Textual Analysis of OTS

Task: Textually Analyse 2 OTS that have influenced your idea. This is an essential post to complete. See an example below from Longroad media of some OTS analysed (although please note some elements of textual analysis are missing from theirs, not in yours please!). Make sure you include new media terminology 'Macro' and 'Micro' analysis.

Analysis of Fight Club Title Sequence (courtesy of Longroad media):

The opening titles to Fight Club (David Fincher, 1999) provides an excellent example of a sequence that symbolically references aspects of the film to come. This is what a title sequence must do. It should give the spectator clues as to what the film is about and in doing so shape their expectations. These clues are not always overt clues about characters and narrative but are often subtle suggestions regarding theme and mood.

The Fight Club title sequence is constructed of subtle references to themes of identity, deception and physical and psychological instability, all of which are explored in the film. The text itself can be seen to strongly suggest themes of identity. The cast and crew’s identity is displayed to the spectator in the form of titles, however the appearance and movement of these titles can be seen to connote strong ideas of not only identity but more specifically, hidden and fractured identity. In some of the titles there are what appears to be chunks absent from some letters, lines of text overlap each other and the top line of text moves further behind the more prominent, bottom line of text as if becoming hidden from the audience. The text is displayed for a short duration each time before seeming to disintegrate through use of transition that looks as though the text transforms to dust or vapour. The fact that the spectator is not given a lot of time to process the information before the titles disappear alludes to the concept of illusive identity. This is reinforced by the extremely quick presentation (one or two frames, when the film’s title ‘Fight Club’ is introduced on screen)

of a larger, unreadable title card where letters fill most of the frame. This combined with the appearance of white ‘flashes’ throughout the sequence can be read as a prelude to the subliminal flashes of Tyler Durden’s character later in the film ( extremely short duration, missable visual suggestions of his presence).

The other graphics in the sequence connote ideas about the physical structure of the body. Although only suggested until the end of the title sequence, the spectator is viewing matter inside of the main character’s (and narrator’s) body and brain. We seem to be presented with particles, veins, tissue and cells – suggested but not clearly identifiable. Electric currents run through connective synaptic tissue as the camera winds its way through the represented physical environment. This immediate focus on the human body is also a precursor to themes and narrative events: The main character, experiencing severe insomnia, finds comfort in frequenting a number of support groups for sufferers of serious physical diseases such as testicular cancer. Throughout the film the body and its fragility is a focus, particularly shown in the fighting scenes. At the end of the title sequence the spectator is introduced to the main character as the camera reveals an extreme close up of his terrified face. The theme of threat to the human body is further suggested as we see him with a swollen black eye and a gun pointed into his mouth.

Analysis of Juno (courtesy of Longroad media):

In order to analyse the opening sequence of Juno (Jason Reitman, 2008) I will look at the different micro elements and try and establish how they are used to set up character, narrative and genre.

The music chosen for the opening sequences is by anti folk artist Kimya Dawson. It is evocative of Bob Dylan and helps to establish the low key feel of a US independent - on which the film was successfully marketed. The lyrics tumble along in the style of a quirky, downbeat love song listing partnerships like ‘if id be a tree you would be my leaves’, this helps set up the character of Juno as both innocent and pensive, alluding to the search for romance and the coming of age story that follows.
However I feel that it is the mise en scene that plays the most important part in establishing the tone and genre, as well as the lead character in the film. Juno is depicted walking through suburban USA, shiplap houses and mail boxes set up her small world in which the local shops - the guitars shack, beauty parlour and drug store - are the dominant features and from which the park represents a temporary break for reflection. The leaves falling form the trees show time passing and establish the time of year – this will become important when Juno gets pregnant. She passes an acoustic guitar and a retro TV that reinforce the teenager’s interests.

Juno’s costume acts as a kind of timeless unisex teen uniform; blue jeans, sweat top and canvass shoes. It indicates to us that she is perhaps a bit of a tomboy but neither extraordinary or pretentious. The sunny delight carton she is drinking reasserts the bland diet of the mid American teen. The college team that jogs past at the start and end of the sequence further set us in the teen world and act as a contrast to Juno’s lonesome figure.

The animation technique of rotoscoping (tracing over live action filming) suits the US independent style by alluding to independent comic books like American Splendour. It technique allows the director to simplify and mute the colours, making it graphically pleasing as well as mundane. The unfinished drawings also build on a concept of an almost incomplete environment.
Some interesting slide and push edits also allude to comic books. Juno s character is sometimes on the screen in two different shots and this along with her constant presence and dominant framing establish the centrality of her character within the film. Some of the more adventurous camera angles, for example the overhead shot, are pleasing to the eye.

Of course the key function of a title sequence is as a vehicle for the main credits. In Juno these are brought in as neatly hand drawn three dimensional block letters, continuing the comic theme and not unlike a teenagers graphics project or doodling. An effect has been used that keeps the titles wobbling slightly in an organic way. The titles are framed thoughtfully to balance with the framing of the subject and many are brought onto screen from behind bits of the set or are integrated into the scene. An example is a title that appears painted on the fence by using perspective. Juno also walks in front of a number of the titles. These techniques are satisfying for the viewer and help integrate the title sequence into the film.