Poster for BLACKOUT:

Using only screen shots from our film, I randomly decided to create a poster for our film. This was made in a few minutes just for fun but I thought I might as well post it! 

(Conventional poster information and format has been disregarded as I just used what I could.)

[SEE THE GROUP BLOG FOR MORE INFO ON THIS POSTER...]

Opening Sequences: An Overview

What forms can opening sequences take? Can you list the conventional features of opening sequences?

There are various ways of presenting opening sequences:

- Opening credits overlayed onto picture.
- Opening credits break up the montage of picture.
- Straight into picture (first scene) followed by opening credits.

Conventional features:

- Introduce the main character of the story.
- Introduce the setting; the main area/location which the film will centre around.
- Contain referential codes; credits notifying audience of the production company, actors etc. This would give the audience an idea of what kind of film to expect, as certain actors and directors are well known for particular styles.
- Opening sequences are use like introductions to the film and its storyline, so the audience gets a stong idea of what the film is going to be about.


What narrative functions of opening sequences can you identify?

- At the beginning of the sequence, the equillibrium is established.
- However there is then a disruption to this equillibrium that the protagonist must try and overcome.
- The protagonist will overcome the immediate disruption but mystery will be left as the identity of the antagonist is still unknown to the 'good guys'.
- The opening sequence works to set up the films plot.


What do audiences gain from watching the opening sequence?

- Audiences immediately will gain an understanding (hopefully) of what themes the film will be based around.
- The Audience is also introduced to the main charcters, time and setting of the film.
- The audience should be able to identify the genre clearly.
- Clarity, interest and mystery should ultimately determine whether or not the audience wants to watch the rest of the film.


What do film-makers gain from including an opening sequence?

By having an opening sequence, film makers draw in the audiences attention. They do so by establishing genre, characters and style. An opening sequence provides the introduction to the plot which if successful, should set up a mystery to make the audience want to watch the rest of the film.

Applying 'Levi-Strauss' & 'Barthes' Theory:

'Die Hard' (1.0):

There are many pairs of binary opposites to be seen in the opening of 'Die Hard' and 'Pale Rider'...

- Happy vs. Sad

- New York vs. LA

- Together vs. Apart

- Contrast in musical themes

- Good vs. Evil

- Life vs. death

- Prepared vs. unaware

- Novice vs. experience

- Differences in approach, e.g. Bruce Willis walks into hotel and asks for direction, whereas bad guys enter and kill everyone along the way.

'Pale Rider':

- Cuts between Good guys vs. bad guys.

- Contrast between soft guitar playing and loud horses running.

- Everyday experience vs. spiritual experience.

- Riders vs. Man alone.

- Anger and fear vs. Calm.

- Water vs. Flame.

- Rich vs. Poor.

- Survival vs. Death.

Applying Barthes Theory to the opening of SPEED:

Action Codes:

The opening of SPEED is very clear in showing the audience the main characters, when we see the villian kill the guard it is immediately clear that he has evil plans. Once the police teams are called in we are introduced to the skyscraper where the situation is taking place and straight afterwards to our main characters with the police who will ultimately saved the day. We can tell that the film is set in the present day.

Semantic Codes:

The character of Keanu Reeves clearly represents bravery and does all he can to save the hostages. His viewpoint; "shoot the hostage", which he mentions to his partner also determines his actions when his partner is taken hostage, as he shoots him in the leg.

Enigma Code:

The situation in the building with the lift set to explode is discovered by the two main charcters and they do not hesitate to proceed in adverting the potential disaster. Mystery is set up as we are curious to find out more about the villain involved in these actions of terror and why he is doing it.

Referential Code:

Information is revealed most obviously through the opening credits which seem to go on for an age! The mise-en-scene makes use of lighting contrasts e.g. it is bright on the ground floor of the building, the police staging area, but as they enter unknown territory it appears darker. The lift which is where the hostages are is almost pitch black as the power has been cut.


Symbolic Code:

There are many symbolic codes in the opening sequence of SPEED, e.g. police uniforms symbolising authority and crime stopping. There is also symbolism in the characters emotions such as bravery and fear.

Finding Nemo: Propp's Theory

'Finding Nemo' (2003) is a father-son underwater adventure featuring Nemo, a boy clownfish, stolen from his coral reef home. His timid father Marlin must then travel to Sydney and search Sydney Harbour to find Nemo. Along the way he meets Dory, who has a very bad short-term memory but nevertheless is essential to helping him find Nemo as she can read.

Characters:
- Hero: Marlin
- Villian: The Humans (the little girl)
- Helper: Dory
- The Victim (Captive): Nemo

Propp's 31 Functions in 'Finding Nemo':
- [No. 1] Nemo leaves the reef.
- [No. 8] Nemo gets captured and taken by the humans.
- [No. 11] Marlin leaves the reef to begin his search for Nemo.
- [No. 14] Marlin meets Dory who helps and helps him get to where he needs to go.
- [No. 15] They arrive in Sydney where Nemo is in his fish tank.
- [No. 25] Nemo has the difficult task of swimming out through the pipe.
- [No. 30] Humans are punished as they lose all their fish.

Propp's Theory Evaluation:
Propp identifies the key charcters in most narratives, and whilst this is mainly correct, Propp's 31 Functions are not all include in films with only a few to be found. In my opinion this makes Propp's theory a very loose one and maybe just more of a suggestion as I believe that narratives vary too much to all be categorised into a structured "formula". Being so general in the study of narratives also means that important features of storys are overlooked such as setting and context; two features vital to the narrative of any story. Overall, I don't think that Propp's theory is wrong, but rather that it misses out, by generalising, on the essential differences between narratives and their composition that make storys individual and unique.