ by simply making it the largest word. The specificity of ‘in Connecticut’ suggests that this is not the only haunting and that there are others in similar areas.

- Meg

Also see... The Haunting in Connecticut Trailer Deconstruction

Sunday, 11 March 2012

The Use of Genre in our Media Trailer Narrative

We decided that we would choose the genre of horror once again, as we had enjoyed making a horror film opening for AS. However this time we decided to try a new sub genre; instead of psychological thriller we have chosen to do a supernatural/possessive narrative. Highlighted in red in the information below are examples of when we used or did not follow the codes and conventions of the genre.

The Genre of Horror
The horror film seek to elicit a negative emotional reaction from viewers by playing on the audience's most primal fears. They often feature scenes that startle the viewer through the means of macabre and the supernatural. Horror films deal with the viewer's nightmares, hidden worst fears, revulsions and terror of the unknown. Plots written within the horror genre often involve the intrusion of an evil force, event, or personage, commonly of supernatural origin, into the everyday world. Themes or elements often prevalent in typical horror films include ghosts, torture, gore, werewolves, ancient curses, satanism, demons, vicious animals, vampires, cannibals, haunted houses, zombies and serial killers.

Design of horror
Horror films are designed to:
- Frighten and panic its audience
- Cause alarm and dread
- Invoke its audience's hidden most/worst fears
- Captivate and entertain its audience in a liberating manner.
- Often concludes in a shocking yet terrifying finale.

Depending on the audience watching, horrors can create different types of fear:
- Vulnerability
- Terror of the unknown
- Nightmares
- Alienation
- Revulsions

The Sub-Genre of Supernatural Horror
Supernatural horror has its roots in folklore and religious traditionas on death, the afterlife, evil, the demonic, and the principle of evil embodied in the devil. These were manifested in stories of withces, vampires, werewolves, ghosts and spirits. A lot of horror fiction was written in the eighteenth century, usually written by women and marketed at a female audience, a typical scenario being a resourceful female protaganist menaced by fiends in a gloomy castle.

Supernatural in film
Supernatural films tend to have themes including gods and goddesses, ghosts, apparitions, spirits, miracles, and other similar ideas or depictions of extraordinary phenomena.

Haunting and Demonic possesions
These films play on our fear of the unknown, superstition and the idea that evil forces exist in the world. these forces can remain spiritual presences (e.g Don't look now) or can take the guise of witches (e.g. The Blair Witch Project), ghosts (The Haunting) or demons (The Exorcist). The characters fall prey to an evil force that is trying to victimise them in some way. The evil entity is doing this to gain vengeance, for example in The Blair Witch Project the witch is taking vengeance on the characters for trying to expose her. In Nightmare on Elm Street Freddie is taking revenge on the people who killed him by haunting the dreams of their children and stalking them in their dreams. In many haunted house stories the ghost simply resents the presence of the people who have just moved in. Sometimes the evil force wants to corrupt its victims to make them do evil e.g. The Shining. In this case the evil force wants to take control of its victim by taking over his body, mind or soul. Often in these stories there is the fight between good and evil in the Christian sense - temptation and sin. So there is usually a counter part to the evil force - a symbol of good.

Sound used within supernatural horrors tends to be:
- Fast paced music for tense scenes or action scenes
- Common use of choir singing
- Common use of a beat in the time of a drum/heart
- Piano/Organ music - whether it be fast or slow it has a spooky feel.

Although we have only used one of these main ideas of supernatural film sound, we have linked our sound to the mood and scenes shown in the trailer at the time. The suggestion of choir singing we have taken into account by using sounds made by several different people at the same time - the whispering done by Emily and I, as well as the different laughs used throughout our trailer.

Location within supernatural horrors tend to be based in places such as:
- Churches - huge relation to supernatural and Christ (main base for supernatural genre). The frequent links between supernatural films and religion are key, and are why we chose to have a ouija board as our main prop, and choose the title of Penance, a religious word for payment for sins.
- Barns/ Farms - deserted, dark, old
- Fields, country roads - deserted, associated with creepy looking surroundings eg. trees, animals and birds etc.

Although not one of the main location suggestions, we decided to use the home because we felt that this would be scariest for our audience - the home is where you are meant to feel the most safe, as nothing should harm you there - yet spirits have been allowed to violate and intrude into the home of one of the girls, and there is nothing they can do - they are exposed and vulnerable.

There are also conventions for the types of shots generally found in supernatural films, and we have followed most of these; handheld camera shots; quick zoom ins and outs; point of view shots; bird's eye for establishing shots; dirty shots.

Theory regarding the supernatural genre in films and audience reception
Witches, vampires and demons all have their roots in folklore. Before modern medicine many disorders, diseases and psychological illnesses were attributed to supernatural causes e.g. epilepsy was thought to be caused by possession by demons. So these mythologies are in our 'collective unconscious' and are brought to the surface by horror films.

Carlos Clarens believes that the horror film renders on film "the imminent fears of mankind: damnation, demonic possession, old age, death".

H.P Lovecraft - "The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown".


Saturday, 10 March 2012

Night of the Demons Teaser Trailer Deconstruction

First of all the familiar green rating card, used to clarify certification, is shown. This shows that the film has been rated R for 'restricted' due to its 'bloody horror violence/gore and language throughout, some sexuality, nudity and drug use. This indicates that these are the main themes of the film, and that the trailer will show us a few examples in short. These themes fit in with the conventions of a teen slasher film, mainly due to the idea of sexuality, drug use and bloddy horror violence. The next three shots are of the film's idents - EntertainmentOne, Seven Arts and Parallel Media. If there are films that the audience recognise as having these institutions that they like, whether or not they were the same genre, it might encourage them to be interested in this film too. The music begins with the introduction of the idents, with a slow 'jazzy' rock song playing non diegetically. This music could be to connotate the calm and relaxed attitude of the characters in the next scene.

Dispersed between the shots of the teenagers partying, there is text on red screens, the colour connotating blood and horror, highlighting a central theme. This text together reads "This Halloween get ready to party down and raise some hell". This gives a general summary of what the film will be about, and is used to involve the audience like they're characters by inviting them along through telling them to 'get ready to party down'. This will help to get the audience to relate the characters, and grab their attention so they watch the trailer the whole way through. This is why we used a similar idea of introducing the characters in a relatable way so that the viewers will continue to watch the misfortunes of the characters they have seen. When the last screen saying 'and raise some hell' ends, the music stops as one of the character's says in a voiceover 'Something's not right' before a close up of the main character, who is a tall young blonde and conventionally pretty girl (very stereotypical of character appearence in teen horror films) with a demon next to her, with a non diegetic screeching noise, before a new piece of music is started, which is more upbeat than the last.

There a few shots after this before the 'lull' in the trailer occurs, with the music stopping and the main character saying 'ew'  at the one of the demons, which brings a sense of comedy to the film, a common feature in this new and emerging genre of horror. A third song is now played with a screaming voice which adds to the tension and pace of the rest of the trailer. This is an idea that we noticed in a lot of horror film trailers, which is why in ours we have used many non diegetic sounds such as screams, laughter and whispering to create the tense atmosphere we want our audience to feel. In this section of the trailer most of the main action shots are shown, giving a brief summary of what most of the film will be about. Again dispersed between these are red text screens, this time together spelling out "The night belongs to them". The music then speeds up before reaching its climax, which then a non diegetic 'bang' is heard and the title screen is shown. The title itself is in bold white capital letters, and has a stylised font with the 'o's and 'd's having a cross instead of a gap in the letters themselves. There are also 'patches' of red on the letters, connotating blood, like the text screens, perhaps the blood of the characters, whose fate is still unknown to us. After the title there are some slower scenes shown, eventually with one showing the main girl loading a gun before saying "Come and get me mother f..." before she is cut off by the credits and a 'coming soon' screen, both with the same font as the title. This method of cutting her half way through the sentence not only leaves the story wide open, but due to the swear word being cut off, the trailer once agains creates a brief sense of comedy.

The visual effects aren't a key feature of the trailer but they still play a part. In rhe text screens there are the patches of blood that are also shown in the title screen as mentioned before. The transitions aren't very complicated, with use of fade to black and straight cuts.

How can this film trailer be used to inspire/show similarities to our media product?
The main similarities to our film are the types of characters, sub genre and makeup. Just like ours the Night of the Demons focuses on young people who may be percieved as promiscious and have a rebellious nature, dressing provactively and going to parties, who are then later punished by demons of some kind. This trailer also links to ours in terms of a new definitive sub genre of horror, teen horror, which although has been shown in films such as Halloween and Sorority Row previously, has begun to rise to prominence in recent years. The use of makeup is very similar: we have used the makeup in this trailer for inspiration when using makeup on our own actors - I think the main comparison in terms of makeup is the face of the 'demon' girl - above in the screen shot of the trailer you can see the girl covered in this makeup, and it look very similar to the shot of Emma, one of our actors, looking in the mirror when she has been possessed in our trailer.

- Rhiannon

Friday, 9 March 2012

The Craft Poster Deconstruction

The Craft movie poster consists of a still of the four main characters walking together towards the viewer. They are lit from behind by a lightning storm with several bolts resonating around them, suggesting that the girls themselves have created this chaos. The upper third of the poster is dedicated to the consequences, to what happens. The apparent wind creates a feel of drama as it blows back their hair, they are not however, effected by the rain. Although it pores from the dark clouds they do not appear to be hit by it, suggesting further that this is not a normal storm.
The backlighting casts them in a light shadow demonstrating that these are no ordinary schoolgirls. This is not portrayal of innocence but an intonation that there is more to these characters than meets the eye. The figures are placed exactly in the centre to the audience immediately knows that the film will be entirely focused on this small group. The middle third tell us why, what the cause is of the disruption.
The costuming of the girls is consistent with the clothes they largely wear in the film and give insight to the audience that one of the main locations of film is their school. Religious connotations of the rosary beads worn around one of the characters necks inform of a possible Catholic School environment and therefore a reason for rebellion. The characters are dressed in a similar mode of dress but each has her own take. These girls are united in beliefs by have their own unique strengths they bring to the group. Skirt length and amount of black worn could suggest that these are social outcasts or, they are in fact very popular. A distinction is difficult when studying the poster because of their clear power and confidence; however, the storm does propose that this is because of their magic rather than their social standing.
The bottom third of the post tells us how the characters are doing it. The title of ‘The Craft’ clearly refers to witchcraft and is confirmed by the tagline. The name suggests that these individuals are unique in having such powers and that few others if any are learned in the way of ‘The Craft’. The font is reminiscence of old religion texts and has connections with typically Wiccan or Pagan symbolism.
The tag line makes reference to the time at which supernatural is at its most powerful. These characters are the new age of dark magic; it is the idea that power such as this has never been seen in the modern age before, they are a control over nature and may use it for evil.
The lack of names of actor names listed on the poster is characteristic of film of this type. Both Horror films and Teen films rarely use well known actors as it distracts from the storyline. Most likely this is a band of upcoming actors that have not starred in films before.
The symmetrical layout of the poster and that is spilt into thirds means a sense of control. This is most likely referring to the characters themselves and their control over their craft and therefore the world around them.


Also see... The Craft Trailer Deconstruction

Vermillion, Part 1

The use of cutting to create a juddering movement in a character features in a number of trailer with a theme of possession. Music video Vermillion Part 1, by the band Slipknot demonstrates the expression of its unnatural nature through a slightly different production type. This reference is in from a film but is much more obviously used than the often very subtle apllication in trailers such as 'The Haunting in Connecticut'.
The sequence follows a young woman suffering intense isolation; this is portrayed through time lapse photography. She remains alone as the world moves on without her; she is unable to connect with the rest of the world. She is out of touch and vulnerable. This interesting method of filming was focused entirely on the actor and gives an eerie and quite disturbing look into the characters life. 
This method worked incredibly well with the suggestion of possession and was easily achieve through cutting, reversing and disordering and piece of footage of a close up of one of our characters.



The Craft Trailer Deconstruction

Only a theatrical trailer was ever created for the 1996 film The Craft, nevertheless there are many elements of the film that have influenced our production. Although the overall structure of this trailer with numerous shots lasting more than a few seconds could be considered fairly slow paced, there are many that our piece parallels. The Craft trailer is ordered in the following way;
·         Introduction of school environment and “the other kids” by voiceover
·         Creates a distinction between main characters and everyone else
·         Highlights discrimination and prejudice suffered at the hands of their peers, they are social outcasts
·         First time main characters are fazed by mistreatment is when weaker of the group is rejected by a boy on the grounds of her association with her friendship group. Popular girls snigger as she pleads.
·         Her anger at being undermined as shared by the group and they resolve to get their own back using black magic and truly living up to their stereotype, making it their strength.
·         The magic becomes real, the last two thirds of the trailer features a sequences of shots involving rituals, controlling their peers with the magic and the possible ill consequences of their actions in the form of an explosion, a car accident, the girls being sick with power and many more.
There is also very familiar mise en scene that can be expected of two films featuring schoolgirls and dark forces. This resonates mostly in the costuming of the characters.
·         White shirts
·         Black skirts
·         Knee socks/tights
·         Long hair
·         Individual changes in each character costumes, dressed alike but not the same
·         Figure enhancing outfits
·         Similar number in the group
·         Use of makeup/jewellery

The editing of The Craft used includes transitions that are majority straight cuts; however, the shots fade into each other during scenes of magic rituals. We have used slow motion in a similar way, during a group walking shot to enhance the perceived power that the girls have.

Effective shots
This shot demonstrates the rejection of the group by the school community. Their dark clothes juxtapose a bright, religiously themed mural in the background and even the canteen food in the foreground. They do not partake even in the activity of eating school food, preferring to watch the others in what obviously seems like mass conformity.

The close up profile of each of the girls is shown against the background of the sea, they fade into each other. They are united in their mission and yet are still individuals in their own right. The location disagrees with the implication of what their peers may believe
about their actions of witchcraft being against God and therefore nature. It almost suggests that they are using powers provided by the Earth to aid them, making them morally superior despite what wrongful actions they may partake in.

This close up shot demonstrates the use of their powers for trivial purposes, reminding the audience that despite the magic, they are still just teenage girls. It also reminds of their friendship, their laughter is relatable and the audience can appreciate the bond between the girls and share in their fun.

The bird’s eye view shot and contrapuntal sound of thunder almost suggests a higher power is watching them, ready to grant their prayers. The location and arrangement of the scene suggests pagan origins to their ritual and that the girls are united as one in their beliefs and power. However, the shadow of a figure to the right suggests they are being watched. This person is not part of the group and presents to them a danger.

This point of view shot focuses on the glass falling and then smashing on the floor. Out of focus are, we assume, one of the group’s feet, wear white socks stained with red. The floor and inside of the glass also has splattering of red, suggesting blood and a grim outcome to the use of their magic. Not only that but the possibility of the consumption of blood, intriguing the viewer.

This shot is effective because of the suggestion of lesbianism. Not only is the scene titillating but the audience experiences a kind of voyeurism in watching two girls interact semi clothed in an outside environment. It is ambiguous to whether this action is to do with their powers or something else. The presence of just the two of them in this intimate act would suggest something else.


Also see... The Craft Poster Deconstruction

Sorority Row Poster Deconstruction

The top three quarters of the poster for Sorority Row is built is triangle. The background depicts a large house on fire, the dark point roof of it creating the top point of the triangle. It is almost as if the building is being held up by the pile of figures dominating the centre of the poster; this inkling is confirmed with the title of ‘Sorority Row’, it is the girls that make the Sorority, not the house.
The figures are shrouded in a bright light that makes them all appear quite similar. There is little clothing; the light leaves the girls looking very alike, taking away defining features such as hair and skin colour, even their makeup appears to be the same. Despite this, each is clearly conventionally attractive and feminine. The use of makeup, the apt amount of skin on display and presence of long hair on all of the girls mean that they are going to most likely conform to general stereotypes of young women in sororities. Interestingly, two of the characters appear to be wearing the same bracelet, one is holding the others arm; this could suggest a more complex relationship or bond between them than the others.
The expressions on the faces of the characters are very alike. There is a united sense of worry and anxiety, their positioning suggests something along the line of comforting one another and sisterhood. Their closeness implies a shared connection gain through some horrific event as suggested by the background.
The bottom quarter of the poster features the tag line title and credits. It does not however feature the names of actors in the film, this is common among horror movie trailers as famous star are rarely used. Well known people distract from the storyline and make the actual horror less credible. This also does not isolate one main character among the girls, suggesting that they all play a similar sized part.
‘Sisters for life... and death’, gives new meaning to the classic phrase. The audience knows from this tag line that some, if not all of these women are going to be killed in the subverted theme of the Sorority. Before the disruption they lived as close friends, as sisters, and now they will die in the same away, they will die together.
The typography used to create the title includes a Latin character to enforce the word Sorority, making reference to the lettering and names of actual sororities. The text has been distressed and a similar red line has been drawn underneath it. The same red is used on the makeshift weapon within the title; this gives the audience an idea into the slasher genre of the film and of the murder weapon.


Thursday, 1 March 2012

Storyboard for Teaser Trailer First Draft

Below are the storyboards for the first draft of our teaser trailer.

Storyboards by Meg and Emily