Opening Sequences Evaluation

I
Opening sequences can take the form of:

• A short sequence which flows on to the rest of the film seamlessly.
• A short 'film' in itself which features at least one of the main characters in a previous time / different location to the rest of the film. (e.g. the James Bond films).
• A montage of video and audio with titles on top. (e.g. Se7en).

To be easily recognisable to audiences, opening sequences must have several conventions. The 4 most important conventions (in my opinion) are:

1. Introductions to the characters. These let the audience create their initial impressions of the characters and tell the audience how they should respond to them.
2. An introduction to the context of the narrative. Films will quickly show the audience when and where the story is set. In most films, the audience must work out the context by picking up various clues. In a few films, this is explicitly established with a simple subtitle.
3. Opening titles / credit sequences. These will tell the audience who stars in it, who directs, who else worked on the project and the title of the film. The first two of these help the audience gain information about the film (as I talk about more in III).
4. A soundtrack relevant to the plot / genre of the film. These anchor the genre of the film; a comedy is likely to have fast-paced, upbeat, pop music for example whereas a horror movie will probably use tension-building music.
   

II
As opening sequences are part of the narrative structure, they also have various narrative functions:

• Establish the initial equilibrium (according to Todorov's theory) and sometimes show the disruption.
• Show the audience who the main protagonist and often hint at what their journey will be (according to Propp's theory).
• Initially get the audience's attention so that they want to keep watching the film to find out more.

III
From watching an opening sequence, an audience member can gain multiple things:

• Institutional information about the film from the opening title sequence / who is credited.
• Information about the genre of the film; this information comes from all the signifiers in the film and what they signify, and sometimes by who helped with the production of the film (e.g. if the opening sequence says it was directed by Alfred Hitchcock, the audience will assume it is a thriller).
• Information about the film's themes and some of the narrative. (as mentioned before).

IV
An opening sequence is also important for film-makers as they gain the audience's attention. The audience's interest (which is gained from reasons mentioned previously) is very important for making a profit by getting the audience to spread the film via word-of-mouth and getting more people to watch the film.

Barthes' Theory on Narrative Structure (Peeping Tom)

Barthes' theory says that text can be broken down and grouped by 5 different codes; the Enigma Code; the Action Code; the Semiotic Code; the Cultural Code; and the Symbolic Code. The most important of these to me and my coursework are the Enigma or Hermeneutic Code and the Action or Proairectic Code which I will apply to the opening of Peeping Tom below:

Examples of the Enigma Code:

• The majority of the opening sequence is shot from the killer's Point of View so we don't know who he is or what he looks like.
• This opening does not really establish the context of the film or setting, the audience only gathers that it's set in England because of the dialogue.
• The motive for killing the prostitute is not known by the audience at the beginning of the film (although we find out later on).
• The physical location is very dark so it remains a mystery where exactly this is and what else is in the location.

Examples of the Action Code:

• Man starts filming with a camera in his jacket.
• Man approaches prostitute who offers him her services.
• She leads him down a dark alley and into a building.
• They go up a flight of stares and into a bedroom.
• He takes out a (unseen) weapon and approaches her.
• She screams and he continues to film her reaction.

Levi-Strauss' Theory on Narrative Structure (Pale Rider and Die Hard)

Levi-Strauss' theory of story elements being organised into binary opposites seems to apply to the beginning (and presumably rest) of these 2 films even though they are very different in several ways.

Pale Rider:

• Quiet nature VS Loud horse riders
• Slow-paced town life VS Galloping riders
• Brightly lit town VS Dark rider silhouettes
• Constructing with wood VS Home destruction
• Slow establishing pans VS Action whip pans
• Locals' innocence VS Riders' violence
• Lone man VS Gang of riders
• Calm fighter VS Angry gang
• White horse VS Brown horses
• Relaxing music VS Disruptive galloping
• Passive town VS Active riders
• Bucket of water VS Match on fire
• Looking for gold VS Having money
• Survival VS Death of dog / cow
• Hope of miracle VS Aggressor's attack
• Mysterious spirit VS Normality
• Certainty VS Doubtfulness
• Youth VS Age
• Femininity VS Masculinity

Die Hard:

• Romance VS Loneliness
• Office Worker VS Cop
• California VS New York
• Wife VS Husband
• Party VS Dark truck
• Guard VS Criminals
• Security VS Hacking
• Happiness VS Sadness
• Safety VS Danger
• Togetherness VS Separation
• Classical music VS Suspenseful music
• Victims VS Villains
• Life VS Death
• Preparation VS Unprepared
• Peace VS Violence
• Home life VS Work life
• Experience VS Novice
• Elevated VS Underground