I believe the mood board we created reflected the 'feel' and obviously the 'mood' of our film. When creating the mood board we wanted to use three types of images, gather the response of them from our target audience, then either implement them, modify them, or remove them from the final title sequence. This would allow us to make our two minutes of film suit our target demographic (25 -50)
One group of images used was that of landscape shots, particularly those which con notate fear and loneliness. The warehouse image, (top-left), had a particular response from a 43 year old female, who interestingly stated that the warehouse is a common location of her "reoccurring nightmare". Other members of our demographic didn't respond to the landscape images as much as others, but such comments almost confirm that a location for filming like a warehouse could represent a 'nightmare' and something sinister, which hopefully would reflect both our protagonists character and the deeply unsettling scene of the title sequence. This may mean that we change our location from a theatre to such a warehouse.
Another of the group images we used were 'repulsive' and supposed to test if it incited disgust among the target audience. Suitably, only one of the 6 questioned felt one of these group images to be the most disturbing: "The only disturbing one would possibly be the bottom one as it looks like the body of a child." (Below). The target audience opinion is therefore reflected in the lack of attention to this group of images, which included rats, broken bones and a withered rose, and the response in the comments. We predicted such a response, as our target audience is based around those who's attention is not gained by 'sick' images, but by odd objects that subvert their traditional meaning.
This subversion of meaning was most prominent in our final group of images located on the mood board, and the most critical to the success of our film. We used images such as a child behind a cracked mirror and hiding behind a plain mask, also a picture of a clown's face, smiling cheerfully in the background (Bottom). Many of our target demographic found this image to be the most disturbing, one saying "it subverts the traditional meanings of clowns as happy, and instead portrays them as deceiving and hiding and that they might be fighting internal emotional conflict." Another stated when asked 'which is the most disturbing image?' that it's "the clown in particular". These comments from our target audience suggest that masked characters, particularly clowns, when subverted are especially disturbing, with 4/6 asked agreeing so. We feel this also supports our decision to aim our film at an older, more mature audience. When asked what age would find the images on the mood board most disturbing, many responses believed that a younger audience couldn't relate to the feelings of "hurt" that the images and our film reflect, as many haven't experienced great degrees of it in childhood. A 43 year old female stated in her response "I don't think children would do so really (find them disturbing) as they probably wouldn't understand what's 'so scary' about a clown". This has encouraged us to explore the use of masks in our final production.
Overall I believe the mood board we created was a good means of testing our target audience's response to the 'feel' and emotions our film is hopefully going to successfully portray. The images appeal to the majority's taste in horror (5/6), rather then the 'jumpy' and 'gory' shock horror films associated with teens.
We are getting 4-5 half mannequins as props on the stage. Although not life like, when placed with clothes will be adequate. 
We are using a full size mannequin which is going to be dancing with the character.
A record player like the one shown is going to used to play the music and set the classical theme.
I believe the mood board we created reflected the 'feel' and obviously the 'mood' of our film. When creating the mood board we wanted to use three types of images, gather the response of them from our target audience, then either implement them, modify them, or remove them from the final title sequence. This would allow us to make our two minutes of film suit our target demographic (25 -50)
mysterious instruments, which create a sense of intrigue and mystery. In "Apocalypse Now", however, an important male character is projected in the left third throughout the majority of the sequence, to highlight his importance for the following film.
Overall, both film title sequence's provide a great deal of generic expectations, which serve to both fulfill narrative expectations from the reader, but also serves to disturb and shock - usual occurances in titles. Many ideas have been gained to be placed into our own film from the detailed analysis I carried out on both, and many ideas mentioned here will most likely put across into the final production.
