Edited, this is not the clip I initially analysed but it got taken down so I am using a different section of the film*
Dune, starring Timothée Chalamet, Zendaya and Rebecca Ferguson was directed by Denis Villeneuve and released in 2021 by Warner Bros. Pictures.
The film starts with text, explaining the fictional setting of the piece; this ensures that the audience understand the history and circumstances of the narrative as the ideas in the sci-fi genre tend to be rather farfetched. This acts as a typical convention, of sci-fi. Additionally, the text here captivates the audience as it is a fairly unique idea, thus encouraging the audience to continue watching in order to understand and visualise the fictional world in Dune. It is also accompanied by a non-diegetic soundtrack in a dissonant, minor key which crafts an intense tone, perhaps establishing the dramatic yet action packed nature of the film.
The audience are then brought into an establishing shot as the camera moves over desert dunes with a sombre colour palette, portraying and emphasising how isolated and uninhabited the land is, as well as illustrating the fictional location - this is another convention of sci-fi as it is set in a place concerned with locations beyond earth. The darker colours also, again, convey the tone of the film, and how intense it will be. Alongside this, the soundtrack also shifts into a religious chanting with a pulsing thrumming, crafting an uneasy atmosphere and perhaps hinting at the ritualistic undertones of the film in the narrative.
The first character of the film is then introduced following this, looking directly into the camera lens and smiling in slow motion; this depicts that the protagonist is not her, and is instead most likely the eyes of whoever has been placed as the camera. The use of slow motion, non naturalistic sound and lighting emerging from behind her also crafts a dreamlike state, which hints at the narrative as the point of view seems to be heavily concerned with the metaphysical. Her unnaturally bright blue eyes also act as a convention of sci-fi as they are an unrealistic physical quality.
This is then shown again following another shot of the dunes, but now with an unfocused and blurry composition of the same woman. This again emphasises the dream like state the point of view is in, and hints at the narrative of the film.
Following another slow motion shot of the same woman and the dunes, the title emerges in darkness in a hieroglyphics-like font and a golden ring; this depicts the sci-fi genre of the film, and also presents the ritualistic elements to the piece.
I personally believe that the opening captures the elements of the film well and establishes the sci-fi genre. From this, the audience can presume that perhaps the narrative will follow that of the protagonist and his journey to this woman as she is heavily isolated and the only character present, suggesting that she is the focus of the storyline.
The Wolf of Wall Street, starring Leonardo DiCaprio, Jonah Hill, Matthew McConaughey and Margot Robbie was directed by Martin Scorsese and released in 2013 by Paramount Pictures.
Immediately, the clip opens with a non-diegetic voiceover saying "The world of investing can be a jungle", paired with footage of the stock market and the signpost 'WALL ST', with diegetic sound effects of people yelling over each other and city noises. This establishes to the audience that the film's narrative will be revolved around that topic, and that the setting is in Wall Street. This is then, however, shifted tonally as relaxing piano music plays as a non-diegetic soundtrack, and the nature of the dialogue follows that of a commercial when he says "That's why we at Straton Oakmont pride ourselves on being the best". A lion is also shown walking through the office that is now the setting, yet the workers around it seem undisturbed; this confirms that the clip is a 'commercial' for a brokerage firm. This strongly captivates the audience as a commercial is a more unusual approach, and it intrigues them as to why this choice has been made.
After the firm's logo, a group of office workers in the same setting are shown, predominantly men indicating the 1980s time period, gathered around a large, velcro dart board as a person of short stature is flung at it. The use of editing allows for a heavily juxtaposed and comedic atmospheric shift between the two scenes, depicting the sly nature of these brokers and how their external image is feigned in order to push the product to the client.
The camera then focuses on a man amongst the crowd who waves a prop of a stack of money frantically, delivering the diegetic dialogue "25 grand to the first cocksucker to nail a bullseye!" followed by cheers. He then throws the money to the ground. This depicts to the audience that he is a well-liked man in the office, is quite reckless and is extremely wealthy. It can be assumed that he is the film's main character as he appears to be the only person with established dialogue. Additionally, the contrast between the brokers in their costume of suits and the dwarf in a red and blue velcro one implies that he is there for their entertainment, and shows a clear difference in status.
This narrative is then continued as the scene goes into a freeze frame on him still with a frantic and over energised demeanour to him, perhaps in order to emphasise that he is intoxicated, and is a frequent user as he is using in his work environment. A non-diegetic voiceover is yet again used as he introduces himself and the story of his life to the audience, displaying a convention of drama as it seems realistic and is applicable to today's society. The dialogue also, even at one point, dictates the colour of his Ferrari as he corrects the scene by changing it from red to white in editing. This again implies how wealthy he is and his powerful status in this narrative, establishing his personality.
The audience are then quickly introduced to his "gorgeous" wife, Naomi, his "2 perfect kids", and his assets (to an extent his family can be considered as one). His description of his life portrays that he is somewhat narcissistic and shallow as he only acknowledges the external factors to his life, and seems as if he is attempting to prove something to the audience. Again, this establishes his personality, and perhaps even hints at the narrative as his life seems uncomfortably too 'flawless'; perhaps the film will explore how his hubris will lead to his inevitable downfall.
Following this, the man is in a helicopter, visibly intoxicated due to his slurred speech, unstable physicality, and through the use of slow-motion. He crashes the helicopter, which again emphasises how reckless he is, and how perhaps his severe drug usage spills into the domestic aspect of his life.
The characterisation created encourages the audience to view all characters as 'real', acting as a convention of drama - the opening also indicates that the film will be tackling the story of an individual with realistic tendencies, so that audience members can either observe or relate to him, yet again typical of that of drama.
I do believe that this is an extremely successful opening as it is highly stylised and is also clearly targeted for an older audience, which is portrayed through the use of more mature themes and vulgar language. It captures the audience's attention through this as it sets up the beginning of a path to self destruction through his greed, capturing the essence of the drama genre.
Spectre, starring Daniel Craig, Christoph Waltz and Léa Seydoux was directed by Sam Mendes and released in 2015 by Eon Productions Ltd.
The scene opens with the text "The dead are alive" - immediately, this captivates the audience as it presents an ominous tone due to the ambiguity of the statement; the denotations of the words 'dead' and 'alive' also heavily juxtapose each other, thus encouraging the viewer to continue watching to discover the meaning behind the sentence depicted.
Almost immediately the setting is established following the text. It can be seen that the opening scene is located in Mexico, or a country of Mexican heritage as the traditional 'Day of the Dead (Día de los Muertos) skull float is shown in focus in the camera's depth of field with a parade of several people and another skull float behind it. People on the balconies are also in costume of skull masks, top hats, suits and floral Mexican dresses. This assumption is further supported when text of the same font appears again stating "Mexico City", and "Day of the Dead".
The time period is also instantaneously established as actors of multiple races, and tourists in costume of regular clothing (t-shirts, shorts, sun-hats) are shown, suggesting that the once sacred tradition has now become a tourist attraction as it is now well-known through the spread of new media and is also easily accessed through developed transportation.
As the scene progresses, the audience are then introduced to someone we can assume to be the main character or protagonist as he is followed with a continuoustracking shot, and is shown as positioned still whilst the crowd around him moves in the opposite direction. He also has an attractive woman next to him, holding onto his arm, displaying a typical convention of that of action as the man is in a stronger position (shown below).
He is following a man who is wearing a costume of a juxtaposing colour to him (white with a red tie, red symbolising danger); their encounter is paired with a tonal change into a non-diegetic soundtrack from the diegetic sound effect of the parade and Latin American music as only the percussion music continues to play once this happens, adding a sense of suspense and tension/conflict between the two, acting as a convention of action. From this, the audience can perceive the man dressed in white as the villain as he appears to be 'wanted' from the occurring narrative of a subtle chase and through the use of sound.
As the narrative continues, the pair enter a hotel and get into an elevator, where the audience can presume that they are most definitely in a romantic if not sexual relationship as the woman has the makeup of red lipstick, which holds promiscuous connotations, and is whispering into his ear in a provocative manner.
They then enter a hotel room in which they begin to kiss and take of their masks; the camera follows the woman in the tracking shot as she lays down on the bed but then shifts back to the man who is suddenly dressed in a costume of a suit. This portrays to the audience that he is extremely stealthy, quiet, a womaniser and unsuspecting - the costume also signifies that he is a man with a powerful status. These attributes convey that he is the clearly defined hero - a typical convention of that of action.
Once he leaves the hotel room, the tracking shot continues and follows him as he walks along the setting of the edge of the rooftop nonchalantly, putting in an earpiece and pulling out a gun prop; from this, he can be considered as an individual who is in these situations on a regular basis (a spy, perhaps) and has highly developed technology, most likely provided by the organisation or people who have hired him. The soundtrack also completely shifts to orchestral music with hints of percussion, once again indicating that this is a scene with a suspenseful yet dramatic tone.
All the conventions indicate that this is an action film. It can be assumed that the narrative of this film will follow him through his missions, and perhaps even his romantic affairs as the previous woman has been completely disregarded. From the perspective of an audience member, this film is targeted for most people, or at least people who are of age to view violence, and action enthusiasts due to the different elements of various genres within action (romance, drama etc.)
Personally, I believe this is a highly successful opening as it is done in a stylised manner due to the non existent cuts in the editing; it prepares the audience for the cleverly laid out narrative, and how swiftly it occurs. As a film out of the James Bond franchise, this opening compared to the others is also intriguing as it begins in a foreign location.
