James Bond: 'Skyfall' (2012) Title Sequence Analysis

SPY GENRE TITLE SEQUENCE ANALYSIS (#1)



Consistently throughout this title sequence a slow, fluid-like pace is present; this is depicted primarily through use of black fade and dissolve effects via editing. Effects such as these enable connotations of surrealism to be provoked from the audience - particularly the dissolve effects, which are conventional within films which show conformity to the fantasy genre, 'Star Wars: The Force Awakens' (2015) for instance. Additionally, the dissolve effects comprise in the creation of the fluid-like atmosphere that the sequence has too: the whole concept of fluid-ness also links directly to the idea of as spectators witnessing everything in this sequence happening from underwater.

Sound only constitutes further in the construction of the pace within this sequence; no other sound has been implemented, besides the accompanying orchestral soundtrack. Essentially, the title sequence is a music video too, however, the overlaying white title texts are what distinguish it as a title sequence. 

Implementation of visual elements such as chiaroscuro lighting in juxtaposition with ocean-blue colouring also effectively connotes this conceptual idea, furthermore, it also comprises in the depiction of the negative atmosphere pertaining to this sequence. Blue colouring primarily instigates connotations of depression and pessimism - which I personally agree with. Addition of chiaroscuro lighting in contrast with the colouring enhances this connotation. This is primarily because the colour black instigates negative connotations; death for instance. Personally, I interpret the integration of the lighting and colour within this sequence to be representative of the themes of: depth, darkness, loss and isolation: all of which link directly to the eponymous protagonist of the film, James Bond, however.

This title sequence is reflective of the horror genre

Reflective of grittiness, gore, abnormality, (mise-en-scene)

Editing effects enhance this whilst conjunctively paralleling with the use of sound.

Consistent close-ups to stabilise audience's attention

Negative connotations via mise-en-scene

Text is untidily placed, distorted,
s
strict use of colouring






TITLE SEQUENCES TO ANALYSE: (30-40 - OUTSIDE GENRE)

-SE7EN
-THE INCREDIBLES
-THE INCREDIBLE HULK
-HARRY POTTER(S)
-CATCH ME IF YOU CAN
-JAMES BOND - SKYFALL
-JAMES BOND - CASIONO ROYALE
-JAMES BOND - QUANTOM OF SOLACE
-JAMES BOND - SPECTRE

-DJANGO UNCHAINED
-SCOTT PILGRIM VS THE WORLD
-FIGHT CLUB
-JUNO
-SNATCH
-THE GIRL WITH THE DRAGON TATTOO
(IF THEY HAVE TITLE SEQUENCES)
- SHUTTER ISLAND
-DEPARTED
-CATCH ME IF YOU CAN
-BLOOD DIAMOND
-THE BIG SHORT
-HATEFUL 8
-GONE GIRL
-ARGO
-ROBOCOP
-DJANGO UNCHAINED
-HARRY POTTER

Karin Fong - Title Sequence Designer Research

 

Karin Fong is a title sequence designer who was conceived and grew up in Los Angeles, she began her career after having attained an art degree. She then joined the west coast studio of R/G/A before becoming a founding member and partner at Imaginary Forces. 

Karin has created numerous title sequences for both film and television over the years, her most famous pieces being included in: 'Boardwalk Empire', (2014) 'Terminator: Salvation' , (2009) 'Charlotte's Web', (2006)and 'Rubicon' (2016). Her work has attained her five nominations and also on Emmy for title design. She has also constructed cinematics for the Sony Playstation game, 'God of War III'  and large-scale video installations for sites such as Lincoln Centre, Las Vegas, ands the LA Opera.  

Karin's work has appeared at the Cooper Hewitt National Design Museum, the Pasadena Museum of California Art, The Wexner Centre, Artists' Space and the Walker Art Centre. 

Audience Profile

AUDIENCE PROFILE RESEARCH:

This is the audience profile I designed for my group's film production 'AGENT-X' (2016).
I designed this through use of Photoshop CS6 on my PC.

Title Sequence Research

HISTORY AND PROGRESSION:

Prior to the invention of the cinematograph - a motion picture film camera and projector - in the 1890s, simple title cards were used instead to both begin and conclude silent film presentations to establish to an audience a film's title and the production company(s) involved in the practices of producing and distributing it. In silent cinema, title cards/intertiles were utilised throughout films' narratives to convey dialogue and plot, and it is in some of these early short films that we can see the first initial examples of title sequences themselves, being literally a sequential series of title cards shown at the beginning of a film. With arrival of sound, title sequences became usually accompanied with a musical prelude or overture. Contemporary title sequences have developed this technical convention and now typically establish leitmotif soundtracks within them.

Slowly, as time has progressed, title sequences have evolved and become more elaborate pieces of film within contemporary cinema. Title design saw a pivotal moment of development particularly during the 1950s consequential to the advent of television - which instigated a decline within the film industry - as it forced the 'big six' Hollywood conglomerates (Warner Bro Pictures, 20th Century Fox, Paramount Pictures, Walt Disney Studios, Columbia Pictures and Universal Studios) to all invest in new methods of making cinema more appealing again in attempt to rejuvenate it and recover a diminishing/dwindling audience.


PURPOSE BEHIND TITLE SEQUENCES:

• To commend the primary contributions made in the development process of a film production - conventionally done through editing and applying on-screen text.
• To further endorse actors'/actresses' star power and help develop their filmographies.
• To acquaint audiences instantly with the genre/hybrid-genre of a production - typically through simplistic use of iconography and mise-en-scene.
• To establish the relevant key themes, messages and values of a production's narrative.
• To immediately make attempt at engaging/immersing audience (pre-equilibrium) before the pace of the narrative begins to pick up - commonly done through strongly appealing aesthetics.

Research and Planning

Our group - after much discussion and dispute both in/out lesson - came to a unanimous agreement of selecting the 'Spy sub-genre' as the context for our title sequence assignment.

RESEARCH INTO THE SPY SUB-GENRE:

Spy genre films generally intertwine narrative elements from both the thriller and action genres - where it derived - and typically deal with the subjects of fictional espionage and organisational conspiracy, either in a realistic way (such as adaptations of John Le Carre) or as a basis for fantasy (the 'James Bond' film franchise: the most internationally respected within the genre. As time has progressed the genre has become a significant aspect of British cinema, with leading directors like Alfred Hitchcock and Carol Reed even making notable contributions with many of their films being set in the British Secret Service.


CODES & CONVENTIONS:

• Espionage. 
• Good organisation devoted to stopping the evil one (binary opposition - conformity to Levi-Strauss' narrative theory)
• Exotic and exploratory depictions of culture/settings.
• Suave, sophisticated, well-dressed protagonists.
• A 'temptress' female/'femme fatale' who serves distraction to the protagonist,                     typically as a sub-plot.
• Possibly Propps' character role of a 'damsel in distress'; not particularly seen within this genre, conventionally more within action/action genre films.
• Manipulative antagonists (typically the heads of illicit organisations) who enact only for personal gain/interests (such as: authority, money or even ownership - connotations attributed to greed). 
• Heavy use of gadgets and weaponry.
• Theft of documents/files/formula/technology - something good an antagonist can acquire and use as a force for evil.
• Henchman/personal bodyguards.
• Implausible life or death scenarios the protagonist is pitted against and escapes with ease.
• Realistic military themes.
• Chase sequences (foot and vehicular).
• Fight sequences. 
• Pyro-techniques/explosions.
• Aristocratic figures.

Here are some examples of eminent iconography pertaining to the genre:

Suave, sophisticated dress-senses; generally used to enable protagonists to be distinguishable with ease from other characters. James Bond, (played by Daniel Craig) the eponymous protagonist of the British film franchise - 'James Bond' is an archetype of this. As an audience, we rarely ever see him dressed outside this particular dress-sense, for instance, in more casual wear: his style is not flamboyant, however, it is still iconic of his identity, Instances where we do usually serve particular purpose; the famous 'beach sequence' in his debut installment 'Casino Royale' (2006) for example.
In this sequence he is seen, through use of a tracking/mid-shot, (center frame) slowly emerging from the sea half-naked with his mesomorph figure on full display, purposely enabling female voyeurism.
Resultant of this sequence, discussion arose as to whether a 'female gaze' theory existed too alternatively to Laura Mulvey's already-famous 'male gaze theory'.

Craig's performance in the role also attracted critical acclaim and attained him the '2007 Best Actor' award from Empire Awards for his remarkable debut as the character in 'Casino Royale' (2006). More impressively, his portrayals reignited lost interest in the franchise and brought new from international audiences as well as domestic; Craig himself has become an iconic figurine for the genre. 

---------------------------------------------------------------------------------------------------------------------------

(DO A POST WITH 2 TITLE SEQUENCES INTO MY SPECIFIC GENRE):

 

 

(DO THE ENTIRE JOURNAL):

 

 

OUR EACH INDIVIDUAL ROLE

 

-LOCATION SCOUTING SHOTS

 

-SHOTS WE RE-DID AND WHY

 

-DAYS WE EDITED AND WHAT WE EDITED

 

-PLACES WE ACTUALLY FILMED AT  WHY WE LEFT PLACES OUT

 

-SOUNDTRACK WE RESEARCHED & WHAT WE ACTUALLY USED IN THE SEQUENCE

 

-STORYBOARDS AND PROP PLANNING (THE MANHUNT BOARD - PHOTOS OF IT)

 

-WHAT I LEARNT FROM EVERY STAGE OF IT FOR FUTURE REFERENCE

 

 

 -------------------------------------------------------------------------------------------------------------------------

 

 

 

Jeremy Renner (