Analysis of the opening sequence of "Silence of the Lambs" (1991) Jonathan Demme

Textual Analysis
"Silence of the Lambs" (1991) Jonathan Demme
Opening Sequence

      The scene begins with a fast paced non-diegetic sound, and the image of a tired woman running through the woods alone. This immediately creates a feeling of isolation, which begins to make the audience anxious and suspenseful. Through the trees, you can see and eerie mist hovering above the ground, creating a sinister feeling, and again, adding to the suspense of the audience. A 180 degree shot of the woman climbing over an assault course obstacle reveals she is truly alone, creating a subtle sense of panic and fear for her safety. She is visibly tired, which indicates a sense of vulnerability to her, adding to the audience’s state of growing anxiety. The camera pans across to the woods, revealing the sun setting in the distance, showing that darkness is coming. This subtly foreshadows the events to come, creating a slightly sinister atmosphere. The camera cuts to a shot of the woman running through the forest; her surroundings are visibly darker, indicating a sense of deepening darkness. A man’s voice can be heard shouting “Starling!” and there is a sense of urgency in his tone. This creates a sense of mystery for the audience, but his urgent tone creates a slight sense of panic. The camera follows the man from behind as he attempts to catch up to Starling. His face is masked from the audience, adding to the sense of mystery, but also creates a slightly uncomfortable atmosphere as you cannot see what he looks like, creating a feeling of unease. He eventually catches up to the woman, and instructs her to report to a man named Crawford. The man turns towards the camera, and a close up shot of his hat reveals him to be a member of the FBI. The audience is now able to identify the man, which removes the tense atmosphere. However, knowing the woman’s job potentially puts her in danger adds to the anxious atmosphere and reinforces the idea that something bad is going to happen. The music becomes louder and more dramatic, indicating that Starlings meeting with Crawford is going to be an important and tense moment. This puts the audience in a state of suspense, as they wish to know who this Crawford character is. A high to low shot of a tree with the words, “Hurt, Agony, Pain and Love-It” indicates these people are aware of the danger they put themselves in. It also foreshadows violent future events, which adds to the uncomfortable atmosphere. The camera pans to a shot of Starling running through the woods alone, again, creating a sense of isolation and vulnerability. Glimmers of light indicate that the sun is quickly setting, and that she will soon be in darkness which hints at future events. This adds to the anxious and tense atmosphere, and puts the audience at unease.

Analysis of the opening sequence of "Seven" (1995) Directed by David Fincher

Textual Analysis
“Seven” 1995 David Fincher
Opening Sequence

       The scene opens with a loud trembling non-diegetic sound, whilst shadows flicker in the background. This creates a sinister and tense atmosphere, and builds up a feeling of suspense. The music slowly gets louder, again, building up an ominous atmosphere. The camera cuts to a high angle shot of a picture of a deformed pair of filthy hands, whilst a light slowly moves backwards and forwards. The light constantly illuminates the hands, revealing their grotesque state. This disturbing image builds up the sinister atmosphere, and foreshadows that the events will get worse. The camera quickly cuts to multiple images of an unknown person toying with unidentifiable objects adding a sense of mystery and intrigue. The dark lighting suggests this unknown figure is an incredibly sinister person, and the dirty objects indicate that they will be used for a darker purpose. The music gets increasingly louder, and an image of someone slicing off their fingertips creates an incredibly uncomfortable and confusing atmosphere. Again, the dark lighting and gruesome image foreshadows future events, indicating this person is trying to wipe away all traces of themselves, implying that they are a wanted criminal. Childish screams conjure up frightening images that makes the audience incredibly uncomfortable and sickened. Within a few seconds, the atmosphere has become unbearably sinister and horrifying. The use of fast pace editing disorients the audience, making them confused and frightened. A quick shot of what appears to be a photograph of a dead person, offers a glimpse of the horrors yet to come. This makes the audience anxious of what is yet to occur. Layered images, accompanied by strange music, again disorient the audience, and the quick pace editing creates a feeling of danger, urgency and panic. Illegible, black handwriting, builds up the mysterious and confusing atmosphere, whilst the low key lighting builds up a sense of fear and terror. The shot quickly turns a dark, stained red colour, indicating the presence of blood, implying violence and suffering. This adds to the tense atmosphere and keeps the audience in suspense.  Quick shots of dark, decrepit objects, link to other images of filth and gore, creating a theme of dirtiness, hinting at the vile deeds that will be carried out. The audience is constantly offered clues of what is going to happen, however, the dark lighting and fast pace of editing creates a sense of disorientation, making it hard for the audience to think clearly, adding to their state of discomfort. Scrawled out pictures of people, indicate a vendetta, and the need for revenge, hinting at future bloodshed and other violent acts. Overlapped images of unreadable writing add to the audience’s state of confusion, whilst the eerie music constantly builds upon the dark atmosphere. Quick shots of photographs of violent deaths, again, hint at future gore, whilst sharp items such as pins, indicates a sense of violence and even torture.

Analysis of opening scene of "The Godfather" (1972) directed by Francis Ford Coppola

          The pace of the opening is very slow. The movie begins with a black screen with music playing, the title of the movie is then slowly revealed on top of the black screen. The title having a puppet string above the “father” gives the impression of someone pulling strings and deceiving, which is what follows later in the film. The only colours used up to this point are black and white, not too striking, which fits with the slow paced calm opening. For the next three minutes of the film there is one shot from the same angle zooming out from a close up of a man’s face to an over the shoulder shot of another man, not yet revealed as the godfather. This reveal while the first man is telling a story of her daughter being mistreated makes it obvious that he is trying to get help from the godfather – who is already suggested to be an important and powerful figure through this man begging him for help. There is no music throughout this whole scene after the title and as a result the scene is very quiet. This is suggesting that they do not want anyone to hear, adding to the secrecy of the scene. The godfather is in shadow at this point, demonstrating the mysterious nature of his character. The lighting being low key at this point, creating many shadows fitting with the theme of crime throughout this film – this man clearly has a lot to hide. The man then walks out of shot and back into shot next to the godfather and whispers in his ear. They are both now in shadow, suggesting the enigmatic and dangerous request that he has asked of the godfather.

        It then cuts to a close up of the front of the godfather’s face. This is the first time in the film his face has been revealed and the dialogue now shifts from the first man to him. The focus is now on the godfather. It then cuts to a long shot of the room, where he is in centre of frame and has two men in the room with him as well as the first man. The Mis en Scene with the support of these two men suggests his superiority, he is clearly in charge. After this it cuts to a mid-shot of the godfather sitting down stroking a cat, giving the impression that he is comfortable in this situation, reinforcing his superiority. It also links him to the room, and with his opulent clothing and the room itself looking professional and expensive places him as a grander character. His calm tone of speaking and the laid back actions also reinforce him being comfortable in this situation; he is very powerful and is also not a stranger to a life of crime. The slow pace of editing also reinforces this calm and suggests the control he has over the situation.

        As the godfather stands up it cuts to a long shot of the room where the two other men also stand up and cross the room. This gives the impression of them rising to protect him in case of emergency, and therefore how important the godfather is. It could also potentially be that because he has stood up, they have to also to treat him with respect as he is extremely powerful and they cannot afford to be his enemy. The godfather approaches the man in a slight low angle shot reinforcing his dominance over the man, the godfather actor is also taller, making him seem more threatening.

          The opening scene ends with a close up of the man kissing the godfather’s hand, and the godfather escorting him out. This demonstrates the respect that the godfather expects and is used to, reinforcing his superiority.

      Through the slow pace of editing, the opulent Mis en Scene and the actions of the godfather and the men around him, the godfather is introduced as a mysterious and dangerous character that demands respect, and you do not want to be one of his enemies. 

Analysis of the opening of the 1954 Alfred Hitchcock film "Rear Window"

      The movie begins with a close up shot of a thermometer with the introduction of the credits appearing across the screen. The camera then pans across an animation of the location while the remainder of the credits follow. Within this animation the camera pans on to each window individually, giving short insights into the inhabitants of the flats through silhouettes through curtains. This introduces the audience to the mysterious plotline and voyeuristic style camerawork used by Hitchcock for the remainder of the film.

      The music throughout the opening credits is fairly upbeat and pleasant, contrasting with the more sinister music going with the mysterious plot in the remainder of the film; these credits are simply to establish basic characters within the plot, as well as the overall theme of voyeurism, through the shots looking to be as point of view shots of the protagonist (having not been established in the opening credits). These opening credits take place within one panning shot, where the camera moves to focus in on each window in turn. At the push in to the future murderer’s window the music becomes slightly more sinister, foreshadowing his later actions. This isn’t overemphasised however, as these being the opening credits his position as the antagonist hasn’t been established. The animated credits finish with a pull out shot to a long shot, showing the entire block of flats with every window previously focused on, while the music crescendos and Alfred Hitchcock’s name appears.

        It then cuts to a long shot of a man shaving in his room with a diegetic voiceover playing on his radio. The man then changes the radio station and carries on, demonstrating a sense of frustration within the character. It then cuts to another long shot at slightly high angle at a couple sleeping on a balcony, setting a fairly comedic tone – contrasting with the danger and peril later on in the film. The framing of the shot along with the slight high angle presents a voyeuristic image. The actions of the couple sleeping on the balcony also seem odd, reinforcing this idea of voyeurism; we are watching them whether they want us too or not. It then pans down to the topless lady’s room, where she is seen bending over and presenting herself to the open window, the long shot looking as if she is being watched from a distance. The music is fairly upbeat similar to the opening animation, the story hasn’t developed into the danger yet. It then pans away from her room to a narrow view of the street while the offscreen diegetic of children playing plays. This shot seems obscured and we are not shown much, reinforcing the sense of voyeurism that is central to the plot.

      The shot then slowly pans across the remainder of the area before entering the protagonist’s room. The whole area looks fairly suburban and typical of 1950s America.  We are introduced to the protagonist through a panning shot across his room. From the close up of his sleeping face the camera pans to a close up of his leg in a cast with the writing of “here lies the broken bones of L.B Jefferies”. We can immediately assume that he has been in an accident and that he has someone close to him looking after him due to the humorous writing on the cast. The camera then pulls out to a full shot of his whole body in a wheelchair, he is clearly immobilised. This fact will be important for the rest of the plot, as his immobility leads to him staring out of the window through sheer boredom, which develops into curiosity and eventual danger, by him noticing too much about his neighbours.  The camera then pans to a close up of a broken camera confirming that this man has been in an accident. This shot is followed by a pan to the wall of his room with photographs on it, establishing this character as a photographer of some sort. The protagonist’s profession as well as situation is established through the Mis en Scene of his room.

         The opening of “Rear Window” establishes the location of the whole plot, as well as some characteristics of the protagonist, all through a voyeuristic style which is continued throughout the entire film. 

Analysis of the final scene of Alfred Hitchcock's "The Birds" (1963)

                                                   Textual Analysis
                                          Alfred Hitchcock’s "The Birds"
                                                         End Scene
                         The suggestion and power of a final image in a film
 

      The scene opens with a man and two women sitting on a sofa. The lighting around them is dark, with shadows flickering in the background, indicating a sense of danger. The middle woman seems to be in a trance like state. She is covered in bandages, with visible signs of blood, indicating some sort of attack. This links to the dark, low lighting, conveying an impending sense of danger and the possibility of another attack. The other two characters help her up, and a reverse shot shows them leading her away. The lighting becomes incredibly dark, leaving only the characters silhouettes visible, creating an ominous and sinister atmosphere and indicates an impeding danger. The scene is quiet, apart from the sound of slow footsteps which again, adds to the increasingly tense and creepy atmosphere. The door opens, and the characters are bathed in an intense light, which reveals a shocked expression on their faces. The camera cuts to a shot of outside; a car surrounded by hundreds of birds, with hills and the sea in the distance. The panoramic view shows darkened clouds which reinforce the ominous atmosphere. The camera cuts back to the character, making their way out of the house. The diegetic sound of creaking floorboards builds upon an already sinister atmosphere. The diegetic sounds of the birds cawing, along with the shaken woman’s terrified reaction creates a link between the two, indicating that the birds are the cause of her terror and implies that the birds have caused her injuries. A close up of the car indicates it is of importance and that the characters wish to use it to escape. The camera then cuts to a close up of each characters face revealing the fear in each of them. The camera continues to cut from shots of the characters to the birds, to build up the sinister atmosphere, and reinforce the idea that the birds are dangerous. The diegetic sounds of wings flapping, gradually growing louder, reinforces the idea of a danger approaching. A high to low camera angle shows the birds at the characters feet, indicating they are surrounded, with no way of escape, heightening the feeling of fear. The camera cuts to a shot of a young girl in the doorway calling for the man’s help, then cuts back to the characters getting into the car. This starts to quicken the pace of the scene, as the birds are become more agitated. The non-diegetic sound of wind howling grows increasingly louder adding to the frightening atmosphere. The camera then follows the man from the car to the girl, revealing swarms of birds on the roof, again, reinforcing the idea that they are surrounded and building upon the scenes increasingly tense atmosphere. The camera follows the two characters back to the car. It then cuts to a shot of the two women consoling each other. A close up shows the bandaged woman gripping the other woman’s arm, revealing how terrified she is. The camera cuts to close up shots of the two woman looking at each other, showing how they are aware of each other’s fear, and that they are both equally terrified. The man gets into the dimly lit car, and a front shot reveals each character has made it safely into the car. The sound of the engine starting drowns out the sound of the crows, and the car begins to pull away. The camera cuts to numerous shots of the crows either flying of cawing, adding to the sinister atmosphere. In the last shot, we see the car driving away into the distance, towards the rays of light, indicating there is hope for them. But at the front of the shot, the area is dominated entirely by birds, which gives the sinister impression that they have won.

Lighting Workshop

The Kuleshov Experiment - using unrelated images to evoke an audience reaction.

The audience reaction to the experiment videos