Two people lying on hospital beds wake up and remove the various medical equipment attatched to them. They look around, and leave the building. The streets are deserted, with cars abandoned. In the distance, there is someone dancing, a very peculiar dance. Shuffling. They begin to approach him, speaking out to him "Hey man, where all da people at?", when they are tackled out of the way behind a car. The man gives them the "low-down" of the situation, a zombie apocalypse has occured and one of the characteristics of them are they shuffle. Music starts blaring from nowhere, and the stranger forces them headphones to block the music, and weapons.
The two step up from their hiding place, and shuffle their way into the middle of the crowd, where they stop moving, and in slow motion reveal their masses of weapons, and start attacking all of them.
A montage ensues of the following action, showing them going overboard with the zombie killing, attacking innocent people, garbage cans, and even the stranger that helped them. Upon attacking the stranger, the two stand over his body, he asks "Who are you?" in his dying breath. They pull out their guns, and say "Blu Foo and Sky Red bitch" and fire, where it immediately cuts to black.

"A moon wrapped in brown paper”

-Nisrene Kazimi on the topic of onions

In a paragraph on your blog, comment on the following:
1. Party Rock Apocalypse - Genre: Zombie Dance
2. I wish to portray the idea of the dangers of conforming, symbolized with the dance style, "shuffling".
3. I want to make the audience first to find it enjoyable, but then be shocked at the twist in the video.
4. The audience needs to feel fear for the idea of following the herd mentality, and realize that the loss of independence is happening all around us
5. 2 people wake up in hospital, leave to find abandoned streets, rubbish everywhere, and one person shuffling. A person quickly pulls them aside, and gives them the lowdown of the situation. Music begins to play and people emerge from everywhere and begin dancing. When the music then progresses, they begin to get violent, and attack the two original characters, but they defend themselves and kill the majority before making an escape. It starts quite light heartedly, but then turns quite violent quickly.

1. Describe

FRANKENSTEIN: In Frankenstein, the “bad guy” we are faced with is a physical monster, duly named “The Monster”. It is made from the parts of the deceased, and was deliberately made to look as distorted and un-human as possible by the director. He made The Monster wear clothes far too small for him and extremely heavy shoes to try to emphasise its largeness and obscurity.

PSYCHO: In Psycho, the “bad guy” we are faced with is a psychological monster, Norman Bates, who appears to be a normal person; until you find out he is a cross-dressing schizophrenic. This is a big difference from Frankenstein, as The Monster was shown to be hideous, whereas Norman Bates is shown to be a charming bachelor, who seduces Marion, and eventually kills her.

2. Explain
The idea of a monster within a horror film was used as a device to scare or frighten the audience, by showing them an inhuman creature with the ability to torment. Frankenstein’s monster, for example, was deliberately made to appear as inhuman as possible, via making him appear far taller than his surrounding characters, and equipping him with heavy shoes and extensive make-up. This idea is effective, as showing the audience something which they have never seen or experienced before, preferably something as opposite to them as possible, created uncertainty, and subsequently, fear. This had a lot of reflection to society within it, considering one of the most common fears in the world is the fear of the unknown, and so tapping into that caused the audience to react exactly as planned, to be afraid. With Psycho, for the majority of the film we are still left wondering who the killer is until the end, but the suspense and mysterious nature of the murder left us tentative.


3. Analyse

Since the first horror movie, the monster has evolved with the time. Although the general idea of the monster has not changed, a creature/person used to create fear, as seen from Frankenstein and Psycho, the way in which the monster is portrayed is quite different. As time progressed, the nature of the monster changed as the world changed and began to realise that things are not as they seem. It transitioned from a physical monster, in this case Frankenstein’s Monster, to a mental monster, Norman Bates. This evolution shows a lot about the society that we are living in; we do not need something to be visibly frightening to frighten us, more so we need something like a person, who could easily walk past without us sparing a second thought, who then reveals themselves as a monster themselves. In Frankenstein, the monster was the highlight of the film, as we saw the changing nature of a creature, essentially doomed from the start. This allowed us to show sympathy toward hideous creature, even though said creature accidentally kills several people. In Psycho however, we do not sympathise towards Norman Bates, even though he appears normal and human.

PART 4:
    -Sound / Music

Sound is what we hear throughout the titles, and music is a medium of sound.

This is the music for the opening titles



The title sequence of this film is guided by it's music. Throughout the titles the dynamics of the music (pitch, tempo, style) change dramatically. Two noticable examples of this are:

•  The bouncing red ball at the first segment, the music is orchestral trumpets, the notes being played staccato (distinguished and abrupt). This compliments the events on screen, as the ball is bouncing, and the music seems to have the same bouncing feel.
• The contrast of the violins to the trumpets, the violins playing far more smoothly and giving the feeling of gliding, grazioso (gracefully) often when the paper plane is on screen.

The music of this title sequence is completely orchestral, predominantly brass and strings, each of which are used to contrast each other, and to contrast what is being shown. Each event on the screen is complimented by the background music, when upon reaching the segment containing the title, the music reaches its climax (18 seconds in), emphasising the importance of what the audience is seeing.

The two examples distinguish how the director has thought of every minor detail, so much as to syncronise the bouncing of the red ball with the strikes of the trumpet, and the plane with the violins. This causes the viewers to somewhat forget that what they are seeing and hearing are two different thing, but instead to feel as though they are actually in a world where flying planes are powered by violins. The repetition of the two main styles of the music, staccato and grazioso, causes the different segments, however random they may be, to feel connected somehow. The director has done this to allow the audience to follow each segment and understand what is happening in each, along with individual sound effects being overlaid to point out the important aspects of each segment, e.g. the bouncing red ball landing on the trumpet valves, with each impact having its own emphasised non-diegetic sound.


This is effective, as in many titles that do not include dialogue, it is easy to lose focus or get lost in the chaos on screen, though this is not the case here. We are shown each cast / crew member's name, but we do not lose the momentum that is sustained in the music and sound. The audience is captivated, the music placing them into a trance, so to speak, where they are completely focussed on the action on the screen, whilst still being able to acknowledge the cast / crew names.

Music is a key element throughout the film, with Molly Mahoney being a composer. The soundtrack consists mainly of orchestral music, similar to this title sequence, with the same contrast of staccato and grazioso dynamics, used to connect each of the music pieces together. This links the film together without detracting from the plot.