Wednesday 14 October 2009

Opening Sequence Analysis of Se7en.

Se7en.

What effect does this have on the viewers? What kind of narrative enigmas are established?

- The movie starts straight away, this leaves the audience trying to figure out who is the main character and what is he doing.
The effect this has on viewers is that they feel a bit disoriented and they have been thrown in at the deep end, this could either rouse interest and the recipient will try and piece together the story themselves or it could be a complete turn off for some people as they were expecting the plot to be clear from commencement.

Mise-en-Scene. (setting, costume, expression, lighting, props)

-Cinema logo
-Darkness (connotes mystery and enigma)
-Conservative attire (hints at a proffesional occupation)
-Eye level shot (give the notion that the object in question is niether inferior or superior to you, the viewer.)

Types of shots used.

-Fade
-Close Up (intimate, hints that there will be closeness with the main character. We will see more of them.
-Long shot (establishes the location of the scene or where a certain character is)

Sound and Music.

-Exaggerated background noise. (city noise)
-Thumping Techno-beats (hints that the film will be 'New Age' and modern. This is used instead of the usual classical piano and wind instruments to instill the 'modern' feel to the movie.

Does it include the opening titles? How are these managed?

-They don't appear at the exact starting point of the movie, later on after the scene has been set and a vague plot is laid out, the titles are shown.
-The titles are shown in clips, using jump cuts.
-The text is shown as flashing images of the cast and crew's names.
-They use images as well as text, the images consist of police documents like evidence files for a murder case. Other images are moving snaps of the processes of making illegal documents. All these pictures indicate what the movie is going to be about as people usually connote these sort of things with either murder-mysteries or thrillers.

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