Editing and Cinematography

00.00 - 03.00 minutes

In the beginning, the editing is when the two protagonists spot the antagonist unloading his truck. This gives the audience the idea that the protagonists are taking a long and good look at the antagonist and his actions. Although the editing id slow paced, the camera cuts back and forth to the protagonists and antagonist to keep the audience restricted. This is used to build tension and to keep the antagonist’s identity hidden.

Panning is used when the car drives past the antagonist to give the audience a sense of movement. The movement also restricts the audience from what is going on because of the trees going past and the protagonist in the background creating more tension.

Long shots are used on the antagonist to show his actions and his surroundings, which reflects off his representation. Close ups are used on the protagonists to show their expressions and to make the audience feel how they feel.

Within the car a POV shot or close up is used to signify Trish’s fright when she is trying to find the mobile phone. She was looking for the phone frantically and in a messy order. This signifies her fear and connotes she wants help as soon as possible.

A low angle is used when she retrieves the phone. This signifies she has some power because she is trying to handle the situation by calling for help even though she is still quite scared.

A close up on the mobile phone is used to signify its status. However, the screen reads ‘LOW BATTERY’ which signifies trouble for the protagonists as they cannot receive help and this connotes to the audience the trouble is going further.

Canted panning is used to make the audience share the same experience as the protagonists. This creates the same emotions within the audience, such as fear and tension to make them experience the situation. The audience has a POV of the car’s movement as the truck quickly reveals itself from its restricted area.

A tilting pan is used to create some tension. As the truck comes forward, the camera then moves up to show the driver, but it is quick and unclear. This keeps the antagonist’s identity hidden and brings tension.

Backwards tracking is used to signify the speed of the truck. This brings tension because the antagonist is gaining on the protagonists, which increases the danger. As the camera tracks backwards, the truck becomes more and more visible slowly revealing the antagonist and making the audience feel scared for the protagonists.

Forward tracking and POV is used to put the audience in the antagonist’s shoes and signify his speed. The speed of the tracking signifies the antagonist’s lust to want to kill the protagonists. The tracking is used showing the protagonists’ car coming closer to the camera.

The close up of the antagonist’s wheel and protagonists’ car in the background is used to signify the antagonist’s power. The wheel of the truck is dominant in the shot and is bigger than the car to signify it’s significance and that the truck is the predator and the car is the prey. A shot of the wheel shows it is catching up to the protagonists.

Close ups, long shots and canted angles are used to build tension and a sense of action. The canted angles help the audience experience the protagonists’ feelings and make them feel disorientated. Long shots signify the actions of the two vehicles and the struggle the car is going through. Close ups are used to show the protagonists’ facial expressions and let the audience reflect off their expressions. A close up is also used when the truck hits the car to signify the impact the car was given.

Another close up of the truck’s wheel is used to signify its power. The car in the background is shown swerving in and out of control as the truck stays in perfect movement, which signifies its control. This connotes that the antagonist has the upper hand and the antagonists are helpless.

A POV shot of the truck following the car is used to increase the terror. As the car swerve right, the camera follows its direction, to give the audience the idea that they are looking through the antagonist’s eyes and it gives them a taste of their power. This also signifies how close the antagonist is to their victims’ and connotes the amount of danger they are in.

Two shots outside the windscreen of the car are used to show the impact of the hits they are receiving. The protagonists are seen being thrown about by the antagonist’s hits. This signifies the antagonist’s power and connotes the protagonists’ weakness. Their frightened expression also reveals their feelings and connotes their weakness.

Within the two shots, the truck is seen in the background moving left and right, following the protagonists’ actions and is desperately trying to keep under control. The frantic movement of the truck signifies how desperate the driver is to keep them in their control or how impatient they to get rid of the protagonists.

A POV shot of Trish is used to try and catch the identity of the antagonist. The dark, beat-up, old truck is driven beside their car, which reflects off the antagonist’s character. The size of the truck signifies its power. The camera movement was quick to signify how desperate Trish was to catch the antagonist’s identity. However, the truck inside was dark, hiding the antagonist’s identity and signifying his mysteriousness. The camera turns from Trish to the truck when it drives by her side.

Fast editing is used to emphasise the action and chaos taking place. The camera cuts from the truck to the car and to the characters quickly, to keep the audience alert and to match the pace of the action.

A long shot is used to show the escape of the protagonists from the antagonist. This signifies to the audience the danger is passing. This connotes the loss of control of the antagonist. The protagonists drive off the road into the field as the antagonist drives ahead.

Another long shot is used, including both vehicles to signify the danger is leaving. The antagonist doesn’t show any sign of wanting to chase the two as they enter the field. A long shot is used to show the truck drive past, completely ignoring the car as it stops in the field also signifying the danger has passed. As the truck drives past, the camera tilts, focusing the on the protagonists, signifying their shock after the incident.

Here the editing is slowed to signify everything is calm again.