Analysing and comparing three opening sequences
Analysing and comparing three opening sequences
Film 1:
Jaws
Steven Spielberg
Roy Scheider, Robert Shaw, Richard Dreyfuss, Lorraine Gary, Murray Hamilton
Universal Pictures
1975
The first shot I chose was the opening shot. It is an extreme long shot, which shows a female character running quickly on a sand dune and a male character is a few meters behind her, struggling to catch up. The shot shows that it is very early in the morning with a little light in the backround, suggesting the sun is about to rise. The connotations we can get from the shot is that the two have just left a party, most likely on their way home. From this we can infer that they may have been drinking, which is reinforced a few moments later when the male character say to himself, “how much has she been drinking.” The fact that the girl is running fast suggests that she really wants to go swimming, perhaps she loves swimming in the ocean. This is juxtaposed by the male character, potentially her boyfriend, who is lagging behind jogging slowly. This might suggest that he is too intoxicated to run fast, or that he does not want to go swimming; potentially foreshadowing a danger related to the ocean…
The next shot is a close up of the girl swimming in the ocean alone, she is up to her neck in water and the rising sun is perched over shoulder. The connotations we can receive from this shot are that: 1) she is completely alone in the water 2) she is in very deep water 3) the sun has just risen, meaning it is unlikely for any other people to be on the beach, mainly the lifeguard. The effect on the narrative is that this woman is most likely about to become victim to something tragic, due to the fact that she is swimming both naked, and alone. (the rules! Never go skinny dipping in a horror film!)
The next two shots are both low angle shots, taken underwater. The first shows the girl doing the front crawl, in virtually undisturbed water. We see that there is nothing around her, except the camera bellow her. The camera could be seen as being the eyes of the predator that is stalking her and waiting for its time to strike. Being deep underwater adds to the mysterious atmosphere. The second is another low angle shot directly underneath the girl. The camera is so close to her that the camera man (or shark) could reach out and grab her leg. This medium long shot suggests proximity of the shark to the girl, which adds tension and suspense.
The next shot is an extreme long shot. It shows the male character lying on the beach, asleep. This suggests that if this shark in the water does attack the girl, then she will not receive any help from him immediately. We also infer that because he is drunk, he will be sleeping deeply, his senses frayed. Essentially this shot shows that the girl has no way out and is about to die.
The final shot is an establishing shot, almost parallel to the water. It shows a clear sea: no one is swimming any longer, and no sign of the girl remains. This suggests that she has been pulled down by the shark, and is most likely being eaten, or in the process of being moved to somewhere else. This final shot is a use of mirroring to a shot at the beginning of the scene, where the camera pans the ocean landscape whilst it is calm and unattended, suggesting that is what it has become.
Jaws
Steven Spielberg
Roy Scheider, Robert Shaw, Richard Dreyfuss, Lorraine Gary, Murray Hamilton
Universal Pictures
1975
The first shot I chose was the opening shot. It is an extreme long shot, which shows a female character running quickly on a sand dune and a male character is a few meters behind her, struggling to catch up. The shot shows that it is very early in the morning with a little light in the backround, suggesting the sun is about to rise. The connotations we can get from the shot is that the two have just left a party, most likely on their way home. From this we can infer that they may have been drinking, which is reinforced a few moments later when the male character say to himself, “how much has she been drinking.” The fact that the girl is running fast suggests that she really wants to go swimming, perhaps she loves swimming in the ocean. This is juxtaposed by the male character, potentially her boyfriend, who is lagging behind jogging slowly. This might suggest that he is too intoxicated to run fast, or that he does not want to go swimming; potentially foreshadowing a danger related to the ocean…
The next shot is a close up of the girl swimming in the ocean alone, she is up to her neck in water and the rising sun is perched over shoulder. The connotations we can receive from this shot are that: 1) she is completely alone in the water 2) she is in very deep water 3) the sun has just risen, meaning it is unlikely for any other people to be on the beach, mainly the lifeguard. The effect on the narrative is that this woman is most likely about to become victim to something tragic, due to the fact that she is swimming both naked, and alone. (the rules! Never go skinny dipping in a horror film!)
The next two shots are both low angle shots, taken underwater. The first shows the girl doing the front crawl, in virtually undisturbed water. We see that there is nothing around her, except the camera bellow her. The camera could be seen as being the eyes of the predator that is stalking her and waiting for its time to strike. Being deep underwater adds to the mysterious atmosphere. The second is another low angle shot directly underneath the girl. The camera is so close to her that the camera man (or shark) could reach out and grab her leg. This medium long shot suggests proximity of the shark to the girl, which adds tension and suspense.
The next shot is an extreme long shot. It shows the male character lying on the beach, asleep. This suggests that if this shark in the water does attack the girl, then she will not receive any help from him immediately. We also infer that because he is drunk, he will be sleeping deeply, his senses frayed. Essentially this shot shows that the girl has no way out and is about to die.
The final shot is an establishing shot, almost parallel to the water. It shows a clear sea: no one is swimming any longer, and no sign of the girl remains. This suggests that she has been pulled down by the shark, and is most likely being eaten, or in the process of being moved to somewhere else. This final shot is a use of mirroring to a shot at the beginning of the scene, where the camera pans the ocean landscape whilst it is calm and unattended, suggesting that is what it has become.
Film 2:
Fight Club
David Fincher
Brad Pitt, Edward Norton, Helena Bonham Carter, Meat Loaf, Jared Leto
20th Century Fox
1999
Fight Club
David Fincher
Brad Pitt, Edward Norton, Helena Bonham Carter, Meat Loaf, Jared Leto
20th Century Fox
1999
The first shot is a high angled extreme close up. It is taken from the point of view of a gun, with the barrel in Edward Norton’s mouth (Norton’s character does not have a name, so I will be referring his character as the actor). The eyes and and nose are framed in the shot only. The connotations we can receive from this shot is that there is someone wielding a gun and is threatening Edward Norton. We can also infer that Edward Norton is scared, due to the fact that his eyes are wide, he is sweating and his forehead wrinkles are contracted. From this opening shot we are given advice about the narrative: that Norton is the victim and the person holding the gun (Tyler Durden) is the antagonist.
The second shot is a high angled, point of view, close up. We see a hand holding the gun, whilst it is still in Norton’s mouth. Norton is looking up, his head tilted upwards. However now he seems strangely calm. The connotations of this shot are similar to the previous one, except that we now see a hand holding the gun which, we assume, must be the antagonist. The lighting and lack of other things in the shot suggests that this dynamic between victim and antagonist is a key part of the film, and is extremely important now.
The third shot is a mid shot, with a slight high angle. The fact that the camera is behind Tyler gives the impression that he holds the power, and is the only one in this room. This shot frames more of the antagonist’s body, adding his torso and right arm only. The connotations created by this shot are that Norton’s character and Tyler have a pre-established relationship. This is mostly due to the fact that Norton is showing no fear and is looking up at Tyler in contempt.
The fourth shot is a long shot of a series of home-made bombs, with their detonator in the centre. There is nothing else framed in this shot, and there is a slight high angle, which makes it look like the detonator is looking down on the explosives, which suggests the position of importance of the detonator. The shot is eiree and adds suspense to the scene, as we now know that there is more than just a gun threatening Edward Norton’s character. ****
The second shot is a high angled, point of view, close up. We see a hand holding the gun, whilst it is still in Norton’s mouth. Norton is looking up, his head tilted upwards. However now he seems strangely calm. The connotations of this shot are similar to the previous one, except that we now see a hand holding the gun which, we assume, must be the antagonist. The lighting and lack of other things in the shot suggests that this dynamic between victim and antagonist is a key part of the film, and is extremely important now.
The third shot is a mid shot, with a slight high angle. The fact that the camera is behind Tyler gives the impression that he holds the power, and is the only one in this room. This shot frames more of the antagonist’s body, adding his torso and right arm only. The connotations created by this shot are that Norton’s character and Tyler have a pre-established relationship. This is mostly due to the fact that Norton is showing no fear and is looking up at Tyler in contempt.
The fourth shot is a long shot of a series of home-made bombs, with their detonator in the centre. There is nothing else framed in this shot, and there is a slight high angle, which makes it look like the detonator is looking down on the explosives, which suggests the position of importance of the detonator. The shot is eiree and adds suspense to the scene, as we now know that there is more than just a gun threatening Edward Norton’s character. ****
The penultimate shot is a (slightly) extreme long shot. Both Norton’s and Tyler’s full body are framed in the shot. Tyler is looking out of the window, on Norton’s right, and Norton is a few metres to the left, off centre. Due to the fact that Norton is not tied down to a chair, and is not trying to escape, suggests the following connotations. That him and Tyler are friends/partners in some form. We can receive this connotation due to the fact that Tyler is positioned to the right of Norton, suggesting he is his ‘right-hand man,’ or shoulder angel. Additionally, Tyler does not seem to worried by the fact that Norton can escape and run away. This is maybe due to the fact that he knows he wont, or that he would be able to get him again effortlessly. This shot really sets up the Tyler-Norton dynamic which is prevalent and significant throughout the film.
The final shot is a long shot of Norton’s office. I included this scene because 1) it is still technically part of the opening, and 2) Tyler Durden is in this series of shots for exactly one frame. This technique of splicing him into Norton’s point of view helps explain that Tyler is always with Norton, and alludes to a trick played by the manipulator to tease the audience’s subconscious, very much like how Tyler does not really exist in the real world or working mind of Norton, but is more ‘living’ in Norton’s subconscious.
Film 3:
Hot Rod
Akiva Schaffer
Starring: Andy Samberg
Hot Rod
Akiva Schaffer
Starring: Andy Samberg
Jorma Taccone
Bill Hader
Danny McBride
Isla Fisher
Ian McShane
Paramount Pictures
2007
2007
The first shot of the film encapsulates it pretty accurately. It is an extreme closeup of a pubescent looking man, with a fake moustache on his upper lip. The connotations created in this shot is that he is playing dress-up or that he is about to go on stage/act for a role that has a moustache. This image is not intimidating, and is meant to be comical.
The second shot is an extreme long shot of Rod Kimble on his moped. His friends are sitting to the left of him and before him are two ramps, a mail truck in-between the two. We know that it is Rod on the moped due to the fact that he is wearing a cape with his name on it. The connotations from this scene are slightly humours due to the fact that he is attempting to jump over a mail truck with a plywood ramp, on a moped with bicycle pedals. Additionally, his friends do not seem worried/scared or even upbeat and excited. The fact that they look relaxed gives us the impression that Rod does this type of thing a lot. Overall, it is another comical scene.
The third shot is an over-the-shoulder extreme long shot with a slight high angle. The shot shows both Rod’s friends and his helmet in greater detail. We see that he is wearing a cheap plastic bicycle helmet, and that his friends are reclining on outdoor chairs, a toolbox nearby Dave to suggest that they have literally just finished making the ramp. These details make us worried for Rod, and give us a little foreshadowing of his failure.
The fourth shot is similar to the second shot, except that Rod is now centred, and the camera is behind him. It is a high angled mid shot of Rod, but an extreme long shot of everything in front of Rod. We now see that there are also people watching to the right of Rod. Additionally the ramp seems significantly further away than it did in previous shots. The connotations of this shot is that we should empathise with Rod, as the jump is daunting and the audience is adding stress and pressure onto him.
The fourth shot is similar to the second shot, except that Rod is now centred, and the camera is behind him. It is a high angled mid shot of Rod, but an extreme long shot of everything in front of Rod. We now see that there are also people watching to the right of Rod. Additionally the ramp seems significantly further away than it did in previous shots. The connotations of this shot is that we should empathise with Rod, as the jump is daunting and the audience is adding stress and pressure onto him.
The penultimate shot is slightly low angle close up of Rod. An American bald eagle is above his head soaring, and he is looking at it admirably. I found this scene extremely comical as the eagle is poorly edited in, it increases in size until there is a shot change. Additionally, it gives the audience the connotation that this eagle is not actually there, but is more of Rod’s ‘spirit animal.’ This immature humour gives the audience an impression of what is to come in the film.
The final shot is a tracking, long-shot of Rod. He has one leg raised, and both arms outstretched. The connotations of this shot is that Rod is reckless and has the mind of a child. He is not worrying about the possibility of falling over and breaking a bone. This creates connotations that Rod may be mentally premature. We may come to these conclusions due to his actions and by his choice of outfit: a homemade stuntman jumpsuit. Over course this is not actually the case, he is just childish and enjoys making others laugh.
Comparisons
Comparing the first two films to the last help show the stark differences in choice of direction and connotation. The first two films, and especially Jaws are filled with suspense and tension, whereas Hot Rod spends a minute making a mountain of mole-hill (jumping over a single car).
Fight club uses a gun and close proximity shots to get the audience involved with the characters and what is happening in the scene. Jaws uses odd angles and juxtaposing shots to create a sense of isolation and nearby terror. However, Hot Rod utilises extreme long shots and comical close ups to keep the movie light and entertaining.
Additionally both Fight Club’s and Jaws’ shots are predominately poorly lit and utilise the natural absence of light. For example Fight Club’s opening is shot at night, in an unlit building, and jaws is shot in the early morning, before the sunrise’s light makes its debut. This is starkly contrasted and juxtaposed by Hot Rod’s opening, which is shot at what seems to be around the early afternoon. Most of Hot Rod’s scene’s are shot during the day, whereas Fight Club utilises the darkness as a tool to make the scenes more dramatic and tense.
Fight club uses a gun and close proximity shots to get the audience involved with the characters and what is happening in the scene. Jaws uses odd angles and juxtaposing shots to create a sense of isolation and nearby terror. However, Hot Rod utilises extreme long shots and comical close ups to keep the movie light and entertaining.
Additionally both Fight Club’s and Jaws’ shots are predominately poorly lit and utilise the natural absence of light. For example Fight Club’s opening is shot at night, in an unlit building, and jaws is shot in the early morning, before the sunrise’s light makes its debut. This is starkly contrasted and juxtaposed by Hot Rod’s opening, which is shot at what seems to be around the early afternoon. Most of Hot Rod’s scene’s are shot during the day, whereas Fight Club utilises the darkness as a tool to make the scenes more dramatic and tense.
In conclusion, horror/thriller film's shots are drastically different to those of a comedy. They both use different levels of light, proximity and angle.
Bellow are the opening scenes of the above mention films.
Bellow are the opening scenes of the above mention films.
Fight Club https://www.youtube.com/watch?v=J9PZmFHiaj8
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