'Skyfall' (2012, Sam Mendes) - Title Sequence Analysis (#1)

NOTES:

• Slow, fluid-like pace is present; depicted through use of dissolve and black fade effects via editing. Said effects enable connotations of surrealism to be provoked from spectators - particularly the former, which are conventional within fantasy genre films. 'Star Wars: The Force Awakens' (2015) for instance.
• Concept of sequence is fluid-ness; everything in the sequence happens from underwater to augment this representation. 
• Sound helps to shape the slow-pace; no other auditory codes besides the synchronous, orchestral soundtrack is employed. Essentially, this title sequence is a music video, however, the overlaying white texts make it distinguishable as a title sequence.
• Negatively themed; strong use of chiaroscuro lighting and ocean-deep blue coloring, enables connotations like: depression, death, loss, depth and isolation to be evoked - all link directly the eponymous protagonist.
• Key themes, messages and values are established; key settings are shown engulfed in shadows, ones he has to travel to in the disequilibrium to denouement stages of the narrative. Alludes the settings are crucial to the plot and the protagonist: the church graveyard for instance. Upon transitioning to this setting, we 'travel' through extensive mist, connoting - I believe - the protagonist's own sub-conscious desire to forget the place. In actuality, it foreshadows M's (Judi Dench) death. Possibly why the protagonist wants to forget the place - if belief is true.
• Iconography communicates the genre with relative ease; weapons, shadows, blood splatter, 'femme fatales', suave suits, mirrors.
• Deterioration of the Skyfall house and graveyard; foreshadows the 'house burning' sequence in the early restoration stage of the narrative. Red colouring parallels with this upon change. Conventionally red evokes connotations like: love, warmth, or fidelity. Here the antonyms are evoked; hate, pain and disloyalty.  
• Soundtrack is synchronous with the growth of pace; particularly when it amplifies in correspondence with us 'traveling' through the mist. Panning speed increases mid-motion.
• Whole sequence seems like one entire long-take; very few cuts, panning in every shot, mainly transitions - helps to augment the above representation of fluid-ness.