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 were
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.