In this post, I look at sound, camera, editing and the mise-en-scene in the opening scene to Wes Craven's 'Scream' (1996). I analyse why these techniques are used and what effect they give to the scene and have on the audience.
Before a scene image is shown on the screen, there is non-diegetic sounds of a heavy heartbeat, immediately createing tension before the film even begins. This non-diegetic sound then cuts into a phone ringing, which is apparent as diegetic sound as we now see a girl who appears to be in her late teens on the screen. The blonde-haired teen looks innocent as she answers the phone, which immediately presents her character's vulnerablity to the audience. Further vulnerability is presented through the diegetic sound of crickets as this informs the audience of the setting. This is an isolated area with no easy or quick escape. All of the above demonstrate a typical horror film set. The genre of the film is also highlighted through the mise-en-scene; it's dark and late at night. The house is set in the woods. This suggests the director's intentions of a horror setting.
The way in which the camera tilts down to a wide shot of the house from a shot of the trees above it shows the audience this girl is in the middle of nowhere. Amplifying there is no hope and no escape. In addition, the camera tilt also connotes the girl being watched from outside. This builds tension as the audience are aware of this, but she isn't.
As the girl engages conversation over the phone, she sounds naive as she is telling a mysterious sounding guy over the phone what she is currently doing. Post modern humour follows this as they talk about her favourite scary movie whilst playing with a knife. This can suggest comedic elements to the film.
At one moment, the camera tracks the girl as she walks around, this intentionally tells the audience she's alone in a big house, further adding to her vulnerablity. Tension begins to rise as the raspy voice over the phone says "I wanna know who I'm looking at". As he reveals he can see her, the camera zooms fast into a close up of the girl's face and non-diegetic music changes and gets more serious. This sychronous use of camera and sound informs us this is no longer a light hearted film.
The audience hear diegetic sound of a dog barking, this makes it clear that the dog has sensed there actually is an unknown person around. As overlapping non-diegetic and diegetic sounds get louder, cracking of popcorn intensifies and we are lead to believe it's going to explode, making the scene more dramatic. The camera shots to a close up on the girl again and a booming non-diegetic sound (perhaps imitating a heartbeat or footsteps) creates immense suspense as the camera tracks the girl with no editing as she runs. There are no cuts at this moment to show she's in a rush. The way in which this tracking shot follows her at a fast pace, makes the situation more believable and makes the audience feel like they are in the room.
Non-diegetic music cranks up tension as the ring of doorbell is intensified with her eyeline match to it, amplifying her vulnerability. As sound switches to non-diegetic spooky music, the camera tracks her backing up slowly into a wide shot and the audience get a glimpse of someone outside. A wide shot of the girl then emphasises her hiding and the camera zooms into a close up of her face. Here, editing and sound work together to create the horror scene. The synchronous use of editing and sound are also shown when her eyeline match to the wounded person outside presents the state of how he has been brutally stabbed, whilst non-diegetic sound creates more tension as it gets more amplified.
As non-diegetic sound then shifts into less suspense and more action, the audience begin to question what she is going to do to try and escape. The camera cuts from one side of door to the other as she leaves. This is an editing technique known as a 'match on action'. Suspense non-diegetic music picks up as the camera shots a car driving past, giving a sense of salvation. Is she going to get to the car in time to save herself? Or is the car a trap?
Slow motion editing is used to heighten the effect of her gruesome murder, making it more dramatic as the knife stabs into her chest. As she falls to the floor, the camera angle from the ground is known as a 'dutch tilt'. This is used to give the impression she is weak, uncomfortable, and is also deliberately done to show what she sees. Cross-cutting is then viewed through her eyeline match to the view of her parents, making the audience believe she may have a chance of living if she can get to them in time. However, non-diegetic sound shifts to emotional and angelic. This sound presents to the audience that she was unsuccessful in escaping and has died.
Finally, a wide shot of her body hanging from a tree zooms fairly into her face, once again making the scene ever so dramatic, scary and horrifying.
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