Thriller Title Sequence Analysis

Se7en

Imperatively, the title sequence for Se7en uses many different techniques to make the audience feel the suspense, tension and mystery. The director, David Fincher, used sounds, editing and semiology to allow the audience to feel uneasy and to make them question how the narrative will follow on after the title sequence.

When focusing on sound, there are a variety of methods used to intensify the visual images. Essentially, the title sequence is made up of a mixture of diegetic and non-diegetic sounds; the drum beat and rewinding tape are both diegetic and the robotic noises are non-diegetic. There is a constant drumbeat throughout the first minute of the clip; one might suggest that this beat is symbolic of a heartbeat. Thus, when this beat is sped up after a minute the audience may feel that the tension has been increased as the pace 'heartbeat' has increased - suggesting panic. Moreover, sound is also used effectively when one can hear the tape rewinding backwards. This sound gives the audience the impression that someone is being recorded/monitored which is quite disturbing. Additionally, this fits in with one of the typical genre conventions of being watched/followed because to record someone the criminal would have to follow them. What's more, one can identify the sound of the wind knocking something which could imply that something/someone is trying to get into the room. Not only does this conform to the typical thriller theme of vulnerability, but it also makes the audience feel uneasy due to the eeriness of the noise. One might suggest that as the overall sound scape is quite broken and disjointed that this reflects the criminal's mind and they are also quite incoherent.

Additionally, one has noticed that the editing in the title sequence of Se7en mirrors the possible state of mind that the criminal has. At the outset the editing is slow when focused on the book, however this could be the time period when the criminal is thinking. Therefore, when the editing becomes faster and more jump cuts are used this could demonstrate that the criminal is in his element and he has planned what to do. Moreover, the faster edits could be a way for Fincher to conceal what the criminal is doing to build tension as the audience won't know what to anticipate. Another way that the editing creates tension is by making the transitions very sharp; this could reflect the violence of the criminal and therefore make the audience feel unsettled. Also, the out of focus close up of the book (as seen above) conveys mystery to the audience and could be interpreted as some parts of the narrative are less obvious - further increasing the suspense.

What's more, the semiology of the title sequence also aids the tension/suspense build up. One of the more implicit ways that mystery is built is by one hand being in the light area and one hand being in the dark area (as seen to the left). This could be a sign that the criminal has two sides to him; one side that misleads people and one side that is his exterior self. Moreover, the camera is looking down on the crooked hands; suggesting that these hands are not that of the criminal because they are below him, therefore whoever's they are is seen to be of a lower status than him in his opinion. Additionally, one can tell that the criminal is obsessive because of the two overlapping shots of the writing in the book (as seen to the left). After research, one can identify that the designers of the book - Clive Piercy and John Sabel - wanted an "obsessive quality to the handwriting". One believes that the methodical approach to the book and the grid paper all reinforce this obsessiveness and organisation. Similarly, the criminal could be seen as anal and disturbing when he sews into the edge of the page; this conveys that he has to get the book absolutely perfect and he uses a surgical needle to do this. Significantly, the image of the blade symbolises danger and thus builds tension by representing the criminal as a dangerous figure.

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Dexter

Significantly, the title sequence for Dexter uses many different techniques to convey violence and cruelty. Sounds, editing and semiology have been used to allow the audience to notice the pleasure that the male character gets through violence. When comparing Se7en and Dexter there is one main obvious difference; the male character in Dexter is very explicit about his violence and brutality. Whereas, in Se7en the violence is implicit as he is represented as more of a psycho. 

In terms of sound, this thriller opening is unlike most other thrillers. The background music seems quite menacing due to the upbeat tempo and the instruments used. When focusing on the diegetic sounds however, one can identify that they enhance the character's animalistic and violent representation. The sounds effects of him cutting, frying and chewing/ripping the meat are very predominant in the overall soundscape; hence the audience could feel disturbed by his enjoyment through cooking and eating the meat. Also, this could be symbolic of cannibalism or a love of blood - giving the male character the representation of a murderer, which is one of the typical thriller characters. Moreover, the diegetic sound of him slapping the bug on his arm also creates the same sort of representation of the man. This slapping sound almost jolts the audience and pulls their attention to the man as the music prior to that had been very jolly. One might suggest that it is this juxtaposition of the jolly non-diegetic sound and the violent diegetic sounds that sets the audience on edge and builds tension due to the fact that they are being given mixed signals of the genre.

Crucially, one might suggest that it is the mixture of camera angles (as seen to the right) that convey the variety in the story of this thriller. This might be due to the fact that instead of a movie - like Se7en - it is a set of TV programmes. Additionally, the constant editing might reflect to the audience that the morning routine that they see is a constant one for him; thus violence is one of his personality traits. One also notices that the audience don't see the male character's full appearance until  the closing shot of the opening sequence. This might be because the directors wanted the audience to gain the opinion that the man is cruel before they see that he looks like an ordinary man. Moreover, the mixture of close up and extreme close up shots are a clear indication to the audience that something is being hidden from them as only part of the object can be seen. Therefore, the audience's suspense and tension is built as they anticipate that something is happening that they cannot see.

    

    

What's more, the semiology of the Dexter title sequence continues with the symbolism of violence and cruelty. At the outset the red blood splatter on his name (as seen to the left) is a clear indication that he is connected with the violence as blood is linked with danger, death and wounds. Thus, the male is immediately represented as being a possible murder/criminal - two conventional thriller characters. The theme of blood is continued throughout the sequence; when he is shaving he cuts himself - implying that he is used to being violent with weapons and therefore forgot his own strength. The blood is further intensified when the tissue is used to soak it up; the tissue is pure white and when the blood was stained onto it it looked even more intensified. This same colour contrast was used when the blood dropped into the bath; suggesting that the blood is clearly of significance because the directors have highlighted it so that the audience notice it. Blood is also implied in other areas of the sequence; when the food is being cut up and the dark brown sauce is splattered across the plate, much like the blood was in the clip with his name. Conversely, the semiology of the character's hands is very implicit. One might suggest that the hands represent his control and hard work (as they are worn and manly). This portrays to the audience that that his work involves killing as they are used throughout the sequence to demonstrate the violent things that he is doing. This is evident when he grabs the coffee strainer with his hand, when he's cutting/squeezing the orange, wrapping the dental floss around his fingers and tying his shoelace. All of these things are completed by either grabbing, squeezing or wrapping so that his fingers and knuckles go white with strain - clearly conveying anger, violence and brutality. Furthermore, the close up of him locking the door (above) is of great significance when talking about semiology. One could interpret this as him leaving behind one life in his house and when he steps outside, he is showing a new self; demonstrated by his confident walking style and cheeky grin. This cheekiness is reinforced by the 'ting' noise as he looks at the camera; it suggests that he has a connection with the audience without them knowing it. 

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Psycho

Crucially, the title sequence for Psycho uses many different techniques to make the audience feel the isolation and suspense. The director, Alfred Hitchcock, used sounds, some editing and semiology to allow the audience to anticipate what might happen next. Unlike Se7en and Dexter, Psycho doesn't use a character to portray certain themes or ideas; it uses animated text and lines.

The sound is the most important aspect to this title sequence. This is due to the fact that there are no characters to portray a certain emotion or action so the sound must create an atmosphere for the audience. Essentially, at the outset there are 5 beats and then the fast paced music starts; this fast pace conveys that there is a sense of panic and distress. Additionally, when the long violin pieces come in a sense of urgency and speed is added to the piece as it creates an illusion that fast paced action lies ahead. One might suggest that the high pitched violin sounds towards the end symbolise screaming; perhaps of the psycho or the victim. The whole soundscape is non-diegetic as no natural sounds were used to build tension or create an atmosphere. Again, this isn't like the previous two title sequences that I analysed.

Imperatively, the sequence starts with the Paramount logo with a bar effect on it; bars (especially on windows) is one of the typical thriller themes. The bars theme also continues throughout the opening sequence when they are used to fill the gaps in the screen (see right). One notices that the colours used are grey and black; this juxtaposes the bright contrasting colours that one would think would be used for a psycho as they are more bizarre. These colours are dull and match the grey scale film that was used at the end of the title sequence. However, the colours do highlight the emptiness of the screen when there is only white text in one space. This emptiness could be symbolic of isolation and vulnerability; especially when the film's name - Pyscho - comes on the screen. The fact that the name Psycho is also split into bars (see right) could suggest that the psycho in the film is broken into sections and distorted; therefore is a dangerous person. Conversely, it could imply that the psycho needs to be locked behind bars. However, the fact that is is in the middle of a black background conveys that the psycho is isolated - perhaps this demonstrates to the audience that this is why he/she is psycho. Crucially, the fact that the lines move in different directions could be an indication that they represent the psycho in that the directions they travel in are different.