Thriller Openings Analysis

Goldeneye

This film begins with an extreme long shot of the dam giving s sense of size for the location Bond must infiltrate and also a plane flying above foreshadowing his escape. This is followed by a tracking shot of Bond running across the dam, however the audience do not know whom the character is yet. The use of sound is interesting as there only faint sounds of bells in the background and Bonds footsteps and breathing as comes to his point on the dam. The sound of his fast paced breathing helps to create tension by sounding rushed and panicked. There is also a high angle shot of Bond standing on the edge of the dam showing the audience just how far down he must go and this is reinforced by the next tracking shot of him bungee jumping down. 

28 Days Later

This film begins with a mash up of clips of what seems to be violence but then actually is shear panic as the world as we know it is coming to an end. This provides not only a back-story to the film but it also sets the scene. The vulnerability and loneliness of a single character is exceptionally displayed in the opening of this film and is done by the opening shot of the protagonist being naked. As Jim walks out of the room and down the stairs the only sound we hear are that of his footsteps symbolising how alone he is and that there is no one to help him. The director cleverly chooses to reveal what has happened at the same rate of the character and so there is no dramatic irony building even more suspense, as we do not know what is to come. When Jim is walking around the empty streets of London, long shots are used to show the extent of his loneliness and his inferiority. Another interesting choice of shots to include is that of the pile of money as the audience realises that it is now worthless. 

Cape Fear School Yard Scene Analysis

From the very start of the school yard scene in Cape Fear the use of non-diegetic sounds such as the sinister soundtrack immediately commence. The music begins slowly with a low, trembling stringed bass line that foreshadows the upcoming threat that is soon to come and creates a tense atmosphere from the mark. In addition to this Thompson chooses to begin the scene with a long shot of the schoolgirls entering the courtyard showing everything as normal. However, as Nancy and her friends are walking the camera tracks her moving downwards that leads to the camera looking through the iron school bars. This shot cleverly and quickly influences the viewer to see the forthcoming danger by suggesting Nancy is encaged as the bars represent a prison cell and that there is no escape. Furthermore, a little later in the scene, we observe Cady on the opposite side of the bars grasping onto them and the placement of both could remind the viewer that Cady has just been released from prison. We also notice at this point that unlike ordinary school bars they have spikes both in and top of them, this is likely hinting a phallic symbol early on in the scene.   

The camera then tracks Nancy to the car door where it transitions into a mid-shot; this shows her cautious expression and her looking around as if she feels Cady watching her, this creates suspension. As Nancy gets into the car the camera follows her until looking through the window, we see now that Nancy moves from the light of the day into some shadow on the driver side of the car. The fact that she chooses to move onto the far side of the car and not the passenger side/the side she enters may suggest Nancy is trying to get as far out of reach as possible, not only this but she may feel comfort in sitting in the driver’s seat. What’s more, as mentioned, Nancy is now in a mix of shadow and light, Thompson may have chosen to do this as to prefigure the threat of Cady.

Thompson then chooses to allow the audience into knowing Cady is coming by filming a long shot of him walking past a large fountain. Diegetic sounds that sound like ‘hissing’ are produced from here by the water spraying out of the fountains, which could signify a snakes hiss and therefore show danger.  This could also be taken as far as calling Cady demonic, as snakes, in the bible, are the devil. Other diegetic sounds used in this scene include footsteps from either character, these help to create tension; Nancy’s footsteps are lighter and quicker but also clumsy making the audience on edge and Cady’s footsteps are heavy, robotic and inhuman showing the power and control he has over Nancy. 

A threatening atmosphere is successfully established continuously during the scene but moreover in the locker room section. We see Nancy running down the stairs in a frantic manner as to escape from Cady who we believe is following close behind. The panting heard from Nancy adds to the suspension and cause the audience to empathise with the character. As ‘Cady’ moves in Thompson chooses a close up shot deliberately of his groin area implying a sexual threat. This is reiterated incessantly by the cigar Cady is smoking throughout, which is also a phallic symbol. His footsteps are used to majorly encourage the threatening atmosphere here by being very slow and clear indicating inevitable jeopardy. Thompson also stresses this by the sound of the creaking door as he trails behind.  

The choice of clothing used for either character is also very interesting in this scene; Thompson has chosen to dress Cady in light clothes that appear very prominent in the darkened room. Contrastingly Nancy is still in her school uniform, this infers two things; the first being that she is still very young and only a child thus not able to defend herself against such a man but also she most likely does not even know why Cady is after her. The second is Nancy’s obvious innocence in the film; she has not done anything to entice this criminal yet he continues to latch onto her. 

Psycho (1998) Shower Scene Analysis

The shower scene in Psycho houses a variety of key camera angles and shots which create a visual whirlpool of tension for the audience. These include several mid-shots showing body language and also facial expression, numerous close-ups and extreme close-ups emphasising particular objects or characters’ reactions and additionally point-of-view shots putting the audience in the position of the victim and the killer. Sound is also another primary factor in creating suspension and shock for the viewer. This is done by including non-diegetic sounds such as a tense musical soundtrack and also sound effects that accentuate objects’ movements in a scene.

The first shot of the shower scene I’d like to talk about is the mid-shot to zooming in on the translucent shower curtain in which the audience is able to just make out the killer coming into the room from behind. The shot begins showing a mid-shot of the victim in the shower in which all is when and peaceful. By zooming in slightly and panning somewhat to the left the camera reveals the killer coming into the room. This obviously creates suspension by itself however this is cleverly underlined by the dramatic irony that the audience knows the killer is there but the victim does not. The lighting is still bright at this point which symbolises life and the only sound we hear is that of the natural splash of the shower spraying her body signifying cleanliness. This is an effective use of sound because it gives the impression that everything is ok.

The following shot is of the killer brandishing the large knife from her waist in typical thriller fashion. The music suddenly kicks in with powerful playing of stringed instruments, just like nails scratching someone’s skin, which raises the heat and creates an overall horrified atmosphere. The lighting is cunningly placed so that the light bounces off the knife so that it is well lit and to show the killers’ silhouette but what it doesn’t feature is their face. This is extremely good use of lighting technique because the audience are left in no better position as to who the killer could be which alone creates tension. The camera angle used is a medium-close up just so that we can see the killers’ hand holding the knife and from their shoulders upwards. This is effectual use of a close-up as we don’t need to see the murders whole stance to get a grasp of their intentions but to also show the outline of the killers head and shoulders.

Another vital shot used is the extreme close-up on the victims hand as it grabs out for the shower curtain. This demonstrates the victims’ desperation for life and their last final move before they die. The shot could also be seen as a point-f-view shot of the killer as he watches the victims hand reach out. The viewer is able to clearly see red nail varnish on the victims’ fingers and this could represent blood. The shower curtain is also effective use of props in this scene as this might signify a barrier between life and death and also the victim and the killer; once the shower curtain is pulled back, the killer can be seen and once the victims hand rips the curtain from its rails, they are dead. It seems also here that non-diegetic sound effect of the curtain hooks pranging off have been added here for extra effect to emphasise this action.   

    

Film Noir Moodboard

Transitions of Editing

Continuity Editing: Different shots progress after each other being sure to make sense to the viewer; creates variety

Transitions: Sometimes using effects, this is how shots are merged together

Straight Cut: Standard cut; Shot A ends immediately and Shot B begins immediately

Dissolve: Two shots merging together by the first progressively shifting into the next; can demonstrate time going by

Fade to Black/White: The shot fades from black to white and vice versa; used for flashbacks e.g. Bourne Trilogy, Memento

Fade in/out: Shot fades out into black or correspondingly the opposite; used to end a scene of film in peace

Cross-Cutting: Two storyline running parallel to one another by cutting from one to the other

Wipe: Transition by moving one clip off the screen whilst the other comes on; change of location

Jump Cut: Abrupt cut within a scene to create drama and action

Double Indemnity Phyllis Murder Scene

The penultimate scene begins with Walter entering the front door of the Dietrichson’s grand house. This comes from the agreement between the two main characters Phyllis (Dietrichson) and Walter Neff to rendezvous at the house in order to settle business. As Walter enters the door Wilder chooses a long shot that shows his shadow cast menacingly on the wall. We see this before he appears which could represent different motives to him coming; both good and bad but only the audience know that it is the latter.

As Walter moves into the living room the shot does not change but we are able to see him more clearly as the light shines on him through the shutters, however his faced remains in darkness. The light that is shed upon him is barred due to the shutters forming shadows and so looks like iron bars in a prison cell, this could symbolise that because Walter is now in Phyllis’ house she has control over him. In addition the fact that his face remains in darkness suggests that he has an ulterior reason for being there reiterating the entrance shot.

The next few shots Wilder chooses to place are mainly medium close-ups when Walter removes his hat and takes a seat on the armrest of the sofa. This decision of Wilder’s enables the audience to see how the couple are barely reacting to each other and it helps to create tension between the two characters. Additionally Wilder cunningly includes a shot of Walter picking up his hat at the end of the scene demonstrating how relaxed he remains during the meeting knowing that he is now in charge of the situation.

The fact that there is no contact between the characters and Phyllis remains in her chair when Walter enters indicates that they have been driven away from each other and perhaps do not trust each other which is very different from when they first met; the two were situated close to one another creating a warm and ‘personal’ atmosphere. Now, however, a metaphorical line is isolating both Walter and Phyllis from each other. On the subject of composition we notice that Walter is always filmed higher up than his partner, similarly to the position this is not the same as the beginning and continually throughout the film. This therefore signifies Walter’s dominance in the relationship that he seems to have gained perhaps now that he is wise of Phyllis’ conniving ways. 

Wilder chooses to nearly never place the two main characters in a single shot together which helps give the audience a sense of either Walter’s of Phyllis’ point of view. This result being that the metaphorical line between the two that is portrayed to the viewer is redefined. When we do see the characters in the same shot at the end of the scene, just before Phyllis is shot, Phyllis places her hands on Walter ‘s neck in a seemingly loving manner but this could be viewed as her being threatening towards him. 

Glossary of Shot Types and Terminology

Composition: where the objects are placed in the shot

Rule of Thirds: breaking an image down into nine parts in order to place points of interest in frame

The Golden Mean:

Framing: What is chosen to put in shot and what is not chosen to put in shot

Extreme Long Shot: Far-away shot used to set the scene and show the setting around the subject

Long Shot: Shows full-length of character and their environment

Mid-Shot: Shows character from waist up to show their facial reactions and body language

Medium Close-Up: Halfway between a mid-shot and close-up; shows characters expression  

Close-Up: Shows an object/part of an object in detail

Extreme Close-Up: Shows an object in very close detail, may be used for graphic match cuts

Cut Away: Technique used to split up a single shot by placing a short clip of an object or similar that is not part of the current scene

Two-Shot: Mid-shot with two people in shot; shows the relationship between characters

Over-the-Shoulder Shot: Technique used in interviews and movies also to display conversation between characters and their relationship

Noddy Shot: Shows mainly the head of a character and their reaction (helps to form empathy with audience)

Point-of-View Shot: Shows the scene from a character’s perspective

Low Angle Shot: Shot looking up at the character to portray their power

High Angle Shot: Shot looking down at the character demonstrating vulnerability

Pan: Camera follows the subject as they move; may be used to create a sense of urgency/speed

Zoom In/Out: Camera moves from one shot to another by zooming in; shows more detail of an object and emphasises it

Tracking Shot: Camera is placed on a trolley and moved, similar to pan creates it creates a sense of speed

Tilt: Camera looks up on a subject to give the audience a perception of height

Dutch Angle Shot: Camera is tilted to one side; used to portray uneasiness and tension

Steadicam/Handheld: Camera follows the action by pursuing the subject; generates more realistic effect

Crane Shot: Shows characters from above (camera high up on crane), sometimes used to end a film

Aerial Shot: Camera is high up but on a plane or helicopter; shows location and scale

The Parlour Scene Analysis - Psycho (1960)

The Parlour scene begins by an invitation from Norman to Marion to use the parlour as a place to eat instead of her room or the office. As the two characters step inside the room Norman proceeds to switch the lamp on and she follows but stops at the door.  Hitchcock starts with a mid-shot of Marion to show her initial reaction but then switches to a close-up of an owl with its’ wings spread wide and appearing to look towards her like it would its prey. The shot then goes back to the mid-shot of Marion but this time her reaction is a little startled and she seems to think it is odd. There is also use of non-diegetic sounds here with the background music that is neither calm nor very tense but rather on edge and this is how Hitchcock sets the scene.

Inside the parlour we discover the room is very small and the present furniture barely fits in it. The composition of this shot, another mid-shot but also a two shot this time, shows this but also how scarce the furniture is; two chairs, a side table, coffee table and a box/trunk (excluding the ridiculous volume of stuffed birds there are scattered around). Noticeably on the side table, where Norman puts the food down when he first enters, is a single lamp that is not only the only light source for the room but the scene as well.

The light is used to show the different sides of the characters personalities. The continuous use of mid-shots when presenting either character demonstrates that Norman is farther away from the lamp than Marion which casts a shadow over half of his face.  This could perhaps represent a divide between Norman’s split personality of courteousness and anger, which is shown later on. The low lit surroundings also help emphasise and showcase powerful shadows of Norman’s head and shoulders and other objects sat behind him onto the walls that may symbolise his dark side and correspondingly add tension to the scene.

Marion however is positioned just to the rear-left of the lamp rendering her face to be well lit and seemingly radiating lustrous warmth. This is feasibly ironic due to the fact that she had stolen a mere forty thousand dollars from her manager, she is not half-cast by the shadows; suggesting some kind of consumed evil or dark side, but conversely in the bright light signifying that although in the wrong, Marion may still correct her wrong-doings. Observe in addition how the setting behind her contains no angular shadows but instead a rounded frame.   

The use of camera angles throughout the scene is interesting as Hitchcock uses different techniques in order to create tension and contrasting serenity. His first choice is what seems to be straight on mid-shots yet when the camera switches to Norman it always appears to be pointed slightly upwards possibly implying he has more power over the situation than first thought. This aside, a state of balance is created between the two characters; Marion comfortably sits in her chair and Norman talks to her while she eats. The angle is also from a point-of-view letting the audience see the different perspectives and get a feel for each character.

The camera angle then progresses for Norman to the left of him when the conversation of his Mother arises displaying two clear-cut square frames and accordingly two birds looming behind him; one of the owl seen earlier and another of an eagle in predator mode.  The camera looks up at Norman to accentuate the birds, which are a continuing theme throughout, and create tension in the scene as the audience are left to feel vulnerable as they look up to him. A shadow of a bird is also encompassed into the shot to perhaps foreshadow death that is soon to come.

The choice of theatrical property that Hitchcock chooses to include in each frame helps to define how each character is presented likewise. Straight lines, such as the photo frames, surround Norman and are nearly always rested at an angle, due to the camera positioning, suggest that his state of mind is uneasy and unbalanced thus creating a correspondingly uneasy atmosphere. Norman’s clothing is vastly dark matching one side of his persona and striking black shadows onto the wall.

Hitchcock however dresses Marion in a light grey dress that wraps around her tightly suggest security, at this point.  Throughout the scene she takes small bites out of her piece of toast that Norman has provided her and as tension builds up she eats less adding to the effect. Laid out in front of her is a tray with the rest of the meal and weirdly a jug of milk instead of a glass. The jug is smoothly curved showing Marion as a graceful individual rather than the sharp lines used to characterise Norman. The lamp on the table beside her mimics these lines and glows peacefully enhancing the impression of her.

 

The Bourne Identity – Screenshot analysis

 

 

As the film begins the screen goes from darkness to a flash of light as lightning strikes and audience are able to see this disturbing film of a body floating in the water. This shot is only visible for less than a second just enough for the view to get a glimpse on what’s to come and set the atmosphere for the film from the very start. Also one key thing to notice is that although you can tell it is a body the picture isn’t very clear and it almost looks like a shadow, which is a main convention of a thriller film.

 

Prior to this screenshot now we see a fisherman come out onto deck on the boat stumbling as he comes out because of the rough seas. We know he’s a fisherman because of the classic yellow overalls he’s wearing.  He chucks something off the boat from a tray and as he does so a flash of lightning strikes and he sees the body in the sea. This is where this close-up shot is taken from. The man’s face shows that he thinks his mind is playing tricks on him as he tries to decipher his vision and the following clip shows a look of astonishment and he realises that it is in fact a body.

This panning shot here is very effective at creating a tense situation because the camera has been cleverly positioned by some metal bars which gives the impression of a secure and helpless surrounding like a prison cell. The shot is used as a filler to show Bourne’s deposit box being brought by a man in a black suit. Once again the lighting is set very low and the camera shot is like an opposite mid-shot not showing the man’s face. This makes the audience on edge because we don’t know anything about the character.

The shot used here is a close-up of the main character’s face. This angle is usually included to show a character’s expression and this is exactly what it does here; it shows Bourne speechless as he reads his name from his passport (after having amnesia). Other shots used around this are extreme close-ups of the passport so that the viewer is able to see what the character sees helping them have the same insight. This is because at this point in the film neither the character nor the audience know Bourne’s name.            

 

Here we see a close-up of Bourne reacting to a policeman’s baton by grabbing hold of it like it is an instinct. This shot is just large enough to include the baton and Bourne’s hand but also his face that shows the audience his reaction, or no reaction in this case. This clip is also the start of a quick-cut/obtrusive editing fight scene in which the character takes out two policemen and so action, suspense and an awareness of speed are brought in by this clever technique.

Conventions of a Thriller – The Bourne Identity

The sound of rain pouring down starts from the very beginning of the film even as the Universal logo is being shown. This then progresses into thunder and lightning and as each lightning strike sparks the screen flashes accordingly showing a glimpse of a body floating in the sea in darkness. The cue for non-diegetic music is now as a very calm but somehow haunting music creeps its way into the background. The same music is played at various points through the film to help continue the theme creating tension and suspension for the audience. Cross cutting is used to switch between the body and a group of fisherman playing cards on a boat.  Both shots here are in very low-level lighting, which is a main convention of thrillers to form an eerie atmosphere. Diegetic sounds such as chains rattling and footsteps are also used when Bourne is climbing down a ladder on the edge of the US embassy as well as gunshots later on. These are all typical sounds of a thriller film. 

Unusually the films location and setting changes a lot which isn’t very conventional for a thriller. There are often a lot of people around the two main characters (Jason Bourne and Marie Kreutz), which you wouldn’t expect for this genre of film. There are a lot of close-up and mid shots used to constantly show emotion and show a point of view.  My personal favourite use of quick-cut editing in this film is the fight scenes. Several different camera angles and shots are used to record these and the fast switching between them provides a very tense atmosphere and a real sense of action but also emergency. Although including several action scenes, the film additionally has a great deal of dialect that is very stern, serious and straight to the point but this of course is to be expected of a thriller.

Introduction – What is a Thriller?

In todays modern film industry there are so many different types of genres out there, thriller being one of the most popular. This is a genre that not only gets the viewer on the edge of their seat but it builds suspension, anticipation and provides a sort of real-life feeling for the viewer that no other genre could. The very reason that thrillers thrive in the industry is that the person watching the film is almost included in the action, they experience the drama “artificially” (as Hitchcock once said). 

Conventions of a Thriller

A Quick Overview

A key element to a thriller film is the low-level lighting and the eerie use of long powerful shadows that loom over an unknowing victim. These are used to perhaps symbolise the dark side of a person/being and add tension to the scene. Similarly mirrors will sometimes be shown for the same effect, but furthermore they express the character’s inner self.  Flashy, quick-cut editing helps not only display a sense of urgency and action to the viewer but heighten that sense of tension and insecurity. The quick-cuts can also be used to disorientate the viewer of time and spatial awareness.

Flashbacks are sometimes included and in the same way as quick-cut editing, these can disorientate and confuse the audience. However they additionally give an insight into the characters memories/past. Sound is another factor, as the muffled howling of a wolf in the distance will tell you, it suddenly feels very lonely watching the film and the dramatic drip-drop of a rusty old tap and creaking floorboards adds tension immediately to a room or abandoned house. 

Mise-en-Scene

Thriller style films often use a similar setting to one another. This might be a haunted house, a lone road or perhaps an alley on a dark night. These obviously differ according to different sub-genres of thrillers and therefore, say, an action thriller may be set in a busy city or likewise to give the notion of everyday life being tampered with. 

Cinematography

Mid-shots are very commonly used, as they are a successful form of communicating the characters expression and reactions to the audience. Close-up shots are used in conjunction with these to focus on the subject that is causing the reaction, for example a murder weapon. They also help to create tension within the shot and build atmosphere by manipulating the composition of the shot. Furthermore objects may be left out of the shot to develop the same effect. 

Sound

Non-diegetic sounds are ones that are not represented by an object in a film. Narration is an example of this and is often used in thrillers at the beginning to set the scene and introduce the different characters. Music is nearly always used to create tension and suspense also, which reflects in the audience’s reactions. 

 

Editing

 A common theme in thrillers is fade to black/white transitioning; these can be used to signify characters having memory flashbacks.  Often films use straight-cut editing, as combined with short shots, a sense of action and urgency can be developed. An example of this is the Bourne Trilogy fight scenes.