In what ways does your media procuct use, develop and challenge forms of conventions of real media products?
In the process of planning our piece, we made sure to pay attention to the typical convention of a thriller.
In our thriller, we chose to have many enigma codes. There are many questions that could arise; such as 'where has the childe been taken?' 'why did the mother leave him alone?' 'who is the kidnapper and what is he going to do with the child?' Enigma codes are very important to a thriller such as this because they help raise the feeling of suspense. Unrestricted narration has also helped us in this situation. Since the audience can see everything that is going on, it opens up more enigma codes which in turn makes it more suspenseful. I also think that our opening is slightly similar to that of Face/Off (http://www.imdb.com/title/tt0119094/) as it begins innocently but gradually becomes more sinister until we see the title of the film and then the empty seat.
Mise en scene can make or break a thriller. We paid close attention to costume and character in this thriller. We made sure that the antagonist was dressed in dark clothes, and that we could never see their face to keep the element of suspense up. We used ambient lighting for most of the film, but we sometimes needed a redhead light to create shadows. Shots inside were harder to light, and some of them were darker than they could have been.
We picked this setting for our thriller because we thought that an enclosed setting would be good for our story. We also saw the door as an oppertunity for some good shots to build suspense and surprise.
How does your media product represent particular social groups?
In our product, our characters are seemingly stereotypical.
Child
We have made our victim a child in this product to show innocence and vulnarablilty. This can also show stereotypes for age; children are stereotypically naive and are easily manipuled in these situation. The dialogue in the film also shows innocence. All the child says is 'Are we there yet mummy?'. The child is also seen fidgeting in the car when his mother is away, which shows absent mindedness and boredome.
Kidnapper
We have kept the kidnapper's identity a secret here, but we have kept the ideal of a dark/evil antagonist by having him dress in dark clothes (eg. long sleeved black jacket) and keeping his identity a secret by only showing shadows and never seeing his face. We have made the antagonist to be a secretive person.
What kind of media institution might distribute your media product and why?/Who would be the audience for your media product?
As a group, we decided that our film would be a 15 certificate. This is because the nature of the film would not be suitable for anything under a 15, but was not severe enough to make it an 18 certificate. Our target audience would mainly be 15-25 year olds, because through posting our video on social networking site facebook, we recieved replies from this age bracket saying that they enjoyed it and would be interested in this type of thriller if it were a full film.
How did you attract/address your audience?
With the nature of the film being the 'loss' of a child, I believe that we would attract more of a female audience because it could be relateable in a sense of the audience asking what they would do if they were in that particular situation. We also planned to attract the younger audience through the excitement of this type of thriller and using the enigma codes (where is the child/who is the kidnapper/why has he taken the child).
What have you learned about technologies from the process of constructing this product?
I have learned how to use iMovie sucessfully
I have learned how to better my skills on garageband, and how to use foley
Adobe Premier Elements played a large part in this project, and learning how to use this program will really help me in the future.
I have realised how important lighting and continuity editing is
Looking back at your preliminary task, what do you feel you have learned in the progression from it to the final product?
I have noticed that we have progressed with ideas, and how to put them forth and carry them through, but I have noticed that our skills at creating music for our films was better in the preliminary task than it was in our final thriller piece.
In conclusion, I do think that there are some factors that could have improved in our product, but overall I am pleased with what we have done.
In what ways does your media product use, develop or challenge forms and conventions of real media products?
Our thriller opening has been created with careful consideration to the typical conventions of a thriller.
It raises enigma codes for the audience such as where has the mother gone? Who is this character? Where are they? Why has the child been kidnapped? Where is he being taken/what will happen to him? These enigma codes build suspense and keep the audience interested to find out what will happen next and how the plot will progress to answer these questions.
Our use of unrestricted narration of a viewpoint outside of the child means that tension is created as the audience can see that the child is in danger, but the child (or mother) cannot see this. The audience wills something to be done about it and we keep their interest as they want to see how this problem will settle. However,the restricted narration in our film is hiding the identity of the antagonist as his face or other clear identifiable features are never seen on camera to maintain the suspense as the audience can't see who he is or any further than the car park (cannot see where the mother has gone). This creates the enigma codes.
These stills show a viewpoint from outside of the child.
We have introduced our antagonist in secretive ways in order to raise suspicion of this character and build tension. This is much like many thrillers, and we have done this using a similar technique, but formed it around our location. For example, one shot uses a shadow of the character, and this is similar to the way other thrillers introduce their antagonists.
This example compares our use of shadow to add intrigue, darkness and mystery to the character, and a similar technique used in the 1967 thriller Wait Until Dark.
Introduction of thriller themes
Our film opening has started to introduce the common thriller themes of crime, mystery, and our choice of location has enabled us to easily portray the idea of entrapment (like in panic room) and isolation. These themes make the audience think about the motives behind what is happening as well as whart will happen next, leading to the possibility of other themes such as murder, violence and revenge which are conventions of most thrillers including Momento, Usual Suspects and Se7en.
We have portrayed these themes with our use of mise en scene which ensured that the image within the frame matched up with our idea of a thriller. -Costume for the antagonist consisted of a dark long sleeved jacket to look more mysterious, dark and anonymous as well as familiar to the audience as being the criminal character. -The lighting and colour within the car park is dull and dark compared to the brightness outside - suggesting that they are more secluded and trapped in an unfamiliar daunting environment. The following lighting tutorial video shows the options we had to acheive the best lighting effect for our film. We found use in similar techniques with the use of one additional light to fill in shadows that couldn't be reached by the natural outdoor light, and indoor carpark lights. We found this to give a more realistic look and still look well lit.
However, some shots of the interior of the car were hard to light, and we could have benefited from another light. -the facial expression and body language of the child in the car was relatively relaxed as he was naive, innocent and unknowing of what was about to happen. This was contrasted with the slow, sinister, threatening movements of the kidnapper. -
The narrative structure has been applied to our piece as the plot consists of the following:- The equilibrium The audience is first introduced to the main characters - the mother and child, and a relationship between them is briefly established. Although a lot of questions are still left unanswered, the basic situation is set up.
The disruption
The antagonist character in our film in introduced and takes the child. This disturbs the situation and will cause a problem that will need to be resolved or needs a solution.
The resolution
The action to occur in the rest of the film will build up to the resolution where all questions will be answered, and how the situation resolves will be decided. This generally goes back to normal life for the characters.
How does your media product represent particular social groups?
Our media film has initially introduced three very different characters, and portrayed these in different ways in order to achieve the effect of realism, interest and suspense on the audience.
-The Mother
This character has been portrayed in a way that is familiar to the audience as a mother of a young child. Her costume which consists of normal casual clothes suggest that she is not on a business/ formal type errand as if this was the case, she would be wearing a suit or formal attire. This makes it more realistic and widens the suspicion and tension of where she could have gone in the minds of the audience.
-The Child
In our film, the child has the least power in the situation, being the most vulnerable in the situation. This is shown by the fact that children are generally regarded as vulnerable, and we have isolated him in the car, and being separated from his mother automatically increases the audience wish for him to remain safe, despite the foreshadowing events done with the use of cross-cutting clips between him and the kidnapper. This is similar to the opening of the thriller Face/Off, which represents the innocence of the child character with the use of music, facial expression and body language as he reacts to the loving behaviour of his dad without knowing what is about to happen.
-The Kidnapper Our film has presented this character negatively and indicated that they are an antagonist in the way that the music changes when he is introduced. A juxtapositional change from the slow sinister music, to silence, to something faster paced builds tension and suggest that this character is about to do something. This goes parallel with the cross cutting between the child and the antagonist as it speeds up and indicates that this character will be the cause of the problem in the film. -Costume is an important part of this character, despite the fact that he couldn't be seen clearly. The black coat suggests mystery and has connotations with darkness, evil and crime. However, if we were to shoot certain clips again, I would ensure that his shoes were more fitting for the role as opposed to blue trainers. I feel that black boots or shoes would be more effective as the shoes do become a focus at one point during the scene.
What kind of media institution might distribute your media product and why? -We would use a film distribution company that deals mostly with thrillers and other similar themes and genres distributed nationally. -It would be available to buy on DVD -It would also be screened in more local mainstream cinemas as well as be available for download online as this is a fast growing way of distribution. It is easy, cheaper , fast, accessible by the majority of people.
Advantages
A wide audience
Easy accessability
young (teen/early 20s) target audience specifically targeted as being popular cinema goers as well as more likely to download online
Disadvantages
Costs of DVD production and distibution
Risk of piracy and illegal download
Who would be the audience for your media product? Our film would have a 15 certificate and so would target people above this age. Although there is no violence or swearing etc in the film opening, the rest of the film may include this. The target audience would be 15-40 year olds, with a particular emphasis on the younger 15-25 age group as they would find a thriller of this kind to be interesting. It's themes, ideas and content suggest that both a male and female audience can enjoy the film.
How did you attract/address your audience? -The portrayal of a woman being the main character in the film means that a female audience is invited to be able to relate to her situation and emotions she may go to whereas a man might have a different effect on the audience. -The intrigue, mystery, and action attracts both male and female. -The narrative of the film, which from the opening is clearly the idea of losing a child to someone else (whether is be a stranger or someone known). This kind of key idea provokes a feeling of fright of losing someone close to you like that, and it attracts the audience as they want to see how such a situation can be resolved and why it has happened.
Audience Feedback
All people we asked within the target audience said that it was successful as a thriller opening.
One thing that many agree on is that the music wasn't as good - that it is "too repetitive", "too long" etc. I would say that I agree with these points and would take into account the advice to change it, or merge the two pieces of music together in the middle - however, others have said they like the silence in the middle and that it adds to the sinister atmosphere.
The use of camera movement, variation in angles and lighting is good
The match on actions look correct and work well
What have you learnt about technologies from the process of constructing this product?
Imovie - I started to edit using imovie, but found it too simple, and that there were a number of functions that I wasn't able to do that I knew were easy to do with a program I am used to using. -I learnt that we would create a better film using different software.
Adobe Premier Elements - We decided to edit our film using this program as we would be able to produce a film of the same standard that we would be able to create using final cut pro, but I have knowledge of this software, and none of our group felt confident using final cut pro. -I learnt how I can edit to a higher standard with the precision of continuity and match-on-action.
Garageband - this was especially useful to our film as we decided to get rid of all sound from the film, and add it all from garageband. -I learnt how to search for sound effects, music and sounds using the search function, and instrument/mood categories. -How to import the film to garageband so that we could match the sound perfectly with the image.
Camera - I learnt how to use the functions on the camera -how to frame a shot well -how to set the white balance
Other equipment such as: -Dolly - learnt how to use a dolly and put it on the tripod. However, we decided not to use it as the floor of the car park was rough and would create shaky shots. -Tripod - how to set up the tripod and get it to the right height for the shot. -Monopod - for shots of inside the car, a tripod was too big and handheld footage would be too shaky. The use of a monopod enabled me to have a bit of extra control while filming.
Looking back at your preliminary task, what do you feel you have learned in the progression from it to the final product?
For the preliminary task, we made use of garageband for the first time - giving us an initial knowledge of the program so that we can learn how to do it for the final film. However, I do feel that the music made for our preliminary was better and more fitting than our final film, and this would have been better had we the advantage of more time and knowledge of the program.
We considered the use of some of the same sounds that we used in the preliminary for the thriller opening.
I also ensured during the final product to have better focused communication about the production with my group, and found it a lot easier when doing this than with the preliminary because we weren't in contact with each other as much.
How did our media product use, develop or challenge the forms and conventions of real media products?
We used a range of techniques and conventions to create a media text applicable to the thriller genre, including a range of appropriate elements of mise-en-scene, cinematography, narrative structure and iconography.
We used restricted narration to create an element of mystery and build tension. The audience does not know where the mother has gone or if she will come back, thus raising questions to answered later in the film, making the audience want to watch on.
The way the antagonist is introduced is unrevealing in the way that it does not show his identity. This was done by framing the antagonist so that his face was not shown throughout the sequence, by filming him with CU and MCU shots of body parts like his hands, feet or simply giving the impression of another character such as the movement of a shadow.
The use of cross cutting builds suspense along with the tense music, communicating that the antagonist has some sort on intention relating to the child and this created tension as we could see that the child was unaware from the use of CU shots of his facial expressions; calm and playful, including the point of view shot of him swinging his feet.
Our location gave the impression that the two characters, a young boy and his mother, were in a fairly isolated place; the location changes from open countryside to an enclosed underground car park which gives a sense of entrapment, a common feature in a lot of thriller films such as "Panic Room", 2002, David Fincher.
2. How does your media product represent particular social groups?
The Mother: We have represented a single mother with her young child; the fact that she is on her own makes her seem more vulnerable and we might feel more sorry for her that she is alone. We chose to have a mother and her child, rather than a father or older brother or sister as the relationship is typically an identifiably closer one with a stronger bond and it is publicly feared more by mothers that this bond could be broken. Thrillers that represent the mother/child bond are 'Panic Room', 'Flight Plan', 'The Ring' (within the horror/thriller hybrid genre).
The Stranger: We have also represented a young man that appears to be alone and who is probably some sort of social reject; we see this from his dark clothes and from the way the camera hides his face not only adds suspense, but also could hint at the fact that he does not want to be seen. His clothes are dark which have sinister connotations and he is represented with only dark shadows and CU's of his hands or feet, a similar way of introducing a character to the way that the antagonist in 'Se7en' is introduced; not by showing who this character is but hinting at his type of character.
The Child: When he is left alone in the car it shows how vulnerable he is, as typically children have very little power against adults and we showed how vulnerable and unaware of the potential danger he is in from the ELS of the car. This shot shows how enclosed his surroundings are and that he is isolated from any help and the subjective use of camera-work when we see him swinging his feet and watch the trees going past out the car window from his point of view - this sets him up as an innocent, playful and naive young child who will be helpless under attack.
3.What kind of media institution might distribute your media product and why?
A film distribution company would distribute my film around nationally to lower the costs but would also be distributed digitally as well as in poster, advertisement, trailer formats on television, in cinema and in newspapers and magazines so that it could reach a broader target market.
4. Who would be the audience for your media product and why?
Male and female, ages 15+ as thrillers commonly have a lot of violent scenes in the film and this is unsuitable for young children to view. The most common certificate for thrillers is either 15 or 18.
Our audience is both male and female, as thrillers are appealing to both sexes and we want to keep our target audience as broad as possible.
5. How did you attract/ address your audience?
We attracted our audience by making our thriller look exciting with the range of shot distances/angles and movement as well as some eerie, captivating music.
We included relevant themes and issues such as abduction of young children, as this is something that women will be able to relate to - leaving children alone and coming back to find their child is missing because they forgot to simply lock the door is horrifying and this will make the plot seem more realistic.
6. What have you learned about technologies from the process of creating this product?
Use of sound, replacing recorded sounds from the camera footage with sound effects found on garage band. However, the music was not received from our audience well and it was said that it was far too repeptitive and, inconsistent and went on for too long. Perhaps if we were to do it again, we would fade it out at the end and create more of a bridge between the introducing music and the tense music at the scene in the car.
We used a redhead light to try and create a darker and more defined shadow of the antagonist although it could have been stronger.
We learned how to use a dolly and a hand-held steady-cam for the shots in the car which made the camera much more stable.
7. Looking back at your preliminary task, what do you feel you have learned in the progression from it to the full product?
Since the preliminary task, i feel that we have developed a knowledge of how to apply more tension into the sequence and how sound effects can be used.
I feel that our skills with the camera have increased and our match-on-action editing skills have become more professional and accurate in the way that it is not noticeable.
We realised how important costume, characterisation and mise-en-scene is; we made sure that our antagonist wore dark colours and that our location and costume had as few bright colours as possible to add to the dark atmosphere of the film. We built closer relationships with the characters with more CU shots and Point of view shots to make the audience feel more intimate with them.
We kept the idea of keeping the identity of some characters a mystery as we felt that this was successful in building up tension or adding mystery and making the audience feel inclined to watch on.
After filming all of our footage, we discussed as a group whether to use imovie or final cut pro. As none of our group had experience of using final cut, we decided on imovie, however, we then found that it wasn't adequate for our purposes, and there were many things we couldn't do that could be done easily with the adobe premier elements that I am familiar with. We then decided to edit our video using this to achieve the best product.
Problems experienced during filming
Continuity had to be maintained throughout the film, and this became a problem in the case of some shots. Especially in the first part of the film, showing the mother and child in the car. We came across a few problems in matching the background image of outside the car from the previous shot. For example, the scenery changing from trees, to open road, to houses, etc. We combat this by looking at our wide variety of shots and choosing specific parts of the footage carefully to ensure the sequence makes sense.
We edited sound using garageband, and found it better that we deleted all sound (apart from one bit of dialogue) from the camera as it was low quality and would distract from whats happening, and look unprofessional. We then found it to be a problem finding sound effects to match with the footage, as there was nothing sufficient on garageband or other sound effect files. After watching the clip a few times with the music we had created to go with the film, we agreed that for the desired sinister effect, foleys were not necessary - however, they were used sparingly for the car door shutting and garage shutter door moving down and closing to add to the tension and 'shock' effect.
Successes during editing
We found that our use of match on action worked well and wasn't difficult to execute correctly.
The film as a whole looked smoothly edited and the cuts looked natural.
Credits could be placed easily because of the space allowed by the good composition of the shots.
We filmed our footage in one day and this proved to add a significant amount of pressure but we managed to film all the necessary shots to a acceptable standard
problems faced when filming:
some shots were more difficult when positioning the tripod because of the size of the locatioin. It needed to be bigger for the shot of the car parking as when poistioning the tripod by the wall so that the car could drive up to the camera, it was quite a squeeze up against the wall and this made it difficult to make sure the tripod was level
The lighting was not strong enough, even with the red-head lamp, to create a strong shadow of the antagonist. It appeard quite faint and this could have been because it was not dark enough in the car park or because we needed more light coming from one direction.
Our actors were only available for the one day of filming, meaning it was difficult to re-shoot some parts that could have been done better, or parts that we might have missed out.
Success from filming:
The shots from inside the car were filmed quite steadily
We managed to film almost everything we needed and most were as planned.
Titles and Credits in a film can have a massive effect on the rest of the film's mood. If the film is a thriller/horror and the credits are contrapuntal, it confuses the audience and misleads them. I will be looking at 6 examples of well composed credits and titles.
Schindler's list
The titles in Schindler's List is one of the two parts of this film that is in colour. The title of the film is placed between two candles, giving it importance and it is cleverly underlined by the outline of a surface in the background, which gives it emphasis. The font of the title is also significant in this sequence. The font used looks similar to handwriting which gives the audience an insight to the film.
The Orphanage
The Orphanage (El Orfanato) is a Spanish film from director Juan Antonio Bayona. The title and credits are contrapuntal to the opening sequence of young children playing in a garden in the summer. The audience has the initial idea that this film has an innocent vibe to it, until we see the title sequence. The names of director, producers and film company are written on wallpaper and they are revealed one by one by children's hands ripping the wallpaper. The title of the film is written with crooked letters; making it look unorganised - perhaps written by a child.
Old Boy
The credits of the film Old Boy are based around time and clocks. The focus seems to be on time going backwards. When the names of director, producers ect. come up on the screen, they are first times, which are going backwards. Even in the name of the film, the D and the Y are ticking, and moving counter-clockwise as the seconds progress. From the titles the audience will assume that the film is about 'turning back the clock' or making up for lost time, which is not in the main plot of the film. These credit confuse the audience, and also gives an insight to what the film may be about.
Hostage
The credits for Hostage are a mix of live action and computer animation. The director, producers and actors names are all written on the sides of buildings in bold black writing, and are revealed as the camer moves. The name of the film is revealed on top of a birds eye view city backdrop accompanied by quiet music and the sound of police sirens. The sirens seem to be paralell to the way the credits are presented, but the quiet music seems contrapuntal. The colours of the titles and even the name of the film suggest a struggle and a high action situation, so when the audience hears quiet music along with the credits, it could be confusing, but at the same time, it seems to fit as this could suggest tension/suspense building, leading to an exciting climax.
The colours of these titles are very dark; red, black and white, and the names of the people working on the film are either black or white. The areas also seem very rough, which also leads the audience to believe this is where the film will be set. Also, in one part of this sequence, one house is singled out from the others and is red. This could suggest a murder site or the site of the films main event.
http://www.artofthetitle.com/2008/02/28/hostage/
Vertigo
Vertigo was made in the 1950's and considering that these titles are very well put together. The main focus of these titles are swirling shapes and patterns. This links to the disease vertigo. I think that these titles are designed to make the audience feel 'dizzy' or uneasy. The titles themselves are written in white, which draws attention away from the patterns. The patterns start from the centre of a woman's eye (extreme close up), and starts swirling from the pupils. Before the titles go into the patterns, there is a close up of a woman's face. The camera moves from her mouth up to her eyes and the screen turns red. This links to victims and blood. These titles are very well made, and they link in very well to the plot of the film.
Kiss Kiss Bang Bang
The titles of Kiss Kiss Bang Bang are very similar in style to those of the film Hostage. The main difference in these titles is that there is movement, and not just pans and reveals. The music in the titles is smooth and relaxed jazz, but it also leads to suspense and tension building, as in the Hostage titles. I believe that many producers choose to use this type of mini narrative because it can give a good insight to the film without giving too much away.
In class we discussed the different ways in which we could present our credits.
Titles and credits are put on a blank screen at the beginning of the film, or broken up by bits of film. This adds no effect to the narrative of the film, and the only way to suggest mood, themes or atmosphere would be through font and music
eg. Title > film > credits > film > credits > film or Title > credits > credits > credits > film
Superimpose credits over film footage. It must be carefully considered where the writing will go in the frame so as not to obstruct characters or action.
Much like the way this title of Schindler's list is presented, this technique can include clever compositional effects in the way the writing is placed to follow lines/shapes.
3. One other way would be to include the credits as part of a 'mini narrative' which can add to the film narrative and create enigmas and set the atmosphere and tone of the film. It would be less likely that we would consider this one for our film.
The Orphanage
One example of this would be the opening to The Ophanage, which includes children's hands ripping off wallpaper, to reveal the title and names.
Sound is used carefully in this title sequence as they have used sinister music and the emphasised diegetic sound of the wallpaper being torn to give both an eerie, and aggressive feel to it.
Mise en scene - the old, Victorian style look of the wallpaper suggests it is set in an old house, or orphanage and the decor was much different to the 'child friendly' colours and looks of a modern care home. The sleeves of the arms ripping the wallpaper all show the uniform of the orphans that was seen in the preceding scene-making a connection between them.
Five Days
Five Days is a tv drama that has done their opening credits in way that is superimposed over the image. The way they have done this is simple yet very effective for achieving an atmosphere as well as adding to the tone of the film.
The sequence shows the names over short slow clips that are not directly part of the film, but may have linked themes, locations, ideas or characters.
It creates a mini narrative as the footage is not part of the film, but it still adds to the film narrative.
The scattered names within the frame are placed so that they are easy to read, against a background that doesnt intrude on the action, and also follow compositional techniques such as lines in the images.
The images used create enigma codes as they make the audience wonder what will happen in the episode. In this case, questions are raised as to 'what has happened to the owner of this shoe?' and 'how will the story progress?'
The have used music to build up a sense of pace and tension of the episode. As well as sounding mysterious and tense, it also mimics the pace of heartbeats, people running, and a train that can be seen in one of the clips with their careful use of pace and steady fast beat. To emphasize this atmosphere, the title sequence includes foleys of eerie indoor, outdoor, and wind noises. Edward Scissorhands
The credits sequence to Edward Scissorhands are separate to the narrative of the film, but are an example of a kind of mini narrative.
Colour has been used consistently in the clip. Dark blue and black is the common theme for the whole sequence to give the idea of it being nighttime. This is then followed up by the first image of the film being a extreme long shot of a castle at night.
The blue and black dark background is contrast with the white font which makes it very clear and easy to read.
The way the text turns slightly before changing follows the tempo and pace of the eerie music. This creates a mysterious impression and sets the theme for the rest of the film. This feel is achieved by the fact that it moves so slowly, and the images of faces, cobwebbed statues, staircases and machinery are not normal. They are put together and a link is created between them to suggest what the film is about.
Camera movement in various shots is very important in achieving their desired effect on the audience. For example, a slow escalating up stairs builds a sense of tension because the audience has no idea what is at the top and whether it will be a surprise or shock.
Bullitt Bullitt is a 1968 Peter Yates thriller http://www.imdb.com/title/tt0062765/ Its opening credit sequence has the text superimposed over the film opening, but has been done in a way that is very rarely seen with the use of transition movements in different directions.
As most other credits done in this way would place the text in the most blank areas of the frame so that the writing is clear and does not distract from the film action. However, in this film, the writing becomes very intrusive into the action happening on screen, and at some points seems to deliberately cover the characters faces.
For the case of this film, they may have done it this way to link with the themes of crime, and hiding identity, facial expression and emotion of the characters in this very early stage so that the audience is lead to be encouraged to watch to see what happens with these characters and what they are like.
The transitions take the credits on and off the screen from different directions. Most film credits don't move in this way, and would prefer to have less attention drawn to their credits like this. More recent films do it in this way, and so they way they have used transitions in Bullitt seems a bit outdated.
Another consistent aspect of the credits is that some words grow larger and appear to move closer to the camera, and the next shot is seen inside one of the letters. This kind of transition makes the opening to the film more interesting, and links the different film shots and credits effectively.
Old Boy
The opening title sequence for Old Boy starts to create a link with clocks and time. This effect started to be created when first introduced to the man, whose name means "getting through day by day". Once the credits start, we start to understand a bit more about this in terms of the tone, themes and mood of the film.
Some of the characters in the words rotate like clock hands, but they seem to be going backwards. As when before the names come up, numbers resembling time or dates begin to scroll, but they also go backwards. When watching this, I immediately created a connection with this and the film and thought it could signify the fact that time is going by fast, running out, or even going backwards. This was one of the intended effects on the audience and it draws attention and adds intrigue.
On screen we see a mixed montage of different types of clocks. From cuckoo clocks, to digital, to traditional pendulum style ones. This emphasised the theme of time, and as all these clocks go backwards, it starts to suggest that we may find out about the past (or future) of the mysterious behaviour or the character previously seen.
Sound is used well in this sequence, as the jumbled sounds of all the different types of clocks, (eg. ticking, dongs, cuckoo) starts to distort and sound abnormal - suggesting something is not right.
Number 23 Number 23 is the 2007 thriller starring Jim Carey. It focuses on one man's obsession with the number 23, as he keeps finding that thingshappen based around this number.
The title sequence adds to the narrative of the film, and the audience will later find out that images in the credits symbolise the blood on the crucial book that one character finds.
The graphic images of blood splattered pages give the audience insight to the gruesome themes and content which is included in the film and adds intrigue, as the audience wants to know what events could lead up to this gore, violence, murder, crime etc.
Shots inside were harder to light, and some of them were darker than they could have been. 
deal of a dark/evil antagonist by having him dress in dark clothes (eg. long sleeved black jacket) and keeping his identity a secret by only showing shadows and never seeing his face. We have made the antagonist to be a secretive person.
