Codes and Conventions of the Thriller Genre

Codes and Conventions of the Thriller Genre

Thriller films seek to thrill their audience, usually through the use of a number of codes and conventions, such as: plot twists, red herrings, cliffhangers, tension, suspense etc. I plan to attempt to denote many of the predominant codes and conventions of a thriller within my opening so that I may then use and/or abuse them to varying effects. Codes and conventions are distinct to each genre, however with the expansion of film and the hybridisation (amalgamation) of genres, many codes and conventions are multi-genre as opposed to being solely used within a specific style of film. The codes and conventions not only create many of the effects intended by the genre, but also work so as to communicate to the viewer that he/she is watching the right film.

Enigma 

Enigma is the driving force of the thriller genre with many thriller plot-lines centering upon it. By creating an enigma within a film, many purposes can be served. For instance, the audience will be posed with a question and, as a result of human curiosity, will naturally wish to solve it. This is one of the hooks of the thriller genre, as it entices the audience, drawing their interesting, dragging them deep into the film. A good thriller opening may create enigma so as to encourage the viewer to continue watching so that they may see the enigma solved. An example of enigma is the opening of Tarantino’s  Pulp Fiction (a hybrid action-gangster-crime-thriller) whereby it is made apparent to the audience that a robbery is about to take place. This immediately creates an enigma, due to the nature in which Tarantino chooses to cut to the opening credits before such an event can take place. As a result of this clever cut, the audience are left wondering in the dark as to what will happen next and for that reason will want to watch the film so as to discover and solve this enigma. 

Introducing the antagonist at the beginning of a thriller seems to be a good way of garnering the audience's attention and creating an enigma. Enigma can also be the essential to the plot-line of a thriller, as it creates the reason for the story - in films such as Se7en or Kill Bill the enigma (the faceless villain) is the main reaction point of the story i.e. the plot revolves around the protagonist capturing him and revealing his true identity and/or morals/motives. not that often the antagonist is male within the thriller genre which is seen to be representative of males seeking dominance.

Suspense 

For a thriller to completely stimulate it's audience, it may put the audience in a state where they will be most susceptible to plot twists and thusforth impending shock. Creating suspense works as an anticipatory tool, causing the audience to “hold their breath” leaving the audience awaiting what will happen next. By creating suspense the audience will be easier to lead down plot pathways such as red herrings, and as a result will consequently be easier to shock. Suspense may be created in a number of different ways. Slow takes and slow moving camera shots allude the audience, so that they are forced, herded almost, into a state of waiting. This causes anticipation as to what is coming next,  that anticipation usually leaning towards something malicious. Another way of creating suspense is to put the audience in the scene. This can be done with hand-held camera shots - to be reminiscent of real movement - , long takes - to represent how a real human would take in a scene - , and eye-line viewpoints. By making the cameras follow, or track a character, using the codes outlined above (making the camera’s view appear more like someone's eyes, rather than a bystander) the audience may grow wary of the events on screen, believing the character is being followed with malicious intent, normally due to the obvious portrayal of the characters ignorance. 

Plot Twists 

Plot twists fulfill another of the thriller genre’s main goals, that being to manipulate the audience's emotions. To force them out of their comfort zone in order to create the thrill. Plot twists occur when the plot rapidly changes causing a reaction from the audience - whereby they have to adapt from their relaxed, understanding state - and creating confusion and manipulating their perception of the story. Red herrings are a key example of this as they suggest to the audience one specific path the story may follow, before quickly shifting the audience's perception. A red herring is when a plausible solution is suggested within the plot (such as clues leading the audience to believe that one character is the antagonist) and is then demolished, for example when the real antagonist is revealed, meaning that the clues do not connote what is initially implied. This acts so as to “pull the rug from under” the audience, as they are no longer following the initial story the plot has created, for they have been thrown into a new and confusing reality. A red herring is a good way to re-establish enigma and also to maintain the audience's interest in the film. Cliffhangers are also common in thriller films. Whether it be at the end of the film, or the end of a certain sequence, cliff hangers leave the audience waiting, anticipating the resolution to the said cliff hanger. A cliff hanger occurs when, for example, a character - usually the protagonist - is left in a dangerous situation with the plot then moving somewhere else. This is once again done to keep the audience's interest in the film going as it provides a further reason to continue watching in order to establish what happens to the character. 

Technical Construction

Hand-held camera shots

Hand-held camera shots are normally shaky, move awkwardly (often representative of running or walking) and put the audience in the scene. They have been used in many films extensively and are used to imitate shaky 'home' footage, shot by normal citizens. A prominent example of this would be the series of Paranormal Activity films, throughout which each film is set in the style of hand-held home-footage. This can appear to make events seem more real, as the footage is not slick and therefore it is not obvious that it iso fictional. Often within films of this nature, the cameraman is seen to be a character. 

In most thrillers however, hand-held camera shots are used mostly in passing, to develop tension, and to make it clear to the audience that they have no control over the scene.

Montage editing

Montage editing is used to create suspense and evoke an alertness within the audience. It keeps the audience on the edge of their seat and places them in the scene, as they try to decipher to mise en scene. Montage editing is at least two layers of film being played simultaneously over the top of one another, as a result creating a distorted image. This in turn may present a distorted view of reality and may therefore connote things about a character to the audience. A typical example of montage editing is Se7en.

Extreme close-ups 

Perhaps one of the most iconic extreme close-ups of all time
 - The shower scene from Hitchcock's Psycho

Extreme close-ups can be used in a number of different, but a distinct genre of thriller - whether it be the thriller Se7en or the comical advert Lurpak, a Kitchen Odyssey. By using extreme close-ups, the audience is not only able to see the emotions of a character fully, as with a close-up, but a relationship is also created where the audience can feel too close, creating a feeling of awkwardness or unease. This makes them 'back away' from the events on screen, distancing them from the film. The same can be done with characters and objects. To make the audience feel intimidated by a character, an extreme close-up can be used as it causes the audience to want to distance themselves from the said character. Extreme close-ups can also be used to show intense emotion - commonly fear in thrillers - and is used to such effect in Hitchcock's Pyscho.

Low-key lighting and black and white

Low-key lighting and black and white shots are used to create tense atmosphere and also portray the inner darkness of certain characters. Many thrillers deal with the constant battle between antagonist and protagonist, which is perfectly portrayed by light and dark in scenes, where the light and dark works as visual representation of the struggle between good and evil. Using low-lighting can also create a claustrophobic atmosphere and leave the audience feeling trapped and (ironically) left in the dark. Low-key lighting can also be used to show a character with half of their figure/face cast into darkness - to depict how they are perhaps being almost consumed by their darker desires. I believe this technique will work to great effect within my thriller opening as it deals with a man coping with his duality.

Rapid cuts

Rapid cuts are used to create a feeling of tension and action, and can also be used to make the mise en scene unclear,further distorting the audiences perspective as they are unable to see what is really going on. Rapid cuts are most frequently used in action scenes or the main scenes. However, rapid cuts are present in almost all genres of film, as they create a full atmosphere of tension and quicken the overall pace of a scene. 

Music

Music in thrillers is most usually either orchestral or electronic. Orchestral music has illocutions of grandeur, class and fantasy, and for these reasons can allude to a more refined antagonist. However it can also be used to create a sense of deranged tension, such as the violins in Psycho which create a horrific screeching sound and consequently leave the audience in a state of distress. In contrast, electronic music connotes a more modern thriller, with perhaps more urban themes - for example, Trent Reznor’s score for Se7en. Electronic music can do similar things to orchestral, however, where orchestras are majestic in their style, electronica can be much more obscene and aggressive.