"In what ways does your media product use, develop or challenge forms and conventions of real media products?"
In our Thriller we follow the general conventions of a typical thriller. In "BlindFire" we used Shock to appeal and conform to common thrillers. We used shock in the form of a chase scene, being chased by a more dominating character, however we also looked deeply into maintaining suspense, throughout the whole clip it is unclear who the protagonist and antagonist are. This has extracted from films such as James Bond, where the mood will appear calm and relaxed yet it will develop into heart pounding chase, In our Thriller it is clear we expressed this convention by following a fast paced chase scene post a relaxed opening. However we most definitely challenge this convention. Commonly seen in films like the famous James Bonds, the audience builds a relationship with the protagonist and there is a clear distinction from the righteous and the wrong at the current moment in time, however it is hard to build a relationship with the protagonist in "BlindFire" as there is no complete shot of who the character is before the initial chase, this leaves the audience wondering why and who is being chased adding suspense in a uncommon way, jumping from establishing shots of the location and surroundings to the POV of the protagonist.
Furthermore, we used a chase scene which is a fundamental part of the thriller genre, yet it is clear that there is an adaption from the general chase scene that are explored within thrillers. Modernly the typical chase scene includes a vehicle, or motor drive plot which restricts the convention seen in many films such as the Batman, when he pursues the Joker in Batman: Dark Knight, yet in our thriller we followed the examples of the traditional films such as Alfred Hitchcock: North by North West, where the protagonist attempts to evade a plane which fundamentally is trying to kill him.
Suspense was a key visual point from which we tried to maintain throughout the thriller, this was fundamentally achieved through the concealed identity of the included characters and this allows to challenge the general expectations of modern thrillers, we aimed to adapt and explore into a different branch of the conventions in a un-nuclear way. It is common in thrillers to compensate and be compassionate to one character more than the other, in films such as The Amazing Spider Man, Batman, James Bond etc. where the Propps theory can easily be applied, yet in "BlindFire" this level of concealment adds confusion to the audience as it is unclear who to apply their trust to, there is a minor degree of compassion toward the protagonist yet not to the extent of main stream films as the is no opportunity to develop a relationship with the character which is key to challenging and developing the conventions.
Most Thrillers contain a female character to appeal to a masculine audience early on and keep the male audience engaged as thrillers are deemed as a masculine genre, yet we attempted to engaged the audience not only through suspense and confusion, but also through action early on, we followed this through the example of Kidulthood, using this film as a guide to attract the audience and challenge the general conventions through young characters and no females, only young males which drive the plot through action, this unusual twist in the conventions of the thriller adds to the engage the audience as it wasn't yet necessary to include a female character because the audience was already engaged through action.
"In what ways does your media product use, develop or challenge forms and conventions of real media products?"
In our Thriller we follow the general conventions of a typical thriller. In "BlindFire" we used Shock to appeal and conform to common thrillers. We used shock in the form of a chase scene, being chased by a more dominating character, however we also looked deeply into maintaining suspense, throughout the whole clip it is unclear who the protagonist and antagonist are. This has extracted from films such as James Bond, where the mood will appear calm and relaxed yet it will develop into heart pounding chase, In our Thriller it is clear we expressed this convention by following a fast paced chase scene post a relaxed opening. However we most definitely challenge this convention. Commonly seen in films like the famous James Bonds, the audience builds a relationship with the protagonist and there is a clear distinction from the righteous and the wrong at the current moment in time, however it is hard to build a relationship with the protagonist in "BlindFire" as there is no complete shot of who the character is before the initial chase, this leaves the audience wondering why and who is being chased adding suspense in a uncommon way, jumping from establishing shots of the location and surroundings to the POV of the protagonist.
Furthermore, we used a chase scene which is a fundamental part of the thriller genre, yet it is clear that there is an adaption from the general chase scene that are explored within thrillers. Modernly the typical chase scene includes a vehicle, or motor drive plot which restricts the convention seen in many films such as the Batman, when he pursues the Joker in Batman: Dark Knight, yet in our thriller we followed the examples of the traditional films such as Alfred Hitchcock: North by North West, where the protagonist attempts to evade a plane which fundamentally is trying to kill him.
Suspense was a key visual point from which we tried to maintain throughout the thriller, this was fundamentally achieved through the concealed identity of the included characters and this allows to challenge the general expectations of modern thrillers, we aimed to adapt and explore into a different branch of the conventions in a un-nuclear way. It is common in thrillers to compensate and be compassionate to one character more than the other, in films such as The Amazing Spider Man, Batman, James Bond etc. where the Propps theory can easily be applied, yet in "BlindFire" this level of concealment adds confusion to the audience as it is unclear who to apply their trust to, there is a minor degree of compassion toward the protagonist yet not to the extent of main stream films as the is no opportunity to develop a relationship with the character which is key to challenging and developing the conventions.
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