1. EVALUATION: QUESTION 1- IN WHAT WAYS DOES YOUR
MEDIA PRODUCT USE, DEVELOP OR CHALLENGE
FORMS AND CONVENTIONS OF REAL MEDIA
PRODUCTS?
BY JA’VAN KINGHORN

3. FRAME 1: THE INSTITUTION LOGO
This frame show our institution logo, we
attempted to follow the conventions for a
institutional logo by placing it before the
start of the title sequence. Unlike most
institution logo, mostly the mainstream
ones, our logo tries to keep the duration
of it short to allow more time for the actual
title sequence.
We also added a filter effect to the logo to
drown out the colours, makes it look a bit
darker and vintage. This is conventional to the
crime fiction genre, an example of the filter of
the institution logo is seen in films like ‘The
Dark Knight Rises’ (2nd image), it creates
enigma codes as the audience will be trying to
find the association of the logo to the story.
When a film filters the logo then it may have
links to the narrative of the film however our
film show a challenge to that convention, with
the contrast of colours between a dark
coloured logo and the colouful title sequence.
This is a big contrast and and could create
even more enigma codes as the audience will
be wondering, why does the colours of the logo
and the title sequence differ?
The animation for our institution logo is a
convention to other institution. Mostly every
institutional logo uses a creative animation. The
institution logo can always have mixed reaction
towards the audience, by changing the colour,
the style, the movement or even just the nondiegetic sounds that plays within the background.
Although we have not made many other filming
like other institution, the necessity to frequently
change the logo is not needed. However we did
try to change the colour of the logo, which does
challenge the conventions of other logos that
choose to change the logo to hopefully connect
the narrative of the film.
The Dark Knight Rises (2012)
The link our film has to the film is that the title
sequence has little aspects that gives off the
past period of time atmosphere, therefore we
added a filter not only for the title sequence but
for the logo as well, both drowning out the
colours so that they are both darker and dull.
This show that we have tried to link the colour
effects together with the association of the time
period that the film is set in.

4. FRAME 2: TITLE TEXT
The typography was thought about strongly
for our title sequence. We had conformed to
the titling convention of most films. We did
this by making the title of the film different in
some way from the rest of the text. By
increasing the size of the title, positioning it
within the centre of the frame and leaving it
as an individual text without any other text
included in the same frame made it
conventional.
Films will always change the typography of
the title of the film and we have done the
same, this shows the convention of our title
sequence. King Kong (1933) is an example
of using the same font for the text however
resizing it and isolating the title from the
other crediting text. The reason that
changing the typography of the title is
effective is because it helps the audience to
acknowledge the title of the film from the
credit; therefore it works the same for our
film as we followed the similar style and
conventions.
This frame is of the title of
our film, we used the font
‘Titania’ for our text. This text
look like a very conventional
text for crime fiction films that
is set in the past (19th
century). This is connoted
from the boring style of text,
the plain white colour and the
boldness of the words. This
is good as our film is trying to
express the point that the film
is set in the 19th century,
about 1890. It helps the
audience to understand that
the movie is not set in the
modern era just by looing at
the style of the text.

5. FRAME 3: MEETING OF THE TWO MAIN
CHARACTERS, BINARY OPPOSITION
The change of background colours
challenges the conventions for a crime
fiction film which creates additional
enigma codes as the colour could reflect
the sort of emotions seen by the
characters of the film.
This is a frame of the two main
characters. This frame is important as
it shows the relation between the
character. There is a binary opposition
between the two people, this is a
convention for a crime fiction story as
in crime fiction movies there are
always binary oppositions between the
criminal and the law (police, judges)
and our title sequence is very
conventional to this binary opposition,
by the mise-en-scene of the characters
and their performance, helps to
express this opposition. By constantly
placing these characters throughout
the title sequence, connotes to the
audience that they are the main
characters because they are the only
characters that are seen in the majority
of the sequence.
Casino Royale (2006)
The characters are shown as silhouettes
throughout the title sequence. This helps to
keep the purpose of an abstract opening,
that is to not reveal too much of the story.
Certain films of the similar genre (Casino
Royale) would use some sort of silhouette
that stops the characters being seen.
However our style of our title sequence
challenges the conventions of typical crime
fiction title sequences. This opening keep
the characters abstracted and not giving off
too much details, keeping the audience busy
with enigma codes of what the characters
look like? Or why they are not wanted to be
seen in the title sequence? By keeping the
characters hidden make it interesting for the
audience to finally find out what these
characters look like.

6. FRAME 4- CREDITING TEXT
In this frame shows the
crediting text, we really tried
to show the conventions of
titling. The frame shows that
we used the same text that
we used for our title, for the
credit also. This is a
conventional idea that is used
a lot in different genres of
films. We added a drop
shadow to show the text
much clearer on the
background so that the
audience are able to read it.
We also made the ‘With’ text smaller than any other
text in our title sequence, this is a conventional text
style as it shows that this actor does not have such a
significant role as the rest of the other actors

7. FRAME 5: VISUAL AND TEXT INTERACTION
This frame shows the visual
interacting with the text that appears
on the screen. This is not something
that is conventional in title
sequences. We wanted to show how
creative we are and thought that if
the visual can join with the text then
it may be a good way to show it off
the creativity. It adds the comedic
side of the film and is interesting to
watch. Although sometimes it is good
to stick to the conventions of other
films, challenging the conventions
can be more interesting to the
audience as they are less likely to
expect what is to be seen, keeping
the audience interested in seeing
something unexpected, this is what
we hoped we had achieved.
Films like ‘Friends With Benefits’
used interactions with the text,
although they just used hands and
gestures to make these
interactions. We wanted to
connote the humorous side of the
film, it helps to relieve the idea of
the atmosphere that the audience
except to be conventional to crime
films. Adding the element of
surprise by adding unexpected
hybrids between genres could
make the audience more intrigued.

8. FRAME 6: SAUL BASS’S STYLE ANIMATIONS
This frame shows the animations in our
title sequence. We were heavily influenced
by Saul Bass’s style when it came to the
animations he used in title sequences.
Saul Bass was well known for his uses of
lines. These lines were used in creative
ways and we found them very interesting.
Therefore we did a little of an intertexual
references to Saul Bass by the use of lines
in our title sequence. However we are not
the first to be influenced by Saul
Bass, examples like ‘Catch Me if You Can’
used the ideas of lines making up an
image, text, contributing in some way to
the story of the title sequence (e.g.:
blocking off a path of a character in the
sequence).
This is the example of our use of
Saul Bass’s lines, we used the lines
to imprison the character within the
enclosed area, these lines would
have an interaction with the
character. If the audience know of
Saul Bass’s work then they would be
very interested with out way of using
his style. It is a unique style and is
very interesting if used properly. The
lines in our title sequence connotes
some sort of prison as it entraps the
character in an area that they can not
escape from; therefore could
underline the narrative of the film.

9. FRAME 7: COMEDY AND PERSONALITIES
This frame shows the element of
comedy and possibly the characters
personalities. The frame shows our two
main characters again however this
time they are not chasing each other,
one of the characters has caught the
other character and we see a bit of
classic comedy. This is conventional to
crime fiction films, that are of a hybrid
of comedy, we done this by using little
comedic action during the title
sequence. This helps the audience
understand the possible genre of the
film, it also attract those of the
audience that does not like dark and
depressing films, using comedy shows
that the story will not be as
uncomfortable to watch.
The actions of the characters
really exposes their personalities.
We challenge the conventions of
criminals as our criminal is
represented as having a very
comedic side to him; therefore
may have different views from
audience. The colour that was
used in this scene is the
denotation of red however it
could connote anger and rage,
which is what the police detective
is feeling at this point of time and
so the colour connotes the
personality of the police
detective.

10. FRAME 8: THE SHOT
This frame shows the gun shot from the police detective. When
the police detective tries to shoot at the criminal, he misses and
the audience witness the bullet hole in the centre of the screen.
The shooting could connote violence and therefore shows the
audience that there will be signs of violence within the film. This is
a challenge to the conventions of normal title sequence as it is an
interaction between the characters and their surroundings, which
is not conventional to many title sequences.

11. FRAME 9: GRAPHIC MATCH INTO OPENING
SCENE
The final frame shows the graphic
match and the opening scene of
the film. This graphic match into
the opening is quite a
conventional style in most title
sequences. An example of this
graphic match style is seen in
Spider-man (2002), a film that
used a Computer-generated
imagery (CGI) web that would
graphic match into a realistic web.
However with our title sequence
we would graphic match the bullet
hole with a similar circular
object, in our case a watch. This
was a interesting way to introduce
the opening scene, maybe not so
conventional to crime fiction
movies but still conventional to
other genres.
Spider-man (2002)
We needed a way to introduce the
character and our story, as we used
silhouette throughout the title
sequence, a realistic opening scene
was desperately needed. We
wanted to continue to not give away
the character, continuing to produce
enigma codes of what the character
looks like? We chose to not show
his face however to show his
clothing and his interest, with all his
interest in riches (watches, money
and wallets); also the fact that he
owns so many of these items could
connote that this character may be
represented as being bad and may
steal precious items from others. It
help the audience to understand
the character’s personality better
and could connote the role this
character will play in the film.

12. CONCLUSION
• Overall, our title sequence did well to stick to so many conventions that is need of its genre however
was able to adapt and challenge certain convention to create a large range of enigma codes for the
audience.