evalutaion question 5 :How did you attract/address your audience?

Evasion included many conventions to attract the desired target audience. The main point when trying to attract a particular audience, is to make references that only their sub-culture, rather than wider society, can relate to. This makes small groups of people with a strong identity feel understood, and they are usually very enthusiastic about the rare movies that express their attitudes and way of life.The use of social networking sites such as Twitter were used to canvas ideas and opinions for Evasion.This was used to show questionnaires and for feedback and response.

 The easiest way to make specific references to small sub-cultures is through the mise-en-scene and the language. We used some slang in the script of Evasion such as the line "My man won't know what hit him" but did not take this idea too far as this could be considered unprofessional because it may repel more people than it attracts, especially people such as film critics, whom are unlikely to be part of the target audience and therefore may become uninterested if there are lines which they do not understand.This could lead to negative feedback and less of the target audience would be likely to watch Evasion due to the bad reviews. 

The whole cast are young males in the UK which would make this audience feel greatly represented and understanded, and of course two sides are shown, the pursuers; who were the more evil people in the script, and in contrast; the supposedly innocent man-on-the-run. Other aspects that the target audience can relate to are the appearance of the characters, which include popular fashions among young men in the UK who follow the urban sub-culture, and the setting which of course portrays a typical neighbourhood on the outskirts of London, which would look similar to where many of the target audience who have grown up or lived in a city or the outskirts of for a large portion of their lives. 

Some scenes such as the one where the kingpin is speaking in a hostile manner to the henchman over the phone, may appear quite shocking to older generations who in some cases would not expect to hear such aggressive speech towards so that lead to negative response. The portrayal of a gun in the film also may appear shocking to these people as most UK residents have never seen a gun on the streets, which is of course an idea incorporated in our movie. 

The audience sees the storyline from the perspective of the henchmen if anyone. The only point of view shot used is one of the henchman watching the man on the run crossing a road. The viewer, following the henchmen's characters would develop an opinion, and hope for the man on the run to escape, as they can see the henchmen's and kingpin's aggressive attitudes and violent intentions, which would put them off the character. This idea of the audience developing a preference of a certain character, and siding with them, would make them more intrigued by the movie, and create more suspense when their favourite character is in danger of being captured or killed.

evaluation 3

evaluation question 1

1. In what ways does your media product use, develop or challenge forms and conventions of real media products?

Above is a 9 frame sequence that has been screen grabbed from our opening sequence which we feel portray typical thriller conventions. 

Here are the aspects I will consider across the nine frames:

• Setting and Location
• Titles (fonts/style)
• How the characters are introduced
• Lighting
• Genre and how the opening suggests it
• Camerawork/Editing
• Costumes/Props
• The title of the film
• Story and how opening sets it up

Frame 1

The shot is a crane shot of the kingpin at his desk doing what appears to be uninteresting but this sets the scene as he is a very dangerous criminal and the best way to not be be immediately found out is to act casual and passive which is a theme with many criminal bosses in films such as the departed and the Bourne ultimatum. 

Frame 2

The second frame begins to unfold the mystery that is the Kingpin as you can tell by the concentration and annoyance in his facial expression that he is angry. The extreme close up pulls emphasis to this as he face takes up the entire shot so that nothing can steal focus. This was chosen because we thought it would be most affective to create an enigma as we have not yet been introduced to the man-on-the-run.

Frame 3

We are introduced to the first of the henchman and the one that the kingpin is shouting at. He has the look of stereotypical working class male. As the character is on his own, it suggests to the audience that he is one of the main characters. There are not other characters in the scene, therefore putting all the attention on the male, which was our intention. This further enhances the enigma of who are they trying to catch..

Frame 4

The fourth panel is a reverse shot of the second henchman 'Knuckles' who is the driver and the self titled "Hardman". This shot is used to hide his identity until he is called into action to assist in the chase. This is a convention of the thriller genre as until the point were it would be impossible certain characters' identities are hidden. 

Frame 5

This frame is of the still unknown driver to the audience. The shot shows him driving into the shot and this shows the intent of the chasers has now increased as the man-on-the-run has been spotted. the shots used for the car are all simple medium shots so that the henchman has head room when he exits the car and the car still remains part of the focus. this is similar to the shots used in 'Snatch'.

Frame 6

This frame shows a long shot of the two henchmen running after the man on the run. We chose to use this in our sequence so that we would be able to capture the chase scene in one shot and it adds prospectus as the  characters are running through a busy street in the middle of the day and there is police or people to stop them because the areas in which we shot were meant to represent the crime hit parts of the city were the police are nowhere to be seen and  the rough street people are free to do as they please.

Frame 7

This shot was of a medium long shot and shows are man on the run trying to do whatever he must to avoid capture. This shot was used so that the complete stunt could be captured and the man on the run identity still isn't clear and we chose to continue to protect it so that the enigma of the film was not given up in the early stages of the film which wold possibly ruin the narrative expectations and make the story line predictable and dated.

Frame 8

 This frame shows are henchman who have temporarily lost the man on the run . As they are running into the shot none of the rules of camera work as they centered so they do not break the rule so it seems as though they are pushing the camera along. They have enough head room and rule of thirds has been mastered in this shot. The shot allows the characters time to pursue the characters without disappearing from view. This uses the convention of thriller movies which has chase scenes where there is a hot pursuit to capture the man on the run.

 This shot has the convention of the cornered man as three henchman have the man on the run seemingly trapped and it seems as though there is nowhere for him to run to. This convention is often used used in man-on-the-run films such the Bourne supremacy were the main character Matt Damon is seemingly trapped in the hotel by the waves of armed police and he still manages to get away. This is also used in Evasion as even though the man has been surrounded he takes the unorthodox path of escape by scaling a wall and becoming out of reach for his enemies.

In Evasion, many thriller conventions are exhibited . As our sequence was a crime/man-on-the-run thriller, one convention which would be expected and was incorporated into our sequence, is a chase scene. Our chase scene through the streets is similar to many chase scenes in similar movies such as the bounre identity, and captures the audience from the start. 

The use of a gun as a prop when the henchman is pursuing the man on the run, also showed a generic convention of a crime/action thriller. One aspect which may be considered to challenge the conventions is the fact that the man on the run was identified from the very beginning of the movie, setting up the rest of the movie for a hot pursuit in throughout the movie, and over the course of days rather than weeks, as the man has already come close to being captured and clearly after the opening sequence would only have a matter of time before his pursuers find him again. This could set up a in-depth of how the man is on the run.Another way that Evasion challenges conventions is that the people chasing the man on the run were not police chasing a vigilante, as is often the case, but seemed to be a small group of young criminals chasing another young man. This adds mystery to the plot and suggests that the pursuers are criminals wanting to capture the man for other reasons than to uphold the law, but probably something more along the lines of interrogation or revenge for a past regretted incident. Evasion cleverly uses all the conventions expected in an action/ man-on-the-run thriller.