The Shining (Hallway scene)

How tension and terror created in the hallway scene

The scene opens with an extremely long shot following Danny riding his tricycle down the hallway in the Overlook. At this stage tracking shot is used to show Danny riding his tricycle around the hotel this makes audience as though they are following this little boy riding his tricycle in this empty place where we see nobody and this creates tension and terror. The non-deigitic sound which is a very horrific music is used to makes audience feel scared and unsettled because there is no one around and the camera is far away from Danny which makes us feel that something is going to happen in the next hallway. No editing has been used at this stage the camera is still far away from Danny and even when Danny turns the camera is still going slowly which suggest that Danny has entered a dangerous place and the camera is afraid to follow.
After few seconds, it cuts to a close tracking shot following Danny from behind as he approaches a turn into the hallway, this time the camera is so close to Danny it makes audience feel as though they are with him and some is going to happen or something is around the bend because we don't see anything except Danny and his tricycle, everything is going slowly at the beginning of the scene and Danny feels excited about riding his tricycle around the hallway because he looks confident about going around the place which suggest that everything is fine at this stage.
When he turns a corner he stops really quickly and we see two girls standing from far away, the extreme long shot allows us to absorb the shock because we get a feeling that something wrong is going to happened any second, so the whole point of the extreme long shot and the music is to make audience confuse and panic because the extreme long shot and the music which is getting faster at this stage suggest that something terrific is about to happen.

Shot reverse shot is used to show Danny's face the close up shot on Danny’s face shows his reaction, the camera's focusing on Danny’s wide eyes showing his "shining" experience, Danny is breathing fast but he is not moving or screaming this suggest that he is actually shocked and terrified by seeing the girls but he doesn't do any anything because he wants to know who they are and what they want this creates tension because it make audience to watch the scene and find out why these girls are standing there.

Again shot reverse shot is used as part of editing to show the girls and the camera is behind Danny so point of view shot is used to allow viewers to see what Danny’s seeing and also to make audience a part of the experience. this time diegitic and non- diegetic sound is used in the scene, the non- diegetic sound is the horror music which has been used to create tension and horror in the film and also to let audience know that what Danny is seeing is not ordinary, and the diegitic sound is the dialogue, the girls are saying "hello, Danny" this is effective because at the beginning when the girls are shown the audience feel that it is only Danny who witnesses flashbacks because the girls are just standing there doing nothing but this time they're actually talking to Danny which shows that they are there for real and it's not just Danny who sees them but also they see Danny too and they talk to him as well.

Both girls are identical and they are both wearing same clothes. The blue dresses that they're wearing symbolise piety and sincerity, it presents the girls as powerful because Danny is shocked by seeing them and it also represents them as innocent because they are dressing up like two little girls. This effective because it takes hold of audience tension and makes them raise question about why these two little innocent girls would harm Danny.

Again shot reverse shot is used to show the girls before showing another close up of Danny doing anything. The girls are repeating the same line "come and play with us" this means that the girls want to connect with Danny, Before we see Danny again jump cut is used to show a disturbing image of the girls massacred on the floor, with blood splattered across the walls and an axe in the middle of the floor this shot is cut extremely short it is not allowing audience to fully understand the situation but it allows viewers to signify the way in which the horrific images are flashing through Danny’s mind this shot creates tension and horror because it also suggest that the girl were killed, perhaps in the past and they are ghost. The pace of editing picks up speed and make audience confuse, panic, and shock because once we see the girls standing there and after that we see them on the floor as though they have been murdered by someone so these shots makes audience confuse and panic because we actually don’t know how and why this is happening. At this point in the scene, past paced editing is used to cut back to the girls standing at the end of the hallway; however, in this shot, the camera has moved closer to them which shows that the girls are getting closer to Danny and the fast paced editing is used to create tension and horror because everything is going fast and it make audience feel panic and unsettled.

They finish their next line, “Forever,” then shot of the murder repeats, again holding it for only a brief moment before quickly cutting to a reaction shot of Danny’s face, twisted in horror. Another jump cut to the murder scene is directly followed by a medium shot of the girls that, nearer to the viewer than ever. it makes audience feel as though the girls are getting closer to them, the girls are wearing a white make up which creates tension and horror because the white make up suggest illness and death so by now audience know that something happened to these girls along time ago, probably they have been murdered but now they have returned this has been shown by the camera and editing techniques, what is shown on the scene is that some thing disaster happened to these girls but what is left of the scene is who did this thing, how and when this thing happened and this makes the film more effective because it makes audience raise questions about what happened to these girls or why Danny is see these flashbacks.

Danny is shocked by what he is seeing but he doesn't scream or move from where he is which suggest that he hasn't fully understand of what he is seeing so he is forcing him self to watch the girls and understand why they are there but when the girls are getting closer he is dead scared and can’t watch them anymore because the girls are strange. After the girls say their final line, “And ever,” it cuts one last time to the bloody shot of the girls on the floor now Danny is more and more distressed, the reverse angle close-up of Danny, who, with his mouth agape, throws his hands over his eyes suggests that he can't watch the girls anymore or get closer to them because the way they are talking and the way they are getting closer to Danny makes him feel uncomfortable and terrified.

The camera stays with Danny as he slowly lowers one of his hands to see if the girls are still there, suggesting an unbearable feeling of suspense because the viewer, like Danny, is uncertain if the frightening event is over. A reverse angle with a long shot of the empty hallway shows that everything is back to normal. At this stage slow paced editing is used to show that everything is back to normal so the slow paced editing suggest calm mood and it creates a tense of realism, however, the non diegitic sound which is a horrific music still makes us feel unsettle which suggest that the girls might return again because at the end we see Danny talking to his imaginary friend to make himself feel better about what he saw, the shot reverse shot at the end shows that Danny is too scared to move from where he is which creates tension because it makes viewer have a sense of that another terrifying vision might be around the corner.

The Amityville Horror

The anamatic (the storyboard)

Timeline for Horror Films from 1980s - 2000s

1890s-1920s Horror Movies

It didn't take long after the advent of motion picture technology in the late 19th century for filmmakers to dabble in the horror genre, as witnessed by French director Georges Méliès' 1896 short "The House of the Devil", often credited as being the first horror movie.Although America was home to the first Frankenstein and Jekyll and Hyde movie adaptations, the most influential horror films through the 1920s came from Germany's Expressionist movement, with films like "The Cabinet of Dr. Caligari" and "Nosferatu" influencing the next generation of American cinema.

Actor Lon Chaney, meanwhile, almost singlehandedly kept American horror afloat, with "The Hunchback of Notre Dame, The Phantom of the Opera" and "The Monster", which set the stage for the Universal dominance of the '30s.

1896: The House of the Devil
1910: Frankenstein
1913: The Student of Prague
1920: Cabinet of Dr. Caligari
1920: The Golem: Or How He Came into the World
1920: Dr. Jekyll and Mr. Hyde
1922: Haxan
1922: Nosfertu
1923: The Hunchback of Notre Dame
1924: The Hands of Orlac
1924: Waxworks
1925: The Monster
1925: The Phantom of the Opera
1926: Faust
1927: The Cat and the Canary

1930s Horror Movies

Building upon the success of The Hunchback of Notre Dame and The Phantom of the Opera, Universal Studios entered a Golden Age of monster movies in the '30s, releasing a string of hit horror movies beginning with Dracula and Frankenstein in 1931 and including the controversial Freaks and a Spanish version of Dracula that is often thought to be superior to the English-language version.

Germany continued its artistic streak in the early '30s, with Vampyr and the Fritz Lang thriller M, but Nazi rule forced much of the filmmaking talent to emigrate. The '30s also witnessed the first American werewolf film (The Werewolf of London), the first zombie movie (White Zombie) and the landmark special effects blockbuster King Kong.

1931: Dracula
1931: Drácula
1931: Frankenstein
1931: M
1931: Vampyr
1932: Freaks
1932: The Mask of Fu Manchu
1932: The Mummy
1932: The Old Dark House
1932: White Zombie
1933: The Invisible Man
1933: Island of Lost Souls
1933: King Kong
1934: The Black Cat
1935: The Bride of Frankenstein
1935: The Werewolf of London

1940s Horror Movies

Despite the success of The Wolf Man early in the decade, by the 1940s, Universal's monster movie formula was growing stale, as evidenced by sequels like The Ghost of Frankenstein and desperate ensemble films with multiple monsters, beginning with Frankenstein Meets the Wolf Man. Eventually the studio even resorted to comedy-horror pairings, like Abbott and Costello Meet Frankenstein, which met with some success.

Other studios stepped in to fill the horror void with more serious-minded fare, including RKO's brooding Val Lewton productions, most notably Cat People and I Walked with a Zombie. MGM, meanwhile, contributed The Picture of Dorian Gray, which won an Academy Award for cinematography, and a remake of Dr. Jekyll and Mr. Hyde, while Paramount released the highly regarded haunted house picture The Uninvited. Notable international entry Mahal marked India's first foray into horror.

1941: Dr. Jekyll and Mr. Hyde
1941: King of the Zombies
1941: The Wolf Man
1942: Cat People
1943: Frankenstein Meets the Wolf Man
1943: I Walked with a Zombie
1944: The Uninvited
1945: Dead of Night
1945: The Picture of Dorian Gray
1948: Abbott and Costello Meet Frankenstein
1949: Mahal
1949: Mighty Joe Young

1950s Horror Movies

Various cultural forces helped shape horror movies in the '50s. The Cold War fed fears of invasion (Invasion of the Body Snatchers, The Thing from Another World, The Blob), nuclear proliferation fed visions of rampaging mutants (Them!, The Beast from 20,000 Fathoms, Godzilla) and scientific breakthroughs led to mad scientist plots (The Fly).


Competition for increasingly jaded audiences led filmmakers to resort to either gimmicks like 3-D (House of Wax, The Creature from the Black Lagoon) and the various stunts of William Castle productions (House on Haunted Hill, The Tingler) or, in the case of Great Britain's Hammer Films, explicit, vividly colored violence.International efforts include the first full-length Japanese horror movie (Ugetsu), the first Italian horror movie in the sound era (I Vampiri) and the acclaimed French thriller Diabolique.

1951: The Thing from Another World
1953: The Beast from 20,000 Fathoms
1953: House of Wax
1953: Ugetsu
1954: The Creature from the Black Lagoon
1954: Godzilla
1954: Them!
1955: Diabolique
1955: The Night of the Hunter
1956: The Bad Seed
1956: I Vampiri
1956: Invasion of the Body Snatchers
1957: The Curse of Frankenstein
1957: I Was a Teen-age Werewolf
1957: The Incredible Shrinking Man
1958: The Blob
1958: The Fly
1958: Horror of Dracula
1959: House on Haunted Hill
1959: Plan 9 from Outer Space
1959: The Tingler

1960s Horror Movies

Perhaps no decade had more seminal, acclaimed horror films than the '60s. Reflecting the socialrevolution of the era, the movies were more edgy, featuring controversial levels of violence (Blood Feast, Witchfinder General) and sexuality (Repulsion).Films like Peeping Tom and Psycho were precursors to the slasher movies of the coming decades, while George Romero's Night of the Living Dead changed the face of zombie movies forever.

Horror luminaries of the time included Alfred Hitchcock (Psycho, The Birds), Vincent Price (13 Ghosts, The Fall of the House of Usher, Witchfinder General), Herschell Gordon Lewis (Blood Feast, Two Thousand Maniacs), Roman Polanski (Repulsion, Rosemary's Baby) and Mario Bava (Black Sunday, Black Sabbath).


1960: 13 Ghosts
1960: Black Sunday
1960: Eyes Without a Face
1960: The Fall of the House of Usher
1960: The Little Shop of Horrors
1960: Peeping Tom
1960: Psycho
1960: Village of the Damned
1961: The Innocents
1962: Carnival of Souls
1962: Mondo Cane
1962: What Ever Happened to Baby Jane
1963: At Midnight I'll Take Your Soul
1963: The Birds
1963: Black Sabbath
1963: Blood Feast
1963: The Haunting
1964: Hush, Hush, Sweet Charlotte
1964: Kwaidan
1964: Two Thousand Maniacs
1965: Dr Terror's House of Horrors
1965: Repulsion
1968: The Rape of the Vampire
1968: Night of the Living Dead
1968: Rosemary's Baby
1968: Spider Baby
1968: Witchfinder General

1970s Horror Movies

The '70s pushed the envelope even further than the '60s, reflecting a nihilism born of the Vietnam era. Social issues of the day were tackled, from sexism (The Stepford Wives) to consumerism (Dawn of the Dead) to religion (The Wicker Man) and war (Deathdream).

Exploitation Movies hit their stride in the decade, boldly flouting moral conventions with graphic sex (I Spit on Your Grave, Vampyros Lesbos) and violence (The Texas Chainsaw Massacre, The Hills Have Eyes), the latter reflected particularly in a spate of zombie movies (Dawn of the Dead) and cannibal films (The Man from Deep River).The shock factor even pushed films like The Exorcist and Jaws to blockbuster success. Amidst the chaos, the modern slasher film was born in Canada's Black Christmas and America's Halloween.

1971: The Abominable Dr. Phibes
1971: Twitch of the Death Nerve
1971: Vampyros Lesbos
1972: Blacula
1973: The Exorcist
1972: The Last House on the Left
1972: The Man from Deep River
1973: Sisters
1973: The Wicker Man
1974: Black Christmas
1974: Deathdream
1974: It's Alive
1974: Let Sleeping Corpses Lie
1974: The Texas Chainsaw Massacre
1975: Jaws
1975: The Rocky Horror Picture Show
1975: Shivers
1975: The Stepford Wives
1976: Carrie
1976: The Omen
1977: The Hills Have Eyes
1977: Suspiria
1978: Dawn of the Dead
1978: Faces of Death
1978: The Fury
1978: Halloween
1978: I Spit on Your Grave
1979: Alien
1979: The Amityville Horror
1979: Phantasm
1979: When a Stranger Calls

1980s Horror Movies

Horror in the first half of the '80s was defined by slashers like Friday the 13th, Prom Night and A Nightmare on Elm Street, while the latter half tended to take a more ligh the arted look at the genre, mixing in comic elements in films like The Return of the Living Dead, Evil Dead 2, Re-Animator and House. Throughout the '80s, Stephen King's fingerprints were felt, as adaptations of his books littered the decade, from The Shining to Pet Sematary.

Fatal Attraction, meanwhile, spawned a series of "stalker thrillers," but despite the efforts of newcomers like Sam Raimi (The Evil Dead), Stuart Gordon (Re-Animator), Joe Dante (The Howling, Gremlins) and Tom Holland (Fright Night, Child's Play), horror's box office might had subsided by the end of the '80s.

1980: Cannibal Holocaust
1980: Prom Night
1980: The Shining
1980: Friday The 13th
1981: An American Werewolf in London
1981: The Beyond
1981: The Evil Dead
1981: The Howling
1981: My Bloody Valentine
1981: Scanners
1982: Cat People
1982: Creepshow
1982: Poltergeist
1983: The Hunger
1984: Ghostbusters
1984: Gremlins
1984: A Nightmare on Elm Street
1984: Silent Night, Deadly Night
1985: Demons
1985: Fright Night
1985: Mr. Vampire
1985: Re-Animator
1985: The Return of the Living Dead
1985: The Toxic Avenger
1986: Aliens
1986: House
1986: Manhunter
1987: A Chinese Ghost Story
1987: Evil Dead 2
1987: Fatal Attraction
1987: Hellraiser
1987: The Lost Boys
1987: Near Dark
1987: Predator
1988: Child's Play
1988: Night of the Demons
1988: Pumpkinhead
1988: The Vanishing
1989: Pet Sematary

1990s Horror Movies

The early '90s brought unrivaled critical acclaim for the horror genre, with The Silence of the Lambs sweeping the major Academy awards in 1992, a year after Kathy Bates won the Oscar for Best Lead Actress for Misery and Whoopi Goldberg won for Best Supporting Actress for Ghost. Such success seemed to spur studios into funding large-scale horror-themed projects, such as Interview with the Vampire, Bram Stoker's Dracula and Wolf.

In 1996, Scream's runaway success reignited the slasher flame, spawning similar films, such as I Know What You Did Last Summer and Urban Legend. At the end of the decade, Blade foreshadowed the coming flood of comic book adaptations, and Asian horror movies like Ringu and Audition signaled a new influence on American fright flicks. Meanwhile, 1999 witnessed two of the biggest surprise hits of the decade, regardless of genre, in The Sixth Sense and The Blair Witch Project.

1990: Arachnophobia
1990: Ghost
1990: Henry: Portrait of a Serial Killer
1990: Misery
1991: The Silence of the Lambs
1992: Bram Stoker's Dracula
1992: Candyman
1992: Dead Alive
1993: Cronos
1993: Jurassic Park
1993: Leprechaun
1994: Interview with the Vampire
1994: Wolf
1995: Se7en
1996: The Craft
1996: From Dusk Till Dawn
1996: Scream
1997: Funny Games
1997: I Know What You Did Last Summer
1998: Blade
1998: Fallen
1998: Ringu
1998: Urban Legend
1999: Audition
1999: The Blair Witch Project
1999: The Mummy
1999: The Sixth Sense
1999: Sleepy Hollow

2000s Horror Movies

Twenty-first century horror in the US has been identified with remakes of both American (Friday the 13th, Halloween, Dawn of the Dead) and foreign films (The Ring, The Grudge), but there have been innovations within American horror most notably the "torture porn" of Saw and Hostel fame.

Outside of the US, there is as great a variety of edgy and innovative material as there has ever been in the genre, from Canada (Ginger Snaps) to France (High Tension) to Spain (The Orphanage) to the UK (28 Days Later) and, of course, Asia, from Hong Kong (The Eye) to Japan (Ichi the Killer) to Korea (A Tale of Two Sisters) to Thailand (Shutter).

2000: final destination
2000: Ginger Snaps
2000: Scary Movie
2001: Ichi the Killer
2001: Joy Ride
2001: The Others
2002: 28 Days Later
2002: The Eye
2002: Resident Evil
2002: The Ring
2002: Signs
2003: Freddy vs. Jason
2003: High Tension
2003: House of 1000 Corpses
2003: Ju-on: The Grudge
2003: One Missed Call
2003: A Tale of Two Sisters
2003: The Texas Chainsaw Massacre
2004: Dawn of the Dead
2004: The Grudge
2004: Hellboy
2004: Night Watch
2004: Saw
2004: Shaun of the Dead
2004: Shutter
2005: The Descent
2005: Hostel
2006: The Host
2007: Halloween
2007: I Am Legened
2007: The Orphanage
2007: Sweeney Todd: The Demon Barber of Fleet Street
2008: Cloverfield
2008: Let the Right One In
2008: Prom Night
2008: The Strangers
2008: Twilight
2009: Friday the 13th

Types of Horror

Horror films

are movies that strive to elicit the emotions of fear, horror and terror from viewers. Their plots frequently involve themes of death, the supernatural or mental illness. Many horror movies also include a central villian.Early horror movies are largely based on classic literature of the gothic/horror genre. More recent horror films continue to exploit the monsters of literature, and also draw inspiration from the insecurities of modern life.

Wet Horror: known as the "splatter movie" involves lots of blood and gore.

Dry Horror: tends to be more psychological in the fear it creates.

Analysis of Psycho (Shower Scene)

Analysing horror film (psycho / the shower scene)

Beginning of the scene
At the beginning of the scene slow paced editing has been used showing Marion in her bedroom and a tracking shot has been used to follow her action. The camera slowly follows her and at this stage no editing has been added to scene, the only editing which has been used is the cut and this has been used when she flushes the toilette, a close up shot is used when she puts the ripping paper into the toilette and this is important because this reminds us of what she did to the paper that she ripped in the bedroom and also this shows that the paper contains some secret information that she doesn’t want anyone to see it which creates tension and horror because the paper might contain some secret information and if someone sees it then she will be in trouble, this grabs audience attention and make them raise questions about why the papers were so important to her. We don’t see anyone else in the room and we actually don’t see her doing that much and this shows that she is alone and not that much going on her life.

When Marion is having shower
Cut is used as a part of editing when Marion’s dressing gown falling on the floor. A cut is used to show her legs, and another cut is used to show her face and shoulders. Even though she is in the bathroom which is a private place we don’t see her full naked body which suggests modesty and shyness.

Different camera angles are used when Marion is having a shower and this shows her from different angles, for example when Marion is having a shower a close up shot and a point of view shot are used to show the shower head and also to show what Marion is seeing and these camera shots put audience into Marion’s position and this makes audience feel that they are a part of the experience. The close up which has been used to show the shower head creates a small space and the water which comes out of the shower covers all of Marion’s body so it is like she is trapped under the water this creates sense of suspense because it makes audience feel as though Marion is trapped or someone is trying to get her.

For a while everything is going normally and smoothly and this has been shown by the slow paced editing which has been used to create a relaxing and calm mood.

When the murderer comes into the bathroom
Suddenly the mood changes when someone (murderer) comes into the bathroom. At this stage everything is going fast and unexpected because we first saw no body in the room but now suddenly someone just came into the bathroom. The murderer starts stabbing Marion. We don’t see the murderer’s face and we don’t know why she is killing Marion. The murderer’s face is not shown and this has been left out of the seen as part of editing. This is effective because it makes the film more horrific because it left the story as a mystery, it left viewers to think about why someone would kill her and makes audience ask questions about the incident and also it makes them watch the whole film to find out who is the murderer.

Fast paced editing is used to show different parts of Marion’s body to show how she gets stabbed. The fast paced editing makes the film/ scene more shocking and terrific. A close up shot is used to show Marion’s face and mouth, this shows her reaction and also it make audience feel sympathy and sorry for her

Marion is not protecting herself or fighting back and we see that by the way camera and editing techniques has been used. At this point lots of close up shots has been used on Marion’s mouth and this show her confusion and weaknesses. The close up shot on her mouth makes audience feel confused and uncomfortable and it puts them in Marion’s position because the close up shot on her mouth makes us feel weak and trapped as there is nothing we can do about the incident and it forces us to focus on her scream of terror also it shows Marion is trapped and she can’t do anything about the incident as well.

The murderer
While the murderer is stabbing Marion, two different camera shots have been used. One of them is medium shot and this shot has been used to show the murderer’s figure and helps audience to identify whether the murderer is female or male and this is effective because it gives us a clue about who is the murderer. The other camera shot which has been used is point of view shot, this camera shot shows what Marion is seeing. Even though point of view shot has been used we are still unclear about who is the murderer because we don’t see the murderer’s face and this can have two meanings (effects). One of them could be that Marion is confused, shocked and hurt and she might not concentrate on who is the murderer or the director my not want to show the murderer’s face to make the film more effective. The murder’s face has been left out of the scene as part of editing, they’re shown a shadow of someone raised arm holding a knife this makes us feel confuse and horrified.

Connotation and denotation
Dissolve is used to show the water getting ride of the blood. The connotation is the blood which is getting removed by the water in the bath. But the denotation is that the blood is like an evidence of Marion is being murdered by someone, but the water is getting ride of the blood just like how Marion is life has ended. That means that the blood which has been removed by the water from the bath has been compared to Marion’s life (Marion is dead and the blood is gone from the bath so there is no evidence or sign of her being killed.)

End of the scene
Slow pan has been used at the end of the scene. It has been used to take audience away from the bathroom to explain that the incident has ended and a tracking shot has used to take us away from the bathroom to the bedroom and this has been added to the atmosphere of tension. The camera zooms in to the newspaper on the table in the bedroom, this proves the newspaper or what is in the newspaper is got something to do with the incident or the newspaper might have caused Marion’s death.

Sound
Diegitic and non-diegitic sound has been used in the scene. At the beginning of the scene when Marion is ripping the paper we can actually hear the paper being ripped and this is a diegitic sound because the character can hear it too this is effective because it draws audience into the film and makes them feel as though they are in the room with Marion . We can hear the flushing toilette as well, the reason for that is because these diegitic sound make the story more realistic and it feels like we are in the room with the character and we are aware of every action which is has been taken in the room. Also non- diegitic sound has been added to the scene such as slow and calm music, the music has been added to the scene at the beginning and it creates a relaxing and quiet mood this shows that everything is going normal. However the mood changes when the murderer comes into the bathroom because they have added a very fast and horrific music to the scene to show that the mood is changing and also to create a scary and panicky mood.

The scene is over powered by the water running in the bathroom and this confirms that the water is something important in the scene because when Marion got killed by the murderer the water got ride of the blood to left no sign or evidence of Marion being killed in the bathroom.

Analysis of Sleepy Hollow

Analysing Sleepy Hollow
Sleepy Hollow : http://www.youtube.com/watch?v=K-KB_Djszro

Genre: Gothic horror

Theme: death, supernatural, mental illness, and villain

What I will be doing?
I will be analysing the opening of a horror film called “Sleepy Hollow” to do this I will be focusing on narrative, camera angles and shot, mise en scene ( costume, light, setting, and make up).
(2 minutes of the opening)

Camera shot / Angles
At the beginning the camera follows one of the characters in a carriage. They have used extreme long shots and long medium shot to show the surroundings and the atmosphere and this allows audience to be drawn into the narrative. The way camera is used is to make the audience feel that they are a part of the film and also to make them familiar with the location and the opening plot.

Connotation and denotation
The character who is in the carriage has a book in his hand and close ups shots used to show what is inside the book. By looking at the book audience will be able to identify that the film has got something to do with science because the close up shots shows all scientific diagrams and instructions which is in the book. This means the denotation is the book but the meaning of the book or the connotation of the book is to show or give some background clues about the story in the film or what the rest of the film is going to be about. The book also shows the position of the character in the film because the book tells the audience who this character is in the film.

The book has been written by hand and also the pictures has be drawn by hand so this suggest that the film is about Elizabethan period or has been set at that time because at that time they didn’t have computer or printers to write books.

Sound
The music suggests fear, horror and death. It is an exaggerated music and the reason that they have used this type of music is to make audience feel terrified and also to make them aware that something horrific and shocking will happen any second.

Light
At the opening they haven’t used any light; in fact the director of the film gives everything a dark lifeless feel by using grey and black colour to make the film more horrific and creepy and also to make the audience feel fear, terror and shock toward the film.

Costume and make up
The costume that the character is wearing tells us about the period of time that the film is based on (has been set). The character is dressed up smartly and this shows that he is a professional man for his own period. But the character is wearing a white make up and this is a sign of horror because we usually see zombies and vampires wearing white make up so this suggest death and illness.