Unit 10 Learning Aim A: Comparative Film Analysis
I have been asked to analyse a range of film clips, or short films, from different genres in preparation for a series of programmes on fictional film genres. My critical analysis of the purpose, format, narrative structure, visual storytelling, genre and audience of my chosen films, and genres, will be used by the production team for a new series to inform the content of one or more of their programmes. I have been asked to present the outcome of my analysis to the production team.
I have chosen to analyse fiction films from the thriller genre as well as the sci-fi genre, I have picked two Hollywood feature lengths and two experimental short films (one from each genre). The thriller films I have picked to analyse are ‘The Killer,’ directed by David Fincher, (Hollywood feature length film) and ‘Poison,’ directed by Wes Anderson (experimental short film). The sci-fi films I have picked to analyse ‘Venom,’ directed by Ruben Fleischer (Hollywood feature length film), and ‘Rakka’, directed by Neill Blomkamp (experimental short film).
Films and media products are created in many different formats and for multiple purposes, some of these formats and purposes link together easily such as a short film created for the purpose of raising awareness or educating an audience on a certain topic. However, some formats and purposes don’t quite fit together, for example – an independent’s film main reason for being produced is to create profit, the likelihood is that they will make a small profit but this wasn’t the sole purpose of the film as most independent films are produced to showcase talent and for a hopeful ‘break through’ into the industry. This could be shown by Gareth Edwards, who produced the independent film ‘Monsters’ in 2010, this then went on to win 3 British Independent Film awards, this spring-boarded his career and allowed him to produce Hollywood studio, feature-length films such as Star Wars and Jurassic World. Fictional films involve imaginary narratives which are usually created by large production companies for the basis of audience entertainment and enjoyment and for companies to gain a profit. The format of fictional films are usually Hollywood/studio models as they tend to have a large budget and need to dramatically change locations from an everyday ‘normal’ setting. Under the umbrella term ‘fiction film’ there are many different subgenres that help producers categorise their media product.
A genre is a particular class of film which people consider as a ‘type’ because it has special and distinctive characteristics, for example science fiction films are usually set in the future and have a world-threatening problem involving extra-terrestrial lifeforms. This type of film is noticeably different from a comedy due to the extreme difference in conventions encoded by the producer. By having genres within media, it helps for audiences to categorise media products as well as giving them a sense of what to expect when they watch a media product. By attaching certain conventions to a genre helps audiences pick a film they will enjoy more accurately. Genres often adapt organically as producers will explore inspiration from existing products that have been successful. As stated in Steve Neale’s Repetition and Difference Theory, genres must evolve over time so that films aren’t predictable for audiences, these changes must be noticeable so the audiences deem the film ‘new’ and ‘original’ but not changed too much so it feels ‘unfamiliar.’ To explain this further, the superhero-action hybrid genre was changed greatly, comparing Tobey Maguire ‘Spiderman’ (2002) to ‘Thor Ragnarok’ (2017), there is such a huge contrast. In the 2002 film, there is brightly coloured costumes to reflect the original comic book ideas as well as having pantomime-like villains. However, the 2017 film, shows much more dark and desaturated colours providing a modern, more streamlined look for the hero. The pantomime villain has evolved into a world-threatening urgent problem with hints of unexpected comedy within the film. Within one genre there are many sub-genres, this is a specialised category focussing on a specific theme, style or narrative. Taking the horror genre as a whole, it can be broken down into 4 sub-genres: slasher (films such as ‘Nightmare on Elm Street’ and ‘Halloween’); paranormal (films such as ‘The Conjuring’); found footage (films such as ‘Paranormal Activity’ and ‘The Orphanage’); and psychological (films such as ‘Us’ and ‘The Lodge’). These sub-genres further help audiences narrow down their viewing choices and producers categorise their specific type of production. These sub-genres also further help combine genres and create hybrids although one genre is always more apparent. Some genres don’t go together as well as others such as war and comedy however some have overlapping conventions which make it easier for producers to apply the hybrid. Linking genres could be a horror-comedy such as the ‘Scary Movie’ franchise or romantic-comedies such as ‘What’s your Number?’
Postmodernist theory suggests that a specific film in a genre is developed by copying sections of work from previous successful pieces. Baudrillard’s theory suggests that ‘everything’s a copy of a copy of a copy’ and this can be explained through different elements in genre. A new action/superhero film is just a copy of the first action/superhero film as they have used the same elements to create the production. This could perhaps suggest that the ‘copies’ stated by Baudrillard have just become basic and generic codes and conventions recognised by audiences to categorise films into the specific genre.
My two chosen genres are thriller and sci-fi as they have overlapping conventions as well as a number of differences.
Thrillers are a combination of action, crime and horror and some generic conventions are MacGuffin – this is the villain’s object of desire, time – the protagonist is always against a clock and needs to stick within a time frame. Thrillers also have investigative red herrings – these are false clues that are designed to mislead the protagonist as well as villains making the fight personal with the protagonist – making them the victim. Alongside the generic conventions of thriller films, audiences also expect a certain atmosphere and moods. For example, audiences expect an intense storyline with heightened feelings of excitement, suspense, anxiety and anticipation.
Sci-fi films are set in a society that isn’t possible in today’s reality, some typical codes of this genre are characters wearing/using high-tech gear, utopias/dystopias, robot characters and extensive worldbuilding. Audiences may expect key events to happen during a sci-fi film such as an alien invasion or time travel as well as more specific audience expectations such as evil robots, oxygen leaks and evil versions/copies of people. Audiences are meant to feel entertained by sci-fi productions and engrossed in the world around them as well as being interested in new scientific concepts and issues.
Mise-en-scene
Mise-en-scene is defined as the arrangement of the scenery, props and actors in a production – the setting or surroundings of an event. Mise-en-scene refers to everything in front of the camera including set design, lighting and actors (make-up and costume) as well as how this has influence over the scene for the audience’s perception.
Generic Mise-en-scene Conventions in the Thriller Genre
As mentioned previously, breaking down mise-en-scene into several factors makes it easier to analyse productions.
Lighting in the thriller genre: low level lighting is mainly used in order to create a suspenseful and mysterious atmosphere. This also creates shadows which can help to create fear and tension for the audience. Furthermore, the colour of the lighting usually directly links to the emotions felt in the film and due to the nature, these are usually darker, intense colours.
Actors/costumes in the thriller genre: Normal clothing is used in order to create realism within the production for audiences, this is to help them imagine it could be them within the situation. Light makeup is used in the thriller genre again to emphasise reality to audiences however characters will tend to have dark bags under their eyes this is to encode tiredness, sleep deprivation and anxiety.
Setting/location in the thriller genre: different environments can be used to create a certain atmosphere intended by the director, this is also the same for different sub-genres of thriller productions. Typically, Urban environments are used to convey a sense of place for the audience whilst being huge in size to show of bustling streets, towering buildings and hidden alleyways. Alternatively, some thriller films take place in isolated locations in order to invoke feelings of vulnerability and having a lack of help for characters which intensifies the danger and anxiety for the audience. Similar to urban environments, some thriller productions can take place in everyday locations to appeal to audiences and create a sense of reality for them.
Generic Mise-en-scene Conventions in the Sci-fi Genre
Lighting in the sci-fi genre: Cold, blue tones are used in many sci-fi films to encode a sense of technological advancement or alienation and detachment which adds to the futuristic and other worldly atmosphere created. Furthermore, high contrast lighting is used to create dramatic shadows and highlights usually emphasising good vs bad in battle scenes.
Actors/costumes in the sci-fi genre: futuristic clothing is worn in sci-fi films, this is when costumes will have sleek, minimalistic designs, usually on metallic fabrics showcasing an insight into future aesthetics. Furthermore, these costumes will be equipped with high-tech accessories to infer the technological advancements of the ‘other world.’ Although elaborate costumes can be worn, some sci-fi films also use more modern clothing that has been made rugged and worn out possibly having holes or gashes in, in order to suggest a post-apocalyptic climate.
Setting/location in the sci-fi genre: space is the most popular setting for a sci-fi film as it is vast and have endless possibilities for exploration, discovery and conflict. It is also seen as a futuristic place as it has been discovered in great depth. Similarly, another setting that could typically be used is alien worlds or alternate dimensions, this is due to the unique landscape and strange creatures that can be crafted for the production.
Film analysis
In the Sci-fi film ‘Venom’, Ruben Fleischer has conformed to most conventions of the sci-fi genre although he has explored some further than others, he has subverted a couple of conventions also. For example, Fleischer strictly conformed to the lighting used in most sci-fi films, he used a cold, blue hue against a stormy dark sky when the character ‘Venom’ is sat at the top of the building. This could be interpreted in many different ways by different audiences therefore applying Stuart Halls Reception Theory here could offer further analysis. The dominant reading of this scene could be that the blue hue has been used in order to highlight the character and outline him from the rest of the scene, drawing audiences to keep focussed on ‘Venom.’ The negotiated reading of this scene could be that the blue tones have been used in order to show to vastness of the space venom is in as the character is on top of building practically in the sky. Lastly, the oppositional reading of this scene could be that the blue tones have been used in order to show the alien-nature and futuristic character as if he is from another planet.
Furthermore, Fleischer has partially conformed to the setting/location and costume aspect of mise-en-scene in the sci-fi genre. He has chosen a cityscape for his location but it appears to have no post-apocalyptic features which can be decoded by audiences that ‘Venom’ is set in a modern society, in combination with this, audiences can also decipher that characters such as ‘Venom’ could be living among us in our society installing an element of fear and reality into the sci-fi production.
Alternatively, in the short film ‘Rakka,’ the director has chosen to conform to generic conventions of a sci-fi film. Similar to ‘Venom’ the director has chosen to use ‘normal/everyday’ clothes however this time this has been done purposefully to create a post-invasion atmosphere, this suggests that the invasion into the human world was instant and with no warning. The costumes characters were wearing were dirty, stained, ripped and sweaty similar to the costumes worn in ‘Venom’. These two films use an alternative approach towards the costumes within a sci-fi film as they both subvert the audience expected futuristic aesthetic. ‘Rakka’ creates a post-apocalyptic atmosphere that targets the whole of the population whereas Venom has a sense of verisimilitude and is an on-going battle between a group of people, both worlds have been purposefully constructed for audiences to understand this.
The repeated motif of a post-apocalyptic atmosphere in ‘Rakka’ has also been created through the use of fire imagery, fire is used to symbolise the destruction of the land and how the alien creatures are overthrowing the land and the people. The use of fire is explored in the location used to create the production, ‘Rakka’ is set in Texas in 2020, mainly in the desert. The production takes place on a desert-turned-wasteland which infers to audiences that there are limited resources, a harsh climate to live in as well as a sense of loneliness and isolation. By setting the production in a desert, the director has cleverly encoded to audiences a sense of time as there is limited availability of food and water found in those sorts of climates.
In terms of lighting, the director of ‘Rakka’ has conformed to the generic conventions as they have used coloured lighting (blue and green) which are associated (by audiences) with extra-terrestrial and alien life when the creatures are shown. When a group of children are shown sat in rows, the creature has been backlit in order to create shadows, not only does this make the audiences also become scared and uncomfortable by the creature but the use of children reinforces this vulnerable nature adding to the audiences scaredness. The directors use of Mise-en-scene in the film ‘Rakka’ has been carefully done in order to encode vulnerability, power and time to audiences whereas the use of mise-en-scene has been used in the film ‘Venom’ to build a sense of reality, suspense and a distressed nature. Both sci-fi films have conformed to the audience expectations and conventions but ‘Venom’ has subverted some which creates an almost hybrid between sci-fi, comedy and action.
Similarly, the thriller film ‘The Killer’ directed by David Fincher, conforms to most of the audience expectations and generic conventions of thriller films. For example, Fincher has used a setting like in the film in ‘Venom’ (high rise apartments) to encode a sense of reality – a busy urban environment. Furthermore, this could also suggest elements of wealth and expense which is further reinforced by the screens inside the characters apartment which has stock market values and graphs plastered over them. Audiences could decode the stock-market values on the screens as the character having quite a complex job (that most audiences wouldn’t understand fully) and could owe people money which could be why he is now in this predicament.
Between the three films and two genres, I would say that the Thriller film ‘The Killer’ and the sci-fi film ‘Venom’ are more similar than the two sci-fi films I have analysed. Both ‘The Killer’ and ‘Venom’ have similar themes and aspects of mise-en-scene such as thematic lighting, costumes and location. In my opinion, the sci-fi film ‘Rakka’ has a post-apocalyptic atmosphere where an unearthly being has taken over whereas ‘Venom’ takes place in a real-life setting, which is the same as ‘The Killer.’ Both sci-fi films have some similarities, yet the thriller film and ‘Rakka’ don’t have any similarities.
Camerawork
Camera work is the way in which cameras are used to create meaning in a media production, camerawork relates to the photography in a film and how it has been filmed. Certain camera movements and angles denote different meanings to audiences, for example, in the Hollywood feature film ‘Batman: The Dark Knight Rises’ the director Christopher Nolan has chosen to flip the way the camera captures the characters in order to disorientate audiences and show the imbalance/swap of power within the scene. Audiences feel that a right to left character movement is ‘bad’ and shown as ‘retreating’ whereas left to right character movement is decoded as being ‘strong’ and ‘running into the problem.’
Generic Camerawork Conventions of the Thriller Genre
Over the shoulder shot: This particular type of shot is used to build tension, this is a crucial part of a thriller film. When using over the shoulder shots, they can be done into a mirror to show what is behind the character looking into the mirror or used to create a sense of character perspective.
Long shot: A long shot is used in order to establish a location or setting, this can be to show the vastness and emptiness of a place which can create tension for audiences and characters.
High angle shot: Filming from a high angle and looking down on a character can be done in order to make the character look vulnerable whilst making the other character (looking down from the high angle) to have the power.
Generic Camerawork Conventions of the Sci-fi Genre
Extreme close up shot: This shot type is used to display emotion clearly for audiences. These shots highlight key, important details, emphasising the significance of a character or object.
Creative/unconventional composition: These shot types are often done to disorientate the audience and reinforce the ‘alien nature’ of the setting/location.
High/low angle shots: Filming from a high angle and looking down on a character can be done in order to make the character look vulnerable whilst making the other character (looking down from the high angle) to have the power.
Long shots: A long shot is used in order to establish a location or setting, this can be to show the vastness and emptiness of a place which can create tension for audiences and characters.
Film Analysis
In the short, experimental film ‘Poison’ the director Wes Anderson has conformed and subverted the typical camerawork conventions of a thriller production. For example, Anderson decided to use lots of static shots as well as slow, smooth pans and tilts in order to convey control over the situation. The typical thriller film would have quick transitions and dynamic camera movements in order to create pace and tension however Anderson has cleverly encoded control through his use of slower camera movements whilst still alluding to the intensity of the situation in the thriller film. By using slower shots, it directs audience’s attention to the scene without distraction so they can really take in emotion, dialogue and details within the film, whilst the simplistic nature allows audiences to follow the narrative more easily. Anderson has also inputted his unique style into the short film ‘Poison’ by only using symmetrical character positioning and camerawork, to create a seamless, balanced aesthetic to the final film. An example of this technique used in the short film ‘Poison’ is when the character ‘Harry’ (Benedict Cumberbatch) is lying in bed in the middle of the shot – he has 2 and a half floor tiles to the left of him as well as 2 and a half floor tiles to the right of him. The rule of thirds in this particular shot has been strictly adhered to which creates a balanced composition for the viewer. However, Wes Anderson has chosen to conform to the generic thriller convention of using mostly medium shots and establishing shots. The opening scene of the short film is an establishing shot of small house isolated near cliffs and a car pulls into the scene. This (along with the opening credits) denotes to the audience where the film is set so they can familiarise themselves with the setting. The use of the establishing shot here helps to give context for the audience as well as building anticipation and tension. Another convention of the thriller genre that Anderson has conformed to is point of view shots (POV), Anderson has almost done this but instead of the camera being in place of an existing character, he has chosen for the audience (the camera) to become a the ‘extra character.’ By this, I mean that the camera tracks the character that is talking (usually to the camera), this technique helps to address audiences and break the fourth wall making viewers feel part of the film, experiencing all the tension felt by the characters.
Similar to the thriller film ‘Poison,’ the other thriller film ‘The Killer’ has used static shots when characters are talking to each other, this shows the control the characters have over the scene. This thriller film conforms to the use of medium long establishing shots, which overtime (and as tension arises in the scenes) slowly get closer into the scene, until the highest point of tension is the closest shot. To illustrate this through Todorov’s narrative structure (1 – equilibrium 2- disruption to equilibrium 3- recognition 4- repair 5- new equilibrium), the highest point of tension in ‘The Killer’ (combination of stages 3 and 4) is where the closest shot is. Furthermore, Fincher has cleverly used static shots in order to create a sense of claustrophobia for the characters and audiences. As one character is seen to be intimidating the other in a life and death situation, this camerawork creates a trapping atmosphere that reflects the emotions felt by the character in the scene. Further conforming to the conventions of a thriller genre, Fincher has decided to use many over the shoulder shots, this gives the audiences an insight to what other characters are seeing and will make them feel the emotions and tension felt by the characters. Fincher has used camerawork carefully in order to heighten tension and build up intense scenes conforming to features of a film in the thriller genre.
Contrasting the two thriller films, ‘Rakka’ directed by Neill Blomkamp conforms to the conventions of the sci-fi genre. The typical conventions for camerawork of a sci-fi film are interesting/creative compositions, high/low angle shots and long shots. For example, Blomkamp has conformed to using creative compositions by filming upside sometimes. This paired with the mise-en-scene creates a sense of abnormality, like this is the extra-terrestrial beings’ layer. By using this creative camerawork technique, audiences are distorted and confused much like the characters would’ve been, this also builds up suspense for audiences as something unusual is happening which just gets stranger and stranger. This technique contrasts the two thriller films above as they use static up-right shots creating a typical and convention set up. However, audiences wouldn’t expect to see camera moves and orientations like this is a thriller genre as the plot too detailed and a movement like this would look out of place and not fit in with the narrative. Further contrasting the thriller genre, ‘Rakka’ involves lots of dynamic shots where the camera tracks the characters movements. For example, the camera directly tracks the alien-like creatures when they are walking up and down the queues of vulnerable humans. By the camera tracking the movements, not only does it create a sense of authority of the aliens for the audience but it also shows the vast amount of people captured by the aliens.
To compare all three films, I would say that they all conform to there genre conventions. I think that there is an argument to be had as to whether Wes Anderson’s ‘Poison’ has been done for the purpose of conforming to thriller genre conventions or whether he has just replicated his unique and distinctive style in this experimental short film. From my analysis above it is evident that both ‘Poison’ and ‘The Killer’ have similarities in terms of camerawork which heavily contrasts the dynamic and creative composition of camerawork in the sci-fi film ‘Rakka’.
Editing
Editing is the sequencing and arranging of clips which helps to create a coherent narrative that tells the story in the most effective way. There are different ways in which a film could be sequenced which could change or rearrange the complete narrative of the story. Furthermore, different timings or the time between shots can help to build tension and emphasise the tone of the sequence of clips. For example, if an extract of a film had shots of two characters and it cut between the two of them quickly and then repeated this, it would help to build tension for the audiences. Editing and sequencing can sometimes lead to errors with the continuity of the film. A continuity error is when a mistake happens in a film where something changes or appears differently between shots, this could be changes in position, costumes or set design.
Generic editing Conventions of the Thriller Genre
Fast paced cuts: This type of cut is done to build tensions and suspense which creates a sense of urgency that keeps audiences on the edge of their seats and anticipating the next scenes of the media product.
Shot-reverse shot: This cut is a common technique that is used in scenes when there are two characters talking, involving alternating shots between different characters as the conversations continues.
Montages: These are used to convey information from scenes quickly, they help provide pace whilst not slowing down or lengthening the film.
Generic editing Conventions of the Sci-fi Genre
Montages/Flashbacks: These are used to provide background information potentially showing another reality which could be there to reveal information about characters or other planets.
Fast paced cuts: This type of cut is done to build tensions and suspense which creates a sense of urgency that keeps audiences on the edge of their seats and anticipating the next scenes of the media product.
Point-of-view shots: These shots can be from the perspective of robots/aliens or human characters to show their version of events.
Film Analysis
In the sci-fi film ‘Venom’ Ruben Fleischer has conformed to most of the editing conventions of the sci-fi genre. For example, Fleischer has used fast paced cuts when the character ‘Eddie’ is sliding down a building. The shots dramatically cut between a shot of him sliding down from a high angle, to a low angle shot and then to a shot from his perspective. This is then repeated over and over again helps to build tension and install anxiety in the audience. This has merged two of the conventions of the sci-fi genre into one. By using point-of-view shots, the audience can see and feel (particularly in the scene mentioned above) all the emotion felt by the character involved. When ‘Eddie’ is sliding down the side of a tall building, audiences can see the vast landscape and busy street he will be falling into. The point-of-view shot is a clever way for producers to allow audiences to put themselves in the shoes of the character and experience everything they are. The editing style in this film is very intense and reflects the chaotic nature of the narrative of the film, which further helps to build tension and anticipation for audiences.
Similar to the film ‘Venom’ the other sci-fi film ‘Rakka’ has also conformed to the conventions of editing in the sci-fi genre. I would personally say that ‘Rakka’ has conformed in more depth to the conventions compared to ‘Venom’. Neill Blomkamp has chosen to combine his use of creative composition in terms of camerawork with his distorting use of sequencing and editing. For example, there is a point in the short film where clever sequencing and fast paced cuts have been used – the scene cuts from a man’s bloody head in the aliens layer (upside down camerawork) to a scan of an extra-terrestrial life form, between this there is flashing lights which further helps to distress the characters involved in the scene as well as disorientating and stressing audiences also.
Furthermore, Blomkamp has chosen to use montaging in ‘Rakka’ unlike ‘Venom’ to show the destruction and impacts on the land and population. By doing a sequence of shots like this, the extent of the damage caused by these alien-like creatures is hyperbolised to audiences.
In the thriller film, ‘Poison’ Wes Anderson has chosen to continue the use of his distinct style combined with conforming to the conventions of editing in the thriller genre. For example, in his work, there are fast-paced shots particularly around the more intense scenes e.g. when the character Harry is needing to see the doctor. Anderson, conforming to thriller conventions, has reflected the intense, rapid nature of the scene with quick cuts, not only does this build tension for audiences but a sense of urgency and anticipation is created.
Furthermore, Anderson has chosen to push his style throughout the short film even though it may not be a conventional editing style in a thriller. For example, he splits his screen in the centre to show two scenes at once, this has been done cleverly and not over-used in specialist scenes such as the ‘phone call’ scene where audiences can see both sides of the conversation and the characters emotions throughout the scenes. Whilst this doesn’t conform to the stereotypical thriller genre, audiences are aware that this has been done for the purpose of visual storytelling and not for conformity.
From my analysis it is evident that ‘Rakka’ has conformed the most to the conventions of the genre, I agree that there is an overlap between the sci-fi genre and thriller genre in editing conventions that build tension and suspense such as fast paced cuts and point of view shots. As well both genres use montage scenes and sequences however this has only been demonstrated in the sci-fi film ‘Rakka’ compared to ‘Poison’ and ‘Venom’.
Sound
Sound in a media product includes the music used, dialogue, sound effect, ambient noise (and/or background noise) and soundtracks. In order to use copyrighted sound, production companies need to obtain the rights to the music however there are plenty sounds that are royalty free sounds meaning that they can be used by anyone for anything. Typically, copyright/royalty free sounds are used by small independent producers who cannot afford to pay the prices for copyrighted music/sounds, this is done by large scale production companies such as Paramount. Within a film, there is diegetic and non-diegetic sound, diegetic sound is sound that characters can hear, that originates from the world of film. For example, this could be character dialogue (speech) or sound effects. Non-diegetic sound is sound that doesn’t originate from the world of film, that characters cannot hear, this could be a voiceover introducing the film for example. When analysing sound in a media product, it is also important to dissect the use of silence and this can play a critical role in building tension and suspense. Character dialogue is a huge part of a media production from any genre however the tone, accent, dialect and voice it is delivered in can allude to different meanings for audiences. Narration is also an important part of sound as it can reveal information to the audience the characters might not know. There are different types of narration which are more common in certain genres. Omniscient narration is when the narrator has full knowledge of the story’s events. First person narration is when a character reveals their most inner thoughts to the audience whilst second person narration is when narration is directed at another character on screen.
Generic Conventions of Sound in the Thriller Genre
Music: Thriller films often have an intense and suspenseful backing track that can heighten tension and create an uneasy atmosphere. This could also be heard through ambient sounds such as blowing wind or distant conversations from groups of people. Ambient sounds and backing tracks help to fill any silence not done purposefully whilst also helping to make silences more obvious and distinct.
Ambient sounds: Heartbeats and breathing - even though this is a very specific type of sound that can be added/recorded, it does fit into some thriller films. By using sounds of breathing and hearts beating, it creates a sense of anxiety especially during tense moments in suspenseful scenes.
Character Dialogue: Dialogue is a major part of every film, dialogue can be analysed not only by what characters say but in what accent, dialect and voice it is delivered in as also be analysed.
Omniscient narration: This is when the narrator is in third person, they are all-knowing and have full knowledge of the story’s events and characters thoughts/feelings. This is common in thriller films as it gives audiences a sense that someone knows all the events and everything will eventually unfold. This sound technique also allows audiences to see the narrative from multiple perspectives, building suspense and tension further.
Generic Conventions of Sound in the Sci-fi Genre
Music: Music in the sci-fi genre is usually slow leading to a crescendo which builds suspense. The highest point of music (crescendo) will be heard during a fight scene for example to further heighten tension. Ambient sounds will also feature throughout the films as they help to fill any silence not done purposefully whilst also helping to make silences more obvious and distinct.
Character dialogue: Dialogue is a major part of every film, dialogue can be analysed not only by what characters say but in what accent, dialect and voice it is delivered in as also be analysed. Due to the futuristic nature of the film and the characters, sounds are used which would be associated by extra-terrestrial beings using unfamiliar tones and pitches. Some character’s voices may be created through artificial intelligence so a synthetic voice can be heard.
Ambient sounds: futuristic noises - hovering vehicles, space stations, mechanical sounds, metallic sounds.
Film analysis
In Wes Andersons thriller experimental film ‘Poison’, he has chosen to conform to most conventions of the thriller genre relating to sound. By doing so he is further creating an unsettling and tense atmosphere which is heightened from the narrative. Anderson has chosen to use ambient sounds which are a huge part of any media product to fill any unintentional silences, I wouldn’t stay this is a distinctive convention of a thriller film, yet it has been used in a specific way in order to add to the plot and audience’s expectations. As the film is set in a quite isolated and lonely location, the subtleness of the ambient sounds has been used to emphasise this, as well as the narrative being set in a jungle/tropical location the sound of rustling leaves and small animals can be heard. This further emphasises the isolatedness of the setting which helps to build anticipation and anxiety for the characters and audience. To tie into this, the use of sound effects has been done cleverly in order to further amplify the suspension. For example, a ticking sound of a clock can be heard throughout all of the film, however much like ambient sounds, it is most noticeable when there is no dialogue (not complete silence however).
Furthermore, the atmospheric anxiety and tension has been exacerbated by the use of dramatic silences, the short moment of silence helps to build the suspense and make audiences notice everything going on in the scene they might not have noticed if there was continuous noise. Silence is a significant convention of the thriller genre in terms of sound, as it can really excel the level of tension felt by the audience. As well as conforming to this convention, Anderson has interestingly chosen to also subvert the use of silence in some parts of ‘Poison’. This is demonstrated through the use of sounds getting louder and quicker during the tensest scenes.
Anderson has also used omniscient narration to conform to the conventions of a thriller film. Omniscient narration is when a character has full knowledge of the story’s events and characters thoughts/feelings. This has been done by the main character narrating over the film, this gives audiences a further insight into the film and seeing the plot from different perspectives.
Alternatively, in the sci-fi film ‘Venom’ Neill Blomkamp has used a strong backing track to help create tension rather than subtle ambient sounds and silences used in ‘Poison’. This backing track grows in the peak of action and tension. However, this backing track stops suddenly when the character, Eddie, is walking to going into a lift, then an upbeat sound can be heard, this plays into the comedic tone of the film. This is an example given to validate Steve Neale’s Repetition and Difference Theory – it is suggested that genres are slightly changing, the superhero/sci-fi genre is slowly embracing a comical side to some of the films.
Also analysing characters voices, ‘Venom’ has an intense, monsterish voice which has been done not only to match his visual aesthetic but to show his intimidating nature to other characters and audiences.
Furthermore, the second sci-fi film I have chosen to analyse is ‘Rakka’. Tension is created through distressing sounds like children crying whereas tension was created through backing tracks and ambient sounds in ‘Poison’ and ‘Venom’. Also, the ambient sounds used such as distant explosions and sirens creates a sense for audiences that this invasion has been taking place over a large amount of time as well as creating a sense of tragedy and chaos for the characters reality.
Similar to ‘Venom’ Blomkamp has chosen to use monsterish voices for the alien invaders, he has chosen to use inhuman voices which creates a threatening nature, further intimidating the audience and characters. Throughout the film, particularly at the beginning, a strong and informative voice can be heard reflecting a sense of urgency and mass panic for the characters, by doing this at the beginning, the audience is positioned to be completely enticed into the film, gripping them from the very beginning.
All three of my chosen films have conformed to the conventions of the specific genre, in terms of overlap I would say that the two sci-fi films have used the most similar conventions thus being in the same genre. I also think that all three films have created atmospheric tension and suspense through the sound techniques used however, they have all done this through different methods.
I believe that my exploration of mise-en-scene, editing, camerawork and sound in both the thriller and sci-fi genre are evident that the genres are fluid and sometimes overlap with conventions from other genres. As well as one genre evolving and adapting overtime, the become merged with different ones which creates even more genres. The same technique can be explored and used in different genres, but the impact it creates on the audience is what will categorise the film into what genre it fits the most.
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