In What Ways Does Your Media Product Use, Develop Or Challenge Forms And Conventions Of Real Media Products?
Within the movie genre of horror, there were ideas produced in original material that have stuck and been held in tradition. From such traditions come typical conventions which are an unofficial law of theories and ideas in which are now followed throughout horror trailers. We as a group discussed theorists associated with horror, taking the theories we wanted and incorporating them into our trailer allowing for a finished piece that followed some but not all conventions. We conform with conventions to enable for our media form to resemble a traditional horror piece but it is important to defy some conventions to enable for individualism in our trailer. Without defying conventions, the horror trailer will be generic, and will sink into other horror trailers as a conventional form of media.
One such theory in which we as a group decided to conform with was Carol Clover's masochistic fears, taken from her book "Men, Women and Chainsaws". This theory suggests that stereotypical horrors that are successful include the giving of pain and the injuring of pain, sadism and masochism. Within our trailer, we used this theory to allow the audience to feel the strategy around the killer and poltergeist, why?, Who?, How?
As a group we decided that "Lara", under the influence of the poltergeist would be a sadist and enjoy inflicting pain upon the female subject in terms of using her. The subject is forcefully hanged using household objects as a result of the poltergeist controlling Lara and so we leave it up to the audience to decide whether the infliction of pain is all the poltergeist or partly Lara as well as enabling the audience to decide whether Lara is enjoying the infliction of pain on someone who was supposed to her friend. We therefore conformed with Carol Clover's masochistic theory as well as altering it slightly to allow for the audience to have their own opinion on the pains infliction. It must however be said that we defies elements of Clover's masochistic theory in terms of masochism. The theory covers both masochism and sadism but we as a group decided to stay away from masochism within this trailer. Lara is supposed to look possessed and under the control of an external being and we therefore need to leave the audience with the feeling of wanting more, Lara may be a masochist but the trailer does not release such information for the audience to judge the character on. |
In terms of inspiration for our trailer, Lara, we decided to look to both television shows as well as films in order to create a trailer that reflects what we are trying to create. Such films in which we were inspired by included both the original and the re-make of "Poltergeist" as well as the television series, "The Enfield Haunting".
Using such inspiration, we as a group were able to look at traditions of poltergeist based horror films which in turn allowed us to discuss what areas of different poltergeist horrors we would like to incorporate within our own trailer. We also looked at films such as Paranormal Activity to aid us in our composition of shots. One such inspiration aspect in which we as a group decided to use within our trailer was that the poltergeist controlled a female. In the world of horror, females are perceived as weaker and more vulnerable than males. Although not a poltergeist film, the Exorcist provided inspiration for this theory along with poltergeist films and The Possession. We therefore decided to stick with poltergeist tradition and have a female be controlled by the poltergeist. This allows the audience to recognise the film as one relating to control but it also enables us to give the audience a perception of weakness, and from this weakness the result will be unknown. In conclusion we looked to inspiration from all aspects of media to ensure that we had a broad and inclusive idea of what we as a group ensured to create within our trailer, Lara. In addition to this, the use of other elements than films creates texture to our trailer. |
We aimed to conform with the horror theory of Dixon, that the subjects of the trailer are in fact sites of activity rather than characters in themselves. This theory states that while there is a subject upon the screen, they cause activity or are the site of activity rather than being present as a result of their character or someone else's activity. Within Lara, our trailer, the two main characters, the teenage females, both become sites of activity as well as being present as a result of eachothers activity. One such example of this in Lara is when the female subject is being hanged, partly by the poltergeist and partly by Lara who is being controlled by the poltergeist. Lara is a site of activity because she is causing the hanging while the other subject is a site of activity because she is drawing attention, both subjects are present as a result of eachothers activity - they're not characters but sites of activity.
|
Carol Clover also states within her book, "Men, Women and Chainsaws", that the audience watching a trailer enjoy the thrill of being frightened as well as discussing the traditional audience of horror - young-middle aged men. An audience goes to a view a horror film because it is scary, the audience therefore need to feel frightened and intrigued while watching the horror trailer in order to make them want to watch the subsequent film upon its release. We as a group, when discussing the storyline for Lara, decided to include elements which would frighten the audience while not answering questions about the film in order to promote the film to such an audience. In terms of audience for horror, the stereotypical audience for a horror film such as Lara is young - middle aged males. Although stereotypical, this is an element of Clover's theory in which we as a group cannot ignore and we therefore decided to cast two females as a result. The reasoning behind this relates to sexuality stereotype from the beginning of horror. The film genre of horror was origionally targeted at hetrosexual males under 40 and so their typical attraction was females of a young - middle aged females. Today however, this isn't the case but we as a group decided to play on friendship groups - something everyone experiences. We therefore cast two females to play friends because this is relatable, it must however be noted that we have suited the stereotypical target audience of horror in doing this.
The penultimate theory in which we have conformed in within Lara is also shown within "Men, Women and Chainsaws" and it relates to the stereotypical horror scenario of a final girl. All horror films that are based on traditional values have a final girl, a female subject for whom is close to death but never dies. Within Lara, our final girl is the subject who nearly dies; the fact that she is only close to death is important because she doesn't if fact die, suggesting to the audience that she is in fact the final girl. Within traditional horror stereotypes, the final girl is blonde and white skinned and so-called perfect in the eyes of the stereotypical horror audience. However, while as a group decided to conform with the final girl theory, we defied elements of the theory by using a black haired female whose race was not caucasian. As a result of this, we have taken "Lara" to a new level of horror, defining modern day horror with a difference in final girl - creating a horror in which an audience can look at in new eyes.
Another of Clovers theories is the theory of safe places, while Clover stresses that it is more common in terrible places she also states how any four walls can be a 'safe place'. When enclosed within walls, those four walls can feel both safe and entrapping to the subject. In terms of safety, the four walls stressed by Clover protect the subject from external beings, locked out of those four walls. However, should those four walls be breached and exposed, what was once a safe place will become a prison for the subject for whom is unable to escape into freedom. In terms of our trailer, Lara, we looked at this theory established by Carol Clover and decided to incorporate it within our trailer. The majority of our trailer is based within one bedroom of a modern house, these four walls are a safe place for the subjects towards the beginning of the trailer but as Lara progresses in her activities, the same bedroom becomes a prison for the subject - who begins to be hanged within those four walls. Therefore, Clover's theory of safe places and four walls was one which was easy to incorporate into our trailer to add effect and ambiance.
Within our trailer, Lara, we as a collective decided to incorporate various theorists and theories in order to conform with elements of traditional horror. Such theories and theorists include Dixon and Clover as well as the Kuleshov and Collision theory. The Kuleshov and Collision theory is a theory based on juxtaposition, created by Soviet media producer, Kuleshov. In effect, the theory places images side-by-side to leave a perception of a character on the audience. Sir Alfred Hitchcock said in 1964 that, an image of a smiling man followed by a image of a bikini and an image of a smiling man followed by a lady and a baby have different meanings with the former having connotations of "dirt" while the latter has connotations of "kind" as well as "sympathetic". This theory allows for an audience's perception of a character and their activity to be changed and altered throughout a media form such as a trailer. One such example of Kuleshov and Collision theory in Lara is the two connecting scenes in which the two female subjects are hugging and where the object is being smashed. Should the hugging scene be followed by a group of friends, the audience could suggest that the girls are popular sand that they have no personal issues in terms of mental and physical attributes. However, having the hugging scene followed by a smashing object, the audience can perceive that n the friendship there are cracks or that in the near future their lives will be smashed in terms of what they're used to.
POSTER
We chose to have the female (depicted as Lara) on a black background to enable for the audience to focus solely upon the female subject and the bold red "Lara" title. In addition to this, we chose to to have half of the female subjects face being degraded out of the image to represent both her internal paranoia of her own projection on society but to also show that the soul of Lara is being taken away by an external being - the poltergeist.
We believe that the image depicted within our poster is an iconic image of Lara because it is adapted from various scenes within the trailer in which the face of the female subject is at the forefront of the shot. Both when the female subject is shutting the door using force and when shes looking right into the camera, she as an individual is showing herself as an individual - somewhat on her own, under no control at all. As a result of this, we as a group decided to use this adaptation of our iconic imagery to produce the scene depicted upon the poster.
We as a group decided to only use the female who is under the control of the poltergeist because to the audience, this is who they would recognise as Lara. In addition to this, we as a group believe that this female will be attractive to the target audience because of Carol Clover's theory relating to stereotypical horror individuals - Blonde and Caucasian. In conclusion, all aspects of the poster have been thought through by us as a group to ensure that all areas have a meaning on the surface as well as a deeper meaning once the poster is viewed in detail by the audience as a collective.
|
We as a group decided to conform with traditional horror posters in terms of basic features, although we decided to create a unique image, the overall aspects of the poster are the same or similar to existing posters in order to appeal to the targeted audience. One such element of the poster in which we as a group wanted to maintain was the minimal amount of titles at the top of the poster. Traditional posters have proportionate volumes of names at the top of the poster in order to sell the poster and film through those who appear within it. As a result of this, we included the names of the two main females who participated in the trailer as well as the individual who was attacking Lara when she was in the car. A second conformity of our poster in comparison to traditional horror posters is the use of one of the actors or actresses within the poster. As previously stated, we chose to use this particular female because it who the audience will perceive to be Lara. Lara is a stereotypical horror victim and therefore attract the widest possible audience towards our trailer and subsequent film. The main element of the poster in which allow us to conform to traditional forms of horror poster is the use of a large, bold title. We chose to use the same title as is shown in the trailer and magazine for brand identity purposes but it instantly attracts the eye of the audience. The use of red against the black also conform in terms of bold uses of colour and contrast. Like traditional forms of horror poster, our poster for Lara contains a tagline. The reasoning behind this is to allow the audience to recognise elements of the trailer while allowing for those who have not seen the trailer to be let in on some of what the trailer is about. In addition to the most obvious features of our poster, we have also included the logos for various social media sites as well as our production and distribution company. We as a group decided to do this because it promotes the trailer through various links globally as well as promoting the production and distribution company for who are the responsible for the advertisement of the trailer itself. Finally, we as a group decided to conform with traditional posters by including the details for how was involved within the trailer, such titles as casting and production are present to ensure that we were in fact able to conform with traditional poster flatforms.
REPRESENTATION SHOWN IN LARA
Within a horror trailer, as well as any other trailer, elements of representation are present to enable for an audiences perceptions to be changed and altered in terms of character, setting and deeper reasoning. We as a group discussed the representation in which we wanted to portray to our target audience and we stumbled across an issue experienced by many individuals in a modern day society. Within Lara, the poltergeist represents an inner projection of female paranoia. By this, we as a group concluded from our discussions that we will aim to deliver a message to our audience - that inner paranoia of females experienced today is common and that its about overcoming such feelings rather than refusing to fight the issues. In a modern-day society, females experience anxiety in terms of the bodily figure, facial features, hair and overall personality perceived by others, as a result of this, we as a group decided to portray such a message in order to allow for those effected to know that its an issue that can be dealt with.
Within our trailer, Lara, we showed paranoia in various areas in order to somewhat constantly impose the situation upon the audience. When the main female subject, Lara, appears to be looking straight into the camera, she is in fact looking into a mirror. From this position, Lara is able to judge herself and what she sees as imperfections. Lara appears to be playing with her hair and making sure that it looks good - this is the poltergeist telling her shes not perfect, that she doesn't deserve friends and the life in which she lives. In addition to this, when the second female subject is being hanged appealingly by Lara and the poltergeist; the second female subject is in fact being hanged of her imperfections. Her hair? Her face? Her clothing choice? All being taken away by cleansing, the removal of what makes in individual an individual and turning them into what the poltergeist wants, females who are scared of individuality, scared of who they want and choose to be.
POSTER
As previously stated, the poltergeist within our trailer, Lara, represents an inner projection of female paranoia. In terms of our poster, the poltergeist is showing its control over Lara, taking away what makes her herself p- removing all sense of individuality. We as a group decided not to use the second female subject within the poster because although she also has imperfections in which the poltergeist wants to control, Lara is a stereotypical victim, being blonde and weaker than the second female subject and therefore is a target for the poltergeist. The poster shows this in the sense that he is aiming to remove herself from herself, she is not keen on such a circumstance but under the control of the poltergeist she has no choice.
Many within the audience who understand our deeper message will show how the internal paranoia is shown within our poster. The Lara poster depicts the removal of the female subjects body - a removal of imperfections. The audience may see the poster as a representation of the trailer, a poltergeist who represents the inner projection of paranoia. Those fragments that are being taken away from Lara within the poster are fragments of her individuality, taken away from her by the poltergeist so that shes under the poltergeists control. In conclusion the inner projection of female paranoia is shown within our trailer in various ways but is most obvious when looking more deeply into the the meaning behind the removal of fragments from Lara, the main female within our horror trailer, Lara.
|
MAGAZINE COVER
In simple terms, the magazine cover doesn't in fact relate as much to both the poster and the trailer, it isn't part of the same cohort in terms of messages portrayed. We as a group decided to do a studio shot of the two female subjects, not to show the paranoia but to suggest a survival - living through the control over life to become an individual of perfect imperfections. It was important to us as a group that while the female subjects do not represent the female subjects in the magazine cover, they are actresses in themselves, they do represent females as a whole. They had experiences, through filming, as close as possible, the experiences faced by women in terms of internal paranoia therefore making the magazine cover more real - as if they were once victims, in or outside of the trailer, Lara.
In terms of conforming and challenging conventions in relation to the magazine cover, we as a group decided to conform with conventions and follow the traditional layout of a magazine cover. The above slideshow depicts a range of real "Empire Magazine" examples side-by-side with our own magazine cover. We decided to have a studio shot within our magazine rather than an image including costume and film relation because we as a group believe that it will allow for the target audience to understand the characters more. In addition to this the two individuals shown upon the cover are shown within the trailer for continuity. The females are of a younger age and so conform with out theory of female paranoia and vulnerability, and the blonde subject is stereotypical in horror as a vulnerable character. We chose Empire magazine as our templet because it is a reputable magazine company and it allows for a high quality of work to be reproduced and replicated. In addition to this, Empire Magazine allows for lots of key magazine elements to be presented therefore making our magazine cover better as a whole.
|
We conform with traditional magazine covers by using masterheads, these are the main title of the magazine and are important because without them, the magazine could not be promoted to our wider target audience. In addition to this, our magazine cover has a skyline which is the writing at the top if the cover, above the masterhead. This once more shows our conformity with traditional magazine covers. Our magazine cover conforms with normal magazine covers because it contains a slogan, a phrase that sums up a magazine and presents its unique image. Our magazine has a bar code and a strapline which enables for the sale of the magazine and gives more information about the main headline respectively. our magazine follows traditional magazine styles because we have a house style, the unique identity that makes the magazine different to others on the market - our magazine follows "Empire Magazine" and so we conform with their house style. Our magazine also has a kicker, the phrase placed above the main cover line on a magazine. In addition to this, our magazine conforms because it has a plug - the information about the contents of the magazine. We as a group decided to include a flash to conform with traditional magazine covers - this is the text or image in a box, circle or other shape on the cover. To conform, we added puffs which are words and phrases on the cover of the magazine used to boost the status of the magazine. Furthermore, we as a group decided to use a cover mount, a free gift attached to the magazine which is in the form of a pullout. Our magazine also has a direct address, the actress on the front cover is looking directly into the lens of the camera. Finally, we as a group decided to conform with traditional magazine platforms by including a cover price for retail sale. In conclusion, we as a group conformed in every way possible to ensure that our magazine looked as close to a real "empire" magazine as possible.