A technical analysis of the opening sequence from The Matrix (1999, Andy Wachowski, Larry Wachowski)
• Functions or aims of the sequence to give a shape/structure to the essay • As it is the opening of the film, it has several generic functions common to action/adventure films – To introduce the 2 major characters as possible protagonist/antagonist or hero/villain – To establish the setting for the themes to be revealed – To establish a basic disequilibrium to set up the narrative (Enigma codes are set up.) – To involve the audience in a straight-forward chase sequence giving emotional pleasure
Narrative & Enigma • One of the codes set up in any narrative is the ENIGMA code • This is the problem to be solved • Or, the mystery to be unravelled • Or, simply the beginning of the quest which the rest of the narrative seeks to pursue.
Uses and Gratifications Theory •
Blumler and Katz (1974) introduced the idea of audiences using a media text to derive pleasure, moving away from the idea prevalent at the time that the media somehow affected the audiences in an uninvolved way (the hypodermic needle effect)
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Diversion — a form of escape or emotional release from everyday pressures Personal relationships — companionship via TV personalities and characters, and sociability through discussion about TV with other people Personal identity — the ability to compare one’s life with the characters and situations within programmes, and hence explore personal problems and perspectives Surveillance — a supply of information about ‘what’s going on’ in the world
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(Studying the Media (O’Sullivan, Dutton & Rayner, Arnold, 1994) , p.156)
Primary function • It is clear that The Matrix sequence’s primary aim is to provide for the audience a way of escaping their normal routine lives and for them to immerse themselves in a totally different fictional and alternative world; to escape into the diegesis (the fictional reality) of the world of the matrix.
Further uses and gratifications • Moving on from Blumler and Katz, we can suggest that there are other needs satisfied or met by a film (or any other media text) – – – – – –
Intellectual Emotional Spiritual Aesthetic Sexual Social
• These may be seen as subsets of escapism but indicate an audience which is active not passive
5 Technical Areas • • • • • •
Camera shots, angles etc. Sound Mise-en-scene Editing Special Effects All these are methods by which the filmmaker achieves his/her aims/functions in any given sequence
Effects • • •
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After the Functions and Methods comes Effects i.e. the effects upon an audience This ties in with the Uses and Gratifications theories, so that a film sequence that is beautifully shot or has great special effects might be functioning to make the audience pleased aesthetically, or possibly spiritually If we, as an audience, believe the special effects in The Matrix enhance the ‘reality’ of the film, then we are deriving pleasure from the film which is vitally important, but remember that Pleasure can be any of one or more subsections.
Functions of The Matrix sequence •
So we can modify our original generic functions to be more specific to this sequence:1.
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To introduce the 2 major characters as possible protagonist/antagonist or hero/villain To establish the setting for the themes to be revealed To establish a basic disequilibrium to set up the narrative. Enigma codes are set up. To involve the audience in a straightforward chase sequence giving emotional pleasure
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Modified functions 1.
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Trinity is identified as the ‘hero’ with heroic traits and characteristics, as a victim pursued by a villain, Agent Smith, represented as a shadowy representative of a government agency which is arrogant, disliked and very powerful. The ‘reality’ of the recognisable world is subverted by the existence of another world which is revealed through computer screens and the telephone. The straight-forward normality of the crime-ridden streets of big city USA is disrupted by the abnormal/’supernormal’ events of the 2 major characters; the simple arrest becomes complex. Enigma codes are set up. [Who are these people? How come they have special powers? How does Trinity get away? Who does she contact? Why is she here? Why does Agent Smith want to catch her?] A fight and chase sequence, riddled with special effects, spectacularly starts the film. As the clip is exciting it reaches the audience’s need for escapism, but through the enigma codes serves our intellectual needs as well. Furthermore, as it is full of special effects, well-constructed our aesthetic needs are also met.
First function Camera shots, angles etc. •
Trinity is identified as the ‘hero’ with heroic traits and characteristics, as a victim pursued by a villain, Agent Smith, represented as a shadowy representative of a government agency which is arrogant, disliked and very powerful.
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Trinity is introduced in a characteristically mysterious fashion. The first shot, a MS from a policeman’s POV, only reveals her sitting with her back to us. Even the first MCU, a one-shot, only reveals her when she pulls a briefcase down from her face. This last shot reveals her vulnerability by framing her with the background of the lights mounted on the police automatic rifles, searching, probing and ultimately pinning her down. Backlighting in this diegetic manner, adds distinctly to the mystery of the sequence. We become dazzled, like Trinity, thus making sure that in this mode of address, we are required to have sympathy for her position.
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A common compositional convention used within this sequence is that of deep focus, playing with the depth-offield so that the foreground anchors the meaning of the background. One such shot is in this introduction to Trinity where we see the policeman’s gun, with all its connotations of violence, foregrounding the small figure of Trinity with her back to the audience and her hands raised in surrender. The focus is pushed so that the foreground gun goes out of focus and our attention is instead put onto Trinity. This is a common technique during this sequence to constantly involve the audience, to never let us rest. Virtually straight after this, indeed, the frame is dominated by the nervous half-face of Trinity in BCU, with the policeman to the left and often more dominant position takes the background position.
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Camera movement also contributes to the action of the sequence. When Trinity launches into her attack, the camera whirls and moves, tracks and pans, almost in an effort to keep up with her balletic and gymnastic movements. Notice that many shots are MS to accentuate the space through which she travels, or extreme closeups to demonstrate the skill and timing or her athleticism. Cutaways and reaction shots for straight continuity editing provide the narrative structure of the piece; the policeman looks particularly bewildered.
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The action and violence of the fight sequence merely serve to promote Trinity’s heroic status in our mind. Specific shots demonstrate not only her skill, but also, at this stage, her coolness. It might be the MS of her kicking directly at us, or the bird’s eye view of her victory, demonstrating the devastation she has caused. This is contrasted with the CUs that follow to connote her supremacy as we focus upon her emotional reaction to the physical danger she has been in and overcome with what appears to be consummate ease.
Further Work •
Trinity is identified as the ‘hero’ with heroic traits and characteristics, as a victim pursued by a villain, Agent Smith, represented as a shadowy representative of a government agency which is arrogant, disliked and very powerful.
• Now do the following for each of the technical areas, for each of the functions, in note-form. • Sound • Mise-en-scene • Editing • Special Effects – To go to the other functions click here.
Checklist •
Once you have your notes on – – –
Functions Methods Effects
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Then you are in a position to structure your essay, given that it now has a shape given to it by the functions.
1. 2. 3. 4. 5. 6.
Do not repeat material Group types of shots or types of sound, etc. into similar paragraphs Make sure that you have dealt with all technical areas pretty much equally Ensure that you have used the appropriate technical terms Do not retell the story Do not go back to “In the opening shot….then in the next shot….then in the shot after” type of description This is ANALYSIS not description. Make sure that it is. Make sure you get an A grade!
7. 8.
Trinity – shot 1
Trinity – shot 2
Trinity – shot 3
Trinity – shot 4
Trinity – shot 5
Trinity – shot 6
Trinity – shot 7
Trinity – shot 8
Narrative Revision •
“Narrative is a way of organising material” (Price,Media Studies, 1999, p.245)
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Todorov proposed the idea that a narrative has 5 distinct transformations through which the story proceeds. These are : – – – – –
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the state of equilibrium - all is in order a disruption (disequilibrium) of the ordered state by an event a recognition that a disruption has taken place an attempt to repair the damage of the disruption a return to some kind of equilibrium
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Apply this to any fictional or non-fictional form. Perhaps too general and can never reveal the true detail of narrative. (ibid. p. 248) Branigan thought that people tend to remember stories in terms of “categories of information” and that narrative is an “activity that organises data into a special pattern which represents and explains experience”:– – – – – – –
introduction of setting and characters explanation of state of affairs initiating event emotional response or statement of a goal by the protagonist complicating actions outcome reactions to the outcome (ibid. p.248)
Propp Russian critic of fairy tales in 1928, he identified 32 categories of action and over 30 character-types who have a specific function within the narrative to cause events:
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The categories of action are: – – – – – –
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the hero, who seeks something the villain who hinders or is in competition with the hero the donor who provides some kind of magic talisman that helps the hero the helper who aids the hero and his/her quest the heroine/princess who acts as a reward for the hero and is the object of the villain’s schemes the dispatcher who sends the hero on his/her way by providing a message the false hero who disrupts the hero’s hope of reward by pressing false claims the princess/heroine’s father who acts to reward the hero for his efforts. Preparation Complication Transference Struggle Return Recognition
These are all elements that can occur at different points in the tale. (ibid. p.245 ff.)