Alice Ward | Media Evaluation | Question 1

In what ways does your media product use, develop or challenge forms and conventions of real media products?

Crow’s Field Trailer -

Within Lunar Productions: Crow’s Field’s recent trailer, the use of key moments and key camera shots were established throughout the trailer to not only be a catalyst of creating a stereotypical horror notion, but also to highlight the protagonist characters shown in the shots and tell the movie plot. Linking to this, its catalyst ways does not just include the camera shots of film settings, mise-en-scene, transitions, text and titles and last but not least, facets that are particularly not used. By not using such horror media product conventions it challenges forms and conventions of real media products that are in the mass media markets; as we created an alternative implication and connotation to our intentions.

First of all, even though our second draft unfortunately became our final version of our trailer it had the basic frame work of a trailer that followed many other researched trailers. Lunar Productions put in the wide spread used ‘fade to black’ transition through camera shots to stick to the expected building blocks of any trailer. This is to make sure the notion of a teaser trailer was followed and noticed. Therefore we used this convention to ease the understanding in the fact we created a trailer and not anything other. Alongside this we used high contrasted titles in capitals for similar reasons. The use of capitals adds to the significance of the story comprehension in the text by quoting “A terrifying story of witchcraft…” This is with added ambiguity and anticipation through short sentences.

Lunar Productions has challenged the length used on the establishing camera shot of the witch. This is to ensure the upmost significance of the witch and the presence she holds within the film. Even though longer than expected, the vibrancy and use of warm filtering; alongside the length, adds capability and understanding of the atmosphere connoted in the autumn setting. The high colourful activity throughout the slow motion shot, married with the challenging duration, allows viewers time to establish the framework and notion of Crow’s Field as a film. After this long shot a swift switch on filtering is used to much more antique, film-looking and black and white filter. This jump cut to such a contrasting filter adds an aspect of surprise (even though not seen ideal). As part of this draft that, unfortunately, became our final version, the off-the-scale filter added a slight consistency to the dark and eeriness through all set tasks in my coursework. But also an addition of un anticipated, yet surprising change (an interruption much like the torment of ‘Half-Hanged Mary’).

Lunar Productions’ Crow’s Field trailer has chronologically edited the camera footage to follow the movie plot or script. This is the usage of a typical trailer convention, thus adding mysteriousness and leaves an audience with a more interactive way of piecing the story together. It encourages a viewer’s imagination to become active whilst watching the trailer. It is a triggering convention that adds to the puzzling notion that Crow’s Field holds. A puzzling concept of the witch’s need to torment and to disturb innocence. This is a questioning facet that most trailers hold; much like the trailer of the Saw movies (that is a horror involving puzzles and high terrifying suspense).

The soundtrack also used on Crow’s Field is that of an on-going ‘riff’ or high pitched beat. But it also has it’s noticeable off beats (typically using a convention and developing its horror strengths in creating a

Alice Ward | Media Evaluation | Question 1

scary atmosphere). Also, therefore, the inconsistency of the beat, throughout, suggests a surprising implications; adding an edge-of-seat effect. Alongside this the track or instrumental is very high pitched. By partnering this with longer shots it brings more audio interaction and room for it to add suspense.

Crow’s Field Magazine –

Throughout my magazine I have followed a similar format to the well-known and famous magazine named Empire. This well-known magazine specialises in advertising films around the world that are worldwide and globally successful. Thus being a great framework to work with to be able to incorporate a film. First of all, I have used the overlay of the noose like most other films have done in the past as part of a typical magazine convention. This shows the significance of the noose. I have also included the barcode and price on the magazine like other magazines to make it have a whole look of professionalism as a whole. However, I have challenged this as the price in normally between the peaks of the ‘M’

instead of on the side. But, again, we went for a more simplistic look to our trailer, poster and magazine and had to stick with consistency. The high contrasting colours is the use of another convention that most magazines, including Empire, use. This is to allure readers in and want to know what is written in red or yellow (and if it is something special or exclusive). Likewise, I have used the stereotypical ‘Horror Movie Special’ quote that is sometimes used in Empire to show the opportunity of an exclusive look into a new upcoming film. The entire font is matching throughout empire; with the logo font being traditional to keep some expectation and no uncomfortability entirely. The tall and boldness of the font allows a ‘standing out’ connotation. Which matches the smaller font; where mentioning the producers. However Crow’s Field the title remains as its own font as it is almost a brand name on the magazine and shows an audience that it

is the big special (with the added banner convention). I have, also, challenged by not having even a still as a big main image in the centre. This is because of the ambiguity and consistently once again to be fluid all the way through. And the mysterious of the pentagram sticks with the poster and with the storyline in the trailer. However and interpreted trailer still is shown (the elongated shot still). The format and layout basically follows the same guidelines as the Empire magazines’ ‘blue prints’, thus just using the convention of spaced writing, side text, big titling etc.

Alice Ward | Media Evaluation | Question 1

Crow’s Field Poster –

The Crow’s Field poster uses a main image of a simple white pentagram that stands as a symbolism for witchcraft. This being such a simple main image, once again challenged the conventions of having character main images for posters much like Annabelle and Saw. But by challenging this it enables uniqueness by Lunar Productions and our film Crow’s Field (and allows the typical high contrasts to speak greater volumes in itself). However, in contrast, I have used a short and snappy slogan of ‘A terrifying story of witchcraft…’ much like an annotated Saw poster done through Research & Planning. It is centred alongside the titling that is in a greater font size. This is all use of the typical poster conventions needed to grab a viewer’s eye. It’s spacious contrasts and lack of activity makes a good poster as the mysteriousness and darkness matches with anything but illuminates the white (grabbing anyone’s attention: like a light bulb). The small lettering font fits the fluidity of all other new releasing films with a release date in the centre; but not giving too much away. The font is slim and slick and not as bold, to allow the image and white pentagram to, again, speak volumes. This poster resembles many of the magazine conventions too as consistency is key throughout marketing a film so a viewer and audience know to match.