Explore the use of film language for effect in the opening sequence to Inception. How does the director engage the audience?

Inception is a thriller genre film made in 2010. It is about a thief, who steals information from people by entering their subconscious minds using dream sharing technology. The story begins when he is given the chance to have his criminal history erased and be re-united with his children in exchange for planting an idea in someone’s mind, it documents his and his team’s journey to do this. As a thriller a film has to create a sense of danger and excitement that makes it thrilling to watch. Inception does this from immediately, as shown in the opening which engages the audience with the director’s use of lighting and colour, editing and camera work, sound, and mis en scene.

The opening to Inception uses lighting and colour to engage the audience by using it to construct atmosphere and mood in the scenes. The lighting starts low key with a lot of chiaroscuro, this creates a dark, gloomy atmosphere that immediately creates tension for the audience. The use of contrast between the shadows and the lights, coming only from the back of the room, makes the main character, Mr Cobbs, almost a silhouette, this adds to the tension by also making the audience suspicious of his intentions. Lighting and colour is also used to highlight the moment when Cobbs is caught, as he is suddenly flooded with brightness as the lighting becomes high key and the ceiling is revealed to be completely covered in tiny hanging lamps. Colour is also used to present the two different worlds, as the dream world is consistently shown with yellow lighting, which gives it an underground, un-natural feeling. This is shown with the Japanese paintings in the background, the lamps,the fog-like effect created by the falling earth, and even the lighting on the character's skin. Whereas the real world frequently uses the colour blue; as the room has big windows to allow lots of natural light to flood the room and to show glimpses of the sky. Blue water is also used as a symbol of reality as waves rush into the dream when Cobbs is waking up, as reality comes rushing back to him, this use of colour creates a clear contrast between the two worlds, which otherwise could be very confusing to cut between.  Lighting is also used to focus audience attention onto certain objects, such as the safe and guns. They gleam from lights shining directly onto them, which with the darkness surrounding them centres the audience’s attention.

 

Editing and camera work is used to create suspense and excitement in the opening to Inception. It starts with a slow pace, on a long shot establishing mood and location, this builds tension as the audience is made to focus on key details with extreme close ups, such as on the safe being opened and the tense face of Cobbs. However both the cuts and the character’s movements are slow, building anticipation as the audience knows soon something dramatic will happen. This is suddenly changed as Cobbs is caught, the cuts between the characters faces become more rapid making it exciting, and a shot reverse shot is used to create the feeling of a stand-off. A slow zoom onto the main character’s faces is also used to highlight the importance of the revelation “we are actually asleep” Then during the chase scene the anticipation built up between the last two scene is finally satisfied, it is given a frantic feeling, as there is frequent and quick cross cutting between the real world and dream world to demonstrate how much is happening at once. The chase itself is made to feel frightening and dangerous because the cameras stay close to Cobbs and roll with him as he runs, and with the business men as they chase him. Also there are frequent close ups of damage being caused such as glass sheets shattering and large objects like statues falling, this makes the audience feel as though they are right in the middle of the wreckage and also part of the chase. Motivated editing is also used to connect the two worlds, as though most of the time the two worlds exist separately towards the end as Cobbs starts to wake up actions that occur in one have reactions in the other. Such as Cobb’s sleeping body being slapped in the real world, and him falling in the dream, and Arthur being shot in the dream and the next shot shows a close up of his eyes opening in the real world. The initial shots use closed frames, but keep the edges shrouded in darkness so the audience still gets the sense of something happening out of sight, which creates fear and adds to the anticipation built up in this scene. This sense is also present later during the chase scene where open frames are used, as there are objects breaking and smashing just at the edges of the frame, this adds to the sense of chaos in the chase scene gives the appearance of the destruction being even greater what can be seen.

Sound is used in the opening in the form of music to engage the audience by building tension and reflecting the mood of the scene. The scene starts with a fast beat playing, that mimics a heart beat and grabs the audiences attention as it makes them aware that something important is going to happens soon, building anticipation. This regular rhythm is suddenly stopped and replaced by slow synthesised chords, giving the moment a jarring feeling, when Cobbs is caught by the business men. This sudden change reflects the emotions felt by the protagonist and the chords increase the atmosphere of tension, with a drawn out and ominous vibe to them. The music is also used to highlight the important reveal that “we are all actually asleep”, as here a new guitar motif kicks in just after this is said, the strings present a sharp contrast to the synthesiser and the intriguing tone of the phrase leaves the audience curious, again adding to the anticipation. This obstinate continue while the business men remain in power and in control of the situation. It switches suddenly to a frantic violin piece when Cobbs grabs the gun, as this flips the situation and changes it into a chase sequence. This again shows music being used to indicate the protagonist’s emotions and it adds more excitement to the sudden movement of the character. The violin ostinato is built upon with undertones and additions of other orchestral instruments that build into a crescendo that makes the chase scene feel thrilling and dangerous to watch. There is a brief pause in the music, when Arthur is shot and screams, the sudden silence that surrounds the scream, that punctuates the rhythm of the scene, makes it seem more significant and shocking. Diegetic sounds are also used in the opening, at the start there are satisfying sounds such as the clicking of the safe, the cocking of a gun, and the swoosh of it sliding across the table. These depict the idea control, efficiency and professionalism. Which presents a contrast the the diegetic sounds at the end of the opening sequence, which are crashes and shattering sounds as the ceiling caves in and large objects break as the dream world starts to disintegrate during the chase. 

Mis en scene is used in the opening to establish the characters and location. Such as the presentation of all the characters in formal suits and a ballgown, this presents them as professionals and indicates a certain level of wealth. It also hints at the setting of the scene, as there appears to be an fancy occasion going on that has been interrupted by this attempted theft. The location is also indicated to be somewhere foreign to the american protagonists, possibly Japan as indicated by the style of the paintings. Mis en scene is also used to draw attention to objects such as the envelope, its reveal is dramatic as there is a lot of emphasis on the safe as  it slowly clicks open. And then it stands out as a bright yellow colour, against the deep black of the background, the dark grey of the same and the darkness of Cobbs' suit, to indicate how important it is. The uses of colouring also displays it as a key part of the dream world, as the colouring for the dream world is all yellow. This is significant as the envelope and its contents are the entire reason for them entering the dream, and because it can only exist in the dream as it is a representation of information stored in the mind not a physical object, making it such a crucial object it is almost as if the the dream’s colour scheme revolves around it, rather than it fitting into the colour scheme. Mis en Scene is also used to draw attention to the guns, to increase the element of danger. Such as the use of framing in the shot where Cobbs first draws his out of his jacket. It appears to be pointed just over the audience and is very close to the camera, making it the largest and most prominent feature of the shot. Weighting is used here as it is the highest object in the shot drawing more attention to it. And when Cobbs pushes the gun across the table, it slides very slowly and the table is mirrored, making there appear to be two, bringing the audiences focus completely onto it with the double effect and the eye catching motion. This continued emphasis on the weapons is used as foreshadowing for the imminent violence soon to follow.

In conclusion the lighting and colour are used to set up the atmosphere of the opening sequence and display the differences between the two worlds depicted. Editing and camera work is used to create suspense by starting the pace slow and making it faster and faster to create excitement near the end of the sequence when it has evolved into a chases scene. Sound is used to reflect the emotions of the protagonist and the build anticipation and tension within the scene. Mis en scene is used to establish characters and location, and highlight important aspects of the opening.

Collateral Opening

Collateral starts with a series of close ups on two different men's faces as they walk through a busy crowd. These shots have a very shallow depth of field, so that all the people around them are blurred, making the audience focus on their faces. Focus is also drawn to one in particular with the steady rhythm of his footsteps being the only clear sound heard. It is also made clear that he, out of the two men shown, is the main character as only he is shown in slow motion and the camera shows his point of view over his shoulder when it cuts to a different shot. His character is presented as a professional, as he is wearing a smart business suit.
There is also a close up on the two  identical bags as they are dropped and switched and the camera remains close to the two men as they talk, in a mid shot and an over the shoulder shot, to show the importance of the interaction. It also establishes the main character, as it shows organisation, efficiency, and casts suspicion onto him and what he is about to do. This suspicion is also added to by the lack of emotion he displays during this sequence, meaning that even through there are many close ups of his face no intimacy is built.

The opening also introduces the audience to the other main character. Instead of one wide shot to show the location there are a series of high speed shots that indicate the busyness of the workplace. It also highlights this character as separate from all of this, he isn't moving about frantically or talking among the others, he is sitting quietly by himself doing a crossword puzzle. This displays a level of intelligence and calm about him. This feeling of separateness is also increased by the complete cut out of sound when he closes the cab door. And the sense of calm organisation to him is developed more by the quick display of his caution with the time taken to check that all the lights are working before driving the car. Lastly the sequences also makes the audience bond slightly with the character with the close up of his face as he places a post card in the sun visor, he appears to have a goal he is working as a taxi driver for, and his face contains a trace of sadness that makes the audience feel sympathetic towards him.

The Woman in Black Opening

The film 'The Woman in Black' begins with a closed frame of three children playing and having a tea party with their toys. This seemingly sweet and innocuous scene is given a sense of foreboding that sets the tone for the rest of the film.
The key light in the room comes from the daylight streaming through the window, which usually makes a scene feel pleasant and reassuring, however the lighting has been set up so that every shadow is more pronounced, darker, and larger lending it an eery feeling even though it is day.
It is also made unsettling by the lack of diegetic sound, such as the children laughing and talking as they play. Instead non-diegetic sound is used as a lullaby-like tune is played over the scene. This is one of the many inversions of innocent aspects of childhood that are made creepy as, instead of being a soothing song to fall asleep to, the lullaby is dis-jointed, in a minor key, and overly slow giving it an ominous edge.
The opening starts with close ups of the children's toys, such as mildly un-nerving dolls and then moves to a wide shot of them playing, followed by close ups on their smiling faces, this builds intimacy that makes the end of the sequence all the more shocking and traumatic. The camera stays close to the children until the turning point in the opening, when the tone goes from foreboding to explicitly frightening. A particular wide shot is used here, which gives the impression that the viewer is standing in the doorway into the room, forced to watch as the children suddenly quiet and start to walk, and move in perfect time and with an alarming sense of purpose and control rarely seen in children, towards the three window panes which they each open and step out.
A large part of the fear created here is in the way the children suddenly cease to act like children, this is revealed in the different shots that are interspersed with the single wide shot of their walk. These close ups show them stepping on and breaking toys, mindless to the destruction of these treasured possessions, focused only on reaching the window. There is also a final close up on the children, but unlike the ones earlier their faces are completely expressionless and devoid of any emotion.
Foreshadowing is also used here to add to the tension such as the shot of the camera zooming in on the window just before the children start to walk to it, signifying they will end up there. And the close up of the doll's head being crushed, symbolising the imminent death of the children.
The ending to the sequence is very impactful as the viewer is merely left an absence where the children were just moments before and a single haunting scream from off stage from the mother discovering the children dead.

Drive Opening

The film Drive starts with a long shot of a classic New York skyline at night, with the camera rolling forwards closer to the city at a smooth slow pace. It frequently switches between long shots of night time New York with the car driving, and mid or close up shots of the man driving, behind the steering wheel to keep viewer interest with variation. However the frequent switching between angles and cameras does not create a fast paced mood for the opening but rather the opposite as the different shots merge and fade into each other so that the lights from the skyline are cast over the face of the driver.
The car is shown as a dark silhouette against the blurred, coloured lights of the city, which are kept out of focus and drift by to create a dream-like atmosphere in the sequence. This atmosphere is added to by the use of non-diegetic sound, in the form of an upbeat pop song with a steady pulse and synthesized backing music. The slightly unreal edge to the music and the edited voice of the singer adds to the dreamy mood by slightly removing the scene from reality. It is also used to create satisfying moments for the viewer like the light in the room being turned off in time with a beat in the song.
The lighting throughout the sequence is low key and presents a sharp contrast between the bright city lights and the deep shadows of night. The driver's face is often cast partially or completely in shadow as street lamps and the reflection of lights on the windshield pass over him. This creates a soothing, pleasant atmosphere rather than a menacing one as the sights are slightly unreal,  with the blurred lights and silhouettes, yet also familiar and therefore relaxing.
The Driver briefly leaves the car during the opening, and like the motion of the car driving his walk, and that of a woman's in the background, are smooth and even with no stopping or starting, so that the images on screen are consistently visually pleasing to the viewer and never uncomfortable.
The sequence ends as it began with a long shot of New York and the driver back behind the wheel on the road again.

The Dark Knight Opening

The film 'The Dark Night' starts on a false sense of normalcy with high key lighting on a long shot of a New York skyscraper. The camera slowly zooms in on a window, building anticipation and then suddenly the window shatters, the sense of calm is broken and the action begins. 

From then on the camera angles change rapidly and there is frequent crosscutting, which gives the scenes a fast paced feeling. This is added to by the music used which has a constant and fast beat that increases tension and makes the viewer focus on the action by creating an urgent mood. And by the, perhaps over exaggeratedly loud, diegetic sounds such as the gunshots and glass breaking.

The viewer is also made to feel as though they are at the centre of the action as the cameras stay very close to the men at all times and follow them, in a smooth rolling motion, every time they move. So that when the men enter the car, cross over the building on a zip wire, and enter the bank the camera stays right with them so it is as if the viewer is among them. 

The opening is also made exciting and tense by the use of foreshadowing. Such as weighting being used to draw attention to one of the men by placing him in the top half of the screen on the left. The attention drawn to him casts him in a suspicious light as he is standing just behind another man watching him. Due to the weighting the viewer becomes aware and wary of his presence just before he shoots the other man.

The consistent close ups also increase the drama as they keep the viewer immersed in the action and make it a significant change when at the end of the scene the camera changes to a mid shot then a wide shot to reveal the bus crashing into the building. 

  

My favourite TV show is 'Hannibal' which is a psychologically intriguing and dark show, with a complex and gripping story. The cinematography is incredible, as the whole show is filmed very artistically. A lot of the shots having more to them than initially seen, much like the central characters on the show and many scenes are so well put together the still images could be art themselves. The music of the show is also very good, it is unusual in that most of it is not performed on traditional instruments and is cleverly woven into the show so that it is ever present and provides a mood for each scene. It is often subtle enough to be unobtrusive in a less crucial parts of the story then can rise into a sudden crescendo during emotional and suspenseful moments.