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Opening Sequence Conventions Question 1- Evaluation Task

Opening sequence conventions

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Page 1: Opening sequence conventions

Opening Sequence Conventions

Question 1- Evaluation Task

Page 2: Opening sequence conventions

Conventions of a Thriller opening sequence

• Thriller opening sequence conventions almost always contain a ‘dip’ into action. This is not usually fast paced, but the audience quickly gains a quick idea of the narrative enigma. An example of a real text is Drive by Nicolas Winding Refn (2011) where characters in cars are introduced. They appear to be thinking and the audience presumes that they have a destination to get to.– Sometimes, this convention is specifically broken when

the characters appear to be performing daily, routine tasks, however, the enigma created, strikes a an anxiety of posing threats to the characters involved. An example is in Split by M. Night Shyamalan (2017) where the film opens with a father finishing up his daughter’s birthday party (this is soon turned into action where his daughter and her friends are abducted).

• The audience will also gain an introduction of characters and it is likely that they will meet or hear of the antagonistic character(s) in the first three minutes of the film. This helps form representations and encourages the audience to begin thinking about the nature of the characters. We can find an example in Jack Reacher by Christopher McQuarrie (2012) where a character (with conventionally mysterious/ suspicious props such as a firearm, sun glasses and latex gloves) is introduced.

• A dilemma or mystery is usually introduced which sets up the narrative of the film; this helps create enigma and immediately encourages the audience to form interpretations of the situation taking place. An example can be found in Fargo by the Coenn brothers (1996) where an obvious deal is being made.

Page 3: Opening sequence conventions

Conventions we kept to• The audience gains an introduction to the antagonists of the

film.– (Tony A and B) for whom the audience is able to form opinions of judging by their

representations.

• We have also introduced a mystery to set up the narrative. – The two Tonys explain that the phone which they hand over to Ivan contains a

message from his father. This hopefully makes the audience think about the importance of this message and why he is not able to deliver it himself.

– The audience may also think about what Ivan will have to do about it and once Ivan has listened to the message, the audience should realise that Ivan is in a position where he is no longer a child with minor responsibilities. The fact that his father expresses his desire to be proud of Ivan, puts pressure on him.

Page 4: Opening sequence conventions

Conventions we broke

• We broke the convention of starting our opening sequence with action and conformed to the one of performing harmless tasks instead. This is because Ed and I thought that the enigma which is created by the characters seeming to appear normal is far greater than that which the audience could take from an action filled opening sequence. – The audience is forced to think about the actions of the character and thus

makes the film… a thriller, the audience does not know when action may begin and can therefore expect to be thrilled.

– Ivan walks down a path, seemingly with a direction due to his confidence. Walking and trekking is not a task deemed unusual in any way and thus, the slight confidence in Ivan’s sense of direction, suggests to the audience, that he performs this task often and routinely. In reality to the narrative, this is not the case, and Ivan is in fact in unfamiliar terrain, both mentally and physically.