Evaluation Question 1

Psychological Thriller

Note: Most of this is written with a view to a complete film.

Used

One key character (Shelly): I believe it is of vital importance to focus on one character and one character alone during a psychological thriller, as that way, it is possible to get into their deepest and darkest thoughts, resulting in an overwhelming flow of both disgust and sympathy from the audience, which is a very interesting atmosphere to create. This convention is very special, and sets psychological thrillers way apart from other film genres, as it has the power to create a totally unbreakable bond between audience and character. For these reasons and more, I created Shelly, the main and for the most part only character.

Mind games: Constance “plays” a number of tricks on Shelly (this is all in Shelly’s head), which test her sanity, patience and family relationships. As the tricks/unexplainable events go on, Shelly is pushed further and further into madness, which is vital to the final act of insanity (the smashing of Constance). These mind games also provide a visual pageant for the audience (cheap thrills).

Obsession: There is no special reason for my inclusion of obsession, other than it being the next step after paranoia for Shelly.

Developed

In psychological thrillers, the protagonist’s feelings will often manifest in actions. I have developed this idea by showing my protagonist’s feelings through an object: porcelain. For example, at the end of the film, Shelly smashes Constance, the porcelain doll, which reflects her complete and utter loss of mental control (breakdown). I have developed this convention in my own way as I feel objects are a subtle and clever way of presenting emotion, as opposed to obvious and straightforward actions which do not give a second level to a film.

Challenged

At the end of a psychological thriller, the protagonist will usually triumph over their enemy due to some sort of advanced knowledge, but in Porcelain, Shelly wins against Constance because of her brute force (she smashes the doll, which gives her a feeling of victory). My reasoning for this is rather simple - Shelly cannot possibly win against Constance in a battle of wits as dolls cannot think, talk or move. I also feel the imagery of a young, crazy girl totally demolishing a doll in a fit of rage is much more appealing and powerful as an ending to a film than two characters trying to mentally outsmart each other (in this instance anyway).

I have also challenged the ever-present convention of death for the “crazy person” (see Black Swan and Obsessed), making Porcelain a far more sympathetic psychological thriller. Shelly is indeed left in an inferior position (she is consumed by insanity), but, as she is not dead, there is something hopeful about the ending, as it shows the audience that mentally ill people are out there, and instead of pushing them aside and overlooking them, we should provide help.

Teaser Trailer

Used

Very few scenes/shots: I have decided to follow this teaser trailer convention by using only two scenes from my movie, therefore making my trailer very realistic.

Close ups and mid shots: Many of my shots are focused around heads and faces, to emphasise my genre and also the fact that most of my story is based around the fragility and wickedness of the mind. These shots are additionally good for familiarising the audience with the main character(s).

No voiceover: Voiceovers are used less frequently nowadays, and I have kept to this convention by steering clear of one in my own trailer. I did this not only to be realistic, but also to avoid a cheesy influence over my psychological thriller, making it appear more stylish and artistic.

Challenged

An extremely common feature of trailers and teaser trailers is an increase in pace towards the end. I have challenged this convention by creating a slow teaser trailer (aside from the fast music at the end) that skulks along gently, in order to generate a mysterious and chilling atmosphere. When a character is in a state of emotional turmoil, we expect a speedy and outrageous trailer to reflect this, but I have tried to subvert this, instead focusing on an uncomfortable calm that emphasises the fact that Shelly is just on the verge of breaking.