AS Film Brief Evaluation

My Final Film

Title Sequence Notes

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1. 0:00 - 0:02 (Studio - Lucky Cat Studios)
2. 0:02 - 0:04
3. 0:04 - 0:07 (Production Company -)
4. 0:07 - 0:09

1. 0:09 - 0:12
2. 0:12 - 0:14 (Director - Me)
3. 0:14 - 0:17
4. 0:17 - 0:19 (Starring)

1. 0:19 - 0:21
2. 0:21 - 0:24 (Actor Name - )
3. 0:24 - 0:26
4. 0:26 - 0:28 (Actor Name -)

1. 0:28 - 0:31
2. 0:31 - 0:33 (Actor Name - )
3. 0:33 - 0:35
4. 0:35 - 0:38 (Actor Name - )

1. 0:38 - 0:41
2. 0:41 - 0:43
3. 0:43 - 0:45
4. 0:45 - 0:47
5. 0:47 - 0:52
6. 0:52 - 0:57

1. 0:57 - 1:02 
2. 1:02 - 1:06  (Casting - )
3. 1:06 -1:11 
4. 1:11 - 1:16 (Music - Dooqu)

1. 1:16 - 1:19 (Title)
2. 1:19 - 1:21 (Title)
3. 1:21 - 1:24 (Title)
4. 1:24 - 1:26 (Title)

1. 1:26 - 1:28
2. 1:28 - 1:30
3. 1:30 - 1:33
4. 1:33 - 1:35
5. 1:35 - 1:40
6. 1:40 - 1:45

1. 1:45 - 1:47
2. 1:47 - 1:50
3. 1:50 - 1:52
4. 1:52 - 1:55
5. 1:55 - 1:57
6. 1:57 - 2:00
7. 2:00 - 2:05
8. 2:05 - 2:11
9. 2:11 - 2:16
10. 2:16 - 2:21

Storyboarding

Before I get started on the storyboard as a final locked plan, I decided to do just a little planning beforehand. With such a plot heavy movie, as thought about in my overview, I have to figure out exactly what the opening is going to reveal, without taking away the feel. At one point in time, I did think about haven a narrator, though, this could ruin the initial feeling of the movie, so I have, for now, thrown this to the side.

I wanted to involve the idea of nature, yet as also mentioned beforehand, some form of illustration, which could be my way into developing the story with simple Japanese styled signs and such, which also reveal the credits at the same time. Some of the imagery I have imagined is listed below:

Graphic Details

After Effects Tutorials

Black & White Footage in After Effects

Slow Motion Footage in After Effects

Realistic Rain Drop FX - After Effects

Cinematic Effect

Titles

After a short moment of thought, I've decided upon using a Japanese word with significant meaning, rather than to use a word that is familiar to the English language. There are plenty of places to search for this kind of thing, though, I may somehow find a way of linking back to the meaning of this word, and generally linking it into the sequence as a whole.

Out of all the places to search, I stumbled upon an article titled " 11 Beautiful Japanese Words That Don't Exist In English ". Out of the list, all of them are intriguing, though a few of them specifically stood out to me, and seemed to work for this rather difficult genre.

Here, 'll make a list of the more significant ones, and also include their Kanji counterpart, as I want to incorporate traditional Japanese writing. And I'm of course going to describe the meanings of these words, as without the meaning, they're not so effective as they would be otherwise.

Otsukaresama / おつかれさま

Means "you're tired." Used to let somebody know their hard work is being recognised, and that one is thankful for this.

Komorebi / 木漏れ日

Referring to sunlight that is filtering through tree leaves.

Kogarashi / 木枯らし

The cold wind that signifies the arrival of winter.

Mononoaware / 物の哀れ

Awareness of the impermanence of all things and the gentle sadness of their passing.

Yuugen / 幽玄

An awareness of the universe, triggering emotional responses too mysterious and deep for words.

Shinrinyoku / 森林浴

Going deep into the woods where everything is silent and peaceful.

Kintsukuroi / 金繕い

The art of repairing pottery with gold or silver joining the pieces, understanding the piece is more beautiful for having been broken.

Shoganai / ょうがない      

“It cannot be helped.” But is not discouraging or despairing. Means to accepting that something was out of your control. Encourages people to realize that it wasn’t their fault, to moving on with no regret.

 Since I didn't just want to decide on a title by myself, I created the above survey to decide on a specific title. Therefore, I'll have an audience deciding on what suits the story line best. Now just to wait, as see which title is bestowed upon this movie.

...And over the next few days, I collected my responses, and these we're the results, as listed below.

So, with this out of the way, I have sussed out two things in one go, with a fair survey taken with a total of 10 people. Not only does this survey decided on a title for me, but it also decides on the audience who my film is going to be aimed towards. 

I'm actually really happy with how this survey turned out, especially with the first question.

The title of my movie is going to be "Shoganai", I'll copy and paste the meaning for you to make it easier. 

“It cannot be helped.” But 

is not discouraging or despairing. 

Means to accepting that something 

was out of your control. 

Encourages people to realize that 

it wasn’t their fault, to

 moving on with no regret.

When I decided on including this title into the list of suitable ones, I really did love the idea, as it fits the storyline, which is back on the overview blog post.  It was really helpful having my audience decide for me though, as it determines what'll definitely fit with others opinions.

Overview

With my current ideas being a little all over the place as of now, it seems to be an especially good time to be throwing each of these out there after therefore having a storyline and such to link into the title sequence. This way, it'll be much easier to make some sense within the title sequence. I feel that my idea could use two types of title sequence, though all in all, will be a discrete title sequence, yet at the same time part of the movie, in a sense.

I haven't been able to decisively stick to one single idea, therefore, both ideas will be written briefly here, so that they can be compared. Then, I will decided on which I'd prefer to continue with. 

Let's get onto the synopsis, so the entire story is clear first of all. With what I have in mind, this must be done, as with such complex yet simply plots, it's needed to make the title sequence for whichever plot I choose something special. 

The story of two samurai brothers, following their 

powerful and beautiful tale of a blinded fight for 

power between one the two. Fate leads them in 

different directions, though fate is also what 

is to lead them to reunite years after these 

events.

The General, a violent monstrosity of a man 

and the odd one out in a family of high 

bloods tries to find his place in the 

wizarding society, during the 

war he is to begin.

A simple life, but a not so simple 

mind. A recluse questions his 

own reality; questions 

everything.

With three entirely different story lines at hand, this leaves me with multiple different routes to take. Although, it's been the easiest decision I've had to make. Amongst all three ideas, the final idea feels like the easiest to create a title sequence for; yet at the same time, it has an appealing, interesting and fresh idea behind it. 

Stereotypes and Representation

1) Screenshot a character from an opening from your sub-genre that supports or contradicts the theories we have just looked at (one cover for each theory). 

2) Post the images on your blog.  

3) Next to the image you have chosen to analyse in terms of representation/stereotyping, analyse how media language is used to create a stereotype that supports or contradicts each theory.

4) Then do a concluding sentence explaining how/why you will use similar stereotypes in your own practical work.

-Reservoir Dogs
Gender
Class

Sub-Genre Conventions: Camera

In order to make any piece of imagery, be it photographic or

A wide shot, extreme long shot, or more commonly a establishing shot is used simply for the reasoning of setting the scene. You can have a lot more freedom with the positioning of these types of shot. However, from a composition perspective, certain aspects can be purposely placed, especially if they were an important aspect to the experience the viewer gains, per say. 

Since this has been shot outside, we have natural lighting, which can definitely be seen as a bonus, provided this is what is required. Also, being set in a day makes and form of shoot a lot easier as opposed to at night, as this would require artificial lighting, which, though effective, is much harder to work with. One suggestion that could be made for the lighting, is with the reflections shining off the windows. With a different photograph focusing on this issue, this problem has been solved. However, I'll explain that much later on.

Mise-en-scene doesn't apply for this specific shot, however, for a few things it could very well have done. Especially for things such as props and also general setting. Since this is an establishing shot of a school/college, you'd typically expect this to come from something school related. This could be a teenage movie, indie movie or a slice-of-life movie.

For establishing shots, the general shot type would of course be an extreme long shot, to of course set the scene. Since the genre I will be going with is dark drama, the establishing shot would typically be from a high angle or a birds eye view, as these tend to build upon the dramatic feeling that is implied upon viewing. 

Big Close Up

Rule of Thirds 1

Rule of Thirds: Broken

Rule of Thirds: Correct

Rule of Thirds: Centred

Rule of Thirds

Over the shoulder

Under-Exposure

Fixing Under Exposure

Levels

Adjusting the Levels

Adjusting the Levels 2

Adjusting the Levels 3

Fixed Exposure

Finish!

Selecting a Type of Title Sequence

So, now that I have been over the research side of the title sequences, it's time for to select the type I will be using for my own coursework. At the end of this project, I should come out with a title sequence for my own specific film idea. I have a few ideas, but for now, those are not all that important. I have been a little weary about deciding, as I didn't want to make a decision that may be slightly out of my league.

But in the end, I have decided to create something in the nature of a discrete title sequence. I didn't specifically want to go with stylised editing or the titles over a blank screen, as these are far too difficult to recreate with so little skill, yet, a discrete title sequence could prove a slight challenge. However, the challenge is acceptable, as it will help me get to grips with how this specific field of film making works alone and specifically in detail.

though now that I know exactly what I want to create, my following posts will be a few title sequence analyses; which will help distinguish what makes a title sequence successful, and also help me hone in on my skills in this field.

What exactly /is/ a title sequence?

Well, this question is easily answered, though may have a slightly different description in the eyes of a filmmaker. However, it is certainly important to both the audience and the director; and is much more complex than one may imagine.

A title sequence is surprisingly an incredibly vital part to any film, and I'll get to the reason why in a moment. No matter the genre, you will come across some form of a title sequence, nine times out of ten as a matter of fact.

This sequence alone can appear insignificant as anything, however, it can prove incredibly important when trying to convey a certain mood, be it joy, excitement, humour, or even much more serious tones.

Each specific type of title sequence can work a little better for specific genres too; and each has its strengths and its weakness, as well as how difficult each is to recreate in terms of success rate. As a matter of fact, there are four more common types of title sequence, and I will be explaining each and giving a few examples in a moment or two.

They are certainly not there to simply establish the names and give credit to those who filled the main, more important roles of the film.

Title sequences portray much more than just the mood and tone however, these can reveal setting, and even give an indication on who or what the main protagonist or even antagonist are. Sometimes, it must be mentioned, the director decides that their title sequence will be a very mysterious one, only revealing the tone, as well as the genre of the film itself, and that is all they will wish to reveal, as a way of building suspense for a serious or semi-serious film. Whatever the intent, this sequence remains as important as ever, as it is the first thing the audience are going to see, and it really might just leave an imprint, therefore making it a successful film.

Without further ado, as I mentioned moments ago, I'm going to talk about the four most common types of title sequence that exist today; these are as follows:

DISCRETE TITLE SEQUENCE

NARRATIVE OPENINGS

STYLISED EDITING

CREDITS OVER A BLANK SCREEN

Napoleon Dynamite Opening Sequence Analysis

Napoleon Dynamite

Napoleon Dynamite was released in the year 2004; as an American comedy film; which definitely seems to have been aimed towards younger, maybe teenaged audiences.

The movie itself was directed by Jared Hess, who based the movie on  a much shorter film, Peluca, which was completed for an assignment whilst attending University. 

The film was produced by MTV Films, Napoleon Pictures and Access Films.
 

It was distributed by Fox Searchlight Pictures and Paramount Pictures.

Napoleon Dynamite was officially released on the 17 of January, 2004; with the age certificate of Parental Guidance (PG).

Though the title sequence is rather simple in style, and could be one of two categories. It coild be a Discrete title sequence, as what we see is related, yet at the same time entirely separated from the initial movie.

Or, it could be classed as simply titles superimposed on a blank screen. This is typically because nothing much happens in the title sequence, even with the way it has been displayed, this could be the case.

Though I feel it leans more towards being a Discrete title sequence, due to the way it is presented to the audience; and at the same time, reveals little pieces of information about the movie, even though it may not be related in any way at all.

Now that I have covered the basics, I'm going to go back to the institutional context. I have already covered the initial logos of the production and distribution companies, however, those are not shown in the title sequence. At least, not with their usual credidentials scrolling by, but instead, in a much more fitting and interesting way.

The words appear physically, in the form shown above. However, instead of showing their initial logos, the companies are revealed in a creative and non-direct, and this gets the audience to acknowledge what is on screen, and what has been written, as opposed to ignoring the typical dents.

These companies are revealed at the very start of the sequence, and this is an especially important factor, that should taken note of when it comes to creating the end product of my own title sequence.

This entire sequence does not involve much in terms of editing. In fact, all we see in terms of this are basic straight cuts. However I feel this is again a specific choice that was made, giving the movie a simple yet pleasant feel from the very beginning, through the title sequence.

One last thing about the way these companies have been shown, is how Fox Searchlight Pictures and Paramount Pictures are both shown with colours and tones vaguely resembling their actual indents. Though a minor detail, this is certainly an important choice, as through colour, the creators of the film are still representing them to the highest possible standard. And also, the items wihin these three shots are all relative to the company logos, to a certain degree.

I'm going to move onto the narrative as of now, as this is important to the title sequence, though this doesn't necessarily mean that this sequence is going to reveal a whole lot about the rest of the movie ahead of the viewer.

With the title sequence to Napoleon Dynamite, little narrative exists, yet at the same time, it does to some extent. The title sequence for this film in particular reveals a few things, such as setting, genre, and little snippets of information about specific characters, such as the main character.

...And this is where I move onto what the characters do within the scene. In fact, they don't do a lot, other than holding items up to the camera, before there is a straight cut onto the next shot, and so on. However, the items of which they hold up reveal little clues about each character. This is also where the creators begin to drag the audience in, as though it is an extraordinarily simplistic title sequence that could have come across boring, it passes quickly when you are paying attention to detail. I'll come back to this in a moment.

The most interesting shots for revealing things about characters are shown above. These shots especially draw quite a bit of attention to themselves, as they stand out against the other shots, which simply show food and plates. However, these stray from what you're expecting to see from the title sequence, and are what stop the audience from becoming bored quickly. I'm going to quickly make a little list of notes, as these show information which is relevant to the characters, and reveal who and what they are, along with their interests and such.

• U.F.O Abduction Insurance

This would generally be classed as a convention of sci-fi. However, due to the fact that it isn't that sort of movie, this specific genre can actually be representative of a stereotypically nerd or geek. Typically speaking, as an overall stereotype, and a extreme one at that, this fits into the above social group; as they are seen to believe in things that are not generally true, and seen as conspiracies.

The reason this is important to revealing the main character

• Preston High / Preston, Idaho 2004-2005
• Ninja Throwing Star
• Bigfoot and Me
• Sciences and Centaurs
• Lip Balm
• Doodles 
• Toy Cars
• Stationary / Maths 

Though these may be easily missable pieces of the sequence, at the same time, these choices were made by the director and makers in order to build up a sense of exactly what the movie is going to be about. Many of these contexts build up a sense of a teenage movie, and especially leaning towards the nerd aspects of a high school. Though these are all stereotypes of this social group, this builds on the comedy side of things, and that is due to the fact that stereotypes are a heavy part of comedy, and are mocked greatly through these means. The idea that it is set in an america high school is also an important aspect, as not only can the audience begin to imagine what the main protagonist is going to be like, but they can also build up a sense of possible representation and friendship with these characters, who haven't necessarily been revealed to us as an audience just yet.

However, though that is a setting that has peen specifically mentioned, the narrative through the title sequence works into the idea of an teenage movie; which would typically be set up into a high school setting. This is revealed again, through the social class that is being represented the most to begin with. Also, the food items which appear throughout are typically what you'd expect from a school environment. The idea of stationary, doodles on lined paper, and library books also gives us this the impression of a school. I find the choice of lined paper as opposed to plain paper especially interesting, as this is a minor yet true fact, and builds up on the high school theme quite a lot.





As of how many characters, I feel that this sequence only builds our knowledge and relation with the main protagonist, and this also reveals that the plot is going to be linear, rather than multi-stranded. As in, the plot is going to be centred around one character and one character only, as opposed to a movie which follows multiple goals and stories of characters.

Even though the setting, main protagonist, and social class have been portrayed in the title sequence, a lot is left unsaid. However, this is definitely a positive factor, as it makes the audience want to watch on and find out what is actually going on. Potential enigmas created include the general storyline, what is going to happen and other surrounding characters; such as a potential antagonist. Typically in a film such as this, where the main protagonist is a stereotypical nerd or geek, the audience don't need much prompting to figure out that the main antagonist is going to stereotypically be a bully of some sort.

representations

-what sorts of people/groups/ places represented and how

genre

-genre

sub-genre

-elements typical of genre (conventions)

cinematography

-shot types

-angles

movements

-ones used most often

-what shots are held for the longest

-specific shots composed and frames

-effect of this

-how does it make them appealing of effective

sound

-different sounds (dialogue, music, diegetic, non diegetic)

When are they introduced in relation (graphics)

-how much dialogue

-how many sounds at one time

-how are they mixed (when and how far they fade up or down)

Editing

-how does the editing follow continuity editing (180 rule, match on action, shot reverse shot, costume, lighting) if not, why?

-use only straight cuts

-any other transitions, how they used them?

-draw attention to themselves

-how long do dissolves and fades last

-how many shots within two minutes, how long each lasts

-timings to list of shots

-guide for production

-identify editing pace, where changes occur

mise-en-scene

-what elements are key to

setting

character

narrative

genre

-how many locations

titles and credits

-at what points do the titles/credits appear

-job titles

-how do they appear

-construction

-positioning

any other text (what when how)

Onibaba Opening Sequence Analysis

THE HOLE

      

   

DEEP AND DARK

ITS DARKNESS HAS LASTED

SINCE ANCIENT TIMES

ONIBABA

(Demon Woman)

Produced by HISAO ITOYA,

SETSUO NOTO, TAMOTSU MINATO

   

Original Screenplay by

KANETO SHINDO

Director of Photography

KIYOMI KURODA

Music

HIKARU HAYASHI

Sound

TETSUYA OHASHI

Art Direction

KANETO SHINDO

Edited by

TOSHIO ENOK

                       

    

Starring

NOBUKO OTOWA

JITSUKO YOSHIMUA

KEI SATO

JUKICHI TONOYAMA

    

Directed by

KANETO SHINDO

 V 

FIRST SHOT PAN DOWN DIEGETIC WIND HOWLING THROUGH THE REEDS MEDIUM LONG SHOT

PANS DOWN TO HOLE IN THE GROUND AMONG THE REEDS MEDIUM LONG SHOT FROM THE VERY BEGINNING BUILDS UP TENSION AND AN UNSETTLING VIBE

STRAUGHT CUT TO A SHOT WORMS EYE VIEW FROM WITHIN THE HOLE LOOKING UP AT SKY MEDIUM LONG SHOT, CENTRE FRAME TO THE RULE OF THIRDS EERIE WIND DIEGETIC CONTINUES

TITLE APEARS CENTRED, IN THE CENTRE OF THE HOLE, WHITE TEXT, BIG AND FOREMOST BUT WHITE OVER WHITE?

STRAUGHT CUT TO MEDIUM LONG SHOT BIRDS EYE OF THE HOLE AGAIN, TEXT EITHER SIDE OF THE HOLE AGAIN, BIG AND BOLD

SOUND BRIDGE IN EDITING UP UNTIL NOW, THE HOWLING DIEGETIC WIND CONTINUES THROUGH CUTS

STRAIGHT CUT TO EYELEVEL MEDIUM SHOT OF THE REEDS FROM THE SIDE, MORE BIG AND BOLD TITLES, WHITE, EERIE HORROR MUSIC BUILDING THE TENSION MORE AND MORE BEGINS, JAPANEE FEEL TO THE MUSIC COULD BE MUSIC TO A CHASE SCENE OF SORTS, LIKE THE HUNTER BEING HUNTED OR SOMETHING OF A SIMILAR DESCRIPTION SINISGTER LIKE SOMETHING BAD IS ABOUT TO HAPEN UNEXPECTEDLY

41 SECONDS TO 1:09 VERY SIMPLE, SLOW MOVING, BUT THE TITLES APEAR AND DISSAPEAAR QUICKLY, AND THE MUSIC KEEPS IT EXCITING TO KEEP ADIENCE HOOKED

SAME SHOT OF THE REEDS, UT THIS TIME IN A MEDIUM CLOSE UP, LIKE SOMETHING IS STALKING THROUGH THEM

VERY DIZZYING AND CONFUSING- DISORIENTATES THE VIEWER CAMERA SWAYS SOMEWHAT IN THE OPPOSIDE DIRECTION TO THE WAHY THE REEDS GO IN THE WIND

ANOTHER LONG SHOT 1:10 TO 1:30

SHOT FROM THE OPPOSITE SIDE OF THE REEDS, MEDIOUM LONG SHOT AGAIN

STRAUGHT CUT FROM THE REVERSE SIDE AGAIN- AS IF TWO PEOPLE OR CREATURES ARE OPPOSITE SIDES OF THE REEDS FROM ONE ANOTHER

I have to admit, upon viewing the simple yet spine chilling title sequence belonging to the old Japanese movie Onibaba, I couldn't help but feel somewhat disturbed, yet at the same time intrigued. As a horror movie, he holds a certain flair that many movies in the current era have turned a blind eye to. It is incredibly simple, with one image within the shots that remains the same. Yet, partnered with the non-diegetic sound, it creates a spectacle, leaving the audience on edge.

But once again, before any of this comes into play, lets have a look at the bottom-line, simple little details about this movie. Then, I'll take you a little deeper down the rabbit hole of Onibaba:

Production Companies: Kindai Eiga Kyokai & Tokyo Eiga Co Ltd.

Distribution Companies: Orb Films (UK, Theatrical, 1968)

Eureka Entertainment (UK, DVD, 2005)

Palace Video (UK, VHS, 1983)

Release Date: October 1966 (UK)

Age: Rejected

Type of Sequence: Narrative. I went ahead and found a full version of the movie, and after the title sequence, it continues in quite the same way, smoothly transitioning from title sequence to the movie itself. I know this, due to the fact the film itself carries on in the same field of reeds that made their appearance for the title sequence in its entirety.

With this brief overview above, I can move on to explore the institutional details of which appear throughout the chosen sequence. Now, this has proven just a tad difficult, due to the fact that the titles appear in Japanese. Although, after discovering the subtitles, I found there to be indeed, no institutional context to the version from Art of the Title. Finding the film in its entirety helps somewhat as two companies are mentioned that relate to my previous research.

With the logos that have appeared above, I can deduce that, for the English release, at least, the distribution and production companies in lead are Eureka Entertainment (The company who released the DVD in 2005), and Kindai Eiga Kyokai (The production company).

These are both shown in black and white. However, a point that should be made, is the fact that this movie is from the year 1966; and therefore, black and white was how most films were being produced during the era. Although, I do think, though not purposely done, the black and white works well for this style of movie. It gives it that edge of uneasiness.

Moving onto narrative, and, there really isn't much to explain. Though this title sequence follows the narrative, in a way, not enough is revealed to us, the audience. Due to this fact, it becomes more discrete, building up one massive enigma for the audience grow hooked on. This, in a way, is why this film definitely deserves kudos. It works as a horror title.

I feel that it is not quite necessary for me to show images here, but I am going to do so to back up my points just a little better. The sequence focuses on the reeds quite specifically, using this aspect to the mise-en-scene to their advantage. However, not only is the focus on the reeds, but the hole in the ground, using the line of text:

'The hole... ...Deep and Dark... ...Its darkness has lasted since ancient times...'

Now, obviously there is a strong tie to the importance of the hole, and this begins to drag the title sequence and the move towards a far more linear narrative, as opposed to the multi-stranded narrative of World War Z. Despite the building focus on the enigma throughout, this sequence is very linear- Taking the fact that only one set of imagery has been used to build the tense, spine-chilling vibes.

  

Within the mere two minutes of the sequence, there is very little narrative. However, as mentioned previously, this is incredibly effective, and adds a burst of individuality to the disorientating and confusing narrative that we have already been introduced to.

Since no characters, nor protagonists, or even antagonists have been revealed to the audience as of yet, it is incredibly difficult to distinguish which people, or groups are being represented. I would like to suggest males of ages 18-28 being interested in this movie, however, I feel that it is targeted towards both men and woman of this age range, whom enjoy horror movies. Since the credits reveal a full Japanese cast, I am lead to believe that it is of course, representing the people of Japan, considering this fact.

With the genre being horror, and the general basis of the sequence, it is targeted towards an incredibly niche market, as it is not a Hollywood production, and therefore, not mainstream in the slightest, on a global scale- Especially if you take into account the fact it was banned in many a few countries. Therefore, it is a very cult inclined title, and most likely enjoyed by a minority, as opposed to a majority.

Having a look at the demographic side of the deal, and it’s a little simpler. Though either gender would view this movie, with the bold fonts used, as mentioned before, this film is primarily target towards the males; females being the secondary audience. Now, with a star vehicle such as Brad Pitt, you have the males, who look up to him and aspire to be like him. Then of course, the females will also be in the audience, since he would be seen as attractive to these woman. Being a movie full of action and violence, the males again, slip into the primary audience, and that’s all there is to it. 

We have a D-E grade with the income bracket for the primary audience. This is because, especially with the E grade, you have students, and casual workers. People in this bracket generally tend to have more time on their hands, and more money to splash out on going to the cinema. They are generally younger, aging between 15-25 in this case. So, the primary audience for this film: 

Aged between 15-25 

D-E Grade 

Male  

Now, with this in mind, we see that the secondary audience would be anyone outside of this bracket. Not so much under 15, but very well above 25, female/other, or and grade above D. I realize that with film concepts I have in mind, this is around about the same representations I’d like to use myself. Very similar, and I’ll keep this in mind. 

I want to quickly add on the fact, that though the film is set in America, the problem has spread worldwide, in narrative, and therefore, primarily American’s are represented, though really the film represents people on a global scale.  

Finally, there is an elephant in the room, and this would be the psychographics for the movie. In a sense, these are practically bringing up the groups of people represented. The main group in this bracket of which seem to be represented the best, would be the explorers. They are interested in both personal growth and social change. However, I feel that social climbers wound just about fit into the bracket too; especially if the film is in the mainstream market of movies.  

I had to add a little later on, that throughout the sequence, at around 0:25 and onwards, we see pictures of suburban houses in seemingly an American neighbourhood. Not only do these represent an audience, but also, potential characters. They seem like houses of either an C1-C2 grade family, potentially. Therefore, these groups are partially represented, if only within the secondary audience. 

Thankfully, the genre within this movie is relatively simple, and easy to pick out in the title sequence. In a way, this is incredibly excellent, due to the fact genre is typically incredibly important. The genre at hand is a action/adventure, and as more of a sub-genre, horror. The sequence itself heavily connotes these genres, and is full of related conventions to portray this. It is fairly fast moving, yet at the same time, simple and dramatic enough to build a disturbing and unsettling vibe. While this may not seem important, it is. This sinister vibe builds up the heavily imposed horror genre. As for action and adventure, the star vehicle, Brad Pitt brings this into play. When you see his name, silly as it sounds, it becomes a convention of the action genre itself, especially. He is a typical action actor. 

Cinematography. A big playing puzzle piece to any sequence of film. To make a visually appealing, non-boring and original, the variation of shot types, angles and camera movements is vital as ever.  

The very first shot with an image we see, is a shot of the ocean. This is a very slight high angle, long shot, and a still; and 6 seconds. The next shot is the clouds on seemingly the same beach, although, these are time-lapsed. This time we have a low angle, looking up at the sky. Making reference to the fact that these beginning shots are very simple, and mundane. Thought the sequence, you’ll see the disturbing content slowly working its way in, steadily rising in an effective manner. 

 Now, I don't want to ramble on quite so much, so what I'm going to do it link screenshots of a similar nature together, sorting them into categories, if you will. 

 With the imagery of birds flying in flocks, a suggestion that they may be migrating for their own safety, of perhaps flying off upon being startled, a running theme begins to emerge. Each of these shots are filmed in similar ways; somewhere between eye level and a low angle. Two of them are still, whilst the first is a tracking shot. However, they all follow the same simplistic premise of birds flocking, and travelling. Again, a running theme here seems to be the idea of animals sensing when great danger is emerging. I'll expand on this in a few moments. All of these shots are long shots. 

 The next category of shots involve people, more precisely, a mix of women, men and children in seemingly overpopulated cities. Now, I had to point out the idea that this film is on a worldwide scale, due to the fact that the cities shown are in different countries. It isn't that this should be important, but I feel that the fact they are showing what seem to be overpopulated areas, I'd say it is an important little detail the developers of the film wanted to show during production. 

Following on from what I said about the migrating birds, and what I'll mention later about the animals sensing danger and such, I feel that they are trying to highlight the fact that in this apocalyptic storyline, there is an epidemic fast approaching. Not only this, but the way this feels like it is a news report of sorts; or the news in general, I've come to understand that this was all purposeful imagery, random as it seems. It's there to make you think, and with the voices of reporters in the background, this becomes clear as the light of day. 

Back to the above shots, and we see mainly high angles, looking down upon the people in the shots to try and show the highlights of the issue. Again, this could also be showing the vulnerability of humans as a species. That, although we believe we are invincible, in the end, we are just as prone to extinction as every other creature around us. Many of the shots are still, although a few add pans and zooms to add just a little more diversity than without the effects. However, the camera stays relatively still throughout the sequence in its entirety. This alone, makes it feel very much like a news channel report. 

Though some of the shots are shown in the form of medium shots, and medium long shots, the majority are shown in long shots. Again, I feel this is to try and portray the extent of the problem.

     

 Here, the cinematography is used to highlight where the movie is going to be set. We see places such as Las Vegas, Little Rock, Las Angeles, Miami, etc. These are all flights to places around America, which reveals where the movie is going to be set, or at least, for the most part. This shot is still, viewed from a low angle looking up slightly, and tilted a wee bit. To partner this shot, we have a passenger plane taking off, again, from a low angle, looking up. I've noticed that this films title sequence, especially enjoys the use of camera angles. Of course, this is a good attribute, as it keeps the audience from becoming bored, and keeps everything as visually appealing as possible. Here, we have a medium shot of the flight board, an extreme long shot of the plane, and the final board it more of a medium close up/close up. 

   

 I find the next collection of shots incredibly important to the idea of an epidemic. Even if, in today's real society, the extinction of bees is an incredibly drastic and looming issue. It's awfully pressing, and its only natural for the film makers to have made this decision. Though it is not really linked to the film itself in any form or way, it connotes the idea of an epidemic so well, I can see why they didn't pass up the idea. It's a small spark of genius, used to provoke the thought of worldwide problems within the minds of the audience. Since these shots are indeed of bugs, we see them from an array of high angles and birds eye views, in what appear to be close-ups, showing every small, squeamish detail of each individual insect. This of course, adds to the horror aspects too, as it makes you uncomfortable, and is something many wouldn't want to be so close to.

 Once more, we have another issue that is a worldwide problem in the current period of time, and in the recent few years, it's been big as ever across the news. Not only the pollution, and the over-fishing of our oceans, but also the idea that dolphins and other such sea creatures have begun beaching themselves, and washing up dead across beaches. And wouldn't you know, it's another worldwide issue. 

This is very thought provoking too, as it brings real life issues into play within the confines of a narrative world, making it more realistic than most. In the form of news images, we have the image of dead dolphins, and what looks to be a dead whale in another, both shown in high angle shots. This, as with the human beings, makes them seem vulnerable and helpless to the effects of nature. Something this film has a habit of doing. These two shots, as well as the high angle and low angle of the ocean, are portrayed in medium - medium long shots. Aside for the shots of the mass of fish, which his an eye level shot, and somewhat close up. 

What's come to mind through the entirety of this sequence, is the fact that, though it may be stylised, it is also a hybrid of discrete, as it shows many different shots, many close up in nature, and it is very fast paced. Not only this, but the sequence is very multi-stranded in narrative, leaving it, as said, very discrete and full of enigma.

    

   

And finally, the concept of news reporters, but also reality TV shows come into play. We see plenty of spokespeople, dictator, government officials and reporters speaking, as well as what appears to be a conspiracist. All of whom are shown in medium close ups and medium shots. Now, these shots along with the sound are what truly begin to pull everything together, and build up more links within the sequence than ever. However, I'll bring up the sound a little later. It should be noted that these do seem to link however, to keep the diegetic-sounds for these shots in mind. 

    

    

   

And last, but not least; predators. This imagery portrays predatory animals, some of which are going for the kill, others enraged. Now, this connotes the violence within the sequence. Also, this could very well link the zombies into the sequence, on a subconscious level. However, these shots seem to put the viewer on edge, very much like the imagery that has been shown of the bees previously. All of these shots are medium to medium longs, and are again high angle shots. 

As mentioned throughout the cinematography segment of this analysis, sound is wove in intricately to add to the story itself, and create links between each and every piece of imagery shown through the sequence. It makes things far easier when everything has been sorted into categories, as it really shows why everything links through all of my explanations and discoveries on each. 

But, right now, let's go back to the sound aspects. The non-diegetic music throughout the sequence slowly builds in extremity and tension through the sequence, slowly but surely getting more fast-paced, dramatic, and loud. This in itself builds the tension, and along with what is on screen, really manages to send a shiver up your spine. Along with building on suspense, and intensity, as well as adding to the horror conventions throughout, it builds almost, a sad, vulnerable and inevitable vibe, really hooking the viewer into the film. It builds an professional finish. 

As great as the music is, what seems to be that bit more interesting, would be the diegetic dialogue included. Just as I mentioned with the shots of news reporters and so on. Words such as: 

 "doomsday" 

"...another group of dolphins have been stranded..." 

"CO2 emissions have dramatically increased" 

"police say they've seen similar cases recently" 

"The UN health agency is not likely to recommend official travel restrictions" 

 This combined with the non-diegetic music quickly begins to grow unbearable, and the voices throughout most of the sequence are hard to pick out from one another. I feel the overlapping voices within this sequence were done on purpose, so that they are hard to bear and understand. Meanwhile, the spoken, diegetic speech that can be understood, has also been left that way to make it stand out. These are important snippets of information to begin explaining the story line of the actual film. As shown above, the pieces of information I was able to make out, are in fact conforming just what I suspected, with the imagery provoking the idea of an epidemic of sorts. 

In terms of editing, there isn't much at all to speak about. Continuity editing, in terms of 180 degree rule, match on action and such aren't really present in the slightest. Although, there is definitely continuity in terms of how the sequence carries the same type of editing throught, not straying away from the stylised typing that it has picked up. As mentioned before, everything links in someway or another, therefore, there is some continuity with this concept being carried through- The idea of an epidemic. Now what is interesting, is the way that, despite the sequence only uses straight cuts in terms of transitions, it looks as if transitions have actually been used in other ways, to create effects by layering the same clips atop one another in Premiere Pro, and using transitions to create and interesting distorted effect. I'll add some screenshots: 

Of course, this isn't the only stylised editing in the sequence, as there is a video effects tool in the Premiere Pro software, by the name of Corner Pin, which seems to have been used in this sequence too, to create the angular edged some of the clips are seen to have, Again, more screenshots to explain my findings:

        

   

Here is where something interesting comes into play in terms of the editing. At the very end of the sequence, the screen zooms out to reveal the words 'World War', and within the lettering, are the little clips we've been seeing all along, throughout the rest of the sequence. This is especially effective, as it draws the sequence together into one linear, narrative line, whilst at the same time, keeping the multi-stranded feel that has been there all along.

   

I'm going to be brief on the mise-en-scene, as I feel I've already described this enough throughout the cinematography explanation. Though the narrative works on a global scale, the actual setting of the movie is somewhere in America, as shown below. This is due to the fact that all the places listed, happen to be in the USA. And this information would not have been relevant in the slightest, had it not been the main setting of the movie. 

Character-wise, little is revealed. However, with imagery of a suburban neighbourhood, and fairly common American family homes, we learn that they are a family, considering the size of the house, and are middle-classed. 

In terms of the narrative, the things brought up and discussed have shown the mise-en-scene and what it means.

 What is however, and important aspect to this, is how many locations have been used within the two minutes of sequence, there are a heavy amount. I'd say at least 25+, considering the fact that near enough every single last little clip has been shot in a different location. Like I said before, I feel this is simply due to the fact that they wanted to put the narratives epidemic on a worldwide scale, and a way to portray and connote this concept, was to have it all shown in different countries and locations, globally.  

  Of course, since I am analysing the title sequence of this film, what would it be without a talk about the titles and the credits shown.   

  I want to quickly go over the fonts and the likes, since I have only mentioned it once, back in the institutional category. The fonts remain the same all the way throughout the sequence, building up a simple, yet effective vibe. In short we have:  

  

Pure white in colour  

Big and bold  

Connote a male primary audience  

Simple, but effective  

News report-like  

Relatively, but still stand out  

Centred somewhere within the rule of thirds  

All straight cuts  

  

Now that this has been re-explained, I'm going to list the order in which job titles appear, and which there are: