Analysis of Thriller Openings - Blow Up

Analysis of Thriller Openings - Blow Up

Blow Up (1966): http://www.imdb.com/title/tt0060176/

Director: Michelangelo Antonioi

Writers: Michelangelo Antonioi, Julio Cortazar, Tonio Guerra, Edward Bond

Blow Up was released in December 1966 and has since become a cult classic for its intriguing story and its depiction of 1960's London. The film unknowingly created many of the thriller conventions which audiences expect from modern thrillers, acting as inspiration for hundreds of films half a century after it was originally released.

The first thing the audience sees is the bright green panels of the opening titles. The use of bright colour in this instance is unconventional, meaning the audience is immediately drawn into the film.

The audience can vaguely see texture within the green panel which is kept unclear as to what the texture symbolises or actually is. This is kept ambiguous in order to further attract the audience, creating tension in the fact that there is uncertainty in what they are seeing.

The use of non-diegetic, asynchronous jazz and 'surf' style music immediately suggests that the film will be set in the 1950s or 1960s as this is when jazz was at its highest popularity. Using jazz contrasts with the more instrumental, classical music used by most thrillers. This immediately gives the film a laid back vibe to the audience, suggesting the film will not strictly follow thriller conventions.

The font used in the opening titles adopts a sans-serif, block capital style. The 'hollow' style of the writing allows the audience to glimpse figures in the background while still maintaining focus of the titles themselves. At first, the audience can only see the sky and dark, moving shapes in the foreground. However, as the 'Carlo Ponti Production' panel cuts straight to the film's title, the audience can then see visible figures through the 'blown-up' letters. The figures become distinguishable as the scene progresses, showing a photographer in silhouette while a woman poses on the building opposite. At first, the audience focuses on the photographer, then on the woman, then on the figures surrounding the photographer which draw the viewer's eyes to the right of the screen. When the actor's names are on screen the shots specifically focus on the woman, through the letters on screen. The minimal view the audience is given makes the scene more voyeuristic, as if it is a personal interaction between the audience and the woman, as opposed to the entire crowd of  predominantly men below.

*Here the title sequence ends however the remaining two minutes are still useful in setting the tone for the remainder of the film.

The titles then cut straight to a long shot of a modern, but seemingly derelict building. This therefore suggests that the film may take place in an urban environment, a setting which is often used in thrillers. The shots of the woman behind the window like letters in the title sequence reflects the windows on the building in this long shot.

The immediate cut of music between the title sequence and this scene helps to convey a feeling of desolation to the location, making the audience disorientated due to their lack of direction within the scene.

The long shot used here allows the audience to briefly see a large group of rowdy people in what appears to be an army jeep.

This immediately creates confusion for the audience, allowing them to question why such a bulbous vehicle would be present in a suburban area.

The diegetic sound of the whirring engine shows the audience that the car has clearly been used, adding to my suggestion of it being an army jeep.

In this mid-close up, the audience can now see the occupants of the jeep as well as clearly hear their cheers. Each member of the group features a painted white face which could resemble a mime or street performer. This allows the audience to interpret the identities of the group in a number of different ways. For example, given that every member of the group features the make-up, it could be interpreted that the group is part of some form of organised crime or gang. This would link to the armored, black jeep which the group occupies, as they may be using it to commit crimes or escape the law. 

However, from another perspective the audience could interpret the group as part of a festival or fair. The audience could think this due to the audible, genuinely happy cheers of the group. Whilst a more slow or sinister laugh would fit in with my theory of the group being villainous, the cheers heard appear to be genuine meaning the group is likely celebrating an event or holiday. 
In the distance, the viewer can notice buildings which contrast with the modernist style of the abandoned buildings closer to the group. The style of buildings in the background looks to be of an English or European style, giving some clarity as to where the film is set.

The pavement shown also appears to be wet, most likely from rain. Whilst relying on a British stereotype, this could relate to the typically poor weather of England and the UK, narrowing the scope for the location of the film.

The brief glimpse of the taxi here gives further detail as to where the scene and the film take place. The style of the taxi is typically associated with London and are regularly seen around the London area.

The taxi briefly acts as a hide from the approaching group, which draws the audience to the left of the screen. After the taxi passes, the long shot used of the street allows the audience to take note of the group's numbers as they burst into focus.

The long shot used here shows more of the urban environment in which the scene is set. From the large gate as well as the flood of men exiting it, it could be assumed that the buildings present in the background are part of a factory or mill. This would further add to the suggestion that the scene takes place in London, if not England as the mid twentieth century was still a time of industry for the public in England. 

The straight cut between the group's arrival in the previous scene and the shot of the factory creates a visible contrast for the viewer. For example, the colours and patterns worn by the 'theatrical' group are used to make them more visually attractive. This therefore becomes contrasted by the next shot, as the workers feature much more muted, bland colours and textures. The happy, exuberant nature of the group in the previous scene is accentuated through their visual youth, creating another difference between the two groups, as the workers appear to be much older and mature.

The mid shot used here focuses specifically on this character, thereby suggesting he may have a substantial role in the film. The first appearance of the character depicts him in rough, scruffy clothing which, like in other thrillers, could suggest the figure is an antagonist or villain.

As well as this, throughout the scene, the audience never hears the character speak, adding to his already mysterious appearance. This trope of muteness is often associated with antagonists in film, including thrillers. The lack of words spoken by the character creates a sense of unease for the audience, as they remain tense for what he may finally speak.

Shortly after this, the audience can notice two nuns walking down the, presumably London, street. This gives immediate thoughts and suggestions to the audience. The use of the colour white gives connotations to the audience, as the colour gives connotations of innocence and holiness, themes which the film could therefore involve.


Following on from this, a tracking shot is used here for the benefit of the audience. The focus on the character's car helps to develop the audience' s thoughts surrounding the character. The car is kept clean and well maintained, suggesting the character has wealth in order to do so. However, the solid black colour of the car relies on the audience's pragmatic understanding of the colour black and its connotations. Meaning the audience could instead interpret the car as a representation of the character's possible antagonistic personality

Here the audience can notice a camera beneath the considerable collection of newspapers kept by the driver. This, similar to the car itself, gives no clear explanation to the character's role within the film. For example, the camera could suggest that the character is simply a photographer or journalist, and he is merely pursuing his profession. However, it could also suggest that the character is collecting pictures for a more sinister or criminal purpose, perhaps giving aid to the 'mime group' seen earlier in the scene.

List of Titles in Chronological Order:

PREMIER PRODUCTIONS CO.,INC PRESENTS 

A CARLO PONTI PRODUCTION

BLOWUP

STARRING VANESSA REDGRAVE / SARAH MILES / DAVID HEMMINGS

WITH JOHN CASTLE / JANE BIRKIN / GILLIAN HILLS / PETER BOWLES / VERUSHKA / JULIAN CHARGIN / CLAUDE CHARGIN

DIRECTOR OF PHOTOGRAPHY CARLO di PALMA

MUSIC COMPOSED BY HERBERT HANCOCK

"STROLL ON" FEATURED AND COMPOSED BY THE YARDBIRDS

DRESS DESIGNER JOCELYN RICKARDS

ASSISTANT DIRECTOR CLAUDE WATSON

SOUND RECORDIST ROBERT GREGORY

LOCATION MANAGER BRUCE SHARMAN

CAMERA OPERATOR RAY PARSLOW

CONTINUITY BETTY HARLEY

MAKE-UP PAUL RABIGER

HAIRDRESSER STEPHANIE KAYE

SOUND EDITOR MIKE LE MARE

DUBBING MIXER J.B.SMITH

WARDROBE SUPERVISOR JACKIE BREED

DIALOGUE ASSISTANT PIERS WAGGARD

PHOTOGRAPHIC MURALS BY JOHN COWAN

ART DIRECTOR ASSHETON GORTON

PRODUCTION MANAGER DONALD TOMS

EXECUTIVE PRODUCER PIERRE ROUVE

STORY BY MICHELANGELO ANTONIONI

INSPIRED BY A SHORT STORY BY JULIO CORTAZAR

SCREENPLAY BY MICHELANGELO ANTONIONI AND TOMIO GUERRA 

ENGLISH DIALOGUE IN COLLABORATION WITH EDWARD BOND

PRODUCED BY  CARLO PONTI 

DIRECTED BY MICHELANGELO ANTONIONI

Analysis of Thriller Openings - North By Northwest

Analysis of Thriller Openings - North By Northwest

North By Northwest (1959): http://www.imdb.com/title/tt0053125/

Director: Alfred Hitchcock

Writer: Ernest Lehman

North By Northwest was directed by Alfred Hitchcock, who directed a number of iconic, world renowned thrillers. The film follows an unpredictable plot which focuses on its protagonists portrayed by Cary Grant and Eva Marie Saint. The film set standards for modern thrillers and created many of the thriller conventions which are formulaic for a successful thriller.

The very first shot is of the recognisable 'Metro Goldwyn Mayer' sequence. However, rather than the traditional black background, the film uses an unconventional green background for the usually full colour Lion. This immediately suggests that the film will not follow the traditional style of a thriller, and that it may stray from traditional tropes and expectations. The use of the black and white Lion makes the opening more stylised and differentiates it from existing opening sequences.

Before the titles even begin, the audience can hear loud, dramatic music which immediately suggests that the film will be highly suspenseful. The music repeats in sound, adding various instruments as the opening progresses. This repetition draws the audience in, creating an immediate sense of tension. 

The emerging lines at first resembles some form of graph paper or chart. The use of subtle colours for the background ensures that the viewer pays full attention to the titles as they appear on screen. The titles act as a focal point for the viewer, as without them the audience would have no sense of placement within the scene.The parallel lines could also reference the title of the film 'North By Northwest' as they could relate to train tracks or roads, both of which feature in the film.

The vertical movements of the titles could reflect an elevator within a building, suggesting the film may involve business or finance. Where the lines cross, it could be seen as windows on an office block, developing the suggestion that the film is business related.


The font used for the titles adopts a white, sans serif style which juxtaposes with the straight, unchanging look of the background. The angle of the titles gives the audience a sense of perspective as the graphic matches the suggestion of the angles of the windows of a building. The solid, bold lettering could also suggest a business-like theme to the film, as the font matches that of a desk title or office nameplate.

The font remains the same for the film's title, however it now features arrows which correspond to each word's direction. The increase size of letters 'N' and 'T' could represent a road sign, giving directions to a driver and the audience. The arrows themselves also follow the established lines created by the background, adding to the straight, consistent look of the sequence.

Here the green background fades to reveal an office block, which I previously speculated. In the reflection, the viewer can notice a wide colour palette of car colours, which would suggest that the scene takes place in a city or urban environment. This would also suggest that the film takes place in the twentieth or twenty-first century, as the cars reflect the industrial progress made in these eras. This allows the audience to assume that the film takes place in reality and will likely feature industry and machines from its era.

Towards the end of the opening sequence, the office block fades to reveal people walking in, out and around a seemingly large building. The high number of extras in this scene helps to give verisimilitude to the scene, making it believable and engaging for the audience. It also provides further evidence for the viewer to assume that the film is set in an urban environment.

The various suits and other formal attire worn in this scene show that the occupants of the city are involved in business, thereby suggesting the film may feature themes of wealth and riches, a convention for both antagonists and protagonists. The varying hats and hairstyles shown in the scene allow the audience to gain an understanding as to when the film is set. For example, the trilbies seen throughout the scene immediately suggest that the film is set in the 1950's, as these were typically worn at that time.

The colours used for the civilians are kept to a subtle range, making it harder for the audience to differentiate between each person present in the scene. This adds to the busy, business-based tone of the scene, as the composition of each shot is kept full of different people, meaning the audience gain a feeling of presence within the city.

The mid shot here focuses mainly on the two women arguing over who should enter the cab. The specific use of the mid shot allows the audience to take notice of the two women, while still glimpsing the surrounding city and its other occupants. The cab also helps to give realism to the scene, as well as developing the audiences speculation as to where the scene takes place. By this, I mean that the yellow cab would typically be associated with American cities, most of all places such as New York.

List of Titles in Chronological Order:

METRO-GOLDWYN-MAYER PRESENTS

CARY GRANT

EVA MARIE SAINT

JAMES MASON

in ALFRED HITCHCOCK'S

NORTH BY NORTHWEST

CO-STARRING JESSIE ROYCE LANDIS

WITH LEO G. CARROLL / JOSEPHINE HUTCHINSON / PHILIP OBER / MARTIN LANDAU

ADAM WILLIAMS / EDWARD PLATT / ROBERT ELLENSTEIN / LES TREMAYNE

PHILIP COOLIDGE / PATRICK McVEY / EDWARD BINNS / KEN LYNCH

WRITTEN BY ERNEST LEHMAN

MUSIC BY BERNARD HERRMANN

DIRECTOR OF PHOTOGRAPHY ROBERT BURKS, A.S.C

PRODUCTION DESIGNED BY ROBERT BOYLE

ART DIRECTORS WILLIAM A. HORNING & MERRILL PYE

SET DECORATIONS HENRY GRACE & FRANK McKELVEY

SPECIAL EFFECTS A.ARNOLD GILLESPIE & LEE LEBLANC

TITLES DESIGNED BY SAUL BASS

FILM EDITOR GEORGE TOMASINI A.C.E

COLOR CONSULTANT CHARLES K. HAGEDON

RECORDING SUPERVISOR FRANKLIN MILTON

HAIR STYLES BY SYDNEY GUILAROFF

MAKE UP BY WILLIAM TUTTLE

ASSISTANT DIRECTOR ROBERT SAUNDERS

ASSOCIATE PRODUCER ROBERT COLEMAN

DIRECTED BY ALFRED HITCHCOCK

Analysis of Thriller Openings - I,ROBOT

Analysis of Thriller Openings - I,ROBOT

I,ROBOT (2004): http://www.imdb.com/title/tt0343818/
Director: Alex Proyas
Writers: Jeff Vintar, Akiva Goldsman, Isaac Asimov - (Provided Influential Source Material)

I,ROBOT is a widely known film due to its deep issues of humanity as well as its action and suspense. The film itself is a hybrid of both the thriller and sci-fi genres as it features strong futuristic themes whilst still maintaining a mysterious, unpredictable plot.

The film begins with a fade into 'TWENTIETH CENTURY FOX PRESENTS' above what appears to be metallic structures or chain links. The very first shot of the scene creates a sense of unease and tension as the viewer is given no suggestion as to where the scene takes place, conveying a sense of disorientation, without showing any action.

The capital, sans-serif, metallic lettering used throughout the opening scene is typically associated with science-fiction films due to its sheen, orderly presentation. This suggests to the viewer that the film will feature science-fiction elements and will not follow the typical conventions of a thriller.

The ominous red light furthers the sense of disorientation for the viewer, as it keeps them unclear as to where the scene takes place, therefore adding tension to the entirety of the scene.

The titles quickly dissipate into bubbles which, through the use of computer generated effects, foreshadows an event which happens to Will Smith's character in the film. This with the use of aquatic sound effects suggests that at least some part of the film will take place in or around water. 

These added water effects are juxtaposed throughout the scene by the metallic structures seen in the background which helps to further the viewer's confusion, creating an unnerving sense of perplexity for the audience.

The quick-pan to the drowning girl helps to create a sense of urgency and panic in order for the audience to immediately feel engaged and excited. Despite only seeing a glimpse of the girl, the audience can identify her as a victim due to her visible young age, which relies on the viewer's pragmatic understanding of childhood and innocence.

Momentarily, the viewer can see a metallic leg which is used briefly in order to surprise the audience, immediately drawing interest towards the film. However, due to fast pace of cuts in the scene, the viewer only sees the leg for a few seconds, allowing the audience to question who the leg could belong to. This sense of intrigue is typical of thrillers and is used to create a more substantial impact when the character is finally revealed.

The non-diegetic, dramatic music adopts a sharp tone as the text appears which highlights that the audience should take note of 'Law III'. The music also suggests that a threat is present in the scene, therefore creating tension for the audience. 

The traditional, typically handmade instruments used for the music contrast with the highly sterile, minimal appearance of the metallic background. This contrast actually works to great effect as it helps the scene to remain ambiguous in relation to its location and time setting.

The low-key lighting used and this shot, as well as the entire opening scene, is typical of thrillers. The focus on the robot's bright, shallow eyes, as well as the darkening of its body, suggests that the robot could be an antagonist as it remains in shadow.

The minimalistic features of the robot's face make it hard for the audience to identify the robot as an antagonist or protagonist, meaning the gesture of the reaching hand is left ambiguous.

Opening Titles in chronological order:

Twentieth Century Fox Presents

In association with Mediastream IV

I,ROBOT

Conventions of Form - Opening Sequences

Conventions of Form - Opening Sequences
Below is another mind map I created using MindMup.com. I created this mind map in order to discuss some of the conventions of thriller opening scenes, rather than thriller conventions as a whole.

Examples of Thriller Opening Sequences:

Watchmen (2009) Uses a montage of clips in order to give exposition for the characters as well as establishing the era in which the film is set.

Cape Fear (1991) Uses water imagery throughout the credits which clearly suggests that at some point the film will revolve around water or aquatics - the use of dramatic music paired with this also suggests that sinister events will take place.

Red Lights (2012) Uses religious and scientific imagery which suggest to the viewer that the two ideals may oppose or clash. The flickering letters also suggest a sense of urgency or panic, which is assisted by the dramatic music.

Conventions of the Thriller Genre

Conventions of the Genre

Below is a mind-map I created in order to detail the various conventions of thrillers, including themes, sound, editing and camera amongst several other areas. I created the mind map using MindMup.com.