GONE GIRL ���

TYPEOGRAPHY���

•  The black emptiness on screen is the first image of the scene we see. The small, white san serif font dominates the center of the screen while leaving the outskirts plain. ���

•  It is this darkness surrounding the only source of light which emphasizes the isolated and desolate nature of the film. ���

•  The almost insignificant text, that flashes rapidly onto the screen, highlights the fast pace of the film, keeping the viewer intrigued in the opening scene.���

CAMERA ANGLES AND TYPEOGRAPHY���

•  The neat, small font yet again, is central in this shot, yet this time it is surrounded by an establishing shot. ���

•  The purpose of this shot is to accentuate the isolation that the film will explore. It only introduces the setting, and is yet to reveal any character/characters. ���

•  Isolation is a running theme, emphasizing vulnerability, especially for the ‘gone girl’. ���

•  By the text being tiny, in the center of the screen heightens how insignificant the missing girl may be in the overall picture. This then strengthens the tension as the venerability is presented so early on in the film. ���

CAMERA ANGLES���•  This is the first shot where the audience is introduced to a

character. Before hand we were only able to guess who ‘Gone Girl’ was. ���

•  The shot further emphasizes the girls vulnerability. The shot begins with her head facing the other direction, creating mystery to who the girl is. The close up shot also highlights how she has less authority over the dominant hand which strokes her head. This hand also serves to enhance the mystery shot, sinister hand gestures are used to creepily stroke her head, portraying her as childish and therefore innocent. ���

•  A blue tone engulfing the shot enables a cold atmosphere, with the only source of light being sourced from her face with the mysterious hand being in darkness. This conveys the roles of two characters and how this one girl may be in danger from this person she must trust. This shot helps to establish the thriller aspect of the film as vulnerability, innocent and mystery are all portrayed in the first shot. ���

EDITING���•  Here is a large sequence of long shots, used to

help establish the setting of the film whilst also using typography to highlight the actors in the film. ���

•  These long shots have a fast pace of editing to possibly coincide with the fast pace of the film. ���

•  A heart is also represented through through the editing as the shots change every 2 seconds, symbolizing a heart beating. ���

•  Again these longs shots create an eery atmosphere as no people are shown, highlighting the isolation. ���

MISE-EN-SCENE���•  Dull lighting is shown again here, with blue tones to

make the opening sequence seem isolated, cold and lonely.���

•  The props used in these scenes also strengthen the isolation: seemingly empty houses, streets and fields are shown to make the audience feel smaller and vulnerable.���

•  These large objects enable the audience to feel more intimidated while watching, alongside the road signs in the last shot implying a sense of possible danger. ���

•  From the outset the audience get a feel that something is wrong, yet its interesting that they do not know yet what it is that is not right, creating further mystery and tension. ���

CAMERA ANGLES ���•  This long shot is obstructed by the tall clock being

central to the shot, framing the shot therefore resulting in the clock effectively not being the first thing the audience notices. ���

•  Following this rule of thirds, the clock at first, may go unnoticed as the audience pay attention to what surrounds the clock (street shops).���

•  This may be symbolic to how obvious things could easily go unnoticed, allowing an almost chilling effect as the clock comes to the audiences attention.���

•  Here the framework is interesting, and could easily be effectively replicated in our own group work. ���

MISE-EN-SCENE���•  The clock may be discrete, however with it being

central to the shot highlights its importance and the suggestion of time running out. ���

•  The clock is old fashioned, resulting in an outdated image to the town which the film is situated in. In contrast, the shops seem new and modern- this could display the history the town holds, contributing an authentic and possibly haunting atmosphere towards the opening. ���

•  On either side of the centrally situated clock are two similar street lamps. The shape of these are spears, reminding us of the violence which will occur, subtly. ���

•  This shot mainly serves to establish how the rest of the film will play out. ���

EDITING���•  Finally, the editing in this shot is slower than

normal for this specific opening sequence. This may be to bring attention to the surrounding in the shot, or it could be to show down time, allowing the audience to focus on what is happening. ���

•  The camera tilts while establishing the clock, prolonging the duration of this shot, enabling an eery effect as the audience wait to see what will be revealed..���

•  The editing may differ from the rest of the sequence, yet this causes a more significant purpose in captivating the audience. ���

EDITING���

•  This man is the second character to be seen on screen, with the editing of these shots being especially slow, allowing the audience to focus on the man and his movements – therefore we’re able to see what the character is like. ���

•  The man stays still on the spot. This utter stillness further focuses the audience on the man. ���

•  The lack of speed in the editing heightens the seemingly calm nature of the sequence, juxtaposing with the previous fast pace of editing creating uncertainty amongst those watching. ���

CAMERA ANGLES���•  Each three shots use different camera

angles:���•  The camera is further distanced from the

man after each shot, suggesting he could possibly be a threatening character that we must stay away from. However, the shots also serve to make the man look smaller throughout, giving him a certain vulnerability. ���

•  The profile shot makes the man look initially small in comparison to the trees and scenery – this is to make him look weakened, possibly foreshadowing his fate for the remainder of the film. ���

MISE-EN-SCENE���•  As this is the final shot in the opening sequence we

can now see a blue filter has been used throughout the opening, serving to highlight a constant cold nature of the film. ���

•  The modern house and car juxtaposes to the old fashioned clock previously seen, presenting how time must have passed. ���

•  The dull looking house and stationary/still car provide an eery atmosphere as they are viewed as unused, which goes against their main purpose, to be used. ���

•  This haunting feel from his surroundings, further serves to make him look vulnerable and establishes possible plot-lines for the audience to guess as they watch the film. ���

SOUND���•  Throughout the opening sequence a

constant slow, electronic wind instrument is heard right from the outset. This electronic, non diegetic sound is quiet yet forceful, with strong beat every so often – as previously mentioned, effectively representing a heart beating. ���

•  Each note of the music drags on, which is then followed by a heavier beat, this creates an eery tone. The audience starts to feel uncomfortable due to the prolonged sound.���

•  In this shot a deep, low voice of a man is running alongside the non diegetic sound. ���

•  This is the first piece of diegetic sound we hear, containing a certain calm and authorities tone. ���

•  The soothing voice is juxtaposed with what he is saying – “I picture cracking her lovely skull”. The dialogue used with the soothing voice serves to provide the man with an insane quality, as he is pleased with what he is saying. Which eerily intrigues the audience as to who this is and why he is feeling this way. ���

•  This shot highlights the name of the film, whilst also establishing the setting using a long shot.���

•  During this the music becomes subtly louder and harsher, with the flute sounding more airy.���

•  The change in sound highlights a key moment in the film, as this point presents the title. ���

•  Therefore non diegetic sound has been used in order to emphasize a key shot subtly. ���

•  During this succession of similar, rapid establishing shots the non diegetic flute sound remains.���

•  However it is not accompanied by the diegetic sound of the shot, meaning white noise and wind can be heard alongside the music. ���

•  This mixture of diegetic sounds heightens the isolation of the town they are in, as even with diegetic sounds, still not much is heard but the eery electronic sounding flutes. ���

•  The sound in this shot is similar to the last shot. Both non diegetic and diegetic music are heard while this man is introduced. ���

•  Alternatively to the last shot, the diegetic sound of birds singing is more prominent than the non diegetic music. Even though this serves to suggest the man is no longer isolated, the singing bird sounds resemble a child singing and innocence, so this interlinked with the existing eery non diegetic sound serves to build more tension and mystery surrounding this man. ���