Film Scenario

the film was originally about an inspector, a wife and husband who are fighting a demonic possession. With the help of the paranormal investigator, inspector fraser, they can defeat and end the evil coming from within.

Group Discussion of Scenarios

In my group, we had initially came up with a short horror about a husband and wife who had called a paranormal investigator to help scrutinize and resolve the strange occurrences in their home. I would have played the inspector, reni would have been the wife and ishwar the husband however wiktor would be behind the camera. Although we had agreed upon this narrative, we quickly decided against it, strongly believing it was too ambitious and we would have trouble filming it and making it realistic whether it's down to the actors having stage fright or dealing with the very concept itself. With time against us and the deadline approaching quickly, we improvised and made 'The Lurker'. The Lurker is about a girl who's studying in the library but a fellow classmate is stalking her, following her as well as trying everything to make sure she both notices him and doesn't notice him.

Title Sequence Planning

This was composed by wiktor on Adobe Aftereffects as a concept intro. After changing the idea we'll now update it and change the name.

Audio Planning

I recently worked on merging two audio pieces I found on YouTube to create a unique soundscape. The goal was to add a low growl to the mix, enhancing the tension and atmosphere of the audio. Using Adobe Audition was a bit of a learning curve, but after some experimentation, I was able to create the desired effect. The process involved blending the sounds together while carefully manipulating frequencies and pitch, which ultimately resulted in a deep, eerie growl that added just the right amount of intensity to the piece.

Film Noir

Film noir is a genre of cinema that emerged in the early 1940s and reached its peak during the 1940s and 1950s, largely in American crime dramas. Rooted in the disillusionment of the post-World War II era, film noir is defined by its distinct visual style, morally complex characters, and dark, often pessimistic narratives. At its core, film noir explores the fragility of human nature, focusing on the inner turmoil, corruption, and moral ambiguity of its characters. Its protagonists are frequently hard-boiled detectives, antiheroes, or ordinary individuals who find themselves drawn into a world of crime, deceit, and betrayal. These characters often struggle with their own flaws, making them deeply vulnerable to the predatory forces around them.

The visual style of film noir is one of its most defining features. Drawing heavily on German Expressionism, noir films are marked by their high-contrast lighting, deep shadows, and striking chiaroscuro effects. The stark interplay of light and shadow serves not only to create a sense of atmosphere and tension but also to reflect the inner conflicts and moral dilemmas of the characters. Urban landscapes, often depicted as grim, rain-soaked streets or smoke-filled offices, enhance the sense of isolation and entrapment that permeates these films. Cinematography in noir often features unusual angles, such as tilted or low-camera shots, heightening the sense of unease and disorientation.

Thematically, film noir delves into the darker aspects of human experience, confronting subjects like crime, obsession, fatalism, and the fragility of justice. Many noirs are centered around a mystery or crime, typically involving a femme fatale—a seductive and manipulative woman who leads the male protagonist astray, often with deadly consequences. This relationship between the detective and the femme fatale became an iconic trope of the genre, symbolizing the tension between desire and destruction, innocence and guilt. Moreover, the genre is marked by its exploration of existential themes, including the futility of trying to escape fate and the sense that individuals are trapped within a corrupt system beyond their control.

Though originally inspired by the hardboiled crime fiction of writers like Dashiell Hammett and Raymond Chandler, film noir quickly transcended its roots in detective stories. Directors such as Billy Wilder, John Huston, and Orson Welles used the genre to create complex narratives that blended crime, psychological drama, and philosophical inquiry. While many noir films were made with modest budgets and aimed at a mass audience, their influence on cinema is undeniable, laying the groundwork for future genres, including neo-noir, which revived and reinterpreted many of its conventions in the 1970s and beyond.

Film noir’s influence also extends beyond cinema, affecting the visual and narrative styles of other art forms, including television, literature, and graphic novels. Its enduring appeal lies in its exploration of timeless, universal themes—alienation, moral ambiguity, and the darkness of the human psyche—resonating with audiences seeking to confront the complexities of life in an uncertain world. Despite its relatively brief heyday, film noir has remained a vital and influential part of film history, a genre that continues to captivate and challenge viewers with its sharp, stylish portrayal of human frailty.

Suspense in Films

Suspense in film is an art of creating tension and uncertainty that keeps the audience very interested. Many times, it emanates from dangerous situations where the character may be in, or even from the concealment of an important piece of information, thus making the audience excited. The filmmakers control timing, music, camera, and plot twists in making it even suspenseful. It all has to do with timing and audience expectation in creating suspense. That tool heightens drama and emotional investment to a mark-not allowing them to become disengaged with anticipation of what may happen next.

Camera techniques in the building of suspense in films are very important since they detail how the audience will view a particular scene. For example, it may be slow zooming in that pinpoints a small character's reaction; tension would therefore rise while viewers await events to take place. Low-angle shots of a threat make them look stronger while high-angle shots make the character appear weak. Tight close-ups, especially around the face of a character or of the object of fear, can make this an entire moment a more personal experience, heightening the notion of fear. Long shots-without intermissions or fast cuts-may make the viewer edgy as well since they cannot predict what will occur afterward. When all of these means are used thoughtfully, they enhance the notion of something unpredictable to them and keep them interested.

Mise en scène is a term that describes the arrangement of visual elements within a frame. Mise en scène can also be used as a very active method of creating suspense in movies. With careful usage of lighting, color, set, and properties, an atmosphere of unease or fear can be achieved. Parts of the action may be hidden by low lighting or shadows; this keeps the audience uncertain as to what they may not be seeing. It means a disorganized or weird environment results either in isolation or even in peril. Placing of characters within a scene also builds tension-just like placing a character up front that does not see the threat behind or a wide shot to make a person feel farther away and vulnerable. Modification of such elements actually establishes suspense and enhances the emotions of a scene.

Editing is important in making movie suspense because time passes through editing; it controls what to display on the screen at what time and what to hide. Quick cuts can build tension since the quicker the action on the screen, the more urgent or anxious the audience will feel. On the contrary, slow editing or long takes can make the momory of seconds dragged out in anticipation as to what happens next. Jump cuts are fast cuts or changes from one scene or view to another, possibly making a viewer disoriented and creating an atmosphere of unpredictability. In addition, parallel editing, or interweaving two or more storylines, can develop the feeling of suspense while showing different events running simultaneously and making the audience anxious about what is going to happen with the characters. Editing by way of judicious variation in timing and rhythm would, therefore, build suspense at one time and anticipation at another.

Lighting is an extremely powerful tool in creating movie suspense since it automatically sets the mood and feel of a particular scene. It is with a change in light and shade that a filmmaker can build tension and uncertainty that will leave audiences anxious. Low-key lighting refers to most of the frame being dark. This is often utilized to build an atmosphere of mystery or even menace since it obscures detail from the audience and therefore unnerves them as to what may well be lurking in the dark. High contrasts of light and dark can further heighten this threatening sensation since it would make certain things very clear but obscure others leaving the audience without any idea of what may happen. Moreover, equally effective will be the fact that some of the characters or objects would be more lonely or helpless when spots or pools of light are used to isolate them. Besides, a sudden change in light-an outage or flicker-is one good way to surprise viewers for suspense and fear. This allows filmmakers to create an emotional and suspenseful atmosphere in the scene through such light expressions.

Sound and music are an important tool within a movie context, especially when it comes to building suspense through transition of feelings into anxiety. Sudden uncanny silence might give rise to a feeling of unease within the audience; many will get the impression that something terrible is going to happen any minute now. On the opposite side, a growing soundtrack, such as rising music, may give warning signals for imminent danger. It can also be dissonant or atonal music, with uncanny sounds, to produce an unexpected or uneasy scene to insinuate that something was going wrong. Loud, jarring sound effects may be used, like that of a sudden bang or creak, to surprise the audience and build those moments of shock and tension. Very quiet background noises, like that of a ticking clock or of footsteps, build up a sense of fear. By carefully regulating both the sound and music, the filmmaker can change the speed of such tense moments to keep the audience excited and right in the middle of the story's tension.

Character identity plays a significant role in creating suspense in films by shaping how the audience perceives the character’s intentions, vulnerabilities, and potential for danger. When a character's true nature or motivations are unclear, it leaves viewers uncertain about whether they can be trusted, which heightens tension. For example, a seemingly innocent character might be hiding a dark secret, or a villain could be disguised as someone harmless, making the audience question their actions. This uncertainty keeps the audience on edge, as they wonder what the character will do next.

Additionally, when a character is placed in a vulnerable position, the audience becomes emotionally invested in their safety, creating suspense as they anxiously anticipate whether the character will survive or overcome the danger. A familiar or likable character in peril becomes more suspenseful because viewers are emotionally connected to them, fearing for their well-being. Conversely, if a character is a potential threat, the suspense grows as the audience wonders when or how their true intentions will be revealed. By playing with these layers of character identity, filmmakers can manipulate the audience’s emotions and expectations, heightening the overall sense of suspense.

Industry Roles

Film Roles:

Film Director:

A film director is the creative visionary and leader responsible for overseeing the entire production of a film. Their role is multifaceted, combining artistic, technical, and managerial tasks to bring a script to life on the screen. A film director is the person who guides the entire process of making a movie. They start by reading the script and deciding how the story should look and feel on screen. The director then chooses the actors for each role and tells them how to act. They also plan the movie’s visual style, working with other people to choose locations, costumes, and camera angles. During filming, the director directs the actors and crew, making sure they get the right shots. After filming, the director helps choose the best scenes and puts them together in the final edit. In the end, the director makes the key decisions on how the movie should look before it’s released.

You would need a degree in film production, film editing, film and television production, or screenwriting, getting experience in camera work, screenwriting, or acting. Technical skills in shooting, producing, and editing films. The ability to interpret a script, the ability to cast actors, photographic skills, a good knowledge of film language, skills in how to direct actors an understanding of the different technical processes involved on set and in post-production

Producer:

A film producer is in charge of making sure a movie gets made from start to finish. They handle the business side of things, like finding funding, hiring key people (like the director and actors), and managing the budget. Before filming starts, the producer plans the schedule and helps organize everything. During filming, they make sure the movie stays on track and solves any problems that come up. After filming, they oversee editing and help with marketing and distributing the movie. The producer’s job is to keep everything running smoothly and make big decisions to ensure the film is finished on time and within budget.

A Level 3 Diploma in Film and Television Production, Internships in a film studio, television network, or theater, Work placements, Small-scale projects. Skills like problem solving, Communication, Delegation, Business mindedness, Project management, Leadership, Management, Teamworking, and Commercial awareness.

ScreenWriter:

A screenwriter writes the script for a movie or TV show. They create the story, develop the characters, and write the dialogue. The screenwriter decides what happens in each scene and how the story is told from start to finish. They organize the story into a beginning, middle, and end, and rewrite the script if needed to make it better. Sometimes, they work with the director to make sure the story works well on screen. In short, a screenwriter writes everything that happens in the film or show.

the most important qualification is strong writing skills, a deep understanding of storytelling, and the ability to craft compelling scripts. You'll also need a degree in creative writing.

Game Roles:

Producer:

A game producer is responsible for overseeing the entire development process of a video game, acting as a project manager who ensures the game is completed on time, within budget, and at the desired quality. They create detailed schedules, allocate resources, and coordinate tasks across different departments, such as design, programming, and art. The producer is also the primary point of communication between the development team, executives, and external stakeholders, keeping everyone aligned with the project’s goals and vision. They manage the budget, help resolve any issues that arise during development, and ensure that quality control measures are in place. While not directly responsible for game design, producers ensure the game’s creative vision is executed within the practical constraints of time and resources. Additionally, they oversee the game’s launch and post-launch support, ensuring that updates and patches are delivered as needed. A producer’s role requires strong leadership, problem-solving skills, and a deep understanding of the game development process.

To become a game producer, you typically need a relevant degree in game design, computer science, or business, a strong understanding of the game development process, excellent communication and leadership skills, experience in project management, budgeting abilities, a keen knowledge of the gaming industry, and the ability to collaborate effectively with different teams across art, design, programming, and marketing.

Motion capture Technicians:

A motion capture technician is responsible for setting up, operating, and maintaining motion capture equipment to accurately capture the movements of actors, athletes, or objects for use in video games, films, or virtual reality. They calibrate cameras and sensors, ensuring markers are placed correctly on the subject's body to track their movements. During the session, the technician monitors the data in real time, troubleshooting any issues with marker visibility or camera angles. Afterward, they manage and convert the captured data into usable formats for animation or game development software. The technician collaborates closely with directors, animators, and actors to ensure the motion capture meets the creative vision, while also maintaining the equipment and performing regular calibrations. Their role is crucial in creating realistic and lifelike animations, making sure the captured data is accurate and ready for post-production.

To become a motion capture technician, you typically need a strong technical background with knowledge of camera equipment, computer skills, a keen eye for detail, and ideally a degree in computer animation, media arts, or a related field, along with experience with motion capture technology and software to set up and operate the equipment accurately on set; some positions may require a bachelor's degree depending on the company and role.

Game Marketer:

A game marketer is responsible for promoting and selling video games by creating and executing strategic marketing campaigns. Their role involves conducting market research to understand the target audience, analyzing competitors, and positioning the game uniquely in the market. They develop branding and messaging, manage pre-launch and post-launch campaigns, and create content to build hype, such as trailers and social media posts. Game marketers also engage with gaming communities, influencers, and the media to generate buzz and ensure long-term player engagement. Additionally, they determine pricing strategies, run promotions, and track performance using data to refine their approach. Ultimately, their goal is to ensure the game reaches its audience, maximizes sales, and maintains player interest over time.

To become a game marketer, you need a deep understanding of the gaming industry, excellent communication skills, strong analytical abilities, creativity, a grasp of digital marketing platforms, and the ability to identify and target the right audience within the gaming community, often requiring a marketing-related degree and experience in the gaming sector to effectively create and execute marketing campaigns for video games.

Broadcasting Roles:

TV presenter:

A TV presenter is responsible for hosting and guiding television programs, engaging with the audience, and ensuring smooth transitions between segments. Their role involves introducing topics, reading scripted content, and improvising when necessary, especially during live broadcasts. Presenters often interview guests, conduct research, and prepare for each show to deliver information accurately and engagingly. They collaborate closely with producers, directors, and technical teams to maintain the show's flow and adapt to changes. Beyond on-air duties, they manage their on-screen presence through body language and appearance, while also interacting with viewers on social media. In essence, TV presenters combine charisma, communication skills, and adaptability to bring content to life and keep audiences entertained or informed.

There are no formal qualifications required to become a TV presenter, but you can take courses to help you develop your skills.

Sports Commentator:

A sports commentator provides live, real-time commentary and analysis during sporting events, helping viewers understand the action and stay engaged. Their primary role is to describe what is happening on the field, court, or track, offering detailed play-by-play coverage of the game or match. They must be quick-thinking, delivering descriptions of the game’s events as they happen, often in a lively and engaging manner. In addition to play-by-play commentary, sports commentators provide analysis, offering insights into players' strategies, techniques, and statistics. They may also interview athletes, coaches, or experts, giving additional context and depth to the broadcast. A sports commentator must have an in-depth knowledge of the sport they're covering, as well as a good understanding of the rules, players, teams, and historical context. They work in teams, often with a color commentator or analyst who provides expert commentary and adds depth to the broadcast. Sports commentators also need to maintain a strong, clear voice, stay energetic during long broadcasts, and react quickly to the ebb and flow of the game, often under pressure in live, fast-paced environments.

To become a sports commentator, you need a deep knowledge of the sport, excellent verbal communication skills, strong analytical abilities, a good understanding of broadcasting techniques, a journalism background (ideally with a focus on sports), and ideally, some experience in sports reporting or commentary, which can be gained through local radio or television stations, or by volunteering at events.

Video Editor:

In broadcasting, a video editor plays a vital role in shaping raw footage into a polished, broadcast-ready product. They organize and trim footage, adjusting pacing and timing to ensure a smooth flow that aligns with the tone of the program, whether it’s a fast-paced sports highlight or a more formal news segment. Editors also incorporate graphics, such as name captions or scoreboards, and adjust audio levels to ensure clarity and balance. They perform color correction and visual enhancement to maintain consistency across shots and improve image quality. In live broadcasts, they may need to work in real time, quickly cutting and preparing highlights or replays as events unfold. Collaborating closely with producers and directors, video editors ensure that the final product meets all technical and creative requirements, delivering a compelling and cohesive broadcast that engages the audience.

To become a video editor, you need a strong grasp of video editing software, a creative eye for storytelling, excellent attention to detail, strong communication skills, the ability to work with audio, good time management, and a portfolio showcasing your editing abilities; essentially, a blend of technical skills and creative vision to produce compelling narratives through video editing.

Mise-en-Scene

Mise-en-scène refers to the process of placing all of the physical elements of a scene within the view of a camera. The mise-en-scène is, quite simply, how it is all placed and presented within the frame to establish meaning and mood through the composition of it all. With an awareness of composition in all these elements, the directors are able to work with the mood of the scene, draw attention to certain themes, and influence audience response. It can explain Company or anxiety with bad lighting and fewer sets, but the brightness and messy area might show joy or chaos. Mise en scène plays an important role in filmmaking as via it, a story is being narrated by the images and its depth being elaborated.

What is Media?

1. Using these key media concepts, write a brief description of each in your own words:

Media Language:

This refers to the way media communicates meaning through various codes and conventions, such as visuals, sounds, language, and symbols. Media language includes things like camera angles, editing techniques, the tone of voice, and visual styles, all of which work together to convey specific messages or influence how an audience interprets the content.

Representation:

Representation in media refers to the way in which certain groups, events, or issues are portrayed. This involves the selection and construction of images, characters, and narratives to reflect (or distort) reality. How media represents gender, race, class, or other aspects of identity shapes public perceptions and influences social attitudes.

Audience:

The audience refers to the people who consume or interact with media content. This concept looks at how different groups engage with media, their preferences, behaviors, and the ways media is designed to appeal to specific demographics. Media creators often target particular audiences to ensure their message or product is received in a specific way.

Institution:

An institution in media refers to the organizations or structures that produce and distribute media content. This includes film studios, television networks, online platforms, and publishing houses. Media institutions have a significant influence on what content is created, how it is distributed, and the ways in which it reaches audiences, often shaping cultural norms and societal views.

2. Give an example for each one to illustrate what you are saying:

Media language, representation, audience, and institution are key concepts that help us understand how media operates and affects society. For example, media language can be seen in a suspenseful movie scene where elements like low lighting, close-up camera angles, and tense music work together to create fear and anticipation, all without words. Representation is evident in how women have often been portrayed in Hollywood films, sometimes as secondary characters or romantic interests, but movies like Wonder Woman challenge these stereotypes by presenting strong, independent female leads. The concept of audience is illustrated by platforms like TikTok, which targets a younger demographic with its fast-paced, engaging videos, influencing how content is created and consumed. Finally, institutions like the BBC play a central role in shaping media content; as a public service broadcaster, the BBC produces balanced and educational programming that reflects its broader mission and values. Together, these concepts help us understand how media content is created, represented, and received by different groups.

3. Codes and conventions:

In media, codes and conventions refer to the established techniques and systems used to convey meaning and create understanding between creators and audiences. Codes are the signs and symbols that carry meaning, such as visual elements (like colors, props, or facial expressions), audio cues (like music, sound effects, or voice tone), and technical aspects (like camera angles or editing styles). For example, a close-up shot of a character’s face might indicate intense emotion or focus. Conventions are the agreed-upon structures or patterns that audiences expect in different types of media. In film, conventions might include a three-act structure or typical genre elements like the hero’s journey in adventure films, or the use of a laugh track in sitcoms. These codes and conventions are essential for creating recognizable narratives and genres, guiding the audience’s expectations and emotional responses. By following or subverting these established rules, media creators can effectively communicate messages, shape perceptions, and engage viewers.

Denotation:

Denotation in media refers to the literal, direct meaning of an image, sound, or symbol without any interpretation or deeper association. It is the obvious, surface-level meaning that is universally understood. For example, a picture of a red rose denotes simply a red flower, and a shot of a police officer in uniform denotes a law enforcement official. In media, denotation is often the starting point for understanding an image or scene, as it provides the basic, factual information. However, while denotation represents the literal meaning, it can be layered with connotation, which gives the image or sound additional meaning based on cultural, emotional, or social contexts. For instance, a red rose might also connotate love or romance, depending on the context. Denotation is important because it forms the foundation upon which deeper, more symbolic interpretations can be built.

Connotation:

Connotation in media refers to the deeper, often subjective meanings and associations that an image, symbol, or sound evokes beyond its literal denotation. It is influenced by cultural, emotional, and social contexts, shaping how audiences interpret a message. For example, a red rose may denote a simple flower, but it connotes love, passion, or romance, based on cultural associations. Similarly, a shot of a dark alley in a film might denote a literal location, but it connotes danger, fear, or uncertainty due to its common use in thriller or horror genres. Connotation is powerful in media because it taps into the audience’s prior knowledge, experiences, and emotions, often conveying more complex or layered meanings that influence how the message is received. It allows creators to communicate nuanced ideas, shape mood, and manipulate perceptions in a way that goes beyond the basic, surface-level meaning.

Narrative:

Narrative in media refers to the structured storytelling method that organizes events and actions to create meaning and engage an audience. It is the way a story is told, including its plot, characters, setting, and the sequence of events that unfold. In film, television, and other media, the narrative typically follows a structure, such as the classic three-act format, with a beginning, middle, and end, which helps build tension and develop the story. For instance, in a mystery film, the narrative might introduce a crime, build suspense as the detective uncovers clues, and then resolve the mystery with a dramatic reveal. Narratives also include elements like conflict, character development, and resolution, which guide the audience’s emotional journey. Media narratives can be linear, following a clear timeline, or non-linear, jumping between different time periods or perspectives. Through its structure, narrative shapes how the audience experiences the story, draws connections, and ultimately interprets the themes or messages being conveyed.

Genre:

Genre in media refers to the classification of content based on shared themes, styles, and conventions that audiences recognize and expect. Genres help organize media into categories like drama, comedy, horror, science fiction, and documentary, each with its own distinct characteristics. For example, in a horror film, the genre convention might include elements like suspenseful music, dark lighting, and supernatural or psychological threats, while a romantic comedy typically features lighthearted, humorous scenarios and a focus on relationships. Genre not only influences how content is created but also shapes how audiences interpret and engage with it, as they come to expect certain tropes or narratives. Media creators often play with genre conventions, either by following or subverting them, to surprise, entertain, or provoke thought. Genre, therefore, serves as a key tool for both creators and audiences, providing a framework for understanding and experiencing different types of media.

most of the research was conducted using google and other websites like BBC and Masterclass.

Diegetic and Non Diegetic sounds

Origins of Diegetic Sound:

Diegetic sound is the sound that emanates from the world of a film, television show, or story and thus is supposed to be heard by both the characters and the audience. The word "diegetic" originates from the Greek word "diegesis," which means "narrative" or "storytelling." The idea of diegetic sound originated in early films, wherein filmmakers paid attention to telling stories visually. As technologies improved, filmmakers began employing synchronized sound to enhance the story. Diegetic sound became integral to the construction of real worlds; sounds such as dialogue, footsteps, and background noise all helped to indicate the space and time of a story.

Diegetic Sound:

Diegetic sound is sound that originates in the world of the story; that is to say, both the audience and characters of a movie can hear this. These sounds include things such as dialogue, footsteps, the roar of car engines, or the radio music from inside of a scene. The diegetic sound differs from the nondiegetic sound, emanating from outside the story, such as film music or voice-over. The diegetic sound makes the story appear natural and draws the audience into it by supporting the setting and action of the characters. It is quite instrumental in keeping the audience in touch with the story and making the world of the film appear realistic.

Non-Diegetic Sound:

Non-diegetic sound refers to the sound that is independent of the story and is unheard by the characters. It might be the musical score of the film or voiceovers; it could be the emotive sounds added to help a scene become more salient, such as a jittery soundtrack when one is in a precarious situation. Where the diegetic sound intra-narrative, the non-diegetic sound could only exist for the purpose of affecting audience perception, either emotional rising or interpretive guidance. It really builds up the mood and tone of the scene; hence, it is important in filmmaking and storytelling.

Trans Diegetic Sounds:

Trans-diegetic sound is a hybridization of the two concepts- diegetic and non-diegetic sound. It is what applies to those sounds that were earlier non-diegetic; for example, music or voice-over later in the story world reveals that they are, in fact, diegetic-a thing that the characters could conceivably hear. A good example of trans-diegetic sound occurs when there is a song in one's head or when the music starts playing on a character's radio, changing from the background music into something in the story. With this, there will be some special connection between the way the audience views things and what the character feels; hence, sometimes it becomes hard to tell what is inside a character's mind and what is outside in the story.

Creative Exceptions:

Creative exceptions are when the artist, filmmaker, or creator makes unusual or new choices that are different from traditional standards or expectations, improving the storytelling or artistic expression. More often than not, these violate preconceived rules to give the audience a different look at or experience with it. A director could therefore work on camera angles or methods of stating the story through less familiar ways of storytelling-in effort to generate a far more interesting or intellectual creation. Creative omissions are important in extending the boundary towards more creativity, that for the most part ends up creating new trends or movements in art.

Task 2:

Find and describe your own examples. 3 clips:

Captain America vs Thanos Fight Scene Captain America Lifts Mjolnir Avengers Endgame 2019

In this small scene we can see how In Avengers: Endgame, the noise of the action is indispensible to represent the victory of Captain America against Thanos in the final fight. When Captain America raises Thor's hammer, Mjolnir, the loud rattling of the hammer mediates the excitement of such a moment-an extremely shocking feat of his strength and a position which makes him worthy. The noise of Captain America's shield clashing with Thanos' troops evidences hard resilience and will. These sounds in the story, apart from the mighty roars of the fight and the exciting music, further strengthen the feeling of victory. This thereby makes Captain America's stand seem even more successful against all odds.

Diegetic sounds

At 1:14 - 1:34, the diegetic sound that can heard is Metal clashing where the hammer hits Thanos or the ground, it rings loud and strong when Captain America is wielding Mjolnir, almost always followed by the sharp thunderous crack-reinforcing weight of a magical weapon. The clash of Cap’s shield against Thanos’ sword or the power stone impacts with a heavy metallic sound, emphasizing the raw power of their combat. 0:21.

1:24 - 1:32. Captain America's shield is iconic, and the many ways it interacts; whether it's bouncing off Thanos' armor or defying energy blasts-create specific metallic sounds. When Captain America slams his shield on the ground or uses it as a guard, the payoff is going to be a solid, hard impact that says here comes the shield in resilience and hero determination.

1:34 - 1:45. The more intense the fight, the more the sounds of thunder and lightning occur, especially when Mjolnir is summoned. This storm-like sound effect is diegetic and speaks to Thor's power, although Captain America is wielding the hammer in this moment. It is the rumbling thunder that makes the battle mythic and on a grand scale and helps to underline the great moment.

Non Diegetic sounds

Heroic Theme for Captain America. The score of the film often uses the familiar stirring heroic theme for Captain America, especially when he is fighting with determination and resilience. This theme is considered non-diegetic, as it underscores Cap's inner strength and moral resolve, which the characters cannot hear. The music then swelled when Captain America held his ground against Thanos, reflecting his spirit unbroken and symbolizing him to be a true hero. 1:02 - 1:18.

In contrast, Thanos' theme is dark and ominous in its foreboding. It frequently plays during moments where the Mad Titan is on top of things and about to wreak havoc. The music echoes his brutal, unstoppable nature and reiterates his position as an imminent danger. As a non-diegetic element, it helps make Thanos more imposing in this fight, pointing out his strength and maliciousness. 1:47 - 2:20

The music shifts between suspenseful and dramatic as the fight gets heavier. Quick, rhythmic sections are built in the way Captain America and Thanos are exchanging blows. These shifts in score mirror the physical struggle on screen but are emotionally experienced by the audience through the music, even though the characters cannot hear it.

Title sequence Analysis

Title sequence 1: Godzilla vs Kong

The title sequence of Godzilla vs Kong (2021) is an engaging and visually striking prologue that serves to set the stage for the epic battle between two iconic titans. The sequence is notable for its use of rapid, fragmented imagery, which creates a sense of scale, history, and tension. Instead of a traditional opening credits sequence, it's a very energetic, almost documentary like way to introduce audiences to the backstory of the monsters and their respective worlds.

The sequence opens with a montage of Godzilla and Kong's previous confrontations and their cultural significance. We see archival footage, artistic depictions, and dramatic sequences from earlier films in the MonsterVerse through fragmented shots, reinforcing the mythic nature of the creatures. This method of storytelling not only grounds the film within the larger shared universe but also sets up the emotional stakes; both creatures are presented as forces of nature whose conflicts are beyond human control.

The fast paced montage has a sense of urgency, as if to say that the world is at the brink of a catastrophic clash. Moments of tension and destruction, power, are intertwined, while the pulsing rhythmic score raises the stakes of this impending conflict. With the avoidance of exposition, the sequence keeps the focus on spectacle and mood, immersing the audience into the universe's heightened reality.

All in all, the title sequence in Godzilla vs Kong is an efficient blend of spectacle, myth building, and world building. It serves not only as an introduction to the film's core themes but also as an exciting prelude to the battle of the two legendary monsters, building anticipation and setting the tone for the rest of the film.

Title Sequence 2: The Bells

The title sequence of The Bells 2023, directed by Virat Pal, is a chilling prelude that immediately submerges the viewer into the unsettling atmosphere of the film. Using simple but effective visual techniques, the sequence opens with a close-up shot of an old, rusted bell, its ominous tolls filling the silence. The ringing sound builds into a central motif and instills a sense of impending doom as it echoes across the dark, almost claustrophobic frame. The dull color palette and shadowy lighting further enhance the feeling of desolation and mystery, but the lack of elaborate visuals keeps the focus on disquieting sound design. This is a minimalist kind of approach, which raises tension and therefore prepares the ground for the feeling of dread that will introduce the viewer into the supernatural horror. The title sequence is short but striking. It sets the tone for what is to come and provides a sense of inevitability.

The sound design, especially the sound of the bell tolling, is a core element for creating the atmosphere. Deep, resonant chimes ring out in a rhythmic, almost hypnotic fashion, and with ritualistic forewarning, too. It feels like the sound is heavy-it reverberates through bone-and its persistent presence amps up the tension in the air. Every ring of the bell seems to echo a supernatural force, as if the sound itself is calling something malevolent into existence.

Additionally, the pacing in this title sequence is slow, deliberate, and almost claustrophobic, building a tension that lingers throughout. There is no quick cuts or flashy imagery that could give the viewer relief from feeling trapped in this world of darkness and unsettling sound. This atmosphere not only primes the viewer for the supernatural horror that follows but creates a psychological sense of dread, like the very space around them is closing in.

Storyboard

Story Script

Title Sequence

Title Sequence ii

For my title sequence, I focused on simplicity, as it can effectively build tension and create an ominous atmosphere. Rather than overcomplicating the visuals, I kept them minimal, allowing the suspense to build naturally. To enhance the eerie tone, I merged two audio tracks, blending them to create a layered, unsettling effect. One of the key sounds I used was a low growl I found on YouTube, which added a deep, menacing undertone. This combination of subtle visuals and carefully crafted sound design helped establish a suspenseful and unnerving mood for the project.

Final Suspense Project

Project Evaluation

For our media suspense project, my group and I initially struggled to agree on a solid narrative. We went through multiple ideas but couldn’t settle on one that worked for everyone. Eventually, after reaching a standstill, we decided to improvise and develop a concept on the spot. This led to our final idea: a suspenseful story about a stalker in the library. While improvisation wasn’t the original plan, it ended up being an effective solution that allowed us to move forward without wasting more time debating.

Throughout the process, I believe I demonstrated strong leadership skills. When my group couldn’t come to an agreement, I took charge, made decisions, and ensured that we had a clear direction. I was able to guide the project in a way that made sense, keeping everyone focused and making sure we stayed on track. Taking on this leadership role felt natural to me, as I knew what needed to be done and was able to keep things moving efficiently.

However, I’ve realized that I don’t particularly enjoy working in groups. I find that collaboration often leads to more chances for error and distractions, making it harder to stay focused. I personally prefer solo work because I feel I can be more productive and have better control over the outcome. I also enjoy working independently, as I feel more comfortable in my own space and can execute my ideas exactly as I envision them.

Overall, while the project had its challenges, it was a valuable learning experience. Improvising forced us to think quickly and adapt, and I was able to step up as a leader when my group needed direction. However, this experience reinforced my preference for working alone, as I find that I am more efficient and focused when I have full control over a project.

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Suspense - Yasmin/Annette