MAGAZINE FRONT COVERS
BY LEXCYE MANENA
magazine #1
FILM TITLE: SWEENEY TODD: THE DEMON BARBER OF FLEET STREET
RELEASE DATE: JANUARY 10th 2008 DIRECTOR: TIM BURTON FILM INFO: SWEENEY TODD: THE DEMON BARBER OF FLEET STREET IS A 2007 BRITISH AMERICAN MUSICAL ROMANTIC HORROR FILM DIRECTED BY TIM BURTON. IT IS AN ADAPTATION OF STEPHEN SONDHEIM AND HUGH WHEELER'S TONY AWARD-WINNING 1979 MUSICAL OF THE SAME NAME AND RE-TELLS THE VICTORIAN MELODRAMATIC TALE OF SWEENEY TODD. SYNOPSIS: EVIL JUDGE TURPIN LUSTS FOR THE BEAUTIFUL WIFE OF A LONDON BARBER AND TRANSPORTS HIM TO AUSTRALIA FOR A CRIME HE DID NOT COMMIT. RETURNING AFTER 15 YEARS AND CALLING HIMSELF SWEENEY TODD THE NOW-MAD MAN VOWS REVENGE, APPLYING HIS RAZOR TO UNLUCKY CUSTOMERS AND SHUTTLING THE BODIES DOWN TO MRS.LOVETT, WHO USES THEM IN HER MEAT-PIE SHOP. THOUGH MANY FALL TO HIS BLADE, HE WILL NOT BE SATISFIED UNTIL HE SLITS TURPIN'S THROAT. PRODUCTION/DISTRIBUTOR COMPANY: PARKES/MACDONALD PRODUCTIONS, DREAM WORKS PICTURES PRINCIPLE CAST: JOHNNY DEPP HELENA BONHAM CARTER ALAN RICKMAN TIMOTHY SPALL SUB-GENRE: SLASHER MAGAZINE: ENTERTAINMENT WEEKLY |
MISE-EN-SCENE
LIGHTING: THE KEY LIGHTING ILLUMINATES THE WHOLE PHOTO. THERE ARE NO DARK AREAS IN THE PHOTO, THIS ALLOWS YOU TO VIEW THE SUBJECT, WHICH IS ANTAGONIST IN THE FILM CLEARLY. THE BRIGHT HIGH LIGHTING HIGHLIGHTS HOW PALE, DEATH LOOKING, AND MENACING THE CHARACTER IS.
NVC: THE SUBJECT IS STARING UP STRAIGHT TOWARDS THE CAMERA. HIS EYES ARE PIERCING AND SERIOUS, AND HIS MOUTH SET IN A STRAIGHT LINE. THIS PORTRAYS THE CHARACTERS' CONTINUOUS ANGER THROUGHOUT THE FILM. THERE IS NO SENSE OF ANY OTHER EMOTION COMING OUT HIM, WHICH ALSO REPRESENTS HOW ANGER IS HIS DOMINANT EMOTION THROUGHOUT THE WHOLE FILM.
SETTING: THERE IS NO ACTUAL SETTING IN THE PHOTO. THE SUBJECT IS STANDING INFRONT OF A GREY WALL. HAVING NO SETTING MAKES YOU FOCUS ONLY AND COMPLETELY ON THE SUBJECT HIMSELF.
COSTUME: SWEENY TODD THE ANTAGONIST IS WEARING TRADITIONAL BRITISH NINETEENTH CENTURY STYLE CLOTHING. THE CLOTHING ALLOWS THE VIEWERS TO IDENTIFY IN WHAT TIME THE MOVIE IS SET IN.
PROPS: THERE ARE NO PROPS BEING USED IN THE PHOTO AT ALL. HAVING PROPS IN THE PHOTO WOULD CAUSE THE VIEWERS TO LOOSE FOCUS FROM THE ANTAGONIST, BY TEARING AWAY THEIR ARTENTION FROM HIS FACIAL EXPRESSION, AND INSTEAD TAKING A LOOK AT THE PROP.
CAMERA: FRAMING & SHOTS
THE PHOTO IS A MID-CLOSE UP SHIT OF THE ANTAGONIST, SWEENEY TODD. THE ANGLE OF THE PHOTO HAS BEEN TAKEN RIGHT FROM THE FRONT OF HIS PROFILE.
COLOUR
THE COLOURS USED IN THIS PHOTO WHICH CREATE THE COLOUR PALETTE ARE BLACK, WHITE, AND GREY. THESE COLOURS REFLECT THE TIME PERIOD OF THE NINETEENTH CENTURY, AND IT ALSO PORTRAYS THE SUBJECTS ANGRY AND HOSTILE MOOD.
TYPOGRAPHY: ANCHORAGE, FONT TYPE
THE FONT TYPE IS ALL THE SAME FOR THE TITLE OF THE FILM, THE TITLE OF THE MAGAZINE AND ITS SUBHEADINGS. ITS A CLASSIC BOLD FONT TYPE. THERE ARE TWO SETS OF REPETITIVE COLOURS USED FOR THE FONT WHICH IS BABY BLUE, AND WHITE. THESE COLOURS DIRECTLY CONTRADICT THE MOOD WHICH THE COLOURS IN THE PHOTO CREATE BY HAVING SUCH BRIGHT COLOURS, AND BECAUSE OF IT, CAUSES THEM TO STAND OUT AND, POP OF THE FRONT COVER.
MOOD & STYLING
THE MOOD AND STYLING OF THE PHOTO CREATE AN OLD-FASHIONED THEME, BECAUSE OF THE CHOICE OF COLOURS AND COSTUME.
LIGHTING: THE KEY LIGHTING ILLUMINATES THE WHOLE PHOTO. THERE ARE NO DARK AREAS IN THE PHOTO, THIS ALLOWS YOU TO VIEW THE SUBJECT, WHICH IS ANTAGONIST IN THE FILM CLEARLY. THE BRIGHT HIGH LIGHTING HIGHLIGHTS HOW PALE, DEATH LOOKING, AND MENACING THE CHARACTER IS.
NVC: THE SUBJECT IS STARING UP STRAIGHT TOWARDS THE CAMERA. HIS EYES ARE PIERCING AND SERIOUS, AND HIS MOUTH SET IN A STRAIGHT LINE. THIS PORTRAYS THE CHARACTERS' CONTINUOUS ANGER THROUGHOUT THE FILM. THERE IS NO SENSE OF ANY OTHER EMOTION COMING OUT HIM, WHICH ALSO REPRESENTS HOW ANGER IS HIS DOMINANT EMOTION THROUGHOUT THE WHOLE FILM.
SETTING: THERE IS NO ACTUAL SETTING IN THE PHOTO. THE SUBJECT IS STANDING INFRONT OF A GREY WALL. HAVING NO SETTING MAKES YOU FOCUS ONLY AND COMPLETELY ON THE SUBJECT HIMSELF.
COSTUME: SWEENY TODD THE ANTAGONIST IS WEARING TRADITIONAL BRITISH NINETEENTH CENTURY STYLE CLOTHING. THE CLOTHING ALLOWS THE VIEWERS TO IDENTIFY IN WHAT TIME THE MOVIE IS SET IN.
PROPS: THERE ARE NO PROPS BEING USED IN THE PHOTO AT ALL. HAVING PROPS IN THE PHOTO WOULD CAUSE THE VIEWERS TO LOOSE FOCUS FROM THE ANTAGONIST, BY TEARING AWAY THEIR ARTENTION FROM HIS FACIAL EXPRESSION, AND INSTEAD TAKING A LOOK AT THE PROP.
CAMERA: FRAMING & SHOTS
THE PHOTO IS A MID-CLOSE UP SHIT OF THE ANTAGONIST, SWEENEY TODD. THE ANGLE OF THE PHOTO HAS BEEN TAKEN RIGHT FROM THE FRONT OF HIS PROFILE.
COLOUR
THE COLOURS USED IN THIS PHOTO WHICH CREATE THE COLOUR PALETTE ARE BLACK, WHITE, AND GREY. THESE COLOURS REFLECT THE TIME PERIOD OF THE NINETEENTH CENTURY, AND IT ALSO PORTRAYS THE SUBJECTS ANGRY AND HOSTILE MOOD.
TYPOGRAPHY: ANCHORAGE, FONT TYPE
THE FONT TYPE IS ALL THE SAME FOR THE TITLE OF THE FILM, THE TITLE OF THE MAGAZINE AND ITS SUBHEADINGS. ITS A CLASSIC BOLD FONT TYPE. THERE ARE TWO SETS OF REPETITIVE COLOURS USED FOR THE FONT WHICH IS BABY BLUE, AND WHITE. THESE COLOURS DIRECTLY CONTRADICT THE MOOD WHICH THE COLOURS IN THE PHOTO CREATE BY HAVING SUCH BRIGHT COLOURS, AND BECAUSE OF IT, CAUSES THEM TO STAND OUT AND, POP OF THE FRONT COVER.
MOOD & STYLING
THE MOOD AND STYLING OF THE PHOTO CREATE AN OLD-FASHIONED THEME, BECAUSE OF THE CHOICE OF COLOURS AND COSTUME.
magazine #2
FILM TITLE: CHILD'S PLAY
RELEASE DATE: NOVEMBER 9th 1988 DIRECTOR: TOM HOLLAND FILM INFO: THE FILM IS THE FIRST IN THE CHILD'S PLAY FRANCHISE, AND IS THE FIRST FILM TO FEATURE THE KILLER DOLL CHUCKY. IT WAS THE ONLY FILM IN THE SERIES RELEASED BY MGM/UA AS THE RIGHTS TO THE SERIES WERE SOLD TO UNIVERSAL STUDIOS IN 1990, RIGHT BEFORE PRODUCTION ON CHILD'S 2 STARTED.. SYNOPSIS: GUNNED DOWN BY DETECTIVE MIKE MORRIS, DYING MURDERER CHARLES LEE RAY USES BLACK MAGIC TO PUT HIS SOUL INSIDE A DOLL NAMED CHUCKY- WHICH KAREN BARCLAY THEN BUYS FOR HER YOUNG SON, ANDY. WHEN CHUCKY KILLS ANDY'S BABY SITTER, THE BOY REALIZES THE DOLL IS ALIVE AND TRIES TO WARN PEOPLE, BUT HE'S INSTITUTIONALIZED. NOW KAREN MUST CONVINCE DETECTIVE OF THE MURDEROUS DOLL'S INTENTIONS, BEFORE ANDY BECOMES CHUCKY'S NEXT VICTIM. PRODUCTION/DISTRIBUTOR COMPANY: UNITED ARTISTS, MGM/UA COMMUNICATIONS CO. PRINCIPLE CAST: CATHERINE HICKS CHRIS SARANDON JOE RENZETTI BILL BUTLER SUB-GENRE: SUPERNATURAL/SLASHER MAGAZINE: HORRORHOUND |
MISE-EN-SCENE
LIGHTING: THE LIGHTING ON THE POSTER IS COMING FROM THE LEFT HAND-SIDE OF THE POSTER. IT HIGHLIGHTS THE LEFT HAND SIDE OF THE CHUCKY DOLLS' FACE.
NVC: SINCE THERE ARE NO HUMAN SUBJECTS IN THE PHOTO, THE ONLY COMMUNICATION COMES FROM THE CHUCKY DOLL. THE CHUCKY DOLL IS SIMILING MENANCINGLY WITH ALL HIS TEETH SHOWING, AT THE CAMERA WHILE HOLDING A KNIFE.
SETTING: THE SETTING BEHIND THE CHUCKY DOLL HAS BEEN CROPPED OUT AND BEEN REPLACED WITH A BLACK BACKGROUND. THIS FOCUSES ALL THE VIEWERS ATTENTION ON THE CHUCKY DOLL, INSTEAD OF ANYTHING GOING ON BEHIND HIM.
COSTUME: THE CHUCKY DOLL'S COSTUME IS A SMALL LITTLE BOYS TYPICAL OUTFIT WHICH THEIR MOTHER WOULD DRESS THEM IN. THIS COSTUME MAKES HIM SEEM MORE FAMILIAR, AND CLOSE TO HOME FOR WOMEN WHO ARE MOTHERS WITH LITTLE BOYS. THE COULOUR TOP WHICH CHUCKY IS WEARING GIVES OFF A HAPPY, ADVENTUROUS VIBE. DUE TO THE COLOURS BEING VERY CHILD FRIENDLY SINCE THEY ARE THE COLOURS WHICH CHILDREN LOVE TO USE IN THEIR DRAWINGS. THE VIBE THAT THE COLOURS GIVE OFF ARE THE EXACT OPPOSITE OF WHAT CHUCKY IS, EVIL AND MERCILESS. THE COLOURS BLUE, GREEN, RED, AND ORANGE ATTRACT LITTLE CHILDREN AND CAUSE THEM TO WANT TO PLAY WITH THE CHUCKY DOLL.
PROPS: THE PROP USED IN THIS PHOTO IS A LONG KITCHEN KNIFE. THIS IS CHUCKY'S WEAPON IN THE MOVIE. WEAPONS IN HORROR MOVIES ALWAYS HAVE A DEEPER MEAING OR SYMBOLISE SOMETHING. THE CHOICE OF WEAPON CAN REFLECT THE ANATAGONISTS PERSONALITY. A KNIFE IS A COMMON WEAPON USED IN SLASHER HORROR MOVIES. ITS A PHALLIC SYMBOL, BEACUSE IT'S A WEAPON THAT HAS TO BE PHYSICALLY STABBED THROUGH A PERSON BY ANOTHER PERSON. IT CAN ALOS MEAN THE REMOVAL OF LIFE, BY THE BLOOD THA SPILLS OUT THE PERSON REPRESENTING LIFE. THEREFORE IT IS THE LIFE LEAVING THE PERSON AS IT SLOWLY POURS OUT OF THEM.
CAMERA: FRAMING & SHOTS
THE PHOTO IS A FRONT CLOSE UP SHOT OF CHUCKY. THIS ANGLE ANF TYPE OF SHOT ALLOWS THE VIEWERS TO GET A GOOD VIEW OF THE ANATAGONISTS FULL FACE AND UPPER BODY.
COLOUR
THERE ARE QUITE A FEW COLOURS USED IN THE BOTH THE ACTUAL PHOTO AND THE MAGAZINE ITSELF. THE OBVIOUS COLOUR PALETTE ON THE MAGAZINE IS RED, BLACK AND YELLOW. THE RED AND YELLOW ARE BRIGHT CAUSING IT TO JUXTAPOSE AGAINST THE BLACK BACKGROUND PERFECTLY. YELOOW IS NOT A COMMON COLOUR USEDIN HORROR FILMS. BUT IT HAS BEEN USED IN THIS MAGAZINE SHOWING HOW UNIQUE AND DIFFERENT THE MAGAZINE IS BEING BY DOING SO.
TYPOGRAPHY: ANCHORAGE, FONT TYPE
THE TYPOGRAPHY ON THIS MAGAZINE FOR THE NAME OF THE FILM IS BOLD AND BRIGHT. THE COLOURS USED ARE BLACK YELLOW AND RED. THE INNER BODY OF THE FONT IS FILLED WITH YELLOW, AN DHAS A BOLD BLACK OUTLINE WITH A RED DROW SHADOW AROUND EACH LETTER. THE FONT OF THE TITLE IS FRIENDLY LIKE DURE TO IT RESEMBLING FONTS WHICH ARE USED IN CHILDRENS CARTOONS.
MOOD & STYLING
THE MOOD AND STYLING OF THE MAGAZINE IS COLOURFUL, HOWEVER STILL DARK AND MENACING DUE TO CHUCKYS CRREPY FACE EXPRESSION AND THE BLACK BACKGROUND WITH THE LONG BIG BLACK SILVER KNIFE, WICH STANDS OUT ON THE CORNER OF THE PICTURE WITH CHUCKYS FACIAL EXPRESSION REFLECTING OFF OF IT.
LIGHTING: THE LIGHTING ON THE POSTER IS COMING FROM THE LEFT HAND-SIDE OF THE POSTER. IT HIGHLIGHTS THE LEFT HAND SIDE OF THE CHUCKY DOLLS' FACE.
NVC: SINCE THERE ARE NO HUMAN SUBJECTS IN THE PHOTO, THE ONLY COMMUNICATION COMES FROM THE CHUCKY DOLL. THE CHUCKY DOLL IS SIMILING MENANCINGLY WITH ALL HIS TEETH SHOWING, AT THE CAMERA WHILE HOLDING A KNIFE.
SETTING: THE SETTING BEHIND THE CHUCKY DOLL HAS BEEN CROPPED OUT AND BEEN REPLACED WITH A BLACK BACKGROUND. THIS FOCUSES ALL THE VIEWERS ATTENTION ON THE CHUCKY DOLL, INSTEAD OF ANYTHING GOING ON BEHIND HIM.
COSTUME: THE CHUCKY DOLL'S COSTUME IS A SMALL LITTLE BOYS TYPICAL OUTFIT WHICH THEIR MOTHER WOULD DRESS THEM IN. THIS COSTUME MAKES HIM SEEM MORE FAMILIAR, AND CLOSE TO HOME FOR WOMEN WHO ARE MOTHERS WITH LITTLE BOYS. THE COULOUR TOP WHICH CHUCKY IS WEARING GIVES OFF A HAPPY, ADVENTUROUS VIBE. DUE TO THE COLOURS BEING VERY CHILD FRIENDLY SINCE THEY ARE THE COLOURS WHICH CHILDREN LOVE TO USE IN THEIR DRAWINGS. THE VIBE THAT THE COLOURS GIVE OFF ARE THE EXACT OPPOSITE OF WHAT CHUCKY IS, EVIL AND MERCILESS. THE COLOURS BLUE, GREEN, RED, AND ORANGE ATTRACT LITTLE CHILDREN AND CAUSE THEM TO WANT TO PLAY WITH THE CHUCKY DOLL.
PROPS: THE PROP USED IN THIS PHOTO IS A LONG KITCHEN KNIFE. THIS IS CHUCKY'S WEAPON IN THE MOVIE. WEAPONS IN HORROR MOVIES ALWAYS HAVE A DEEPER MEAING OR SYMBOLISE SOMETHING. THE CHOICE OF WEAPON CAN REFLECT THE ANATAGONISTS PERSONALITY. A KNIFE IS A COMMON WEAPON USED IN SLASHER HORROR MOVIES. ITS A PHALLIC SYMBOL, BEACUSE IT'S A WEAPON THAT HAS TO BE PHYSICALLY STABBED THROUGH A PERSON BY ANOTHER PERSON. IT CAN ALOS MEAN THE REMOVAL OF LIFE, BY THE BLOOD THA SPILLS OUT THE PERSON REPRESENTING LIFE. THEREFORE IT IS THE LIFE LEAVING THE PERSON AS IT SLOWLY POURS OUT OF THEM.
CAMERA: FRAMING & SHOTS
THE PHOTO IS A FRONT CLOSE UP SHOT OF CHUCKY. THIS ANGLE ANF TYPE OF SHOT ALLOWS THE VIEWERS TO GET A GOOD VIEW OF THE ANATAGONISTS FULL FACE AND UPPER BODY.
COLOUR
THERE ARE QUITE A FEW COLOURS USED IN THE BOTH THE ACTUAL PHOTO AND THE MAGAZINE ITSELF. THE OBVIOUS COLOUR PALETTE ON THE MAGAZINE IS RED, BLACK AND YELLOW. THE RED AND YELLOW ARE BRIGHT CAUSING IT TO JUXTAPOSE AGAINST THE BLACK BACKGROUND PERFECTLY. YELOOW IS NOT A COMMON COLOUR USEDIN HORROR FILMS. BUT IT HAS BEEN USED IN THIS MAGAZINE SHOWING HOW UNIQUE AND DIFFERENT THE MAGAZINE IS BEING BY DOING SO.
TYPOGRAPHY: ANCHORAGE, FONT TYPE
THE TYPOGRAPHY ON THIS MAGAZINE FOR THE NAME OF THE FILM IS BOLD AND BRIGHT. THE COLOURS USED ARE BLACK YELLOW AND RED. THE INNER BODY OF THE FONT IS FILLED WITH YELLOW, AN DHAS A BOLD BLACK OUTLINE WITH A RED DROW SHADOW AROUND EACH LETTER. THE FONT OF THE TITLE IS FRIENDLY LIKE DURE TO IT RESEMBLING FONTS WHICH ARE USED IN CHILDRENS CARTOONS.
MOOD & STYLING
THE MOOD AND STYLING OF THE MAGAZINE IS COLOURFUL, HOWEVER STILL DARK AND MENACING DUE TO CHUCKYS CRREPY FACE EXPRESSION AND THE BLACK BACKGROUND WITH THE LONG BIG BLACK SILVER KNIFE, WICH STANDS OUT ON THE CORNER OF THE PICTURE WITH CHUCKYS FACIAL EXPRESSION REFLECTING OFF OF IT.
magazine #3
FILM TITLE: SHAUN OF THE DEAD
RELEASE DATE: APRIL 9th 2004 DIRECTOR: EDGAR WRIGHT FILM INFO: THE FILM WAS A CRITICAL AND COMMERCIAL SUCCESS, 'SHAUN OF THE DEAD' WAS ALSO A BAFTA NOMINEE. PEGG AND WRIGHT CONSIDERED A SEQUEL THAT WOULD REPLACE ZOMBIES WITH ANOTHER MONSTER, BUT DECIDED AGAINST IT AS THEY WERE PLEASED WITH THE FIRST FILM AS A STAND-ALONE PRODUCT,AND THOUGHT TOO MANY CHARACTERS DIED TO CONTINUE THE STORY. THE FILM IS THE FIRST IN WRIGHT AND PEGG'S 'THREE FLAVOURS CORNETTO TRILOGY' FOLLOWED BY 2007 'HOT FUZZ' AND 2013'S 'THE WORLDS END, SYNOPSIS: SHAUN IS A 30-SOMETHING LOSER WITH A DULL, EASY EXISTENCE.WHEN HE'S NOT WORKING AT THE ELECTRONICS STORE, HE LIVES WITH HIS SLOVENLY BESTFRIEND, ED, IN A SMALL FLAT ON TE OUTSKIRTS OF LONDON. THE ONLY UNPREDICTABLE ELEMENT IN HIS LIFE IS HIS GIRLFRIEND, LIZ, WHO WISHES DESPERATELY FOR SHAUN TO GROW UP AND BE A MAN. WHEN THE TOWN IS INEXPLICABLY OVERRUN WITH ZOMBIES, SHAUN MUST RISE TO THE OCCASION AND PROTECT BOTH LIZ AND HIS MOTHER. PRODUCTION/DISTRIBUTOR COMPANY: STUDIO CANAL, UNIVERSAL PICTURES PRINCIPLE CAST: NICK FROST SIMON PEGG KATE ASHFIELD LUCY DAVIS SUB-GENRE: ZOMBIES MAGAZINE: HORRORHOUND |
MISE-EN-SCENE
LIGHTING: BRIGHT KEY LIGHTING IS USED TO ILLUMINATE THE WHOLE POSTER. THE COLOURS ALSO HIGHLIGHT THE SUBJECT IN THE PICTURE. THERE ARE NO LOW LIGHT PARTS IN THE WHOLE POSTER.
NVC: THE SUBJECT, THE MAIN CHARACTER WHICH IS THE PROTAGONIST IS SEEN LOOKING DETERMINED BY THE STANCE HE IS IN AND THE PROPS HE IS HOLDING.
SETTING: THERE IS NO SETTING IN THIS POSTER, IT HAS BEEN EDITED OUT IN ORDER TO HIGHLIGHT THE THEME OF ZOMBIES WITHIN THE FILM. THE HANDS ALL AROUND THE SIDES AND THE CORNERS ENABLE THE VIEWERS TO IDENTIFY WHAT SUB-GENRE THE HORROR MOVIE IS.
COSTUME: THE SUBJECT IN THE MOVIE IS WEAING HIS WORK CLOTHES SHOWING THE FACT THAT HE WAS NOT READY FOR WHATEVER HE IS FIGHTING WITH. IT SHOWS HOW IN REAL LIFE THINGS WILL HAPPEN WHEN YOU LEAST EXPECT IT.
PROPS: THE SUBJECT IS HOLDING A BAT AND A BOUQUET OF FLOWERS. THIS COULD SIGNIFY THAT WHAT HE IS FIGHTING FOR IS FOR A WOMAN MOST LIKELY A GIRLFRIEND.
CAMERA: FRAMING & SHOTS
THE PHOTO ON THIS MAGAZINE IS A LONG SHOT OF THE PROTAGONIST WHICH IS THE MAIN CHARACTER IN THIS FILM.
COLOUR
THE COLOURS USED IN THIS PHOTO ARE BRIGHT AND STAND OUT ALOT BECAUSE OF THEM BEING COMPLETE OPPOSITES. THE DRIPPING RED COLOUR SYMBOLYSES DRIPPING RED AND IS HIGHLITED BY THE CLEAR WHITE BACKGROUND.
TYPOGRAPHY: ANCHORAGE, FONT TYPE
THE COLOUR USED IN THE TITLE OF THE FILM IS YELLOW WITH A BLACK THICK BOLD OUTLINE DROP SHADOW. THE YELLOW POPS OF THE PAGE BECAUSE OF THE USE OF BLACK AROUND IT. IT ALLOWS THE VIEWERS TO KNOW STRAIGHT AWAY THE NAME OF THE FILM WITHOUT HAVING TO SERACH FOR IT ON THE PAGE.
MOOD & STYLING
THE MOOD SEEMS TO BE BRIGHT DIE TO THE BRIGHT TYPE PF COLOURS USED ON THE COVER OF THE MAGAZINE. THE STYLING OF THE CHARACTER IS VERY SIMPLE WITH JUST HIS WORK UNIFORM.
LIGHTING: BRIGHT KEY LIGHTING IS USED TO ILLUMINATE THE WHOLE POSTER. THE COLOURS ALSO HIGHLIGHT THE SUBJECT IN THE PICTURE. THERE ARE NO LOW LIGHT PARTS IN THE WHOLE POSTER.
NVC: THE SUBJECT, THE MAIN CHARACTER WHICH IS THE PROTAGONIST IS SEEN LOOKING DETERMINED BY THE STANCE HE IS IN AND THE PROPS HE IS HOLDING.
SETTING: THERE IS NO SETTING IN THIS POSTER, IT HAS BEEN EDITED OUT IN ORDER TO HIGHLIGHT THE THEME OF ZOMBIES WITHIN THE FILM. THE HANDS ALL AROUND THE SIDES AND THE CORNERS ENABLE THE VIEWERS TO IDENTIFY WHAT SUB-GENRE THE HORROR MOVIE IS.
COSTUME: THE SUBJECT IN THE MOVIE IS WEAING HIS WORK CLOTHES SHOWING THE FACT THAT HE WAS NOT READY FOR WHATEVER HE IS FIGHTING WITH. IT SHOWS HOW IN REAL LIFE THINGS WILL HAPPEN WHEN YOU LEAST EXPECT IT.
PROPS: THE SUBJECT IS HOLDING A BAT AND A BOUQUET OF FLOWERS. THIS COULD SIGNIFY THAT WHAT HE IS FIGHTING FOR IS FOR A WOMAN MOST LIKELY A GIRLFRIEND.
CAMERA: FRAMING & SHOTS
THE PHOTO ON THIS MAGAZINE IS A LONG SHOT OF THE PROTAGONIST WHICH IS THE MAIN CHARACTER IN THIS FILM.
COLOUR
THE COLOURS USED IN THIS PHOTO ARE BRIGHT AND STAND OUT ALOT BECAUSE OF THEM BEING COMPLETE OPPOSITES. THE DRIPPING RED COLOUR SYMBOLYSES DRIPPING RED AND IS HIGHLITED BY THE CLEAR WHITE BACKGROUND.
TYPOGRAPHY: ANCHORAGE, FONT TYPE
THE COLOUR USED IN THE TITLE OF THE FILM IS YELLOW WITH A BLACK THICK BOLD OUTLINE DROP SHADOW. THE YELLOW POPS OF THE PAGE BECAUSE OF THE USE OF BLACK AROUND IT. IT ALLOWS THE VIEWERS TO KNOW STRAIGHT AWAY THE NAME OF THE FILM WITHOUT HAVING TO SERACH FOR IT ON THE PAGE.
MOOD & STYLING
THE MOOD SEEMS TO BE BRIGHT DIE TO THE BRIGHT TYPE PF COLOURS USED ON THE COVER OF THE MAGAZINE. THE STYLING OF THE CHARACTER IS VERY SIMPLE WITH JUST HIS WORK UNIFORM.
magazine #4
FILM TITLE: THE WOMAN IN BLACK
RELEASE DATE: FEBRUARY 3rd 2012 DIRECTOR: JAMES WATKINS FILM INFO: IT'S THE SECOND ADAPTATION OF SUSAN HILL'S 1983 NOVEL OF THE SAME NAME, WHICH WAS PREVIOUSLY FILMED IN 1989.A SEQUEL ENTITLED 'ANGEL OF DEATH' WAS RELEASED ON 2nd OF JANUARY 2015, WITHOUT THE INVOLVEMENT OF RADCLIFFE. SYNOPSIS: ARTHUR KIPPS, A LAWYER, IS RECENTLY WIDOWED AND GRIEVING THE LOSS OF HIS WIFE WHEN HE IS SENT TO A REMOTE VILLAGE TO PUT DECEASED ECCENTRIC'S AFFAIRS IN ORDER. SOON AFTER HIS ARRIVAL IT BECOMES CLEAR THAT THE VILLAGERS ARE HIDING A TERRIBLE SECRET KIPPS DISCOVERS THAT HIS LATE CLIENTS HOUSE IS HAUNTED BY THE SPIRIT OF A WOMAN WHO IS TRYING TO FIND SOMEONE AND SOMETHING SHE LOST,AND THAT NO ONE- NOT EVEN THE CHILDREN IS SAFE FROM HER TERRIBLE WRATH. PRODUCTION/DISTRIBUTOR COMPANY: CROSS CREEK PICTURES, MOMENTUM PICTURES PRINCIPLE CAST: DANIEL RADCLIFFE CIARAN HINDS JANET MCTEER LIZ WHITE SUB-GENRE: SUPERNATURAL MAGAZINE: DIABOLIQUE |
MISE-EN-SCENE
LIGHTING: BRIGHT WHITE LIGHTING USED THROUGHOUT THE WHOLE PHOTO. ENABLING THE VIEWERS OF THIS POSTER TO SEE EVERY INCH OF THE PHOTO WITHOUT HAVING TO FOCUS THEIR EYES.
NVC: THE NON-VERBAL COMMUNICATION IN THIS PICTURE IS SHOWN BY THE FACE EXPRESSION THAT DANIEL RADCLIFF HAS. HE HAS A FACE WHICH PORTRAYS HOPE AND STRENGTH, AS IF HE HAS NO FEARS, OR ABSOLUTELY NOTHING TO BE AFRAID OFF.
SETTING: THE SETTING OF THE PHOTO IS ON THE OUTSIDE IN THE FRONT GARDEN OF THE HAUNTED HOUSE. THE MAIN CHARACTER HAS BEEN PLACED RIGHT AT THE FRONT OF THE HOUSE WHICH SHOWS THE VIEWERS NOT JUST HIM BUT THE HOUSE AN THE ANTAGONIST IN THE FILM THE WOMAN IN LACK ON THE RIGHT SIDE OF THE PHOTO.
COSTUME: THE MAIN CHARACTER IS DRESSED IN A SUIT AND TIE THAT MATCHES THE 1989 ERA THAT THIS FILM IS BASED ON.
LIGHTING: BRIGHT WHITE LIGHTING USED THROUGHOUT THE WHOLE PHOTO. ENABLING THE VIEWERS OF THIS POSTER TO SEE EVERY INCH OF THE PHOTO WITHOUT HAVING TO FOCUS THEIR EYES.
NVC: THE NON-VERBAL COMMUNICATION IN THIS PICTURE IS SHOWN BY THE FACE EXPRESSION THAT DANIEL RADCLIFF HAS. HE HAS A FACE WHICH PORTRAYS HOPE AND STRENGTH, AS IF HE HAS NO FEARS, OR ABSOLUTELY NOTHING TO BE AFRAID OFF.
SETTING: THE SETTING OF THE PHOTO IS ON THE OUTSIDE IN THE FRONT GARDEN OF THE HAUNTED HOUSE. THE MAIN CHARACTER HAS BEEN PLACED RIGHT AT THE FRONT OF THE HOUSE WHICH SHOWS THE VIEWERS NOT JUST HIM BUT THE HOUSE AN THE ANTAGONIST IN THE FILM THE WOMAN IN LACK ON THE RIGHT SIDE OF THE PHOTO.
COSTUME: THE MAIN CHARACTER IS DRESSED IN A SUIT AND TIE THAT MATCHES THE 1989 ERA THAT THIS FILM IS BASED ON.