MP - Analysing an Opening Sequence

The Covenant (Harlin, 2006)

Candyman (Rose, 1992)

30 Days of Night (Slade, 2007)

Genre: 30 Days of Night (Slade, 2007)

1. This film belongs to gore horror. This is evident from the details revealed in the opening sequence, such as blood on the photos of the families, and the eerie music.
2. I feel that the audience expectations are fulfilled greatly in this opening sequence. There are many conventions used, such as slow, minor key non-diegetic music and constant slow panning cuts that fade in and out of each other. Also, the objects shown are very iconic of horror, the broken glass for example gives a notion of chaos and terror.
3. This opening sequence conforms strongly to the characteristics of the genre, using many standard conventions and iconic items.

Media Audiences: 30 Days of Night (Slade, 2007)

1. The target audience for this film is the core audience of 15-24 year olds. This is likely to be because the theatrical release dates for the horror genre are often in between the holiday seasons to avoid clashing with the blockbusters and family films. The frequent cinema goer is therefore more likey to see this type of film than any other group.
2. I feel that the only audience reading is that the people in the photos will die throughout the film, with those who have more screen time becoming the heroes who try to save the day but die anyway.
3. As a British teenager, I can relate to the apparent deaths of the characters, as this is a regular occurence that features on the news.

Film Language: The Covenant (Harlin, 2006)

1. The low lighting in this opening sequence, suggesting a plot with death. The montage style of the opening also connotes chaos, which is strengthened by the quick cutting rate. Furthermore, all of the montage shows images that seem to portray the hunting of people who are different, and the persecution that was rife throughout the 17th Century.
2. Most of the shot sizes are extreme close ups of old books, paintings and texts etc. setting the audiences' minds into the mood of hunting and slavery that featured heavily through the time period that is initially introduced.
3. During the typographical explanation of the pre-story, there is just the quiet rumbling of thunder in the background, which gets graudually louder, until there is a sudden thunder clap which coincides with the final words of the explanation. This places great influence on these words, and sets the idea that these words are a central part of the film in the audiences' mind.
4. There is no dialogue throughout the opening of the film, which gives the feeling that the characters who are to be introduced later are very secretive and quiet about themselves, not wanting to draw too much attention from others. The fact that none of the characters are actually shown in the opening sequence furthers the thought that they keep to themselves and do not wish to give anything away.

Narrative: Candyman (Rose, 1992)

1. The audience is placed at the beginning of the linear narrative of the story, with a bird's-eye view extreme long shot setting the location as an American city. This is the only development of the narrative during the opening, with Phillip Glass' music doing all of the work of setting the haunting mood for the film.
2. The simple showing of the American people commuting, along with the non-diegetic soundtrack initially identifies them as the victims of the film, which is reinforced by the fact that the audience is looking down onto the city. This also gives an idea that there may be a killer among them, which in itself alienates everybody, as the audience is not shown a villain.
3. The major themes in the narrative are that everyone is going about their daily business as usual, with the music introducing the thought that there is something waiting in the wings which will throw the city into chaos perhaps.
4. It is clear that the tension is created and held mainly by the minor, extremely sorrowfu music. However, the length of the cut is also slightly unsettling, as this is not a usual convention of any film genre for an opening sequence.

Representation and Ideology: The Covenant (Harlin, 2006)

1. The main social group represented in this opening is the covenant and those with 'The Power' whom they protect. They are revealed in the typography that features at the start of the title sequence, which explains the background of the plot to the audience. Those who hunt the people who have 'The Power' are also represented as likenesses of the 17th Cent witch hunters. These people are also showed to the audience in the explanation of the pre-story.
2. It is clear that the beliefs of the 17th Cent such as witch-hunting and persecution are represented as alienated in the way that the Covenant is formed to protect people from them. Also, there is a strong religious aspect of beliefs that features in the opening.
3. The characteristics of the genre are treated in a conventional way, without any ironic meanings portrayed. This reinforces the genre which the film belongs to. However, the audience is placed among those with 'The Power', who would normally be seen as the antagonists. The roles are reversed however, with the humans who do the hunting becoming antagonist.

Institutional Context: Candyman (Rose, 1992)

1. No star has been used in this opening sequence, which does suggest that the studio may be independant with a small budget. However, the entire opening scene is a continuous bird's-eye shot which is taken from a helicopter - these aren't cheap to hire, so a star may appear later in the film.
2. The film was distributed by TriStar Pictures, a subsidiary of Columbia Pictures, itself a subdivision of Columbia TriStar Motion Picture Group, which is owned by Sony Pictures. Sony Pictures is a large film group, making this an 'industrial' film.
3. Candyman had its opening at the 1992 Toronto Film Festival, and came in at number 75 on 'Bravo's 100 scariest movies'.
4. I would not say that the production values of the institution (Sony Pictures) are evident in the production values of the opening sequence. Large commercial studios tend to have higher cutting rates and flamboyant typography and animation. The opening of this film is very visually simple, suggesting a lower budget studio.