vampire genre

Vampire Genre by louisemediaas

poster analysis

Vampire Poster Analysis Louise

horror movie codes and conventions

i watched the film scary movie.

 Location - horror movies enjoy placing their characters in a place where there is no one around to help them. Characters in horror movies often forget about the threat or danger that might happen. In almost every horror, the power is cut off when the film gets to the scariest moment possible. In older horrors, the phone line would be cut, but now as technology has advanced, many mobile batteries will die or the character will lose reception. This is an over used movie convention, when a character hears a strange noise, instead of running away, they go to investigate and most of the time, end up dead. Also in scream, the victim often runs upstairs or somewhere else in the house as they think its safer in there then outside. In scream and almost every horror, the victim will inexplicably fall over when trying to get away from the murderer. Another convention that is used a lot, is when a victim attempts to escape in their vehicle, the engine won't start. 'The fake scare' is the oldest and most used convention in history. At a scary point in a film or when the tension is high, a phone might ring and scare the victim or a friend could jump out at them. In scream, the character often goes places that they are told not to go, or will do something they've been told not to do. In many 'slashers', like scream, someone is always killed in the first five minutes. this is used to set the mood for the rest of the film and can be very effective. Another over used convention is the stormy weather that is used, it is meant to set a gloomy/scary ,mood depending on how bad the storm is.

Part 3: Short screenplay

Fade In 

A young girl enters the room on her phone, with her back to the camera. She walks over to a table where a girl is sitting on her phone facing the camera. The girl on her phone stands to the side of the girl on her phone. You only see half of her face as her hair is covering it.

15 year old Angel, waits beside the table eager to speak as she thinks of something to say.

Angel: 

So, How did it go?

Sam looks up at Angel with a confused look on her face

Sam: 

How did what go?

Angel: 

Yaknow, the meeting with miss?

Sam turns around in her chair to look at Angel. 

Sam: 

Oh that, she just said if she catches me smoking in school again i'll get excluded for the day, no biggy.

Angel:

No biggy? imagine what your mum will say? 

Sam stands up from her chair.

Sam: 

So what? She smokes, so she can't tell me to stop.

Sam walks towards the down, leaving Angel standing at the door. Sam turns round to Angel.

Sam: 

Are you gonna stand there like a lost puppy or are you coming with me?

Angel: 

Where?

Sam: 

For a cig obviously? hurry up before we get caught!

Angel:

What if we get caught?

Sam:

Well if you hurry up we won't.

Sam makes gestures to Angel to hurry up.

Angel runs over to Sam. Both girls begin to walk quickly towards the back of the building. The shot is focused on Angels face as she is most worried.

Teacher:

Excuse me girls where are you going? Shouldn't you be in lessons?

Both girls look at each other and run. Sam is laughing.

Fade Out

part 2; the price of romance

INT. SCANNER’S POV, CHECKOUT - DAY
Black.
Sugary background music. Small grunts of effort. The squeak
of technology being installed.

MIKE (O.S.)
And don’t say I never give you
anything.

TINA (26) sweet cheerful shop assistant, plants a loud
giggly kiss and -

Light seeps into SCANNER - so much more than a mere reader
of bar-codes. Scanner sees retreating lips and a red
lip-print on his lens. Tina mists it with a spray and wipes
him gently with a cloth.
Scanner’s vision clears. Tina appears above him framed by
Valentine balloons. Scanner’s shutter begins a long sigh -

MIKE (30s) senior assistant, edges into view.

MIKE
You didn’t have to kiss it to turn
it on.

TINA
Worked though didn’t it?

Mike’s footsteps retreat. Tina’s saucy grin turns wistful.
She leans her ample chest forward. Scanner’s shutter bar
sounds a wolf whistle. Tina’s arms rise in surprise.
The shadow of a shopping basket passes over Scanner. Tina
calms and serves up a smile. She runs the Customer’s grocery
items over the lens.

TINA (CONT’D)
Enter your pin in now...Thanks.

MIKE (O.S.)
(via tannoy)
We have a number of Valentine gifts
available in store -

Tina forms an apologetic smile as she passes the receipt and
the card to the customer.
She rests her elbows either side of the Scanner bed, staring
into the middle distance. Her hands appear above Scanner as
if in prayer.

A pixellated heart forms on his screen - expands and bursts.
She misses it. Scanner scrolls through an array of codes,
getting faster and faster until -
A bunch of roses, plus price detail, SUPERIMPOSES in front
of his view of Tina. Scanner beeps.

TINA
Whoa. What’s happening?...Mike?
Mike comes into view. Tina points towards the cash register.

TINA (CONT’D)
Look - but there’s no flowers.

MIKE
That a hint?
He holds her gaze for a beat, breaking before real
commitment - to Tina’s slight frustration.
Scanner zooms through codes at lightening speed and selects:

SUPER: A box of chocolates - beep - SUPER: A soppy
Valentine’s day card - beep.

TINA
There, look. How, how are you doing
that?

MIKE
What makes you think it’s me?
Pixillated hearts dance on Scanner’s screen.
Mike peers into Scanner’s lens.
Scanner sends out a huge white smoky flash.
Mike squirms in blinking agony. Tina pulls him to her chest.

TINA
Shit, are you alright?
Red mist clouds Scanner’s screen. Mike sinks his head into
Tina’s embrace with a satisfied smile.
Mike gives Scanner a smug wink and lifts up a pointy finger
- it nears.
A switch clicks off.

Black.

Part 1: match on action editing & 180 degree rule

Match on action editing: is an editing technique for continuity editing in which one shot cuts to another shot portraying the action of the subject in the first shot.

The 180 degree rule: is a filming guideline that participants in a scene should have the same left-right relationship to each other.