BBK: Funny Games (Haneke 2007) Opening Sequence Analysis

Genre

 

In then opening sequence of 'Funny Games' (Haneke 2007) the audience are addressed with a family expedition although not exclusive the horror genre protagonists moving to a foreign and not as well known location has become conventional of the horror genre as can be seen in films such as 'The Shining' (Kubrick 1980). Immediately the audience is introduced to the protagonists   

who they familiarize with. 
 

Form and Style

 

Haneke's style is immediately expressed unconventionally juxtaposing classical music that may be associate with the demographics of the characters (Middle Class, Traditional Nuclear Family)with chaotic heavy metal song "Bonehead" by Naked City. This change from the diegetic soundtrack of harmonious music that the characters are sharing to the non-diegetic 'screamo' metal song not heard by the protagonists connotes a naivety to the horrors that await them and creates a sense of foreboding. 

The introduction of the titles is also very stylized, the large, bold red font contains a shock factor anchored by the soundtrack introduction, the colour and impact connotes danger and chaos to follow. The first cast member's name to appear in the credits is that of Naomi Watt, this may suggest to the audience her characters prevalence and perhaps connote a 'final girl' element to follow.

Film Language

 

The props of the car and boat  attached connote relative wealth within the family, and their nice clothes and appreciation for classical music suggests a cultured, academic background to the characters. This generically represents them perhaps to be pacifistic rather than aggressive when is comes to confrontation and sets up their vulnerability for later in the film. The use of eye line mid shots puts the audience on the same level with the protagonists allowing them to familiarize and the use of all three main characters together in each shot connotes a closeness and bond within the family which is reinforced by their playful behaviour towards one another (The father tickling his son).

However when conveying the foreboding aspect of the scene the directors choice of shocking hysterical soundtrack that not only contrasts the previous diegetic sound but also the peaceful imagery and playful body language of the protagonists and is very unconventional and is used stylistically in order to shock the audience along with the bold red font of the title sequence. This shock factor could be a idea to take away and perhaps use on our practical piece and the convention of a family unit expedition or perhaps coming home seems like a point of interest.

Narrative    

 

The screen prevalence of the characters and the familiarization caused by the common nuclear family demographic which will include most of the target audience from some point in their lives (Male 18-29). This allows the audience to identify with these characters and acknowledge them as the protagonists, this then emphasizes the tension and shock for them as the soundtrack  begins and carries the theme of their naivety throughout the scene.

Representation and Ideology

 

The choice of an all white cast as a relatively wealthy and 'good' family. we make a value judgement that they appear cultured due to their hobby of sailing and appreciation for classical music who will be shown to be the victims could be seen as supporting dominant ideologies of white American families having economic stability and that they are intellectual and as victims of society through the experiences to follow. However the use of soundtrack to connote their foreboding may represent them to audiences as naive to the horrors awaiting them contrasting the previous ideologies.

 

Audience Reading

• A dominant hegemonic positional reading of this sequence may be of identifying with the characters a feeling the tension and foreboding as a negative with a sense of empathy for the protagonists
• A negotiated position however may consider the various reasons why the soundtrack connotes the danger and perhaps the cause of this tension is in fact from the characters shown and that their innocent appearance could perhaps be a facade.
• An oppositional outlook of the extract would be that these characters are the villains that they may be the killers or perhaps they deserve their fate if this is to happen.