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David Fincher and the title sequence.

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Of all of David Fincher's films, and their respective title sequences, 2002s 'Panic Room' will always hold a firm position in my list of favourites. The first Fincher film I ever saw, Panic Room's title sequence is visually totally unrelated to the context of the film, yet subconsciously, so connected- its absence would destroy the films enigmatic nature almost instantly. The 'North by Northwest' feel is demonstrated through a use of perfectly aligned typography, classically silver against the cold grey of the city landscape, indicating the icy nature of the films subjects. The music is typical of Fincher, one way or another, it's classic- in reference to Panic Room, it is quite literally classical, however, the term 'classic' is used loosely, as with Fincher, it can mean anything from iconic hit, to legendary anthem. Anyway, the classical music used in the title sequence of Panic Room act well alongside the serif font used to portray the credits as they are symbolic of the films 'victims', the characters that need to seek refuge in the 'panic room'. The timer ticking along with the credits, which sometimes move in a panning or slight zoom motion, symbolise the almost 'cat and mouse' type theme within the film itself, and it soon sets itself in the audience's mind that the credits are the victims, being hunted by the city. (Far-fetched albeit, this is my genuine interpretation.)

Se7en is a visual goldmine of criminal iconography. As an audience we are thrown headfirst into the perspective of the killer. We are shown images that make us uncomfortable- forcing us to live in his sick and twisted fantasy of torture and pain. However, the use of close ups and attention to detail have an almost hypnotic effect. We are appalled by what we see yet unable to turn away. The childlike handwriting feel of the font and the displaying the credits on a glitching black screen unnerves the viewer- whoever has written this is clearly not a child and the glitches give us a feeling of sudden changes of mood. My interpretation, from a sociological perspective, is that John Doe, our killer, played by Kevin Spacey, obviously exists for gratification of entertainment, but in my opinion, I feel it would not be impossible that Fincher invented him to raise a deeper philosophical question. Again, referencing the font choices to present the credits. In Western media, it is a growing norm and cultural convention that deranged killers can often be excused in newspaper headlines by being explained to be 'well-liked child' or 'sweet young man'. This is relevant when exploring the child-like handwriting used to express the credits, as it embodies the nature of Western media, excusing ill-nature with excuses of unavoidable mental illness, which of course I stand for, the mentally ill should receive help and rehabilitation. However, in the context of Se7en, this is especially relevant as the closure of the film quite literally asks for forgiveness. As an audience, our initial interpretation of Doe has connections to troubled childhood, unconsciously causing us to sympathise with him as a helpless human 'child'. With this stance on him, can we forgive him so easily?


Fight Club and The Girl With the Dragon Tattoo are intensely similar, loud, aggressive, violent, digitally constructed, perfectly executed. Fight Club takes us on a journey through the lead characters electrical synapses in his mind, out through his head, and along the barrel of the gun that is firmly lodged into his mouth. This establishes the first concept, psychology. Nervous systems and synapses aren't meant to be pretty, but the character in question has a particularly hideous one, and the journey through it is hectic, interrupted constantly by sharp stabs of unique and bold font, in an obnoxiously neon colour. His mental state of mind is damaged, something which is loud and proud from the beginning, but only relevant at the end.























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