Research into Mise-En-Scene - Miss Georgiou

Research into Mise-En-Scene

Mise-En-Scene is a french term for 'placing on stage' is, simply put, what the audience sees in the scene and is used subconsciously in the film to create effect in the audience. The 5 elements of Mise-en-Scene are Settings and Iconography, Costume, Hair and Makeup, Facial Expressions and Body Language, Lighting and Color and Positioning of Characters. The film I have chosen to analyse is 'Saw' and the scene in analysis is the opening scene in which Adam (Leigh Whannell) awakens in an industrial bathroom with Lawrence (Cary Elwes) and a dead body resting between the two with a gun and tape recorder in his hands. Both Lawrence and Adam are bolted to pipes by the ankle, restricting their movement and further reinforcing the idea that they are both trapped in the situation. The URL link to the video is: https://www.youtube.com/watch?v=dAWK9V9Hk_A.

In this scene, Mise-En-Scene is used to create surprise in the audience through the use of body positioning. The audience see a dead man lying in the middle of the room between both Adam and Lawrence, with a revolver in one hand and a tape recorder in the other, and although he may not remain in the shot the whole time his presence is always noted by the audience. This tells the audience that this man is important to the future events of the film and should be taken note of by the audience. His equal distance from both Adam and Lawrence also suggests that they are both equally close to death as they are both trapped in a situation where they are not in control and could die, with both being in trouble and neither being superior to the other. This creates surprise in the audience as they want to know why this man is dead under suspicious circumstances, as it appears he chose to kill himself after listening to something on the tape recorder with no clear instructions in the room, and why he has been left in there with them, as a killer so organised as to chain them to a wall and lock them in would clear the body out before he moved his next victims in.

In this scene, Mise-En-Scene is used to create shock in the audience through the use of costume. The audience see both men wearing sweaty clothing with dirt on them, Lawrence wears a ragged suit while Adam wears casual clothing. This tells the audience that they have been kidnapped and left in poor conditions, the dirt, and that they have been there awhile, the sweat. The different styles of clothing also show how both men are of different social standings yet they have both been kidnapped suggesting that they have been specifically targeted by the antagonist. This creates shock as the does not expect our protagonists to be this damaged upon the beginning of the film and so this makes the audience question how long the protagonists will be able to survive in the conditions they are in due their already damaged state.

In this scene, Mise-En-Scene is used to create intrigue in the audience through the use of body language. The audience see Adam and Lawrence walk with a hunch when they start to walk around after the lights come on. This tells the audience that both men are physically hurt or under duress due to the way they are unable to stand up straight. This creates intrigue in the audience as they want to know why these men are hurt or under duress as they have both just appeared to the audience and they do not know why they are so hurt or tired. This effect of suspense is also supported as the audience want to know whether the protagonists will be able to hold their own if they were to physically oppose the antagonist.

In this scene, Mise-En-Scene is used to create suspense in the audience through the use of iconography. The audience see a gun, as well as a tape recorder resting in the hands of the dead man, both outside of Adam and Lawrence's reach. This tells the audience that these represents the choices that the dead man, Adam and Lawrence have in that they can play the game that the killer wants to play, represented by the tape recorder, or they will die, represented by the gun. This creates suspense in the audience as they want to know what's on the tape and why the man has killed himself although both objects being in the man's hand suggests the tape said something he did not want to hear and he killed himself because of it. This suspense is further supported by the question as to whether Adam and Lawrence will play the killer's game or if they will kill themselves like the man did.

In this scene, Mise-En-Scene is used to create suspense in the audience through the use of color. The audience see, as the lights come on, that the room is tinted blue by the lighting. The use of blue to light the room connotes to the audience as sense of cold and justice to the audience with the coldness of the lighting suggesting to the audience that they are both out of their element and not comfortable in the situation they are, while the justice that is felt in the audience by the lighting opposes the lawless situation that they are in and connotes that the antagonist will face justice at some point in the film. This creates suspense as the audience want to know why the room has been lit blue rather than standard lighting as well as the connotation of cold and how the characters being out of their element will either help or hinder their attempt to escape from the clutches of the killer. The sense of justice gathered from the lighting also creates suspense as the audience want to know how the killer will face justice in the end and how it will affect the protagonists. In this scene, key and top lighting is used to create shock for the audience. The audience see the lights come on in a wave illuminating the room that Adam and Lawrence are in, temporarily blinding the two. This connotes to the audience how the police will attempt to track down the killer. The way that the light passes over the body in top lighting connotes to the audience that the police, Tapp and Sing, will come across death as the narrative progresses, because the top lighting casts light on the entire room and doesn't leave shadows, and the room being fully lit at the end of the scene represents that the police will have a full understanding of what the killer is doing by the end of the film. This use of key lighting that lights the room up light by light connotes to the audience that the police will not be able to catch the killer in a fluid motion and will instead encounter step-backs that lead them to taking their time. This creates shock as the lights come on suddenly, startling the audience, representing how the police will find the antagonist amidst the chaos.

In conclusion, by analyzing this sequence I am able to see how Mise-En-Scene has been used in a highly successful thriller film in different ways and see the different kind of effects that have been put upon the audience and the different combination of effects that they have wanted the audience to feel and why they may have done it. In making my own thriller I would like to include iconography as it is very easy to create an effect with the iconography as it is easy to hold the audiences attention and will be easy to provide and use in making my own thriller film. Another Mise-En-Scene element I would also like to use costume as it allows for the audience to create the effect themselves by seeing the audience and even working out character's positions themselves. Costumes are also easy to create and use as the character will always be wearing the costume whereas something like lighitng or body positioning may go unnoticed by the audience unlike how iconography and costume is always focused upon.

Research into Cinematography - Miss Miller

Research into Cinematography

In this essay I will be discussing how cinematography is used in the thriller genre to create an effect on the audience watching. Cinematography by definition is how the film itself is photographed with different positions, movements and angles in order to achieve an effect on the viewer whether it be suspense, surprise or shock. The clip I am using is a scene from Disturbia (2007) a thriller film in which teenager Kale (Shia Lebouf) spies on his neighbor Robert (David Morse) as it appears he is chasing a woman through his house. The URL link for the clip is: https://www.youtube.com/watch?v=NH5fod3mC7c

In the clip, a point-of-view movement is used to create shock in the audience. The audience sees a point-of-view movement when Kale looks through the binoculars at Robert's house but when he moves the camera away and then back to a window, Robert appears in it. This tells the audience that Robert can see Kale and that Robert will go after Kale, as Kale knows something that he shouldn't which makes him a loose end. Through the use of a point-of-view shot the audience are able to feel as if they are in the shoes of the character and feel as if they are personally being targeted by the antagonist, adding onto the elements of shock. This creates a shock in the audience as they do not expect Robert to be able to restrain the woman and notice that Kale is watching him, showing the audience that Robert has superior abilities to Kale and that it will be a challenge for him to out-maneuver him. The way Robert stares at the camera creates a relationship with the audience as they feel like he is addressing them personally which makes them feel threatened and frightened due to the antagonist feeling powerful enough to make it is obvious he has done something wrong but feeling as if the viewer and protagonist is unable to stop him. This is conventional as the audience expect the killer to be able to move around outside of the victim's knowledge while also being able to keep an eye on the victim.

In the clip, a handheld movement is used to create surprise and some confusion in the audience. The audience sees an unknown woman struggling to get away from an unknown figure, assumed to be Robert, as he drags her away the the camera lens, which jerks about as it is recorded, giving an unclear image. This shows the audience that what is going on is very chaotic due to the camera not being able to focus on what is going on for too long. This creates a surprise as the audience to do not expect to see Robert appear from no where, as she seems to be on her own. This also creates some confusion as it is not apparent why she is so frantic and afraid as the audience can not see what is going on clearly due to the fumbling of the camera. This creates a relationship with the antagonist to the audience due to him feeling confident enough in his actions that no one will attempt to stop him regardless if they see him performing a murder in broad daylight. This is conventional as the audience expect to see the killer overpower his victims and stop them from escaping with this usually leaving behind clues that the authority will use to catch up to the killer's actions.

In the clip, a close up is used for the camera to create suspense in the audience. The audience see, yet again through the camera lens, the unknown woman pounding on the door of Robert's house to be let out, we see this through the upstairs window of Kale as he looks down on the scene. This portrays the woman as being in trouble due to the look of fright in her face while also showing her inability to get out of the situation which also suggests that Robert is smarter and stronger than most people due to his ability to trap the woman. This creates suspense in the audience as they do not know if she will be able to escape Robert. while her appearing to be alone suggest she will be able to find her way out yet the fact that she is a woman, and that women are stereotyped as being weak, she will be unable to overcome Robert who is a grown man. This shot creates a sympathetic relationship with the woman as she has been trapped with the killer and we must watch her attempt to get out but due to her being an insignificant character, we know she will not live for long. This is conventional as the audience expect to see the victim unable to mentally and physically keep up the fight while also showing how the killer is able to dominate his victims which tells the audience that he will be hard to stop and a challenge to end his killing spree.

In the clip, a mid-shot shot of Kale is used to create surprise in the audience. the audience see a close-up of Kale's face after a flash is caused which may have alerted him to Robert, causing him to duck down with a zoom-in to his torso hunched up on the floor with a frightened look on his face. This shows how distressed Kale looks after seeing such confusing and disturbing images and the fright of believing that Robert may have seen him and then come after him, showing Robert as being an intimidating character. This creates surprise in the audience as we do not expect to see the protagonist of the story, the person who is supposed to save the day, be so frightened by the antagonist as we expect him to pursue and stop the antagonist rather than cowering from him when the antagonist may have seen him. Like the relationship with the woman, we begin a sympathetic relationship with the protagonist in this scene as he is unsure whether the antagonist saw him or not and whether he will decide to come after him or not. This is conventional as the audience expect to see the victim struggle to defeat the killer due to the killer being mentally and physically superior to the victim as he is detached from reality and is able to kill people without remorse.

In the clip, we see an eye-level angle of Kale that creates shock in the audience. The audience see an eye-level perspective besides Kale as he fumble to get the camera ready to see what is going on in Robert's house without poking his head up and making it obvious he is still watching him. The use of an eye level allows the audience to believe that they are also in the same scene due to them being in the same position as Kale and so feeling if they are in the same danger he is in. This shows the audience firsthand at how frightened Kale is at possibly being scene, which shows Robert as being an intimidating character due to his ability to frighten Kale without even looking at him, while the attempts to get the camera on shows how Kale is determined, regardless if Robert sees the camera, to find out what is going on in his neighbor's home. This creates shock and fear in the audience as they feel as if they are in the same danger that Kale is in, while the fumbling we see creates suspense as the audience do not know if Kale will get the camera running again or if the audience will see what happened to the woman. This shot creates a more positive relationship with the protagonist due to the audience seeing him take an action to capture what the antagonist is doing in an effort to get evidence against him that will reinforce the protagonist's offensive against him. This is conventional as the audience expect to see the main character try his hardest to combat the killer and stop him from killing anymore people and getting the narrative to reach an equilibrium by the end of the film.

The handheld and low angle shots are presented in such a way, in this scene, to confuse the audience as to what is going on due to the low quality camera footage and the instability of the camera as well as making the victim of the killer look weak to show the audience an example of how ruthless the antagonist is and how hard the protagonist will have to work to stop him. Shots like the point-of-view and the eye-level help to put the viewer in the shoes of the protagonist and increase the shock and suspense due to, like the point-of-view shot, having the antagonist look directly at the viewer, making the viewer feel singled out and like the killer will come after them while the eye-level shot shows the audience the determination of the protagonist to do right. The mid-shot, as used in this clip, shows the audience how the protagonist feels which allows the audience to build a relationship with the protagonist ass they are in a vulnerable state. These shots create suspense as they all happen during a fast-paced scene which does not give the viewer time to properly realize what is going on. These shots are conventional to the genre as they all show the protagonist overcoming his fear shown in one shot by assembling the camera in the next showing how he is determined to gain information on the antagonist and what they are planning. They may also show what the villain is doing at times in order to show how the villain acts or what his plans are before the protagonist finds out, in this clip we see the antagonist capturing a woman and attempting to threaten the protagonist into not trying to stop him by staring at the protaognist. This clip has helped me to decide on what different camera styles to use, I think using a handheld to disorientate the viewer and confuse them on what is going on is a good idea as it cripples their view as to what is going on engaging them to pay closer attention to what is happening in the scene. I also like the idea of using an eye-level angle to force the viewer into seeing themselves alongside the situation that the protagonist is in, creating shock and surprise in the viewer.

History of a Thriller - Miss Georgiou

Why Do You Think The Thriller Genre is Still Popular?

The thriller genre is still popular because it is accessible to a wider audience and engages the viewers more directly than other genres, such as comedy or romantic films. In terms of being accessible to a wider audience the plot line of a thriller is not as scary as a horror film but also has enough excitement stop the film from becoming a drag. A thriller is also more engaging than other genres as the audience can attempt to predict the conclusion of the film by focusing on the plot line and character representation to attempt to connect the dots to come to a logical conclusion. The narrative is also designed with different secrets and facts being uncovered and red herrings revealed through the film twisting the audience's view on what will happen, forcing them to keep on their toes. Both younger and older generations can enjoy the intricate narrative that are usually consistent with the thriller genre, as well as the suspenseful moments and brave protagonist as well as a mysterious antagonist.

Thriller timeline

1930 - The 39 Steps

The 39 Steps is a British thriller film directed by Alfred Hitchcock, starring Robert Donat and Madeleine Carroll. The narrative follows Richard Hannay (Donat) as he attempts to escape the people who are chasing him as he has been framed for the murder of a British spy, as well as find out what 'The 39 Steps' are in a mystery that gets more deadly the closer he gets to the truth. The 39 Steps uses . This film is directed by Alfred Hitchcock, a renowned director and 'The Master of Suspense' who has a tact for creating gripping thrillers. The main character is Richard Hannay is who able to keep ahead of all other adversaries and is knowledgeable enough to solve puzzles.


In the clip below of Hannay's train escape, we can see themes of a thriller such as the dimly lit train carriage which connotes to the audience that Hannay is not letting on everything he knows and keeping himself to the shadows to avoid the people who are following him. Another theme of thriller is that the protagonist does whatever he can to escape the people pursuing him, this is shown when Hannay climbs on the outside of the train to escape the police following him. As for the character himself, Hannay's body language connotes to the audience that he knows he is in danger of people finding out what he has been convicted of. This is shown when he suddenly snaps alert at the mention of the murder of the murdered British spy in his flat, suddenly becoming more watchful of the two men sitting opposite of him showing he is smart enough to watch his own back.

1940 - Gaslight

Gaslight is a British thriller film directed by Thorold Dickinson and features Anton Walbrook and Diana Wynyard. The plot follows newlyweds Paul and Bella Mallen as they move into a new house, a house that was the scene of the murder of Alice Barlow some years earlier where the murderer killed her then ransacked her house for her famous rubies. After a while, Bellas begins misplacing small things while Paul is starting to make her believe she is going crazy. B.G. Rough, a former detective who worked on the murder of Alice Barlow, starts to believe that Paul is Alice's murderer. Paul is also believed to be sneaking into the the house next to theirs late at night. Bella believes she is hearing noises and the gaslights dim randomly, but Paul reassures her she is imagining things, while in truth it is revealed that Paul, who is revealed to be the wanted man Louis Bauer for the murder of Alice Barlow, has been entering the house next to theirs to access the blocked off upper levels of their own house and using gaslights to search these floors for Barlow's rubies, causing the lights throughout the house to dim. This narrative fits into the thriller genre as the antagonist is able to operate without the protagonist catching on, while the protagonist is left to pick up clues and attempt to piece together what is happening before the antagonist can finish what he has planned to do. A theme present in this film is gender stereotypes in the sense that Paul, a male, is able to overpower Bella, a woman, which is a stereotype as men are believed to be stronger than women. The character of Paul Mallen works well in this film as an antagonist due to a convincing personality and his selfish intentions making it believable that he is able to manipulate Bella into believing that she is losing her mind rather than noticing that he is performing shady actions in order to satisfy his own greed. Thorold Dickinson has directed many films with his most common genre being drama, while also making in the crime, mystery, thriller or horror genres, and he also became the first film professor.

In the clip above we can see that Paul is a powerful character due to his positioning in the scene when talking to Nancy. He keeps his back to the door when talking to Nancy which shows him as being a controlling character due to not letting anyone leave his sight while also not letting anyone get behind him. Sound is used in this scene to convey how Bella is falling to the antagonist, Paul. When Paul is telling her that she is going to end up in an asylum the music suddenly becomes very loud and drawn out until she leaves the scene. This shows how the protagonist is hearing what she does not want to hear and what is making her feel as if she is becoming insane, represented by the loud music wanting to 'block out' what Paul is telling her.

1950s - The Limping Man


The Limping Man is a British thriller film directed by Cy Endfield and stars Lloyd Bridges, Moira Lister and Leslie Phillips. The narrative follows Frank Prior, a former soldier, who has traveled to London to see his girlfriend whom he hasn't seen in six years. A fellow passenger is shot on the way to the terminal who is revealed to have forged documents is identified as Kendel Brown, leads them to actress Pauline French because of a photo he has in his possessions. It turns out that Pauline is the woman that Frank has come to see but she reveals that she notified him to delay his visit. A photo in Kendel Brown's flat of Helene Castle reveals that she is the victim's ex-wife. In the meantime, Frank and Pauline go out on her boat and then to pub where Pauline is menaced by a limping man. Pauline confesses to Frank that she once let Kendel brown use her boat for a smuggling operation Kendel Brown had begun blackmailing her with letters she wrote which Helene now possesses. When Pauline and Frank go to the theater, it is revealed that the limping man is George, the stage manager. To everyone's shock, Kendel Brown appears and reveals that the man who was shot by George turned out to be an impersonator. This narrative fits into the thriller genre as we watch the protagonist attempt to piece together what is going on throughout the film while the twist of the dead man not being dead but a double is what you would expect in a thriller in order to misdirect the audience and advance the plot. In terms of character, Frank Prior is a conventional character to the genre as we know he is a soldier which tells the audience that he will be able to combat the antagonist through determination and skills he has learnt while also being directly next to 'Kendel Brown' when he is shot links him to the chain of events that is happening behind the scenes. The director Cy Endfield has directed some other thriller films like 'Jet Storm' but not a lot that came out before The Limping Man which shows he may not have had much experience when directing this film. As for themes, there are heavy themes of mystery due to the murder of the man who, at the point it happens, we do not know nor do we know who shot the man but there is an overwhelming sense on both audience and protagonist to find out who the man was and who shot him. 

In the clip above we can see that lighting is used to show mystery in this film. During the beginning of the film while Frank is on the plain, the cabin is hardly lit with only a light on Frank's row of seats. This creates a sense of foreboding on the audience as they cannot see all that is going on in the scene but can only see Frank, something they already know and understand. Body positioning is also used to create mystery in the scene. When the limping man gets out of the car and while he aims at his victim both the shooter and the victim have their backs towards the camera. This creates a sense of mystery as the audience want to know who these people are and why they are so important but due to the story they cannot know and so are left guessing.


1960s - Taste of Fear

Taste of Fear is a British thriller film directed by Seth Holt and stars Susan Strasberg, Ronald Lewis and Ann Todd. After surviving a traumatizing accident in which she almost dies before being saved, the paralyzed Penny Applebee returns home to live with her father and step-mother at their estate. While she and her step-mother have a cool relationship when meeting, it turns out her father has mysteriously disappeared despite herself seeing him multiple times at the estate yet he always appear dead. She manages to gain the sympathy of Bob the chauffeur but also believes that her step-mother and her father's friend, Doctor Pierre Gerard, are plotting to drive her insane. This narrative fits into the thriller genre as it has the mystery of her father's disappearances and reappearances while also having two antagonists that try to keep ahead of the protagonist but the protagonist will eventually catch up to them. In terms of character, the protagonist Penny Applebee is quite unconventional due to the fact that she is wheelchair-bound but this also adds to the suspense of the film as their will be moments where she may be unable to defend herself due to being physically disabled although she will still be able to piece together the clues. This film has themes of isolation due to the setting of the father's estate where, if she is in danger, Penny may not be able to easily get help which adds more to the suspense of the story. The director, Seth Holt, only has one director credit before this and it is for 'Nowhere to Go', a crime drama, which tells us that he does not have any experience with directing thriller films.

In the clip above we can see an example of how here physical disabilities will make the film more suspenseful. We can see that the protagonist's wheel chair slips into a pool where she has to swim to safety. This will add to suspense in scenes as she will be less able to defeat the antagonist and is particularly vulnerable to the forces of the antagonist. This also creates mystery as the viewer wants to know why she is rushing in such a panicked way or if she has been pushed by the antagonist.

1970s - And Soon the Darkness

And Soon the Darkness is a British thriller film directed by Robert Fuest and stars Pamela Franklin and Michele Dotrice. The film is about two young nurses, Jane and Cathy, from Nottingham who have decided to go on a cycling trip in rural France. When they stop at a local cafe to plan their route, Cathy becomes interested in a handsome man drinking alone. After they set off they see the same man overtake them on a scooter and then come across him later resting by a cemetery gate but pass him. The next time they stop Cathy decides to sunbathe but Jane wants to push on, after they fight Jane decides to go on alone anyway but once she hears from a different cafe's owner that this area has a bad reputation, she goes back and retrieves her friend. Jane returns to where she last met Cathy but cannot find her and so decides to seek out the local policeman to alert him . She runs into the scooter rider again but, becomingly increasingly convinced that the he, Paul who claims to be a plain-clothes police officer, has done something to her flees him. She finds Cathy's dead body and then again meets the police officer who is revealed to be Cathy's killer and attempts to be Jane's too but she is saved by Paul at the last moment who renders him unconscious. This narrative fits the thriller genre as the two girls are constantly stalked by the antagonist who they know nothing about, meaning he could have any skills at his disposal or any kind of weaponry , and who could get them alone as they are in rural areas of France. As for characters, Paul makes a good fake antagonist as he has a suspicious role in the film, always following, and is able to having more resources at his disposal due to being more powerful than the women as he is a man, stereotyped to be stronger than women, has a vehicle that is faster than theirs so he would be able to constantly keep up with them regardless of how fast they went as well as having charmed on his side, as he is able to draw Cathy's attention and keep her interested. This film features a theme of isolation due it's foreign setting, as well as both characters being British people in France, as well as the setting being in France creates a vulnerability in the characters due to them being out in the rural areas where a murder can get them at any moment as well as the British characters not being familiar with this area and so the killer will have more knowledge of the area then they do. The director Robert Fuest has no thriller directing credits and so it can be assumed that he has no experience with the thriller genre, meaning this may not be as good of a thriller as one would expect from a more talented director.

In the shot above, we can see how the setting adds to the mystery of the film as the two women are out in the middle of nowhere they could be taken and no one would know and as there is two of them this could happen quite easily. There costumes also make them look weak and vulnerable as they are wearing shorts and short-sleeved tops. This makes them seem less protected due to wearing few layers and more vulnerable to attack while their bright-colors allow them to be seen as the good characters.

1980s - Still of the Night

Still of the Night is an American thriller film directed by Robert Benton and starring Roy Scheider, Meryl Streep, Joey Grifasi and Jessica Tandy. The narrative follows Sam Rice, a recently divorced psychiatrist who is following in the footsteps of his mother, Grace Rice. One of Sam's patients, George Bynum, is found stabbed to death leading to Sam being approached by Detective Vitucci believing that Sam may have important information regarding the murder in his and George's transcript notes, of which Sam does not give to the detective. Sam is also visited by George's assistant and mistress Brooke Reynolds who has come to ask Sam to give George's watch to his wife, who she believes does not know about her. Sam and Grace sit down to analyse the transcripts between George and Sam but in doing so Sam begins to suspect Brooke as being not only the person that may have killed someone that George mentioned but also George's murderer and will attempt to be Sam's as well. Sam decides to tail her to her family estate to question Brooke, who reveals that she felt guilt in the accidental death of her father and George threatened to reveal her secret if she stopped the affair. The two piece together that the murderer is Gail Phillips, an assistant of George's who worked with him that and his ex-girlfriend that blames Brooke for George breaking up with him. Gail has killed Vitucci and is on her way to Brooke's estate to frame, although this leads to Sam being stabbed and Brooke being attacked by Gail. Brooke is able to lose Gail as Gail falls off a balcony of the Reynold's estate while Sam is not fatally wounded. This narrative fits into what we expect from a thriller film as the protagonist is attempting to work out what is going on at the present time and, using clues and logic, will attempt to stop the antagonist before they can commit any further crimes but then the plot twist comes in that the main suspect is just a red herring for the real killer. The character of Brooke Reynolds fits into a thriller as she is a mysterious character tht can be easily implicated to the role of killer as she is suspected to be acting strange throughout the film while also being in a position close to George as she was his mistress. There are romantic themes to this thriller as one of the main characters is close to George as his mistress while also beginning to fall romantically for Brooke, adding more suspense to the film as the main character is gaining more people he cares about. The director, Robert Benton, has few directing credits before he directed this movie, with having more writing roles, while also having directed more comedies and dramas rather than thriller films.

In the clip above, low key lighting is used in order to create mystery in this scene. The dimly lit scene creates mystery as Sam walks through the park and he and the audience cannot see the woman he is following properly which leaves both him and the audience to speculate as to who this is and why they are acting so mysteriously. The act of walking through the park at night creates suspense for the audience as well as Sam is in a dark place that is deserted, allowing the murderer that could be following a chance to strike at him.

1990s - Hidden Agenda

Hidden Agenda is a British thriller film that was directed by Ken Loach and stars  Frances McDormand and Brian Cox. The film opens up to a tape being handed to an American rights activist during a parade, which would make him a target for death. Investigator Peter Kerrigan, who is assisted by Ingrid Jessner, are tasked with investigating the murder of Paul Sullivan, American civil rights lawyer and political activist in Northern Ireland, while he was in the company of an IRA sympathizer. They later find out that these two men were shot without warning. A mysterious tape recording comes to light, made by a Captain Harris, an ex-army intelligence officer, now in hiding, of high ranking military and conservative party members discussing how they arranged Margaret Thatcher's rise to power. Harris eventually gives a copy of the tape to Jessner before British security forces kill him and blame his death on the IRA. Kerrigan is blackmailed into silence about the conspiracy while Jessner still has the tape but can do nothing with it as, without Harris to authenticate it, the tape will be dismissed as forgery. The narrative fits into what you would expect of a thriller film as the film follows the authorities trying to solve a mystery, while the mystery swells out of proportion it still has the same aspects of the protagonist trying to work out what the antagonist is up to. The character of Peter Kerrigan fits the protagonist role well as he is a very smart and physically able character due to his time and experience working as an investigator which will allow him to pick up and solve clues in order to catch up to where the antagonists are in their plan. The theme of politics in this film adds to the suspense and delicacy of the mystery as there is the security of a nation depending on how the protagonist acts and what choices he makes along the way leading up to the finale. While Ken Loach has many dircting credits, he does not have any thriller genre directing jobs before he directed Hidden Agenda, which means that his is his first debut in directing a thriller film, which means the quality of the film as a thriller may not be as you would expect of a thriller film.

In the clip shown above, lighting is used to show the progress that the protagonist is making in the investigation. As there is only one light source, much of the room is left in shadow which foreshadows the grim things to come and how little the protagonist knows in relation to what the antagonist knows about what is going on.

2000s - American Psycho

American Psycho is an American-Canadian black comedy psychological thriller film that is directed by Mary Harron and stars Christian Bale, Willem Dafoe and Jared Leto. The film follows Patrick Bateman, a wealthy investment banker living in Manhattan who is able to afford every luxury and prides himself on this lifestyle, allowing him to keep up appearances with others and have an extravagant lifestyle. Bateman conducts himself to be more superior then everyone else but when Paul Allen begins flaunting his business cards about Bateman takes this the wrong way and plans to kill Bateman by murdering him with an axe in his apartment, which he manages to do. Bateman shows himself to be a dangerous psychopath and will hurt or kill whoever he pleases, people with better business cards, models, homeless people,his assistant and many more yet he is always able to get away with it. Bateman breaks off his engagement with his fiancee, Evelyn, after murdering two prostitutes and later that night he attempts to murder a cat to feed it to an ATM, but instead kills a woman, and blows up the police cars following him by shooting the gas tanks. Bateman enters his office and calls his lawyer Harold in order to confess to everything but gets an answer phone message. The morning afterward, Bateman travels to Paul's apartment where he expects it to be full of the bodies of the people he has killed, yet there are noneand goes to Harold to confess in person but he does not believe him when he tells him he murdered Paul, stating he had lunch with him a few days ago. It appears to the viewer and Bateman that he will never get the punishment he deserves as it appears everything he did was all in his head. This narrative is unconventional as we see the story form the antagonist's point of view as he does the murders, while previously we watched from the protagonist's view as he attempted to find out who is committing the murders, showing an alternate side to the story. In terms of character, Bateman fits well into the role of thriller antagonist due to his charming nature and ability to hide his true intentions from people, even right before he kills them. He is also wealthy which allows him to carry out his plans and afford himself the finer things in life making him a very vain character as well. This film has themes of psychological thrills which add even more to the mystery in it as we expect Bateman to be caught or killed by the end of the film at the hands of a good character, but instead we found out that he did nothing from the beginning, confusing the audience on what to believe. The director, Mary Harron, has not directed any thrillers before and has few directing credits before American Psycho yet American Psycho is a very popular film. She is also the first female director we have come across so far and that could be why so many of Bateman's victims shown were women, perhaps to demonstrate how men can manipulate women and murder them.

In the clip above we can see the extent of the mysterious man that Bateman is as is show by his home. His home is competely white save for paintings and the touch of black in places. This creates mystery for the audience as they want to know what kind of man would own a home so dull and they  instantly get the idea that there is something wrong with him. Another part of this clip that creates a sense of mystery is when he is talking about his morning routine. We hear him list of all the things he does in an order, with multiple different products he uses. This creates mystery in the audience as they want to know what kind of person goes through such extremes to stay young-looking, perhaps an attempt to hide what kind of person he really is.

2010s - No Good Deed

No Good Deed is an American thriller film directed by Sam Miller and stars Idris Elba and Taraji P. Henson. The film follows mother of two Terri Granger who has been left at home with her children while her husband has to visit his dad, being impatient and rude to her before he leaves. Meanwhile, Colin is denied parole after murdering 6 people but on his way back to the penitentiary he murders the driver and guard of the prison transport, escaping to his ex-fiancee's house where he brutally murders her after finding out she was unfaithful. At the instance of her friend Meg, Terri decides to have a girl's night for the two when Colin arrives at her house looking for shelter after crashing his car in the storm. Terri takes him inside and treats his wounds before Meg comes over, and she takes an instant liking to him but he murders her with a shovel in the garage and hides the body telling Terri that she went home. While Terri believes Colin, she is still suspicious of him which is proven when she discovers Meg's umbrella still at her house with the phone lines cut and all the kitchen knives removed. Terri goes upstairs to check on her children as she believes Colin is with them, whom she attacks with the fire extinguisher yet is not able to kill or incapacitate as he forces her to get in the shower with him to clean off the extinguisher foam but she stabs but is once again unable to escape. Colin forces Terri  and her children into the car and tells her to drive to his ex-fiancee's house. Terri is able to get a police officer's attention but Colin murders him before he can help. When they arrive at the house, Terri is separated from her children and leaves her tied up in the room with Colin's ex-fiancee's body. It is at this point that Terri realizes that she was not randomly selected as she answers Colin's ex-fiancee's phone to hear her husband speaking revealing that he was having an affair and Colin came to kill him. Terri is able to distract Colin long enough to get her children to safety and stab Colin, this does not kill him however, but Terri manages to gain his gun and shoot him multiple times out of a window. This narrative fits the thriller genre as throughout the film we see the protagonist attempt to stay one step ahead of the antagonist in order to save her family while also using her abilities to outsmart the antagonist and overpower him. Terri as a character is not conventional as she is a mother with no obvious skills that can help her overpower the antagonist yet she is able to through sheer determination to save her children. There is more of an action theme present in this movie as it has multiple fight scenes in which we are unsure of who will gain the upper-hand when the fight is over which creates suspense as they don't know if Terri will be able to overpower the strong Colin. The director Sam Miller has multiple directing credits although none of these are for thriller related pieces as he mostly works on tv series so a thriller he makes may not be as good as other directors.

In the clip above we can see how suspense is added to the scene by the presence of the antagonist. We see Colin roll the window down of the car as Terri is asked to speak to the police, showing that he is listening in. This creates suspense as we can see that Colin is holding her baby and as we have seen him kill before he may kill the baby if she does not play along, yet there is still suspense as we wait and see what is going to happen.

Thrillers at the Box Office

From what we can see on this list, in terms of narrative, for a thriller to be successful it must have a strong narrative that both interests the reader and keeps them engaged in the story with enough bumps in the story to keep the audience guessing like 'Seven', for example, that has both a strong story and an amazing end with films like 'Saw' being able to hold an audience through the suspense of if the captor will get out in time. The protagonists must be like-able and determined to follow through with stopping the antagonist as the audience will lose interest in them if they are unable to come across as a compelling character while antagonists should be complex enough that you can't guess their final move before the end. Some films on this list have violent themes to them like 'Saw' which shows the sheer brutality of what situation the protagonist is, while some films like Basic Instinct have mysterious themes that the audience will have a very difficult time guessing what they outcome will be. The target audiences for thrillers would be from the age range of teenagers to adults as thrillers aren't as scary as horrors and allow the audience to engage more with the story and have a chance to predict the end, so it appeals to younger people who want a scare and older people who want some thrills and some mystery in their film.

Conclusion

In conclusion, this task has helped me to get a better understanding of what the thriller genre entails and how it has adapted and changed throughout the decades to adopt more action scenes and violence and shed old conventions like the protagonist always being a man that will help me to identify key aspects of a successful thriller and transplant them into my own work. In terms of ideas for my own work, I like the idea of the setting of the protagonist's house as it allows the audience to relate to the situation and keep them more engaged as well as spooked as seen in 'No Good Deed'.

Research into the BBFC - Miss Miller

Introduction

The BBFC, British Board of Film Classification, is a non-government organisation founded by the film industry in 1912, professionally it is an expert and highly experienced regulator of moving image. This means that the BBFC are in charge of deciding what classification can a film gets depending on the content it has within it, either getting a strict classification for large amounts of adult content or a looser classification for less to no adult content. The BBFC does this for reasons such as to protect the public, and especially, from the content which might raise potential risks of harm, as well as empower the public, and especially parents, to make informed viewing choices and it also recognises and respects adult freedom of choice within the law. the BBFC also makes sure to respond to and respect changing social attitudes towards media content through discussion with the public and research.

Age Classifications

There are 6 different kinds of classifications which are U, PG, 12, 12A, 15 and 18. These range from suitable for children up to suitable for adults. excessive violence and bad language would get a film a high rating like an 18 and a more child-friendly film would get a U, as it relates to the content inside.

U Rating

The U rating represents Universal. This means it has been approved for audiences of 4 years or over. These films can even be marked as being 'particularly suitable for pre-school children', allowing parents to make informed decisions about what their child can see that is suitable for their age.

• In terms of content, a U film may have infrequent usage of very mild bad language like 'damn' or 'hell'.
• Characters can be seen kissing or cuddling but there can not be a direct focus on the sexual behavior.
• As for violence, there may be brief fight sequences or scenes in which the hero is placed in danger although theses are resolved quickly and the outcome is reassuring.
• Any potentially dangerous or anti-social behavior is strongly disapproved.
• As for illegal drugs, they are not normally included unless the film is promoting an anti-drug message.
• Any fight scenes are fitted with comedic elements and music to balance out the violence of the scene with more childlike elements.
• In a fight scene, antagonists may use weapons but these are not emphasized upon although the hero usually doesn't if not for historical settings.
• U films that are approved of will generally promote ideas of loyalty, friendship and honestly, particularly amongst children.

The Lion King, for example, is a U rated film as it has a narrative that a child can enjoy as it features a story of good overcoming evil as the young Simba flees his father Mufasa's pride of lions as his uncle Scar, after killing Mufasa by throwing him into the gorge, has convinced him that he caused his father's death, allowing Scar to take over. Simba, with the help of his friends, is able to return to the pride and get Scar's confession that he killed Mufasa, allowing Simba to take his father's place as King of the pride. This is a U rated film as it promotes ideas of friendship and loyalty, as well as doing the right thing, which allows children to pick up good morals from this film. There is no extreme violence in this film as well, as we see when Mufasa dies, that there is no blood or Mufasa's death is not fixated upon visually.

PG Rating

PG stands for Parental Guidance which means the film is suitable for viewing but may have scenes there unsettling for young children. A PG film should not upset a child over the ages of eight or older but Parents should consider if the content will upset their child if they are younger or more sensitive. While some films are given a PG rating they may not be made for a child audience in mind but a adult one instead although it has a PG certificate merely to state that it can be viewed by someone over 8 years old without scaring them although you may want to take your child to see something that appeals to them.

• Themes that are appropriate for the age group specified are ones that may be too serious to address in a U rated film like bullying, racism or death.
• There may also be mild bad language like 'shit' but the BBFC focuses on the context of its usage, like a film would get a higher rating if it were to be used aggressively or used too much.
• Sex references are unlikely but may be used infrequently and undetailed as well as if the child viewers are unlikely to understand the references.
• Violence included will not be too bad, with no focus on how the injury was given although there may be blood included. Violence is more acceptable in the right context like historical, fantasy or a comedic setting where the violence can be used for humor or are understandable like fantasy or historical.
• There are scenes of violence that have been made so that the audience is more focused on what is happening in the scene rather than the detail of violence or the actual fighting.
• Horror may include jump scares and frightening sequences that are not unnecessarily long or too frightening.
• Any drugs or alcohol shown in the film should not be glamourised and instead be shown as bad and harmful for the viewer, this also goes for accessible weapons that a character may use like a knife in a kitchen.
• Anti-social behavior like bullying or not doing things safely that children may copy will not be seen to be tolerated or addressed in the film.
• Much like a U rated film, drug references will be shown if it serves to show an anti-drug message.

Scooby-Doo 2: Monster Unleashed is a PG movie. The plot follows Mystery Inc. as they attempt to work out who has stolen the costumes of their multiple caught villains and how they are bringing them alive into actual monsters, led by a Masked Man who they believe to be an old nemesis. This fits into PG as it contains scary elements, the multiple costumes and monsters that young viewers may be frightened of as well as some mild language that younger viewers are not comfortable hearing. It also features morals that a U rated film follow in that good overcomes evil.

12 Rating

12 Ratings contain content that is not suitable for anyone under the age of 12. Content in these films are inappropriate for young children and it is up to the choice of the parent if the child can see it.

• A 12 rated film with a dark or unsettling would likely get raised to a 15 rating while a film that is positive or reassuring will keep it in a 12.
• Strong language can get approved at a 12 with a focus on who is saying it and what the context is. There may also be moderate language used in the film. Aggressive uses for this language could lead to a higher rating.
• Discriminatory language will not be endorsed while aggressive discriminatory language will not be passed at 12 unless it is shown negatively.
• Sex may be shown for a short time in a 12 rated film while verbal sex references should not exceed what is suitable for teenagers.
• In a 12 rated film, there will be short action sequences in terms of violence, like other ratings for younger viewers, weapon violence is not to be glamorised when it is present in these films.
• Sexual violence should not be seen an only mentioned or briefly implied but these have to have a contextual justification.
• Horror films can be shown at a 12 rating, yet they shouldn't show horror sequences, physical or psychological threats too frequently as it may frighten the viewers.
• Anti-social behavior is not endorsed in 12 rated films as well as there being infrequent sights of drug use but it shouldn't be glamorised

The film Pirates of the Carribean: Curse of the Black Pearl is a 15 rated film. The narrative of this story follows the eccentric Captain Jack Sparrow as he is recruited by Will Turner to find his kidnapped love Elizabeth Swan after she is kidnapped by the pirate Barbossa. This film gets a 15 rating due to it's scenes of violence when the pirates fight each other throughout the film using swords which, according to the guidelines of the classification, would give it a higher rating but due to it's usage in a historical context it is not so bad. It also contains horror due to the presence of cursed pirates who can turn into rotting skeletons in moonlight, which could frighten younger viewers.

12A Rating

A 12A rated film is like a 12 yet it may have more mature content than a regular 12 classification. A 12A requires any child under 12 to be accompanied to see the film by an adult. The 12A is also not featured on DVD/Blu-ray copies as accompanied viewing can not be enforced at home. The 12A is much like the 12 in terms of what it allows but the 12A allows more mature contents.

• A 12A should not show dangerous behavior for long enough that it can be copied, anti-social should not be endorsed. infrequent sights of drug misuse may also be shown.
• Strong language can get approved at a 12A with a focus on who is saying it and what the context is. There may also be moderate language used in the film. Aggressive uses for this language could lead to a higher rating.
• Discriminatory language will not be endorsed while aggressive discriminatory language will not be passed at 12A unless it is shown negatively.
• Sex may be shown for around the same time as a 12 for a 12A rated film while verbal sex references should not exceed what is suitable for teenagers. Nudity can be included in 12A but it should be brief and discreet.
• In a 12A moderate violence can be shown but like a 12 it should not dwell on detail but occasional gory moments can be shown as long as it fits the context of the situation.
• Like a 12, accessible weapons can be shown but not glamorised. Action sequences can be shown in a 12A just like a regular 12.
• Like a 12, a 12A can show horror sequences as long as they are infrequent and the overall tone is not disturbing.

Jurassic World is an example of a 12A film. The narrative of this film follows the opening of Jurassic Park, an amusement park with dinosaurs, and it's subsequent failure after the scientists attempt to create a hybrid dinosaur which gets loose in a park full of people. This film has a higher rating of 12A because it features more mature content in a prolonged threat in some scenes when dinosaurs attack. It also features some blood at points if a person has been attacked by a dinosaur. There is also a prolonged  scene of two dinosaurs fighting one another, leading to one dying on screen. The elements of the film could lead it to be unsettling for younger viewers and so the viewers may need the approval of their parents in order to see it.

15 Rating

15 rated films are allowed to be seen for anyone under the age of 15. These films are not suitable for children under 15 years of age. Unlike PG and U, a 15 film can have any theme, as there are no themes that are not allowed to be seen 

• A 15  rated film may contain the following content: strong violence, frequent strong language, sexual activity, strong verbal references to sex, sexual nudity, brief scenes of sexual violence or verbal references to sexual violence, discriminatory language or behavior and drug taking.
• On strong language, the usage varies depending on the severity of the word with strong language may be used frequently, the strongest language may be used less frequently with a focus on who is saying the word and what the context is but continued or aggressive usage will merit a higher rating.
• As for discriminatory language, it is allowed to be used but it shouldn't be shown as being a good thing to do. A film may also use this kind of language in relation to addressing the themes related to the discrimination.
• Sexual activity in a 15 film, whether nudity or sexual activity, may be shown but not in strong detail. These scenes can be quite long in this category. Sexual references can be shown but especially strong or crude references are unlikely to be accepted.
• At 15, violence can be included but gory scenes and sadistic violence are unacceptable. Violent scenes should not fixate on the infliction of it.
• When it comes to sexual violence, it should be justified by the context if we are actually seeing but references to it are allowed and may be detailed too.
• Horror films can be intense and have a heavy threat and horror elements as long is there no sustained focus on sadistic or sexualised threat.
• In a 15 rated film, drug use can be shown but there is still a limit on it with no drug misuse can be promoted.
• Dangerous behavior should be dwelled upon in a 15 film but can be shown, with other dangerous behavior like using weaponry is allowed but if it fits into the context of the film.

Shawshank Redemption is a 15 film. The film follows City Banker, Andy Dufresne, who arrives at the prison, Shawshank Prison, in 1947 after being convicted of performing two brutal murders. He makes an unlikely friendship with prison 'fixer' Red who helps him with his struggle adjusting to the horrible conditions of the prison. This film gets a high rating due to multiple uses of strong language throughout the film. Due to the setting of a horrific prison, the viewer can see scenes of violence and sexual assault towards the main character. These scenes make it hard to watch and inappropriate for younger viewers to watch.

18 Rating

18 rated are made specifically for people over the age of 18 due to the content contained being explicitly made for adults and not containing content that is appropriate for children or anyone under the age of 18. At a rating of 18, there are no themes that aren't allowed to be shown, due to the belief that an adult should be able to choose what they watch as long as they are not illegal or potentially harmful. Some content may even upset some adults due to a lack of restrictions.

• 18 films can contain strong content like: very strong violence, frequent strong and very strong language, strong portrayals of sexual activity, sexual violence, strong horror, blood and gore, real sex and discriminatory language and behavior.
• Unlike other rated films, an 18 films can use as much strong and very strong language as it wants regardless of the usage.
• An 18 can feature discriminatory language and the film's narrative can explore these themes and may even be the focus of the film with main characters engaging in discriminatory behavior, as long as it doesn't break any legislature.
• At 18, there can be strong and detailed showings of sex with nudity. Very strong, crude and explicit sex references may be featured. An 18 can also feature depictions of real sex, as long as it is not a sex work (Sex works are works that has a primary purpose for sexual arousal or stimulation).
• At 18, strong violence can be shown in detail, even allowing focusing on the infliction of pain which other rating do not allow. This also allows sexual violence and sadistic violence.
• Horror films rated an 18 can have strong horror, gore or sustained threat.
• Drugs may also be shown in an 18 but, in line with other ratings, it must not be encouraged.
• Behavior that can be copied but lead to serious implications may be cut, but unlike other ratings difficult and strong subjects will be still allowed.
• While an 18 can show a lot of strong material, cut material includes content that breaches criminal law, explicit sexual activity that can't be justified by context and content that could risk harm to individuals through their behavior.

Django: Unchained is an 18 film. The narrative of this film follows freed slave Django as he trained by bounty hunter King Schultz who needs him to track down his bounty targets; The Brittle Brothers. This film gains an 18 age certificate as it features excessive gore and blood during violent scenes that take place during the film. The film also features multiple action scenes in which guns are used to kill people which is shown on camera. The film also uses many discriminatory words towards the main character and slaves excessively, although this is used in order to fit into the context of the time.

Conclusion

The BBFC is very important when releasing a film as it allows for limits to be set when creating a film, it ensures that there is no time wasted in making the film as there are guidelines on what can be shown so you can adapt your film to fit into the guidelines you want to fit into. It also allows the audience to make a decision on what to film to watch by categorizing them in order of what the maturity of the content in the film is and what they feel would be suitable to watch, knowing that what they watch they will enjoy and not find offensive. This research has helped me to understand what a fitting age certificate my thriller film will have as I can decide on what kind of audience I want for it and what I will be able to include or omit in order to keep it in the certificate I want it to be in.