COMP 1: Research (Film Opening)

AS MEDIA STUDIES

This blog post gives a list of 8 analyses on film openings - researched by me (Sharon).

Ocean's Eleven
2001, Village Roadshow Pictures

Media Language

The opening scene of Ocean's Eleven (2001) delivers a serious tone due to the presence of a now ex-prisoner, along with a dark movie tone. This can be seen from the medium shot from a stable camera position during the interview in the prison. The audience would expect a repeated crime coming from Daniel by the time of his release from prison which can be seen from the sudden cut showing a close-up shot when asked what he would do if released, his expression (a smirk) portrays that he may perhaps already planned another crime. The entire opening scene did not introduce us to what crime Daniel could have possibly done for his eviction, this could develop curiosity within the audience, as theorised by Barthes, the 5 Narrative Codes, specifically the Hermeneutic Code which hooks the audience to continue on watching in order to acknowledge what he actually did. Nonetheless, the scene showing a transformation of his clothes, from a jumpsuit to an elegant suit, also encourages the Hermeneutic Code - "What does he do for a living?" "What could the ring possibly indicate?" "Does he work for someone?"

Representations
It is highly speculated to be a (repeated) crime movie since it conforms to the idea of a crime film; a recorded medium close-up interview scene/session with either an ex/a prisoner, or witness, yet, this man (Daniel Ocean) is certainly a prisoner from its costume of a convict (jumpsuit). In addition to that, breaking the tense atmosphere with beats from a song that is typically played in casinos in Las Vegas. Therefore, the crime that was previously committed by Daniel was a possible offence performed in casinos, such as theft, illegal corruption of machines, or cheating. Nonetheless, the song was played after his release, this could foreshadow his next move - imaginably in casinos again - as he changed back to his fancy wear (suits and rings).

Audience
The target audience for Ocean's Eleven seems like it is more suitable for teenagers to young adults of age ranging from 13-30 with interests in crime, action, thriller, and possibly a hint of a comedic aspect. This can be perceived through the tense atmosphere when Daniel was interviewed regarding his release, however, a comedic aspect could be delivered from Daniel's facial expression (perhaps an empty-headed persona) when asked what he would do after his release with a soft but upbeat beat from a song. Secondly, the audience with an interest in the actor, George Clooney (Daniel Ocean in Ocean's Eleven), may be adults, in this case, as George Clooney was known for his act in the early days, such as Batman & Robin (1997).

Industry
I suppose, there is no CGI used so far in the opening scene as the interrogation room seemed legitimate (e.g. the darkness associates with how the situation is in prison, the sunlight coming through the small windows), as well as the medium close-up shot scene of Daniel coming out from prison - known since the building behind him shows the prison "North Jersey State Prison", or perhaps, the buildings could simply be artificial (props). All these set pieces and stages are significantly high in cost from the production industry.

Wild Child
2008, StudioCanal

Media Language

The bright and colourful movie tone, along with the props involved give an idea to the audience that this text may involve comedy aspects to it. 

Representations
Representations and stereotypes are employed explicitly throughout the opening scene of Wild Child. Firstly, the "dumb blonde" stereotype represents how blonde women are relatively those with lower intelligence. This can be viewed from Poppy's (Emma Roberts) crazy idea of a "perfect Malibu welcome" to her father's girlfriend by dumping her belongings and Poppy herself into the ocean. Her feral, out-of-control persona of a Malibu teenager further supports the "dumb blonde" idea. Additionally, the late 2000s and early 2010s are represented via the fashion choices, such as hipster fashion, long, chunky layered necklaces, tanks over a mini skirt, and wide, layered bracelets which were very popular among teenage girls. Also, items in her room represent the time period, for instance, the journal-like decorations on her calendar, the typography in the movie's title, bright furniture and pillows, and diegetic pop music listened to by her sister (Molly) via cable earphones. 

Audience
The target audience for this media would presumably be teenagers and young adults, ages 15-25. This can be acknowledged from the storyline of a wealthy teenager who is trying to live life to the fullest in Malibu, yet, got sent away to a private school in England, from what I suppose, sounds like an intriguing plot to teenagers since it foreshadows drama further in the movie - building audience's curiosity. Furthermore, fans of Emma Roberts (Poppy in Wild Child) are most likely to view this media text as Emma is best known for her infamous act in American Horror Story (2011), Aquamarine (2006), Holidate (2020), Nancy Drew (2007), and many more. 

Industry
The movie utilises possible CGI in the scene where Poppy jumps off a cliff, or perhaps a stunt double. The film also includes set pieces to complete the set and stages, this assists additional implication that it is the late 2000s and/or early 2010s like bright furniture and room decorations in Poppy's bedroom that were trending then. Also, extra costs were employed due to the presence of a hip-hop song listened to by Molly.

The Parent Trap 
1998, Walt Disney Pictures

The opening scene in The Parent Trap (1998) is predominantly a slow, diegetic song about 'love' playing over long-duration scenes of a narrative on a couple's (supposedly) wedding event which give an elegant tone to the opening scene (as it seems to be like a formal event). The narration simply from the long-duration scenes is supported by Barthes' Narrative Codes of proairetic code which depicts the sequencing of events. The long-duration scenes with fades in between the scenes could be due to the director wanting us to enjoy and relish the core memory the man and woman are making. This film's opening can be implied from the romance-type genre as it conforms to the idea of romance based on how it is represented in the media (as theorised by Stuart Hall's Representations theory), where there is a man and a woman present. The elegance, too, is assisted by the application of the ring in a close-up shot, fancy dining with waiters in full white, including white silk gloves, slow-dancing via an overhead shot to show/focus on the couple's movements (dance), candles, gold-plated furniture and doors, along with fireworks shown in a full shot with the couple in the left. The full shot is employed to communicate the actions of the characters while still giving a sight of the scenery (fireworks) to celebrate their 'wedding' supposedly as seen from the white dress worn by the woman and black suit and pants worn by the man.

The Notebook
2004, Gran Via Productions

The opening credit in The Notebook (2004) initially reveals a sunset over a lake which then gives a glimpse of a well-built house by the lakeside - introducing an aged woman who happens to be highly taken care of. This can be presumed from the connotation of the younger woman's dialogue in the house, suggesting to the elder woman to get ready for bed, which brings up the question, 'Does she have any problems, health-wise?' It mostly utilises an establishing shot of the scene of the warm, orange-toned set. The long duration scenes of the scenery of the sunset and a slow motion close shot of the birds, hence, largely give a calming sensation to the audience along with the presence of a slow, melancholic piano song, that being a non-diegetic sound. From this, the movie may be inferred to be a romance (drama) movie. Nonetheless, this provides a hermeneutic code - from Barthes' Narrative codes - as it leaves them wondering about the plot as to what the house could possibly be for. Such as, who could the person on the canoe be? Is the house all hers? Is the man on the canoe related to the elder woman?

Knives Out
2019, MRC

The opening scene from Knives Out (2019) gives a warm tone of the 1980s as delivered by the style of the house, vintage furniture and house decorations, along with a non-diegetic sound (song) of jumpy music. The audience would expect a detective to solve the case of the novelist's death. Additionally, the presence of the horses running away from danger edited in slow motion could connote that they're either running away from danger or looking in the direction of their sense of danger. The application of slow motion is to create suspense for the audience. Next, the short duration cuts of the close-up shots of the objects, mainly books written by novelist/writer Harlan Thrombey in the European house. Therefore, could this movie then be a detective case on the novelist's death? This could bring up hermeneutic code from Barthes' Narrative Codes as the death is left unresolved (so far), hence, the audience would question lots of things throughout the sequence/film, and perhaps, follow along the process of figuring out what really happened to the man.

Fight Club
1999, Fox 2000 Pictures

The credits scene in the action movie Fight Club (1999) gives a cool, blue tone to the setting. Similar to (500) Days of Summer, Fight Club has a narrator. The first half of the opening scene supports the idea of a crime, an action-thriller movie as it delivers a serious atmosphere due to the presence of a man threatening a guy with a gun in his mouth via an extreme closeup shot - a firearm is symbolized as a crime/threat that is bound to happen as theorised by Barthes' Narrative Code of Symbolic Code. The long-duration scenes showing the presence of a gun threatened into a man's mouth in a close-up shot could mean it gives us the time to give ourselves an explanation of how the man feels, involving the movements in his eyes throughout the scene. The quick camera movements show a 'journey' of places along with the narration voiceover which represents each place he is narrating on. Yet, the second half transforms greatly into a laid-back, comedic relief to the audience through a match cut (the head movement). This opposes the general idea of an action-thriller movie as the second half doesn't show any actions or any violent scenes, simply comedy. 

Baby Driver
2017, TriStar Pictures

The opening scene in the action movie Baby Driver (2017) is set in the early 2010s as seen from Apple's iPod in the crowded city of New York. This action movie is based on the act of robbery done by a group of young adults which utilises Barthes' Narrative codes of proairetic (action code) since the action moves the plot along via the car chase sequence shown on a wide angle and overhead shots featuring the numerous police cars running after their car, an upbeat song and diegetic sound (from the iPod), allowing the audience to hang on to the continuance of the crime. Initially, we presumed it would have been a serious movie tone from the fancy costume (suits), however, it subverts, shown by the choices of songs (booming hip-hop, I suppose), fast-paced cuts/clips and how the driver acts subdued, wacky and empty-headed throughout the act of theft, where the audience would greatly expect laughter, possibly more crimes being done, as well as a thrilling sensation out of this film. What I like from this opening scene is how they're able to hook the audience's attention via the exhilarating acts which come from the fast-paced cuts of scenes.

(500) Days of Summer
2009, Dune Entertainment

The opening scene in the romance movie (500) Days of Summer (2009) is narrated, which subverts the traditional style of film, regardless, it conforms to the idea of romance: a man and a woman. As theorized by theorist Stuart Hall, its Representation Theory represents the idea of romance, where there's a man and a woman. Yet, it also subverts as the narrator stated, "this is not a love story, but it's a story about love." This movie would deliver the audience's expectations to look forward to their romance - whether or not they end up together, another person is involved, etc. The growing-up compilation of childhood handheld shots&/videos in the credits scene, and a general idea of both Tom, a tranquil, well-spoken man, and Summer's, a thoughtful woman, childhood beliefs on love delivered by a match cut that gives a heartwarming sensation to the audience - presenting a warm, mellow tone. To add, an animated time jump shown on a day count to the past provides a slow-built storyline as the audience would expect what would happen from day 1 to day 500, hence the name (500) Days of Summer - utilising Barthes' Narrative Codes, the hermeneutic code. I greatly enjoy the opening scene as it conforms to my typical movie genre, however, it wins in creativity and uniqueness through the presence of a narrator that helps fill in the details of the storyline, along with the creatively edited and animated structure of the city together with the count of days. Regardless, I believe with the company of the day count, it may be difficult for some viewers to keep up with the narrative.