Dexter Title Sequence Re-Edit Evaluation (DYM)

 Question 1 

For this task we had to re-edit the text titles for the Dexter title sequence, without watching the sequence beforehand. It was crucial that we took into account

• The unusual visuals
• The text style we used (font, colour, size position)
• The timing of our credits in relation to the shot changes
• Billing orders for credits
• The genre and themes of Dexter

All of these had to work together to make the title sequence seamless and look professional. 

Question 2
First of all we watched the sequence through so that we could get a general idea of what would work and what would not.

We then listed all of the different credits that we thought were necessary to include. After this we tried to put these in an appropriate order for a title sequence. We decided at this point that we would reveal the actor that plays Dexter as the final credit when Dexter's face is finally revealed. 

After this we decided where to place our credits in each shot; we eventually decided on the bottom left hand corner because it consistently fitted the first few shots and we didn't want to move it around in each shot.
When then decided on how our credits should actually look; this involved choosing the colour, font and size of the text. We also decided to include a red shadow on our text.
For each shot we then individually decided where they should come, and we made these decisions according to the action in and transitions of the shots. 

Question 3

• We chose a rather simple font because we felt the visuals were eyecatching enough in themselves and we did not want to distract from them. 
• We went with a dark red-orange colour because this is deeply symbolic of blood, and this is a central theme of Dexter. 
• This shadow matched in the colour of the text; we did this because we felt it resembled blood smears. 
• The text did not take up too much of the screen, but was large enough to ensure the credits were readable. 
• They were placed at the bottom left of the shots because it consistently worked with the visuals.
• A fade out was used so that the entrance of the text could be shocking and sudden; similar to the editing style of the visuals. 
• We placed the credits in an order we thought to be quite conventional, but we decided to reveal the name of the actor who plays Dexter when Dexter's face is finally revealed, because this adds suspense. 

We made our choices considering how best to represent the Dexter brand and keep all of our creative choices in synergy with each other. 

Question 4
Overall our titles were fairly similar to those in the original. The colours and size we chose were similar, as was the simplistic font. Both ours and the original credits appeared suddenly on screen, however ours faded out whereas the originals sometimes moved a little on the screen and then suddenly disappeared. We consistently placed our text in the same place, whereas the original differs from credit to credit. Our credits had the role of the cast/crew and then the name (e.g. Chris Bayliss as Dexter) whereas the original just states the name. Our re-edit had less credits than the original, partly because we ran out of time (this is why there is a large gap until the final credit). On the whole however, I am pleased with the similarities between our version and the original, but I will take the reasons for the differences into account when creating our own film opening.

Homework 7 (DYM) Sound Analysis of a Title Sequence

The opening of this title sequence establishes the location, with just city diegetic sounds that you would expect to hear in this location: nothing out of the ordinary. We then hear a train passing and suddenly the volume dramatically increases and we see the train up close, and are then therefore brought into the film and are more involved than when we were watching the establishing shot.

The Bee-Gees famous track "staying alive" starts to play and so from 40 seconds in the audience know it is a musical due to the disco track being played loudly. The first diegetic sound after this is Tony's footsteps, and he walks in time to the music, giving a sense that he can almost hear it too, even though it is non-diegetic. As we watch more, we presume he is a dancer. This is also because his outfit strongly matches the disco music. 

As the music starts to get louder at around 1 minute, we start to hear noises other than Tony's footsteps, showing that he is not alone. He is still however very central in both visuals and sound; he is in the centre of the shots and his footsteps are louder than would be expected. We hear the lyric "I'm a woman's man" and from then on we see Tony turning around to stare at them, and other related actions which make us sure this lyric is about him. 

The conversation between Tony and the Pizza Lady show that he is a local and that he is known around here. By this point the audience have a strong sense of this character. This is enforced by his conversation with the man in the phone shop, he is confident, laid-back and he knows what he wants. This is the same for most of the rest of the scene until returns to work. 

We hear the car horn go and we presume he has run across the road because he is running across the road in the shots before and after this. The music quietens down as he enters work and his footsteps no longer match. The music plays very quietly under the diegetic conversation and Tony acts less how we saw him acting in street when he is at work, so we get the idea he doesn't really belong here. However he is still in his comfort zone when he tricks the woman into thinking he is giving her "a dollar off"; he is a very confident person. 

Homework 4 (DYM) Roland Barthes' Five Codes

I have used the 5 codes to analyse the opening scene of the 2009 feature film "The Time Traveler's Wife". This film is based on the book by Audrey Niffenegger; it is one of my favourite films because I think it is extremely emotive and has done the book justice. 

Enigma codes

• ·         Why is Henry disappearing?
• ·         How did he disappear/ get out of the car?
• ·         Why is he naked?
• ·         Who is the man and how does he know what happened?
• ·         Why has he turned up at this time/place?

Action codes

• ·         Snowing – icy roads
• ·         Icy roads (exaggerated in shots) – skidding cars and crashes
• ·         Car crash – death of mother
• ·         Time travel from car crash – Henry will time travel in the future

• ·  Disappear from car – reappear somewhere else

Semiotic Codes

• The time travel aspect suggests a science-fiction premise
• The mother's constant gaze in the mirror connotes love and caring for Henry

Cultural codes

• The presence of Santa Claus and snow and the general style tell us that it is Christmas eve

Symbolic codes 

• Young and old
• Self development and reflection
• Fragility of life

Homework 2 (DYM) Film Still Analysis

This film still is from the 1986 fantasy film Labyrinth. The shot is set from within the castle grounds of the labyrinth, and it is immediately evident from the setting that this is a fantasy film. The natural lighting makes it clear that they are outside and makes the abnormal setting seem more real, perhaps an alternate world or an unknown part of our world? The surreality of the smaller houses and unknown objects and materials are new and interesting to a viewer but are recognisable enough to be related to. The fountain is imagery to summarize this; it combines an otherwise ordinary object with the abnormality of the goblins, typical of the fantasy genre. The whole setting creates enigma, and keeps the viewer intrigued. There are goblins in the background and because Sarah and Hoggle are running in the opposite direction, we get the impression that they are villainous or hindering to S+H. 

This is a long or very long shot; you can see the full bodies of both characters, as well as the setting; a choice I believe deliberately made. The two main "good" characters are in the shot. We feel they are out of place because they are running through this city. The juxtaposition of Sarah's very normal teenage girl appearance (long hair, pretty face, normal clothing) and the fantasy setting exaggerates the opposition between them, and so viewers can assume conflict between the two.Contrastingly however, we also see her connection to this place by her obvious relationship to Hoggle. Hoggle is a dwarf, so is evidently part of the city and a fantasy character, and by following him on their run it is made clear that they are on the same side; Sarah trusts Hoggle. They both have determined yet somewhat confused expressions, again connotating that they are out of place in order to accomplish something. 

I have chosen this shot because I feel it can be effectively analysed. It creates a lot of enigma as with many fantasy films: where are they running to, what is the relationship between these characters, why are they here? I also like the mise-en-scene of the shot and the complimentary foreground and background, and the binary opposites it has managed to include. I feel the depth of this shot is representative of the whole film, and I am happy that any still I could have chosen would have been good for analysis, an excellent indicator of a good film that you should all see!