How does your media product use, develop or challenge forms and conventions of real media products part 2

HOW DOES YOUR MEDIA PRODUCT USE, DEVELOP OR CHALLENGE FORMS AND

CONVENTIONS OF REAL MEDIA PRODUCTS?

SOUND

Music: We faced some difficulties in browsing for suitable music that

would have a positive impact on the trailer as a whole because some music sounded eerie which would only be appropriate for other genres like science fiction. We finally found music that improved the overall performance of our trailer and complimented the scenes. The dramatic music would inspire suspense in our audience and would be consistent with fast-paced shots of action.

SOUND Sound: Our initial thought was to include anchorages, media text to the

trailer in order to give the audience a thorough understanding of the narrative but it appeared to look tacky and unprofessional so we resolved to make voiceover which proved to be effectively as it aids in clearing the ambiguity.

EDITING Typically, a trailer will begin with slow shots that establish

the storyline, develop character and introduced the themes within the film. By the end of the trailer of an spy-action genre, there will be quick cuts that build up the tension. These quick cuts and transitions unlocks the actions within the movie so this may provoke a feeling of confusion in the audience as they may not understand what is unfolding before their eyes and may feel overwhelmed by the amount of scenes and actions that being thrown at them in such a short space of time.

EDITING We used this technique of varying editing speed within

our trailer: We increased the speed of a scene of Charlie’s

accomplice jumping of a chair which gave her the illusion of falling possibly a stunt which is prevalent in spy films. At the end of the trailer, we incorporated many scenes that related to the narrative and compressed them so each lasts about less than a second. The fast- paced editing coupled with the dramatic music become the crucial point of tension.

CHARACTERS This was an vital scene to add to the trailer because it reveals the underlying reason why Charlie is passionately pursuing Scarlett. In a sense, his wife’s demise is a dispatcher as it sets him off on a journey to gain revenge. It unlocked the emotion within the trailer, and marks the point where Charles transform from a collected spy to an unstable, deranged avenger.

The notion of ‘Damsel in distress’ is also evident in the movie ‘Mission Impossible 3’ where Ethan’s wife is held at gunpoint whilst Ethan watches helplessly.

CHARACTERS

Charles is an ex-spy who had witnessed the death of his fiancé which is also a convention as the male protagonist is sometimes a damaged soul with a haunted past and as a result is emotionally detached from anything.

CHARACTERS

In every spy movie, there is always an antagonist or villainess that seeks the downfall of the central character. Scarlett played a key part in Charlie’s life as she took the life of his fiancé and assisted in the development of the storyline as it focuses on the conflict – the action in the trailer i.e. Charlie’s and accomplice confined in a room, held hostage…

CHARACTERS

She is Charlie’s ex-wife so she could be considered as a temptress which is another element that is evident in spy movies. She frustrated by Charlie's’ elusiveness and vows to retrieve the information.

CHARACTERS

Minor role - Patrick False hero, donor- map

Sarah is Scarlett's accomplice. Charles tracks her down and murders her because in our trailer she has valid information on Scarlett's whereabouts. Her clothing shows that she is from a middle class background working in an office. 

CHARACTERS

  Katy is Charles' accomplice. They don't know each other in the beginning but come across each other on their paths to find Scarlett. 

CHARACTERS

There are similar conventions evident when comparing both Mission Impossible and Subject 27. For instance, there is a use of the color scheme red and white which is also prevalent in other spy- related posters. In addition, the position of both main protagonists in each film is in the center, which highlights their importance. We also conform to the convention of spy/action genre by placing male gender as the main character.

We followed the same format and color scheme, we also developed the forms and elements from spy/ action genre in comparison to this real media product, as we incorporated film strips of other action films in order to give own audience an insight into our magazine’s content. We conformed to the aspects of a typical action magazine as we included anchorages so we can tease and appeal to the audience.