Opening sequence of “Star Wars-episode iv, A New Hope” Essay

Star Wars was arguably the first in a new blood of high concept, high budget sci-fi action carrys. It was directed by George Lucas and earlier released in only a few cinemas in 1977. However, the buzz virtu anyy the snap grew, and it is now one of the highest grossing films of all time, and a large with its sequels, prequels and re-mastered re-releases, has a double craze following. I feel this is because of Lucas ability to engage the ear gunslinger through c beful use of go and camera techniqueThe use of the scrolling allegory in space sets up many reference vistas, that the action testament be set in space, and that it will base somewhat a struggle between the resurrects and the Empire. Narration is a middling formal manner of exposition, linked to the old style cock-and-bull story format, preparing the audience for a unmixed narrative and easily recognizable characters, and expectation that is fulfilled throughout the film (Leia is the princess needing rescue , Vader the baddie and Han Solo is the knight and shining armour for example). However, the traditional fairytale narrative also dictates that there should be a happy terminal with all the loose ends tied up. This is not the case, for whilst the film ends on an up beat note, the ultimate threat of the Empire has not been neutralized, and has to be dealt with in a separate film.The opening incision begins with what appears to us to be a large space transport, flying in from the bottom of the check at great speed, instantly creating the enigma of who it is moving away from and why they ar being fired upon. The next thing we experience is a rightfully huge affair cruiser gently fly in from the selfsame(prenominal) direction, dwarfing the one perk upn before. This sets the audience up to expect grand scale- heavy(a) ships and big battles.The ship rebel ship is relatively battered and older looking. This shows the rebels as the underdog, endearing them to the audience, and ins inuates that this has been a long drawn out battle, preparing the audience for the faltering chaos we see inside the ship. This contrasts sharply with the slick, cold battle cruiser, with a blue tint used to show the coldness of the conglomerate. Because of the obvious transcendency of the empires ship, we feel that it is a mismatch of power and begin to resent the empire forpersecuting the rebels.The non-diagetic great(p) of spillage used throughout is cold and artificial, fashioning it sound like they be using some unknown technology. This sound is perceive almost constantly though the section and so only becomes distinct through its absence, and reinforces the relentlessness of the battle.The parallel editing from a gap of the ship sustaining damage to the people inside reacting to it help to link the outside battle with the following scenes in the rebel ship. Throughout this section, almost all shots of the rebels contain movement, conveying panic and inciting it in t he audience as we realize that this is edifice up to something big.The walls of the rebel ship are effulgent white, and are fairly spacious. This contrast with the dark black interior of the empire ship we see later as the droids try to escape. The whiteness has almost heavenly connotations, making the audience feel like they are in a unsloped place, and relatively secure. The black walls of the empire ship give a confined feel, and make the audience uncomfortable and want to escape.The constant non-diagetic background medication is a march, based around horns, a traditionally powerful instrument, typically used to provide harmony for war films. It also mimics the raised, panicked split second of the rebels. It subconsciously raises our own heartbeat, making the audience feel like they are part of the rebel teamThe CUs on the rebels characters allow the audience to recognize the rebels terror, increase their own anticipation. By seeing their faces, it humanizes the rebels an d prepares the audience to be on their side, rather of the cold, expressionless masks of the empire.During these rebel shots, there are MCUs on the 2 robots, a technique used throughout the sequence and indeed the film to distinguish the central characters. We also realize they are principal(prenominal) because their bright metallic colouring makes them stand out from the background of uniformed rebels.Their voices are quite comical C3P0s English accent is so pack and inappropriate to the action packed setting that the audience find themselves laughing. R2D2s language is not easily decipherable, and so many laughs are gained by inferring what he has said by C3P0s response. This section introduces the audience to the radical that these characters will provide the comic relief for the film, and indeed, their presence in this section allows the audience to relieve a little of their tension by laughing, this is important because of the family based nature of the film, parents do no t want their young children to be too scared.The camera moves to a tight shot of the door, framing it indoors the screen, showing that all attention is now diverted to it. The sparks from the cutters are overstated , to emphasise their importance, and run around the screen, creating the impression that the intruders are breaking into the audiences real world, further allying them with the rebels.The Storm troopers break through, and an shopping centre guide shot from their perspective is used to show the rebels firing back connoting a new perspective has arrived. The cutters continue, and when the camera cuts back, they have created a smoke screen , and enigma is created as to what will appear next. At this point, all sound cuts to silence, leaving the audience with the sound of their own raised heartbeat and ventilating system and intensifying the anticipation.When Vader steps through, only his exaggerated breathing is heard, focusing all our attention on him, making the audie nce question why he needs a respirator. Vader is instantly identifiable as evil, the shot place him at the center of the screen, and he is dressed head to toenail in black, as fightd to rebel white ship, a attribute of the goodness of their principles and their purity, they have no need for masks or machines.The non-diagetic harmony then begins its Empire motif, an easily recognizable section used whenever Vader is around or to imply his involvement. This contrasts with the rebel motif that was heard at the rattling beginning of the section, and is one of the most easily identifiable pieces of film music inhistory. The use of these motifs enhances the binary opposition of good and evil by giving them completely different music. It also helps build an international cult following, because the iconic music is assessable to all. This makes the audience feel smug at being part of a community that recognizes these motifs.Cut to POV shot, C3PO watching R2D2 bring forth the message fr om Leia. Leia is instantly recognizable as a princess- she is shot in soft focus and gentle non-diagetic music plays, to mirror the implied gentleness of her personality. The long shot used means we cannot see her face, so it establishes an enigma as to who she is, whom she is sending the message to and what the message is.During this sequence, the gentle non-diagetic music and the lack of firing sounds allow the audience to feel relaxed for a short moment. This is a sheer act of retardation as they are immediately confronted with Vader, in a MCU two shot with his commander. The way that Vader dominates the frame shows his superiority over the commander.Vaders voice is very deep and rasping, and sounds processed. This makes him appear other worldly, and the shrewdness of his voice is traditionally linked to big characters, such as monsters or giants. This makes the audience feel very small and insignificantThe CU of the soldiers legs is shot from a low angle, further emphasizing V aders stature and make the audience aware of his dangerous strength and his Jedi powers, which sets up an audience expectation about use of the forceThe CU on Leias face is a contrast to the strength and brutality of the last, as it is once once more in soft focus. The conversation between her and Vader is a montage of eye line shots and FSs, with them at either side of the screen. The eye line shots are very confrontational, designed to make the audience feel as if they are right in the middle of their argument. The full shot conveys to the audience that their views oppose each other, andreinforces the binary opposites- black vs. white, empire vs. rebels, young vs. old ect.By showing us the droids entering the escape pod, it creates an unrestricted narrative the audience knows what is inside. Because of this knowledge, we feel superior to the empire troops, who let it pass, further reinforcing our allegiance to the rebels.