By Ciaran Campbell, Efe Akhutie and Sean Doyle

1. Analysis of Daredevil, Gone in 60 seconds and The Interpreter By Ciaran Campbell, EfeAkhutie and Sean Doyle

2. Dare Devil Opening, Ciaran Campbell Tension is built at the start of devil originally by showing dark city which semantically connects to something bad happening, the city also has a weird tint which creates an enigma ‘ why is this being shown this way?’ this is added to by the titles are in brail which semantically links to blindness. As the scene changes sirens are heard which are semantically linked to criminals and danger and blood is seen running down the window of a church which creates another enigma ‘where is the blood coming from? and who’s blood is it?’. There are flashes of scenes all with the same girl in them which raise the question ‘ who is the girl?’ the protagonist is seen (action) weakly gripping a stone crucifix which makes him look injured the scene cuts to him hanging from a wire device and then dropping this action code adds to the effect of the last one the scene shows the protagonist with a priest next to him (more enigma) ‘who is this priest?’ ‘how is he connected to the protagonist?’ what the protagonist says gives the enigma ‘why is he dying?’

3. Analysis of The Interpreter Sean Doyle

4. Enigma Codes The start of this film, The Interpreter. There is a great use of enigma codes, examples of this is when the car drives past a man who has both of his eyes bandaged, this makes the viewers think why has this man got both of his eyes bandaged and who did this to him. This is the point of an enigma; it makes the viewers carry on watching it by creating a mystery by usually asking a question. Another example in the beginning of this film is when the two men leave the car, why can’t the other man in the backseat leave with them. Also, when the two men walk into an underground storeroom. Why are all those people dead and who killed them. This works extremely well in creating a lot of tension and suspense.

5. Action codes Action codes are also used very effectively in the opening to The Interpreter. The use of these is to create an interest of what will happen next. Examples of these in the beginning of the film are when the two men walk into the underground storeroom, they open the door and walk in very slowly, and the audience can tell from their facial expressions that something bad has happened but we don’t know what. Also there are shouts and the two men run outside, this makes the audience think what has happened and what will happen next. These action codes work very well in bringing the audience in and the much important building of suspense.

6. Narrative theory’s In addition to this, Derry’s theory links with the start of this film, there is an antagonist created and straight away a protagonist also. The man in the blue shirt is just an ordinary guy and is portrayed as the hero. The protagonist looks like a businessman. They are both innocent as far as we know. Todorov’s theory is also used here because at the very start of the film there is a feeling of peace which is equilibrium. But the peace is disrupted, this is a disequilibrium, because of the shootings, this is essential in a thriller because without this, there is no real story. Furthermore, there are binary opposites between the antagonist and the protagonist that are created, the antagonist is just an ordinary person, but from what we see, the protagonist, is wearing a suit so we presume he is quiet rich. Overall, judging from the start of this film, I think that it is a thriller of moral confrontation.

7. Character Types We are introduced to the characters by the man in blue being the other mans assistant to the other man who is in yellow who is more in charge, I know this because the man in blue in behind the other man in the back seat and how they talk to each other, the man in yellow talks with more authority, while the other man hardly talks at all. This is shown by a two shot which shows us the relationship between these two men. We can also tell that they are photographers by the props that are used; they both have cameras with them. This tells us that they are just ordinary people, with regular jobs. The body language of the man in the back is quite anxious which tells us that there is something wrong; this is effective in creating suspense for the viewers.

8. Narrative story/elements There is action at the start of this thriller in the form of the shootings that take place, this grabs the viewers because there is no way that anyone could have predicted that would have happened. This is an example of a red-herring, who are not expecting that to happen and this makes the shock even bigger. This sets the mood to the film and creates a very tense atmosphere. It also gets the audiences heart rate very high which is what all good thrillers do extremely well.

9. Mise en scene The aspects of mise en scene are used very well in the beginning of this film, the costume of the characters as I have already referred to tells us that they are ordinary people with ordinary jobs, the props indicate this also to us. The lighting is used very well, outside it is the middle of the day so it’s very sunny, but in the underground storeroom it is very dark except for the beams of light that get through which could represent bars like a prison. The sunny day makes the shooting even more shocking to the audience because they were shot in the middle of the day in the open so it’s almost like this is an ordinary scene that takes place here. The setting is very effective as it takes place in a very remote area, this adds to the suspense because it’s like they can’t escape because there in the middle of nowhere. The costume that I have also referred to adds to the binary opposites and also helps us to identify the characters.

10. Sound The sounds works very well in creating suspense, it tricks the viewer at the start into thinking it’s a warm and happy film by playing upbeat music, this makes the shock of the shootings even bigger. There are ambient sounds such as wind and the birds, this also creates a lot of suspense and blends well with the music. The score starts quiet slow, then it builds up by getting faster and faster, this tells us that something is going to happen. The use of these techniques keeps the viewers on the edge of their seats with the non diegetic sounds building up suspense.

11. Editing I would describe the style of editing at the start of The Interpreter as slow, this builds up tension and adds to the atmosphere, but for the action scenes it is very fast to make more of an impact. There are jump cuts and shot reverse shots used to make the viewers think that they are actually there, it brings them into the film, this creates much more suspense and it affects the viewers much more.

12. Camerawork At the start of The Interpreter, the use of camerawork creates a lot of tension. It is very slow and static; this tricks the viewer into thinking that everything is okay. But for the action scenes, it is very active and dynamic; the director has decided to use this because it makes the viewers more excited and therefore can enjoy the film more. It can also relate to the audience by using these shots. For example, a slow pan adds to the suspense and zooming into characters shows us that there is something wrong.

13. Gone in 60 seconds by Christian E. Akhuetie Mise-en-scene Binary Opposites Aspects of Sounds Narrative theory

14. Narrative theory At the start of the film we get a semiotic code from the type of dark clothing the men are wearing. They are in black clothing which indicates that they may be perhaps working for a dark organisation. The use of action code is used when One of the crooks smashes the window of the car retail shop. We find out eventually that they have broken into the store to steal the car(enigma code), we do not no why this is done. One of the crooks is wearing black sunglasses(semiotic code)as a sign that perhaps they are well known criminals. Another use of Enigma code is used during the start of the film when we find out that the crook Kip is all ragged up and tossed inside the car where his hands are handcuffed. Binary opposites are used in the film. The innocent victim is shown to be in ragged clothing including the protagonist of the film. The antagonist is shown to be in rich clothing and have a nice place of his own. In the beginning we get a use of equilibrium from which are the dark dangerous scenery changes to a more quiet and peaceful background. Again this changes when we cut to the scene where Kip is in a state of trouble where the use of disequilibrium is used effectively.

15. Aspects of mise-en-scene At the start of the film the scenery we get is shown to be dark and gloomy. There is limited lighting and everything is black including the car the men are driving in the black car. The are dressed in black clothing. When the crook enters the car retail shop the scenery is surrounded by bright lighting and cars. From this it is clear that the film is based around the use of cars. The silver car is shown as a key element in this seen as it is the car that they hijack. At the shack where the car is brought to, the surroundings are deprived and lifeless. Car tools are seen around the place. In the next scene we get a clear sunny background, where we see the protagonist in a old garage working uniform which tells us that he has had a lot of history with his use of cars. In this scene we see children in helmets riding on there go-karts.

16. Character genre At the start of the film we get a close shot on the three men in the car. The character driving the car is dressed in black clothing showing us that he and his other characters are part of some kind of group. The fact that one of the characters smashes the window shows that he has no morals and is doing something for a particular purpose. The man wearing glasses shows to me that perhaps he is a criminal alongside with his fellow companions. The poor clothing he wears shows that he is coming from a poor background. When we look at the protagonist of the film we find out by the worn out car garage suit he is wearing that he has got a keen interest in cars and has been involved in the car business for quite sometime.

17. Aspects of sounds The film begins with a non - diegetic sound we get from the musical score. Synchronous sound is used from the brick smashing against the window of the shop. Diegetic sound is used when Kip is seen trying to break into the box which holds the car keys. Diegetic sound is used again when the car drives away from the car retail store. Synchronous sound is used again when we cut to a scene where we see a man hitting the ball against the wall. The musical score begins to get more rapid when we cut back to the car scene. A voice over is used when we see the stolen car being driven away. We get asynchronous sounds when we hear the sound of police helicopters surrounding the shack from which the stolen car was driven into. When the scene changes we get Non diegetic sound we get from the peaceful score. Synchronous sound is included with the use of go-karts being driven on by the children.

18. Camera work The film begins with a long shot on the car retail shop. A close shot is then used on the three men driving the car. The camera pans down to where the car has just parked . A medium shot is used when we see Kip get out of the car and unlock the car boot. A close shot is used on the brick which he picks up, which shows that he is going to use it . As he walks over to the car boot retailer we get an over the shoulder shot so that we can see what exactly he is aiming to do, which is smashing the window of the car retail shop using the brick. A long shot him is used as he enters into the retail shop alongside with his partner. We get a medium shot of the man in glasses and then a close shot on the silver box up against the wall.

19. Editing The film starts off with a shot on the car retail shop. After that the scene cuts to the front of a car occupied by two men. Next the musical score changes into a more rapid beat. Once this is done slow motion is used when Kip smashes the brick into the car retail shop window. After a shot on Kip entering the shop we crosscut over to the guy standing by the car. Next a slow motion is used for the car crashing out of the window. The use of asynchronous sounds is used from the car engine. The scene cuts to a more quite background to create tension as to what might occur in the other scene. The then cuts back to the car chase scene. Again the scene cuts to the quite surrounding. The car then crashes into the shack. The crooks start running, the scene cuts to the police cars and back to create tension.

20. Binary Opposites This film involves the use of binary opposites. Early in the film this is shown as the protagonist brother is seen in poor dark clothing. The base where the protagonists brother is based in is poor and lifeless. Everything is all worn out and broken and the people there are dressed in very rigid clothing showing that they are possibly of a poor background. The clothing of the protagonist is old worn out car clothing. The area he is wearing is poor just as the area he is. The antagonist is shown to be quite wealthy. He is dressed in rich clothing and has his very own refurbished office. He is the leader of the criminal organisation and gives orders to the protagonist.

21. My Pitch By Christian Akhuetie Audience: Teenagers Genre: Thriller

22. The deal ‘The Deal’ is about a teenage boy who has his friends being kept hostage by a ‘don’ who is the antagonist. The Antagonist is blackmailing the young teenage boy to steal £10000 from a boy he rendezvous with. After that he will let his friends free. Once this is done the protagonist goes up to the dons office and pays him half the money and therefore the deal is called off. In rage he demands his friend to be set free but the don calmly relaxes him and kindly leads him out of the room and then as the antagonist tries to attack him with the knife the protagonist switches and kills him. This pitch is going to involve the use of binary opposites It will involve the use of the Barthes codes Todorovs theory will be included as well It will involve Derry’s sub-genre of moral confrontation.

23. Scene 1: Interior of Antagonists building Shot 1- scene starts with a close shot on a mans black shoe walking on the floor. He stops at the door close shot is used on his hand opening the door and then a POV shot is used as we see a boy being held hostage as his hands are tied behind the chair and his mouth is taped shot, he closes the door. We cut to a scene and an extreme close shot is used on the mans fingers drumming the desk. A close shot is used on a tea cup, we see the hand pick it up and put the cup back down half empty(a jump cut is used)The surroundings are dark. The antagonist gets up we see his is in a smart suit, the camera tilts slowly up to his shoulder as he walks to the window. We do not see his face(Enigma code). A POV shot is used as we see what is out of the window, he is expecting someone. A close shot is used his mobile phone and him dialling a phone number(enigma code).The phone is unanswered.

24. Scene 2:Interior of protagonists bedroom Shot 2-An extreme close shot is used on the closed eyes of a teenage boy sleeping in bed. We get an asynchronous sound from the sound of the boys telephone ringing. His eyes slowly open. A long shot is used of the boy getting up from bed the surroundings are bright. A close shot is used on the boys feet. The camera then tilts upwards so that we can see him sitting by his bedside. We continue to hear the asynchronous sound from the phone. A close shot is used on the phone. An extreme close is then used on the boys eyes. A POV shot is used as he looks at the phone on the other side of the room on the desk. A low angle is used of him walking towards the mobile phone. A POV shot is used of him answering the phone. A close shot is used on his face, he answers ‘hello... Yeah that's right...I'll be there’. A POV shot is then used on a scrunched up piece of paper. A medium shot is used as we see him unfold the paper. Then POV shot is used as the letter says in big letters ‘REMEMBER THE DEAL £10000 or else!’A close shot is used on the boys phone and we see a picture of him with his friends.

25. Scene 3: Alley way A close shot is used on the shoes of a boy bouncing a ball. The camera tilts up and we see a boy in a cap. A close shot is used on his face. A master shot is used so that we see the protagonist who is now in a hoody enter the alley way. A close shot is used on the protagonist shoes and then an extreme close shot is used on the boy in the caps eyes. A long shot is used of the protagonist approaching the boy. Dialogue is used,' You wanted to talk to me about something right? ‘give me your money!’ ‘what?’ An extreme long shot is used of the protagonist beating up the boy and taking money from his pocket and running away.

26. Scene 4:Interior of Antagonists house A close of the mans fingers is seen tapping the desk. An asynchronous sound is used from the sound of someone banging on the door. A close-shot of his hand taking out the knife out of the desk drawer is used. An extreme close shot is used of him putting the knife into his blazer pocket. An over the head shot is used as he says ‘come on in’(dialogue). In the same shot the boy enters the room and sits down in front him. A close shot is used on the boys face. Dialogue is used, ‘here’s the money’. The protagonist slams a pile of money on the desk, a close shot is used on this, ‘Now let my friends go’. A high angle shot is used and then a close shot is used on the antagonists fingers counting the money. A over the head shot is used as he throws the money in the protagonists face, ‘not enough mate £50 short deals off!’ ‘Look its all I could get man no lies let my friends go ’ The antagonist gets up and says, ‘its okay just go I'll see what I can do. The camera pans across as the antagonist calmly leads the boy out of the room and is about to strike him with his knife. We cut outside where we get a master shot of the building and the protagonist with one of his friends escaping the building. We cut back in side where we get a shot of the knife with blood on the ground. The camera pans across where we see the antagonist unconscious on the ground.

27. Feedback • Good • Good storyline • Interesting plot • Bad • To complex to follow • To much information to include in a 2 minutes • Not much of a thriller

28. Audience: teenage - adults Pitch by Ciarán Campbell

29. This pitch is a Hybrid of innocent-on-the-run and moral confrontation. The film is about a teenage boy who has lost his parents in a tragic car accident. As a result of this event he has been left with £1.7 million in there will. He has been left in the care of his godfather, Deputy Chief Constable. Tyrone Reginald Taylor. THE WILL TO KILL

30. A mid shot of a picture of the protagonist and his parents. The camera slowly pans across and then we see the newspaper article of the car accident a mid-shot is used of the protagonist taking pills. A close up of the label which is an anti-depressant pill box. A mid-shot is used of the protagonist opening the door. Scene 1

31. The scene starts with a mid shot of a teenage boy walking away from the house. Asynchronous sound of a car engine pulling up there is a close up of the Teenager’s face then it turns to a pov showing thug pulling out a gun and shoots at the teenage boy three times he falls, you hear the gun click showing it is empty and , from pov from floor it shows thug driving away. Scene 2

32. The protagonist wakes up in bed(couple of weeks later). Overhears phone call of the godfather with assailant arguing (in other room) “why didn't you kill him” pause “what do you mean you thought he was, you should have made sure” pause “alright I’ll try and make it look like a suicide ” pause “you’re no longer needed”. Protagonist gets up. Hears door slam from downstairs, shows antagonist walking into the kitchen and picking up box of painkillers (close-up on the box) antagonist walks up stairs, meanwhile protagonist is trying to escape, slowed down by his injuries and trips over a desk. God father pushes open door, protagonist isn't there, calls kindly “where are you?” protagonist replies “ right here ” the protagonist is waiting behind the door and knocks him out and runs to his Godfather’s room and starts searching for his keys, it cuts back to show the God father starting to get up cuts back to the boy getting frantic hears godfather moving around cuts back to godfather staggering towards the room cuts back to the boy finding the keys as the Godfather barges in, the protagonist looks round the room then leaps out of the window cuts to protagonists in the air then to protagonists landing. The protagonist limps towards the car and starts trying to open it cuts to the antagonist running down the stairs then to the protagonist getting in and tries starting it ,the car wont start, the godfather comes groggily out of the house the protagonist gets frantic starts hitting the wheel saying “come on you stupid piece of junk start”. Cuts to the godfather getting closer, the car starts and just manages to get going and the godfather stands in the way, cuts to a shot of the protagonist in the drivers seat he smirks the car revs up and it ends. Scene 3

33. Feed Back

34. Pitch Sean Doyle Audience: Teenagers, mostly boys.

35. A weeks notice. My thriller follows Derry’s subgenre of an innocent on the run. It follows a teenage boy who has a drug problem and owes money because of this. He was introduced to this problem for the wrong reasons and now he is in risk of his life.

36. Scene 1 – Intro to Protagonist. A slow pan of the protagonist’s room. Lot of mess on the floor, including drugs. Close up of him biting his nails, looks anxious. Quickly gets up and packs a bag of clothes, close ups of him grabbing keys and phone and rushes out. The score starts of slow then builds up in pace as he rushes out, all the time it is blurry. This shows that he is unorganised and is under a lot of stress.

37. Scene 2 – Intro to antagonist, confrontation. Mid–shot of protagonist almost running down street, looking around his shoulders. Puts his hood up. As soon as he walks round corner he is grabbed and pushed up against a wall. Close up of protagonist and antagonist face to face. “Where’s my money” in aggressive tone, “I don’t know what your talking about” nervous voice. Protagonist is punched in stomach and slumps to floor. “This is just a warning, you better have the money by next week.” (title)

38. Scene 3 – protagonist runs, intro to brother. In antagonists kitchen, clutter around. Protagonist is raiding cupboards for food, brother comes in rather happy. “Hey, how's my favourite bro” face turned concerned “what's goin on” Protagonist in worried tone, “nothin, I'm just going away that's all” then walks out back door, brother runs after him into street. Two shot of brother grabbing protagonist, “what the hell is goin on” camera focuses on man in background watching them (dark suit). Brother confronts man while protagonist tries to stop him, he then runs away, then a gunshot is heard.

39. Feedback GoodBad • Was a bit cliché, already been done. • Needs a bit more excitement. • Was simple, therefore easy to shoot. • Well thought out, covered virtually all points.