All 4 members (Jack, Pablo, Nikita and I) contributed to the questions chosen for the questionnaire. I distributed it online and personally. Below is the questionnaire.
We received 114 responses. Below is a pie chart summary of all the responses to our questionnaire.
We plan to utilise this information to broaden our views and ideas for the film opening.
These statistics are a summarised visual representation of the general audience's preferences. This will aid us in understanding what viewers look for in a movie thus resulting in us creating a final piece that is universally appealing to a wide range of audience members while still maintaining our individual ideas.
For example, Dubstep got the most votes in terms of background music, therefore we intend to use dubstep music in our action scenes in order to amplify the dynamic element of the film opening as well as engage the viewer.
Our target audience is that of a wide range, generally young adults to adults. We intend to draw this target audience with the usage of a broad variety of components and techniques that appeal to a vast audience, such as themes of action and adventure along with a light-hearted comedic element.
Above is a visual example of the general target audience for our Media Studies AS Level film project.
In more detail, this involves individuals who are interested in combined themes conventionally found throughout particular sub-genres (such as the mixture of violence conventionally found in action films, survival themes common within post-apocalyptic movies, humourous elements within comedy films, the display of traditionally explicit components such as drugs, brutality, etc). Because of this specific addition, it may be more popular amongst young adults than their older counterparts, not to mention the lack of female characters may not interest female viewers as much.
This fusion of a wide array of genres hints at a group who is knowledgeable about and familiar with the media and film industry although our target audience is not limited to that; we also intend for this movie to be entertaining for casual watchers who are generally not as involved with the film industry as others.
Fans of post-apocalyptic or action movies are given top priority however, as this film will involve several elements unique to those genres, specifically fans of the Mad Max series as our film project is influenced by it to an extent.
For this audience profile, I have written information on our target audience and Jack found the images.
The title of the film is one of the most important components in a film as it introduces the audience to the film and must accurately represent the film and genre in order to entice the viewer and make them interested in watching more. For example, action movies often use bold colouring and font effects in so as to convey a sense of dynamism.
In this particular title, vibrant red colours are used to contrast with the black background. This colour scheme carries strong visual weight and is used to draw the viewer's eye due to its catchy, attention-grabbing nature.
Thriller movies often use smaller fonts, faded out effects and dark colouring to add an element of suspense.
The black colouring combined with the faded, dark background in contrast to the faded white font colouring adds an element of mystery. The abstract nature of this background amplifies this.
The Silence of The Lambs emits a mysterious, gloomy atmosphere due to the muted, grayed out background that has low saturation and cool-toned colouring. The font used is fairly big so as to direct the viewer's attention to the title. This is further emphasised by the solid black colour and white framing of the titles. Horror movies often use dark red colours and 'trail' effects (such as the titles dripping) to link it to the blood and gore themes frequently essential to the horror genre, as shown below.
The title of our Media Studies film opening project will be Quicksand. We have chosen this title because of the desert setting inspired by Mad Max: Fury Road, not to mention in our audience research questionnaire most of the votes were for Quicksand out of 4 options. It's short and catchy which reflects the genre and plot line of our fast-paced action-packed film opening well.
The film title shown above is made by Jack. This is the general layout we will be using for our film title opening. However, it also involves an animation effect that will need to be shot on the first Shooting Day therefore it cannot be displayed at the moment. Below is a video that shows our inspiration behind this idea from Borderlands 2.
Hollywood movies are regarded as the main and most prominent entertainment source for audiences around the world. Its popularity suggests that it appeals to a wide array of individuals implying that there is a diverse representation of characters in this particular industry. However, this is not the case. United States
The United States is responsible for roughly 80% of the media we consume, therefore is very influential. When it comes to Hollywood films, on-screen gender representation is poor with males getting significantly more screen time than their female counterparts. For example, Stereotypes
Another reason gender representation in media is limited is because it primarily focuses on the preservation of gender stereotypes therefore characters are not as varied or as unique as they have the potential to be. This is amplified in the post-apocalyptic genre where a theme of survival is often apparent. For example, males are often portrayed as aggressive, rational or take-charge types who are the 'heroes' or saviours especially in action movies whereas females are often portrayed as emotional, weak and submissive. When women do appear in action/survival movies it is to primarily to support male characters, to merely to assume the role of "eye candy" for male gaze/characters or to be saved by them. This is clearly rooted in outdated gender roles that are still subtly enforced through the media in this day. Therefore not many self-reliant or competent female characters are portrayed in post-apocalyptic movies.
Jurassic World
Mad Max: Fury Road
The Road
A common feature, especially in post-apocalyptic or survival movies, involves male characters covered in mud, blood, dirt, etc. to symbolise their survivalist streak whilst women even in dangerous situations are significantly more well-groomed and clean in comparison to their male counterparts. This is influenced by the media's expectations of beauty towards females.
There are a few films that ignore the aforementioned stereotypes such as the Kill Bill series or Mad Max: Fury Road where female characters are depicted as aggressive like their male counterparts (although men are portrayed stereotypically in Mad Max - strong, violent, etc). Beauty standards are also disregarded with the exception of the wives leading to the female protagonist's appearance being portrayed in a more realistic manner.
Charlize Theron playing Imperator Furiosa
However, facts are most movies do not. Even in films where female characters are not portrayed stereotypically, for example action films such as Marvel's The Avengers series or Resident Evil, they are often sexualised (just look up "action girls" on Google Images), hugely outnumbered by male characters, cast as the "femme fatale" archetype and/or displayed through the 'male gaze' which will be elaborated on later.
The Avengersmain cast - 5 males, 1 female. Statistically there are 2.24 male characters for every 1 female character, and only 31% of speaking roles are given to females.
On the other hand, male characters are rarely ever portrayed as emotional or submissive or in any unstereotypical roles. Non-binary genders are even more under-represented.
In contrast, there are a few movies that challenge gender stereotypes.
The small writing on the bottom says the following: "Females are missing in action in adventure/action movies; only 23% of speaking roles in this genre are females." Those particular statistics can be applied to the genre I'm focusing on, post-apocalyptic action, as the two genres are very similar in terms of themes and representation. (I was unable to find a specific number for the sub-genre.)
Resident Evil is a movie series based off of a video game series that swiftly dodges particular gender stereotypes and has wider gender representation; the lead character is female which is highly unusual for a post-apocalyptic/action movie.
Milla Jovovich in Resident Evil: Afterlife
In addition to this, the female characters throughout the movie are portrayed as dominant and confident, as well as physically competent, which is also not stereotypical because primary protagonists, generally and in post-apocalyptic action movies, are rarely women. The film has a more broad variety of female characters and avoids the stereotype in action movies where women automatically compete/are pit against any other female characters - assuming there's more than one.
Michelle Rodriguez in Resident Evil
Ali Larter in Resident Evil: Afterlife
Bingbing Li in Resident Evil: Retribution
Nevertheless, the lead female character is often sexualised along with supporting female characters in the way they are dressed. This ascribes to stereotypes and panders to the 'male gaze.'
The term 'male gaze' refers to how the media, being male-dominated, is structured around the male audience's point of view, even when it comes to the way females are represented. Women are displayed in accordance to male viewers' preferences; this happens when the camera puts the audience into the perspective of a heterosexual male, noticeable examples being the over-sexualisation of females or lingering shots of a woman's body. This concept was first coined by feminist film critic Laura Mulvey in her 1975 essay titled "Visual Pleasure and Narrative Cinema."
Behind-the-Scenes
Gender representation is not particularly high in behind-the-scenes media either. For example, only 7% of all Hollywood directors are female.
Geena Davis, a successful female film director, had this in response to the study shown above:
"The fact is – women are seriously under-represented across nearly all sectors of society around the globe, not just on-screen, but for the most part we’re simply not aware of the extent. And media images exert a powerful influence in creating and perpetuating our unconscious biases. However, media images can also have a very positive impact on our perceptions. In the time it takes to make a movie, we can change what the future looks like. How do we encourage a lot more girls to pursue science, technology and engineering careers? By casting droves of women in STEM, politics, law and other professions today in movies."
An interesting movie to look at when analysing editing in the post-apocalyptic genre is I Am Legend. It begins with an establishing shot where several long takes are used in order to display the scene's setting in detail, with straight cuts utilised in between each shot. This usage of long takes illustrates the theme of isolation and abandonment within the deserted city often found in post-apocalyptic movies.
This is continued throughout the opening scene when the characters are introduced which shifts the focus to them rather than the evacuated city. A match on action cut is employed shortly afterwards to demonstrate the character rolling down the window for their canine companion which cuts to the dog rolling its head out of the window.
All of the takes are fairly long in order to emphasise the balance and quietness of this deserted area which is quickly disrupted by several deers running around the car. This disruption is clearly signified in editing terms with the abrupt change in pace of cuts; they become significantly quicker than the cuts utilised earlier on to convey a sense of action and danger. The panic that the character is feeling is projected throughout the exercise of quick, abrupt cuts.
Several match-on-action cuts are used from this point onwards to amplify the rushed atmosphere and show the character's hastened driving from a variety of different angles. This is a form of continuity editing which means that the cuts are almost 'invisible' but sticks the shots together in order to support the narrative as well as make the scene cohesive.
Elliptical editing is also used to show the distance the character has driven in the abandoned city without making the audience actually sit through the inconvenience of the whole time it takes to cross that distance. In shorter words, this form of editing is used so as to compress time.
The narrative of a movie is its general plot and how that is structured. Todorov's theory states that most plots follow the same structure and path including the following:
1. The story begins with an equilibrium where any future potential opposing characters/groups are balanced and not in opposition yet.
2. Next is disruption, where the balance established by the equilibrium is disrupted by an event or a character that sets the story in motion. The conflict builds up from here.
3. This leads to recognition or realisation where the characters acknowledge the disruption of events.
4. This makes the characters set out to resolve the conflict/disruption and restore order, known as restoration.
5. After the characters set out to resolve the problem, the plot ends with a resolution where equilibrium is restored again but with some obvious changes.
Mad Max: Fury Road
The scene begins with a shot of the main character narrating about an event; this provides the back-story to the introduction.
However, no explicit mentions have been made about who the opposition forces are, therefore this represents the equilibrium stage of Todorov's narrative structure theory. Only one character is introduced at this point therefore everything is balanced and conflict has yet to develop.
Disruption, the next stage, is clearly revealed in the next scene where the formerly introduced character is involved brief car chase with newly-established opposition.
The character ends up getting caught as the voice-over informs the audience of this setting's conditions ("a man reduced to a single instinct: survival") obviously establishing the survivalist theme, further supported by the visual representation of this desert region.
These events disrupt the initial balance/equilibrium that was set at the beginning of Mad Max: Fury Road's film opening because the prominently conflicting nature of the car chase intervenes with the previous neutral state.
This shot depicts the main character falling down which further signifies the danger and conflict of the disruption stage, which leads to the next stage known as realisation or recognition where the protagonist realises and acknowledges the disruption of events.
This then transitions to the fourth stage called restoration where after the character recognises the ongoing chaos and sets out to restore order, seen in the protagonist's attempts to survive the car chase or escape the cave he is captured in altogether. This reaction clearly illustrates the character's awareness of the disruption, linking back to the third stage.
Oftentimes the stages are not fixed but rather blend into each other especially if the narrative is non-linear; reactions and viewpoints of a variety of characters are explored.
For example, one character may have realised a disruption of balance and consequently sets out to resolve this, while another character has not yet recognised the nature of the situation i.e. for this second character the story's development pace is entirely different to the aforementioned character for they are experiencing different stages.
*Within the first five minutes, various characters are introduced on two opposite distinctly defined sides: Mad Max's side and the bandits' side.
After the disruption(s) is/are acknowledged and acted on, this usually leads to the final stage referred to as "equilibrium again" often at the very end of the plot where any disputes are resolved thus restoring the equilibrium, albeit with noticeable differences. However, since my task is to create and analyse film openings, this stage cannot be addressed in context of the film's intro.
*Imperiator Furiosa kills Immortan Joe
In terms of the entire story, on the other hand, a resolution is reached when Imperator Furiosa kills Immortan Joe, the main villain who the bandits shown above work for.
Several characters are shown rejoicing, suggesting that the disruption of events' cause was common for everyone. The cheering implies that equilibrium has been achieved similarly to the balanced nature of the beginning of the story, although there are some distinguishable changes. The death of the primary antagonist is an example of one of those changes, signifying hope for the characters.
*Characters' reaction to the freedom from Immortan Joe's dictatorship.
The video of the characters' reactions to his death are embedded below.
No usage of non-diegetic sounds, mostly diegetic sounds such as the character(s) narrating what has happened and creaking of doors throughout the first 40 or so seconds to establish and focus on backstory.
More usage of diegetic sounds when the first character gets infected and screams leading to a sense of panic amongst both the characters and the audience.
The first time non-diegetic sounds are utilised after that scene including atmospheric, quick, abrupt music to add an element of thrill and draw attention to the fast-paced action scenes.
Music gets louder by every minute and is especially amplified in the chasing scene which sees a main character running away from a horde of zombies after leaving his family behind, this is likely to represent the mixture of difficult internal obstacles he is facing such as his guilt and grief for losing his family and the panic of having to survive.
The film opening starts with a black screen fading into the production credits (shown in the middle above) as is typical for most film openings, accompanied by narration which catches the audience's attention from the start.
The colour scheme used throughout the opening credits is mostly a warm-toned red-and-black which retains strong visual contrast, demanding the audience's attention. This has a thrilling effect on the viewer.
This colouring is common in action-packed movies but is rather uncommon for movies in the post-apocalyptic genre; they often employ cool-toned colouring that is low in saturation.
The font has a rusty, cracked effect which establishes the film's desert setting because it looks like a dried up desert land, supporting the post-apocalyptic theme. The chrome effect used on the main movie title resembles the variety of vehicles used throughout this movie.
In addition to this, the orange/fire effect used on "Fury Road" and the first credit frame foreshadows the usage of fire later on (shown in the middle right slide) and the high temperature of the setting. All of this is implied solely through the opening credits.
Supernatural elements are often present within the post-apocalyptic genre, particularly in post-apocalyptic horror but can also be found in the post-apocalyptic action subgenre which is what our film opening will focus on.
Post-apocalyptic action movies often employ supernatural elements such as ghosts, demonic possession, haunted houses, poltergeists or more prevalently the zombie trend found in movies such as World War Z, 28 Weeks Later, I Am Legend, the Resident Evil franchise, etc.
Low-key lighting to emphasise the usage of shadowed effects are also apparent within several scenes in prominent post-apocalyptic action movies, such as the film still shown below from Mad Max: Fury Road (2015),one of the most influential post-apocalyptic movies of all time. This is because the manipulation of various degrees of low-key lighting amplify the sense of covertness and intrigue often reflected in the storyline of this genre's movies. It also produces an apparent but still subtle mysterious effect to the viewers using non-verbal communication.
Low key lighting can also be used to intensify the nature of the setting and the time of day, for example a forest in the night. As shown on the right, low key lighting is used to establish a dark cave/tunnel setting which conveys a sense of danger to the audience.
Short takes combined with straight cuts are also used to display action and add a sense of "rush" and dynamic movement to the scene. The cuts' short duration capture the viewer's attention because it is often connoted with a thrilling and exciting environment/scene.
Other important takes are used, namely the long take. This is often utilised in establishing shots in this particular genre in order to establish or display the setting of the film, which is usually a destroyed, deserted or abandoned buildings/landscape.
Shots of destructed/jagged landscape are conventionally used in the post-apocalyptic genre especially movies with a "zombies" component involved so as to visually set the survival/post-civilisation theme common in the genre. For example, 28 Days Later starts out in London with a shot of the Houses of Parliament in the post-apocalyptic world.
Themes of betrayal are also frequent in the genre to add character depth and development, occasionally in order to explain to the audience why the character might behave in a certain manner. Sometimes shown in flashback sequences to give a backstory and is usually relevant to the current plot in some way, even if not obvious at first (usage of the betrayal trope in plot twists or survival situations).
Desperation in characters is also a common convention in post-apocalyptic narratives, for example due to the urgency of the situation characters are driven to do uncharacteristic or immoral actions to emphasise their desperation and their desire to survive - fighting death, which is another convention in such plots. The death of main or supporting characters or characters not yet introduced to project a sense of fear and apprehension or sometimes shock value if they are particularly unexpected gory scenes.
Blood and gore can be used for shock value and to further emphasise the state of urgency in the era or setting the film is set in. Below is an example of blood and gore in zombie films (trigger warning).
Themes of survival are frequently apparent in this genre due to its uncivilised nature. There is often a range of threats and obstacles that characters must overcome. This can be a primary antagonist or several antagonists combined.
This often involves the usage of weaponry in order to aid survival, usually guns or knives.
Lack of representation; predominantly male characters
The opening starts with a voice-over narration by an unknown character while some title credits are shown across the screen. The tone of the narrator is serious which intrigues the viewer from the beginning, combined with the vibrant black-and-red colour scheme of the capitalised title credits.
This kind of blend clearly demands the audience's attention; the viewer is thus given the impression that this movie is not of the subtle or light-hearted kind.
A lone character is finally shown in a desert setting with a jagged landscape, immediately establishing the frequently-exercised trope of abandonment and isolation in the post-apocalyptic genre.
The contrast and saturation is high throughout this scene which is eye-catching and the character is shot from an angle where the audience does not see the character face-to-face which ignites a sense of mystery, another component in catching the viewer's attention.
The focus is then switched to a lizard in the foreground crawling towards this character and the camera pans to the character proceeding to eat it, pointing out that this is not a conventionally likable character, although this is typical for the post-apocalyptic genre. This is the first close-up of the character.
A few fast cuts are then used to show the character packing up a few things and driving away leading to a car chase. No close ups are used to show the action here, only long shots are used to show the short car chase from a distance to establish the vastness of the setting.
There is no background music in this action scene which is uncharacteristic for a post-apocalyptic action movie, resulting in a realistic effect as if the viewer was witnessing this situation in real life.
The main character is injured but survives the impact just as the narrator says the word "survive", further emphasising the survivalist theme native to most action/post-apocalyptic movies.
A series of flashbacks are then shown as the character tries to get up revealing the character's grief and guilt towards an unexplained event which invites the viewer to sympathise and identify with the character.
The next scene is solely comprised of high-saturation, high-contrast shots in low-key lighting with a warm-toned centre due to fire flames and a cool-toned frame, hinting that the location is a cave.
The character is thus faced with another obstacle which they get out of shortly, accompanied by fast-paced music and quick cuts to increase the tension and sense of urgency. Some match-on-action shots are used to show the path the character takes.
Another montage of flashbacks are revealed through the character's eyes in an inappropriate time as he is trying to escape which implies that he is haunted by his own past whenever he tries to escape a situation, further emphasising the character's extreme guilt and anxiety; the montage employs fast cuts, dark colouring and a visual effect where the characters in his flashbacks transition into skeletons to represent this.
He tries to escape several times but something always gets in the way, whether it is his own flashbacks or the antagonists. This constant fluctuation between escaping and getting trapped increasingly heightens the thrill and tension amongst the audience.
Overall this film is unique enough to stand out from other post-apocalyptic movies while still staying loyal to the basic expectations and conventions of the genre.
