#19 Exploring Thrillers Blog – Research

 Another genre I will research alongside the last 3 I researched in a previous blog is Thriller, since this is going to be the new genre of our film opening. Each picture is embedded with a link to its origin.

Camera Work

Thrillers often use dynamic camera work to enhance tension. Techniques include close-ups to capture characters’ emotional states, Dutch angles to produce unease, and point-of-view shots to immerse the audience in the protagonist’s perspective. Tracking shots follow characters closely, increasing suspense by limiting what the viewer can see, while tight/closed framing can evoke a sense of claustrophobia or entrapment.

This Dutch angle involves tilting the camera to one side so the horizon line is not level. In thrillers, this is used to signal that something is “wrong” or “off-balance.” 

Editing Style 

Editing in thrillers is designed to manipulate pacing and viewer anticipation. Quick cuts heighten adrenaline during action sequences, while slower editing builds tension in suspenseful moments. Cross-cutting between events happening at the same time is common, creating anticipation for an impending confrontation or revelation. Jump cuts can disorient viewers and reflect a character’s disturbed mental state.

Crosscutting involves cutting between two different scenes happening at the same time—for example, a shootout and a stroller rolling down the stairs in the film Untouchables. This technique makes it look like a race against time and maximizes suspense by showing how close the two parties are to meeting.

Sound

Music is often discordant or minimalist tones to unsettle the audience, with rising crescendos that build suspense. Sudden silence is used strategically to amplify tension. Sound effects like amplified breathing, footsteps, or heartbeats make scenes more immersive and heighten anxiety. Dialogue tends to be used sparingly, maintaining mystery and uncertainty.

Mise-en-Scene

Lighting is typically low-key with strong contrasts and shadows (chiaroscuro), creating mystery and emphasizing danger. Settings are often isolated or confined spaces which increase vulnerability. Props can be symbolic or functional, such as weapons or phones, and costumes often reflect the psychological state of character, frequently in dark or neutral tones to blend with shadows. 

Themes and Narrative Elements

Common thriller themes include fear, paranoia, trust and betrayal, and the unknown. Narratives usually center on a protagonist in danger, often an ordinary person thrown into crazy scenarios. Antagonists may be visible villains or unseen forces. Plot twists and cliffhangers are used frequently to keep the audience guessing. Investigations or pursuits drive the story, with high stakes such as survival, freedom, or sanity.

A massive hit that centers on an unseen force. The characters are literally blindfolded because seeing the antagonist causes immediate death, making the "unknown" the primary source of terror.

Conclusion

The difficulty in identifying thrillers from horror films stems from their shared use of suspense, tension, and fear, which often evoke similar emotional responses in audiences. Both genres use similar cinematic techniques such as dark lighting, unsettling sound design, and jump scares, which blur the lines between them. The difference is in their intent and focus: thrillers aim to excite and create suspense through conflict, while horror aims to scare, disgust, or make the audience uncomfortable by provoking terror or dread. Tone and emotional focus also help identify the two. Thrillers’ tone is more centered on mystery and danger, while horrors are darker, including graphic violence or gore to heighten fear. In terms of narrative, thrillers tend to revolve around uncovering truth, solving mysteries, or escaping danger, with high stakes like survival or justice. Horror narratives often involve confronting evil forces or supernatural threats, sometimes with ambiguous or tragic resolutions. In summary, thrillers build suspense and anticipation while horrors aim to frighten.

Sources

- Amber. (2013, December 10). The Typical Characteristics of Thriller Films. Amber’s as Media Blog. https://ambermediablog.blogspot.com/2013/12/the-typical-characteristics-of-thriller.html 

- Dillon, S. (2023, March 23). Thriller Suspense vs Horror Suspense. Medium. https://writingcooperative.com/thriller-suspense-vs-horror-suspense-e97c89270c64

- Hordle, T. (n.d.). Codes and conventions of a thriller film. Tomhordle16. https://tomhordle16.jimdofree.com/

- Mitchell, C. (2026). Client Challenge. Slideshare.net. https://www.slideshare.net/slideshow/research-into-the-thriller-genre/55603728

- OD. (2026). Editing Within the Thriller Genre. Scribd. https://www.scribd.com/document/945263568/Editing-Within-the-Thriller-Genre

- Rowe, B. (2019, November 3). How to Tell the Difference Between Horror and Thriller. Medium; Read. Watch. Write. Repeat. https://medium.com/read-watch-write-repeat/how-to-tell-the-difference-between-horror-and-thriller-2044ba6e984b

- Uhlin, G. (2024, September 5). Mise en scène. Okstate.edu; Oklahoma State University Libraries. https://open.library.okstate.edu/introfilmtv/part/mise-en-scene/

- Young, D. (2021, October 27). What’s the Difference Between Horror and Thriller? ScreenCraft. https://screencraft.org/blog/whats-the-difference-between-horror-and-thriller/

#18 The Second Decision Blog — Planning

     In my first decision blog, I wrote how originally our post was going to be a monarchy who killed each other in secret for the throne; however, we weren't really 100% sure about that one. Now we have an idea for a plot, it's completely different from the original one, although the new plot isn't set in stone yet. We each have our interpretations of the plot, so how the story carries out isn't clear to us yet. The idea of our new film idea is that a girl--whose world takes place in the 2000s--is researching a series of murders, or a single murder. She takes a break from doing her research and goes outside to get the mail, in which it asks what the worst way to die would be; she answers this by writing "drowning" (because for some reason she has a pencil and thinks it's okay to answer random, anonymously sent mail). Obviously, because the plot is just so full of twists and turns, she dies by drowning.

     In my opinion, this plot if so full of holes. I know it's my group's storyline, and I will have to communicate this with them; the story, or what we think we have so far, is boring. It's a horror, but there's nothing scary about it. There's no suspense. There's no mystery. The girl dies too quickly, and this is supposed to be a 2-minute film opening not a 2-minute short film. Also, we’re changing the genre from Horror to Action.

     Instead of just having the girl—whose name I don't think we even have yet—die immediately and obviously by drowning, the film opening should hint at how she's going to die (if it even hints at her demise at all). I like the idea that the antagonist is already hinted at (the survey), my team members suggested that while the girl is answering the survey, a mysterious and black figure should sneak into her house and watch her throughout the 2-minute film opening. It just sounds so simple and not creative. Overall, I like the idea, I just don't like the way they're building it. But then again, I'm not sure if they made any changes to the plot; all this is based on what we've said during class since the three of us haven't met up outside school, so this could all just be misinformation on my part.

A very, VERY short storyline

#17 Stuart Hall's Encoding/Decoding Theory – Research

    Hall argued that meaning is not fixed or automatically exchanged from the producer to the audience. Instead, the process involves two moments: encoding (producer) and decoding (receiver). This process is influenced by the social, cultural, and political contexts of both the sender and the receiver:

1. Encoding: The media producers (encoders) build a message using a set of codes (language, images, conventions, technical devices) that are rooted in dominant cultural ideologies. They structure the message to prefer a certain meaning--in other words, the preferred meaning.
2. Circulation: The message is distributed through various media channels.
3. Decoding: The audience (decoders) interprets the message based on their own social position, cultural background, and prior knowledge. This is the stage where the preferred reading may be accepted, negotiated, or rejected.

Reflection

    I can encode my 2-minute horror film opening using widely recognized genre signifiers--like a young woman alone at night or a flickering light--to encourage decoding fear and vulnerability. However, to cause a well broken-down reading, I could introduce a subtle, out-of-date prop (a vintage camera) that contradicts the setting, making the audience to actively question and find a deeper meaning that's not just a simple scare. This approach makes sure the opening offers the audience some form of engagement.

Sources

• emcworthy. (n.d.). The Communication Process. Kirkwood.pressbooks.pub. https://kirkwood.pressbooks.pub/emcworthy/chapter/the-communication-process/
• Media Studies. (2020, October 1). Stuart Hall’s Reception Theory | Encoding and Decoding Messages. Media Studies. https://media-studies.com/reception-theory/
• Reception theory | EBSCO. (2024). EBSCO Information Services, Inc. | Www.ebsco.com. https://www.ebsco.com/research-starters/social-sciences-and-humanities/reception-theory
• Teel, A. (2017, May 4). The Application of Stuart Hall’s Audience Reception Theory to Help Us Understand #WhichLivesMatter? Medium; Medium. https://medium.com/@ateel/the-application-of-stuart-halls-audience-reception-theory-to-help-us-understand-whichlivesmatter-3d4e9e10dae5
• Understanding the Process of Communication: From Encoding to Decoding» Gender Studies. (2024, February 2). Gender Studies. https://gender.study/english-communication-skills/communication-process-encoding-decoding/

#16 Todorov's Narrative Structure Theory – Research

    Tzvetan Todorov's theory suggests that most conventional narratives, particularly those found in literature and film, follow a predictable pattern of movement from stability to disruption and back to a new stability.

The five stages of narrative:

1. Equilibrium (The State of Normality): The narrative begins in a state of balance, peace, or normality. The characters, setting, and rules of the world are established and everything is "as it should be."
2. Disruption (The Inciting Incident): An unforeseen event, action, or character disturbs the initial equilibrium. This incident creates the main problem that propels the rest of the story.
3. Recognition (The Acknowledgment of Disorder): The characters, especially the protagonist, realize and acknowledge that the disorder has occurred and grasp the nature of the problem. This stage involves the realization of the consequences of the disruption and leads to the motivation for action.
4. Attempt to Repair (The Quest): The protagonist strives to resolve the conflict and repair the damage caused by the disruption. This stage comprises the bulk of the narrative, involving challenges, plot twists, and confrontations with the antagonistic forces.
5. New Equilibrium (The Restoration): The conflict is resolved, and the narrative reaches a closure where a new state of balance is established. This final state is often not identical to the initial equilibrium; the characters and the world have been transformed by the events of the story.

Example

Equilibrium: Marlin and Nemo live a cautious but peaceful life in their anemone home.

Disruption: Nemo is captured by a diver after being dared to touch the boat.

Recognition: Marlin immediately realizes Nemo is gone and understands the danger his son is in.

Attempt to Repair: Marlin teams up with Dory and crosses the entire ocean to find Nemo.

New Equilibrium: Marlin and Nemo are reunited. Marlin is less cautious and Nemo is more respected, establishing a stronger family life.

Reflection

    I can make my 2-minute film opening to quickly establish an equilibrium (maybe a shot of the protagonist in a domestic environment) before immediately shattering it with a disruption. By ending the opening on the protagonist's recognition of the disruption (maybe a look of terror or a gasp of realization since the time we have is limited). And because this is a film opening, I could end the video with a cliff hanger of the rest of the movie to engage the audience into wondering what the attempt to repair and the new equilibrium will be.

Sources

• Argyrou, S. (2014, January 15). Todorov Theory. Selina Argyrou; Selina Argyrou. https://selinaargyrou.wordpress.com/todorov-theory/
• Narrative Structure and Theories. (2015). Windsor Girls School Media. https://windsorgirls.weebly.com/xstudios/-narrative-structure-and-theories
• Nicole. (2025, July 8). What is Todorov’s Narrative Theory? BeverlyBoy Productions. https://beverlyboy.com/filmmaking/what-is-todorovs-narrative-theory/
• Todorov’s Narrative Theory Overview | Coconote. (2025). Coconote.app. https://coconote.app/notes/4bfd9945-b253-4a6a-bb90-72874267e283
• View. (2019, March 22). Post 3: Narrative analysis – from mainstream to arthouse, applying Todorov’s narrative theory. Pariahhilton. https://pariahhilton.wordpress.com/2019/03/22/narrative-analysis/
• Wikipedia Contributors. (2023, March 4). Todorov’s narrative theory of equilibrium. Wikipedia; Wikimedia Foundation. https://en.wikipedia.org/wiki/Todorov%27s_narrative_theory_of_equilibrium

#15 Claude Levi-Strauss's Binary Oppositions Theory – Research

 Levi-Strauss's theory rests on the idea that meaning is generated through difference and contrast, not through inherent qualities.

• The Universal Structure: Strauss proposed that the fundamental structure of human thought is binary--we instinctively organize the world into paired, opposing concepts (up/down, hot/cold, male/female). He believed this mental mechanism is universal across all human cultures.
• Creating Meaning: Each term in an opposition only gains meaning through its relationship to its opposite. We cannot understand the concept of day without night; how can anything be bad if there is no good?

A crucial aspect of binary opposition is that one term in the pair is typically privileged or valued more highly.

• Examples: Good is often privileged over evil; light over dark; and historically, male over female.
• Ideology: By presenting concepts in these simplified and contrasting pairs, narratives can reinforce a society's dominant ideology, positioning one side as superior or "correct". 

Reflection

    I can use binary oppositions to establish the core conflict and atmosphere of my horror film immediately. By contrasting signs representing safety (bright lighting, or a domestic setting such as a cozy living room) against signs of danger (shadows, sharp objects), I can create instant tension. This contrast between two opposing words within the first two minutes will psychologically prime the audience for the horror.

Sources

• Archer, M. (2013, May 29). Narrative - Levi-Strauss and Binary Opposites. MISS ARCHER’S MEDIA SITE. https://missarcher.weebly.com/narrative---levi-strauss
• Cavaliere, S. (2025). Levi strauss’ theory of binary opposites. SlideShare; Slideshare.  https://www.slideshare.net/slideshow/levi-strauss-theory-of-binary-opposites/66208835
• Media Studies @ Guilsborough Academy Sixth Form. (2017, June 15). Claude Lévi-Strauss – Structuralism Theory. Media Studies @ Guilsborough Academy. https://guilsboroughschoolmedia.wordpress.com/2017/06/15/claude-levi-strauss/
• Wikipedia Contributors. (2019, December 23). Binary opposition. Wikipedia. https://en.wikipedia.org/wiki/Binary_opposition

#14 Vladimir Propp's Character Types Theory – Research

    Vladimir Propp's structuralist theory is carried out by seven fundamental character types. Propp's major claim is that a character's role is defined by their "sphere of action" or the specific function they perform in the story's progression, rather than their individual personality, appearance, or background.

Propp identified seven character types that are essential to the plot of a story:

1. The Hero: The protagonist who leaves on a quest to resolve a problem.
2. The Villain: The antagonist, either causes the initial misfortune or disrupts the equilibrium of the narrative.
3. The Donor: Prepares the quest for the Hero, sometimes they'll test them, and/or supplies them with a magical agent--an object, knowledge, or an ability--to achieve their goal.
4. The Helper: Helps, rescues, or solves problems for the Hero, often appears as a sidekick--this can sometimes be combined with the Donor.
5. The Princess: The goal of the Hero's quest, often requiring rescue or serving as the reward.
6. The Dispatcher: The character who makes the misfortune known and sends the Hero off on their mission.
   
7. The False Hero: A deceptive character who appears to be good or heroic but attempts to claim the credit for the Hero's actions, often seeking the reward but is ultimately exposed and punished.

Example

    An example of one of these character archetypes would be Donkey from Shrek as the Helper. Throughout the movie "Shrek", Donkey helps Shrek multiple times: escaping from Lord Farquaad and rescuing Princess Fiona from the dragon's tower.

Reflection

    I can use Propp's theory to prioritize functional clarity in the opening, making sure my audience understands the characters' roles, not just their personalities. I could use visual cues to establish the Hero in a problem or the Dispatcher delivering the initial call to action, setting up the quest immediately. This intro of archetypal roles ensures the core narrative conflict is communicated well in the end-of-the-year 2-minute film opening.

Sources

• ashleegarcia. (2013, October 6). The Seven Character Types of Vladimir Propp. Ashlee McCarthy. https://ashleeyear2.wordpress.com/2013/10/06/the-seven-character-types-of-vladimir-propp/
• coconote. (2025). Understanding Propp’s Character Archetypes | Coconote. Coconote.app. https://coconote.app/notes/e777e8c6-15bc-4033-bcb0-7f1c5de3cb4e
• Creative Tap. (2019). Vladimir Propps Narrative Theory | Seven common character types. In YouTube. https://www.youtube.com/watch?v=BHdN8pWGp0E
• Fiveable. (2024). 2.9 Vladimir Propp. Fiveable.me. https://fiveable.me/literary-theory-criticism/unit-2/vladimir-propp/study-guide/5YLLqKWkXDIvbxtl
• From Graeme Turner, Film as Social Practice, 2nd ed (Routledge, 1993). (2023). Umsl.edu. https://www.umsl.edu/~gradyf/theory/propp1.htm
• Media Studies. (2020, October 25). Vladamir Propp’s 7 Character Types and Narrative Theory. Media Studies. https://media-studies.com/propp/
• MOLLYNEWMANA2MEDIA. (2016, September 12). Narrative Theory: Vladimir Propp. Mollynewmana2media. https://mollynewmana2media.wordpress.com/2016/09/12/narrative-theory-vladimir-propp/
• The Media Insider Blog. (2023, February 4). Vladimir Propp Character Archetypes. The Media Insider. https://the-media-insider3.webnode.co.uk/l/vladimir-propps-character-archetypes-theory/
• Vladimir Propp. (2025). Goucher.edu.      https://faculty.goucher.edu/eng215/vladimir_propp_character_types-functions.htm

#13 Roland Barthes' Narrative Code Theory – Research

    Roland Barthes' semiotics theory--or semiology--is a reinterpretation of Ferdinand de Saussure's structuralist theory, which investigates the social production of meaning from sign systems. Barthes was primarily interested in how nonverbal, cultural signs--such as images, clothing, and popular media--work to communicate ideas and how they reinforce dominant social ideologies by making them appear natural.

Barthes' theory outlines a two-order system of signification:

1. Denotation: The literal meaning.
• Signifier: The physical form of the sign such as a word, photo, or sound (it is the element that conveys the meaning).
• Signified: The concept represented by the signifier.
• Sign: Inseparable combination of the signifier and the signified, representing the literal or obvious meaning.
2. Connotation: Any additional meanings that elements can carry beyond its literal meaning.
• This new signifier combines with an emotional, ideological, or cultural concept to create a new signified, which Barthes called the connotation.

Example

    For example, the denotation of this picture is a red rose, a flower. The connotation might generate a feel of love, passion; on the other hand, roses are usually used in funerals, so a red rose might signify deep love and respect for a deceased loved one.

Reflection

    I can use Barthes' semiotic theory to use second-order signification by selecting visual signs that generate a connotation relevant to the film's horror genre. For example, using a close-up shot of a dimly lit porcelain doll could work as a signifier that connotes a childhood horror or uncanny dread, setting the mood and expectation for the audience within the two minutes. This technique allows for a underlying communication of emotional themes without needing to use dialogue.

Sources

• - Fiveable Content Team. (2025). Roland Barthes | Literary Theory and Criticism Class Notes | Fiveable. Fiveable. https://fiveable.me/literary-theory-criticism/unit-2/roland-barthes/study-guide/9TPcjjwuKMNjWhl5
• - Amwoga Khalwale. (2025, April 9). 36 Most Popular Flowers For Funerals - AMERICAN GARDENER. AMERICAN GARDENER. https://americangardener.net/flowers-for-funerals/
• - Anez, A. (2017, December 3). Semiotics by Roland Barthes. Communicative Communication Theories. https://communicativecommunicationtheories.wordpress.com/media/semiotics-by-roland-barthes/
• - media studies. (2021, July 13). Roland Barthes’ 5 Narrative Codes | Media Studies Theory. Media Studies. https://media-studies.com/barthes-codes/
• - Wikipedia Contributors. (2019, April 23). Roland Barthes. Wikipedia; Wikimedia Foundation. https://en.wikipedia.org/wiki/Roland_Barthes