We start our research with respect to mentioning different Camera movements, angles and compostition. I'll be focusing on giving a brief description of whatever example I will provide; of the movies/series being presented.
Camera Angles/Shots
1. Close Up Shot:
"VIDEO"
"SCREENSHOTS"
● MOVIES/SERIES: Dexter (T.V Show)
In this scene from "Dexter", Close Up shots are seen many times, i.e; in 0:09 to 0:14 (Conversation between Dexter and Doakes), 0:18 to 0:24 and 0:38 and 0:48 to 0:49 (Dexter and Doakes fighting). The shot signifies the importance of the feelings the audience gets when facial expressions are exposed; more to the screen, connecting the viewer and the characters thoroughly. The purpose for the implementation of this shot, would be to let the audience know the facial expressions of the characters; hence they get a clear view of the emotional aspect of the specific entity.
2. High Angle Shot:
"VIDEO"
"SCREENSHOT"
● MOVIES/SERIES: Maleficant
In this scene from Maleficent, she is lifting the curse from Beasty, and she is struggling. The High Angle shot is seen from 0:48 to 0:52. The purpose of this shot is complete and securely observable, as it is showing Maleficent in pain, small, weak and scuffled. The purpose for this shot would be, to induce a sense of weakness, for the characters.
3. Extremely Close Up Shot:
"VIDEO"
"SCREENSHOTS"
● MOVIES/SERIES: Brothers
These shots are scene during the segments between 1:27 and 1:56. The tension of the situation is potrayed by the emotions of the protagonist, who is clearly shown in shock and distress. Hints of anger and regret are also visible due to the camera being extremely close to the face. The purpose for this shot is similar, to the one for the "close-up shot", but again, a more closer look on the expressions of the characters will uplift the link between the audience, and the characters
4. Two Person Shot:
"VIDEO"
"SCREENSHOTS"
● MOVIES/SERIES: Inception
In this scene from inception, Ariadne for the first time visits the dreamworld with Cobb. This shot is seen from 0:08 and onwards; other shots like Medium shot and Over The Shoulder shots are also observable; but the most prominent is The Two Person shot, as it follows and gives the audience a good look in the contrasting emotions of both Ariadne and Cobb; Cobb who is confident and well-experienced and Ariadne, who is the newbie and peplexed in every aspect. This shot, for obvious reasons, would be used to adjust 2 entities in the frame, whilst also giving respect to the background.
5. Low Angle Shot:
"VIDEO"
"SCREENSHOT"
● MOVIES/SERIES: Drive
The Low-Angle shot is observed during the quarell scene; 1:24 to 1:32; where the protagonist is scene as big/enormous, almost covering the entire frame; this shot tells us that the protagonist is in power,, strength and control (Basically used to show that the specific character has an upper hand over the given situation). This shot will be used to emphasize the sense of dominance, for a specific character.
6. Over The Shoulder Shot
"VIDEO"
"SCREENSHOTS"
● MOVIES/SERIES: American Psycho
The protagonist is discussing something "Important" with his collegues, this shot is observed from 2:26 to 2:35 and from 3:41 to 4:05 when Patrick is having a small talk with a Homeless man. The purpose is to conversely initiate and orderly pattern of conversation between 2 characters, so that the audience can understand the meaning behind the conversation properly. The purpose for this shot would be to make a bridge between the audience and the speaking characters; also it aesthatically elevates the scene.
7. Medium Shot:
"VIDEO"
"SCREENSHOT"
● MOVIES/SERIES: Shutter Island
This shot is observed from 0:00 to 0:34 when Teddy and Chuck are talking. Furthermore, another scene of the military and the doctor talking is seen from 0:51 to 0:54, which is also using this shot. The purpose is to basically tell the body movements to the audience, whilst expresions are stressed upon lightly, body language tells a lot about the emotions of the characters during this perspective. The purpose for this shot would be; to connect the viewer and characters, by emphasizing on the body language and emotional context of their movement.
7. Wide Angle Shot:
"VIDEO"
"SCREENSHOTS"
● MOVIES/SERIES: Insidious
The Wide shot is used to give the audience a respectable time to observe the character and how he'll interact with his environment, also in other senses, this shot is also used to grab all the available characters and cluster them in a single frame, to easily decipher the expressions correlating with the body language. From 0:00 to 0:05 and from 0:09 to 0:17 we can witness this shot in action. This shot will be used to give a proper view, of the props and characters (basically all of the frame), with respect to the foreground, middle ground and background
Camera Movements:
1. Handheld:
"VIDEO"
● MOVIES/SERIES: Dexter New Blood
The main cause behind this type of camera motion can be justified by "the feeling of the actions". This movement captures the essence of the scene, by moving the camera lightly, as per the actions of the character, or by potraying the environment. By potraying the environment I mean, suppose that the character is in a vehicle, sudden jerks during the filming can connect the audience with that specific characters environment. In the same sense here, from 2:12 to 2:20, when dexter smashes the face of the hunter, using the gun, the camera shakes a little when he falls. This potrays a connotation, as we can decipher that the hunter felt dizzy, disorientated and was about to just fall down unconscious. The purpose for this movement, would be to merge the actions of the characters with the camera, potraying a bit more reaction in the project.
2. Pan:
"VIDEO"
● MOVIES/SERIES: Dexter Original Sin
This is an upcoming prequel of the Dexter series/movies. In this trailer, the panning occurs from 0:36 to 0:38, Panning has many purposes but the main reason, in this trailer is to connect the character with the audience, with a Close Up shot, and the background being exposed, whilst the camera is moving, introduces the setting and theme of the scene, for the viewer to understand properly. This camera motion will be used to introduce a character; or specifically introduce the surroundings with respect to the characters actions.
3. Tilt:
"VIDEO"
● MOVIES/SERIES: Drive
Tilting here has occured from 0:06 to 0:07. The camera moves verticaly downwards as the protagonist (Driver) throws the roadman downwards, in the elevator. The purpose of this movement is to convey to the audience, about the changing perspective of the scene, by emphasizing the exploration of the environment, and the actions of the protagonist. The purpose of this movement, would be to introduce the environment or increase the emotional aspect of the whole action sequence, of a character.
4. Steady:
"VIDEO"
● MOVIES/SERIES: Vannila Sky
Steady motion of the camera occurs from 0:37 to 0:46. Using this camera movement makes the scene simple for the audience to comprehend, without any suddent jerks or motions, the viewer truely is able to grasp the emotion and logical value of the scene. This "movement" will mostly be used to potray normal shots, with reference to different angles.
5. Dolly:
"VIDEO"
● MOVIES/SERIES: Bates Motel
This type of motion tends to smoothly capture a scene, without any rapid jerks, hence the audience percieves it as intended, The vastness of the frame is also observable more. In this scene from "Bates Motel", this type of movement is seen from 3:20 to 3:25. This movement will be used to introduce a dramatic sequence, particularly in the sense of "confrontation" or "realization"
Composition:
1. Rule Of Third:
"SCREENSHOTS"
● MOVIES/SERIES: Prisoners
Rule of third is rather a symmetrical way, in which the alignment of the things in the frame comes into proper positioning. More specifically, placement on the top-mid left side of the grid, will be percieved/noticed more by the audience. Just like that, being in the middle of the grid or on the right side also signifies uniformity in the scenes; as referenced from some of the above examples, from the Prisoners. The purpose of this would be to use the normal aspects of compostion, to make a project that references all of the psychological snippets, to overcome the little to none attention span, of the audience.
2. Shallow Depth Of Field:
"SCREENSHOTS"
● MOVIES/SERIES: Nightcrawler
In simple words, Shallow depth of field refers to zoning out the background (mostly by applying a blur effect), and making the foreground more prominent. Using this, we can attract/focus the viewers attention towards the specific thing in the foreground, concentrating all the imagination of the audience towards our desired subject (most of the time a speaking character). Above are shown examples of this type of camera composition from "Nightcrawler". The purpose, for this would be to attract the attention of the audeince, to the face of the characters, hence the linkage between the viewer and characters increases.
3. Deep Focus:
"SCREENSHOTS"
● MOVIES/SERIES: Nightcrawler
Using the above examples, we can translate what deep focus means; it basicaly utilizes all three, Background, Middleground and Foreground. This clearly enables the audience to see all the elements within the frame, empowering the context of the movie, as the viewer gets a better grip on the present scene. Using this, enables the director to easily convey a deeper message to the audience, without adding more scenes to present the situation in the movie. Deep focus would be useful for us to display the background props/characters, that would play a role with the protagonist or the specfic character in the frame.
These are going to be, for obvious reasons, used most frequently in our project. Digetic would be those sounds which the in scene character can hear; mostly these noises would be enhanced, hence these would also be audible to the viewer. for example; the noise of the pen being used to write and paper crumpling; 0:06 to 0:18; the sounds would align with the on-screen activities. Non-Diegetic sounds are for the engagement of the audience, and the inscene character cannot hear them, i.e, background music is a great example, which is heard almost throughout this clip. Synchronous sounds would be the ones, which both the audience and the in-scene character can hear, and they correlate with the actions, in the scene. Non-synchronous would be those which do not directly parallel to the actions being done in the scene, hence if footsteps are heard, but there is no entity visible on screen, that is a Non-Synchronous sound. All of these categories of sound would be essential, in creating an connecting bond with the audience, to deeply insert a bullet of uncertainity in them.
2. Sound Perspective & Sound Effects:
"VIDEO"
● MOVIES/SERIES: Fight Club
Sound Effects are a major part of a film, along side music, these are used to induce any kind of emotion specified by the intensity and type of on going scene. For example, a sudden sound of inceasing breathing, during a harsh conversation can indicate that the situation is about to escalate. sound effects are also used to magnify the produced sounds, in the scene, like footsteps whilst walking, chirping of birds, and noise of the wind; these are all amplified to immerse the viewer into the story, Hence both these points a kind of a side by side package. Sound effects used in this scene from "Fight Club" are; The sizzeling of the burning hand from 0:25 to 0:26 and the opening of the bottle, and pouring of the vinegar, from 1:57 to 2:01. When it comes to Sound Perspective, it can be referred to as the loudness of the sound. When the audibility of a sound is increased or decreased, this is used to indicate that the protagonist or a character, is a certain distance away, or near the source of the sound. This further connects the audience with the character. The panting of Edward Nortons character (Narrator), is amplified down when the camera is away from him; 2:01 to 2:04. These will surely help in making our project more vague and easy to comprehend.
3. Sound Bridge and Voiceover:
"VIDEO"
● MOVIES/SERIES: Shutter Island
First and Foremost, voiceover is a narrative way of making the audience understand an action, backstory or ongoing story. The way in which the viewer hears the briefing from a character, whilst visualisations are also occuring, makes the plot more easy to fathom. Now, Sound Bridge is a zesty way to transition in between scenes. Simple ways to explain this is that, when there is an action happening, the sound of it is heard before the frame is shown, in which its visual source is observed. Notable examples include a door creaking sound being played, before showing who has opened the door and in the above scene, from 0:40 onwards, the sound of the two characters speaking is antagonistically heard, often when the camera is on the other characters face, making it easy to transition inbetween conversations. The purpose of both of these, would be to make a stimulating rythm between transitions and contextual meaning of the scenes.
Ambient Sounds will also be used to give the scenes a more realistic approach, as well as Sound Track.
Lighting ( Mise-En-Scène ):
1. High Key & Natural:
"SCREENSHOTS"
● MOVIES/SERIES: Dexter (Series)
High key lighting is used to induce a sense of trust and warmness to the audience. When the whole face of the character is shown, brightened up and all welcoming, and no shadows are observed, an adhesion of trust is formed, between the viewer and the character. Image number one shows this clearly, as tenderness is seen on Dexters Face. On the topic of Natural Light, it is a form of realistic visualisation, in which natural sources of lighting are used, such as the sun or moonlight. This practical way of manipulating light is widely used as a form of supporting light, with other light sources. Implementing these in our project is essential to power the "no-predictibility" factor, where an innocent looking character, might just turn out to be the true mastermind behind all the atrocities...
2. Low Key and Chiaroscuro:
"SCREENSHOTS"
● MOVIES/SERIES: American Psycho
Low Key lighting is used when a character has to be shown as mysterious, protective or suspicious. The shadow formed whist reference to the atmosphere, creates a shady and moody atmosphere, often used to indicate an unreliable pathway in the story, where the outcome is uncertain. The first photo shows low key light, whereas the second one is an example of Chiaroscuro. This is the art of manipulating light itself, to make a parallel contrast between light and dark. This creates a visually stunning scene in which the context could be altered, dramatised and overall the scene, be shown as "cinematic". The emotional meaning that the viewer understands, is changed accordinglly too. The purpose for both of these lighting styles, first of all, create shadows that clash with the bright lights; it makes the scene look more mature and realistic. Secondly, the usage of eye-catching visualisation, with lighting can elevant the confusinfg stance of our genre.
Mise-En-Scène Elaborated:
1. Location & Settings:
"SCREENSHOTS"
● MOVIES/SERIES: Dexter & Halloween II
Since the the main focus of our story would be on a serial killer, I searched primarily about killers/murderers. I was able to decipher two primary things about the location or setting of the whole murder sequence, either it is conducted in a secret layer, to remove and dispose of any evidence easily, or it is done openly, more specifically in the victims house and the body is left there. Subsequently, The confined space in all the murder stories, induces a sense of entrapment for the audience, which is best for our project. Because we want to implement a sense of security for the time being, for the killer in our story, I thing its preferable to go with the Indoor, more confined setting or location.
2. Costume & Make-Up:
"SCREENSHOTS"
● MOVIES/SERIES: Monster (Jeffery Dahmer) & American Psycho
When we talk about the costume, it mainly grabs the attention of the audience by implementing the emotional tension of the scene, with the ongoing drama/action. A specific costume can either screw up the whole point of the scene, or can actively play a role in increasing the meaning of the activities. The purpose for researching on this, was to evaluate what type of dressing and makeup will make our genre, more parallel to our story. Since it will be about a rogue killer; the costume would specifically be based on the fact that he is trying to blend in with the everyday people, hence casual clothing would be observed. Furthermore, during the murder sequences, special precautions would be seen by the audience, by the killer to remove evidence, like wearing gloves, mask, apron or the usage of disposable plastic sheets. This will surely help give our story a realistic approach.
2. Set Design:
"SCREENSHOT"
● MOVIES/SERIES: Seven
As props and the design of the set play an important role in developing the atmosphere for the emotion fluctuations of the viewer, researching about this corelating with our specific genre was important. Getting reference from "Seven", a movie which leads the story of two detective, following a culprit, who uses the Secen Deadly Sins, as a roleplay, to kill his victims. The meticulously placed blood in this scene, along with the destoryed furniture, money placed along with the message of greed, induces a sense of fear and irrationality in the audience, which is what we are hoping to secure.
Editing:
For the editing part, specfically selected notions would be used to carefully blend all the footage recorded, into a storylined based video, where the viewer will be able to understand where the narrative is going towards. The purpose for these selected editing tactics; in simplest words would be to create a cinematic piece of art, which the audience would be able to comprehend as likeable. The following are the names of the techniques used:
1. Continuity System
2. Straight Cut
3. Eyeline Match
4. Action Match
5. Jump Cut
6. Cutaway
7. Editing Pace: Short & Long
8. Fade In and Fade Out Transition
9: Ellipses
10. Post Production
11. Visual Effects
12. Compositing
Conventions In A Psychological Thriller Movie
As I start researching for my psychological thriller short film, I am analyzing how other films in the genre build suspense, create unsettling atmospheres, and blur the lines between reality and illusion. Movies like Inception, American Psycho, and even horror films like Insidious have mastered psychological tension in ways that I want to explore and incorporate into my own project. One of the biggest conventions I have noticed is the unreliable perspective of the protagonist. In American Psycho, Patrick Bateman’s descent into madness is portrayed in a way that makes the audience question what is real and what is imagined. Inception constantly shifts between dreams and reality, keeping both the characters and the audience uncertain about what to believe.
I want to explore this idea in my film by making the protagonist experience hallucinations or distorted perceptions, leaving it unclear whether what they see is real. Visually, lighting and cinematography play a huge role in shaping the atmosphere of a psychological thriller. Se7en and Insidious both use deep shadows, dim lighting, and strong contrasts to build tension. I want to experiment with low lighting, harsh shadows, and a mix of warm and cool tones to reflect my character’s state of mind. Close up shots of specific objects, like a scalpel or a ticking watch, could also add to the suspense by drawing attention to small details that have a deeper meaning in the story. Sound design and music are just as important. Insidious relies heavily on eerie and unnatural sounds to create unease, while Inception uses a slow building score to intensify tension.
I want to study how sound effects like an increasing heartbeat, distorted whispers, or sudden silences can immerse the audience in the protagonists unstable mental state. Psychological thrillers often explore themes of obsession, guilt, and fractured identity. American Psycho critiques materialism and identity through Patrick Batemans character, while Fight Club reveals how a character’s mind can create an entirely new persona. I want to explore a similar theme where my protagonist might not be fully in control of their own actions or could be haunted by something they do not understand. Another aspect I want to include is a twist ending.
Movies like Shutter Island and Fight Club completely change the audience’s perspective in the final moments, forcing them to rethink everything they have just seen. I am considering how I can incorporate a twist that ties back into the themes of hallucination and paranoia, making the audience question what was real from the very beginning. Overall, my research into psychological thrillers is helping me shape the direction of my short film. By studying the visual, narrative, and thematic elements that make these films so gripping, I am gaining a better understanding of how I want to approach my own project and make it as immersive and unsettling as possible.
SEMIOTICS & THEIR MEANINGS
Semiotics is the analysis of signs, symbols, codes, and how they produce meaning in movies. Anything in a movie (an object, a color, a shot, an action) can be a sign that conveys something more to the audience. This hidden meanings tend to pro ide a clear breakthrough to the audience that what message the director/producer is trying to give to the audience. Furthermore, this also comes in a vice versa sense because through these hidden meanings the director/producers pave a way to influence the perception of the audience towards a specific; political, social, economical or religious issue/issue's.
Symbolic Codes in psychological thrillers are objects, environments, or images that represent deeper, sometimes abstract themes than their literal presence. Mirrors in movies such as American Psycho, Fight Club, and Shutter Island represent broken identity and the conflict with self image. Blood, appearing often in Dexter, Drive, and Hannibal, symbolizes not only physical violence but also inner anger, guilt, or even the concept of emotional purification. The presentation of urban decline in Blade Runner 2049 and Fight Club represents both the failure of social morals and individual psychological stability. Likewise, expansive, empty spaces as presented in Drive, Blade Runner 2049, and Shutter Island represent profound loneliness and emotional isolation. Masks or duality, as seen in American Psycho, Dexter, and Hannibal, literally depict characters concealing their inner selves, implying the presence of a public self and a darker, repressed self.
Semantic Codes introduce multiple meanings through culturally recognized symbols and connections, layering the story with more subtle messages. In American Psycho, business cards, suits, and luxury goods are not just set dressing; they represent an infatuation with social standing, image, and surface appearances. In Hannibal, the meticulous and artistic preparation of food, especially meat, is imbued with meanings of death, mastery, and consumption, crossing boundaries between art and horror. Environmental factors such as storms and rain, observed in Shutter Island and Blade Runner 2049, are metaphors for emotional turmoil, implying that turmoil within is reflected from the outside. Arms such as knives, scalpels, and surgical instruments in Dexter, Hannibal, and Drive are not only tools of violence but also represent cold detachment from humanity and clinical precision and control.
Proairetic Codes in psych thrillers are constructed around sequences of action leading to anticipation and suspense and compelling audiences on an expectation rather than instant revelation level. Activities such as crime scene clean up, employed in Dexter and American Psycho, are low key tense scenes that build hints at guilt and foreboding. Steady stalking or tailing sequences in Drive and Shutter Island build fear, indicating violence imminent. The act of concealing and then brutally revealing a weapon, as in Hannibal, Dexter, and Drive, shifts tension into immediate danger, injecting adrenaline into viewers. Violent eruptions of the kind in Fight Club and American Psycho symbolize the breakdown of self control, symbolizing chaos and emotional instability in human form.
Hermeneutic codes pose mysteries and unanswerable questions that engage the audience and continue to intrigue them throughout the movie. These codes are fundamental to the psychological thriller genre, wherein doubt and uncertainty are central themes. Reality vs. delusion questions pervade Fight Club, Shutter Island, and Blade Runner 2049, with viewers second guessing constantly what they perceive. The concealed identity of the murderer, specifically in Shutter Island and Dexter, engages the audience as they attempt to decipher the truth. The protagonists themselves also have sinister secrets, as in American Psycho, Dexter, and Hannibal, where tension is built based on what the central character keeps concealed. In most instances, these movies have unstable narrators characters whose observations are unsound and therefore compel viewers to suspect everything they hear, a method famously employed in Fight Club and Shutter Island.
Final Conclusion of the Semiotics to be used:
Within my short film, I will utilize the different semiotic codes in order to augment the narrative and infuse more richness into the visual. There is proairetic code involved with the suspense scenes as the killer performs the steps of committing and covering up a crime, thereby creating tension and keeping viewers suspended. It is through the utilization of medical items such as gloves, masks, X-rays, and scalpels that creates an environment of a surgeon's operation that semantic codes are employed. Blood also amplifies the feeling of violence and risk. Hermeneutic codes will be applied in the last scene in which the protagonist, either sitting on a chair, holds a weapon. This scene asks if he has indeed committed suicide, leaving the audience to question what the real message of his act is. Finally, semiotic codes such as blood and the dark ambience of the scenes are utilized to depict emotions such as guilt, anger, rage, and death, embodying the internal conflict of the protagonist and the psychological burden of his acts. These semiotic codes together contribute to a dense, textured narrative that is viewed on multiple levels.
INTERVIEW WITH A SERIAL KILLER
Reviving Dahmer Through AI - An Interview
PDF File
● Disclaimer
All the clips/stills of the movies used for observation and better understanding, belong to their rightful owners. (Thumbnail and GIF created by me).
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