Submarine Trailer

Submarine is an independent film directed by Richard Ayoade based on the story of a young 15 year old boy Oliver Tate who is struggling to fit in with his unusual outlook on life. The story is essentially a coming of age romance and comedy aimed at older teens and possibly adults through the comedy value of what it is to be a confused teenager who attempts to handle situations in an adult fashion.

A key theme to this story is love, in this case, the romance between a young and innocent 15 year old boy and a slightly more deviant and forward 15 year old girl. This screen shot taken from the trailer captures the idea of a first kiss and first love which is an endearing and light hearted topic which will make older members of the audience reminisce over, and younger audience relate to, and therefore suggests that the film will be based around Olivers version of his first love. The shot perfectly captures the genuine feel of a first love and therefore has an uplifting feel good vibe which it is trying to sell to its audience.

Comedy is another key part that is sold to the audience through the use of the two very bold and unique characters who seem to have juxtaposed views on life. For example, in the trailer, the voice over of the character Oliver says "I asked her if she was my girlfriend now, she replied 'I'll think about it' but what she meant was 'Yes, we are now as one' has a comical view as the audience can clearly de fragment her words into a totally different meaning than Olivers, who has a different, dramatic, and naive outlook on the situation, highlighting his youth and vulnerability creating an emotional attachment from the audience to the central protagonist.
This screen shot is also an example of the obvious humour which is sold to the audience, by Olivers failed attempt at an 'adult way' of spending the evening with his girlfriend, which he has taken over board and created an extremely cheesy and awkward situation for the audience to observe and extract humour from.
                                                                       

Realism and past times are brought in to the film through the use of the characters chatty informal dialogue voice over which is used along with the use of a type writer to make it seem as if he is writing a story or a diary post, but at the same time divulging the information to the audience which makes it seem as if the audience are almost inside Olivers head whilst he thinks of what to write, or alternatively just hearing this personal information first hand which makes the film seem more realistic, personal and honest, all of which are common factors of independent films.
The fact that he is a 15 year old boy and using a type writer also puts his characters personality forward to suggest that he likes to be creative to dramatise a situation, implying that the film is going to be creative, unique and dramatic.
A sense of history and past is also brought into the equation through the use of old fashioned props (e.g the typewriter) to suggest that the film is based on a traditional story or ideas which will again appeal to its older adult audience.

If thrillers were a tube map

This is an image of a number of Thriller films linked by their similar qualities in the style of a London tube map. The linking themes include moral ambiguity, Deceit, Venetian blinds, Violence, The use of Voice Overs, undesirable locations, and the Femme Fatale character.

Females within Film Noir

The women in film Noir movies are very different to the roles women usually play in films, especially before the 1940's before Noir films became popular, where they were usually portrayed as the damsel in distress.  In Noir films, they rebel and subvert from these stereotypical roles and introduce the Femme-Fatale character. 
The term Femme-Fatale is a French term meaning simply 'fatal woman' who often has a great seductive charm and lures men into dangerous or compromising situations.
The Femme Fatal was a significant change in the portrayal of women in Films as it was the first example of the film industry portraying strong female characters, although it was not necessarily originally a positive representation of women, it was the first to show them as independent thinkers rather than merely passive wives of men as so commonly shown before. 
Below is a trailer for the film 'Double Indemnity' which shows the typical Femme Fatale in early Noir films, who are represented as beautiful, alluring, and troublesome who leads the male character into a state of misery and despair.
Despite the more dominating female role, the femme-fatale often meets a dramatic end, usually death, to punish them for their deviant and troublesome interference. The Femme-Fatale could therefore be viewed as a misogynistic interpretation of women as (certainly during the early introduction of this new character role) exercises the view that women who attempt to take a dominating stance in society will in fact meet a fatal end.

Example of traditional female roles in 'China Town.'

However, having said that, female characters besides the lead Femme-fatal are also very often in Noir films given stereo-typical roles such as receptionists, waitresses, or housewives, because this was the reality of the limited serving role the female had in the 1940's and 50's. An example of this is from the Noir Film 'China town' which as we can see presents women to appear very feminine looking and subservient, merely performing basic tasks and taking a role in the background working for the male lead in the film.

Many of the roles that women were given to play in Noir films were very demeaning, such as the female given role of prostitutes in these dark and bleak style films. An example of this is from the Film 'LA Confidential' where women are seen as beautiful promiscuous and essentially a sexual object for the viewing pleasure of men.

Having said that, the role of the femme fatal has developed throughout time and many contemporary representations have come from it. The more modern view focusing on the strong and independent woman rather than the deviant women subdued by marriage. An example of this is the character Lisbeth Salander who performs the lead female role in 'The Girl With The Dragon Tattoo' who is a strong female character and rebels against the iconic stereo-typical beautiful that we envisage with lead female characters in  films.

How does LA Noire use features from film Noir?

LA Noire is a video game published by RockStar games and is set in Los Angeles in 1947 where a series of crime cases require the player to attempt to solve them. It is heavily based on the genre Noir, the first obvious indication being the title of the Video game itself 'Noire' but it also draws upon the other more subtle aspects of the genre to create a noire feel.

 

 The opening titles from the game are very Noir as they use a simple use of two colours, like  the use of two colours of black and white in early Noir Films.The black here has obvious connotations such as death, the unknown, mystery, and misery, which are key Noir themes, whilst the titles are in a bright and contrastingly 'happy' colour yellow, which connotes ideas such as joy, hope and happiness.. This juxtaposed impression is a feature used in other Noirs, such as in The Third Man where the upbeat optimistic music contrasts the misery and panic within the scene, leaving the audience with a sense of confusion and apprehensiveness.However, because of the fact the titles flicker at the beginning  it leaves the audience with the impression that their is little hope left, which creates the solemn and bleak atmospheric mood of the game as used in Noir films. 

The titles also reflect the late 1940's early 50's Hollywood broken glamour that was around at the time of the Noir genre by using strobe lit letters that were often used in glamorous circumstances such as Broadway shows and movie premiers, fitting in with the time period of Noir.

L.A Noire also uses typical characters expected of the Noir genre, such as the detective character, as well as the powerful American gangsters and victims of crime. 
The investigators or detectives are also smartly dressed in black suits and hats, to show their wealth, status, and consequently power within society, making them appear more potentially dangerous to the player. The clothing however could also represent the moral ambiguity of the seemingly 'good' character within the game, which is supported by the mildly chiaroscuro lighting, as he is dressed in black which connotes a dark side of the character, as well as ideas such as death and mourning, with the traces of white representing his innocence and goodness, with a red tie which could signify blood and violence which the character may be potentially be responsible for.
 This moral ambiguity and unclear character roles are a common feature of the Noir genre, and is introduced into the game at the very beginning, using lines such as "Who do you trust?" to keep the players speculating about the intentions of the seemingly good or bad characters and to keep the player on edge. By doing this it also makes the player feel isolated as they do not know that they can rely on or trust anybody else within the game, and as the player is controlling the characters, it makes them feel first hand the isolation and desperation that they feel, which is how many of the lead roles in Noir films generally feel.
The use of lighting is also important in this screen shot, as extremely artificial lighting is used to create strong shadows in the background behind the man, something which is very common in Noir films, and is a technique used in films such as Double Indemnity where the shadow of the man himself is lurking behind the character. This could be interpreted as a meaning for how the characters darker and more unpredictable dangerous side is lurking not far behind and will soon be exposed to the player. It also puts the player on edge as they do not know for certain that it is in fact that characters shadow, although it appears so, and therefore makes the player feel as if they are being watched.

L.A Noire also uses the common Urban setting of the busy and thriving American city of Los Angeles which creates the sense of excitement and drama as well as an interesting exploration of what is hiding underneath this surface of excitement. By using an urban well known setting it makes the scene feel more realistic and therefore allows the players to emotionally involve themselves in the game and become lost in the video game world of despair and chaos. By using a busy urban setting, it also makes the scene more eerie and atmospheric when there appears to be no one else around to witness the horrors taking place. This is another technique which it has borrowed from the Noir style for the same effects.
Much of the game play also takes place during night time, as shown by the example, which is again typical of the Noir genre, as it is usually much more typical to expect a crime during the darkness than in the daylight bringing a sense of realism to the game. It also then allows the user to see the literal 'dark side' to the city, bringing symbolism into it and with it, its bleak connotations of the dark, creating a sense of foreboding misery, a key Noir theme, for the player.
The use of rain is also used to create a sense of misery in this shot, as we associate rain with feelings such as sadness, coldness, and loneliness and is usually used in films to represent and reflect a characters mood and by doing so, it projects this feeling onto the player.

The way in which LA Noire is created is done in a way that allows the audience to view certain clips and footage of scenes to enhance the game play. These clips are also shot in a Noir like way, as shown by this example, where it uses an extreme long tilt shot which creates the feeling of disorientation and distance between the players perspective and the character. By using a tilt shot it makes the characters walking appear unsteady and it throws off the balance of the audience creating the feeling of confusion, which when used in tense clips, dramatically builds suspense as it makes the audience feel more vulnerable and therefore expects the game to take advantage of this. By using an extreme long shot, it establishes the grimy and deserted setting, and by distancing the character away from the audience makes the audience feel more intense as they aren't fully involved, but are concerned for the character they have previously been playing and therefore want to know what is happening, putting the player in a position of powerlessness. All of these techniques and camera angles used are typical Noir features to manipulate the audiences emotions to create a further dramatic effect.

This clip taken from the game, at 06:20 makes an intertextual reference to The Third Man Sewer chase scene, where by one man is being hunted by a group of authoritative figures , in the dark and dingy location of a city sewer. The lighting is limited, such as in The Third Man  along with the narrow locations, and seemingly endless tunnels, which build the sense of claustrophobia and cold eeriness, again all conforming to the Noir convention.

How is the feeling of Claustrophobia and disorientation created in 'The Third Man'?

The third man is a British Noir Film, created and released in the late 1940's and is set in a post war Vienna, which supports the bleak and dampened tone and mood of Noir films. The chase scene within The Third man manipulates and uses many specific techniques such as the camera angle, use of lighting, setting, sound and composition to create the feeling of disorientation and confusion as well as claustrophobia to the audience. 

The use of lighting was majorly important in the composing of the feeling of claustrophobia and disorientation. Like in nearly all Noir films, the lighting used is artificial and of high intensity to create the chiaroscuro feel that all Noir films contain. Here is an example of the extreme lighting in the chase scene.

The light source here is a harsh, high intensity back light which illuminates the figures in the distance from behind. This light is also the only light within the shot, and comes from a seeming vanishing point, which draws the audiences attention towards the end of the tunnel to the figures of the people. It is clever in its technique that a small proportion of the lighting reflects off the figures to bounce onto the walls so the audience can establish the setting, so the audience are aware of the  restricted space that the scene is taking place in, helping to build the sense of claustrophobia. The use of limited lighting in the small proportionally lit area compared to the rather large shot makes the audience feel furthermore confined as the lighting is controlling what the audience are exposed to, making them feel powerless and imprisoned.
It also makes the audience feel confused as the light at the end of the tunnel is ironically one which exposes the danger for Harry Limes safety, and therefore rebels against the lights usual connotations of safety and security.

The composition of the shots also is used to create the feeling of claustrophobia, as they use tight shots and pack out the frame with the characters taking up the entirety or almost the entirety of the shot. This is an example of a tight and constricted shot within the Third man chase scene where the camera is placed almost touching the characters, and as the camera is still, it makes the audience feel uncomfortably close to the characters, and makes the audience feel as if they are squeezing past, adding to the sense of claustrophobia they may be feeling.

The characters body language and facial expression can also put across to the audience the feeling of discomfort and feeling of entrapment which is created by the use of a close up, as it makes the audience connect with the character and empathise with their emotions and can understand what they are feeling and feel them too.
 The characters rigid and tense body language implies to the audience that he is scared and desperate, whilst his facial expression (what we can see from the 
chiaroscuro lighting) appears as if he is already admitting defeat, and through the open mouth that we can assume is him panting through lack of breath from running, the audience begin to feel that the chase is almost over. This creates the impression that he does not want to be in this situation, but he himself is trapped, and the audience then begin to sympathise with this morally ambiguous character and feel restricted as they have to watch him slowly admit defeat to himself and the audience feel once again powerless and unable to help as well as feeling confused as to why the director has chosen to attempt to make the audience feel empathy for a seemingly bad character.


The setting in which this scene is taking place in also helps create the feeling of claustrophobia by using confined spaces such as spiral stair cases,and tunnels, some of which are partially submerged in water.
 The actual setting is underground in a sewage works in Vienna, which in itself is rather unnerving to the audience and already makes them feel uneasy about the setting, which added to the mass of staircases and low ceiling tunnels creates a deep rooted sense of claustrophobia. The way in which Harry Lime is constantly running through passages and along staircases gives the impression that it is never ending, and that their is no escape or way out, building the sense of panic and restriction that the audience are feeling.
 With the setting being underground, and the fact that their is a large quantity of water underground with limited exits, makes the audience grow concerned, incase the tunnels become submerged, resulting in the character becoming trapped. Because they are following Harry on his journey to escape, it makes the audience feel more emotionally trapped and fearful for his life.

 The camera angles used play a significant part in the building up and creating of these effects.
 Obscured shots are commonly used in this sequence to make the audience feel further restricted and limited in what they are able to see, and as they cannot control what they themselves have in view, it creates a sense of panic, as well as the idea of repression as they are being held back by an object that is limiting their ability to escape.
Point of view shots are also used (as shown in this example) so that the audience witness things from Harry's eyes, making the scene become more realistic, and so that they are put in the characters position and therefore makes the situation more dramatic and terrifying for the audience to experience. The audience then begin to feel the urgency building up, with the characters desire to escape, and so at each attempt when he believes to be close to escaping, and we are then shown that the exits are infact blocked and more people are closing in on him (or with a point of view shot being used, us) it creates the feeling of imprisonment and claustrophobia.

As well as point of view shots, tilt shots are also used but to mainly disorientate the viewer as it drastically changes the view of everything within the shot, which especially when changed from a jump cut, confuse and disorientate the viewer. By using tilt shots, it also means that part of the frame is cut off, which as it is used when the character is running crouched through narrow spaces, further creates the sense of a lack of space and claustrophobia.

Sound in the chace sequence from The Third Man is hugely significant when considering how the sense of Claustrophobia and disorientation was created. During this scene, there is a large amount of diagetic sound within a short space of time, which along with not knowing the source of the sound, or from where it is coming from, it makes the audience feel confused and disorientated. 
The constant noise of soldiers footsteps running also makes sure that the audience cannot forget that Harry is running from people, and the evidently increasingly loud footsteps creates the feeling of the character, and through the character also the audience, becoming cornered.
Echoing is also used extremely effectively to create a sense of disorientation. In the chase scene, as shown in the picture, the character comes to an opening, surrounded by tunnels, which are his only means of escape, and echoing shouts are heard from the tunnel entrances.
The audience do not see the source of the noise, but already know that the noise is coming from the soldiers who are hunting him down, and because of the echoing shouts being reflected off the walls in the tunnels, it is unclear where they are coming from, and resulting in Harry having no true idea of which way is clear or safe and the audience feeling disorientated at the numerous faceless echos being called.
As well as the echos themselves being disorientating, the echos being called change between English and another language, which adds to the confusion of the audience as they are able to understand some of what is being said, but not all, making the audience feel confused and questioning what else they are not able to understand.

How does Casino Royale use conventions of Film Noir?

Casino Royale, although classified as an action movie rather than a Film Noir, uses distinct conventions of the genre Noir in it's opening title sequence, as Noir is well renounced for it's dramatic, eventful and on edge openings, and therefore was used as a basis style for the opening of this film.

Below are some example screen shots of the James Bond Film Casino Royale.
                                                             Here is one of the first shots from the opening scene, and it is clear immediately that it has a film Noir genre feel to it. This idea is portrayed not only through the monochromatic colour , which because of the large number of  releases of black and white Noir films, has become associated with the genre, but it immediately feels like a noir film simply because of the deserted night time urban location which adds to the eerie and tense atmosphere created within the shot. The urban setting is used as it is a modern contemporary setting, and therefore makes the scene feel more realistic, and is the basis for the setting in many Noir Films such as 'The Third Man' and 'Double Indemnity.'
 The one alone standing street light and car are used here to create a sense of enigma, as we are unaware of who is alone at night, what they may be doing, or indeed why. Although floodlighting is used to light the scene from below, a street lamp is placed by the building so that the audience can clearly gather enough about the setting and the surroundings to know that it is in a modern deserted location. The use of lighting on the ground and darkness around the edge of the frame, as well as towards the top of the building subtly implies to the audience that whoever has left the car, has left the safety of the light which connotes safety, and goodness, and has unknowingly ascended to his own doom in the darkness, which could represent the fear of the unknown, and the danger the character has putting himself in.

The portrayal of characters in Noir are often misleading and leave the audience speculating about the role of the character within the film. This is shown here by the facial expression of a character in  the opening sequence, where the male appears to have a calm and collective facial expression, which because of the deviant situation he is in, makes the audience feel as if he has grown used to, and is untroubled by the prospect of being in an building alone where he appears he shouldn't be, at night by himself. This feeling of power is also enhanced by the other symbolic codes within the shot such as what the character is wearing. The character is dressed and presented in a smart suit which would imply the character is wealthy and has a high status in society, making him again seem more powerful. 
However, the director has chosen to make the audience question his power, as they have used a high angle shot which makes him appear weak and superior to the audience, along with his eyes which are looking up above him, which could have an interpreted meaning that he subconsciously is looking for guidance and advice, consequently meaning that he is not as in control of the situation as we first assume.

It is a frequent Film Noir feature to use obscured shots to make the audience feel more involved and to feel the moods and tones of the genre, such as the mystery, spying, deceit, lying, and betrayal that are so commonly the key themes in Film Noir films. This Film Noir quality is borrowed and used here, with the obscured shot with the chair placed in the foreground of the camera lens to make the audience feel as if their vision is partially blocked, and the fact that they cannot change the position they view the scene from along with the partially blocked view, makes the audience feel vulnerable, and therefore builds suspense as they are not fully aware of what is going on. This also as previously mentioned, makes the audience feel more involved as it makes them feel as if they are spying on the character. 
Low key lighting is also used here to add to the suspense that the audience may be feeling, as not much is made visible, and so the audience are effectively thrown into a dark room with seemingly ambiguous characters, adding to the terror the audience may already be feeling.
                                                                 

 Composition within Film Noir is usually very carefully selected to show a vibe or feeling to the audience, as well as from characters. This shot has used the rule of thirds to make the effect more dramatic upon the audience, by drawing their attention to the two characters at seemingly opposite ends of the frame. The audiences eyes are then drawn to the centre of the frame where they realise the vastness of the space that is between them, which highlights the level of distrust and suspicion that both characters have towards each other. Also, because of the way this shot is composed, the audience are unable to read the characters facial expressions, and are therefore unaware as to how they are reacting to one another, but have to use the composition of the shot to assess the situation and speculate about how they are feeling towards each other. This is again very Film Noir as the audience are left in the unknown about actions and feelings of the characters, and therefore are put on edge waiting for their response.


This shot is an example of how Casino Royale uses extreme lighting within it's shots to create an atmospheric Film Noir feel. The chiaroscuro lighting is used here to reflect the characters moral ambiguity, with half of his face exposed to the light, and the other half cast in extreme shadows. The side cast in shadows is left hidden and kept away from the audience to suggest that he has a dark, evil and corrupt side to him that he doesn't want to display to the audience, giving them the impression  that he is dangerous and potentially lethal as we do not know what he is hiding.
However, the side exposed to the lighting leaves the audience able to clearly see one half of him which is lit by strong artificial lighting, connoting that he has a good side to him, and that he is genuine and pure and has good intentions. The fact that he has more light than dark exposed on him would suggest that he is more good than he is bad, but it still reflects that he is not entirely innocent and pure and therefore is a morally ambiguous hero in this film. This is again supported by his hand, which is exposed by the light, and therefore supposedly his good side, holding a gun, which is not something we would think of as being morally right, but this could be interpreted that he has to use necessary evil to aid the good, and that is why he has his 'dark side.'


Guns are a common important prop used in Noir Films, and is one that is again used in the James Bond film- Casino Royale. The gun is used as an important symbol of power, and as we can not see as to whom the gun belongs to, the audience are not sure of who has the power within the scene, and therefore this shot is quite enigmatic as it keeps the audience guessing. This enigma is further carried on by the use of shot, as it is a close up so even if somebody were to take the gun, the audience would be left unaware of who it belonged to. Also, the way that it is positioned in the drawer suggests that no great care is taken with it as it is just left amongst other items, which means that the owner of the gun itself is used to using the gun and does not see it as a potential danger to themselves, which implies that they feel more powerful than the gun, which heightens the power that this unknown character has.
The use of the office draw in which the gun is placed in could also represent the double life that many of the characters in Casino Royale and Noir Films lead, as they all seem to have a dark side, which appears seemingly innocent (i.e the desk draw) but the other characters are unaware of what is lurking beneath their act.

How has working title adapted to changes in the film industry?

Working title began as an independent British film Production Company, founded by Tim Bevan and Sarah Radclyffe in 1983. During the time of their independence, working title produced two films; these were ‘My beautiful Laundrette’ which was a romance which made a small gross profit of £2,451,545, and ‘Barton Fink’ which was a mystery thriller which made a profit in the USA of $6,153,939.

However, in 1992, Working Title were bought by the Dutch firm PolyGram and since produced the hugely successful Romantic Comedy Four Weddings And A Funeral in 1994 which achieved the highest grossing British film in cinema history for its time with worldwide box office profits of an estimated $245.7 million. Given the huge success of this film, Universal purchased Polygram and therefore Working Title in 1999 as they wanted Working Title to continue to produce small budget British films which would appeal to both the British and American market.

Working Title during when they were first taken over by universal were focused on producing fairly low budget block buster British films that would appeal to American and British cinema audiences. To do this they focused on popular genres such as Romantic comedies, family films and comedies, selling the traditional British culture abroad to aim it to a multi cultural audience. Notting Hill was another hugely successful Working Title film $363,889,678 which used traditionally British representative actor Hugh Grant, as well as the well known American Actor Julia Roberts to star as the lead roles in a romantic trans Atlantic entanglement which again appealed to it’s key demographic of American and British audiences.

Another enormously successful film was the feel good romantic comedy ‘Love Actually’ which was packaged again to appeal to the American and British market by using Iconic British locations and using Well known British actors such as Collin Firth, Hugh Grant, Alan Rickman, Emma Thompson, Liam Neeson, and Keira knightly as well as again including trans Atlantic American romance to target it towards an American audience. Its genre and easy viewing nature as well as wide range of A list actors meant that It’s target audience was going to be wide and varied.

However, changes within technology resulted in changes in the film industry and therefore Working Titles approach to film production. With the increase in Downloading and streaming, as well as the reduced time between theatrical release and DVD many people now wait for the DVD release rather than watching it in the cinema admissions drastically fell, and with more competition from other high budget block buster focused production company’s, working title decided to try to reduce their budget for films even further to mean that there was  less pressure on box office admissions, and to target their films straight to DVD releases.

However these films still made huge profits with Working Title producing successful international targeted films such as the family targeted audience ‘Mr beans Holiday’ which used the already well known and established popular British character Mr bean, played by the Iconic British Actor Rowan Atkinson, which with the lack of dialogue and simple humour appealed to the international audience, especially when including other international characters, meant that it had a huge worldwide audience and managed to make a profit of $229,736,344 with a budget of only $25 million.

Although Working Title mainly stick to the niche low risk, low budget market, they have since released films such as ‘Paul’ which was seemingly aimed for a box office release rather than a DVD release with a significantly higher budget and using more modern technology available in the film industry such as CGI to compete with other competitors. The budget for Paul was $40,000,000 which mainly was due to the extensive use of CGI used throughout the film, as well as for the fairly well known British actors Nick Frost and Simon Pegg. Working Title did however still try to appeal to an American market by setting it in America so it would be culturally relevant to an American audience. The film only made a Gross worldwide profit of $37,984,015 which was arguably down to the limited market the film was targeted towards, as it would’ve been a teen hit, but because of the age 15 certificate it meant that it had lost a large proportion of its audience. It also was a sci-fi comedy which meant that it was mainly aimed at boys which further limited its target audience and meant that it was not set out to produce good box office takings like the film was supposed to be produced for.

With the lack of success from such higher budget and therefore higher risk films, Working Title decided to avoid trying to compete with blockbuster cinema films and focus on producing a continuous stream of low budget successful genre orientated films instead of using the new available technologies such as creating 3-D films or heavily using CGI which would increase the production costs.

One of Working Titles most recent films Anna Karenina which was produced within a budget of £31 million and was based on a well known best selling novel, included well known British actors such as Keira Knightly, and Jude law which appeal very much to the international adult market, and Aaron Johnson who appeals very much to young teenagers, which along with the choice of the international locations, meant that the film, although unique in genre, had a fairly wide and certain audience. As it was a historical period theatrically executed romance, it appealed to the older market which have shown to be one of the largest growing cinema audiences which meant that the film was constructed carefully to ensure a wide and broad audience was there waiting to receive the film.

Working Title have changed the type of films they produce to changes which have occurred within the film industry, such as the decreasing sales of box office admissions, and high numbers of competitors with cinema aimed 3-D hit films. As well as this, Working Title have seemed to grasp the importance of aiming films at an international audience in improving profits, and that low budget television and DVD focused films are the way forward for their company within the film industry.

Preliminary task-continuity editing