The Ring opening titles deconstruction.

0:03 Production company

0:09 Director 

0:14 and 0:21 Main actors

0:29 Film title

0:30 Actor

0:35 Actor

0:41 Actor

0:46 Actor

0:51 Actor

0:56 Casting director

1:02 Composer

1:12 Editor

1:22 Photography director

1:17 Production designer

1:28 Producers

1:39 executive producers

1:49 Screenplay writers

2:01 Director

This opening sequence is quite unconventional as it uses a series of strange images that do not seem to have any relevance to the film instead of starting the narrative. The starts slowly and softly and build pace and volume throughout conforming to the stereotype of horrors. The same image at the end and the start of the opening credits is very effective as it is repeated and therefore the audience will remember this easier. it also builds intrigue as the audience doesn't understand the relevance of this to the plot. The typography stands out simply because of the colour and also is it looks like a persons handwriting. this film opening subverts the convention that the film should be shown at the very end of the opening titles. 

Backing Tracks

Firstly, I decided to look at common types of instruments/sounds which are used in supernatural horror.
I particularly liked this sound as its echo effect is effective for supernatural horror as it gives the impression of distortion. As well as this, the whisper is also effective as it helps to add a mysterious and sinister atmosphere. I also liked the low pitched piano keys as it creates a harsh sounds and further adds to the sinister atmoshpere. Whilst the symphonies help to create an innocent child-like impression, I feel as though the singing takes away from the suspisious atmosphere which we are trying to create in out opening.

Religious Backing Tracks-Church Scene

As we want a song for the church scene, I decided to look for a backing sound which could be used for this.

I feel as though, if played at a low volume, this could be effective in our Church scene as the low pitched chant gives a more sinister portrayal. Also, this alongside our location and priest, further subverts common conventions and would be more effective for our audience when they discover that the priest is the antagonist.

I feel as though with is clip, we could manipulated this to make it seem more sinister. For example, similarity to the above, we could add an effect to make this more echo-y and slowed down in order to make it sound more distorted, which would therefore allow us to conform to supernatural stereotypes.

Carrie deconstruction

At the start of the scene there is a deep ominous noise that runs which is contrapuntal to the scene. Carrie looks very innocent and young as she does not have a lot of make up on and her clothes are not very revealing. When the mother and daughter start to fight the deep sound indreases in volume and more sharp sounds are added to build tension and drama.

The strange whispering makes refrence to the fact that there is something supernatural in the house. This also foreshadows up coming events. There is also frequent refrence to religion as the mother talks about praying and there is a shot of Jesus on the cross, this convention of supernatural horror works well in this sequence. 

The tone of voice which Carrie uses shows her despertness which makes the audience feel uneasy. The sudden diegetic sound of the door cracking surprises Carrie and her mother and the non-diegetic sounds stops for a while to mark the significance of this. When the deep creaky noises and strange breathing start up again they are much more noticeable as there is not much else going on in the scene. 

The darkness of the scene is realistic of the closet but also works very well as it has an air of mystery about it. Though you never see a supernatural figure it is still quite chilling 

The Possession Deconstruction

The Possession Deconstruction

 The opening begins with the production company logos of Lionsgate and Ghost House.  These are typical for a horror film as ghost house is a company which specifies is horror film production.  The use of a large company and smaller company is typical in all films and the use of dark colours in the logos are genre appropriate.

The title of the film is displayed on a black background with a simple white font which resembles old style type machine lettering.  Underneath the title there is a Spanish subtitle meaning "the origin of evil".  This relates to the traditional Catholic church which is conventional for extremist exorcisms and so is made more realistic.  The typewriter style lettering looks quite official so again makes it look more realistic.  

 After the titles there is a crane, establishing shot of a normal, everyday house.  This makes the film seem realistic as though it could happen to anyone which makes it more scary for the audience.  Non-diegetic, soft piano music accompanies the shot which has a slightly creepy feel to it as it is contrapuntal to the horror genre.

 A panning shot shows a wall full of framed photographs which look quite old fashioned, something commonly used in horror.  Diegetic sound is layered with the piano music of a woman whispering in a foreign language, it sounds like chanting a spell or prayer which denotes the religious aspects.

A close up shot of an old woman looking very upset and scared raises the tension as the audience wonder what could have caused her this much distress.  This is followed by a close up of an old wooden box which appears to be the source of the strange whispering.

A long shot of the woman leaning to touch the box
increases the tension and suspence as the audience
wonder what the box is and why human sounds
are coming out of it.  But as she gets close to the box, a diegetic sound of knocking wood makes the audience jump and ends the piano music, causing silence.  Silence is used in horror films commonly to increase the tension considerably.

A close up shot of the woman turning on a music tape accompanies the start of diegetic jazz style music, which is contrapuntal to the scene.  The music is used by the woman to drown out the sound of the box, implying she is scared by it.  A close up shot of her pulling out a clump of hair connotes her stress and anxiety at the situation, causing the box to be of worry to the audience.  The woman then picks up a

hammer and a close up shot of her strained hand
around it also connotes her stress and fear of the box.  Straight cuts between the woman approaching and the zooming in frame of the box increases the suspense as the audience wonder how the box will react to the impending destruction.


As the woman goes to strike the box, there is diegetic sound of the same whispering but increased in volume to represent the box's anger at the woman.  Straight cuts up until now have been slow with long shots but now they begin to speed up in parallel to
the speeding up tension.  As the whispers get more angry there is a  non-diegetic, high pitched screeching, often used in horror films to make the scene more scary and tension filled.  There are close-up shots of the woman's face as it begins to deform and start to shake.  This is a typical start to an possession as she begins to lose control over her body. Diegetic sound of her skin deforming also adds a auditory aid to the visual shot.

  A mid-shot framing the woman falling over backwards shows her body contorting into strange positions, often as possessed people do in horror films.  Quick straight cuts jump between her being thrown across the room as she is possessed.  Building up deep bass and high pitched non-diegetic sounds build the tension as she gets closer to her death.  Diegetic sounds of her gasping and screaming and the sounds of her bones snapping and furniture being hit increases the terror factors in the scene as it becomes more realistic and gruesome.          

 Straight cuts switch between the main action and the woman's son on the doorstep, obviously confused at the noises from inside.  Long shots and close ups show his concerned facial expressions and efforts to get inside.  These provide a contrast to the normal world and the supernatural inside the house.            

A mixture of long, mid and close-up shots show the woman being possesed.  They are meant to scare and shock the audience as there are strange body contortions, screaming facial expressions and blood.  A build up of orchestral non-diegetic music increases the tension until the crescendo just as she dies.          

   Only diegetic sound remains of the tape playing and the son entering the house, which creates a sharp contrast to what has happened and a normal day. A long shot is used as you hear off screen diegetic sounds of the man shouting as he finds his dead mother.  The use of the scene happening off screen is very effective because it puts the audience in someone else's position so they can sympathies with the man.                                                    

The strangers deconstruction

At the begining of the sequence there is heavy breathing which puts the audience on edge as they know that the main character is scared. The diegetic clangs of metal which start at 0:09 get more frequent which heightens suspence as you do not know where they are coming from.  There is an eerie sound at 0:48 which builds in volume and foreshadows what is about to happen. It is suddenly a lot louder when she put the knife into the curtain which conveys danger to the audience. There are a few moments of complete silence which contrasts with the sharp metal noise which has been amplified and the scream. The hand banging on the window at 1:12 is contrapuntal to the scene. 

The diegetic music that turns on has a very old fashioned repetitive style which paired with the deep knocking is quite effective in freaking out the audience. The  noise of the locks opening at 1:23 plays on the audiences idea of safety and is very relatable. Before the door opens there is a very deep noise which could represent the dark nature of the being/person behind it. From 1:36 onwards the eerie music builds from earlier in the sequence. The knocking that you hear at 1:59 is a lot more human like and less mencing, but the audience would find it hard to differentiate between the two. The shriek in the main characters voice shows her despertness and want for normality. The music on the record player slowly increases in volume before abruptly cutting out.

Walled In Deconstruction (2009)

Walled In Deconstruction

Costumes

The very beginning scene shows a little girl dressed in an animated night dress which highlights her innocence whilst causing the audience to instantly be sympathetic towards this character alongside a series of her scared facial expressions within harsh high key lighting and the high angle shot, which also highlights her vulnerability. 

In addition to this, the juxtaposition between Mary and Sam may cause the audience to be suspisious of Mary, who is initially portrayed as a "clean freak". She is well presented with her bright hair always being slicked neatly, her clothing is also neatly buttoned up, alongside minimal make up. She is also well presentation through her composed posture whilst talking to Mary. Her behaviour further causes suspision as she hints of a set of rules which Mary must get accustom to as well as not going to the top floor of the apartment, hinting that everything may not be as it seems.

Locations

The building has an eerie look through its gloomy grey colour, as well as the sheer size of the building, which brings across an isolated atmosphere. The building also doesn't look as though it is an apartment/hotel due to it's unwelcoming appearance. One reason for this is due to its desolated surroundings, which is juxtaposed with Mary's suburban home; its bright white colour alongside.  The power lines are in the shape of a cross which could be to symbolise death. Other icons within the opening is the image engraved in a wall, which mimics a sword; this could be to introduce a common theme within supernatural horror-violence.

Furniture

When Sam gets into her room, there is a further element of isolation as the room seems bare, which further adds to the audiences suspisions alongside the artificial lighting within the low key lighting in her apartment. Furthermore, within the room, there a few old, antique looking furniture. For example, centred in the room is a wooden rocking chair. The rooms are neatly kept which could be to further illustrate Mary's tendency to keep everything clean and well put. The glass cabinet could also be symbolic to Sam being forbidden to do what she wants due to the ghosts. Similarly, to the shelf and its objects, they are delicate (china doll) therefore they must be carefully handled.

Low Key Vs. High Key Lighting

At the very beginning of the opening, there are only scenes which have high key lighting, however after Mary's entrance into the building, generally, the scenes are of low key lighting. As well as this, after her entrance into the building, there are several mid and long shots with back lighting, which further adds suspense for the audience as a silhouette of an unidentified person is on screen. This is further emphasised when we see a sector of light as a silhouette walks across.

When Sam first enters, there is an instant juxtapositon as she stands in bright artificial lighting, whilst Mary stands behind the door in low key lighting, which further adds the audiences suspicions of Mary as the audience are left in the dark, which is symbolised by the pitch dark room which she initially comes from.

Realism

In the title scene, whilst the story is being set, there is an image of an "Official Coroner's Report", alongside pictures of former victims, which could be to make the film seem more believable, as it seems to add scientific facts. Furthermore, images of a newspaper article also adds realism to the film which may cause the audience to become cautious as well as more scared as the film goes on. Its creased and dark colour, alongside the serif font, all add to emphasise the sinister appearance as it makes the article seem quite old, which is necessary for the background story.