Brief and treatment

The purpose of our movie is to entertain the niche audience, but to also allow them to revisit days, and able to have an insight into student life. Our film would appeal to our target audience because of its humorous side, and they’ll be able to relate to the characters within our film, as our characters are students. Therefore many of our students will be able to relate to last day, graduation day etc… Our target audience will also enjoy our film because they may have experienced the experiences that will be portrayed in our film.

Our film will be distributed by advertisement in cinemas worldwide! It will be presented by adverts, billboards, radio etc…

Our film will be a low budget film as it will be our first, however not our last. We will be using cheap props, and a location, not a studio.

We plan to have our film done in the next couple of months.

Treatment

http://www.scribd.com/doc/44291400/Graduation-Day

Detailed analysis on opening title sequences.

Analysis of the opening title sequence of 10 things I hate about you

10 things I hate about you is an American romantic comedy, and was created in 1999. It was directed by Gil Junger.

The opening title sequence begins with the usual institutional information that is usually found at the beginning of an opening title sequence. However, there is rock music in the background. The rock music connotes teenage rebellion, and this connotation is apparent in the typographics too, as the typographics are graffiti-like, and therefore also represent teenage rebellion and disruption. The music then changes and goes into another youthful song. However, this song does not connote teenage rebellion as the previous song did; it just simply represents teenagers as it is an alive, jumpy, up beat song.

The next scene in this opening title sequence is the setting of the film. It first comes on to the screen in a sketchy and graffiti-like form, which again represents teenagers, and informs the audience that the genre of this film is a teenage comedy. It then disperses into the real setting, which seems to be city in America, as the surroundings are very built up with house, and tall buildings, as the setting is in the city this connotes that the characters in the film are wealthy as the lighting on the city is bright and not dingy. The title of the film then appears, in the same typographics that the previous text was in.

The camera then pans down into a quiet, suburban looking street. This is very cliché as many American teen rom coms are set in areas as such, and so therefore again represent the genre of the film. The lighting is again bright and therefore connotes happiness and wealth. The audience are then introduced to some of the key characters in the film; Bianca Stratford and her friends. It is evident to the audience that Bianca is popular in school by the costume her character and her friends are wearing, her car and the music that they are listening to (which is the preppy teenage song that has been running throughout since the change of songs.) However in an opposing shabby-looking car Kat Stratford pulls up alongside them. Kat Stratford is Bianca’s older and opposite sister. The audience are instantly aware that Kat is the rebellious character due to her costume being completely black, her un-tidy hair, and the song that she’s listening to ‘I don’t give a damn about my bad reputation.’ The song that I previously mention that is being played in Kat’s car overtakes Bianca’s music, and then consequently becomes the backing song to the opening title sequence, and Kat then drives away from the traffic lights before Bianca does. These actions represent Kat’s dominance as a character over her sister’s character.

The setting is then moved to the high school. The high school appears to be an average American high school, and shows the division in stereotypes by the camera zooming out from the jocks playing hockey, to see the widespread diverse groups of teenagers whom attend the high school. This already connotes trouble, as there are so many different groups of stereotyped teenagers, whom are re-known for not getting along, but however presently are getting along, which cause suspicion to arise.

Kat’s character then ends the title sequence by ripping down a poster that someone had just put up. This again shows the rebellion of her character, and suggests to the audience that there is more trouble to come from her character, as well as leaving the audience wanting to watch the rest of the film to find out more…


Love actually
The opening title sequence immediately informs the audience that ‘Love actually’s’ genre is a rom com; through having Hugh Grant as the voice over, as Hugh Grant is re-known for appearing in romantic comedy’s. Hugh Grant is talking about all forms of love in his monologue; this again informs the audience that it is a rom com. There is only the diegetic sound of Hugh Grant speaking and the non-diegetic sound of a soundtrack, this sets the tone of the film which is romantic, smoothing, heart-warming love. The setting is also apparent as at the beginning is an establishing shot of Heathrow airport; which is England, and the film is also too set in England. The themes of love, family, friends and relationships are clearly shown with the use of mid tracking shots of people embracing each other. The next shot is in a recording studio in which a classic love song is being adapted to a Christmas song, this informs the audience that the film is set circa Christmas time.


The Proposal
The opening of ‘The proposal’ begins with the non-diegetic soft, relaxing song. This connotes to the audience that ‘The proposal’ is a rom com, as this type of music is used in many other rom coms also. The typographics are a plain font, however it is white. White is usually used for weddings as the bride traditionally wears a white wedding dress, therefore representing the theme of love within this film. It also introduces the two main characters, but shows them as single, and living on their own. As this film is a rom com there is the suggestion that these two characters may get together as they are single etc… Therefore, reiterating the genre of the film. A the opening sequence continues it shows that the main characters work together, and as the woman is the boss of the main (whom we know everyone fears due to the mise-en-scene) this already shows some of the humour that is going to be contained within the film.


Angus thongs and perfect snogging
The beginning of ‘Angus thongs and perfect snogging’ starts with the introducing the main character, Georgia and her dad. The comedy part of the rom com is already present as the main character is dressed as a stuffed olive, and refuses to get on the car with her father, for fear of messing up her costume. The audience are then introduced to some more of the key characters of the film; Georgia’s enemy Lindsay, and her friends Ellen, Jaz and Rosie. As Georgia storms out of the party, through sheer embarrassment, the camera pans and shows establishing shots of where the film is set; in Eastbourne in England. The non-diegetic backing song is ‘scouting for girls- she’s so lovely.’ This song is a popular teen song, therefore this connotes that the genre of the film is a teen rom com. The typographics also show this, as they are curly and girly, and white, which seems to be a trend colour for typographics within rom coms.

Essay on the opening title sequence of Se7en

Se7en is a 1995 American film, which was directed by David Fincher. The opening title sequence was designed by Kyle Cooper.
At the beginning of the opening title sequence of Se7en we (as the audience) are introduced to the character of Detective Lt. William Somerset, through the use of mis-en-scene and representation, whom is played by Morgan Freeman. Detective Somerset is shown in his kitchen, in his apartment, facing the sink as he is cleaning up coffee. He is wearing a white shirt, whilst the rest of the surrounding kitchen is also white. As Detective Somerset is washing up a coffee mug, this shows the audience that Detective Somerset is a hard working, neat and tidy man. The coffee would also provide the audience with the assumption that Detective Somerset works in a hectic job, as the caffeine from the coffee may be what he needs due to working in a stressful and hectic profession. The repetitive use of white in this scene could represent the honest, true and just character of Detective Somerset. As the colour white connotes all these things, as well as purity and cleanliness.

There is also a chess set present in the shot, this could connote that Detective Somerset is a strategic thinker, whom is always one step ahead of everyone else. As well as connoting that the character of Somerset is intelligent, as well as referring to the film's plot itself. As it could be that the film's plot is like a game of chess, it is Somerset against the criminals. This also links in with the lighting of the shot, as the lighting is blue, which represents the cold and connotes isolation, which could represent the coldness of the outside world, in comparison with Detective Somerset's sanctuary (being his apartment.)There is also a prison like shadow on the curtains of the window. This connotes that Somerset is trapped in the world that he lives in; he is a prisoner in this certain way of life.

In the next shot there is a close up of Detective Somerset when he is putting his tie on. As Somerset is putting on a tie, along with his smart shirt and trousers, this show that Somerset is in a profession of some sort as he is dressed smart. As Somerset has a very solemn, serious, sombre expression whilst doing this, it seems as though he is beginning to reveal the characteristics of the character of Detective Somerset. By Somerset having such an expression, this also gives the audience the feeling that the film itself may have a very solemn, serious, sombre tone.
Next in the opening title sequence is a close up shot of a table. On the table are Somerset's police badge, his pen, and his pocket knife etc lined up in a row. As well as showing the profession that Detective Somerset is in through the police badge (which is of course the police force) it also shows the audience that Somerset is a strategic, methodical person, as he picks up each item in a certain pattern, and places them in a certain way also.

The shot following that is of Somerset flicking a tiny bit of fluff off of his jacket. As well as again, reiterating to the audience that Somerset's character is very neat and tidy, this could also connote that Somerset takes notice of things that others may not consider as important or even have the attention drawn to. Therefore this action is showing that Somerset is an observant character, and an attentive detective. Somerset's observational character is shown again in the next scene, as he is walking around the crime scene, talking to the other detective present. Somerset's character is also presented as a caring, compassionate character in this crime scene shot, as he asks the question whether the child saw the murder take place. This shows that Somerset cares for the welfare of the child; even though he does not know him personally. Somerset's compassion is also shown through the opposing response of his colleague in the shot, which is along the lines of 'What kind of question is that?' This again connotes to the audience Somerset's attention to detail and compassion, which has already been shown in the previous shots.

Next, the audience are introduced to another key character in the film; Detective David Mills who is played by Brad Pitt. Detective Mills arrives in the shot chewing, chewing gum. This portrays Detective Mills character as a cocky, confident character. The cockiness of Mills' character is reiterated when Somerset and Mills step out side, after the body has been bagged up, and Mills then begins to ignore Somerset about going to a bar, and continues to talk over him about transferring, and being a ‘dumper’ on a case in the morning of his arrival.

However, the tables are then turned on Detective Mills, as when Somerset asks Mills why he was transferred; Somerset retaliates to Mills' cocky retort, which then puts the character of Detective Mills back in his place. Somerset does this by saying that the previous work with homicides is different to where Mills has been transferred to, to which replays he understands that. This is also shown in the positioning of the characters in the scene, as Somerset is walking slightly in front of Mills, which shows his dominance as a character. Throughout the dialogue between the two characters in this scene there is constant swapping of the positioning of the characters. At some parts of the conversation Somerset is in front of Mills, and other parts Mills is in front of Somerset. The positioning of the characters, again show their dominance at the particular part in the conversation. Somerset then mentions a key point about the ploy. That for the next seven days he will remember that. This is a key point in the plot as the murders occur over a period of 7 days; which is one person murdered per day, it also unforgettably the name of the film. Somerset the closes this scene and the conversation between himself and Detective Mills; this again shows his dominance as a character.

The next shot is back to Somerset's apartment, in which Somerset is reading in bed. Somerset is doing so with a pair of glasses on, which again represents his character as being an intellectual. There is then a brief period, when Somerset takes off his glasses, the audience can then hear an argument in the street, dogs barking, and cars. These sounds connote that the street outside is dangerous and busy, as well as suggesting that the street has marked Somerset's life; as it seems to be invading his privacy, and he is unable to escape from it. Detective Somerset then reaches over from his bed, to start the metronome on the bedside table. The ticking of the metronome emphasizes Somerset's insomnia, with the assistance of the diegetic sound of the street. This connotes that Somerset's character can never just relax and switch off; he is always 'on the job.' The monotonous sound of the metronome also seems like a ticking, almost like a countdown for when the murderer strikes again!

The next scene jumps straight to the title sequence. This at first shows a close up of a book, with empty pages that are being turned over by a shadowy, creepy, chilling hand. The typography is distorted, sketchy, an almost of a skeleton-like shape. This typography could represent the murder's state of mind; that being dangerous and unpredictable. There is also the sound of a rewinding tape; this could also represent the killers mind, as the murderer could be replaying the same thing over and over in his head. As well as representing the police, as it could be the tapes that police make when questioning a subject for evidence. The lack of colour in the opening sequence could also represent the killer’s state of mind; being it one of dark, dangerous nature and completely unfocused on reality.

There is then the precision of the illusive character when creating the book; this is shown by the precise cutting of pictures, and the endless pages of writing, which gives the audience the impression that it is a calculated character behind the creation of the book. The sinister music that accompanies this scene also adds to that illusion. The crossing out of certain letters, and the eyes of the picture of a male, also gives the impression that the person whom is creating the book, is setting up a sadistic game, which evidently involves murder due to the graphic images that appear next in the sequence. By having 'You've got me closer to God' as the ending of the opening title sequence again puts in the sadistic eerie tone, as the voice itself is distorted and mechanical which instantly causes hackles to appear. As well as the mentioning of God, as many criminals in the past have said that they committed their hideous crimes, due to God telling them to do so. Therefore this again puts an unsafe, immoral and inhumane tone to the film before it has even begun!

Codes and conventions of Opening title sequences.

One of the codes and conventions of opening and title sequences, is to inform the audience what the film/television programme is called, without an opening title sequence, this would not be apparent to the audience.

A second code and convention of an opening title sequence is to show the genre of the film/programme. This is apparent through the typography and the audio that is used within the opening title sequence.

Another code and convention of an opening title sequence, is to introduce the audience to the key characters in the film/programme.

An opening title sequence should also include the setting in which the programme/film is set in, for it to have the codes and conventions of an opening title sequence.

An opening title sequence should also show the narrative of the film/ television programme.

Yet, another code and covention of an opening title sequence, is to provide evidence of the themes that are to be contained in the film/television programme.

The final code and covention of an opening title sequence is give the audience the institutional information about the film/ televison programme.

Smashing magazine- The art of the film title throughout cinema history.

Film titles made their appearance in the earliest silent films, along with letter cards (or inter-titles), which provided context. These cards were the responsibility of the lettering artist, who collaborated with the scriptwriter and director to create narrative continuity so that audiences could follow what they were seeing. I wasn't aware, until reading this article that there were silent films. I also wasn't aware that films didn't always have title sequences, however I am now. Therefore this was of interest to me as I wasn't aware of silent films, or that there hasn't always been title sequences.

we see the emergence of typography that seeks to match letterforms with the subject matter. I didn't think that there would of been a beginning of title sequences, I was decieved into believing that title sequences always had a lot of thought gone into them from the typography to the music. But of course, as there is progression in all aspects of life, there is progression in the design of title sequences. Beginning with the typography reflecting the film (which I had mistakenly thought had always happend.)

Thus, blackletter fonts in the opening credits were used to evoke horror, ribbons and flowery lettering suggested love, and typography that would have been used on “Wanted” posters connoted a western flick. Due to the 1920's-30's European cinema being influenced by modernism, images and typography that we use to identify genres of films today, was just beginning. It has made question that without the influence of modernism, would we still associate 'flowery lettering' with love? Wanted posters with the West and black letter fonts with horror?

The concept of score visualization first conceived by Oskar Fischinger in his film “Studies” anticipates the effects created by Saul Bass in “The Man With the Golden Arm” (1955) and later by Susan Bradley in “Monsters, Inc” (2001) This point made an impact on me, as due to Oskar Fischinger adding music and effects, it has developed into visually stunning title sequences, which whet the audiences appetite for the films; such as Susan Bradley's in 'Mosters Inc.'

Kyle Cooper states that while the power of computer graphics is obvious, he still likes experimenting with live action, because there is something special about the imperfection of making things by hand. Until reading this I was under the illusion that all the titles were done digetly. However on learning that it is not always done so (with Susan Bradley's ending sequence of 'Ratatouille' as an example) I have realised that I don't give that much attention to the art in the title sequences. Therefore by reading this article it has made me much more appreciative of the art, and dedication it takes in producing an effective title sequence.

Continuity piece

Continuity piece

1.What did you find difficult about this task? The most difficult thing I found about this task was trying to incorporate all the camera shots that needed to be demonstrated; match on action shot, reverse shot and keeping to the 180 degree rule.

2.What new skills have you acquired or developed?
Due to having to ensure that my group demonstrated all these camera techniques, I am now able to recognise them without difficulty.

3. What worked well?
Incorporating and having clear storyboards, so that everyone had their ideas included into the piece, which made the piece easier to film, as everyone was aware of what they should be doing.

4.What could you or your team done better?
I think that our group have done the continuity piece to the best of our ability, in our early stages of A level media.