Applying media language

In our film On the Brink, we will include a vast range of techniques to achieve the engaging and dramatic product we're hoping for. These techniques will be used to add to the themes and issues in the narrative.

We begin the film by setting the scene as joyous and celebratory, with excited facial expressions and body language aiding the high key lighting we will use for the daughter's return home. Warm colours will boost the idea of this being a loving and cheerful household, which will give spectators a false sense of security and set the film up with a seemingly different genre. These uses of mise en scene, along with close ups and smooth camera movements, are conventional to Romantic and Comedy films. This use of camerawork and miss en scene is similar to the peaceful tone throughout the romantic short film 'Post It' where two characters enjoy each others company and go around town making others happy. We hope that people will watch our opening and expect the rest of the film to match the buoyant mood. These genre conventions make it more shocking and exciting for spectators when we jump to the other genre in our hybrid film; Thriller.

Parallel cuts are used as a direct transition between genres in our film, when we flick between John and the dark times he is going through, when using the props of drugs. There will be a clear contrast between the high key lighting downstairs and low key, enigmatic lighting in the bathroom where John is struggling to come to terms with what he's doing. The upbeat diegetic music being played downstairs will be contrapuntal to the sombre emotions John is feeling. Spectators will be placed in the uncomfortable position of seeing the family's obliviousness to John's actions through unrestricted narration whereby contrasting props are used in graphic matches, with John taking drugs and the family drinking and eating delicious food. Fast paced cuts are used in this sequence to represent the chaos taking place in the party atmosphere downstairs and chaos in John's mind upstairs.

Thriller conventions continue to be met as we see restricted narration in the church, with John shown at a distance and with low key lighting, making spectators question if it's him or not. We want to create this enigma to make spectators feel a part of this investigation, as if they are searching for him with the family.

In the final scene of the film, we will use many techniques to add immense tension and suspense for spectators, generating a feeling of desperation for Rebecca to reach her Dad in time. Spectators will be especially involved due to how we will align them with these two characters, with parallel cuts, close ups and low frequency cuts used in many shots of them throughout the film. This will allow spectators time to begin understanding these complex characters, and should make them determined for John and Rebecca to be reunited. The diegetic sound of screaming distorted by the wind will generate frustration as John doesn't hear his daughter. The extreme long shots and tracking used will emphasise the towering cliff and how close John is getting to reaching the edge. The film will then and on a literal cliffhanger, leaving spectators wondering if John jumped or not. This is a narrative Thriller convention used in other films such as Inception, which we feel was incredibly effective and left spectators questioning and talking about what happened next.