Influence- The Hunger Games

The Hunger Games (Dir. Gary Ross 2012)

Although the genre isn't entirely apocalyptic, it is more action/thriller based, it delves into the theme of survival which is strongly evident in that genre, and that is what I want to explore. The idea of 'The Hunger Games' is ominous; 24 teenagers forced to fight against each other til death, there is only one winner. Here is the trailer:

The Trailer sort of quickly skips over the 'good' parts of life suggested by Todorov, and jumps into the narrative as the equilibrium is disrupted. This helps to show their somewhat tough and short-lasting way of life- that there is barely any goodness within district 12.. The non diegetic sound of tweeting birds is conspicuous against this first impression, which either contrasts with the dull area and lifestyle and could be considered as contrapuntal sound, or perhaps it isn't and it just portrays the beginning as having a degree of normality and freedom (something I will discuss next). However, the connotations of birds are things like freedom and beauty, two ideas this place lacks visually; as we can see there's no grass, and poorly constructed wooden houses. This initial use of mise en scene establishes the area and represents the lower class lifestyle within it.

Katniss Everdeen starts the trailer and leads the viewer through a wire fence that isn't mean to be crossed, helping establish her as the protagonist in the narrative who leads us throughout. This also conveys rebellion which suggests that it could be important to the plot (and we later discover in the films and books that it certainly does- Katniss becomes a beacon of hope and rebellion). Through the hand held camera we get the feeling she is being watched which reinforces the idea of no freedom but also raises the question why is there little freedom? The idea of no freedom is associated with the government which makes me think that it plays a part in a narrative- obviously linking to rebellion. Within the camera frame Katniss is captured through the wire, while also because of the rule of thirds the 'Voltage' sign slips into sight, representing the dangers of law breaking or perhaps foreshadowing her impending doom in the story.

In the scene between Katniss and her friend Gale,  the hand held camera is strongly used which creates the effect of bringing the audience closer to the characters due to the immersive style this camera technique has. This is something I would like to adopt for our trailer. Character development is explored through dialogue. Gale is characterised as optimistic character 'we could do it you know, take off, live in the woods', whereas Katniss is realistic, bordering on negative 'they'd catch us' and 'we wouldn't make it five miles'. This gives the audience an insight into the characters minds which helps create a closer relationship between them and the audience. Going back to the government idea, it is again hinted at in the personal pronoun 'they'd', paired with her negative expressions portrays the government as the 'bad guys' allowing the audience to identify them as 'bad'. As they are discussing this outside the district in a forest location, it suggests they are free to think and speak what they want- so the location in a way represents their use of language. We also learn that Katniss is skilled with a bow and arrow, portraying her as rather masculine by society because it's not expected for a female to be familiar with a hunting tool; this characterises her as different and helps show that she is the protagonist.

The equilibrium is actually disrupted when the government is introduced. An air craft ship hovers past them in the woods, where a point of view shot is used to look at it. The POV shot looks directly up and forms the idea that they are completely inferior and powerless compared to the government, this could also be because they don't want to be be caught outside their allocated district. Another hand held shot is used to chase them away and highlights their fear. The tone of the trailer begins to set from this point. The next scene captures the people of district 12 going to what's called the 'reaping' whereby a boy and girl is selected for the Hunger Games. Everyone is portrayed as weak and vulnerable due to the high angle crowd shots, telling the audience that the story is about to become more serious. Then Katniss volunteers to replace of her younger sister, Primrose Everdeen. The sound is lowered in the moment Katniss shouts 'I volunteer as tribute' which emphasise those words in order for the audience to understand what she has done and why. If the sound clouded it, it would be less conspicuous and lose importance to the viewer. The lack of sound in this scene that was once very loud means all the attention is placed on her. I like this effect because speech is just as important in explaining the narrative and in this scene works well to continue the strong effects created.

Furthermore, this scene stirs panic and emotion within the characters. When Primrose is screaming to stay with Katniss, and Peeta Mellark is chosen to represent the males, the anxiety and adrenaline created by the selection processes is reflected in the quickening of the cuts and the thumping non diegetic sound. The action/thriller aspects of the genre is expressed through this high rise in tension, which is effective in emotionally involving the audience and fulfills the purpose to entertain. At this point the viewer becomes hooked and continue to watch.

An establishing shot of the Capitol immerses the audience in the new location. The use of the CGI is exciting for the audience because the place looks so interesting and futuristic. This creates ideas in the viewer’s mind encouraging them to think. Plus, it helps place the audience in the mind of the protagonist, Katniss- since it is all new to her too. The change in place brings the narrative and characters closer to these infamous Hunger Games, therefore the tension just build blocks upon blocks until they finally begin.

As the plots continues, the process the tributes go through in preparation for the Games is shown through a montage scene. From being physically prepared, for example the body inspection and the skills practicing scenes. These parts are tightly framed from the use of close ups and awkward angles; making the on-screens space very occupied in the way that the camera looks through and past people to focus on something, like Katnisses leg while laid on the inspection table. This symbolises the claustrophobia, discomfort and lack of freedom they experience right before the games, it’s a tightly scheduled and compulsory process. While the close ups reiterate the idea of close inspection as each tribute is evaluated in different ways. Fear through competition is developed through the violent/aggressive fighting skills scene. We see Katnisses enemy tributes show off their abilities, which excites viewers while also it allows them to fear for Katniss, due to the emotional attachment that begins to grow. This again achieves the purpose to entertain through the building of tension. Also in these scenes, the high key artificial lighting helps portray districts ones high quality technology and almost futuristic lifestyle that isn't evident in district 12 and it shows how the characters are changing, ready for the Games. This lighting can also suggest that they are becoming something they are not (trained killers) which is unnatural, hence the lack of natural lighting.

After this montage of physical preparation, the pace slows again to show how the main characters Katniss and Peeta are also mentally preparing. Peeta says ' I just keep wishing I could think of a way to show them they don't own me' and Katniss replies in a reverse shot 'I just can't afford to think like that' which helps give the audience an insight into the minds of the characters. The two shot of them both, mixed with the low key lighting in this scene the idea that their minds are becoming darker and more emotionally disturbed with stress. Because they are so close to death now; the sun has set, as the day ends, so might their lives. As well as bringing the audience and characters closer, it again emotionally involves the viewer with worry for them. 

Working up to the climax, copy is generically used to communicate a final message or keywords. This trailer has 'The games' 'Will change' 'Everyone', which is impacting in the way that this one declarative sentence is broken into three parts to help emphasise each word 'games' 'change' 'everyone', including the viewers through the last word 'everyone' again connecting them. This means the climax will have a fuller effect.

The final stage in the three act structure within trailers captures the tributes entering the arena before the games being. This climax is heightened with the five second non diegetic dialogue count down; it is the most exciting and intense point in the trailer. The sound and obtrusive edits match it perfectly, especially when the Games officially begin and a surge of sound reflects the tributes running for their life in snappy cuts. Each second interval swaps to another person or group watching the Games, which is emotionally effective as the reaction shots display how people who aren't in the games feel for them. for example the close up of Primroses face and the long shot of Gale with an expression of sadness while sat in the place he did with Katniss at the beginning of the trailer, triggering the audience to feel for them also. The trailer so cleverly ends as the Hunger Games begin, this cliff hanger pins the thriller/action genre, making the viewer definitely want to watch the film to see what happens to the characters and fulfils the purpose to entertain. It’s a very effective ending which is even used in the sequel 'Catching Fire'.

As the Games appear to be set in a forest, it can represent how their behaviour will reflect the nature of survival and wild growth. Survival of the fittest is the theme of the Hunger Games, and connotes the primitive and atavistic behaviour that's needed to survive. Throughout the trailer the endless fast camera movements and increasing pace is linked to the tight frames and claustrophobia, as it can represent the constant and desperate urge to escape and search for freedom, for space to breathe since the compositions shows there is none.

The convention of presenting the film title and release date is used right at the end, so the viewer knows what to see and when they can. This is important so people actually see the film.

I am inspired to use:

• Hand held camera shots to immerse the viewer emotionally
• High and low angle shots to show power
• Non diegetic sound that corresponds with the image and editing
• Character dialogue helps to indirectly explain the story
• The best selling novel idea as a USP
• Vast settings for establishing shots
• The Government disrupt the equilibrium
• Woodland/Forest locations for battles
• No sound for more thrilling speech
• Protective older sibling does anything to save younger sibling
• Teenagers fight (rivalry)
• Survival of the fittest
• Copy used towards the end
• Male and female protagonists
• Point of view shots
• Snappy running shots
• Hand holding to show relationship and trust
• Characterisation and expressions to attach the audience to characters
• Use of violence to create fear
• Intensity and increasing pace
• A countdown at the end
• Film title and release date shown at the end

Film Trailer Influences

It is important we look for other films within our chosen genre, as their trailers will influence how our trailer is planned and constructed. In anticipation, I will make individual posts for my trailer influences because I write a lot, so this will allow me to post more frequently and regularly. 

Choosing a Genre and Initial Narrative Ideas:

When we began discussing ideas, we ruled out the Psychological-Thriller genre because we had studied that at AS level. But we all wanted to create a teen movie, as this was closest to us, having only teenagers we could gather to be in the trailer, we thought it would be best and most fun. 

Coming of Age

From this light-hearted and easy to relate idea, we were able to spark ideas and locations like the beach, and teenage problems growing up. We thought we could look at books and movies that are now popular in today's culture, such as The Perks of being a Wallflower and The Fault in our Stars (written by John Green). Two very popular books, and a major motion picture, that explore themes and issues of young love, disability, sexuality and mental health- all of which relate to what it's like growing up in this world.  Although we loved this idea, we thought our ideas would be too unoriginal and not ambitious enough, due to how close it is to reality. We needed something else that would test our resourcefulness and creativity. That is why we came up with this next idea (but we didn't forget this idea).

Coming of Age Apocalypse

Iain and Lizzie are big on the Fantasy genre, and through this change we could slip some deeper fiction into the mix. A world with no adults. What would happen? That's what we wanted to explore. I liked this idea as it offered me the opportunity to go deep into the mentalities of characters, showing how young people would react in this situation, while forming social criticisms.

We thought this idea would be ambitious and difficult to do, but we accepted this challenge. We sat at a table and thought of imagery that would inspire us for a coming of age apocalypse. We ended up doodling a few ideas for our film poster and magazine cover.

To represent our genre and plot idea, we thought of themes such as survival, trust, rivalry, betrayal to be explored by characters. This is because without adults there is no ruling or rules, therefore the kids would take over, but obviously there would be problems, and the cruelty of children knows no bounds, especially when no one is there to direct and tell them what is acceptable. The kids need to survive on there own, they need to trust each other and there might be betrayal. There will be rivalry over who is in charge, much like in William Golding's book 'Lord of the Flies'.

When thinking about how the world changes, we discussed locations that would show the audience that the world had no adults in existence. We needed a place that is normally full of adults, but is now empty. For example a deserted motorway, this is the type of iconography we need to establish the idea of no adults. Because the genre is apocalyptic, we thought moody skies and skylines would be iconic to use, showing how vast the apocalyptic effects are. We have discussed many other ideas like empty schools, and the kids retrieving to a naturally wild place like the forest or beach. Places like that help symbolise how the kids go back to an atavistic lifestyle-at one with nature in the hope to survive.

Film Magazine Cover Research

What is a film magazine cover?
A magazine cover is the front page of any magazine publication. The magazine cover is designed to attract and appeal to the target audience so that they want to buy and read the rest of the magazine. This relies on a number of conventions that directly target the viewer in order to fulfil the purpose to attract and sell. There are many different genres of magazines that depend on the content within, which suggests who the audience may be- someone who is interested in what the magazine is about. We are creating a film magazine cover which means a film will be featured on the cover- this serves the purpose to sell both the magazine and the film.

The conventions of a film magazine cover:

Masthead
The masthead is the name of the magazine. It is usually placed at the top of the cover in a large font. The masthead becomes iconic of the magazine itself and stands as a symbol to the eyes and ears. Sometimes on known magazine covers the masthead is overlapped by the main focal image, this is because the magazine is already established and the image is more important in selling the magazine. The font choice should represent the magazine with connotations, for example the 'Total Film' magazine font is bold and connotes masculinity which suggests the audience is predominantly male.

Main focal image
As there as sometimes more than one image on film magazine cover to show what else is featured within the magazine, there needs to be a main image that attracts the viewers full attention. It's similar to a film poster but on a magazine cover that advertises the publication too. The main image functions to  sell both the film it's from and the magazine- if the films distribution is good, the audience can associate with the magazines content and feel more influenced to buy a copy. The image can be effective if direct address is evident, like i have explained before that it creates a connection which is more persuasive.

Main anchorage text
This tends to be the title of the film featured on the front cover. Immediately it informs the viewer of the main content and helps draw them in for a deeper look into what else the magazine offers. This can link to how well the front cover feature has been distributed because if the audience are already aware and interested in the film, they may be more interested so that they can read more about it. It's important that the main anchor text is bold and clear- this can be emphasised through slightly overlapping the main image too. This also helps to target the audience of the film- so normally a major production with a wide audience would be featured on the front cover, as this widens the audience for the magazine too. If a cult film that no one knew about was on the front, the magazine would be way less appealing and therefore lose viewers and profits. 

Skyline
A skyline is a small bar with text across the very top of the cover; hence the name 'skyline'.  Within film magazines, the skyline can function well as a place for the films tagline, or a sentence that clearly links to the main feature- if its a minor sentence it would make sense paired with the main feature. Or if this technique isn't used, the content could be different and irrelevant to the main feature, like an advertisement of the opportunity to win something like cinema tickets.

Strapline
stapline, much like a skyline, stretches across the width of the cover, but isn't composed at the top and is more out standing.  Sometimes in film magazines, an iconic film reel may be used towards the bottom of the cover. This is a more extensive strapline, as it can include inset images to help reference other films-'what's inside?' which covers more conventions in one for a maximised effect upon the audiences decision whether to buy the magazine. Although this idea can be predictable and unoriginal, it can quickly signify the film-mag genre. 

Iconography 
The use of iconic imagery on the front cover helps create a theme that links to the front cover film. Images the audience will recognise will allow them to have clearer and associated ideas about the magazine and the featured film. Iconography is visually appealing, so when it is evident, it will catch attention and give the viewer more to think about while weighing up whether the magazine is worth buying. 

Puffs
A puff can be described as an bubble or shape that sits somewhere on the front cover, appearing almost like a sticker. The stand out with eye catching colours/shapes that can compliment the theme/content- for example, if an action film was the main feature, the puff might be shaped my and comic-explosion, like the iconic 'kaboom' shape. Or maybe the magazine could be more themed and always only have circle puffs because they are pleasant and still conspicuous. Puffs normally include text- offering prizes/ whats inside, like a film poster or an exclusive interview with the new-on-the-scene movie star. These are things that grab the audiences attention, and make them feel like they are buying their moneys worth.

Sell lines/inset images/film references
Sell lines add further text based information that indicates 'what's inside?'. This convention is often related to inset images and film references because as a whole they are more effective in gaining attention and interest. When images are paired with text about another film it gives off the idea that the magazine is high quality with rich interesting content. It's important to include a range of visible content on the cover as it appeals to more audiences who will think the magazine is more well rounded and for them. The sell lines should be short and linguistically bold and engaging too, e.g. asking a question, giving a command or an interesting statement about another film/the content. All this will help select the target audiences, gain their attention and fulfil the purpose to make them want to buy a copy.

Price, date and issue no.
This is just basic information that tends to be in a very small font- suggesting its lack of importance. Although the price is important, it shouldn't be off-putting to the viewer, a small font creates the idea that cost isn't an issue as such. The date shows when the publication was released, so the audience will know whether it's recent copy or not. While the issue number can indicate how lond the magazine has run for; long running magazines can be seen as more trusting and reliable to serve its purpose to inform and entertain. Starting-out magazines could possibly be seen as rather naive- finding its feet, which can be unappealing for some...

Barcodes
These are only visible on unsubscribed version, as obviously people would buy a copy there and then. They are placed on the from cover, often tucked away to the side/in a corner and even rotated on the side to slot in. Having this on the magazine cover will create a more professional and official look- like a real magazine that sells.

Types of magazine covers:

There are two types of magazine covers: unsubscribed and subscribed editions.

The unsubscribed type can be found in a supermarket- any place that you buy from. This type will include all the conventions that aim to fulfill the purpose of selling the magazine, such as the main anchor text and image/ sell lines/film refs/ inset images/ strap and sky lines and puffs. As well as other basic information like the barcode/price because without these it would obviously be unpractical when one goes to buy a copy. 

Whereas the subscribed edition  is a lot visually cleaner and appealing. This is because the person buying the magazine is doing so without the need of being persuased through all the conventions that aim to sell- the person would have a copy delivered to their house on a regular basis because they are subscribed to the magazine. People who do this tend to be very interested in whatever genre the magazine is, and would rather not spend time going to the shop, and also might even collect the magazines as this type is a lot more uncommon. Regarding conventions that still stand, the masthead/main anchor image and text/ iconography, as these are still visually attractive and defines each magazine with unique designs.