AS G3: Mise-en-scene of Opening sequence

The camera is positioned primarily through close-ups and tracking shots of the protagonist, which helps position the audience with the character.

As mentioned, there are a number of handheld tracking shots, especially a great deal of them following the smaller movements of the character. This further helps position the audience with the protagonist.
This is also evident in the titled angle shots when the protagonist crashes onto the floor. The hand held camera also emphasises the chaos that the protagonist enters when he falls to the floor.

The protagonist sleeps quietly, unknowing of the challenges he is about to face.

The lighting is consistent throughout the opening sequence, and is particularly evident in the picture above: The two light sources provide a split in the protagonist's face, which help connote the idea that his old, "right" side of his life is being dominated by the colder white on his left, which connotes the idea of being cleansed, albeit being cleansed of one's former life.

The protagonist is dressed in what looks like civilian clothing and what could be considered your everyday person. The costume aspect is important in terms of connotations; it promotes the notion of the character having no memory of who he is. The white t-shirt is especially worth noting.
The essential part of the t-shirt is that its colour is white. This connotes the idea that the protagonist has had his memory wiped clean and is as such isolated from who he really is. However, the colour white also connotes that he is innocent, being put into a stressful situation whereupon he must find himself and solve his problem, which corresponds with the conventions of the psychological-thriller genre.

Alexander in costume, adjusting the prosthetic.

The fact that the protagonist is wearing a bandage also indicates that the character is weaker than the stereotypical male protagonist.
In terms of ideological representation of the character, it could be emphasised through the way that the protagonist moves and reacts to the scenario he is in, that he is an emergent representation of the male protagonist. After the flashback, his body language is shaky, scared. When going through the house, his movement is cautious and slower, afraid of what is behind the next door. As it progresses, elements of male bravado become apparent, but are quickly squished by the entry of the much more powerful and seemingly omniscient antagonist.

Prosthetic cut of a "5" on left hand of protagonist. The protagonist is right-handed, which could indicate that he cut the number into his hand himself, or was somehow forced to do it by the antagonist before having his memory wiped.

Prosthetic five being unwrapped

Polaroid pictures of the antagonist - Overseer - holding up numbers. These act as clues for the protagonist (Examples shown below). All of the polaroid pictures are taken where they are placed, for example the second polaroid being on the corner of the living room. This is to lead an obvious trail of breadcrumbs for the lead - and the audience - which drives the narrative and keeps the plot moving. Additionally, the fact that the antagonist is the one holding the numbers and standing in front of the clues enhances the idea that the Overseer is the one playing with the character, like a game of sorts.

First number to be seen

"Bingo"

TV remote with all numbers except number 1 removed (in above picture, underneath polaroid). This, combined with the polaroid pictures, further helps drive the narrative.

The sensation of not knowing who you are combined with the plain colours of the location underlines the isolation of the character. On top of this, the location creates the fear of being manipulated in ones own home. For example, the aspect of waking up in a bedroom that you cannot recognise is discording for the one in the midst of it.

Waking up in your bedroom without knowing it is your bedroom
must be a terribly horrific feeling, feeling at home yet not.

(Written by Alexander D)

Foundation Production - Group 3