Sequence Analysis

Posted: February 21st, 2020

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Sequence Analysis

The segment selected for the film, Silver Linings Playbook, takes place from the start of the film for a minute and seventeen seconds (1:17). Foremost, one of the major significances for the selection of this particular segment is based on its role as an introductory part. Indeed, the segment possesses crucial elements that eventually assume an imperative role in lining out the respective film. For instance, the segment introduces the viewer to the crucial characters that ultimately become part of the motion picture’s plot. From the transition, the viewer is immediately introduced to Pat, one of the protagonists of the film. Based on his physical stature and his movement, the viewer easily assumes that he is comfortable in this particular setting. However, as his conversation continues, it becomes impossible to notice his longing for the familial nature of his home and a romantic relationship. What appears to be a conversation with his ex-wife, Nikki, immediately shifts into an after thought, particularly after the viewer is brought back to the present. From that scene, it is evident that Pat reminisces of the last conversations that he had before separating with his wife. Aside from this, it is apparent that Pat is suffering from possible physical complications. As his past thoughts with Nikki dematerialize into the present, a man calls out to Pat and urges to hurry up since the doctor has been waiting for him. These parts about Pat clearly establish the theme of a sick individual with hopes of returning to a normal wife with his estranged wife and family.

The setting of the first segment is primarily based in the protagonist’s automobile. In respect, the character, Pat, recalls a past memory together with his ex-wife, Nikki. The respective setting places him in an introverted state. Accordingly, the character is isolated from the real world. In his vehicle, Pat is alone with his thoughts. At this point, the character is engaging in a voice over with his back currently facing the camera. Undeniably, it is apparent that he is in regret. In addition, the manner in which his thoughts trail illustrate that the reason as to why he is alone presently is based specifically on his health complications. The setting of Pat’s vehicle immediately shifts once Pat is hurled back into the present by his friend. This cut into the present, as aided by the setting, serves as a reminder that brings Pat effectively into the present. The man outside his car knocks the door of the respective setting forcing the character to ‘awake’ and get past his daydreaming. The knock on the character’s setting acts as a cue that allows him to live in the present. So far, the character has been isolated from the external world as illustrated by his recollection of past thoughts with his estranged wife. Hence, the knock cue takes him from this state and ushers him into the present. After this, the character sits facing back and turns his head to one side. With this action in play, the character gets ready to excuse himself from the respective setting by reassuring himself that everything from that point will be all right. After three cut transitions, the character returns to his initial setting and sits in tit while facing front.

The internal structure of the sequence is characterized by a considerable dependence on zoom shots. From the 0:50 mark, the scene cuts and slowly fades in to zoom on the character. Within this first shot, the protagonist is introduced to the audience while accompanied by a somber musical score. With his back facing the camera, the protagonist does not notice the ambient sounds of the knock on his vehicle’s door. The scene further cuts at the 0:54 mark as it zooms out of the respective scene. The purpose of this is to introduce the audience to the man accompanying the character to his destination. The camera slowly fades then zooms in at the 1:02 mark showing Pat sitting in the vehicle daydreaming in thought. At the 1:04 mark, the scene cuts in transition and zooms out at a greater distance than the first camera shot of the respective segment. The following shot further indicates the camera zooming out even further than the previous scene. The sixth and seventh scenes (at 1:11 and 1:17 respectively) indicate the camera movement zooming within the same proximity as the zoom shot carried out in the first scene.

In the selected section of the film, Silver Linings Playbook, it is imperative to note that the formal and stylistic organization of the motion picture maintains a close relationship with its narrative structure. This is illustrated by the strategic nature of the shots especially in developing the narrative nature of the film. Accordingly, a single shot may reveal a considerable amount of detail while narrating an insignificant quantity of information. The shots, primarily zoom shots, integrated in the motion picture reveal a certain descriptive facet regarding the film. For instance, each zoom shot brings the character, Pat, closer to the audience. His somber facial expression, his thought in soliloquy, and the cue that drives him into the present reveal a significant amount of detail regarding the character, his motives, and his human condition. Additionally, the formal organization of the sequence presents a ‘classical syuzhet’ structure. This type of framework illustrates two different plot lines that eventually intertwine into a single narrative structure. The sequence’s internal organization illustrates two plot lines. The first part is based on Pat’s health complications. The second part is based on his estranged relationship with his ex-wife. Eventually, both plot lines serve as an imperative dimension for the film’s narrative. Lastly, genres comprise dimensions that allow viewers to explicate and identify with the form that the films embody. Additionally, the formal and stylistic organization of the segment establishes the overall movie as a genre film based on the way it references other films, particularly romantic drama.