Conventional political thriller this is not... Homeland Opening Titles Analysis

Homeland... Watch closely and expect the unexpected

*UPDATE:http://www.free-tv-video-online.me/player/putlocker.php?id=B4BA81363260C765  Unfortunately the video has been blocked; This link should work and isn't a scam or anything nasty. The first minute or so is the only thing that applies to the following post. I don not own any footage. Thank you*
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....