Pretty in Pink Analysis

"Pretty in Pink" opening has old cars in it which provides exposition as they haven't used titles. The sound is non-diegetic because the music doesn't match with the opening shot. This is also an example of binary opposition. A cross fade has been used which denotes an ellipsis. At first we don't meet any of the characters but the opening still gives us an idea of their socio-economic background. The title "Pretty in Pink" juxtaposes with the mise-en-scene as there is no pink in the shot and it has an unglamorous background. Further on it shows a pink car. This wasn't used in the first shot because they wanted to create narrative enigma. A male gaze close up shot was used of a women pulling up her stockings. This denotes the protagonist is a girl. There is lots of little close ups of the protagonist then a master shot of her bedroom. Further on in the opening quite a lot of pink items have been introduced. Another way narrative enigma has been used is that there hasn't been a close up or medium close up of the protagonist. When the protagonist first goes into her dads bedroom we can't see hum because of the lighting, this is nice cinematography because when she opens the blinds the father is revealed. Now we can see them both its is a two shot (when two or more people are seen in the frame) this can show there is a link between the characters.

• Paramount pictures presents
• A John Hughes production
• Pretty in pink
• Starring Molly Ringwald
• Harry Dean Stanton
• Jon Cryer
• Annie Potts
• James Spader
• and Andrew McCarthy
• Co-Starring Jim Haynie
• Alexa Kenin
• Kate vernon
• Music score composed by Michael Gore
• Casting by Paula Herold
• And Marci Liroff
• Costume designer Marilyn Vance
• Edited by Richard Marks
• Production designer John W. Corso
• Director of photography Tak Fujmoto
• Executive producers John Hughes
• and Michael Chinich
• Written by John Hughes
• Produced by Lauren Shule