The Bourne Ultimatum uses editing techniques such as rapid cuts, particularly in the chase sequences, to create a sense of urgency and panic. This is combined with the steady but fast pace set by the strings and drums during the opening sequence to enhance that atmosphere of a deadline. These musical techniques are particularly prominent in the scene where Noah Vosen is delegating tasks to his team in order to track Bourne and often crescendo as the pace of the chase picks up.
Dialogue such as "you are 9 hours behind the toughest target you have ever tracked' both suggests a deadline and demonstrates how impressive and extensive Bourne's abilities are. (http://www.imdb.com/video/screenplay/vi2190410009/)
Another technique used to demonstrate how supirior he is, is the use of low angles in the fight scenes, especially when he is throwing the punches.
Following the conventions of thriller, the use of close ups, extreme close ups and telephones are all used to conceal identities and narrative. An example of this would be the scene where Dr. Albert Hirsch is speaking on the phone. Greengrass uses extreme close ups of his mouth and eyes to both conceal his identity and the identity of who hes talking to.
In other conversations, between Simon Ross and Neal Daniels the framing of the shots are dominated by the back of Simon, which give an impression that he's being watched. POV tracking shots, following Bourne, in the opening sequence are also dominated by other objects, making the audience feel as though we're watching or following him. These techniques are used throughout the film.
Moreover, CCTV style shots are used in the opening to follow Bourne. The high angle shot not only used to include the audience in the chase but also to demonstrate Bourne's disadvantage, being wounded. High Angled Pans of urban city areas are often used as establishing shots by Greengrass to set the scene and show location. Prior to these shots, he uses a black screen with capitalised white writing on saying the place. This writing is accompanied by a typing noise, giving the film an atmosphere of a 'spy thriller'. However, although we hear the typing noise, the writing simply appears in a block instead of letter by letter as would be expected. This is unexpected as it contrasts with the rest of the film, where we usually hear before we see.
In the chase sequence at the beginning we firstly hear the diegetic sirens (which continue as a sound bridge), then see bourne turning to look behind him, and then the follow shot of the actual policemen, giving a sense of realism allowing the audience to immediately sympathise with the main character. Furthermore, this is extensive use of concealment. Other examples include, the use of the name 'BlackBriare' and 'the beginning'. These 'code' names are not explained but frequently used until late in the second half of the film, keeping the audience questioning and feeling as an 'outsider' (causing us to empathise with Bourne). Alienation of the main character is a common feature of Thrillers and is combined with memory loss.
Diegetic enhanced, sometimes off scene, sound is often used by Greengrass throughout the film to create tension and put the audience 'on edge'. Matched by some of the hand held camera work during the opening, this is very effective. Phones ringing off scene, and sound bridges continue the theme of hearing before seeing. Fast, loud, drumming noises whilst Bourne is chasing Desh, elevates the tension. Equally, the silence when Nicky Parsons is hiding from Desh is very effective in creating apprehension. Constantly, the music is used to create a deadline as does the narrative features of a bomb and the attempt to stop Bourne before he got the the training centre.
Diegetic enhanced, sometimes off scene, sound is often used by Greengrass throughout the film to create tension and put the audience 'on edge'. Matched by some of the hand held camera work during the opening, this is very effective. Phones ringing off scene, and sound bridges continue the theme of hearing before seeing. Fast, loud, drumming noises whilst Bourne is chasing Desh, elevates the tension. Equally, the silence when Nicky Parsons is hiding from Desh is very effective in creating apprehension. Constantly, the music is used to create a deadline as does the narrative features of a bomb and the attempt to stop Bourne before he got the the training centre.
Mise-en-scene elements often associated with the Thriller genre are the hand Guns (used by almost every character), the police investigations and files, urban/exotic settings eg moscow and the use of lighting to cast shadows or over-expose flashbacks. All of these we would also associate with film noir and 'crime thrillers'. However, The Bourne Ultimatum contradicts the Thriller conventions when it becomes unrealistic. for example, the motorbike being ridden up stairs, cars turning over, and characters jumping through windows from building to building are particularly exaggerated. This is when it crosses over to an 'action-spy-thriller'.
