Film Openings

    As I dive deep into the depths of the different dunes of the internet, I come across film analyses of various films, which is what inspired me to do a form of my own analyses for my blog; specifically analyzing film openings of different media texts. While I'm at it, why not analyze openings of the genre I'm working with for this year's portfolio project? That's exactly what I'll be doing.

    First and foremost: Breaking Bad. We are immediately thrown straight into a cyclone of chaos within the Breaking Bad pilot. A dramatic wide shot of the New Mexico desert opens the scene, showcasing an RV tumbling across the barren and quite desolate landscape, leaving behind a trail of dust. The emptiness of the desert and the sole focus on this mysterious RV represent the isolation and lawlessness of the desert. It is a land without law, without borders, and without reason. Walter White's journey will become representative of these reasons.

   The frantic and generally chaotic energy inside the RV is captured by handheld camera work: Jesse, an additional protagonist, is shown laying unconscious on the floor of the RV among a messy layout of lethal chemicals and equipment, while Walter, looking absolutely disgusting (soo out of character) and vulnerable in his boxers (yes, it's sort of crazy...), is seen rocking a gas mask. The shakiness of the clip underlines Walter's urgency and the unforeseen nature of the situation that we, the audience, remain unaware of, and it overall reflects his own feelings, notably his internal conflict that gets revealed as the story progresses.

    The mise-en-scène further enriches this narrative. The desert represents a moral wasteland, reflecting Walter's impending ethical decline. The RV serves as a liminal space, a mobile meth lab that symbolizes his double life. Walter's state of undress exposes his vulnerability, while the gas mask signifies his initial reluctance to fully embrace his new identity. The gun he wields foreshadows the violence he will eventually adopt.

    In terms of editing, rapid cuts between the exterior desert chase and the chaotic interior of the RV create a sense of urgency and disorientation. This frenetic pacing is momentarily halted when Walter records a video confession, with the editing slowing to linger on his face, allowing viewers to absorb his fear and resolve. This deliberate shift in pacing underscores the gravity of his transformation.

    Now, onto American Psycho (2000). This film particularly intrigues me, and although I had already done research on it in my previous blog post, I'm gonna do it again! From different perspectives, this time. Obviously. American Psycho opens with a sequence that masterfully juxtaposes appearance and reality. The film begins with extreme close-ups of a red liquid dripping onto a pristine white surface, evoking the imagery of blood. However, as the camera pulls back, it reveals that the liquid is a gourmet sauce being artfully plated. This subversion sets the tone for a narrative steeped in deception and superficiality.

    The plating shown at the beginning of the film sequence is captured through slow and suspenseful tracking shots, ideally mirroring main character Patrick Bateman's obsessive-compulsive attention to detail and his absolute obsession with appearances and name brands. Mid-shots of a rather high-end restaurant show customers concentrated on trivial conversations, only further highlighting and critiquing the meaninglessness behind the materialism of the narrative world.

The mise-en-scène is rich with symbolistic shots and presentations within scenes:

• Red Sauce: Initially seen by the audience as blood, it underscores the deep-hidden violence beneath Patrick Bateman's extravagant and shiny image.

• Pristine White Plates: Symbolize sterility, control, and order, all reflecting Patrick Bateman's façade of a personality, or, rather, persona.

• High-end Restaurant Setting: This setting embodies American Psycho: the excess and the emptiness of wealth, critiquing a society obsessed with statuses and socially constructed hierarchies.

    The editing repeatedly reiterates the symbolism behind these themes through deliberate pacing and misdirection to the audience. The initial close-ups create suspense, leading to a reveal that frazzles expectations, much like Patrick Bateman. The particular nature of the cuts mirror his calculated nature, while occasional jump cuts in dialogue scenes reflect his detachment and the fragmented reality he inhabits.

    Finally, but just as importantly, here is Parasite (2019). The low-angle shot of a semi-basement window at the beginning of the film Parasite places the viewer right into the cramped and extremely crowded environment of the Kim family. The family's extremely small and disorganized living area is seen as the camera gradually tilts lower, providing a visual representation of their financial situation.

    A lot of things in this opening, most notably the window, convey plenty of narratives. The audience is given a limited and tight glimpse of the outside world through the window, ––serving as a message that this is what the family sees on a daily basis–– which acts as a symbol and constant reminder of the family's  obstacles standing in their way toward achieving a better life. The exclusion and the brutal characteristics of the area around them have been emphasized by the dim lighting and overall tight framing.

    The editing in this sequence is hastily trying to show the audience all of the deep and personal angles of the family's life, symbolizing how truly vulnerable the family is. The long takes allow the viewer to absorb these details. Deliberate pacing fosters a sense of realism and immersion; this differs immensely with the more dynamic editing that displays the lives of the affluent and luxurious Park family later in the film.

By making these parallels, the film juxtaposes the Kims' subservient existence with glimpses of the world above and the people who live there, subtly underlining the class struggles and differences that are absolutely vital to the narrative. This technique creates a binary between the two families as if there wasn't one already, setting up the rising action and climax of the story.