Featuring an all star cast (Morgan Freeman and Brad Pitt, no less) and a devilishly cool cameo from Kevin Spacey, David Finchers first foray into thriller films -a pattern later continued with films such as 'Memento' and the US remake of 'The Girl With The Dragon Tattoo'- proved to be very successful, both critically and commercially. Se7en seemingly follows the conventions of your typical buddy-cop thriller movie- a retiring detective, paired up with an up and coming cop (played by Pitt) on a homicide case, a who-done-it with the inevitable chase sequences, bust-ups and an unravelling case that has to be solved. However, it was set apart by its intricate plotting, as well as the natural chemistry between Freeman and Pitt. Here Melissa has chosen to analyse the opening sequence of the film, outlining the various codes and conventions of thriller films that have been utilised to create a thouroughly engaging and appropriately ambiguous opening to the film. Melissa discusses the film below:-
I do not own this footage, it is being used for educational purposes
''What is Se7en about?
For half of my research, I am analysing two opening title sequences, and one of them is se7en, this is a film about two detectives' hunt for a serial killer who is murdering people and justifying the crimes by absolution for the worlds ignorance of the Seven Deadly Sins. The two detectives try and track down the serial killer who chooses his victims bases on the Seven Deadly Sins. Together, the two detectives trace the murderers every step, witnessing the aftermath of his horrific crimes one by one as the victims increase, all while moving closer to a gruesome fate neither of them could have predicted.
Camera
The title sequence starts with a close-up shot of a book, this creates a sense of mystery for the viewer as they don't know what's in it, the next camera angle is a high-angle shot looking down on the book, revealing to the viewer what is on the page, it then shows lots of different shots of close-ups on objects that don't seem to have any meaning to the viewer at that point which creates suspicions and keeps the audience guessing. There are no long shots in this title sequence so it doesn't really allow the viewer to see what's fully going on, reinforcing the mystery of it. Throughout the clip all of the camera angles are high angles or at eye level which could connote that the filmmaker doesn't want you to see anything of real importance yet, and that all the objects shown are of little importance as they are looked down on.
Mise-En-Scene
The Mise-En-Scene puts across very significant ideas in this title sequence, like what to expect from the film and the overall tone it puts across, which is ominous. The lighting in this extract is very dark adding to the ominous tone throughout and there are shadows which could be perceived as someone moving about which keeps the reader on the edge of their seat, wondering who or what it is. The colours used are very dull and usually consist of brown, grey and black. You can see some words being highlighted on paper, with a black pen, the black connotes death and bad things. The objects shown such as blades and needles also help create a dark mood. The props such as the book and the images etc, add to suspicion of the viewer and make them wonder what the person is doing.
Editing
The opening title sequence starts off with slow paced shots of objects that aren't of any importance to the viewer at that point but which could be important later on in the film. The editing then changes to fast paced cuts, showing a variety of different objects, giving effect as they're shown on the screen for long enough for the audience to see what they are, but not long enough for them to figure out why they're included. The credits shown throughout help define the genre as they are messy and flicker on the screen, the credits flickering makes the viewer think of a flickering light bulb about to run out of light, which creates a sense of foreboding. Most of the images shown, look as if they're being doubled but they are blurred, which connotes to the audience that the person that is in the opening sequence is not mentally stable and doesn't see things clearly. The editing also helps set the mood and adds to the curiosity of the viewer as the shots with the books and writing being highlighted in are more slow paced than the other shots, signifying importance and makes the audience wonder what the person is doing.
Sound
The sound used in this clip, is mostly non-diegetic but some sounds are made to sound natural. For example, sometimes in the clip, a very high pitched noise occurs which tricks the viewer into thinking it's someone screaming, which connotes danger and someone desperate for help and sets the audience up for the rest of the film. The background music is heavy-sounding and is quite fast. this is typical of a thriller movie as it creates suspense.''
Evaluation of Melissa's Work:-
Providing a sound understanding of the plot's synopsis, Melissa then discusses how the intensity of camera angles and zooms create a tense atmosphere, the audience unsure of what of who or what is happening, making the audience question further what is going to happen as the film progresses. Also, she discusses how long shots in the clip further the sense of mystery, the audience suspiscious of what is taking place within the background. Melissa implies that the high shot angles connote insignificance; however, I believe this reveals to the audience how secretive the objects are, purposefully hidden from shot to intensify the sense of dagerous goings-on and mystique. After this, Melissa discusses the mise-en-scene; she says how the dark lighting createsan ominous andmelancholy tone, foreshadowing later events in the film. Furthermore, the iconography of images such as blades and needles indexically connote death, murder and hatred, themes touched on later in the film. In terms of editing, the opening credits are fast-moving reiterating the unpredictable nature of the thriller; Furthermore, the seeming randomness of the images at this stage in the fil, coupled with the blurred camera effects, build the impression that things are not what they seem, and could ultimately become dangerous. Finally, the use of non-diegetic sound builds a sense of menace and anticipation, whilst the minimal diegetic sound has a naturalistic style, grounding the film within reality. Overall, I feel Melissa has shown an advanced knowledge of the Thriller genre and how it translates to the film Se7en, discussing codes and conventions of a thriller film through the use of sound, editing, camera and mise-en-scene to analyse the opening credits.
Wednesday 24 October 2012
Thursday 18 October 2012
Analysis Of The Coursework Mark Scheme...
Whilst I'm aiming for a top Level Four band in my coursework, it is of paramount importance to acknowledge what it takes to achieve this exceptional level. Below are the grade boundaries that assess the level of excellence of students' opening two minutes of the thriller, assessing in categories such as video, audio, research/planning as well as the evaluation:-
Video:-
Audio:-
Research And Planning:-
Evaluation:-
Grasping a complete understanding of what is expected from the mark scheme is a key part of the research process, giving our group renewed expectations of ourselves, expecting ourselves to aspire for the band that covers 'exceptional'. I believe that, on further analysis, of the mark scheme, we as a group should all be attempting and striving to achieve the Level Four band...
Evaluation of Melissa's Analysis of 'Mission Impossible 2'
| Cruise's character says the famous quote in Jerry Maguire: 'SHOW ME THE MONEY!' Well, M:I Two definitely provided that for Tom Cruise at the box office! |
*I do not own this footage*
''What is Mission Impossible 2 about?
Mission Impossible two, is about a secret agent, Ethan hunt (played by Tom Cruise) who is sent to Sydney, to find and destroy a genetically modified disease called ''Chimera'' This film is an Action-Thriller, and is very fast paced and action filled with the conventions of a thriller also included.
Mise-En-Scene
Mission Impossible 2 is firstly set in a desert, this conveys loneliness and isolation of the character, however it could imply that the character is peaceful and relaxed. The bright sun reflecting on the mountains and a bit of his neck indicates the sun setting and a beautiful view which the viewer can't see, this could be foreshadowing for the events to come, and connote that the viewer will be seeing the opposite to good, this is reinforced by positioning 'Ethan Hunt' in the shadow, implying that he isn't aware of the events to come yet. Him being the only one in the shot so far connotes that he is the protagonist. The titles then begin to show and bright colours of orange, red and white give the effect of the viewer thinking of explosions and fire.
Sound
There is a combination of diegetic sounds and non-diegetic sounds. When the opening sequence starts, you can hear a person speaking, and in the background, you can hear non-diegetic sound coming in. You can hear the wind blowing quietly and then the music gets louder and fast-paced. This creates excitement for the audience. When the sound from the titles has stopped and it changes scene, some traditional spanish music comes in and helps the viewer understand where the scene is shot.
Editing
As there is only one character presented in the opening sequence, Ethan Hunt gets a lot of screen time and from this the viewer can infer that they will be the protagonist. At the beginning of this, the shots are slow-paced, but increases as the title animation plays and it changes to fast-paced, this gives the viewer an idea of the pace of the film and what it will be like.
Camera Techniques
The opening title sequence starts with a mid-shot of the protagonists face and gives the reader an idea of the setting and the character, it slowly zooms into his face revealing him expressionless and uninterested in what the person speaking is saying. It then cuts to an extreme close-up, and we see his glasses, which give the viewer curiosity as they can't see his face. The camera then zooms back out from the side of his face to a close up and it then pans around to reveal him and his surroundings. This gives the audience an initial idea of the film and how it may turn out.
Overall, I think this opening title sequence is good and engages the viewer, although there isn't much to say about the animation of the titles and explosions as it doesn't last for that long. However they are shown for long enough that you can read it and the use of Mise-En-Scene, Editing, Sound and Camera techniques all help give this title sequence mystery and make the audience want to watch on.''
As you can see, following a brief synopsis of the film, Melissa has gone into great detail regarding the opening, creating a large and comprehensive analysis of the opening. For instance, she discusses the mise-en-scene of the opening, and how the prevalence and centralisation of Cruises' character denotes his role as protagonist. Moreover, Melissa suggests the interpretations of the clip, such as the isolation of Hunt connoting his sense of isolation, the barren landscape a reflection of his internal thoughts and emotions. As well as this, Melissa suggests how the non-diegetic soundtrack adds to the intensity and excitement of the clip running parallel to the high-octane action on screen; also, the thematic Spanish music helps to provide context for the following scene. Melissa then moves on to editing, and how the prominence of Ethan Hunt hints at his relevance within the film, as well as suggesting he is a lone warrior. Also, the sharp editing of the opening titles connotes the pace of the action of the film and reflects the violent nature of the film. Finally, Melissa suggests how camera techniques help to define the characters locations, as well as facial expressions and body language. The use of intense close-ups heighten the tension within the film. Overall, Melissa's depth gives an insight into the effectiveness of swift editing as well as intense music and camera angles.
Evaluating Jacob's Analysis of 'Taken'
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| 'Taken'... The cult hit that rejuvenated Neeson's career |
''What is this film about?
The film Taken is about two young girls (Kim and a Friend Amanda) who decide to travel around Europe (Paris, France) so that they can follow a band tour around. While they are in Paris alone they encounter a young man who misleads them, they end up being kidnapped by the largest sex trafficking organisation in Europe, and eventually put on sale as prostitutes. Meanwhile back in America ex CIA agent Bryan Mills (Kim's father) Played by Liam Neeson travels around the globe from LA to Paris to hunt down and personally kill all of the people responsible for taking his daughter, he eventually returns Kim home safe to her mother (Lenore). Currently there is a new sequel to this film called Taken 2 that is currently being shown at the cinema.
Camera/ Mise En Scene
In the opening sequence of this film, we are introduced to the family through a home (style) video, this is iconic of the nineties. The camera work is edited in lots of jumps to make it seem as if it was in fact a real home video. Later on at Kim's birthday party Bryan (Kim's dad) gives her her present, soon after her mothers present arrives which is a horse, this very much links in with the first opening clip of Kim when she was 5 unwrapping her birthday present which was a plastic toy horse, this was clearly used as a sign to signify what was going to later happen in the film and making a link between the two of them.
The horse that Kim is given Denotes wealth. She comes from a wealthy family. When Brain see's this; a long shot camera technique is used to convey his emotions to the audience. Then we we see the longshot we can see the present at his feet that was intended for Kim, this indicates that his present and he him-self is inferior to her step dad, Stuart.
Editing and Sound
Throughout the opening of the title sequence of the film there is a mixture of slow and fast cuts, for instance in the very beginning of the film when it is the home video it starts of with slow cuts, however it begins to speed up very rapidly to gut out unwanted and un-needed bits of film.
Non-diegetic sound is also used throughout the opening of the film, this gives the audience the scene that at the time when the video was being recorded was such a magical moment in young Kim's life.
Taken is a Action, Crime, Thriller.''
Evaluation of Jacob's Analysis:-
Providing a plot synopsis, Jacob then describes the effectiveness of the camera techniques and angles. For instance, the iconography of the home movies depicts the relevant time period, revealing the close bond particularly between father and son. Moreover, the inclusion of the horse that denotes wealth, thus foreshadowing and giving reasoning to the kidnapping of his daughter. Furthermore, Jacob then examines the use of editing and sound; for instance, the unpredictable nature of the editing, a trait that is common in the thriller genre, putting the audience on tenterhooks. Also, the non-diegetic sound reveals the 'magical' nature, marking this moment of family closeness, providing a foreboding and ominous tone, that something bad is bound to happen. Finally, he shows his understanding of the various genres that combine to make Taken such an interesting and engaging movie. Overall, Jacob has shown sound knowledge of the conventions of the opening of action thrillers, and how editing and sound can be effective, foreshadowing what is to come.
The full post can be found here: http://jacobwsmith1.blogspot.co.uk/2012/10/taken-what-isthis-film-about-film-taken.html
Wednesday 17 October 2012
Analysis of 'The Beach' Vlog
| Danny Boyle's underrated masterpiece... The Beach |
http://www.free-tv-video-online.me/player/putlocker.php?id=47FI14VSLUW48WK
Enjoy the following video...
Tuesday 16 October 2012
The Significance of Genre in Doctor Who
Within our recent Media Studies lesson, we have been analysing the significance of editing and it's effect it has on the representation of characters, namely the Doctor's previous companion: Martha. Moreover, the use of editing is subtly impactful on the ways in which gender is portrayed, and it's effect on the audience's perceptions of the various characters such as Martha and the mysterious 'Master'. The clip, used in a previous OCR Media Studies AS exam, can be found below:
Copyright Disclaimer: I do not own the following footage; it is being used for educational purposes.
There are various techniques that have been used that affect the portrayal of the characters within the clip. These include the following:-
1)Eyeline Match (Intercutting)-
-Eyeline level with family members- connotes the respect/equality- establishes her importance
-Vulnerability, looking to others for help- female
2)SRS-
-Reaction of laughing to Master's cruel words shows her strength of character
-HA/LA Shots reinforces vulnerability
-Martha however still appears to be in position of authority
3)Fade Out/In Flashback-
-Two strong female characters- equal status
-Symbolic of female power
4)Motivation-
-Fighting back- begins to dominate narrative- position of strength
5) Prevalence-
-More screen time, increases importance and status
Overall, this analysis has helped me to understand the fundamental role of editing within a text and, applied to my coursework, shows how editing can be used effectively to influence the audience's perception of characters within our thriller film. Editing, I've learnt, is of paramount importance...
Copyright Disclaimer: I do not own the following footage; it is being used for educational purposes.
There are various techniques that have been used that affect the portrayal of the characters within the clip. These include the following:-
1)Eyeline Match (Intercutting)-
-Eyeline level with family members- connotes the respect/equality- establishes her importance
-Vulnerability, looking to others for help- female
2)SRS-
-Reaction of laughing to Master's cruel words shows her strength of character
-HA/LA Shots reinforces vulnerability
-Martha however still appears to be in position of authority
3)Fade Out/In Flashback-
-Two strong female characters- equal status
-Symbolic of female power
4)Motivation-
-Fighting back- begins to dominate narrative- position of strength
5) Prevalence-
-More screen time, increases importance and status
Overall, this analysis has helped me to understand the fundamental role of editing within a text and, applied to my coursework, shows how editing can be used effectively to influence the audience's perception of characters within our thriller film. Editing, I've learnt, is of paramount importance...
'Titanic' Binary Opposition Essay Analysis
For our recent essay assignment, I had to analyse binary oppositions (and their significance) within the opening scenes of James Cameron's melodramatic epic 'Titanic'. The results are below:
Creating A Lovely Survey!
Our group took it upon ourselves to create a survey regarding the 'Thriller' genre, uncovering the public's attitudes towards thrillers, including their expectations, as well as their favourite thriller sub-genres. This survey was essential to growing a fundamental understanding of what our opening should include, based upon our participants responses. First of all, we made a 'Draft Survey' to brainstorm ideas for the questions we were to pose the unexpecting public; initially, it looked a little like what you see below:
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| Draft Survey (Written by Hannah Dunsdon) |
The draft survey established the sort of questions we wished to quiz a range of people on; it included various statistical questions (such as questions related to gender and age) to ensure we achieved a stratified sample. Moreover, the survey envisaged to uncover what the sample's favourite type of thriller sub-genre; this would ensure that we found the current taste in regards to what kind of thriller people enjoyed, ensuring we did an opening that was popular, as well as contemporary. Finally, we asked what society would expect from the opening of a thriller; this would help us to grasp what types of music, lighting, editing were applicable to modern-day popular thrillers as well as ensuring what kind of content those opening two minutes should feature. Using this initial survey, we could then lay the foundations of our proper live survey:
(Link to the Live Survey)
Our live, complete survey ensured that we get a number of responses through a link to our online survey, shared through social networking such as Facebook, Twitter etc. We utilised our draft survey effectively, ensuring that responses could be filled out using the answer boxes such as:-
- Multiple Choice
- Check Boxes
- Word Answer Boxes
- Paragraph Answer Boxes
Our finished survey evaluation shall (hopefully) be able to be written up soon-ish...
Feel free to complete our survey using the following link:
https://docs.google.com/spreadsheet/viewform?pli=1&formkey=dHdsVlBCZEZIaDJuc1VlNng1RjNicWc6MQ#gid=0
Thank you!
Feel free to complete our survey using the following link:
https://docs.google.com/spreadsheet/viewform?pli=1&formkey=dHdsVlBCZEZIaDJuc1VlNng1RjNicWc6MQ#gid=0
Thank you!
Analysis of Melissa's Work On Film 'Classification'
Melissa's got a really good grasp on the understanding of the necessity for film classification, the difference between 15 and 18 rated films, as well as the role of the BBFC and how it determines the classification of all films available in the UK.
Melissa outlines the factors that determine the rating of a 15 thriller, which can only be watched by those aged 15 or above. She state's:''A film classed as a 15
It is split into 8 categories:
Discrimination- Work as a whole must not endorse discriminatory language or behaviour.
Drugs- Drug taking may be shown but film as a whole musn't encourage drug misuse. Misuse of easily accessible drugs such as aerosols and solvents is likely to be unlikely to be acceptable.
Horror- Allowed unless sadistic or sexualised.
Imitable Behaviour- Dangerous behaviour is not permitted eg, suicide and self harming. Easily accesible weapons should not be encouraged.
Language- Frequent use of strong language is allowed. The strongest terms for example 'cunt' is only allowed if in context. Repeating the word or using it aggresively is unlikely to be allowed.
Nudity- Allowed but without strong detail. No constraints on nudity in a non-sexual or educational context.
Sex- Again, this is allowed but without strong detail, may be strong verbal references but strongest references are unlikely to be allowed unless justified by context
Violence- Strongest gory images are unlikely to be acceptable. Strong, sadistic or sexualised violenced is unliely to be acceptable, reference to sexual violence must be discreet and have a strong contextual justification.''
This suggest why thriller films (such as 'The Beach' and 'Body of Lies') are allowed to use graphic language to serve the purpose of the story, as well as a moderate use of violence, including minimal use of blood and guts. It also explains why 'Requiem for a Dream', which includes drug use in hardcore detail surpasses the limits for a 15 rated film and therefore comes under the band of 18 rated films.
Melissa then goes on to describe the rules regarding 18 films and what is deemed acceptable. Melissa explains:
''A film classed as an 18
Adults should be free to choose their own entertainment, although exceptions are most likely in the following areas:
-Where material is in breach of criminal law.
-Where material appears to risk harm to individuals, or to their behaviour to society- for example, violent or dangerous acts which may cause harm to public health or morals. This also may include portrayals of sexualised violence, for example, eroticise or endorce sexual assalt.
-Where there are more explicit images of sexual activity, which cannot be justified.''
This extract explains how, whilst there aren't really any limits in regards to 18 films per se it is possible that overly violent and graphic films will not pass under current BBFC laws, banning thrillers such as 'The Human Centipede 2' from UK cinemas, that it didn't pass as entertainment and could provoke similar attacks. Melissa also includes images of the 18 and 15 labels that adorn the covers of all films. Overall, I've found her research very helpful and has given me a greater understanding of film classification.
Wednesday 10 October 2012
Mid-Research Reflection...
Within our group we have been discussing what has been achieved, and what is still yet to be done. The results regarding our discussion have been recorded on the poster below...
I now understand that I myself need to analyse the openings of more films. As well as this, I need to research title sequences similar to my Homeland post (maybe a James Bond theme?), as well as doing my survey and analysing the work of others in my group.
Monday 8 October 2012
There are Weird Films... And then there's 'Requiem For A Dream'
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| A painful, yet thrilling film everyone should watch |
The film itself is an ensemble piece, the various characters united by their reliance on addiction in some form. A mother longing to relive her youth and to regain her relationship through her estranged son, ultimately crying out for attention through her addiction to diet pills, which reflects her desire to be more successful and happier, like the people she watches on TV. Her son Harry, a drug-fuelled addict whose lover Marion has to turn to prostitution to fuel funds for her drug use. Tyrone their friend, a dealer, who winds up in prison. Requiem for a Dream shows how these vulnerable lives, longing for more in their seemingly small, insignificant lives, intertwine, and the consequences of their isolation and longing to be more influential. The ending scene is incredibly powerful and moving, presenting the lack of hope for the protagonists, drowning in despair.
Watch the clip below, after which I'll analyse what you have just seen:
Copyright Disclaimer: I do not own the below footage; it is being used for educational purposes
The protagonist Harry, hospitalised by his drug use, dreams of a more positive reality; the light setting and positive iconography juxtaposes with the darkness of his hospital room. The diegesis, the sound of the waves, drowns out his cries for Marion, connoting the protagonist's inability to look after and protect his lover. The darkness and intensity of camera shots reflects his mood; darkness represents despair, whilst the close-ups connote his isolation. Both the nurse and the patient are never included in the same shot, further reinforcing this sense of a lack of company or indeed sympathy. The nurse dresses in white, which has symbolic connotations of purity, which juxtaposes with the protagonist, his sullen face shrouded in darkness, intoxicated by drugs. Also, the colour of white has God-like connotations, which reveals that his only hope may now rest in faith and hope. The realisation that he will never see Marion again brings on a wave of all-consuming sadness, at which point the camera zooms out, representing the loneliness of the character. The soundtrack kicks in, slow and almost sympathetic of his predicament; this grows in intensity as the ending continues, building to a crescendo.
After this, we witness the situations of the people most close to him, tightly intercut, unveiling the depression consuming their lives. Firstly, the darkness of the main character's girlfriend, living in squalor, living amongst mess that could be interpreted as the metaphorical shambles her life has become. Next to Tyrone, living a life of routine in prison, lacking any identity or sense of self-purpose. Notice the camera is at eye-level with his face; although Aronofsky is revealing the pitiful state of his life, he want's the audience to empathise and gauge and understanding of the sadness behind his eyes, the drugs just a mere facade of his internal depression. In addition to this, note the light from above; a higher, spiritual being being his only hope is a theme that runs throughout the film. Finally to Sara, the protagonists mother, who has now been admitted to a psychiatric hospital; we see the reaction from her friends. The hospital has no colour, connoting Sara's lack of emotion; whilst busy, no one is really paying much attention to Sara, showing how destitute and insignificant she now has become. Note how there are two of them looking at just one person, giving the impression that Sara is now on her own. The fear behind their eyes builds the anticipation of the reveal of Sara, who has undertaken electroconvulsive treatment. Finally, we see her through the eyes of her friends,appearing vague, lost and distant. The camera lingers for a while, forcing the audience to look at the now physically and emotionally drained version of Sara. The audience then see's her friends reaction, crying uncontrollably amongst the uncleared snow; the weather has metaphorical implications, revealing the ugliness of reality, how we all long for the untouched, pure snow of life, yet in this case end up with the aged residue. The camera once again zooms out, symbolic of how they are the only ones now left to pick up the pieces.There is no one else in the background shot, and the setting is dull and murky, further reinforcing this sense of despair, longing for hope and guidance.
The scene then shows this trio of characters moving into the fetal position, which has implications of mothering, care and protection. Marion smiles, seemingly unaware of the mess her life has become, adding more pain to the viewers woes, as she presumably goes on, unaware of the despair of her predicament. To Tyrone, who winces painfully; the viewer witnesses briefly what he is dreaming of, the scene intercut with the imagery of a young son with his mother. However, this is all too vague and brief, revealing how it is only wishful thinking that he really is alone. Then we see Sara, imagining the 'infomercials' she loved to watch at home, advertising dieting products; she longs to be able to fit in the red dress she wore in her youth, which is symbolic of the person she wished to become. The repetition of 'We got a winner!' creates this fake happiness that contrasts with the predicament of Sara. The repetition of the zooming out reiterates how ostracised from society (and the audience), and that they cannot reach out for hope any longer. Finally to the 'infomercial', a twisted reality where Sara achieves her ultimate goal, fitting into her red dress, fitting into society. The lighting is almost blinding (notice the difference the lighting changes between the characters thoughts and dreams and that of reality), which reveals how in this parallel reality she is overjoyed, the centre of attention. The ending hug between Sara and her son shows how her addiction was stemmed by her longing to reach out to her son, who in this dream of her's is successful. The faux look of joy from the presenter and the audience shows the corruptness of her ambitions; the viewer understands that this longing was impossible to achieve, despite her determination. Both protagonists faces are still shrouded in darkness from the view of the character, revealing their 'hidden' emotions, that they are still just as pitiful as they were before. The non-diegetic score is used throughout to build the intensity of the audiences emotions. The joy of the infomercial is contrasted by the music, a use of dramatic irony, a knowing wink to the audience that their materialistic ambitions bring no joy or happiness.
Although this is the ending of the film, this part of the film best portrays the strength of the thriller genre; a thriller so rooted within reality that we begin to question whether it's a thriller or not in the first place. It epitomises the fear the audience can feel, the intensity of emotions a film can draw. I hope that our opening to our thriller can evoke a similar strength of emotions for our audience...
Wednesday 3 October 2012
Conventional political thriller this is not... Homeland Opening Titles Analysis
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| Homeland... Watch closely and expect the unexpected |
Having begun the research for our task, it's become apparent how paramount title sequences can be within film, especially, I've found, within the genre of thriller. Establishing the theme of the following content, title sequences serve the purpose of providing a taster of what to expect, yet maintaining a sense of intrigue and wonder that keeps you watching. I feel that, although our task is to create the opening for a film, broader research encompassing TV shows would help me to grasp the importance of title sequences and how effective they can be; in particular, the political thriller Homeland.
To provide a short context of the show before you see the clip below, Homeland is an unconventional thriller that centres around the returning of a P.O.W back to America from his years as a hostage in Iraq; an instant public hero, an unorthodox, bipolar CIA operative (played by Claire Danes) makes the rash suggestion that their is something much darker beneath the surface- they suspect he's been 'turned' against his country, working with terrorists to use his newfound fame to create a terror attack. The show blends the line between good and evil; how, in spite of preconceptions, anyone has the capabilities of terrorism within them. An intriguing analysis of US paranoia post-9/11, I feel the opening titles are extremely effective, and will give us a greater understanding of how to create a title sequence:
The extensive use of archival footage serves to show how real the premise of the show could be; flashbacks to the Lockerbie bombings and 9/11 taps into the subconscious fear in all of us with Western civilisation. It acts as a reminder of the inevitableness of terrorism, and the associated fear and emotional attachments that are within all of us. Indeed, the use of Clinton and Obama's speeches reinforce the idea that terrorism is never dead, only lying dormant, waiting to strike when least expected; the idea that terrorism continues, generation to generation. As well as this, the images of children, naive and innocent, add to the belief that it is societies duty to protect our young, that one day a new generation will have to suffer the burdens of unprovoked attacks in a fearful society. This sense of fear contributes to the sense of Thriller, putting the audience on the edges of their seats.
The editing and use of camera shots add to lack of predictability within the opening titles. The quick, chopping editing connotes the vulnerability and lack of acceptance within society in relation to terrorism. This is also reinforced by the sudden extreme close-ups, metaphorically revealing the emotions hidden behind a nation that puts on a brave face, silently suffering. The shot of the shadows of CIA official at 00:50 creates a sense of mystery, uncovering the corrupt nature of the authorities that we rely on to protect us. As well as this, the jerking, painful transitions between shots add to the sense of discomfort for the audience, creating shock and surprise. As well as this, it's interesting to note the way Obama's face is initially flipped upside down, before the frame returns to it's original position; this connotes how the political figureheads we put our trust, can be just as vulnerable as the rest of society, showing the audience the reality and deceptiveness of politics. The black and white colour within the opening can be interpreted as dramatic irony, considering the show doesn't establish conventional goodies and baddies; alternatively, it reiterates the shady tone of the opening sequence.
The opening sequence possibly reveals the rash, innermost thoughts of the central anti-hero, Claire Danes' character. For instance, the maze sequence metaphorically reveals the struggle in the hunt to stop terrorism; mazes have childlike connotations and this suggests the catastrophic consequences of what is, essentially, a game of cat and mouse. Also, the Washington jazz scene has a wild flamboyance; the music played over the top of the sequence suggests the unpredictable nature of the protagonists' thoughts. Intercut with memories of terrorist attacks, it suggests how the lines between work and home have been blurred; the fight against terrorism can be suggested as all-consuming, an ongoing battle that has taken over her life. The non-diegetic voice over's also have metaphorical connotations and provide a taster of what is to come. The silent, purring of the words 'What the f*ck are you doing?' provides an ironic juxtaposition; the calm soothing tones oppose the violent aggressive nature of the words. Finally, the titles end with the suspected terrorist looking at the White house; this connotes the eventual attack on the US government, teasing the audience to watch on.
I've felt this research will help our group to understand the mise-en-scene regard an opening thriller sequence, and the complexity and metaphorical values of these opening titles' the idea that there is more between the surface. Homeland goes against the traditional, cliched conventions of thriller, and this is reflected in the opening sequence. The ambiguity and use of jazz music in a show that is seemingly a straightforward political thriller is fascinating, and gives me an idea of how engaging and original our opening could be....
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