Dead again Thriller Analysis

dead again trailer
The opening of dead again we observe a range of different newspaper articles as the camera pans across the scene we see different close ups of each one. The articles make reference to the scissors or murder giving the audience an insight into what the film is about, the genre is also made clear through this as we identify murder plots with thrillers. As the articles are shown there is a non-diegetic soundtrack of classical music over the titles, which starts of fairly slow and intense and builds to a crescendo, thus reinforcing the thriller genre. When the music reaches its crescendo a fade is used as we enter the opening scene. The scene begins in black and white which suggests the scene took place in the past. There is a diegetic sound of Strauss singing, it is incredibly eerie and sets a mysterious atmosphere as we are at first uncertain of where the sound first comes from. When establishing it is Strauss it implies he is rather confident which is unusual considering of the prison setting we can confer he is in, this confidence implies he is hiding something or has a plan. We then hear the diegetic sound of scissors cutting, which is important to the scene as scissors have been prominent throughout the opening credits which imply they later on will play a key role in the film.

The camera pans around the room until it arrives at Strauss where we have low key high contrast chiaroscuro lighting. A medium close up is used to see Strauss however the lighting makes only his lips visible thus hiding his eyes as they are hidden in the darkness, this carries connotations that he is hiding something and creates a sense of mystery and danger, he appears very sinister and dominant.

There is a medium close up when Baker opens to window in the door and there is an over emphasised diegetic sound of him opening the window to increase drama and make it more shocking when he opens it. A point of view medium shot is then used from Baker to Strauss as we see him having his hair cut again we see the scissors as the scissors are a common reoccurrence we know they will be significant to the plot. As he enters the room there is diegetic music which again is rather eerie. Bakers non-verbal codes including his dress  code imply he is of importance, he is dressed in a white suit he looks formal and smart, also the colour white connotes purity and contrasted with the dark room it further connotes an idea of good vs. bad. His dress code is contrasted with Strauss who is wearing a prison uniform he appears scruffy. High key low contrast lighting is used to show Baker and as he sits down a tracking shot is used.

As the two characters converse shot reverse shots are used along with close ups are used to create emphasis on their faces and show the intensity of the conversation. There is a medium close up on Strauss as he leans into the light we see his eyes, his confidence is further emphasised by his relaxed attitude despite the fact he is getting the death penalty. When Strauss leans into the light he appears incredibly intimidating. An intense fast paced non diegetic sound of violins is being played to intensify the situation.  A tracking shot is used to show Strauss lean into baker followed by a low angle shot in which Strauss appears higher in the frame then Baker, making Strauss appear dominant and intimidating, and Baker seem frightened and subservient. As Strauss leans into Baker a cut away is used as we are diverted to the prison guard who looks rather confused and not particularly in control of the situation which makes us think Strauss controls the power.

As Strauss is called to receive his certain death, a long establishing shot is used to show the corridor we see clearly now it is a prison the lighting used her is low key and creates a tense and nervous atmosphere. Baker remains in the room the camera tracks him using a medium close up walking to the table in which the scissors were put down. There is then a close up on the newspaper with the headline “scissor killer to be put to death. A medium close up is used to show Bakers facial expression which displays panic as he realises Strauss has taken the scissors which causes a change in music as it becomes very fast tempo. An immediate cut to an extreme close up on the scissors in Strauss hand show clearly he has stolen with us and makes us think he plans to do something with them As the camera is tracking Strauss walking down the corridor we see prisoners expressions by medium close up they are all screaming which makes the scene more dramatic and fast pace.  Baker runs after Strauss and a long shot is used to show the distance between them this is symbolic of how far Baker is from stopping Strauss. Baker is running towards the camera and a close upon his face shows him screaming in panic. A close up on Strauss hand shows him preparing the scissors then we cut to a medium close up of his feet which are moving rapidly again connotes intensity. As he approaches the end of the corridor there is an extreme close up on his eyes to show he has fixated his target and has a plan. The camera zooms in fast on a silhouette of a woman. There is a medium close up on Strauss as he raises the scissors in order to stab her, as this happens there is diegetic sound of her high pitch scream and as this happens the camera cuts to the woman waking up from a nightmare using a graphic match. As lightning strikes she wakes up this is pathetic fallacy as the diegetic sounds of lightning show her fear.

Analysis of Thriller- Seven

The first scene of seven takes place in an urban city in America; it is chaotic which forebodes the messy crimes to come. We see Detective Somerset played by Morgan Freeman in his apartment there is a medium shot of him cleaning dishes, this shows he is a rather anal and clean character which helps him to be a rather precise by the book detective. Outside there is diegetic noise of sirens which connotes the danger around him, this is juxtaposed with his clean and modern apartment.  He wears white which again reinforces his fastidious and obsessive nature. His apartment is rather modern and very minimalistic; however key bits of furniture e.g. the chess board inform us that he is rather intellectual. There is then an ellipsis to an over the shoulder shot of Detective Somerset buttoning up his shirt in the mirror, the camera then pans to his face which looks very serious and focused. We then cut to a close up of his belongings lined up in order on his table, shortly followed be a medium shot of him picking a small piece of fluff of his blazer this signifies he has a rather obsessive and compulsive nature.

There is then an ellipsis edit to the murder scene where a man lies in a pool of blood. Low key high contrast lighting is used to convey an eerie atmosphere, the camera pans to show the whole body. We then cut to a medium long shot of Detective Somerset slowly walking down the dimly lit corridor. The camera pans him as he puts on the glasses to get a more in depth look of the clues; this shows us he is eager to know the true cause of the man’s death, this juxtaposed with the other detective who wears a discoloured unbuttoned shirt with which is symbolic of his lazy carefree attitude towards the case. There is then a medium shot as Brad Pitt runs up the stairs, his running shows he is eager. There is then a medium close up of Brad as he introduces himself to detective Somerset, he is chewing gum and appears rather confident. There is then an ellipsis edit as the two leave the apartment after a body bag into the busy city where it is raining the use of pathetic fallacy emphasises the dull situation also a blue filter is used to make the area seem downcast and dreary. The camera tracks the two detectives as they walk down the busy sidewalk, Brad Pitt wears a leather jacket which emphasises his individuality and perhaps rebellious nature this is juxtaposed with Detective Somerset’s clean cut appearance and professional suit. Their age also contributes to this odd pairing, however it may connote compatibility as they both possess qualities that the other lacks. The low angle shot used as the two converse shows they are both confident and dominant characters. Brad Pitt acts a very self-assured and confident character, however it is clear Detective Somerset is to act at his mentor and his boss.

We then use an ellipsis edit of an interior long shot of Detective Somerset in his bedroom, reading a book which again connotes the idea that he is a intellectual, this reinforced by the mounds of books in his room. Low key high contrast lighting to give an atmosphere of darkness and threat. There is an extreme close up on Morgan Freemans hand as he puts down his glasses and puts on his metronome as he uses as an orderly device in order to drown out the chaos of the diegetic shouts and screaming that comes from outside. His need to create a sense of order again symbolises his fastidious ways. The metronomes’ repetitive ticking acts as a device to help him sleep there is a medium close up as we zoom to him trying to sleep, we cut back to the metronome as it fades to black.

There is a fade to black as we then cut to a montage of images as the overlay titles begin a rather wiry non diegetic soundtrack, there is a constant beat which of a high hat on the drum which ties in with the aforementioned metronome. With key images shown that link to crimes, we first see a diary, which refers back to Detective Somerset’s compulsive ways; it suggests there is perhaps a paradox between the villain and Morgan Freeman, as they both keep things in an organised way, we also can infer that the villain is highly skilled in the way he fastidiously organises his diaries and his skills in sewing suggest he pays great attention to detail in his crimes, making them seem more vicious and him more dangerous. There is then several extreme close ups on the villains hands as we see him using a small blade to shave the top layer of his finger off (in order to destroy his fingerprints) we can infer from this that he is extremely clever and cunning. The eerie soundtrack continues as white flashing overlay titles flicker on the screen the way in which the titles flicker connotes images of panicking and desperation. We see the villain in many ways is very similar to Morgan Freeman as the diary and the way he keeps everything organised suggest he is also a rather assiduous character. The colour red act as a catalyst for fear throughout the titles, as red connotes danger violence and death.  We see a montage of pictures of victims who have been brutally assaulted and look disturbingly disheveled.  The non-diegetic music builds to a crescendo and the fast pace thus reinforcing the thriller genre it makes us more on edge. The words “you bring me closer to God” connote images of death as dying brings you to God.  

Student Analysis – Nocturnal Windows

Nocturnal Windows

This student production is established as a thriller through key features such as chiaroscuro lighting, characters, sounds, shots and general mise-en-scene. The production opens with a high angle panning establishing shot; this immediately sets the scene and makes the viewer aware of the location. The shot shows many different doors which implies there are perhaps many places to hide, it connotes the idea that there is perhaps someone lurking in one of the many doors thus reinforcing the mystery surrounding the scene, and the thriller genre. There are then several fades to black connected by left to right panning movement showing the location and establishing that the house is apparently empty, however the emptiness has an eerie effect on the audience as it would be a lot more threatening/frightening if someone were to appear. Also the panning is slow which creates suspense we almost feel as if we are looking for someone this connotes a menacing atmosphere that something or someone may be looking.  There is then a dissolve to an exterior of the house, it looks rather old reinforcing the eerie feel of the thriller, the fact that it is at night time (we can infer this through the use of chiaroscuro lighting) ultimately makes the victim more vulnerable as the villain can lurk in the shadows and pounce at any given time. The characters walking towards it signifying that they are approaching the house we’ve can infer this because the interior shots were shown before the exterior shots. 

Alongside the opening shots, there is mysterious non diegetic music with piano notes being played, this creates a sense of apprehension building tension and mystery and it reaches a crescendo and stops as the shot fades to the exterior action. There are then diegetic sounds of footsteps and the door being open and then locked. The camera focuses with a medium shot of the door being locked and a close up on the character locking the door. The light switching off acts as an ellipsis fade which creates irony as the viewer knows that something may be inside the house with them, and they have just locked it in.
There is then an ellipsis into the bedroom, where both the characters are in bed. There is a medium long shot of the bed. The room is lit by a lamp, again there is chiaroscuro lighting establishing the opening as a thriller. The light next to the girl is lit, however the light next to the male is off, this could represent binary oppositions of life and death, as he dies shortly after. As the girl talks there is a medium close up on her face, this emphasizes the scared, nervous tones in her voice. The bedding is a bold red colour; this connotes blood and death which may foreshadow a later event that may take place. The male character reacts reluctantly to checking the house for his girlfriend, and in the end it can be assumed that he gets killed, this fits in with other thrillers we have watched as usually the person who is reluctant but brave enough to check dies.  The use of dialogue and continuity editing establish narrative themes.
As he walks upstairs there is a medium to long shot, we hear the diegetic sound of his footsteps as the shot fades to black, the sound of his footsteps fades away too. The fade to black denotes and ellipsis but could represent the uncertainty of his life.
The music starts again as she is walking upstairs in the dark with only a torch lighting the way. The darkness surrounding her and the torch is unsettling as it suggests something is hiding in it.  Here the lighting could have been better for example having the lights on, however that would not have created the same atmosphere. There is a low angle tracking shot of her as she walks up the stairs, the camera uses a night vision effect to highlight the darkness the character is seeing. The camera tracking behind her makes the viewer empathise and identify with her vulnerability at this point, wondering what lies ahead.  Non diegetic music starts again as there is a close up of her hand opening the door and the torch is shining on it, implying that this room is significant.
There is a non-diegetic sharp high pitched string sound as she witnesses what’s inside the room, and then a close up on her face showing her shocked, disbelief expression. We cut to a medium close up of her dropping the torch in slow motion which signifies the loss of life or falling into a hellish situation. The diegetic sound of the torch dropping on the floor is emphasized to make the viewer feel her shocking impact of the discovery even though we don’t see it.  Here there is a change of pace with faster edits and use of quicker tempo music.
The camera is hand held, with an extreme close up on her face as she runs which creates a sense of urgency and panic. Here, the music is faster than before although we feel it is not fast enough as it needs to create a greater sense of urgency.  It would have been more effective if the music had a faster tempo and sharper notes. There is a cut to a low angle shot of a mysterious pair of feet dressed in black, we don’t see his face which creates more mystery. As she reaches the door she is frantically looking for the keys which we knew were placed on the hook from the earlier medium close up shot but now they have gone, the killer closely planned this. The camera quickly pans round behind her and shows a black figure coming towards her with a knife. The music reaches crescendo as the camera focuses on a close up of the knife.  A splatter font is used as ‘Nocturnal Windows’ appears as a full screen title hinting at disruption and blood/violence.