In what ways does your media use, develop or challenge forms and

conventions of real media products?

This presentation will be analysing 10 still frames taken from the duration of my opening sequence, lasting 2:01 .

By analysing these images I will explain the significance and purpose behind the moments the images have been taken from, and how my media uses conventions of real media products.

The Identity Crisis is the title for our film, and this frame lasts from 0:27 to 0:30. No references to this name are given in our opening two minute sequence, and this is because we didn’t want to seem like a generic or cliché’ student film by having the title of our film explained immediately within the first couple of minutes. This allows the audience to question the meaning behind the title, until it would be revealed to them later in the film.

We chose the striking yellow on black font to capture the viewer’s eye, as it is simple yet effective. Furthermore, whilst the film title and actor’s names are being shown, there is conversation and ambient noise in the background. By incorporating both these techniques, we hoped to pay homage to Quentin Tarantino’s Reservoir Dogs, as that particular opening demonstrated both of those things (top left still).

This image taken at 0:32 shows one of the hitmen looking at a picture of their target on a camera. Looking at his target on a camera (as opposed to the traditional photograph) presents a more modern day vibe to the situation. The photograph of the target is taken through a wired fence, to show this was taken through a sleuthing manner.

This is the first image the audience sees, as this appears immediately after the opening credits. With the camera being the first thing the audience sees, this captures the audience attention immediately as it is a unique close up shot of an object, as opposed to a standard shot of people or an establishing shot.

Taken at 0:37, this establishing shot shows the car in which the two hitmen are talking. This still frame shows the state and quality of the surroundings, and is evidently poor and run down. This indicates the nature of events about to take place.

The target will walk from the left of the screen through to the right, and this will be captured in a slow pan shot.

This image is taken at 0:56, and shows the car (where the hitmen are inside) behind the target as he walks away from the camera up the alleyway, following him at a safe distance. This is a long shot of the target, but is a medium close up of the car. This gives the impression they are careful to make sure they will not be suspected immediately, as they slowly begin to pursue him in a stalking-like fashion.

This still is taken at the 1:00 mark, and is a medium shot of the target. This is the climactic moment of realisation where the target becomes fully aware that he is being pursued. This is the second time he turns around, to make sure what he thought was happening was actually happening. To confirm his suspicions that he is being followed, swiftly after he turns around for the second time and breaks into a run, the car speeds up quickly behind him, dropping any attempt to follow him subtly.

At 1:11, this still confirms any previous suspicions that the hitmen were in pursuit of the stranger due to the fact that this is a POV (point of view) shot from the driver’s perspective of the target, as we can see that the driver is now obviously driving extremely fast in an attempt to catch the target. We can see through the windscreen that the target is sprinting at full speed away from the car, as he is fleeing for what could be his life.

This POV shot lasts seven seconds (from 1:05 to 1:12). The effect of creating a POV like this shows the chase from the perspective of the driver, allowing the audience to feel more connected with the situation taking place as they are seeing what the driver sees. To capture this scene I sat in the back seat of the car with the camera.

Not long after the last frame time, at 1:13 another POV shot is seen. However, this time it is from the perspective of the fleeing target. The event taking place in this photo is the third hitman jumping out from behind a wall and swiftly punching the target in the face, knocking him out cold.

In order to film this, I walked towards Julian (the actor throwing the punch) at a slow pace with the camera on my shoulder, and he threw the punch towards the camera lens extremely slowly. In the editing suite I sped up this shot to make it seem fluid and fast paced. We created the POV shot this way in order not to damage the camera in any way, as running at full speed with the camera, as well as punching the lens, could result in the camera getting broken.

At 1:38 we see a new establishing shot, and the car with the hitmen and the hostage inside it driving down it. We wanted to capture an establishing shot of the new area without the car visible for a split second, and yet at the same time make the scene of the car driving down the road not seem longed out or boring. In order to achieve this, I sped up the car’s journey afterwards in the editing suite. After editing, the scene of the car driving down the road lasts six seconds (from 1:33 to 1:39), which we felt was an acceptable time.

1:57 sees the hitmen open the boot of the car. This was another POV shot, yet this time was from the view of the inside of the boot. This was paying homage to Quentin Tarantino’s famous ‘trunk technique’, where in many of his films features a low angle shot from the interior of the boot as it is opened. The low angle gives the illusion of intimidation and power, and this is effective as these hitmen are in a position of authority.

One second later at 1:58 we are presented with another POV, yet this time from the view of all three hitmen. This shot shows us the empty boot of the car, however instead of being empty the hostage should have been in the boot. This shot is shown for two seconds, so the audience can take in the fact that the hostage has somehow disappeared.