Post 28 - Good and bad horror posters

As our chosen genre is horror I have taken into account what is needed to create a successful horror film poster and thereby have annotated 4 posters from the horror genre, 2 good ones and 2 not so good. Our poster needs to possess the characteristics needed from the good poster whilst at the same time avoiding the elements taken from the bad posters.

Good poster number 1 - 'Paranormal activity'

After annotating this poster for the horror film 'Paranormal activity' I can tell why this was such a success. The poster is dark and mysterious and poses plenty of questions to whoever may be looking at it, such as 'should I see it alone?' 'What could that be at the door?' 'What exactly does happen when I sleep?'. The film is supposed to be a nightmare giver, and with a poster such as this it is easy to see as to why. It is really effective in the way in which the review is used at the top of the poster, the comments send chills down my spine as I want to know whether this film really is 'one of the scariest films of all time'. This poster is really effective as it immediately leaves me wanting more and if I hadn't already seen it, then I would want to now.


Good poster number 2 - 'The Blair Witch Project'

The second 'good' poster that I have decided to analyse is the 'blair witch project', this film poster is very effective in the sense that it doesn't give much away about the film at all. This poster much like the 'paranormal activity' one poses many questions which need to be uncovered.

Poster conventions

Every poster made must be appealing, eye-catching, and different in order to grasp the attentions of the viewing public. Film posters tend to stick to similar layouts to each other too, and below are several of the conventions that can appear on film posters.

-        Tagline - This can set the tone for the poster, as an engaging or mysterious tagline can leave the viewing public wanting to know more. A Tagline should leave the person who has just read it wanting to look on further into the poster.

-        Title for the film - This is clearly a big importance to the poster, as it defines the name of the film. The style for this tends to vary although the concepts of the title for the film will always have the same aim, to grasp the attention of the public. A large font and special text will do this.

-        Actor names - This is also a frequent feature among film posters, although the names of the credited actors tend to be more discrete and placed at the bottom of the poster for example. The main actors names will appear at some point on the poster and also the actors themselves in their roles may appear also.

-        Film related images - It will always help if film related images appear at some point on the poster, this can be to unveil more to the viewing public. Although depending on the film genre this can vary, as a genre such as horror may have not many images relating back to the film, this could be to create a sense of mystery amongst the viewers and also to leave them guessing.

-        Release date - This is a key feature also, as once the poster has been examined and the ideas of the film have been discovered, the viewer will want to know when the film is to be released.

-        Website for film - A link to the film is always useful to the viewing public, especially if they are interested in gaining more of an insight into the film, or perhaps they want to explore the concepts of the film further such as explore the soundtrack to the film, look more into the characters or even engage in a Twitter or Facebook conversation.

Post 22 - Short film marketing

Taken from the BBC website they have provided a key guide on how to market a short film. According to the guide there can be several key stages to go through in order to successfully market a short film such as our 'Run' film.

Step 1: Cast & Crew/Industry Screenings

Step 2: Prepare a Press & Publicity Kit

Step 3: Press and Industry Promotion

Step 4: Festivals & Awards

Step 5: Get a Distributor, Agent or Self-distribute

Step 6: Cinema, TV, Screenings, DVD & Online

One key question we need to consider prior to marketing our short film is who exactly is our audience? We too need to consider what kind of success we want to achieve from the short film.

http://www.bbc.co.uk/filmnetwork/filmmaking/guide/distribution/marketing-your-short#cast

Post 21 - short film distribution

Basically due to the size of the film and the budget of our film, we are classed as an independent film as we have no links to larger companies. We have looked into what it takes to distribute a short film so that we can work out how to distribute our film to a wide audience.

To start off with, we would require a person who would act as a distributor. This would be a person or an organisation who would be willing to represent our short film in various circumstances. Such as attend festivals dedicated to short films. This distributor would then be required to try and sell the short film to any television company or other organisation that show short films.

A filmmaker’s general reason for creating films would be because they have something to say or a vision to share with the world, thus having as wide an audience as possible would be ideal. The filmmaker’s goal for what they would like their film to achieve plays a key part in a potential distributor’s decision on investing in their project. The larger a film’s budget, the more effort should be put in to ensure the widest audience possible can reach it

In terms of features, a distributor is generally an organisation who handles the theatrical release of a film in a particular country as well as the marketing and circulation of films for home viewing (DVD, Video-On-Demand, Download, Television etc). Often feature films have different distributors representing them in different territories and different distributors handling the home-viewing circulation. Independent film distribution in the UK is generally managed by indie distributors such as Metrodome, Optimum Releasing and Momentum.

Websites such as Facebook and Twitter are both fantastic ways of getting films out to a large scale audience. They both incorporate what is called 'the word of mouth', meaning what others say can influence your views and opinions, and this not only applies to online but it can also apply in general speaking. It is more influential online however as words and opinions of people can be expressed and in the sense of Twitter and Facebook, 'tweeted' or 'posted', in a matter of seconds as whatever is spoken can go viral to a worldwide span of people. So we man take the initiative to post our film onto Facebook and Twitter as we look to spread the word of our film as quickly as possible. This of course as well giving us the chance for future audience feedback and also for others who watch it to comment and give opinions on the film.

Post 20 - Sound (In relation to media lanaguage)

Sound is a key aspect of film. Without sound films would not be the same.
There are two main types of sound, they are diegetic and non-diegetic.
Click here for more information on both diegetic and non-diegetic sound

Diegetic - sound that has an onscreen source and can be heard by both the people on screen and the watching people off screen.
Examples of diegetic sound can be dialogue and sound effects.

Non-diegetic - sound that does not have an onscreen source and can only be heard by the watching people off screen. The characters in the film cannot hear this type of sound.
Examples of non-diegetic sound can be soundtracks and voice-overs.

Post 19 - Editing (In relation to media language)

Depending on the way in which a film is edited, editing can prove extreemley effective. Generally in film making the director is given the larger chunk of the credit, however nowadays the chief editor is also getting more of the credit once the film does well. The director decides what is shot and how, however the editor determines how each scene is shown to the audience, the editor also determines how

Post 18 - Mise-en-scene (In relation to media language)

Mise-en-scene

Setting and location – Relates to the location and place of events, the setting can either be built from scratch or it can be real. Setting can play a key part in a film due to the fact that from a glance we can tell the whereabouts of the films filming.

In relation to our film – We are filming in a large open park, ideal for a lot of zombies running towards a group of helpless teenagers.

Props – Props can be any objects present in the scene and anything in which the character interacts with. These can be anything from a phone to a cat.

In relation to our film - The kind of props that we will use in filming may include weapons to fight. 

Costume and make-up – We can tell by the way in which people are dressed in a scene whether the film is shot within a certain location or time period. Costume can also reflect the occupation of the individual, for example a man pictured in a suit could be a working class male.
In relation to our film - As no zombies will be present throughout filming we must use the effectiveness of make-up elsewhere, so at the end of the film Natasha should be pictured with zombie make-up on. In regards to costume we are all wearing scruffy clothes due to the tight budget.

Lighting – Lighting can be used to focus on a certain person in the shot, they can highlight the individual of the scene. Or lighting can be used to dim the scene and make it appear dark and mysterious, for example shading sections of the individuals body or face.
In relation to our film - we will be shooting in broad daylight so there is no need for concern in regards to the amount time for good daylight.

Casting and character movement – A top actor or actress hired to play a certain character can benefit a film due to the fact that with a large name at the centre of the action will attract a wide audience due to the main actors large fan base.
In relation to our film - It seems a bit obvious that we do not have the budget to get hold of a huge acting name.

Post 17 - Camera (In relation to media language)

There are various shots in film that are ever present, the next shots below are shot sizes.
1) Extreme Long Shot (ELS) - This shot size contains a large amount of landscape, often used to show the beggining of a scene or to establish the setting of the film, this shot has plenty of foot room and head room.
2) Long Shot (LS) - This shot size has slightly more room than an extreme long shot.
3) Medium Long Shot (MLS) - This shot contrains the characters body from the knees up, there is no longer any room at the bottom of the frame, however there is still a little bit of headroom left too.
4) Medium Shot (MS) - Contains half of the characters body in shot, so from the waist upwards, there is also still a little bit of headroom.
5) Medium Close Up (MCU) - This shot contains even less of the characters body, mainly from the shoulders upwards.
6) Close Up (CU) - This shot shows the entire face of the character, often used to capture emotion and expressions.
7) Extreme Close Up (ECU) - Contains the eyes to mouth in shot, smaller than a close up, this shot can create an intense mood as well as breaking the wall between the audience and the character. This shot can also capture emotion.

Post 16 - Representation of women

I am researching into how women are represented in horror films. Often women are represented as vulnerable, naïve and powerless (with a few exceptions) or as hypersexual damsels in distress.

Often gender is crucial in horror films, not long ago the only role women had in horror films was tottering around our screens half naked before screaming and being brutally murdered by the killer, showing that a lot of Hollywood films differentially use women to serve men.  By the 1970’s women were becoming slightly more powerful in horror films.

In the earlier days of the production of zombie films, the female character would stereotypically be the person who would need saving from trouble. Also, they would be seen as being considerably weaker than the male characters and they wouldn't tend to act in a heroic manor. An example of a film where this typical female role is played is in the film Night of the living dead.

However, in many recent zombie films and especially the most recent television zombie series, The walking dead, the role of a female has changed considerably as they have stepped up and taken up roles of being the hero in some situations.

 

Within this clip we see a female character saving another characters life. This is a subversive act as a typical female character would be seen to run away from the source of trouble instead of standing up to it.

Post 15 - Representation of men

Until I figure out how to embed a pintrest, I have taken screen grabs of my pins.

Post 15 - Script feedback from Professional scriptwriter

Luckily in the course of writing our script for 'Run', through the links of our teacher we were able to not only send off our scripts to a professional script writer in Dudi Appleton, but we also had the chance to Skype him in person and receive feedback upon our script writing work. There is a link in Dudi's name to his kind of work.

None the less, it was great to receive constructive criticism and ideas on how to improve our script, below are notes in which Dudi himself added to the bottom of our script.

'Run' script with scriptwriter feedback

And upon receiving this feedback I took the privilege of talking to Dudi in person on Skype, I was the one out of my group who volunteered to make the call as my fellow 3 members were busy at the time of asking. Anyway I spoke to Dudi on Skype and recorded the conversation with 'Voice memos' on my iPhone.

Post 14 - Audience positioning

Post 13 - The BBFC/film rating

The BBFC (the British Board of Film Classification) are a non-profit organisation who relies solely on the money from film makers to do their jobs properly, they attempt to cut out any inappropriate content and classify films in categories respectively. The BBFC are independent film regulators who seek to protect the public, mainly children from high risks, as well as enabling the public to make correct decisions about viewing choices. The BBFC look to make ‘the right’ decisions so that there is no uproar from the public, if the BBFC make strange decisions about a film then the views and opinions of society can backfire and the two can come into conflict.


Horror

The use of frightening elements which might scare or unsettle an audience is part of a long tradition of storytelling and film making.

Many children enjoy the excitement of scary sequences, but, where films are targeted at a younger audience, classification decisions will take into account such factors as the frequency, length and detail of scary scenes as well as horror effects, including music and sound, and whether there is a swift and reassuring outcome.

Older audiences often pay to see horror films because they like being frightened or shocked and such works are classified at an appropriate category to ensure that the young and vulnerable are protected from too intense an experience.

Imitable behaviour

Classification decisions will take into account any detailed portrayal of criminal and violent techniques, and any glamorisation of easily accessible weapons, such as knives (Teenage mutant ninja turtles) Works which portray anti-social behaviour (for example, bullying) uncritically are likely to receive a more restrictive classification. Works which, taken as a whole, actively promote illegal behaviour will be cut or rejected. Portrayals of potentially dangerous behaviour (especially relating to hanging, suicide and self-harm) which children and young people are likely to copy, will be cut if a more restrictive classification is not appropriate.

Nudity

Natural nudity with no sexual context is acceptable at all classification levels, but will not occur more than occasionally in the lowest category.

Nudity with a sexual context will receive a more restrictive classification and strong detail in such a context will only be passed in the adult categories.

Sex

The portrayal of sexual activity can range from kissing and verbal references to ‘making love’, to detail of real sex. This is reflected in the classification system, in which progressively stronger portrayals are allowed as the categories rise.

Sex works (works whose primary purpose is sexual arousal or stimulation) are likely to be passed only in the adult categories. Sex works containing only materials which may be simulated are generally passed ‘18’.

Sex works containing clear images of real sex, strong fetish material, sexually explicit animated images, or other very strong sexual images will be confined to the ‘R18’ category. ‘R18’ video works may be supplied only in licensed sex shops which no one under 18 may enter.

‘R18’films may be shown only in specially licensed cinemas.

These Guidelines will be applied to the same standard regardless of sexual orientation.

Post 12 - Audience

Audience can be defined as a collective group of people who read or consume any form of media. All texts have an audience in mind, an important question to consider is always what is the audience?
Without audiences there would be no media, the audience can often too determine the success of a media product. Media organisations produce media texts to make profit, quite simply this means that no audience means no profit. Mass media is all about the profit!

Katz and Blumer proposed

Katz and Blumler – link!

They proposed audience research into their behaviour that audiences use media texts for a variety of reasons.

INFO

PERSONAL IDENTITY

INTEGREATION AND SOCISL INTERACTION

 

New technology and audience

Old media forms such as TV, Print and Radio, used to have high audience numbers and now they must work harder to maintain audience numbers.

Digital technology has also led to an increasing uncertainty over how we define an audience.

Fragmented audience

The division of audiences into smaller groups due to the variety of media outlets.

EG. Newspapers and magazines you can now find online copies

How do institutions continue to make money?

Nothing in life is free

Free apps

Websites and adverts

Newspapers print fewer copies, to switch to online/tablet copies, mean less money for producing copies.

Mass and niche audiences and examples of both

How do we categorise audiences?

Audiences can be divided into categories based on social class.

Audience research – major part of any media companies work – survey monkey

They use questionnaires, focus groups, pre film screenings and spend a great deal of time and money finding out who would be interested in their product.

DEMOGRAPHICS

Media producers and interested in

Age

Gender

Race

Location of their potential target market. This is called the demographic.

PSYCHOGRAPHICS

Every advertiser wants to target a particular type of audience. Therefore media companies produce texts that target a particular ‘type’ of audience.  Audiences interests and tastes and hobbies.

Link – thinkbox.tv/server/show/nav/914

Group A – what types of media texts would they consume?

Lawyers

Doctors

Scientists

Well paid professionals

Group B

Teachers

Middle management

Fairly well paid professionals

Group C1

Junior management

Bank clerks

Nurses

White collar professionals

Group C2

Electricians

Plumbers

Carpenters

Blue collar professionals

Group D

Manual workers

Drivers

Post sorters

Group E

Students

Unemployed

Pensioners

PUT SCRIPTS UP there

Stuart Hall – Hall views audiences as both the producers and consumers of texts: decoding the meaning encoded by the originator of the text. His approach to textual analysis is that the consumer actively negotiates the meaning.

How do we measure audiences?

Sales, subscriptions, ratings, figures

Who measures them?

NRS

ABC

BARB

Bookseller

New ways in which we measure audience

Social networking

YouTube + google+1 views

Twitter trends

Research

Quantitative

Qualitative

Niche –  Some fishing programme

Mass – Sky sports

Audience engagement

Audiences’ expectations

Audiences’ foreknowledge

Audience Identification

Audience placement

Audience research

 

 

 

Post 11b - New Script

Run

FADE IN FROM BLACK

EXT. LOCATION. Late afternoon

Four friends are running through a large park. Shots cut from angle to angle as we see the four friends frantically running away from what is unknown. As the four friends run we see characters in order from THEO, JOSH, JACOB and CHARLIE.

Soundtrack plays

After a montage of running, music playing and opening credits the four friends seek shelter elsewhere.

CHARLIE

Quick guys we need to find a place to hide.

THEO

There must be somewhere to go.

JACOB

Guys they’re gaining on us. (Shot focuses on JACOB whilst we see several unknown beings in the distance running towards the four friends).

JOSH

We must be close to some shelter by now; we’ve been running for ages!

The four friends scan around for a place to hide; the camera focuses from their point of view as the camera looks around for a suitable place.

CHARLIE

Look over there! (Points to a gate).

JOSH

Why on earth would we go there? It looks like a dead end.

THEO

No Charlie’s right! I remember this place.

JACOB

Yeah we used to go though there when we was little.

CHARLIE

Thank you! But we can talk about our childhood when we’re safe.

JOSH

I still don’t know where this place leads to?!

CHARLIE

If I remember this location correctly, a shed backs onto this gate, providing its unlocked then we can hide in there.

JACOB

OK now let’s hurry up and get in there.

The four friends run up the remainder of the hill and they push on through the gate, once on the other side they follow a path round which follows eventually to the shed which CHARLIE was talking about.

EXT.LOCATION – Outside of shed

JACOB

Quick! Get it open!

JOSH

Oi! Quit your whining! (He turns from JOSH and forces the door open)

The four friends hurry into the shed as JACOB is the last one in, he looks around as he closes the door after checking that the surroundings are clear.

THEO

So what do we do now?

CHARLIE

Now? We wait, we can’t do much more than hide for the moment.

JACOB

And how long do you expect us to hide for?

CHARLIE

It’s hard to tell really, I mean if we hadn’t have bumped into them earlier then they wouldn’t have found us.

JOSH

Ohh yeah…..and who’s to blame for them noticing us?

CHARLIE, JOSH and JACOB turn to THEO who looks puzzled as if he has done something wrong.

THEO

What me?! Why are you blaming me for what happened earlier?

JOSH

Hmm I dunno? (Sarcastically) well it’s a little stupid blasting your music for the whole of the world to hear.

THEO

Slight exaggeration there mate….

JOSH

Well fine, but those infected ‘things’ heard it and that’s left us right in the shit since then.

THEO

Well I’m sorry, what can we do about it now? Haha (laughing)

JOSH

Well you could apologize with some form of effort this time? Is this some sort of joke to you? We could die shortly because of you.

JACOB

Guys….. (Fairly quiet)

CHARLIE

Ok guys stop it (shouting), let’s just accept that Theo made a mistake and all we can do is move on and stick together now.

JACOB

Guys….. (A little louder)

JOSH

Suppose so, sorry man, didn’t mean to snap.

THEO

Its fine mate don’t worry for the minute, but like Charlie said right now we just need to stick together.

JACOB

Guys! (Progressively louder)

CHARLIE

What Jacob?!

JACOB

Listen…..

The four friends listen carefully to what JACOB had previously noticed, they are all quiet as they can hear ‘groans’ and ‘moans’ edging closer and closer to them.

CHARLIE

Guys we need to get out of here, like now.

JACOB

But it’s safe in here?

CHARLIE

Look we don’t know how long they could be out there for, our best bet is to make a break for it now and hope for the best.

THEO

But what if they’re blocking the gate? Then we have no way of getting back out.

JOSH

He’s right, it’s like we need a distraction.

JACOB

Well im not going to do anything, and as if any of us would risk our own lifes……

CHARLIE

I’ll do it

JACOB

Wait what?

CHARLIE

I’ll run out, let them chase me for a bit and then you guys can make a break for it. Then I can break away and catch you lot up.

THEO

Probably easier said then done, what if they catch you?

CHARLIE

Who knows, I’ll have to risk it.

JOSH

Are you sure you want to do this? For us?

CHARLIE

Well one of us has to?

After the group’s discussion, CHARLIE slowly moves outside to see what is outside, we see vivid images of zombies waiting by the gate. CHARLIE then makes a break for it.

CHARLIE

Come on then! (Taunting the zombies)

The zombies frantically turn around to see CHARLIE running away so they chase after her, the other lean out of the shed to see a clear path.

JOSH

Go on Charlie! Come on boys let’s move.

JACOB, THEO and JOSH run towards the gate as JACOB looks desperately back at CHARLIE running in the distance. CHARLIE is then caught by the zombies and falls to the floor, they begin to eat her. She screams helplessly but no-one is around to help.

The final shot appears CHARLIE left on the floor as the camera focuses on her face, she grins at the camera, she is now a zombie.

Post 11a - Old script

Run

OPENING CREDITS

FADE IN

EXT. LOCATION. DUST

5 friends are walking in the middle of a park, unaware of their surroundings. Although they are unaware they are constantly looking around for zombies.

The opening credits then appear on each of the characters as they are walking, the order is from DIEGO, SOPHIE, THEO, JACOB then lastly CHARLIE to show her role as the main character and strong female presence.

CHARLIE

Alright guys, Diego and Sophie you two keep looking ahead just in case.

DIEGO

Got it.

SOPHIE

Check.

CHARLIE

Now Jacob and Theo you keep looking to the left and right, Jacob the left and Theo to the right.

THEO

No problem.

JACOB

Yeah sure.

CHARLIE

Seriously guys do not take your eyes off of your course.

CHARLIE looks ahead but regularly checking back for zombies, she notices that JACOB is looking at his phone as opposed to the left.

CHARLIE

Jacob! Keep your eyes open! (loud whispering)

JACOB

Woah! (jumps)

As CHARLIE looks up to moan at JACOB she takes her eyes off of the path and trips over a large rock. CHARLIE falls to the floor.

JACOB

Haha! (Laughing) I could say the same about you missy!

CHARLIE

At least I’ve kept my eyes open on my area.

JACOB

Ermmm (looking behind CHARLIE).

CHARLIE

What? (Confused)

DIEGO

They’re coming... (Points and looks behind CHARLIE).

As CHARLIE tilts her neck around to see the danger, the camera cuts to the distance across the park/field. Here we see several zombies charging towards the group from a distance.

THEO

Shit...

JACOB

Run! (shouting)

The group begin to run away however as CHARLIE tries to get up she notices that her ankle is hurting and she falls back down to the floor.

CHARLIE

Someone help! (Screaming)

THEO

Shit! Jacob go grab her! We’ll meet you round the corner.

SOPHIE

Just hurry!

THEO, SOPHIE AND DIEGO carry on running to their location, whilst JACOB runs back to help up CHARLIE. JACOB grabs her hand to help her up but she clinches her ankle.

CHARLIE

Ouch! Jacob my ankle it hurts!

JACOB

No time to check it out! Come on they’re gaining on us!

CHARLIE

I can barely stand!

The sound of moaning gradually began to increase as members of the infected began to emerge from the darkness.

JACOB

Get the fuck up now!

JACOB pulls up CHARLIE but zombies gain on CHARLIE and JACOB; they have to fight off a few.

JACOB

Have some of that you......

JACOB picks up an old magazine on the floor and rolls it up, he then proceeds to slap the zombie across the forehead. The camera focuses on the zombie clueless of the impact; JACOB continues to hit the zombie.

CHARLIE

What the....... (Pause)

CHARLIE bends to down to pick up a better weapon (a long stick) and she goes over to the zombie that JACOB is fighting.

CHARLIE and JACOB get away from the group of zombies and meet the others in a nearby car park.

SOPHIE

Seriously what the hell are we going to do?

DIEGO

Fuck knows.

JACOB

We need a plan of some sort, honestly have no idea how we’re getting out of this mess.

Post 10c - feedback from the script

Below is the feedback given upon Dudi Appleton reading our original script and him telling us what could be improved upon. After reading the feeback we were told that we also have the opportunity to Skype Dudi as he was willing to explain his feedback face-to-face online with each of the groups. I was curious as to what Dudi had to say, I wanted to know several of the points in more detail. 

Post 10 - Treatment

In the previous post there is a mind map showing the key elements coming from our chosen logline, after we chose this logline we looked to see how it could develop further. By this I mean that we had to put our ideas together and come up with the treatment for our film. Here is what we arrived at.

"Run" Treatment

Gadebridge Park. Late evening. We open to see a large amount of zombies running franticly across the empty field, Drenched in blood with their organs protruding out of there decomposing bodies. Terrified, a group of 18 year olds run across the field screaming and fighting of the infected as they run. A girl Charlie becomes the focus of our attention as she uses brutally hits an infected zombie in the face with a bashed up baseball bat.

A guy falls to the ground, "Jacob" Charlie screeches as she sprints over to the boy lying on the ground as a group of the infected surround him. Charlie charges through the infected savagely beating them with the bat that she grasps firmly.  She drops the bat as she grasps Jacobs hand and leads him away; they catch up with the rest of the group who are hiding in a nearby car park.

As they can hear the infected closing in around them the group begin to realise that they will not be able to escape this without sacrificing one of their own. The first survivor states that the oldest should sacrifice themselves and states that one of the older survivors should just be left here as bate. An argument breaks out between the group the noise from the argument begins to attract more and more of the infected. Throughout the argument Charlie stays deadly quiet as Jacob begins to attempt to defuse the situation but it is too late.

The infected zombies begin to mass around the group of survivors, they soon are overwhelmed. Charlie shouts and begins to lead the zombies away. Puzzled Jacob asks her what are you doing, He soon clocks on to what she is doing as his face drops and she tells him to run.

She is soon overwhelmed and the savage infected zombies begin to eat Charlie. Everything goes quiet as she is slowly eaten alive as watches Jacob and the others escape she closes her eyes and everything goes black.