2. The use of the distorted classical sharp music

3. The strict uses of colour

4. The battle of the lines in the opening representing confusion of some sort

7. You are still able to see the distorted lines to still project an image of unstableness throughout this persons mind that we still haven’t seen. Hitchcock is well known for his main technique of the use of windows which is a mise on scene strategy. By using the window its like Hitchcock wants to immediately pull us in to the scenario.

10. Camera Techniques There are a variety of camera techniques’ used from the opening of the film. From a mid-shot so the audience can get familiar with the surroundings'. To it doing a panning mid-shot of the mans movement. There are also many close-up used to show how the mans emotions changes which interlinks with the scenario change. Each camera technique used represents the change of something in this movie creating its own specific convention.

12. 0.09-0.12 (black screen)

13. 0.12- 0.21 (Columbia Pictures)

14. 0.21- 0.24 (Black screen)

15. 0.24- 0.36 (Castle Rock Entertainment)

16. 0.36- 0.38 (black screen)

17. 0.38- 0.42 (Nelson Entertainment)

18. 0.42- 0.45 (A Rob Reiner Film)

19. 0.45- 0.51 (Black screen)

20. 0.51- 0.55 (Cigarette & match)

21. 0.55- 0.59 (Champagne Glass)

22. 0.59- 1:02 (Bottle of champs, ice, holder)

23. 1:02- 1:08 (Type writer)

24. 1:08- 1:18 (Mid-shot of man)

25. 1:18- 1:25 (Close up of paper & hi, writing ‘the end’)

26. 1:25- 1:34 (Mid-shot of man)

27. 1:34- 1:36 (man again)

28. 1:36- 1:39 (Picture of man’s book & bag)

29. 1:39- 1:43 (Pops and pours champs)

30. 1:43-1:45 (Match and Cigarette)

31. 1:45-1:49 (Man and cigarette mid-shot)

32. 1:49- 1:50(picks up match)

34. 2:05-2:14 (Mid-shot of man and car)

35. 2:14-2:16 (Snowball thrown at tree)

36. 2:16-2:17 (Man smiling at target)

37. 2:17-2:28(Mans driving- Title ‘Misery’ comes up)

38. 2:28-2:34 (Man in car actors name ‘James cann’

39. 2:34- 2:37 (Man in car audience get outside view snow etc)

40. 2:37-2:40 (Actress ‘Kathy Bates’)

41. 2:40:-2:45 (‘Frances Sternhagen’)

42. 2:45-2:50 (& Richard Farnsworth as Buster)

43. 2:50-2:51 (Image of wheels moving)

44. 2:51-2:53 (Man in car)

45. 2:53-2:56 (Special appearance by Lauren Barcak)

46. 2:56-3:02 (Outside view ‘music by Marc Shaiman’)

47. 3:02- 3:06 (Costume design by Gloria Gresman)

48. 3:06- 3:09 (back to man in car)

49. 3:09-3:13 (outside view & casting by Jane Jenkins C.S.A Janet Herschensohn C.S.A)

50. 3:13- 3:17 (co-produce Jefrey Scott)

51. 3:17-3:26 (Man in car ‘snow’ Steve Nicolaides)

52. 3:26-3:30 (Norman Garwood production designer)

54. 3:41-3:57 (based on novel ‘Misery’ by Stephen King’)

55. 3:57-4:30 (Screen play by William Goldman)

56. 4:30-4:34 (Produced by Andrew Scheinman, Rob Reiner)

57. 4:34-4:34 (Director by Rob Reiner  car crash!!)The use of timings really helped me to understand how each second in the opening in a film is crucial, and gave me a guide line of some of the factors that my group and I have to imbed in our film. Timings was a good way of giving me an idea of how each second of a film matters and how important they all are in the collaboration of film making.

60. Mise en scene Camera Techniques The mise en scene of the mirror is an immediate action of the sense of reflection of the man and he is also shown in the reflection of the mirror turning his back on the audience possibly representing that he has something to hide. The use of the mid-shot panning the surroundings and the home places he audience in the eyes of the camera, and what they can see not hiding anything. First thing seen in the whole film, and extreme close up of the characters face, giving each person from the audience a chance to seek into the eyes of this man and come up with their own individual interpretation. This draws the audience and makes us wonder about his state of mind.

62. Use of distorted writing in opening credits