Lord of the Rings opening sequence-Continuity analysis

Lord of the Rings- The Two Towers.

How techniques used help establish narrative flow:
There are three main parts to the opening sequence. The first being the snow-covered mountains landscape scene, and the second being the action-filled fight of Gandalf  and the Balrog on the bridge, the third being their continuing fight while falling into the abyss. The whole opening follows the principle of continuity making sure movements and actions are followed through to create a  continuous yet action filled opening scene. The techniques used include:

PANNING CAMERA SHOT:

The opening scene begins with a continuous pan of the mountains, giving us an idea to what extent we are dealing with. The pan creates a fluid movement, with no jump cuts between displaying each part of the setting, but a continuous reveal of the snow covered mountains and their surroundings.

ARC CAMERA SHOT:

The second camera shot is a smooth arc around one of the mountains which leads us into the mountain itself.

TRACK CAMERA SHOT:

As the first shot dissolves and fades (making sure there are no jumps) the two shots merge into one another, the second being track movement of the camera.

MASTER SHOTS:

We are firstly provided with a master shot of the scene between Gandalf and Balrog, allowing us to have an idea of what is going on. This does not only establish the setting of the fight, but the characters within it and the space between them. We see the close intense confrontational distance between the Balrog and Gandalf, and the slightly more distant, sheltering from the fight, Frodo and the others.

REACTION SHOTS:

As the dialogue between Gandalf and the Balrog begins, we see the reactions of one another to each other. Close up’s between each of the characters reactions to one another allow us to believe they are in the same geographical space.

180 RULE:
The 180 degree rule is used to show the reactions between both Gandalf and the Balrog and Gandalf and Frodo while keeping the perspective the same.  This allows the audience to see different reaction without being disorientated or confused because the perspective has changed.

MATCH ON ACTION:

At some parts within the scene, the dialogue between character to character is cut without big pauses in dialogue, this allows the dialogue to flow consistently. In this opening sequence this isn’t necessarily used for dialogue of speech, such as the one between Gandalf and Frodo at 2:34, but dialogue of actions between Gandalf and the monster at 1:50.

FOLLOWED THROUGH ACTION SHOTS:

there are no Jumps from action to action. For example, we see Gandalf going to slam his staff down before we then see it slammed onto the ground

SLOWER MOTION:

At 2:23, when Gandalf is falling, the reaction of Frodo and the other members are slightly delayed. This gives us time to grasp exactly what is going on and to allow us to understand the severity of the danger Gandalf is in.  
TILTED FRAME SHOT:

At 2:40 when Gandalf is falling a tilted frame is used to give the audience the false impression that they are also falling by disorientating their view. This makes the fall of Gandalf more realistic and effective, following him smoothly falling through the air.

AERIAL SHOT:

When Gandalf is falling, an aerial shot which runs into a track shot of following him falling down this great hole allows us to see the depth of what he is falling into, therefore establishing what kind of height he is falling into. 

LONG SHOTà TO MID SHOTà TO CLOSE UP SHOT:

When Gandalf and the Balrog are falling, the camera shots always go from long, to mid, to close up instead of jumping from long to close up. Not only does this follow the principles of continuity but it allows us to follow the movements of the characters instead of leaving us trying to work out what’s happening when the shots jump from long to close up.

ESTABLISHING SHOTS/LONG SHOTS:

When close up’s aren’t happening, long shots of the action are provided to ensure that both characters are in the same location, informing the audience of the relative characters positions to one another and their surroundings.

Near the end of the opening sequence at 3:39mins we are given an establishing shot. This is a very long shot, that allows us to see exactly what Gandalf and the Balrog are falling into, allowing us to know exactly what is going on.