AGA/ Group 8: February 2013

Thursday, 21 February 2013

Progress report: Gemma

i have completed the entirety of my blog posts, that consists of my analysis of a title sequence and first 15 minuets of a film as well as an explanation of our films certificate and other certificates as well as character profiles and our script
i will improve any post that need to be improved and help anyone in my group if they need help with their posts.

Our filming arrangements:

22nd of February 2013

Tomorrow we will be filming after college. We have decided to get it done as soon as possible so that if anything goes wrong it can be improved before the deadline and done to the very best of our abilities. The preparation that needs to be done would be to get my dogs out of the way, when filming and also my family (mum, dad and sisters) would need to be out of the house when we film tomorrow, so that they are not distracting us at all.
There is no more preparation apart from making sure the flashlight is still working properly, after that their isn't much more to be done.

Tuesday, 19 February 2013

This is the final wind blowing shot

This is the final shot that was chosen this is an original image that was decided to be the one for the shot where Beth comes down the stairs to find the door open and the curtain blowing in the wind. The effect used on this image looks good and gives a sense of unknowing.

The curtains which also have the ghostly effect on the dark of the night make the shot seem ere. It looks as if the last of the light in the room is being swallowed up by the darkness that surrounds the image making this the right hot to chose to have in the opening 2 minutes of the film.

We have put this on the list of tricky shots as we will need to get the timing right for the wind effect to take place on the curtains, this will need to be done when it is dark to create the image above. We also have a back-up plan for if there isn't any wind and this would be to use a power assisted fan to ensure that the shot is done correctly, this will enable us to have the perfect shot for the scene where Beth goes down stairs to see that the patio doors are wide open and the cold, spine chilling wind blowing through the house.

In theory this will create a sense of unknowing, but also more importantly that there is something seriously wrong. We also want the audience to seem spooked by the fact the doors were locked and no-one was able to get in. The thought that the cold chilling wind is sweeping through the house unknowingly makes me want to assume that this will be enough to make the spine shiver with unknowing to what will happen next in the following shots, as the shot before this is a normal conversation between Beth and her mum on the phone.

This means that this shot comes as an unsuspected shot, which will hopefully entice the audience to want to view more of the film, as these are just the opening scenes for the first two minutes of the film.

How does classification work? And the Guidelines

Classification

In order to protect children from unsuitable and even harmful content in films and videos and to give consumers information they might need about a particular film or video before deciding whether or not to view it, the BBFC examines and age rates films and videos before they are released. This independent scrutiny prior to release ensures the highest possible level of protection and empowerment.

We watch films and videos all the way through and award an age rating and insight to each one. We reach an age rating by applying the standards and criteria contained in our Classification Guidelines which can be downloaded below.

Typically, two examiners view a film for theatrical release. In most cases a Senior Examiner will confirm the examiners’ recommendation. But if the Examiners are in any doubt or fail to agree, or if important policy issues are involved, the work may be seen by other members of the Board up to, and including, the Director and Presidential team. Occasionally we need to take specialist advice about the legal acceptability of film content or its potential for harm.
The same process exists for DVDs and Blu-rays though generally these are seen by one Examiner. However, opinions from other Examiners may be required for more difficult works.

We look at issues such as discrimination, drugs, horror, dangerous and easily imitable behaviour, language, nudity, sex, and violence when making decisions. The theme of the work is also an important consideration. We also consider context, the tone and likely impact of a work on the potential audience.

The release format of a work has an impact on classification. Our decisions on the age rating of DVDs and Blu-rays can occasionally be stricter than at the cinema because there is a higher risk of underage viewing in the home and a greater potential for watching scenes out of context.

Guidelines

It is important that the BBFC’s classification standards are in line with what the public expects and that its decisions take account of what the public finds acceptable at each age category.

Therefore every 4-5 years, the BBFC carries out a major public consultation exercise to find out what the public thinks about the age rating of films and videos before they are released and whether the BBFC’s classification standards meet public concerns.
The BBFC adjusts its standards and criteria in response to any changes in public attitudes.
These standards are laid out in the BBFC’s Classification Guidelines which can be downloaded below. The Guidelines detail what is acceptable at each age category, from U to R18. They also set out the laws and principles which impact on the BBFC’s work.
There are two key principles which guide us when we apply the Guidelines:

First, films and videos should be allowed to reach the widest audience appropriate for their theme and treatment.
Second, adults should be free to choose what they see, provided it remains within the law and is not potentially harmful.

BBFC for R18

What does R18 mean?

The ‘R18’ category is a special and legally restricted classification primarily for explicit works of consenting sex or strong fetish material involving adults. Films may only be shown to adults in specially licensed cinemas, and video works may be supplied to adults only in licensed sex shops. ‘R18’ videos may not be supplied by mail order.

Who can buy or view an R18?

R18 works are sex works whose primary purpose is sexual arousal or stimulation and which are only allowed to be shown in specially licensed cinemas, or sold in licensed sex shops. They can only be seen by or sold to adults.

BBFC for 18

What does the 18 symbol mean?

Films rated 18 are for adults. No-one under 18 is allowed to see an 18 film at the cinema or buy/rent an 18 rated DVD. No 18 rated works are suitable for children.

Are there any limits on what sort of theme a work can have at 18?

No theme is prohibited at 18. Adults are free to pick their own entertainment within the law, so it is possible some themes tackled at 18 may be offensive even to some adult viewers.

What sort of issues might I find in an 18 film or DVD?

18 works are for adults and can contain strong issues such as:

very strong violence
frequent strong language (eg 'f***') and/or very strong language (eg ‘c***’)
strong portrayals of sexual activity
scenes of sexual violence
strong horror
strong blood and gore
real sex (in some circumstances)
discriminatory language and behaviour

How much strong language is there in an 18?

There is no limit on the number of uses of strong (eg 'f***') or even very strong language (eg ‘c***’) which can be passed at 18. Uses could be aggressive, directed, frequent or accompanied by strong violence.

What about discriminatory or offensive terms?

There may be racist, homophobic or other discriminatory language at 18, and the work could explore themes relating to this.
Though a work as a whole must not be in breach of any relevant legislation, it is possible for discriminatory language or themes to be the main focus of the work, and for main characters to engage in discriminatory behaviour.

How much sex and nudity is allowed at 18?

There can be strong and detailed portrayals of sex at 18, including full nudity. There are no constraints on nudity in a non-sexual or educational context.
Very strong, crude and explicit sex references are permitted at 18.
An 18 film or DVD might also contain depictions of real sex if it is justified by context, as long as the film or DVD is not a sex work.

What are sex works?

Sex works are works whose primary purpose is sexual arousal or stimulation. Sex works containing only material which may be simulated are generally passed 18. Those containing clear images of real sex, strong fetish material, sexually explicit animated images, or other very strong sexual images will be confined to the R18 category. Material which is unacceptable in a sex work at R18 is also unacceptable in a sex work at 18.

What about sex education films?

Where sex material genuinely seeks to inform and educate in matters such as human sexuality, safer sex and health, explicit images of sexual activity may be permitted.

Can there be strong violence?

Yes, at 18 violence can be strong and be portrayed with strong detail. There may even be dwelling on the infliction of pain or injury, or scenes of strong sadistic or sexual violence.
The strongest gory images are permitted at this category.

What about horror works?

The strongest horror works are passed at 18, they may contain strong horror, gore or sustained threat and menace which exceeds the boundaries of 15.

Can you see drugs in an 18?

Yes. At 18 drug taking may be shown but the work as a whole must not promote or encourage drug misuse.

What about dangerous behaviour or things teens or other viewers might copy?

Though 18 films and DVDs may cover difficult and strong subjects and themes, harm is still a consideration. Very dangerous or criminal behaviour (for example, behaviour which if copied poses a credible harm risk to viewers) may be cut.

If adults can watch what they want, what might be cut from an 18 work?

In line with the consistent findings of the BBFC’s public consultations and The Human Rights Act 1998, the BBFC will not normally override the principle that adults should be free to choose their own entertainment.
However, cuts are occasionally made to 18 rated films and DVDs. Intervention is most likely in the following areas:

where the material is in breach of the criminal law, or has been created through the commission of a criminal offence
where material risks harm to individuals or, through their behaviour, to society – for example, any detailed portrayal of violent or dangerous acts, or of illegal drug use, which may cause harm to public health or morals. This may include portrayals of sexual violence which might, for example, make rape look appealing
where there are more explicit images of sexual activity which cannot be justified by context. Such images may be appropriate in R18 works and, in ‘sex works’ (see below), would normally be confined to that category.

In the case of video works, which may be more accessible to younger viewers, intervention may be more frequent than for cinema films.

How can I find out more about a specific 18 film?

Please check the BBFCinsight for the film or video you are thinking of watching. You may find BBFCinsight on this website or on our free App as well as on film posters, DVD and Blu-ray packaging, and on some listings. You will also find it attached to some film and video content which is available to download. It provides comprehensive information on exactly why a film or video has been given a particular category. All the issues are discussed in detail and parents in particular can use this information to make informed decisions when choosing viewing material for their children.

BBFC for 15

What does the 15 symbol mean?

No-one under 15 is allowed to see a 15 film at the cinema or buy/rent a ‘15’ rated DVD. 15 rated works are not suitable for children under 15 years of age.

Are there any limits on what sort of theme a work can have at 15?

No theme is prohibited, provided the treatment is appropriate for 15 year olds.

Is 15 really stronger than 12A?

Yes. 15 works are stronger than 12 or 12A rated works and could include any of the following:

strong violence
frequent strong language (eg 'f***').
portrayals of sexual activity
strong verbal references to sex
sexual nudity
brief scenes of sexual violence or verbal references to sexual violence
discriminatory language or behaviour
drug taking

How much strong language is there in a 15?

There could potentially be a great deal. At 15 there is no upper limit on the number of uses of strong language (eg f***).
Occasionally there may be uses of the strongest terms (eg 'c***'), although continued or aggressive use will not normally be passed 15.

What about discriminatory or offensive terms?

There may be racist, homophobic or other discriminatory language, and the work could explore themes relating to this.
However, at 15 the work as a whole must not endorse discriminatory language or behaviour.

How much sex and nudity is allowed at 15?

At 15 sexual activity can be portrayed, as long as there is no strong or graphic detail. Some sex scenes can be quite long at this category and may involve some nudity and movement. Though nudity may be allowed in a sexual context there should be no strong detail.
There are no constraints on nudity in a non-sexual or educational context.
There can be strong references to sex and sexual behaviour, but especially strong or crude references are unlikely to be acceptable unless justified by context.
Heterosexual and homosexual sex and sex references are treated the same.

Can there be strong violence?

Yes, at 15 violence may be strong. It should not dwell on the infliction of pain or injury, however, and the strongest gory images are unlikely to be acceptable.
Strong sadistic or sexualised violence is also unlikely to be acceptable.
Easily accessible weapons may not be glamorised.

What about sexual violence?

There may be detailed verbal references to sexual violence (for example descriptions of rape or sexual assault in a courtroom scene or in victim testimony) but any portrayal of sexual violence must be discreet and have a strong contextual justification.

What about horror works?

Many horror films are rated 15. At 15 there can be strong threat and menace (as long as it is not sadistic or sexualised), although the strongest gory images are unlikely to be acceptable.

Can you see drugs in a 15 rated film or video?

At 15 drug taking may be shown but the work as a whole must not promote or encourage drug misuse.
The misuse of easily accessible and highly dangerous substances like aerosols or solvents is unlikely to be acceptable at 15.

What about dangerous behaviour or things teens might copy?

We consider the risk of potential harm to impressionable teenagers. For example, dangerous behaviour such as hanging, suicide and self-harming should not dwell on detail which could be copied.

How can I find out more about a specific 15 film?

BBFC for 12 and 12A

What does the 12A symbol mean?

12A means that anyone aged 12 or over can go and see the film unaccompanied. The A stands for 'accompanied' and 'advisory'. Children younger than 12 may see the film if they are accompanied by an adult (eg someone over the age of 18), who must watch the film with them.

What's the difference between 12 and 12A?

The 12 certificate is just for videos, DVDs and Blu-rays. 12A is for films at the cinema only.

Is there a lower age limit for a 12A film?

No. However, the BBFC considers the content of 12A rated films to be suitable for children aged 12 and over, and we would not recommend taking very young children to see them. Works classified at these categories may upset children under 12 or contain material which many parents will find unsuitable for them.
An adult may take a younger child if, in their judgement, the film is suitable for that particular child. To help adults make this decision, we provide BBFCinsight for all films.

How important is the tone of a film at 12 or 12A?

The overall tone of a film or DVD, and the way it makes the audience feel may affect the classification. For example, a work which has a very dark or unsettling tone which could disturb the audience would be less likely to be passed 12A even if the individual issues in the film were considered acceptable under the BBFC guidelines. Similarly, if a work is particularly positive or reassuring this may stop it being pushed up a category from 12A to 15.

Will there be uses of strong language in a 12 or 12A work?

The BBFC's Guidelines state that there may be strong language (eg 'f***') at 12 or 12A, but it must be infrequent. The context of the strong language is important. Aggressive uses of strong language may result in a film or DVD being placed at the 15 category. There is some allowance for puns on strong language at this category.
There may be moderate language (eg uses of terms such as ‘bitch’ and ‘twat’ at 12 or 12A).
Any discriminatory language will not be endorsed by the work as a whole. Aggressive discriminatory language (for example homophobic or racist terms) is unlikely to be passed at 12 or 12A unless it is clearly condemned.

Do 12A films contain sex?

Sex may be briefly and discreetly portrayed at 12 or 12A. Verbal sex references should not go beyond what is suitable for young teenagers. Comedy may lessen the impact of some moderate sex references or innuendo but frequent crude sex references are unlikely to be accepted at this category. There may be nudity in 12A films but sexual nudity should only be brief and discreet.
Heterosexual and homosexual sex and sex references are treated the same.

What sort of violence can I expect in a 12 or 12A ?

At 12A, moderate violence is allowed but it should not dwell on detail. There should be no emphasis on injuries or blood, but occasional gory moments may be permitted if they can be justified by their context (for example brief sight of bloody injury in a medical drama).
Action sequences and weapons may be present at 12 or 12A, and there may be long fight scenes or similar. Weapons which might be easily accessible to 12 year olds should not be glamorised in 12A and 12 works.
Sexual violence, such as scenes of rape or assault, may only be implied or briefly and discreetly indicated at 12A. Such scenes must also have a strong contextual justification.

Can horror films be passed 12 or 12A?

Yes, some horror films are passed at this category. Moderate physical and psychological threat is permitted at 12 or 12A as long as disturbing sequences are not too frequent or sustained.

What about other issues like imitable behaviour or drugs at 12 or 12A?

Dangerous behaviour (for example hanging, suicide and self-harming) may be present in 12 or 12A works but will not dwell on detail which could be copied or present those activities as pain or harm free.
Discriminatory behaviour should not be endorsed by the film as a whole.
There may be infrequent sight of drugs misuse in a 12 or a 12A but the portrayal should not be glamorised or provide instructional details.

How can I find out more about a specific 12 or 12A work?

BBFC U

What does U mean?

The U symbol stands for Universal. A U film should be suitable for audiences aged four years and over. However, it is impossible to predict what might upset a particular child, especially at this lower end of the category range.

What about works for children younger than four?

We rate films and videos aimed at very young viewers, such as Chuggington, Teletubbies or In The Night Garden, U. However, we give them special BBFCinsight stating they are ‘particularly Suitable for pre-school children’. Films or DVDs with this BBFCinsight should raise no significant issues in terms of discrimination, drugs, horror, imitable behaviour, language, nudity, sex, theme or violence.

Will there be any bad language in a U film?

At U we only allow very mild bad language (eg ‘damn’ and ‘hell’). Occasionally, bad language such as ‘bloody’ or ‘bugger’ may be included, where justified by the context.

Do U works contain any sexual activity?

Characters may be seen kissing or cuddling and there may be references to sexual behaviour (ie to ‘making love’). However, there will be no overt focus on sexual behaviour, language or innuendo.
At all categories heterosexual and homosexual sexual behaviour and activities are treated the same – so there could be occasional very mild references to gay or straight sex at U.

Is violence or horror permitted in a U film?

A U film may include brief fight scenes or moments where characters are placed in danger. However, moments of emotional stress or threat will be quickly resolved and the outcome will be reassuring.
There may be brief scary scenes and moments where the characters are placed in danger. As with violence, however, these scenes will be balanced by reassuring elements, such as comic interludes or music.
‘Baddie’ characters may carry or use weapons, but there will be no emphasis on these. Child or ‘hero’ characters are unlikely to use any kind of weapon outside, for example, historical settings.
Potentially dangerous or imitable behaviour, particularly those which come across as safe or fun, will not be present.

What sorts of films are usually passed at U?

A U film can explore most themes, as long as the treatment is appropriate to a young audience. This doesn’t mean that all films rated U are children’s films – many adult films, especially older works, are rated U because they don’t contain any strong issues.
A children’s work at U will generally contain positive messages about loyalty, honesty and friendship, particularly amongst children. The film or DVD will have a happy ending for the child and the overall tone should be one of reassurance.
U films are unlikely to contain discriminatory language or behaviour unless it is clearly disapproved of.

Will there be references to drugs?

At U there will not normally be references to illegal drugs or drugs misuse unless there is a very clear anti-drugs or educational message which will be understood by a younger audience.
Drugs references which are unlikely to register with young children and are brief or passing may occasionally be passed at U – for example a verbal reference to ‘the Opium wars’ in an historical documentary.

How can I find out more about a specific U film?

BBFC for PG

What does PG mean?

PG stands for Parental Guidance. This means a film is suitable for general viewing, but some scenes may be unsuitable for younger children. A PG film should not disturb a child aged around eight or older. Parents should consider whether the content might upset younger or more sensitive children.

Are all PG films made for younger audiences?

No. Some films are given a PG certificate but have not been made with a young audience in mind. A recent example of a film mostly enjoyed by grown ups but passed PG would be The Artist. However, the certificate means that any issues in the work are appropriate for the majority of this age group and nothing should upset a child of eight or over.

What sort of themes are passed at PG?

No theme is prohibited at PG, as long as it is treated in a manner appropriate to the category. PG works can explore challenging issues such as domestic violence, bereavement or racism.
In a PG work, illegal or antisocial behaviour, such as bullying, will not be condoned or seen to go unchallenged. Smoking and drinking will not be promoted or glamorised and if child characters are seen smoking or drinking, there should be a clear message that this is bad. If drugs are mentioned or seen, a PG work should emphasise that they are harmful.

Will there be bad language in a PG film?

There may be mild bad language (such as ‘shit’ or ‘son of a bitch’) in a PG film, but the context and delivery are always important. For example, if the language is used aggressively or if there is too much bad language, a work may be passed at the next category.

What about sex?

References to sex are acceptable if the activity talked about or shown is implied and lacking in detail. In addition, if a child is unlikely to understand a reference, we may allow it at PG. Comedy can also often lessen the impact of sex references and innuendo.
Heterosexual and homosexual sex and sex references are treated the same – so there could be mild or undetailed references to gay or straight sex at PG.

What about violence or horror at PG?

There should be no detail of violence in a PG work, so while there might be some blood, we would not see how the injury was inflicted in strong detail. Violence is generally more acceptable in a historical or fantasy setting, because of the distancing that this provides. It isn’t uncommon for PG films to feature ‘roller-coaster’ action or set pieces, where the emphasis is clearly on the adventure or journey of the main characters rather than the detail of violence or fighting.
As far as horror goes, we allow some 'jump' moments and scary scenes, but sequences showing significant or realistic violence, horror or threat must not be prolonged.

What about behaviour children might copy?

Potentially dangerous behaviour which children might copy (such as a child climbing into a washing-machine or playing with electricity) is unlikely to be acceptable at PG, especially if it comes across as safe or fun. Realistic or easily accessible weapons, such as knives, will not be glamorised or focused upon in a PG work.

Will there be any drugs in a PG?

There might be innocuous or passing references to illegal drugs or drugs misuse in a PG work, although there should be no strong focus on this. In addition drug references may be permissible if there is a clear anti-drugs or educational message likely to be understood by children over eight.

How can I find out more about a PG film or DVD?

Thursday, 7 February 2013

title sequence analysis: Splice

At the beginning of the title sequence flickering x-rays of small animals morphing into production company logo's. this make you feel uncomfortable as they twitch as well as giving the title sequence an eerie feel.
as the titles continue we seemed to being pushed through murky water next to something that resembles pale, vain filled skin, this makes the audience appear to be inside something and this makes them feel claustrophobic. As this is happening piano music plays in the background continuing the eerie feel.
As we travel along the pale skin a bump appears on it and after instead of skin, scales are shown. this makes the audience feel that this creature is not normal and sort of foreshadowing event that accrue in the film later on.
You start to move faster through that musrky water and the music starts to quicken, you then appaer to be moving upwards through the water as bubbles start to form you then slow down giving the view a false hope of escape and the name of an actor that is shown in the scales is shown. the letter apear to have been formed my the "animals" vains. this continues with the piaon musci playing lighty in the background. it then appers that you are not in water but are inside the creture taveling through its body.
toward the end the you seem to become faster and be going up only to stop yet agian infront of this white "musles that apeaes to be pulsating while in the background the noise of a heart beating is played, making the white mussle appear to be the creaturs heart, the word "Spice is then shown in vains on the "heart".

Wednesday, 6 February 2013

Title sequence storyboard

Our production logo

I designed the logo. It contains the initials of all of our names 'A' 'G' 'A', i conjoined them all together in a diagonal lettering design and this was the outcome. The logo's lettering is sharp and simple yet it looks original and unique.

Final storyboard for first 2 minutes of film

story board for film (first draft)

What actually is a thriller film?

Thriller

A thriller is usually a mysterious genre which leaves viewers enticed and anticipated ready to be thrilled. Most genres of thriller are some kind of mix with other films, such as horror, mysteries and many have some kind of detective relation.

Illness, and mental problems usually appear in thrillers. Thrillers are normally very physiological and can also be extremely scary, however they do not usually contain gruesome and graphic scenes, thrillers are left to the mind to work out what is going on, which sometimes can be more scary than seeing something straight out, the fact that there is hints and clues, yet we are not told or shown things straight out, is in itself mysterious and thrilling to view.

Certification of thrillers.

Thriller are often 15 certifications, this is because they do not usually contain any horrific and violent scenes, therefore they meet the 15 certification.

Tuesday, 5 February 2013

An analysis of Hole in my Hand- Benjamin Francis leftwich

Hole in My Hand- Benjamin Francis Leftwich

There is nothing you can say or doTo stop the world from tearing us in two <---------These lyrics implies that the person the singer it talking about thinks that they are close but they aren't. this also employ that they are obsessed with someone.

From your heart where I drew a line
Through the water and down your spine <-------- These lyrics give the feeling of a man touching or stroking a woman that he has taken or kidnapped. Giving the song an eerie feel

I put a hole in my hand to see you
I drew a line into the sand to be with you <-------- The chorus give the feeling that the singer would do any thing to be with this person weather they love the singer back or not.

Can you hear me call your name?
In the Winter it sounds the same
till my heart stops again
I close my eyes and see you <--------- this emphasises the idea of the singers obsession with the person.

I put a hole in my hand to see you
I drew a line into the sand to be with you

I wanna come home
And I wanna come soon
I wanna come now
And I want it to be with you <------- this tell us that the singer dose not feel at home when they aren't with the person they are singing about.

I put a hole in my hand to see you
I drew a line into the sand to be with you

The entire song is about obsession, and how the singer feels when he is not with or around the person he is obsessed with.

Certificate for films: 15

Like our film, a film can be given a certificate of 15 for:

strong violence
frequent strong language (eg 'f***').
portrayals of sexual activity
strong verbal references to sex
sexual nudity
brief scenes of sexual violence or verbal references to sexual violence
discriminatory language or behavior
drug taking

Thriller films such as The house At The End of The Street contain some of these factors that make it a 15.
Elissa and her mother move to a new town only to find that they are living next door to a house where a young girl murdered her parents. Locals claim that the girl mysteriously vanished after the incident, but as Elissa becomes close to the girls brother, she learns that a dark and terrible secret still lurks within those walls and this sinister story of murder is far from over.

This film contains strong language and possible portrayals of sexual activity with may lead to sexual nudity

Certificate for a Thriller: 18

18 Certificate
A Thriller film would be given the certificate of 18 if it contains:

very strong violence
frequent strong language (e.g 'f***') and/or very strong language (e.g ‘c***’)
strong portrayals of sexual activity
scenes of sexual violence
strong horror
strong blood and gore
real sex (in some circumstances)
discriminatory language and behavior

Although it is an 18 these kinds of films can have some scene cut out for the final edit for a number of reasons:

where the material is in breach of the criminal law, or has been created through the commission of a criminal offence
where material risks harm to individuals or, through their behaviour, to society – for example, any detailed portrayal of violent or dangerous acts, or of illegal drug use, which may cause harm to public health or morals. This may include portrayals of sexual violence which might, for example, make rape look appealing
where there are more explicit images of sexual activity which cannot be justified by context.

Films such as The Girl next Door Based on the Jack Ketchum novel of the same name,The Girl Next Door follows the unspeakable torture and abuses committed on a teenage girl in the care of her aunt...and the boys who witness and fail to report the crime.

This film was given an 18 as it shows scenes of strong violence, portrayals of sexual activity blood gore and horror.

Soundtrack for the film: Benjamin Leftwich- Hole in my hand

Soundtrack for the film: Benjamin Leftwich- Hole in my hand

I saw Ben live in Manchester and I've liked his music for a while now and when I thought of a soundtrack this song sprung into mind, not only because of his hauntingly beautiful voice, but the lyrics are scarily continent toward how Liam may be feeling about Beth. The song is about been in love with someone and literally willing to do anything for them.

http://www.youtube.com/watch?v=TiwtKzOCZOI

Suggested Elements: what makes our film stand out?

What makes our film stand out?

Our film will stand out because we are making it a film that has a very wide target audience varying from teens, to the elder generation and we believe all of these people could enjoy it. We have a lot of original ideas, like the French doors and the flashlight which are very spooky yet thrilling and which I personally haven't seen before in any other films matching our genre. The plot of the story is something for everyone, when we surveyed people they all said that the plot is very unique and different and they like the idea of a mental illness been used in the film as it gives a senses of realism, which viewers appreciate and like to see in films.
The fact that Beth is not your stereotypical teenage girl with an attitude problem, is also a breathe of fresh air and the fact that she is been stalked by a boy the same age as herself makes it more thrilling to the younger generation, and also yet again goes against another stereotype about the 'criteria' for a stalker been a middle aged, creepy looking man, which obviously is ridiculous.

Representation of Beth Williams:

Representation of Beth Williams:

Beth is represented as a strong minded lovely girl, who is independent and a generally a decent person. She is well spoken and has a positive relationship with her parents which we see in the film. She speaks politely to her parents and as a viewer you cannot help but like her.
Beth is probably not your 'stereotypical' 17 year old girl, she is very mature and although she is popular and well liked, she acts very responsible and is very much her own person. The 'normal' teenager would maybe have a party or invite around friends, but Beth is a very obedient good girl, who doesn't need to be in the company of others to be happy. She is a very simplistic girl who is portrayed as someone that you have difficulty trying to dislike, due to her nice personality and the way she behaves.
Beth will be liked by teenage girls because they feel that they can relate to the film when the protagonist is a girl ticking the same age group box, however the older generation of people feel that they could enjoy the film also because of the mature character that Beth is.

Mese en scene:

Mese en scene:

Make up: No make up will be used as we are trying to make the film realistic, it will be night time, therefore Beth will have a bare make up free face.

Clothes: Beth will be wearing pyjamas, as she stroll around her house, this again is for the purpose of realism, it has to look realistic and Beth needs to look like a normal average person, so that the viewers can relate to her, whereas if Beth was parading around in a glittery dress, immaculate hair and a face full of make up, we as viewers would feel as though the film isn't realistic and therefore we may not find ourselves enjoying it as we hoped we would do.

Lighting: The lighting will be natural and clear. We feel that natural is the best option because again it is more realistic appose to really bright scenes, or really dull scenes which could both be found very difficult to watch and enjoy.

Planning:

Planning:

We will be shooting the film at my house around 7 O'clock, so that it I quite dark but we are still able to see what is going on. The film will be pretty straight forward, I will make sure that nobody's home and my dogs are out of the way of the film. The preparation is quite straight forward, It will after look realistic so I will be wearing pyjamas, and the house will be empty so that the film looks realistic and as if my parents are actually out of town. My bedroom will be tidy and neat and everything will seem nice and normal. The front doors will need to be opened as I go downstairs so it looks like they have been 'mysteriously' opened by someone, and Ashleigh will be outside dressed in dark clothes, covering her face shining a flashlight into the kitchen window.

Overall, there isn't anything drastic we have to do, we just need to make sure a few bits of planning is done so that the filming flows nicely and that we can enjoy working on the film with ease as well as it looking realistic and original.

Individual analysis of title sequence seven

Individual analysis of title sequence Seven:

The opening title sequence of Seven, is like something I have never seen before, it is one of the best edited and put together sequences I have ever seen. The sequence compares various sighs, signifier and signification which adds to its effectiveness and how we the viewers are enticed into watching the whole film just by the opening title sequence.

The signs that are shown in the opening are a lot of obvious things, like the colour red, graphic pictures of dead people, scissors, needles, ink, blades, hands and fingers.
The signifier of these sighs suggest various things, red could be portrayed as blood or mystery, the pictures represent murder and death and the signification behind all of this is that red is used for danger, the writing is used to leave you hanging and wanting to see more and find out what has been written. These signs all suggest a physiological thriller, someone messing with us and showing us images which we take upon ourselves to piece together and then we think we have an idea of the film.
We see blades, and we see the colour red and we put two and two together, even though they maybe completely unrelated. The makers of the sequence have made it so that we are given various images and colours and we piece it together ourselves and make up our own minds about what is happening.

This is very clever and links in well with the physiological thriller, there are so many images and clues which we miss and everyone will notice and pick up different bits, therefore it is for your own mind to work out what is going on with the music and images and lettering used, we all will interoperate it differently, but the genre is quite clear, this in itself is a incredibly clever thing to do.
The editing is so fast that we miss so many images and clues and we individually notice different images. Some may see and pick up things that others haven't noticed, and it is verually impossible to see all of the images and clues due to the pacey editing, which again is very thrilling and physiological and even quite exciting.

Script:

Clothes

clothing for beth

bedding - made/ messy shows the normal teenage life

clothing - on the bedroom floor/ wardrobe could be open

clothing on the character - pyjamas shows that it is at night

coat - this could be on the chair where she left it from college

bag - on the floor with all her college books in it

shoes - where she left them when she came in from college

slippers - on her feet to show she is settling down for the night

clothing for liam

coat - dark shows him in the shadows

jeans - scruffy looking

scarf - black to cover his neck

boots - could be mucky/ dark coloured wellies

hat - black so that we can't see his hair

gloves - need to be black

props

flash light - use of this will indicate the phychological factors of being stalked

camera - use of this to show what and where the film is being shot

dim lighting - show that it is dark and there is no one home

clock - shows the chronological time of the night

stairs - shows that the character has no idea that this is happening as she is up stairs

mobile phone - shows she is alone and that her mum is calling

patio doors - shows the dramatic scene opening where the audience can make assumption

to what is going on

curtains/ voil - shows the wind blowing creating a spooky effect

fan - if the wind is not there then we can have a back up

table and chairs - shows it is a homely environment and this is all new

kitchen - have some pots on the drainer shows she is a normal teen and leaves them

decking - where she goes out to see what is happening/ looks around the garden

Character Profiles: Liam Ronson

Name: Liam Ronson

Age: 18 (3/10/94)

Appearance: He is quiet and keep to himself and very smart. he has pale skin and short dark brown hair with green eyes.

personality: he is quiet and keeps to himself. he like to be alone as he is very uncomfortable in large groups. Liam has schizophrenia and has to take medication.

Location: He lives in Barnsley and goes to college there.

Family background: Liam live in a foster home as he grew up in an abusive house hold where is farther abused him physically and his mother abused him mentally.

Close relationships: he doesn't have a close relationship with anyone as he has trust issues.

Personal details

Liam Ronson

Works:-------

Education: High school: Wombwell High school

College: Barnsley College

Sex: male

Interests: Computers.

Birthday: 13/01/95

languages: English.

Religious views: ------

Political views: -------

Contacts

mobile:------

E-mail: Liam_R1994@Hotmail.co.uk

Relationship: Single

Family:

Mum:-----

Dad: -----

the kiss girls (link is the escaping from the mental hospital)

plot summery

Alex Cross, a Washington D.C. cop and forensic psychologist learns that his niece who is going to college in North Carolina is missing. So he goes there and learns that the police think she's among the victims of someone who kidnaps young girls and holds them captive and kills them who dubs himself Cassanova after the great lover. Later Kate, one of his victims, escapes and tries to help Cross find his niece. Written byrcs0411@yahoo.com

Washington DC detective Dr. Alex Cross travels to North Carolina to investigate the apparent kidnapping of his niece. Aided by escaped kidnapee Kate McTiernan, Cross hunts down the kidnapper, who operates under the pseudonym "Casanova". Written byJohn Hawkinson <jhawk@mit.edu>

Budget

$27,000,000 (estimated)

Opening Weekend

$13,215,167 (USA) (5 October 1997) (2,271 Screens)
£832,646 (UK) (8 March 1998) (269 Screens)
DEM 1,619,322 (Germany) (8 March 1998) (354 Screens)

Gross

$60,491,560 (USA) (22 February 1998)
$60,439,715 (USA) (15 February 1998)
$60,314,260 (USA) (8 February 1998)
$60,068,273 (USA) (1 February 1998)
$59,721,359 (USA) (4 January 1998)
$59,669,073 (USA) (28 December 1997)
$59,603,755 (USA) (21 December 1997)
$59,510,706 (USA) (14 December 1997)
$59,295,707 (USA) (7 December 1997)
$58,963,891 (USA) (30 November 1997)
$58,205,579 (USA) (23 November 1997)
$57,299,946 (USA) (16 November 1997)
$55,012,316 (USA) (9 November 1997)
$51,361,693 (USA) (2 November 1997)
$46,351,308 (USA) (26 October 1997)
$39,219,860 (USA) (19 October 1997)
$28,541,579 (USA) (12 October 1997)
$13,215,167 (USA) (5 October 1997)
£3,042,980 (UK) (12 April 1998)
£2,926,664 (UK) (5 April 1998)
£2,719,615 (UK) (29 March 1998)
£2,353,188 (UK) (22 March 1998)
£1,813,239 (UK) (15 March 1998)
£832,646 (UK) (8 March 1998)
$24,500,000 (Worldwide) (8 March 1998) (except USA)
$17,400,000 (Worldwide) (22 February 1998) (except USA)
$13,400,000 (Worldwide) (4 January 1998) (except USA)
$630,000 (Worldwide) (9 November 1997) (except USA)
DEM 3,081,732 (Germany) (15 March 1998)

Weekend Gross

£59,068 (UK) (12 April 1998) (82 Screens)
£76,617 (UK) (5 April 1998) (96 Screens)
£212,489 (UK) (29 March 1998) (175 Screens)
£282,587 (UK) (22 March 1998) (191 Screens)
£535,733 (UK) (15 March 1998) (266 Screens)
£832,646 (UK) (8 March 1998) (269 Screens)
DEM 1,012,187 (Germany) (15 March 1998) (351 Screens)

Admissions

600,780 (France) (30 December 1997)
208,585 (France) (opening week)
269,454 (Germany) (16 March 1998)
139,554 (Germany) (9 March 1998) (opening week)
103,543 (Netherlands) (31 December 1998)

Rentals

$26,261,452 (USA)

Production Companies

Paramount Pictures (presents)
Rysher Entertainment (in association with)

Distributors

Paramount Pictures (1997) (USA) (theatrical)
United International Pictures (UIP) (1997) (Australia) (theatrical)
United International Pictures (UIP) (1997) (France) (theatrical)
United International Pictures (UIP) (1997-1998) (Non-USA) (theatrical)
Filmes Lusomundo (1998) (Portugal) (theatrical)
United International Pictures (UIP) (1998) (Argentina) (theatrical)
United International Pictures (UIP) (1998) (Germany) (theatrical)
United International Pictures (UIP) (1998) (Spain) (theatrical)
United International Pictures (UIP) (1998) (Finland) (theatrical)
United International Pictures (UIP) (1998) (UK) (theatrical)
United International Pictures (UIP) (1998) (Greece) (theatrical)
United International Pictures (UIP) (1998) (Netherlands) (theatrical)
United International Pictures (UIP) (1998) (Sweden) (theatrical)
Cinéma International Corporation (CIC) (1998) (Sweden) (VHS)
Paramount Pictures (1998) (USA) (DVD)
Paramount Pictures (1998) (USA) (VHS) (pan and scan)
Paramount Pictures (1998) (USA) (video) (laserdisc)
Pioneer (1999) (UK) (video) (laserdisc)
Cinema International (2000) (Netherlands) (VHS) (rental)
Paramount Home Entertainment (2000) (Netherlands) (DVD)
Paramount Home Entertainment (2000) (Netherlands) (VHS) (retail)
National Broadcasting Company (NBC) (2000) (USA) (TV)
Paramount Home Entertainment (2001) (France) (DVD)
Paramount Home Entertainment (2001) (UK) (DVD)
Paramount Home Video (2001) (USA) (VHS)
Paramount Home Entertainment (2002) (Sweden) (DVD)
Yorin (2003) (Netherlands) (TV) (first national airing)
Paramount Home Entertainment (2006) (Germany) (DVD)
Argentina Video Home (????) (Argentina) (VHS)
CIC-Taft Home Video (199?) (Australia) (VHS)
Odeon Video (????) (Greece) (VHS)
Paramount Home Entertainment (200?) (Italy) (DVD)

Special Effects

Pacific Titles & Optical
Steve Johnson's XFX (special prosthetic make-up)

Other Companies

Central Casting extras casting
Ken and Art's Catering caterer: durham, north carolina crew
Lightnin' Production Rentals transportation equipment
Lightworks edited on
Milan Records soundtrack
Movie Movers cast trailers
Movie Movers hair and make-up trailers
Pacific Title titles and opticals
Paramount Pictures digital sound editing
The Cast Supper catering
Wescam USA wescam cameras provided by