Seven:
Narrative:
The narrative for this film is all connected through the number '7'. The three main themes are the seven deadly sins which are expressed through seven deaths on seven separate days.
Style:
The style of the film is very dark and dreary which creates a dim atmosphere. The film builds up the suspense in many parts, keeping the audience interested in the happenings of 'Seven'
Props:
Few props are used in the opening of Seven as they don't have much of an effect. There are books and pens for the police men to make notes about the scenes on. Another prop builds up the atmosphere by the clicking sound that it makes. When i first heard the metronome i prepared myself for something shocking. However nothing happens so it is a false build up of tension to grab the audiences attention again.
Characters:
The characters in Seven are contrasting to create conflict in the film. The binary oppositions include young and old because Detective Mills is young and in experienced compared to Detective Somerset who is old and wise. The age difference is also shown through the costumes of the characters because Mills (Brad Pitt) looks scruffy with his creased shirts which are always untucked whereas Somerset (Morgan Freeman) always looks smart in his suit and tie. Therefore, the clashing personalities of these two characters are shown through their clothes as well as other obvious oppositions such as their race.
During the opening sequence of Seven another character is slightly introduced to us. Later on in the film we learn he is called John Doe. This name is the American version of Joe Blogs or John smith which symbolises that he doesn't want to be known and would prefer to stay unidentified. This becomes more obvious when we see him shaving his fingertips off to remove his fingerprints which can easily identify him.
Settings:
There are many different settings within the opening of this film including a bedroom that is quiet in some parts and the suddenly becomes noisy as if something will happen. It then moves into the house which is the crime scene so it is dark and mysterious to keep us on the 'edge of out seats' because we can't see all of the action clearly. The darkness of everywhere creates tension and gives a gloomy and depressing mood. Outside the house and when they are stood talking on the street, it is raining heavily which always evokes a miserable mood and makes everywhere look dull and lifeless. This signifies the genre of the film.
Titles:
During the titles, pages are turning to show time passing by, relating to the narrative of the film with the seven days. It also shows that the killer is knowledgeable and educated because he is reading. A Dutch angle is used to make the viewers feel unsteady so we know something bad is about to happen. It helps to create the tension because equilibrium has been unbalanced. As mentioned briefly before, the murderer shaves his fingertips off to lose his identity which links to his name John Doe. Some other actions that John Doe carries out include drawing over the eyes in a thick black pen to make it look like he is blindfolding the person so he could be his next target. It could also connote him shutting himself off from everyone else because eyes are seen to be the window to your soul yet he wants to stay unknown. He also sews the pages of notes together which is unnatural to do in the modern world. This represents Doe as being completely different to everyone else. As well as these points, he also cuts the word 'GOD' out of the sentence 'In God We Trust' showing that he either doesn't believe in him or that he doesn't want him to watch the sins he is about to commit. The colour scheme of the titles ins black and white. this binary opposition can relate to the opposite races of Detective Mills and Detective Somerset as well as the good and evil, light and darkness throughout the film. Another colours used is red to connote blood, death and danger of the public as well as the anger that John Doe has wrapped up inside of him. The font of the titles over the top of the action looks slightly like a child's handwriting which gives 'shivers' to the audience because it is so creepy. The quick flashing messages are almost so fast that they are nearly subliminal messages. These therefore signify quick deaths and the short amount of time for them to happen in. Also relating to the deaths is the ghosting effect which creates double images of the murderer planning his attack. The non-diegetic sound of a repetitive, rhythmic music in the titles is disturbing and can relate to a heart beat which stops at the end. There are also some long high pitched notes which can be likened to screams. The end of the titles sees a split screen which is white on one side to show the innocence of the victims and red on the other to show the danger that they are in as well as the anger of John Doe. We learn from the titles alone that Doe likes to harm bodies through the mutilation theme throughout them.
Why is Seven a successful thriller?
Seven is a successful thriller because it has an unpredictable and clever plot. It is very stereotypical however, with the opposite characters that will ass interest to the film and create conflict. The setting for the film is archetypal with the gloomy and miserable dark rooms and the heavy rain. The graphics in the title of the film give the audience clues as to what will happen in the film and shows us all of the preparation of the murderer including him shaving his fingertips off so he can loose his identity. The colours that have been used in the titles also make Seven successful because they communicate the genre of the film. The sound does the same with a high pitch screaming noise in the background.Red Eye:Narrative Structure:The film begins with introducing the main character, or who at the time we presume is the main character, through seeing the pictures. We reach this conclusion because she is the first character that we see (Rachel McAdams). The opening sequence is full of random pictures which confuse the audience, creating questions. As the setting changes to the dock yard, a different side to the film is explored. The setting then changes again to show a man throwing credit cards onto a bed out of a wallet that has been stolen from by the original pictures that we see. this shot shows us that this film is not about money. The man is unidentified which also creates questions to be answered later on in the film.
Thriller Codes and Conventions:
The diegetic music throughout the opening of Red Eye builds tension which is stereotypical of a thriller film. The colours in the graphics are black and red which is another code and convention because of the connotations that can be drawn from them. Black is a symbol for mystery and evil and red connotes danger and death. These are common themes in the film. Questions are asked for example, Who is JR? Why is the wallet important? What is in the box? What is the building? Questions such of these are what keeps the suspense building in thriller films as well as not seeing any ones faces. This adds mystery to the film as we don't know who anybody is. This links to the false ID that the man is using which also relates to espionage or spying. More mystery in this opening sequence is the way that the envelope is opened as it is done viciously which makes us think about who the man is. Other character codes and conventions include the man who is opening the box out of the back of the van as he looks like an archetypal hitch man. Red Eye is full of enigmas (puzzles, secrets etc.) which relates to the thriller genre.
Camerawork:
The camerawork gives us both clues as to what is to come as well as focusing on important bits of information that we need to take note of. At the beginning, there are close ups on the pictures which show us the main characters and give us ideas of what is to come. The close ups on the seafood makes the audience think that there is something dodgy about it and it isn't just seafood in the box. This again creates questions. Other close ups include the tracking shot on the wallet allowing the audience to know that it is important because it draws the attention to it, in particular the JR. The tracking in on important things is smooth and the pan shots are jerky as if they are from the point of view of the characters. The extreme close up on the wallet tell the audience that the film is about the JR man. The titles end with the use of a low angle establishing shot as the film begins properly.
Mise-en-scene:
The costumes in Red Eye are realistic. The suits connote power and the graduation gowns that Rachel McAdams is wearing in the first picture we see allows the audience to know she is clever and educated. The costume in the following picture tells us that she is also athletic. The props provide clues as to what will happen in the film, for example the wallet and the plans of the building lets us know that part of the film will be set in a penthouse on the lower floor because lots of detail is given. The setting begins inside a house that should be a safe place but like in most thriller films, this is usually where the crimes are committed. The house is in Florida which we learn from the seafood box and the picture inside the wallet. There is also a picture of Rachel McAdams in the wallet
Sound:
The non-diegetic sound is action packed and it reflects the movement leading us through the story. Each different part of the story has slightly different music so we can distinguish between each part of the story. For example, it becomes louder and higher pitched as we first see the box so we know it is important and there is a bang as the wallet is taken. The sound also builds up the tension to a crescendo as the camera tracks in on to the wallet. The music is rhythmic with loud drums that link to a heart beat. The diegetic sound of aeroplanes relates to the title of the film, Red Eye, which is a long haul flight. Other diegetic sound includes keys, creaky doors, an envelope opening, cards flicking and the doors to the van shutting. The creaking doors also add mystery to the film because they have symbolise that something may be following you. The doors on the van shut twice and the hitch man bangs on the door twice as there are two notes in the music end the opening scene.
Editing:
The editing begins fast and sharp and a dissolve is used as the setting changes before the editing slows down again. The speed of the edititng is constantly changing to match the action in the opening scene. For example, it speeds up again with the music during the photo section before getting slower again as the 'seafood' box is loaded into the van. This represents the the seafood box is more important at this stage in the film than the pictures.
Graphics:
The graphics in the title sequence are plain and simple with the black background which allows the white writing to stand out and form a contrast. These two colours relate to the good and the evil. The title 'Red Eye' appears in a big, bold red font that moves into the distance like a plane down the runway.The red also contrasts with the black and the colour connotes death, anger and danger, as well as love. Some of the titles are over the top of the action like in Seven. The order of the titles are always the same in any film and they are: Producer, Screen play/ Writer, Directed by (always the last one)
State of Play:
Narrative Structure:
There is a clear beginning, middle and end with the State of Play opening sequence. There is also a hint of a cliffhanger as we wonder what will happen to the men who have been. It follows Todorov's theory with equilibrium (calm streets), disruption (chaotic chase) and a resolution (shooting/gun). The setting has a political link to it as it is set in Washington, this is a main theme throughout the film that has been established at the start. The chase scene ends with two shootings, one of which is an innocent guy on a bike who has seen something that he shouldn't have creating another disruption before a resolution.
Thriller Codes and Conventions:
Some of the codes and conventions for the thriller genre that appear in this short opening sequence include the questions that are asked like Who is he? What has he seen? and what is in the briefcase? these keep the audience interested in the film because they want to find out answers to these questions. Another code and convention is that the chasers identity remains hidden as he is not seen until the final part of the scene. this adds mystery to the film as well as more questions because we don't know who the guy is running from.
Camerawork:
The film begins with still shots to firstly establish the setting so the audience can relate to where it is and understand the political link. Pans and tilts are used to follow the victim as well as a handheld/Steadicam to create the illusion that we are chasing after him and we are being voyeurs. The pans follow the movement and whip pans are used to make the speed of the film increase along with the action. Low and and high angle shots have been used as the audience watch him so we know he is in danger and the jerky camera movements also signify that he is in danger. The first close up is on the victim when he is hiding behind the bins near the end of the opening sequence. This shows the audience that the action has slowed down as well as allowing the audience to get to know him before he dies, allowing the audience to align wit him, making it more personal. The different levels between the characters as one of them is sat on the floor behind the bins and the other is stood up ready to shoot, represent their social classes of working class and middle class respectively. The victim and the murderer are never seen in the same frame at the beginning, showing the difference in power and their different sides along with their completely separate lives that they lead. They are finally seen in the same shot once the victim is dead showing that his power has now gone and the knowledge he had will no longer escape from him. The camera follows the gun emphasising the power that it has as well as the person behind the gun. There is a point of view shot from the pizza boy as he looks at the briefcase and the dead guy. This allows the audience to realise that he is going to be the next to get shot. After he has been shot there is a forward tracking into the face of the pizza guy so we see he is alive and we see his hand twitch. The camera stays with the victim as the killer runs away suggesting that the next part of the film is going to be about the pizza guy who saw everything.
Mise-en-scene:
The lighting is dull and mysterious in this section of State of Play and it is night time which is known to be when the evil people come out as they are less likely to be spotted. The establishing shot is of the city of Washington which links to the political narrative as it is where the President lives.The raining makes it miserable and gloomy which reflects the mood and the tone of the film. Also, in any fictional media product, the rain connotes that something bad is about to happen or already has happened. The old couple that the victim bumps into are vulnerable and fragile which makes us, the audience, sympathise with them. Not only is their innocence shattered when they are bumped into, but the pixxa guy's innocence is shattered when he is in the wrong place at the wrong time and he gets shot. When the victim goes chasing through the shop selling fragile ornaments makes the audience think about a bull in a china shop and reflects the fragile bones and life through the fragile china. The setting is a dull ally street which contrasts with the political wealth of Washington and the power that comes with it. This contrast represents the good and evil of life and cities like Washington. The character is frantic as he runs through all of the back streets for his life and jumps off high buildings that he would not otherwise jump off. The impressive architecture that he runs past is lit up to show the good and the higher social class and then he retunrs to the dark evil ally ways of the working class. The character's facial features including his teeth show that he doesn't take care of himself very much and could possibly be into the drugs scene which may be another reason why he is being chased. The last shot shows the pizza man alive allowing the audience to realise that there is a witness to all of this crime and he is only alive because the group of 'chavs' stop him from finishing him off and killing him completely
Sound:
State of Play begins with the sounds of a helicopter, sirens and horns which are the typical sounds of the city so they relate to the setting. We hear the diegetic sounds of the feet running and the heavy breathing making it personal and showing his desperation. We also hear his last breath before the gun thuds with the silencer on the end as his head hits the bin. There is a storm happening and we can hear the thunder and lighting and the rain in the puddles is one of the loudest sounds until the china breaking in the shop. The thudding drums build up to the second death which is non diegetic sound over the top of diegetic sound. This then fades out as the titles end.
Editing:
The long takes and slow editing build up to the chase scene where the editing speeds up and the takes are about two seconds long before slowing down again. This mirrors the action adding more excitement to it as well as suspense, keeping the audiene interested. They are all normal cuts and there is not cross taking because we don't see the other characters until the very end when they are all at the same setting.
Graphics:
There is a black background and white square typewriter writing that has a slight red tinge to it and is flashes. There is a blue outline on some of the writing connoting cold and ruthless. This colour scheme links to the American flag linking to the setting and the political theme because of the flag outside the Whitehouse. Minimal graphics are used in the title sequence and so are the logos.
Strangers on a Train:
Narrative Structure:
The structure of this film is simple with two strangers who meet on a train. Bruno imposes himself upon Guy, who is a famous tennis player who just wants some quiet on the train. Bruno suggests that they create the perfect murder by Bruno murders the person that Guy wants to be dead and Guy murders who Bruno wants to be dead then they will have no motives because they will have swapped murders so they won't know the victims. By the end of the opening sequence, Bruno is taking it seriously and Guy just wants to get away. This film explores the idea of fate/destiny and that everything is meant to happen. This begins with the knocking of the feet starting the action and their conversation.
Thriller Codes and Conventions:
The codes and conventions include questions being asked such as, who do the shoes belong to? This is because the identity of the characters are kept a mystery until they are both on the train together because as they get out of the car and walk into the train station, we only see the feet of all the characters. We can distinguish between the main characters and the others because one of the first things we see are the shoes of the characters. Another code and convention is the narrative structure of the opening sequence because it begins with equilibrium.
Camerawork:
Low level angles are used to keep the faces unrevealed and the focus on the feet which is the only bit of identity we know but they do reveal the characters personality. The camera sets the characters up as binary oppositions because they are coming from opposite directions. We can guess with how they will meet because they are both at the train station. They are in the shots on their own until they come together in a two shot when Bruno imposes on Guy's life. This no longer makes them strangers.
Mise-en-scene:
The taxis are used as an anonymous way to travel which keeps the characters identities unknown, in particular their social classes. Bruno's shoes are eccentric and Guy's shoes are ordinary giving us some clues to their personalities and reinforcing the idea that they are oppositions. Seeing all of the people walking into the train station shows that strangers always have to do things together and they will always meet somewhere. The shot of the train tracks links to them being the path of life and the paths crossing as well as different directions to take and you can't go back on your decisions. The 'X' that is created with the train tracks also reflects paths crossing of Bruno and Guy. It could also be mysterious and signify the saying, 'X marks the spot'. Bruno is a 'mummy's boy' because he is wearing his eccentric tie with his name on it that his mum gave to him. He also uses it as a proof of his identification.
Sound:
Non diegetic loud, old fashioned and is used but it is not creepy epic music. In some ways, this makes the film creepy because it is unsuspected. The music is in sync with the characters and it builds up with them. For Bruno, ominous creepy sounds are used whereas Guy is introduced with classy/sexy music. This again relates to their binary opposition. As the two characters are walking towards the station the music changes to be more upbeat and happy and slightly like a cartoon which doesn't fit with the thriller genre. It sounds like someone is creeping up on them. There is a highlight in the music when they meet and it consists of the two types of music combining together relating to two types of people joining together. Bruno says to Guy, "I do admire people who do things ..." which signifies that he can be lazy.
Editing:
There is crosscutting between Guy and Bruno which links the two characters together. The camera stays on the entrance to the station to show all of the strangers joining together on a daily basis. Shot reverse shots are used to represent their separate lives until they come together in a two shot.
Graphics:
Strangers on a Train is a Black and white film so the usual contrasts of colours are not as obvious. Massive, bold, white font mixes with calligraphy which links to the era of the film and not necessarily the genre. The last title is 'Directed by' as in all other films.
Why is Strangers on a Train a successful thriller?
Strangers on a Train is a successful thriller because it begins with the equilibrium of everyone being happy whilst they walk into the train station. This is mirrored by the upbeat, cartoon style music that is not stereotypical of a thriller film. The mise-en-scene also links to the thriller genre with the cab keeping the characters unknown along with the camera focusing on their shoes. This allows the audience to ask questions about the unidentified characters.
Deep Blue Sea:
Narrative Structure:
Two couples having a small 'party' on their boat in the middle of the sea until a shark breaks through the boat and tries to eat the four characters. Another boat comes to their rescue and the guy catches the shark and saves the day. This follows Todorov's theory of equilibrium (party), disruption (shark) and resolution (catching the shark). This opening scene shows that the hero is the guy on the boat and the villains in the film are the sharks
Thriller Codes and Conventions:
The non diegetic music used is typical of a thriller genre as it adds suspense and builds with the action. Another code and convention is the questions asked such as: where are they? Who are they? Why are they on the boat? What is under the boat? Who is the person who saves them?. Also, all of the victims are innocent including the teddy bear that falls off the boat. The narrative structure is typical of a thriller film because it follows Todorov's theory. The opening scene includes a lot of oppositions including the boats and the characters along with the editing speeds.
Camerawork:
There is an establishing shot of the water before as the camera zooms in we see the boat. This immediately shows us that they are on their own in the middle of the sea. Whenever the camera looks up at the boat through the water, it signifies the danger they are in as it is from the point of view of the shark. This is the same when the camera is on the same level as the water as if the shark is eyeing up his prey. The underwater shots also represent the danger they are in as they emphasise how deep the water is. There are close ups on all of the characters so we can relate to them and get to know who they all are before the action of the shark attempting to kill them begins. As the action builds up we see the boat with the use of an overhead shot which shows the audience how alone they are in the sea. The use of an extreme close up on the weapon used to stop the shark turns into a close up of the hero introducing another character for the spectators to recognise throughout the film.
Mise-en-scene:
The lighting is dark and mysterious as it is night time which is known to be when the evil things come out. We first see the bottle of wine when the second couple are introduced to us before it is knocked over and flows all over the deck before entering the water when it begins to look like blood which will attract sharks. The wine is red which also connoted death and danger as well as the anger of the shark. At the end of the scene we see the two boats in a shot reverse shot. The hero's boat is big and white. The colour relates to heroism, innocence and purity. The victim's boat is opposite because it is small and a dark blue. The size of the boats can be compared to show the victims weakness and the hero's strength as well as showing the vulnerability that the victims were in. The costumes show that the four characters are on holiday as they are wearing bikinis and shorts which is typical holiday clothing. Holidays connote images of relaxing and a time for enjoying yourself which is the opposite of what happens in this film.
Sound:
The archetypal thriller music starts during the logos at the beginning of Deep Blue Sea. The music changes between high pitched screaming type noises and low pitched sounds that connote danger. These non-diegetic sounds are heard when the camera is under the water. There are also three low pitched bangs when the words 'Deep Blue Sea' come up one by one on the screen. When the camera is above the water there is diegetic music coming from the CD player along with laughing and some dialogue. The tension builds symbolising the shark is on its way because the music under the water becomes louder and faster and the stereo is forced into the water, the only sounds you can hear on the boat is the deck creaking which signifies the weakness of their boat and the danger they are in. When the shark arrives there is a loud thud that makes the audience jump. The thud is emphasised by the silence on the boat. The exaggerated drums and violins that sound like heart beats change to become slightly calmer once the shark has been caught because the danger has disapeared.
Editing:
The editing begins quite slowly before gradually speeding up with the action up until the shark is caught. This is emphasising 'the calm before the storm'.
Graphics:
The logos turn a deep blue and rippled as though they are being projected onto water. This relates to the title of Deep Blue Sea. The writing is big, bold, capitalised and white which stands out on the dark backgrounds of the sea. The sea looking dark symbolises the danger that lies beneath the surface of it.
The Bourne Ultimatum:
Narrative structure:
The narrative begins with Bourne running away from the police after doing something that we do not know what it is yet. This creates a small chase scene. Bourne gets flash backs of what has happened in his life which gives the audience clues to what he has done.
Thriller Codes and Conventions:
Typical thriller music is used to add to the tension and mirrors the action. Other codes and conventions of the thriller genre that are used in the opening of this film include the dark mysterious lighting that creates partial vision as it hides most of Bourne's face. The story line also shocks the audience as we think he will kill the police officer but he doesn't. The usual questions of a thriller film are asked as well such as, why is he running? What has he done? Why didn't he kill the police officer?
Camerawork:
The close up on the feet at the beginning makes everyone wonder who it is and keeps the identity secure until we see Bourne's face. The camera is shaky and jerky which adds to the action and shows Bourne's desperation to get away. This is done by a hand-held camera. It could also represent that we are part of the action and running with him or after him. The long shot down the carriages of the train shows that he has nowhere to go which is ironic because trains can go anywhere. The camera focuses in on the pharmacy sign as an establishing shot of where the next part of the section is and where he has broken into. There are close ups on objects such as the gun, the sink and the door handle. This shows that they are going to have some important role within the next section of the film. The two shot of the police officer and Bourne show that they are on the same level and links to Bourne walking away from him without killing him because he has some relation to him. It ends with a close up on the police officers face and Bourne's face to show their emotions. During the flash backs there are lots of close ups to again show emotions and mid and long shots are used to show the action.
Mise-en-scene:
The dark and mysterious lighting means that we can't really see what is going on and we never clearly see Bourne's face until the end. This contrasts with the bright white lighting in the flash backs to make the time difference obvious. Bourne is wearing dark clothing to show that he doesn't want to be spotted and this also contrasts with the white snow and his lighter coloured clothing in the flash backs. Bourne is limping everywhere which we notice straight away with the close up on his feet. This shows he is injured and weaker than usual
Sound:
The non diegetic music has a fast tempo and consists of thuds that make it sound like someone is banging on the door in the pharmacy. The thuds also represent his heartbeat. Outside we can hear the diegtic sounds off traffic, sirens and police commentary along with the non-diegetic fast tempo, repetitive music and the tannoy at the train station. As the writing such as 'Moscow, Russia' appears on the screen there is a clicking sound that represents a typewriter.
Editing:
The editing is quick and sharp to mirror the quick action until it slows down as Bourne talks to the police officer. The editing also contrasts during the flash backs because it turns extra quick to signify that his head is full of these memories.
Graphics:
Slim capitalised writing is used for the title for a simplistic look. It is white, to show innocence, with a flash of blue on it to represent cold and sadness. Big, white writing is used for the subtitles and to show where they are which against the dark background connotes good and evil.
