Brick, (Johnson, 2005, US)

Analysis Of Opening Sequence

Opening Sequence:

The films opening sequence begins with instruments that contrast: they differ in speed, sound and emotion – creating a sense of confusion towards the audience. The camera then displays a close-up of a persons shoes – the audience are therefore not introduced to the character properly.

Continued: The shot then fades into an extreme close-up of the

characters face – this transition between these two shots produces an element of mystery about the character. To further support this idea, his face is obscured by his hands and the shot begins being out of focus, then the use of a focus-pull brings the character to the audiences attention.

Continued: The film then cuts to a master shot: viewers know where the

characters are, and where they are positioned within their setting: the characters appear isolated due to the high walls and emptiness around them. The set includes a tunnel which is completely black, this may have been used to reinforce the aspect of mystery; audiences are unaware and are not being told anything at this point of the story.

Continued: The film continues to cut back-and-forth from each character – as if

it is implying there’s a relationship between the two, and as a result of having no sound apart from the continued instruments, it makes the scene quite intense. Audiences understand that the two characters know each other because, as the girl lay dead by the water – a mid-shot shows her to be motionless and pale – the male character is crouched down and is intensely staring at her body. His body language implies he is shaken-up over what has happened to the girl as he hasn’t moved – as if he’s in a state of shock.

Continued:

The film then cuts to a shot of girls arm, and draws the viewers attention to the bracelets she is wearing. There is then a graphic match on the bracelets: allowing the film to link to the two shots together.

Continued:

We then recognise that there is a change in setting due to the diegetic sound of the school bell, lockers shutting, people talking and moving – audiences comprehend that this is the connection between the two characters we have already been introduced to. There is a juxtaposition in the settings used: the school is safe and is a form of normality, but the storm drain is creepy and unusual.

Continued:

The film then suddenly cuts to the title of the movie: bold, white text over a black background. As a result of this, it seems quite alarming, and puts emphasis on the meaning of the title. The text indicating a timeline acts as confirmation that the beginning of the film was not happening chronologically.

Continued:

The camera then cranes down to a close-up of the characters shoes again – yet this time, at a different setting – this has been done so the audience recollect the memory of a similar shot, and realise who the character is and his importance.

Continued:

An extreme close-up is the used: displaying that nobody is around him, although we as audiences know who sent him the note, he doesn’t. The use of either too close/too wide shots on the character enable the viewers to still not be properly introduced to him – he’s a stranger to us; we haven’t been told any information about him.

Continued:

The film then cuts to a point-of-view shot of the note he has received, allowing audiences to view it from the subjects perspective – this is the first time audiences are actually given any information about the activity of the character.