What does Thomas Sutcliffe mean when he says "Films need to seduce their audience into long term commitment. While there are many types of seduction, the temptation to go for instant arousal is almost irresistible"?
I think that this means that films need to interest you, not for only the duration of the film but even before and after that. For example, the trailers need to interest the audience. This is because there are a lot of films out there in the same genre but your film has to be better and keep them entertained. Your film has to keep people coming back to yours and talking about yours instead of other films.
According to Director Jean Jacques Beineix, what are the risks of 'instant arousal'?
Once you've got your audience going, you have to keep them on the same level of interest throughout. You have to keep them alert and wanting more. So by instantly arousing the audience, it only makes it 10 times harder for you. In which it leaves you questioning, what else can you bring to the table? "The risks that you will never answer their questions." In fear that it may be giving all the excitement away so quickly.
Explain why "a good beginning must make the audience feel that it doesn't know nearly enough yet, and at the same time make sure that it doesn't know too little."
Because if the audience knows too much they would probably get bored because they figured out the whole film quickly. However, if they know too little and they don't understand it, they might get impatient and frustrated and refuse to watch to the end. Knowing just the perfect amount will keep the audience guessing and keep them intrigued and want to know more. This also allows the chance of surprise or shock from the audience if there is a big unexpected reveal of some sort.
What does critic Stanley Kauffmann describe as the classic opening? Why does this work?
He describes a classic opening of when they shows the audience some form of establishing shot of the surrounding. As well as the camera showing us main character, important objects or places to do with the film. Essentially, something to familiarise yourself with. In other words, showing you a significant building, followed by the windows, then straight into the action with the characters. It also simply allows the audience to have an interpretation of what happened prior.
Why is Kyle Cooper's title sequence to the film Seven so effective?
It tells us a story and introduces you to the main characters and their obsessive nature This also foreshadows the film and tells us a lot of the things that are going to happen in the future. I think it was effective because of the psychotic nature. It's not a long list of names and it includes intense music which help see the mood of the film clearer.
What did Orson Welles want to achieve with his opening to film A Touch of Evil? What did Universal Studios do to to? Why?
He wanted to give information to the audience but at the same time make you forget that you are watching a film. He wants to shock the audience and start with a bang. Universal Studios added a score and credits but Orson Welles didn't want it that way. Welles thought that the score and creduts had spoiled the effect. He wanted a smooth opening scene with a bang to get the audience thinking and entertained.
What is meant by "a favourite trick of Film Noir"? What is the trick?
The beginning is like the ending. I think it means it starts with a bang and finished somewhat calm. It is more of a destination than a departure point. They are looking ahead. It is when the opening of the film foreshadows the end of the film. This means we want to know what happened or prior to these events.
How does the opening to the film The Shining created suspense?
The high angle gives the audience the suggestion of a predator stalking someone. The camera is focused on the small object and following it and gives us the impression that they are going to doing something wrong. The music also makes the opening very tense and could make that audience anxious of what's to come. It leaves us with anticipation and somewhat fear.
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