Shutter Island - Alicia

Camerawork

• The sequence begins with an extreme long shot of a boat approaching from a foggy horizon. The boat is central within the frame which indicates the focus of the scene to the spectator.
• Focus pulls are used mostly in the interior of the boat to show the random chains in focus before focusing in on the central character. This distorts the viewing from the spectator as it could cause them to believe the chains had any relevance to the scene and could create suspense as chains can be used as weapons etc. However this isn’t the case but is a good technique to intrigue the audience further.
Mise en scene
• Pathetic fallacy is already created as the grey fog gives a grim, bleak atmosphere to the scene.
• In the interior setting of the boat, there are relatable props appropriate to the setting such as chains, ropes, cogs etc. Although this is all relevant to the scene, the low key lighting and shadowing effect gives an eerie sense of alienation from reality which already sets the mood for the proceeding opening.
• The central character’s facial expressions rarely change throughout this sequence as it constantly shows illness, anxiety, pain etc. throughout the footage.
Editing
• Continuity editing is succeeded as the shots flow from one another. The footage of the central character being sick in the sink is edited together as fast cuts as to not show too much detail but to get the point across.
• Shot reverse shot is used to distinguish the point of view from both characters. However, the dialogue is mostly shown through a two shot in order to aid viewer understanding through the observation of the environment also i.e. the wider framing includes some of the boat and sea.
Sound
• Before any image appears, the splashing of waves is played over a blacked out shot before fading into the first shot of the sea. The diegetic sound gives the impression that the first scene is based at sea in order to intrigue the audience.
• The sound of a fog horn has been interpreted into the non-diegetic music played over the footage. The music is parallel as it again relates to the scene’s atmosphere and context.
• This music is played throughout the opening sequence which gives an edge of suspense through the dialogue of the two characters.
• The rattling of the chains in the interior setting adds to the eerie effect in the atmosphere as they echo mildly and sound isolated.

Hanna - Alicia

Camerawork
• The first shot is a pan across an icy wasteland from the POV of a deer. The centre of the frame is the only part which is in focus as it is portraying the view from the animal’s eyes. This fish-eye lens effect shows the distortion of looking through a deer’s eyes.
• The first shot we see of the central character ‘Hanna’ is of her kneeling in the snow between a variety of winter trees. The camera then pans across the tree setting to give the spectator a wider understanding of the scenario i.e. cold wasteland- survival.
• Another POV shot but this time it is from Hanna’s point of view. The hand held camera gives the effect that the shot is seen from Hanna’s eyes and as it follows the deer’s movement indicates that she may be spying on it.
Mise en scene
• The white snow and sky demonstrates a cold climate that the characters are facing.
• Hanna’s costume is white and grey also to blend and camouflage her in with the wintery forest to represent her ‘spying’ skills which is a large theme throughout the film. In one of the shots the central character is hiding between two trees which is a prime example of why the choice of costume.
• The simplicity of the setting creates an eerie feeling for the spectator as the over-powering white exteroir seems too perfect and untouched which would give the impression something bad or chilling was about to occur.
Editing
• After the first shot we see of Hanna, the camera pans past a few trees when we then see Hanna gone where two shots have been edited together to give the effect that she has disappeared.
• Match on action is used when the central character goes to shoot an arrow, there is then a close up shot of the arrow as it is let go, then finally another shot of the arrow striking through the deer’s body.
• Another technique used is ‘eye line match’ when the central character glares onto something beyond the camera, the camera then shows a shot of the deer in which the character was looking at.
• Cross cutting is used also as the two scenes of the deer running and the character chasing merge together when the deer finally falls to the floor. The pace of these cuts get quicker and quicker until they meet.
Sound

• The only sound heard at the beginning of the sequence is the trickling of a nearby frozen lake adopted by swans. This is diegetic sound therefore it can be heard by the swans and other character’s which may be within hearing range of that lake.
• The entire sequence doesn’t use non-diegetic sound as is purely Foley or natural diegetic sound. For example, the heavy breathing of the main character running may have been turned up when editing but still from the original footage, however the wailing of the deer when shot may have been added by Foley artists.

Memento - Alicia

Camerawork
• In the beginning shot shallow depth of field has been used to draw attention to the photograph and the hand within the frame. This is to show the spectator that the photo is the main focus and theme throughout the film, but the hand is in the frame as part of initial restricted narration as to make the spectator want to know the purpose of this person and who they are.
• This beginning shot could also be a POV as it is at a high angle in which could be the character’s point of view looking down on the photo.
Mise en scene
• The bloody detail in the ‘photo’ seen in the beginning shot is taking up the majority of the frame to reinforce the fact that a murder has been committed.
• The splattered blood on the face of the central character gives the impression that he has killed the character on the floor. This is after he has shot him but the spectator sees the murder afterwards as it is in reverse.
• The glasses of the victim are shown in a close up shot but nowhere near the victim’s face. This indicates that the impact of the shot gun blasted the glasses off his face, and it is clear that this is the case as the glasses are splattered with blood also.
Editing
• The majority of this opening sequence is a murder scene which has been reversed and slowed down. Although it hasn’t been slowed down to a slow motion effect, it has been slowed down just enough so the ‘murder’ is shown in a step by step sequence, showing more detail.
• Match on action is used in this scene when the central character takes a picture on his Polaroid camera and goes to put it away, then there is a different shot of a close up of him putting it away in his jacket, and then another shot of him proceeding with his next plan of action. Of course, all this is in reverse so in chronological order he is taking out his camera and then taking a picture.
Sound
• Contrapuntal non-diegetic sound is used in this opening sequence as a soft violin melody is played throughout the viewing of the bloody photograph. This is contrapuntal sound as the delicate track we hear is incongruous to be matched with a shot in which there is blood and gore.
• The music differs as the shot changes to seeing the central character (murderer) where the parallel music is played. This is because the music has changed to a darker hollow bass track which compliments the gory crime now observed by the spectator.
• When the spectator sees the ‘murderer’ for the first time, diegetic sound of a Polaroid camera snap is heard. This would be heard by both the spectator and the character.
• Also throughout the sequence when the character is committing this murder but in reverse, the diegetic sound sounds distorted to the spectator as it has been reversed in the editing process and therefore sounds unfamiliar to usual diegetic sound.

Inception - Alicia

Camerawork
• Firstly, the camera pans across the ocean to show the context of the opening at an extreme long shot of the horizon.
• When the central character is found on the beach, another character stands over him who is shot from a low angle to show the status of this new character and to show authority.
• When the main character is brought to a different location, a focus pull is used in a shot reverse shot sequence to change the centre of focus.

Mise en scene
• The out-to-sea shot at the beginning shows big, heavy waves crashing against large rocks. This sets an initial mood of danger as the waves look dangerous in comparison to a normal looking calm sea.
• The character, who finds the main character on the beach, uses a gun prop to show authority. It also creates a sense of characterisation and makes an initial reaction to think the main character is in the wrong place which could cause him to be in peril.
• As the characters enter a different location, low key lighting is used to create a sense of richness and wealth for a newly introduced character.
• Also the pristine condition of the table, in a shot where there is a close up of the central character’s hand gun, shows how the character in that shot has high status and wealth.

Editing
• The slow moving effect of the waves reinforces the strength of the sea and how dangerous and heavy they are.
• Continuity editing is used when we see a wave crash in one shot, and then in the next shot we see the main character washed up on a beach where a wave has obviously just crashed.
• Another slowed down shot is when the spectator sees two children playing on a beach. This is used to allow the spectator to savour the innocence portrayed by the children, and also contrast to the emotion portrayed by the central character.
• Eye line match is used here also as the main character looks up and then the camera cuts to another shot where two children are playing, and then cuts back to the main character which shows that he was looking at what we saw in the previous shot.

Sound
• The non-diegetic soundtrack played over the opening production credits is deep and loud which give a chilling vibe for the spectator. The negative pitched tune ascends into a climax which creates suspense for the spectator as a build-up is made for the opening scene. The sound then fades as the beginning shot of the waves starts the narrative.

• The diegetic sound of the waves crashing is at a loud volume to represent the impact they make when they crash into rocks and the shore. This makes an effective thriller opening as the spectator wants to know the location and the scenario as pathetic fallacy is already created.

• When we see the first shot of the central character some light, delicate, non-diegetic music is playing as he looks up at the children playing on the beach. The music is parallel with the shot of the children because the soft pitch of the music represents the children as they play innocently.

The Hurt Locker - Jonah

Thriller openings

The Hurt Locker

Mise en scene

·         The setting is rural, easily identified as a country in the Middle East, which signals the viewer that there will be danger.

·         The men are easily identified as US soldiers, wearing modern combat gear and carrying guns, this keeps the audience aware of the consistent danger the soldiers are in.

·         High key lighting is used to create the sense of intensity and pressure, this reflects what the characters and experiencing.

·         Although the weather is real to the setting, it could also create a slight pathetic fallacy as the sun is intense and suffocating, and the soldiers are under high pressure at all times which would become suffocating over time.

·         The outfits create realism as they are easily recognizable from TV and the internet, the audience know what is going on and that they are in control.

·         Their body language shows the audience they are tense but confident, military like. 

  

Sound

·         A non-diegetic soundtrack is played for the first minute or so as the scene is being established by ELS’s and LS’s, the music is minimalistic and long high notes being played which is creating tension, the soundtrack is parallel to enhance vision of what’s going on. This creates a thrilling atmosphere and adds to the suspense.

·         As the scene is being established dialogue is used sparingly and in a different language, the dialogue in the first minute and a half is mainly screaming and commands being shouted, and a man calling in Arabic which makes for a strange mood as it is unfamiliar to the viewer. 

Editing      

·         Continuity editing is used for flow and realism and to follow the soldiers on their mission. The opening plays out in chronological order and keeps the viewer engaged to what is going on screen.

·         Discontinuity editing is use used to shock the viewer and establish were the scene is set by jumping to shots of towns folk and high angles from building.

Camera work

·         POV (voyeurism) shots are used to bring the viewer on the journey of the little robot and experience the disruption and pace of the scene.

·         Handheld cameras are used to create suspense and disruption on the first minute to shock the audience into engaging the scene.

·         The handheld camera use zooming in and out, this creates the feeling of the soldiers being watch and adds to the suspense and tension of the scene as this could be in danger.

Kill Bill Vol. 1 - Alicia

Camerawork

• The first shot of the entire film is a big close up because as it is a shocking image, it makes the opening more effective.
• The shot which breaks the continuous shot is of the approaching character’s feet as he/she is walking towards the central character.
• This shot is shot on a dolly in order to capture the walking motion of the approaching character and give that eerie ‘stalking’ effect.
• The close up of these feet create suspense for both the spectator and the other character because the intensity of the positioning makes us feel inferior.
• This opening sequence is only 1:28 but the entire length is only 2 shots. The effect of this ‘restricted narration’ makes the audience want to continue viewing so they can understand more of the plot where enigma is created.

Mise en scene

• The positioning of her face allows the spectator to see more of her surroundings i.e. the veil clearly states that she is in the middle of her wedding, giving an initial reaction of shock for the spectator.
• In the shot of the approaching character’s feet, the props in the background create a sense of destruction as they are sparsely scattered beyond the focus of the feet.
• As the second character’s hand comes into the frame, the handkerchief is positioned to give us some a sense of characterisation i.e. tells the spectator his name is ‘Bill’.
• However, as we don’t see any other part of his body it gives the spectator a sense of mystery and are more keen to watch more in order to find out who this other person is.

Editing

• Continuing from the previous shot, another then character comes into the frame.
• The black and white editing effect shows how this is a flashback but has some importance and relation to the rest of the film. It also reinforces the goriness of the scene as it is clearly too bloody to show in colour.
• There is no shot reverse shot technique because it keeps the spectator guessing about the unseen character. Also it makes the viewing experience more intense because as it is only made up of two shots, it keeps the spectator on edge about shocking shots or images that may follow.

Sound

• Throughout the entire sequence there is no diegetic sound, only the intensity of the central character’s breathing as well as distant footsteps.
• The first 3 seconds of the clip is just a black frame, therefore the heavy breathing over the top of this creates more suspense for the spectator as they are unsure where and who the breathing is coming from.
• As the footsteps approach, the breathing starts to fade and get quieter as if the central character is trying to show she is not scared, or that she is preparing herself for confrontation.
• The shot gun sound effect at the end of the scene fades into a frame of text. The intensity of the volume and the pace of the gun shot shocks the audience and draws them into the rest of the film.

The Usual Suspects - Jonah

• Thriller openings

The Usual Suspects

Mise en scene

·      Low key lighting makes an intension atmosphere of mystery and danger and it redistricts narration partially by not revealing everything on screen clearly.

·      The setting is familiar; a boat is easy to relate to and is nothing obscure. But the fire and broken items suggests this is not a normal boat but in fact a scene of destruction.

·      Clothing is smart/casual giving a slight clue to the viewers, that these people are not lower class hooligans.

·      The props resemble damage and danger, the fire, smashed glass and crates.

·       Iconography of suspense, the props add characteristics, e.g. the cigarette, this may create an enigma.   

Sound

·      The contrapuntal sound creates a threat, and with the minimal dialogue it adds to the suspense and thrill of the scene as the viewer does not rely on being told what is going on.

·      The soundtrack builds to a crescendo, off screen diegetic sound  creates suspense and an enigma.   

 

Editing

·      The shot/ reverse shot used in the scene redistricts narration as only the body of the man standing is revealed, creating an enigma around the character.

·      Eyeline match also redistricts the narration, not revealing the standing character in full.

·      Time manipulation is used to create the story in a non-chronological order, which adds to the suspense as the conclusion is revealed first and the build up to it follows.

·      Discontinuity editing is used to break up the action, as the man is shot it jumps to shots of the harbor.

      

Camera work

·      CU’s used to show facial expressions in the characters laying down, disappointment and hopelessness.

·      Wide LS/ELS to show contexts after the man’s death, may relate to later on in the narrative.

·      Focus pulling to show detail and significant props, such as the lighting matches and gun. And slow-mo on the cigarette shows the signification of the cigarette being dropped.   

·      The soundtrack runs parallel to the scene as there are long takes and the music is slow but sinister.

·      The long takes create suspense and tension as the pace is slow.

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