Sunday, March 29, 2015
Dexter's Opening Credits
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Scene Description
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Music
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1
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ECU on a mosquito sinking it’s proboscis into someone’s
skin.
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Music begins and plays throughout opening. Strings.
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2
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MS of mosquito continues drinking blood on man’s arm.
Man’s face in background moves from out of focus to in focus. Quickly, with
precision slaps mosquito, squashing it. Man grins.
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Slap SFX.
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3
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Name card appears, “Dexter” in red, all caps. The “X” has
a smearing of red and a droplet on left section. The “E” has two droplets
coming out of the bottom. Blood spatters are at the bottom right of screen
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4
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CU on man lifting his head. We see behind him as he looks
into the mirror, out of focus. He leans fully out of screen.
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5
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XCU on wet fingertips sliding down a stubbly cheek.
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Scrape of fingers on skin SFX
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6
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CU of man’s throat, shaving. One hand wrapped solidly
around neck, holding it in place. The other hand grips the razor, pulling it
upward, over the Adam’s apple.
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Scrape of razor SFX.
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7
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CU of skin, shaven. Line of blood slides down skin from
out of the top of shot to a quarter way through the section of skin.
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8
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Quick cut to CU of one blood drop hitting sink. Metal sink
on left and stark white fill the shot.
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9
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Quick cut to CU of more blood drops. Two uniform next to
each other and one larger, looks diluted by water.
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Bell dings within music.
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10
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CU of same skin with blood sliding down. Man’s fingers
come into shot with white strip of cotton. Places is it on blood. Blood
begins to soak in.
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Bell dings in music.
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11
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XCU of blood spreading on cotton. No skin showing. Fills
three quarters of screen.
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12
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CU of knife slicing through plastic into ham.
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SFX knife slicing through meat.
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13
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CU of knife slicing through ham, with plastic removed.
Plastic visible only in bottom left corner. Other cuts are visible on ham.
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14
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CU of hand grabbing ham and picking up ham. Plastic seen
covering half of ham.
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15
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CU of knife moving and part of ham missing.
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16
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XCU of stainless steel pan. Steam rises up the sides
quickly. Sizzling butter slides into view.
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Sizzling SFX.
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17
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XCU of pan sizzling and square chunk of pink ham thrown
into pan.
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Sizzling SFX.
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18
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XCU of ham, still pink and in pan stabled with
grease-splattered knife and lifted.
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19
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XCU of man’s nose, right cheekbone and bottom of eye.
Eyelashes/eye look up.
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20
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XCU of man pulling ham off utensil and sliding it into
mouth. Teeth visibly grip the ham and lips purse, finally closing around
meat. Chews two more times.
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Man moistly chewing SFX.
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21
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CU of egg, already cracked against side of bowl. Man’s
fingers push the egg all the way down side of bowl. The albumen of the egg
squirts out the side.
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Crack SFX
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22
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CU shot pans right to show egg sizzling in pan.
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Sizzling SFX.
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23
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CU of knife twirling in egg yolk. Yellow of egg yolk
spilling onto the white of the egg.
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24
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XCU of black pan moving off burner. Red rings of burner
appear.
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25
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XCU of egg, yolk intact egg skin ripped at the bottom.
Drop of red liquid sitting to the close right. Large puddle of red sauce
squirts onto bottom right of shot.
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Sounds of knife sliding on plate SFX.
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26
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CU of knife slicing horizontally through the middle of an
enclosed egg yolk.
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Silverware clinking SFX.
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27
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CU of plate with egg slice on top. Red sauce quirts
horizontally from R to L.
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28
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CU of egg stained fork stabbing into cut off portion of
egg.
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29
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CU of dirty knife on plate, bit of egg still in top R of
shot. Red sauce squirts and lands on knife, a bit landing on plate.
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30
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CU of mostly whole, coffee beans flying around a grinder.
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Coffee grinder SFX.
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31
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CU of same grinder, coffee beans mostly chunks.
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32
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CU of hand, with palm on the ball of the coffee grinder
lever. Fingers curl into fist and squeeze.
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33
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Tilts down in CU of outside coffee grinder, condensation
has gathered at spout.
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34
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Tilts up in CU of black coffee, bubbles flowing from bottom.
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Bubbles SFX.
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35
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Low angle CU of serrated knife, sawing into blood orange.
Bursts of citrus spew from fruit.
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Knife sawing SFX.
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36
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Slow tilt down on XCU of knife sawing fruit until it
splits open. It rolls.
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37
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CU of hand squeezing and pressing blood orange into
translucent juicer. Chunks of the fruit fall out.
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38
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CU of hand pressing fruit firmly. Inside of blood orange
spewing out the sides, twisting.
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39
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CU of inside juiced blood orange. Rack focus on interior
and exterior pulp of fruit.
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40
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CU of man’s fingers twirling floss around fingers.
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41
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XCU of man’s fingers being pulled taunt by floss. Finger
skin turning white.
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42
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CU shot of hands forefingers pulling floss tightly apart.
Sink in background, black and white tiles on floor visible. Man lifts hands
out of shot.
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43
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CU on man’s neck looking up. He tilts his head down,
pulling floss free of teeth.
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44
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CU of two fists, wrapped in shoestring, tightly pulling
towards camera.
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Sound of shoe tightening SFX.
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45
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MS of man’s bicep. Hands off camera untying shoe,
shoestrings fly into shot.
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Sounds of tying SFX.
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46
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CU of shoe with out of focus hands in background.
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47
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XCU of eyelet with string pulling through it.
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48
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MS of man’s arm. Bicep flexing, fist wrapped in
shoestring, pulling tightly.
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Sound of shoe tightening SFX.
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49
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High, CU shot of man’s face pushing out of white shirt. As
man pulls it on, his face becomes more accentuated against it.
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50
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CU of man’s face as he pulls shirt over face. Eyes and
mouth open as shirt moves off face.
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51
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High, CU shot of man’s expressionless face. He stares
directly at camera.
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52
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XCU of hand pulling key out of front door lock.
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53
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LS of man walking along apartment balcony, blue door
behind him. White walls, two triangular pillars and glass blinds open. A palm
tree peaks out of bottom right of frame. Man walks along path, camera pans
left. Man looks at camera, nods, smirk on face. Looks off camera, fade to
black.
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Music ends with ding as man
nods.
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In the television show, Dexter, the main character battles his instincts
for murder while acting as a blood spatter analyst for the Miami police
department. The show itself consistently plays with the line between refined
civilization and brutal savagery. This imagery is mirrored within the
television show’s theme sequence that features Dexter as he begins his day. During
the day, Dexter works within the confines of society, trying to legally put
criminals in jail for their vicious crimes. However, at night[1],
he becomes a serial killer, intent on punishing those who have somehow managed
to evade capture. Throughout the series, Dexter is constantly in battle within
himself, from his dual nature of serial killer and police worker to his
instinct of bloodlust and the love he shows to his sister. This mirroring
conflict of civilized restraint versus animalistic brutality are juxtaposed within
the opening to highlight the complexity of humanity. Specifically, both Dexter
and its opening, scrutinize the line between human and animal and thus an
overall critique of society and what is deemed acceptable or unacceptable
within that. This is accomplished through portraying Dexter’s morning routine
as both, an activity of restraint and animalistic consumption. Through each of
the different sections highlighted above, Dexter navigates the line between
ruthless pleasure seeker, slicing and sucking his breakfast, and the restrained
everyman, nodding to his neighbors.
The first segment (orange) contrasts with the
final segment (light blue), portraying the two worlds that Dexter must inhibit.
In the opening, a mosquito is seen sitting on Dexter’s arm. He watches, letting
it bite into his flesh before squashing it with precision. The camera focuses
on his face where his eyes light up with joy and a sinister grin appears,
relishing in his accomplishment. The final section of the theme, involves
Dexter’s transformation from his personal domain to out in public, where he is
expected to be civilized. At the beginning of this segment, Dexter is pulling a
white t-shirt over his face. The audience views as his face is accentuated in
the fabric. When his face is revealed, Dexter stares directly at the camera
with a cold and lifeless look in his eyes. This is symbolic of the necessary
transformation from barbarity to civilized man. In the next moment of this
segment, he is locking his home and turns away from his front door, walking down
the hallway of his apartment complex. As he does this, he looks towards the
camera and nods. As he continues walking he looks off screen, his sinister
smirk returns. These two segments both contrast the dual personalities that are
often in conflict. The continuation of the smirk at both the killing of the
mosquito and as he nods off screen, suggest that although the outer layer of
civility (as represented by the t-shirt) can be worn, the real nature of
sinister behavior still lingers.
After
the mosquito section, Dexter moves on to begin shaving (green). Once again, the
audience witnesses him participating in the mundane. The next shot shows
Dexter, out of focus, looking in the mirror and pressing down harshly against
the stubble on his face. Following this, there is a shot of Dexter with one
hand wrapped around his next and the other shaving over his Adam’s apple. A
close up of his neck, a line of blood sliding down his next and then dripping
into the sink. A strip of cotton is placed on the cut and the blood soaks into it,
filling ¾ of the screen. This segment represents the line between civil and
feral, which is communicated through the hand wrapped around his neck and the
symbol of blood. Specifically, as blood drips onto the white sink and then
consumes the full square of cotton. Both are stark white, pristine and marred
by the inner workings (blood) of Dexter. This easily mirrors the inner battle
between Dexter’s brutal nature and the outside persona that he assumes.
Dexter then moves
on to eating breakfast, beginning with the slicing and dicing of ham (grey).
Through the plastic packaging, Dexter uses a serrated knife to cut into the
pink flesh of ham. A quick cut shows him squaring the meat, other cuts can be
seen where he has already worked. Next, the pan steams up with butter and ham
is thrown into the pan then stabbed with a greasy knife. Dexter eats the meat,
sucking it into his mouth and pursing his lips as he chews. This section, while
representing the carnal nature of man, also reflects Dexter’s serial killer
nature, specifically in his vicious execution of mundane activities. Then
(blue), an egg is cracked, sizzles in a pan, and is cut with the yolk spilling
out of the center. Red sauce is used in this segment as it splatters against the
white plate, the remnants of sliced egg staining the plate, and the dirty, yolk
stained knife. This section of the opening portrays the same themes as the ham
slicing, as the audience watches the yolk spill onto the white of the eggs. Again,
the ordinary acts of eating echoes Dexter’s killer nature as the red,
translucent sauce splatters against the plate reminiscent of blood. As with the
previous section, there is a violent nature to everything Dexter does,
shrinking the separation between the two worlds he inhabits.
Next Dexter
participates in two more activities, making coffee (yellow) and juicing a blood
orange (red). The audience witnesses as the beans spin around the grinder
without being crushed and are then smashed into chunks. Dexter wraps his
fingers around the ball of the grinder, curling his hand into a fist and
squeezes around the handle. In the next shot, condensation has built up on the
spout and bubbles rise from the bottom of the coffee pot. The following segment
begins with him cutting into a blood orange, as juice flies into the air.
Dexter then places that fruit on a juicer and twists, the inside of the blood
orange forcibly spewing from the sides of the rind. A close up shot of the
mangled insides of the fruit fill the screen. Again, each action is done with a
ruthless, violent undertone. These familiar activities become harsh devices,
such as juicer squeezing out the insides of a blood orange or Dexter’s grip on
the grinder, which are used in a brutal manner emphasizing the contrast between
the intended use of the item and how it can manipulated into something
sinister.
The
last two segments before Dexter leaves the house mirror one another, both
flossing and tying his shoes (pink). The section begins by Dexter twirling the
floss and pulling it so tightly against his fingers that they turn white. The
audiences see the floss being pulled tightly between his two hands with the white of the
sink as a back drop and the black and white tiles at the bottom of the screen.
Dexter begins to floss with only his neck visible, as he brings his head down
his teeth are shown as he pulls the floss from between his teeth. Next, he
begins to tie his shoes, tugging the shoestring tightly towards the camera,
with multiple shots of his biceps flexing as he pulls on the cord. As mentioned
above, this is obviously a violent action, mimicking Dexter’s murderous
tendencies. He is aggressive in both segments, fists curled tightly as he pulls
both the floss and the shoestring, cutting off blood flow to his hands.
Although the acts themselves are not inherently violent, Dexter’s animalistic
presence transforms them. Throughout this opening there is a consistent theme
of Dexter doing what is traditionally thought of as normative human behavior,
but is battling with his aggressive tendencies.
Overall, the
symbols in this segment are violent, murder-focused images that represent what
will follow in every Dexter episode. The
subtle symbolism within the series and its opening reflect the fine line concerning
the animalistic nature of man, such as violently suckling down meat, and the
civilized everyman, such as the friendly head nod, that Dexter represents. Although
he tries to act normal, there are still aspects of his brutal nature, which are
revealed through his mundane and traditional morning routine. Thus, the opening
of Dexter both highlights the
competing entities within the main character while also suggesting the lack of
separation between these two personalities for both Dexter and man.
[1]
Especially within the first few seasons. Later, as he gives into the more
serial killer side, we see him venture within daytime.
Saturday, March 14, 2015
The Narration and Opening Credits of Law and Order: Special Victims Unit
Critical TV Studies:
Analysis of Law & Order: SVU Intro and Opening Credits
L&O: SVU Intro:
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Shot:
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Audio:
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1. GFX: “The following story is fictional and
does not depict any actual person or event.” (L&O-type font)
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Silence
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2. Fade-in “Law and Order” in red and blue font
from center.
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Narrator: “In the criminal justice system,
sexually based offenses are considered especially heinous.
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3. Fade in “Special Victims Unit” in gold font
from center.
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Narrator: “In New York City, the dedicated
detectives who investigate these vicious felonies are members of an elite
squad known as the…
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4. Law and Order: Special Victims Unit logo in
still position on the center of the screen.
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Narrator: …Special Victims Unit. These are their
stories.”
Iconic “dun-dun” musical chime/noise.
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5. Black pause
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Silence
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L&O: SVU Opening Credits:
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Shot:
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Audio:
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1. Pan of a medium distance shot of New York
City buildings and traffic.
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Begin “Theme of Law and Order” instrumental
music and continue throughout opening credits.
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2. Quick flash of NYC buildings.
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3. Medium cast photo of Mariska Hargitay
(on-screen text: “Mariska Hargitay”) standing in front of the NYC skyline.
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4. Zoom out to a police officer’s hand holding
the “Police Line” concrete barrier.
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5. Pan of a still black-and-white photo of a
NYPD police car.
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6. Medium of New
York Post headline reading “Eastside rapist captured.”
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7. Close-up of hands in a jail cell, then zoom
out to…
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8. Medium cast photo of Danny Pino (on-screen
text: “Danny Pino”) in front of a bridge.
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9. Start of a close-up, then zoom out of a
sad-looking young infant.
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10. Wide/medium zoom out of a kneeling police
officer.
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11. Medium cast photo of Kelli Giddish (on-screen
text: “Kelli Giddish”) in front of NYC traffic/downtown buildings.
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12. Quick flash pan of NYC buildings.
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13. Zoom out to medium cast photo of Ice-T
(on-screen text: “Ice-T”) in front of a railway-looking bridge/viaduct.
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14. Pan-down of a swing set in black/white.
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15. Pan left-to-right of flashes of different
mug shots.
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16. Wide to medium zoom-in of prostitutes.
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17. Medium zoom-out of paramedics
talking/loading someone into an ambulance.
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18. Digital GFX of a waving USA flag.
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19. Zoom out to medium cast photo of Raul
Esparza (on-screen text: “Raul Esparza”) standing in front of judicial
building.
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20. Shadowy-looking picture of an infant
(close-up) – almost “ultrasound-ish” looking?
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21. Close-up of woman’s legs and high-heel shoes
with word “Molestation” scrolling from left to right.
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22. Medium zoom-into CU of a male officer
cradling young male.
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23. Medium zoom-out of a female officer
talking/holding young female.
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24. Zoom into shadowy-looking picture of a
stroller; “ultrasound-ish” quality.
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25. Zoom out of a woman testifying in court with
her left hand on the side of her head in leaning position.
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26. Zoom in to a close-up of a judicial building
that switches to shadowy/ultrasound-ish quality.
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26. Black screen with Law and Order font GFX
fade-into center.
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27. Fade-in center of Special Victims Unit font
GFX.
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28. Cut to close-up center of Hargitay, then
zoom out of whole cast. From left to right: Esparza, Pino, Hargitay, Giddish,
Ice-T.
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29. Wide pan of NYC traffic and skyline with
text GFX: “Created by Dick Wolf.”
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End instrumental music at conclusion of this
frame.
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30. Fade out to black screen.
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Analysis:
Law and
Order: Special Victims Unit (SVU) is a unique case of utilizing a distinct
opening credit and intro scenario that is not only consistent branding across
the Law and Order universe (the “original” Law and Order, Law and Order:
Criminal Intent, Crime and Punishment, Law and Order: Trial by Jury, Law and
Order: L.A., and Law and Order: UK), but also allowing difference within itself
in the Law and Order universe spectrum. The opening credits are voiced by
narrator Steven Zirnkilton, who serves as the opening narrator for all of the
U.S.-based Law and Order series (L&O: UK has a British announcer). This
immediately establishes continuity within the Law and Order franchise as an
L&O production that is closely tied with the other Law and Order-themed
series.
The
words of the SVU intro are based in the construct of the theme of the
individual series; with same narration and overview structure (several L&O
series, including SVU, begin with the phrase “In the criminal justice
system…”), it sets the foundation of what a person who is at least vaguely
familiar with the Law and Order series and structure will expect to find
regarding this series. The introduction references the seriousness and
viciousness of crimes against special victims, the units that are tasked with
prosecuting and preventing those crimes, and the “stories” that associate with
the unit, society, and legal systems. Along with the consistent narration is
the use of the two-tone “dun-dun” sound effect that also brands SVU as a
continuation of the Law and Order series.
The
opening credits are also loosely tied with the Law and Order franchise. What is
noteworthy is the instrumental music tied to image change. Throughout the
opening credits, specific notes (such as a drum, clarinet note, etc.) were used
as signifiers of a frame change. This indicates precise editing and it sets the
tone for the pace and quantity of the image placement within the SVU opening
credits. While unlike the episodic elements of the series, the music did not
dictate tone (serious music for serious issues), the use of instrumental
clarinet, dramatic drums, etc. does lend a presence of prestigious stories and
drama (legal, assault-based content) and the seriousness of the series (as
opposed to the theme music to “The Big Bang Theory”).
New York
also played a prominent role in the Law and Order: SVU opening credits. This is
a given, as the setting of the series is predominantly the NYC-area boroughs,
with additional settings nearby in the NYC-market area of New Jersey (and
occasionally upstate N.Y.). However, it is the plethora and breadth of New York
content that adds not only a setting element to the series, but the role of the
New York law enforcement in aiding and protecting victims in their city. This
is set up in the opening sequences of the credits, where to start, a brief pan
of the New York Manhattan skyline (fitting as the show is predominantly
focusing on the Manhattan branch of the SVU) is shown to introduce the show as
a New York-focused drama. Interestingly, in opening credits before the 9-11
attacks, this skyline pan did feature the World Trade Center; in subsequent
episodes after 9-11, this was removed. Brief pans of downtown city buildings
(too fast for landmarks, but noticeable enough to recognize it’s New York) also
are utilized as transitions within the intro to add to the city-structured
landscape.
Images
of NYPD and homage to their services and what the special victims units do in
their daily work are also prominently displayed. Stills of NYPD police cars and
officers helping victims of all races, ages, and genders are not only
prominently displayed on-screen, it is also a real-life allusion to the work of
police and their dedication to “strive and protect” the citizens of their city.
Images of infants indicate how SVU delves to protect youth and the grotesque
assault cases that arise, in addition to the enforcing and protecting of those
involved in high-risk sexual cases on a constant basis, such as the screen
image of prostitutes in the city. This is essentially a remarkable way SVU ties
into the real-life issues and service of the NYPD, in addition to reinforcing
the serious, life-saving work police (and on the show, SVU) does on a daily
basis.
The cast
photos of SVU – I analyzed an episode from season 14 (it’s currently in its 16th
season) – also reference distinct landmarks from SVU. Mariska Hargitay’s photo
depicts her standing in front of most of the NYC skyline; one could make the
argument that this is her show, she is the star (since most of the original
cast has left), and therefore, it’s the biggest, most substantial role. Yet,
other cast members also have notable photo depictions. Raul Esparza, who plays
the assistant district attorney (ADA) assigned to SVU, Rafael Barba, is
pictured in front of a judicial building in New York – thus symbolizing the
role of Esparza’s character as ADA Barba and the role Barba plays within the
SVU structure. In a similar extent, Ice-T’s character, Fin Tutuola, a noted
tough-nosed, street cop, is pictured near what looks like a rail yard viaduct bridge,
giving the appearance of a grizzled neighborhood, much like the character.
Finally,
as a tie-in, I thought the color schemes of the photos listed of the cast,
special victims, and the NYPD were uniquely nostalgic and produced. Cast photos
are in a bronze/gold tint, and I never thought about this now, but perhaps it’s
in that hue for gold as a savior-type of contrast? It may just be the bronze
overtones are different from the rest of the photos, but it’d be interesting to
analyze further why those color contrasts and not just simply in-color photos
(like the end cast shot). Along with that, the black-and-white stills and
grainy images of police, victims, and scrolling of special victim-type crimes
also add to the dramatic and seriousness genre of the show. It is not only a
nostalgic historical representation of the NYPD and the city – black-and-white
is usually associated with old-school types of media – but also adds to the
flawed and dramatic. Grainy images of strollers, swings, prostitutes on a corner,
and emotional infants are emotional peaks to the rough and oppressed lifestyles
of citizens and the haunting emotions from knowing those people and the
tragic/abusive relationships they may have had are a striking way SVU resonates
with the city and special victims crimes overall. It is an interesting analysis
of how images, music, and visuals all correlate into production of a show. Law
and Order: SVU is a show I watch often – and have for several years – and I
must say, until this assignment, I never really thought twice about the impact
said production of the introduction and opening credits have on not only the
show, but depictions of victims and the New York City culture overall.
