Harry Stewart is assigned the case of Nigel Flynn’s (Harry Stewart’s mentor) murder and, consequently, Flynn’s wife Lily’s kidnapping. This gets him into the previous case which is to do with a criminal drug baron. Harry believes he has to get Lily back as he feels he has a duty to Nigel’s memory.
Whilst investigating the murder through interviews and CCTV etc the forensics of the body come back. They don’t match with Nigel’s dental records. Harry orders second tests but these only confirm that the body isn’t Nigel’s. Shocked by the news and Nigel’s disappearance, Harry begins to investigate the possibility that both Nigel and Lily have been kidnapped.
Later a ransom note is dropped off at the station, stained with blood. Harry decides to trace the person who left it through CCTV. Following the person’s movements, he is led to a derelict building and he enters alone but armed. As soon as he enters he is shot at. He engages in a shoot-off with the attacker who he can’t indentify, so he tries to get closer. Eventually, he finds out that the attacker is Nigel, who reveals that him and his wife were never kidnapped. They instead just wanted the ransom money and then leave the country. Nigel shoots at Harry but misses, however when Harry returns fire, he kills Nigel. Harry stands over his dead mentor’s body as police sirens are heard in the background and a team of police enter the building.
Word count: 246
Friday 9 October 2009
Thursday 8 October 2009
Aims & Context
In my creative group we will be filming a short sequence from a film in the style of a gangster or crime genre film. It should appeal to a target audience of males, aged 16-30. The target audience will also have a social classification of E to A, from the unemployed to lawyers and doctors.
My aim during the filming will be to use my knowledge about cinematography from my FM1 studies to fully understand the codes and conventions of gangster/crime genre films. My group will be using a genre based approach to our film sequence, using the conventions of a gangster/crime film, and using elements from film noir and French new wave.
I will be the editor for the film sequence and will try to edit the sequence in the style of most gangster films, to keep within the genre based approach.
My aim during the filming will be to use my knowledge about cinematography from my FM1 studies to fully understand the codes and conventions of gangster/crime genre films. My group will be using a genre based approach to our film sequence, using the conventions of a gangster/crime film, and using elements from film noir and French new wave.
I will be the editor for the film sequence and will try to edit the sequence in the style of most gangster films, to keep within the genre based approach.
Genre Conventions
An essay about the genre, gangster/crime, chosen for my group's film sequence:
In my group’s creative project we will be filming a sequence from a gangster/crime genre film. To do this we will be using the usual gangster genre conventions or codes. These conventions help create expectations of the film for the audience, from the characters and the Mise-en-scène to the overall story and plot. The actual gangster/crime genre is very similar to the film noir genre as they share many of the same conventions.
The identity of the protagonist in gangster/crime genre films is important and unlike other genre films there is a clear choice that can completely change the story; having either a law abiding police officer for a protagonist or a criminal. Having, for example, a member of the police for a protagonist means the film has elements of an action genre; the film follows the protagonist as they try to catch or kill the criminal usually for personal motives, i.e. revenge. However, having a criminal for a protagonist is almost unconventional in its self. They usually face an antagonist of another criminal or even a police officer. This means that the formula used for action, adventure, sci-fi and even horror films has been turned on its head; the usual ‘hero’, the police or crime fighting hero, is now the antagonist, someone the audience shouldn’t like as they oppose the protagonist. Because the protagonist is a criminal the audience are treated to a new perspective in a film. Gangster films almost always glorify criminals and gangsters and what they do. The characters are given new dimensions and depths that most antagonist criminals in action films aren’t: deep back stories on how and why they grew to be a criminal.
Another convention of gangster/crime genre films is their use of location, something very similar to that of film noir. One of the most recognisable conventions of gangster films is the use of ‘underground’ locations, maybe a nightclub or a small alleyway. To emphasise these locations as dark, dangerous places the use of light and dark is important; casting dark shadows around the gangster and using very little light makes them seem more dangerous.
A further convention of the gangster/crime genre is the use of music and sound throughout the film. A feature also common to film noir is the use of voice-overs throughout some gangster films. This voice-over grants us the right to hear the protagonist’s inner thoughts and motives, and adds a personal touch to the film. This is especially useful in a gangster/crime genre film as it means the audience can become closer to the criminal protagonist and understand them a little more. This means they can relate to them and even care about what happens to them, meaning they care for the antagonist, the police, less. The music used in a gangster film is also important; dark, unsettling music adds to the dark atmosphere and gives the film another dimension. It helps create the suspense needed in some of the film’s most dramatic scenes and moments.
An additional convention needed for gangster/crime genre films is the use of Mise-en-scène. Props and costumes are vital to these films; gangster films need props, especially guns. A gangster/crime film without the use of prop guns seems strange and an unexpected, especially to the audience who have certain expectations of gangster films, guns one of them. Costumes are also significant because, like any other film, they define the characters, protagonist and antagonist. Giving the criminals and gangsters dark, black imposing suits gives them a sense of unity and seriousness. It also makes them appear very impressive and dangerous, something a criminal protagonist needs.
In our creative project, we will use these conventions of the gangster or crime genre film to create our sequence. This way it will be recognisable as a gangster film, and create certain expectations and feelings in the audience that gangster/crime films do.
In my group’s creative project we will be filming a sequence from a gangster/crime genre film. To do this we will be using the usual gangster genre conventions or codes. These conventions help create expectations of the film for the audience, from the characters and the Mise-en-scène to the overall story and plot. The actual gangster/crime genre is very similar to the film noir genre as they share many of the same conventions.
The identity of the protagonist in gangster/crime genre films is important and unlike other genre films there is a clear choice that can completely change the story; having either a law abiding police officer for a protagonist or a criminal. Having, for example, a member of the police for a protagonist means the film has elements of an action genre; the film follows the protagonist as they try to catch or kill the criminal usually for personal motives, i.e. revenge. However, having a criminal for a protagonist is almost unconventional in its self. They usually face an antagonist of another criminal or even a police officer. This means that the formula used for action, adventure, sci-fi and even horror films has been turned on its head; the usual ‘hero’, the police or crime fighting hero, is now the antagonist, someone the audience shouldn’t like as they oppose the protagonist. Because the protagonist is a criminal the audience are treated to a new perspective in a film. Gangster films almost always glorify criminals and gangsters and what they do. The characters are given new dimensions and depths that most antagonist criminals in action films aren’t: deep back stories on how and why they grew to be a criminal.
Another convention of gangster/crime genre films is their use of location, something very similar to that of film noir. One of the most recognisable conventions of gangster films is the use of ‘underground’ locations, maybe a nightclub or a small alleyway. To emphasise these locations as dark, dangerous places the use of light and dark is important; casting dark shadows around the gangster and using very little light makes them seem more dangerous.
A further convention of the gangster/crime genre is the use of music and sound throughout the film. A feature also common to film noir is the use of voice-overs throughout some gangster films. This voice-over grants us the right to hear the protagonist’s inner thoughts and motives, and adds a personal touch to the film. This is especially useful in a gangster/crime genre film as it means the audience can become closer to the criminal protagonist and understand them a little more. This means they can relate to them and even care about what happens to them, meaning they care for the antagonist, the police, less. The music used in a gangster film is also important; dark, unsettling music adds to the dark atmosphere and gives the film another dimension. It helps create the suspense needed in some of the film’s most dramatic scenes and moments.
An additional convention needed for gangster/crime genre films is the use of Mise-en-scène. Props and costumes are vital to these films; gangster films need props, especially guns. A gangster/crime film without the use of prop guns seems strange and an unexpected, especially to the audience who have certain expectations of gangster films, guns one of them. Costumes are also significant because, like any other film, they define the characters, protagonist and antagonist. Giving the criminals and gangsters dark, black imposing suits gives them a sense of unity and seriousness. It also makes them appear very impressive and dangerous, something a criminal protagonist needs.
In our creative project, we will use these conventions of the gangster or crime genre film to create our sequence. This way it will be recognisable as a gangster film, and create certain expectations and feelings in the audience that gangster/crime films do.
Group
In my group we will produce a film sequence based on a gangster or crime genre.
Director: Josie Robinson
Cinematographer: Sophie Thompson
Editor: Me, Kate Mulligan
Editor: The editor is responsible for cutting together the shot footage, and making sense of the story according to the director's vision. The editor perhaps has the most opportunity to experiment, and can often produce work which strays from the original intention, but which is far superior to that originally discussed. It is an absolute necessity (due to the duration of post-production) that the editor is completely familiar with the editing system that is being used; otherwise there can be significant delay, and more importantly the potential for failure.
- from Film Studies A2, The Essential Introduction.
Director: Josie Robinson
Cinematographer: Sophie Thompson
Editor: Me, Kate Mulligan
Editor: The editor is responsible for cutting together the shot footage, and making sense of the story according to the director's vision. The editor perhaps has the most opportunity to experiment, and can often produce work which strays from the original intention, but which is far superior to that originally discussed. It is an absolute necessity (due to the duration of post-production) that the editor is completely familiar with the editing system that is being used; otherwise there can be significant delay, and more importantly the potential for failure.
- from Film Studies A2, The Essential Introduction.
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