Evaluation of Opening Sequences - Form and Function

i) What forms can opening sequences take? Can you list the conventional features of opening sequences?

- Opening sequences are all unique in their own ways and they are created in a certain way to relate and get forward the genre and type of film it is. They do however, have conventional questions answered that appear in most opening sequences, just in different ways; Who, what, where and when. They introduce where the story is located, and include establishing shots usually to give the viewer a good idea of where the story is set. When the film is usually set in the start of the film, with the environment and people in it usually giving an idea to whether the film is set in the past or is more contemporary, or even in the future. The who is answered by introduction of the main characters and their personalities, as well as their roles in the film. The what is the plot, which is not always uncovered in the opening sequence but is often hinted at with many signs.

ii) What narrative functions of opening sequences can you identify?

- The opening sequence doesn't give away the plot but introduces it in an attractive way so that the viewer wants to watch on. It sometimes introduces it straight away, but often is introduces the characters and setting first to set the scene of the film, and give an insight to the characters. It makes the viewer wonder the rest of the story without making the story obvious, to make them watch on. the characters are introduced, but their past is usually not, especially if it contains something relevant to the unfolding of the story, giving a vague appearance of the characters. The opening usually informs us of what and where the film starts from, so that we can relate to it and understand it more.

iii) What do audiences gain from watching the opening sequence?

- The audience understand the aspects that affect the story from watching the opening sequence, and then can decide if they want to continue watching the film. The opening sequence usually excites or compels the audience in such a way that they want to continue watching the film. They take in what happens in the film by gaining knowledge of the location, time and characters in the film, and guess what the outcome could be, and then find out by continuing the film.

iv) What do film-makers gain from including an opening sequence?
- Film-makers can gain from including an opening sequence as it sets the scene of the film, introducing the characters and location. This sets the base of the film up so that the rest of the film can be continued swiftly without needing to explain and inform each of the factors individually, which takes up time. The opening sequence can also be used to fit conventional genres and can portray a certain genre by the shots used, as well as the music and lighting combined with the location and characters. The opening sequence of an action-adventure film for example, would need to be so gripping and exciting that the audience wants to watch the rest and find out the resolution, or even just the main problem.

Applying Barthes Theory to 'Phonebooth'

Barthes proposed his theory on narrative structure saying that a text would run through. These were the Action, Semantic, Enigma, Referential and Symbolic codes.
Action Code - depicts the events that take place in the narrative.
- We find out that it's set in New York, and we can see the environment the main character's in with the busy streets and the noise of everyone talking, with the establishing shots of all over new York city. The tall sky scrapers and billboard avdertisements shows it is a very modern film, contemporary, which is emphasised with the shots of everyone on a mobile. The narrator introduces us to the setting and then the main character Stu, and then we start to discover more about him through they way he is in the film.
Semantic Code - Refers to character and characterisation. The actions in the story are explained by the character's viewpoint of the events.
- The first person we are introduced to is Stu. You can see he's a middle aged man, he wears a good suit and is first seen on the phone. From this point we learn important things about him and the important factors in the film; his way of talking to his assistant and on the phone is confident and arrogant, so you get an insight into his personality. He wears a flash suit with sunglasses becuase he likes to look good, and has his assisstant follow him around making him feel inferior to Stu.
Enigma Code - involves the setting up of a mystery, its development and its resolution.
- We wonder what link the phonebooth has to Stu in the film, esp as we see him first talking on his own mobile phone in a modern world, and so we wonder how the phonebooth comes into the film. Once he enters the phonebooth, the mystery is of who is calling him and why. The voice to no name and no face adds to the tension and mystery of the situation.
Referential Code - involves explaining or informing.
- The narrator at the start of the film acts as a more literal informer, introducing us to the location and the character which bring the audience straight into the film. The number of people on phones at the start shows that it is going to play a big part in the film, and the busy streets packed with all sorts of people shows how anything could happen, and on such a busy day it could happen to anyone.
Symbolic Code - involves the reading of connotations of signs which transforms them into symbolic representations.
- Stu symbolises over-confidence and arrogance, and how it can lead to trouble. At the start he gets away with losing a customer by promising them business, and then takes off his wedding ring to talk to his girlfriend tro escape from the guilt of cheating. This makes you think the film is about this coming back to haunt him, and about him getting punished for this.

Applying Levi-Strauss' Theory to Opening Sequences

Levi-Strauss had a theory that the narrative of a film was made up of units that were all related in binary opposites.

Pale Rider (eastwood 1985)

Loud v Quiet
Innocent v Destructive
Fighting v Defending
Peaceful v Disruptive
Light v Dark
Good v Bad
Slow, stationary villagers v Fast paced horses
Night v Day
Life v Death
Men v Women
Group v Lone Man
Victim v Villain
Calm setting v Sound of horses
Slow pan at start v Whip Pan to follow action
Rich v Poor
Powerful v Defenceless

Die Hard (McTiernan 1988)

Busy Airport v Calm party
Safety v Danger
New York v L.A.
Love v Conflict
Man v Woman
Good v Evil
Life v Death
Happiness v Sadness
American v German
Novice Limo driver v Experienced cop, Bruce Willis
Victim/Hero v Villains
Work life v Home life
Celebration v Arguments
Prepared, organised villians v Unprepared Bruce Willis, bare feet in vest
Talkative driver v Quiet Bruce Willis