1. Reviewing
Conventions and
Comparing ‘Paralysis’
with real texts
By Tim Loe

2. Auteur and Genre Theory
(Recap)
• After research and planning we established that our product
was a mixture of both the genre and auteur theory. This was
because we wanted to be creative and apply our original
ideas, however we thought it would be best to emulate
generic conventions as well, in order to make our product
successful, and portray the genre effectively.
• Evidence of the auteur theory in our production is the use of
focus pulling, and evidence of genre theory in our production
is the use of lighting , colour(desaturation and blue tones),
conventional character types (the supernatural, the vulnerable
victim) and use of camera (regular close ups).

3. Conventions of a Horror Film
Are they in Paralysis? (yes = )
Iconography Characters Narrative Setting Colour/lighting
Blood Antagonist - Endings are usually Woods Desaturated
supernatural left ambiguous
Knifes, axes Protagonist – Narrative always Graveyard Blue tones
vulnerable revolves around
the concept of
death
The supernatural Expert During the Castle Low key lighting is
protagonists quest mostly used, even
she will be exposed if the protagonist is
to extreme present (usually to
isolation. However imply that the
the help of an antagonist is
expert is usually watching them).
required. (e.g.
Psychiatrist)
Solitude African American House
Anti-religious Bimbo Countryside
ideologies
Religion Sceptical person Empty school
The survivor Places of solitude

4. Meeting Conventions
- Trailer

5. Use of Titles
Our text screens meet convention,
which we thought would be best to
emulate since it is proven to be
successful.
We used a grunge texture as a
background, which is similar to ‘Sinister’
and presents a menacing tone, and the
background’s texture adds depth to the
frame.
Our titles also had a conventional
animation. We key framed the position
so that the title would zoom in.
Overall our use of titles meet
convention.

6. Use of Logos
• The institutional structure I followed is based on conventions
of the relationship between the distributor and producer for a
horror film. Firstly the production company is usually small
and independent, whereas the distribution is usually mass
market, an example being paranormal activity 1 (production
company - Blumhouse productions, and distributed by
Paramount Pictures).
• I thought it was sensible to expose this in the trailer, which is
why there is a ‘Sinister Pictures’ logo at the beginning. This
suggests that I have followed convention, as the production
companies logo is usually displayed in a horror trailer, whereas
the distribution company is not.
• (Note: production company is not relevant to the magazine
front cover, which is the reason the logo is not on there.)

7. Technical form
• Our trailer was uploaded at 16:9 aspect ratio, matching the
industry and it adds an element of professionalism to our
product.
• Also due to the small amount of dialogue it meant that ADR
could be used, this gave our trailer crisp and clear dialogue,
and made our audio sound a lot cleaner, which is vital due to
the substantial role of sound in the horror genre.

8. Camera
• The camera played a vital part in allowing us to meet
conventions, the use of the 50mm lens enabled a shallow
depth of field for close ups, which we felt was necessary to
exploit, and is the reason for the regular use of close ups (as
well as to meet conventions, and also to connotes anxiety, and
exposes the distress of the actors. (see slide 12 for theory
analysis).
• To enable a contrasting light, we had to change the exposure
and aperture on the camera so that more light was let in, and
we could fully manipulate our shots with artificial light. This
use of light connotes intensity throughout the trailer.

9. Conventions we have rejected
• In order to follow our research, we needed to reject some conventions to
follow the auteur theory.
• This was firstly done by a regular use of focus. (out of focus to in focus). This
connotes disorientation, and helped the audience to determine the boy as
being vulnerable.
• The use of optical flares in post production also reject convention, since
they do not contribute to a colder look (although they look more
aesthetically pleasing).

10. Conventions we have followed
• We also had to follow conventions, since in our research we stated
that a mixture of the auteur and genre theory would apply to us.
The conventions we followed are:
• Colour – Desaturated blue colour grade
• Characters– vulnerable child, caring mother, expert, supernatural
antagonist.
• Narrative – The mother is on a quest to cure her son’s condition,
and is forced to do it in solitude, when no one can help her.
• Shots -regular use of close ups. This establishes characters
expressions more effectively, which is vital for a horror
• Lighting – ambient lighting used for outdoor scenes, artificial light
used for all indoor scenes, and positioned to create a contrasting
light on the actors.
• Sound -stings, atonal score, atmospheric sound
• Location – The woods is conventional of the horror genre since it
connotes isolation, a house has also become conventional with the
rise of the domestic horror.

11. Connotations
• A wood was chosen for one of our locations, as
not only because it was conventional but the
vast landscape connotes loneliness, and
entrapment.
• Low Key Lighting was often used, to connote
the antagonist’s presence and also feelings of
sadness, and suspense.
• Composition and camera were often
manipulated in order to present solitude. An
example is the research scene where the
mother is on a laptop, and she is composed to
the right of the shot in order to emphasise the
space in the frame, connoting her loneliness.
The over the shoulder shot also connotes she
is being watched, which builds suspense.

12. Similarities with Insidious
• De-saturated, blue colour grade – the blue tones have connotations of
coldness and the desaturation presents a feeling of intensity.
• Conventional establishing shot of location (house)
• Conventional narrative, which is portrayed in order to build enigma in trailer
(two out of the three stages of Todorov’s narrative theory are used -
equilibrium and disequilibrium). The third stage of his narrative theory is
not shown in the trailer, since it would give away too much information, and
also there is not always a new - equilibrium in the horror genre.
• Conventional progressive pace of a horror trailer – both trailers build up to a
final sting at the end.
• Both products include a shot at the end, after the text screens – A
conventional device to provide the audience with one last scare
• Similar text screens – both have textures behind them
• Suitable variety of Locations
• Conventional soundtrack and scores used (atmospheric and melodic, which
emphasise the intense atmosphere of the trailer.)

13. Things we could have
improved for our trailer
• The 5th shot breaks the 30 degree rule, which makes the trailer
look a lot less fluent.
• The rule states that every cut requires a 30 degree angle
change for the cut to be smooth.
• I felt the atmospheric score was not quite right for our trailer.
It was adequate, however I feel that we could have found a
more suspenseful, violent atonal score.
• In some shots colour correction is needed for continuity. An
example being the shot at 1.15.
The contrast between the colour of these shots make the cut seem less smooth,
and disrupts the continuity of the scene.

14. Theory and Conventions
• Sarris compares the auteur theory to three premises; the outer
(technique), middle (style) and inner (interior meaning) circles. We
considered this during the production of our trailer. An example is
pulling focus, which is the technique (outer circle), and is a trait
associated with us as directors (style), and finally connotes the
disorientation of the boy, which was necessary in order to fully
expose his vulnerability. This is the reason we defied convention, as
it strengthened the product, which is what Sarris’ theory explains.
• Bazin states that the popularity of a genre is based on how the
product approaches dominant ideologies of the time. This was the
reason for our choice of domestic horror, which I feel was a
successful decision. However this also meant that the genre theory
was refuted as the postmodern popularity of domestic horror plays
with genre and audience expectations. Therefore our product is not
a conventional horror, which means we did not fully follow the genre
theory in this sense.

15. Meeting Conventions
- Ancillary Tasks

16. The Poster
• For coherency our poster closely followed the themes and
iconography present in the trailer.
• Colour – similar desaturated and blue colour
• Mise-en-scene such as costumes (pyjamas), lighting (low key,
contrasting light)
• Composition of the shot – Using the rule of thirds the
antagonist is emphasised.
• Editing – grunge textures and gradients
• This required coherency meant that we would also be using
conventions in our poster. (Conventions already listed include
colour, lighting, costumes, composition of shot). Other
conventions are:
• Location – portrays a sense of solitude, and connotes the boy
is possessed or in a dream since it is behind his bed.
• Characters – the vulnerable boy in the middle of the shot,
with direct address connotes that he is the protagonist, and
presents his unawareness and vulnerability.

17. Conventions of A Horror Poster
Are they used in our poster? yes= )
Colour and Lighting Use of Locations Character Camera Colour Scheme and
Text
Low Key Lighting Woods (lonely location Characters showcased A convention shot for Font usually looks
that features in film) are sometimes the a horror poster is a CU quite menacing, and
antagonist and almost / XCU sinister. It usually has a
always the protagonist texture to add depth
to it
De-saturation A location is usually The antagonist is Use of dark colours
Blue Tint used on a horror usually placed in a such as red and black
High Contrast poster (alternative to a place to make the
Vignette coloured background). protagonist look Blue is used to
This is because it helps vulnerable. (e.g. compliment the image
present an element of behind him) – The rule (if it has a
solitude. of thirds is usually conventional blue
considered when tint), and contributes
doing this, since the to the cold effect of
antagonist would the poster
typically be placed in
an intersection of two
lines or along a vertical
line of the frame.

18. Use of Vignette to
connote a sense of
Isolated location in entrapment.
the background, Vulnerable
Contrasting
connoting the protagonist – light –
solitude and direct address connotes
vulnerability of the Menacing shot of
intensity and is
boy. house, with a
conventional
light use for a Desaturated blue
horror poster. colour, connoting a
cold atmosphere.
The antagonist in our
poster serves a similar
function to the eyes in
the insidious poster.
They portray enigma
to the audience.
Grunge texture blended into title. Giving titles
a menacing look suitable for a horror film.

19. The Magazine
• The magazine has similar features to the poster. Here is a list
of what has been included for coherency:
• Text colour scheme
• Colour grading of image
• Texture on the Paralysis title
• Direct address of the protagonist, connoting his unawareness
and vulnerability
• Low key lighting and use of black gradients to connote a sense
of entrapment

20. Conventions of a Horror Magazine
Are they used in our magazine? (Yes = )
Use of Location Colour and Lighting Character Camera Text and Colour
Scheme
A location is usually Low key Lighting The antagonist and Conventional shots The font of text
not featured in the protagonist are include: Close ups , usually follows house
background. Instead usually displayed. If Medium Close ups, style of previous
there is usually a only one character is medium shots editions of a
solid colour, and then showcased it is magazine.
a texture to add usually the
depth to it. antagonist.
Background will Desaturated colour, Colour of text such as
usually be a black blue tint cover lines, and
solid with a texture general colour
for depth, and a scheme can be
blueish light to add changed. The
colour to the conventional colours
background. of horror are used.
E.g. black, red and
dark blue.

21. Horror iconography used. The colour red
connotes blood, clarifying the horror genre
of this product. Background is
never a solid
Low key lighting – connotes colour. It is
the antagonist is present usually used to
emphasise the
main image. The
dark blue colour
of the
background
connotes a cold
tone.
Antagonist is present,
which is a common
feature of magazines
since it builds enigma.
The images are very minimal, which
is conventional for horror products,
as it connotes solitude and
The images feature the conventional colour
emphasises the vulnerability of the grade for a horror, which is a blue tint. This
protagonist. connotes a cold and intense atmosphere.