It is important to understand the genre thoroughly so that our opening sequence contains all the appropriate stereotypes, and that we do not include unnecessary conventions- or if we do choose to, that we are able to understand and explain why we have done what we have done.
Thriller
'A story that starts with a serious problem, a protagonist (our hero/heroine) who tries to solve the problem only to find that it gets worse and worse and worse. The plot rises to a dramatic confrontation with the antagonist (bad guy), usually on the bad guy’s territory, and ends with a short denouement.'
www.thrillerpress.com/whatmakesathriller.html
THRILL·ER [thril-er]
noun
1.
a person or thing that thrills.
2.
an exciting, suspenseful play or story, especially a mysterystory.
thriller (ˈθrɪlə)
—n
1. a book, film, play, etc, depicting crime, mystery, or espionagein an atosphere of excitement and suspense
2. a person or thing that thrills
• Thriller is a genre of literature, film and television that uses suspense, tension and excitement as the main elements. The primary subgenres of thrillers are: mystery, crime and psychological thrillers. ...
Thriller Genre
Thriller films, are types of films known to have given or promote a gravitated build up of tension,
it involves high level of suspense, a higher level of anticipation, uncertainty, reaction from the audience
in which encourages an audience in wanting to know what happens further.
If the genre is to be defined strictly, a genuine thriller is a film that relentlessly pursues a single-minded goal to provide thrills and keep the audience cliff-hanging at the 'edge of their seats' as the plot builds towards a climax. The tension usually arises when the main character is placed in a scary situation or mystery, or an escape or dangerous mission from which escape seems impossible. Life itself is threatened, usually because the principal character is unsuspecting or unknowingly involved in a dangerous or potentially deadly situation. Plots of thrillers involve characters, which come into conflict with each other, or with outside forces the menace is sometimes abstract or shadowy.
www.docstoc.com/docs/75701554/Genre-Research---Thriller
Within the genre of ‘Thriller’, there are many conventions, which of course have to be used as much as possible to make the Thriller effect work properly.
A crime at the core of the narrative (often murder, but not necessarily)
There is usually a crime in the narrative or storyline of a thriller. It keeps the viewer hooked.
There is usually a crime in the narrative or storyline of a thriller. It keeps the viewer hooked.
A complex narrative structure, with false paths, clues and resolutions
Thrillers are usually made up of these. Mainly to keep the audience questioning, and to make them work out what’s going on, leaving strong enigma’s
Thrillers are usually made up of these. Mainly to keep the audience questioning, and to make them work out what’s going on, leaving strong enigma’s
A narrative pattern of establishing enigmas which the viewer expects to be resolved
This will keep the viewer hooked and he/she will always want to see the resolutions.
This will keep the viewer hooked and he/she will always want to see the resolutions.
A protagonist who is systematically dis-empowered and drawn into a complex web of intrigue by the antagonist
All thrillers have a protagonists against an antagonist and at some point in the thriller there will be a situation which will include both characters come together, usually in a fight or action scene. The antagonist will usually always have the dis-advantage, but will come out the victor.
All thrillers have a protagonists against an antagonist and at some point in the thriller there will be a situation which will include both characters come together, usually in a fight or action scene. The antagonist will usually always have the dis-advantage, but will come out the victor.
Extraordinary events happening in ordinary situations
This will enable the audience to relate to the situation, and therefore the effect will be stronger.
This will enable the audience to relate to the situation, and therefore the effect will be stronger.
Themes of identity
This is used so the audience can keep tabs on each character, who they are, and why they’re there. It also helps us identify the protagonist and antagonist.
This is used so the audience can keep tabs on each character, who they are, and why they’re there. It also helps us identify the protagonist and antagonist.
Themes of mirroring
Shows that there may be one or two people in the same position.
Shows that there may be one or two people in the same position.
Themes of voyeurism
When someone is being e.g. spied upon and doesn’t know. Usually shown through point of view shot of the person doing the spying.
When someone is being e.g. spied upon and doesn’t know. Usually shown through point of view shot of the person doing the spying.
Protagonist with ‘flaw’ which is exploited by the antagonistThe antagonist takes advantage of the protagonists flaws. The flaws are usually obvious to the audience but not to the antagonist untill they are revealed to him. When the flaws are visible to the antagonist, it put him/her in the dominant position.
Titles often reflect an aspect of the pro/antagonist’s psychological state
The titles usually mirror the type of film, and give the audience a chance to see what might be coming up in the film.
There is often a scene near the end of the film in which the protagonist is in peril
This is used so that there is action building up to a certain point to keep the audience hooked, and the peril is usually solved by the end of the film which leaves the audience in good spirit.
This is used so that there is action building up to a certain point to keep the audience hooked, and the peril is usually solved by the end of the film which leaves the audience in good spirit.
Mise en scene which echoes/mirrors the protagonist’s plight The mise-en-scene is very important, and needs to be relevent e.g. if the character is happy, put them in a happy place, with bright lights, or if the character is sad, put them in a sad place with dark lighting.
barney54.wordpress.com/2009/11/02/thriller-conventions/
barney54.wordpress.com/2009/11/02/thriller-conventions/
Psychological thriller is a specific sub-genre of the broad ranged thriller with heavy focus on characters. However, it often incorporates elements from the mystery and drama genre, along with the typical traits of the thriller genre. In addition to drama and mystery, many psychological thrillers contain elements of, and often overlap with, the horror genre, particularly psychological horror.
· Psychological – Elements that are related to the mind or processes of the mind; they are mental rather than physical in nature. Sometimes the suspense comes from within one solitary character where characters must resolve conflicts with their own minds. Usually, this conflict is an effort to understand something that has happened to them. These conflicts are made more vivid with physical expressions of the conflict in the means of either physical manifestations, or physical torsions of the characters at play.
· Thriller – Generally, thrillers focus on plot over character, and thus emphasize intense, physical action over the character's psyche. Psychological thrillers tend to reverse this formula to a certain degree, emphasizing the characters just as much, if not more so, than the plot.
· Psychological thriller – Characters are no longer reliant on physical strength to overcome their brutish enemies (which is often the case in typical action-thrillers), but rather are reliant on their mental resources, whether it be by battling wits with a formidable opponent or by battling for equilibrium in the character's own mind. The suspense created by psychological thrillers often comes from two or more characters preying upon one another's minds, either by playing deceptive games with the other or by merely trying to demolish the other's mental state
Devices and Techniques
· Stream of consciousness – a literary technique which seeks to describe an individual's point of view by giving the written equivalent of the character's thought processes. In psychological thrillers, the narrative tries to manifest the character's psyche through word usage, descriptions, or visuals.
- First-person narrative – a literary technique in which the story is narrated by one or more of the characters, who explicitly refers to him or herself in the first person, that is, "I". This direct involvement that the characters have with the story in turn makes the reader more involved with the characters themselves, and thus able to understand the mechanics of the characters' minds. This technique is often paired with the concept of the unreliable narrator.
- Back-story – the history behind the situation extant at the start of the main story. This deepens the psychological aspect of the story since the reader is able to more fully understand the character; more specifically, what the character's motivations are and how his past has shaped his current cognitive perceptions.
Themes
Many psychological thrillers have emerged over the past years, all in various media (film, literature, radio, etc.). Despite these very different forms of representation, general trends have appeared throughout the narratives. Some of these consistent themes include:
· Reality
· Perception
· Mind
· Existence/Purpose
· Identity
· Death
These major subgenres help develop the plot of a psychological thriller film, shaping the characters'personalities. eg. usually character will find the true identidy/ the devil side of himself/herself in psychological thriller, in which it is one of the architypes - the loss of innocence.
Top Rated "Thriller" Titles
Rank Rating Title Votes
1. 8.9 Pulp Fiction (1994) 522,795
2. 8.8 The Dark Knight (2008) 597,709
3. 8.8 Inception (2010) 440,510
4. 8.8 Goodfellas (1990) 291,307
5. 8.7 Rear Window (1954) 145,246
6. 8.7 Psycho (1960) 178,507
7. 8.7 The Silence of the Lambs (1991) 315,789
8. 8.7 The Usual Suspects (1995) 325,275
9. 8.7 Se7en (1995) 368,322
10. 8.6 Memento (2000) 349,251
Rank Rating Title Votes
1. 8.9 Pulp Fiction (1994) 522,795
2. 8.8 The Dark Knight (2008) 597,709
3. 8.8 Inception (2010) 440,510
4. 8.8 Goodfellas (1990) 291,307
5. 8.7 Rear Window (1954) 145,246
6. 8.7 Psycho (1960) 178,507
7. 8.7 The Silence of the Lambs (1991) 315,789
8. 8.7 The Usual Suspects (1995) 325,275
9. 8.7 Se7en (1995) 368,322
10. 8.6 Memento (2000) 349,251
11. 8.6 Leon (1994) 265,962
12. 8.6 North by Northwest (1959) 111,162
13. 8.5 Double Indemnity (1944) 46,019
14. 8.5 M (1931) 48,943
15. 8.5 Terminator 2: Judgment Day (1991) 301,532
16. 8.5 Taxi Driver (1976) 201,577
17. 8.5 Vertigo (1958) 111,043
18. 8.5 The Lives of Others (2006) 100,828
19. 8.5 The Third Man (1949) 59,947
20. 8.5 The Departed (2006) 339,113
21. 8.5 Aliens (1986) 207,344
22. 8.4 Chinatown (1974) 96,452
23. 8.4 Reservoir Dogs (1992) 264,538
24. 8.4 L.A. Confidential (1997) 198,411
25. 8.4 Witness for the Prosecution (1957) 22,792
26. 8.4 The Prestige (2006) 282,254
27. 8.4 Rebecca (1940) 42,397
28. 8.3 Yojimbo (1961) 35,548
29. 8.3 Le Trou (1960) 4,055
12. 8.6 North by Northwest (1959) 111,162
13. 8.5 Double Indemnity (1944) 46,019
14. 8.5 M (1931) 48,943
15. 8.5 Terminator 2: Judgment Day (1991) 301,532
16. 8.5 Taxi Driver (1976) 201,577
17. 8.5 Vertigo (1958) 111,043
18. 8.5 The Lives of Others (2006) 100,828
19. 8.5 The Third Man (1949) 59,947
20. 8.5 The Departed (2006) 339,113
21. 8.5 Aliens (1986) 207,344
22. 8.4 Chinatown (1974) 96,452
23. 8.4 Reservoir Dogs (1992) 264,538
24. 8.4 L.A. Confidential (1997) 198,411
25. 8.4 Witness for the Prosecution (1957) 22,792
26. 8.4 The Prestige (2006) 282,254
27. 8.4 Rebecca (1940) 42,397
28. 8.3 Yojimbo (1961) 35,548
29. 8.3 Le Trou (1960) 4,055
30. 8.3 Oldboy (2003) 129,832
31. 8.3 The Wages of Fear (1953) 17,764
32. 8.3 The Maltese Falcon (1941) 60,610
33. 8.3 Woman of the Dunes (1964) 5,534
34. 8.3 Touch of Evil (1958) 38,865
35. 8.3 Les Diaboliques (1955) 18,968
36. 8.3 Die Hard (1988) 233,996
37. 8.3 Safety Last! (1923) 6,555
38. 8.3 High and Low (1963) 9,068
39. 8.3 Batman Begins (2005) 341,902
40. 8.3 Sin City (2005) 312,869
41. 8.3 Black Swan (2010) 180,904
42. 8.3 Strangers on a Train (1951) 42,577
43. 8.2 Fargo (1996) 197,620
44. 8.2 Blade Runner (1982) 222,518
45. 8.2 Snatch. (2000) 229,533
46. 8.2 Drive (2011) 51,405
47. 8.2 Jaws (1975) 172,314
48. 8.2 Notorious (1946) 37,484
49. 8.2 Elite Squad: The Enemy Within (2010) 13,511
50. 8.2 The Secret in Their Eyes (2009) 38,515
www.imdb.com/chart/thriller
31. 8.3 The Wages of Fear (1953) 17,764
32. 8.3 The Maltese Falcon (1941) 60,610
33. 8.3 Woman of the Dunes (1964) 5,534
34. 8.3 Touch of Evil (1958) 38,865
35. 8.3 Les Diaboliques (1955) 18,968
36. 8.3 Die Hard (1988) 233,996
37. 8.3 Safety Last! (1923) 6,555
38. 8.3 High and Low (1963) 9,068
39. 8.3 Batman Begins (2005) 341,902
40. 8.3 Sin City (2005) 312,869
41. 8.3 Black Swan (2010) 180,904
42. 8.3 Strangers on a Train (1951) 42,577
43. 8.2 Fargo (1996) 197,620
44. 8.2 Blade Runner (1982) 222,518
45. 8.2 Snatch. (2000) 229,533
46. 8.2 Drive (2011) 51,405
47. 8.2 Jaws (1975) 172,314
48. 8.2 Notorious (1946) 37,484
49. 8.2 Elite Squad: The Enemy Within (2010) 13,511
50. 8.2 The Secret in Their Eyes (2009) 38,515
www.imdb.com/chart/thriller
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