Instrumental for the Opening sequence

After hours of searching, we finally decided that this instrumental would be suitable for our open sequence due to its fast pace, and its heavy beat.  Furthermore, the fact the beat picks up in certain areas would suit our sequence as it could easily be merged with the clothes-changing and the overall theme of the film.

After extensive editing we were able to actually use the instrumental to our advantage and utilize it to actually make our open sequence more effective, and use it to actually make the film much more exciting.

The fact its fast-paced will make it more racy, and help viewers interact more with the film in the opening sequence, meaning they will be engaged from the very first secound, and thats what this intrumental delivers.

However, we now need to decide how we are going to portray this instrumental, as it is copyrighted, and we will need to show that our main character is somehow listening to it, through some form of media, meaning more thought will need to go into it.

Medium shots and close ups (Camera angles we may use)

The medium shot shows the character, and helps engage viewers with conversations, making them more effective. It also shows facial expressions better, and ultimately would help us reach the effective of developing the character more effectively. The facial expressions will be more visible, and will help viewers learn the character more.

Close up shots will help us make scenes more dramatic, and by large, more effective. How it will be rare to see this in a opening sequence. For example the above image, we are able to distinguish the male has a hair in between his eyebrows, we would not probably notice this from other shots. This in itself expresses how close up shows that close up express more emotion, allowing me to conclude it will be a good option for us to use.

Long shots and tracking shots (Camera Angles that may be used)

We may use long shots to show the character from afar to show is full body, familiarizing the viewers with the character. Furthmore, since its a drama, we will need to go  in depth with the character so camera shots will be important top help enable viewers to learn more about him. In addition to this, it will help allow us to actually show the difference in his clothing, which will ultimately portray the main purpose of our open sequence.

 

Tracking shots will enable us to actually move with the main character to actually help achieve our ulterior motive which is to actually to help the viewers learn more about the character and allow him to develop. Since we are doing a drama genre, it is essential we allow the character to develop, and shots such as these will allow this to help this happened, as it will seem as if they are with him, and ultimately creating that atmosphere of them knowing him, meaning whatever happens to him will have a bigger impact on them.

Drama film History

A drama movie that depends mostly on in-depth character development, interaction, and highly emotional themes. In a good drama film, the audience are able to experience what other characters are feeling and identify with someone.

This genre could be espiecially useful by challenging the ignorance from stereotypes or any other overly simplistic generalizations by bringing it down to a more personal and complex level. Some movies could also be a therapeutic by showing how characters cope with their problems, challenges or issues. and to the extent the viewer can identify with the characters with his or her own world.

This movie genre can be contrasted which relies on fast-pace and develops characters sparsely. Dramatic films include a very large spectrum of movies. War movies, courtroom movies, crime dramas, historical dramas, and biography films are all drama films but because of the large number of drama films these movies have been sub-categorized. All films genres can incluyde dramatic elements, such as comedies, action films, and horror movies, byt typically films considered drama films focus mainly on the drama of the main issue.

Black tie Justification ( Costume Planning)

By choosing a Black tie, it will merge well with the white shirt, which has black buttons. The fact the tie is black, it will help the white stand out, and by large, help him stand out. The contrast in the colours have this affect, which is the reasoning behind the choice. Furthermore, it looks casual, and makes him look smart. The focus of that scene is the fact he's peer(s) is/are trying to turn his attention away from his work, but he refuses, ultimately insinuating he is dedicated. The plain style clothing will help viewers notice that more than the actual clothing, which is why we chose such bland colours.

White shirt, black buttons Justification ( Costume Planning)

We chose this type of shirt, as, similar to the yellow nike football kit, it will enable our character to stand out, and look the academical part. The white shirt, will be conspicious in a crowd of dark-attired people, which is the reasoning behind this choice. The black buttons stand out on the white shirt, and make the white more distinguishable, ultimately, helping us achieve our objective .

Vans Justification ( Costume Planning)

The Vans were selected due to the fact that they are up to date, and are the new fashion trend. Furthermore, this will show that our Protagonist has style, and has some sort of social class, as he needs to be aware of what type of shoes he is wearing. The colouring of it is grey due to us not wanting to have a bright colour which would ruin the overall affect of giving him a dark look. However, we did'nt want them black either, as that would'nt look casual, whereas grey carries both meanings. It has that dark edge to it whilst being casual and acceptable socially.

Jeans Justification (Costume Planning)

 The fact we chose jeans was so we could actually show him pulling them down, or having them slightly lower, to give him that gangster look. Furthermore, the actuality that he is wearing jeans is because it is regarded as a casual wear, and in arguably, fits in with virtually any type of clothing.  With this he is able to actually pull his trousers down, combined with the puffy jacket, and give himself that gangster look he is looking for.

Puffy Jacket Justification (Costume Planning)

The reason that we chose for our protagonist to chose the puffy jacket for his street scenes are to aid giving him the Gangster dangerous look. Theoretically, this type of jacket is associated with Gang's, and the colour black enables him to look dangerous. The puffy side to the jacket gives people that look of looking big and strong, which is possibly why gang-related citizens chose to wear it. The color black just has that look of giving off a dangerous vibe, and combined with a hoodie, it makes a teenager look crime-related. This is why we chose such a attire to give him that vibe.

Football Kit Justification (Costume Planning)

The reason behind the protagonist choosing this type of clothing for his Footballing scene's are due to the fact that the colour yellow symbolising the colour of a star, and sort of expresses how he is good at football, even though viewers havent seen him yet. The colour stands out, and thats what we were aiming for, as the fact that he is wearing yellow will make him stand out, portraying how he stands out due to his footballing abilities. The black aids the yellow stand out, and enables the whole ideology happened. 

 

Cover analysis

This cover insinuates many different stories, and in some perspective, reflects what we are trying to achieve with Split. As obvious, the cover expresses a female who is enjoying life, with friends (which is seen through the actuality she is holding her friend around the neck, happily). And the fact she is with a ball expresses she is actually probably chasing a football career, which is backed by the actual title. Furthermore, the background shows a group of Asian women, probably insinuating the actuality that they are making life hard. In addition to this, the fact the asian women are in the background, show that the main character is actually a  tghe asian female. We can also assume from the title, that since the asian women look traditional, that it involves her actually having to make a decision in what path she wants to choose. We can also assume from the fact that it is traditional-looking asian ladies in the background, that it could involve a love issue, possibly an arrange marriage which could settle her future, and could destroy her football dreams.

The title itself backs my analysis of the cover, and the colours reflect that of a football pitch, which insinuates the actuality that it is football related. Furthermore, the slogan ''Who wants to cook Aloo Gobi, when they can bend a ball like Beckham'', expresses the fact that it could be a split decision type film, which reflects the type of film we're going for. The fact the film is baseds on a decision, expresses that she will have to make a choice, which will reverberate through the Film. The Cover itself gives a distinct insight to what the actual film may be about.

 The Cover shows clearly that this film is gang related, which is reflected through the clothing that the characters are wearing. Furthermore, the Cover portrays that there will be violence in the film, as we can evidently see a machete on the floor expressing that there could be gory scenes. The actuality that the members on the front cover are a compound of males and females insinuates that there could probably be romance and sex scenes in the film, hence the name adulhood.

The background is a yellow colour, which could either be a symbol of a dawn, expressing that its a new day, meaning that its a new begining, or dusk, which could convey the ending. Another intrepretation is that the colour yellow portrays a sense of War, showing that this film could involve fighting, which links back to the weapon that is visible. 

If people have viewed the other film, they will know that it ended abruptly, so this film could be the enbding that they hunger, which measns that the yellow sky could be symbolising dusk, which reflects an ending.

By large, from this analysis, I have been able to convey that a Cover can express a lot from a Film, and give some sort of an insight to what the film is actually about. This means that when making a cover, members have to be careful in how they lay it out. The graphology of the Cover is very important, as it is sort of the face of the film.

Healthy and Safety

 The aim of these guidelines is to act as a check list for all parties wishing to film on location and to ensure that all areas of consideration and safety are a priority. If there are aspects that are not covered or if there is doubt of any sort, this should be discussed with Hampshire County Council’s Economic Development Office or the relevant District Authority Film Liaison Officer prior to any filming.

Animals
* The use of any animals by a production must be discussed in detail
prior to filming and must follow the Health and Safety Executive
guidance sheets
* The use and movement of certain species of animal may require the issue of a licence under the provisions of the Dangerous Wild Animals Act 1976. The appropriate Local Authority should be contacted for further advice and information regarding the intention to use or move any relevant species covered by the Act or associated regulation

Cabling
* All cables must be made safe as they are laid and not at some later time.
* Cables must be laid in the gutter along the highway or in the junction between a wall and the footway.
* Cables on steps must be taped down to avoid the risk of tripping.
* Wherever possible cables should be flown at a minimum 17’ (5.2m) above a public carriageway and 8’6” (2.6m) above footways. The council / film office will, wherever possible, seek to make generator parking available which avoids the need to cable across the highway.
* If there is a need to lay cabling across a footway there may be times when it will be sufficient to lay cables at right angles under a taped rubber mat. Rubber matting should be regarded as essential safety equipment and carried as a matter of course. This matting should be;
* (a)a minimum of one metre wide, and;
* (b)visible to the public by proper lighting, cones or high-visibility hazard tape.
* On quieter roads it may be permissible to lay cables using proper cable ramps. If so then appropriate signage must be used and clearance given by the Council.

Catering and removal of litter
* All refuse and street cleaning will be the responsibility of the production and arrangements for its removal must be made by the production. If this is left to the council the production will be charged.
* Hampshire County Council encourages film makers to use local food suppliers whilst they are filming in the county.  We would be happy to help you source these suppliers and more information can be found at www.hampshirefare.co.uk

Charges
The following services may incur charges at cost;
* (a)provision of vehicles to wet down the street
* (b)refuse collection
* (c)removal of street furniture
* (d)removal of unit signs that have not been removed by the production company
* (e)suspension of parking meters and any other parking provisions
* (f)any additional refuse collection or street cleaning required
Any damage caused by a production company to the carriageway, footway or street furniture will be charged for.

Children
* The employment of child actors is governed by licensing regulations made in 1933, 1963, 1968 and amended in 1988.
* Producers must make adequate provision for the education and health needs of all children employed when filming.
* A child is a young person of less than 15 years old or still subject to full time education.
* Any filming involving the employment of children (whether paid or unpaid) must be cleared through the local authority’s Education Welfare service.

Celebrities and Look-alikes
* Police should be informed of any celebrity presence or any celebrity look-alikes which are to be used.

Coning
* Cones have no legal force to secure parking and their use must be agreed with the local council

Consultation
* Successful filming relies upon the local residents and business receiving  adequate notice where appropriate.
* Letters should be sent to local residents and businesses outlining fully the intended filming and include;
* (a)Date, time and exact location of filming
* (b)Date of letter
* (c)Location Manager and the local authority contact numbers
* (d)Number of crew or production personnel expected on location
* (e)Clear details of any stunts or dressing planned
* (f)Clear details of lighting plans
* (g)Clear details of parking proposal
* (h)Emergency arrangements and contact details

Cranes, camera cranes and aerial platforms
* When planning to use cherry-pickers or cranes on the public highway, the relevant authority must be informed and clearance given.
* The location manager or crane hire company must also discuss the specific weight and the exact positioning of such equipment with relevant authority and the conditions of any permission granted should be adhered to at all times.
* At night or in conditions of poor visibility, warning lights should be placed around the cherry-picker or crane.
* Rigging or de-rigging must be carried out at times that will not cause an unreasonable noise or nuisance.
* Particular attention should be given to assessing the proximity of any existing overhead cables before erecting platforms or cranes

Firearms
* The use of firearms of any kind must be discussed in advance with the local authority the police and or the appropriate emergency service.
* An Armourer must be present during scenes involving firearms

Health & safety and risk assessment
* Full consideration of Health & Safety issues for all employees must be taken  and proven by the producer.
* LOLER (lifting operations and lifting equipment regulations) and PUWER (provision and use of work equipment regulations) should be considered. These cover lighting / sound gantries, staging and the like which are likely to feature on film sets.
* The producer must provide proof that a risk assessment has been done by a competent person appointed as the Health & Safety  representative (with a minimum of NVQ Level 3)
* A full risk assessment of the location must be carried out in accordance with the Health & Safety at Work Act (1974) and the Management of Health & Safety at Work regulation (1992)
* Activities must be carried out in accordance with the Health & Safety at Work Act (1974) and the Management of Health & Safety at Work regulations(1992).
* Types of Risk Assessment that may be required for filming activities include Stunts, the use of flammable or toxic materials, construction work, working at Heights and the use of cranes and cherry pickers. This is in addition to a Comprehensive risk assessment of the location
* The council must give an indication of the time required for risk assessments to be carried out and approved
* Failure to follow appropriate Health and Safety procedures may invalidate any insurance

High-visibility clothing
* Crew members and production personnel working on the highway must wear high-visibility clothing to standard EN471. This is an essential safety requirement under the New Roads and Street works Act and it is an offence not to comply.
* Failure to wear appropriate high-visibility clothing invalidates any insurance provision for the entire shoot.

Highways and traffic management
* Where traffic management is required police officers, traffic wardens or parking attendants (as appropriate) must be used unless advised to the contrary by the Film Office.
* If you require a road closure this must be done in accordance with Hampshire Police through the relevant district council.  Road closures will also require a lead in time of up to 3 months to consult with the highway authority.
* No signs should be erected or placed on the highway (which includes all footways and verges) except those from Chapter 8 of the Traffic Signs Manual, which should be approved by the Local Highways Office.
* No markings to be painted on the highway.
* No attempt should be made by anyone other than the police to direct or control the normal traffic using the public highway. Some areas of exclusion apply, please contact the police and highways for more information.  
* No obstruction should prevent pedestrians going about their business in safety.

Historic buildings and conservation areas
Special attention and care must be taken when a production is planning to use any historic buildings, heritage sites or conservation areas.
* The use of  lights and any tracking in Historic properties must be assessed by the custodian and where relevant chemical or a heat analysis must be provided
* The use of effects such as smoke effects, naked flames or candles may be prohibited or will require special permission
* Filming in Areas of Outstanding Natural Beauty ( AONB ) and Sites of Special Scientific Interest SSSI will have restricted use and will require assessment
* Details of the productions requirements must be discussed and put in writing with the film representative.
* Some historic properties are required by law to remain open to the public at all times and filming must work with this.
* Some of these properties are delicate and the possessions unique, extra insurance or a specific license may be required.
* Particular care will be taken when dressing or lighting Historic buildings

Indemnity and insurance
* The production company will be expected to indemnify the local authority, its officers and employees against any claims or proceedings arising directly from any injury to persons or damage to property as a result of the activities of the production company or its agents.
* Any filming undertaken is the responsibility of the producer. Public liability insurance for £5 million must be evidenced in writing prior to filming. Risk assessment may require an increase in this limit and exclusions to certain activities may apply.

Lighting, lighting towers, scaffolding and generators
* A special licence may be required for any of the above please check with the local authority
* The construction and positioning of lighting towers and scaffolding must be    discussed with the relevant authority well in advance of the shoot.
* Any scaffolding constructed must be certified by the local authority.
* When placing lighting stands on the carriageway or the footway the Local authority must be informed and clearance given.
* The following considerations should be taken to prevent any risk to the public or production company employees;
* (a) All lights above ground level and lighting stands are properly secured
* (b) Lighting stands placed on a footway must be attended at all times
* (c) Lights do not dazzle motorist
* (d) Lights are not shone directly towards residential properties at any time  without specific permission
* Any generator used should comply with the specific requirements of the Environmental Protection Act (1990) and be positioned as far away as possible from all residential properties.
Military and MOD site filming
Some restrictions apply on filming in those parts of Hampshire with military connections - both navy and army for example, in Aldershot.  In these cases film-makers should liaise with both the civilian police and the military police. Please contact the MOD film office for more information on filming at military sites including training establishments and other MOD sites.  

Museums
* Filming at Hampshire museums can only take place with the consent of the Curator or Manager. Who will have the final say over:-
o what can be done
o when it can be done
o under what circumstances and/or conditions it can be done
* When discussing the ‘costs’ for “hire” purposes, the Curator or Manager may need to be in  Attendance.  Any/all  fees charged by the Curator or Manager for his attendance will be reflected within that cost.

Night filming
Night shoots in residential areas are naturally sensitive and it is essential to consider and consult with local residents and businesses in the planning process. (Refer to Noise and Nuisance Section below)
* Any activity, including filming, is subject to the Environmental Protection Act (1990) regarding noise and nuisance.
* A legitimate complaint about noise or nuisance from a resident to the local authority can result in the termination of the shoot and the confiscation of equipment. Therefore, it is advisable to shoot all scenes requiring noise above conversational level before 22.00hrs. Walkie-talkies should be turned down to a minimum and earpieces used.
* There may be cases when equipment or heavy vehicles that cannot be removed silently at the end of filming must be left ‘in situ’ and attended by overnight security. This must be cleared by the relevant authority prior to filming
Noise and nuisance
Local authorities have the right to take action under the Environment Protection Act (1990) as a result of any unreasonable noise

Nudity
* Police need to be informed of any nudity during filming.

Planning
Planning permission may be required for some temporary structures such as
* The building of a set which will be up for more than 21 days from construction to strike
* The prolonged use of a building as a set / temporary studio

Prop or mock emergency service
The relevant authority and emergency service in question must be informed if there are any:
* Crime re-enactments
* If actors are to be dressed in a specific uniform (Police, ambulance or fire brigade).
* Uniforms and any vehicles resembling the emergency services must be covered whenever possible and in particular between takes. Any markings on vehicles must be taped over when not being used for filming or being driven on a carriageway.
* Sirens should not be used at any time on location and flashing lights must be switched off when not in shot and covered when not in use.
* Legally there must be a police presence for mock emergency services filming, please contact the Hampshire police for more information.

Props
* Any props used during the shoot will be removed and the area made good
* Film Hampshire can help supply you with props provided by the Hampshire Museum Service please contact us for further details.

Public liability insurance
* Any filming undertaken is the responsibility of the producer. Public liability insurance for £5 million must be evidenced in writing prior to filming. Risk assessment may require an increase in this limit and exclusions to certain activities may apply.

Risk assessment
* A risk assessment may be required to satisfy the insurance provisions and statutory obligations to employees and anyone who will be affected by their actions, please check with the relevant local authority if this is required.
* Additional assessments may be required depending on the type of filming

Road markings and signs
* The temporary painting-out or disguising of road markings, yellow lines or other road signs requires the specific approval of the relevant authority and notification of the Police.
* Reinstatement must be carried out after filming

Signage & Graffiti
* All signs directing crew to specific locations must be approved by the local authority and must be taken down after filming
* Any Graffiti must be planned at least 21 days in advance.

Sound playback
* The filming of artists to sound play-back can only be undertaken with the prior agreement from the relevant authority, at any time.

Street furniture and street lighting
The removal of street furniture, including signs, and the adjustment of street lighting is normally carried out by the local authority and charged to the production company.
* All arrangements for this work must be made through the relevant authority.
* Minor work by the production company may be permissible with prior permission and any damage or reinstatement costs would have to be met by the production company.

Stunts, special effects and pyrotechnics
All stunts, special effects (including weather effects and wet downs) and pyrotechnics must be under the direct control of a named qualified stunt co-ordinator or special effects operative and comply with the Environmental Protection Act (1990).
* Any plans must be discussed with the relevant authority and a risk assessment will be carried out by the production prior to filming.
* No firearms or replica/mock firearms should be used without prior consultation and consent where appropriate of the Police and the relevant authority.
Sustainability
Sustainability whilst filming is encouraged by Hampshire County Council.  The Sustainable Business Partnership which also operates from the Economic Development Office can help film-makers to achieve this, please visit www.egeneration.co.uk/hants.

Track
* All matters relating to tracking must be discussed with the relevant authority prior to filming
* The production company should ensure that pedestrians and in particular wheelchair users are not impeded by filming.
* The area should be fenced off and permission from the local authority should be obtained to do this.  

Traffic management
* Any filming on the highway that requires traffic management will need to be discussed with the council highways department
* The local Police authority  must be informed of any filming activity
* If a police presence is required there may be a charge to the production

Wet-downs
* Wet downs may only be carried out with the approval of the relevant authority after a proper evaluation of the forthcoming weather conditions and with the proper signage as required.
Notes:
* ·The descriptions highway, carriageway and footway used in this document are in conjunction with The Highways Act (1986)
* ·The description Production refers to every type of filming. In particular, feature films, television productions, commercials, pop-promos, corporate and stills.

(If relevant)Scripting
I reckon in the academicals scene, there should be a teacher praising the main character on his reason test, revealing what he got (which will be a high mark), shortly before the main character is approached by his peers, who attempt to persuade him to leave with them, and leave his studying.
In the football scene, I would prefer to see at the main character going past at least 2 players expressing reasonable pace and skill, before slotting a goal in.
In the drug-dealing scene, I suppose we should make a deal in an unusual way, conveying the main character’s slyness. Possibly by dealing the drugs through a handshake or a bump into the other participant of the deal.

Low-level agression

Audiences are often more concerned about the impact of persistent, low-level aggressive behaviour (such as shouting, slapping, shoving and threats) in pre-watershed dramas, than the occasional violent scene. Many viewers dislike casual or 'normalised' aggression, whether in dialogue, attitude or brief scenes of violence. We should bear in mind that verbal aggression, shouting and bullying can have a very negative impact on audiences, especially when they contain younger viewers.

Audience Expected

-Context is key to the depiction of violence in drama. Audience acceptance of violent acts will be affected by a range of factors including transmission slot, genre, quality, integrity and the programme's pedigree.
 -Audience understand that pre-watershed drama may occasionally contain stronger scenes than normal, but believe they should be set within a moral framework and should not be gratuitous.
-Audiences dislike casual or 'normalised' aggressive behaviour in pre-watershed drama, whether in dialogue, attitude or brief scenes of violence.
-There is an audience expectation that post-watershed dramas will contain some violent scenes. However, many parents do not want to be ambushed by strong scenes immediately after 9pm, but want time for a programme to develop in order to determine its suitability for their children. Clear programme information about strong content is also important.
Audiences understand that pre-watershed drama will occasionally contain stronger scenes than normal, for example at the climax of a long-running story or on special occasions such as Christmas Day, New Year's Eve etc. However, it is important to viewers that strong scenes are not gratuitous and are set within a moral framework; they are less tolerant of scenes which appear "out of the blue" and have little editorial justification either in terms of plot or character. Additionally, viewers often believe that the consequences of violence on the life of the victim need to be shown, especially in those programmes which have particular appeal to children and young teenagers.
Soap operas carry considerable impact on the moment of transmission. Production values often mean that few strong scenes retain the power to shock post-transmission, but we should not
underestimate the ability of violence in soap operas to cause a shock at the time they are first broadcast, especially for families watching with children.
More latitude is afforded to "precinct" dramas, such as shows set in hospitals or police stations, where the subject matter is inevitably going to contain some fairly strong or violent scenes. For example, the very nature of a medical drama allows for some violence, whether accidental or deliberate, to be an intrinsic part of storylines. However, there are still limits to audiences' tolerance - prolonged violent or gory scenes or frequent strong scenes may provoke complaints despite the subject matter of the series.
In addition, audiences are more concerned about violence in realistic drama or series than in fantasy, supernatural or comedy content.

Soundtrack

We’re trying to take the Kidulthood-type approach to our Genre, therefore will be focusing more on their soundtracks to enable us to pinpoint the types of Music that will blend well with our film’s theme.
Think of the OC in the ghetto with guns, drugs and violence and you've pretty much got the Kidulthood soundtrack sussed. Just as the film represents the murky life of inner-city adolescence, the soundtrack is a who's who of the infamous and unsung hip-hop and grime heroes these troubled teens adore.
Dizzee Rascal's "Jus' A Rascal", and Lethal Bizzle's "Pow" deserve the major props on this generous, 25-track affair. From the more mature end of the spectrum it’s good to see Roots Manuva's "Witness" get another outing.
There are other five star offerings from The Streets, Klashnekoff and Skinnyman -though Shystie is the only female featured, and Kano is nowhere to be seen. Still, it's only a small complaint - this is a quality soundtrack, conveniently doubling as a useful primer to the contemporary UK Urban scene.

Type of film

Dramatic films include a very large spectrum of film genres. Because of the large number of drama films, these movies have been sub-categorized:
* Crime drama and Legal drama – Character development based on themes involving criminals, law enforcement and the legal system.
 * Historical drama (epic) (including War drama) – Films that focus on dramatic events in history.
 * Docudrama: the difference between a docudrama and a documentary is that in a documentary it uses real people to describe history or current events; in a docudrama it uses professionally trained actors to play the roles in the current event, that is "dramatized" a bit. Not to be confused with docufiction.
* Comedy-drama: is in which there is an equal, or nearly equal balance of humour and serious content.
* Melodrama: a sub-type of drama films that uses plots that appeal to the heightened emotions of the audience. Melodramatic plots often deal with "crises of human emotion, failed romance or friendship, strained familial situations, tragedy, illness, neuroses, or emotional and physical hardship." Film critics sometimes use the term "pejoratively to connote an unrealistic, pathos-filled, campy tale of romance or domestic situations with stereotypical characters (often including a central female character) that would directly appeal to feminine audiences." Also called "women's movies", "weepies", tearjerkers, or "chick flicks". If they are targeted to a male audience, then they are called "guy cry" films.
* Romance: a sub-type of dramatic film which dwells on the elements of romantic love.
* Tragedy: a drama in which a character's downfall is caused by a flaw in their character or by a major error in judgment. * Drama thriller: a type of drama film with thrilling plots, characters, motives and style.

Feedback

Gloves Up (Luke Thornton, Junuz, Titas, Ishaaq)
Positives:
-Everything has been thought through.
-Name suits,
-the storyboard has been completed to a standard that allows people to know what exactly will happen.
Negatives: Despite the great planning, the amount of context they are planning to add into the opening sequence may be successful or may flop
Dolls (Tasnim , Sarah)

Positives:
Negatives:

Ideas for opening scene

Ideas for opening scene

In our meeting, we decided to go with my idea which involved us making an entry scene in the Academy facilities, using the elevator and reception and possibly 3 casts. The utilization of the expensive premises will combine well with camera angle skills which will start of with a tracking shot, and angled shots. Furthermore we decided to go for Action/Thriller type film since these types mainly had direct impact on views in opening scene. This feature will enable us to hit our objective of dragging in viewers right at the start.

In addition to this we have decided to consult in the 6th form head boy, who is also in our group, Nile O-mealy. Due to his school responsibilties, and reputation this will create an outcome of him possibly making the opening scene a bigger hit.  We will use a compound of striking music and well layed out casting title's to demonstrate the ''art of the title''. If we have the abilities, we may add graphic work to enhance our media work. Personally, I will do my best to bring to life my idea by directing the opening scene. I will do shots that make relevant items conspicous, and make the full featuring a professional-esque video.

This is a clear winner for me.  There are some nice shorts on here but basically most of them are just nice visuals set to music.  This does something else entirely, it is cinematic and builds tension and character in a short space of time.  Although there is no dialogue, the film itself is very moving both technically and emotionally due to the fact it interacts with viewers because of its relation to death. The overall idea seems to be ideally unique also, and captivates its audience.

The way the director does well to give her the angel of death-esque look, and to create mystery in that sense. The fact that the lady randomly points at him, expresses she has no social skills, as you would not randomly point at someone, which proves to evidential to my point.  Another intrepration would be the fact she is the cause of his death, theoritically, because if she wouldnt have introduced him to the glasses, he wouldnt have been in a calm state, and wouldnt have been frantic, like he was.

The Camera angles were fascinating , as they proved vital in appealing to me.  The various shots combined well to formulate a winning combination of effective clips that conveyed and delivered the cinematic tension, which substitues the dialogue.  In addition to this, the lighting and imagery seems to contrast seems to contrast this character since she seems to have this sort of darkness in her soulles eyes, which help the last clip, when we see his death through the reflection of her eyes. The swoosh of the Bus as its swiftly moves into the scene, silences the music, which also adds effect to the tense moment.

Initial Treatment

Initial Treatment

My initial treatment is to take full usage, of the school premise and facilities. I am planning to adopt a compound of Miracle Fish and 28 days later to ensure that their is tension in my thriller.


Opening Scenes
Focus on one character in a Class with a soundless scene to express how the character is feeling after a hard day's work at School. The sound of the bell will break the silence and also awaken the audience, likewise how the character will be awoken due to the sound of the end-of-school bell. A close up shot on the bell as it rings. This will determine the start of the film, and convey the excitement of the character.

He will then make his way up to the study area where we will meet 4 other characters, 3 of which who are his friends.  The fourth is the younger sister of one of the members.
The story goes on with them revising, and discussing the release of a newly-convicted eastern European man, who had been accused and arrested for raping and murdering their school colleague. The young girl, who is the sister, remains quite through all these scenes, almost as if they are wanting to forget shes there.
Arc shots will  be used to convey different section of the building, and there will be blood elements, to add more intensity to the situation but not give away the full storyline.
We see a composure of shots that express the school is empty, and dark, adding more effect to the scenario. for example, a dark corridor,  shown through a low angle shot, and the only light, escaping from the room the characters are in, illuminating the corridor.

Media Techniques
No sound, slow motion. Close-up shot on the school bell as it rings, breaking the silence.
A tracking shot, of the character slumping through the school, fighting the masses of bodies which invade the opposite direction like a Wave of home-bound humans.

The scene cuts as he enters the study area and meets his friends, who are  reading a newspaper, and seem to be irritated. As one of them dumps it on the table, a close up shot reveals the headline, reading : Foreign Serial Killer Released


 Synopsis
One of the character's goes to the toilet after complaining about needing to go. The girl asks her sister to go and get something from the printer, which is placed outside the room, she accomplishes the task. During these scenes we also see a tracking shot of a male's legs walking through the school. We see a scene with the girl in the toilets, dieing a horrific death, as shes drowned in the toilet water after dropping her earing inside the cubicle floor.

Other characters also die gradually throughout the film, which has a twist to who the actual killer is.
Other characters, like the school site-manager, and a new teacher also feature, but the character who's feet are only seen, remains that way, except the end, when he is revealed also.

Opening Scenes

Mission Impossible:

A compound of fast clips taken from the movie that merge well with the famous Mission Impossible theme tune, which is also fast paced. Various different, technology devices have been used to advertise the material. The aim of an opening sequence is to draw in the audience, and to ensure this the opening scenes has a lot of action packed fast scenes involved, this makes the viewer excited due to the effect of the smartly used fast scenes. Tom Cruise, who at the time was a rising actor is featured heavily in the opening scenes.


Summary
Based on the hit T.V. series. Jim Phelps was sent to Prague for a mission to prevent the theft of classified material. His wife Claire and his trusted partner Ethan Hunt were members of Phelps' team. Unfortunately, something went horribly wrong and the mission failed, leaving Ethan Hunt the lone survivor. After he reported the failed mission, Kettridge the head if the agency suspects Ethan of being the culprit for the failed mission. Now, Ethan uses unorthodox methods (Which includes the aid of an arms dealer going by the name "Max") to try to find who set him up and to clear his name.

Liban's Media Blog

This my Media Blog. Enjoy