Thrillers – Part Two

Sound, Editing, Cinematography, Narrative Theory and Structure and Opening Title Sequence Analysis’ (Three).

By Chloe Cook

Character Theory

Russian formalist scholar Vladimir Propp analysed his country’s fairy tales to identify their simplest narrative constituents, which, following the linguistic approach that breaks language into its smallest elements, he called “narratemes.” Using this method, he catalogued the thirty-one dramatic situations, several of which, following a story’s opening situation, appear, in various combinations, again and again in such tales.

Based upon his analysis of fairy tales, Propp also contends that their characters can be grouped into seven categories.

• VILLAIN (thriller – antagonist): struggles against the hero or heroine.

• DONOR: prepares the hero or heroine or gives the him or her some magical object.

• MAGICAL HELPER (side arm): helps the hero or heroine in the quest.

• PRINCESS and her FATHER (ordinary, innocent character and their partner): gives the task to the hero or heroine, identifies the false hero or heroine, marries the hero or heroine, often sought for during the narrative. Propp notes that, functionally, the princess and the father can not be clearly distinguished.

• DISPATCHER: makes the lack known and sends the hero or heroine off.

• HERO/HEROINE or VICTIM/SEEKER (protagonist): reacts to the donor.

• FALSE HERO OR HEROINE: takes credit for the hero’s or heroine’s actions or tries to marry the princess or prince.

• In thrillers, the antagonist and protagonist are more common characters that directors tend to use mostly.

Narrative Theory is the way in which a story is being told in both fictional and non fictional texts.

NARRATIVE STRUCTURENarrative structure, a literary element, is generally described as the structural framework that underlies the order and manner in which a narrative is presented to a reader, listener, or viewer. The narrative text structures are the plot and the setting.Exposition – The introduction and meeting of the characters, establishing the setting.

Rising Action – The central conflict is introduced and the tension between the protagonist and antagonist begins to mount.

Climax – The climax is the turning point within the film. This puts in a change that’s either for the better or the worse, in the protagonists future.

Falling Action – The major action has occurred and taken its place – the aftermath. It’s the resolution of the major conflict.

Resolution – The re-creation of the new normality. The conflict has been resolved. Or the ending could sometimes be left on a cliff hanger.

John Doe - Villain

Se7en Character Examples

Kevin Spacey - DonorBrad Pitt – Innocent character, Victim Hero’s – Brad Pitt and Morgan Freeman

In Se7en, only these listed above were following Propp’s theory.

NARRATIVE STRUCTURE IN THRILLERSIn Thriller films, the narrative structure and the plot combine and work together to create anxiety and build high tension in order for the director to make it come under the Thriller Genre. The structure works for the film “Se7en”.

Exposition – Only a small amount of character exposition is used in Thrillers such as Se7en. The rookie cop arrives in a crime ridden city to take over from retiring cop.

Rising Action – The first murder takes it’s place.

Climax – Realisation that the serial is operating. Screenwriter Walker confronts these two good cops with one bad situation. There's a palpable sense as the story winds down that something very real is at stake — you feel like you could cut the tension in that golden desert air with a knife — and the movie's ultimate moral structure seems to extend into the world outside like a fog.

Falling Action – Cop seeks the killer.

Resolution – Killer is killed.

In Thrillers, the director uses music to create suspense and tension throughout the audience to make them feel anxious and frightened. The non diegetic soundtrack helps build up to a climax when approaching a dramatic scene in the film. It sets a mood and a roller coaster of emotions across the viewers, and without sound, the film wouldn’t give that sense of thrill that it should do. Typically the nearer or closer a either predictable or unpredictable event happens, the volume is often increased. This is to accentuate the situation.

Non Diegetic

Non Diegetic sound is what doesn’t naturally occur in everyday life e.g. sound tracks, onomatopoeia or a Foley sound.

Diegetic (Ambient)

Ambient sound is just opposite to non diegetic. It is naturally occurring available from a specific location (trees rustling, birdsong) It makes the situation feel real to the spectators. Diegetic sounds will reflect the location and the action taking place. E.G. Sirens in the city will suggest a crime has taken place there.

Contra punctual

Contra punctual sound is in opposition to what we see on screen. It contradicts the action to create disharmony. The Shining.

Pleonastic

Pleonastic sound is sound (often non-diegetic) that imitates/ reinforces the screen action.Jaws and Physco.

Describing Sound.Volume – describes the level of sound (high or low). Pitch – describes the range of sound (high pitched screaming, low pitched groaning).Timbre/Tone – describes the texture of the sound (piercing, sharp etc.) Silence – silence can be as powerful a too to create a mood than a sound itself.

Sound

http://www.youtube.com/watch?v=ijDuKDlODv0http://www.youtube.com/watch?v=Uo1C6o3Nr24

http://www.youtube.com/watch?v=G1yjmSXEg6w

PHYSCO.http://www.youtube.com/watch?v=HGznzsaxl_c

Editing Techniques

If you do notice the editing in a thriller, it is usually done on purpose, being done for a reason. It is possibly done to create an effect or an emotion.

Editing can be used to imply something in the narrative – a passage of time, or an end of scene for example. Fast paced and short quick cuts reflect the moments of the action.

Continuity editing – Conventional, mainstream, passive spectatorship and invisible editing. Continuity editing is seamless. It supports rather than dominants the plot. Most thriller directors tend use this technique more so than others. You don’t notice the cuts and become absorbed into the action on screen.

Non Continuity – Non Mainstream.- Auteur, spectatorship (active) and experimental/ independent.

Jump Cut

Shot Reverse Shot - Two or more shots edited together that alternate between the subjects. This is often seen when a conversation occurs. A type of continuity editing which comprises of one of the subjects pointing left as the other faces the right.

http://vimeo.com/84724277AND

http://www.youtube.com/watch?v=hv6cSB-lh10THE SHINING.

Eye line match example. In Thrillers, it is particularly uncomforting for the viewer because you’ve been built to a high suspense to not be able to see what the character is looking at, which the director does to make you want to physically move the camera.

180 degree rule example.180 degree rule is a basic guideline between the relationship of two or more characters in a film scene. They use the imaginary line technique to stay on one side of the room, to avoid a mirrored effect.

“The Shining” Continuity Editing Techniques.

Jump Cut is a cut in which two sequential shots of the same subject are taken from camera

positions that vary only slightly. The effect to an audience makes everyone feel like you have

jumped forward in time, and this is the reason why the technique is used for different meanings / messages regarding the film.

30 degree rule is used in continuity editing,

using a guideline called the 30 degree rule to avoid jump cuts.

“The Shining”.

Graphic Match is where there is similar / familiar relationship between

the shots to make the change seem like a smooth flow.

For example, a plug hole could contrast to an eye. Suggesting her tears running away.

In thrillers, it is used as a continuity effect to help the flow to the next scene

and depending what is can be relating to e.g. a plug hole with water going down

it can give the effect of tears, or even things passing as it is in contrast to an eye.

Eye-line match is when the character reacts to something on/off screen.“The Stendhal Syndrome”. Thriller directors approach is to make the audience feel discomfort.

180 degree rule

http://vimeo.com/84724277“The Shining” example.

CINEMATOGRAPHYThe art of photography and camera work in filming

A micro feature which holds ranges of important conventions which help elaborate and create the thriller genre is cinematography. The technique uses different camera movements and angles to create great suspense and fast/slow transitions, in which in a thriller, would be jarring and jolting – however still, smooth clean movements.

For example, “The Blaire Witch Project” uses an extreme close up shot. The directors approach in this is to make us as an audience to feel her emotion, and makes us feel uncomfortable. Using a hand held camera also makes this feel more realistic to a spectator, which puts you in a position of discomfort. It’s made to feel as if she is physically and emotionally talking to us as if we are in the film ourselves.

A shaky effect is the approach of the scene being unscripted/unrehearsed and like said, more reality like, and gives the effect to the audience of unsteadiness, dizzy/sick.

Close up, extreme close up,

Mid shot, low shot, POV, associated

POV,

Pan, dolly, tilt, high angle, birds eye

view,

Aerial shot, establishing shot, wide and

long shot.

http://www.youtube.com/watch?v=Z66RpatHajQClick the link above to see the video from the photo above.

Cinematography used in Thrillers

Birds eye view and high angle shot – This shot is used in Thrillers to make the antagonist feel victimised and look vulnerable, weak, and powerless. It shows that the character looking above has a more authoritive figure and is 10x more dominant.

Close ups - In Thrillers are used to show the expression of the characters face. It emphasises the body language and figure expression in a better depth. It leaves the audience feeling emotionally attached and involved. The directors idea is to create an effect for the audience to feel edged, and uncomfortable, especially in close up shots with an eye line match editing technique. You physically want to move the camera so you can see what the character is looking at. Example used of shots – Alfred Hitchcock’s “Psycho”.

Tracking and panning shots – these particular shots are used very effectively in Thrillers to create the atmosphere of being watched or being followed. It sets an edgy and inquietude effect onto the audience.

Long shot, wide shot or establishing shot – These shots establish the scene. It sets the deserted atmosphere and gives the effect of loneliness and desertedness.

Conclusion to Research

To conclude, I found throughout the duration of studying Thrillers, that I really like the opening title sequence to Se7en. It has inspired me to create my own sequence similarly to the ideas used by Se7en’s director. I personally really like the idea of creating a jolting effect by not showing the person throughout the opening, and just seeing the actions that he is doing. It shows importance to a particular action that is taking place, which foreshadows the storyline, and makes the audience feel thrilled and builds a high line of suspense.

The writing makes it feel relatable to real life as it is handwriting, and I also liked the lighting, as it makes you feel uncomfortable and irritated because you want to know exactly what is going on; the lighting gives the effect of you only seeing the greater objects that take importance, in order to make you stay on to watch the rest of the film.