Black Swan: Opening Sequence Analysis!

Considering horror movies that would be most appealing to my target audience of young females I decided to look at Black Swan (2010, directed by Darren Aronofsky) for my forth opening sequence. The film centres around the inner turmoil of a ballet dancer, Nina (Natalie Portman), as she slowly begins to lose her mind; psychological thrillers were also the clear favourite sub-genre from my Survey Monkey results.   

Ballet is a dance stereotypically associated with females. It is also viewed (perhaps wrongly) by many people as ‘immature’. This would suggest that the movie is mainly targeted at younger females who, perhaps as dancers themselves, can relate to Nina’s situation striving for success and perfection within the strict world of a ballerina. 

Nina is an outsider, rejected and envied by the other dancers within her company; this is something that an audience of young people struggling with the difficulties of fitting in may empathise with. Young people can perhaps relate to her struggle with identity most of all, even if it is on a much more exaggerated level, and see it as a reflection of their own issues felt towards themselves. A certificate 15 movie, my target audience of 16-24 year olds would definitely have access to this movie.

As Black Swan begins, the audience hear non-diegetic strings, sounding almost like ballet music, in keeping with themes of the movie. Off-key string music was suggested for use in my own opening during my target audience research interviews. Once again, (as in Red Riding Hood and The Others) the credits that fade in are in sophisticated, white, serif typography.

 These fade in and out against a black screen before an establishing shot of a theatre stage, with conventional low-key lighting, is revealed. We are now introduced for the first time to the protagonist, Nina. 

She dances gracefully, gliding across the stage in a white dress (connoting her purity and innocence). White dresses were suggested as a contrast to the conventional dark colours used in horror movies by one teen during my target audience interviews. Furthermore, white dresses are often associated with the supernatural and ghostsly figures

As most opening sequences that I have analysed do, Black Swan begins very slowly with a series of slow moving shots. Cuts are infrequent and each shot lingers on screen for many seconds. Here the audience view many interesting angles as the camera tracks her movement and follows her steps, the camera focusing on her point shoes. I aim to attempt to be similarly creative in my own opening and use many unique and experimental camera angles in order to keep my movie innovative and most of all, more entertaining to watch. 

Rather than using frequent cuts, the camera tracks Nina’s movements with hand held camera work, making it clear that she will be the main focus of the next ninety minutes. This gives the movie an almost documentary feel, something I will perhaps decide against emulating due to documentary being a unpopular horror sub-genre in my Survey Monkey research (chosen by only 10.4%). 

Furthermore, the shaky camera work creates a feeling of unease and imbalance. This is a technique that I could perhaps emulate. The non-diegetic music suddenly becomes a lot more frantic and frightening as the pace of the dance sequence increases. The camera tracks Nina’s dance of desperation, the stage lighting almost creating lens flares making the cinematography pleasing to the eyes. As the dance comes to an end, the camera pulls back and the shot fades out slowly. The last thing the audience view is Nina moving her arms in a wing like motion. Animalistic howls were highlighted as a potential sound effect in my target audience interviews. Animals and people adopting animalistic qualities are often viewed as a conventional of the horror genre. This is something that I could include in my own piece.

As Nina awakes we continue to follow her movement in documentary style. This gives the suggestion that the audience are getting personal insight into Nina’s everyday life, helping them to feel more closely connected to this character. 

Unlike in both Red Riding Hood and Jennifer’s Body we do not get to know Nina through voice over. We learn about her characteristics and personality through her interactions e.g. we learn that the dance sequence was simply a dream through a conversation Nina engages in with her mother at the breakfast table. 

The mise-en-scene here is, as recommended during my target audience interviews, is stereotypically modern. Nina lives in a simplistic, average and contemporary modern flat. Similarly, the clothing worn by all characters is up to date and in keeping with current trends. This makes them much more relatable for a young target audience.

As Nina prepares for work we see a rather gruesome close up to a rash on her shoulder. Gore was something highlighted as conventionalof the horror genre in my target audience research interviews and is perhaps something I should include in my own piece. Furthermore, as in Jennifer’s Body, a close up to one particular body parts is disorientating and therefore creates an uneasy atmosphere. 

The cameraman almost appears to be following Nina as she steps onto the subway. This is effective in two ways: A. it suggests that Nina is simply a regular and relatable girl making her character appear realistic and easy to sympathise with. B. It almost appears to be an POV shot, creating a sense that Nina is being followed or watched by something supernatural. 

Although this is a psychological thriller there do seem to be some elements of the supernatural, perhaps imagined in Nina’s deranged mind. For example, in this opening sequence Nina believes that she has seen herself in another subway carriage, starring back at her, wearing dark clothing. The supernatural sub-genre of horror was quite popular in my survey research and perhaps a genre I should consider for my own opening. As Nina approaches the ballet studios the handheld style continues. Shaky camerawork and jumpcuts of Nina’s movement  towards the building again create a feeling of unease.

This opening sequence has no real climax e.g. a death scene. However, we are introduced to that character of Nina, mainly through her interaction with other characters. We also get clues about her neurotic tendencies from her reaction to the skin rash on her shoulder and her fear when she finds herself staring back at her on the subway.

I feel that I can learn a lot from this piece, clearly made with my target audience of young females in mind. I have enough information to now begin my actual planning!

Red Riding Hood: Opening Sequence Analysis!

The third opening sequence that I have decided to analyse for inspiration is Red Riding Hood (2011, directed by Catherine Hardwicke). While horror is only a sub-genre secondary to fantasy and mystery, this movie was clearly created with a target audience of teenage girls in mind. The main character, Valerie, is a pretty blonde teenager. A strong heroin that young girls may look to as a role model, she is also incredibly relatable. Despite living in a fictional world where werewolves plague towns and snatch children from their beds she struggles with the same everyday issues as the modern day teenager. Valerie is in love with an attractive young man (appealing to female viewers) but is forced to battle against disapproving parents. As she plans to run away with Peter, her ‘bad boy’ lover, the story almost becomes a Romeo and Juliet inspired romance. 

Due to the recent popularity of the Twilight Saga amongst young girls forbidden romance has become a fashionable and reoccurring theme in new releases.  Catherine Hardwicke seemed to be aiming to attract Twilight fans (she actually directed Twilight in 2008) to her newest project, even dressing Peter’s character in a way that reflects Edward Cullen’s style in Twilight. Similarly the setting of a dark forest also reflects the mise-en-scene of the Twilight saga movies.

 Despite, at some points, being a strong and admirable heroin, Valarie is represented as a gushing damsel in distress. Her two love interests (the idea of a love triangle was also taken from Twilight) save Valarie’s life on multiple occasions. Including a damsel in distress character was a popular suggestion in my target audience research interviews in order to make my characters more relatable. I aim to include a character that emulates Valerie in my own piece as well as including the elements of romance. Although Red Riding Hood is rated certificate 12 and is perhaps falls less obviously into the horror genre, I felt it was important to analyse to establish themes popular with my young female target audience.

The film opens with swooping helicopter shots of picturesque scenery. The snow glowing on the mountains is often associated with happiness and joy, not in keeping with conventions of the horror genre, however, frost and the cold can also create an atmosphere of mystery (e.g. in the movie Let Me In). This is pathetic fallacy (weather reflecting the mood of a narrative). It relates to the idea of a person being stone cold in death.  I could perhaps use snow, ice or frost in my own opening scene to create a creepy and mysterious atmosphere. However, I obviously cannot choose how the weather will be on the day that I decide to shoot so I must keep options open.

As the sophisticated white serif text fades in to reveal the credits the helicopter shots being to change more frequently. 

The camera moves 180 degrees, twisting and turning over a waterfall. This shot is quite disorientating and difficult to watch. 

The non-diegetic piece of music is unusual and almost medieval sounding. I prefer more conventional off-key piano and strings for use in my own opening sequence, particularly because my film will be set during modern times rather than in medieval times. Lighting in this scene contrasts to the usual low-key light of horror movies. Lens flares make the medieval village appear idyllic and the lighting shines yellow and gold. 

The colours of the setting make it appear unreal and conventional of the fantasy genre. However, in my own film I will most likely use muted and dark colours more conventional of the horror genre.

As the opening continues we learn more about the main character Valerie through her voiceover. This is a technique, similarly used in Jennifer’s Body, that I could use in my own opening to introduce the main character to the audience. We receive a mini narrative from Valerie’s childhood, watching a younger version of herself (with an appearance of innocence, blonde with rosy cheeks) race through the village with mise-en-scene to reflect the medieval setting. The audience learn that an animal must be sacrificed to the werewolf every full moon. The deaths of animals often foreshadow human deaths in the horror genre (e.g. as in Drag me to Hell and The Roommate). 

The little girl than races into the forest, the colours once again unreal and beautiful, just like a fairytale. The young girl Valerie runs amongst pink flowers and autumn leaves. Pretty cinematography would be appealing to a female target audience and is perhaps something I should consider including, although this does contradict the idea of using gore in my piece.

However, the perfect childlike image of innocent does not remain throughout the sequence as it is implied that Valerie takes the life of a white rabbit. Again, the deaths of animals suggest that human deaths are to come. 

It also implies that there is a more sinister side to Valerie. The pace of this opening sequence begins quite slowly and cuts are infrequent. Most shots used are typical mid shots.

The opening than skips ten years in time. 

We see a close up shot of older Valerie peering through the trees. This shot lingers on screen for a long time, allowing the audience to come accustomed to the main characters face. This is the first time the audience view the older Valerie (Valerie is dressed in period clothing. She is pretty and blonde, played by a-list actress Amanda Seyfried). This is something I may emulate in my own piece. 

As Valerie moves through the woods we see a series of long shots introducing us to the other characters living in the village. The non-diegetic music is quiet and uplifting as Valerie describes, through voiceover, the deep love she feels for Peter. Romance is already an important aspect of the plot.

The music suddenly becomes more ominous as we see a medium close up of a large axe, resting on a tree stump (weapons were suggested as props by a few teens in my target audience research interviews). The tension builds through non-diegetic music as the camera tracks Peter’s movement towards to log. The axe is no longer there. 

Valerie reappears with the axe and exchanges a flirtatious encounter with Peter. The camera tracks her movement around a large tree trunk allowing the audience to empathise with her every step (young girls may relate to Valarie through the uses and gratifications theory: personal identification and see themselves reflected in her character). The pretty orange trees also create an eerie atmosphere. Autumn is a season associated with movies of the horror genre due to Halloween falling within the month of October.

The sudden diegetic sound of a gong interrupts the romantic scene and creates a jump scare. Dramatically we hear the diegetic words ‘the wolf’ breathed by Valerie. The audience are kept in the dark and a sense of mystery is created. What or who is the wolf? Keeping information from the audience was suggested during my target audience research interviews in order to keep them gripped to the scene.

The non-diegetic sound now has a sinister tone and the pace of straight cuts increase. Slowly the villagers step back to reveal a long shot of the body of a young girl. She lies on the floor, two long and bloody scratches across her chest, her dress torn. Gore is a typical convention of the horror genre and perhaps something that I should include. 

The camera tracks away from dead girl, snow falling slowly and ominously with the non-diegetic music suddenly louder and mournful. 
 

This opening sequence has set up a challenge. The audience now realise that the rest of the movie will focus on finding the wolf and seeking revenge.

Red Riding Hood is the first opening to actually include a death scene. I feel that this creates a huge emotional impact. As we heat the diegetic sounds of Valerie’s despair at losing her sister we empathise, sympathise and connect with her. We see Valerie as on the side of light and the wolf on the side of darkness (in keeping with the Levi Strauss theory of binary opposites). As suggested in my target audience interviews, the viewer’s get to know the victims rather than the culprits.

I must emulate this in my own opening scene. I also feel that I should include a death scene in order for my opening to have greater impact. I now have more of an idea of how I must present my victims to make them relatable and I understand the importance of including a romance to attract young girls. However, for my own mise-en-scene I aim to use modern props, costumes and settings rather than the medieval style of Red Riding Hood in order to make my opening more relatable.

 Analysing this opening has been particularly helpful for me because it was aimed at my desired target audience. I have decided to now have a look at Black Swan which is another movie aimed at young females (the psychological thriller focuses on the life of a mentally unstable ballerina).

The Others: Opening Sequence Analysis!

The Others (2001, directed and written by Alejandro Amenábar) is the second movie that I have decided to analyse for inspiration. A personal favourite horror movie of mine,  it was also referenced a few times in my Survey Monkey research as a favourite horror movie of my target audience.

 The rating for this movie is a 12 making it more accessible to an audience younger than my 16-24 target audience. However, 34.6% of people who completed my survey claimed to enjoy the supernatural sub genre most. Furthermore, the jump scares in this movie would provide the thrill that teens seem enjoy (as expressed in my target audience interviews).

Non-diegetic string music opens the film as suggested by one teen during my interviews. White-gold sans-serif typography fades on screen slowly and ominously revealing the title of the movie. The style is sophisticated and anchors the time period in which the movie is set. However, many teens feel that modern mise-en-scene is more relatable and enjoyable to watch; therefore I will most likely not emulate this style in my own opening.

Simplistic and easy to read serif typography (with some names capitalised) reveals the credits. A woman’s non-diegetic voiceover eerily whispers a biblical story (again religion is a convention of horror also used in Jennifer’s Body). On screen we can see the illustrated pages of a bible story by flickering candle light (the idea of fire links to hell). Low-key lighting (casting shadows and silhouettes) is another stereotypical convention of the horror genre also mentioned by my target audience. 

The off-key non-diegetic music sounds almost like a nursery rhyme. Again this links to the idea of children often being portrayed as evil characters in horror movies. The illustrations suddenly seem to depict some of the frightening events that will take place throughout the movie. For example, we see an old hand clutching at a broken child’s doll. Dolls are often seen as scary objects and are stereotypically used in horror movies (e.g. The Women in Black and Chucky). Furthermore, old women are often portrayed as sinister and creepy (e.g. The Women in Black). However, I am reluctant to use both children and older people in my own piece for I feel that my movie must be relatable for a youthful target audience

As the credits end, a sketched establishing shot is brought to life. This is a clever technique and one that I may consider using in my own work.  We see a mysterious old building (a stereotypical setting for a supernatural horror movie). I aim to find a similar setting for my own opening. 

Typography fades in informing the audience of the date in which the movie is set. Immediately the viewers realise that this is a period movie, not set in modern times. The mise-en-scene reflects this throughout the opening and no modern items, clothing or landmarks can be spotted.

Suddenly, this peaceful and picturesque long shot is interrupted with a piercing diegetic scream (screams were highlighted as an important convention during my research interviews). This is shocking, providing a jump scare for the audience. The unease created by this is emphasised with a shaky hand held shot. The camera then slowly turns 45 degrees and symbolically becomes more stable signifying the main characters, a pretty, blonde young mother, return to reality as she leaves the horrifying world of her dream. 

The young mother is perhaps a little relatable for the older members of my female target audience. Also, the fact that the main character is played by a well-known and attractive actress creates further appeal for viewers. Here, the mise-en-scene is very obviously in keeping with the time period. The plain white bed sheets and rollers in the woman’s hair relate to the styles of the time, perhaps not relatable enough for the teenagers and young people of today.

A cross fade eases a movement in time (a technique that I will consider using in postproduction) and keeps the pace slow.

 We see a long shot of servants approaching the house, all in costumes fitting with the time. They mainly wear black to connote death and fear (something suggested in my target audience interviews). 

We see an over the shoulder shot of the Mother peering down at the servants, the door open just a crack. The audience are almost seeing the world through the main characters eyes, helping them to empathise and connect with her (I plan to use POV shots in my own piece to achieve a similar effect).

As the characters move inside of the building the lighting is once again low-key. Through diegetic speech and conversation we are introduced to the main character and her new servants. I feel that this is an effective way to subtly reveal information about characters to an audience. Viewers learn for example, that Nicole Kidman’s character is extremely particular about housekeeping when listening to her lecture her maids. Similarly, we also learn that one servant is a mute. Mental or physical disorders are often the focus of horror movies. Perhaps this is because the unknown or unusual evokes fear. Silence, as pointed out in my target audience interviews, is also extremely eerie. However this is something I do not wish to emulate in my own piece. My target audience made it clear that they wanted to see ‘normal’ characters on screen.

The servants are taken on a tour of the dark, candle lit building filled with props again in keeping with the time period (e.g. grandfather clocks and old portraits). The shots remain stable and slow moving.  Simple straight cuts are used. Unlike Jennifer’s Body there is no sudden action or death scene to keep an audience gripped. The opening focuses on getting the audience familiar with character and place. 

However, some things are left unexplained and the audience are confused by the women’s ominous request: that all doors remained locked at all times. As suggested during the interviews, some information is withheld from the audience to give them reason to keep watching.

The piano music becomes frightening and frantic as the women’s children are being introduced. We hear the diegetic sound of prayer being chanted by high-pitched innocent voices. The camera moves around the servants as they stand waiting, their facial expressions reflecting the fear of the audience as the tension builds. However, the audience are relieved when they realise that the children are perfectly normal; it was a false alarm (this technique is often used in horror movies e.g. Orphan, creating a false sense of security during the next build up). The Mother goes on to describe that her children have a physical condition, making them sensitive to sunlight. Again, conditions create fear for those ignorant. Similarly this acts as an explanation for the constant eerie darkness, even during daylight hours.

The opening of this movie is significantly quieter and less eventful than the first. The main aim is to introduce central characters. However, I feel that I would like my opening to be more eventful to capture audience interests immediately. In some ways this opening is similar to Jennifer’s Body. The piercing scream heard during the opening of The Others is later explained when the dramatic final twist is revealed. The women did not have a bad dream but rather had shot herself and entered the world of the dead. I like the idea of events at the beginning of the story linking back to the ending, giving the plot a rounded feel.

 After comparing this opening to Jennifer’s Body I can see some significant differences between the two. Mise-en-scene contrasts massively due to the time period that each movie is set (Jennifer’s Body is modern whereas The Others is post World War Two). Also, the structure of the openings differ. Jennifer’s Body began at the end of the narrative, the aim of the rest of the movie to reveal the events that lead up to this point. The Others, on the other hand, has an opening aimed at introducing character.

I feel as though I need to analyse a few more openings aimed at a young teenage audience. The Others was not set in modern day and is therefore not at all relatable to today’s 16-24 year olds.