Opening Sequence Analysis: James Bond

4. As I watched the movie, I could not grasp that the things that I was seeing were real, especially the body parts just laying around. It made me feel sick to my stomach that stuff like that happened.

The vision Christopher Nolan had for The Prestige (2006) was to add to the outbreak of street magician film, whilst playing a large dramatic subplot equal in grandeur to the magical performances within the film. In the final sequence of the film, I will analyse how the cinematography and sound resolves the plot so that it summarises the themes present in the film, whilst also invoking a response from the audience. Nolan predominantly uses close up shots, non-diegetic sound (music) and dialogue collaboratively to convey the dramatic, personal subplot of the characters and their relationships, whilst appealing to the audience bringing forth an emotional response from the audience. The heavy, slow, dramatic atmosphere of the ending sequence uses various techniques to summarise and uncover the underlying mysteries of the events throughout the film and consolidate themes introduced during the exposition.

We encounter Bond as a fledgling British agent, yet to gain MI6 double-0 Status, with its ‘licence to kill’. The film strikes me as being more violent than previous Bond films, showing him cleaning up after the action - indeed, some of his injuries as portrayed were genuine, according to The Ticket, November 2006. He is less ‘superhuman’, too, than in the other films; for example, he’s not as adept at ‘free-running’ as his adversary. The new less-than-perfect Bond (he upsets M by

the opening sequence, in The world is not enough he got his hands on a

She is the killer in the film, yet is not the killer. Hitchcock also makes some scenes in the film sound so immense, that he is unable to describe it. As he describes something, he talks really fast, giving us an impression that it is a fast scene. He also does not finish the sentences. This makes the audience want to see what really happens in the film.

the plot.The recurring imagery of blood is used as a symbol to demonstrate the constant feelings of guilt. The blood imagery impacted the play and the characters into making decisions. Without the bloody imagery, the story line would not have went the way it did which is is characterized by not only guilt but also by all the deaths and which was present during the play.

This film is a black and white film and the lighting is more towards dim effect which terrified the audience. Music plays the biggest effect in the film. Bernard Hermann’s theme is used for this film because it uses mostly high-pitched string instrument notes so the suspense and horror mood can be formed to the audience.

In the film an atmosphere of suspense is created using various film techniques such as lighting, music and through the plot itself. The film also takes on a Gothic tone using different characteristics and techniques such as the settings, symbolism, emotions such as fear and the different atmospheres in the film. The director explores the theme of good vs evil through different elements and characters in the film generally following normal good vs evil stereotypes with some exceptions.

The purpose of this critique is to analyse the influence that gender has on the characters and the storyline of James Bond’s Skyfall (SOURCE). To understand the influence, a constructivist perspective on gender will be incorporated. The constructivist theory explains gender to be learnt patterns of behaviour which are influenced by cultural norms (SOURCE). As a result, the critique will examine how the depictions of gender and crime in Skyfall incorporates the western attitude towards gender roles and violence, as well as making reference to the relationship between gender and power.

The unnatural motif and blood motif connects to the overall dark mood of this scene due to the hallucinations and bloody imagery that occurs in this scene.

In the opening scene of the movie we see Frank’s character played by Denzel Washington. Right away we are shocked by his violence and see his power. This is the first motif we are introduced to. We see Frank stand tall over his victim, and the dark shadowing we see on his face and body show his dominance. Another motif we are introduced to is how real this film is setup to be. The car

Nolan creates an atmosphere where one scene will move steadily to the next, building anticipation until all hell breaks loose. Nolan has really done his research with this film as he explores a deeper meaning in good vs. evil. It makes the film seem so real life unlike most fantasy superhero movie. For some reason, the viewer can actually imagine this happening in real life. The lights and effects are very promising.

has is that it seems like it's in a horror movie, its dramatic and it

I find the claim that the “end title sequence [of Corman’s Masque of the Red Death] suggests that the end of the cinematic projection is like death, and no one in the audience is spared feeling like the film dead [-] ends,” accurately depicts the tone of the ending credit scene. However, the arguments that solidify this position are not properly explained to defend itself. The first being that the red hand does not direct the film any more than the director Corman does. Additionally, the way the film's credits end unexpectedly furthers this sense of condemnation. Consequently, this analysis of the ending lays an ambiguous foundation that the can undermine this position.

Another aspect of this film is that it is in black and white. This gives it a serious tone. The lighting they used also gave a dramatic effect. There is a scene where two gentlemen are talking but you can see Kane dancing in the reflection of the window. This reminds the audience that he is still important to the scene even though he isn't directly involved. This