Analysis of 2 student film openings: 'Malignant' and '0 Attending'

Genre

'Malignant' establishes itself as a psychological horror with the consistently suspenseful non diegetic music, with the high pitch tempo connoting a discomforting atmosphere. This is accompanied with titles that fade onto the screen with a blurry texture to resemble ghost-like qualities, physically displaying it's genre as being a horror.

In comparison, '0 Attending' conveys it's genre as drama, by having the narrative regard a group of socially neglected girls. This quickly lends the film towards the genre because this neglecting creates a sense of empathy and therefore an emotional attachment to the characters, compelling audiences to continue watching for the sake of closure.

Editing

Continuity editing is used in the 'Malignant' opening, with a slow pace being used to gradually build tension, and in the process engage the audience and compel them to continue watching. The long length shots also help for the audience to make sense of the location, what the main focus of the shots are and what they connote.

By contrast, discontinuous editing is used for the '0 Attending' sequence, with the camera quickly jumping to different scenes so that the audience are given context as to how others reacted to their party invites. This combined with the diegetic dialogue creates a faster pace, that suggests it will be reflected in the rest of the narrative.

Sound

'Malignant' lacks diegetic dialogue, however the opening does contain a consistent non-diegetic soundtrack that has traits stereotypically associated with the horror genre. For example, at the beginning of the sequence, the first shot of a rusted metal object is accompanied with a simple yet high-pitched piano, resulting in a distressful tone.

When it comes to '0 Attending,' the diegetic dialogue establishes the characters based on the lack of formality within their language and the content of what they're saying. An example can be found with one of the females states 'Maybe no one's seen the Facebook group?' Being so sincere about a social networking site makes this character seem insignificant in society and lacks purpose. Also, the non diegetic opening sound effect of a keyboard appeals to the target audience of teenagers, with computers being a stereotypical association with that age group.

Camera angles

A majority of 'Malignant's opening consists of establishing shots to make the most of the darkly toned factory setting that connotes solitude and emptiness. There are also some contrasting close ups to incorporate an element of sincerity to make this horror more relatable. A dutch tilt is also used when the camera focuses on the factory, and this has connotations of locational significance and abnormality.

Unlike 'Malignant,' '0 Attending's opening sequence mainly consists of mid shots and long shots. The problem with this lack of establishing shots is that an opening of a film is meant to establish at least one location, as well as characters. Despite this, the long shots help to establish the stock characters via dress code, while the mid shots are used during the dialogue scenes, such as when the three females are surrounded around the computer.










Mise-en-scene

'Malignant' has contrasting lighting conditions, with the establishing shots of the factory being highly lit, while the internal shots are differentiated with low lit shots to connote an element of danger, suggesting that it is inside the factory where the darker themes take place. The prop of the broken bicycle has connotations of childhood innocence, much like the lighting conditions, these connotations are contrasting from the films genre being horror; this contrast amplifies the darker themes to make them stand out and appear all the more adultery.

'0 Attending' has multiple settings that are never fully utilised, due to the lack of establishing shots, however the props and lighting conditions make it easier to distinguish each location. The main setting of the sequence is the house where the three girls are talking, but it does soon cut to a wide variety of locations to show diversity within the people in the shot. For example, two other girls are seen to receive the main characters invite in a bedroom while another group are seen on a high street. This suggests similar variety in locations can be seen in the rest of the narrative.

Titles

In terms of positioning, not only do 'Malignant's titles convey the signifiers of a horror by their ghost-like texture, but also in the strange and inconsistently varied angles and parts of the screen they're placed on. An example of this can be seen in a dutch tilt establishing shot of the factory, with the title also at an angle that's parallel to the factory. This makes the title appear more as though it's actually integrated into the shot, giving the sequence a more stylised and memorable feel to it.

Because 'Malignant' and '0 Attending's genres are so contrasting, their fonts differ to establish a different tone, while still conveying the attributes of that particular genre. A lot of dramas today refer to technology to make it more relatable to the target audience, in this case teenagers, therefore it's fitting that '0 Attending's titles relate to the technological aspect quite strongly. The opening titles appear as though they're actually being typed onto the screen (one letter at a time) and this being accompanied by keyboard sound effects solidifies the genre and what in particular this drama relates to.

Character

'Malignant' doesn't introduce any particular characters, other than using the binary opposites of the masculine male vs. the insecure and incapable female. Although the female is a ghost, and that creates suspence, it results in a lack of empathy, giving the audience no reason to care about either of these characters. This implies that the male's contribution to the narrative is minimal and is more so just in the scene to symbolise normality in contrast to this ghostly figure.

 

The fact that the narrative of '0 Attending's opening focuses on a group of girls being socially neglected by others, makes them appear inferior and insignificant to others in society. This is conveyed by the way other characters of the same age group (teenagers) reacted to their party invitations humorously. In terms of dress code, the three girls also wear very informal and distinctive clothes, displaying them as independent and carless when it comes to fashion sense. In comparison, the others are seen to be wearing designer labels and more varied dress codes, conveying them as more socially popular.

To conclude, 'Maligant' establishes it's setting and genre very well, using stylised and professional camera techniques to set the film up as having a very dark and solitary tone. Despite this, throughout the entire sequence, the audience are only introduced to characters, both of which have no diegetic dialogue to create any element of empathy. They are, however, varied and equally distinctive to cancel out any sense of repetition, while also generating questions such who they are and what do they contribute to the story. '0 Attending' also does a good job at conveying a distinct genre and tone but, unlike 'Malignant,' the constant diegetic dialogue means the audience knows a lot more about the characters within the sequence. That having been said, the repetition of shot types makes the sequence appear repetitive and therefore results in a slower pace, not doing as good a job at enticing and exciting audience members.

Analysis of a student film from previous years - G321: 'Thief'

Genre

This student film opening identifies it's genre as being crime, with the narrative regarding a stereotypically thug-like teenage boy who robs vulnerable girls and using fear as a tool to get what he wants. The title is also memorable and the concept is traditionally associated with the crime genre. The lack of formality within the antagonists dress code also relates to the crime genre by being a key visual signifier, with the dark blue and grey colours also connoting quite a dark persona.

Editing

Continuity editing is used throughout, with the fade transition being used numerous times to suggest that the events within this sequence occur over quite a long period of time. Shot lengths are short and this results in the opening having a fast pace, which is a stereotypical convention of the crime genre. There no apparent shot reverse shots, due to the lack of diegetic dialogue, but the simplicity of the sequence means the audience don't require verbal context to understand this film's premise.

Sound

The non-diegetic and consistent sound effect at the beginning of the clip quickly builds tension by being high pitched and therefore connoting a sense of importance from what would usually be a normal action (checking a wallet's content). However, the fact that this is accompanied with such a sound effect implies this holds significance, in context with the films narrative, while also establishing a dark and tense tone.

Camera Angles

A majority of the camera angles are close ups to create a sense of discomfort for audiences so that we empathise for the vulnerable women and create an emotional attachment to their characters, thus compelling audience members to continue watching for the sake of closure. Consistent close ups also have connotations of abnormality and tension, which are stereotypical traits of the crime genre, and further establishing the themes consistency within the film.

Mise-en-scene

A skateboard is seen to be used by the teenage antagonist, relating to the immature aspect of that stereotype, while also making him appear more dominant over the girl just walking alone, physically giving him more of an upper hand. Money is referred to numerous times, with props such as a wallet and ATM cards identifying the antagonists values and priorities within the sequence. The naturalistic settings being a bedroom, high street and tunnel incorporates an element of verisimilitude to ground the film and make it more relatable, rather than creative. The camera itself also has consistent yet subtle lens flares to make the opening appear more dynamic and stylised, linking back to discomforting atmosphere created by the non-diegetic music.

Titles

When it comes to the design, the titles are very basic and easily readable. With white being used as the colour to connote contradicting purity and innocence to the darker tone of the opening, could imply that these connotations symbolise the innocence of the girls in which this antagonist preys upon. They appear in the corners of the screen, implicating that the film makers wanted the audience to focus more on the narrative as apposed to the cast and crew credits, while also assuring that the titles don't effect the openings fast pace.

Character

Because there's no diegetic dialogue there isn't any character development, which means the audience isn't provided with any particular context, in regards to why the antagonist steals or why he targeted those girls in particular. This begins to create questions that audience members want answered for the sake of closure, with the constant awkward silence generating a very unease atmosphere. The use of stock characters means the audience can quickly apply logic to the characters in the sequence and notice the distinctions in their mannerisms, with the antagonist conveying a more controlling and physically dominant character, in contrast to the timid and vulnerable females.

To conclude, this film opening conveys it's establishment of the genre being crime quickly with the use of stereotypical traits and directorial techniques. However, the lack of diegetic dialogue means there's no sense of contextual information, when it comes to the characters or the scenario. Also, the film's title is placed at the end of the sequence which is incorrect - the directors name should be the last title and the film's title should be one of the first, on top of which the camera appeared to shake a lot during the sequence. This meant some shots were difficult to make sense of and made it look quite amateur, in comparison to professional opening film sequences.

Independant research on film openings

Looking at a wide variety of opening sequences, it's conclusive that a common and critical element each one accomplishes, regardless of genre and target audience, is establishing a key mood and tone that can be seen in the rest of the film. For example, in 'The Matrix' the first shot is of a stream of unique symbols scrolling down the screen. This sense of visual digitalisation is stereotypically associated with science fiction, already identifying the film's genre, and because the foreground is black connotes an element of emotional darkness within this narrative. The lack of cast and crew titles, in this particular case, implies this is so that they didn't interfere with the films fast and pace and consistently tense tone. This tone can be seen through the subtle non-diegetic music gradually rising to show a sense of progression within 'The Matrix's narrative.

Another example of an opening sequence establishing the films tone quickly and efficiently is 'Gone Baby Gone.' Unlike 'The Matrix,' this film does have opening cast and crew titles, which suggests the film has a slower pace and also that the film makers wanted to publicise the fact that the film contains numerous A-list actors, such as Casey Affleck and Morgan Freeman. The font for the titles is very simplistic and placed in the corners of the screen, so that they don't detract from visual element of the opening. Also contrasting to 'The Matrix' opening is the lack of continuity editing, using the technique of a montage, in this case to provide context to the audience when it comes to character types and the areas they're stereotypically placed in within this film. Showing these citizens in a more naturalistic light makes them more believable and relatable characters, incorporating an aspect of sentimentality. Being set in a rough part of Boston, America, the film makers used the opening as an opportunity to show these Boston people in their daily light, using signifiers such as tattoos to convey quite informal and crime-orientated characters.

Analysis of 'Life Of Pi,' 'Resident Evil Afterlife' and 'Snatch' film openings

Genre

The fan made 'Life Of Pi' opening sequence identifies the film as an adventure drama with a very stylised and vibrantly-coloured design, accompanied with a non-diegetic high-pitched musical score that connotes elegance. The design is based around a stem of leaves that changes direction as it grows, relating to nature and presenting the design in a dramatic way - rising and falling as the music does, showing a sense of progression to reflect the narrative's structure.

In comparison, the 'Resident Evil Afterlife' opening conveys it's genre as an action horror by basing it around a biologically-infected woman, gradually revealing her in slow motion establishing shots that are coupled with a consistent bass beat that's dark connotations are stereotypically associated with the horror genre. Similarly, the heavy rain is another convention of the horror genre, and the fact that this sequence concludes with bloodshed solidifies what genre this film is, due to the woman biting a man's neck being typically unethical.

'Snatch's sequence establishes the film as a crime thriller by beginning with a gradual panning shot of TVs that are showing CCTV camera footage. This is stereotypically reflected with the crime genre, as is the dress code of the men within the footage, wearing dark clothes which connote depression, death and a lack of expressionism, which are also often seen in the thriller genre. In terms of props, these characters are also seen using guns as an intimidation tactic that's reflected in the reaction of the office workers. Guns are a key signifier of the crime genre, as well as establish a violent tone for the rest of the film.











Narrative


When it comes to narrative, the 'Life Of Pi' sequence uses simplicity and visual symbolism to retain an enigmatic element, keeping the narrative relatively concealed. Despite this, the stylised growth of the stem the sequence is based around could reflect the main protagonist's maturate growth as the narrative progresses. During the opening, the leaves on the stem is used to reveal an equally animated tiger. The fact that it stays in shot for a while suggests it has some importance within the narrative, and that it ties in with the naturalistic aspect of the growing stem.

'Resident Evil Afterlife,' however, highlights the abnormality and iconography of the franchise, making a clear distinction of characters by showing the infected woman among average urban citizens. This creates questions that the audience want answered, for the sake of closure, such as who was the man she killed and what does this opening contribute to the rest of the narrative? A majority of the sequence is in slow motion to make it appear more stylised and compels the audience to focus more on the cinematography, similarly to 'Life Of Pi,' using striking visuals to help keep the narrative concealed and not give anything away.

By contrast, 'Snatch' sets up the narrative for the rest of the film, with a majority of the sequence regarding four men stealing some diamonds that become the physical goal that all the protagonists and antagonists strive towards. The beginning of the sequence has a different tone and is set after the events of most of the narrative, with the rest being a flashback to provide context for the two  main protagonist that are introduced, already developing them with the use of a non-diegetic voice over from one of them, informing the audience of their names and work ethic background.

Character

In the 'Life Of Pi' opening the only character we're introduced to is the tiger, and that singularity amplifies it's importance, suggesting it is or has some relation to the main protagonist. Because the sequence is animated, the tiger is conveyed with a lack of detail which implies this animal could serve more as a symbol, referring to the animalistic quality within people. Another way of looking at it is the fact that tigers are stereotypically associated with nature, it could be a use of imagery to suggest that most of this film is set in very naturalistic place, or even that the characters within the narrative are quite savage and cunning, much like a tiger.

With 'Resident Evil Afterlife,' having it's sequence centred on an infected woman, it suggests that she's used as a signifier to help identify the film as an example of the horror genre. For a vast majority of the scene, she's presented in quite a sexual manor, with the camera slowly tilting vertically up her legs and her dress code being minimal, especially considering it's raining in the scene. The red high-heels connote a rather flirtatious and feminine persona, and conflict with her abnormal behaviour of just standing in the middle of a road-crossing. This confuses the audience and therefore helps to engage them in the story,  making her unexpected attack on the man all the more distinctive and puts into perspective that the early disruption of the film's equilibrium impacts everybody within this constructed world.

In terms of character, the 'Snatch' opening sequence quickly goes into depth with two particular characters, implicating they play important roles in the rest of the film. Mentioning the diamonds stolen by the four men before they're even introduced suggests the following scene, and the rest of the film for that matter, is a flashback. Having the character 'Turkish' talk about the diamonds in such a personifying way excites the audience for what's to come. Embedding character development and establishing the main narrative in the film this early creates more of an emotional attachment between the film and the audience because, in this context, the more you know about something the more you'll care about it.

From a character perspective, all three films appear to focus on a minimal amount of characters to help create an enigmatic feel and leave the audience wanting more. The characters in these films, and the stereotypes that they form to also help to set the mood and tone, similarly in this respect to a trailer, giving the audience a rough idea as to what can be expected in the rest of the film.

Atmosphere

'Life Of Pi' has quite an innocent feel, with the elegance of the nature animations creating a sense of purity. This is somewhat contrasted by the tiger whom doesn't even move, while the stem however is constantly changing and moving around the screen. This could be seen to mirror the way people are constantly having to deal with change and the consequences that follow, in comparison to animals who have a better concept of consistency and it's this conflict of behaviours that may be a key element within the narrative.

When it comes to atmosphere, 'Resident Evil Afterlife' has differentiated adultery tone that with the non-diegetic guitar music connoting a more Gothic atmosphere that's also reflected in the black clothing of the woman in the scene. The slow motion builds tension, with the jumps cuts also being in time with the music score to counteract the pacing difficulties that are usually seen in consistent uses of slow motion. All these elements suggest that the rest of the film will be tense, fast-paced with stylised cinematography and visuals, to link back to the video game roots in which this film is based upon.

The atmosphere in 'Snatch' is stereotypically gritty and unsophisticated, considering it belongs to the crime genre. The casual dialect in the character's diegetic language is a key signifier of the modern British stereotype of the men appearing intimidating and yet intellectually inferior. This contrast incorporates comedic attributes into this otherwise serious narrative, showing the stereotype of British gangsters in a more unique and therefore memorable interpretation. Near to the end of the robbery scene, the distinct transitions between shots, with the camera quickly tilting and zooming into one of the four main antagonists, mirrors the chaotic atmosphere that's to be expected with the use of guns. The chaos makes the audience empathise for the other characters in this scene because these transitions give them a better idea of how they were feeling, while also identifying the antagonists as particularly hostile.

Themes

Themes that are apparent in the 'Life Of Pi' opening sequence are nature, growth, purity, elegance, hope and ambition. They can be seen consistently in the sequence, including while the  production logo is being displayed, as the non-diegetic soundtrack begins then rather then when the titles begin to create a more gradual and easing tone. This graduation could also suggest a similarly slow pace can be seen in the rest of the film, while it also has connotations that link into the film's themes, such as elegance and growth. The violin's tempo rises and falls, to reflect each stage of the narrative and also connotes innocence, appealing to it's target audience of children while also containing signifiers related to that of the adventure genre.

In contrast, because 'Resident Evil Afterlife' is a horror, it's themes are darker and more specified for teenagers and young adults. For example, the themes of destruction and death are consistent in this sequence through the aggressive persona of the infected woman and the gradual rise in a low-tempo drum beat, building up to establish these two themes visually (death through the male civilian and destruction through the birds eye view shot, at the end of the sequence, zooming out to display a wide scale of terror and dismantlement). Another important theme is a lack of hope, apparent through the ripple effect this one act of violence is seen to have on a global scale, using this element to help the audience understand the context of the film's narrative, as well as establishing what themes in particular the film capitalises on.

Similarly, 'Snatch' is specified at an older target audience than 'Life Of Pi,' which is specified through less vibrant colours in shot, such as costumes and set designs, to connote a more realistic and gritty mood and tone. Key themes that stand out in this opening are turmoil, danger and humour. The humour, in specific, comes from the more subtle attributes of this sequence, with an example not so much being the hostile and awkward atmosphere the first two characters create but the non-diegetic voice over, giving a completely different feel to the scene, referring to the number of people that are 'named after a plane crash.' This random and partially immature trail of thought makes us look at his character in a more comedic light, despite his physically and stereotypically masculine attributes.

Setting

There is no apparent setting in the 'Life Of Pi' opening sequence however there are multiple connotations of a naturalistic setting due to the main focus of the sequence being the growth of this one small plant becoming greater in scale and complexity, as well as the tiger in the grass being stereotypically associated with a more nature-orientated setting.

'Resident Evil Afterlife's setting however is focused in a more urban setting, with the big zebra crossing being a typical feature of a built up area. This idea is solidified by the large amount of people crossing in a clinical and emotionless respect, and therefore making the woman's physical appearance, in regards to body language, all the more significant in comparison. The Asian ethnicity of the people within this sequence suggests the setting for this opening, or even the film as a whole, is set in an Asian city, implying that the quick disruption of the film's equilibrium effects everyone on a global scale.

In the first setting of 'Snatch' they use low key lighting, darkening any background to create a hostile and interrogational feel to the scene. This suggests that the director wanted the audience to focus on the characters and the dialogue, and not judge them based upon the location they're related to. The second scene appears to be set in some form of office block, using the signifier of office cubicles and a smart dress code to help better identify this stereotype. This normality and convention creates a stronger contrast to the previous scene as well as the introduction of the four antagonists, making the havoc they cause more impacting.

Sound

In terms of sound, because the 'Life Of Pi' sequence is animated simplistically there is no diegetic sound, however this opening is accompanied with a consistent musical score that is equally simplistic and important, in regards to symbolism. The use of the violin connotes a sense of beauty and innocence, which links to the film's target audience being children because of their association with these elements. The music's change in pace reflects the movement of the plant, creating a sense of sentimentality and elegance within the plant and it's physical journey, and while doing so, linking to the adventure aspect to this film's genre.

'Resident Evil Afterlife' also has no diegetic dialogue, keeping the audience clueless as to what's going on, maintaining an element of tension. A non-diegetic electric guitar plays over the top of the title sequence, which is stereotypically accompanied with the horror genre. The repetition of the same cord goes well with the slow motion shots, and the titles are in time with the tempo of the music so that they don't become the main focus of the scene.

'Snatch' establishes a contradicting element of comedy within this film, as seen in the diegetic quotation 'That's Tommy. He tells people he was named after a gun, but I know he was really named after a 19th century ballet dancer.' This cancels out any sense of intimidation audience members previously connoted about this Tommy character. Similarly, the non-diegetic music playing at the beginning of the robbery scene is quite light-hearted and isn't usually used in scenes of this nature.

Titles

The titles of 'Life Of Pi' are simplistic and easily readable, which is another identifier of the target audience being children, because if the font was more complicated children wouldn't be able to understand this aspect of the sequence. The colour of the titles being white connotes purity and innocence, while it also contrast the main colour of the opening being orange so that both elements stand out on screen.

In comparison, 'Resident Evil Afterlife's opening also has white/silver titles to contrast the setting of the low lit city landscape. When it comes to the actual font, it's very jagged and sharp, signifying the horror genre and hints to elements of violence within the narrative. After the films title appears the cast and crew titles appear significantly smaller and in the corners of the screen, which implies that the film makers wanted the audience to pay more attention as to what was actually happening within the film, to create it's tone.

For 'Snatch,' the first title to appear is the producers name. This suggests his contribution to the film was vast and that his name is well known, insuring the audience that this product is of a high standard of quality. For the rest of the titles, like the previous two films, they too are white, however these titles distinguish themselves by being accompanied within a black rectangular box to connote the idea of good vs. evil and therefore also suggests that the film's narrative will elaborate on this. It was also contextually fitting, seeing as they were placed on the low standard CCTV monitors and making the titles blend better with the chosen environment. The film's main title, however, is not integrated into the shot so that the audience realise that it's significance.

Here are the film openings to show the contrast in genre and how each conveys it's distinction:

Analysis of 'Children Of Men' and 'Lord Of War' film openings

Genre

In the 'Children Of Men' opening sequence, the films genre being a drama thriller is identified through the lack of non-diegetic music creating an awkward atmosphere, and suggesting that the rest of the film is equally full of suspense. It also establishes dark and mature themes, associated with the drama genre, through the diegetic sound of newsreaders reporting a tragic death, while also giving the audience historical context, which helps them to understand the narrative, considering it's set in the future.

In comparison, the opening sequence to 'Lord Of War' identifies itself as a crime drama by showing the manufacturing process of a bullet, which is stereotypically associated with crime and violence, establishing the genre. Another indicator is the non-diegetic song playing throughout the sequence, referring to guns being pointed and battle lines within the lyrics. Also, the consistency of utilitarian clothing connotes war and aggression, linking back with the themes of violence and crime.

Narrative

The religious references within the news reports of the 'Children Of Men' opening make the premise of the film more relatable and offers cultural significance by putting into perspective how drastic the concept of the world no longer allowing natural birth has become, effecting all areas of society. Religion is a good way to incorporate verisimilitude, to ground the film and, in this case, create a realistic interpretation of the future. Using news reports is also a good way to bring the audience up to speed quickly, efficiently and, critically, from a non-biased perspective. All opening sequences are designed to entice audiences and hook them into the narrative by creating questions that they want answers. In this case there's an unexpected explosion that soon gets cut off by the film title, already making the audience want to continue watching, for the sake of closure.

In terms of narrative, the 'Lord Of War' opening is quite vague, not introducing any of the main characters nor dialogue for that matter. Tracking the life of a bullet could however suggest their profession, or even reflect the narrative when it comes to changes in character dynamic. For example, the bullet starts off in a factory and then soon moves to a contrasting, more exotic and naturalistic, location that consists of heavily armed soldiers. This suggests that changes in location and character types are to be expected within the narrative. Like 'Children Of Men,' this also opens up questions for the audience, such as how do these bullets relate to the narrative and what is significant about the change of locations?

Character

During the visual news report in the 'Children Of Men' opening, the news channel cuts to a clip of a baby using direct mode of address. This creates a sense of sincerity, causing the audience to empathise with the recently deceased, while also displaying his significance within the narrative. The main protagonist of the film is identified when he's introduced into the shot while the camera and everyone in the shot is standing still, making his entrance all the more apparent. The camera then follows his movement out of the café, so that the following explosion is from his view point, continuing the aspect of realism over the more commonly used stylised techniques, to make the explosion more plausible and authentic.

The only characters we're introduced to that stand out with close ups or inconsistently long-lasting mid-shots in the 'Lord Of War' opening are a factory worker, an army general and a criminal. This implies they, are there character types, have some importance in the rest of the film. The fact that they're so wide in variety means there's a clear distinction in both formality and social hierarchy, with the only common element being the bullet, which could symbolise that despite the differences a bullet can kill anyone.

Atmosphere

The 'Children Of Men' opening has quite a depressing tone, with peoples clothing being very dull and vibrant-lacking colours, such as grey and black, both connoting a sense of unimportance and a lack of enthusiasm, hope and ambition. The consistency of these colours throughout the scene suggests this depression effects everyone within the narrative, and that it is therefore one of the key themes of the film. The empathetic facial expressions shown in the scene also establishes an atmosphere of mourning, in context with the death referred to in the news reports, implying he was of some importance to them, generating questions such as why is he so important and how does this effect the main protagonist, who at the time seems oblivious in contrast?

By contrast, the 'Lord Of War' opening begins with a stereotypically boring and mechanically repetitive working day, with the close up of a factory worker conveying a lack of enthusiasm and therefore creating a dull and uneventful atmosphere. This is, however, conflicting with the theme of war, which is usually seen in quite an exciting light, consequently creating a subtle hint of comedic attributes. With the camera following the bullet as it's being crushed and moulded into shape, it makes everything else, including people, appear a lot bigger in comparison, connoting intimidation and solitude.

Themes

The key themes that are apparent in the 'Children Of Men' opening are misery and war. They're established through a combination of the news readers mentioning the death of the world's youngest person, the colour of the clothing of the citizens and the lack of non-diegetic music to create an uneasy tone for the audience. The war aspect, in particular, is visually established through an explosion that occurs at the end of the clip, suggesting that this level of violence can be seen in the rest of the film. Shortly after this, there's a diegetic ringing sound, coupled with the camera then shaking and becoming hand-held, linking back to the use of verisimilitude.

Similarly, in the 'Lord Of War' opening, some of the themes that are identified are violence, death and loneliness. The element of death is only established at the end of the sequence, when the young boy is killed by the very bullet that has been the key physical aspect of the sequence, possibly referring to the significance of that child or to be a symbol for the unnecessary chaos that war creates. By contrast, the lonely theme is hinted at during the beginning of the clip, in which is slower paced, due to the gradual opening of the non-diegetic music, starting of with a low-pitched and repetitive beat. Another identifier is the long lasting opening establishing shot of the factory, having the camera at a high angle to make the worker seem all the more lonely and insignificant, which could mirror attributes of one of the main characters.










Setting

The setting for the 'Children Of Men' sequence was a café, packed with citizens watching the news report, putting into perspective how important a role that plays in the film's narrative, even it was just for the sake of context. The café represents a sense of regularity, with relatable aesthetics between the present and the near future in which this film is set. This suggests that the film will be set in quite an urban location (which is also apparent in the lack of utilitarian clothing).

In comparison, the 'Lord Of War's location are more varied, however they're also introduced in a more concealed way. Because the sequence follows the life of a bullet, it is seen to be placed in a box after production, and after this happens the box soon gets opened and is found in cargo shipping bay, being examined by a military soldier of high stature; this appeals to the stereotypical association with weapons and the army. Next, the screen goes to black, only for the box to be re-opened in a more tropical location and the bullets to be used by a contrastingly unofficial army that appear to form to the stereotype of black pirates. These numerous locations suggest an equal amount of variation can be seen in the rest of the film's narrative, while conveying different themes and economical implications in the process.

Sound

In terms of diegetic dialogue, in 'Children Of Men,' this opening avoids the stereotype of the male protagonist being very confident and expressive of his emotions. This is seen when all he says, throughout the opening, is he'd like a coffee and even the way he says it so quietly, mumbling and under his breath leads the audience to believe that he is somehow emotionally damaged, and intriguing them as to the cause of it in the process. By contrast, the clarity and consistency of the news reporter leads us to infer that the main focus of the scene isn't the main protagonist but indeed the content of the report, incorporating an element of equality within this constructed community.

The diegetic sound effects that can be herd in the 'Lord Of War' sequence are very metallic and clinical noises made by the machines. An example can be seen when the bullet is first introduced as just a sheet that's quickly stamped and clamped on by a machine, to mould it into shape. Each of these sound effects create quite aggressive and intimidating connotations, elaborating on the power such devices can have, which links back the power a bullet has over people and how different stereotypes within this opening treat such power. When the bullet is in the tropical region there are subtle diegetic sounds of animals that are associated with that region, such as grass hoppers, to create a sense of authentication within the representation of that country. This suggests that the film uses verisimilitude to make the narrative more believable for an intelligent and contemporary audience.

Titles

The 'Children Of Men's opening sequence titles are very limited, so that the audience maintains focus on what's being said, setting the scene for the abnormality of this particular interpretation of the future. The only titles are the mentions of the three film company contributors, Universal, Strike Entertainment and the associated production company Hit and Run, as well as the films title at the end of the sequence. They use a very simplistic colour scheme, black and white, with an equally style-lacking font to imply a low production value for the film, not having the money to invest into a more unique display of the titles. That having been said, the clarity and simplicity of these titles could also connote a link to the society within the film, being similarly average and unimportant, establishing social hierarchy in the process.

In the case of 'Lord Of War' however, there is a long list of cast and crew members, which implies that it has a higher budget than 'Children Of Men,' being able to afford more well-known actors, such as Nicholas Cage and Ethan Hawke. The fact that Nicholas Cage is the only name to appear before the title of the film suggests his importance within the film and that he is therefore most likely the main protagonist. The fact that the 'Lord Of War' title is timed with the introduction of the bullet means that violence is a key theme in the film, and solidifies the significance of the bullet as a product, taking away the humane connotations of it. Nine actors/actresses names then appear before crew credits then begin, identifying what actors are in supporting roles. Within those nine, four appeared on screen in pairs, which implicates a shared amount of screen time and/or importance, in context with the narrative.

These are the two film openings, for visual comparison:

Analysis of 'Catch Me If You Can' and 'My Best Friend's Wedding' film openings

Genre

In the opening sequence to 'Catch Me If You Can,' it  becomes soon apparent that the genre of the film is a crime/drama, due to the non-diegetic sophisticated jazz music being stereotypically associated with criminals and hustlers. Another identifier is the fast pace of the sequence, with the two main characters running throughout, chasing one another, and already identifying whom of which is the antagonist.

In comparison, the opening to 'My Best Friend's Wedding' reveals it's genre to be a romantic comedy by using vibrant colours for the setting and the character's costumes. The walls being bright pink is a stereotypical representation of women being associated with that colour, also connoting romance, femininity and a light-hearted nature. The diegetic song playing throughout is another indicator of this films genre because the lyrics relate to loving a man and what the expected conventions are in a relationship, displaying them as the stereotypically dominant sex.

Narrative

'Catch Me If You Can' informs it's audience of the narrative by highlighting the key moments in the film through the stylised opening sequence, that forms to stereotypes (when it comes to the representation of class and gender), while it also gives the audience insight into the dress code being very formal and typical of the time period. In the case of gender, an example can be found when the main protagonist is swimming and the camera tracks his movement, while also revealing a woman in minimalistic clothing and a very sexual pose.

By contrast, 'My Best Friend's Wedding' gives the audience a glimpse into the narrative by the characters wearing clothing that's iconic of a wedding's dress code, such as a singular white dress surrounded by more refined, yet more colourful dresses (a stereotypical representation of weddings being very formal and feminine). With their body language being synchronised and over the top, it implies that the narrative takes a non-naturalistic route, and possibly inspired by a musicals conventions of consistent, and in this case alienating, song and dancing.












Character

Character types are identified in 'Catch Me If You Can,' with the main protagonist portraying conventions that relate to a criminals, while the supporting character conveys traits that are associated with a police officer, typical of the 1950s time period. For example, at the beginning of the sequence, the protagonist is seen side-stepping and attempting to conceal himself, where as the police officer is seen sitting down in a suit and hat reading a news paper on a bench, keeping an eye out for trouble. The fact that actors names are conveniently timed with the entrance of any new characters means audiences can quickly have light shed on, what is at this point, unknown as to whom a cast member plays. An example of this can be found with the previously mentioned sexually posed woman, with her introduction being well timed with the cast member title of 'Amy Adams' on screen, suggesting to the audience that this actress plays this character.

In relation to this, 'My Best 'Friend's Wedding' conveys it's character types through the rest of the characters idolising the woman in the wedding dress, which implicates that she is the main character. The idolising is established through the bride always being the centre of attention, and often in the centre of the frame, with the other characters admiring her ring and/or fiddling with her dress, which quickly identifies who is the main protagonist and also reveals to the audience her self-involved and stereotypically feminine personality. For example, roughly half way through the clip, in a long shot of all the characters, a couple of brides maids are surrounding and comforting her, while the other adds some final touches to the dress. This puts into perspective the importance of the main protagonist, in context with the narrative, as well as the other characters lacking any sense of substance or independence.

Atmosphere

'Catch Me If You Can' creates quite an exciting atmosphere through the fast paced editing and constantly changing scenery, accompanied with jazz music, with it's tempo quickening as the chase between the two characters becomes equally faster and more tense. This reflects the drama aspect of this films hybrid genre, already setting the tone for the film. It also hooks audiences, due to the unexplained various settings and characters, raising questions that audience members want answered so that they have closure after having watched the film.

'My Best Friend's Wedding,' however, is more simplistic and therefore doesn't raise as many questions to entice it's audience. That having been said, it does create an atmosphere of light-hearted romance, to link in with it's genre, with the consistent, and slow paced, singing and dancing regarding love being stereotypically associated with this genre. The opening also, ironically, creates a contrasting element of intimidation, with all the characters using direct mode of address throughout the sequence, making audience members feel slightly uncomfortable, which could perhaps mirror how the traditional groom in a movie of this genre feels soon before getting married.

Themes

The key themes that are established within the opening of 'Catch Me If You Can' are chase, identity and disguise. Chase because the main protagonist is being chased by the police officer throughout the clip, identity because the characters are all represented as distinguished stereotypes that are associated with whatever setting they're currently in to give them a sense of identity, and disguise because the main protagonist changes his clothing multiple times to blend with his environment and hide from the officer.

In comparison, the key themes in the opening sequence of 'My Best Friend's Wedding' are love and elegance. Weddings are a long term action, in the context of love between two people, and therefore is always associated with this genre, regardless of it's narrative. Elegance is apparent because the singing from the characters is well pronounced and their etiquette continues to be formal, despite the occasional facial expressions appearing flirtatious and somewhat playful. Their body language is also quite refined and in time with the music, suggesting that these characters don't defy social convention and stick to their stereotypically feminine etiquette.

Setting 

Iconography is used consistently in the 'Catch Me If You Can' opening, with an example being the iconic image of a yellow taxi being used to suggest that the film, at one point, takes place in New York City. Because the scenery changes multiple times throughout the opening, it suggests that this will be reflected in the rest of the film. The iconography in the sequence is also wide in variety, with other examples being a plane to symbolise an airport, a swimming pool for a leisure resort and a stethoscope and nurses costume for a hospital.

By contrast, 'My Best Friend's Wedding' has no particular setting, merely a fluorescent pink wallpaper in the background, which implies that this sequence is more of an ideal imagining of a wedding, rather than a realistic interpretation. This most likely used so that the audience empathise for the bride, by knowing and understanding her goal, and putting it into perspective with reality, to show a clear distinction.

Sound

The opening non-diegetic music to 'Catch Me If You Can' is high pitched and repetitive, typical of the 'jazzy' time period, soon breaking the repetition with a lower-tempo sound effect to imply a change in dynamic; this suggests that the non-diegetic music mirrors the narrative of the film, to better prepare the audience for the rest of the film. Soon after, the repetitive theme comes backs in, only this time it's higher and quicker, coinciding with the introduction of a character to suggest their importance in the narrative. Because this music connotes suspicion and concealment, it implicates that the character who's introduced is a stereotypical criminal - hiding in plain sight. This repetition continues throughout, rising and falling depending on the scenery and how close the two characters chasing each other become, to create tension.

In relation to this, 'My Best Friend's Wedding,' begins with a simple, and diegetic, acoustic guitar, with it soon being accompanied by the four female characters singing the lyrics to a song about love, to reflect the genre and give the audience insight into these characters personalities. For example, the brides maids accompanying as back up voices to the main singing of the bride suggests that they priorities her over themselves, to fulfil there job as bridesmaids, and connoting loyal friendships.

Titles

Much like the sound in 'Catch Me If You Can,' the titles in this sequence coincide with the introduction of new characters, making it obvious who each actor is playing. For example, at the beginning of the clip, when we're introduced to the criminal the name 'Leonardo DiCaprio' appears on the screen, with a yellow arrow pointing to the character and the audience immediately making a correlation between those two devices, putting it into perspective with the narrative so that the rest of the film makes more sense.











The titles in 'My Best Friend's wedding' uses a calligraphy font to connote the elegance and femininity that was also established in the stereotypical characters, creating a sense of consistency. The main actors are apparent in this sequence by being chronologically placed before the title of the film, with examples being found with names such as 'Julia Roberts' and 'Dermot Mulroney.' This informs the audience of their importance within the film, and indicates whom of the four female characters on screen selected actors are playing.

To conclude, film openings are used to quickly establish the films genre, narrative, character types, atmosphere, key themes and settings, through both sound and visual techniques. Depending on the genre, opening sequences are wide in variety to appeal to different target audiences and make their film as memorable as possible.