Monday, 27 September 2010

Genre and outline of conventions

Psychological Horror:

Sub-genre of Horror which relies on:
  • Character fears
  • Guilt
  • Emotional Instability

to build tension and further the plot.

Horror is NOT derived from gore, violence or some form of 'monster' but another person or supernatural presence

Discomfort of the audience is a common aim, achieved through exploiting common physical and emotional vulnerabilities or fears which are often repressed or denied

The Horror comes from within and reveals the evil behind normality.

Characters are often seemingly normal on the outside, but deep down they are disturbed with dark secrets and hidden pasts.

Elements from the Thriller genre are often used in which the fear is created in the audience by tension being built throughout the film which is very rarely released, resulting in feelings of unease in the audience.

The genre isn't reliant on sudden jolts or direct physical harm/threats

The primary effect is to play upon the anticipation of a perceived threat, or confuse the viewer on the nature or existence of a threat.

Doubts about the plot/narrative of the film which we may never discover or have to decide for ourselves, or sometimes unexpected plot turns are often used to disorientate and interest audiences.

These are the results of my initial research on conventions.
I will later, after receiving feedback on an essay based around further research, post the results of more intense research on the conventions of Psychological Horror, with examples, and how I intend to use them.

Monday, 20 September 2010

F.M.3. - Creative Project - Brief

The project comprises of three elements:

  • Aims and context

The aims and context must be made clear. Aim of the extract/short film and the context of the production.

  • A creative project (a short film or film extract) (45 marks)

This is a film extract or a complete short film (3-5 minutes in length) and engages with the issues raised in the production of meaning and the study of film stylistics and theory.

  • A reflective analysis (15 marks including aims and context)

The reflective analysis should select key features of the creative product and reflect critically on both the creative process and the product. If you are working in a group you should focus on the construction and impact of your specific role.

I will present this work in the digital form of this blog.