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 

Exploration Of the Thriller Genre (updated)