Bridget Jones Diary (Maguire, 2001, UK) 

Bridget is seen breaking the forth wall and addressing the audience directly, by doing so the audience recognizes her now as the main character.
Building a relationship with the audience this early on is key to a movie of this genre. By doing so  Bridgets relationships throughout the movie will seem more realistic to the spectator.

Again Maguire is trying to affix the spectator with Bridget, instead now with the use of sound. Her addressing the audience is key to the narrative of the film. He cleverly uses cutaways that reflect the state of mind she is in, combined with the whimsy dialogue of her situation. This leaves the audience warming to the character wanting to know more about her depressing life.
 Another technique Maguire has used to allow audiences to asphyxiate themselves to Bridget's depressing life is editing. A cross dissolve unfurls Bridget carrying out mundane tasks in her bedroom. The cross dissolve shows time passing by which creates a sense of her not being satisfied, this dissatisfaction brings the audience closer to Bridget.

A mid-shot is used and Bridget is placed directly in the middle of the frame when she is singing her song. This allows the audience to see her directly in the middle of her natural surroundings and by placing her in the middle it reinforces her loneliness as she performs actions to the song that relates to loneliness.
Lastly, the titles reflect the diary entry nature of the film. Maguire has chosen to use the font of Sans Serif with an inconsistent font style. Their are two words in bold and one normal which conveys to the audience its doesnt follow the structure of a normal film but instead a more diary type entry format.

The Sixth Sense (Shayamalan, 1999, US)

Here's my Screencast-O-Matic:

Brick (Johnson, 2005, US)

Brick (Johnson, 2005, US) on Prezi

Memento (Nolan, 2000, US)

A clear starting point of this analysis is the editing; the focal point of the opening sequence lye's fully on the fact it is in reverse, leading me to believe the film has a non- linear narrative. This reversed opening is titled the "beginning of the end", which will cause the audience to spark questions as to why this shooting has occurred, Nolan will then get the pleasure of answering them. The editing shocked me as a spectator, it went from a really slow pace as he was flicking the Polaroid to a really fast pace, the shooting. This speeding up of cuts to create a startled audience is a common form of a thriller, and Nolan probably aimed it toward raising the audiences heart rate before the movie began.

A close up reveals only the main protagonists hand and the point of interest, the Polaroid. This limiting of the Mise-en-scene allows the audience to focus only on the picture and why its going backwards. A high angle long shot is used when the man is being shot, this is to show him at an inferior status to the main character.

The focal point lye's fully on the Polaroid picture. This means the mise-en-scene is lacking depth, drawing the audiences eyes directly towards the Polaroid. Nolan has chose to introduce the Polaroid the way he did because it must have a strong link to the narrative, and by doing so he starts getting audiences thinking about whats going on.

The lugubrious score in Memento contains drawn high pitched, slow pace strings, which evoke memories of sadness within the audience. Nolan combined with a great opening sequence which overwhelmed me as a spectator and i believe the layering of sad aspects was aimed to reel in the audience, forcing them towards this strange main protagonist.