Explanation Of Planning

All of the group planning tasks have been equally distributed between myself and my partner Anna Dunbar. When deciding who did what we discussed and took into consideration what our strengths and weaknesses were, and the workload of each task so we would have a balanced workload between us. The individual tasks were both done with minimal consultation as we needed to use our own ideas to complete these tasks. In terms of group tasks Anna did the shooting schedule, the plot synopsis, the script, the selection of actors. I did the pitch, costume planning, location decision and the storyboard. We both took on the role of creating the initial ideas mind map, as we did it when initially discussing our ideas for the film. 

This post has been written by Mattie Goddard.

Costumes

In terms of planning costumes, we wanted completely opposing looks for the two characters. At the beginning of the film, in the bathroom/'funeral' scene we want the character Angelo to be dressed smartly, as if dressed for a funeral, here is a sketch of the potential and ideal costume:




We managed to source the clothes to create this costume; a white shirt, a red tie, black trousers, a black pinstriped jacket with a black fedora hat.

This is what Arthur's character, Angelo will be wearing as well as the jacket
and fedora hat.

We have chosen this costume idea as it links with the narrative of the film. We have the idea of the bathroom scene being Angelo's own personal funeral for his victim. The darkness of the suit he is wearing correlates the darkness of his character and his past and future actions. The white colour of the shirt under the jacket is symbolic of his underlying purity that gets consumed by the darkness of his suit and the metaphorical darkness. Furthermore, the red tie is symbolic of the danger he is about to be engrossed into, almost as if it is a indistinct symbol. 




For the character Annie Floyd is playing, we decided to let her chose her own costume and wear her own clothes. This is because she is playing a more vulnerable 'normal' character that the audience are hopefully going to relate to as she is a realistic character. This is why we made the decision for her to choose her own costume, as it would appear more naturalistic as she is essentially playing a character not majorly different to herself.

This post has been written by Mattie Goddard.

Inter-Textual References

A pivotal text that has inspired our idea for the plot of our film is Ben Wheatley's psychological thriller, Kill List (2011). The part that inspired us is the plot of a cult controlling people and interrupting/ hindering elements of everyday lives. We chose this film because we were interested in the contextual links it held, such as the exploration of religious cults, yet in a modern day, contemporary setting. 

Furthermore, the distress and discomforting unpleasantness I felt while watching some of the scenes in this film otherwise inspired me to replicate a similar effect on our audience when they watched our thriller opening.  Our personal aim is to simultaneously make the audience feel disturbed yet create a hooking opening to our thriller film so despite their discomfort they continue to watch the film. A specific detail from kill list we plan to use is the protagonists discovery of a cults symbol on their personal property, which triggers a climax and the realisation for the protagonist of what is happening. Furthermore, we have taken inspiration from the literal design itself. 

This post has been written By Mattie Goddard

Title Sequence

The font of the opening credits in a film is crucial when introducing  the film in the opening sequence. The font type compliments the introduction of factors such as the genre, themes and mood of the film. In addition, there is also a strong correlation to the plot of the film as well as links to the narrative.

As said before, it is crucial that the correct font type is used. If the wrong type of font is used then it may create a opposing or a misleading impression of the film. For example, if we were to use a light and soft font with a low density (see below) it would convey the wrong meaning. In addition, it wouldn't correlate with the simplicity of the shots and the colour balancing 

ASCENDANCY 

After experimenting with a variety of font types and styles, we decided on using a simplistic font found on microsoft word called 'Adobe Fan Heiti Std B'. We chose this font because of its bold yet simplistic appearance, it also compliments and correlates well with the connotations of the word. By placing spaces in between each letter it increases the coherence associated with the word in a subtle way. 

A S C E N D A N C Y

This post has been written by Mattie Goddard

Shooting Schedule

Shooting schedule 1 from Anna Dunbar

This post was written by Anna Dunbar

Soundscape

From the beginning of our planning process, we were certain that we wanted to include non-diegetic sound. We ideally wanted a specific score for the film as we felt it would be more effective.  Furthermore, we knew a score would be crucial in terms of setting an atmosphere and mood for our film. We have decided to use the score in the opening scene of the film and are debating whether to cut and edit parts of it in the rest of the film. 

The score will additionally contribute to the elimination of any background noise, as we are shooting on a road in part of the film and it is inevitable that there will be mass background noise of traffic and so forth. By being able to mute the natural sound of some of our footage, and then editing on a score, the focus will be on the visuals; as there will be no distraction of irrelevant background noise, therefore our film will look and appear more professional. 

We are using a score that a friend has produced himself, (https://soundcloud.com/prodot) in response to the title, 'Ascendancy'. He has produced this piece specifically for our film, therefore has given permission for us to use it. The themes behind this score is to create a tense and eerie atmosphere, in order to both conform to the thriller genre as well as creating a intense effect on the audience. By using it in the opening scene, it will hopefully foreshadow the dark plot of the film. 

In addition, we will also be using silence as part of the non-digetic soundscape, this enables the atmosphere to be contributed as well as the audience being left with a feeling of unpredictability and cautiousness. Silence is crucial to building tension and adding effect to simplistic shots, and makes these stand out more, in terms of narrative and camerawork.

The piece of music we are using is called 'Ascendancy' : 

(click on the sound symbol)

Media from Mattie Goddard


This post was written by Mattie Goddard

Location and Mise-en-scene

Location from Mattie Goddard

Written by Mattie Goddard

The Script

Opening scene: Angelo enters the bathroom, dead girl is in a bath, Angelo stairs into mirror – blank expression, turns to girl, lays flowers on her and strokes her hair and leaves room.

(2 WEEKS PREVIOUS)

Second scene: Leaves house, walks down street, bumps into women and he drops his wallet on the floor

Woman: Oh god, I’m sorry

(Both lean down to pick up wallet, woman hands wallet to him, he stairs intensely at her)

Finn: No need to apologise…it’s completely fine

(Finn stands there watching as woman hastily walks away, whilst there is a man in the background of the shot, carefully watching)

Third scene: Angelo is walking back from the shop, carrying shopping bag in empty car park, he walks towards the corner of the car park and sinks down into the corner and begins to play with the stones on the floor and using them to make specific symbols, he then picks up a child’s toy and crushes it in his hands, tries to pull it apart, walks back to house

Fourth scene: Angelo is sitting in his bedroom surrounded by candles, staring at pictures of his family, when he picks up a picture he hears voices of his family

Written By Anna Dunbar 

Selecting the Actors

We chose two a-level drama students for our film to achieve a higher level of realism of the characters that we wanted to portray. We chose Annie Floyd to play the more vulnerable character due to the fact she looks more innocent and therefore will provoke more of a reaction from the audience if the innocent looking character's life is in jeopardy. For our second character we chose Arthur Vaughan-Myhill who we believe could play the more sinister role of the film due to the scruffy appearance and cold emotion he could show.  

(Written By Anna Dunbar)

Arthur Myhill

Arthur as 'Angelo'

Title Explanation - Ascendancy

By definition,our title, ascendancy means 'occupation of a position of dominant power or influence'. This was decided as our group mind-mapped ideas around power, evil and authority. We explored different words, themes and phrases surrounding these themes. Due to the plot having a theme of cult influence on a innocent, vulnerable boy we thought this title connoted the plot and themes of our film well. The image we wanted to create was the power shift between the protagonist and the invisible antagonists. The sibilance of the word Ascendancy creates a harsh, irregular and rather prominent sound when spoken aloud which compliments the mysterious, unknown plot of the film. This would ensure the audience are intrigued yet nervous and cautious due to the element of 'unknown' surrounding the title.   

This post was written by Mattie Goddard

Initial Ideas

Initial ideas from Mattie Goddard



By Anna Dunbar and Mattie Goddard

The Pitch and Plot Synopsis

A S E N D E N C Y

This film is about a severely troubled boy who gradually gets influenced in daily life by a cult. The consequences of this are relentlessly drastic.

Angelo is a young adult, troubled by past traumatic experiences in his life which has now impacted him for the worst. This troubled boy is deeply involved with an unnerving cult, which leads him to being forced into horrific and psychologically disturbing crimes. Who is the leader of this sinister cult? Will Angelo ever escape from his traumatic thoughts and the unknown cult group?  Encountered by chilling murders and horrifically dark tasks forced upon Angelo, is this enviably the end of his psychological wellbeing? And what does this entail?

Pitch Written by Mattie Goddard

Plot synopsis written by Anna Dunbar

Camerawork in 'The Texas chainsaw massacre'

Camerawork in thrillers from Mattie Goddard

Motifs in Thriller films: 'Psycho'

 A motif is a recurring subject, theme, image or idea found in a literary, musical or artistic work such as in theatre or film. Through repetition, motifs can aid the production of narrative aspects throughout a film, such as themes or atmosphere. In film, motifs have significance. Some motifs may be obvious, some may be heavily entwined into a film.

'Psycho', directed in 1960 by Alfred Hitchcock, is one of the most iconic and famous thriller films of all time.

One of the most evident motifs in Psycho is the motif of eyes. This motif is symbolic of the theme of voyeurism throughout the film; Hitchcock is making the audience feel slightly uncomfortable, the film is showing us things we shouldn't be seeing. An example of this is during Marion's journey to California, when she gets woken by an officer on the side of the road, he wears intimidating, dark glasses and as he stares into the camera it makes both Marion and the audience extremely uncomfortable. Due to the blackness of his eyes he has a skull-like appearance, that is similar to the corpse of Mrs Bates; eyeless yet omniscient and omni-potent. 

Continuing the theme of voyeurism through the motif of eyes, Norman watches Marion getting undressed through the peephole in the wall, after he has removed a painting from the wall, there is an extreme close-up of his eye, involving us in his inappropriate secret. In this scene, Norman's eye sees the same thing we see as an audience, putting us in norman's perspective and watching 'with him'.

What Norman see's: Marion getting undressed.

Norman's reaction to what he see's: captivated, hooked
and obsessed.

When Marion has been brutally killed we are shown a close up on her lifeless eye, connoting the image of Mrs Bates eye sockets, both women have had a mass downfall after becoming too close with Norman, they threatened the dangerous part of him. It is as if he ended their lives brutally to escape judging eyes. Eyes are also crucial when seeing what a character see's and how they react as it infers their emotion but also enables the audience to feel more connected to the characters by having a 'joint view'. On numerous occasions we are shown what the character see's, then there reaction. Again, with Norman looking through the peep-hole. Furthermore, eyes reveal and hide a characters motivation, such as the hidden eyes of the officer, we are unaware what his thoughts are. 

Establishing shot of Psycho.

Another reoccurring motif in Psycho are birds. Hitchcock uses this motif to outline the theme of isolation. Firstly, as we are told in the opening credits in the establishing shot of the film, the film is set in Phoenix Arizona. This may seem irrelevant to some, but a phoenix is a mythological bird, that has unusual powers. A phoenix sets fire to itself when it is old and dies in the ashes, and from the ashes a new phoenix is born. This could be symbolic of Norman's split personalities, and how throughout the film he abruptly switches between himself and his mother, like a new character is being reborn again and again, similarly to a phoenix. The way this motif is immediate in the film highlights the importance of it and perhaps Hitchcock's urge for people to recognise this reoccurring motif and the symbolism behind it, so when the motif is later repeated in the film, they think back to the initial motif. When Norman and Marion eat dinner, he describes the way she eats as 'like a bird', this then triggers him to inform her he knows a lot about the taxidermy of birds, but is unaware on their activity when alive. In addition, this foreshadows that she will become a victim of his, similar to the stuffed birds that are surrounding them while they eat. This would cause the audience to become highly suspicious of him as a character, as the way he mentioned death of a living being so casually. This is also a indicator of Norman not being able to function socially with normal society or bluntly; living people. This correlates with how he couldn't function with his mother and is only able to communicate with her,dead, stuffed corpse- similar to the birds. The motif of birds also links to the motif of eyes. Hitchcock has given two of the stuffed birds; the Crow and the Owl an individual shot.   

Norman is aware that like the corpse of his mother,the birds jet-black, soulless eyes are constantly watching him, seeing everything he does and judging him. It is almost as if his own guilt,sanity and morals are trapped behind the deceased birds eyes, and all these good elements of Norman are gone, with the birds lives. To conclude, the motifs in Psycho are crucial when including symbolism and foreshadowing what is to come and the fate of certain characters. They are used boldly and effectively with heightened depth and symbolism to them. 

Sound in Thrillers

How is sound used in 'Se7en' to create Tension?

https://www.youtube.com/watch?v=1giVzxyoclE

The first obvious sounds in this film clip from seven is the diegetic sound of the low rumble of the helicopter propellers and the sound of the flick knife blade, and then the cutting of the box. This would emphasise the fact someone is about to be harmed or killed, making the audience on edge and alert of the danger thats about to happen. There’s also the use of ambient sound, such as the birds tweeting in the background, which juxtaposes the dark story of the film, this juxtaposition would make the audience confused at the change in mood and therefore create more tension as they would be waiting for the next bad thing to happen. Furthermore, the light-hearted sound of the birds tweeting in such a dark, depressing setting is extremely sinister and confusing. When the opening of the box happens, there’s a dramatic change of pitch and rhythm when the character played by Morgan Freeman realises the box contains something horrifically unexpected…the head of his accomplices pregnant wife. The background noise is non-diegetic, consisting of a single underlying high pitched, eerie note. High pitched notes usually trigger a instant, alert reaction and creates a heightened sense of the event, in this case; a heightened sense of tension. 

The foreground noise is a repetitive thudding chord, with an increasing tempo and volume.The use of this uncomfortable sound increases the suspense and tension for the audience, keeping them hooked on the events unfolding, and causing them to feel anxious. This foreshadows the climax, and is used to tell the audience how to feel, by building up to the overwhelming end of the film. The audience may respond to the soundscape with uncertainty, not knowing what is going to happen next due to the unpredictable sounds – i.e cutting to the loud sound of the helicopter propellers, back to the dialogue, as well as the use of the low yet prominent thudding contrasting with the high pitched note in the background. The use of sound conforms to the conventions of a thriller film, because it successfully builds up dramatic tension and uncertainty. The sinister sounds, reflect the menacing serial killer and the dark events which unfold. Throughout the scene, there’s a limited use of editing techniques, for example it doesn’t include sound bridging, because the sounds jump along with the cuts of the scene. However, there’s a clear use of overlaying of sound with the contrasting deep thudding and high pitched tone. Synchronous sounds are used, for example when the character played by Morgan Freeman is showed using the flick knife, there is the clear sound of this as well as when he opens the box. This is used to exaggerate this dramatic climax, and to have the audiences’ full attention on what is happening in the scene.

Textual Analysis of 'Taken'

 Mattie Goddard

What is the purpose of a film's opening sequence?

Essentially, the purpose of a film's opening sequence is to entice the audience to continue watching the film, this is done by a number of methods. Firstly, the opening sequence to a film always includes a establishing shot; to set the scene and inform the audience where the film is set. In Alfred Hitchcock's 'Psycho' (1960), the establishing shot is a series of crane and zooming long shots at a oblique angle of a american cityscape and finally ends on an eye level shot zooming into the window of a hotel. From this the audience is clearly shown that the film is set in a urban city setting, which immediately connotes mystery and the series of shots has a uneasy nature, making the audience feel uncomfortable and tense. The busy city setting also connotes the key theme's of film noir (it is set in busy industrial cities), which are crime, secrecy and deviance. 

Psycho

The Silence of the Lambs

A key purpose of a opening sequence is to introduce the characters of the film, specifically the protagonist. In Jonathan Demme's 'The silence of the lambs' (1991) the establishing shot is of the protagonist, Agent Starling's face, abruptly followed by a tracking shot of her in the centre third of the shot, running and completing a obstacle course; evidently training. This introduces her to audience, ensuring they are aware that she is the main character, hence her being in the establishing shot. The diegetic sound of the protagonist panting infers she is a hard worker, therefore the opening sequence is including subtle narrative behind this character. Including evident and hidden information about a character in the opening sequence is a simple yet effective way of immediately involving the audience and giving them a insight on the character's personality or life, ensuring the rest of the film makes sense.  

Pulp Fiction

Thirdly, the opening sequence to a film can also reinforce the genre of the film to the audience. For example in Quentin Tarantino's 'Pulp Fiction' (1994) the opening shot is a low angle still photograph of the two main characters aggressively pointing guns to a subject behind the character, the two characters look extremely angry and powerful, and the low angled shot contributes to this, making them look larger and therefore more powerful. The fact the two characters are holding and pointing guns, ready to shoot instantly tells the audience that the film is a crime thriller. Furthermore, anticipation is built as the audience are unsure of what will happen next, this establishing shot also introduces the key themes of the film which are violence and loyalty. 

The Sixth Sense-  
https://www.youtube.com/watch?v=WyCqv7ReKz4 

Prior to the opening scene, the opening sequence of The Sixth Sense, directed by M Night Shyamalan, includes approximately three minutes of opening credits. There is also a piece of music from the score, composed by James Newton Howard, this piece of music is evidently non-diegetic and builds in pace and pitch therefore increasing tension and intensity  the audience would feel as the sequence goes on. The fact that the opening credits last for the majority of the opening sequence creates tension and sets the atmosphere for the film as the audience don't know what's to expect due to the prolonged beginning of the opening scene. The opening scene consists of a establishing shot of a naked light bulb in a cellar slowly turning on and flickering to light, this light is diegetic and we are later shown that this is the key light in the shot. The shot then changes to one of the two protagonists wife climbing down the stairs and entering the murky cellar. She hastily looks and then reaches for a bottle of wine. While doing so she cautiously looks around the room, shivering and then frantically runs up the stairs. The eye-level shot of the dimly lit light bulb immediately reinforces the genre of the film to the audience; which is a supernatural thriller/horror. The light bulb looks similar to a orb; the spherical shapes of coloured light people always find in photo's, which are supposedly only found in photos taken in haunted places or places with the supernatural present. This is symbolic of the supernatural and the presence of ghosts. Secondly, it foreshadows the plot, while re-enforcing the genre; as there are supernatural forces throughout the film. Furthermore, it implies the exceptional ability of the protagonist, Cole Sear to see ghosts, while informing the audience that the only people who are aware of the supernatural in this film are Cole and the audience. This use of dramatic irony sustains the interest of the audience, it creates a contrast between the instant situation and what will follow, triggering curiosity amongst the audience. 'By allowing the reader and audience to know more things ahead of the characters, the irony puts the reader and audience superiorly above the characters and encourages them to hope, to fear, and anticipate the moment when the character would find out the truth behind the situations and events of the story'. (1)  


When the character of Anna Crowe has entered the cellar, the hard lighting casts harsh shadows of her body, which is positioned in a rigid, intimidated way, on the wall behind her. When she shivers, the mysterious atmosphere is implied and set for the rest of the film. Secondly, during the opening scene one of the themes is initiated; harsh lighting and cold temperature. The change in Anna's facial expression, from contentment to discomfort and hyper-vigilant reoccurs throughout the film for other characters.  

The character of Anna Crowe is evidently quite wealthy. She is wearing a long, elaborate dress similar to a ball gown. She is also well made up, with red lipstick, long earrings and styled hair. Anna's colourful, elegant dress and clear, porcelain complexion is prominent and opposes her jet-black,unlit shadow. This could be interpreted as foreshadowing her downfall that occurs later in the film, as a symbol of her 'ghost to be' .Our first introduction to this character, is her entering a large cellar, implying she has a large house. In addition, she is also choosing a bottle of wine, from a collection of bottles. These factors all highlight her wealth,and middle/upper class life and infer a wealthy setting. To conclude, the opening of The Sixth Sense establish the theme and genre of the supernatural, and the tense, frightening atmosphere of the film.



To conclude, the purpose of a films opening sequence is to introduce characters and narrative so the audience are informed of some 'background information' and can grasp an understanding of the characters personalities and lives. Another purpose is to introduce setting/location of the film, this is so the audience can grasp a wider understanding of the context of the film, for example. These elements help reinforce the genre and introduce themes of the film to the audience, to ultimately ensure the audience are enticed by the film and continue watching it. 

(1) http://typesofirony.com/dramatic-irony/

Independent Study: Woman in Film Noir

In Film Noir, a strictly aesthetically motivated film genre, extremely false gender roles are apparent and conformed to. From looking at Film Noir, as a modern day contemporary audience member, the way woman are presented is extremely sexist. The roles that women play in film noir are characters restricted by oppression and under the patriarchal expectations of the society they were in. Woman were consistently categorised into three different types. It is said woman in Film Noir were 'persented as prizes, as desirable objects'                                                      

The first type of woman in film noir, a common role that was played; The Femme Fatale, which translates from french as ' the fatal woman'. Femme Fatale's were mysterious, seductive, troublesome woman who lures men in using their sexuality to become infatuated and triggers the characters downfall and causes mass distress. Femme Fatale's object the typical house wife; straying away from being a devoted wife and loving mother.  For them, marriage is dull, conforming and tedious. It is debatable whether Femme Fatale's are independent and how much power they actually hold. This is because yes, they infatuate and lure men in using their passionate ways and sexual attractiveness, although, they commonly have to resort to murder to escape abusive, secluded relationships. An example of this is in the early noir film; I wake up screaming (H. Bruce Humberstone- 1941). Three men sit in a bar evaluating their unsuccessful attempts to seduce the femme fatale, clearly resenting her evident refusal to be possessed. When one man complains that "Women are all alike," another responds simply, "Well, you've got to have them around — they're standard equipment." This shows clearly the twisted views that men had on woman, and how they just bluntly disregarded them as humans, they just saw them as sexual or household objects.

Rita Hayworth as 'Gilda' in Gilda, by Charles Vidor (1946) 
Gilda is a typical example of a femme fatale; the dark,revealing dress and make up is symbolic of her dangerous and powerful ways, a symbol of the danger men will face by succumbing to her passionate charm. The colour black represents power and authority, but at the same time elegance and formality; which summarises a femme fatale exactly. The fact she is well made up as well as having elegant, luxurious clothing and jewellery reinforces the fact she is sexually objectified by men, yet also using her sexual attributes and attraction to infatuate men and 'lure' them in.

The second type of Noir woman is 'The Good Woman'. The good woman embraces her traditional place in the household and conforms to the gender roles of being a good mother and wife in the nuclear family setting. Despite conforming to the patriarchal expectations of woman at the time, The Good Woman is still critically out of place in film noir, she is not a realistic alternative to the Femme Fatale, she is nowhere near a realistic representative of female behaviour. Essentially, the good woman infers that society's prescription for happiness, the traditional family, is uninteresting and unattainable and embedded with oppression and restriction. The world of the Good Woman is highly contrasting in terms of narrative content to the themes and mood of Film Noir; dark, criminal and dishonest. It is said that The Good Woman often lives in a clean, well-kept apartment, away from the gloominess and obscurity of the bleak noir city streets. The Good Woman is often filmed using 'visual techniques of classical Hollywood cinema: high-key lighting, eye-level camera angles, and open spaces — free of the disturbing mise-en-scčne that surrounds the femme fatale'. (1) The Good Woman is consistently tempted by the lifestyle of the sensual femme fatale, she remains passive and nurturing, a safe haven and option for the men trying to resist the temptation of the Femme Fatales.

Jocelyn Brando as Kate Bannion from Fritz Lang's 'The Big Heat' (1953)
Here we can see Kate Bannion as the Good Woman, embracing her role in the home and conforming to  the patriarchal gender roles by cooking and cleaning, evidently keen to please and serve her husband. She is wearing a patterned,modest dress and apron, representative of her role in society and in the film. The control from her husband is blatant, in the way he has a tight grasp on her arm, beckoning her, and she responds and permits this.

The third and final type of woman in film noir, is The Marrying Type. This distinct type of female character started to appear in the late 1940's in Film Noir. Unlike the other two, the Marrying Type was out to completely domesticate the hero, she disregards the often criminal and wrong activities of her husband and aims to ensure he fulfils the role of a typical husband, socially approved and in all honesty; dull, confining and de-humanised. 'The marrying women in these films are not "bad" women like the murderous femmes fatales of earlier noir films — they often represent society's ideal of the perfect wife or sweetheart. But it is precisely this status quo perfection that marks them as dangerous to the hero. Indeed, Deborah Thomas argues that the marrying woman can be just as threatening as the femme fatale: "[T]hough the femme fatale is indeed a threat, she is no more so than the so- called 'redemptive' woman intent on the hero's domestication and the restoration of the status quo." Thomas also points out that the hero's anxiety regarding marriage and family responsibilities often runs so deep that he is not consciously aware of it, while the marrying woman knows that she is the cause of his anxiety' (2) 

Jane Wyatt as Dick Powell's wife, in 'Pitfall' (1948)
In the final cycle of film noir, it is said that the marrying type must be neutralised or destroyed .
Here we can see Wyatt punishing Powell from trying to escape the 'marrying type' of woman.

(1)http://www.lib.berkeley.edu/MRC/noir/np05ff.html 
(2) http://www.lib.berkeley.edu/MRC/noir/np07marr.html