The trailer for Alfred Hitchcock's 'Vertigo', produced in 1958:
http://www.youtube.com/watch?v=rkHn8PNGYaA
The opening sequence of Vertigo begins with a mixture of live action and graphics that introduce the primary female character (Madeleine). She is shown through extreme close ups that give full focus to her identity. Through these camera shots she appears to twitch and act nervously, bringing about the themes of anxiety and unease that are integral to the film's subject. These conventions are not only significant to Vertigo but also to the thriller genre; i.e. paranoia, mystery and voyeurism. The graphics that follow are also produced by Saul Bass, they confirm the topics tackled inside the narrative. For example, the swirls create a confusion and link to the unstable identity of the character being shown. They continue to fill the screen and appear when another has disappeared, which is shown to be a visual metaphor of the complex layers of the character's personalities. The opening further consists of live action that introduces another character as well as the location, which is key to opening title sequences. The male's greatest fear of 'vertigo' is shown early in the scene to establish the magnitude of it. He is left in mid-air through a close up shot to set an atmosphere of suspense and reflect his own fear onto the audience. This being the end scene, it achieves the typical expectations of the thriller, to be left in an enigma and state of fear that is similar to the position of the character.
Steven Spielberg's opening of 'Saving Private Ryan', from 1988:
http://www.youtube.com/watch?v=HDEeO57PpLE
The opening sequence to ’Saving Private Ryan’ is both cinematic and realistic to the audience, these ideas are explored in the following analysis.
As Private Ryan begins to cross the field in which his war comrades are buried, strong non-diegetic sound can be heard that represents a sense of honour; as the sounds are similar to a war anthem with horns and slow-tempo drums. The protagonist is then shown in a close up, with his immediate family behind him, this is portrayed further as his other family are also around him. It gives the impression of a structured landscape where we begin to think everything seems optimistic, yet this is only the calm before the storm.
Spielberg then cuts sharply to the shores of Omaha Beach, making the transition pivotal; from longer takes in a calm environment to an unanticipated cut in a much darker location. The contrast is amplified by diegetic sound, as the roar of the waves and the ship’s mechanisms indicate the gritty reality of war. As the Americans are about to arrive on the shores, there are multiple close ups of individual soldiers, it could be depicted that although they stand united and forceful they are all as fearful as one another. The audience is then shown an extreme close up of Captain Miller’s hand to accentuate his inner feelings; it is a reminder of the fact that he is still human and concerned about what they each face ahead. The purpose of these neighbouring shots are to create the impression that we are also experiencing the emotions felt and bring us in touch with every soldiers viewpoint.
Once the ships are within the enemies sighting, it becomes a battlefield where every man is for himself. To convey this idea, there are several cuts between long shots and mid shots, the cinematography creates an urge to reach safety and a sense of protection, however, this is only met with disorientation. This is achieved through a number of point of view shots that stress the vulnerability of those who landed on the beach. By use of a regular high angle shot that looks down towards the Americans, the Germans become superior and have a more powerful status. Yet, from the American soldiers perspective, over the shoulder and low angle shots only connote a loss of direction away from their ships and onto the open and exposed battlefield. The director significantly leads the audience in to thinking the sea will be free from danger, but firepower beneath the water becomes evident to symbolise the dangerous unexpectancy and continuity of war.
The opening to the thriller known as 'Matrix', by Andy Wachowski, released in 1999.
http://www.youtube.com/watch?v=cYqIi-ZiHp4
The Matrix is a well-recognized thriller film that primarily features conventions of the thriller genre as well as those associated with science fiction. This theme is strongly evident from the start as a number of production companies and institutions appear such as: 20th Century Fox and Village Roadshow Pictures. However, they are not in their usual format or style, as they are tinted with green, almost as if they have been taken over by the following title of the ‘Matrix’. The titles continue to appear as numbers are displayed until the number zero is focused into and then fades out showing a different scene, this creates an image bridge from a matrix of numbers to the light of a torch. The camera then pans slowly as well as track a leading police officer towards a room they are investigating in. Inside the room, a figure is shown sitting alone, because of the camera’s position as well as stereotypes of crime scenes the audience assumes the character is a male. However, this convention is subverted, when the camera is placed in front of the character in a close up shot to reveal her face and female characteristics.
The camera switches to the following scene and reveals the exterior of the crime scene where officers and policeman begin to speak to one another. This is made evident by a series of cuts between over the shoulder shots of each character. The fact that the officers are dressed in suits as opposed to routine uniform gives them a much higher status and sense of importance concerning the crime scene. This is reinforced by the camera looking down towards the policeman in a high angle shot and the officers leaving first to signify their greater significance. In contrast to this scene, the camera cuts again inside the building to reveal a group of officers approaching the female suspect. They approach her slowly with caution which conveys the threat that she poses, as they step closer she attacks the first officer. Her costume again signifies that she holds greater power than those trying to arrest her, for her character is calm, postured and relaxed yet capable of murder. As an end to the scene, special effects are employed to slow down the rate of frames which gives full impact to her fight skills and the damage it inflicts on those that conflict her.
http://www.youtube.com/watch?v=1ts3A8D6ytE
The opening scene is led by an establishing shot which immediately gives the viewer a sense of the environment and its conditions. The mise-en-scene consists of isolated land whereby nobody inhabits it; among this abandoned expanse we are guided towards the first sign of civilisation. The camera sweeps between cliffs as if it is narrowing down everything around it to focus entirely on the one character in the shot. This conveys the idea of a small man in a big area, where the latter is insignificant as he is accepting the challenge, confirming that size is unimportant. The concentration thrusted upon this individual gives off the initial signal of him being the protagonist.
The sequence begins with diegetic sound to fully acknowledge his efforts, as for example, the implementation of heavy breathing. As he continues to mount the debris, there are feelings of him treating the terrain like an assault course in which it is an ordinary workout for him. This leads onto the apparent contrast; because it would be eccentric for anybody else to attempt something similar. As a result, it strengthens his persona and lets the audience become aware of his confident characteristics considering the possible dangers.
Next, the camera zooms gradually putting him again in the focal point, this is met with non-diegetic sound; that carries suggestions of courage and inspiration, allowing the audience to infer that it could be his own mantra. The music remains synchronous with his progress, as once he reaches a safe spot and he is firmly mounted, further instruments are applied. It is possible to deduce that he is recollecting himself; now that he is in a more stable state, where the viewer can momentarily relax.
Soon after, there are regular reverse zooms to reveal Ethan’s progress, by heightening the jeopardy of his position; it reengages all attention lost. Tension is then echoed as he becomes increasingly closer to the vertical limit, planting the thought in the viewer’s mind of where he will step next. As he reaches a fixing in the cliff, the camera vouches for his discovery of another ledge through a point of view shot. The music fluctuates to reflect his contemplation of whether to take the jump; upon making the leap he slips and there is a second of doubt through unexpectancy as he is represented in an invulnerable fashion. This surprise is accentuated by the drumbeat being stopped and only a subtle tapping being employed to almost weigh up his options available.
As he recovers, our earlier thoughts are perpetuated by him gripping another ledge, this hatches the idea of his reassuring personality. Additionally, non-diegetic sound helps to reinsure his objective and focus throughout. For where there is dialogue in the soundtrack there is advancement in him as an individual whether physically or psychologically, since we associate the lighter-hearted music themes with his acknowledgement of succession. Whilst the protagonist stands firmly on the cliff-top reviewing what he has achieved, a helicopter is shown spontaneously. At first, this carries an element of surprise as the passenger is holding a firearm of some kind, leading the audience to believe there is a threat to the exposed man below. However, these ideas are discarded as he barely turns around; knowing full well it poses no real harm to him, this is comforting to the viewer since we make an attachment with his smile and laid-back approach. The helicopter above fades, putting Ethan in his element amongst the conventions that shape his ego, for example, the signature mission impossible music alongside frequent close ups of his incessantly care free facial expression that co-exist to represent his importance in the opening of the film.
The opening scene to 'The Godfather', directed by Francis Ford Coppola in 1972:
http://www.youtube.com/watch?v=rO0ijrgr-qQ
An eerie, slow non diegetic music is played at the beginning of the scene against a black screen this builds up the suspense of the audience as they do not know what is about to happen. The title of the film then appears in white text ‘The Godfather’ this creates an impact on the audience so they are attracted to the title and can recognize the film, making it white against black shows the significants of the title.
The title then fades into the background where the black screen is shown again where the audience hears an Italian voice “I believe in America” this gives the film a location as they audience can tell where the film is set. Although the audience can hear a man they cannot see him, leaving them questioning where are they? And who is saying this? We then start to see the mans face face appear from the black background as he then says “America is my fortune.” The audience is able to get an insight of the character as he is an Italian-American.
The camera then zooms slowly outwards as we start to see more of the mans face. However the audience cannot see the surroundings as it is too dark, this shows the mans importance and of what he is about to say. The man begins to tell a story about what happened to his daughter which includes a potential rape and abuse to her. This draws the audience into what is going on as the audience sympathizes for the man, with rape and violence involved the audience is given an insight to what the film is about. The man appears more alone and upset as the camera zooms outwards showing his vulnerability. The audience is still left wondering why he is there and who is he talking to.
As the camera zooms out we see an over the shoulder shot of man sitting in a large chair behind a desk. Even though the audience cannot see his face they can see his importance as a lead character. The desk appears to be more lit up showing his authority as the other man is just sitting on a single chair. Not being able to see his face creates the tension among the viewers and they are left questioning who is he. We can see his relaxed body language as his hand is positioned against his head, whereas the first man is sat straight up with at tense posture. The audience then knows that the first man is there for help and asks the second man.
As the first man says “I said to my wife we must go to Don Corleone.” Where the audience can recognize the man on the desk to be Don Corleone. Where he then questions the man to why he didn’t visit him first and what he wants. As the first man rises from his chair and whispers something into Don Corleone’s ear the audience is left in suspense, what has been said? The camera then reverses to show Don Corelone’s face, there is a paused silence where we can see him thinking showing that he holds the power as the opening ends with “That i cannot do.” The audience is left in suspense to what has been asked of Don Corleone and why has he refused.
The opening sequence of 'The Usual Suspects', which was released in 1995:
http://www.youtube.com/watch?v=rO0ijrgr-qQ
In the beginning of the film ‘The usual suspects’ there is a black screen where all of sudden we are shown a close up of matches being lit. As the flame starts the picture becomes clearer, as numerous matches are lit the audience is curious to what the fire could lead to. The cameras then switches to a medium close up of a man as he lights his cigarette at the beginning the audience cannot fully see his facial appearance and are left questioning who he is. The camera then tilts up where we can see more of who the character is in terms of appearance, as he looks tired and is sitting down. The camera then cuts to a medium shot of barrels of gasoline as the camera tilts we can see and hear the gasoline dripping out onto the floor. We then see the man in a wider shot the audience is left wondering why is he there, is he injured? The surroundings show it to be night time; dark background appears to be on boat with varies boxes and equipment around.
The man then drops his match onto the trail of gasoline as the fire catches onto it as moves in line with the gasoline. However the man does not appear to be startled by this and this can be interpreted as a suicide attempt. As the fire is moving along the camera shows us a man lying on the floor we as the audience assume he is dead and is surprised by this both men has no identity at this point. The fire then is stopped as we see water falling from above the audience is curious to where it has come from. The camera then tilts up as we see another man but cannot see his face at all he is left mysterious tilting back down again as he walks down the stairs approaching the first man. As we begin to see him non diegetic music is played to build up the tension to who is this other man and why he is there. As the man walks towards the man sitting down we can hear his footsteps and only his lower half of his body. He then walks past the dead man appearing that he doesn’t care and this is normal to him the audience can get a sense that death or murder in the film will be a prominent theme.
We can then see the men in contact with each other although to the audience the second man is still unseen the two seem to know each other and the audience can interpret a relationship between the two. We only see the second man light up his cigarette however we do hear him before we see him as he asks “how you doing Keaton?” The first man can now be given an identity as we learn how about his character through knowing his name. Keaton then replies to “I can’t feel my legs” the audience can guess from this that his legs may be broken. The second man then says “ready” the audience is left wondering what is going to happen as he then pulls out a gun the audience believes Keaton will be shot. However the situation and conventions are switched as Keaton replies “What time is it” as if there is a normal conversation going audience is left confused to why he cares. The camera then cuts to outside of the boat where we can see where the location is we then hear gun shots although the audience is prepared for this we still wonder what has happened as we do not see it however we assume Keaton is dead.
Different sides and shots of the boat are shown as the suspicion builds up to what is happening inside the boat now, more dramatic. We then see the second man walking away as he drops his cigarette on to the gasoline trail the fire is lit up again the making the audience think it is to cover up the murder. We see the man wearing gloves gives his character a complete mystery as he is covered up he has no identity. The man then climbs down some side ladders we as the audience can tell he is trying to get away from the scene of the crime before an explosion happens. The non diegetic music increase as the tension builds up to when the explosion will happen. We see the fire trail go through a man’s legs unaware if this could be Keaton or the first dead man we are in doubt if Keaton could still be alive. We see an increase of light against the ropes the camera then cuts to an explosion going up into the air creating a dramatic effect. The camera then goes back to the rope using a slow zoom where the audience can see what appears to be blood on the rope suggesting more murder.
The opening scenes from Spielberg's film, known as 'Jaws', from 1975:
http://www.tv-links.eu/show_link.php?data=MzEyMTUy
The opening scene begins with a point of view shot from the shark’s perspective which immediately gives the viewer a sense of the animals’ whereabouts. This is amplified by non-diegetic sound, as with every drumbeat the shark grows closer to civilisation; once the music reaches its paramount there is a sudden, sharp cut revealing the vulnerability of those situated around the nearby fire.
The camera then sweeps across the beach to where two people are continually tracked which entices the audience to pay deeper attention to them in particular. Further diegetic sound is applied to emphasise the increasing distance between the innocent and naive couple from the warmth of the environment behind. Unremittingly, the young girl heads out towards sea, where frequent long shots are used to intensify the water’s unpredictable nature, this plants the thought in the spectator’s mind that she may already be out of her depth.
Once the shark makes an initial contact with the girl, there is an apparent pause in music, this builds connotations of unexpectancy. As the attack unfolds, we witness a series of cuts, which begins to reveal the contrast between the girl herself to the drunken man lying on shore. After her death, a noticeable sea buoy becomes visible in the background. It’s unbroken chiming sound symbolises the confirmation of her murder and the continuity of nature even past the girl’s death.
