Genre Research Summary

• Both of the title sequences that I have analysed have quite simple titles: They both use a neat, normal font for the title. The transitions into the title sequence for Casino Royale is a clean cut from the scene before, however in Mission Impossible, we see the the word 'mission' first, then the 'impossible' is shown after, like a stamp.

• Both title sequences have none diegetic background music. They are both upbeat, fast paced pieces of music, which contribute to the excitement of an action film.

• In the title sequence of Casino Royale, we are introduced to the main character straight away. We can then recognise this character throughout the title sequence, even though it is animated, through the use of costume. As the main character is seen wearing a suit at the beginning of the title sequence, we know that it is the same character when we see him again later on in the title sequence (right). However, in the title sequence of Mission Impossible, we see several different characters, so we are not sure who is the main character, or if there even is a main character.

• As the title sequence of Casino Royale is animated, there is not a lot of mise en scene used, for example there is no lighting or props. However, the object seen on screen could be thought of as props. We see a lot of guns throughout the title sequence, and this is typical of an action film, as we expect fighting and violence.

However, the title sequence of Mission Impossible is all filmed. Therefore more lighting and set is used. The light throughout the title sequence is low key, it is quite dark. Also, the majority of the set is computer equipment, and we see a lot of props, such as knives and identity cards. These are all typical of action films.

• Both title sequences use the Hermeneutic code, as after watching them, the audience are asking questions, for example in Casino Royale we are wondering who this man is, and in Mission Impossible we are wondering what has happened to make all of these people react this way.

• The genre of the films are established quickly in the title sequences, through the use of the conventions we expect in action films, for example fighting and explosions. The mise en scene of the title and the background music also help to establish the genre.

Formal Coursework Brief

Analyse a minimum of two film title sequences using all of the concepts and ideas discussed on the course so far.

• In an action film, the conventions we'd expect are fighting, running, guns, gangs.

Mission Impossible
http://www.artofthetitle.com/2008/03/19/mission-impossible/

The 1996 film Mission Impossible, directed by Brian De Palma, is in the action genre. It supports Todorov’s theory – however it seems to miss out the initial stage of equilibrium, and moves straight to disruption. There are lots things going wrong.

The title begins with an extreme close up of a lit match, which then lights a piece of string. This symbolises the beginning; of an explosion perhaps. This then builds throughout the title sequence, as the wire burns more. This connotes that the sequence is building to something big. The last time we see the burning string is right at the end of the sequence, just before the title is seen on screen. A bold, traditional font is used, which makes the title look official and important. This is typical in an action film. This encourages the audience to expect a particular narrative structure, as they will now expect the film to build, with a big climax at the end.

 The lighting in the title sequence is low key, it is quite dark. This is also typical of an action film, as they tend to involve lots of secrets and hiding. It also creates a dim atmosphere, which also reinforces the idea of being hidden.

Although we get a sense that the characters in the title sequence are all working together; as the cutaways used always show similar things, such as computer software and photos, the actual main characters are always shown alone. This reinforces the concepts of spying that we expect to see in an action film, as they appear quite mysterious and hidden.
Close ups are used throughout the title sequence. This connotes the feelings of the characters, and their reactions to what is happening during the cutaways. This encourages the audience to expect a particular narrative story develop, as they would want to know what is causing the reactions seen in the close ups, and what is actually happening in all of the cutaways.


Casino Royale
http://www.artofthetitle.com/2008/01/14/casino-royale/

The 2006 film Casino Royale, directed by Martin Campbell, is also an action film.

The trailer of Casino Royale agrees with both Todorov and Roland Barthes theory. With Todorov’s theory, there is a disruption at the beginning – the main character shoots a person, and it unbalances everything.  This also supports Roland Barthes theory, of the Hermeneutic Code – questions are raised such as ‘who is this man?’ and ‘why is he being shot?’
It also agrees with Levis-Strauss' theory of binary oppositions. The binary opposition in this title sequence is simply good vs evil.

The title sequence begins with an establishing shot that shows the location and the main character picking something up from the floor. It then changes to animation. Rotoscoping (tracing over filming) is also used, but only on the main character. This connotes that what he is doing is like a dream, not quite real for anyone else. This suits the action genre, and the storyline in Casino Royale, as it is something that lots of people dream about. As the majority of the title sequence is animation, there is not a variety of shots used. The depth of focus does not vary either, it stays wide throughout the sequence, showing a lot of animation going on in the background.
A lot of the animation refers to gambling and betting, for example, characters are killed by spades and hearts off a deck of cards. A character is also depicted as a queen of hearts. This raises narrative expectations for the audience, as they expect one of the main themes throughout the film to be luck.
The colours used also remind the audience of betting and gambling - green, white, and red, like a deck of cards.

Narrative Theory

Todorov Theory
Todorov believed that they were five stages to tell the story; these are:
1- Equilibrium (a state of balance - everything is normal)
2- Disruption (something happens to unbalance)
3- Recognition (the key characters recognise the problem)
4- Reperation (there is an attempt to repair the problem)
5- New Equilibrium (the story has changed, it is new, not as it was at the beginning)


Roland Barthes
Barthes believed that there were five codes that told the story, however only three of these are used in title sequences. The narrative codes are combinations of technical features, that give specific meanings.

Hermeneutic Code (enigma code)
The Hermeneutic code creates questions, it becomes a mystery to the reader. This keeps the audience guessing until the final scene, where closure is then achieved.

Proairetic Code
The Proairetic code builds tension, as it refers to an action that indicates what is going to happen. This gets the audience to try and guess what is going to happen next.

Semantic Code
The Semantic code refers to how pictures or music are used to show a different meaning perhaps, to the ones they are showing.


Levi-Strauss and Binary Oppositions
Levi-Strauss introduced the idea of binary oppositions as a way to think of the meaning in the story.
Examples of binary oppositions found in films are:
good v evil
rich v poor
hero v villain
male v female

You see binary oppositions in individual films and in film genres, for example science fiction films generally contain the opposition 'alien v human', or 'our world v another world'.

Steve Neale declares that 'genres are instances of repetition and difference' (Neale 1980, 48). He adds that 'difference is absolutely essential to the economy of genre'.


By this, Neale means that, while a particular genre would stay basically the same, it needs to always be moving forward. For example, in a horror, you always have the creepy none-diegetic music, screaming and blood, but they are always improving, for example, the special effects would be better, everything would look much more realistic.


'Coraline' is a fantasy/horror film. In the title sequences for horror, the conventions you'd expect are dim lighting and the none diegetic music, you'd also expect blood, victims and attackers. 

Western Montage