16 April 2020
Media Studies
Preliminary Task 2 - Brainstorming Ideas and Planning order of shots
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Brainstorming:
Grace Watson's ideas;
an abduction
- this will make it easy to include the chase-scene.
- will also evoke fear within the viewer - they will sympathise and worry for the girl.
- girl being abducted - vulnerable, 'weak', she will scream, cry, yell - supports the typical stereotype of girls being emotional.
- can use makeup to paint a large bruise on her forehead/cheek, as if she has been hit/hurt.
- her hair can be really messy and knotty - symbolise how she has been pulled and pushed around roughly.
- this will make it easy to include the chase-scene.
- will also evoke fear within the viewer - they will sympathise and worry for the girl.
- girl being abducted - vulnerable, 'weak', she will scream, cry, yell - supports the typical stereotype of girls being emotional.
- can use makeup to paint a large bruise on her forehead/cheek, as if she has been hit/hurt.
- her hair can be really messy and knotty - symbolise how she has been pulled and pushed around roughly.
- man - brutal, scary, stern, unafraid, powerful - also supports typical stereotype of men being the less vulnerable, more superior characters. He will be a strange character, pale face, blue rings under his eyes, and a falseness in his voice.
Our main plot idea: A large, tall man offers a young, small girl a 'sweet'. He invites her to walk with him to his car where the sweet is. She happily goes along with him. Soon after handing her the sweet (which is the object that is 'given'), he then invites her to get into his car. She has a 'discovery' or 'revelation' moment, and remembers how one should never take a sweet from or get into a car with a stranger, and so therefore she realises that perhaps this man is a danger to be around. This will be symbolised by her dropping the sweet onto the ground, looking up at him worriedly, and politely saying, "Um, no... thank, ... you... no.. thanks." (a bit of a stutter - sound revealing her nervousness) [we may use a close-up shot of her face revealing her worry, and then a low-angle shot looking up at the man revealing his superiority and her vulnerability in this moment]. He will then try and grab her, in which she will begin running away at a high speed - the chase scene of him chasing after her. This chase-sequence will be followed by him managing to catch up to her and pick her up, with her hitting her head against his on accident, hurting herself. He will carry her, at pace, to his car, shove her inside, and drive off. [Extreme close-up of his face as he carries her to reveal his determination and awful character - pale face, blue rings under his eyes, really strange man].
Dialogue may be:
MAN:
Hey little gal, how are you?
GIRL:
Hi, um, I'm good thank you.
MAN:
Where's your mum?
GIRL:
{points to bathroom entrance} I'm waiting for her.
MAN:
Ah... I don't suppose yu'd a like a sweet while you wait, would you?
GIRL:
{smiles with keen interest}.
MAN:
Come along, we'll only be two minutes.
{both begin walking to his car}
MAN:
Let's go for a drive while we wait, should we?
GIRL:
{'revelation' moment'} Um, no... thank, ... you... no.. thanks. {drops the sweet, looks up at him worriedly, and begins running away, screaming}. MOOOOOMMMMYYYYY!
{chase-scene}
Setting: Kennedy Park, between Castor Bay and Milford - there's a playground for the small child to be near, and a public toilet opposite it where the child can point to her mother being. In between the playground and the public toilet, there is also a parking lot where the man's car can be stationed.
Our main plot idea: A large, tall man offers a young, small girl a 'sweet'. He invites her to walk with him to his car where the sweet is. She happily goes along with him. Soon after handing her the sweet (which is the object that is 'given'), he then invites her to get into his car. She has a 'discovery' or 'revelation' moment, and remembers how one should never take a sweet from or get into a car with a stranger, and so therefore she realises that perhaps this man is a danger to be around. This will be symbolised by her dropping the sweet onto the ground, looking up at him worriedly, and politely saying, "Um, no... thank, ... you... no.. thanks." (a bit of a stutter - sound revealing her nervousness) [we may use a close-up shot of her face revealing her worry, and then a low-angle shot looking up at the man revealing his superiority and her vulnerability in this moment]. He will then try and grab her, in which she will begin running away at a high speed - the chase scene of him chasing after her. This chase-sequence will be followed by him managing to catch up to her and pick her up, with her hitting her head against his on accident, hurting herself. He will carry her, at pace, to his car, shove her inside, and drive off. [Extreme close-up of his face as he carries her to reveal his determination and awful character - pale face, blue rings under his eyes, really strange man].
Dialogue may be:
MAN:
Hey little gal, how are you?
GIRL:
Hi, um, I'm good thank you.
MAN:
Where's your mum?
GIRL:
{points to bathroom entrance} I'm waiting for her.
MAN:
Ah... I don't suppose yu'd a like a sweet while you wait, would you?
GIRL:
{smiles with keen interest}.
MAN:
Come along, we'll only be two minutes.
{both begin walking to his car}
MAN:
Let's go for a drive while we wait, should we?
GIRL:
{'revelation' moment'} Um, no... thank, ... you... no.. thanks. {drops the sweet, looks up at him worriedly, and begins running away, screaming}. MOOOOOMMMMYYYYY!
{chase-scene}
Setting: Kennedy Park, between Castor Bay and Milford - there's a playground for the small child to be near, and a public toilet opposite it where the child can point to her mother being. In between the playground and the public toilet, there is also a parking lot where the man's car can be stationed.
Chene Harris' ideas:
The little girl could be wearing pigtails and quite happy and bright colours
The strange tall man is wearing dark colours with scruffy hair and kind of like a smokers voice
We could film at a public toilet place and have the man drive up in the parking lot with a white van and all the windows tinted apart from the drivers window
The tall strange man could be staring at the child playing in the playground from across the road and as soon as he sees the child’s mother go into the bathroom he then drives up to you in the parking lot and then get out and asks her if she would like the sweets
And for the actors:
We thought of using Aria Ironside because she has experience in acting for Ella Ironsides previous media films.
We also thought of using Sean as the tall man who abducts the little girl (Aria) because he fits the role.
Hunter Look's ideas:
For our location i was thinking we could use castor bay playground aria as well as the carpark there.
i thought we could that we could do it to add the darker effect as well as it being easier than having to add a filter over afterwards.
= Pan shot from abductor's P.O.V. looking at the girl's mom leaving to go to the bathroom.
= Match-on-action of man opening and then closing the car door.
= mid-track shot and cut closer to an over-the-shoulder shot of man walking towards the little girl (shaky camera).
= mid-shot from side.
= high angle shot from the man's P.O.V. looking down at the girl, offering her a sweet.
= low angle shot from girl's perspective looking at the man, accepting the sweet.
= mid-P.O.V. shot of him looking down at her - she'll be smiling and will then begin 'pause' and realise that something is fishy.
= close-up of her face when she realises that it's strange and she shouldn't take sweets from strangers (discovery moment) - kind of like a 'pause' moment.
= full-shot of the girl dropping the sweet.
= birds eye-view/high-angle shot of the sweet as it falls.
= hand-held shot chasing after the two actors.
= birds-eye view shot from the top of the playground element - Theo chasing Aria.
= mid-P.O.V. shot from Theo's perspective chasing Aria.
= wide/long shot of Theo grabbing Aria and her fighting back - lots of camera movement in this shot.
= mid-shot of Aria and Theo hitting heads.
= close-up of Aria holding her head and stopping fighting because of the pain.
= extreme-wide shot of Theo carrying her towards his car.
= extreme-close-up of half of Theo's face as he walks towards his car, carrying Aria - shadow on his face.
= extreme-close-up shot of Theo's hand opening the door.
= wide-shot shot of him opening door.
= wide-shot of him shoving Aria into the car.
= close-up of Aria hitting her head against the side of the inside of the car.
= extreme-close-up of her painful spot.
= mid-shot of Theo closing the door.
= track shot of him walking toward his door and getting into his car.
= extreme wide-shot of the car driving off.
= wide shot of Aria's mom coming out of the bathroom.
= close-up of her looking around and then yelling for Aria.
= mid-track shot running after her as she runs in the car’s direction, yelling for Amberly in pure distress.
= extreme close-up of the mother’s eye - stressed, agitated, confused, deeply worried.
= BLACKOUT
Planning order of shots:
= establishing shot of the park from behind car.= Pan shot from abductor's P.O.V. looking at the girl's mom leaving to go to the bathroom.
= Match-on-action of man opening and then closing the car door.
= mid-track shot and cut closer to an over-the-shoulder shot of man walking towards the little girl (shaky camera).
= mid-shot from side.
= high angle shot from the man's P.O.V. looking down at the girl, offering her a sweet.
= low angle shot from girl's perspective looking at the man, accepting the sweet.
= mid-P.O.V. shot of him looking down at her - she'll be smiling and will then begin 'pause' and realise that something is fishy.
= close-up of her face when she realises that it's strange and she shouldn't take sweets from strangers (discovery moment) - kind of like a 'pause' moment.
= full-shot of the girl dropping the sweet.
= birds eye-view/high-angle shot of the sweet as it falls.
= hand-held shot chasing after the two actors.
= birds-eye view shot from the top of the playground element - Theo chasing Aria.
= mid-P.O.V. shot from Theo's perspective chasing Aria.
= wide/long shot of Theo grabbing Aria and her fighting back - lots of camera movement in this shot.
= mid-shot of Aria and Theo hitting heads.
= close-up of Aria holding her head and stopping fighting because of the pain.
= extreme-wide shot of Theo carrying her towards his car.
= extreme-close-up of half of Theo's face as he walks towards his car, carrying Aria - shadow on his face.
= extreme-close-up shot of Theo's hand opening the door.
= wide-shot shot of him opening door.
= wide-shot of him shoving Aria into the car.
= close-up of Aria hitting her head against the side of the inside of the car.
= extreme-close-up of her painful spot.
= mid-shot of Theo closing the door.
= track shot of him walking toward his door and getting into his car.
= extreme wide-shot of the car driving off.
= wide shot of Aria's mom coming out of the bathroom.
= close-up of her looking around and then yelling for Aria.
= mid-track shot running after her as she runs in the car’s direction, yelling for Amberly in pure distress.
= extreme close-up of the mother’s eye - stressed, agitated, confused, deeply worried.
= BLACKOUT
