Genre Conventions

• Media Language (camerawork, editing, mise-en-scene, graphics) 

In my opinion, the typical camera work of a thriller feature or short film is quite slow shots to build u the story. One-shot takes are a good way to build tension, but at the same time quick camera cuts in a scene can make the audience feel tense. An example of quick-cut shots being used in a thriller is the film Gone Girl starring Ben Affleck, Rosamund Pike and directed by David Fincher. David Fincher typically uses quick action cuts in his films to primarily build tension but also to give a sense of urgency to the scene which reflects on the characters on the audiences reactions. This film is a perfect example of how quick-cut shots in a serious scene can create tension for the audience.

An example of a thriller film which uses one-shot takes is definitely the classic Hitchcock hit, Psycho. The build up between the main characters, Norman Bates and Marion Crane at the Bates Motel is again perfect example of how slow long-take shots can help build up to the pinocle moment in the film.

When watching both of these films, I felt very tense and on the edge of my seat wondering what would happen next. So, I think we should take both techniques of camera use into consideration and see which works better for our story.

The editing apply's to the type of camera shots we should use. Typically, thriller films use either quick cuts or slow one-take scenes to build up a moment in the film which is important to the story. So, again I think once the film is shot, we can all have our say about what editing would suit our story better once we can actually see the type of shots we have.

Typically, the mies-en-scene in a film is very dark and dull to show a certain location. Most notably, Seven (again directed by David Fincher) mainly shows dark and dull colours to set the tense scene. Dull colours is a typical conventions in many thrillers and is vital part in creating that tense feel for a scene. Like I said in my short film post about The Guilt, and how they used blue-grey colours for the tense scenes and brighter colours for the happier scenes shows how colour in a mile-en-scene can effect the emotions the audience feels when watching it.

• Sound and Music (volume, pace, instrumentation, voiceover, dialogue)

Typical conventions of a thriller in terms of sound varies. Some films such as Seven use very tense pieces of instrumental music which creates a tense atmosphere for whats happening in the scene.

However, other films such as Psycho, which is one of the best thrillers ever, doesn't use any music at all. The conventions vary in terms of what each individual director wants from the scene and how they want to build it up. In my opinion, I don't think sound is completely necessary in a film, especially a short. I think one of the main pieces of tension comes from the sounds of the scene and most of the time, when the scene is silent you feel most tense because of the unexpectedness of whats going to happen next. In saying that however, we don't want our film to seem like a horror. However, I think the dialogue of certain scenes will contrast nicely with no sound at all, creating tension all the way through our short film to the pinocle climax.

• Narrative and Representation (plot, characters, narrative structure) 

Medie theorist Tzvetan Todorov suggests that two narrative structures can be found texts in the 

from of linear and circular. Todorov stated that narratives are led by events in a cause and effect 

the overall format. Here is Todorov's argument for how a narrative should be structured:

1. The narrative starts with an equilibrium - Todorov argues that within a classical narrative a 

fictional world has a state of equilibrium within it. An example of this is from Shrek, which 

shows his character living peacefully in a swamp or a hobbit (from The Lord of the Rings) 

living in a shire.

2. An action/ character disrupts the equilibrium - A disruption of the equilibrium Todorov 

argues that a disruption in the narrative causes a state of disequilibrium. An example of this is in 

Lord of the Rings when the disruption of the equilibrium in the narrative leads his character to 

go on a quest to try and restore the equilibrium.

3. A quest to restore the equilibrium ensues - He argues that the primary function of the 

narrative was to solve the problem and that the characters pass through series of stages in a 

linear narrative. 

4. The narrative moves to a confrontation/ climax - This is another way the equilibrium can be 

restored. However, Todorov argues the text sometimes seeks to challenge the audience by 

offering them open-ended narratives that require the audience to interpret their own ending of 

the narrative.

5. Resolution/ equilibrium is restored - He argues that the resolution of the equilibrium does 

ultimately happen and thus leads to a state of a new equilibrium and that order has been restored 

and things have been changed usually for the better. However, with endings such as the ending 

of the film Se7en which is bleak and desolate, the audience are aware that the only resolution 

will be a tragic one, leading to the fact that there will be no return to the initial equilibrium for 

the characters.

I believe we need to write our script with this narrative structure in mind to be able to achieve 

professional looking short film. We need to make it clear that their is drastic change in the 

narratives equilibrium, but also the equilibrium in the mind-set and emotional unbalance of the 

protagonist to allow for a dramatic climax of the narrative as a whole. 

Typically in a triller feature or short film, there is an ultimate climax to the story. Thrillers such 

as Alfred Hitchcock's Psycho, Seven and Shutter Island all have an ultimate climax to their 

story which keeps the audience intrigued. This links to Naom Chomsky's theory that 'narrative 

is a fundamental aspect of human existence" and that "we need stories with a recognisable 

structures to make sense of and describe human life." This also links to Claude Levi-Strauss' 
theory that "narratives are the surface expression of deep seated myths."

All these films keeps the audience tense through the film by building the story up slowly. Even though we haven't got as long as a feature film, we can still build up to our story to the pinocle event in our film. Suspense in my opinion is key for a thriller, especially when its a thriller short film. This also links to Roland Barthes' Enigma theory "The way tension is built-up and the audience is left guessing what happens next." 

In terms of characters, I would say there needs to be around two to four main characters. However, I think for a short film, you need to have one character who is the main protagonist. You also need an antagonist to allow the story to have aspects of tension. Psycho proves this is a necessary aspect of a thriller short film because it keep the audience on there toes wondering whats going to happen next. I believe by doing this we will be able to follow the typical character convention of a thriller film.