Posters
BY LEXCYE MANENA
FILM TITLE: INSIDIOUS
RELEASE DATE: APRIL 29 2011 DIRECTOR: JAMES WAN FILM INFO: THIS FILM IS THE FIRST INSTALLMENT IN THE INSIDIOUS FILM SERIES. IT IS FOLLOWED BY INSIDIOUS CHAPTER 2 AND INSIDIOUS CHAPTER 3. SYNOPSIS: THE STORY OF THE FILM FOCUSES ON A COUPLE WHO TAKE DRASTIC MEASURES WHEN IT SEEMS THEIR NEW HOME IS HAUNTED, AND THEIR SON INEXPLICABLY FALLS INTO A COMATOSE STATE. THEREFORE BECOMING THE VESSEL FOR GHOST IN A ASTRAL DIMENSION WHO WANT TO INHABIT HIS BODY, IN ORDER TO ONCE LIVE AGAIN. PRODUCTION/DISTRIBUTOR COMPANY: BLUMHOUSE PRODUCTIONS, FILM DISTRICT. SUB-GENRE: SUPERNATURAL PRINCIPLE CAST: PATRICK WILSON ROSE BYRNE TY SIMPKINS LIN SHAYE |
MISE-EN-SCENE
LIGHTING: THERE IS LOW KEY LIGHTING WHICH FADES OUT TO BLACK ON THE EDGES OF THE TOP, AND BOTTOM OF THE POSTER. THIS CREATES THE IDEA THAT SOMETHING EVIL IS TAKING OVER THE BOY BECAUSE OF HIM BEING CONSUMED BY THE DARKNESS AROUND HIM. THE KEY LIGHT IS FOCUSED ON THE BOYS FACE EVEN THOUGH THERE IS A SLIGHT SHADOW RIGHT ON TOP OF IT, THIS IMPLIES MYSTERY OR THE IDEA THAT THE BOY COULD BE TWO FACED AND THERE FOR HIDING A SEPARATE SIDE OF HIM WHICH IS YET TO BE DISCOVERED. THE BACK LIGHT IS PLACED ON THE HOUSE BEHIND HIM IT IS BRIGHTER THAN HIM AND CONNOTES A MORE INNOCENT AND LESS INSIDIOUS ATMOSPHERE AND FEELING.
NVC: THERE IS VERY STRONG NON-VERBAL COMMUNICATION BEING GIVEN OFF OF THE SUBJECTS FACE. THIS COMES FROM THE SERIOUSNESS AND COMPLETE ABSENCE OF ANY EMOTIONS OR FEELINGS FROM HIS FACIAL EXPRESSION. THE ABSENCE OF HIS HUMAN EMOTIONS AND FEELINGS RADIATES OUT OF HIS COMPLETELY SCRATCHED OUT EYES. EYES ARE SAID TO BE A WINDOW TO YOUR SOUL, ACCORDING TO SCIENTIST. PATTERNS IN THE IRIS CAN GIVE AN INDICATION OF WHETHER THE INDIVIDUAL IS A WARM AND TRUSTING OR NEUROTIC AND IMPULSIVE. THEREFORE THE WHOLE ABSENCE OF HIS EYES IS AN INDICATION OF HIS MISSING SOUL, LACK OF HUMANITY. THIS IMPLIES THAT SUBJECT IS NOT HIS TRUE SELF AND IS POSSESSED BY SOMETHING DARK AND EVIL WHICH IS NOT OF HUMAN FORM.
SETTING: THE SETTING OF THIS PICTURE IS OUTSIDE, ON THE FRONT PORCH OF A TYPICAL AMERICAN SUBURBAN HOUSE. THE USE OF ONLY HAVING THE HOUSE IN THE BACKGROUND FRAME OF THE IMAGE SUGGEST THAT IT IS A SIGNIFICANT LOCATION WITHIN THE FILM. IT ALSO REINFORCES THE NORMALITY OF THE LOCATION AND THAT EVIL LURKS EVEN IN THE CLOSEST MOST SAFEST PLACE TO US, HOME.THEREFORE MAKING IT EXTREMELY HARD TO RUN AWAY FROM IT.
COSTUME: THE SUBJECT IS WEARING HIS PAJAMA SHIRT. THE USE OF PAJAMAS AS HIS COSTUME CONNOTES HIS YOUNG AGE AND INNOCENCE. THIS IS BECAUSE IT IS MOSTLY ONLY CHILDREN THAT WEAR PAJAMAS AND ADULTS TEND TO WEAR ANY TYPE OF CLOTHING THEY FIND COMFORTABLE. THE UTTER SIMPLENESS IN THIS COSTUME SHOWS THE FACT THAT EVIL DOES NOT ALWAYS COME IN FANCY COSTUMES.
PROPS: THERE ARE NO PROPS IN THIS HORROR POSTER. THIS SUGGEST THAT THERE ARE NO PROPS WHICH ARE SIGNIFICANT TO THE POSSESSION WHICH OCCURS IN THE MOVIE.
CAMERA
THE POSTER SHOWS A MID-SHOT OF THE SUBJECT, THE LITTLE BOY. THE PHOTO IS TAKEN AT A STRAIGHT ON ANGLE SO THE FOCUS OF THE CAMERA IS MAINLY JUST ON HIS FACE AND HIS BACKGROUND SURROUNDINGS OF THE HOUSE. THE PHOTO SPECIFICALLY INCLUDES ONLY THESE ELEMENTS WITHIN IT BECAUSE OF THE STORY LEADING PEOPLE TO BELIEVE THAT THE HOUSE IS WHAT IS HAUNTED. WHICH IS WHAT IS NORMALLY OCCURS IN TYPICAL HORROR MOVIES. HOWEVER IT IS THEN REVEALED THAT IT IS NOT THE HOUSE WHICH IS HAUNTED BUT, IT ACTUALLY IS THE LITTLE BOY THAT'S HAUNTED/POSSESSED. THE PHOTO REVEALS THIS BY HAVING THE LITTLE BOY STANDING RIGHT IN FRONT OF THE HOUSE, STARING STRAIGHT AHEAD.
COLOUR
THE COLOURS MAINLY FOUND ON THIS POSTER ARE, GREY, TURQUOISE, WHITE AND BLACK. THESE COLOURS ARE COOL INNOCENT COLOURS WHICH CONNOTE PEACE, AND TRANQUILITY. EXCEPT FROM THE BLACK WHICH SEEMS TO BE SLOWLY SUBMERGING ALL OF THE COLOURS WITHIN THE PICTURE FROM BOTH THE TOP AND BOTTOM OF THE POSTER. THIS COULD SIGNIFY HOW BOTH THE HOUSE AND THE BOY ARE SLOWLY BEING REMOVED FROM THE PEACEFUL LIFE THEY ARE LIVING AND INSTEAD BEING REPLACED WITH A MORE DISRUPTIVE. THESE COLOURS ARE THE ONES FOUND ON THE HOUSE. WHICH CONTRADICTS WITH THE DARK RED PAJAMA TOP WHICH THE BOY IS WEARING. RED CONNOTES EVIL, BLOOD, AND DANGER. THE USE OF THIS COLOUR ON THE CHILDS' PAJAMA COULD BE SEEN AS A WARNING SIGN TO SHOW THE AUDIENCE THAT HE IS THE ONE YOU SHOULD WATCH OUT FOR AND BE AFRAID OF. THIS ALSO SUPPORTS THE IDEA OF WHY HIS EYES ARE COMPLETELY SCRATCHED OUT.
TYPOGRAPHY
THE FONT USED OR THIS THEATRICAL POSTER OF THE FILM IS VERY SIMILAR TO NEUTRALISER SANS BOLD, A COMMERCIAL FONT DESIGNED BY STUART BROWN. THE FONT IS IN BLOCK BUT CURVED CAPITAL LETTERS. THE SAME FONT IS USED IN BOTH THE TITLE NEAR THE BOTTOM OF THE POSTER AND THE FOLLOWING SUBHEADING RIGHT BELOW IT.
MOOD & STYLING
THIS POSTER SHOWS TWO MOODS. A BRIGHT AND VIBRANT ONE WITHIN THE CENTER OF IT WHICH IS SLOWLY BUT DANGEROUSLY CHANGING BY BECOMING CONTAMINATED BY THE DARKNESS WHICH SURROUNDS IT. THIS COULD SIGNIFY THE TWO DIFFERENT STAGES IN THE FILM FROM THE EQUILIBRIUM BEING THE BRIGHTNESS IN THE PICTURE, TO THE DISRUPTION BEING THE BLACK FOG LIKE DARKNESS IMMERSING THE POSTER.
TAG-LINE
"IT'S NOT THE HOUSE THAT'S HAUNTED"- THIS TAG-LINE IS SEEN AS MORE OF A WARNING, A SLIGHT HINT FOR THE AUDIENCE, WHICH CAUSES THEM TO BECOME INTRIGUED TO WHAT REALLY IS HAUNTED, IF ITS NOT THE HOUSE.
LIGHTING: THERE IS LOW KEY LIGHTING WHICH FADES OUT TO BLACK ON THE EDGES OF THE TOP, AND BOTTOM OF THE POSTER. THIS CREATES THE IDEA THAT SOMETHING EVIL IS TAKING OVER THE BOY BECAUSE OF HIM BEING CONSUMED BY THE DARKNESS AROUND HIM. THE KEY LIGHT IS FOCUSED ON THE BOYS FACE EVEN THOUGH THERE IS A SLIGHT SHADOW RIGHT ON TOP OF IT, THIS IMPLIES MYSTERY OR THE IDEA THAT THE BOY COULD BE TWO FACED AND THERE FOR HIDING A SEPARATE SIDE OF HIM WHICH IS YET TO BE DISCOVERED. THE BACK LIGHT IS PLACED ON THE HOUSE BEHIND HIM IT IS BRIGHTER THAN HIM AND CONNOTES A MORE INNOCENT AND LESS INSIDIOUS ATMOSPHERE AND FEELING.
NVC: THERE IS VERY STRONG NON-VERBAL COMMUNICATION BEING GIVEN OFF OF THE SUBJECTS FACE. THIS COMES FROM THE SERIOUSNESS AND COMPLETE ABSENCE OF ANY EMOTIONS OR FEELINGS FROM HIS FACIAL EXPRESSION. THE ABSENCE OF HIS HUMAN EMOTIONS AND FEELINGS RADIATES OUT OF HIS COMPLETELY SCRATCHED OUT EYES. EYES ARE SAID TO BE A WINDOW TO YOUR SOUL, ACCORDING TO SCIENTIST. PATTERNS IN THE IRIS CAN GIVE AN INDICATION OF WHETHER THE INDIVIDUAL IS A WARM AND TRUSTING OR NEUROTIC AND IMPULSIVE. THEREFORE THE WHOLE ABSENCE OF HIS EYES IS AN INDICATION OF HIS MISSING SOUL, LACK OF HUMANITY. THIS IMPLIES THAT SUBJECT IS NOT HIS TRUE SELF AND IS POSSESSED BY SOMETHING DARK AND EVIL WHICH IS NOT OF HUMAN FORM.
SETTING: THE SETTING OF THIS PICTURE IS OUTSIDE, ON THE FRONT PORCH OF A TYPICAL AMERICAN SUBURBAN HOUSE. THE USE OF ONLY HAVING THE HOUSE IN THE BACKGROUND FRAME OF THE IMAGE SUGGEST THAT IT IS A SIGNIFICANT LOCATION WITHIN THE FILM. IT ALSO REINFORCES THE NORMALITY OF THE LOCATION AND THAT EVIL LURKS EVEN IN THE CLOSEST MOST SAFEST PLACE TO US, HOME.THEREFORE MAKING IT EXTREMELY HARD TO RUN AWAY FROM IT.
COSTUME: THE SUBJECT IS WEARING HIS PAJAMA SHIRT. THE USE OF PAJAMAS AS HIS COSTUME CONNOTES HIS YOUNG AGE AND INNOCENCE. THIS IS BECAUSE IT IS MOSTLY ONLY CHILDREN THAT WEAR PAJAMAS AND ADULTS TEND TO WEAR ANY TYPE OF CLOTHING THEY FIND COMFORTABLE. THE UTTER SIMPLENESS IN THIS COSTUME SHOWS THE FACT THAT EVIL DOES NOT ALWAYS COME IN FANCY COSTUMES.
PROPS: THERE ARE NO PROPS IN THIS HORROR POSTER. THIS SUGGEST THAT THERE ARE NO PROPS WHICH ARE SIGNIFICANT TO THE POSSESSION WHICH OCCURS IN THE MOVIE.
CAMERA
THE POSTER SHOWS A MID-SHOT OF THE SUBJECT, THE LITTLE BOY. THE PHOTO IS TAKEN AT A STRAIGHT ON ANGLE SO THE FOCUS OF THE CAMERA IS MAINLY JUST ON HIS FACE AND HIS BACKGROUND SURROUNDINGS OF THE HOUSE. THE PHOTO SPECIFICALLY INCLUDES ONLY THESE ELEMENTS WITHIN IT BECAUSE OF THE STORY LEADING PEOPLE TO BELIEVE THAT THE HOUSE IS WHAT IS HAUNTED. WHICH IS WHAT IS NORMALLY OCCURS IN TYPICAL HORROR MOVIES. HOWEVER IT IS THEN REVEALED THAT IT IS NOT THE HOUSE WHICH IS HAUNTED BUT, IT ACTUALLY IS THE LITTLE BOY THAT'S HAUNTED/POSSESSED. THE PHOTO REVEALS THIS BY HAVING THE LITTLE BOY STANDING RIGHT IN FRONT OF THE HOUSE, STARING STRAIGHT AHEAD.
COLOUR
THE COLOURS MAINLY FOUND ON THIS POSTER ARE, GREY, TURQUOISE, WHITE AND BLACK. THESE COLOURS ARE COOL INNOCENT COLOURS WHICH CONNOTE PEACE, AND TRANQUILITY. EXCEPT FROM THE BLACK WHICH SEEMS TO BE SLOWLY SUBMERGING ALL OF THE COLOURS WITHIN THE PICTURE FROM BOTH THE TOP AND BOTTOM OF THE POSTER. THIS COULD SIGNIFY HOW BOTH THE HOUSE AND THE BOY ARE SLOWLY BEING REMOVED FROM THE PEACEFUL LIFE THEY ARE LIVING AND INSTEAD BEING REPLACED WITH A MORE DISRUPTIVE. THESE COLOURS ARE THE ONES FOUND ON THE HOUSE. WHICH CONTRADICTS WITH THE DARK RED PAJAMA TOP WHICH THE BOY IS WEARING. RED CONNOTES EVIL, BLOOD, AND DANGER. THE USE OF THIS COLOUR ON THE CHILDS' PAJAMA COULD BE SEEN AS A WARNING SIGN TO SHOW THE AUDIENCE THAT HE IS THE ONE YOU SHOULD WATCH OUT FOR AND BE AFRAID OF. THIS ALSO SUPPORTS THE IDEA OF WHY HIS EYES ARE COMPLETELY SCRATCHED OUT.
TYPOGRAPHY
THE FONT USED OR THIS THEATRICAL POSTER OF THE FILM IS VERY SIMILAR TO NEUTRALISER SANS BOLD, A COMMERCIAL FONT DESIGNED BY STUART BROWN. THE FONT IS IN BLOCK BUT CURVED CAPITAL LETTERS. THE SAME FONT IS USED IN BOTH THE TITLE NEAR THE BOTTOM OF THE POSTER AND THE FOLLOWING SUBHEADING RIGHT BELOW IT.
MOOD & STYLING
THIS POSTER SHOWS TWO MOODS. A BRIGHT AND VIBRANT ONE WITHIN THE CENTER OF IT WHICH IS SLOWLY BUT DANGEROUSLY CHANGING BY BECOMING CONTAMINATED BY THE DARKNESS WHICH SURROUNDS IT. THIS COULD SIGNIFY THE TWO DIFFERENT STAGES IN THE FILM FROM THE EQUILIBRIUM BEING THE BRIGHTNESS IN THE PICTURE, TO THE DISRUPTION BEING THE BLACK FOG LIKE DARKNESS IMMERSING THE POSTER.
TAG-LINE
"IT'S NOT THE HOUSE THAT'S HAUNTED"- THIS TAG-LINE IS SEEN AS MORE OF A WARNING, A SLIGHT HINT FOR THE AUDIENCE, WHICH CAUSES THEM TO BECOME INTRIGUED TO WHAT REALLY IS HAUNTED, IF ITS NOT THE HOUSE.
FILM TITLE: THE CONJURING 2
RELEASE DATE: JUNE 13 2016 DIRECTOR: JAMES WAN FILM INFO: PART OF THE FILM SERIES 'THE CONJURING'. IT IS THE SEQUEL TO THE CONJURING AND THE THIRD TO THE CONJURING UNIVERSE. SYNOPSIS: IN 1977, PARANORMAL INVESTIGATORS ED AND LORRAINE WARREN COME OUT OF A SELF-IMPOSED SABBATICAL TO TRAVEL TO ENFIELD, A BOROUGH IN NORTH LONDON. THERE, THEY MEET PEGGY HODGSON, AN OVERWHELMED SINGLE MOTHER OF FOUR WHO TELLS THE COUPLE THAT SOMETHING EVIL IS IN HER HOME. ED AND LORRAINE BELIEVE HER STORY WHEN THE YOUNGEST DAUGHTER STARTS TO SHOW SIGNS OF DEMONIC POSSESION. AS THE WARRENS TRY TO HELP THE BESIEGED GIRL, THEY BECOME THE NEXT TARGETS OF THE MALICIOUS SPIRIT. PRODUCTION/DISTRIBUTION COMPANY: NEW LINE CINEMA, WARNER BROS. PICTURES SUB-GENRE: SUPERNATURAL PRINCIPAL CAST: VERA FARMIGA PATRICK WILSON MADISON WOLFE LAUREN ESPOSITO |
MISE-EN-SCENE
LIGHTING: THERE IS VERY LIMITED USE OF LIGHTING IN THIS PICTURE. HOWEVER THE AMOUNT OF LIGHT THAT IS USED IS VERY BRIGHT, REALLY SIMILAR TO THE EARLY MORNING NATURAL LIGHT THAT BURSTS THROUGH THE CURTAINS IN YOUR BEDROOM WINDOW. IN THIS POSTER THE KEY LIGHT IS COMING FROM ONLY THE WINDOWS. THE LIGHT BEING A BRIGHT CLEAR BLINDING LIGHT COULD SYMBOLIZE A NUMBER OF THINGS SUCH AS HOPE, AN ESCAPE ROUTE, OR EVEN DEATH. IN THIS CASE IT COULD BE EITHER SALVATION FROM ALL THE EVIL THAT IS SURROUNDING THE GIRL WITHIN HER ROOM, OR HER ONLY ESCAPE ROUTE, WHICH LOOKS LIKE DEATH. THIS IS DUE TO HER STANDING AT THE VERY EDGE OF HER MIDDLE WINDOW WIT HER ARMS SPREAD WIDE LOOKING LIKE SHE IS ABOUT TO JUMP AND LEAP OUT THE WINDOW TO SAVE HERSELF FROM ALL THE SUFFERING AND TORTURE SHES BEEN PUT THROUGH.
NVC: THERE IS NO, NON VERBAL COMMUNICATION COMING FROM THE PROTAGONIST FACE BECAUSE IT IS TURNED AWAY FROM THE CAMERA COMPLETELY. HOWEVER HER BODY POSTURE AND ACTION COMMUNICATES FOR HER. HER WIDE SPREAD ARMS SUGGEST THAT SHE IS TRYING TO ALMOST, AS IF TAKE FLIGHT FROM ALL HER PROBLEMS WORRIES, AND SUFFERING. HER BODY LANGUAGE SHOWS HER TAKING ACTION AND DOING SOMETHING IN ORDER TO SEPARATE HERSELF FROM ALL THE EVIL REVOLVING AROUND HER.
THE ANTAGONIST FACE IS SHOWN ON THE EDGE OF THE RIGHT HAND SIDE OF THE PHOTO. THERE IS BARELY ANY FOCUS ON THE ANTAGONIST FACE, CAUSING YOU TO HAVE TO FOCUS YOUR EYES ONLY ON THAT SPOT OF THE PHOTO TO NOTICE IT. THERE IS ALSO EXTREMELY LOW SHADY LIGHTING USED TO SHOW THE LEFT SIDE OF THE ANTAGONISTS FACE, DUE TO THE LIGHTING ONLY BEING REFLECTED OF HER FACE INSTEAD OF BEING DIRECTLY FOCUSED ONLY ON HER. THE KEY LIGHTING FROM THE THREE WINDOWS FADES OUT IN STREAKS LIKE THE SUN AND EVENTUALLY DIMS OUT AT THE VERY EDGES OF THE POSTER.
SETTING: THE SETTING IS THE INSIDE OF THE LITTLE GIRLS ROOM. HER ROOM SEEMS TO BE COMPLETELY TRASHED WITH PARTS OF THE CEILING ON THE CORNERS OF THE ROOM. THIS SETTING SHOWS THAT THIS IS THE PLACE WHERE THE DISRUPTION PART OF THE FILM OCCURS. BY CHOOSING THE BEDROOM OF A LITTLE GIRL, IT HIGHLIGHTS TO THE AUDIENCE THAT THEY CANNOT EASILY ESCAPE FROM THE DANGER THEY ARE IN SINCE IT HAPPENS RIGHT IN THEIR HOUSE, WHERE THEY SLEEP.
COSTUME: THE MAIN SUBJECT, THE LITTLE GILR SEEMS TO BE WEARING HER PYJAMAS. THIS CHOICE OF COSTUME REPRESENTS HER INNOCENCE, AND HIGHLIGHTS THAT SHE IS JUST A CHILD. ANOTHER COSTUME WHICH IS SEEN IN THE PICTURE IS THE COSTUME WHICH THE ANTAGONIST IS WEARING. THE ANTAGONIST ON THE EDGE OF THE LEFT HAND SIDE OF THE PICTURE IS WEARING A CATHOLIC NUNS COSTUME. THIS REINFORCES THE IDEA AND IMPORTANCE OF WHAT THE CATHOLIC RELIGION HAS TO DO WITHIN THE FILM.
PROPS: IN THIS POSTER THE PROPS ARE A DIRECT INDICATOR TO WHAT TYPE OF SUBGENRE HORROR MOVIE THIS IS.THE MAIN AND ONLY PROP THAT IS USED ION THIS POSTER ARE THE ROSEMARY BEADS. IT IS A NECKLACE THAT IS USED IN THE CATHOLIC RELIGION, BECAUSE OF THIS THE AUDINCE CAN STRAIGHT AWAY INTEL THAT THE MOVIE IS THEREFORE A SUPERNATURAL FILM SINCE IT HAS TO DO WITH RELIGION. ALSO BY THEM BEING PLACED RIGHT NEXT TO THE GILR IN THE PHOTO SUGGESTS THAT SHE MAY BE THE ONE WHO NEEDS RELIGIOUS HELP, IN THIS CASE AN EXORCISM.
CAMERA
THE PHOTO USED IN THIS FILM POSTER IS A LONG SHOT. THIS IS BECAUSE THE FULL BODY OF THE MAIN SUBJECT WAS CAPTURED IN THE FRAME, ALONG WITH HER SURROUNDINGS BEING THE SETTING OF HER ROOM. THIS CHOICE OF CAMERA SHOT ENABLES THE AUSINCE TO NOT ONLY SEE TWO OF THE CHARACTERS WHICH WILL BE IN THE FILM BUT ALSO THE SETTING OF WHERE THE CHAOS OCCURS IN THE FILM.
COLOUR
THERE IS A VERY LIMITED RANGE OF COLOURS IN THIS FILM POSTER. THE MOOD BOARD FOR IT ONLY CONTAINS BLACK AND WHITE. THIS CHOICE OF COLOURS SETS AND CREATES A VERY SERIOUS AND STILL ATMOSPHERE. THERE ARE NO USE OF VIBRANT COULOURS WHICH REMOVES ALL THE HAPPY AND POSITIVE VIBES FORM THE ROOM CREATING A VERY GLOOMY AND ADRK ATMOSPHERE. THE COLOUR WHITE WHICH IS BURSTING IN FROM THE WINDOWS HAS A LIGHT BLUE TINT AROUND THE EDGES OF IT. THIS COULD SIGNIFY A SENSE OF PEACE THAT IS TRYING TO ENTER INTO THE GIRLS' ROOM.
TYPOGRAPHY
THE CONJURING 2 USES THE SAME FONT AS THE FIRTS MOVIE IN THIS SERIES. A FONT CALLED ADOBE GARAMOND SEMIBOLD. IT IS HAS VERY SHARD DEFINED EDGES AROUND EACH LETTER. THIS COULD SUGGEST HOW INTENSE THE MOVIE WILL BE BY NOT HAVING AN ANIMATED FONT STYLE INSTEAD.
MOOD & STYLING
THERE IS A VERY GLOOMY AND DARK MOOD. THIS IS CREATED BY THE ABSENCE OF COLOURS AND THE SLIGHT FOG THAT IS SLOWLY ENTERING THE WINDOW.
SPECIFIC CONVENTIONS
THERE ARE THREE SPECIFIC CONVENTIONS WHICH ARE ALL TYPICA; TO BE FOUND IN HORROR FILMS DEPENDING ON WHAT TYPE OF SUB-GENRE THEY ARE. IN THIS FILM POSTER THE THREE CONVENTIONS I HAVE IDENTIFIED ARE THE USE OF WINDOWS, THE LITTLE GIRL, AND THE PROP OF THE ROSEMARY BEADS. ALL THESE ARE FOUND IN SUPERNATURAL HORROR FILMS BECAUSE THEY ALL HAVE A SPECIFIC DEEPER MEANING.
LIGHTING: THERE IS VERY LIMITED USE OF LIGHTING IN THIS PICTURE. HOWEVER THE AMOUNT OF LIGHT THAT IS USED IS VERY BRIGHT, REALLY SIMILAR TO THE EARLY MORNING NATURAL LIGHT THAT BURSTS THROUGH THE CURTAINS IN YOUR BEDROOM WINDOW. IN THIS POSTER THE KEY LIGHT IS COMING FROM ONLY THE WINDOWS. THE LIGHT BEING A BRIGHT CLEAR BLINDING LIGHT COULD SYMBOLIZE A NUMBER OF THINGS SUCH AS HOPE, AN ESCAPE ROUTE, OR EVEN DEATH. IN THIS CASE IT COULD BE EITHER SALVATION FROM ALL THE EVIL THAT IS SURROUNDING THE GIRL WITHIN HER ROOM, OR HER ONLY ESCAPE ROUTE, WHICH LOOKS LIKE DEATH. THIS IS DUE TO HER STANDING AT THE VERY EDGE OF HER MIDDLE WINDOW WIT HER ARMS SPREAD WIDE LOOKING LIKE SHE IS ABOUT TO JUMP AND LEAP OUT THE WINDOW TO SAVE HERSELF FROM ALL THE SUFFERING AND TORTURE SHES BEEN PUT THROUGH.
NVC: THERE IS NO, NON VERBAL COMMUNICATION COMING FROM THE PROTAGONIST FACE BECAUSE IT IS TURNED AWAY FROM THE CAMERA COMPLETELY. HOWEVER HER BODY POSTURE AND ACTION COMMUNICATES FOR HER. HER WIDE SPREAD ARMS SUGGEST THAT SHE IS TRYING TO ALMOST, AS IF TAKE FLIGHT FROM ALL HER PROBLEMS WORRIES, AND SUFFERING. HER BODY LANGUAGE SHOWS HER TAKING ACTION AND DOING SOMETHING IN ORDER TO SEPARATE HERSELF FROM ALL THE EVIL REVOLVING AROUND HER.
THE ANTAGONIST FACE IS SHOWN ON THE EDGE OF THE RIGHT HAND SIDE OF THE PHOTO. THERE IS BARELY ANY FOCUS ON THE ANTAGONIST FACE, CAUSING YOU TO HAVE TO FOCUS YOUR EYES ONLY ON THAT SPOT OF THE PHOTO TO NOTICE IT. THERE IS ALSO EXTREMELY LOW SHADY LIGHTING USED TO SHOW THE LEFT SIDE OF THE ANTAGONISTS FACE, DUE TO THE LIGHTING ONLY BEING REFLECTED OF HER FACE INSTEAD OF BEING DIRECTLY FOCUSED ONLY ON HER. THE KEY LIGHTING FROM THE THREE WINDOWS FADES OUT IN STREAKS LIKE THE SUN AND EVENTUALLY DIMS OUT AT THE VERY EDGES OF THE POSTER.
SETTING: THE SETTING IS THE INSIDE OF THE LITTLE GIRLS ROOM. HER ROOM SEEMS TO BE COMPLETELY TRASHED WITH PARTS OF THE CEILING ON THE CORNERS OF THE ROOM. THIS SETTING SHOWS THAT THIS IS THE PLACE WHERE THE DISRUPTION PART OF THE FILM OCCURS. BY CHOOSING THE BEDROOM OF A LITTLE GIRL, IT HIGHLIGHTS TO THE AUDIENCE THAT THEY CANNOT EASILY ESCAPE FROM THE DANGER THEY ARE IN SINCE IT HAPPENS RIGHT IN THEIR HOUSE, WHERE THEY SLEEP.
COSTUME: THE MAIN SUBJECT, THE LITTLE GILR SEEMS TO BE WEARING HER PYJAMAS. THIS CHOICE OF COSTUME REPRESENTS HER INNOCENCE, AND HIGHLIGHTS THAT SHE IS JUST A CHILD. ANOTHER COSTUME WHICH IS SEEN IN THE PICTURE IS THE COSTUME WHICH THE ANTAGONIST IS WEARING. THE ANTAGONIST ON THE EDGE OF THE LEFT HAND SIDE OF THE PICTURE IS WEARING A CATHOLIC NUNS COSTUME. THIS REINFORCES THE IDEA AND IMPORTANCE OF WHAT THE CATHOLIC RELIGION HAS TO DO WITHIN THE FILM.
PROPS: IN THIS POSTER THE PROPS ARE A DIRECT INDICATOR TO WHAT TYPE OF SUBGENRE HORROR MOVIE THIS IS.THE MAIN AND ONLY PROP THAT IS USED ION THIS POSTER ARE THE ROSEMARY BEADS. IT IS A NECKLACE THAT IS USED IN THE CATHOLIC RELIGION, BECAUSE OF THIS THE AUDINCE CAN STRAIGHT AWAY INTEL THAT THE MOVIE IS THEREFORE A SUPERNATURAL FILM SINCE IT HAS TO DO WITH RELIGION. ALSO BY THEM BEING PLACED RIGHT NEXT TO THE GILR IN THE PHOTO SUGGESTS THAT SHE MAY BE THE ONE WHO NEEDS RELIGIOUS HELP, IN THIS CASE AN EXORCISM.
CAMERA
THE PHOTO USED IN THIS FILM POSTER IS A LONG SHOT. THIS IS BECAUSE THE FULL BODY OF THE MAIN SUBJECT WAS CAPTURED IN THE FRAME, ALONG WITH HER SURROUNDINGS BEING THE SETTING OF HER ROOM. THIS CHOICE OF CAMERA SHOT ENABLES THE AUSINCE TO NOT ONLY SEE TWO OF THE CHARACTERS WHICH WILL BE IN THE FILM BUT ALSO THE SETTING OF WHERE THE CHAOS OCCURS IN THE FILM.
COLOUR
THERE IS A VERY LIMITED RANGE OF COLOURS IN THIS FILM POSTER. THE MOOD BOARD FOR IT ONLY CONTAINS BLACK AND WHITE. THIS CHOICE OF COLOURS SETS AND CREATES A VERY SERIOUS AND STILL ATMOSPHERE. THERE ARE NO USE OF VIBRANT COULOURS WHICH REMOVES ALL THE HAPPY AND POSITIVE VIBES FORM THE ROOM CREATING A VERY GLOOMY AND ADRK ATMOSPHERE. THE COLOUR WHITE WHICH IS BURSTING IN FROM THE WINDOWS HAS A LIGHT BLUE TINT AROUND THE EDGES OF IT. THIS COULD SIGNIFY A SENSE OF PEACE THAT IS TRYING TO ENTER INTO THE GIRLS' ROOM.
TYPOGRAPHY
THE CONJURING 2 USES THE SAME FONT AS THE FIRTS MOVIE IN THIS SERIES. A FONT CALLED ADOBE GARAMOND SEMIBOLD. IT IS HAS VERY SHARD DEFINED EDGES AROUND EACH LETTER. THIS COULD SUGGEST HOW INTENSE THE MOVIE WILL BE BY NOT HAVING AN ANIMATED FONT STYLE INSTEAD.
MOOD & STYLING
THERE IS A VERY GLOOMY AND DARK MOOD. THIS IS CREATED BY THE ABSENCE OF COLOURS AND THE SLIGHT FOG THAT IS SLOWLY ENTERING THE WINDOW.
SPECIFIC CONVENTIONS
THERE ARE THREE SPECIFIC CONVENTIONS WHICH ARE ALL TYPICA; TO BE FOUND IN HORROR FILMS DEPENDING ON WHAT TYPE OF SUB-GENRE THEY ARE. IN THIS FILM POSTER THE THREE CONVENTIONS I HAVE IDENTIFIED ARE THE USE OF WINDOWS, THE LITTLE GIRL, AND THE PROP OF THE ROSEMARY BEADS. ALL THESE ARE FOUND IN SUPERNATURAL HORROR FILMS BECAUSE THEY ALL HAVE A SPECIFIC DEEPER MEANING.
FILM TITLE: SINISTER 2
RELEASE DATE: AUGUST 20 2015 DIRECTOR: CIARAN FOY FILM INFO: IT IS THE SEQUEL TO THE 2012 FILM SINISTER. SYNOPSIS: HIDING FROM HER ABUSIVE, ESTRANGED HUSBAND, COURTNEY COLLINS LIVES IN A RURAL HOUSE WITH HER 9 YEAR OLD TWINS, DYLAN AND ZACH. YOUNG DYLAN RECEIVES NIGHTLY VISITS FROM GHOULISH KIDS WHO SHOW HIM DISTURBING IMAGES OF FAMILIES BEING SLAUHTERED. ITS ALL PART OF THE GRAND PLAN OF BUGHUUL, THE EVIL SPIRIT WHO RECRUITS INNOCENT CHILDREN TO MURDER THEIR LOVED ONES. THE ONLY OPE FOR HIS INTENDED NEW VICTIMS MAY BE A FORMER DEPUTY WHO'S FAMILIAR WITH BUGHUUL'S FIENDISH WORK FROM THE PAST. PRODUCTION/DISTRIBUTOR COMPANY: BLUMHOUSE PRODUCTIONS, GRAMERCY PICTURES SUB-GENRE: SUPERNATURAL/SLASHER PRINCIPLE CAST: JAMES RANSONE SHANNYN SOSSAMON ROBERT DANIEL SLOAN DARTANIAN SLOAN |
MISE-EN-SCENE
LIGHTING: THE KEY LIGHTING IS AIMED RIGHT AT THE CENTRE OF THE POSTER. IT DOES THIS TO HIGHLIGHT THE BLOOD DRAWING ON THE WALL BY DIMING OUT THE LIGHT AROUND THE EDGES OF THE DRAWING. THIS IS DONE TO GRAB AND FOCUS THE ATTENTION OF THE AUDIENCE ON THE CENTRE OF THE POSTER.
NVC: THERE ARE TWO TWIN BROTHERS IN THE PHOTO ON THE POSTER. NEITHER OF THEM IS DIRECTLY FACING THE CAMERA. HOWEVER THE BROTHER ON THE RIGHT HAND SIDE SEEMS TO BE LOKING AT MULTIPLE DIRECTIONS, AS IF HE IS POSSESSED AND SHAKING HIS HEAD UNCONTROLLABLY. THIS SUGGESTS TO THE VIEWERS THAT THE LITTLE BOY IS NOT CURRENTLY SANE DUE TO HIS UNHUMAN ACTIONS. THE BOY ON THE LEFT SEEMS TO BE EVIL OR ALSO NOT SANE. THIS IS BECAUSE HE'S SMEARING THE BLOOD ON THE WALL WHILE DRAGGING HIS HAND ALONG SIDE IT. THIS IS A DISTURBING AND UNEXPECTED ACTION BEING DONE BY A LITTLE BOY. THIS CAUSES THE AUDIENCE TO QUESTION THE LITTLE BOYS INNOCENCE BEXCAUSE OF HIM NOT BEING FRIGHTENED OR AFFECTED BY THE MONSTER DRAWN IN BLOOD ON THE WALL. IT CAN ALOS LEAD THE AUDIENCE TO BELIEVE THAT EVEN THE LITTLE BOY HIMSELF WAS THE ONE THAT HAD DRAWN IT. OVERALL FROM THE PHOTO THE VIEWERS ARE ABLE TO DECIPHER THAT THE BOYS ARE NEITHER SANE NOR INNOCENT, AS YOU WOULD EXPECT CHILDREN TO BE.
SETTING: THE SETTING WITHIN THE PHOTO SEEMS TO EITHER A HALLWAY, OR THE WALL OF A ROOM INSIDE A HOUSE. AN ACCURATE EXACT SETTING IS NOT REVEALED IN THIS PHOTO. THIS CREATES A SENSE OF MYSTERY AND THEREFORE, LEAVES THE VIEWERS WITH A SENSE OF LONGING TO DISCOVER WHERE THE ACTION IN THE PICTURE IS TAKING PLACE IN.
COSTUME: THE COSTUMES WHICH THE TWIN BROTHERS ARE WEARING ARE THE EXACT SAME PLANE BLUE TROUSERS WITHA PAIR OF OLD BROWN BOOTS AND TWO DIFFERENT COLOURED CHECKERED SHIRTS. THE SIMILAR OUTFITS ALLOWS THE VIEWERS TO INSTANTLY IDENTIFY THAT THE BOYS ARE RELATED. IN MOST HORROR FILM POSTERS CHILDRENS COSTUMES ARE NORMALLY PYJAMAS. THE PYJAMAS REFLECT A SENSE OF INNOCENCE AND REINFORCES THE FACT THAT THEY ARE JUST CHILDREN. IN THIS CASE BY NOT HAVING THEM DRESSED IN PYJAMAS IT REMOVES THEIR INNOCENCE.
PROPS: IN THIS POSTER THERE ARE NO PROPS USED AT ALL. THIS IS BECAUSE THE MAKER OF THIS FILM POSTER WANTS THE FOCUS OF THE VIEWERS TO BE DIRECTLY ON THE BIG BLOOD DRAWING OF THE MONSTERON THE WALL. PROPS USED IN FILM POSTERS NORMALLY TEND TO BE EITHER THE WEAPON WHICH THE ANTAGONIST USES TO KILL THEIR VICTIMS WITH, OR THE ITEM WHICH IS USED TO TRY SAVE THE VICTIM. BY NOT HAVING ANY PROPS IN THIS POSTER IT CAN SUGGEST THAT THE ANTAGONIST DOES KILL THEIR VICTIMS WITH A SPECIFIC OBJECT BUT MAYBE INSTEAD DO IT PHYSICALLY THEMSELVES.
CAMERA
THE PHOTO USED IN THIS POSTER IS A LONG SHOT. IT CAPTURES BOTH SUBJECTS PLUS THE BACKGROUND OF THE WALL BEHIND THEM. THE PHOTO IN THE POSTER IS A PORTRAIT, THIS ALLOWS THE VIEWERS TO GET A GOOD LOOK AT TWO OF THE MAIN CHARACTERS THAT STAR IN THE FILM.
COLOUR
THE MAIN COLOURS WHICH ARE USED IN THIS POSTER AND MAKE THE COLOUR PALETTE ARE; GREY, BLACK, WHITE AND RED. THESE COLOURS ARE VERY GLOOMY COLOURS WHICH PORTRAY A SENSE OF DARKNESS AND DANGER DUE TO THE HUGE BLOTCH OF RED BLOOD ON THE WALL.
TYPOGRAPHY
THE TYPOGRAPHY USED IN THIS POSTER IS OF A CLASSIC FONT. THE USE OF THE COLOUR WHITE FOR THE TITLE 'SINISTER 2' CAUSES IT TO STAND OUT BECAUSE OF THE VERY DIM COLOURED BACKGROUND COLOURS. THE COLOUR WHITE SIGNIFIES PURITY AND PEACE WHICH DIRECTLY JUXTAPOSES THE GENRE OF THIS MOVIE. THE WHITE DROP SHADOW THE TITLE HAS MAKES IT LOOK MORE SINISTER, AND ALSO REFLECTS AND MATCHES THE DRIPPING BLOOD FROM THE WALL.
MOOD & STYLING
THE CHILDREN ARE STYLED IN EVERYDAY CASUAL CLOTHING, MAKING THEM LOOK NORMAL AND NOT THREATENING AT ALL. THE SIMPLE CHOICE OF CLOTHING THAT THE CHILDREN WEAR, MAKES THEM SEEM MORE SCARY BECAUSE IT HIGHLIGHTS HOW NORMAL THEY ARE, MAKING IT SEEM LIKE ANY CHILD COULD BE AS SINISTER AS THEM.
TAG-LINE
THE TAG-LINE OF THIS FILM IS 'BE CAREFUL CHILDREN AT PLAY'. THIS CAUSES THE AUDIENCE TO BE CONFUSED AND INTRIGUED BY WHY YOU SHOULD BE CAREFUL OF CHILDREN WHICH ARE ALWAYS CONVEYED AS BEING INNOCENT SOULS, WHO ARE JUST PLAYING. THE FONT IN WHICH THE TAG-LINE IS WRITTEN IN GIVES OFF A WARNING TYPE OF LOOK BECAUSE OF HOW PLAIN AND CLASSIC THE FONT IS. WITH NO ANIMATION, OR BOLDNESS ADDED TO IT LIKE THE TITLE.
LIGHTING: THE KEY LIGHTING IS AIMED RIGHT AT THE CENTRE OF THE POSTER. IT DOES THIS TO HIGHLIGHT THE BLOOD DRAWING ON THE WALL BY DIMING OUT THE LIGHT AROUND THE EDGES OF THE DRAWING. THIS IS DONE TO GRAB AND FOCUS THE ATTENTION OF THE AUDIENCE ON THE CENTRE OF THE POSTER.
NVC: THERE ARE TWO TWIN BROTHERS IN THE PHOTO ON THE POSTER. NEITHER OF THEM IS DIRECTLY FACING THE CAMERA. HOWEVER THE BROTHER ON THE RIGHT HAND SIDE SEEMS TO BE LOKING AT MULTIPLE DIRECTIONS, AS IF HE IS POSSESSED AND SHAKING HIS HEAD UNCONTROLLABLY. THIS SUGGESTS TO THE VIEWERS THAT THE LITTLE BOY IS NOT CURRENTLY SANE DUE TO HIS UNHUMAN ACTIONS. THE BOY ON THE LEFT SEEMS TO BE EVIL OR ALSO NOT SANE. THIS IS BECAUSE HE'S SMEARING THE BLOOD ON THE WALL WHILE DRAGGING HIS HAND ALONG SIDE IT. THIS IS A DISTURBING AND UNEXPECTED ACTION BEING DONE BY A LITTLE BOY. THIS CAUSES THE AUDIENCE TO QUESTION THE LITTLE BOYS INNOCENCE BEXCAUSE OF HIM NOT BEING FRIGHTENED OR AFFECTED BY THE MONSTER DRAWN IN BLOOD ON THE WALL. IT CAN ALOS LEAD THE AUDIENCE TO BELIEVE THAT EVEN THE LITTLE BOY HIMSELF WAS THE ONE THAT HAD DRAWN IT. OVERALL FROM THE PHOTO THE VIEWERS ARE ABLE TO DECIPHER THAT THE BOYS ARE NEITHER SANE NOR INNOCENT, AS YOU WOULD EXPECT CHILDREN TO BE.
SETTING: THE SETTING WITHIN THE PHOTO SEEMS TO EITHER A HALLWAY, OR THE WALL OF A ROOM INSIDE A HOUSE. AN ACCURATE EXACT SETTING IS NOT REVEALED IN THIS PHOTO. THIS CREATES A SENSE OF MYSTERY AND THEREFORE, LEAVES THE VIEWERS WITH A SENSE OF LONGING TO DISCOVER WHERE THE ACTION IN THE PICTURE IS TAKING PLACE IN.
COSTUME: THE COSTUMES WHICH THE TWIN BROTHERS ARE WEARING ARE THE EXACT SAME PLANE BLUE TROUSERS WITHA PAIR OF OLD BROWN BOOTS AND TWO DIFFERENT COLOURED CHECKERED SHIRTS. THE SIMILAR OUTFITS ALLOWS THE VIEWERS TO INSTANTLY IDENTIFY THAT THE BOYS ARE RELATED. IN MOST HORROR FILM POSTERS CHILDRENS COSTUMES ARE NORMALLY PYJAMAS. THE PYJAMAS REFLECT A SENSE OF INNOCENCE AND REINFORCES THE FACT THAT THEY ARE JUST CHILDREN. IN THIS CASE BY NOT HAVING THEM DRESSED IN PYJAMAS IT REMOVES THEIR INNOCENCE.
PROPS: IN THIS POSTER THERE ARE NO PROPS USED AT ALL. THIS IS BECAUSE THE MAKER OF THIS FILM POSTER WANTS THE FOCUS OF THE VIEWERS TO BE DIRECTLY ON THE BIG BLOOD DRAWING OF THE MONSTERON THE WALL. PROPS USED IN FILM POSTERS NORMALLY TEND TO BE EITHER THE WEAPON WHICH THE ANTAGONIST USES TO KILL THEIR VICTIMS WITH, OR THE ITEM WHICH IS USED TO TRY SAVE THE VICTIM. BY NOT HAVING ANY PROPS IN THIS POSTER IT CAN SUGGEST THAT THE ANTAGONIST DOES KILL THEIR VICTIMS WITH A SPECIFIC OBJECT BUT MAYBE INSTEAD DO IT PHYSICALLY THEMSELVES.
CAMERA
THE PHOTO USED IN THIS POSTER IS A LONG SHOT. IT CAPTURES BOTH SUBJECTS PLUS THE BACKGROUND OF THE WALL BEHIND THEM. THE PHOTO IN THE POSTER IS A PORTRAIT, THIS ALLOWS THE VIEWERS TO GET A GOOD LOOK AT TWO OF THE MAIN CHARACTERS THAT STAR IN THE FILM.
COLOUR
THE MAIN COLOURS WHICH ARE USED IN THIS POSTER AND MAKE THE COLOUR PALETTE ARE; GREY, BLACK, WHITE AND RED. THESE COLOURS ARE VERY GLOOMY COLOURS WHICH PORTRAY A SENSE OF DARKNESS AND DANGER DUE TO THE HUGE BLOTCH OF RED BLOOD ON THE WALL.
TYPOGRAPHY
THE TYPOGRAPHY USED IN THIS POSTER IS OF A CLASSIC FONT. THE USE OF THE COLOUR WHITE FOR THE TITLE 'SINISTER 2' CAUSES IT TO STAND OUT BECAUSE OF THE VERY DIM COLOURED BACKGROUND COLOURS. THE COLOUR WHITE SIGNIFIES PURITY AND PEACE WHICH DIRECTLY JUXTAPOSES THE GENRE OF THIS MOVIE. THE WHITE DROP SHADOW THE TITLE HAS MAKES IT LOOK MORE SINISTER, AND ALSO REFLECTS AND MATCHES THE DRIPPING BLOOD FROM THE WALL.
MOOD & STYLING
THE CHILDREN ARE STYLED IN EVERYDAY CASUAL CLOTHING, MAKING THEM LOOK NORMAL AND NOT THREATENING AT ALL. THE SIMPLE CHOICE OF CLOTHING THAT THE CHILDREN WEAR, MAKES THEM SEEM MORE SCARY BECAUSE IT HIGHLIGHTS HOW NORMAL THEY ARE, MAKING IT SEEM LIKE ANY CHILD COULD BE AS SINISTER AS THEM.
TAG-LINE
THE TAG-LINE OF THIS FILM IS 'BE CAREFUL CHILDREN AT PLAY'. THIS CAUSES THE AUDIENCE TO BE CONFUSED AND INTRIGUED BY WHY YOU SHOULD BE CAREFUL OF CHILDREN WHICH ARE ALWAYS CONVEYED AS BEING INNOCENT SOULS, WHO ARE JUST PLAYING. THE FONT IN WHICH THE TAG-LINE IS WRITTEN IN GIVES OFF A WARNING TYPE OF LOOK BECAUSE OF HOW PLAIN AND CLASSIC THE FONT IS. WITH NO ANIMATION, OR BOLDNESS ADDED TO IT LIKE THE TITLE.
FILM TITLE: ANNABELLE
RELEASE DATE: OCTOBER 10 2014 DIRECTOR: JOHN R. LEONETTI FILM INFO: ANNABELLE IS THE FIRST FILM OF THE ANNABELLE FILM SERIES, AND IT'S A PREQUEL/SPIN OFF TO THE CONJURING FILM SERIES. THE FILM WAS INSPIRED BY A STORY TOLD BY ED AND LORRAINE WARREN, OF A DOLL NAMED ANNABELLE SYNOPSIS: JOHN FORM THINKS HE HAS FOUND THE PERFECT GIFT FOR HIS EXPECTANT WIFE, MIA. A VINTAGE DOLL IN A BEAUTIFUL WHITE DRESS. HOWEVER THE COUPLES DELIGHT DOES NOT LAST LONG. ONE TERRIBLE NIGHT, DEVIL WORSHIPPERS INVADE THEIR HOME AND LAUNCH A VIOLENT ATTACK AGAINST THE COUPLE. WHEN THE CULTIST TRIES TO SUMMON A DEMON, THEY SMEAR A BLOODY RUNE ON THE NURSERY WALL AND DROP BLOOD ON MIA'S DOLL, THEREBY TURNING THE FORMER OBJECT OF BEAUTY INTO A CONDUIT FOR ULTIMATE EVIL. PRODUCTION/DISTRIBUTOR COMPANY: NEW LINE CINEMA, WARNER BROS. PICTURES SUB-GENRE: SUPERNATURAL PRINCIPLE CAST: ANNABELLE WALLIS WARD HORTON ALFRE WOODARD |
MISE-EN-SCENE
LIGHTING: THE KEY LIGHTING IN THIS PHOTO HAS BEEN COMPLETELY AIMED AND FOCUSED AT THE ANNABELLE DOLL. THE WHITE DRESS SHE WEARS HIGHLIGHTS HER CAUSING HER TO STAND OUT IN THE PHOTO. THE USE OF WHITE LIGHTING IN HORROR NORMALLY CONNOTES SAFETY AND SALVATION, HOWEVER IN THIS PHOTO IT MAKES THE DOLL SEEM MENACING AND INTIMIDATING, BECAUSE SHE'S THE ONLY THING YOU ARE ABLE TO SEE IN THE PHOTO. ALL AROUND HER THERE IS DARKNESS AND A BLACK BACKGROUND, THIS COULD SIGNIFY THAT WHEREVER SHE GOES ONLY DARKNESS FOLLOWS.
NVC: THERE ARE NO HUMAN SUBJECTS IN THIS POSTER, THEREFORE THE ONLY COMMUNICATION IS COMING FROM AN OLD FASHIONED DOLL. THE DOLL IS POSITIONED SITTING LOOKING DIRECTLY AT THE CAMERA. SHE IS SMILING WITH HER TEETH BEARING AND HUGE OPEN EYES. THE WAY SHE IS STARING AND SMILING MAKES HER LOOK SCARY AND HER GREEN EYES MAKE HER LOOK INTIMIDATING DUE TO HER EXTREME EYE CONTACT.
SETTING: THE SETTING IS NOT REALLY SHOWB AS MUCH BECAUSE OF THE ATTENTION BEING CONPLETELY ON THE DOLL. FROM THE PICTURE IT SEEMS LIKE THE DOLL HAS BEEN PLACED ON A CHAIR IN A ROOM NEXT TO THE WALL. THE ROOM AND CHAIR BOTH ARE OLD FASHIONED, I CAN DECIPHER THIS FROM THE OLD FASHIONED PRINT WALLPAPER. BY HAVING EVERYTHING OLD FASHIONED MAKES THE SETTING DATED, THEREFORE GIVING THE VIEWERS AN IDEA THAT THE MOVIE IS NOT SET IN THIS CURRENT TIME.
COSTUME: THE ANNABELLE DOLL IS WEARING A VICTORIAN TIME STYLE DRESS. THE DRESS IS ROUGH, TORN, AND DIRTY ON THE EDGES. THIS GIVES THE IDEA THAT THE DOLL IS NOT ONLY OLDFASHIONED, BUT IS ALSO NOT BRAND NEW AND POSSIBLY SECOND HAND. THIS MAKES THE DOLL MORE DARK AND THREATING BECAUSE OF NOT KNOWING WHOSE ITS PREVIOUS OWNERS WERE, WHERE IT CAME FROM AND, WHAT ITA BEEN THROUGH. THE DOLL ALSO HAS A BIG RED FLOWER ON THE FRONT OF THE DRESS, AND TWO RED RIBBONS ON EACH PLAIT TO MATCH IT. THE COSTUME AND THE WAY HER HAIR IS STYLED IS THE AS A LITTLE VICTORIAN GIRLS'. THIS IS ICONIC IN HORROR MOVIES, BECAUSE OLD FASHIONED DOLLS AND TOYS ALWAYS BEING USED IN SUPERNATURAL HORROR FILMS.
PROPS: THE PROP IN THIS POSTER IS THE MAIN SUBJECT IN THE PHOTO. THE ANNABELLE DOLL. THE ANNABELLE DOLL IS A LITTLE GIRLS TOY, A CHILDRENS TOY. HAVING A DEMONIC POSSESSED DOLL WHICH CHILDREN PLAY WITH, CAUSES THE CORRUPTION AND LOSS OF A CHILDS INNOCENCE. THEREFORE MAKING THE CHILD EVIL, BLURRING AND CROSSING THE LINE BETWEEN THE VICTIM AND THE MONSTER IN THE FILM. HORROR FILMS USE CHILDRENS TOYS AS A SOURCE OF EVIL TO HIGHLIGHT THE FEAR WHICH PARENTS, (ESPECIALLY MOTHERS) HAVE OF THE CLOSEST AND MOST INNOCENT THING TO THEM, ACTUALLY HAVING A SENSE OF EVIL COMING FROM THEM.
CAMERA
THE TYPE OF SHOT USED IN THIS PHOTO IS A LONG SHOT OF THE CHILDS ANNABELLE DOLL. THE LONG SHOT ENABLES THE VIEWERS TO GET A COMPLETE GOOD LOOK OF THE FILMS' ANTAGONIST. THE CAMERA REALLY CAPTURES THE FULL SIZE OF THE DOLL, SHOWING HOW CREEPY IT IS DUE TO ITS TALL SIZE OF 2-3 FEET TALL FOR A CHILDRENS DOLL.
COLOUR
THE COLOUR PALETTE USED IN THIS POSTER IS BLACK, WHITE, AND RED. BOTH RED AND BLACK ENVOKE A SENSE OF DANGER AND EVIL. THE COLOUR WHITE NORMALLY REPRESENTS GOOD AND PEACE, HOWEVER IN THIS CASE IT DOES THE EXACT OPPOSITE BECAUSE OF THE ANTAGONIST BEING DRESSED IN IT.
TYPOGRAPHY
THERE ARE TWO TITLES ON THE POSTER, 'THE CONJURING' AND 'ANNABELLE'. BOTH THE TITLES HAVE BEEN WRITTEN OUT IN THE SAME FONT, CREATING A LINK BETWEEN THE TWO FILMS. HAVING THE TITLE OF ANOTHER HORROR FILM ON THE POSTER DRAWS IN ATTENTION OF FANS FROM THE OTHER HORROR FILM. THEREFORE SHOWING THAT BOTH FILMS ARE AIMED AT THE SAME TARGET AUDIENCE. 'ANNABELLE' HAS BEEN WRITTEN IN A LARGER SIZE FONT IN COMPARISON TO THE TITLE OF THE OTHER FILM. THIS JUSTIFIES THAT ANNABELLE IS THE TITLE OF THE FILM IN THIS POSTER, PLUS THE COLOUR RED ALSO HIGHLIGHTS THIS, AND GIVES THE SENSE AND IDEA THAT ANNABELLE, THE DOLL IS DANGEROUS AND EVIL.
MOOD & STYLING
A VERY DARK AND CREEPY MOOD IS CREATED WITH THE CHOICE OF LOW FOCUSED LIGHTING AND OLD FASHIONED SECOND HAND PROPS.
LIGHTING: THE KEY LIGHTING IN THIS PHOTO HAS BEEN COMPLETELY AIMED AND FOCUSED AT THE ANNABELLE DOLL. THE WHITE DRESS SHE WEARS HIGHLIGHTS HER CAUSING HER TO STAND OUT IN THE PHOTO. THE USE OF WHITE LIGHTING IN HORROR NORMALLY CONNOTES SAFETY AND SALVATION, HOWEVER IN THIS PHOTO IT MAKES THE DOLL SEEM MENACING AND INTIMIDATING, BECAUSE SHE'S THE ONLY THING YOU ARE ABLE TO SEE IN THE PHOTO. ALL AROUND HER THERE IS DARKNESS AND A BLACK BACKGROUND, THIS COULD SIGNIFY THAT WHEREVER SHE GOES ONLY DARKNESS FOLLOWS.
NVC: THERE ARE NO HUMAN SUBJECTS IN THIS POSTER, THEREFORE THE ONLY COMMUNICATION IS COMING FROM AN OLD FASHIONED DOLL. THE DOLL IS POSITIONED SITTING LOOKING DIRECTLY AT THE CAMERA. SHE IS SMILING WITH HER TEETH BEARING AND HUGE OPEN EYES. THE WAY SHE IS STARING AND SMILING MAKES HER LOOK SCARY AND HER GREEN EYES MAKE HER LOOK INTIMIDATING DUE TO HER EXTREME EYE CONTACT.
SETTING: THE SETTING IS NOT REALLY SHOWB AS MUCH BECAUSE OF THE ATTENTION BEING CONPLETELY ON THE DOLL. FROM THE PICTURE IT SEEMS LIKE THE DOLL HAS BEEN PLACED ON A CHAIR IN A ROOM NEXT TO THE WALL. THE ROOM AND CHAIR BOTH ARE OLD FASHIONED, I CAN DECIPHER THIS FROM THE OLD FASHIONED PRINT WALLPAPER. BY HAVING EVERYTHING OLD FASHIONED MAKES THE SETTING DATED, THEREFORE GIVING THE VIEWERS AN IDEA THAT THE MOVIE IS NOT SET IN THIS CURRENT TIME.
COSTUME: THE ANNABELLE DOLL IS WEARING A VICTORIAN TIME STYLE DRESS. THE DRESS IS ROUGH, TORN, AND DIRTY ON THE EDGES. THIS GIVES THE IDEA THAT THE DOLL IS NOT ONLY OLDFASHIONED, BUT IS ALSO NOT BRAND NEW AND POSSIBLY SECOND HAND. THIS MAKES THE DOLL MORE DARK AND THREATING BECAUSE OF NOT KNOWING WHOSE ITS PREVIOUS OWNERS WERE, WHERE IT CAME FROM AND, WHAT ITA BEEN THROUGH. THE DOLL ALSO HAS A BIG RED FLOWER ON THE FRONT OF THE DRESS, AND TWO RED RIBBONS ON EACH PLAIT TO MATCH IT. THE COSTUME AND THE WAY HER HAIR IS STYLED IS THE AS A LITTLE VICTORIAN GIRLS'. THIS IS ICONIC IN HORROR MOVIES, BECAUSE OLD FASHIONED DOLLS AND TOYS ALWAYS BEING USED IN SUPERNATURAL HORROR FILMS.
PROPS: THE PROP IN THIS POSTER IS THE MAIN SUBJECT IN THE PHOTO. THE ANNABELLE DOLL. THE ANNABELLE DOLL IS A LITTLE GIRLS TOY, A CHILDRENS TOY. HAVING A DEMONIC POSSESSED DOLL WHICH CHILDREN PLAY WITH, CAUSES THE CORRUPTION AND LOSS OF A CHILDS INNOCENCE. THEREFORE MAKING THE CHILD EVIL, BLURRING AND CROSSING THE LINE BETWEEN THE VICTIM AND THE MONSTER IN THE FILM. HORROR FILMS USE CHILDRENS TOYS AS A SOURCE OF EVIL TO HIGHLIGHT THE FEAR WHICH PARENTS, (ESPECIALLY MOTHERS) HAVE OF THE CLOSEST AND MOST INNOCENT THING TO THEM, ACTUALLY HAVING A SENSE OF EVIL COMING FROM THEM.
CAMERA
THE TYPE OF SHOT USED IN THIS PHOTO IS A LONG SHOT OF THE CHILDS ANNABELLE DOLL. THE LONG SHOT ENABLES THE VIEWERS TO GET A COMPLETE GOOD LOOK OF THE FILMS' ANTAGONIST. THE CAMERA REALLY CAPTURES THE FULL SIZE OF THE DOLL, SHOWING HOW CREEPY IT IS DUE TO ITS TALL SIZE OF 2-3 FEET TALL FOR A CHILDRENS DOLL.
COLOUR
THE COLOUR PALETTE USED IN THIS POSTER IS BLACK, WHITE, AND RED. BOTH RED AND BLACK ENVOKE A SENSE OF DANGER AND EVIL. THE COLOUR WHITE NORMALLY REPRESENTS GOOD AND PEACE, HOWEVER IN THIS CASE IT DOES THE EXACT OPPOSITE BECAUSE OF THE ANTAGONIST BEING DRESSED IN IT.
TYPOGRAPHY
THERE ARE TWO TITLES ON THE POSTER, 'THE CONJURING' AND 'ANNABELLE'. BOTH THE TITLES HAVE BEEN WRITTEN OUT IN THE SAME FONT, CREATING A LINK BETWEEN THE TWO FILMS. HAVING THE TITLE OF ANOTHER HORROR FILM ON THE POSTER DRAWS IN ATTENTION OF FANS FROM THE OTHER HORROR FILM. THEREFORE SHOWING THAT BOTH FILMS ARE AIMED AT THE SAME TARGET AUDIENCE. 'ANNABELLE' HAS BEEN WRITTEN IN A LARGER SIZE FONT IN COMPARISON TO THE TITLE OF THE OTHER FILM. THIS JUSTIFIES THAT ANNABELLE IS THE TITLE OF THE FILM IN THIS POSTER, PLUS THE COLOUR RED ALSO HIGHLIGHTS THIS, AND GIVES THE SENSE AND IDEA THAT ANNABELLE, THE DOLL IS DANGEROUS AND EVIL.
MOOD & STYLING
A VERY DARK AND CREEPY MOOD IS CREATED WITH THE CHOICE OF LOW FOCUSED LIGHTING AND OLD FASHIONED SECOND HAND PROPS.