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How does your media product use, develop or challenge forms and conventions of real media products   part 1
   Before we create our spy trailer, we decided to
    research existing films, posters and magazines so that
    we were aware of the typical conventions that is
    expected of our genre within a trailer.

   We watched a range of trailers such as ‘Quantum of
    Solace’, ‘mission impossible’, ‘Bourne ultimatum’, and
    ‘taken’.
How does your media product use, develop or challenge forms and conventions of real media products   part 1
   We found a range of conventions in each trailer including:
   A dramatic soundtrack which compliments the shots
   A fast, sharp edits towards the end
   a strong element of suspense /ENIGMA
   a highly classified information that is normally catastrophic to the
    entire world.
   The protagonist is male
   Car chase scenes
   Action
   The organist's back-story - flashback
   Theme – revenge, justice
   Voiceover to build plot
   Tension is built up throughout the trailer
    many fast-paced shots
 I am now going to examine whether our group applied
  these codes and conventions to our trailer, or whether
  we challenged them.
 This is the final draft of our teaser trailer; it took 2 drafts
  prior to this to get it the way we wanted. We also got a
  lot of audience feedback to help us make the trailer
  more appealing to the audience.
NARRATIVE
   Storyline:
   After witnessing his ex-wife, a CIA operative, Scarlett killing his
    fiancé’ at gunpoint in an attempt to derive valuable information
    about Subject 27, Charles, an ex-spy is on the run with the stolen
    highly classified information, Subject 27 in vengeance and devised
    an intricate plan to obliterate Scarlett and her appointed team.
     During our planning process, we thought of the many different
    ways in which we could present our narrative without giving too
    much of it away. For example, we knew it was crucial to include
    scenes with action that highlighted Charles’ despair and agitation in
    his struggle in locating Scarlett. But we may sure not to include the
    aftermath of Charles’ and Scarlett’s confrontation in order to tease
    the audience.
NARRATIVE
 Unfortunately, our first and second drafts of our trailer
  were too vague and did not establish any kind of
  narrative whatsoever as we were unsure of how to
  structure the shots in terms of editing. It took us a while
  to realize, and after some audience feedback, we
  added some voiceovers to give the audience an
  awareness on what was happening in the trailer.
 We agree that it was far too vague and begun working
  on making the narrative visible to the viewer.
NARRATIVE
 The narrative of our trailer incorporated some conventions of
  contemporary films of spy genre. In mission impossible
  3, Ethan’s wife held at gunpoint at the beginning of the movie
  was a source of inspiration for the scene of at the start of the
  trailer, where Charles’ fiancé is at the mercy of Scarlett, who is
  holding a gun to her head.
 In trailers of spy genre, the narrative and the theme
  interlink, there is normally a conflict through the use of binary
  opposition – the protagonist, Charlie vs. antagonist, which in this
  case is Scarlett as they both want sole possession of the
  valuable object, Subject 27. This is a iconographic code that is
  expected of a spy genre film as there is usually a object of some
  sort that can cause an adverse impact on the world and lead to
  catastrophic results if in the wrong hands – this is evident in
  Quantum of Solace.
 We were limited in delivering a storyline through the trailer as
  the shots were cut down and constructed under one minute.
NARRATIVE
 Our trailer follows most of the conventions of existing
  products, for example:
 We have edited all of our shots in chronological order
  as to give the audience an understanding of how the
  events unfolded.
 Our trailer features a much higher proportion of
  disequilibrium, compared to equilibrium because it
  mainly contains scenes of action that signify the
  struggle between the Scarlett and Charles as they both
  go to extreme measures to obtain Subject 27.
NARRATIVE
   There was a sense of enigma seeing that towards the
    end of the trailer, the fast-paced shots and the dramatic
    music both contributed to the tension built-up as it
    leads to a highly stressful climax and ends with Charlie
    holding a pistol in the direction of the camera, which
    provokes a nervous reaction in the audience as leaves
    them wondering if he going to pull the trigger and ‘At
    whom is the gun pointed at?’, and the ultimate question
    ‘What is subject 27?’
MISE EN SCENE
    Props: guns

                  Props are often of genre
                  specific iconography.
                  A prop like a gun is a visual
                  code that is element of spy
                  genre as in many spy films
                  characters are seen
                  holding on to one as a
                  means of killing and aid in
                  creating a sinister feeling
                  and anticipation. It also
                  gives Charles’ an image of
                  dominance.
MISE EN SCENE
                Props: subject 27

                 Subject 27 is a highly
                classified information that
                is stolen from the spy
                agency, Charles was
                recruited in. The theft of
                documents/files/formulas/te
                chnology - usually
                something good that can
                be turned evil – is a
                recurring theme in spy
                movies and shows.
MISE EN SCENE
   Costumes: In movies of this genre, the main protagonist is seen
    wearing formal attire, suits especially when infiltrating the
    antagonist’s base in social events i.e. (contemporary James Bond
    movies). We have applied this dress codes into our trailer in order
    for the audience to distinguish the central character, Charles as the
    archetypal heroic figure. He is usually Suave, sophisticated, well
    dressed to emphasize the seriousness of his self-appointed mission
    and his well-informed intellect on gadgets.
MISE EN SCENE
   Lighting - The lighting in spy/action thrillers are mostly dark and
    mysterious. No character, not even the protagonist is a saint, so the
    darker toned lighting in this genre of film emphasizes this idea. The
    genre also deals with dark stories and motives so it is favoured for
    the lighting to back it up. Our trailer will not use many high key
    lighting to help us portray the story as a dark and serious one.
MISE EN SCENE
   Location: Scarlett’s agency




        This was the first location we filmed a scene in which, Charles and
        Katy were seen running away from Scarlett's attackers, in an
        attempt to protect Subject 27.
MISE EN SCENE
                  Location: hall




    The image of the hall was where, Katy and Charles ran
    into each other arms because they were relieved that
    they escaped, after being separated and tortured.
MISE EN SCENE
   Location: screening room – torture room


                                      This room was used for two different
                                      scenes. the first scene was when
                                      Susanna, Scarlett's accomplice was
                                      confronted and killed by Charles. It
                                      was used as CIA base. This room
                                      was also used as a torture chamber
                                      when Katy and Charles were
                                      kidnapped and beaten up. It was
                                      also where they join in alliance to kill
                                      Scarlett.
MISE EN SCENE
              Location: living room

                This is the location of
                Sasha's murder. This was
                also the angle that the shot
                was filmed at. The home
                environment contrasts with
                the spy genre because
                every other shot was spy
                related whereas this shot
                was in a home which
                signify Sasha's
                unawareness of Scarlett's
                intention.
MISE EN SCENE
   Location:
     city




      A generic convention of spy movie locations is the city at
      night. We also had a shot of a boat going by. The darkness
      conveys a sense of secrecy and a air of mystery which is
      normally present in spy movies.

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How does your media product use, develop or challenge forms and conventions of real media products part 1

  • 2. Before we create our spy trailer, we decided to research existing films, posters and magazines so that we were aware of the typical conventions that is expected of our genre within a trailer.  We watched a range of trailers such as ‘Quantum of Solace’, ‘mission impossible’, ‘Bourne ultimatum’, and ‘taken’.
  • 4. We found a range of conventions in each trailer including:  A dramatic soundtrack which compliments the shots  A fast, sharp edits towards the end  a strong element of suspense /ENIGMA  a highly classified information that is normally catastrophic to the entire world.  The protagonist is male  Car chase scenes  Action  The organist's back-story - flashback  Theme – revenge, justice  Voiceover to build plot  Tension is built up throughout the trailer  many fast-paced shots
  • 5.  I am now going to examine whether our group applied these codes and conventions to our trailer, or whether we challenged them.  This is the final draft of our teaser trailer; it took 2 drafts prior to this to get it the way we wanted. We also got a lot of audience feedback to help us make the trailer more appealing to the audience.
  • 6. NARRATIVE  Storyline:  After witnessing his ex-wife, a CIA operative, Scarlett killing his fiancé’ at gunpoint in an attempt to derive valuable information about Subject 27, Charles, an ex-spy is on the run with the stolen highly classified information, Subject 27 in vengeance and devised an intricate plan to obliterate Scarlett and her appointed team.  During our planning process, we thought of the many different ways in which we could present our narrative without giving too much of it away. For example, we knew it was crucial to include scenes with action that highlighted Charles’ despair and agitation in his struggle in locating Scarlett. But we may sure not to include the aftermath of Charles’ and Scarlett’s confrontation in order to tease the audience.
  • 7. NARRATIVE  Unfortunately, our first and second drafts of our trailer were too vague and did not establish any kind of narrative whatsoever as we were unsure of how to structure the shots in terms of editing. It took us a while to realize, and after some audience feedback, we added some voiceovers to give the audience an awareness on what was happening in the trailer.  We agree that it was far too vague and begun working on making the narrative visible to the viewer.
  • 8. NARRATIVE  The narrative of our trailer incorporated some conventions of contemporary films of spy genre. In mission impossible 3, Ethan’s wife held at gunpoint at the beginning of the movie was a source of inspiration for the scene of at the start of the trailer, where Charles’ fiancé is at the mercy of Scarlett, who is holding a gun to her head.  In trailers of spy genre, the narrative and the theme interlink, there is normally a conflict through the use of binary opposition – the protagonist, Charlie vs. antagonist, which in this case is Scarlett as they both want sole possession of the valuable object, Subject 27. This is a iconographic code that is expected of a spy genre film as there is usually a object of some sort that can cause an adverse impact on the world and lead to catastrophic results if in the wrong hands – this is evident in Quantum of Solace.  We were limited in delivering a storyline through the trailer as the shots were cut down and constructed under one minute.
  • 9. NARRATIVE  Our trailer follows most of the conventions of existing products, for example:  We have edited all of our shots in chronological order as to give the audience an understanding of how the events unfolded.  Our trailer features a much higher proportion of disequilibrium, compared to equilibrium because it mainly contains scenes of action that signify the struggle between the Scarlett and Charles as they both go to extreme measures to obtain Subject 27.
  • 10. NARRATIVE  There was a sense of enigma seeing that towards the end of the trailer, the fast-paced shots and the dramatic music both contributed to the tension built-up as it leads to a highly stressful climax and ends with Charlie holding a pistol in the direction of the camera, which provokes a nervous reaction in the audience as leaves them wondering if he going to pull the trigger and ‘At whom is the gun pointed at?’, and the ultimate question ‘What is subject 27?’
  • 11. MISE EN SCENE Props: guns Props are often of genre specific iconography. A prop like a gun is a visual code that is element of spy genre as in many spy films characters are seen holding on to one as a means of killing and aid in creating a sinister feeling and anticipation. It also gives Charles’ an image of dominance.
  • 12. MISE EN SCENE Props: subject 27 Subject 27 is a highly classified information that is stolen from the spy agency, Charles was recruited in. The theft of documents/files/formulas/te chnology - usually something good that can be turned evil – is a recurring theme in spy movies and shows.
  • 13. MISE EN SCENE  Costumes: In movies of this genre, the main protagonist is seen wearing formal attire, suits especially when infiltrating the antagonist’s base in social events i.e. (contemporary James Bond movies). We have applied this dress codes into our trailer in order for the audience to distinguish the central character, Charles as the archetypal heroic figure. He is usually Suave, sophisticated, well dressed to emphasize the seriousness of his self-appointed mission and his well-informed intellect on gadgets.
  • 14. MISE EN SCENE  Lighting - The lighting in spy/action thrillers are mostly dark and mysterious. No character, not even the protagonist is a saint, so the darker toned lighting in this genre of film emphasizes this idea. The genre also deals with dark stories and motives so it is favoured for the lighting to back it up. Our trailer will not use many high key lighting to help us portray the story as a dark and serious one.
  • 15. MISE EN SCENE  Location: Scarlett’s agency This was the first location we filmed a scene in which, Charles and Katy were seen running away from Scarlett's attackers, in an attempt to protect Subject 27.
  • 16. MISE EN SCENE  Location: hall The image of the hall was where, Katy and Charles ran into each other arms because they were relieved that they escaped, after being separated and tortured.
  • 17. MISE EN SCENE  Location: screening room – torture room This room was used for two different scenes. the first scene was when Susanna, Scarlett's accomplice was confronted and killed by Charles. It was used as CIA base. This room was also used as a torture chamber when Katy and Charles were kidnapped and beaten up. It was also where they join in alliance to kill Scarlett.
  • 18. MISE EN SCENE  Location: living room This is the location of Sasha's murder. This was also the angle that the shot was filmed at. The home environment contrasts with the spy genre because every other shot was spy related whereas this shot was in a home which signify Sasha's unawareness of Scarlett's intention.
  • 19. MISE EN SCENE  Location: city A generic convention of spy movie locations is the city at night. We also had a shot of a boat going by. The darkness conveys a sense of secrecy and a air of mystery which is normally present in spy movies.