#71 Planning: Maybe extras aren't that bad ?

    Hey everyone, today I will be talking about how we will have some extra help from some other fellow A Level media studies kids that aren't from our class to help us out with our two trailers. 

    So… after looking over our script (if you’ve actually seen it), it’s pretty clear we can’t pull this whole thing off with just the people in our group. Like, we’re ambitious, but we’re not superheroes. Some scenes literally need extra hands, and honestly, that’s where our friends come in.

    Maddie was the first one to jump on the idea. She immediately started thinking about who we could bring in that would actually add something to the project instead of just standing around. That’s how she ended up recruiting Sebastian and Kelly, and honestly, they’re kind of perfect for what we need.

    Sebastian is one of those people who just naturally knows how to handle a camera. He’s super steady, he understands angles without overthinking it, and he’s just good at making shots look clean. It’s one thing to plan a shot on paper, but it’s another thing to have someone who can actually execute it without the camera shaking like we’re filming an earthquake. So having him around is going to make our lives so much easier.

    And then there’s Kelly. I swear, she’s basically an artist with makeup. She can make someone look creepy, tired, injured, mysterious, whatever we need. For our film, where the vibe is already kind of unsettling, having someone who can actually create that look instead of us trying to figure it out last minute is a lifesaver. She just gets it.

    Bringing them in makes the whole project feel more real, like we’re actually building something bigger than just a class assignment. It’s kind of exciting knowing we have people who want to help and who actually bring something unique to the table.

    We’re definitely going to talk more about this once we get closer to filming, because that’s when everything is going to get chaotic in the best way. So yeah… stay tuned, because this is just the beginning.

#70 Planning: Through the Camera’s Eye

    Hey everyone, today I will be talking about how when I first started the whole media studies Cambridge course in AS Level I didn't know anything about cameras and how there's angles and shots in film and how they all mean something and give a meaning. Now know the importance of all that and knowing that this makes any type of film better I try my best to use it with me team.

Before I get into the shots we’re using, here’s a video that helped me understand camera angles way better:

    When we started planning out our trailer, I didn’t realize how much camera angles actually shape the whole vibe of a scene. I always knew they mattered, but once we started breaking everything down, it hit me how much each angle changes the way the audience sees the moment. So, I’ve been paying way more attention to the shots we’re choosing and why they fit what we’re trying to show.

    One thing I’ve been thinking about a lot is close ups. They’re honestly so good for showing emotion without having to do too much. When something intense is happening, a close‑up just makes it feel way more personal. I like using them for moments where the audience is supposed to focus on someone’s reaction or when something important is revealed. It just pulls you in.

Close up shot:

    Then there’s wide shots, which are basically the opposite but still super useful. I love how they show the whole space and make the character look small or isolated when the scene calls for it. For our project, wide shots help set the mood and show the environment, especially in the creepier parts. It gives the audience a second to take everything in before things get tense again.

Wide shot:

    And of course, over the shoulder shots. These are honestly so underrated. They make conversations feel more natural and help the audience see things from a character’s point of view without it being a full POV shot. I like using them when two characters are talking or when someone is watching something important happen. It adds this subtle tension, especially if the person in the foreground is reacting to something the audience hasn’t fully seen yet.

Over the shoulder shot:

    Moreover, planning out these angles has made me realize how much thought goes into every single shot. It’s not just about pointing the camera at something it’s about choosing the angle that actually tells the story the way we want it to feel. I’m glad we took the time to break everything down because now the trailer feels way more intentional.

Source:

50+ Types of Camera Shots, Angles, and Techniques

#69 Planning: The Audio Breakdown

    Hey everyone, today I will be talking about how I’ve been spending time looking at the sound for my project, and it’s honestly wild how much audio can change the whole mood of a scene. I didn’t realize how many tiny choices go into making something feel right until I started digging into it again. Since it’s been a while, I felt a little out of practice with timing and figuring out where certain sounds should go.

    To get back into the flow, I watched a bunch of videos on sound design and how other creators use audio to shape their projects. Seeing different examples really opened up new ideas for me and helped me think about how I want the sound in my own film to come across. It definitely gave me fresh inspiration for my project for me to tell my group members.

    Watching this video honestly opened up a whole new world of sound ideas for my project. The creator shows how tiny audio details things you barely even notice at first can completely shift the mood of a scene. It gave me so many ideas for how I can make certain moments in my trailer feel way more tense and unsettling.

    The creepy tones and subtle noises they demonstrated would fit perfectly in the parts of my film where the audience is supposed to feel on edge. For example, in the moment where I disappear in the trailer, adding sounds like the ones in this video would make that scene hit so much harder. It really showed me how sound can take a suspenseful moment and make it feel even more intense.

    Overall, this video helped me think differently about how I want to use audio not just as background noise, but as something that actually shapes the emotion of the scene.

    To start off, this video ended up being one of the most helpful ones I’ve watched. It really showed me how much sound can completely change the feeling of a scene. Seeing the difference between a clip with no audio and the same clip with full sound design made everything make so much more sense to me. It helped me understand how to use sound in my own project and gave me a way clearer idea of how I want to build the atmosphere in my trailer.

#68 Planning: Story Board for Full trailer

    Hey everyone, today I will be talking about the story board for the full trailer for that our team planned out and that I drew for us. We made sure to plan it out as detailed as possible to show off a structure we wanted to follow while we film. Of course, we have are scripts and locations, but we also want to have a visual diagram of it all for when we film. It's the same thing we did for the teaser!

Full Trailer Story Board:

    The way our teaser plays out is pretty wild. It opens with investigators trying to piece together a fifth murder connected to this masked figure. After that, there’s a moment where I break the news to Madison that her fingerprints showed up on a piece of evidence, which immediately makes everything feel way more serious. Then someone steps forward and tells me what they saw about the masked man, and that’s when it hits me that all these little clues actually connect. Later, I pull up some security footage, but the video starts glitching right when it looks like it’s about to show something important. Eventually, I end up face‑to‑face with the masked man while trying to help a hostage. The last thing the hostage says is, “He never left the fire,” which leaves everything hanging in the air.

    These are the moments my group and I really want to bring to life. I feel like they give the audience enough to understand the situation without giving away too much. With how clearly we’ve mapped everything out, I’m confident the trailer will make sense and still leave people curious.

    We’re almost done planning everything, and I’m honestly so excited to see it all come together. My group and I have been putting so much effort into every detail because we want the trailer to feel intentional and polished. The storyboard has been a huge help in keeping us organized and making sure we stay focused on what we want to show.

#67 Planning: Story Board for Teaser trailer

    Hey everyone, today I will be talking about the story board for the teaser trailer for that our team planned out and that Ethan Sanchez drew for us. We made sure to plan it out as detailed as possible to show off a structure we wanted to follow while we film. Of course, we have are scripts and locations, but we also want to have a visual diagram of it all for when we film. 

Teaser Trailer Story Board:

    Breaking everything down shot‑by‑shot has honestly made the teaser trailer so much easier to understand. Seeing each moment in order helped us figure out the angles, the pacing, and how we want everything to transition. Instead of trying to keep the whole thing in our heads, the storyboard keeps us focused and lets us actually see what we’re aiming for. It’s made us way more organized and has definitely saved us a ton of time.

    The teaser itself is going to give people a really strong first look at the film. Starting with the mask on the ground, completely in focus, immediately sets the tone. Then cutting to the driveway with the tape across it hints that something serious happened there and that it’s under investigation.

    Overall, the storyboard pulls out the main moments we want to highlight and makes it clear what the audience is supposed to take away from the teaser.

#66 Planning: The Last Rewrite

    Hey everyone, today I will be talking about how we finally finished our script, and it kicks off with a flashlight revealing a creepy mask in the dark.

Trailer 1:

An outside voice says:

 "Detective I think you've missed something..." (automatically creepy in my opinion)

Next, it cuts to fast-paced scenes that create suspense such as, a door slamming shut and the masked villain standing at the end of the hallway. Then footsteps are heard in a cold and empty hallway while someone runs past me suddenly however, I was unable to tell who it was.  Then a masked appears over her shoulder quickly to jump scare the audience. 

Madison: "We closed this case. We were wrong."

Then my character is looking at the cases until suddenly a wooden mask slip under her door. 

Then a whisper for the masked man;

Ethan: "You should've saved us..." in a whisper

Trailer 2: 

Starts off with a street of a neighborhood. 

Voice over: "There is an investigation for the 5th murder to find the masked man called The Hallow Man."

Next, cuts to a scene where Madison is at her desk and I walk in

Me: "Your fingerprints are on the evidence"

Madison: "What! Well, someone must have put them there."

Next Investigation with the witness:

Witness: "He used to watch us from the windows."

Madison finds a clue on the floor. The lights begin to flicker. The masked man is watching from outside. Lights begin to flicker. 

Madison: "These clues aren't random. They are targeted at me!"

To continue, Madison is on her computer when she finds security footage of the masked villain from 10 years ago, complete with a time stamp. The footage keeps glitching, adding to the suspense.

In the next scene, Madison is shoved against a wall by the killer. Her partner, Gaby (me), is with her, but then Gaby’s (me) flashlight suddenly goes out. The room goes completely dark, and when the light flickers back on, Gaby (me) has disappeared. Madison fights back, pushing the killer to the floor and ripping off his mask only to realize it’s actually one of his hostages.

Madison: “Who is making you do this?” 

Hostage: “He never left the fire.”

#65 Planning: On Site

    Hey everyone, today I will be talking about planning out where we were going to film ended up being one of the harder things to figure out so quickly. Since we’re filming across four days, we wanted locations that weren’t too far away. That way, if we need to redo a scene, we don’t have to waste time driving back and forth.

    Deering Estate works because thrillers often use isolated, natural settings to build suspense. The mise‑en‑scène of trees and water at night makes the audience feel uneasy, which fits the genre. Maddy remembered back to her AS level project when she filmed at Deering Estate, it has tons of trees and at night it feels really mysterious, so that could work. Another idea she had was using a nearby marina. It’s surrounded by nature, so it looks like we’re in some secluded area even though we’re really not.

    Using houses is practical, but it limits suspense. That’s why we thought about school hallways the bright lights and empty mise‑en‑scène create tension in a different way.

This is the Black Point Marina:

This mise‑en‑scène is effective because the natural low‑key lighting makes the audience expect danger.

This is Deering Estate:

You can tell the place is surrounded by water and trees, and once it gets dark it creates a really mysterious vibe for the audience.

    We all agreed these spots work best for filming since they’re close by and easy to get to. we picked them because they fit thriller conventions, affect the audience, and balance practical production needs.

    Compared to the marina, the hallways feel less natural but more controlled. If we had more time, we’d explore abandoned spaces, but these choices balance practicality and suspense.

    Finding these spots was harder than expected, but it made us more creative with what we had.

#64 Planning: Scene Breakdown

    Hey everyone, today I will be talking about how our plot goes. Maddy is the main character, and she’s playing an investigator who’s trying to figure out all these break‑ins and missing reports that keep leading back to this MASKED villain. As she starts digging, she notices clues popping up in the disappearances. At first, she’s confused, but then it starts feeling repetitive, almost like the clues are being left on purpose for her to find.

    Then things get intense. Her partner finds another clue, but before she can even explain it, the lights shut off. When they flicker back on, I’m gone.... like completely disappeared......and the only thing left behind is my flashlight on the floor. Maddy goes into shock, super scared and confused, and that’s when she starts suspecting the masked villain even more.

    Later, Maddy finally comes face‑to‑face with the masked figure. She knocks him down and pulls the mask off, but instead of some cold villain, it’s actually a hostage who’s shaking and terrified. She asks him who’s behind all of this, and he says, “He never left the fire.” Maddy is confused until she remembers a past case where a man supposedly died in a fire years ago. Turns out… he never did.

    That’s the full plot we’re using to plan how our trailers will be split. It ends on a big cliffhanger, which makes it even more exciting. Honestly, coming up with this together has been so fun, and it’s just the beginning of what we’re building.

    The reason as to why Ethan and I picked Madison to me the main role it because she has the best voice for serious roles and or thriller ones. Her voice is very creepy and straight to the point and she does not laugh she very serious in her roles unlike Ethan and I that laugh at everything. 

#63 Planning: Cast Match

    Hey everyone, today I will be talking about breaking down how we figured out the roles for our project. Since there’s only three of us, we wanted to make sure each person had a part that really fits them. We thought back to our synergy project to help us decide, and we agreed it would be more fun if all of us acted so the trailer feels complete and everyone gets involved in the storyline.

    Of course, filming isn’t just about acting. We still need someone on the camera, people to handle props, and help with costumes and makeup. Since we can’t do all of that ourselves while we’re in front of the camera, we asked a few friends to jump in and cover those jobs so we can stay focused on performing.

    As for the actual roles: Maddy taking on the officer because she can keep a serious tone in scenes, which makes her perfect for that character. Ethan is playing the masked villain, which works really well for him since the mask adds drama without him needing to show emotion. I am going to be the victim because I'm great at reacting to what’s happening in the moment instead of being the one driving the action. Hopefully I can keep a straight face while we’re filming because I always laugh because I get camera shy lol. 

-  For the video: I came across this video on YouTube that’s been super helpful for me as I get ready for my role. Since I’m playing such a big part in our trailer, I want my reactions and emotions to feel real instead of forced. What I like about this video is that it shows how to stop stressing over every single line and just let your body respond naturally in the moment. Watching it makes me feel more confident that I can bring the character to life without overthinking everything.

#62 Planning: Crew Scheduling

     Hey everyone, today I will be talking about scheduling between my teammates for this project, which are Madison Velazquez and Ethan Sanchez. We decided to sit in class and talk about it all together, but sadly I had my big brother’s and sister’s internship the day Ethan and Maddy were discussing it, so I had to be followed up, and they had to check in with me via text message. I have work, Maddy is cheer captain, and we have school and other stressful things in life going on, so scheduling in the best way possible was how we could organize everything to make sure it works out on time perfectly and meets the deadline. Not only the deadline, but we also want to finish early so we have time for editing and reshoots if needed. We just want to make sure we have time left over to make changes if we have to. Madison and I were in the same group last time for AS, and we didn’t have time for any fixing, so we do not want to make the same mistake all over again.

    We set aside four whole days just for filming, which honestly feels like a big deal because it means we don’t have to rush and can actually take our time to make the film the way we want it. Starting early was something we all agreed on, especially after last year when we were scrambling at the end. None of us want to go through that again, so this time we’re making sure we’re ahead of things.

    For me, the biggest thing is staying on top of the schedule and having a plan ready, so we don’t run into little problems that could’ve been avoided. The dates we picked give us plenty of space to redo shots or fix things if we need to, which I think will make the final film way better.

    To me honestly, just having this schedule already makes me feel less stressed. Last year I was worried about running out of time, but now I feel way more prepared, and I’m actually excited to start filming instead of stressing about deadlines.

This is the schedule that works for all of the best, and we all made it on Canva, mainly everything we make is on Canva because it's the most easiest platforms for everything well at least for me:

This is what we have so far!

#61 Research: How Campaigns Use TikTok and Instagram

    Hey everyone, today I will be talking about the social media trends for campaign engagement. I will explain furthermore as part of my own research. 

    Today I’ve been looking at how real campaigns actually use TikTok and Instagram (aka my favorite social media apps) to get people’s attention. I’ve been thinking about how people go from just scrolling (which I do a lot) to actually engaging with content and how campaigns use that to build an audience.

    I’ve learned that short videos are the main way campaigns grab attention now. TikToks, Instagram Reels, and YouTube Shorts are designed for fast scrolling, so the content has to be quick, engaging, and easy to interact with. Most of the videos I’ve seen are around 15–30 seconds and focus on one thing like catching attention, explaining a single idea, or getting people to comment or share.

    I started noticing patterns, especially on TikTok. A lot of trends go viral across different platforms, but it’s not just random it’s the algorithm. I did some research and found out that posting random videos doesn’t really build an audience. It’s actually how the algorithm pushes content based on watch time, interaction, and relevance.

This video helped me understand how TikTok’s algorithm works and why it matters for campaigns:

What Else I Found:

Trending hashtags are another big part of campaign success. They help create an identity and make the content easier to find. When someone clicks on a hashtag, it brings them to all the related posts — which is perfect for building a community around a campaign.

Challenges are also super effective. They invite people to be part of the content instead of just watching. I’ve seen campaigns ask people to duet a video, share their own version of something, or respond with their story. It makes the media feel interactive and personal.

What I’m Planning:
Now I’m figuring out how to use all this research for my own campaign. My main focus is:

        - Creating TikToks and Reels that grab attention quickly and make people want to interact
        - Using hashtags that connect to my campaign and help build a bigger audience
        - Designing a challenge that people can join in on something fun but meaningful that fits the                   tone of my project

#60 Research: Building the Mood of Static

    Hi everyone! Today I’m building a mood board to help me plan the visual style of my film campaign. I’m working with Madison Velasquez and Ethan Sanchez on our psychological thriller Static, and right now we’re collecting ideas for how our trailer and poster should look. This mood board is part of our research it’s helping us figure out what kind of colors, lighting, fonts, and layout match the tone we want.

Focus:
I’m collecting recurring aesthetic features, color palettes, and stylish choices that match the psychological thriller genre and the emotional tone of Static. I did research more on the genre because I’m still not sure if I’m going to keep going with the whole psychological genre but I’m liking the looks of it and I can’t wait to tell my team makes. As well as it also fitting in with our theme!

Since my case study is A24, I’ve been looking at films like The Front Room, Talk to Me, and Hereditary. These campaigns use a lot of dark tones, minimal layouts, and emotional close-ups. I’m focusing on how those choices create suspense and vulnerability without giving too much away.

Evidence:
Here’s how I’m organizing my mood board so far, and I've listed it the best way I could show because I don't like all that clutter

MOODBOARD:

- Color Palette
    - Deep reds and blacks = danger, fear
    - Muted greys = emotional tension
    - Occasional gold or white = contrast, hidden truth

- Lighting
    - Shadows across the face = mystery and vulnerability
    - Backlighting = isolation or emotional distance
    - Low-key setups = suspense and unease

- Typography
    - Serif fonts = serious tone
    - All caps or spaced letters = cinematic feel

    - Minimal text = focus on emotion

- Framing and Layout
    - One central character with layered visuals = emotional focus and hidden layers
    - Empty space = tension and isolation
    - Reflections or distortion = dual identity or secrets

- Mood and Emotion
    - Vulnerable expressions
    - Glitch effects or visual noise
    - A sense that something’s wrong but not obvious

Reflection:
    This mood board helps me stay focused while planning the campaign with Madison and Ethan.
We haven’t started filming yet, but this research gives us a clear direction. I want Static to feel tense and mysterious, but also emotional and personal. By collecting these design features, I can make sure our trailer, poster, and social media content all match in tone. That way, everything feels like part of the same world.

    I’m also thinking about how the audience will read these visuals. If we use shadows and glitch effects, they’ll expect something psychological and intense. If we show vulnerable expressions and layered visuals, they’ll know the story has emotional depth. That’s why this mood board matters it helps us make intentional choices instead of random ones.

#59 Research: Representation in The Front Room

    Hi everybody! Today I will be talking about applying Stuart Hall’s Representation theory to my film trailers. Since my case study is based on A24, I decided to look at The Front Room (2024), which is a psychological thriller that really caught my attention. It’s a great example of how representation can be used to challenge stereotypes, especially around gender and power.

    My focus is that I’m analyzing how The Front Room represents women using Stuart Hall’s theory, which is all about how meaning is created through language, imagery, and how audiences interpret what they see.

    In this film, Brandy Norwood plays a pregnant woman who’s forced to live with her controlling mother-in-law. What stood out to me is how the film doesn’t just show her as a helpless victim instead, she’s portrayed as strong, emotionally complex, and quietly powerful. This challenges the usual stereotype of women in horror or thriller films being passive or weak.

    My evidence, here’s what I noticed in the trailer and poster that shows this representation:

Trailer: The trailer uses dim lighting, slow camera movements, and close-ups of Brandy’s face to show her emotional state. She’s often framed alone, which creates a feeling of isolation, but also makes her the clear focus. Her expressions shift between fear, strength, and suspicion showing that she’s not just reacting, she’s thinking and surviving. This supports Hall’s idea that meaning is created through performance and how the audience reads it.

Poster: The poster shows Brandy’s character sitting in a dark room, lit from behind. The shadows around her create a mysterious and tense atmosphere. She’s dressed simply, but her posture and expression suggest she’s not someone to underestimate. The use of red and black in the background adds to the feeling of danger and psychological pressure. This visual language tells us she’s in a threatening situation but also hints that she might not be powerless.

Reflection:

Looking at The Front Room helped me think about how I want to represent characters in my own film project (Static) that I want to do with my teammates. 

I don’t want to rely on basic stereotypes like the “damsel in distress” or the “evil villain.” Instead, I want to create characters who feel real and have real people's day to day emotions. If I include a female lead, I want her to have agency and complexity, just like Brandy’s character, which I think Madison Velasquez should play which Ethan and I have discussed with Madison to give her that lead role. I also want to use mise-en-scène like lighting, costume, and framing to show hidden emotions or power dynamics just to show off some of the things I've learned from my AS and A level classes of Media Studies.

Stuart Hall’s theory reminded me that audiences don’t just accept what they see they interpret it. So, I need to think about how different people might read the characters, and make sure I’m being thoughtful and purposeful with how my team and I represent them.

#58 Research: Studying A24 Through Hesmondhalgh’s Theory

    Hey everyone, today I’ll be talking about Hesmondhalgh’s Cultural Industries theory and how it connects to A24, the independent film company I’ve been researching. I chose A24 because it’s known for producing bold, creative films like Moonlight, Hereditary, and Everything Everywhere All at Once. Even though it’s not part of a massive conglomerate, it still works like a media company that wants to reduce risk while supporting artistic voices. That’s why I think it’s a great example for understanding Hesmondhalgh’s ideas.

My focus:

    I’m researching the ownership and control of A24 and applying Hesmondhalgh's Cultural Industries theory to understand how they balance creativity with risk.

    A24 is privately owned and not part of a big media group like Disney or Warner Bros. That gives it more freedom to take creative risks, but it still has to think about profit and audience reach. Hesmondhalgh’s theory says that cultural industries try to balance creativity with risk, and I can see how A24 does this by choosing films that feel original but still have emotional or visual appeal that can attract wider audiences. 

    Like I went over in my blog #55 A24 has a lot of luck because although it's not as big as Disney A24 has more ability to take risk and that's what makes some of these movies more popular than other movies.

Evidence:

Here’s what I found when breaking down A24’s structure and goals:

• Ownership: It’s privately held, founded by Daniel Katz, David Fenkel, and John Hodges

• Valuation: It was recently valued at $3.5 billion after investment from Thrive Capital

• Distribution: A24 handles its own releases and works with platforms like Apple TV and Showtime

• Marketing: They have their own team and a strong social media presence

• Goal: To support visionary filmmakers while still staying commercially successful

Even though A24 isn’t part of a huge conglomerate, it still uses vertical integration meaning they control production, distribution, and marketing. That helps reduce financial risk and keeps their brand strong.

My own reflection: 

Thinking about my own film project (Static), I’ve learned a lot from how A24 works.

    A24’s campaigns always look professional and stylish. Whether it’s The Front Room, Talk to Me, or Lady Bird, the posters, trailers, and social media post all match in tone and visuals. That’s part of how they manage risk by building a strong brand identity that audiences trust. If a film looks like “an A24 film,” people are more likely to watch it, even if the story is unusual or risky.

    For Static, I want to use similar strategies. I’ll focus on strong visual aesthetics, a clear genre (psychological thriller), and a serious tone that feels professional. But I also want to keep it creative maybe by using glitch effects, surreal lighting, or unexpected character choices. Hesmondhalgh’s theory reminds me that I don’t have to play it safe to succeed. I just need to make sure my trailer and poster feel polished and connected, so the audience knows what kind of experience they’re getting.

    All in all, A24 for me just worked and I felt like there films have many genres and that has helped me a lot because I'm using information from my case study to further my research for my own film with my teammates Ethan Sanchez and Madison Velasquez.

#57 Research: Applying Barthes' Semantic Codes to a Poster

    Hey everyone, today I will be talking about how Barthes’ Semantic Codes apply to the poster for The Front Room (2024), a psychological horror-thriller from A24. I chose this poster because I’m currently researching ideas for my own film campaign (Static), and I want to understand how professional posters show genre, tone, and character through visuals. I haven’t started filming or planning my own poster yet, but I’m collecting inspiration and this one really stood out to me.

Barthes’ Codes in The Front Room Poster:

• Action Code: The way the character is framed sitting still but surrounded by darkness makes it feel like something is about to happen. It’s like the calm before the storm, and it gives off this creepy tension that fits the thriller vibe.

• Enigma Code: The poster doesn’t tell us much. We don’t know who the character is or what’s going on, and that mystery pulls you in. It makes you ask: what’s her role? Is she in danger? Is she the danger?

• Symbolic Code: The contrast between the dark shadows and the bright light on her face really stood out to me. To me, the light behind her shows that she’s the good person in the story like she’s surrounded by darkness but still holding onto something pure or safe. It’s a small detail, but it says a lot.

Evidence:

 

Denotation (What We See):

• A dark, shadowy background

• A woman (Brandy Norwood) sitting alone, lit from behind

• A red and black color palette

• A clean, sharp serif font for the title

• A simple layout with no extra characters or text

Connotation (What It Means):

• The red and black colors give off a feeling of danger, fear, and maybe even violence which fits the psychological thriller genre.

• The shadows create a mysterious and scary atmosphere, like something is hiding or watching.

• Her formal clothing and serious expression suggest she’s important to the story, maybe caught in a situation she can’t control.

• The bright light behind her face, to me, shows she’s the “good” character like she’s trying to stay strong in a dark situation.

• The clean font makes the poster feel serious and controlled, which adds to the tension.

Reflection:

What specific codes must you embed in your poster to ensure your audience immediately understands the genre and message?

    Even though I haven’t started designing my poster for Static yet, this research gave me a lot of ideas. I want to use a dark color palette too maybe blacks, greys, and deep reds to show that Static is a psychological thriller. I also want to play with lighting, like using shadows to hide parts of the character’s face or background, and maybe a small light source to show hope or truth. For the font, I’ll probably go with something clean and sharp like The Front Room uses, because it makes the tone feel serious and intense. I also like the idea of keeping the layout simple one main character, one strong emotion, and not too much going on in the background. That way, the audience focuses on what really matters.

#56 Research: Textual Analysis of Campaign Synergy

    Hey everyone, today I will be talking about, textual analysis of campaign synergy about the film The Front Room released in (2024). 

Poster: 

    Poster: The official poster features Brandy in a dimly lit, eerie setting, with a muted color palette and bold serif typography. The image of her isolated in a shadowy room sets the tone for psychological tension and domestic horror.

Trailer:

    Trailer: The trailer uses slow pacing, unsettling music, and close-up shots to build suspense. It matches the poster’s mood claustrophobic, emotional, and tense.

• Social Media: A24’s Instagram and Twitter posts use stills from the film, quotes from Brandy’s character, and behind-the-scenes clips. The posts maintain the same color tones and emotional intensity, reinforcing the film’s identity.

Repeated Visual:

• Color palette: Using the same colors (e.g. dark reds, neon blues, muted greys) across all platforms.

• Lighting style: For example, The Front Room uses dim, moody lighting to create suspense.

• Main character focus: Showing the same character in similar poses or expressions across poster and trailer.

• Props or symbols: A creepy object (like the embalmed hand in Talk to Me) or a location that keeps showing up.

• Typography: Using the same font style and size in the title, credits, and social media posts.

• Mood or tone: If the trailer feels tense and claustrophobic, the poster and Instagram posts should match that feeling.

Examples from The Front Room:

• Visual motif: The mother-in-law character is shown in shadow or staring directly at the camera this builds unease.

• Color: Posters and trailer use dark tones with soft lighting to create a closed-in, eerie feeling.

• Font: A24 uses clean serif fonts that feel serious and classic, matching the psychological tone.

#55 Research: Regulation Project

    Hey everyone, the video I will be showing today is my regulation project I did. I broke down regulation as well as connected it to my case study, I hope you all enjoy!

This is my video:

My thumbnail I created on Canva:

#54 Research: Credits & Cuts

    Hey guys, so for this part of my research, I’m looking at final credits and opening titles, and honestly, I didn’t realize how much they matter until I actually paid attention. Like, there’s a whole science behind the typography, the timing, and even the order things show up. It’s way more intentional than I thought.

Here’s a YouTube example that fits what I’m talking about:

This video is perfect because you can literally see how long each name stays on screen, how clean the layout is, and where all the production info goes. It’s simple but still looks super professional.

Opening Titles:

When I look at opening titles, I notice they always match the vibe of the film. Since my film is a thriller, I’m probably going to use sharper fonts, weird shapes, maybe even flickering text to give it that creepy, tense feeling. Opening titles are basically the first impression, so I want mine to set the mood right away.

Credits are usually the opposite clean, simple, white text on a black background. Very organized. Very controlled. No distractions.

Legal Stuff & Acknowledgements:

Another thing I didn’t expect to matter this much is all the legal information. Stuff like company logos, copyright dates, and music credits always show up in professional examples. And they’re placed neatly not just thrown in randomly. It makes everything look way more official.

What I’ve Learned:

Honestly, I didn’t think final credits and opening titles were that deep… but now I get it. They actually make your whole project look way more put‑together if you do them right.

For my film, I want my titles and credits to be clean, readable, and consistent with the rest of my project. So I’m going to:

- pick a thriller‑style font that’s still easy to read

- avoid anything too decorative or distracting

- match the color scheme with my posters and trailer

- make sure the text stands out clearly against the background

- time each credit so it’s not too fast or too slow

I’m also going to include all the production roles director, editor, camera, actors, and anyone who helped plus music credits. Little details like that make the whole film feel more professional instead of rushed.

Overall, planning out my titles and credits properly is going to make my film look way cleaner and way more official.

#53 Research: Hesmondhalgh in a Nutshell

    Hey guys, so today I’m talking about Hesmondhalgh’s theory and how it connects to a big media company but this time using my own case study with A24 and Sean Baker.

    I ended up looking into A24 because they’re basically the “Goliath” in the indie film world. They’re not a giant like Disney or Warner Bros., but they’re still super influential and have their hands in some of the biggest modern films. A24 works across production and distribution, and they’ve built this reputation for supporting bold, original movies like Moonlight, Lady Bird, Hereditary, and Everything Everywhere All at Once. Even though they’re independent, they still operate kind of like a mini‑conglomerate because they control a lot of the process and know how to market their films to big audiences.

    Sean Baker is the total opposite he’s my “David.” He’s an independent filmmaker who writes, directs, and produces his own movies with tiny teams and small budgets. He uses real locations, non‑actors, and focuses on people who don’t usually get represented in mainstream media. Films like Tangerine, The Florida Project, Red Rocket, and Anora feel super raw and personal, which is exactly what makes his work stand out.

Flow Chart:

- Goliath: A24
- David: Sean Baker
- A24 Focus: Production + Distribution of original films
- Baker’s Focus: Independent filmmaking with small teams and real‑world settings
- A24’s Reach: Theatrical releases, streaming partnerships, global marketing
- Baker’s Reach: Festivals, online buzz, social media, word‑of‑mouth

What I’ve Learned:

    For my own film trailer, I actually used A24 and Sean Baker as inspiration. A24 gives me ideas for strong visuals, a clear genre, and that clean, professional vibe that makes a film feel polished. But Baker inspires me in a different way he reminds me that you can still be creative, personal, and original even without a huge budget or a massive company behind you.

    Hesmondhalgh talks about how media companies try to balance creativity with what audiences expect, and I see that so clearly here. A24 tries to be artistic but still marketable. Baker takes risks and doesn’t follow the “safe” formula at all. So, for my trailer, I want to mix both: keep it visually strong and appealing like A24, but still make sure it feels like me and not just a copy of something that already exists.

Basically, this case study helped me understand how different levels of power in the film industry affect creativity and how I can use that balance in my own work.

#52 Research: Regulation

        

    Hey everyone, welcome back to my blog! I'm here with another post, and today I will be talking about Regulation in my case on Film industry with A24 and Sean Baker.

    Regulation in the film industry has changed a lot over time. Today, it’s less about banning content and more about rating films to guide audiences. In this blog, I’ll explore how regulation affects two very different players in the film world: A24, a bold independent company, and Sean Baker, a creative filmmaker working outside the mainstream.

Part 1: Company Profiles  A Goliath and a David

Goliath: A24 A24 is an independent film company started in 2012. It’s not owned by a big media group like Disney or Warner Bros. Instead, it focuses on original, artistic films like Moonlight, Lady Bird, Hereditary, and Everything Everywhere All at Once. A24 supports creative voices while still aiming for box office success.

David: Sean Baker Sean Baker is a filmmaker who works with small budgets and real people. His movies often show stories from communities that don’t get much attention in Hollywood. He uses real locations and even iPhones to film. His best-known works include Tangerine, The Florida Project, Red Rocket, and Anora.

Theory: Curran and Seaton Curran and Seaton say that big companies make safe, money-focused content. Baker proves that independence allows more creativity. A24 challenges this idea by showing that a mid-sized company can be both artistic and successful.

Part 2: The Rules and the Regulators

Regulator: Motion Picture Association (MPA) The MPA gives age ratings (like G, PG, R) and helps fight piracy. Both A24 and Baker must follow these rules when releasing films in theaters.

Example: Red Rocket was rated R for sexual content and language. That rating didn’t ban the film, but it did limit how it could be advertised and who could watch it.

History of Regulation In the past, the Hays Code banned things like swearing and nudity. In 1952, a court case gave films free speech rights. By 1968, the MPA rating system replaced the old rules, giving filmmakers more freedom. With streaming and social media, it’s now harder to control what people watch.

Part 3: Modern Challenges to Regulation

The Internet’s Impact A24 uses streaming and social media to promote films. Baker builds hype online with small budgets. But global access makes it hard to regulate films can be watched anywhere, even in countries with different rules.

Theory: Livingstone & Lunt They say regulators must balance protection and freedom. A24’s big releases are easier to rate and monitor. Baker’s indie films, often shown at festivals or online, are harder to control.

Theory: Dan Gillmor ‘We the Media’ Gillmor believes audiences now have power through user-generated content. This helps Baker more than A24. Reviews, fan posts, and online buzz help his films reach people directly.

Problems with User Content:

• Misinformation spreads fast

• Offensive material can slip through

• Copyright issues are common 

• Hard to block age-inappropriate content

• Too much content to regulate everything

Part 4: Case Study Anora (2024)

Anora, directed by Sean Baker and backed by A24, tells the story of a sex worker who marries a rich Russian man’s son. It was rated R by the MPA for mature themes. Because Baker is independent, the film was seen as thoughtful and artistic not exploitative. A24’s support helped it reach a wider audience and win awards.

This case study shows that film regulation today is more about classification than censorship. A24 and Sean Baker represent two sides of modern filmmaking: one focused on independent success, the other on creative freedom. Both face challenges in a digital world where content spreads fast and rules are harder to enforce. Regulators now must balance protecting viewers with supporting innovation.

#51 Planning: Decision Static

    Hey everyone, welcome back to my blog! I’m really excited to share an update about our media project. After a lot of discussion and planning, we’ve finally made our decision we’re creating two movie trailers and two posters for our original crime/thriller film titled Static.

    We decided to make two trailers because it allows us to show different perspectives and tones. One will focus more on mystery and suspense, while the other will highlight the action and danger. This approach also reflects real film marketing strategies, where studios release both teaser and full trailers to build anticipation and engage the audience across different platforms.

Why We Chose the Crime/Thriller Genre:

    Our group decided on the crime/thriller genre because it gives us the chance to experiment with tension, secrecy, and suspense all conventions typical of this genre. We plan to use techniques like low-key lighting, quick-paced editing, and dramatic sound effects to create a sense of danger and uncertainty.

    Films like Gone Girl and Seven inspired our concept. Both use mystery, realistic settings, and psychological tension to keep audiences guessing something we want to achieve with Static as well.

Target Audience:

    Our target audience is people aged 16 to 30, especially those who enjoy mystery, suspense, and emotional tension. By including relatable characters and realistic fears (like being watched or hunted), we aim to make the story engaging and immersive. The goal is for our audience to question everything who’s watching, who can be trusted, and what’s really on that flash drive.

Narrative and Enigma:

    The first trailer begins with a woman holding a flash drive that contains secret information. She meets her coworker at a park, unaware that a man is watching from a distance. We plan to use a POV shot from the man’s perspective to build suspense and make the audience feel like they are part of the scene.

    During their conversation, the coworker angrily asks why the woman kept the flash drive. The woman replies, “They’re erasing everything.” The coworker responds, “Then we’re next.”

    We chose this dialogue because it instantly builds tension and mystery, applying Barthes’ Enigma Code encouraging the audience to ask questions like What’s on the flash drive? and Who’s erasing everything?

Visual and Sound Planning:

    Next, the trailer cuts to a garage door closing, where the woman discovers a hidden camera. She hears a faint voice whisper, “You should’ve deleted it.” Her expression changes to pure panic a key moment we’ll show through her facial acting and mise-en-scène.

    This transitions into a non-diegetic sound mix of a creepy hum and a heartbeat, symbolizing her fear and increasing suspense. Then a montage of quick shots follows: a fake knife on a desk, the man chasing the woman through an empty street, and distorted audio that creates tension and confusion.

    These moments will rely heavily on editing rhythm and sound design to match thriller conventions.

Here is the idea of the setting:

Second Trailer Concept:

    The second trailer starts with the woman running through a dimly lit parking lot, while the man walks towards her calmly. A voiceover says, “She kept the file… now he’s coming to erase it.”

    We then show another montage the woman hiding the flash drive in a toolbox, the coworker panicking and saying “He knows where we are,” and a phone call warning “They’re watching everything.”

    The trailer ends with fast-paced music and the tagline:

    “One file. Three lives. No escape.”

    This tagline summarizes the film’s central conflict and emotional tone the idea of being trapped by one dangerous secret.

 Group Collaboration:

    As a group, we divided our responsibilities to make the process efficient and professional. I’ll be focusing on script development and sound planning, while my teammates handle cinematography, editing, and poster design. This teamwork reflects how professional production teams collaborate in the film industry.

Creative Intent:

    Overall, our decision to create Static reflects our goal to produce a thrilling, fast-paced, and mysterious narrative that hooks the audience through enigma and tension. Even though we’re still in the planning stage, our ideas already focus on strong visual storytelling, genre conventions, and audience engagement.

    We’re confident that by combining suspenseful cinematography, intense sound design, and emotionally driven characters, Static will represent a well-developed and creative interpretation of the crime/thriller genre.

#50 Preliminary: Reflection Synergy Project

    Hey everyone, welcome back to my blog! I’m really proud of how this final product turned out. Compared to last year, I can already see how much I’ve grown not just in terms of technical skills, but in how I approach planning and creative decision-making. I feel more confident about my Cambridge coursework because our ideas were well thought out, and this trailer gave me a solid foundation to build on and improve even further.

    We aimed to represent suspense throughout the trailer, and I think we achieved that mainly through our use of camera shots, editing, and sound design. These technical codes helped create tension and position the audience to feel anxious and curious. If I had to pinpoint an area for improvement, I’d say our performance could be stronger especially in expressing emotion more clearly to the viewer.

    One of my favorite symbolic choices was the clock in the opening scene. It wasn’t just a prop it became a visual metaphor for time running out. The way we framed it and used sound made it feel unsettling, which was exactly the mood we wanted to establish.

    Another moment I really enjoyed was the scene with cabinets and drawers slamming shut on their own. It added a supernatural element and helped build suspense. To make it work, I had to carefully pan the camera so Ethan could push them from the side without being seen. It took precision and planning, but the final shot looked seamless.

    We also used close-ups to highlight fear especially through the eyes. This was a deliberate choice to represent emotion and immerse the audience in the character’s experience. And the voiceover of me saying “You can’t hide forever” added mystery and left viewers wondering what might happen next. It was a great way to end the trailer and keep the tension alive.

Here’s the video of our final product: 

Here's the social media post of our final product:

Here's the poster of our final product:

Thanks for reading more updates coming soon as I continue developing my Cambridge Media Studies work!