Oral Presentation Questions

Genre and Audience
The genre of this tv show is a crime drama that incorporates aspects of black comedy to create a general aura of secrecy, intimacy, and- at times- a total lack of control. General elements that lead to this determination are the strategically placed audio climaxes, tight framing throughout, and the continuous accumulation of suspense and fear. Works synonymous with Breaking Bad are TV shows like The Wire, The Shield, House of Cards, and Mad Men. These works often attempt to expose conflict at the various times in which they are set, as well as social issues of the time. Breaking Bad, produced by Vince Gilligan, sook to expose the socio-economic issues faced by a lower-middle class family in the late 2000s. It covers topics like cancer, drugs, family economic issues, and the desperation that ties all of these elements to a general theme. Gilligan has produced other TV shows, including The Lone Gunman, and the X-Files. These shows have undoubtedly contributed to the development of Breaking Bad, and there are several themes that are reflected across all three shows. Most crucial of the themes are those that apply to the current socio-economic factors, a criteria in which Breaking Bad excels:

Historical and Institutional Factors

Vince Gilligan began the production of Breaking Bad to demonstrate how a hero could become a villain in an ordinary setting. I believe that to achieve these directives, Breaking Bad relies on the underlying desperation of Walter White caused by his socio-economic class. Gilligan targets a segment of the population hit hardest during the economic recession that occurred in the late 2000s (the lower-middle class). While barely remaining financially viable at both his jobs, Walter’s situation is exacerbated by a perfect storm of events- the cancer diagnosis and the upcoming newborn- which leads him in desperation to the production of meth. During the late 2000s, the expansion of drug cartels and retaliation by the U.S. government resulted in increased domestic tensions, as well as an increasing fear for growing drug rings on the American front. The episode specifically targets all of these aspects, and is able to integrate well as a representation for its time.

Socio-cultural Context

This piece was created in the United States, and comment largely on the major issues of the time period. Although the first episode (the one being studied) does not entirely answer the questions posed, Breaking Bad So1 Ep1 exposes very complex issues on morality and the justification process. Walter White’s endeavours are all for his family’s benefit, nevertheless his actions deserve sound criticism. It is this repressed guilt driven by desperation that Gilligan uses to derive a commonality that links financial issues, drug use, and disease in a way that appeals to the average, lower-middle class individual. It is difficult to associate this particular episode with a specific genre evaluation, but it most closely resembles that of a revisionist crime drama. This deduction is based on the quasi-new approach undertaken by Gilligan in Breaking Bad. The TV show seems to specifically aim to please the American public, complete with very intense action, some comic absurdity (when Jesse exits the building of the original meth lab), and the complex relationship that forms due to the lies that form between Mr. and Mrs. White.

Narrative

Breaking Bad employs a definite non-linear narrative style, which begins with a scene with Walter White, obviously distressed, in the desert. From this point, the episode is continuous, until the reiteration of the first scene. This allows the confusion and suspense to grow progressively as the episode continues. This recursive framing device is key to the development of suspense and anticipation that drives the plot. Additionally, the unsteady camera work throughout lends itself to the generation of an unsettling attitude towards Walter and the desperation of the events that encircle him.

Film Language and Representation

EXTRACT: 29.05-34.15

In these five minutes, Walter White's desperation begins to manifest itself, as he prepares to and meets with Jesse. In this scene in particular, Walter is acting on his extreme desperation in an effort to propose a collaboration with Jesse in the building of a meth lab. This scene exposes the key elements of black comedy, as the incompatibilities of Walter and Jesse are blatantly obvious. 

When Jesse hears the proposal, this incompatibility is the basis of his retort, which is cut clear by Walter's blackmail. Here we clearly see the establishment of Gilligan's intent to create a show in which the hero would turn villain. The premise of this unfortunate transition is initiated by the blackmailing of Jesse, who (not an innocent man himself) bonds with Walter. This scene cuts immediately to Skyler and Marie (her sister and Walter's brother-in-law) packing items sold on eBay. The scene prior to this one (with Walter and Jesse) is darkly lit, while the latter is relatively light colored and more joyful. Similar elements of blackmail (with Marie asking intimate questions) are visible, but obviously not as dramatic as those seen with Walt and Jesse. In effect, both Skyler and Walt are addressed their economic situation as they see fit. Skyler is doing so in a way that is more legal (hence the change in lighting), but Walt is doing so in a way that appeases his desperation. This way, the characters immediately appeal to a large audience, simultaneously targeting audiences that enjoy desperation and those who favor realistic socio-economic contexts, particularly for the time in which it was created. Following this discussion between Skyler and Marie, an audio track begins to play as Walter is seen stealing materials from his school lab. Although the action itself is fairly immoral, the audio track is very light, almost amusing. This again emphasized the dark humor present throughout the series, as music fit for a lounge accompany a visual scene of secrecy and desperation. In fact, the music seems to emphasize the desperation, and elicits a response when the camera finally rests on Jesse, sitting in a lounge chair. When Walter speaks with Jesse, the music fades out quietly, but the outtakes on both sides remain light-hearted and humorous. This tone is therefore instrumental to the proceedings: Jesse and Walter have established all the above elements in these five minutes.

Genre of the Film

For the IB Film Oral assignment, I will be analyzing the pilot episode of the Breaking Bad TV Series (2008), a crime drama with elements of black comedy.

Definition of each Genre

Crime dramas are filmic representations of criminals, law officials, and offer a commentary on the dynamics that separate these two groups. Black comedy is best defined as a satirical portrayal of society.

Historical Significance of each Genre

One of the first crime dramas created for television was a series called "Dragnet." This show dramatized real-life crimes of the police in the L.A. region. It was not particularly popular at conception, but gained popularity as time went on. It was quickly copied by others, including 'I Spy' and 'Police Woman.'

One of the first black comedies created were novels, including Directions to Servants (1731). These were later adopted in film, particularly in post-war Germany, when satire was highly prevalent towards the hatred for the other European countries.

Application to Movie

There are many tight shots, which contribute to a sense of questioning by the audience, as if each detail in the shot could be significant in the following seconds. Additionally, the excerpt contains some key examples of black comedy. The concept is somber; an intelligent man turned criminal, but the combination of the two (a teacher and a meth dealer) seem so preposterous when juxtaposed, thus creating this sense of black comedy.

Mise-en-Scene Analysis

1. Framing and camera angles are extensively used in the analysis of American Beauty, primarily to characterise the changing dynamic in the interaction between Lester and his new boss. In the original scene analyzed, this interaction is slated to favor the new boss, with high angle shots of Lester, as well as very large amounts of headroom and additional space surrounding his character. This serves to frame Lester in a submissive attitude, which is ultimately a successful endeavour. Lester seems small, insignificant, and lost. The scenery and shot composition is also analyzed briefly, to determine that having drab office components ultimately result in the appearance of an unenthusiastic workplace. Additionally, the aspects of the boss’s desk reveal a conformist mindset, as well as an oppressive leadership. Even Lester’s body position and clothes are analyzed, ultimately to show Lester is the submissive individual.

2. Next, similar detailed analysis of framing and camera angles from the initial scene is applied to a later scene in the movie. Here, Lester has taken more or less control of his life and has become dominant in his interactions with his boss. This ultimately forms the appearance that Lester has overcome the conformity and oppression. He has refused to remain a static worker at his job; he has ambition, drive, and passion. Ironically, these are probably the traits the new boss had wanted Lester to adopt, but when Lester finally accepts his status, he decides to quit his employment. This meaning is entirely derived from the changing dynamic of the interaction.

3. A similar analysis can be performed on the “desk” scene of the first Matrix movie.Neo seems very small and insignificant in comparison to the Agents, primarily due to the framing involved in the scene. The majority of the time Neo spends on the ground, running from the Agents. This naturally creates a dynamic in which Neo is a submissive character, the agents are frames in a low angle, empowering shot, while Neo is looked upon by a high-angle shot. Similarly to the initial scene of American Beauty, Neo and the Agents are involved in a difficult dynamic: Neo is Lester, the Agents are the new boss.

Please Don't Hack Me, North Korea: A Mise-en-Scene Analysis of a Still Frame from The Interview

The following, like all entries on this blog, is a school assignment. The author does not necessarily wish to imply negative feelings towards any party, although he is vehemently against the North Korean deathcamp regime. He fully supports the release of the film The Interview. Thank you.

Bolded words are the components that had to be addressed by this film blog post assignment.

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This still, taken from the [controversial] film The Interview (Seth Rogen, Evan Goldberg 2014) serves to establish key tensions of the movie, as well as key tensions regarding the film’s commentary towards North Korea itself. Specifically, this scene was created to dramatically introduce Kim Jong-Un as the DOMINANT in both the shot and throughout the entire movie. The shot’s COMPOSITION consists of“Kim Jong-Un” predominantly portrayed in the foreground, holding a cigar and surrounded with dark-clothed bodyguards. Kim Jong-Un, also wearing black, is inundated with light, forming a high contrast to the guards and establishing a dominant position. The cloud of white smoke, also emphasized by the LIGHTING of the scene, poses as a manifestation of North Korean secrecy and instability. The lighting is also significant as a manner by which Kim Jong-Un is introduced to the audience. The light is harsh in Kim’s face, but absolutely lacking around the guards, providing a high contrast that contributes to his “isolation.” This gives Kim the appearance of superiority, which the character assumes throughout the movie to mimic the similar abuse of power in North Korea.
The SHOT TYPE of the still is relatively plain. A medium shot captures Kim and his bodyguards from right below the waist. Since this film is a comedy, this particular decision to frame the shot in this way may be significant. Kim Jong-Un (in real life) has recently undergone health issues related to gout. This may simply be an attempt by the directors to comedically portray his size, a topic that has recently been discussed in Western media sources.

Nonetheless, the shot still generates a sense of confidence from the men and Kim himself, particularly due to the CAMERA ANGLE. The camera is placed far below Kim’s eye level, which also contributes to a dominating impression of the character. The scene’s COLOR also lack a comedic element, as it is very cool (meaning a lot of blue and black). In many other comedies, shots are predominantly warm, or brightly colored. The dark and cold tones in this still may serve to remind the audience that despite the trivial mischief portrayed in the movie, there is a unfortunately a real Kim Jong-Un who submits his people to actual misery.

The still was shot using a wide angle LENS, as the men standing behind Kim are well visible, but the background is ever so slightly blurred. Choosing a wide angle lens here is wise, as it forces the audience to focus on Kim Jong-Un’s character. The shallow DEPTH OF FIELD also forces the eye to look primarily at Kim and the closest bodyguard, and the CHARACTER PLACEMENT of Kim easily allows the audience to associate Randall Park with the character he is impersonating. Although all the characters have full-front STAGING POSITIONS which would suggest all characters in the shot were of importance, the audience can easily identify Kim through CHARACTER PROXIMITY; Kim is featured nearest to the audience. This also contributes to the growing consensus that Kim is the primary target of this film; the comedic outtakes are at his expense, for good or for worse.

After some time, however, the audience is able to take advantage of the wide-angle shot and notice the faces and uniforms of the guards through SUBSIDIARY CONTRASTS. There is very little visual information concerning the location of the still, although it is clear the men are indoors. This choice further contributes to a general sense of inescapability; this entrapment applies to both Seth Rogen’s and James Franco’s characters, as well as the North Korean people.

Mainly through light and color choices discussed above, the still seems to be infused with visual information DENSITY. The texture of the still is highly detailed, forming an impression of encroachment and oppression, again adding to the theme of the movie. The shot’s FORM is closed, isolating Kim to actively introduce the character. In this way, smaller details are made clear to the audience including the cigar and lapel pin, both objects often attributed to Kim.

The FRAMING of the shot also generates a feeling of impending catastrophe, the tightly composed framing does not allow Kim to move easily.This may be interpreted as another comedic outtake on the “weight” issue of Kim, but it may also be to create a negative attitude in the audience towards Kim; the still seems as if Kim was about to encroach on the audience’s personal space with his massive figure.

In conclusion, the techniques incorporated in this still contribute to the filmic themes maintained throughout the film itself and actively comments on the predicament of North Korean citizens. This movie, although lighthearted in nature, poses serious issues concerning North Korea that will need to be resolved.

Syd Field Character Activity

In preparation for the film, we were tasked with composing a page-long description of our character.

So, enter Walter Johnson, the star of the film.

INTERIOR: Walter Johnson is a 19-year-old  male living in a dorm on the San Francisco State University campus. Born in a small city in Arkansas, Walter decided to attend school in San Francisco because he thought he would be more interested in technology, but has not found his niche as of yet. Walter is an only child, having grown up in a comfortable but humble lower-middle class family. No major physical or mental challenges have affected Walter growing up, apart from a slight amount of Social Anxiety Phobia, which set him apart during his first few years in school.  While relatively smart, Walter is often bored by the material taught in his classes and is prone to some mischief when his mind goes errant. His parents, supporting and nurturing, always help him get out of trouble and correct mistakes. Walter did not change very much in middle and high school, only tried to “rebrand” himself as a ‘jock-ish’ individual. To retain this “status,” Walter will often act without thinking, which continues to land him in trouble with the authorities, although nothing major. Walter’s teachers identify a potential in him, a potential reflected in his SAT and ACTs, but he continues to do poorly in high school and barely completes his college applications.

EXTERIOR: Having put little effort into his applications, Walter is forced to attend his safety school of SF State. His general lack of organizational skills and experience with adult liberties means Walter spends a good portion of his freshman year at parties and not in class. At these parties, Walter is mindful enough not to consume any alcohol, but acts in irresponsible ways, often acting brashly to get attention from his friends. Walter participates in work-study programs, but otherwise receives a majority of the money from his parents in Arkansas, who work several jobs to raise enough money for his education. Walter’s group of friends invite him to parties mainly to see him acts irresponsibly, but one friend, Josh, is much more supportive of him. Josh is more studious, but enjoys Walter’s company. Walter, however, often ignores Josh’s sound advice on how to remain organized. At the party in which the narrative begins, Josh cautions Walter, warning him that he is acting very strangely. Apart from Josh, Walter does not have many friends, although he will do anything for attention from the “cool kids.” Walter does not have any girlfriends, either, but likes one of the girls in his class. That feeling is rarely mutual, as she is repulsed by his attitude towards classwork. When Walter is alone, he is taunted by the fact that he has not achieved much with his life. He has goals beyond college, but he knows his ability to act in ways that will get him to these goals are slowly diminishing. With each party he attends, Walter knows he is also giving up on his dreams to become an IT technician, and is frustrated that he cannot simultaneously be a part of the “cool kids” groups and a still be studious. Walter is prepared to make a change to positively benefit his life, no matter the price. This will become a reality when the narration begins, as he is absorbed into a coming-of-age plot that will transform the way he appreciates his life.

Blake Snyder Beat Sheet For Three Films

In preparation for my own film, I decided to view Silence of the Lambs, Psycho, and Inception. I hope that by viewing these films, I can come to a more complete understanding of the Thriller/Horror film genre and apply similar concepts to my own film. To organize my thoughts on these films, I completed Blake Snyder Beat Sheets for each. This project spanned one week.

Silence of the Lambs (1991) - Directed by Jonathan Demme

Opening Image: Camera focuses on a leafless tree in a forest. The weather is foggy, murky. A woman (Clarice) is introduced.

Theme Stated: Clarise, as an FBI agent, is tasked with ascertaining information concerning a serial killer (Buffalo Bill). To do so, she must talk to Hannibal.

Set-up: Before going to the asylum where Hannibal is kept, Clarice is warned that Hannibal will attempt to "get into her head." At the asylum, despite her best efforts, Hannibal does not decide to help her.

Catalyst: An inmate in the asylum acts rudely towards Clarice.

Debate: Hannibal is not someone to be trusted, but following the inmate's rude actions, he takes pity and gives information on how to capture Buffalo Bill. Still questionable wether Hannibal's character is to be fully trusted. Hannibal's tips lead Clarice in the right direction, as she follows the hint and finds a dead body.

Break into Two: Hannibal asks for a room upgrade in the asylum in exchange for the services, but warns that Buffalo Bill will soon strike again.

B Story: Elaborately, Buffalo Bill is able to capture the next victim (the daughter of a Senator).

Fun and Games: Clarice continues her work of investigation, as she meets with experts to determine the source of an exotic moth found on the scene of the crime.

Midpoint: FBI concedes to Hannibal's demands, with condition: the Senator's daughter must be saved and Buffalo Bill caught. Hannibal adds to his demands, as he wants Clarice to reveal more information about herself.

Bad Guys Close In: As Buffalo Bill intimidates the Senator's daughter, Hannibal suggests to Clarice that Bill was turned down for a transsexual operation, which may be the source of his will to kill. The Senator, angered by the little being done to save his daughter, transfers Hannibal to another asylum.

All Is Lost: Hannibal will soon be transferred to another asylum, and she has very little leads.

Dark Night of the Soul: Clarice, without many options, reveals her innermost secret concerning the slaughter of the lambs. Hannibal, following Clarice's departure, kills the guards.

Break into Three: While Clarice investigates more leads and Buffalo Bill continues with his victim, Hannibal is able to escape the asylum.

Finale: Buffalo Bill is seen sewing the skin of the previous victim. Meanwhile, Clarice discovers a connection between the moth victim and Buffalo Bill, and follows this connection. The FBI follow a separate, false, lead from Hannibal. Clarice kills Buffalo Bill and saves the Senator's daughter.

Final Image: On a tropical island, sunny, Hannibal walks in a crowd of people.

Psycho (1960) - Directed by Alfred Hitchcock

Opening Image: Sam Loomis and Marion Crane are in a bed.

Theme Stated: Marion hopes to eventually marry Sam, but does not have the money to do so. At her work, a wealthy man deposits money and Marion, given the opportunity, takes it. She feigns illness and decides to travel to Sam and get married.

Set-up: Marion takes the money from her work and goes home to pack. After driving several hours, she pulls over to sleep. The next morning, she wakes when a cop taps on her window. Marion avoids having the police officer look in the car, for fear he might find the money. Frazzled, she decides to ditch her car and trade it for a new one.

Catalyst: Marion trades her car at the dealership, and pays cash. The car dealer is skeptical. Marion also realizes the police officer had followed her.

Debate: A fateful debate... Marion decides to rest at a motel versus continuing to drive in the rain. She pulls into the Bates Motel.

Break into Two: Marion enters the motel lobby and meets Norman Bate, meanwhile her employer begins to worry about her and the customer's money.

B Story: Norman Bates asks Marion to have dinner with him, but "his mother" does not believe that would be a good idea. (The B Story is the potential love interests, terminated prematurely by one of its participants...!)

Fun and Games: As Marion takes a shower, she is stabbed to death by Norman, who immediately begins to clean the room and takes Marion's body in the car to the swamp in her car. Norman dumps the car in the swamp.

Midpoint: Lila, Marion's sister, becomes worried about Marion's absence, and decides to hire a private detective (Milton) to find her. She also decides to go to California to see if Marion is with Sam.

Bad Guys Close In: Milton tracks Marion's activity to the Bates Motel, where he questions Bates extensively. With very little to report, Milton calls Lila and decides to stay in the Motel to continue questioning Bates.

All Is Lost: Milton is attacked by "Mrs. Bates" when he returns to the house.

Dark Night of the Soul: Lila and Sam, worried that they have not heard anything else from the investigator, calls the Sheriff. The Sheriff calls the Bates to demand explanations.

Break into Three: Sam and Lila decide to personally investigate the Bates Motel. They register as a couple, then search the house for Mrs. Bates. Lila finds a dead body in the cellar, presumably Mrs. Bates. Norma, dressed as a woman, attempts to kill Lila but is stopped by Sam.

Finale: The police explain to Sam how Norman impersonates his mother out of grief.

Final Image: Marion's car being pulled from the swap; the mystery is solved.

Inception (2010) - Directed by Christopher Nolan

Opening Image: Along an active shoreline, a man with a beard begins to crawl from the waves. A couple of children build a sand castle, but as the man calls to them, they run and do not look towards him. An armed man forces the bearded man to turn around go to a mansion. In the mansion, the bearded man meets another bearded (older) man. The men speak, and it is clear the older man remembers the (younger) bearded man.

Theme Stated: The overarching theme of the movie, made clear from the lengthy opening image is to constantly question the perception of reality. "We are what dreams are made of" (The old man).

Set-up: The bearded man's name is Dom Cobb, and is found on the beach. Cobb speaks with Saito, before the entire layout is revealed to be the dream of Saito. As the dream collapses (water begins spewing from the windows) "Je ne regrette rien" begins to play. Cobb and a group of people wake up on a train. They leave Saito.

Catalyst: Saito finds Cobb and Arthur and suggests they focus on the concept of Inception. Saito wants his competitor's son (Fisher) to dissolve the competitive company.

Debate: Saito offers Cobb the ability to return to the US in exchange for the service and development of Inception. Cobb debates, then accepts the offer.

Break into Two: Cobb goes to France to find an architect to build the dream in Fisher's mind. 

B Story: Ariadne (the architect) must be shown the basics of inhabiting the dreams of others.

Fun and Games: As Ariadne becomes more adept at changing the environments and situations in the dreams, she begins for formulate new concepts to trick Fisher's mind into believing it is dreaming. Cobb et al travel the world and accumulate more individuals. Since Inception relies on sedation, the team get a chemist. Saito grounds the plane of Fisher, forcing Fisher to fly commercially. Saito also buys the airline, which allows them to set up camp in the first class plane lounge. When Fisher enters, they drug him, propelling him to the next stage (sleep).

Midpoint: In the dream, Adriane and Cobb go to the hotel, the other three kidnap Fisher. Fisher's subconscious had been trained, and therefore reacts to Cobb's team.

Bad Guys Close In: Saito is shot by Fisher's militarized subconscious. Since they are sedated, if he dies in the dream his mind will go into limbo. Cobb decides to go into another dream. In the second dream, Cobb and Fisher speak, Cobb turns Fisher against his own subconscious.

All Is Lost: As the third dream phase occurs, Cobb's time is limited, and the team miss the anticipated shock that would wake them up. Cobb, at first, believes they are stuck in limbo, but realizes a second shock will occur when the van in the first dream phase reaches the water.

Dark Night of the Soul: Saito is about to die, and Mal (Cobb's wife) will go to limbo with him.

Break into Three: Cobb decides to also enter the limbo phase, in order to confront Mal.

Finale: Cobb finds Mal, while Saito sacrifices himself. Adriane kills Mal. Fisher finds his father's will, which convinces him that he should dissolve the empire. Inception is therefore achieved. The "kicks" occur, and everyone awakens.

Final Image: The token, spinning. Seeming to wobble, but always spinning.
Cut to black.

Thriller Genre

For my next short film, I hope to explore the "thriller" genre. For my film to be considered a thriller, it must contain the following elements: Suspense, Tension, Surprise

     Thrillers are also generally faced-paced, a note I will be sure to make to my editor when editing begins. The shot selection must consist largely of emotional or "active" shots, as visuals will pose more significant impact on the film than dialogue or subjective perspectives. The proper use of these three filmic elements should help convey a plot that is heavily reliant on a inciting incident, ie. a murder or crime. Any subsequent action should be staged in a way that will not only further continue the plot, but give the audience "thrills" as well.

     To better determine the sub-genre for the short film, as well as the expectations of the thriller genre, I plan on viewing Silence of the Lambs, Psycho, and Inception. These films offer varying perspectives on the Thriller genre, both in plot-type and date of release. I hope that with these films, I can improve my understanding of the genre in general as well as gain inspiration for my own film.
Some additional information to consider concerning the thriller genre:

Narrative Devices
     In many films of the Thriller genre, the narration includes the ever-present progressive "build up" of emotion to a climactic point, more so in this genre of film than in others. In general, the plot line must include large amounts of anticipation, uncertainty, and anxiety. Thrillers should rarely result in a "lull," unless this lull is used to create the anxiety of an upcoming action-packed scene. In many ways, films in the thriller genre must follow an overarching pattern: first, a significant event happens, which initiates the plot. This should be followed by a momentary lapse in action, in which the characters respond to the initial significant action. Then, a second significant action should be experienced. This pattern will continue, the events and plot twists increasing in intensity as the story builds to a climax.
     Additionally, several themes are key and in nearly all movies of the thriller genre. Notably, films usually carry with them a commentary on the fragility of human life. In several films, the main character is threatened by an antagonist. The origin of this threat is also often abstract.


Lighting
     Thrillers often employ lighting techniques that emphasize an upcoming climactic point. Under-cast lighting techniques, very much like holding a flashlight underneath a chin, can create long shadows that naturally "spook" the audience. Of course, this technique is not used throughout the movies, rather simply a few key shots that emphasize a change or significant point in the plot. During the rest of the movie, there should not have a large amount of modified light.

Camera Angles/Movement
     In the scenes of "excitement" and "action," there should be very rapid camera movement, and the range of this motion is significant. In fighting scenes, for example, there should be many tightly-composed shots that are cut every 1 or 2 seconds. This bolsters the audience's ability to react positively to the film, as they become engrossed in the action. In a majority of these shots, the camera should be placed near or from the perspective of the protagonist. This positioning generates a connection between the audience and the character.

Historical Significance
     Thrillers have long been used to captivate filmic audiences. According to many sources, the first thriller would most likely be Safety Last by Harold Lloyd in 1923. This film incorporates many of the elements that dictate a thriller: a climax, several inciting incidents, and gripping action. A notable feature of the cinematography was that Lloyd filmed several perilous shots with only one hand; the other hand had lost fingers due to a prop bomb explosion.
     Another key use of the thriller genre historically was by Alfred Hitchcock. Movies including The Birds, and Psycho employ the same characteristics as Safety Last and are considered some of the most significant and noteworthy movies in the genre. Hitchcock's characters were subjected to abuse and murder. Hitchcock also gave away several hints throughout the movie that a terrible thing was going to happen, which drove audience anxiety.