Identify and Explain Thriller Conventions Using Film Examples- Discuss Why They Have Become Successful Conventions

Like any other type of film, thrillers have certain ‘rules’ that are generally used within the genre. These ‘rules’, are known as conventions. In order for them to be considered conventions, they must be proven successful, and benefit the film itself. I will give examples of these conventions, and why I think they have become so.
A thriller itself is usually a story of high suspense, with increases and decreases throughout to keep the audience interested. It is an escalating conflict between good and bad, with the good driving the narrative. There is always a central mystery of some sort, which is more often than not turned on its head towards the end with a hard plot twist when the audience believe they have it solved. This is so the audience feel in power of the plot, but are then thrown completely in order to keep them guessing at the end.
They are also either in a position of unrestricted narrative, where they feel omnipotent, and know everything before some of the characters do, or in a position of restricted narrative so that they only know as much as they are allowed to know through a character. This can make them feel like they are in a 1st person point of view of the events, and are solving it as the plot carries on, with the protagonist. In the end though, the plot usually has a circular narrative, where everything is back to normal by the end (Also known as an order of equilibrium, disequilibrium, equilibrium).
One of the most general conventions of thrillers is the enigma. This is what hooks the audience into the film, and provides and main base for a plot throughout. It usually comes in the form of an unsolved case, or just some sort of mystery. Without this there would be no foundations for which to build on plot-wise, so it is clear why this has become something that is classic to the thriller genre.
Next there are the different types of main characters. These are generally categorised under: Protagonist, Antagonist, ‘Damsel in Distress’ and Sidekick. The protagonist is the hero, and is sometimes reluctantly so. They are usually normal people, so the audience can relate to them, who try to ‘save the day’. This means they are not perfect and may be depressed of secluded but are moralistic and fight for good; making them seem more of an equal/minor to the antagonist, as to keep interest in both characters. In most cases they have had a tragedy, and are seeking revenge; if that’s not the case they usually have something at stake. This character is vital to the plot as it’s usually focussed on them, so conventions have been set to how best an audience responds to them.
The antagonist is the villain of the film. They are nearly always intelligent, as to pose a threat to the good characters. More often than not they are psychologically, emotionally or physically scarred and as a result seek revenge and/or greed. In order to make them seem powerful, they are generally in control and benevolent. However towards the end of the film, the audience usually get to sympathise with them seeing they are misunderstood, or have been made to be this way. This character is conventional as without it, there would be no threat and no enigma to be solved; so the antagonist becomes part of the problem which is to be solved for the plot.
The ‘damsel in distress’ is usually a woman, but not always. In one approach, they are usually stupid, helpless and eye-candy. In another they could be independent, ambitious, and intelligent but won’t listen. In either case they get themselves in trouble and needs rescuing by the protagonist. They are conventional in this way because it helps make the antagonist look more of a threat when they capture them and the protagonist more of a hero when they rescue them. They also can develop a love interest to keep the audience hooked in.
The sidekick is optional, but when used can be vital to the plot. They seem weaker in most ways in comparison to the protagonist but have something they are better in, often intelligence. Towards the end of the film, they often become equal to the protagonist by making a huge difference in solving the mystery and sometimes are the ones who ‘save the day’.
The location is an important part in building tension. They are generally extremes in that they are either over-crowded (eg: cities) or very secluded (eg: rural areas). Either way, the character is made to feel isolated, depressed or powerless depending on which character it is. However, most locations are familiar to the audience; so they can relate to, as well as build fear of, everyday situations.
Throughout each and every thriller, there seems to be certain morals which are realised at the end; these have become conventional because I believe the audience wants to feel they have gained something from watching the film, and this is a way of the plot giving them that. Usually it is based on good triumphing over evil, and how if everyone respected each other these problems would not occur. All characters learn to respect their life, and think before they act at the end. of course, that doesn’t mean that this is always the case, as conventions are there to be broken, but they have become a standard thing in the genre.
After looking at all these different types of conventions, it seems clear to me that they all add together to make the film successful. Without some of them, others would not work as well, and that is why conventions are called so; because they work for the specific genre.
Reflective Comment: Alien uses alot of secluded settings; where the victims are by themselves. This is perfect for our thriller, so we may need to start looking for a perfect setting soon which is very dark and secluded