Shooting Schedule And Organisation Of Actors

Symbolism Of The Candles As A Prop

We looked at different ideas of horror movies that inspired us so that we could meet the horror genre. We looked at 1976 horror movie 'Carrie'. The candles are extremely significant in the movie as they represent religion and are a sinister element which conveys horror. We decided that we wanted to use this aspect as it looked quite menacing. Also as we are using the theme of religion in our trailer, we want to keep this element so that it can look effective. The candles can also represent Levi Strauss' binary opposition as light versus dark or life and death. The characters should represent this feature as there is a villain who's motives are evil and a victim who is pure and competent. We intend to use candles in a significant way which will entail fast pace music over it as it should link to the horror genre a lot as this sense of suspicion and guilt. The main character performs an exorcism on the necklace as it is a bad object, resulting in an unknown figure coming to haunt the final girl. Candles will be highlight in those scenes.

Prop/Location List

Storyboard

Storyboard from loisdouglas01

Character's Personality

Riley Allard ('Allard' meaning brave)

The character Riley is the final girl and the movie's protagonist. As she abstains from sex, drugs and alcohol, she has the aspects of the final girl theory (Carol J Clover). She is not very popular and only attends the party to 'please' her friends. Although she does not drink alcohol at the party and follow the conventions of a teen stereotype, she becomes a victim towards two lovers that begin to stalk her. Riley lives with her mother and father in an isolated area in South London . She is very educated and intelligent. She currently attends college, although she is looking at universities in order to study maths next year, pursuing her ideal career as an accountant. Riley is quite resourceful, but slowly becomes stronger over the course of the movie. She overcomes threats and deaths surrounding her. Riley is seventeen years old and is described by her friends as a ‘kind-hearted’ girl. She is not influenced by her friend’s personalities. In the movie, Riley has many links to other final girls in horror movies, such as Sidney from Scream. As Sidney is under constant pressure to have sex with her boyfriend, Riley also is under pressure with her long term partner. However, unlike Sidney, Riley does not give in and remains a virgin. 

Narrative

1.  Riley’s (Dawn) on her bed at home, looking at herself in the mirror
2.  Riley talks to Phoenix (Sharna) about feeling watched
3.  Phoenix persuades Riley to attend the party
4.  Riley argues, she doesn’t want to attend the party - typical aspects of the final girl theory.
5.  She’s finally persuaded by Phoenix, and attends the party
6.  Loki attempts to touch Riley in a sexual manner, this is seen by a bystander
7.  The bystander tells Phoenix and, Phoenix then believes Riley’s out to ruin her relationship with Loki.
8.  Riley and Phoenix go home, and while Phoenix is busy in the bathroom – Riley notices a shrine to herself under the bed (in Loki and Phoenix’ house)
9. Riley thinks Loki is to blame and the owner of the shrine
10. Riley runs out of the house, she manages to drop her key = and Phoenix realises she’s  found the shrine
11. New day
12. Riley “you need to look under the bed! I think Loki’s obsessed with me”
13. Phoenix “what are you going on about?!”
14. Riley “what are you going on about?!”
15. Phoenix turns to look at Loki who is lying down in the bed with her, and the audience feels as though Loki is the guilty one because of her menacing stare
16. Flashback? – past interaction
17. Riley and Loki were together earlier on in the year.
18. Phoenix manages to distract Loki from her and that is how they begin their relationship.

Phoenix’ paranoia sets in, because of this event and therefore she is always wary of Riley – this is why they become best friends, so that Riley has no reason to go after Loki

Final Girl/Protagonist - Riley

Levi Strauss Work

Audience Reaction To Halloween (1978)

Narrative Theories

Narratives are driven by conflict - Claude Levi-Strauss: Binary opposition, created by the two opposite.













Aristole - at the heart of tragedy is conflict and this is a representation of action.

The Conjuring (2013)

In the first clip we watched, there was the use of Levi-Strauss' Binary opposition of light and dark. There was also good verses evil. In the second clip, old and young, there was also human verses alien. The third clip consisted of light and dark, young and old.

Levi-Strauss considered the conflict created would drive the narrative forward until finally some sort of balance between them or resolution is achieved.

Here are some examples of Binary opposition:

• Light and Dark
• Right and Wrong
• Good and Evil
• Strength and Weakness
• Noise and Silence
• Inside and Outside
• Youth and Age
• Poverty and Wealth
• Makes and Female
• Honest and Deceitful
• Human and Alien
• Sanity and Insanity 

Tzvetan Todorov

Tzvetan Todorov was born in 1939, on the 1st of March. He was born in Sofia, Bulgaria. He is a Franco-Bulgarian historian, philosopher, literary critic, sociologist and essayist. Todorov is the author of many books and essays, which has a significant influence in anthropology, sociology, semiotics, literary theory, thought history and culture theory.

Todorov felt that all stories start in a state of equilibrium, which is then disrupted.

Equilibrium - balance

Equilibrium

State of well being and normality between the protagonists.

Disequilibrium 

Well being is disrupted.

'For tragedy is a representation, not of men, but of action and life, of happiness and unhappiness - and happiness and unhappiness are bound up with action.

- Needs the two opposites in any shape or form if you cannot differentiate the meaning.

Barthe's Enigma Code

Barthe's Enigma Code

1. Proariretic code (the voice of empirirics): The code of actions. Any action initiated must be completed. The cumulative actions constitute the plot events of the text.
2. Hermeneutic code (the voice of truth): The code of enigmas or puzzles.
3. Connotative (or Semic) code (the voice of the person): The accumulation of connotations. Semes, sequential thoughts, traits and actions constitute character. 'The proper noun surrounded by connotations'. 
4. Cultural or referential code (the voice of science (or knowledge): Though all codes are cultural we reserve this designation for the storehouse of knowledge we use in interpreting everyday experience.
5. Symbolic code (voice of the symbol): Binary oppositions or themes. The inscription into the text of the antithesis central to the organization of the cultural code.