Think the opening credits for House of Cards is just some anodyne tour around the nation’s capital? Not so.
One minute into the 90 second clip the camera pans desolate tracks. It’s night. All is still, the music foreboding. A locomotive blows through timed to a sudden guitar chord—sound and vision merged for a dramatic second before the tracks go empty again. The music pulses low and ominous.
Soon after a horn peels in martial tone, saluting the statue of General Grant high up on his horse. The horn and military man work in concert unifying sound and image.
The audio buzzes in hellish frenzy. The screen zeroes on a shadowy demon (the statue is Thales, a philosopher-electrician, not the devil but demonic nonetheless). Sound and vision subtly collude in these final seconds, producing certainty that what follows will be the cold calculations of evil minds, deceptions making an inhuman city a place of dread. Continue reading House of Cards, Sleight of Hand