Section 12 - Film Analysis

Room To Let Analysis 





      Narrative Structure

-        The narrative structure is quite conventional, since the opening begins in a chronological fashion, with the past and histories of the characters being given in dialogue after the opening scene, which is also conventional because most details of characters in other thrillers analysed have been shown through dialogue. The whole story follows a linear narrative, which is conventional of thrillers and will keep the audience's attention, as well as making them feel everything that Victor feels because it is more personal, thus creating more suspense and anticipation about what is going to happen.
-        Our thriller follows the narrative theory of Tzvetan Todorov because the story starts in a state of equilibrium (he moves into a new house which should be familiar and secure) which is disrupted by the appearance of Tam Noganai in his house. The resolution - the character being taken to a mental asylum - creates a state of re-equilibrium because they are returning to a place of security and familiarity.
Sound

-        Music put over the opening scene to create a mood - the dark, low music creates an oppressive tone, which is appropriate for a psychological thriller because it suggests something is going to happen.

-        The sound of the door slamming and footsteps running up the stairs have been exaggerated by being made deeper and louder, because people in our audience questionnaire had said that they find the sound of footsteps to be effective at creating suspence.

Camera Work

-        In the first half, the camera is still and controlled, with shots that last for a prolonged period, which contrasts with the second half (after he has fallen asleep) because the shots are faster and less controlled as they follow the chase. This is effective in implying the contrast within the character, and therefore hinting at his unstable mind.

-        A wide range of different shot types, to make the film more interesting and to show certain details, for example the extreme close up of the watch shows how late it is. There are moreover a few particularly interesting and quite innovative shots, for example seeing the character come into the room reflected in the mirror before he is actually seen.
-        Framing is used effectively, in the dead trees in the first establishing shot and in the shot with the camera pointing up at the character from the table, framed by the make-up. This framing is effective because it makes the shots more aesthetically pleasing in both cases, and in the former it relates back to Silence of the Lambs because the opening of that started with the shot framed by dead trees as an establishing shot.

-        Pans and the actor wandering around the house, looking at things, shows he is as unfamiliar to his surroundings as the viewer is.
Mise-En-Scene

-        A house - because that was identified as the best place for a thriller in our audience questionnaire - in the middle of a normal-looking street to better follow the convention of transformed city (where extraordinary things can happen in an ordinary place) and filled with normal-looking things. This can play on the audience's feeling of security, because a home is a place of comfort and safety, and so can make them feel insecure and so are in anticipation of what will happen next.
-        Dark lighting is used to set a dull, oppressive tone which is appropriate for a thriller because, as shown in our audience questionnaire, people think that dark lighting is most representative and effective.
Editing

-        Fades out as he is going down the stairs and fades in when he is in the chair, showing a difference in time and place. It also fades out between looking at the watch and him asleep in the chair, again showing a change in time.
-        Music gets louder and more dramatic as he walks in the door, which is effective because it implies something drastic will happen in the house, making the audience feel anticipation of what will happen next.
Graphics

-        The font used was the one which was identified in our questionnaire as being most effective to represent a thriller, and the credits not being put in a set place but being moved seemingly randomly can imply the scattered mind and so psychotic tendencies of the character. White has been used so that it stands out boldly against the film in the background, which was an identified feature of graphics and titles used in other thrillers.
Codes and Conventions

-        Tension and suspense keeps the audience guessing, with the plot full of twists and unexpected moments.

-        Scenes to make the viewer jump, and scenes with violence and a murder later in the film (as long as it remains within a 15 certificate).

-        Follows C.K. Chesterton's theory of transformed city because it is an ordinary urban house and ordinary street which are going to undergo extraordinary circumstances.

-        Pascal Bonitzer’s theory of partial vision is used, with the darkness used to hide the person running in the opening, so the character only sees as much as the viewer does. This creates questions which will be answered as the plot unfolds. Also, partial vision is used in that in the opening nothing much is said at all about the protagonist, so the viewer is waiting for the characters to disclose any details about themselves.

-        Follows W. H. Matthews’ maze-type plot, both metaphorical with many twists and turns in the plot, and in the literal sense that the house seems like a maze to him, shown from him looking around as though he does not recognise the surroundings.

-        Follows Northrop Frye’s theory of heroic romance since an ordinary person is found in extraordinary circumstances, with an urban environment as a main setting for the plot about to unfold.

-        John Cawelti’s theory of the exotic comes into play with the use of the protagonist wandering around because, as explained in mazes and labyrinths, it is clear that his surroundings are unfamiliar to him and therefore he does not belong there.
-        Lars Ole Saurberg's theory of concealment and protraction is used because details of the characters are hidden from the viewer until the character shows them. Moreover, concealment is used to hide whoever the shadow is in the opening and protraction is used in delaying the suspected outcome of finding out who is in the room because the titles stop the viewer from seeing straight away.
-        Noel Carroll's idea of the question-answer model is used in this opening because the darkness of the lighting plays on the blind spots and unapparant details which will cause the audience to ask questions which will be discovered as the story unfolds, for example who is the shadow?