Introduction

From Left:  Emily Howard and Claire Ellis

For reference, we have adapted the dates so the oldest post is the current so our blog can be easily scrolled through 🙂

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Preliminary Task Overview

Preliminary Task

For our preliminary task for our AS coursework, we had to film someone open a door, cross a room, sit down and then have a short conversation with another person. The sequence had to show our mindfulness of the 180-degree rule, shot reverse shots and match on action editing. Of course, we wanted to ensure that our preliminary conformed to the criteria, however we wanted to challenge ourselves to some extent in the hope that we would learn more about basic film-making from its production process (and this would improve our knowledge for use in our main film opening task). 

We decided that we wanted a plot to our preliminary to add a greater sense of purpose to the task and to challenge ourselves further. We chose a school environment as a setting, since this environment was familiar to us both and it was more convenient in regards to time. The Western genre appealed to us, and initially we planned to recreate a classic Western 'stand-off' with a 'school twist'.

https://youtu.be/J4FCrpLKpR4

Preliminary Original Storyboard

Preliminary Production Journal

Production Journal for our preliminary task


Day 1: On the first day we planned our storyboard. We decided to go for a western stand off theme after seeing the use of shot-reverse-shots in spaghetti westerns such as Sergio Leone's "The Good, The Bad and The Ugly". We decided to set our scene in our Sixth Form as this was the most easily accessible area for us and suited the plot we planned; two naughty children in detention. In addition, we wrote the script for our preliminary task. This included a conflict between two rivalling students to build context and tension for the upcoming standoff. We wanted the characters to speak in an informal and grammatically incorrect way to enhance the characters' lack of decorum and their carelessness for education.

Day 2: On this day we began filming our preliminary task. We were able to complete the first section of the sequence which involved the two misbehaving students meeting in detention. Our scene choice was based on the absence of natural light so that the artificial lighting would be consistent throughout our time of filming (even if we filmed on different days and times); otherwise it would affect the continuity and the verisimilitude of the sequence. In addition, the shots we completed included long shots, match on actions (such as character two walking through the detention room and character one opening her folder), high angle, pan, point of view, over the shoulder and close up shots. We began to film the shot reverse shot sequence of the characters' conversation, but had to finish the sequence another day due to lack of available time.  

Day 3: On day three, we began editing with the film that we had already shot. To edit, we used the Apple programme 'iMovie', a programme chosen on account of its accessibility and its range of features that were applicable to our AS Preliminary Task (the software was also familiar to us). Upon editing the shot reverse shot sequence we discovered that the sound, originally recorded with the camera's microphone, echoed due to poor acoustics of the room. To solve this predicament, we used a boom mic during filming later that day in order to enhance the quality of specific dialogue. Furthermore, we included a point of view shot from the child who walks in and linked this to a point of view from the child in detention; we included this extra shot to enhance the feeling of rivalry and gave a chance to view the different perspectives.

Day 4: This day we researched appropriate music for our media piece. We decided to search for music that reflected a spaghetti western, such as the well known "The Good, The Bad and The Ugly" theme. The piece we chose fitted our plot well as it was a tense, western track which was not overpowering to the plot. After editing some more, we discovered that the child who enters the room has not enough prevalence time and it was unclear that she also had a detention. So, we added a side plot at the beginning of our preliminary task which confirmed she was a child who is prone to having detentions; linking to the rivalry later on with the other child. We included an over the shoulder shot to show the audience she has a detention, a long shot to convey the child has been kept behind on her own and a point of view looking at the teacher walking out. Moreover, we attempted to create a sound bridge from the door closing from one scene to the other, linking the two children's plots which would later link to the stand off.

Preliminary Task Evaluation

Overall Evaluation

Firstly, we included all three compulsory aspects of the preliminary task; such as the shot reverse shot for the conversation. We believe this was effective as the continuity was consistent even though not all of the conversation was filmed on the one day. Just like regular films, the shoulder of the person who isn't speaking is unnoticeable. Furthermore, another compulsory aspect was the 180 degree rule, which we attempted to stick to while filming and the rule has not be broken in our clip. The third compulsory aspect was the match on action editing. In our preliminary task, we included several match on action shots such as the paper ball being thrown at the clock, the detention slip being handed to the child and the folder being picked up. Our editing of this was established effectively we believe as both shots smoothly led onto the partnering shot. Aside from the compulsory aspects, another positive was the sound during the shot reverse shot sequence, compared to before we had the boom mic, as when filmed again, the sound did not echo like it had done previously. Also, we attempted sound bridges which appear to be effective such as the closing of the doors.

If we were to ever re-do this preliminary task again, there are aspects we would improve upon. Firstly, there were a few continuity errors in our clip; such as the fluffy keyring on the child's black rucksack was present in one shot but was not in another and the hairstyles slightly change in the shot reverse shot due to it being on different days. To overcome this in the future, we would exclude all unnecessary accessories in case it is misplaced such as the keyring or if we had extra time, would re-film the shot where the keyring was present. The hairstyles would be kept close enough as possible to the previous day to not cause confusion as it breaks the feeling of verisimilitude. Another negative to our preliminary was the sound in the first sequence (the over the shoulder shot with the detention slip), the sound is unclear and the sound of the boom mic adjusting can be heard; if redone, we would refilm this clip or adapt the sounding so it is clear. Along with this, the depth of focus paid attention to the child's head, rather than the detention slip (became blurry) so this would also be refilmed so the audience can clearly see the slip.

Overall, we are impressed with the way our preliminary task turned out and believe we included a range of shots and editing which we think are effective to the plot. Our choice of music also enhances the atmosphere of the western. We have learned from this task due to its ability of allowing us to practice various shot types, editing and how to achieve effective sequences, it has also taught us to keep in mind continuity and the sounding.

Textual Analysis - Emily Howard

Emily Howard - Textual Analysis 

The film opening which I chose to analyse was Michael Mann's "Heat" (1995). The film itself often comes under the genre 'crime-thriller', 'crime-drama' and 'action', so it is likely that some of the conventions will coincide with those of our own production.

The thriller genre is supposed to keep the audience on the edge of their seats. Since suspense plays such an important role in a thriller, typical conventions of the genre include fast cutting and dramatic camera angle changes. Both of these techniques combined creates the sense of disorientation for the audience, which is effective at creating suspense as well; the audience cannot see clearly what is happening. Shadows and low-key lighting are also common in thrillers as they make the subject seem isolated and vulnerable, especially at night (a conventional time of day for a thriller) when the setting can seem a lot more hostile. Props of a thriller can vary according to the narrative, however commonly everyday objects are seen in thrillers to add to the verisimilitude of the narrative and to help the audience feel empathy for a particular character. In terms of camera work, long shots used to establish a specific location for the scene are frequent, because setting can add drama and set the mood for the action which follows. Close-ups and extreme close-ups are also used to emphasise emotions of the characters (which again, increases the empathy of the audience and helps to immerse the audience into the narrative).
Violence is common in the thriller genre too, so in terms of iconography, weapons are conventional (guns, knives), as well as isolation from society (where violence can happen with no escape or attempt of rescue). The protagonist in thrillers is often introduced during the opening titles as a brave male who will be the one to restore the equilibrium. Most thrillers follow Todorov's narrative theory; equilibrium is restored at the end.

The opening titles of Michael Mann's "Heat" begins with the Warner Bros. logo, and then proceeds to introduce the production studio (again), the production company, the possessory credits, the starring actors and then the film title. In this instance, all of the aforementioned credits are featured on a black screen to ensure that the audience's full attention is on the titles shown, especially as these can be seen as some of the most important titles. After these titles, there is a fade in from the black screen and the featured actors continue to be credited. From this point, the titles overlay the action.

The first scene is made to seem hostile, creating an uncomfortable and nervous tone for the film almost instantly. The fact that the film opens at night, with low lighting, subconsciously sets an uneasy mood. This mood is further amplified by the mise-en-scene, which presents several pylons and electricity wires from the trains in the foreground and the background alike. All of the hazardous items in the opening shot establishes an insecure tone for the film and foreshadows what may come later in the narrative; thus labelling the genre too.

The music used in the opening has a slow tempo and is played in the minor key. It can be described as orchestral and melancholic. With the introduction to the protagonist in this scene, the music reflects the actions (and quite possibly emotions) of them. The protagonist appears neutral with their emotions and appears calm and slow in their actions. The music is composed with long duration minor notes, conveying a similar calm and slow feeling.The overall feel of the music is quite calm, which could suggest equilibrium, meaning the narrative is likely to follow Todorov's narrative theory.

The opening titles are all in capital letters and seem as though they have been painted with a thick white paintbrush, creating a rugged and blunt appearance. This fits well with the setting of the opening sequence, due to the fact that it is set in a busy city (Los Angeles), which is not always clean and tidy (similarly to the font) and where a graffiti style font may be common. The discreet style used for the titles allows the film to get straight into the narrative and focus on the

It can be assumed that the opening to the film follows the protagonist on his way into work. It can be seen by his costume design (grey overalls with a medical badge), and later by the setting, that he works in the medical industry.

Textual Analysis - Claire Ellis

Shutter Island is a psychological thriller. Conventions of this genre include:

• Reality: the characters are often trying to determine what is real and what is not.
• Mind: the characters are often having a battle with their emotions, thought, memory, intelligence etc. This occurs in order to reach new perceptions and understandings.
• Perception: the characters own perception of the world around them; they often misperceive the world and their perceptions are altered by outside factors.
• Existence/purpose: an aim people strive for in order to have an understanding of their human existence; often the conflicts in the narrative enlightens the characters to the answer.
• Death: the characters either have a fear or fascination with death.
• Identity: characters are often confused about who they are.

In Shutter Island, all of these themes are present as the narrative evolves around the battle between these aspects in the protagonist's brain during his investigation of the asylum.

In the opening sequence, the genre is established in a number of ways. Firstly, the setting is smothered by thick, grey smog which is shown in the opening shot; the boat comes into view from this. This further reinforces a feeling of submergence in the narrative and relates to the unsettled storyline and the lack of visibility the protagonist has with the truth; along with the audience's understanding of what is reality. Also, the ghostly and abnormal location of the asylum. In addition, the lack of colour also indicates the dark themes that are present in the narrative. Dark blues connote the mind and body; which is a significant theme in this movie and the colour black connotes death, destruction and mystery (also evident themes). Shots of the patients chains on the boat also enforce an unsettling atmosphere, along with leaving the audience curious as to what the chains are used for - due to the narrative not being explained in this section. There is a scene where 'Teddy Daniels' has a flash back to his wife who had died from a fire; this links to the theme of the mind, the character is battling with this oppressed feeling of remorse and guilt for his wife and these flashbacks occurring at random stages confirm this. Also, the theme of death is present due to this being a topic Teddy often delves into when he is in a vulnerable state - revealing to the audience there is more to this event than his memories convey. 

While the production company names are on display, a piece of music is being played; it is very low and has a high pitch which increases in volume to heighten the perturbing feeling it has on the audience. An extremely low note partnering with a high pitch occurs when the title 'Shutter Island' is in view; creating a menacing sound relating to the perplexing island. There is an absence of music in the first part of the sequence from when the location and date is shown (post Second World War). The only sounds played are diegetic, such as the reoccurrence of the boat horn and the crashing of the waves (Teddy is sensitive to these as he has a fear of being on the water). During Teddy's nauseous state in the lavatory, the sound of the chains rattling and his anxious gasping are amplified - another detail which enforces his vulnerability and the discomforting feeling he experiences which is present to the audience. Rattling of chains may relate to death (unsettled souls bound in chains due to sinful deeds they inflicted in the real world e.g A Christmas Carol), which may relate to the death of his wife or the fact that the patients were in chains. As soon as Teddy enters out onto the outside of the boat, a repetitive tune begins to play; the tempo is relatively fast which draws attention to its forcefulness although it is generally quiet and only noticed when close attention is payed to it. The fact this soundtrack repeats the same notes may relate to Teddy's mental stability (on edge); it may connect with a memory of his past, although not stated explicitly due to his lack of understanding of reality and his memories. Or the low lying soundtrack may just build suspense for the audience as they are on route to a mental asylum. When Teddy has a flashback to his passed wife, a record is turning which plays a soundtrack, causing great dismay due to its unbalance and eerie mixture of sounds; such as a woman voice, yet can not be understood. After researching the actual record which is shown in this sequence, it was discovered that the piece of music is not the piece which can be heard. The close up of the record shown is 'Odeon' which was written by Ernesto Nazareth. Ernesto was an Brazilian composer in real life who was confined to a mental asylum due to the death of his wife and daughter. He later fled the asylum, escaping into the forest which led to him drowning. This unnoticeable aspect of the mise en scene in the shot has extreme significance to the narrative; the events that unfolded for Ernesto in real life occurred to Teddy Daniels (aside from the death aspect), yet this is the large plot twist which is revealed at the end of the narrative and with rewatching, this small detail can be viewed as a hidden clue.

While the close up of Teddy's wife smiling is shown, the amplified sounds of the waves overlaps this shot - to those who know the ending of the narrative, there is a clear connection to the death of his wife and the fear of water Teddy has. This technique is noticeable when reality is differentiated to the audience. In addition, there is again an absence of soundtrack after this scene, and only occurs once the island is in sight. After the establishing shot of the island, a three note tune is continuously played. It is of the same low note which heightens the threatening atmosphere; also, by the short tune, it will be memorised in the listener's mind, essentially making themselves have flashbacks of the film as this tune is unique and unsettling. Also, the number three has been historically referred to as a unlucky number (relating to the negativity of the island), and often noted that as human beings, sets of threes appeal to us even if we do not realise it. 

A technique which is used in Shutter Island's opening sequence is that there are no credits present aside from the production companies, title and location and date of which the plot is set. This has been also used in Batman: Dark Knight. Although uncommon, the technique is effective in submerging the viewer into the plot line, credits may decrease the attention spent on the narrative; and by being a psychological thriller, each detail needs to be taken into account. Essentially, any sense of reality has to be exterminated from the movie. Yet, the font that is used is bold and has a gradient effect; the boldness of the text may insinuate the importance and superiority the island has over its characters. Also, the gradient on the text is gradient possibly due to the effect of it seeming to be fading; in deeper context, maybe referring to the contrast between good and evil on the island and the fading of all things clear. The transition of the title gradually fades in from the darkness, much like the island appears out of the fog exposing itself to the characters. 

Moreover, there are many hidden/evident details about the main characters in the opening sequence. Firstly, it is clear that the protagonist is Teddy Daniels; the first character shown is him and as the audience, we understand his flaws and even journey into a snippet of his past. Relating the character of Teddy Daniels with other protagonists in psychological thrillers, they usually have a flaw in their nature and are often not classed as a 'hero'. Teddy has a overwhelming fear of the ocean. He becomes disorientated and highly anxious by the sight and feeling of being on the sea, as he is unable to escape, and even frightens him to the point he vomits near enough uncontrollably. Teddy's fear of the ocean is unexplained to the audience; the only thing he says about it to his detective partner in this opening sequence is "I just can't stomach the water" (has great power over him). It is indirectly stated that the fear is connected with his deceased wife due to the quick shot of her edited into the crashing of the waves. A stereotypical protagonist often used is a middle aged man who has a profession as a detective, and this is what Teddy is or so appears to be. Another flaw that he has is he is actually a psychiatric patient. The realisation at the end of the production is classed to be one of the most impacting shocks in movie history, due to the viewer following Teddy's investigation and being influenced by his own mind which creates a feeling of uncertainty to what is the reality and what is not. Although he is unstable due to the death of his three children (which was inflicted by his mentally disturbed wife) and the fact he killed his wife, he accomplishes the question of reality after the island's plan to restore his insanity. The famous line "Which would be worse; to live as a monster or to die as a good man?"  heightens his role as the protagonist as he sacrifices himself for the safety of others and himself due to his remembrance of the awful experiences he experienced; the audience feel great sympathy for him. In the opening sequence, Teddy seems disorientated and looses his cigarettes; this conveys his sense of unbalance and his means of relieving his stress through recreational smoking. 

Strangely, not a lot is revealed to the audience about Teddy's work partner. His name is not classified in the sequence nor great detail about his character or background, all answers are brief regarding himself. He appears to have a positive view about Teddy and refers to him as 'boss' and states he is a 'legend'; this may imply that Teddy is a well known marshal or that his partner wants to impress him the best he can to further enhance their bond as partners. In addition, he appears socially awkward when Teddy states that he is a widow and even laughs due to the atmosphere becoming one that is forlorn - this could indicate that he can not deal with serious situations or that he has not experienced them like Teddy has and so can not comprehend. When discussing the seriousness of the island, the partner says "If its folks running around hearing voices and chasing butterflies, they wouldn't need us" - it is clear that he is not as sombre as Teddy, and by this line, it infers that the investigation is one of great seriousness. 

Lastly, the camera shots in the sequence illustrate the genre and mood. Firstly, extensive use of long shots highlight the large open space that they are surrounded by; sense of place is completely impossible to comprehend as it is merely just the large, vast ocean that is shown. There is a long shot first, although long shots and establishing shots suggest the location, all that can be seen is fog and the boat - almost as if the characters are travelling into another dimension. The first shot of our protagonist is a low mid shot, which does not show his face due to him being behind a wall; creating a sense of mystery to our character, especially as the first action we see him doing is vomiting. A over the shoulder is used when we first witness Teddy; the director has purposely situated the shot so two figures of the protagonist can be seen (one outside the mirror and one inside) - a hidden clue to the fact he has a split personality; Teddy (his false persona) and Andrew Latus (who he really is, although unaware of it at this stage). When he looks into the mirror once again after refreshing his face, he looks straight into the camera (direct address) in a close up. The line he says in this shot is "Come on"; by analysing this further, these two words could be aimed at the audience as well as himself, as from this point on we begin to view his visions and be witnesses in his emotions and into his mind - consequently, explaining why both the protagonist and audience are left unsure about what is his imagination in the movie. When Teddy walks out into a separate room, the depth of field focuses on the chains and then on him; the technique of this allows us to notice the prop of the chains and the enigma behind them, conveying that their destination is not a lighthearted and positive one. After this, the camera pans round along with Teddy walking; the audience is almost forced to follow him and almost every shot after includes Teddy due to him being the centre of focus of the narrative. The first time we see his partner, it is a long shot and point of view from Teddy, his partner is looking out to sea; the mesh of the gate divides both characters though. This may insinuate the fact that Teddy is entrapped and without freedom; and it also poses the question, does his partner have more freedom than him? And why does this shot divide them so blatantly? When both marshals are having a conversation, the camera slowly and almost unnoticeably moves along with the waves which highlights the movement of the boat on the waters, which exacerbates the feeling of seasickness Teddy feels and almost moves the audience as if they are on the boat too. 

Moreover, in the flashback scene, the colour is the opposite of the present day - no colour is drained and a wide spectrum of colours can be seen in the shots; indicating that this past memory is one that Teddy is very fond of, when everything was positive and bright - opposite of the dull and ghostly shots of them on the boat. There are close ups of his wife which conveys her radiance and happiness; further reinforcing that something may be different now (her death) due to his focus being on her during his memory. She holds Teddy's shoulder and there is a close up of her on tip toes which heightens the intimate relationship and passion they both share for each other. As soon as a close up of her is seen, a close up of the crashing waves is shown (with a highly amplified sound of this crashing), as said earlier, there is evident significance between the two. Lastly, the end of the opening sequence finishes with a extreme long shot of the island; the overall feel when viewing their destination is almost sinister and instantly produces negative vibes. Along with the melancholy and menacing music which begins here and the pathetic fallacy of the dark clouds (linking to the atmosphere of the narrative being gloomy and dark) further enhances the fact that the series of events that are about to unfold for the characters is one that they shall never forget.

Genre Mood Board

Thriller mood board

Shutter Island:

• Firstly, the lack of colour and dark hues creates the feeling of uneasiness and convey to the audience that the story line will depict melancholy themes; this is not a story of happy endings.
• The landscape mid shot allows for the setting to be shown; the feeling of isolation is created by the lack of land and uplifting, summer weather. Pathetic fallacy is shown here where the weather reflects the mood of the film.
• By the character on the right looking into the distance portrays a sense of distance from his partner and allows the audience to assume that he is in search for something; which he does not know the answer to. The use of the cigarette may represent a form of stress relief; the detective is on edge (the gripped fist on the bar contributing to this interpretation).
• The lack of people on the boat show that they are not travelling to a tourist destination; they are in search of something to do with a serious cause and their costumes link to the idea of investigation (smart attire, stereotypical detective coat).

Misery:

• The dark lighting creates a feeling of uneasiness and seclusion. In addition, the lighting heightens the sinister character of the woman.
• The shadow of the window behind her is a dramatic technique which resembles tension and the feeling of being trapped.
• A low angle shot is used in this image to illustrate the character in a domineering way; the use of direct address also heightens this as the woman is staring down at the audience (the audience being in the vulnerable position).
• Again, there is a lack of colour which is common with thrillers due to its dark, psychological narratives.

Psycho:

• Alfred Hitchcock, the director of this film, has created the movie in black and white. Consequently, causing the film to appear sinister due to the absence of colour and the high level of dark shadows that are included in each shot. The black and white affect may also reflect the battle between light and dark; much like the mind of Norman Bates.
• This image is of a mid shot, although the rule of three is used to allow the audience to view the setting and what props are used in this room. The character in shot seems less significant in this shot as the background overpowers the image; this technique may be insinuating that the 'birds of prey' and the portraits of bare women reflect the characters nature (predatory and lustful of women) as the props have a lot of prevalence time in this sequence.
• The use of lighting also contributes to the shot as half of the characters face is lit, and the other is in the shadow; further reinforcing two personalities and a battle between them. Overall, creating a sense of eeriness and suspense.

Secret Window:

• Again, the setting has more prevalence in this image; heightening the feeling of danger and the vulnerability of the character in the vast open space. The long shot creates this atmosphere and the position of the character (situated on the left).
• There is an absence of colour apart from the greenery of the forest; possibly referring to the fact that nature is prominent here and venturing into this can be a dangerous act (nature is unpredictable and can often be cruel). The lack of colour relates to the tension and shows that the narrative is one that contrasts warmth and happiness.
• Lighting in this scene depicts nighttime (linking to vulnerability and the unknown). The characters torch is his only form of comfort and protection in this dark environment and yet it only lights a small fraction of the surroundings. Lighting is used in the top left to represent the moonlight (where the character is facing), possibly linking to him searching for closure and means of escape from the melancholy plot.
• His costume conveys that he is a casual character (dressing gown), and can not sleep due to whatever is tormenting him. The hair of the character is long and untidy; linking to the feeling of being unsettled and wanting to investigate the surroundings to discover whatever is troubling him. 

The Others:

• The mid shot is most predominantly focused on the shadows behind the character; this is possibly enhancing the fact the character is surrounded by darkness (spiritually) or walking away from it as the eerie doorway sits behind her. 
• The lighting also causes a contrast in light on her face; relating to the two personas of the character (both good and bad), during this scene this interpretation becomes clear in the plot.
• From the old fashioned lamp and her clothing, it conveys that this takes place in a historic setting, possibly early 20th century. Due to it being a thriller also, this movie could be a hybrid of historical and thriller. 
• By the expression on her face, it is evident that she is frightened or shocked (enhanced by the touching of her face in disbelief); by just viewing this shot, it creates enigma as the audience is left unaware of what she is looking at and what is causing her to be so frightened. 

Significance of Film openings

Film openings are extremely significant. First of all, it is the section of the film which establishes the genre by conveying its conventions in the opening scene; setting, main characters (sometimes), lighting, font of credits etc. Overall, the beginning of the film classifies whether the film will either immerse the audience into the narrative or not. 

Film company names are introduced at the beginning of the film; these are essential due to copyright and are used as a signature stamp which concludes that the entire contents of the film were done by the companies shown at the start. With certain film companies, by seeing their logo, they identify them with a certain genre which allows the audience to make assumptions of what film techniques that are known for doing, their common genres etc. 

Opening credits are fundamental for the opening sequence; they give credit to all those involved with the creation of the film; from visual effects to makeup artists to the actors themselves. The director is always placed last in the series of credits due to them being the planner and organiser of the film setup. Even the font of the credits gives reference to the genre of the film; for example, Se7en uses glitchy and eerie font which emphasises the feel of the opening. The font relates to the unstableness of the antagonist and the sinister series of events that unfold throughout the plot. Secondly, the protagonist is introduced, this is not always the case but when the opening does involve the introduction of the main character, the movie creators have to make sure they are relatable/ likeable/ down to earth etc. so they can appeal to the target audience. They may be in the form of a hero (Luke Skywalker) or an anti-hero (Captain Jack Sparrow). For example, in thrillers, the protagonist must be courageous, curious, intelligent yet flawed in some way (such as David Mills in Se7en had aggression issues) as they must have the correct character to be able to delve into the dark forces of evil and become entrapped within the investigation until they face the antagonist. An example of this is in Silence of the Lambs, Clarice Starling was brave enough to go face to face with the infamous and mentally disturbed Hannibal Lector.

The location is also set in this scene, this is usually begun with a extreme long shot of the setting to understand the whole area of where the plot is going to follow. Also, this has to fit the conventions of a thriller, such as a city at night or in a dull location with little colour and bright light to create the tense atmosphere before the narrative starts. Furthermore, music is very important in this opening sequence, much like all the other aspects of the beginning of the film, the music has to merge reality with the movie so the audience are lost in the feeling of the film. In thriller films, this music has to build mystery and uneasiness unless the disruption of the equilibrium has not yet occurred. 

There are four types of title sequences in total.

Text over black screen

Although this form does not appeal to everyone due to its simplicity, it is a dedication to the film crew members and those involved in the movie. An example of this is Pulp Fiction, where the title slowly zooms out while the opening credits overlap it. Black background is used in this sequence to highlight the white and yellow font and to deny any form of detail about the film, the only image shown is a woman and man holding a gun aggressively. The impact of this quick image leaves the audience unaware of the message and what their significance is to the film. In addition, the colours yellow connote danger which relates to the film as it is a hybrid of crime/drama. 

                   

Discrete

Discrete film openings reveal as little as possible about the film and does not give any information away; various shots and snapshots are placed together which are unclear in forms of the plot yet the audience can pin them together to gain an image of the film intentions. Enemy of the State uses a discrete film opening; rapid and fast transitioning shots are placed in a uncoordinated and delusional manner. Camera shots include numerous birds eye views (police cars, tracking system etc), close ups of security cameras and criminals, rotational shots etc. One of the only assumptions of the film from the opening is that it is a crime genre which involves detective, criminal work, investigations and anything related to crime and violence. Music is incorporated with diegetic sounds such as police cars, gun shootings, technology/telecommunication noises etc. The music alone is in the form of prestissimo (very fast pace) which links to the disorientation the audience would feel at the discrete film opening, along with the fast pace of those in the plot line; cop cars, runaway criminals etc. 'Enemy of the State' reveals the crime aspect of the film as criminals are classed as enemies against the authority, although how the plot is involved in this, is left  for the audience to discover.

Narrative 

Narrative opening sequences follow a direct order; the Todorov theory. Narrative film openings may begin with a dynamic equilibrium, the way of life is average with no obstacles or disruptions present which will unbalance this equilibrium. An example of a narrative opening is The Shining; this follows a car through a scenic and mountainous route; all seems peaceful aside from the unsettling and solemn music. The opening credits are bright and turquoise and are briefly shown before sliding off screen. Camera shots are all of the car and the scenery (extreme long shots, zoom ins etc.), the only enigmas are; where is the car going? And why does the tone of the music contrast to the opening sequence? Again, little is revealed but it leaves the audience less confused than a discrete opening would do. 

Stylised

Stylised can simply be described as a film designed to fit a specific theme or follow a narrative that is fictional/unrealistic for our world. A famous stylised film opening is Zombieland. Zombieland is not the typical form of zombie films and by the opening sequence, it is clear it is unique. The film is a black comedy which uses zombies for humour; the beginning of the movie has slow motion shots where different members of society are all running away from flesh eating monsters. The use of slow motion, rock music and the interaction of the characters with the credits all create an art form opening sequence which gives it a light hearted effect (even though extremely gory). Situations such as a father and his son in a three legged race running from zombies, and a James Bond impersonator shooting zombies convey this movie is humorous and not intended to be viewed as serious. Juxtaposition of the gory themes, music and characters running through credits all give the movie a memorable opening sequence.  

Podcast

Podcast

For further investigation of our chosen genre ('thriller'), we asked a range of ages ten questions on their opinions of thriller films and what conventions of the genre that they thought particularly stood out and caught their attention. We obtained various results and different interpretations from those who we asked, which would overall help us to understand audience's views and the aspects they notice first. 

https://www.youtube.com/watch?v=52AoDYe1MlQ