JP: Shot by Shot Analysis of the Opening Sequence of 'Saw' (Wan, 2004)

CAMERA	DURATION	MISE-EN-SCENE	EFFECT OF CAMERA	SOUND
Credits	0:26 - 0:41 (15 seconds)	Typography is simplistic yet distorted creating edginess.	Shaking text/camera connotes unease.	No sound at all creates tense atmosphere.
CU on face	0:41 - 0:49 (8 seconds)	Low lighting only revealing parts of his face at a time making him and the situation mysterious.	Static camera letting the light create movement and establish the setting.	Diegetic sound of air being released underwater conveying both the location and the predicament the character is in.
Title	0:49 - 0:54 (5 seconds)	Same as credits.	Same as credits.	Same as previous but with added white noise using a crescendo as title is shown and diminuendo as it fades away.
BCU on key	0:54 - 1:00 (6 seconds)	Same as CU on face.	Same as CU on face.	Sound mix kept thin and quiet with just underwater sounds to maintain tension.
CU on face	1:00 - 1:01 (1 second)	Non-verbal language of shocked facial expression as character suddenly awakes, acting as a jump scare through the juxtaposition of the tense, action-less shots before.	“	Sound mix suddenly much louder with diegetic sound of character awakening and gasping for breath; helping to create the ‘jump scare’.
BCU on key	1:01 - 1:03 (2 seconds)	Water draining from bath creating relief in the audience having been previously made to identify with the character who is a vulnerable position.	Constant reference back to key connoting its importance as a possible proleptic reference.	Same as before (still only diegetic sound).
CU on face	1:03 - 1:04 (1 second)	Same as CU on face.	Same as CU on face.	“
CU on foot	1:04 - 1:05 (1 second)	Same as BCU on key.	Same as BCU on key.	“
BCU on drain	1:05 - 1:06 (1 second)	“	“	“
MS on man in bath	1:06 - 1:09 (3 seconds)	Low key lighting but with man still visible connoting the unknowing of the situation.	Static cam with no movement allows the character to control the action, focusing on him.	“
BCU on drain	1:09 - 1:11 (2 seconds)	Same as BCU on key.	Same as BCU on key.	“
MS on man in bath	1:11 - 1:13 (2 seconds)	Same as MS on man in bath.	Same as MS on man in bath.	“
BCU on drain	1:13 - 1:15 (2 seconds)	The key being sucked down the drain, following the repeated cutting to it, again reinforces its possible importance to audience and the dire situation the character is in having lost it.	Same as BCU on key.	“
MS tilt down on man to panning MS on man	1:15 - 2:03 (48 seconds)	Non-verbal language of character conveying his struggle and confusion as he stumbles and feels around, which also suggests his confusion about the situation much like the audience.	The handi-cam following the action makes the audience connect with the character.	Aspects of the diegetic sound such as his panting and falling on the ground have been amplified to create visceral pleasure. Also, dialogue is first introduced with the character screaming “Help!” which challenges the dominant ideology of men being self-sufficient. Additionally, the introduction of a second character through the use of dialogue and not showing them conveys the mysterious nature of the situation and the problematic position of the first man.
Tracking MS on lights	2:03 - 2:04 (1 second)	The lights switching on one by one creates the gradual introduction of light to the room, revealing both the situation and the two characters.	The tracking back of the camera displays the lights turning on one by one, allowing the intercutting of reaction shots from the man.	The amplified sound of the lights switching on and the man’s verbal reaction creates visceral pleasure.
MCU on man	2:04 - 2:05 (1 second)	The shocked non-verbal language of the man conveys his lack of control over the situation and the unknowing of what is to come.	The high angle on the man connotes his lack of power in this situation.	“
Tracking MS on lights	2:05 - 2:06 (1 second)	Same as tracking MS on lights.	Same as tracking MS on lights.	“
MCU on man	2:06 - 2:07 (1 second)	Same as MCU on man.	Same as MCU on man.	“
Tracking MS on lights	2:07 – 2:08 (1 second)	Same as tracking MS on lights.	Same as tracking MS on lights.	“
CU on man	2:08 - 2:15 (7 seconds)	Same as MCU on man.	Same as MCU on man.	The introduction of non-diegetic sound in the form of creaking metal further accentuates the sense of unease.
POV from man	2:15 - 2:20 (5 seconds)	The reveal of the setting to be a dilapidated bathroom type room connotes the unnatural situation the characters are in.	The use of this particular shot places the audience in his disorientated position (with the ghosting effect added to the shot) and helps the audience identify with him.	A subtle soundtrack is added with the timbre of the high stringed instruments piercing through the sound mix creating an unsettling effect on the audience. Also, the low brass instruments connote a possible evil.
MCU on man	2:20 - 2:22 (2 seconds)	The first lit near full body shot of the character clearly shows him to be casted as a fit, young, white male and his costume to be casual clothing of the time (i.e. a shirt, vest and jeans); making him relatable to the audience as the target audience is the core horror audience of 15-24 year old males.	Same as MCU on man.	Same as CU on man.
Tacking back MCU to MS on second man	2:22 - 2:27 (5 seconds)	The first shot of the second man reveals him to be casted as a fit, middle aged, white male and also having a casual costume but with sweat stains and visible scars on his face, connoting a struggle/fight before being captured. His non-verbal language presents him to be in a vulnerable position chained to the wall and grasping the pipes around him (along with his shocked facial expression).	“	“
POV from second man	2:27 - 2:31 (4 seconds)	Same a POV from man but more clearly showing the man’s chained situation.	Same as POV from man.	“
MS on second man	2:31 - 2:35 (4 seconds)	Same as MCU on man.	Same as MCU on man.	“
Tracking back MS to tilt down MCU to spin/track back (up) to MS	2:35 - 2:43 (8 seconds)	The shocked facial expression of the man is used to build to the reveal of a body in a pool of blood and its head blown open. The construction of this character in itself creates horror.	The fast camera movements connote the quick action and shock of the reveal of the body. Also, the stopping of movement at key points such as the first showing of the head of the body and then the body as a whole gives time for the audience to ‘take it all in’ and relish in the shock value.	The non-diegetic sound shifts again here with the inclusion of a sound similar to a plane crashing leading into a high bowed note on a violin as the body is revealed connoting the shock and anchoring the horror of the image. A scream and white noise are then added to create visceral pleasure as the whole body is shown.
CU on tape recorder in hand	2:43 - 2:45 (2 seconds)	Clearly displays an object of future importance to the narrative for the audience to work out.	The sudden shift from movement shots to this static one means the audience are made to focus on the object through juxtaposition as it is important to the narrative.	A loud percussive sound anchors the cut to showing an object in the body’s hand. The orchestral soundtrack is still apparent during this too however, to maintain the shocked atmosphere.
CU on gun in hand	2:45 - 2:47 (2 seconds)	“	“	“
MCU on man	2:47 - 2:48 (1 second)	The non-verbal reaction presents his character to be affected in the same way to the audience; further making him relatable.	Same as MCU on man.	Dialogue adds to the physical shock of the character.
MCU on second man	2:48 - 2:49 (1 second)	The non-verbal reaction of this character presents him to be emotionally stronger as he is less shocked and looks to be examining the situation, also connoting a background relating to seeing dead bodies.	“	Lack of dialogue adds to the strong nature of the character.
BCU on chain	2:49 - 2:50 (1 second)	The prop reminds the audience of the trapped situation the characters are in.	“	Amplified chain sound anchoring action on screen.
MCU on second man	2:50 - 2:52 (2 seconds)	Same as MCU on man.	Same as MCU on man.	Same as MCU on man.
MCU on man	2:52 - 2:53 (1 second)	“	“	“
LS on second man (with first man in frame)	2:53 - 2:54 (1 second)	“	“	“
MCU on man	2:54 - 2:56 (2 seconds)	“	“	“
MCU on second man	2:56 - 2:58 (2 seconds)	“	“	“
MCU on man	2:58 - 3:00 (2 seconds)	“	“	“
MCU on second man	3:00 - 3:02 (2 seconds)	“	“	Orchestral soundtrack begins to crescendo to the action about to happen.
CU tilt down on man to feet	3:02 - 3:03 (1 second)	Same as BCU on chain.	“	Man begins to scream and shout whilst the sound of him rattling the chains is amplified for visceral pleasure and to convey the erratic situation he is in.
MCU on man	3:03 - 3:04 (1 second)	General non-verbal language displays his weak will and struggled desire to be freed from his binds.	“	“
CU on man	3:04 - 3:05 (1 second)	“	“	“
MCU on man	3:05 - 3:06 (1 second)	“	“	“
Panning CU on man to chain	3:06 - 3:07 (1 second)	“	“	“
MCU on man	3:07 - 3:08 (1 second)	“	“	“
BCU on chain	3:08 - 3:09 (1 second)	“	“	“
Panning CU on man to chain	3:09 - 3:10 (1 second)	“	“	“
MCU on second man	3:10 - 3:12 (2 seconds)	Non-verbal language of second man shows his lack of control in the situation and his concerned facial expression makes him relatable to the audience.	“	“
LS on man	3:12 - 3:16 (4 seconds)	Same as MCU on man.	“	“
MCU on second man	3:16 - 3:17 (1 second)	Same as MCU on second man.	“	“
CU on man	3:17 - 3:20 (3 seconds)	“	“	“
MCU on second man	3:20 - 3:22 (2 seconds)	“	“	Dialogue returns to reinstate the tension after the action filled events.
MCU on man	3:22 - 3:23 (1 second)	Shocked facial expression connotes the unknowing horror that awaits the characters.	“	“