Watchmen (Snyder, 2009)
Techniques:
- The montage sequence charts the highs and lows of characters over a large period of time.
- This adds to a comic book style, using a range of colours from extremely bright in one section, to a deathly dark in another.
- The whole sequence is set in slow-mo, which allows audience to take in the vast amount of action.
- The non-diegetic soundtrack (originally Bob Dylan's "The Time They Are a-Changin'" in the film) adds to the feeling of the time, and the message within matches the actions shown.
- The camera tends to begin in each scene zoomed in one a subject, and then zooms out to show exterior actions, such as a CU on a newspaper clipping zooming out to a LS, leading the audience to shock as they see the dead bodies of previously seen characters.
- Occasionally the opposite is used to push focus onto one of the characters.
- A panning shot is also regularly used to follow a particular subject in the scene, for example JFK's vehicle as he is assassinated, panning with the car, allowing us to see The Comedian is the assassin.
Blade II (del Toro, 2002)
Techniques:
- A non-diegetic electronic soundtrack plays on a black screen, as the first credits break through in a bright-red, bold font.
- A narrative is heard above the soundtrack, giving a back-story of Blade's past, with a montage of negative shots, mixed with CUs of weapons and bullets being built and wielded by the title character.
- The sequence begins with a tracking shot of Blade as he walks through his workshop, he is out of focus as the many weapons pass in front of him.
- Tension is added due to the camera never showing Blade's face (only in flashbacks) and various angles allow the audience to see his armour, weapons, equipment etc.
The Cabin in the Woods (Goddard, 2012)
Techniques:
- The sequence begins with images of torturous rituals, which can be seen in puddles of blood, with a melancholy soundtrack in the background, creating a spooky mood.
- It then cuts to two men chatting by a water cooler about their mundane lives, a clever trick as TCitW is a horror film, and so catches the audience out when a large non-diegetic scream erupts, as in large, red letters the title covers the whole screen.
- Another cut leads to a parallel narrative of a teenage girl readying herself for some time away. The scene begins with a shot from a street, panning with a skater until it reaches her house, in which the camera moves both forward and upward until it reaches her in her room.
- The rest of this scene has a medium cutting rate, as characters come and go within the scene.
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