Halloween (1978) Directed by John Carpenter

Halloween is a 1978 American independent horror film, set in the fictional Suburban town of Haddonfield.

The opening begins with a very dark colour scheme, which is correlated to death and other horror films. The typical horror is also portrayed through the non-diegetic music of the well-known theme tune. This then coincides with the rolling titles that fade in and out perhaps insinuating closure and death.  Orange and reds are poignant colours which fill the text. Flickering between these colours gives it the appearance of fire or flames which could symbolise hell or pain as well as linking it with the fore coming image of a pumpkin (as you put flames within this). The pumpkin fades onto screen creating an unnerving sensation of being watched, further the blackened background makes it prominent and evident the time of year the film is set. With the forethought of Halloween you associate the feelings of horror therefore anchoring the genre of the film. Caving a pumpkin is an activity for adults and children, which could represent the involvement of children within the film. Inside there is a flickering light which also helps make the audience fixate on the object giving it importance. The titles continue to run and the camera begins to zoom indistinctly making the pumpkin even more sinister as it feels like it is approaching you and alive; making you feel on edge and uncomfortable. Alongside this the theme tune has picked up the pace and pitch generating a tormenting feeling foreshadowing upcoming events. Before long the continuing slow zoom reaches a close up of the pumpkin, of only the eye and nose, so due to only a little of it being shown this could represent shame or that something is trying to be concealed. The sound then fades out along with all the text presenting the audience with a black screen which could connote death, emptiness but also the unknown.

A sound bridge of children singing or chanting is then played, showing innocence yet it also gives a sinister atmosphere as children are involved and the chatting could symbolise children, perhaps, being brainwashed. A caption appears in white on the black background, showing bluntness and frankness foreshadowing the style of the upcoming crime. The juxtaposition of the text centred shows its significance and that it is the central location of the film. A pan to reveal, longshot of a house appears gives the feeling of coming from behind a tree and therefore hiding. The pan discloses an extreme longshot of a classic middle class American house it’s white, wooden and symmetrical perhaps generating the idea that the family occupying it are the typical stereotypical perfect family, yet later this assumption is abruptly overturned.
The following shots are hand held giving the audience the sensation of movement and involvement, within the shot. Forward tracking then brings us to the front of the house; there is no sound present excluding muffled ambient sound, this gives the feeling of being in a trance or daze.  The continuing shot travel round to the side of the house and appears to go into the shadows showing that perhaps it’s hiding or trying not to be seen. The camera then continues to a window which displays a longshot of a typical 60s living room shown by the floral print settee and wallpaper. Netting covers the window giving little privacy for the two teenagers who are closely engaging with one another perhaps leading you to believe that they feel they are alone and not expecting visitors presenting again the feeling that the point of view perspective is that of an intruder or unwanted caller.  The teenagers are airing their carefree nature which is the typical victim trait, foreshadowing their death. The couple then vacate upstairs, implying that they are going to have sex. The camera then tracks back to the front of the house and tilts up to present the bedroom window where a light is then switched off, showing the villains prediction of their next moves. A piercing high pitched piano cord then sounds interrupting the silence; this non-diegetic sound creates a frantic atmosphere. The camera then retreats to the back of the house, quickly, and through the open back door; this insinuates that the area is usually safe and so the upcoming killings are surprising and shocking. The lighting is very dark symbolises the unknown and lack of hope. 

The kitchen is entered first and then the light switched on, blurred arm stretches into view; it is dressed in a green silk top with a frill much like that of a clown costume again implying the Halloween theme further anchoring the horror genre. The green of the clothing might denote envy or jealously which could be the motive for their following actions. They open the kitchen draw and select a carving knife, due to this action being very quick it insinuates that the person has knowledgeable of the surrounding therefore known to the residents of the house. The knife is the only close-up shot presenting its significance. The ambient sound of knifes scraping when one is drawn is exaggerated clarifying the sharpness of it and the damage it could do. The knife is then drawn up in a threatening manner forewarning that they are going to do some harm. They then continue the journey through the house and reach the living room and the camera tilts to the settee where the young couple where previously revealing that again perhaps they are the target. The camera continues through to the hall way and tilts up to display the, young, male coming down the stairs the camera then reverse tracks giving the sensation of retreating showing that he does not want to be seen and is therefore an intruder.  The lighting enables a shadow of a person to be seen again securing the idea of this being a point of view perspective. The sound is very repetitive and high pitch which is very numbing and piercing. 
The camera then climbs up the stairs in a jolty fashion the lighting appears to disappear creating blackness and hiding them giving a tense unpredictable feel. The camera then fixates on the wooden floor and the same arm reaches out to grasp a clown mask off the floor, this is then placed on the front of the camera showing that it’s a point of view shot. The mask reiterates the Halloween and horror theme but also the secrecy, and maybe shame of this character. The camera then enters the teenage girl’s room looking at her then glancing at the messed up bed then back to her which implies her previous actions. The camera then approaches the girl who is unaware brushing her hair, showing she is typically girly presenting her again as a classic victim; also she is naked displaying her even more vulnerably. She then turns around shouting ‘Michael’ unveiling the forethought that she knows them, and her shouting signifies her anger. The knife then comes into play as it quickly enters and exits the view in a stabbing motion. Thru the use of the mask little is seen consequently producing a non-graphical image so more convincing and allows the audience to image it themselves. The camera then tilts down and she is pictured on the floor making her subordinate. Still with the mask on the camera quickly exits the house down the stairs and through the front door. It is black outside then the appearance of car headlights come into view. Two people exit the car and in a soft, yet questioning tone they also announce ‘Michael?’ It then cuts to a long shot of a boy and the two people standing either side him. This is the first cut which has built the tension and creates a dramatic reveal of the boy. 
The people are male and female, middle aged and dressed smartly correlating them with the house. The juxtaposition of the boy situated between them perhaps insinuates they are his parents. 
The boy is picture holding the bloody knife and therefore we understand he is behind the murder, yet this is a surprise due to the previous point of view shots being from the height of an adult, implying he is possibly mature. A reverse crane shot then zooms out picturing the three characters and the house where more lights are on portraying his exposure.